Ecology of east Florida sea turtles: Proceedings of the Cape Canaveral, Florida Sea Turtle Workshop Miami, Florida February 26-27, 1985

The Cape Canaveral, Florida, marine ecosystem is unique. There are complex current and temperature regimes that form a faunal transition zone between Atlantic tropical and subtropical waters. This zone is rich faunistically and supports large commercial fISheries for fish, scallops, and shrimp. Canaveral is also unique because it has large numbers of sea turtles year-round, this turtle aggregation exhibiting patterned seasonal changes in numbers, size frequency, and sex ratio. Additionally, a significant portion of this turtle aggregation hibernates in the Canaveral ship channel, a phenomenon rare in marine turtle populations. The Cape Canaveral area has the largest year-round concentration of sea turtles in the United States. However, the ship channel is periodically dredged by the U.S. Army Corps of Engineers in order to keep Port Canaveral open to U.S. Navy vessels, and preliminary surveys showed that many sea turtles were incidentally killed during dredging operations. In order for the Corps of Engineers to fulfill its defense dredging responsibilities, and comply with the Endangered Species Act of 1973, an interagency Sea Turtle Task Force was formed to investigate methods of reducing turtle mortalities. This Task Force promptly implemented a sea turtle research plan to determine seasonal abundance, movement patterns, sex ratios, size frequencies, and other biological parameters necessary to help mitigate dredging conflicts in the channel. The Cape Canaveral Sea Turtle Workshop is a cooperative effort to comprehensively present research results of these important studies. I gratefully acknowledge the support of everyone involved in this Workshop, particularly the anonymous team of referees who painstakingly reviewed the manuscripts. The cover illustration was drawn by Jack C. Javech. (PDF file contains 86 pages.)

Whales and Sonar: Environmental Exemptions for the Navy's Mid-Frequency Active Sonar Training.

Mid-frequency active (MFA) sonar emits pulses of sound from an underwater transmitter to help determine the size, distance, and speed of objects. The sound waves bounce off objects and reflect back to underwater acoustic receivers as an echo. MFA sonar has been used since World War II, and the Navy indicates it is the only reliable way to track submarines, especially more recently designed submarines that operate more quietly, making them more difficult to detect. Scientists have asserted that sonar may harm certain marine mammals under certain conditions, especially beaked whales. Depending on the exposure, they believe that sonar may damage the ears of the mammals, causing hemorrhaging and/or disorientation. The Navy agrees that the sonar may harm some marine mammals, but says it has taken protective measures so that animals are not harmed. (PDF contains 20 pages)

Drawn to the Sea: Charles Bradford Hudson (1865-1939), Artist, Author, Army Officer, with Special Notice of His Work for the United States Fish Commission and Bureau of Fisheries

The biography of Charles Bradford Hudson that follows this preface had its seeds about 1965 when I (VGS) was casually examining the extensive files of original illustrations of fishes stored in the Division of Fishes, National Museum of Natural History, Smithsonian Institution. I happened upon the unpublished illustration of a rainbow trout by Hudson and was greatly impressed with its quality. The thought occurred to me then that the artist must have gone on to do more than just illustrate fishes. During the next 20 years I occasionally pawed through those files, which contained the work of numerous artists, who had worked from 1838 to the present. In 1985, I happened to discuss the files with my supervisor, who urged me to produce a museum exhibit of original fish illustrations. This I did, selecting 200 of the illustrations representing 21 artists, including, of course, Hudson. As part of the text for the exhibit, Drawn from the Sea, Art in the Service of Ichthyology, I prepared short biographies of each of the artists. The exhibit, with an available poster, was shown in the Museum for six months, and a reduced version was exhibited in U.S. and Canadian museums during the next 3 years.