Effects of addition of a bird repellent to fish diets on their growth and bioaccumulation

The effects of adding the nonlethal bird repellent methyl anthranilate (MA), at levels of 100 and 1000 mg/kg, to fish feed on the bioaccumulation and growth of juvenile (10 g) hybrid striped bass (Morone chrysops x M. saxatilis) and juvenile (1g) African cichlid fish Aulonocara jacobfreibergi were investigated under laboratory conditions. The bird repellent did not have any effect on the fish growth or survival over a period of 6 weeks. MA residues at low levels of 11.2 ± 2.6 mg/g were found in lipophilic tissues (liver) of MA-fed fish. Control fish, which had no MA added to their diet, had a much lower level of 0.6 ± 0.3 mg/g MA in their liver. Fish muscle was found to contain negligible MA residues, while the outer body surface mucus did not contain any MA. Following a 6-week depuration period, during which the previously MA-fed hybrid striped bass were fed a feed to which no MA was added, the levels of MA residues detected were reduced by one order of magnitude.

Airport Bird Threat in North America from Large Flocking Birds (geese) (as Viewed by an Engine Manufacturer)--Part 1

In worldwide aviation operations, bird collisions with aircraft and ingestions into engine inlets present safety hazards and financial loss through equipment damage, loss of service and disruption to operations. The problem is encountered by all types of aircraft, both military and commercial. Modern aircraft engines have achieved a high level of reliability while manufacturers and users continually strive to further improve the safety record. A major safety concern today includes common-cause events which involve significant power loss on more than one engine. These are externally-inflicted occurrences, with the most frequent being encounters with flocks of birds. Most frequently these encounters occur during flight operations in the area on or near airports, near the ground instead of at cruise altitude conditions. This paper focuses on the increasing threat to aircraft and engines posed by the recorded growth in geese populations in North America. Service data show that goose strikes are increasing, especially in North America, consistent with the growing resident geese populations estimated by the United States Department of Agriculture (USDA). Airport managers, along with the governmental authorities, need to develop a strategy to address this large flocking bird issue. This paper also presents statistics on the overall status of the bird threat for birds of all sizes in North America relative to other geographic regions. Overall, the data shows that Canada and the USA have had marked improvements in controlling the threat from damaging birds - except for the increase in geese strikes. To reduce bird ingestion hazards, more aggressive corrective measures are needed in international air transport to reduce the chances of serious incidents or accidents from bird ingestion encounters. Air transport authorities must continue to take preventative and avoidance actions to counter the threat of birdstrikes to aircraft. The primary objective of this paper is to increase awareness of, and focus attention on, the safety hazards presented by large flocking birds such as geese. In the worst case, multiple engine power loss due to large bird ingestion could result in an off-airport forced landing accident. Hopefully, such awareness will prompt governmental regulatory agencies to address the hazards associated with growing populations of geese in North America.

Pissing Glass and the Body Crass: Adaptations of the Scatological in Théophile

Examination of scatological motifs in Théophile de Viau’s (1590-1626) libertine, or ‘cabaret’ poetry is important in terms of how the scatological contributes to the depiction of the Early Modern body in the French lyric.1 This essay does not examine Théophile’s portrait of the body strictly in terms of the ‘Baroque’ or the ‘neo-Classical.’ Rather, it argues that the scatological context in which he situates the body (either his, or those of others), reflects a keen sensibility of the body representative of the transition between these two eras. Théophile reinforces what Bernard Beugnot terms the body’s inherent ‘eloquence’ (17), or what Patrick Dandrey describes as an innate ‘textuality’ in what the body ‘writes’ (31), and how it discloses meaning. The poet’s scatological lyric, much of which was published in the Pamasse Satyrique of 1622, projects a different view of the body’s ‘eloquence’ by depicting a certain realism and honesty about the body as well as the pleasure and suffering it experiences. This Baroque realism, which derives from a sense of the grotesque and the salacious, finds itself in conflict with the Classical body which is frequently characterized as elegant, adorned, and ‘domesticated’ (Beugnot 25). Théophile’s private body is completely exposed, and, unlike the public body of the court, does not rely on masking and pretension to define itself. Mitchell Greenberg contends that the body in late sixteenth-century and early seventeenth-century French literature is often depicted in a chaotic manner because, ‘the French body politic was rent by tumultuous religious and social upheavals’ (62).2 While one could argue that Théophile’s portraits of a syphilis-ridden narrators are more a reflection of his personal agony rather than that of France as a whole, what emerges in Théophile is an emphasis on the movement, if not decomposition of the body.3 Given Théophile’s public persona and the satirical dimension of his work, it is difficult to imagine that the degeneration he portrays is limited only to his individual experience. On a collective level, Théophile reflects what Greenberg calls ‘a continued, if skewed apprehension of the world in both its physical and metaphysical dimensions’(62–3) typical of the era. To a large extent, the body Théophile depicts is a scatological body, one whose deterioration takes the form of waste, disease, and evacuation as represented in both the private and public domain. Of course, one could cast aside any serious reading of Théophile’s libertine verse, and virtually all of scatological literature for that matter, as an immature indulgence in the prurient. Nonetheless, it was for his dissolute behavior and his scatological poetry that Théophile was imprisoned and condemned to death. Consequently, this part of his work merits serious consideration in terms of the personal and poetic (if not occasionally political) statement it represents. With the exception of Claire Gaudiani’s outstanding critical edition of Théophile’s cabaret lyric, there exist no extensive studies of the poet’s libertine œuvre.4 Clearly however, these poems should be taken seriously with respect to their philosophical and aesthetic import. As a consequence, the objective becomes that of enhancing the reader’s understanding of the lyric contexts in which Théophile’s scatological offerings situate themselves. Structurally, the reader sees how the poet’s libertine ceuvre is just that — an integrated work in which the various components correspond to one another to set forth a number of approaches from which the texts are to be read. These points of view are not always consistent, and Théophile cannot be thought of as writing in a sequential manner along the lines of devotional Baroque poets such as Jean de La Ceppède and Jean de Sponde. However, there is a tendency not to read these poems in their vulgar totality, and to overlook the formal and substantive unity in this category of Théophile’s work. The poet’s resistance to poetic and cultural standards takes a profane, if not pornographic form because it seeks to disgust and arouse while denigrating the self, the lyric other, and the reader. Théophile’s pornography makes no distinction between the erotic and scatological. The poet conflates sex and shit because they present a double form of protest to artistic and social decency while titillating and attacking the reader’s sensibilities. Examination of the repugnant gives way to a cathartic experience which yields an understanding of, if not ironic delight in, one’s own filthy nature.