Accelerating shrinkage of Patagonian glaciers from the Little Ice Age (∼AD 1870) to 2011

We used Little Ice Age (LIA) trimlines and moraines to assess changes in South American glaciers over the last ∼140 years. We determined the extent and length of 640 glaciers during the LIA (∼ AD 1870) and 626 glaciers (the remainder having entirely disappeared) in 1986, 2001 and 2011. The calculated reduction in glacierized area between the LIA and 2011 is 4131 km2 (15.4%), with 660 km2 (14.2%) being lost from the Northern Patagonia Icefield (NPI), 1643 km2 (11.4%) from the Southern Patagonia Icefield (SPI) and 306 km2 (14.4%) from Cordillera Darwin. Latitude, size and terminal environment (calving or land-terminating) exert the greatest control on rates of shrinkage. Small, northerly, land-terminating glaciers shrank fastest. Annual rates of area loss increased dramatically after 2001 for mountain glaciers north of 52° S and the large icefields, with the NPI and SPI now shrinking at 9.4 km2 a–1 (0.23% a–1) and 20.5 km2 a–1 (0.15% a–1) respectively. The shrinkage of glaciers between 52° S and 54° S accelerated after 1986, and rates of shrinkage from 1986 to 2011 remained steady. Icefield outlet glaciers, isolated glaciers and ice caps south of 54° S shrank faster from 1986 to 2001 than they did from 2001 to 2011.

Competing effects of toxin-producing phytoplankton on overall plankton populations in the Bay of Bengal

The coexistence of a large number of phytoplankton species on a seemingly limited variety of resources is a classical problem in ecology, known as ‘the paradox of the plankton’. Strong fluctuations in species abundance due to the external factors or competitive interactions leading to oscillations, chaos and short-term equilibria have been cited so far to explain multi-species coexistence and biodiversity of phytoplankton. However, none of the explanations has been universally accepted. The qualitative view and statistical analysis of our field data establish two distinct roles of toxin-producing phytoplankton (TPP): toxin allelopathy weakens the interspecific competition among phytoplankton groups and the inhibition due to ingestion of toxic substances reduces the abundance of the grazer zooplankton. Structuring the overall plankton population as a combination of nontoxic phytoplankton (NTP), toxic phytoplankton, and zooplankton, here we offer a novel solution to the plankton paradox governed by the activity of TPP. We demonstrate our findings through qualitative analysis of our sample data followed by analysis of a mathematical model.

'Hey little rich boy, take a good look at me': punk, class and British oi!

This article looks at the controversial music genre Oi! in relation to youth cultural identity in late 1970s and early 1980s Britain. By examining the six compilation albums released to promote Oi! as a distinct strand of punk, it seeks to challenge prevailing dismissals of the genre as inherently racist or bound to the politics of the far right. Rather, Oi! – like punk more generally – was a contested cultural form. It was, moreover, centred primarily on questions of class and locality. To this end, Oi! sought to realize the working-class rebellion of punk’s early aesthetic; to give substance to its street-level pretentions and offer a genuine ‘song from the streets’.

With a little help from our friends: how system dynamics and soft OR can learn from each other

At its inception, the paradigm of system dynamics was deliberately made distinct from that of OR. Yet developments in soft OR now have much in common with current system dynamics modeling practice. This article briefly traces the parallel development of system dynamics and soft OR, and argues that a dialogue between the two would be mutually rewarding. to support this claim, examples of soft OR tools are described along with some of the field’s philosophical grounding and current issues. Potential benefits resulting from a dialogue are explored, with particular emphasis on the methodological framework of system dynamics and the need for a complementarist approach. The article closes with some suggestions on how to begin learning from.

Rotational aesthetics: Michael Bay and contemporary cinema’s machine movement

Digital imaging technologies enable a mastery of the visual that in recent mainstream cinema frequently manifests as certain kinds of spatial reach, orientation and motion. In such a context Michael Bay’s Transformers franchise can be framed as a digital re-tooling of a familiar fantasy of vehicular propulsion, US car culture writ large in digitally crafted spectacles of diegetic speed, the vehicular chase film ‘2.0’. Movement is central to these films, calling up Scott Bukatman’s observation that in spectacular visual media ‘movement has become more than a tool of bodily knowledge; it has become an end in itself’ (2003: 125). Not all movements and not all instances of vehicular propulsion are the same however. How might we evaluate what is at stake in a film’s assertion of movement as an end in itself, and the form that assertion takes, its articulations of diegetic velocity, corporeality, and spatial penetration? Deploying an attentiveness towards the specificity of aesthetic detail and affective impact in Bay’s delineation of movement, this essay suggests that the franchise poses questions about the relationship of human movement to machine movement that exceed their narrative basis. Identifying a persistent rotational trope in the franchise that in its audio-visual articulation combines oddly anachronistic elements (evoking the mechanical rather than the digital), the article argues that the films prioritise certain fantasies of transformation and spatial penetration, and certain modes of corporeality, as one response to contemporary debates about digital technologisation, sustainable energy, and cinematic spectacle. In this way the franchise also represents a particular moment in a more widely discernible preoccupation in contemporary cinema with what we might call a ‘rotational aesthetics’ of action, a machine movement made possible by the digital, but which invokes earlier histories and fantasies of animation, propulsion, mechanization and mechanization to particular ends.