25 resultados para MUD


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Burrowing bivalves are associated with particular sediment types within sedimentary systems. The degree to which bivalve sediment associations are repeatable across systems has seldom been investigated. To investigate whether such repeatability exists across tidal flats, we compared adult and juvenile distributions of 3 bivalve species (Cerastoderma edule, Scrobicularia plana, Macoma balthica) across 6 European tidal flats. Across systems, the adult bivalves showed fairly repeatable distributions, with C. edule occurring in sandy sediments and M. balthica and S. plana occurring in muddy sediments. Exceptions were observed in systems composed primarily of muddy sediments (Aiguillon Bay and Marennes-Oléron Bay) and the Dutch Wadden Sea. Interestingly, juveniles and adults of C. edule and S. plana showed similar distributions across systems. M. balthica juveniles and adults showed habitat separation in 3 of the 6 studied systems; in 2 of these, it has been shown previously that juvenile M. balthica settle in mud at high tidal levels and migrate to lower sandier flats later in life. The high occurrence of juvenile M. balthica towards high sandy flats in Mont Saint-Michel Bay suggests that juveniles might choose high tidal flats rather than muddy sediments per se. A repeatable association in adults and juveniles with respect to sediment could suggest that juveniles actively settle in the proximity of the adults and/or that juveniles settling away from the adults incur a higher mortality due to either predation, physiological stress, or other factors.

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New technologies have arguably displaced the hegemony of painting within the hierarchies of contemporary art. Projectors and other digital imaging technologies in particular continue to expand the contemporary artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting - the practice of smearing coloured mud about - far from being superseded, simply continues to cannibalise these powerful technologies extruding them into its own analogue processes. Whether intentionally or as an by-product of this cannibalisation, painting tends to create a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made fully visible. Of course 'easel' painting practices persist not only to critique new technologies. Rather new technologies inevitably fold back into the now souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display.

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New technologies have arguably displaced the hegemony of painting in the hierarchies of contemporary art. Projectors and other digital imaging tools in particular continue to expand the artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting, (the practice of smearing coloured mud about) far from being marginalised, simply continues to cannibalise these new technologies extruding them into its own analogue processes. Whether intentionally or as a by-product of this cannibalisation, painting creates a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made fully visible. Of course ‘traditional’ easel painting practices persist not just to critique new technologies. Digital imaging technologies inevitably feed back into the souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display. The work for this project explores the ways in which projection and virtual geographical mapping invite new configurations for the practice of landscape painting.

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New technologies have arguably displaced the hegemony of painting in the hierarchies of contemporary art. Projectors and other digital imaging tools in particular continue to expand the artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting, (the practice of smearing coloured mud about) far from being marginalised, simply continues to cannibalise these new technologies extruding them into its own analogue processes. Whether intentionally or as an by-product of this cannibalisation, painting creates a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made visible. Of course ‘traditional’ easel painting practices persist not just to critique new technologies. Digital imaging technologies inevitably feed back into the souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display. The work for this project explores the ways in which projection and virtual geographical mapping invite new configurations for the practice of landscape painting.

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The Masked Lapwing Vanellus miles is a common ground-nesting shorebird inhabiting grasslands, paddocks, rivers, lakes, swamps and, tidal mud flats. It is particularly common in the urban areas of Phillip Island, Victoria (Dann 1981, Marchant and Higgins 1993). The Masked Lapwing usually lays between one and four eggs (the mean number of eggs per clutch of this study was 3.6 ± 1 SD) that hatch after 31 days. Both sexes incubate eggs, brood young and defend the eggs and young. Masked Lapwings produce precocial and nidifugous chicks that remain with the adults on defended territories until fledging (Marchant and Higgins 1993, Thomas 1969). The chicks are able to feed themselves within hours of hatching and rely on their parents only for protection (alarm signals) and warmth (brooding) (Marchant and Higgins 1993). Here we report three instances of likely co-operative breeding of Vanellus miles on Phillip Island between 18 July and 13 September 2012.

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Elucidation of the key nutritional requirements for complete larval development of the tropical spiny rock lobster, Panulirus ornatus, presents a major challenge for the development of robust commercial aquaculture for this crustacean. As a foundation study in this area, the chemical composition of early-mid stage P. ornatus phyllosoma (Stages I-VI) receiving a novel formulated diet was analysed immediately prior and post-ecdysis to provide insight into the crude nutritional trends during the larval development cycle. From the onset of moulting, cyclical patterns were evident in the proximate composition of phyllosoma, resulting in substantial restructuring between the pre- and post-moult stages of the moult cycle. Proportions of protein, lipid and ash were high at the premoult stage, reflecting growth and nutrient accumulation over the intermoult period, and reduced at the post-moult stage, reflecting the large uptake of water to facilitate subsequent growth. Polar lipid was the dominant lipid class, accounting for >. 90% of the total lipid content. Conversely, triacylglycerol concentrations were low (<. 5%), despite being the principal lipid class available in the formulated diet. Likewise, despite receiving high concentrations of eicosapentaenoic acid (EPA, 20:5n-3) and docosahexaenoic acid (DHA, 22:6n-3) (9.2 and 7.6% of the dietary lipid source, respectively), levels of these fatty acids were comparatively low in phyllosoma (3.4 and 4.7%, respectively). In contrast, there is selective deposition of these fatty acids in wild caught phyllosoma. This finding suggests a poor assimilation of triacylglycerols by captive larvae and highlights the importance of future investigations into alternative sources of EPA and DHA. Ultimately, this study provides insight into the nutritional requirements of phyllosoma, providing valuable knowledge on diet formulation for commercially viable hatchery production of spiny rock lobsters. © 2014 Elsevier B.V.

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ABSTRACT
Iranian architecture is shaped in related to its Hot - Dry climate and has provided interesting answers to the Iranian's needs. In this climate, most of the buildings are constructed by mud or sun - dried bricks. There are so many facilities that Iranian architecture has provided for better living such as: Wind - Catcher (which exhausts warm air from buildings during the day), Cisterns (which have a cylindrical store place in the depth of the earth for storing the cold fresh water during the hot seasons), Ice - Houses with walls behind which water in shallow channels friezes at nights, etc. The great heritage of Iranian architecture and traditions are still not known until now. The cons- tructing traditions of vernacular architecture in Iran, reveals the mystery of using natural energy sources that reduce the need to fossil fuel. Among different Iranian cultural heritage, Ice-Houses are selected as the main subject of this article.

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Students look forward to summer because usually it means a break from formal and non-formal education. Formal education refers to education in formal educational institutions, such as pre-schools, primary, secondary and tertiary educational institutions and other registered training organisations. Non-formal education refers to organised educational activity outside the established formal system, that is intended to deliver a defined set of learning objectives to an identifiable group of learners (Chemistry in Australia, October 2014, page 33). Informal education refers to all learning outside the formal non-formal educational system; informal education is often associated with life-long learning as it can include reading non-fiction books and scholarly articles, viewing documentaries and other informal professional development. Informal education can also include travel to other countries and climates. Social constructivist theory maintains that learning occurs in social settings; conversely, most learners are limited by their cultural experiences. For example, Australian students have little first-hand experience of sublimation, but this is commonly observed in very cold climates when frost, ice or snow apparently “disappears” as it sublimes to water vapour, without passing through the liquid state. A favourite summertime activity is to go to the movies, especially in air-conditioned cinemas on a hot day or night. Watching movies are a form of virtual travel, and many educators make use of movies to illustrate chemistry concepts. Some movie producers want a sense of authenticity and work hard to get the details right, even though those details might be incidental to the main plot. For example, in Centurion, Roman soldiers fail in their rescue attempt, and are taunted by the Picts for stupidity -- they would have succeeded if they had only realised that metal become brittle in the cold. Another favourite example comes from The Lord of the Rings: The Two Towers, when Bilbo, Samwise and Gollum are crossing the Dead Marshes and see lights that appear to float over the Marshes. These wills-o-the-wisp have been known for centuries, and was the subject of a debate between George Washington and his officers. Washington and Thomas Paine, “the Father of the American Revolution”, believed that the lights were due to a flammable gas released from the marsh, while Washington’s officers believed that the lights were due to a flammable liquid on the surface of the marsh. On Guy Fawkes Night, 5 November, 1783, the Washington-Paine experiment showed that when mud at the bottom of a river was disturbed, bubbles of flammable gas rose to the surface of the water. (Unknown to Washington and Paine, Alessandro Volta had performed a similar experiment in 1776.) A problem with informal education is that it is often unguided. Students may find it difficult to discern the difference between scientific reality and an artistic distortion of reality in novels and movies. Educators have an important role here. If we only teach facts and concepts, learners will be dependent on a teacher. If however, we foster students’ curiosity and ability to exercise judgement, they will be able to learn for themselves, not just during the summer, but also in every season of every year.

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Predators can affect prey populations and, via trophic cascades, predators can indirectly impact resource populations (2 trophic levels below the predator) through consumption of prey (density-mediated indirect effects; DMIEs) and by inducing predator-avoidance behavior in prey (trait-mediated indirect effects; TMIEs). Prey often employ multiple predator-avoidance behaviors, such as dispersal or reduced foraging activity, but estimates of TMIEs are usually on individual behaviors. We assessed direct and indirect predator effects in a mesocosm experiment using a marine food chain consisting of a predator (toadfish--Opsanus tau), prey (mud crab--Panopeus herbstii) and resource (ribbed musse--Geukensia demissa). We measured dispersal and foraging activity of prey separately by manipulating both the presence and absence of the predator, and whether prey could or could not disperse into a predator-free area. Consumption of prey was 9 times greater when prey could not disperse, probably because mesocosm boundaries increased predator capture success. Although predator presence did not significantly affect the number of crabs that emigrated, the presence of a predator decreased resource consumption by prey, which resulted in fewer resources consumed for each prey that emigrated in the presence of a predator, and reduced the overall TMIE. When prey were unable to disperse, TMIEs on mussel survival were 3 times higher than the DMIEs. When prey were allowed to disperse, the TMIEs on resource survival increased to 11-times the DMIEs. We found that restricting the ability of prey to disperse, or focusing on only one predator-avoidance behavior, may be underestimating TMIEs. Our results indicate that the relative contribution of behavior and consumption in food chain dynamics will depend on which predator-avoidance behaviors are allowed to occur and measured.