(Table 1) Date, deployment location, tag longevity, and satellite data of humpback whales (Megaptera novaeangliae) from the Cook Islands

Humpback whales (Megaptera novaeangliae) undertake extensive seasonal migrations from summer feeding areas in high latitudes to winter mating and calving grounds in tropical waters (Clapham and Mead 1999, http://www.jstor.org/stable/3504352). In the Southern Hemisphere, seven populations are recognized by the International Whaling Commission (IWC). In this study, we report the movements of seven whales satellite-tagged in the Cook Islands, including the first documented migration to an antarctic feeding ground. In September 2006 and 2007 we attached Argos satellite-monitored tags to eight humpback whales of various sex and behavioral classes. All whales were tagged in the nearshore waters of Rarotonga (the largest island in the Cooks group).

(Table 1) Date, deployment location, tag longevity, and satellite data of humpback whales (Megaptera novaeangliae) off New Caledonia

Knowledge of the local and migratory movements of humpback whales (Megaptera novaeangliae) from New Caledonia is very limited. To investigate this topic, we attached satellite-monitored tags to 12 whales off southern New Caledonia. Tag longevity ranged from 1 to 52 days (X = 22.5 days). Tagged whales generally moved to the south or southeast, with several spending time in a previously unknown seamount habitat named Antigonia before resuming movement, generally toward Norfolk Island or New Zealand. However, 1 female with a calf traveled the entire length of the western coast of New Caledonia (~450 km) and then west in the direction of the Chesterfield Reefs, a 19th century American (''Yankee'') whaling ground. None of the New Caledonia whales traveled to or toward eastern Australia, which is broadly consistent with the low rate of interchange observed from photo-identification comparisons between these 2 areas. The connections between New Caledonia and New Zealand, together with the relatively low numbers of whales seen in these places generally, support the idea that whales from these 2 areas constitute a single population that remains small and unrecovered.

Reconstructed ice-sheet limit in the Kara and Barents Sea area at about 50,000 years ago (Markhida Line)

Glacial landforms in northern Russia, from the Timan Ridge in the west to the east of the Urals, have been mapped by aerial photographs and satellite images supported by field observations. An east-west trending belt of fresh hummock-and-lake glaciokarst landscapes has been traced to the north of 67°N. The southern boundary of these landscapes is called the Markhida Line, which is interpreted as a nearly synchronous limit of the last ice sheet that affected this region. The hummocky landscapes are subdivided into three types according to the stage of postglacial modification: Markhida, Harbei and Halmer. The Halmer landscape on the Uralian piedmont in the east is the freshest, whereas the westernmost Markhida landscape is more eroded. The west- east gradient in morphology is considered to be a result of the time-transgressive melting of stagnant glacier ice and of the underlying permafrost. The pattern of ice-pushed ridges and other directional features reflects a dominant ice flow direction from the Kara Sea shelf. Traces of ice movement from the central Barents Sea are only discernible in the Pechora River left bank area west of 50°E. In the Polar Urals the horseshoe-shaped end moraines at altitudes of up to 560 m a.s.l. reflect ice movement up-valley from the Kara Ice Sheet, indicating the absence of a contemporaneous ice dome in the mountains. The Markhida moraines, superimposed onto the Eemian strata, represent the maximum ice sheet extent in the western part of the Pechora Basin during the Weichselian. The Markhida Line truncates the huge arcs of the Laya-Adzva and Rogovaya ice-pushed ridges protruding to the south. The latter moraines therefore reflect an older ice advance, probably also of Weichselian age. Still farther south, fluvially dissected morainic plateaus without lakes are of pre-Eemian age, because they plunge northwards under marine Eemian sediments. Shorelines of the large ice-dammed Lake Komi, identified between 90 and 110 m a.s.l. in the areas south of the Markhida Line, are radiocarbon dated to be older than 45 ka. The shorelines, incised into the Laya-Adzva moraines, morphologically interfinger with the Markhida moraines, indicating that the last ice advance onto the Russian mainland reached the Markhida Line during the Middle or Early Weichselian, before 45 ka ago.

Reality bites: Documentary photography and architectural realism = Fragmentos de realidad: Fotografía documental y realismo en arquitectura

En el día de hoy nos enfrentamos a una serie de desafíos económicos, geopolíticos y ambientales que apuntan hacia una transformación profunda del mundo tal y como lo conocemos. La arquitectura esta – siempre lo ha estado – imbricada en todos estos problemas. En nuestra actual condición de recursos limitados e injusticia global surge la necesidad de superar la dicotomía entre progreso y tradición, entre innovación y preservación – la urgencia de redefinir incluso cada uno de estos términos. Los tipos de crisis que encaramos ahora no se resolverán con mas tecnología y más crecimiento – se necesita también una profunda reevaluación de nuestros sistemas de valores e incluso de nuestra sensibilidad. En este contexto, la humilde contribución de esta tesis consiste en proponer la idea de un realismo en arquitectura, entendido como una actitud progresista y atenta a lo que ya existe, dispuesta a abrir los ojos al presente, a las condiciones y los problemas reales que nos rodean. Pensando en esta idea, resulta evidente que si bien el realismo carece de una definición clara en el campo de la arquitectura hoy, cuenta sin embargo con numerosos precedentes parciales, entre ellos algunos de los más notorios episodios de la historia de la arquitectura reciente. Al intentar confeccionar una lista provisional de arquitectos realistas en el último siglo, otro hecho se nos presenta: muchos, por no decir todos estos arquitectos, comparten una fijación por la fotografía, bien apropiándose del trabajo de fotógrafos contemporáneos, bien tomando sus propias imágenes como una forma de mirar fuera de sus estudios e incorporar la realidad del medio construido a sus proyectos. Parece entonces lógico pensar que la arquitectura, como disciplina visual, ha acudido a otra disciplina visual en búsqueda de su propia respuesta al problema del realismo – dentro de este campo la fotografía reverbera con la arquitectura especialmente, ya que ambas son consideradas simultáneamente como practicas utilitarias y como parte de las bellas artes. Parece entonces lógico el organizar la investigación como una serie de casos, con la esperanza de que la acumulación de diversas instancias en las que la arquitectura ha acudido a la fotografía en su búsqueda de un realismo arrojara luz sobre las ideas más generales a debate. Por tanto, cada uno de los episodios en este texto se examina en sus propios términos, si bien una serie de interconexiones emergen a medida que el estudio procede con un suave orden cronológico. Hacia el final del texto cuestiones más grandes recobran protagonismo, a medida que las repercusiones políticas de nuestro estudio se hacen más patentes y comenzamos a interrogar las implicaciones contemporáneas y el potencial futuro de nuestra discusión sobre el realismo. ABSTRACT Today we are faced with a series of economic, geopolitical and environmental challenges that outline a deep transformation of the world as we know it. Architecture is – it has always been – ingrained in all of these problems. In our current condition of limited resources and global inequalities there is a necessity to overcome the dichotomy between progress and tradition, between innovation and preservation – an urgency to even redefine these terms altogether. The types of crises that we are facing will not be solved with more technology and more growth – a deep reevaluation of our systems of values and our sensibilities are also needed. In this context, the humble contribution of this text is to put forward the idea of an architectural realism, understood as an attitude that is both progressive and attentive to what is already in place, willing to open its eyes to the present and accept the real conditions and problems around us. In thinking about this prospect, it immediately becomes apparent that even if realism lacks a clear definition in the field of architecture today, there are numerous partial precedents for it, among them some of the most notorious episodes in the recent history of architecture. In crafting a tentative list of realist architects in the last century, another realization takes place: many, not to say all of these architects, have had a fixation with photography, either appropriating the work of contemporary photographers or taking photographs themselves as a way to look out their windows and bring the reality of the built environment into their practices. It seems then logical to think that architecture, as a visual discipline, has looked to other visual disciplines in search for its own take on the problem of realism – within this field, photography specially resonates with architecture, since both are regarded simultaneously as utilitarian practices and belonging to the fine arts. The idea then becomes to organize the research as a series of cases, with the hope that the accumulation of diverse instances in which architecture has approached photography in its realist drive will shed some light on the larger ideas at stake. Therefore, each of the episodes in this text is examined on its own terms, with a series of interconnections slowly emerging as our survey proceeds with a soft chronologic order. Towards the end of the study, larger issues regain relevance as the political repercussions of our inquiry become more pressing and we start to question the contemporary implications and future potentials of our discussion on realism.