Seasonal marine growth of Bristol Bay sockeye salmon (Oncorhynchus nerka) in relation to competition with Asian pink salmon (O. gorbuscha) and the 1977 ocean regime shift

Recent research demonstrated significantly lower growth and survival of Bristol Bay sockeye salmon (Oncorhynchus nerka) during odd-numbered years of their second or third years at sea (1975, 1977, etc.), a trend that was opposite that of Asian pink salmon (O. gorbuscha) abundance. Here we evaluated seasonal growth trends of Kvichak and Egegik river sockeye salmon (Bristol Bay stocks) during even- and odd-numbered years at sea by measuring scale circuli increments within each g rowth zone of each major salmon age group between 1955 and 2000. First year scale growth was not significantly different between odd- and even-numbered years, but peak growth of age-2 smolts was significantly higher than age-1. smolts. Total second and third year scale growth of salmon was significantly lower during odd- than during even-numbered years. However, reduced scale growth in odd-numbered years began after peak growth in spring and continued through summer and fall even though most pink salmon had left the high seas by late July (10−18% growth reduction in odd vs. even years). The alternating odd and even year growth pattern was consistent before and after the 1977 ocean reg ime shift. During 1977−2000, when salmon abundance was relatively great, sockeye salmon growth was high during specific seasons compared with that during 1955−1976, that is to say, immediately after entry to Bristol Bay, after peak growth in the first year, during the middle of the second growing season, and during spring of the third season. Growth after the spring peak in the third year at sea was relatively low during 1977−2000. We hypothesize that high consumption rates of prey by pink salmon during spring through mid-July of odd-numbered years, coupled with declining zooplankton biomass during summer and potentially cyclic abundances of squid and other prey, contributed to reduced prey availability and therefore reduced growth of Bristol Bay sockeye salmon during late spring through fall of odd-numbered years.

Northerly Distribution of White Sharks, Carcharodon carcharias, in the Eastern Pacific and Relation to ENSO Events

Twenty-nine verified records of white sharks, Carcharodon carcharias, from British Columbia and Alaska waters (1961–2004) are presented. Record locations ranged from lat. 48°48ʹN to lat. 60°17ʹN, including the northernmost occurrence of a white shark and the first report of this species from the central Bering Sea. White sharks recorded from the study area were generally large, with 95% falling between 3.8 and 5.4 m in length. Mature white sharks of both sexes occur in British Columbia and Alaska waters, although they do not necessarily reproduce there. White sharks actively feed in the study area; their diet is similar to that reported for this species from Washington and northern California waters. Sea surface temperature (SST) concurrent with white shark records from the study area ranged from 16°C to between 6.4°C and 5.0°C, extending the lower extreme of the range of SST from which this species has been previously reported. White shark strandings are rarely reported, yet 16 (55%) of the records in this study are of beached animals; strandings generally occurred later in the year and at lower latitudes than nonstrandings. No significant correlation was found between white shark records in the study area and El Niño events and no records occurred during La Niña events. The data presented here indicate that white sharks are more abundant in the cold waters of British Columbia and Alaska than previous records suggest.

Rio, cenas decisivas: teatro entre televisão, patrocínio e política

Baseado em estudos de casos e em discussões teóricas, este trabalho analisa as relações entre a estética, a produção e a recepção de uma vertente do teatro produzido no Rio de Janeiro que se propõe manter-se além do entretenimento. O critério para a escolha dos casos estudados é o da inteligibilidade das relações entre estética e contexto sócio-econômico, a partir das próprias referências e vivências do pesquisador enquanto também artista e produtor teatral. A abordagem do teatro como fenômeno estético e cultural que interage com o meio sócio-econômico vale neste trabalho tanto para o teatro da contemporaneidade quanto em suas discussões históricas. A universalização da TV, a falta de público pagante para a arte e a ainda recente resposta do Estado como financiador universal da cultura aparecem aqui intimamente ligadas à proliferação e transformação de poéticas teatrais, principalmente no que concerne ao trabalho do ator em cena, sua formação, e a concepção que ele tem de sociedade e de seu papel dentro dela. Esta mirada a partir do fazer teatral questiona o valor de limites fixos entre arte e indústria cultural, ao sugerir como problemática a definição de arte e cultura na contemporaneidade. As relações de mútua legitimação entre a indústria da televisão e o teatro na cidade são acompanhadas desde a sua descoberta pelo Teatro dos Sete, seu apogeu nos anos 70 e 80, e sua subsequente crise no final da década de 80, quando a simbiose se transformou em competição e a TV passou a ditar as regras do mercado de atores. Os espetáculos escolhidos para análise nesta ótica são justamente O Mambembe de 1959 e A Maldição do Vale Negro, de 1988. Em seguida o texto apresenta um resumo de observações e pesquisas sobre sociologia da cultura, a sócio-economia do teatro e as políticas públicas na França. The Flash and Crash Days, de Gerald Thomas, é o espetáculo escolhido para abordar o início da era dos patrocínios no teatro carioca. A última parte da tese procura juntar os resultados obtidos nos estudos e algumas análises a discussões atuais sobre o teatro no Rio de Janeiro, ao comentar possíveis relações entre a estética e o contexto na cena experimental da zona sul da cidade, e a mudança ideológica e de valores que acompanha a ainda recente mudança de modos de produção. O olhar do teatro como negócio é confrontado por uma alternativa que sugere a abertura de novas perspectivas, através da inclusão de novos sujeitos, como oportunidade de renovação da cena carioca