Coastal metabolism and the oceanic organic carbon balance

Net organic metabolism (that is, the difference between primary production and respiration of organic matter) in the coastal ocean may be a significant term in the oceanic carbon budget. Historical change in the rate of this net metabolism determines the importance of the coastal ocean relative to anthropogenic perturbations of the global carbon cycle. Consideration of long-term rates of river loading of organic carbon, organic burial, chemical reactivity of land-derived organic matter, and rates of community metabolism in the coastal zone leads us to estimate that the coastal zone oxidizes about 7 × 1012 moles C/yr. The open ocean is apparently also a site of net organic oxidation (∼16 × 1012 moles C/yr). Thus organic metabolism in the ocean appears to be a source of CO2 release to the atmosphere rather than being a sink for atmospheric carbon dioxide. The small area of the coastal ocean accounts for about 30% of the net oceanic oxidation. Oxidation in the coastal zone (especially in bays and estuaries) takes on particular importance, because the input rate is likely to have been altered substantially by human activities on land.

A new method for the estimation of oceanic mixed-layer depth using shipboard X-band radar images

Shipboard X-band radar images acquired on 24 June 2009 are used to study nonlinear internal wave characteristics in the northeastern South China Sea. The studied images show three nonlinear internal waves in a packet. A method based on the Radon Transform technique is introduced to calculate internal wave parameters such as the direction of propagation and internal wave velocity from backscatter images. Assuming that the ocean is a two-layer finite depth system, we can derive the mixed-layer depth by applying the internal wave velocity to the mixed-layer depth formula. Results show reasonably good agreement with in-situ thermistor chain and conductivity-temperature-depth data sets.

Oceanic iron fertilization: one of strategies for sequestration atmospheric CO2

Carbon cycle is connected with the most important environmental issue of Global Change. As one of the major carbon reservoirs, oceans play an important part in the carbon cycle. In recent years, iron seems to give us a good news that oceanic iron fertilization could stimulate biological productivity as CO2 sink of human-produced CO2. Oceanic iron fertilization experiments have verified that adding iron into high nutrient low chlorophyll (HNLC) seawaters can increase phytoplankton production and export organic carbon, and hence increase carbon sink of anthropogenic CO2, to reduce global warming. In sixty days, the export organic carbon could reach 10 000 times for adding iron by model prediction and in situ experiment, i.e. the atmospheric CO2 uptake and inorganic carbon drawdown in upper seawaters also have the same magnitude. Therefore, oceanic iron fertilization is one of the strategies for increasing carbon sink of anthropogenic CO2. The paper is focused on the iron fertilization, especially in situ ocean iron experiments in order that the future research is more efficient.

Totality of experience: sound, music and mythology in Gus Van Sant’s “Death Quartet”

Reflecting on Gus Van Sant’s films Gerry (2003) Elephant (2004) and Last Days (2005), the director’s long-term sound-designer Leslie Shatz observed that “You have to get into the totality of the experience and not just the dialogue”. Shatz’s comment expresses something fundamental about the experimental approach to cinema and to soundscapes undertaken by Van Sant in these three films, unofficially known as the “Death Trilogy”. This thesis contends that Van Sant makes deliberate aesthetic choices which do indicate a distinctly “auteurist” leaning. However, I also argue that intertextual elements, prior knowledge, and audience participation in meaningmaking enhance the experience of, and reveal the nuances in, the soundtracks themselves. This thesis aims to contribute to a growing body of work within filmmusic scholarship concerned with resisting a traditional bias in the field: that film music should be understood as a means of characterisation and as emotional signifier. The films of the “Death Quartet”, which includes Paranoid Park (2007), I believe, offer fertile ground on which to explore these new approaches. It is my contention that these films deconstruct the traditional approach to soundtracking and the relationship between soundtrack and character, and that only an approach sensitive to the aesthetic and philosophical functions of music and sound can adequately acknowledge their unique cinematic qualities.