La reproducción de la merluza en el Mar Argentino (Merlucciidae, Meluccius merluccius hubbsi) : 1. Descripción histológica del ciclo del ovario de merluza

The present paper deals on the histological description of the hake ovary made on the basis of gonad observations of 394 females during the period April 1966 March 1967. The material was obtained from weekly sampling of commercial catches carried out at the Institute of Marine Biology (Prov. Buenos Aires, Argentina). The anatomical and histological description of the standard ovary and the adopted terminology are given. The maturation process is divided into five periods, from ovocyte formation to yolked ovocyte formation, with its histological description. Ovary changes are analyzed on detail. The following conclusions were outlined: 1. Analysis demonstrated that although some specimens were totally spawned others, at the end of the spawning period, retaining a great number of ovocytes in different maturity stages. Therefore, postspawners have been classified as follows: Postspawned II : This stages is characterized by the empty ovarian structure, with ovocytes in stage II, which will remain in the resting phase untill next spawning season. Postspawned III and IV: Their main characteristics are: tissue destruction, bloody residuals and remaining ovocytes in stage III and IV, respectively. 2. Some transformations were found in ovaries of postspawned III and IV. They are classified as follows, according to its origin and structure: Developed from follicular cell membrane – a) Glandular formations, b) Epiteloid formations - Originated from remaining ovocytes, c) Ovocyte disintegration, d) Ovocyte with follicular cell infiltration. 3. All those structures derived from postpawners III and IV have a temporary character and will be reabsorbed. Their presence delay the recuperation of the organ and its reproductive functions. Consequently, the possibility of those structures acting as control mechanisms is suggested. 4. Transformations pointed out in paragraph Nº 2 prevent the possibility of consecutive spawning originated from the remaining ovocytes (II and IV). 5. No structures originated from postspawners III and IV were found during summer season. 6. Reproductive cycle of hake has been described monthly. It was observed that maturing ovaries predominate in summer (November-December).

La reproducción de la merluza en el Mar Argentino (Merlucciidae, Meluccius merluccius hubbsi) : 2. La reproducción de la merluza y su relación con otros aspectos biológicos de la especie

The paper deals with the spawning cycle of the hake, Merluccius merluccius hubbsi in the fishing area of the Argentine fleet, SW Atlantic (35°- 46° L. S.: 53°- 63° L.W.; 30-160 fathoms depth). It was made on the basis of the weekly sampling of the commercial catch in the period January 1965 - March 1968. The results have been compared with those of the exploratory surveys made by the United Nations Fisheries Development Program (República Argentina - FAO). The histological study, which was made with 741 specimens, was most intensive in females than in males. The results have been compared with the sexual stage determinations of both sexes in the total samples during the period before mentioned. The conclusions are: 1. The analysis of the ovocytes frequency distributions showed a period of resting or slow recuperation (April - August) with a mode of 120 ~k and one of rapid transformation (October - December) from 120 μ tíll 830 ~k. After December it appears again the mode of 120 ~k which indicated the reserve stock. 2. The maturity factor shows in both sexes a period of low values , 0,52 to 2% (April - September) and, another with higher values (October - March). In the first period the values are concentrated, while in the second one a large dispersion is observed produced by the rapidity of the growth process of the gonads. It is more evident between November and December. 3. The liver weight variations, compared with the degree of ingestion and the values of the maturity factor, in time, demonstrated that: a) after two periods of abundant ingestion (March - April and October- November) there are two increases of the liver index; b) the increase of the Iiver index has a direct relation to the maturity factor; c) at the end of the summer season, when the values of the maturity factor decrease, those of the liver index are still high. This demonstrates that the hake does not arrive exhausted at the end of the spawning season and that a rapid recuperation for a new spawning by part of the stock is possible. 4. Females predominate in the samples during most of the year. In the period October - December, when sexual activation occurs, as it is demonstrated by the high values of the maturity factor, proportions are nearly 1 :1, and males at times are more numerous than females. 5. The analisys of the advaneed maturity stages, in relation to total length shows that in the hake, Iike in other fishes, the largest ones mature first. This applies for both sexes. 6. The study of the maturity factor values and the sexual stages of the samples allows the recognition of two spawning periods, the main one in summer (October - March) and another in winter (June - July). 7. Part of the summer spawners, with a rapid recuperation, should be able to spawn again in winter. This indicates that the hake population, acording to our samples, has two different possibilities of spawning. 8. After analysis of the frequency percentages composition of mature specimens it is concluded that during the summer season, when hake is fished in shallow waters and in a wide area (38°– 43° L.S.) the fleet is fishing on the spawning stocks. Some winter spawners specimens have been found at 37°- 38° L.S. and in waters of more than 100 fathoms depth. 9. A new maturity scale of seven stages is proposed, instead of the one of six stages now in use. The new added stage corresponds to the postspawners during its resting period.

La mar de silencio

Tras relatar la experiencia vivida al pasear por las dunas del desierto, siento la imposibilidad de contar cantidades finitas de granos de arena. Nadie cuenta que en este ámbito sólo vale el dicho: o todo o nada.

Assessing marine plankton community structure from long-term monitoring data with multivariate autoregressive (MAR) models: a comparison of fixed station versus spatially distributed sampling data

We examined how marine plankton interaction networks, as inferred by multivariate autoregressive (MAR) analysis of time-series, differ based on data collected at a fixed sampling location (L4 station in the Western English Channel) and four similar time-series prepared by averaging Continuous Plankton Recorder (CPR) datapoints in the region surrounding the fixed station. None of the plankton community structures suggested by the MAR models generated from the CPR datasets were well correlated with the MAR model for L4, but of the four CPR models, the one most closely resembling the L4 model was that for the CPR region nearest to L4. We infer that observation error and spatial variation in plankton community dynamics influenced the model performance for the CPR datasets. A modified MAR framework in which observation error and spatial variation are explicitly incorporated could allow the analysis to better handle the diverse time-series data collected in marine environments.

Datos sobre la vegetación de la Isla Mayor del Mar Menor (Murcia)

La comunidad arbustiva Chamaeropo-Rhamnetum lycioidis withanietosum frutescentis es probablemente la clímax de esta pequeña isla litoral. Se describe también una subasociación nitrófila, pobre y degradada subas. lycietosum intricati.

Indicadores de sostenibilidad ambiental en el periurbano de la ciudad de Mar del Plata, Argentina

Los indicadores de sostenibilidad conforman herramientas útiles para la toma de decisiones. Las ciudades latinoamericanas, y especialmente las áreas de expansión sin planificación adecuada, enfrentan desafíos cada vez mayores para revertir problemáticas que amenazan su sostenibilidad. El presente trabajo evalúa de manera preliminar, la sostenibilidad ambiental del periurbano de Mar del Plata (Argentina) tomando como referencia algunos de los indicadores propuestos por el modelo del Banco Interamericano de Desarrollo en la Iniciativa Ciudades Emergentes y Sostenibles. Se construyó un índice sintético (Índice de Sostenibilidad Ambiental, ISA) que integra trece indicadores agrupados en ocho temas. Las situaciones más críticas (ISA: 0,45-0,558) se identifican fundamentalmente en zonas en las que se desarrollan actividades rurales y en las que se localizan asentamientos de carácter precario. El estudio realizado profundiza en el conocimiento de la dimensión ambiental de la sostenibilidad, enfatizando en el análisis de los contrastes internos del periurbano marplatense.

Ábhar Seanfhoclach na Gaeilge mar fhoinse Blason Populaire

In this paper I will discuss the form and nature of blason populaire in the Irish language using the major dialectal collections of the early 20th Century as source corpora. I will outline a system of categorisation by which these expressions may be grouped together and examine the local, national and international blason populaire found in the Irish language. I will show that the most salient feature of Irish blason populaire is the lack of proverbial slurs and stereotypes about other countries and nations. Instead, the Irish appear to direct their derogatory humour and mockery at their own people and land; local regions and districts; well-known Irish families, the Catholic Church and, of course, the common trades of the period.

Participatory Sonic Arts: towards a socially engaged art of sound in the everyday (The Som da Maré Project)

Participatory and socially engaged art practices have, for a couple of decades, emerged a myriad of aesthetic and methodological strategies across different media. These are artistic practices that have a primary interest in participation, affecting social dynamics, dialogue and at times political activism. Nato Thompson in “Living Form: Socially Engaged Art from 1991-2011” surveys these
practices, which range from theatre to urban planning, visual art to healthcare. Linked to notions such as relational aesthetics (Bourriaud, 1998), community art and public art, socially engaged art often focuses on the development of a sense of ownership by the part of participants. If an artist is working truly collaboratively with participants and addressing the reality of a particular community, the long-term effect of a project lies in the process of engagement as well as in the artwork itself. Projects by New York based artist Pablo Helguera, for example, use different media to engage with social inequalities through participative action while rejecting the notion of art for art sake.

“Socially engaged art functions by attaching itself to subjects and problems that normally belong to other disciplines, moving them temporarily into a space of ambiguity. It is this temporary snatching away of subjects into the realm of art-making that brings new insights to a particular problem or condition and in turn makes it visible to other disciplines.” (Helguera, 2011)

Socially engaged practices develop the notion of artwork about or by a community, to work of a community. In this chapter we address how socially engaged, participatory approaches can form a context for the sonic arts, arguably less explored than practices such as theatre and performance art. The use of sound is clearly present in a wide range of socially engaged work (e.g. Helguera’s “Aelia Media” enabling a nomadic radio station in Bologna or Maria Andueza “Immigrant Sounds – Res(on)Art (Stockholm)” exploring ways of sonically resonating a city, or Sue MacCauley’s “The Housing Project” addressing ways of representing the views of urban dwellers on public scape through sound art. It is nevertheless rare to encounter projects which take our experience of sound in the everyday as a trigger for community social engagement in a participatory context.
We address concepts and methodologies behind the project Som da Maré, a participatory sonic arts project in the favelas of Maré, Rio de Janeiro.

Som da Maré: Um Projeto Participativo de Arte Sonora

In May 2014, the participative Project Som da Maré brings together the creative energy of a group of inhabitants from a cluster of favelas in Maré (Rio de Janeiro)* through the sonic arts. The work recalls everyday experiences, memories, stories and places. These memories elicit narratives that leave traces in space while contributing to the workings of local cultural.

The result of four months of workshops and fieldwork forms the basis of two cultural interventions: an exhibition in Museu da Maré** and guided soundwalks in the city of Rio de Janeiro. These interventions present realities, histories and ambitions of everyday life in the Maré favelas through immersive sound installation, documentary photography, text and objects.

Som da Maré brings together various groups of participants who together have developed themes, materials and strategies for the articulation of elements of everyday life in Maré. Participants include secondary level students under the Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro (FAPERJ) “Young Talent” scholarships and their families, post-graduate students at the Universidade Federal do Rio de Janeiro (UFRJ), PhD students from the Sonic Arts Research Centre (Queen’s University Belfast) and members of the Cia Marginal, a theatre company based in Maré. The project also counts with the participation of academics from music, ethnomusicology, visual art and architecture at the UFRJ and a partnership with the Museu da Maré. Over thirty people have come together to make this project possible.

O conto literário de temática açoriana: a ilha, o mar e a emigração

O conto literário de temática açoriana reflecte uma visão do mundo particular, resultante de condições geográficas, geológicas, climáticas, sociais, históricas e culturais. A análise dos textos permitiu-nos detectar recorrências temáticas inspiradas em impressões e experiências reiteradas relacionadas com a realidade circundante, as quais requisitam, constantemente, a expressão literária. A ilha, perspectivada eufórica e disforicamente, o mar e a emigração constituem elementos centrais no imaginário açoriano. O presente trabalho identifica e estuda as imagens e os temas mais importantes na trajectória deste conto, mostrando até que ponto se pode falar de uma tradição literária açoriana no contexto da literatura portuguesa.