Ophelia Drowns from Lore Haroutunian on Vimeo.
All good writing is like swimming underwater and holding your breath. — F. Scott Fitzgerald
Shoot on a frozen lake in the darkness of the polar nights the video is a 11 minute scan of the horizon. Recorded simultaneously the sound track is a recording of Natural Radio. I was looking for Auroral Chorus an obscure electromagnetic phenomena link with northern lights. On the video you can also hear dawn chorus generated by a big solar storm and military telecommunications from Russian submarines beacons.
|Lingcod. Photo by Jim Lyle at DiveBums. This site hosts a wealth of photo beauties, worth an extended visit.|
|Range map of lingcod. Image credit: Mmm courtesy Wikimedia Commons.|
Lingcod... support an important recreational and commercial fishery. Currently, lingcod is a species of critical concern to fisheries managers throughout the Pacific Coast because of the combined factors of low annual productivity and susceptibility to overfishing are a result of their high site residency and association with the nearshore zone. In Canada's Strait of Georgia, the lingcod commercial fishery has been closed since 1990 while in Washington, Oregon, and California lingcod was declared an overfished species between 1999 and 2005.
|The POST array in 2010.|
|Coho salmon smolt. Photo by Cacophony, courtesy Wikimedia Commons.|
We used [POST] to monitor movements and residency of 21 acoustic-tagged lingcod for up to 16 months. Eight of sixteen lingcod (50%) initially aged at 2.5- to 3.5- years-old dispersed from their tag site. Dispersal was highly seasonal, occurring in two, five-week periods from mid-December through January and from mid-April through May. Dispersal in winter may be related to sexually immature lingcod or newly-mature male lingcod being displaced by territorial males. Spring dispersal may be indicative of the onset of migratory behavior where lingcod move out into Prince William Sound and possibly the offshore waters of the Gulf of Alaska.
|From PLoS ONE.|
Unexpectedly, our acoustic array provided accurate information on the timing and direction of a lingcod being preyed upon and removed from the study area. We were able to conclude that the predator was likely a marine mammal based on its speed, and in this case, the depth of the predator as the lingcod had a pressure sensor tag implanted.
The bishops are not only was
That means there are large parried
Also grows in the sea such a bishop, a serious biter
And does he not been wearing miter.
I have a relationship with the depths
they beckon me beyond my means
cold dark vacant pressure
forever night, endless dreams
Sometimes you watch them going out to seaOn such a day as this, in the worst of weathers,Their boat holding ten or a dozen of them,In black rubber suits crouched around the engine housing,Tanks of air, straps and hoses, and for their feetEnormous flippers.
The bow, with such a load on board,Hammers through the whitecaps, while they talk;Junonian girls, Praxitelean boys, pelted onBy bursting clouds, by spray, eventually heaveThe tanks upon their backs, the boat drifts at anchor,
And down they go to the sea floor, by the foggy headland.At least, you can presume they kick the flippersAnd plunge to where the water is more calm. The coolInstructors must keep eyes and earsOpen. Accidents out there, they happen.
You might imagine scrapsOf cultural débris, a broken pot, a ring, a cogwheelCome up, clutched in a palm, and interesting,A wave pattern in it, the blade of a sword,When a lucky diver breaks again the surface. Time,Time and again frigate and schooner crackedBlown against the rocks, holed below the water line.
Even an inscriptionMight now be coming up from those green deeps.Yet the divers do their silent thing. On the sea floorExpect only the sea, a multitude of sand without an hourglass.Round somebody’s ankle idly it swarms. A diverHangs by a thread of breath in solitude there. Some go downIn all simplicity curious; to have tales to tell;And who knows, what they learnJust might, long after this, be usable.
Auroras are occurring again with increasing frequency. With the Sun being unusually dormant recently, however, our Sun has become increasingly active and exhibiting a greater abundance of sunspots, flares, and coronal mass ejections. Solar activity like this typically expels charged particles into the Solar System, some of which may trigger Earthly auroras. As this year unfolded, the above timelapse displays of picturesque auroras were captured above Tromsø, Norway. Curtains of auroral light, usually green, flow, shimmer and dance as energetic particles fall toward the Earth and ionize air molecules high up in the Earth's atmosphere. With solar maximum still in the future, there may be opportunities to see spectacular aurora over the past three years, the amount of Sun-induced auroras has also been unusually low. More personally over the next three years.
From space, the aurora is a crown of light that circles each of Earth’s poles. The IMAGE satellite captured this view of the aurora australis (southern lights) on September 11, 2005, four days after a record-setting solar flare sent plasma—an ionized gas of protons and electrons—flying towards the Earth. The ring of light that the solar storm generated over Antarctica glows green in the ultraviolet part of the spectrum, shown in this image. The IMAGE observations of the aurora are overlaid onto NASA’s satellite-based Blue Marble image. From the Earth’s surface, the ring would appear as a curtain of light shimmering across the night sky.
The ship and sled team in this image belonged to Frederic Church's friend, polar explorer Dr. Isaac Hayes. Hayes had led an Arctic expedition in 1860, and gave his sketches from the trip to the artist as inspiration for this painting. Hayes returned from his voyage to find the country in the thick of the Civil War, and in a rousing speech vowed that "God willing, I trust yet to carry the flag of the great Republic, with not a single star erased from its glorious Union, to the extreme northern limits of the earth." Viewers understood Church's painting of the Aurora Borealis (also known as the northern lights) as a portent of disaster, a divine omen relating to the conflict.