Atlas of the Mediterranean Seamounts and Seamount-Like Structures
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Establishing Repeatable Study Plots on Sa Dragonera, Mallorca to Assess Population Trends of the Local Breeding Balearic Shearwaters Puffinus Mauretanicus
Repeatable study plots on Sa Dragonera, to assess trends of the local breeding Balearic Shearwaters Establishing repeatable study plots on Sa Dragonera, Mallorca to assess population trends of the local breeding Balearic Shearwaters Puffinus mauretanicus Greg Morgan1*, Miguel McMinn2, Russell Wynn3, Rhiannon Meier3, Lou Maurice4, Biel Sevilla2, Ana Rodriguez2 & Tim Guilford5 *Correspondence author. Email: [email protected] 1 RSPB, Ramsey Island, St Davids, Pembrokeshire SA62 6PY, UK; 2 Balearic Shearwater Conservation Association, Puig del Teide 4, 07181 Palmanova, Balearic Islands, Spain; 3 National Oceanography Centre, European Way, Southampton, Hampshire SO14 3ZH, UK; 4 British Geological Survey, Natural Environment Research Council, Crowmarsh Gifford, Oxfordshire OX10 8BB, UK; 5 Department of Zoology, University of Oxford, Oxford OX1 3PS, UK. Abstract The Balearic Shearwater Puffinus mauretanicus is a Critically Endangered species endemic to the Balearic Islands, subject to a severe decline that could lead to the extinction of the species within three generations (Oro et al. 2004). Predation by introduced mammals is considered the main threat facing the species at its breeding grounds, and therefore conservation action is required along with subsequent monitoring in a species where such information is lacking. In order to assess the long-term impact of a rodent eradication project on the breeding success of the species on Sa Dragonera island, a series of study plots were established in April 2013. A survey was carried out to establish the minimum number of known Apparently Occupied Sites (AOS) within each plot. All potential nest sites within each plot were sampled for the presence of a bird(s) using a combination of methods: (i) tape playback, (ii) physical sighting (by eye or with an endoscope) and (iii) obvious signs of occupation. -
Schulhoffs Flammen
ERWIN SCHULHOFF Zur Wiederentdeckung seiner Oper „Flammen“ Kloster-Sex, Nekrophilie, alles eins Schulhoffs "Flammen". Entdeckung im "Don Juan"-Zyklus des Theaters an der Wien. Am Anfang war das Ich. Dann das Es. Und das Überich erst, lieber Himmel, da hat sich die Menschheit etwas eingebrockt, als sie alle Dämme brechen ließ und den Kaiser wie den Lieben Gott gute Männer sein ließen. Nichts klärt uns über die Befindlichkeit der Sigmund- Freud-Generation besser auf als die Kunst der Ära zwischen 1900 und 1933, ehe die Politik - wie zuvor schon in der sowjetischen Diktatur - auch in 9. August 2006 SINKOTHEK Deutschland die ästhetischen Koordinatensysteme diktierte. Beobachtet man in Zeiten, wie die unsre eine ist, die diversen sexuellen, religiösen und sonstigen Wirrnisse, von denen die damalige Menschheit offenbar fasziniert war, fühlt man sich, wie man im Kabarett so schön sang, "apres". Sex im Kloster, Nekrophilie, alles eins. Tabus kennen wir nicht mehr; jedenfalls nicht in dieser Hinsicht. Das Interesse an einem Werk wie "Flammen", gedichtet von Max Brod frei nach Karel Josef Benes, komponiert von dem 1942 von den Nationalsozialisten ermordeten Erwin Schulhoff, ist denn auch vorrangig musikhistorischer Natur. Es gab 9. August 2006 SINKOTHEK mehr zwischen Schönberg und Lehar als unsere Schulweisheit sich träumen lässt. Erwin Schulhoff war ein Meister im Sammeln unterschiedlichster Elemente aus den Musterkatalogen des Im- wie des Expressionismus. Er hatte auch ein Herz für die heraufdämmernde Neue Sachlichkeit, ohne deshalb Allvater Wagner zu verleugnen. Seine "Flammen", exzellent instrumentiert mit allem Klingklang von Harfe, Glocke und Celesta, das jeglichen alterierten Nonenakkord wie ein Feuerwerk schillern und glitzern lässt, tönen mehr nach Schreker als nach Hindemith - auch wenn das einleitende Flötensolo beinahe den keusch-distanzierten Ton der "Cardillac"- Musik atmet. -
The Balearics
The Balearics 7 D a y S a m p l e I t i n e r a r y 7 Day Sample Itinerary Day 1 Palma de Mallorca Day 2 Palma de Mallorca > Puerto d’Andratx Day 3 Puerto d’Andratx > Ibiza, Talamanca Bay Day 4 Talamanca Bay > Ibiza Town > Formentera Day 5 Ibiza > Bays of Cala Jondal > Ses Salines & Poroig Day 6 Ibiza > Ponent Nature Reserve > Mallorca Day 7 Mallorca > Palma de Mallorca Why choose the Balearics? There are plenty of reasons why the Balearics are such a hit with holiday makers, just off Spain’s east coast, these islands serve up everything from lively beaches and world-class clubs to prehistoric ruins and picturesque countryside. The Islands One can discover each of the four islands of the archipelago in a few days. Mallorca, the senior island, combining spectacular mountain scenery and hiking through to the standard sea ‘n’ sun seaside fun. Ibiza, famous for its dance music but also its relaxing and welcoming spirituality. The famous hippy market is a great place for a different view on local life. Menorca, a heaven of tranquility and tiny Formentera a chill-out island, where people can lose themselves for the entire summer, needing little more to keep them happy than white beaches and sunset parties. Day 1 - Palma de Mallorca Fly to Palma de Mallorca to begin your cruise through the Balearic Islands. Cosmopolitan Palma is Mallorca’s capital city and largest port. Its Moorish and European architecture is dominated by the Gothic cathedral, La Seu while the fascinating “old town” or central area, offers numerous narrow streets, hidden behind the high walls of ancient buildings. -
An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXAMINATION OF STYLISTIC ELEMENTS IN RICHARD STRAUSS’S WIND CHAMBER MUSIC WORKS AND SELECTED TONE POEMS By GALIT KAUNITZ A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2012 Galit Kaunitz defended this treatise on March 12, 2012. The members of the supervisory committee were: Eric Ohlsson Professor Directing Treatise Richard Clary University Representative Jeffrey Keesecker Committee Member Deborah Bish Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii This treatise is dedicated to my parents, who have given me unlimited love and support. iii ACKNOWLEDGEMENTS I would like to thank my committee members for their patience and guidance throughout this process, and Eric Ohlsson for being my mentor and teacher for the past three years. iv TABLE OF CONTENTS List of Figures ................................................................................................................................ vi Abstract -
The Hell Scene and Theatricality in Man and Superman
233 The Amphitheatre and Ann’s Theatre: The Hell Scene and Theatricality in Man and Superman Yumiko Isobe Synopsis: Although George Bernard Shaw’s Man and Superman (1903) is one of his most important dramatic works, it has seldom been staged. This is because, in terms of content and direction, there are technical issues that make it difficult to stage. In particular, Act Three features a dream in Hell, where four dead characters hold a lengthy philosophical symposium, has been considered independent of the main plot of John Tanner and Ann Whitefield. Tanner’s dream emphatically asserts its theatricality by the scenery, the amphitheatre in the Spanish desert where Tanner dozes off. The scene’s geography, which has not received adequate attention, indicates the significance of the dream as a theatre for the protagonist’s destiny with Ann. At the same time, it suggests that the whole plot stands out as a play by Ann, to which Tanner is a “subject.” The comedy thus succeeds in expressing the playwright’s philosophy of the Superman through the play-within-a- play and metatheatre. Introduction Hell in the third act of Man and Superman: A Comedy and a Philosophy (1903) by George Bernard Shaw turns into a philosophical symposium, as the subtitle of the play suggests, and this intermediate part is responsible for the difficulties associated with the staging of the play. The scene, called “the Hell scene” or “Don Juan in Hell,” has been cut out of performances of the whole play, and even performed separately; however, the interlude by itself has attracted considerable attention, not only from stage managers and actors, but also from critics, provoking a range of multi-layered examinations. -
New York City Center Announces Re‐Opening for In‐Person Performances with Full Calendar of Programs for 2021 – 2022 Season
FOR IMMEDIATE RELEASE: New York City Center announces re‐opening for in‐person performances with full calendar of programs for 2021 – 2022 season Dance programming highlights include Fall for Dance Festival, TWYLA NOW, and the launch of two new annual dance series Additional artistic team members for Encores! 2022 season include choreographers Camille A. Brown for The Life and Jamal Sims for Into the Woods Tickets start at $35 or less and go on sale for most performances Sep 8 for members; Sep 21 for general public July 13, 2021 (New York, NY) – New York City Center President & CEO Arlene Shuler today announced a full calendar of programming for the 2021 – 2022 season, reopening the landmark theater to the public in October 2021. This momentous return to in‐person live performances includes the popular dance and musical theater series audiences have loved throughout the years and new programs featuring iconic artists of today. Manhattan’s first performing arts center, New York City Center has presented the best in music, theater, and dance to generations of New Yorkers for over seventy‐five years. “I am delighted to announce a robust schedule of performances for our 2021 – 2022 season and once again welcome audiences to our historic theater on 55th Street,” said Arlene Shuler, President & CEO. “We have all been through so much in the past sixteen months, but with the support of the entire City Center community of artists, staff, and supporters, we have upheld our legacy of resilience and innovation, and we continue to be here for our loyal audience and the city for which we are proudly named. -
Ocean-Climate.Org
ocean-climate.org THE INTERACTIONS BETWEEN OCEAN AND CLIMATE 8 fact sheets WITH THE HELP OF: Authors: Corinne Bussi-Copin, Xavier Capet, Bertrand Delorme, Didier Gascuel, Clara Grillet, Michel Hignette, Hélène Lecornu, Nadine Le Bris and Fabrice Messal Coordination: Nicole Aussedat, Xavier Bougeard, Corinne Bussi-Copin, Louise Ras and Julien Voyé Infographics: Xavier Bougeard and Elsa Godet Graphic design: Elsa Godet CITATION OCEAN AND CLIMATE, 2016 – Fact sheets, Second Edition. First tome here: www.ocean-climate.org With the support of: ocean-climate.org HOW DOES THE OCEAN WORK? OCEAN CIRCULATION..............................………….....………................................……………….P.4 THE OCEAN, AN INDICATOR OF CLIMATE CHANGE...............................................…………….P.6 SEA LEVEL: 300 YEARS OF OBSERVATION.....................……….................................…………….P.8 The definition of words starred with an asterisk can be found in the OCP little dictionnary section, on the last page of this document. 3 ocean-climate.org (1/2) OCEAN CIRCULATION Ocean circulation is a key regulator of climate by storing and transporting heat, carbon, nutrients and freshwater all around the world . Complex and diverse mechanisms interact with one another to produce this circulation and define its properties. Ocean circulation can be conceptually divided into two Oceanic circulation is very sensitive to the global freshwater main components: a fast and energetic wind-driven flux. This flux can be described as the difference between surface circulation, and a slow and large density-driven [Evaporation + Sea Ice Formation], which enhances circulation which dominates the deep sea. salinity, and [Precipitation + Runoff + Ice melt], which decreases salinity. Global warming will undoubtedly lead Wind-driven circulation is by far the most dynamic. to more ice melting in the poles and thus larger additions Blowing wind produces currents at the surface of the of freshwaters in the ocean at high latitudes. -
Entr'acte - Wikipedia, the Free Encyclopedia
Entr'acte - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Entr'acte Entr'acte From Wikipedia, the free encyclopedia For the film by René Clair, see Entr'acte (film). Entr'acte is French for "between the acts". It can have the meaning of a pause between two parts of a stage production, synonymous to intermission, but is more often used to indicate that part of a theatre production that is performed between acts as an intermezzo or interlude. Originally entr'actes resulted from stage curtains being closed for set or costume changes: to kill time, in order not to halt the action, to make a transition from the mood of one act to that of the next, or to prevent the public from getting noisy. During set changes, the action could be continued in entr'actes in front of the closed curtain (only players, no other scenery than the curtain, and a minimum of props). In this sense of taking the action from one part of a large-scale drama to the next by fitting in a part of the story that completes the missing links, an entr'acte is similar to an interquel (which is a concept that was formulated much later on however, and indicates an "interlude" of the same kind of resources and magnitude as the parts it joins). In traditional theatre also incidental music could be used to bridge the 'closed curtain' periods: as well in Ballet, Opera and Drama there is a rich tradition of such musical interludes. The German word for this kind of interludes (Verwandlungsmusik) still refers to its original function during changing of the scene. -
Chapter 51. Biological Communities on Seamounts and Other Submarine Features Potentially Threatened by Disturbance
Chapter 51. Biological Communities on Seamounts and Other Submarine Features Potentially Threatened by Disturbance Contributors: J. Anthony Koslow, Peter Auster, Odd Aksel Bergstad, J. Murray Roberts, Alex Rogers, Michael Vecchione, Peter Harris, Jake Rice, Patricio Bernal (Co-Lead members) 1. Physical, chemical, and ecological characteristics 1.1 Seamounts Seamounts are predominantly submerged volcanoes, mostly extinct, rising hundreds to thousands of metres above the surrounding seafloor. Some also arise through tectonic uplift. The conventional geological definition includes only features greater than 1000 m in height, with the term “knoll” often used to refer to features 100 – 1000 m in height (Yesson et al., 2011). However, seamounts and knolls do not appear to differ much ecologically, and human activity, such as fishing, focuses on both. We therefore include here all such features with heights > 100 m. Only 6.5 per cent of the deep seafloor has been mapped, so the global number of seamounts must be estimated, usually from a combination of satellite altimetry and multibeam data as well as extrapolation based on size-frequency relationships of seamounts for smaller features. Estimates have varied widely as a result of differences in methodologies as well as changes in the resolution of data. Yesson et al. (2011) identified 33,452 seamount and guyot features > 1000 m in height and 138,412 knolls (100 – 1000 m), whereas Harris et al. (2014) identified 10,234 seamount and guyot features, based on a stricter definition that restricted seamounts to conical forms. Estimates of total abundance range to >100,000 seamounts and to 25 million for features > 100 m in height (Smith 1991; Wessel et al., 2010). -
Listening Guide: Richard Strauss' Symphonic Poem Don Juan 1
Listening Guide: Richard Strauss’ Symphonic Poem Don Juan 1. Strauss’ Don Juan is a hugely exciting piece with which to open a program. It is approximately 17 min. long, and can be enjoyed simply for its energy, its recurring dominant melodies, its ever-shifting moods and its remarkable orchestration. If you have only a little time to preview this piece, just keep these qualities in mind and listen to one of the more popular performances that have been uploaded to YouTube. 2. Of course, I urge you to take the next step in preview listening by remembering Deb Shuster’s definitions of “program music” and of “symphonic poem.” • Program music: A musical composition that aims to portray in musical terms the events, characters &/or scenes that usually originate in a poem or a story. In this case, Strauss drew upon the story of Don Juan, which is a tale of a fictitious character, whose amorous adventures, his larger than life energy, and his indifference to societal norms made him the hero-villain of numerous plays, novels, and poems from the 1660’s to the 1900’s. Strauss draws on a version of Don Juan by Hungarian /Austrian/German author Nikolaus Lenau, written in 1844. Lenau’s Don Juan is more of a philosopher living a disillusioned, aimless, and unsatisfying life. He has many amorous adventures in a search a for meaning and perfect beauty, but he finally realizes that he has harmed many and that his searching may be futile. In a duel with the brother or father of one his former lovers, he drops his sword and embraces death. -
Ridge Migration, Asthenospheric Flow and the Origin of Magmatic Segmentation in the Global Mid-Ocean Ridge System Richard F
GEOPHYSICAL RESEARCH LETTERS, VOL. 31, L15605, doi:10.1029/2004GL020388, 2004 Ridge migration, asthenospheric flow and the origin of magmatic segmentation in the global mid-ocean ridge system Richard F. Katz, Marc Spiegelman, and Suzanne M. Carbotte Lamont-Doherty Earth Observatory, Columbia University, Palisades, New York, USA Received 28 April 2004; accepted 7 July 2004; published 4 August 2004. [1] Global observations of mid-ocean ridge (MOR) [3] Previous authors have considered the possible effect bathymetry demonstrate an asymmetry in axial depth of ridge migration on MOR processes. A kinematic model across ridge offsets that is correlated with the direction of asthenospheric flow beneath a migrating ridge was used of ridge migration. Motivated by these observations, we by Davis and Karsten [1986] to explain the asymmetric have developed two-dimensional numerical models of distribution of seamounts about the Juan de Fuca ridge and asthenospheric flow and melting beneath a migrating MOR. by Schouten et al. [1987] to study the migration of non- The modification of the flow pattern produced by ridge transform offsets at spreading centers. Modeling studies migration leads to an asymmetry in melt production rates [Conder et al., 2002; Toomey et al., 2002] of the MELT on either side of the ridge. By coupling a simple parametric region of the EPR [Forsyth et al., 1998b] found the dynamic model of three dimensional melt focusing to our simulations, effect of ridge migration could produce an asymmetry in we generate predictions of axial depth differences across melt production, but not of the magnitude inferred from offsets in the MOR. These predictions are quantitatively across-ridge differences in P, S and Rayleigh wave veloc- consistent with the observed asymmetry. -
Don Juan This Outline Serves As a Listening Guide, Or “Road Map,” Through a Work Being Performed Today
Listen4 listening guides A brief guide to listening to Richard Strauss’s Don Juan This outline serves as a listening guide, or “road map,” through a work being performed today. The intention is to help you follow along and enjoy it in more depth. We welcome you to email us with your reactions at [email protected]. Now ... let the music begin! Richard Strauss composed what is considered his first major masterpiece, Don Juan, in 1888 when he was just 24—the age of many of the Aspen Music Festival and School’s students. It is a “tone poem” for orchestra, meaning that the work is one continuous composition meant to convey a story, poem, or idea to the listener. Orchestral musicians love to play Strauss’s tone poems because every instrument has a chance to shine. It is hard to believe Don Juan lasts only about twenty minutes, so full is it with drama, passion, tenderness, and bravura parts for every member of the orchestra. Fittingly, Strauss met the love of his life, Pauline de Ahna, shortly after starting work on this piece and completed it during their romance, which led to a life-long marriage. Second section: 1 First section: Listen as the As the music quiets down, the opening flourish in the strings 2 woodwinds play along with a high violin rushes through the wind section solo, conveying Don Juan’s great interest and back to the strings. This in all things feminine. Starting simply, the figure begins not on the first passion is ratcheted up with increasingly beat, but just slightly after, higher entrances by the horns.