A Ship's Ballasting History As an Indicator of Foraminiferal Invasion Potential – an Example from Prince William Sound, Alaska, Usa

2019 ◽  
Vol 49 (4) ◽  
pp. 434-455
Author(s):  
Mary McGann ◽  
Gregory M. Ruiz ◽  
Anson H. Hines ◽  
George Smith
Keyword(s):  
Los Angeles ◽  
San Francisco ◽  
West Coast ◽  
Benthic Foraminifera ◽  
Puget Sound ◽  
Prince William Sound ◽  
Single Source ◽  
Sediment Samples ◽  
Wide Range ◽  
Oil Tankers

Abstract We investigated the potential role of ballast sediment from coastal and transoceanic oil tankers arriving and de-ballasting in Port Valdez as a vector for the introduction of invasive benthic foraminifera in Prince William Sound, Alaska. Forty-one ballast sediment samples were obtained during 1998–1999 from 11 oil tankers that routinely discharged their ballast in Prince William Sound after sailing from other West Coast (Los Angeles/Long Beach Harbor, San Francisco Bay, and Puget Sound) or foreign ports (Japan, Korea, and China) where they originally ballasted. Forty of these samples contained benthic foraminifera, including 27 (66%) with the introduced species Trochammina hadai Uchio from nine (81%) of the ships. In all, 59 species were recovered and foraminiferal abundance peaked at 27,000 specimens per gram dry sediment. Of the 41 samples, three were stained and living benthic foraminifera were recovered in all three of them. The entrained foraminifera reflected the number of times ballasting occurred (single or multiple sources), the location of ballasting (estuarine or offshore), and post-acquisition alteration of the sediment (i.e., growth of gypsum crystals at the possible expense of calcareous tests). In temperate regions, sediment samples resulting from single-source ballasting in estuaries (SSBE), multiple-source ballasting in estuaries (MSBE), single-source ballasting offshore (SSBO), and a combination of SSBO and SSBE or MSBE, typically contained increasingly higher species richness, respectively. The potential for foreign species invasion is dependent on the presence of viable candidates and their survivability, their abundance in the ballasting location, and the number of times ballasting occurs, most of which are evident from the ship's ballasting history. We estimate that 442.1 billion to 8.84 trillion living foraminifera were introduced into Port Valdez in a single year, suggesting it is quite likely that an invasive species could be successfully established there. Trochammina hadai is a good example of a successful invasive in Prince William Sound for the following reasons: 1) the species is abundant enough in U.S. West Coast and foreign ports where ballasting occurs that sufficient individuals needed for reproduction may be transported to the receiving waters; 2) Port Valdez, in particular, receives repeated and frequent inoculations from the same source ports where T. hadai is present; 3) large quantities of sediment are taken up by commercial vessels during ballasting and benthic foraminifera occur in abundance in ballast sediment; 4) ballast sediment provides a suitable environment in which benthic foraminifera can survive for extended periods of time during transport; 5) T. hadai flourishes in a wide range of temperatures and environmental conditions that characterize both the ports where ballasting takes place as well as in Port Valdez where de-ballasting occurs; and 6) the species is capable of asexual reproduction and possibly the ability to form a dormant resting stage, both of which have the potential to lower the threshold for colonization. Clearly, ballast sediment is a viable vector for the introduction of T. hadai and other invasives into Alaskan ports and elsewhere worldwide.

Werner Herzog

2014 ◽  
Author(s):  
Brad Prager
Keyword(s):  
World War Ii ◽  
Los Angeles ◽  
San Francisco ◽  
The United States ◽  
Feature Film ◽  
Werner Herzog ◽  
Wim Wenders ◽  
Bay Area ◽  
Wide Range ◽  
Grand Prize

Werner Herzog was born in Munich in 1942. Before the end of World War II Herzog’s family moved to Sachrang, a small town in Bavaria not far from the Austrian border. Herzog started making films in his late teens with a camera he claims to have stolen from the Munich Film School. After making several short films and his first feature film, Signs of Life (1968), his work connected with that of filmmakers such as Wim Wenders and Rainer Werner Fassbinder, who were of the same generation and who also began making films at a young age. He has expressed respectful words for these other auteurs, but he has rejected most direct association with them and with the New German Cinema movement, underscoring his independence, his reluctance to lend his name to political causes, and his identification not as German but more regionally as a Bavarian. Herzog received international recognition for Aguirre, the Wrath of God (1972) and won the Jury Grand Prize at Cannes for The Enigma of Kaspar Hauser (1974). He encountered intense criticism for Fitzcarraldo (1982), for which he was rumored to have harmed the native Amazonians who participated in his project. Herzog countered these accusations, but the air of controversy lingered. A documentary made about the making of Fitzcarraldo, Les Blank’s Burden of Dreams (1982), showcased Herzog as a charismatic performer and mesmerizing speaker. Throughout the following years Herzog worked less and less in Germany, ultimately resettling in California in the 1990s, first in the San Francisco Bay Area and then in Los Angeles. During his time in the United States he continued to make both documentaries and feature-length fiction films, including Rescue Dawn (2006) and Bad Lieutenant: Port of Call—New Orleans (2009). He received widespread acclaim for his documentary work, particularly for Grizzly Man (2005) and Cave of Forgotten Dreams (2010), the last of which was a much praised foray into 3D filmmaking. Herzog was nominated for an Academy Award for the documentary feature Encounters at the End of the World (2007). Although he remains well known for the bold exploits connected with his early works, his tumultuous relationship with the actor Klaus Kinski, and his willingness to push cinematic boundaries, he is best known for his capacity to express himself philosophically on a wide range of topics and for his sage Germanic voice, which he has lent to diverse projects.

Survey of the Human-Computer Interface and the Operational Tasks at Selected Vessel Traffic Services

1997 ◽  
Vol 41 (2) ◽  
pp. 968-972 ◽  
Author(s):  
Ronald B. Hoffman ◽  
Frederic A. Dion ◽  
Bruce R. Riley
Keyword(s):  
New York ◽  
Los Angeles ◽  
San Francisco ◽  
Traffic Management ◽  
Puget Sound ◽  
Computer Interface ◽  
Human Computer Interface ◽  
Maritime Traffic ◽  
Guidelines And Recommendations ◽  
System Interfaces

This report focuses on the Human-Computer Interface and the operational tasks at five waterways: Los Angeles/Long Beach, Prince William Sound, Puget Sound, San Francisco, and New York. It is the first part of the Survey of the Human-System Interfaces of Vessel Traffic Services conducted at selected ports to provide guidelines and recommendations for the design and development of automated systems for maritime traffic management.

scholarly journals State of Being

2016 ◽  
Vol 6 (4) ◽  
pp. 39-51
Author(s):  
Lynell George
Keyword(s):  
African American ◽  
Los Angeles ◽  
San Francisco ◽  
West Coast ◽  
American Culture ◽  
The West ◽  
African American Culture ◽  
Ways Of Being

Moving back and forth from Los Angeles to San Francisco, this essay travels back in time to an imported experience of African American culture that came to the West Coast. Part of a familial culture, which converged with this place amidst the streets, and trees, and family heirlooms, this essay explores what it is about California that makes it a place of such incredible placemaking. Journeying through George’s own California and how to understand this place amidst the interruptions and ways of being here, the essay concludes acknowledging California’s existence between myth and reality, wherein passes California.

Asian American and Pacific Island Modernist Art

2020 ◽  
Author(s):  
Tom Wolf
Keyword(s):  
United States ◽  
New York ◽  
Los Angeles ◽  
San Francisco ◽  
Asian American ◽  
West Coast ◽  
The United States ◽  
The West ◽  
The Pacific ◽  
American Artists

Artists of Asian descent made substantial contributions to the artistic culture of the United States, incorporating practices that were different from the European-based traditions—like painting with water-soluble pigments rather than oil paint, choosing Asian subjects, and signing their works in the Asian fashion. Coming across the Pacific Ocean, some immigrants settled in Hawaii where Isami Doi, born of Japanese parents, became an influential artist. Doi typifies characteristics that are found in many Asian American artists in that he excelled at several media: printmaking, painting, and jewelry design. And he traveled extensively, spending time in Paris and over a decade in New York. The West Coast of the United States became a center for people coming across the Pacific, and major cities like Seattle, San Francisco, and Los Angeles developed Asian communities with active artistic cultures. Chinese immigrants were drawn to the San Francisco area because of the economic boom around the gold rush and the building of the railroads, but they also inspired prejudice, and harsh immigration laws were enacted in 1888. This halted immigration from China and bolstered it from Japan, until another law in 1924 restricted that as well. Yun Gee, of Chinese descent, in San Francisco made aggressively modern, brightly colored, and geometrically abstracted portraits before moving to Paris and then New York where his style became more expressionistic. The Asian communities in Seattle and Los Angeles included artists who worked in photography as well as painting, and some moved further east across the United States to pursue their careers in the Midwest or, more commonly, New York, the artistic center of the country. In the 1920s and 1930s, Yasuo Kuniyoshi became well known in the New York art world for his sensitively handled, sometimes humorous, sometimes erotic paintings and prints. Nevertheless, he and his peers who were born in Asia were forbidden by law from becoming citizens, something he desired, as his entire artistic career was in the United States. The sculptor Isamu Noguchi came to prominence after being nurtured by some of the Japanese American artists in Kuniyoshi’s circle, particularly Itaro Ishigaki. Noguchi is best known for the organically shaped carved stone sculptures he made after World War II, but he was also famous as a designer of modernist furniture and lamps using Japanese materials. Both he and Kuniyoshi suffered after the Japanese bombing of Pearl Harbor in 1941, while on the West Coast Japanese Americans were herded into detention camps, often losing their jobs and their homes in the process. Chiura Obata, for example, was removed from his prestigious teaching position at the University of California at Berkeley and put in a camp where he taught art. There he switched from making luminous landscapes of Yosemite to painting camp scenes of confinement and regimentation—once he was allowed to paint at all. The postwar years were a period of recovery, and new generations of Asian American artists emerged, exploring abstract styles and creating new incarnations of the multicultural art that was pioneered in the works of their Asian American predecessors.

scholarly journals Taphonomic features of benthic foraminifera in a temperate setting: experimental and field observations on the role of abrasion, solution and microboring in the destruction of foraminiferal tests

1992 ◽  
Vol 6 ◽  
pp. 270-270
Author(s):  
Cynthia S. Shroba
Keyword(s):  
Benthic Foraminifera ◽  
Puget Sound ◽  
Complete Removal ◽  
Control Group ◽  
Field Observations ◽  
Tropical Environments ◽  
Naturally Occurring ◽  
Wide Range ◽  
Mesh Bag

Benthic foraminifera recovered from sediments in the waters surrounding San Juan Island, Washington, were examined to assess taphonomic damage and to compare magnitude of the taphonomic agents of abrasion, solution and microboring to studies done in tropical environments. Abrasion experiments of 24, 72, 120 and 240 hour duration were run on Elphidiella and Islandiella, two benthic foraminifera common in the Puget Sound region. Results show that styles of taphonomic damage observed in field sediment samples, including impact pitting, scratching, caving and exfoliation, were produced on experimentally manipulated groups in as few as 24 hours. Elphidiella appears slightly more resistant to abrasive reduction compared to Islandiella, which produced a wide range of abrasive features within 3 days.A control group of Elphidiella and Islandiella was placed in a mesh bag for 240 hours to assess taphonomic alteration by solution, boring and encrustation, removed from the effects of abrasion. These specimens showed no significant solution reduction, but within 3 days were covered with algal filaments and diatoms. Taphonomic damage observed in field specimens can be divided into destructive and constructive agents. Destructive features include breakage, pitting, boring, scratching, and exfoliation. Constructive features include pyritization and encrustation by diatoms and other algae. Although several naturally occurring abrasion features were produced in the experimental abrasion runs, the magnitude of taphonomic damage seen in field specimens was not achieved experimentally. Features of extreme taphonomic damage include complete removal of the outer chamber walls, as well as removal of all but the umbilical regions of planispiral forms. Solution and predation are largely responsible for such severely damaged tests.

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