Distribution and Local Movement of Humpback Whales in Okinawan Waters Depend on Sex and Reproductive Status

2017 ◽  
Vol 34 (1) ◽  
pp. 58-63 ◽  
Author(s):  
Nozomi Kobayashi ◽  
Haruna Okabe ◽  
Isao Kawazu ◽  
Naoto Higashi ◽  
Keisuke Kato ◽  
...  
1981 ◽  
Vol 59 (3) ◽  
pp. 460-469 ◽  
Author(s):  
C. Scott Baker ◽  
Louis M. Herman

Aerial surveys of the population of humpback whales assembled in Hawaiian waters during the 1977, 1978, and 1979 winter seasons were carried out on a weekly to biweekly basis during the major period of residency, from mid-January through mid-April. A progressively later date for peak numbers was found over the 3 years. These annual changes in migratory timing were consistent with earlier data for humpback whales in the western North Pacific but differed from the constant migratory timing reported for South Pacific humpback whales. Regional data showed that each year the earliest peak influx was at the island of Hawaii (Big Island), with regions to the northwest showing progressively later dates for peak residency. Kauai-Niihau, the island group furthest to the northwest, but separated from other islands by extensive deep water channels, seemed to follow an independent trend. Photographic reidentification of seven whales that moved from the Big Island or from the Maui area to regions to the northwest provided supporting evidence for the southeast to northwest movement pattern indicated by aircraft data. This pattern suggested that some whales use the prevailing clockwise surface currents in the upper North Pacific to aid their migration between Alaskan feeding grounds and Hawaii.


2020 ◽  
Vol 642 ◽  
pp. 227-240
Author(s):  
L Lodi ◽  
R Tardin ◽  
G Maricato

Most studies of cetacean habitat use do not consider the influence of anthropogenic activities. We investigated the influence of environmental and anthropogenic variables on habitat use by humpback Megaptera novaeangliae and Bryde’s whales Balaenoptera brydei off the coast of the Brazilian city of Rio de Janeiro. Although there are 2 marine protected areas (MPAs) in this area, few data are available on cetacean habitat use or on the overlap of different cetacean species within these MPAs. Our aim was to evaluate the effectiveness of the MPAs and propose a buffer zone to better protect the biodiversity of the study area. We conducted systematic surveys and developed spatial eigenvector generalized linear models to characterize habitat use by the species in the study area. Habitat use by humpback whales was influenced only by depth, whereas for Bryde’s whales there was the additional influence of anthropogenic variables. For Bryde’s whales, which use the area for feeding, sea surface temperature and the distance to anchorages had a major influence on habitat use. We also showed that neither of the MPAs in the study area adequately protects the hotspots of either whale species. Most of the humpback whale grid cells with high sighting predictions were located within 2 km of the MPAs, while areas of high sighting prediction of Bryde’s whales were located up to 5 km from the MPAs, closer to beaches. Our findings provide important insights for the delimitation of protected areas and zoning of the MPAs.


2012 ◽  
Vol 21 (2) ◽  
pp. 157-180
Author(s):  
David Foster

This article examines the use of movement and visual form in the film adaptation of Samuel Beckett's Comédie (Marin Karmitz, 1966). The article broaches the kinetic elements of the work through addressing the manner in which the diegetic motion of the film can be seen to reflect extra-diegetic cinematic processes. The sense of movement that is created through Comédie's montage is then considered at length, making use of work on this theme by two quite different (though tangentially related) theorists: Sergei Eisenstein and Jean-François Lyotard. The article then charts the film's different manifestations of formal movement, and a basic framework is proposed to explain the manner in which the film creates moments of intensity, through what is termed the ‘local movement’ of the montage, and the manner in which the film manifests an overall curve of intensity, through what is termed the montage's ‘global movement’. It is argued that each form of montagic motion is reflected in the other, and that ultimately these movements might be seen to dramatise a human drive towards, and a concomitant flight from, an impossible state of ontological totality.


2020 ◽  
Vol 46 (4) ◽  
pp. 382-394
Author(s):  
Holli C. Eskelinen ◽  
Jill L. Richardson ◽  
Juliana K. Wendt

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