scholarly journals Coral Tissue Thickness as a Bio-Indicator of Mine-Related Turbidity Stress on Coral Reefs at Lihir Island, Papua New Guinea

Author(s):  
Sea Rotmann ◽  
Séverine Thomas
2003 ◽  
Vol 46 (8) ◽  
pp. 1006-1014 ◽  
Author(s):  
Séverine Thomas ◽  
Peter V Ridd ◽  
Geoff Day

Geology ◽  
2006 ◽  
Vol 34 (11) ◽  
pp. 949 ◽  
Author(s):  
J.M. Pandolfi ◽  
A.W. Tudhope ◽  
G. Burr ◽  
J. Chappell ◽  
E. Edinger ◽  
...  

Author(s):  
Peter K.L. Ng ◽  
Philippe Bouchet

A new species of xanthid crab, Actaea grimaldii, is described from the coral reefs of Papua New Guinea. This species has a distinctive red and white coloration and is closest to Actaea spinosissima Borradaile, 1902, from the Indian Ocean. However, the new species can be distinguished by the arrangement of spines on the carapace, chelipeds and ambulatory legs, and the structure of the male gonopods. Actaea grimaldii sp. nov. has also been confused with A. polyacantha (Heller, 1861), but differs markedly in the carapace armature.


2019 ◽  
Vol 138 ◽  
pp. 148-158 ◽  
Author(s):  
T. Pichler ◽  
T. Biscéré ◽  
J. Kinch ◽  
M. Zampighi ◽  
F. Houlbrèque ◽  
...  

Zootaxa ◽  
2004 ◽  
Vol 399 (1) ◽  
pp. 1 ◽  
Author(s):  
GERALD R. ALLEN

A new species of pomacentrid fish is described from coral reefs of Papua New Guinea. Specimens were collected by the author between 1982 and 2000. Pomacentrus aurifrons is described from 12 specimens, 22.4 61.5 mm SL, collected at depths between 7 12 m. It closely resembles P. smithi Fowler and Bean from Indonesia and the Philippines. These species have similar morphology but are easily distinguished by the taller dorsal fin of P. aurifrons (tallest dorsal ray averaging 1.37 in HL versus 1.65 in HL for P. smithi) and colour pattern differences, particularly the broad zone of yellow encompassing the snout, forehead, and base of the anterior dorsal spines.


2016 ◽  
Vol 203 ◽  
pp. 43-54 ◽  
Author(s):  
Vivitskaia J.D. Tulloch ◽  
Christopher J. Brown ◽  
Hugh P. Possingham ◽  
Stacy D. Jupiter ◽  
Joseph M. Maina ◽  
...  

2017 ◽  
Vol 74 (4) ◽  
pp. 978-987 ◽  
Author(s):  
Christiane Hassenrück ◽  
Halina E. Tegetmeyer ◽  
Alban Ramette ◽  
Katharina E. Fabricius

Bacterial biofilms provide cues for the settlement of marine invertebrates such as coral larvae, and are therefore important for the resilience and recovery of coral reefs. This study aimed to better understand how ocean acidification may affect the community composition and diversity of bacterial biofilms on surfaces under naturally reduced pH conditions. Settlement tiles were deployed at coral reefs in Papua New Guinea along pH gradients created by two CO2 seeps. Biofilms on upper and lower tiles surfaces were sampled 5 and 13 months after deployment. Automated Ribosomal Intergenic Spacer Analysis was used to characterize 240 separate bacterial communities, complemented by amplicon sequencing of the bacterial 16S rRNA gene of 16 samples. Bacterial biofilms consisted predominantly of Alpha-, Gamma-, and Delta-proteobacteria, as well as Cyanobacteria, Flavobacteriia, and Cytophagia, whereas taxa that induce settlement of invertebrate larvae only accounted for a small fraction of the community. Bacterial biofilm composition was heterogeneous, with on average only ∼25% of operational taxonomic units shared between samples. Among the observed environmental parameters, pH was only weakly related to community composition (R2 ∼ 1%), and was unrelated to community richness and evenness. In contrast, biofilms strongly differed between upper and lower tile surfaces (contrasting in light exposure and grazing intensity). There also appeared to be a strong interaction between bacterial biofilm composition and the macroscopic components of the tile community. Our results suggest that on mature settlement surfaces in situ, pH does not have a strong impact on the composition of bacterial biofilms. Other abiotic and biotic factors such as light exposure and interactions with other organisms may be more important in shaping bacterial biofilms on mature surfaces than changes in seawater pH.


CORAK ◽  
2017 ◽  
Vol 6 (1) ◽  
Author(s):  
Dyah Retno Fitriani

Food porn dalam dua sampai tiga tahun terakhir ini terhitung sejak 2014 menjadi sangat viral disosial media. Food porn merupakan hashtag yang dibuat di Instagram untuk menandai foto yang menampilkan makanan dengan teknik photography yang menampilkan kelezatan makanan tersebut dari dekat. Food porn menjadi sebuah tema yang diangkat dalam pembuatan karya seni keramik ekspresi ini dengan mengambil objek donat dan bulu babi yang juga mengkhawatirkan keadaannya akibat eksploitasi yang terlalu berlebihan sehingga keberadaannya hampil punah. Kedua objek tersebut menjadi perwakilan yang akan digabungkan dengan bentuk-bentuk coral. Kelautan Indonesia yang sangat luas dan memiliki keindahan coral yang sangat luar biasa menjadikan Indonesia sebagai target spot penyelaman paling indah didunia, sama halnya seperti yang dikatakan Kall Muller (1999: 15) “The Island of Indonesia spread in a wide arc, more than 5.000 kilometer long, from mainland Southeast Asia to Papua New Guinea. Dotted with volcanoes, covered with thrick tropical vegetation and bright green rice fields, and surrounded by coral reefs, the Indonesian archipelago is one of the world’s most beautiful places”. Wacana-wacana ini menjadi latar belakang paling mendasar yang kemudian akan diolah dan dijadikan bahan ide pembuatan keramik ekspresi.Pembuatan karya seni ini dimulai dari pengeksplorasian wacana, bentuk, dan konsep yang kemudian diolah dan dijadikan sketsa rancangan. Selanjutnya untuk mewujudkan karya seni, pemilihan bahan menjadi aspek paling penting untuk kelangsungan prosesnya. Pembuatan karya ini menggunakan tanah stoneware Sukabumi dan Pacitan yang dicampur dengan perbandingan 1:1 untuk mendapatkan kekuatan dan warna yang cerah. Kemudian pengerjaan selanjutnya adalah membuat model yang akan dibuat untuk cetakan. Cetakan dibuat dengan gpsum dan dilakukan slip casting dengan tanah yang sudah diolah sebelumnya. Pendekorasian dilakukan dengan teknik krawang, pilin dan pinch untuk selanjutnya dikeringkan dan dibakar biskuit. Selanjutnya glasir dicampur dengan stain dan diaplikasikan kedalam badan keramik dengan teknik semprot menggunakan spraygun dan kompresor lalu dibakar glasir dengan suhun 1200o C. Penciptaan karya seni ini juga diperkuat dengan beberapa teori seperti : teori penciptaan, ekspresi dan art and synesthesia.Hasil karya ini merupakan sebuah perspektive challenging dari seniman untuk dipublikasikan kepada audience. Penguatan teori dengan art and synesthesia merupakan sebuah cara untuk membuktikan bahwa karya seni ini tidak hanya bisa dinikmati dengan satu indera saja, namun keterikatan antara atu indera dengan indera lainnya. Sehingga apabila hal ini secara maksimal mampu ilakukan kemudian dapat diterapkan sebagai media untuk terapi penyembuhan trypophobia karena sedikit banyak tekstur yang diaplikasikan merupakan perwujudan dari trypophobia.  Since 2014, foodporn phenomena became famous and going viral on social media. Food porn is one of Instagram’s hashtag that showing a close up mesmerizing food photography. Foodporn being adapted as a theme for this expression ceramics artwork with doughnut and almost extinct sea urchins as the main objects. The condition of sea urchins are very endanger because of excessive exploitation. Those two objects will be represent as a coral shape.Indonesia became the most huge maritime nation that having a billion beautiful coral. Indonesia became a most beautiful diving spot, Kall Muller said (1999:15) “The Island of Indonesia spread in a wide arc, more than 5.000 kilometer long, from mainland Southeast Asia to Papua New Guinea. Dotted with volcanoes, covered with thrick tropical vegetation and bright green rice fields, and surrounded by coral reefs, the Indonesian archipelago is one of the world’s most beautiful places”. The text above write as fundamental background and basic idea to making this expression ceramics artwork.This artwork start with discourse exploration, shape, and concept that elaborate into sketch design. On second step, material become the most important aspect to creating this artwork. This artwork utilize a Sukabumi and Pacitan’s stoneware soil. It mixing with ratio 1:1 to have a strong and bright color. Third step is making a model for the mold. Mold made by gypsum and slip casting with a soil mixing. Decorating conducted with cire perdue technique, coil, and pinch and then be drained and bisque firing. On the next step, glaze will be mixed with stain and applied in to ceramic’s body with a spraygun and compressor. Then glaze burned with 1200o C. This artwork also strengthed by some theory, namely; the theory of creation, expression, art and synesthesia.This artwork is a form of artist’s challenging perspective for being publish to the audience. Strengthed by art and synthesia theory, this artwork is one of the way to prove that artwork can be felt not only one sense, but connection between one with another senses. Thereby, if this artwork can be applied maximally, it might have a chance to be a new theraphy methodology for a trypophobia healing, because most texture that applied in this artwork is the embodiment of trypophobia. Keyword : Foodporn, Expression Ceramics, Texture


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