“Every year, millions of tonnes of plastic debris ends up in the sea – a global environmental problem with unforeseeable ecological consequences. The path taken by plastic to reach the sea must be elucidated before it will be possible to reduce the volume of plastic input. To date, there was only little information available on this. It has now been followed up by an interdisciplinary research team who were able to show that plastic debris is primarily carried into the sea by large rivers.
“In the meantime, minute plastic particles can be found in the water in virtually every sea and river. This constitutes a serious and growing global environmental problem. There are enormous quantities of input each year and plastic weathers only very slowly. Marine life can be harmed by the tiny plastic particles floating in the water. One example of how this happens is when fish, seabirds or marine mammals mistake the particles for food and consume them. “It is still impossible to foresee the ecological consequences of this. One thing is certain, however: this situation cannot continue,” says Dr. Christian Schmidt, a hydrogeologist at the UFZ. “But as it is impossible to clean up the plastic debris that is already in the oceans, we must take precautions and reduce the input of plastic quickly and efficiently.”
“However, in order to take practical measures to reduce plastic input, it will be necessary to answer the initial questions: Where does all the plastic come from anyhow? And how does it get into the sea? Schmidt and his team addressed these questions in a study that recently appeared in the current issue of “Environmental Science & Technology” journal. For this purpose, the researchers analysed various scientific studies that examined the plastic load – that is the quantity of plastic carried by the water – in rivers. They converted the results of the studies into mutually comparable datasets and determined the ratio of these figures to the quantity of waste that is not disposed of properly in the respective catchment area. “We were able to demonstrate that there is a definite correlation in this respect,” says Schmidt. “The more waste there is in a catchment area that is not disposed of properly, the more plastic ultimately ends up in the river and takes this route to the sea.” In this context, large rivers obviously play a particularly large role – not only because they also carry a comparatively large volume of waste on account of their larger discharge. Schmidt says, “the concentrations of plastic, i.e. the quantity of plastic per cubic metre of water are significantly higher in large rivers than small ones. The plastic loads consequently increase at a disproportionately higher rate than the size of the river.”
“The researchers have also calculated that the ten river systems with the highest plastic loads (eight of them are in Asia and two in Africa) – areas in which hundreds of millions of people live, in some cases – are responsible for around 90 percent of the global input of plastic into the sea. “Halving the plastic input from the catchment areas of these rivers would already be a major success”, says Schmidt. “To achieve this, it will be necessary to improve the waste management and raise public awareness for the issue. We hope that our study will make a contribution to a positive development so that the plastic problem in our oceans can be curbed in the long run.”
Text: Rivers carry plastic debris into the sea
Pic: Rachel Honnery, ‘…researching marine plastics and their role as kipple’.
“Where the City Can’t See is the first fiction film shot entirely through laser scanning technology, directed by artist Liam Young and written by author Tim Maughan. Set in the Chinese owned and controlled Detroit Economic Zone (DEZ), in a not-too-distant future where Google maps, urban management systems and CCTV surveillance are not only mapping our cities, but ruling them.
“Exploring the subcultures that could emerge from these new technologies, the film follows a collection of young factory workers across a single night, as they drift through the smart city in a driverless taxi, searching for a place they know exists, but that the map doesn’t show. They are part of an underground community that work on the production lines by day, by night adorn themselves in machine vision camouflage and the tribal masks of anti-facial recognition, enacting their escapist fantasies in the hidden spaces of the city. They hack the city and journey through a network of stealth buildings, ruinous landscapes, ghost architectures, anomalies, glitches and sprites, searching for the wilds beyond the machines…”
Text: Where The City Can’t See, andfestival.
Video: WHERE THE CITY CAN’T SEE TEASER from liam young on Vimeo.
“In the outside world, the problem isn’t that plants are suddenly getting more light: It’s that for years, they’ve been getting more carbon dioxide. Plants rely on both light and carbon dioxide to grow. If shining more light results in faster-growing, less nutritious algae—junk-food algae whose ratio of sugar to nutrients was out of whack—then it seemed logical to assume that ramping up carbon dioxide might do the same. And it could also be playing out in plants all over the planet. What might that mean for the plants that people eat?
“What Loladze found is that scientists simply didn’t know. It was already well documented that CO2levels were rising in the atmosphere, but he was astonished at how little research had been done on how it affected the quality of the plants we eat. For the next 17 years, as he pursued his math career, Loladze scoured the scientific literature for any studies and data he could find. The results, as he collected them, all seemed to point in the same direction: The junk-food effect he had learned about in that Arizona lab also appeared to be occurring in fields and forests around the world. “Every leaf and every grass blade on earth makes more and more sugars as CO2 levels keep rising,” Loladze said. “We are witnessing the greatest injection of carbohydrates into the biosphere in human history―[an] injection that dilutes other nutrients in our food supply.”
“He published those findings just a few years ago, adding to the concerns of a small but increasingly worried group of researchers who are raising unsettling questions about the future of our food supply. Could carbon dioxide have an effect on human health we haven’t accounted for yet? The answer appears to be yes—and along the way, it has steered Loladze and other scientists, directly into some of the thorniest questions in their profession…”
Text: The Great Nutrient Collapse, Politico.
Pic: Soylent Green, 1973.
“That life was not organic, animal and vegetable and lesser kingdoms, growing, breathing, drinking, eating, breeding, hunting, hiding; it kindled no fires and wielded no tools; from the beginning, it was a kind of oneness. An original unity differentiated itself into countless avatars, like waves on a sea. They arose and lived individually, coalesced when they chose by twos or threes or multitudes, reemerged as other than they had been, gave themselves and their experiences back to the underlying whole. Evolution, history, lives eerily resembled memes in organic minds.
“Yet quantum life was not a series of shifting abstractions. Like the organic, it was in and of its environment. It acted to alter its quantum states and those around it: action that manifested itself as electronic, photonic, and nuclear events. Its domain was no more shadowy to it than ours is to us. It strove, it failed, it achieved. They were never sure aboard Envoy whether they could suppose it loved, hated, yearned, mourned, rejoiced. The gap between was too wide for any language to bridge. Nevertheless they were convinced that it knew something they might as well call emotion, and that that included wondering.”
Text: Poul Anderson, Starfarers
“How does one hate a country, or love one? Tibe talks about it; I lack the trick of it. I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one’s country; is it hate of one’s uncountry? Then it’s not a good thing. Is it simply self-love? That’s a good thing, but one mustn’t make a virtue of it, or a profession…”
― Ursula K. Le Guin, The Left Hand of Darkness
“This is a short mash up my friend Teddy Gage digitally altered for me. It is a snipet of footage taken from Robert Smithson’s film Spiral Jetty. I asked Teddy to “Star Wars Kid” it for me. Just as the original footage of a kid caught on video goofing around with a broomstick was altered by countless anonymous animators by added light sabers effects, Teddy has inserted a light saber into Smithson’s hand” – John Powers.
“Everything is an interactive experience where everything you see is a thing you can be, from animals to planets to galaxies and beyond. Travel between outer and inner space, and explore a vast, interconnected universe of things without enforced goals, scores, or tasks to complete. Everything is a procedural, AI-driven simulation of the systems of nature, seen from the points of view of everything in the Universe.Learn to change what you are to create worlds within worlds within worlds, or let go any time to allow Everything to take over and produce a never ending documentary about the world you live in.”