Boulders or urchins? Selecting seeding sites for juvenile Haliotis midae along the Namaqualand coast of South Africa

The extent to which the relationship between juvenile abalone Haliotis midae and sea urchins Parechinus angulosus is induced by their physical habitat along the Namaqualand coast of South Africa was investigated. Correlation analyses between the proportion of abalone utilising sea urchins for refuge and the proportion of habitat defined as exposed were computed from 28 experimental seeding sites in Port Nolloth on the north-west coast of South Africa. A highly significant positive correlation was found (r = 0.72, p < 0.05). It was concluded that, along the Namaqualand coast, under-boulder habitat was the most important factor determining the survival of juvenile abalone (size 12–26mm). Site selection should therefore be based on the suitability of the physical substratum to provide shelter for juvenile abalone along that coast.     

Spatial and seasonal distribution patterns of the ragged-tooth shark Carcharias taurus along the coast of South Africa

Catches from competitive shore-anglers, inshore boat-based anglers and sightings by spearfishers and divers were used to infer the spatial and seasonal movement patterns of young-of-the-year (<1.2m TL), juvenile (1.2–1.8m TL), sub-adult (1.8–2.4m TL) and adult (>2.4m TL) ragged-tooth sharks Carcharias taurus along the coast of South Africa. Adult sharks inhabited the entire coast between Maputaland in the east and St Helena Bay on the West Coast. The geographical range of sharks at earlier life-history stages decreased with size. The vast majority (93.8%) of young-of-the-year sharks recorded from competitive shore-angling club records were between East London and St Francis Bay on the East Coast, suggesting this region to be the primary nursery area for C. taurus. Estuarine systems, although utilised by young-of-the-year and juvenile C. taurus, do not form an important component of their nursery area in South Africa. Catches of pregnant and post partum females taken during the same time of year and in different areas indicated a biennial reproductive cycle. C. taurus appears to display a high degree of affinity for particular reefs. The reason some reefs are chosen over others, despite having similar physical characteristics, remains unclear. A significant increase in the number of C. taurus caught in competitions held by the Border Rock and Surf Angling Association between 1984 and 2004 suggests an increase in the abundance of C. taurus.     

A review of orange roughy Hoplostethus atlanticus fisheries,estimation methods,biology and stock structure

Orange roughy Hoplostethus atlanticus are unusual fish. They form dense aggregations that have fuelled lucrative fisheries at great depths (600–1 400 m), especially off Namibia, New Zealand and Australia. They are thought to be very long-lived (>100 years, maturity at 22 – 40 years), and to have exceptionally low natural mortality (M = 0.045–0.064 year^?1) and slow growth rates (K = 0.055–0.070 year^?1). In addition, they spawn large eggs and have low fecundity. These factors combine to make orange roughy highly susceptible to overfishing; most stocks are below 30% of pristine levels. Assessments are obtained from indices of catch rate and trawl, acoustic and egg surveys. Acoustic estimates are the most direct, but are confounded by the species' low target strength (?50 to ?53 dB)–attributable to the wax-filled swim bladder. Extracellular wax esters are stored in abundance and comprise mostly mono-unsaturated fatty acids, with low concentrations of the ω-3 fatty acid family. This unusual composition (resultant from the species' diet) ensures neutral buoyancy. Stock separation has been inferred mainly from biological studies, but genetic studies have also found differences among stocks within New Zealand and Australia. Deep-water habitat may be damaged by trawling operations and may take many years to recover, so in some quarters there is a call for a portion of suitable habitat to be set aside for preservation. Although Namibian orange roughy are shallower, smaller and younger than those in other stocks, the Namibian fishery sustained high catches for only a few years before quotas were reduced, from 12 000 to 1 875 tons. Three management lessons are suggested for developing orange roughy fisheries based on the Namibian experience: (1) imposition of catch limits during exploratory fishing; (2) starting the acoustic surveys earlier in the fishery, if possible; (3) greater reliance on trends in catch rate until a survey series has been established.     

A Visual Art Interface to an Embedded Sequence of Maps

The role of art in relation to maps is being reappraised on the basis of a perceived ability to depict aspects of a place that maps alone cannot. Many as opposed to one perspective on a place communicates more fully the essence of that place (with art as a valuable source of qualitative geospatial data) and so maps and art should be presented in the same visualization package. This paper outlines the development and implementation of an interface where a scanned painting forms the mode of access to an embedded sequence of maps. The interface is used to represent the history and habitat extent of the kea (alpine parrot) in New Zealand from pre human colonization times through to their present, limited range to a speculation on their future habitat. The painting and the map (in what has been termed in the literature as an anti-map / map combination) are in their own separate layers and joined by an interactive link. The interface harnesses the ability of visual art to aggregate multiple themes, locations and times into a single cohesive image, coupled with map composition and symbology that complements the painting. The ability to contain many temporal instances is close to the comic strip frame (and instances of Renaissance art) in particular, with, in this case, an implicit time frame from left to right on the painting. The use of an artistic image minimizes use of text to depict events, due to the visual and narrative power of the painting.