Hypoxia, low dissolved oxygen (DO) concentrations (<2 mg/L), has been a major issue in Lake Erie for decades. While much emphasis has been placed on biological factors, particularly algal blooms, contributing to hypolimnetic oxygen depletion, there has been little focus on the role of weather. For this study, we monitored water temperature and DO concentrations at sites in the western, central, and Sandusky basins in Lake Erie during June and July 2010–2012. We then compared trends in stratification and DO concentrations to weather patterns during that period. We found that during those three years, there was significant variation in weather patterns, particularly decreased ice coverage and increased storm events in 2012. These weather patterns corresponded to 2012 having the warmest water temperatures, some of the lowest DO concentrations, and a deeper and thinner hypolimnion (especially in the central basin) than the previous years. We found a relationship between weather and hypoxia, providing further evidence for why these basins are susceptible to low DO conditions during summer months. The role of weather in hypoxia is another indication that the lake is vulnerable to effects of climate change and should be considered in management strategies.

Reviewed by: TV by Design: Modern Art and the Rise of Network Television Matt Thomas (bio) TV by Design: Modern Art and the Rise of Network Television. By Lynn Spigel. Chicago: University of Chicago Press, 2009. Pp. x+392. $27.50. Conventional wisdom has it that much of the form and content of early television can be traced back to theater, vaudeville, movies, and radio. Lynn Spigel begs to differ. In TV by Design, she argues that the form and content of TV between the late 1940s and early 1970s were also shaped by contemporaneous developments in modern art, broadly defined. Drawing on an impressive array of primary and secondary materials, Spigel examines the convergences between television and art after World War II. Noting that "there is no sustained historical study of broadcast television's relationship to the broader context of postwar visual arts" (p. 6), Spigel seeks to shine a light on a symbiosis most television and art historians have overlooked. Her book is a bold attempt to redraw the history of TV's golden age. TV by Design consists of seven chapters framed by an introduction and an epilogue. Chapter one deals with the ideas attached to modern art vis-à-vis American ideology in the postwar period. Television, Spigel argues, brought modern art—particularly painting—into American living rooms, and in so doing helped make it safe for consumption. Though largely forgotten about today, television during the period bore witness to a range of developments in modern art. Contemporary readers may be surprised to learn, for instance, that "a wide variety of television shows—from cultural-affairs programs to melodramas to variety shows to sitcoms to quiz shows—showcased modern art on a regular basis" (p. 21). The next two chapters detail CBS's efforts to brand itself using modern design. Spigel contends that "Modern design was a crucial part of the television image and the cultural experience of watching TV" (p. 71). Chapter three looks at how the company's modernist sensibilities were translated into the 1953 building CBS Television City in Los Angeles. Chapter four moves back to New York to address the Museum of Modern Art's forays into television. Starting as early as 1939,MoMA attempted [End Page 527] to use TV to reach a broader public, especially housewives. Spigel does a nice job here of exploring the tensions inherent in using an increasingly commercial medium to educate people about art. The fifth chapter deals with the audiovisual experiments of Ernie Kovacs. Because these took place on mainstream commercial TV, they suggest to Spigel "that artistic experimentation and commercial imperatives were actually joined together and could in fact be mutually lucrative" (p. 205). Indeed, some of Kovacs's ideas about sound quickly found their way into commercials. Chapter six turns to commercials more fully, exploring how advertisers adopted techniques from European art cinema in order to appeal to a generation of viewers who fancied themselves too sophisticated to be manipulated by traditional advertising. The book ends with a chapter on Andy Warhol, whom Spigel calls "the only artist of the period who seriously explored the potential uses of ordinary commercial TV" (pp. 251-52). Looking at the entire range of his television work, Spigel argues that Warhol used TV to publicize subjects mainstream TV kept from being seen—particularly homosexuals—rendering them more mundane to average viewers in the process. As even this brief overview suggests, Spigel deals with a lot of material, and she is not always entirely successful at weaving it all together. At times, the book feels like a scattershot collection of case studies. Not all of the chapters will be of equal interest to everyone. Nevertheless, Spigel's project has value insomuch as each chapter seeks to shed light on some of the intersections between the world of television and the world of art, thus challenging the impression that the two were ever separate. Accordingly, the book makes an important contribution to media studies, art history, and American studies, among other fields. Historians of technology looking for a model of how to set technologies within their larger cultural contexts would also be well served by checking it out. As Spigel...

Studies of Interactions between invasive and native species often focus on Impacts on natives. We report potential Impacts of a native predator, the Lake Erie Watersnake (Nerodio sipdeon insularum) on an Invasive fish, the Round Goby (Apollonia melanostomus). Round Gobies have Increased exponentially in the Great Lakes and now constitute >90% of prey consumed by Lake Erie Watersnakes. We Investigated the effects this shift may have on round goby populations by estimating total prey consumption by Lake Erie Watersnakes. Digestive rate trials and maximum voluntary prey consumption trials Indicate that gastric digestion is rapid (digestion was 90% complete after, just 16.4 hours at 30 degrees C and 20.1 hours at 25 degrees C) and voluntary prey consumption is high (from 30.0% of adult female body mass to 117% of neonate body mass In five days). Based on palpation of wild-caught snakes, prey were detected more frequently In adult females than adult males, but no such difference was observed in subadults. The proportion of snakes containing prey varied over time with season-long averages of 11.6% for adult females, 6.9% for adult males, and 22.4% for subadults. Systematic surveys by boat indicate that nearly 90% of foraging occurs <150 m from shore. Projected annual consumption, based on gastric digestion rate, maximum voluntary prey consumption, feeding frequency of free-ranging snakes, and published energetic data and a population size of 12,000 adult watersnakes, ranges from 200,0003,300,000 Round Gobles (4,455-56,178 kg) per year. Although Impressive, this rate of prey consumption is unlikely to have more than local effects on Round Goby populations.

Gives Credit Matt Thomas Uncredited: Graphic Design & Opening Titles in Movies. Solana, Gemma and Antonio Boneu. Index Books, 2007 313 pages; $55.00 There is a scene in Annie Hall where Alvy (Woody Allen) waits impatiently in front of a theater for Annie (Diane Keaton). When she arrives late, Alvy hustles her to the ticket office and asks if the show they are there to see has started yet. Told that it “started two minutes ago,” Alvy throws up his hands and says, “That’s it. Forget it. I can’t go in.” Unperturbed, Annie still wants to go in, but Alvy is steadfast in his refusal to enter the movie late. “No, I’m sorry,” he says. “I can’t do it. We’ve blown it already. I can’t go in the middle.” “In the middle?” Annie asks. “We’ve only missed the titles. They’re in Swedish.” But Alvy has already moved on. “You want to get coffee for two hours or something?” he asks. This scene is obviously meant to showcase Alvy’s neurotic personality, but no doubt many viewers share his conviction that a film’s opening titles are an indispensable part of the moviegoing experience. Yet, curiously, film scholars have paid surprisingly little attention to opening titles in general. As Gemma Solana and Antonio Boneu note at the start of Uncredited: Graphic Design & Opening Titles in Movies, “We are unaware of the existence or publication of any study attempting to offer a general overview on the topic.” Their book addresses this oversight. It also, as the title suggests, gives credit to the designers—who for too long have been ignored by Hollywood, critics and scholars, and the public at large—responsible [End Page 92] for some of the more noteworthy opening sequences in movie history. Befitting its subject, this is a big, beautiful book, lovingly designed and replete with frame-by-frame breakdowns of hundreds of title sequences. Pictures, not text, are the focus at all times. It even comes with a DVD containing QuickTime clips of 119 title sequences, a thoughtful gesture, even if the video quality of the clips is mediocre. The emphasis is mainly, though not exclusively (Jean-Luc Godard, for instance, figures prominently), on the opening title sequences of American films. The authors begin by discussing the oldest and most basic type of titles: white text on a black background. By the 1920s, advancements in optical printing technology enabled title designers to superimpose text over images more easily. Suddenly, more was possible. Among the highlights of the book is Solana and Boneu’s discussion of how, in the heyday of the studio era, the stylistic conventions of opening titles helped establish the mood and visual character of a film. “At some point,” they explain, bolstering their point with ample visual evidence, “someone got the idea that the ‘Wanted’ letterings used in 19th century circuses would automatically suggest Western, that ‘literary’ backgrounds on the pages of books would give a movie a more serious tone, that silks and glamour would evoke romance, and that gothic typefaces would transport people to German and to horror.” As the studio system crumbled, however, these sorts of titles gave way to more ambitious and abstract sequences. Filmmakers, no longer able to rely on studio design departments, contracted the opening titles of their films out to designers who subsequently pushed opening design in new and various directions. Solana and Boneu refer to this period, from roughly the mid-1950s until the mid-1970s, as the Golden Age of title design. This, of course, is the period of Saul Bass (Anatomy of a Murder), Pablo Ferro (Dr. Strangelove), Robert Brownjohn (Goldfinger), Stephen Frankfurt (To Kill a Mockingbird), Wayne Fitzgerald (The Godfather), Dan Perri (Star Wars), and Richard and Robert Greenberg (Superman). Numerous examples are included for illustrative purposes. Though moribund in the 1980s according to the authors, a new generation of designers such as Kyle Cooper (Se7en) and design firms such as Picture Mill (Panic Room) reinvigorated title design at the turn of the century. The authors do a good job here of tracing the increasingly important role computers play in title design, emphasizing how an...

Autosomal ancestry informative markers (AIMs) are useful for inferring individual biogeographical ancestry (I-BGA) and admixture. Ancestry estimates obtained from Y and mtDNA are useful for reconstructing population expansions and migrations in our recent past but individual genomic admixture estimates are useful to test for association of admixture with phenotypes, as covariate in association studies to control for stratification and, in forensics, to estimate certain overt phenotypes from ancestry. We have developed a panel of 176 autosomal AIMs that can effectively distinguish I-BGA and admixture proportions from four continental ancestral populations: Europeans, West Africans, Indigenous Americans, and East Asians. We present allele frequencies for these AIMs in all four ancestral populations and use them to assess the global apportionment of I-BGA and admixture diversity among some extant populations. We observed patterns of apportionment similar to those described previously using sex and autosomal markers, such as European admixture for African Americans (14.3%) and Mexicans (43.2%), European (65.5%) and East Asian affiliation (27%) for South Asians, and low levels of African admixture (2.8-10.8%) mirroring the distribution of Y E3b haplogroups among various Eurasian populations. Using simulation studies and pedigree analysis we show that I-BGA estimates obtained using this panel and a four-population model has a high degree of precision (average root mean square error [RMSE] = 0.026). Using ancestry-phenotype associations we demonstrate that a large and informative AIM panel such as this can help reduce false,positive and false-negative associations between phenotypes and admixture proportions, which may result when using a smaller panel of less informative AIMs.

The Journal of American CultureVolume 30, Issue 2 p. 187-197 Celebration, USA: The First Sign of What Will Be America's Homogeneous Landscape Matt Thomas, Matt Thomas Syracuse UniversitySearch for more papers by this author Matt Thomas, Matt Thomas Syracuse UniversitySearch for more papers by this author First published: 14 May 2007 https://doi.org/10.1111/j.1542-734X.2007.00508.xRead the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat Works Cited Epodunk.com. 2 Feb. 2005. 14 Mar. 2005 〈http://www.epodunk.com/cgi-bin/popInfo.php?locIndex=8406. Google Scholar Fairlie, Robert W., and Alexandra M. Resch. Is There ‘White Flight’ into Private Schools? Evidence From the National Educational Longitudinal Survey. The Review of Economics and Statistics 84.1 (2002): 21-33. 10.1162/003465302317331892 Web of Science®Google Scholar Frantz, Douglas, and Catherine Collins. Celebration U.S.A.: Living in Disney's Brave New Town. New York: Henry Holt, 2000. 220, 224-25. Google Scholar Friedman, Avi. Planning the New Suburbia. Vancouver: U of British Columbia P, 2001. 25-26. Google Scholar Gated Communities: Building Social Division or Safer Communities? Symposium Proceedings, 18 Sept. 2003. Scotland: Department of Urban Studies, University of Glasgow, 2003. 30 Oct. 2004 〈http://www.neighbourhoodcentre.org.uk/gated.html. Google Scholar Glassner, Barry. Culture of Fear: Why Americans are Afraid of the Wrong Things. New York: Basic Books, 1999. 121-22. Google Scholar Glasze, Georg. Some Reflections on the Economic and Political Organization of Private Neighbourhoods.” Conference Paper. Gated Communities: Building Social Division or Safer Communities?, 2003. 13, 19. Google Scholar “The Growth of Private Communities: America's New Utopias.” Economist.com. 30 Aug. 2001. 30 Oct. 2004 〈http://www.economist.com/world/na/displaystory.cfm?story_id=E1_SGDVQV. Google Scholar Hardt, Michael, and Antonio Negri. Empire. Cambridge: Harvard UP, 2000. 152, 174-94. Google Scholar Is There “White Flight” into Private Schools? Evidence from the National Educational Longitudinal Survey. 14 Nov. 2004 〈http://www.jcpr.org/wpfiles/fairle_resch.pdf?CFID=2467999&CFTOKEN=63818556. Google Scholar Master Declaration of Covenants. Sandy Sells Florida.com. 15 Aug. 2005. 2 Jan. 2007 〈http://www.sandysellsflorida.com/celebration_florida/Community%20Charter.pdf〉 1–166. Google Scholar McKenzie, Evan. Private Gated Communities in the American Urban Fabric.” Conference Paper. Gated Communities: Building Social Division or Safer Communities?, 2003. 2, 19. Google Scholar Ross, Andrew. The Celebration Chronicles. New York, NY: Ballantine, 1999. 7. Web of Science®Google Scholar Sassen, Saskia. Globalization and Its Discontents. New York: The New York Press, 1998. xxi. Google Scholar Tafuri, Manfredo. Architecture and Utopia: Design and Capitalist Development. Cambridge, MA: The MIT Press, 1976. 42, 106-07. Google Scholar Tilove, Jonathan. “Migration Patterns Point to a Nation of ‘Three Americas.’” Newhousenews.com. 30 Jul. 2003. 30 Nov. 2004 〈http://www.newhousenews.com/archive/tilove073103.html. Google Scholar Volume30, Issue2June 2007Pages 187-197 ReferencesRelatedInformation

Infestation of the common redcoat damselfly Xanthocnemis zealandica (McLachlan) with larval water mites (Arrenurus spp.) was examined in a single Canterbury population during November-December 2001. Tenerals (immature adult damselflies) of both male and female morphs (androchrome and gynochrome) showed a similar prevalence of infestation, higher than the prevalence of infestation found in mature adults. As anticipated, mature adult males were more frequently infested than mature females, but there was no evidence that infestation reduced the mating activity of males. Up to 62 mites were found per infested host, although mean mite burdens were not significantly related to the size, gender or morph of the hosts.

OBJECTIVES:To report a novel method of accomplishing laparoscopic lower pole partial nephrectomy in an acute porcine model using a bipolar needle electrode without the need for renal arterial occlusion.METHODS:Six animals (12 renal units) underwent laparoscopic polar nephrectomy using the bipolar needle electrode. After complete laparoscopic mobilization of the lower pole of the kidney, the bipolar needle electrode was repeatedly inserted full-thickness into the renal parenchyma and applied transversely, creating regional ischemia to the entire lower pole without renal vascular occlusion. The specimen was then amputated using laparoscopic scissors.RESULTS:For the 12 laparoscopic partial nephrectomies, the mean operative time was 39 +/- 30 minutes, and the mean blood loss was 90 +/- 112 mL. Of the 12 cases, 10 (83%) were performed successfully with the bipolar needle electrocautery as the only source of hemostasis and without the need for ancillary hemostatic measures. Two of the procedures (17%) required temporary arterial control for hemostasis. For the successful procedures, the mean operative time was 29 +/- 4 minutes, and the mean blood loss was 48 +/- 11 mL. Histologic analysis of the specimens demonstrated coagulative necrosis between 2 and 4 mm from the line of the surgical incision.CONCLUSIONS:Bipolar needle electrocautery is a promising device that can be used to facilitate laparoscopic partial nephrectomy with minimal blood loss and without the need for renal arterial occlusion and warm ischemia. Additional studies are required to optimize the delivery parameters of this device.