title: Geomorphological mapping of ice-free areas using polarimetric RADARSAT-2 data on Fildes Peninsula and Ardley Island, Antarctica

authors: Schmid, T.

subjects: periglacial

abstract: Satellite-borne Synthetic Aperture Radar (SAR) has been used for characterizing and mapping in two relevant ice-free areas in the South Shetland Islands. The objective has been to identify and characterize land surface covers that mainly include periglacial and glacial landforms, using fully polarimetric SAR C band RADARSAT-2 data, on Fildes Peninsula that forms part of King George Island, and Ardley Island. Polarimetric parameters obtained from the SAR data, a selection of field based training and validation sites and a supervised classification approach, using the support vector machine were chosen to determine the spatial distribution of the different landforms. Eight periglacial and glacial landforms were characterized according to their scattering mechanisms using a set of 48 polarimetric parameters. The mapping of the most representative surface covers included colluvial deposits, stone fields and pavements, patterned ground, glacial till and rock outcrops, lakes and glacier ice. The overall accuracy of the results was estimated at 81%, a significant value when mapping areas that are within isolated regions where access is limited. Periglacial surface covers such as stone fields and pavements occupy 25% and patterned ground over 20% of the ice-free areas. These are results that form the basis for an extensive monitoring of the ice-free areas throughout the northern Antarctic Peninsula region.

text: Geomorphological mapping of ice-free areas using polarimetric RADARSAT-2 data on Fildes Peninsula and Ardley Island, Antarctica Satellite-borne Synthetic Aperture Radar (SAR) has been used for characterizing and mapping in two relevant ice-free areas in the South Shetland Islands. The objective has been to identify and characterize land surface covers that mainly include periglacial and glacial landforms, using fully polarimetric SAR C band RADARSAT-2 data, on Fildes Peninsula that forms part of King George Island, and Ardley Island. Polarimetric parameters obtained from the SAR data, a selection of field based training and validation sites and a supervised classification approach, using the support vector machine were chosen to determine the spatial distribution of the different landforms. Eight periglacial and glacial landforms were characterized according to their scattering mechanisms using a set of 48 polarimetric parameters. The mapping of the most representative surface covers included colluvial deposits, stone fields and pavements, patterned ground, glacial till and rock outcrops, lakes and glacier ice. The overall accuracy of the results was estimated at 81%, a significant value when mapping areas that are within isolated regions where access is limited. Periglacial surface covers such as stone fields and pavements occupy 25% and patterned ground over 20% of the ice-free areas. These are results that form the basis for an extensive monitoring of the ice-free areas throughout the northern Antarctic Peninsula region.

year: 2016

title: Ecological and environmental transition across the forested-to-open bog ecotone in a west Siberian peatland

authors: Ratcliffe, Joshua Lee

subjects: Science & Technology

abstract: Climate change may cause increasing tree cover in boreal peatlands, and the impacts of this encroachment will be noted first at forested-to-open bog ecotones. We investigate key metrics of ecosystem function in five such ecotones at a peatland complex in Western Siberia. Stratigraphic analysis of three cores from one of these transects shows that the ecotone has been dynamic over time with evidence for recent expansion of forested peatland. We observed that the two alternative states for northern boreal peatlands (forested/open) clearly support distinct plant and microbial communities. These in turn drive and respond to a number of feedback mechanisms. This has led to steep ecological gradients across the ecotones. Tree cover was associated with lower water tables and pH, along with higher bulk density, aquatic carbon concentrations, and electrical conductivity. We propose that the conditions found in the forested peatland of Western Siberia make the carbon sink more vulnerable to warmer and drier conditions.

text: Ecological and environmental transition across the forested-to-open bog ecotone in a west Siberian peatland Climate change may cause increasing tree cover in boreal peatlands, and the impacts of this encroachment will be noted first at forested-to-open bog ecotones. We investigate key metrics of ecosystem function in five such ecotones at a peatland complex in Western Siberia. Stratigraphic analysis of three cores from one of these transects shows that the ecotone has been dynamic over time with evidence for recent expansion of forested peatland. We observed that the two alternative states for northern boreal peatlands (forested/open) clearly support distinct plant and microbial communities. These in turn drive and respond to a number of feedback mechanisms. This has led to steep ecological gradients across the ecotones. Tree cover was associated with lower water tables and pH, along with higher bulk density, aquatic carbon concentrations, and electrical conductivity. We propose that the conditions found in the forested peatland of Western Siberia make the carbon sink more vulnerable to warmer and drier conditions.

year: 2017

title: !!!FR33D0M 0FF SP33CH!!!

authors: Smith, Hugh Lyal

subjects: Poetry

abstract: My title is “FR33D0M 0FF SP33CH”, a play on the saying “freedom of speech”. I write with the intent of voicing tough subjects that others haven’t or don’t, and often exposing things that I wouldn’t tell or share personally. “FR33D0M 0FF SP33CH” consists of 37 poems, 2 hooks and a chorus in this complete album. My earliest piece can date back to 2020 with the latest pieces being written in 2021. They express different visions of day-to-day life through points of view and alternating voices and perspectives. The topics range from anything like seeing a face in the smudge on a wall, to things like love, street styles and why I can’t sleep at night. They are to be read left to right, top to bottom -- but feel free to read them as you see fit, because it’s art after all and what you see is what you see. Those labelled “Mirrored” have been turned upside down to allow reading from either end and show the extent of form and variety my pieces can take. Some things may be explicit or hard to read, but I assure you that they are just certain views from different angles that I believe need to be shared. There is a strong political/cultural component to my mahi, a tough vocal attack on elements of society I believe are flawed and unjust, and an exposure of the addictions and abuses that colonial history and racial inequality lead to – but there’s also an intense celebration of the power of the Māori voice that remains, its beat and pride and resilience and ancestry, joined by a rich musical joy in the songs of the street I grew up in, their rhythms and rap, energy and power. It has taken me a long time to reach this level of writing in terms of technique, rhythm and content. I want the reader to see things through my shades and feel what it feels like to be me with an understanding of why I am and where I come from. To understand that, No, I don’t know everything, and I don’t expect anyone else to. But, Yes, this is what I saw, felt and how I interpreted it. So there it is and this is me, the bro Hugh. A lit ūrikā descendant of Ngāti Kuri, Ngāti Rēhia, Te Rārawa, Te Aupōuri and Ngāpuhi. Bred in the streets I-roam and made home. A dreamer of the future. Last but not least, your son, your brother, your bro and he who wrote the killer book that you are about to read. Churrr!!!

text: !!!FR33D0M 0FF SP33CH!!! My title is “FR33D0M 0FF SP33CH”, a play on the saying “freedom of speech”. I write with the intent of voicing tough subjects that others haven’t or don’t, and often exposing things that I wouldn’t tell or share personally. “FR33D0M 0FF SP33CH” consists of 37 poems, 2 hooks and a chorus in this complete album. My earliest piece can date back to 2020 with the latest pieces being written in 2021. They express different visions of day-to-day life through points of view and alternating voices and perspectives. The topics range from anything like seeing a face in the smudge on a wall, to things like love, street styles and why I can’t sleep at night. They are to be read left to right, top to bottom -- but feel free to read them as you see fit, because it’s art after all and what you see is what you see. Those labelled “Mirrored” have been turned upside down to allow reading from either end and show the extent of form and variety my pieces can take. Some things may be explicit or hard to read, but I assure you that they are just certain views from different angles that I believe need to be shared. There is a strong political/cultural component to my mahi, a tough vocal attack on elements of society I believe are flawed and unjust, and an exposure of the addictions and abuses that colonial history and racial inequality lead to – but there’s also an intense celebration of the power of the Māori voice that remains, its beat and pride and resilience and ancestry, joined by a rich musical joy in the songs of the street I grew up in, their rhythms and rap, energy and power. It has taken me a long time to reach this level of writing in terms of technique, rhythm and content. I want the reader to see things through my shades and feel what it feels like to be me with an understanding of why I am and where I come from. To understand that, No, I don’t know everything, and I don’t expect anyone else to. But, Yes, this is what I saw, felt and how I interpreted it. So there it is and this is me, the bro Hugh. A lit ūrikā descendant of Ngāti Kuri, Ngāti Rēhia, Te Rārawa, Te Aupōuri and Ngāpuhi. Bred in the streets I-roam and made home. A dreamer of the future. Last but not least, your son, your brother, your bro and he who wrote the killer book that you are about to read. Churrr!!!

year: 2021