Northwest's Salmon Population May Be Running Out of Time
A Washington state report put it bluntly ( ): Because of the devastating ( ) effects of climate change and deteriorating ( ) habitats ( ), several species of salmon in the Pacific Northwest are “on the brink of ( ) extinction ( ).”
Of the 14 species of salmon and steelhead trout in Washington state that have been deemed ( ) endangered ( ) and are protected under the Endangered Species Act, 10 are lagging ( ) recovery goals, and five are considered “in crisis,” according to the 2020 State of Salmon in Watersheds report.
“Time is running out,” said the report, which is produced every other year ( ) by the Washington state Recreation and Conservation Office. “The climate is changing, rivers are warming, habitat is diminishing ( ), and the natural systems that support salmon in the Pacific Northwest need help now more than ever.”
Researchers say recovery efforts — involving state and federal agencies, Native American tribes, local conservation groups and others — have helped slow the decline of some salmon populations. The report found that two species — the Hood Canal summer chum and Snake River fall chinook — were approaching ( ) their recovery goals. It also noted that no new salmon species had been added to the endangered list since 2007.
“We are at least treading water,” said Kaleen Cottingham, director of the Washington state Recreation and Conservation Office. “We have not, however, seen the kind of progress ( ) that we had hoped for.”
With the effects of climate change expected to accelerate ( ), researchers said that more must be done to prevent further population decline and the possible extinction of some species.
Salmon play a vital ( ) role in the environment, economy and culture of the Pacific Northwest. At least 138 species depend on salmon for their food in some way. Salmon support an estimated ( ) 16,000 jobs in the fishing industry, and they are a draw ( ) for tourists.
Before the 20th century, an estimated 10 million to 16 million adult salmon and steelhead trout returned annually to the Columbia River system. The current return of wild fish is 2% of that.
One of the largest factors inhibiting salmon recovery is habitat loss. A growing human population has led to development along the shoreline and the addition of bulkheads, or sea walls, that encroach ( ) on beaches where salmon generally find insects and other food. More pavement ( ) and hard surfaces have contributed to an increase in toxic stormwater runoff ( ) that pollutes Puget Sound.
美國西北部鮭魚 陷瀕臨絕種危機
華盛頓州一篇報告直截了當指出,由於氣候變遷跟棲地劣化的毀滅性影響, 美國西北部有數種鮭魚「瀕臨滅絕」。
根據《2020年水域內鮭魚狀況報告》,華盛頓州有14種鮭魚和虹鱒被認定為瀕危物種,並受到《瀕危物種法》保護,其中10種復育進度未能達標,有5種更被認定「處於危機之中」。
這份由華盛頓州休閒與保育辦公室兩年發表一次的報告說:「時間不多了。氣候正在改變,河流水溫正在升高,棲地正在減少,供養美國西北部鮭魚生存的自然系統,如今比以往任何時候都更需要幫助。」
研究人員說,由州與聯邦機構、美國原住民部落、地方保育組織和其他機構共同參與的復育行動,緩和了一些鮭魚數量的減少。報告中發現胡德運河夏天的鉤吻鮭與蛇河秋天的帝王鮭兩種鮭魚,復育正接近目標。報告還指出,自2007年以來沒有新的鮭魚種列入瀕危名單。
華盛頓州休閒與保育辦公室主任Kaleen Cottingham說:「我們至少勉強穩住了情況,但我們沒有看到我們所期望的進展。」
研究人員表示,氣候變遷的影響料將加速,必須更加努力以防止鮭魚數量進一步減少和一些魚種的滅絕。
鮭魚在美國西北部環境、經濟與文化中扮演至關重要角色。在某種程度上,至少有138個物種以鮭魚為食。鮭魚為漁業提供約1萬6千個工作,並吸引大量遊客。
20世紀以前,估計每年有1000萬到1600萬成年鮭魚和虹鱒回到哥倫比亞河水系。目前返回的野生鮭魚數量只有這個數字的2%。
阻礙鮭魚復育的最大原因之一為棲地喪失,不斷成長的人口導致海岸沿線的開發,加上隔板或海堤的增加,這些侵占了鮭魚平常尋找昆蟲及其他食物的海灘。更多的鋪裝路面和堅硬的地面導致有毒雨水流量的增加,進而汙染了普吉特海灣。
#高雄人 #學習英文 請找 #多益達人林立英文
#高中英文 #成人英文
#多益家教班 #商用英文
#國立大學外國語文學系講師
同時也有47部Youtube影片,追蹤數超過5萬的網紅JaneChuck,也在其Youtube影片中提到,- giveaway ended - SOOO EXCITED TO SHARE THE NEWS THAT CHUCK’S VERY IMPORTANT SUNSCREEN ?is dropping this 20th Feb on Shopee Malaysia ✨ IMPORTANT N...
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- 關於on 20th or at 20th 在 South Africa, Nigeria and Tunisia to also hold demonstrations ... 的評價
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on 20th or at 20th 在 Facebook 的最佳解答
20 years ago today, the horrific terror attacks on the World Trade Centre in New York City changed the world forever.
The danger to us was nearer than we imagined. We discovered among us a terrorist group that was planning similar attacks on multiple targets here. Fortunately ISD acted in time to prevent this, and subsequent attacks.
The greater threat for multi-racial and multi-religious Singapore was not physical, but whether this would damage our social cohesion. We drew on the trust built up over many years among our different communities and with the Government. Working together, we overcame powerful forces unleashed by the extremist attacks that could have pulled us apart.
The fight against terrorism is far from over. Digital media has allowed extremist ideologies to spread and poison minds. At the same time, our racial harmony is still work in progress. On the 20th anniversary of 9/11, let us resolve to fortify ourselves so that should we ever face another such test one day, we will come through again, stronger, as one united people.
You can read my full commentary (in four languages) here:
English: go.gov.sg/20th-anniversary-9-11
Malay: go.gov.sg/20th-anniversary-9-11-ml
Chinese: go.gov.sg/20th-anniversary-9-11-cl
Tamil: go.gov.sg/20th-anniversary-9-11-tl
– LHL
on 20th or at 20th 在 VOP Facebook 的最讚貼文
#新刊出版 New release!!!
Voices of Photography 攝影之聲
Issue 30:美援視覺性──農復會影像專題
U.S. Aid Visuality: The JCRR Issue
本期我們重返影響台灣戰後發展至關重要的美援年代,尋索過往在台灣影像歷史視野中遺落、但卻十分關鍵的美援時期台灣視覺歷程──「農復會」的影像檔案。
成立於1948年、以推行「三七五減租」和「耕者有其田」等土地改革與農業政策聞名的農復會(中國農村復興聯合委員會,JCRR),被認為是奠定二十世紀「台灣經驗」基礎的重要推手。然而很少人留意,這一農經專業的美援機構,在1950至60年代拍攝了大量的照片、幻燈、電影,並生產各種圖像、圖表、圖冊與海報,在冷戰年代與美援宣傳機制緊密連結,深深參與了戰後「台灣(視覺)經驗」的構成,影響著我們的視覺文化發展。
冷戰與美援如何形塑台灣的影像與視覺感知?本期專題透過採集考察眾多第一手的農復會早期攝影檔案、底片、圖像、影片與文獻資料,揭載鮮為人知的美援年代視覺工作,追尋這一段逐漸隱沒的戰後台灣攝影與美援視覺性的重要經歷。
其中,李威儀考掘農復會的歷史線索與視覺文本,探查美援的攝影檔案製程、「農復會攝影組」的成員蹤跡,以及文化冷戰期間從圖像、攝影到電影中的美援視覺路徑;蔡明諺分析1951年由農復會、美國經合分署與美國新聞處共同創辦的《豐年》半月刊,從語言、歌謠與漫畫等多元的視覺表現中,重新閱讀這份戰後最具代表性的台灣農村刊物潛在的意識形態構成與政治角力;楊子樵回看多部早期農教與政策宣傳影片,析論農復會在戰後台灣發展中的言說機制與感官部署,並從陳耀圻參與農復會出資拍攝的紀錄片計畫所採取的影音策略,一探冷戰時期「前衛」紀錄影像的可能形式;黃同弘訪查農復會在1950年代為進行土地與森林調查所展開的航空攝影,解析早期台灣航攝史的源起與美援關聯,揭開多張難得一見的戰後台灣地景航照檔案。
此外,我們也尋訪生於日治時期、曾任農復會與《豐年》攝影師的楊基炘(1923-2005)的攝影檔案,首度開啟他封存逾半世紀、收藏農復會攝影底片與文件的軍用彈藥箱和相紙盒,呈現楊基炘於農復會工作期間的重要文獻,並收錄他拍攝於美援年代、從未公開的攝影遺作與文字,重新探看他稱為「時代膠囊」的視覺檔案,展現楊基炘攝影生涯更為多樣的面向,同時反思「美援攝影」複雜的歷史情愁。
本期專欄中,李立鈞延續科學攝影的探討,從十九世紀末天文攝影的觀測技術,思考可見與不可見在認識論上的交互辨證;謝佩君關注影像的遠端傳輸技術史,檢視當代數位視覺政權中的權力、知識與美學機制。「攝影書製作現場」系列則由以珂羅版印刷著稱的日本「便利堂」印刷職人帶領,分享古典印刷傳承的工藝秘技。
在本期呈現的大量影像檔案中,讀者將會發現關於美援攝影的經歷與台灣歷史中的各種視覺經驗,還有許多故事值得我們深入訪查。感謝讀者這十年來與《攝影之聲》同行,希望下個十年裡,我們繼續一起探索影像的世界。
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● 本期揭載未曾曝光的美援攝影工作底片、檔案與文件!
購書 Order | https://vopbookshop.cashier.ecpay.com.tw/
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In this issue of VOP, we revisit the era of U.S. aid, a period that was of utmost importance to Taiwan’s post-war social and economic development, and explore Taiwan’s much forgotten but crucial visual journey during this era ── the visual archives of the JCRR.
Established in 1948, the Chinese-American Joint Commission on Rural Reconstruction, or the JCRR, is widely known for the implementation of various land reform and agricultural policies, such as the “375 rent reduction” and “Land-to-the-tiller” programs. Hence, the Commission is considered an important cornerstone to laying the foundations of the “Taiwan Experience” in the 20th century. That said, very few are aware that this U.S. aid organization specializing in agricultural economics was also closely associated with the American propaganda mechanism during the Cold War, and had in its possession countless photos, slides and movies, and produced various images, charts, pamphlets and posters. All these contributed to the formation of the post-war “Taiwan (Visual) Experience”, deeply influencing the development of our visual culture.
How exactly did the Cold War and U.S. aid shape Taiwan’s image and visual perception? This issue’s special feature uncovers the little-known visual activities from the U.S. aid era by investigating the collection of JCRR’s first-hand photo files, negatives, images, films and documents, and traces this important journey of post-war Taiwan photography and U.S. aid visuality that has gradually faded from people’s minds.
Among them, Lee Wei-I examines the historical clues and visual texts of the JCRR, and explores the production of the U.S. aid photographic archives, following the traces of the members of the “JCRR Photography Unit” and the trails of U.S. aid visuals during the Cold War from images and photography to films. Tsai Ming-Yen analyzes the diverse visual manifestations, such as languages, ballads and comics, contained in the semimonthly publication Harvest, which was co-founded by the JCRR, the U.S. Economic Cooperation Administration, and the U.S. Information Service in 1951, presenting a new take on the ideological and political struggles that were hidden beneath the pages of this agricultural publication that could also be said to be the most representative publication of the post-war era. Yang Zi-Qiao looks back at the early agricultural education and propaganda films, and analyzes the discourse and sensory deployment utilized by the JCRR in the development of a post-war Taiwan and the possibilities of the “avant garde” documentary films from the Cold War period through the audio-visual strategies gleaned from director Chen Yao-Chi’s documentary project that was funded by the JCRR. At the same time, Houng Tung-Hung checks out the aerial photography taken by the JCRR in the 1950s for land and forest surveys, and uncovers the origins of Taiwan’s aerial photography with U.S. aid, giving readers a rare glimpse at post-War Taiwan’s aerial landscape photographic archives.
In addition, we will explore the photographic archives of Yang Chih-Hsin (1923-2005), a former photographer who was born during the Japanese colonial period and worked for the JCRR and Harvest, unearthing negatives and documents kept away in the ammunition and photo-paper box that had stayed sealed for more than half a century. This feature presents important files of Yang during his time with JCRR, and photographs taken and written texts produced during the U.S. aid era but were never made public. We go through the visual archives enclosed in what he called a “time capsule”, shedding light on the diversity of his photography career, while reflecting on the complex historial sentiments towards “U.S. aid photography” at the same time.
Lee Li-Chun continues the discussion on scientific photography in his column, exploring the interactive dialectics between the seen and the unseen through the observation technology of astrophotography in the late nineteenth century. Hsieh Pei-Chun focuses on the history of the technology behind remote transmission of visuals and examines the power, knowledge and aesthetics that underlies contemporary digital visual regime. Finally, this issue’s “Photobook Making Case Study” is led by the printing experts at Japan’s Benrido, a workshop that is renowned for its mastery of the collotype printing technique.
Through the large collection of photographic archives presented in this issue, readers will see that there remain many stories on the photography process in the U.S. aid era and various types of visual experiences in Taiwan’s history that are waiting to be unearthed. We thank our readers for staying with VOP for the past decade and we look forward to another ten years of exploring the world of images with you.
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Voices of Photography 攝影之聲
vopmagazine.com
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#美援 #農復會 #冷戰 #台灣 #攝影
#USAID #JCRR #ColdWar
#Taiwan #photography
#攝影之聲 #影言社
on 20th or at 20th 在 JaneChuck Youtube 的最佳解答
- giveaway ended -
SOOO EXCITED TO SHARE THE NEWS THAT CHUCK’S VERY IMPORTANT SUNSCREEN ?is dropping this 20th Feb on Shopee Malaysia ✨
IMPORTANT NOTE :
Some misunderstandings on having to reapplying sunscreen, sunscreen are broken down by the effects of direct exposure to daylight, not by the period of time. Reapplication is not needed if you spend your most of your time indoors, under a shade. I would still recommend to reapply sunscreen every 2 hours if you spend most of time on outdoors.
Highlights :
? Kale Extract ?
We strongly believe in wearing our greens, especially when it comes to kale! Why? This ingredient hydrates, repairs tissues and damaged skin cells, heals wounds!
? Chemical Sunscreen ☀️
No more sticky white casts, uncomfortable formulas or irritation. Our chemical sunscreen doesn't sit on the skin or feel heavy at all! It's also water-resistant so you don't need to reapply too often, works as a great make up booster, contains antioxidants, and is easy to remove!
? Eucalyptus Oil ?
What's cooler than being cool? This ingredient is! Eucalyptus oil gives our VIS its natural scent and is mildly refreshing to help cool your skin on hot days.
? Gardenia Florida Fruit Extract ?️
Fun fact: it's not kale that gives our VIS its natural green tint, but this ingredient instead! This green tint also provides a very natural toning effect to even out skin tone and help neutralise redness.
? Ingredients:
Water, Homosalate, Brassica Oleracea Acephala Leaf Extract, Ethylhexyl Methoxycinnamate, Dipropylene Glycol, Ethylhexyl Salicylate, Alcohol Denat., Butyl Methoxydibenzoylmethane, Butylene Glycol, Zea Mays (Corn) Starch, Bis-PEG/PPG-20/5 PEG/PPG-20/5 Dimethicone, Methoxy PEG/PPG-25/4 Dimethicone, 1,2-Hexanediol, Diethylamino Hydroxybenzoyl Hexyl Benzoate, Octocrylene, Caprylic/Capric Triglyceride, Dimethicone, Coptis Japonica Root Extract, Ammonium Acryloyldimethyltaurate/VP Copolymer, Polyacrylate Crosspolymer-6, Dimethicone/Vinyl Dimethicone Crosspolymer, Ethylhexylglycerin, Arginine, Eucalyptus Globulus Leaf Oil, Dextrin, Glycerin, Disodium EDTA, Gardenia Florida Fruit Extract, t-Butyl Alcohol, Limonene, Sodium Guaiazulene Sulfonate
Other products mentioned :
?Fresh Beauty Soy Cleanser
?Fresh Beauty Kombucha Essence
?Lumi Beauty Vitamin Glow Serum
? Lamer The Concentrate
? Chuck’s Self Love For All Cream
https://shopee.com.my/product/126591625/5855221178?smtt=0.126593449-1613652320.9
#JANECHUCK #SKINCAREROUTINE #MORNINGROUTINE
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on 20th or at 20th 在 Shiney Youtube 的精選貼文
HITMAN Remastered
https://store.epicgames.com/legendauser/hitman-3
HITMAN™ is a third-person stealth video game in which players take control of Agent 47, a genetically enhanced assassin, traveling to international locations and eliminating contracted targets. As in other games in the Hitman series, players are given a large amount of room for creativity in approaching their assassinations. For instance, players may utilize long-ranged rifles to snipe a target from a long distance, or they may decide to assassinate the target at close range by using blade weapons or garrote wire. Players can use explosives or disguise the assassination by creating a seemingly accidental death. A common method to approach a mission is to incapacitate other characters and wear their outfits as a disguise, which allows the player to gain access to restricted areas more easily. Actions of non-playable characters influence the game. For instance, players can gain more information about the position of their target through listening to a nearby news reporter.
Hitman 3 is an upcoming stealth game developed and published by IO Interactive. The game will be the eighth main installment in the Hitman series and the third and final installment of the World of Assassination trilogy, following Hitman (2016) and Hitman 2 (2018), in celebration of the series' 20th anniversary. It is set to be released for Windows, PlayStation 4, PlayStation 5, Xbox One, Xbox Series X/S, Stadia (under the title Hitman: World of Assassination), and Nintendo Switch on 20 January 2021.
Like its predecessors, Hitman 3 is a stealth game played from a third-person perspective and players once again assume control of assassin Agent 47. In the game, 47 will travel to various locations and carry out contracted assassinations, continuing the story of the last two games. The base game features six new locations: Dubai, Dartmoor, Berlin, Chongqing, Mendoza and an epilogue set in the Carpathian Mountains, Romania. Players who owned Hitman (2016) and Hitman 2 (2018) will be able to import maps, levels and their progress into Hitman 3.
on 20th or at 20th 在 toysrevil Youtube 的最讚貼文
Featured here are still images for "HER TURN: Custom Mariko Exhibition" which opened December 20th at the Secret Fresh Gallery in The Philippines - for which I have made into a slideshow-styled video. Exhibition runs until 07 January 2021.
- All images from ToyArtPH
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- Download the full exhibition catalogue here: https://bit.ly/MARIKOExhibit
- "Her Turn" Coverage #onTOYSEVIL: https://bit.ly/2WJsNfW
- "MARIKO" is designed by Quiccs and produced in vinyl by Devil Toys.
Find out more about this collectible here on #TOYSREVIL: https://bit.ly/3aAIi29
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on 20th or at 20th 在 No.23. 1:20th scale 侏儒河馬(Pygmy Hipopotamus) 的美食出口停車場
No.23. 1:20th scale 侏儒河馬(Pygmy Hipopotamus) by 盧楓山Mountain's Animal Studio. Loading... Try Again. Cancel. Loading... Loading... ... <看更多>
on 20th or at 20th 在 South Africa, Nigeria and Tunisia to also hold demonstrations ... 的美食出口停車場
South Africa, Nigeria and Tunisia to also hold demonstrations on 20th March | News Diary. KTN News Kenya. KTN News Kenya. 2.64M subscribers. ... <看更多>