Monday, June 4, 2018

Why melting icebergs don’t affect sea level



From Pulse by John Englander

Images of icebergs melting or the disappearing sea ice in the Arctic are generally associated with rising sea level – a widely-held belief that is simply not true.
Though many of my regular blog readers know this, over the last several years I have presented to hundreds of audiences.

 A freshwater ice cube floats in a beaker of concentrated saltwater.
Note that the ice cube floats much higher in the saltwater than it would in a glass of freshwater because saltwater has a greater density.

When the freshwater ice melts, it raises the water level.
Freshwater is not as dense as saltwater; so the floating ice cube displaced less volume than it contributed once it melted.

Nearly everyone is surprised to learn that floating ice has no effect on sea level as it melts.
I usually explain it with a reference to Archimedes Principle, or a simple demonstration of ice cubes floating in a glass.
But the other day, talking to a small group in San Francisco, it occurred to me that I often do not explain the science behind why melting ice does not raise water level, so that is my topic for this week. As most substances cool, the molecules become more tightly packed, making the material “denser.”
In a liquid, dense objects sink to the bottom.
Through most of its temperature range, water gets more dense as it cools.

 As the Arctic and Antarctic melt, there are more icebergs.
Surprisingly, they do not add to sea level as they melt.
(Photo credit: Clemens Vanderwerf)

So for example, colder water in oceans and lakes will normally be found near the bottom.
However as water cools towards freezing, at about 39 degree Fahrenheit, or 4 degrees Celsius, water does something strange and extraordinary: it gets less dense.
Technically it’s because the totally fluid water molecules which are tightly packed, transform into the very rigid crystal structure of ice, which occupies more space.

In fact ice is almost 9% less dense than the water that forms it.
As a result ice floats.
Saltwater is a few percent more dense than freshwater due to the dissolved minerals, the “salts.” Icebergs that calve off from glaciers are almost pure freshwater, since the glaciers largely result from snowfall.
Thus freshwater icebergs rise even a little more than nine percent above the ocean surface.
This is the typical rule-of-thumb that icebergs are roughly ten percent above the surface and ninety percent below.
As icebergs melt and the water warms back into the “normal” ocean temperature range above 39 degrees F (4 degrees C) the density increases, reducing the volume.

As a result, the actual melting of ice does not add to the level of the water – regardless whether the liquid is your glass of iced tea, or the ocean – though it does defy intuition and seems perplexing.
It is truly one of nature’s phenomena.
Understanding that melting icebergs and even the sea ice in the Arctic Ocean and the marine ice shelves in Antarctica do not add to sea level rise is important in the growing debate and understanding about rising sea level.

At the global level, rising sea level is primarily caused by ice on land melting, mostly from Greenland and Antarctica, either in the form of: meltwater flowing to the ocean, in some cases essentially as rivers, adding to sea level, (just as adding water to a glass adds to the level), or large pieces of ice break off from a glacier and enter the sea, becoming a new iceberg.
Any new icebergs entering the ocean, they do add to sea level adding more than 90% of their volume, (just as adding an ice cube adds to the level of water in a glass).

Another factor in sea level rise, not as obvious as the above two forms, is something called thermal expansion of seawater.
Again referring back to the previous description that warmer substances normally expand, including water above 39 degrees F (4 degrees C) the warming ocean is slightly expanding because global average temperature is now measurably higher.
Average global temperature today is approximately 16 degrees Celsius (60.5 degrees Fahrenheit) an increase of roughly one degree Celsius from the pre-industrial era.

In addition to those global factors of rising sea level, there are regional and local reasons for sea level to change.
Most commonly, land subsidence or uplift – land actually moving downward or upwards, due to movements of the earth’s crust or compaction of silts, can add to or subtract from global sea level rise.
(Examples: Jakarta and New Orleans have had extreme subsidence and higher sea level; Alaska and Scandinavia have generally had land uplifting causing sea level to fall slightly.)

There are many factors that contribute to sea level rise, but melting icebergs and sea ice are not among them.
It is important that we avoid the confusion and keep the world’s focus on what will increase sea level – fundamentally it is the warming global temperature, with the greatest effect being the melting of the glaciers and ice sheets on land, entering the sea as new icebergs or meltwater.

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Sunday, June 3, 2018

The greatest rides from maxing Cloudbreak May 26th-27th, 2018

Minds were blown as the highlight clips trickled in during the mega swell that hit Fiji this past weekend.
From the viral moments like Ramon Navarro’s massive tube and Makua Rothman’s foamball pitch, to unseen footage of the heavy paddle sessions, watch three minutes of the hard-charging glory and carnage that transpired at maxing Cloudbreak.
Featuring Ramon Navarro, Billy Kemper, Landon McNamara, Kelly Slater, Luke Shepardson, Nathan Florence, Evan Valiere, Laurie Towner, Makua Rothman, Koa Rothman, Sai Smiley, and a handful of other chargers.


 Swellnet : Analysis: New buoy records Fiji swells

Saturday, June 2, 2018

Homo delphinus : Jacques le dauphin


From Maritime Herald

In 1988 there was a ‘boom’ in the French cinemas with ‘Le grand bleu’ by Luc Besson, a film that established a way of watching and filming the sea.
He was inspired by the submariner Jacques Mayol, the first man to reach 100 meters in apnea (that is, lung).
The documentary ‘Dolphin Man’ by Lefteris Charitos rescues his figure and marine philosophy.
And it opens in the Docs.


“At the bottom of the sea the water is not even blue anymore and the blue of the sky is only a memory”, explained submariner Jacques Mayol, the first man to reach 100 meters in apnea.
A world record that he established in 1976 when he was 49 years old (at 56 he reached 105). But Mayol did more than set records.
He opened the way to a certain marine philosophy, wrote several essays – such as the mythical Homo Delphinus (1986) – to remind us that man was born of water, that the ocean is part of our being and that “there is a dolphin in all of us”.

Luc Besson immortalized him forever in Le grand bleu (1988), a cult film inspired by Mayol and his rivalry with the Italian freediver Enzo Maiorca (who played a young and bronzed Jean Reno).
Since its premiere in Cannes, the film was a phenomenon in France, where it reached 9.2 million viewers, and that lasted more than two hours and the tempo of certain scenes was dilated in almost mystical images of the Mediterranean.
Yves Klein patented his own shade of blue.
For Besson invented a cinematic blue, a way of filming the sea, almost as a place of inner discovery.

The Greek director Lefteris Charitos returns to that way of approaching the sea in his documentary Dolphin Man, which premieres today at the Docs Festival.
The film is preceded by awards at the festivals of Thessaloniki, Adelaide (Australia), Tokyo and, most recently, Miami, where in March he celebrated his American premiere, followed by a Le Grand Bleu pass in which actor Jean was present -Marc Barr, who played Mayol 30 years ago and now puts his voice as a narrator in Dolphin Man.
Curious. Because in Le grand bleu he hardly spoke: it was Mayol with the dreamy look and his abstracted air, thus he built the myth and an enigmatic character, almost of tragedy.
And whose life ended tragically: in 2002 he committed suicide in his house on the island of Elba.

Le grand bleu is an underwater fable based on biographical fragments and Dolphin Man forms almost a diptych, an ode to the sea, but diving into a more complex reality.
Because Mayol had many layers.
And it is not easy to reconstruct a character who was a globetrotter, a bon vivant despite economic shortages, a somewhat absent father (especially after divorce), a showman and a seducer; but also a loner, a tireless seeker, an ecologist, a spiritual diver.

For Mayol, the descent into the depths was something spiritual, an integration in the water, being the sea.
When submerging in the marine abyss, everything slows down, the weight of the body practically ceases to exist and the heart hardly beats (it goes down at 20 or even 12 beats per minute).
A Zen state without oxygen.
Literally. Mayol spent some seasons in Buddhist monasteries, where she learned to meditate and practice yoga, transferring breathing techniques (such as uddiyanior restraint of breathing) and emptying the mind to her dives.

DOLPHIN MAN VR is a series of three films of 6 minutes shot in 360° offering a unique dive into the world of freediving with three great names in the discipline in the lineage of Jacques Mayol, pioneer of freediving who marked a generation of divers.
The digital experience invites the viewer to share a sensory and disturbing experience of deep diving.
Here, let's meet cetaceans in the company of Fabrice Schnöller, engineer and biologist who develops a unique computer program in the world to decipher their language.

“The man who becomes homo Delphinus will have understood that he is not separated from nature or from the sea. You will know that from the microbe to the whale there are no inferior or superior beings. Everything is linked, “wrote Mayol.
He talked about the homo Delphinus, but the writer Jean-Albert Föex, also a diver, advocated at the same time for homo aquaticus.
Föex is one of the authors that has devoted most pages to the deep sea, from myths such as Atlantis – which, incidentally, was located in the Canary Islands, passing through the marine sites of the Bible or historical trials that trace divers from the ancient Mesopotamia.

In its mythical underwater history of men he established a peculiar chronology: first, it was the caveman, then the forest man, followed by the man of arms and horses, the man of modern cities and business …
He did not foresee the digital man, but yes to the underwater man: “In a world of masses, speed, noise and violence, hear better the call of a world of solitude, slowness, silence and deep tranquillity”.

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Friday, June 1, 2018

NOAA announces launch of crowdsourced bathymetry database

The crowdsourced bathymetry database, displayed in the IHO Data Centre for Digital Bathymetry Data Viewer, has an updated user interface.

From NOAA by Lt. Cmr. Adam Reed, Integrated Oceans and Coastal Mapping (IOCM) Assistant Coordinator

Today NOAA announces the end of a testing phase in the development of a new crowdsourced bathymetry database.
Bathymetric observations and measurements from participants in citizen science and crowdsourced programs are now archived and made available to the public through the International Hydrographic Organization (IHO) Data Centre for Digital Bathymetry (DCDB) Data Viewer.
The operationalized database allows free access to millions of ocean depth data points, and serves as a powerful source of information to improve navigational products.

NOAA began database development in 2014 with the IHO Crowdsourced Bathymetry Working Group.
The database is part of the IHO DCDB and is hosted at NOAA’s National Centers for Environmental Information (NCEI), which offers access to archives of oceanic, atmospheric, geophysical, and coastal data.
Sea-ID, a maritime technology company, provided early testing and support and is currently working to encourage data contributions from the international yachting community.
Ongoing participation from Rose Point Navigation Systems, a provider of marine navigation software, helped kickstart the stream of data from a crowd of mariners.

The crowdsourced bathymetry database now contains more than 117 million points of depth data, which have been used by hydrographers and cartographers to improve chart products and our knowledge of the seafloor. NOAA, working with George Mason University, is using the database depths to assess nautical chart adequacy, determine when areas require updated survey information, and identify chart discrepancies before an incident occurs.
The Canadian Hydrographic Service used this dataset to update several charts of the Inside Passage, a network of coastal routes stretching from Seattle, Washington, to Juneau, Alaska.

Data are contributed to the database through a variety of trusted sources (e.g., partner companies, non-profit groups)—referred to as “trusted nodes”—that enable mariners to volunteer seafloor depths measured by their vessels.
Contributors have the option to submit their data anonymously or provide additional information (vessel or instrument configuration) that can enrich the dataset.
The trusted node compiles the observations and submits them to the crowdsourced bathymetry database, where anyone can access the near real-time data for commercial, scientific, or personal use.

 Mariners provided millions of bathymetry data points to the crowdsourced bathymetry database by voluntarily submitting the depth data collected by their vessels.

NOAA invites maritime companies to support this crowdsourcing effort in their systems by making it simple for users to participate.
For example, Rose Point Navigation Systems further promoted the IHO crowdsourced bathymetry initiative by moving the option to collect and contribute bathymetry data to a more visible section of their program options menu.

By submitting crowdsourced bathymetry data, mariners provide a powerful source of information to supplement current bathymetric coverage.
Nautical charts need to be updated as marine sediments shift due to storm events, tides, and other coastal processes that affect busy maritime zones along the coast.
Crowdsourced bathymetry data helps cartographers determine whether a charted area needs to be re-surveyed, or if they can make changes based on the information at hand.
In some cases, crowdsourced bathymetry data can fill in gaps where bathymetric data is scarce, such as unexplored areas of the Arctic and open ocean and also shallow, complex coastlines that are difficult for traditional survey vessels to access.
Crowdsourced bathymetry data is also used to identify dangers to navigation, in which case NOAA can issue a Notice to Mariners about the navigation hazard within 24 hours.


The utility of crowdsourced bathymetry data extends beyond the territory of the United States and into international mapping efforts.
Seabed 2030 is a global mapping initiative to produce a complete, high-resolution bathymetric map of the world’s seafloor by 2030.
GEBCO (which operates under the IHO and International Oceanographic Commission) and the Nippon Foundation launched the initiative in 2017, and received NOAA-wide commitment of resources and support.

Seafloor mapping is integral to many NOAA products, and crowdsourced bathymetric data supports NOAA’s Integrated Oceans and Coastal Mapping (IOCM) initiatives to maximize potential sources and use of mapping data.
Crowdsourced efforts are poised to become a major source of information for improving nautical chart coverage and accuracy, and the crowdsourced bathymetry database contributes to national and international seafloor mapping efforts as a growing repository of bathymetric data.

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Discover fascinating vintage maps from National Geographic's archives

This 1922 map of the world was the first general reference map created by National Geographic magazine’s in-house cartography shop, which was founded in 1915.

From National Geographic by Betsy Mason

More than 6,000 maps from the magazine's 130-year-long history have been digitally compiled for the first time.

Cartography has been close to National Geographic’s heart from the beginning.
And over the magazine’s 130-year history, maps have been an integral part of its mission.
Now, for the first time, National Geographic has compiled a digital archive of its entire editorial cartography collection — every map ever published in the magazine since the first issue in October 1888.


1928 map of discovery
This 1928 map depicted the current political boundaries of the time, but was created in the style of sixteenth-century mariner’s charts, with pictorial depictions of feats of exploration decorating the corners.
The map is one of a series of five original murals by renowned illustrator N.C.
Wyeth that still hang in the National Geographic Society’s Washington D.C. headquarters.

The collection is brimming with more than 6,000 maps (and counting), and you’ll have a chance to see some of the highlights as the magazine’s cartographers explore the trove and share one of their favorite maps each day.
Follow @NatGeoMaps on Twitter, Instagram, and Facebook to see what they discover.
(The separate map archive is not available to the public, but subscribers can see them in their respective issues in the digital magazine archive.
“It’s inspiring,” says Martin Gamache, National Geographic’s director of cartography.
“There's tons of stuff in there that struck me as being innovative and interesting.”

1963 Antarctica
This revealing depiction of Antarctica from the February 1963 issue was based on more than 5,000 depth measurements that scientists took by exploding charges and recording how long it took for the sound to travel through the ice, bounce off the bedrock below, and return to the surface.

We’ll be digging through the collection as well to bring you stories about some of the most intriguing maps we find.
The gallery above includes some tantalizing examples, such as the first composite map of the United States created out of color satellite photographs, and a clever way to get around Moscow’s ban on aerial photography in order to create a birds-eye view of the Kremlin.


1888 first map
This map from National Geographic magazine’s inaugural October 1888 issue depicts the violent meteorological conditions of the “Great White Hurricane,” one of the worst blizzards to ever hit the United States.

The very first maps published by National Geographic in 1888 depict one of the most severe blizzards to ever hit the United States (below).
Nicknamed the Great White Hurricane, the three-day storm crippled the Atlantic coast from the Chesapeake Bay all the way into Canada, dumping almost 5 feet of snow in some places and creating 50-foot snowdrifts.
National Geographic used a set of four maps to document temperature, pressure, and wind patterns on successive days as the storm lashed the coast.

The maps accompany a blow-by-blow description of the conditions that fed the storm, written by Edward Everett Hayden, a meteorologist and one of the 33 founders of the National Geographic Society.
Hayden’s article also included a gripping account of the travails of one ship as it struggled to survive the violent blizzard.
“Just before midnight a heavy sea struck the boat and sent her over on her side,” he wrote.
“Everything moveable was thrown to leeward, and the water rushed down the forward hatch. But again she righted, and the fight went on.”


1967 Indian Ocean floor
Based on the work of geologists Marie Tharp and Bruce Heezen, this gorgeous map of the Indian Ocean floor was painted for a supplement to the October 1967 issue by Austrian artist Heinrich Berann, who also painted many mountainscapes for National Geographic.
Berann worked with Tharp and Heezen to create three more ocean floor map supplements in the 60s and 70s.

It was the start of a long tradition in National Geographic magazine of enhancing storytelling with maps.
The maps of the storm were likely made by the U.S. Navy Hydrographic Office, and the magazine continued to work with various outside mapmakers like the U.S. Geological Survey until it established its own cartography shop In 1915.
Over the next century, the National Geographic cartography department made thousands of maps for the pages of the magazine and hundreds of poster supplement maps.

The goal of the cartography team, Gamache says, is to capture readers’ imagination by conveying a sense of place, to give the viewer an idea of how a place might look and feel.
“I think when we're successful, it resonates with people," he says.


1961 London panorama
It took seven National Geographic artists to hand paint the individual buildings for this six-page fold-out panorama of London, published in 1961.
It shows the view that would be seen from a plane flying south of the Thames.

It took months to extract all the maps from the magazine’s digitized back catalog and compile them into a separate collection.
Gamache says the resulting trove will help the current staff cartographers connect to the magazine’s legacy as they continue to try new things.
“It's always good to look at what we've done in the past on any subject,” he says.
“It gives us ideas.”

As they share a curated selection of maps from the archive, the cartography team will be highlighting some of the maps that have served as inspiration for new maps, says research editor Irene Berman-Vaporis.


1957 map of the Heavens
The December 1957 issue of National Geographic came with a pull-out poster-size map of the night sky.
The map shows the stars and constellations as they would appear to someone standing at Earth’s north and south poles.

One of the things that defines National Geographic magazine’s cartography is the way it is integrated into the rest of the magazine’s editorial process.
Each map tells its own story, but also works alongside text and photography to bring another dimension to the article, Gamache says.
“A map is able to connect with somebody in a different way than a text will or a photo will,” he says. “They engage with a different part of our psyche or our brain."

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