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In this article, I examine detritus as a central trope for post-transitional South African society, an idea that, I argue, has particular relevance for Ivan Vladislavić's second short story collection, Propaganda by Monuments. As a point of departure, I use Leon de Kock's idea of the \"democratic moment\" – the moment of radical globalization coinciding with the fall of the Berlin Wall and the crumbling of apartheid bureaucracy. In this new \"democratic\" age, cultural detritus - remnants, fragments and addenda - begins to circulate and litter transnational contexts, finding its way into the unlikeliest of spaces, producing cultural resonances, echoes and cross-talk. In Propaganda by Monuments, detritus carries exotic charges of meaning, and allows for alternative ways of seeing the urban landscape in the new democratic era, in which the nation state has begun its process of dissipation. As such, Propaganda by Monuments can perhaps be read as a prelude to Vladislavić's third collection of stories, 101 Detectives, in which the detritus has been swept away, and polished surfaces are angled towards the protagonists, and the reader, narrowing their margins for subjectivity and self-styling.

Floating debris has a negative impact on the quality of the water as well as the aesthetics of surface waters. Traditional image processing techniques struggle to adapt to the complexity of water due to factors such as complex lighting conditions, significant scale disparities between far and near objects, and the abundance of small-scale floating debris in real existence. This makes the detection of floating debris extremely difficult. This study proposed a brand-new, effective floating debris detection approach based on YOLOv5. Specifically, the coordinate attention module is added into the YOLOv5 backbone network to help the model detect and recognize objects of interest more precisely so that feature information of small-sized and dense floating debris may be efficiently extracted. The previous feature pyramid network, on the other hand, summarizes the input features without taking into account their individual importance when fusing features. To address this issue, the YOLOv5 feature pyramidal network is changed to a bidirectional feature pyramid network with effective bidirectional cross-scale connection and weighted feature fusion, which enhances the model’s performance in terms of feature extraction. The method has been evaluated using a dataset of floating debris that we built ourselves (SWFD). Experiments show that the proposed method detects floating objects more precisely than earlier methods.

While factors influencing perceptions of drinking water have been well studied, those of aquatic ecosystems have been to lesser extent. We conducted a review to improve awareness of these factors. Environmental factors found to influence public perceptions of aquatic ecosystems were presence/absence of water plants and algae, presence/absence of floating debris, the odor, movement (for flowing waters) and clarity/turbidity of the water, and the type, condition, setting, naturalness, and overall aesthetic appeal of the ecosystem. Sociocultural factors found to influence public perceptions of aquatic ecosystems included age, education, gender, and place-based knowledge. We provide perspectives of how managers can better meet the diverse social demands placed on aquatic ecosystems. The importance and benefits of considering these perspectives may be especially beneficial where significant multi-generational and culturally relevant place-based knowledge exist.

Marine plastic pollution is a major environmental concern, with significant ecological, economic, public health and aesthetic consequences. Despite this, the quantity and distribution of marine plastics is poorly understood. Better understanding of the global abundance and distribution of marine plastic debris is vital for global mitigation and policy. Remote sensing methods could provide substantial data to overcome this issue. However, developments have been hampered by the limited availability of in situ data, which are necessary for development and validation of remote sensing methods. Current in situ methods of floating macroplastics (size greater than 1 cm) are usually conducted through human visual surveys, often being costly, time-intensive and limited in coverage. To overcome this issue, we present a novel approach to collecting in situ data using a trained object-detection algorithm to detect and quantify marine macroplastics from video footage taken from vessel-mounted general consumer cameras. Our model was able to successfully detect the presence or absence of plastics from real-world footage with an accuracy of 95.2% without the need to pre-screen the images for horizon or other landscape features, making it highly portable to other environmental conditions. Additionally, the model was able to differentiate between plastic object types with a Mean Average Precision of 68% and an F1-Score of 0.64. Further analysis suggests that a way to improve the separation among object types using only object detection might be through increasing the proportion of the image area covered by the plastic object. Overall, these results demonstrate how low-cost vessel-mounted cameras combined with machine learning have the potential to provide substantial harmonised in situ data of global macroplastic abundance and distribution.

The growing use of plastics in agriculture has enabled farmers to increase their crop production. One major drawback of most polymers used in agriculture is the problem with their disposal, following their useful life-time. Non-degradable polymers, being resistive to degradation (depending on the polymer, additives, conditions etc) tend to accumulate as plastic waste, creating a serious problem of plastic waste management. In cases such plastic waste ends-up in landfills or it is buried in soil, questions are raised about their possible effects on the environment, whether they biodegrade at all, and if they do, what is the rate of (bio?)degradation and what effect the products of (bio?)degradation have on the environment, including the effects of the additives used. Possible degradation of agricultural plastic waste should not result in contamination of the soil and pollution of the environment (including aesthetic pollution or problems with the agricultural products safety). Ideally, a degradable polymer should be fully biodegradable leaving no harmful substances in the environment. Most experts and acceptable standards define a fully biodegradable polymer as a polymer that is completely converted by microorganisms to carbon dioxide, water, mineral and biomass, with no negative environmental impact or ecotoxicity. However, part of the ongoing debate concerns the question of what is an acceptable period of time for the biodegradation to occur and how this is measured. Many polymers that are claimed to be 'biodegradable' are in fact 'bioerodable', 'hydrobiodegradable', 'photodegradable', controlled degradable or just partially biodegradable. This review paper attempts to delineate the definition of degradability of polymers used in agriculture. Emphasis is placed on the controversial issues regarding biodegradability of some of these polymers.

Ghost fishing in derelict blue crab traps is ubiquitous and causes incidental mortality which can be reduced by trap removal programs. In an effort to scale the benefits of such removal programs, in the context of restoring the Gulf of Mexico after the Deepwater Horizon oil spill, this paper calculates the ecological benefits of trap removal by estimating the extent of derelict blue crab traps across Gulf of Mexico waterbodies and combining these estimates with Gulf-specific crab and finfish mortality rates due to ghost fishing. The highest numbers and densities of traps are found in Louisiana, with estimates ranging up to 203,000 derelict traps across the state and up to 41 traps per square kilometer in areas such as Terrebonne Bay. Mortality rates are estimated at 26 crabs per trap per year and 8 fish per trap per year. The results of this analysis indicate a Gulf-wide removal program targeting 10% of derelict traps over the course of 5 years would lead to a combined benefit of more than 691,000 kg of crabs and fish prevented from mortality in ghost fishing traps. These results emphasize the importance of ongoing derelict trap removal programs. Future work could assess additional benefits of trap removal programs, such as fewer entanglements of marine organisms, improved esthetics, and increases in harvestable catch. Lastly, this model could be utilized by fishery managers to calculate the benefits of other management options designed to decrease the extent and impact of derelict fishing gear.

This research is part of a Hungarian Research OTKA project that examines the vegetation of sandy grasslands along the Danube. During this study, Festuca wagneri and Festuca tomanii were identified as potentially suitable grass species for urban planting and turf establishment based on preliminary research. Our aim was to determine the germination success of seeds from aesthetically selected individuals and to identify the growing media on which they germinate most effectively. From the collected Festuca individuals, we analyzed 30 specimens of each taxon under garden conditions and selected the individuals for germination. The Festuca tomanii individuals were uniform, so we selected only 5 individuals. The Festuca wagneri individuals were categorized into three groups: leaves and inflorescence densely upright, inflorescence shoots spread out, and low ’dwarf’ form (compact and dense but short in stature). It was assumed that Festuca species seeds would germinate better in sandy soils. To test our hypothesis, seeds from ten Festuca wagneri and five Festuca tomanii individuals, selected based on aesthetic criteria, were sown in six different substrates: a sand–peat mixture, sand, coconut fiber, peat, coconut fiber–sand mixture, and native sandy soil (Calcaric Arenosol). Contrary to our expectations, the growth and germination rates of seeds sown in peat and coconut fiber substrates were higher than those in native sandy soil. These results suggest that Festuca seeds germinate better on substrates resembling dead plant debris with a peat-like structure or on the surface of live mosses rather than on bare sand. Among the examined individuals, the seeds from the spreading Festuca wagneri group exhibited the highest germination rate, making this group particularly suitable for urban environments. Additionally, one of the upright Festuca wagneri individuals showed the highest leaf average length and should also be considered for urban planting. In contrast, despite their uniform appearance, the Festuca tomanii individuals did not demonstrate similar germination trends. In fact, the seeds from two clumps did not germinate at all, indicating that further research is necessary.

The necessary confrontation with the epistemological legacy of imperialism is one of the main interventions of postcolonial criticism.1 For postcolonial ecocritic Elizabeth DeLoughrey, imperialism led to, among other things, conceptual corrosion: the \"erasure of indigenous knowledges\" (and knowledge systems) and the \"erection of a hierarchy of species\" (\"Ecocriticism\" 265). The idea of the Caribbean woman as 'miracle worker' is suggested in the ability to \"make something from nothing,\" but it also calls up the biblical Creation story, whereby the world was created from nothing.3 In this regard, there is not only a creative impulse associated with 'making do,' as expressed in the description of \"cutting, carving and contriving,\" but also a transformative imagination to see value where others saw nothingness or worthlessness. In Black Sand, Baugh ironically begins with \"End Poem,\" in which, as I have argued before,4 he \"signals the importance of using poetry to shine light on the left-behind-life's detritus, 'the rubbish heap of history,' if you may, on which Caribbean creative endeavour thrives-making 'rubble' and 'weed' 'central tropes of creative expression'\" (Bucknor). The diction here in the phrase \"strike music\" connotatively implies 'striking gold,' more in line with Walcott's idea of the \"Adamic elation\" of a creative breakthrough, as opposed to a Christopher Columbus colonial mode of discovery (\"Muse\" 36-37): [A]nd when that daring song tower falls, may goats and children know delight poking round each rubble height and sunlight strike bright music from shards of weed-grown walls.

The largest underwater sculpture in the world, the ‘Coral Greenhouse’ by artist Jason deCaires Taylor, was commissioned by the Museum of Underwater Art and installed at John Brewer Reef, Australia, in December 2019. The planning process required certified engineering design drawings associated with design life, durability and suitability of materials, and baseline ecological surveys. Following approval, the operational phase required annual monitoring of substrate, ecology, social values, and marine debris. We geo-referenced three permanent transects and designed a before/after rapid monitoring assessment of substrate, fish, and invertebrates. Substrate surveys indicated 11% concrete and 89% sand. Fish surveys indicated significant increases of diversity and abundance, with 12 species and 65 individuals recorded in 2018 compared to 46 species and 365 individuals recorded in 2022. Macroinvertebrate species maintained no significant trends in abundance, species richness, and diversity with respect to time between 2018 and 2022. We monitored coral restoration and natural recruitment at the site, measuring aesthetics, survivorship of planted corals, and coral recruitment. Of 131 corals transplanted in March 2020, survivorship was 100% at 1 month, 92% at 6 months, and 91.6% at 12 months. Hard and soft corals were recruited to the structure at a density of 8.35 hard corals/m2 and 10.9 soft corals/m2 over 26 months.