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Free to read at publisher's site. In many tropical nations, fisheries management requires a community-based approach because small customary marine tenure areas define the spatial scale of management [1]. However, the fate of larvae originating from a community's tenure is unknown, and thus the degree to which a community can expect their management actions to replenish the fisheries within their tenure is unclear [2, 3]. Furthermore, whether and how much larval dispersal links tenure areas can provide a strong basis for cooperative management [4, 5]. Using genetic parentage analysis, we measured larval dispersal from a single, managed spawning aggregation of squaretail coral grouper (Plectropomus areolatus) and determined its contribution to fisheries replenishment within five community tenure areas up to 33 km from the aggregation at Manus Island, Papua New Guinea. Within the community tenure area containing the aggregation, 17%-25% of juveniles were produced by the aggregation. In four adjacent tenure areas, 6%-17% of juveniles were from the aggregation. Larval dispersal kernels predict that 50% of larvae settled within 14 km of the aggregation. These results strongly suggest that both local and cooperative management actions can provide fisheries benefits to communities over small spatial scales.

"For more than half a century the British artist Richard Hamilton engaged in an extremely intense and incredibly erudite dialogue with the work of Marcel Duchamp. His typographic translation of the notes that surround Duchamp's masterpiece "La Mariée mise à nu par ses célibataires, même" [The Bride Stripped Bare by her Bachelors, Even] — which Duchamp had put together in the form of facsimiles in his "Boîte Verte" [Green Box] — was published in 1960. Six years later, Hamilton finished reconstructing the "Grand Verre" [Large Glass] for the retrospective "The Almost Complete Works of Marcel Duchamp" which he organized at the Tate Gallery in London. This commitment to Duchamp's work, as methodical as it was devoted, not only had an influence on his own, but also gave rise to texts of rare quality that constitute an intimate and extremely well informed reading of the artist's oeuvre. The correspondence initiated in 1956 as a result of Hamilton's interest in the "Green Box" ended with Duchamp's death in 1968. It reveals on the one hand Hamilton's ongoing creative penetration of his ideas, and on the other the existence of a close, friendly relationship that grew up between the two artists. In the course of two long conversations Hamilton, with characteristic eloquence and preciseness, questioned Duchamp about his youth and the concept of the readymades, as well as his vision of the artist. The frankness with which Duchamp replied to the questions posed by the younger man is a sign of the respect he very soon had for the person he called his "great decipherer." The selection of texts, letters, and interviews that constitute this book attest to the complicity between these two major figures who overturned the basis of aesthetic experience" -- p. [4] of cover.

Field measurements of the dry deposition of ozone to natural vegetation, crops and forests have shown that the non-stomatal flux (i.e. the deposition of ozone to external plant surfaces, soil, or reaction within the plant canopy) can account for over 50% of the total measured flux. The fate of the deposited ozone is not known, although the temperature dependence has been described in terms of an activation energy of around 40 kJ mol−1. In order to investigate the reactions of ozone at surfaces a stainless steel reaction chamber (0.25 m3) was used inside a controlled environment cabinet over a range of temperatures and humidities, supplied with ozone at around 180 ppbv, and operated as a CSTR. The difference between inlet and outlet concentrations, measured using a UV photometric ozone analyzer, was used to infer reaction rates within the chamber. Deposition to the empty chamber at steady state was slow, equivalent to a deposition velocity of around 10−6 m s−1, but showed a temperature dependence similar to that observed in the field. Different surfaces were introduced into the chamber, as surrogates for plant leaves. Deposition to aluminium foil coated with paraffin wax (to simulate the plant cuticle) was faster than to steel, but deposition to beeswax, which contains unsaturated hydrocarbons, was much more rapid, indicating reaction of ozone with the surface wax. The possible interaction of ozone at the surface with biogenic VOCs emitted from plants was studied for �-pinene; losses of ozone in the presence of known inlet concentrations of the VOC implied reaction rates slightly faster than those quoted in the literature for purely gas-phase reactions, either because of heterogeneous wall reactions or secondary reactions of ozone with the initial oxidation products. Inclusion of wax surfaces, pre-equilibrated with the VOC, led to no significant increase in reaction rates, suggesting that dissolution and concentration of biogenic VOCs in plant surface waxes is not a

"Design and Art comprehensively surveys and also looks beyond the phenomenon of 'designerart' that has emerged since the Pop and Minimalist era: cutting-edge, hybrid practices that blur traditional boundaries between art, architecture, graphic and product design" -- p. [4] of cover.

The National Museum of the Pacific War presents an interview with Richard Hamilton. Hamilton joined the Marine Corps in July of 1945. In January of 1946 he was sent overseas as a replacement. He traveled to Tangku in North China, where he remained for the duration of his service. He worked on bridge guard duty, ensuring the bridges remained open. He shares his experiences living and working in China after the war. Hamilton was sent home and discharged in September of 1946.

Joan Flasch Artists' Book Collection