Pacific Standard Time Research Articles

Spawning Behavior of Lingcod in the Seattle Aquarium

Lingcod (Ophiodon elongates) are members of the family Hexagrammidae and are found in the northeast coastal waters of the Pacific Ocean. Hexagrammids are demersal spawners with the male fish guarding eggs until hatching occurs. The spawning behavior of Lingcod has only been observed and described once in the literature (Wilby 1937). Although other investigators have described various aspects of Lingcod life history and reproductive activity (for example, Jewell 1968; Low and Beamish 1978; LaRiviere and others 1981; Giorgi 1981; Cass and others 1990; Jagielo 1994), none directly observed spawning. Withler and others (2004) genetically evaluated progeny and documented polygamous mating by Lingcod. This note describes a Lingcod spawning event in the Seattle Aquarium and compare this spawning to that described previously by Wilby (1937). The Underwater Dome exhibit of the Seattle Aquarium is in the form of an igloo-like public observation volume immersed in a large cylindrical vessel. The vessel is approximately 20 m in diameter and 6 m deep, containing more than 1800 m of filtered seawater pumped from adjacent Elliot Bay, in an open system with the water discharged back to the bay. The surface of the vessel is not enclosed, and is protected by an awning covering a portion of the water surface. Environmental conditions inside the exhibit, such as temperature and lighting, match ambient conditions. A low-light level is maintained in the exhibit at night. The exhibit topography mimics rocky and nearshore habitat conditions found in the Salish Sea. The highrelief rocky reef structure is made of concrete, and the bottom is covered with a shallow layer of coarse beach sand. The exhibit is home to a variety of fish and invertebrate species found in local waters. The animals are fed a variety of fish and shellfish similar to their natural diet. The Lingcod feed primarily on forage fish and squid, and occasionally prey on smaller exhibit fish, usually salmonids. Lingcod in the exhibit typically spawn each season between mid-December and mid-March, usually near year-end, using one or more of 3 specific locations. Characteristics of the 3 sites are consistent with sites selected by fish in the wild (KWJ, pers. obs.), distinguished by rocky reef ledges with deep cracks or crevices suitable for deposition of egg masses, supporting the premise that physical characteristics of the exhibit are conducive for display specimens to behave and reproduce in near-natural conditions. The site of the observed spawning is an approximately parallel-sided cavity 20 cm wide between a flat-sided boulder and a vertical reef surface. The site is about 2 m from viewing windows. The dome exhibit was home to 5 adult Lingcod ranging from 75to 110-cm total length at the time of the observed spawning. Two of the fish were known to be female and 2 were known to be male. The sex of the 5th fish was unknown. The ages of the fish were also not known. Observations were visual and notes were made after the event. Measurements were made using a 1-m-long plastic tube graduated in 10-cm increments. On 1 January 2015, a pair of Lingcod spawned in the Underwater Dome exhibit of the Seattle Aquarium. The spawners were the largest female and largest male in the exhibit. The female was gravid and swollen to the point of concern by aquarium staff that she was egg-bound. The site selected by the spawners was the site most frequently used for egg laying in previous years. The male fish had established long-standing dominance of this site during the spawning season by remaining at the location, performing courtship display when females were present, and chasing other fish from the area. At approximately 08:30 Pacific Standard Time, in crepuscular conditions, the female Lingcod was observed by a maintenance diver at the spawning location. She was aligned with the cavity with her ventral side up. The fish was alternately squirming and quivering. The male was nearby (Fig. 1A). After an GENERAL NOTES

Modeling particle nucleation and growth over northern California during the 2010 CARES campaign

Abstract. Accurate representation of the aerosol lifecycle requires adequate modeling of the particle number concentration and size distribution in addition to their mass, which is often the focus of aerosol modeling studies. This paper compares particle number concentrations and size distributions as predicted by three empirical nucleation parameterizations in the Weather Research and Forecast coupled with chemistry (WRF-Chem) regional model using 20 discrete size bins ranging from 1 nm to 10 μm. Two of the parameterizations are based on H2SO4, while one is based on both H2SO4 and organic vapors. Budget diagnostic terms for transport, dry deposition, emissions, condensational growth, nucleation, and coagulation of aerosol particles have been added to the model and are used to analyze the differences in how the new particle formation parameterizations influence the evolving aerosol size distribution. The simulations are evaluated using measurements collected at surface sites and from a research aircraft during the Carbonaceous Aerosol and Radiative Effects Study (CARES) conducted in the vicinity of Sacramento, California. While all three parameterizations captured the temporal variation of the size distribution during observed nucleation events as well as the spatial variability in aerosol number, all overestimated by up to a factor of 2.5 the total particle number concentration for particle diameters greater than 10 nm. Using the budget diagnostic terms, we demonstrate that the combined H2SO4 and low-volatility organic vapor parameterization leads to a different diurnal variability of new particle formation and growth to larger sizes compared to the parameterizations based on only H2SO4. At the CARES urban ground site, peak nucleation rates are predicted to occur around 12:00 Pacific (local) standard time (PST) for the H2SO4 parameterizations, whereas the highest rates were predicted at 08:00 and 16:00 PST when low-volatility organic gases are included in the parameterization. This can be explained by higher anthropogenic emissions of organic vapors at these times as well as lower boundary-layer heights that reduce vertical mixing. The higher nucleation rates in the H2SO4-organic parameterization at these times were largely offset by losses due to coagulation. Despite the different budget terms for ultrafine particles, the 10–40 nm diameter particle number concentrations from all three parameterizations increased from 10:00 to 14:00 PST and then decreased later in the afternoon, consistent with changes in the observed size and number distribution. We found that newly formed particles could explain up to 20–30 % of predicted cloud condensation nuclei at 0.5 % supersaturation, depending on location and the specific nucleation parameterization. A sensitivity simulation using 12 discrete size bins ranging from 1 nm to 10 μm diameter gave a reasonable estimate of particle number and size distribution compared to the 20 size bin simulation, while reducing the associated computational cost by ~ 36 %.

The PST Project, Willie Herrón’s Street Mural Asco East of No West (2011) and the Mural Remix Tour: Power Relations on the Los Angeles Art Scene

This article departs from the huge art-curating project Pacific Standard Time: Art in L.A., 1945–1980, a Getty funded initiative running in Southern California from October 2011 to April 2012 with a collaboration of more than sixty cultural institutions coming together to celebrate the birth of the L.A. art scene. One of the Pacific Standard Time (PST) exhibitions was Asco: Elite of the Obscure, A Retrospective, 1972–1987, running from September to December 2011 at the Los Angeles County Museum of Art (LACMA). This was the first retrospective of a conceptual performance group of Chicanos from East Los Angeles, who from the early 1970s to the mid 1980s acted out critical interventions in the politically contested urban space of Los Angles. In conjunction with the Asco retrospective at LACMA, the Getty Foundation co-sponsored a new street mural by the Chicano artist Willie Herrón, paying homage to his years in the performance group Asco. The PST exhibition program also included so-called Mural Remix Tours, taking fine art audiences from LACMA to Herrón’s place-specific new mural in City Terrace in East Los Angeles. This article analyze the inclusion in the PST project of Herrón’s site-specific mural in City Terrace and the Mural Remix Tours to East Los Angeles with regard to the power relations of fine art and critical subculture, center and periphery, the mainstream and the marginal. As a physical monument dependent on a heavy sense of the past, Herrón’s new mural, titled Asco: East of No West, transforms the physical and social environment of City Terrace, changing its public space into an official place of memory. At the same time, as an art historical monument officially added to the civic map of Los Angeles, the mural becomes a permanent reminder of the segregation patterns that still exist in the urban space of Los Angeles.

Review: Drive: Journeys through Film, Cities and Landscapes, by Iain Borden; Overdrive: L.A. Constructs the Future, 1940–1990, by Wim de Wit and Christopher James Alexander, eds.; and Car Country: An Environmental History, by Christopher W. Wells

Drive: Journeys through Film, Cities and Landscapes London: Reaktion Books, 2013, 280 pp., 40 color and 40 b/w illus. $28, ISBN 9781780230269, by Iain Borden. Overdrive: L.A. Constructs the Future, 1940–1990 Los Angeles: Getty Research Institute, 2013, 320 pp., 112 color and 102 b/w illus. $59.95, ISBN 9781606061282, by Wim de Wit and Christopher James Alexander, eds.. Car Country: An Environmental History Seattle: University of Washington Press, 2012, 464 pp., 7 maps and 44 b/w illus. $40, ISBN 9780295992150, by Christopher W. Wells. In July 2013, a New York Times headline proclaimed “the end of car culture.” Though the summer driving season offered plenty of evidence to the contrary, recent data indicate that fewer Americans are driving fewer miles in fewer cars, and even forgoing the adolescent ritual of getting a driver’s license upon turning sixteen. Thus, the Times felt confident in declaring that the country’s century-old love affair with the automobile was finally, inevitably, running out of gas. But if the romance with the car is cooling down, studying its fraught legacy is still plenty hot, as a spate of recent publications makes clear. In fact, in the hundred years since the first Model Ts rolled off the assembly line at Highland Park, Michigan, the car and its social, spatial, and economic impact have been under almost continual scrutiny, producing triumphant Fordist narratives and muckraking antisprawl screeds in almost equal measure. More nuanced, scholarly studies emerged in the last quarter of the twentieth century with The Automobile and American Culture (1980; David L. Lewis and Laurence Goldstein, eds.), a notable early example that attempted a comprehensive analysis of what its editors called the “auto-consciousness” of the United States. The continued evolution of that consciousness is fully evident in the three books under review here, each of which tackles a distinct aspect of the culture of automobility. In Car Country , Christopher W. Wells tracks its environmental evolution; in Drive , Iain Borden scrutinizes its experiential representation; in Overdrive , seventeen contributors examine its urban and architectural influence in Los Angeles, the world’s original autopia. Unsurprisingly, all three books deal principally with twentieth-century developments in the United States, though each pushes these parameters in important ways. Car Country begins with the infrastructural consequences of streetcars and railways in the 1880s. Overdrive , which …

Review Essay: Pacific Standard Time (PST) Presents: Modern Architecture in L.A.

Review Article| November 01 2013 Review Essay: Pacific Standard Time (PST) Presents: Modern Architecture in L.A. Beth Edwards Harris Beth Edwards Harris Beth Edwards Harris is an architectural historian with a PhD in architectural history, theory, and criticism from UCLA. She currently serves as a commissioner and state historian on the California State Historic Resource Commission in Sacramento, and heads its committee on modernism initiatives. She is a board member of the Los Angeles Conservancy, and a trustee of the Palm Springs Museum of Art and founder of its Architecture and Design Center slated to open in September 2014. In addition, she is a frequent author of articles pertaining to current Los Angeles and Palm Springs preservation advocacy issues. Search for other works by this author on: This Site PubMed Google Scholar The Public Historian (2013) 35 (4): 44–59. https://doi.org/10.1525/tph.2013.35.4.44 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Beth Edwards Harris; Review Essay: Pacific Standard Time (PST) Presents: Modern Architecture in L.A.. The Public Historian 1 November 2013; 35 (4): 44–59. doi: https://doi.org/10.1525/tph.2013.35.4.44 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentThe Public Historian Search This content is only available via PDF. © 2013 by The Regents of the University of California and the National Council on Public History2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Creating a ‘falsely objectified tradition’: the face of art or history, myth, money, and name. A review-essay of Pacific Standard Time. Los Angeles Art 1945–1980

I would be in bad faith to the task of making a critical review of Pacific Standard Time – evaluation, assessment – if I did not begin by saying that I volunteered to write this essay-review. I vol...

Peace Tower as Commonplace: Relational Aesthetics' Lieux de mémoire

In January 2012, as part of the Pacific Standard Time Performance and Public Art Festival, a tall steel sculpture was raised on an empty lot off the Sunset Strip in West Hollywood. In keeping with ...

Weegee's Darkroom: How a Tabloid Photographer Exposed Our World

“Weegee,” the nickname, conjured intimations of sorcery and the dark arts as well as a playful nod to frivolity and caprice. And, indeed, the black-and-white tabloid photography of newspaper lensman Arthur Fellig graphically captured grisly deaths and gaudy celebrations, Weegee's imagery locking on the crosshairs where calamity collided with celebrity, punishment jackknifed publicity. In Weegee's pressing pictures of the 1930s and 1940s are found puissant commentaries on a runaway American Dream where fame slugs it out with fortune while notoriety is morphing into a particularly virulent strain of media obsession. A recent survey show of Weegee's Hollywood-based work at the Los Angeles Museum of Contemporary Art, which was part of the larger Pacific Standard Time exhibition, revealed the restive piercing eye of this nighthawk shooter as it refracted our current hunger for shows of questionable entertainment cast as “reality.”

Rupture and Continuity in Feminist Re-performance

Looking back at their re-creation of 1960s and 70s feminist works for the 2012 festival ‘Pacific Standard Time’, artists Audrey Chan, Alexandra Grant and Elana Mann discuss the value of re-performance as a means of producing an embodied relationship with the past.

The Getty's 'Pacific Standard Time' Initiative: Exhibiting Los Angeles as an Epicentre of Mid-century Art and Design

The Getty's 'Pacific Standard Time' Initiative: Exhibiting Los Angeles as an Epicentre of Mid-century Art and Design

A Visual Critique of Racism: African American Art from Southern California

A Visual Critique of Racism: African American Art from Southern California

Review: California Design 1930–1965: Living in a Modern Way

California Design 1930–1965: Living in a Modern Way Los Angeles County Museum of Art 1 October 2011–3 June 2012 The Pacific Standard Time shows scattered across Southern California are at once a condensation and a cornucopia of the arts stemming from this region. That this is a fraught starting point goes without saying, but the value of pulling together nearly seventy exhibitions in dozens of museums outweighs those concerns. For all the predictable kvetching by the likes of Dave Hickey in the New York Times about California’s provincial promotionalism, the grand curatorial idea and collaboration among disparate institutions provided the momentum for some remarkable shows, to name a few: two installations in the San Diego area about light, the Hammer Museum’s show Now Dig This! Art and Black Los Angeles 1960–1980 , and the subject of this review: Los Angeles County Museum of Art’s exhibition California Design 1930–1965: Living in a Modern Way (Figure 1). These three- and-a-half decades capture the era when modern design evolved in California, particularly in the Los Angeles region, to not only accommodate but shape modern life. A host of objects provides the evidence. Visitors see a quirky beauty in the Raymond Loewy Avanti car or Googie architecture, next to sexy backyard playsuits for homemakers, Henry Keck’s ubiquitous and functionally elegant salt, pepper, and sugar shakers, alongside Greta Magnusson Grossman’s sleek Formica desk and cheaply manufactured floor lamps. It was Grossman’s characterization of California’s predilection for “living in a modern way” that gave the show its title. The show valorizes common objects and brings some little-known geniuses to light. It testifies to the collapse of popular and academic art, collecting and consuming, the living room and the gallery, the studio and the factory. The power of these familiar, domestic objects is apparent with a little eavesdropping in the galleries: “I had one of these when I was in high school” or “This looks just …

Review: Sympathetic Seeing: Esther McCoy and the Heart of American Modernist Architecture and Design

Sympathetic Seeing: Esther McCoy and the Heart of American Modernist Architecture and Design MAK Center for Art and Architecture, Los Angeles September 2011–January 2012 Sympathetic Seeing: Esther McCoy and the Heart of American Modernist Architecture and Design presented a retrospective of the work of writer, architecture critic, and unabashed booster of Southern California modernism Esther McCoy (Figures 1, 2). The exhibition was housed in the building that inspired McCoy’s initial foray into architectural criticism: Rudolph M. Schindler’s 1922 King’s Road residence in Los Angeles. Drawing from the McCoy papers in the Archives of American Art at the Smithsonian Institution, curators Kimberli Meyer and Susan Morgan presented a wide range of her writings in order to affirm her “unassailable role as a key figure in American modernism,” as introductory wall copy explained. With its Los Angeles–centric focus, however, Sympathetic Seeing at best indirectly made the case for McCoy’s national profile. The exhibit was nonetheless a reminder of McCoy’s prodigious talent and range as a writer and of her tireless crusade to win for California architects the accolades she believed they deserved but had long been denied. Indeed, when she turned to architectural criticism in 1945, McCoy became one of the first to argue that California architecture warranted serious consideration and study. Figure 1 Sympathetic Seeing: Esther McCoy and the Heart of American Modernist Architecture and Design Figure 2 Sympathetic Seeing: Esther McCoy and the Heart of American Modernist Architecture and Design The McCoy exhibit was the MAK Center’s contribution to Pacific Standard Time, a multi-institutional, Getty-led initiative to showcase “Art in Los Angeles” from 1945 to 1980. With exhibits staged at over sixty participating institutions, the goal of Pacific Standard Time, according to the Getty brochure, was to “celebrate … how the Southland became a great center for art and culture.” While there is much to celebrate about this art and culture as well as McCoy’s contribution to an appreciation of it, boosterism is inevitable when a region …

Sonic Turbulence

This past spring, the exhibition Trouble in Paradise: Music and Los Angeles 1945–75 opened at The Grammy Museum in Los Angeles as part of the Getty’s Pacific Standard Time initiative. The show—which featured an audio-visual timeline wall, a digital jukebox, and two galleries of video, music, photography, and historical artifacts—explored the popular myths, social realities, and political upheavals of life in post-WWII LA through the city’s multiple music scenes. The following is the text from the exhibit’s timeline, a guide to the key political tensions, cultural breakthroughs, and musical moments of the period that helped shape the making of this exhibition

Suzanne Hudson. Review of "Pacific Standard Time: Art in L.A. 1945–1980<br> October 2011–March 2012" .

Suzanne Hudson. Review of "Pacific Standard Time: Art in L.A. 1945–1980<br> October 2011–March 2012" .

Local Public Health System Response to the Tsunami Threat in Coastal California following the Tōhoku Earthquake.

Background On Friday March 11, 2011 a 9.0 magnitude earthquake triggered a tsunami off the eastern coast of Japan, resulting in thousands of lives lost and billions of dollars in damage around the Pacific Rim. The tsunami first reached the California coast on Friday, March 11th, causing more than $70 million in damage and at least one death. While the tsunami’s impact on California pales in comparison to the destruction caused in Japan and other areas of the Pacific, the event tested emergency responders’ ability to rapidly communicate and coordinate a response to a potential threat. Methods To evaluate the local public health system emergency response to the tsunami threat in California, we surveyed all local public health, emergency medical services (EMS), and emergency management agencies in coastal or floodplain counties about several domains related to the tsunami threat in California, including: (1) the extent to which their community was affected by the tsunami, (2) when and how they received notification of the event, (3) which public health response activities were carried out to address the tsunami threat in their community, and (4) which organizations contributed to the response. Public health activities were characterized using the Centers for Disease Control and Prevention (CDC) Public Health Preparedness Capabilities (PHEP) framework. Findings The tsunami's impact on coastal communities in California ranged widely, both in terms of the economic consequences and the response activities. Based on estimates from the National Oceanic and Atmospheric Administration (NOAA), ten jurisdictions in California reported tsunami-related damage, which ranged from $15,000 to $35 million. Respondents first became aware of the tsunami threat in California between the hours of 10:00pm Pacific Standard Time (PST) on Thursday March 10th and 2:00pm PST on Friday March 11th, a range of 16 hours, with notification occurring through both formal and informal channels. In response to this threat, the activities most commonly reported by the local government agencies included in this study were: emergency public information and warning, emergency operations coordination, and inter-organizational information sharing, which were reported by 86%, 75%, and 65% of all respondents, respectively. When looking at the distribution of responsibility, emergency management agencies were the most likely to report assuming a lead role in these common activities as well as those related to evacuation and community recovery. While activated less frequently, public health agencies carried out emergency response functions related to surveillance and epidemiology, environmental health, and mental health/psychological support. Both local public health and EMS agencies took part in mass care and medical material management activities. A large network of organizations contributed to response activities, with emergency management, law enforcement, fire, public health, public works, EMS, and media cited by more than half of respondents. Conclusions In response to the tsunami threat in California, we found that emergency management agencies assumed a lead role in the local response efforts. While public health and medical agencies played a supporting role in the response, they uniquely contributed to a number of specific activities. If the response to the recent tsunami is any indication, these support activities can be anticipated in planning for future events with similar characteristics to the tsunami threat. Additionally, we found that many respondents first learned of the tsunami through the media, rather than through rapid notification systems, which suggests that government agencies must continue to develop and maintain the ability to rapidly aggregate and analyze information in order to provide accurate assessments and guidance to a potentially well-informed public. Citation: Hunter JC, Crawley AW, Petrie M, Yang JE, Aragón TJ. Local Public Health System Response to the Tsunami Threat in Coastal California following the Tōhoku Earthquake. PLoS Currents Disasters. 2012 Jul 16

What are You Working On?

This issue of Art Journal comes after two issues that tightly revolved around a single concept: the medium of print (Winter 2011) and the Pacific Standard Time initiative (Spring 2012). Most of die essays, reviews, and artists' projects in those two issues were commissioned; all were handpicked for the ways in which they worked together to survey a field and also to bring out its varied and perhaps conflicting aspects.

Pacific standard time: Los Angeles art, 1945-1980

This volume is published for the occasion of the Getty's citywide grant initiative Pacific Standard Time: Art in Los Angeles 1945-1980 and accompanies the exhibition Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture 1950- 1970, held at the J. Paul Getty Museum, Los Angeles.

City after Fifty Years' Living: L.A.'s Differences in Relation

A marketing triumph, Pacific Standard Time has been responsible for a series of promotional videos, slickly produced, that pair an honored artist with a Southern California celebrity. The shining success among these original works is the pairing of the late design team Ray and Charles Eames with the rapper and actor Ice Cube. The promo per-formatively enacts both the mainstream ambitions and the eccentric interests that play out in the larger scope of the Pacific Standard Time project.

This is Art—These People are Artists: Pacific Standard Time, Conceptual Art, and Other Momentous Events from a Local Point of View

It is complicated in these days of Occupy Wall Street to keep one's priorities straight. For those of us who do cultural work, producing knowledge or objects in the vicinity of art, the space we occupy is increasingly marginal. When faced with the Arab Spring, or the stirring of Lower Manhattan by the restless and roving 99 percent, or even whe n confronted with the flagrant displays of consumption back in force in the mainstream art world, it can feel remarkably beside the point to be producing much of anything except a sign or sandwich board.