Journal articles on the topic 'Aquarius (Ship)'

The search and rescue of refugees, asylum seekers and migrants on the Mediterranean has become a site of major political contestation in Europe, on the seas, in parliaments and government offices and in online public opinion. This article summarises one particular set of controversies, namely, false claims that the non-government organisations conducting such search and rescue operations are actively ‘colluding’ with people smugglers to ferry people into Europe. In spring and summer 2017, these claims of ‘collusion’ emerged from state agencies and from anti-immigration groups, became viral on social media platforms and rapidly moved into mainstream media coverage, criminal investigations by prosecutors and the speech and laws of politicians across the continent. These claims were in turn connected to far-right conspiracy theories about ‘flooding’ Europe with ‘invaders’. By looking at the experience of one particular ship, the MV Aquarius, run in partnership by MSF and SOS Méditerranée, the authors detail the risks that humanitarian organisations now face from such types of disinformation campaign. If humanitarian organisations do not prepare themselves against this risk, they will find themselves in a world turned upside-down, in which their efforts to help people in distress become evidence of criminal activity.

Salinity is a critical parameter in the Arctic Ocean, having potential implications for climate and weather. This study presents the first systematic analysis of 6 commonly used sea surface salinity (SSS) products from the National Aeronautics and Space Administration (NASA) Aquarius and Soil Moisture Active Passive (SMAP) satellites and the European Space Agency (ESA) Soil Moisture and Ocean Salinity (SMOS) mission, in terms of their consistency among one another and with in-situ data. Overall, the satellite SSS products provide a similar characterization of the time mean SSS large-scale patterns and are relatively consistent in depicting the regions with strong SSS temporal variability. When averaged over the Arctic Ocean, the SSS show an excellent consistency in describing the seasonal and interannual variations. Comparison of satellite SSS with in-situ salinity measurements along ship transects suggest that satellite SSS captures salinity gradients away from regions with significant sea-ice concentration. The root-mean square differences (RMSD) of satellite SSS with respect to in-situ measurements improves with increasing temperature, reflecting the limitation of L-band radiometric sensitivity to SSS in cold water. However, the satellite SSS biases with respect to the in-situ measurements do not show a consistent dependence on temperature. The results have significant implications for the calibration and validation of satellite SSS as well as for the modeling community and the design of future satellite missions.

AbstractA prototype telepresence communications system was designed, piloted, and tested for use in informal science education institutions to provide public, student, and educator interactions with scientists aboard ships and in the University of Rhode Island Graduate School of Oceanography (GSO) Inner Space Center (ISC). In addition to providing opportunities for the engagement of scientists with diverse audiences, a goal of this initiative was to promote an appreciation and understanding of the ocean, while exposing aquarium visitors to advanced telepresence communication technologies. The project partnership was comprised of a leading ocean science research and education institution (the GSO); two national ocean science education networks—the National Centers for Ocean Sciences Education Excellence Network and the National Oceanic and Atmospheric Administration's Office of Exploration and Research Education Alliance; and two partner aquariums—Mystic Aquarium and South Carolina Aquarium. The main outcomes of the project were as follows: (1) a partnership of ocean science research and informal science education professionals that linked ocean scientists and informal science institution staff and visitors; (2) a state-of-the-art hardware and software system for partner aquariums capable of delivering live and prerecorded ocean exploration experiences to visitors; (3) professional development for informal science educators focused on educating the public and improving ocean literacy; (4) a useful and effective digital media interface and software for communicating and interacting with the ocean science content; and (5) an understanding of how live and prerecorded ocean exploration experiences affect aquarium visitor ocean literacy.

Knowledge about factors that are important in coral reef growth help us to understand how reef ecosystems react following major anthropogenic and environmental disturbances. In addition, they may help the industry understand how aquarists can improve the health of their corals. I have studied environmental and climate effects on corals on fringing reefs in Jamaica. Radial growth rates (mm/yr) of non-branching corals calculated on an annual basis from 2000–2008 showed few significant differences either spatially or temporally along the north coast, although growth rates tended to be higher on reefs of higher rugosity and lower macroalgal cover. I have also reconstructed recruitment patterns, using growth modelling, for non-branching corals at sites on the north coast of Jamaica near Discovery Bay, and near Kingston Harbour, on the south coast. For all the sites, recruitment of non-branching corals was lowered due to hurricanes or severe storms. For 1560 non-branching corals at sites along the north coast of Jamaica, from Rio Bueno to Pear Tree, there was a significant difference in estimated coral recruitment in years when there were no storms or hurricanes by comparison to years when storms and hurricanes impacted the area. For 347 non-branching corals at sites in the Port Royal Cays on the south coast, there was a significant difference in estimated coral recruitment in years when there were no storms or hurricanes by comparison to years when storms and hurricanes impacted the area. Interestingly, recruitment of Siderastrea siderea on to the side of the ship channel at Rackham's Cay (~100 m from the path taken by large ships) outside Kingston Harbour had been consistent since its construction. These findings have important implications for better understanding the impacts of tropical storms on coral reefs and for aquarists to better maintain coral reef species in artificial environments.

It is easy to forget that we live on an island. Even though we have recently become a lot more aware of where our food comes from, we don’t really think about how it gets to us. In Ireland, 95% of our imports and exports are transported by ships, but it is not just cargo that these vessels can move. Plants and animals can grow on the outside of ships, or survive in ballast water, which keeps ships steady, but is almost like a travelling aquarium. It has been estimated that there are up to 10,000 species being moved around the world every day – Just in the ballast water of ships! Only some of these species will survive the journey to a new region, and not all of those will be able to become established in their new environment. However, for those alien species that can survive in a ...

Introduced species are species which exceed their natural distribution limits (native range) by a certain mode of introduction (vector). Natural movements are responsible to a limited extent. Introduction of a species could influence the susceptibility of a species to environmental stress no matter if introduced purposely or un purposely. Introduction of species could happen by natural movement i.e. organism can movement influenced by current and some organism can migrate to one area to another area; and human activity either purposely i.e. aquarium trade, aquaculture or un purposely such as accidentally through fouling on ship hulls. However, a dominant vector which has large contribution on species introduction is transported by ship hulls and ballast water tanks. Furthermore, the objective of this experiment is to investigate whether the organism can increase their tolerance during transport. The experimental design to mimicking transport condition in short term lab experiment and compared pre-stress group and non-stress group on the second stress. Afterward, looking forward the survival of the organism. Chosen of Green Mussels (P. viridis) from Muara Kamal, Jakarta Bay, and hyposaline stress. The response variable these experiments are survival and byssus. The results of this study showed that the group of pre-stress and non-stress group was no difference in the simulation of transport for survival. Byssus thread increase when recovery long enough and decrease when getting double stress.

Three new species of antipatharian corals are described from deep-sea (677–2,821 m) seamounts and ridges in the North Pacific, including Antipathes sylospongia, Alternatipathes venusta, and Umbellapathes litocrada. Most of the material for these descriptions was collected on expeditions aboard NOAA Ship Okeanos Explorer that were undertaken as part of the Campaign to Address Pacific Monument Science, Technology, and Ocean Needs (CAPSTONE). One of the main goals of CAPSTONE was to characterize the deep-sea fauna in protected waters of the U.S. Pacific, as well as in the Prime Crust Zone, the area with the highest known concentration of commercially valuable deep-sea minerals in the Pacific. Species descriptions and distribution data are supplemented with in situ photo records, including those from deep-sea exploration programs that have operated in the North Pacific in addition to CAPSTONE, namely the Hawaii Undersea Research Laboratory (HURL), the Ocean Exploration Trust (OET), and the Monterey Bay Aquarium Research Institute (MBARI).

The Indo-West Pacific (IWP) coral-reef damselfish Neopomacentrus cyanomos is well established across the south-west Gulf of Mexico (SwGoMx). Comparisons of mtDNA sequences of the SwGoMx population with those from conspecifics from 16 sites scattered across its native geographic range show that the SwGoMx population is derived from two of four native lineages: one from the north-west Pacific Ocean, the other from the northern Indian Ocean. Three hypotheses address how this species was introduced to the SwGoMX: (1) aquarium release; (2) borne by cargo-ship; and (3) carried by offshore petroleum platform (petro-platform). The first is unlikely because this species rarely features in the aquarium trade, and “N. cyanomos” traded to the USA from the sole IWP source we are aware of are a misidentified congener, N. taeniurus. The second hypothesis is unlikely because shipping has not been associated with the introduction of alien damselfishes, there is little international shipping between the IWP and the SwGoMx, and voyages between those areas would be lengthy and along environmentally unfavorable routes. Various lines of evidence support the third hypothesis: (i) bio-fouled petro-platforms represent artificial reefs that can sustain large and diverse populations of tropical reef-fishes, including N. cyanomos in the SwGoMx; (ii) relocation of such platforms has been implicated in trans-oceanic introductions leading to establishment of non-native populations of such fishes; and (iii) genetic characteristics of the SwGoMx population indicate that it was established by a large and diverse group of founders drawn from the IWP regions where many petro-platforms currently in the SwGoMx and other Atlantic offshore oilfields originated.

AbstractSurface salinity variability on O(1–10) km lateral scales (the submesoscale) generates density variability and thus has implications for submesoscale dynamics. Satellite salinity measurements represent a spatial average over horizontal scales of approximately 40–100 km but are compared to point measurements for validation, so submesoscale salinity variability also complicates validation of satellite salinities. Here, we combine several databases of historical thermosalinograph (TSG) measurements made from ships to globally characterize surface submesoscale salinity, temperature, and density variability. In river plumes; regions affected by ice melt or upwelling; and the Gulf Stream, South Atlantic, and Agulhas Currents, submesoscale surface salinity variability is large. In these regions, horizontal salinity variability appears to explain some of the differences between surface salinities from the Aquarius and SMOS satellites and salinities measured with Argo floats. In other words, apparent satellite errors in highly variable regions in fact arise because Argo point measurements do not represent spatially averaged satellite data. Salinity dominates over temperature in generating submesoscale surface density variability throughout the tropical rainbands, in river plumes, and in polar regions. Horizontal density fronts on 10-km scales tend to be compensated (salinity and temperature have opposing effects on density) throughout most of the global oceans, with the exception of the south Indian and southwest Pacific Oceans between 20° and 30°S, where fronts tend to be anticompensated.

Populations of the spirorbid Pileolaria berkeleyana ( = P. rosepigmentata) are recorded in harbours at Plymouth, Falmouth and Portsmouth and of three similarly abundant serpulids, Filogranula calyculata and Metavermilia multicristata at Abereiddy and Vermiliopsis striaticeps at Falmouth. Ship-borne introductions may well have occurred but the Abereiddy serpulids have more probably come from undiscovered populations nearby, in areas too rocky and deep for easy sampling.INTRODUCTIONThree apparently exotic species of tubeworms, a spirorbid and two serpulids, have been established for at least five years in aquarium tanks at the Portsmouth Polytechnic Marine Laboratory. The tanks receive a continuous flow of unfiltered sea water, which is pumped from Langstone Harbour via a header tank, with little if any change in temperature. They contain many slate slabs from a flooded quarry (at Abereiddy, in South Wales), which had been opened to the sea in 1932 and is used as a harbour for small boats. The most recent transfer of slates to Portsmouth was in 1972. The slates were brought in because they bore populations of a native spirorbid (Thorp, 1975), but the associated fauna was not closely studied at that time because a general account of Abereiddy quarry and its fauna was being prepared by Hiscock & Hoare (1975).The exotic serpulids occurred particularly on the undersides of the slates, but had not been noted by Hiscock & Hoare, nor in any other British fauna list. They also occurred on the underside of a disused heater/cooler plate supporting the slates in one of the tanks, which indicated that they had been breeding in that tank.

Introduction of species is a common problem in marine environments; marine macroalgae in particular have been reported to be introduced in all oceans, mainly through transport in ballast water, ship fouling and aquarium trade. The majority of the reported alien seaweeds belong to the Rhodophyta. Recently several species of the Laurencia complex have been reported, contributing to an increase of the number of red algae being successfully introduced. Since its description as a new species from Vietnam in 1997, Laurencia caduciramulosa has been spreading steadily with disjunct reports consistently finding specimens close to harbors or major ports. Biscayne Bay, Florida, home to one of the largest ports in USA, and surrounded by the Miami metropolis, is prone to receiving introduced species. This study reports the first introduction of L. caduciramulosa in Biscayne Bay, and its spread to the NW Atlantic. Morphological analysis demonstrated that the specimens collected in Crandon Park, Biscayne Bay, are similar to other specimens of the same species described for Vietnam (original description), Brazil, the Canary Islands and Cuba. Furthermore, molecular analysis using chloroplast-encoded rbcL DNA sequences corroborated the morphological identification. The phylogenetic results suggested that populations in Brazil, Canary Islands and Cuba are recent introductions, while the position of the Florida clade can be interpreted as a distinct and earlier introduction. Due to the level of expertise and knowledge of the Laurencia complex available, we suggest that in the future this group can be used as a model to conduct population genetics analysis of all described introductions in relation to native populations in order to describe patterns of expansion and provide an insight of marine invasions processes.

Abstract Širović, A., Cutter, G. R., Butler, J. L., and Demer, D. A. 2009. Rockfish sounds and their potential use for population monitoring in the Southern California Bight. – ICES Journal of Marine Science, 66: 981–990. Non-lethal methods are being developed to assess and monitor the depleted rockfish stocks off southern California. For example, data from multifrequency echosounders and underwater cameras have been combined to map the dispersions and estimate the abundances of rockfish at the historical fishing sites within this region. From August to October 2007, this ship-based technique was augmented with two passive-acoustic moored recorders. One collected data at the 43 Fathom Bank for 46 days, while the other was serially deployed at 13 locations for shorter periods (1–8 d). Passive-acoustic data were analysed for the presence of rockfish sounds. Potential sources of five pulsing sounds were identified from the optically estimated species compositions at each location, as well as from known rockfish recordings collected in aquaria. All sounds had a low frequency (<900 Hz). Some were short, individual pulses (≤0.1 s), others were repetitive. A repetitive pulsing from bocaccio (Sebastes paucispinis) was the most commonly recorded sound and it occurred mainly at night. The daily calling rates at each site were quantitatively compared with the rockfish abundance estimates obtained from the active-acoustic survey, and they were positively correlated. The feasibility of using passive-acoustic tools to monitor changes in rockfish populations efficiently is discussed.

AbstractBiofouling, the accumulation of biomass on submerged surfaces, has been a problem in the marine world for centuries. On the hull of ships, it creates an increase in drag, it can block water inlets for cooling or firefighting operations, and it can severely reduce the efficiency of heat exchangers. Because of this, many different technologies are in use. However, most of them have severe drawbacks, such as pollution of the environment, or a limited effectiveness when the object is stationary in the water.In this article, we present a novel approach, based on the use of ultraviolet (UV) light, to keep surfaces free from biofouling. The fundamental idea is to have a type of coating, which emits light outward from the surface. Experimental trials have been conducted with test samples in a number of environments, ranging from a test aquarium to open waters in various places around the world. The results are very consistent; surfaces are kept completely free from fouling for prolonged periods, regardless of location or circumstances. This is achieved at very low power levels at the surface, in the order of 1 mW of UV light per square meter.It is concluded that the fundamental principle of emitting UV light outward from a surface is a successful and promising new approach, which can possibly be applied on many different surfaces in many different application areas.<graphic href="MTS51210fx01.tif"/>

More than 60 marine non-indigenous species (NIS) have been removed from previous lists and 84 species have been added, bringing the total to 986 alien species in the Mediterranean [775 in the eastern Mediterranean (EMED), 249 in the central Mediterranean (CMED), 190 in the Adriatic Sea (ADRIA) and 308 in the western Mediterranean (WMED)]. There were 48 new entries since 2011 which can be interpreted as approximately one new entry every two weeks. The number of alien species continues to increase, by 2-3 species per year for macrophytes, molluscs and polychaetes, 3-4 species per year for crustaceans, and 6 species per year for fish. The dominant group among alien species is molluscs (with 215 species), followed by crustaceans (159) and polychaetes (132). Macrophytes are the leading group of NIS in the ADRIA and the WMED, reaching 26-30% of all aliens, whereas in the EMED they barely constitute 10% of the introductions. In the EMED, molluscs are the most species-rich group, followed by crustaceans, fish and polychaetes. More than half (54%) of the marine alien species in the Mediterranean were probably introduced by corridors (mainly Suez). Shipping is blamed directly for the introduction of only 12 species, whereas it is assumed to be the most likely pathway of introduction (via ballasts or fouling) of another 300 species. For approximately 100 species shipping is a probable pathway along with the Suez Canal and/or aquaculture. Approximately 20 species have been introduced with certainty via aquaculture, while >50 species (mostly macroalgae), occurring in the vicinity of oyster farms, are assumed to be introduced accidentally as contaminants of imported species. A total of 18 species are assumed to have been introduced by the aquarium trade. Lessepsian species decline westwards, while the reverse pattern is evident for ship-mediated species and for those introduced with aquaculture. There is an increasing trend in new introductions via the Suez Canal and via shipping.

Globalization of trade and travel has made possible the spread of alien species across the planet. Invasive species are presently considered as one of the major threats to biodiversity in many locations throughout the world. Thousands of AIS have been transported globally by a number of anthropogenically-mediated vectors, including ship-mediated vectors (e.g., ballast water, hull-fouling), recreational boating, live bait, aquarium trade, live food fish, and unauthorized introductions. Ballast water is one of the leading vectors for transporting and introducing species, both in Canada and around the world, and is responsible for the transport of at least one third of all documented marine invasions. Since invasive species have no regard for political boundaries, efforts to prevent invasions need to be interjurisdictional. Given, also that invasive species often travel as contaminants of trade transfers, for example, in the ballast tanks of ships, reducing the spread of invasive species via this pathway would either require constraints on where ships travel, or the installation onto all ships of expensive ballast treatment technology, thereby increasing the cost of shipped goods. As such cost benefit analysis involves trade-offs with other activities, complicating decisions about how impacts can best be managed.

Phillip Noyce is one of Australia’s most prominent film makers—a successful feature film director with both iconic Australian narratives and many a Hollywood blockbuster under his belt. Still, his beginnings were quite humble and far from his role today when he grew up in the midst of the counterculture of the late sixties. Millions of young people his age joined the various ‘movements’ of the day after experiences that changed their lives—mostly music but also drugs or fashion. The counterculture was a turbulent time in Sydney artistic circles as elsewhere. Everything looked possible, you simply had to “Do It!”—and Noyce did. He dived head-on into these times and with a voracious appetite for its many aspects—film, theatre, rallies, music, art and politics in general. In fact he often was the driving force behind such activities. Noyce described his personal epiphany occurring in 1968: A few months before I was due to graduate from high school, […] I saw a poster on a telegraph pole advertising American 'underground' movies. There was a mesmerising, beautiful blue-coloured drawing on the poster that I later discovered had been designed by an Australian filmmaker called David Perry. The word 'underground' conjured up all sorts of delights to an eighteen-year-old in the late Sixties: in an era of censorship it promised erotica, perhaps; in an era of drug-taking it promised some clandestine place where marijuana, or even something stronger, might be consumed; in an era of confrontation between conservative parents and their affluent post-war baby-boomer children, it promised a place where one could get together with other like-minded youth and plan to undermine the establishment, which at that time seemed to be the aim of just about everyone aged under 30. (Petzke 8) What the poster referred to was a new, highly different type of film. In the US these films were usually called “underground”. This term originates from film critic Manny Farber who used it in his 1957 essay Underground Films. Farber used the label for films whose directors today would be associated with independent and art house feature films. More directly, film historian Lewis Jacobs referred to experimental films when he used the words “film which for most of its life has led an underground existence” (8). The term is used interchangeably with New American Cinema. It was based on a New York group—the Film-Makers’ Co-operative—that started in 1960 with mostly low-budget filmmakers under the guidance of Jonas Mekas. When in 1962 the group was formally organised as a means for new, improved ways of distributing their works, experimental filmmakers were the dominant faction. They were filmmakers working in a more artistic vein, slightly influenced by the European Avant-garde of the 1920s and by attempts in the late 1940s and early 1950s. In film history, this era is also known as the Third Avant-garde. In their First Statement of the New American Cinema Group, the group drew connections to both the British Free Cinema and the French Nouvelle Vague. They also claimed that contemporary cinema was “morally corrupt, aesthetically obsolete, thematically superficial, temperamentally boring” (80). An all-encompassing definition of Underground Film never was available. Sheldon Renan lists some of the problems: There are underground films in which there is no movement and films in which there is nothing but movement. There are films about people and films about light. There are short, short underground films and long, long underground films. There are some that have been banned, and there is one that was nominated for an Academy Award. There are sexy films and sexless films, political films and poetical films, film epigrams and film epics … underground film is nothing less than an explosion of cinematic styles, forms and directions. (Renan 17) No wonder that propelled by frequent serious articles in the press—notably Jonas Mekas in the Village Voice—and regular screenings at other venues like the Film-makers’ Cinemathèque and the Gallery of Modern Art in New York, these films proved increasingly popular in the United States and almost immediately spread like bush fires around the world. So in early September 1968 Noyce joined a sold-out crowd at the Union Theatre in Sydney, watching 17 shorts assembled by Ubu Films, the premier experimental and underground film collective in 1960s Australia (Milesago). And on that night his whole attitude to art, his whole attitude to movies—in fact, his whole life—changed. He remembered: I left the cinema that night thinking, "I’m gonna make movies like that. I can do it." Here was a style of cinema that seemed to speak to me. It was immediate, it was direct, it was personal, and it wasn’t industrial. It was executed for personal expression, not for profit; it was individual as opposed to corporate, it was stylistically free; it seemed to require very little expenditure, innovation being the key note. It was a completely un-Hollywood-like aesthetic; it was operating on a visceral level that was often non-linear and was akin to the psychedelic images that were in vogue at the time—whether it was in music, in art or just in the patterns on your multi-coloured shirt. These movies spoke to me. (Petzke 9) Generally speaking, therefore, these films were the equivalent of counterculture in the area of film. Theodore Roszak railed against “technocracy” and underground films were just the opposite, often almost do-it-yourself in production and distribution. They were objecting to middle-class culture and values. And like counterculture they aimed at doing away with repression and to depict a utopian lifestyle feeling at ease with each imaginable form of liberality (Doggett 469). Underground films transgressed any Hollywood rule and convention in content, form and technique. Mobile hand-held cameras, narrow-gauge or outright home movies, shaky and wobbly, rapid cutting, out of focus, non-narrative, disparate continuity—you name it. This type of experimental film was used to express the individual consciousness of the “maker”—no longer calling themselves directors—a cinematic equivalent of the first person in literature. Just as in modern visual art, both the material and the process of making became part of these artworks. Music often was a dominant factor, particularly Eastern influences or the new Beat Music that was virtually non-existent in feature films. Drug experiences were reflected in imagery and structure. Some of the first comings-out of gay men can be found as well as films that were shown at the appropriately named “Wet Dreams Festival” in Amsterdam. Noyce commented: I worked out that the leading lights in this Ubu Films seemed to be three guys — Aggy Read, Albie Thoms and David Perry […They] all had beards and […] seemed to come from the basement of a terrace house in Redfern. Watching those movies that night, picking up all this information, I was immediately seized by three great ambitions. First of all, I wanted to grow a beard; secondly, I wanted to live in a terrace house in the inner city; and thirdly, I wanted to be a filmmaker. (Ubu Films) Noyce soon discovered there were a lot of people like him who wanted to make short films for personal expression, but also as a form of nationalism. They wanted to make Australian movies. Noyce remembered: “Aggy, Albie and David encouraged everyone to go and make a film for themselves” (Petzke 11). This was easy enough to do as these films—not only in Australia—were often made for next to nothing and did not require any prior education or training. And the target audience group existed in a subculture of people willing to pay money even for extreme entertainment as long as it was advertised in an appealing way—which meant: in the way of the rampaging Zeitgeist. Noyce—smitten by the virus—would from then on regularly attend the weekly meetings organised by the young filmmakers. And in line with Jerry Rubin’s contemporary adage “Do it!” he would immediately embark on a string of films with enthusiasm and determination—qualities soon to become his trademark. All his films were experimental in nature, shot on 16mm and were so well received that Albie Thoms was convinced that Noyce had a great career ahead of him as an experimental filmmaker. Truly alternative was Noyce’s way to finally finance Better to Reign in Hell, his first film, made at age 18 and with a total budget of $600. Noyce said on reflection: I had approached some friends and told them that if they invested in my film, they could have an acting role. Unfortunately, the guy whose dad had the most money — he was a doctor’s son — was also maybe the worst actor that was ever put in front of a camera. But he had invested four hundred dollars, so I had to give him the lead. (Petzke 13) The title was taken from Milton’s poem Paradise Lost (“better to reign in hell than serve in heaven”). It was a film very much inspired by the images, montage and narrative techniques of the underground movies watched at Ubu. Essentially the film is about a young man’s obsession with a woman he sees repeatedly in advertising and the hallucinogenic dreams he has about her. Despite its later reputation, the film was relatively mundane. Being shot in black and white, it lacks the typical psychedelic ingredients of the time and is more reminiscent of the surrealistic precursors to underground film. Some contempt for the prevailing consumer society is thrown in for good measure. In the film, “A youth is persecuted by the haunting reappearance of a girl’s image in various commercial outlets. He finds escape from this commercial brainwashing only in his own confused sexual hallucinations” (Sydney Filmmakers Co-operative). But despite this advertising, so convincingly capturing the “hint! hint!” mood of the time, Noyce’s first film isn’t really outstanding even in terms of experimental film. Noyce continued to make short experimental films. There was not even the pretence of a story in any of them. He was just experimenting with his gear and finding his own way to use the techniques of the underground cinema. Megan was made at Sydney University Law School to be projected as part of the law students’ revue. It was a three-minute silent film that featured a woman called Megan, who he had a crush on. Intersection was 2 minutes 44 seconds in length and shot in the middle of a five-way or four-way intersection in North Sydney. The camera was walked into the intersection and spun around in a continuous circle from the beginning of the roll of film to the end. It was an experiment with disorientation and possibly a comment about urban development. Memories was a seven-minute short in colour about childhood and the bush, accompanied by a smell-track created in the cinema by burning eucalyptus leaves. Sun lasted 90 seconds in colour and examined the pulsating winter sun by way of 100 single frame shots. And finally, Home was a one-and-a-half-minute single frame camera exploration of the filmmaker’s home, inside and out, including its inhabitants and pets. As a true experimental filmmaker, Noyce had a deep interest in technical aspects. It was recommended that Sun “be projected through a special five image lens”, Memories and Intersection with “an anamorphic lens” (Sydney Filmmakers Co-operative). The double projection for Better to Reign in Hell and the two screens required for Good Afternoon, as well as the addition of the smell of burning leaves in Memories, were inroads into the subgenre of so-called Expanded Cinema. As filmmaking in those days was not an isolated enterprise but an integral part of the all-encompassing Counterculture, Noyce followed suit and became more and more involved and politiced. He started becoming a driving force of the movement. Besides selling Ubu News, he organised film screenings. He also wrote film articles for both Honi Soit and National U, the Sydney University and Canberra University newspapers—articles more opinionated than sophisticated. He was also involved in Ubu’s Underground Festival held in August and in other activities of the time, particularly anti-war protests. When Ubu Films went out of business after the lack of audience interest in Thoms’s long Marinetti film in 1969, Aggy Read suggested that Ubu be reinvented as a co-operative for tax reasons and because they might benefit from their stock of 250 Australian and foreign films. On 28 May 1970 the reinvention began at the first general meeting of the Sydney Filmmakers Cooperative where Noyce volunteered and was elected their part-time manager. He transferred the 250 prints to his parents’ home in Wahroonga where he was still living he said he “used to sit there day after day just screening those movies for myself” (Petzke 18). The Sydney University Film Society screened feature films to students at lunchtime. Noyce soon discovered they had money nobody was spending and equipment no one was using, which seemed to be made especially for him. In the university cinema he would often screen his own and other shorts from the Co-op’s library. The entry fee was 50 cents. He remembered: “If I handed out the leaflets in the morning, particularly concentrating on the fact that these films were uncensored and a little risqué, then usually there would be 600 people in the cinema […] One or two screenings per semester would usually give me all the pocket money I needed to live” (Petzke 19). Libertine and risqué films were obviously popular as they were hard to come by. Noyce said: We suffered the worst censorship of almost any Western country in the world, even worse than South Africa. Books would be seized by customs officers at the airports and when ships docked. Customs would be looking for Lady Chatterley’s Lover. We were very censored in literature and films and plays, and my film [Better to Reign in Hell] was banned from export. I tried to send it to a film festival in Holland and it was denied an export permit, but because it had been shot in Australia, until someone in the audience complained it could still be screened locally. (Castaway's Choice) No wonder clashes with the law happened frequently and were worn like medals of honour in those days of fighting the system, proving that one was fighting in the front line against the conservative values of law and order. Noyce encountered three brushes with the law. The first occurred when selling Ubu Films’ alternative culture newspaper Ubu News, Australia’s first underground newspaper (Milesago). One of the issues contained an advertisement—a small drawing—for Levi’s jeans, showing a guy trying to put his Levis on his head, so that his penis was showing. That was judged by the police to be obscene. Noyce was found guilty and given a suspended sentence for publishing an indecent publication. There had been another incident including Phil’s Pill, his own publication of six or eight issues. After one day reprinting some erotic poems from The Penguin Collection of Erotic Poetry he was found guilty and released on a good behaviour bond without a conviction being recorded. For the sake of historical truth it should be remembered, though, that provocation was a genuine part of the game. How else could one seriously advertise Better to Reign in Hell as “a sex-fantasy film which includes a daring rape scene”—and be surprised when the police came in after screening this “pornographic film” (Stratton 202) at the Newcastle Law Students Ball? The Newcastle incident also throws light on the fact that Noyce organised screenings wherever possible, constantly driving prints and projectors around in his Mini Minor. Likewise, he is remembered as having been extremely helpful in trying to encourage other people with their own ideas—anyone could make films and could make them about anything they liked. He helped Jan Chapman, a fellow student who became his (first) wife in December 1971, to shoot and edit Just a Little Note, a documentary about a moratorium march and a guerrilla theatre group run by their friend George Shevtsov. Noyce also helped on I Happened to Be a Girl, a documentary about four women, friends of Chapman. There is no denying that being a filmmaker was a hobby, a full-time job and an obsessive religion for Noyce. He was on the organising committee of the First Australian Filmmakers’ Festival in August 1971. He performed in the agit-prop acting troupe run by George Shevtsov (later depicted in Renegades) that featured prominently at one of Sydney’s rock festival that year. In the latter part of 1971 and early 1972 he worked on Good Afternoon, a documentary about the Combined Universities’ Aquarius Arts Festival in Canberra, which arguably was the first major manifestation of counterculture in Australia. For this the Aquarius Foundation—the cultural arm of the Australian Union of Students—had contracted him. This became a two-screen movie à la Woodstock. Together with Thoms, Read and Ian Stocks, in 1972 he participated in cataloguing the complete set of films in distribution by the Co-op (see Sydney Filmmakers Cooperative). As can be seen, Noyce was at home in many manifestations of the Sydney counterculture. His own films had slowly become more politicised and bent towards documentary. He even started a newsreel that he used to screen at the Filmmakers’ Cooperative Cinema with a live commentary. One in 1971, Springboks Protest, was about the demonstrations at the Sydney Cricket Ground against the South African rugby tour. There were more but Noyce doesn’t remember them and no prints seem to have survived. Renegades was a diary film; a combination of poetic images and reportage on the street demonstrations. Noyce’s experimental films had been met with interest in the—limited—audience and among publications. His more political films and particularly Good Afternoon, however, reached out to a much wider audience, now including even the undogmatic left and hard-core documentarists of the times. In exchange, and for the first time, there were opposing reactions—but as always a great discussion at the Filmmakers’ Cinema, the main venue for independent productions. This cinema began with those initial screenings at Sydney University in the union room next to the Union Theatre. But once the Experimental Film Fund started operating in 1970, more and more films were submitted for the screenings and consequently a new venue was needed. Albie Thoms started a forum in the Yellow House in Kings Cross in May 1970. Next came—at least briefly—a restaurant in Glebe before the Co-op took over a space on the top floor of the socialist Third World Bookshop in Goulburn Street that was a firetrap. Bob Gould, the owner, was convinced that by first passing through his bookshop the audience would buy his books on the way upstairs. Sundays for him were otherwise dead from a commercial point of view. Noyce recollected that: The audience at this Filmmakers’ Cinema were mightily enthusiastic about seeing themselves up on the screen. And there was always a great discussion. So, generally the screenings were a huge success, with many full houses. The screenings grew from once a week, to three times on Sunday, to all weekend, and then seven days a week at several locations. One program could play in three different illegal cinemas around the city. (Petzke 26) A filmmakers’ cinema also started in Melbourne and the groups of filmmakers would visit each other and screen their respective films. But especially after the election of the Whitlam Labor government in December 1972 there was a shift in interest from risqué underground films to the concept of Australian Cinema. The audience started coming now for a dose of Australian culture. Funding of all kind was soon freely available and with such a fund the film co-op was able to set up a really good licensed cinema in St. Peters Lane in Darlinghurst, running seven days a week. But, Noyce said, “the move to St. Peters Lane was sort of the end of an era, because initially the cinema was self-funded, but once it became government sponsored everything changed” (Petzke 29). With money now readily available, egotism set in and the prevailing “we”-feeling rather quickly dissipated. But by the time of this move and the resulting developments, everything for Noyce had already changed again. He had been accepted into the first intake of the Interim Australian Film & TV School, another one of the nation-awareness-building projects of the Whitlam government. He was on his “long march through the institutions”—as this was frequently called throughout Europe—that would bring him to documentaries, TV and eventually even Hollywood (and return). Noyce didn’t linger once the alternative scene started fading away. Everything those few, wild years in the counterculture had taught him also put him right on track to become one of the major players in Hollywood. He never looked back—but he remembers fondly…References Castaway’s Choice. Radio broadcast by KCRW. 1990. Doggett, Peter. There’s a Riot Going On: Revolutionaries, Rock Stars and the Rise and Fall of ’60s Counter-Culture. Edinburgh: Canongate, 2007. Farber, Manny. “Underground Films.” Negative Space: Manny Farber on the Movies. Ed. Manny Farber. New York: Da Capo, 1998. 12–24. Jacobs, Lewis. “Morning for the Experimental Film”. Film Culture 19 (1959): 6–9. Milesago. “Ubu Films”. n.d. 26 Nov. 2014 ‹http://www.milesago.com/visual/ubu.htm›. New American Cinema Group. “First Statement of the New American Cinema Group.” Film Culture Reader. Ed. P. Adams Sitney. New York: Praeger, 1970. 73–75. Petzke, Ingo. Phillip Noyce: Backroads to Hollywood. Sydney: Pan McMillan, 2004. Renan, Sheldon. The Underground Film: An Introduction to Its Development in America. London: Studio Vista, 1968. Roszak, Theodore. The Making of Counter Culture. New York: Anchor, 1969. Stratton, David. The Last New Wave: The Australian Film Revival. Sydney: Angus and Robertson, 1980. Sydney Filmmakers Co-operative. Film Catalogue. Sydney: Sydney Filmmakers Co-operative, 1972. Ubu Films. Unreleased five-minute video for the promotion of Mudie, Peter. Ubu Films: Sydney Underground Movies 1965-1970. Sydney: UNSW Press, 1997.