Thank you!
Your support is sustaining the future of local news in our communities.

What do they mean by the term ‘ocean sprawl?’

Dear EarthTalk: I recently heard the term “ocean sprawl,” which was a new one on me. We all know “sprawl” as it manifests itself above sea level. But in the oceans? Can you enlighten?

Bill Chadwick

Nantucket, Mass.

 

We are all familiar by now with “urban sprawl” — the uncontrolled spread of urban development into areas beyond the city. But environmentalists warn that the next frontier in sprawl is on the high seas, where the proliferation of fishing, shipping, tourism, resource extraction, energy development, military exercises and other human activity has begun to call into question just how vast our oceans really are. 

According to the nonprofit Natural Resources Defense Council (NRDC), our oceans are already under siege from problems like pollution, overfishing and acidification, and increased industrial activity off-shore — leading to so-called “ocean sprawl” — will jeopardize the food, jobs and recreation we have come to depend on the oceans to provide. It’s hard to believe, given how much planning goes into various types of development and human activity on land, that the oceans are still like the Wild West — with various entities staking claims on huge stretches of open water for different purposes.

A promising approach to combat ocean sprawl is called coastal and marine spatial planning (CMSP), a form of zoning for the seas to help define who can do what and where. Says the National Oceanic and Atmospheric Administration (NOAA), the federal agency charged with predicting changes in climate, weather, oceans and coasts, CMSP “identifies areas most suitable for various types or classes of activities in order to reduce conflicts among uses, reduce environmental impacts, facilitate compatible uses and preserve critical ecosystem services to meet economic, environmental, security and social objectives.” 

“Marine planning places sound science and the best available information at the heart of decision-making and brings federal, state, tribal and other partners together to cooperatively develop coastal and marine spatial plans,” continues NOAA. “This process is designed to decrease user conflict, improve planning and regulatory efficiencies, decrease associated costs and delays, engage affected communities and stakeholders, and preserve critical ecosystem functions and services.”

President Obama’s 2010 National Ocean Policy directs NOAA and other federal agencies to work with ocean users, industries and coastal communities on ways to implement CMSP in America’s off-shore waters to prevent ocean sprawl at home while setting an example for other nations around the world. Nine regional planning bodies are currently tasked with developing detailed plans for their own regions by early 2015, at which point federal policy makers will begin to coordinate implementation.

In response to momentum on CMSP, a coalition of industries including offshore energy, shipping, fisheries, recreation, mining and others formed the World Ocean Council to have a say in how and where marine spatial planning is implemented. The group organized a National Business Forum on Marine Spatial Planning in 2011 and will take part in a World Ocean Summit in San Francisco in February 2014.

Those of us who appreciate the sea certainly hope that CMSP and other approaches will succeed in turning the tide for oceans and not be undermined by special interests only concerned with bottom lines.

Contacts: NRDC, www.nrdc.org; NOAA Coastal & Marine Spatial Planning, www.msp.noaa.gov; World Ocean Council, www.oceancouncil.org.

 

Dear EarthTalk: What are “dark factories” and are they good for the environment?

Mitchell Pearson

Erie, Pa.

 

So-called dark factories — otherwise known as “lights out” or “automatic” factories — are manufacturing facilities that do not depend on human labor to get work done. While they may have some benefits for the environment they are certainly not beneficial overall considering the impact widespread adoption would have on needed jobs.

Without human line workers, such factories can operate without lights, heating and cooling and other “amenities” required by human workers. Of course, very few such facilities are completely automated, as human workers are usually required to set up equipment or remove completed parts. And some run “lights-out” between human labor shifts or as separate shifts to meet increasing demand or save money.

And while the up-front costs of setting up automated work routines manned by robots and other machines may be higher than setting up a traditional factory, on-going expenses can be significantly less given the lack of human payroll and other human-centric outlays.

The first dark factories started appearing in Japan in the 1980s as companies there started to take advantage of improvements in the technology of robotics and automation to get around the high costs of human labor. At that time, business analysts predicted then that as technology improved and qualified workers became harder to find and more expensive to support, dark factories would become more prevalent around the world. But in the interim the spread of manufacturing to developing nations with cheap human labor may have temporarily forestalled the rise of dark factories. Also, General Motors’ unsuccessful implementation of automated manufacturing in the 1980s — quality declined and sales fell accordingly — soured many big companies on the concept back then.

That said, there are many thriving examples of dark factories around the world. Many machine shops in the U.S. run “unattended” all or part of the time. Robots are commonplace now in the auto industry despite GM’s faltering early on. Amazon.com makes extensive use of robotic systems in its distribution centers and last year even acquired the company behind the technology, Kiva Systems, for $775 million in cash. In Japan, FANUC Robotics operates a lights-out factory employing robots to make other robots. Japanese camera giant Canon recently announced that it is phasing out human workers at several camera factories by 2015. And in the Netherlands, Philips produces electric razors in a facility with 128 robots and nine human quality assurance workers. 

While widespread adoption, lights-out manufacturing could deliver substantial energy savings and thus be environmentally beneficial, but analysts wonder whether replacing human laborers with computers, machines and robots is a good thing for humanity overall. According to NaturalNews.com editor Mike Adams, the rise of automation is more likely to sharply divide the economic classes and cause widespread strife. “Those who are replaced by robots will become jobless and homeless,” he explains. “Those whose lives are enriched by the benefit of the robots will become abundantly wealthy in the material quality of their lives.”

Contacts: FANUC Robotics, www.fanucrobotics.com; Kiva Systems, www.kivasystems.com; SingularityHub, www.singularityhub.com, NaturalNews.com, www.naturalnews.com.

EarthTalk is written and edited by Roddy Scheer and Doug Moss and is a registered trademark of E - The Environmental Magazine (www.emagazine.com). Send questions to: earthtalk@emagazine.com.

Latest News

A life reshaped by clay in “Matin”

Left to right: Hannah Wheeler, Matin Malikzada and Yonah Sadeh.

D.H. Callahan

On Monday, Oct. 26, a group of students, teachers and local residents gathered at the Hotchkiss School in Lakeville for a screening of the new short documentary “Matin.” The film tells the story of Matin Malikzada, a seventh-generation Afghani potter making a new life in New Milford, Connecticut. The film was made by local filmmaker Yonah Sadeh, creator of the Video Wall at the David M. Hunt Library, and Berkshires-based potter Hannah Wheeler, who were both present for the screening, along with Malikzada himself.

As a member of the seventh generation of his family to master the art of pottery, Malikzada had done things the way his family had for over a century. Istalif, the village where his family has lived for generations, was known throughout Afghanistan for its pottery, with wares sent across the country for use as everyday cups, bowls, plates and other vessels. The pottery-making families of Istalif gathered clay from the same mountain, about 30 to 45 minutes away by donkey. Every July, they would head north toward the Uzbekistan border to gather ishkar, a plant they processed by hand to make their signature glazes.

Keep ReadingShow less
Meg Sher finds her calling among the stacks

Meg Sher, executive director of the David M. Hunt Library in Falls Village.

L. Tomaino

When Meg Sher came to Falls Village in 2006 from Old Lyme, Connecticut, where she grew up, she never imagined she’d someday be the executive director of the David M. Hunt Library.

Although, in hindsight, perhaps it makes sense.

Keep ReadingShow less
Crescendo’s 23rd season speaks to the heart and mind

Christine Gevert, founding artistic director of Crescendo, conducts the audience at a performance.

Steve Potter

For Christine Gevert, founding artistic director of Crescendo, music from centuries past is anything but a relic. It is a living, breathing art form, full of drama, emotional complexity and, occasionally, surprises. As the regional choral and period-instrument ensemble launches its 23rd season, Gevert is once again bringing forgotten masterpieces into the present.

“Early Music has been my lifelong passion and the focus of my specialization in Europe and South America,” Gevert said. “Bringing this repertoire to our audiences in a nuanced way that does justice to its incredible depth, intensity, and beauty is deeply important to me.”

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

Close Encounters with Music celebrates 35 years of musical discovery

Close Encounters with Music’s 35th season opens with “Saluting the Clarinet” featuring clarinetist Alexander Fiterstein.

Provided

For 35 years, cellist Yehuda Hanani has been inviting audiences to experience classical music in unexpected ways. As founder and artistic director of Close Encounters with Music, Hanani has built a concert series that goes beyond the music itself, exploring connections to literature, history, politics and the human experience.

This year, Close Encounters celebrates its 35th season with “Celebration & Discovery,” a seven-concert series that opens Sunday, Nov. 1, at the Mahaiwe Performing Arts Center in Great Barrington.

Keep ReadingShow less
Shinbone Alley brings spooky songs to Spencertown

Seeing isn’t always believing. Sometimes it’s the lack of a defined picture that can be the most compelling. And when Alex Harvey of Shinbone Alley sings his supernaturally charged sea shanties and street ballads, the unseen will be downright scary. On Oct. 30, the historically inclined storyteller and performer will create a spooky evening of forbidden tales and yarns through a carefully chosen series of songs at Spencertown Academy of Arts.

The repertoire for the performance is a bit fraught. Over the years, Shinbone Alley has explored the world of folklore through music. Though the group usually features two musicians, Harvey, a multi-instrumentalist and singer, will be performing solo. That is, of course, unless you include the spirits.

Keep ReadingShow less
Malian blues and Moroccan Gnawa meet in Sheffield
Vieux Farka Touré
Proivded

Desert winds rarely blow into the Berkshires, but on Nov. 5, they will carry the Malian blues and Moroccan Gnawa music to Race Brook Lodge.

That evening, Malian guitarist Vieux Farka Touré, often called “the Hendrix of the Sahara,” and Moroccan musician Samir LanGus will play at the lodge’s Event Barn in Sheffield, Massachusetts, at a benefit for the foundation Touré directs.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.