Chemical Quality of Base Flow in 18 Selected Streams in the Upper Susquehanna River Basin, New York

The base-flow and runoff components of total streamflow at four selected sites in the upper Susquehanna River Basin in New York were calculated through hydrograph-separation techniques from long-term (1941-93) discharge records. Base flow was found to constitute more than 60 percent of the total annual flow of each stream. Base-flow samples were then collected at 18 stream sites several times during 2001 to define the chemical quality of base flow. The concentrations of selected common ions, nutrients, and pesticides were plotted in relation to the amount of agricultural land and carbonate bedrock in the drainage basin upstream of each site. Sites were selected at locations distant from and unaffected by development and urban areas. Twelve of the sites were again sampled in November 2001 for pesticide analysis. The predominant cations detected in the samples were calcium, magnesium, and sodium; the major anions were chloride, sulfate, and bicarbonate. The predominant nutrient was nitrate. Higher nitrate concentrations in the winter samples than in the summer samples are attributed to the seasonal decrease in plant growth and microbial activity in the streams during the winter, which allows nitrate to persist in the stream water. Lower nitrate concentrations in the summer samples probably result from nitrogen uptake by vegetation and microbial activity in the streams. Base-flow samples from the agricultural, carbonate-rich northern part of the study area had higher concentrations of most inorganic chemical constituents than those from the forested, noncarbonate (shale, siltstone, and sandstone) central and southern parts. The highest nitrate concentrations were in samples from subbasins dominated by agricultural land, and the lowest were in subbasins dominated by forest. The concentrations in samples from subbasins with forested as well as agricultural land were intermediate. Six pesticides were detected in samples from 10 of the 12 sites. All were herbicides. The highest concentrations of pesticides, and the most frequent pesticide detections, were in samples from agricultural subbasins and large main-stem subbasins with mixed land use and mixed bedrock geology. A correlation was indicated between land use and concentrations of atrazine and deethylatrazine. The concentrations of all six compounds were at least an order of magnitude lower than New York State and Federal water-quality standards. Ground water from four production wells in the villages of Afton, Sidney, Unadilla, and Otego was analyzed for chlorofluorocarbons (CFCs) to indicate the approximate age of the water in these wells and the potential for induced infiltration of river water. The water at two of these wells is probably between 26 and 50 years old; the ages of water at the other two wells could not be reliably estimated because of CFC contamination from a nonatmospheric source. The two wells for which CFC analysis gave reliable results (Afton and Otego) probably do not induce infiltration of river water into the aquifer

The copyright reward system and content owners in the creative industry: a study of the Malaysian film and TV industry

The creative industry is identified as one of the key drivers to move Malaysia into a high income and knowledge‐based economy. Copyright law and complementary policies were used as measures to stimulate the creative industry. However, the industry's growth is far from the expectation. This leads to a two‐prong inquiry. First, the paper attempts to examine the adequacy of copyright rules and provisions in securing the rights of the creators and provide them with the motivation to produce more creative works. The aim is to explore the dynamics between the various copyright beneficiaries in the creative industry in Malaysia to understand what are the actual problems that deprive the copyright owners from reaping the full value of the exclusive rights granted to them. The second objective is to examine whether the copyright provisions are aligned with complementary policies implemented to boost the creative content industry. Our primary contention is that both the legal reforms and complementary policies used to support the industry need to be revisited. The legal reforms must be aligned with the structure and dynamics of power in the industry to give all the beneficiaries an equal bargaining plane to take advantage of the copyright system

Hydrogeology of the Tully Lakes area in southern Onondaga and northern Cortland Counties, New York /

Cover title."December 2001."Includes bibliographical references (p. [16]).Mode of access: Internet

The new screen ecology: a new wave of media globalisation?

There may be a new wave of media globalisation based on what may appear to be the virtually frictionless, near-global reach of major digital content delivery platforms, pre-eminently YouTube. This article looks at the scale and significance of this new screen ecology, considering its continuities and discontinuities with established understandings of media globalisation, arguing against the notion that it provides a platform for new forms of cultural hegemony. Focusing on the periphery rather than the centre, it uses Australia as a case study in asking the question: in what ways does it make sense to talk about a nationally demarked YouTube space

YouTube, multichannel networks and the accelerated evolution of the new screen ecology

In attempting to break with a ‘fall from grace’ narrative that may structure analysis of the rapid professionalization and monetization of previously amateur online video content on the main global platform, YouTube, this article outlines histories of key institutions in the new screen ecology as outcomes of the increased interpenetration of very different, often clashing industry cultures. Google/YouTube, Apple’s iTunes, Netflix, Amazon, Yahoo! and Facebook (‘NoCal’) are largely Internet ‘pure-play’ companies, whilst Hollywood’s incumbents (‘SoCal’) practice time-honoured mass media and premium content strategies. The ‘history of the present’ of the new screen ecology is the history of the clash of these cultures. The less than 10-year history of Google’s YouTube can be written as a history of Google seeking to come to terms with the conditions of possibility for entertainment, content and talent development from its base as an IT company dedicated to scale, automation, permanent beta, rapid prototyping and iteration. These efforts reflect both continuities and contestations with traditional media models, particularly business models. As emerging intermediaries in the middle of the convergent space between NoCal and SoCal, multichannel networks’ (MCNs’) placement sees them needing to innovate on both the NoCal and SoCal side. On the former side, MCNs are attempting to provide value-added services superior to basic YouTube analytics, with programmatics and pioneering attempts at management of scale and volume. On the latter side, they are managing a quite different class of entry- to mid-level talent, who bring successful audience development and clear ideas about the roots of their success with them. The new screen ecology is a space of unimagined scale and scope of flourishing online creativity and culture, which is at the same time turbulent and precarious for creators and MCNs alike