Journal articles on the topic 'Sand spit morpho dynamic'

The coastline is a unique land feature formed through the interaction between land and sea. It is essential to monitor and detect hotspots and observe spatial and temporal influences of climate change in the coastal environment. Coastal landform changes can be best studied through remote sensing data. This study examines the dynamic changes in the sand spit and associated coastal area of the Shiroda coasts of Sindhudurg district. The Normalized Difference Water Index (NDWI) was used to distinguish land and water and the area was calculated by reclassifying the NDWI index of all images with two classes- land surface of sand spit and water. It was found that the spit area is decreasing seasonally at a dynamic rate. Additionally, geomorphic maps were prepared for the study area and showed disastrous changes in the coastal landforms. It is a need that coastal communities worldwide must address the challenges of coastal flooding and rising sea levels caused by climate change. Climate change is causing uneven rainfall distribution, storms and cyclones, leading to coastal erosion, flooding and landform damage. Additionally, it has a negative impact on the geomorphic features of coastlines.

Tidal inlets along the central coast of Vietnam are located in a microtidal, wave-dominated coastal environment. In addition, the Vietnam coast is highly influenced by the seasonal monsoon regime, which is characterized by large northeast waves from October to March and calm southeast waves from April to September every year. Consequently, the tidal inlet entrance morphologies often suffer from a dynamic seasonal evolution due to distinct differences in the direction of wave-induced longshore sediment transport (LST) between the two monsoon seasons. The migration or closure of tidal inlets causes a lot of problems for socio-economic development in the region since these are the main reasons leading to an increase in the risk of coastal flooding and the obstruction of navigation. This paper presents a comprehensive study of the morphological evolutions of natural tidal inlets on the central coast of Vietnam using long-term remote sensing data sets and by the Delft3D numerical model. Surprisingly, the estimated LST rates from the former method are in an order of magnitude agreement with the results from the latter one for all of the areas in this study. Based on the conservation equation for sand and comprehensive data collection, a new simple empirical formula for predicting the sand spit elongation rate as a function of the sand spit width is developed. Although the breaching of sand spit might happen during an extreme flood event at some tidal inlets, the growth rate of the spit before and after the breaching is almost unchanged. These findings are very useful information for supporting the local coastal authorities to find better management solutions in terms of sustainable development.

Tidal-inlet systems are dynamic features that respond to short-term (e.g., storms) and longer-term processes (e.g., sea-level rise, changes in tidal prism). The Chincoteague Inlet system, located along the northern Eastern Shore of Virginia (USA), is a dynamic coastal complex that experiences rapid change associated with sediment redistribution and a shifting inlet throat due to the southern elongation of adjacent Assateague Island. In this study, a numerical model based on Delft3D with coupled flow–waves, multiclass sediment transport, and morphologic feedback was developed to quantify the hydrodynamic and geomorphic controls within this rapidly evolving inlet–spit system and to develop a more comprehensive understanding of regional to local controls on sediment-transport pathways. Model results show that most of the sand transport along southern Assateague Island is sequestered nearshore and proximally in deeper sinks within Fishing Point, and, of that, only finer sand sizes are transported around the spit, confirming previous analysis and hypothesis. The model also showed that sand transport toward the south increases along Wallops Island and quantified spatially explicit transport trends for selected sediment classes, revealing that coarser sediment bypassing is a punctuated process that is proportional to storms.

Sand spits occur worldwide in different shapes, from a single, relatively simple arc to an irregular, crenulated, and complex barrier. Cross-shore and longshore sediment transport often influence spit dynamics (Nagarajan et al., 2015), strongly linked to wave energy and sediment supply. The present analysis focuses on a dynamic and complex spit at Tortugueros beach, a re-entrant bay, 1 km in length, on the Gulf of Mexico. Tortugueros beach is a wave-dominated beach with very fine to fine sand that forms a fairly gentle sloping beach profile. The sediment sources are longshore sediment transport and onshore sandbar migration, while sediment loss is due to long- and cross shore (during storms) transport. The region is micro-tidal, with mean and maximum high tide levels of 0.18 m and 0.92 m above the mean sea level. Given the high dynamics of the Tortugueros beach spit system and the lack of data measured on the beach, a monitoring system was developed to collect field data regularly to help us improve the understanding of the functioning of the coast on this beach, and the international knowledge related to the formation and morphological evolution of this type of spits in other similar beaches around the world.

Sandy coasts are one of the most dynamic spheres; continuously changing due to natural processes (severe weather and rising water levels) and human activities (coastal protection or port construction). Coastal geodynamic processes lead to beach sediment erosion or accumulation. The coast’s dynamic tendencies determine the changes in the volume of beach sediments; grain size; mineralogical; and geochemical composition of sediments. In addition to lithological and mineralogical analysis of sediments, geochemical analysis can provide valuable information about the local and regional patterns of sediment transport, distribution, provenance, and coasts’ conditions. The study aims to assess trace metals’ temporal and spatial distribution determined in the sandy beach sediments along the south-eastern Baltic Sea coast (Lithuania) during 2011–2018. The Lithuanian seacoast is divided into two parts: mainland and spit coast. Our results revealed that the dominant group of elements on the mainland includes Ca–Mg–Mn–Ti and on the Curonian Spit Fe–Pb–As–Co–Cr–Ni–Al, which remain unchanged during the years. The analysis included additional parameters such as beach volume, grain size and sorting, and heavy mineral concentration on the beach. The spatial analysis of trace elements indicated that the trace metal content depends on the coastal processes, but it differs in the mainland and spit sea coast. We identified a higher concentration of trace metals in the erosion-dominated areas in all analysed years on the mainland coast. On the spit coast, the trace metal concentration increased in areas associated with relict coarse sand and where the loading of sediments was active on the beach due to the northward along-shore transport.

Abstract Klayar Beach (KB), Pacitan, East Java, Indonesia is a rugged coast with a narrow sand beach, a relatively small embayment with rocky headlands, and a very exotic view as a coastal tourism destination. Despite its attractiveness, KB poses a hazard due to rip currents. From 2009 to 2022, KB visited more than 3 million people, and more than 30 people were reported dead due to drowning in rip currents. This paper presents the result of fieldwork to investigate morpho-dynamic driven rip current hazard of the study area. This study carried out bathymetric and topographic mapping and sediment sampling. The last 10 years’ wave data was used for predicting hydrodynamic parameters. The study shows a good correlation between a variety of incoming significant wave heights and tide fluctuation vs. rip current velocity. The existence of headland plays a significant role in rip current formation in the study area. The headland influences either shadow or deflected rip currents formation for the incoming wave angle. The study also indicates that the type of rip current in the KB is structural boundary controlled, and the most important thing to be alerted for promoting beach safety in this area is that this rip current is predicted permanently to occur.

The coastal area of the Ma river delta is formed by the interaction of continental and marine processes, between neo-tectonic activities and exogenous processes, between natural factors and human activities during the Late Holocene. Using remote sensing and geoscience research methods (granulometry, paleontology, geochemistry, clay mineralogy) and geomorphological studies (geneses, morphology, dynamics) combined with field survey, this coastal area, except the denuded mountainous remnants, could be distinguished into 12 morpho-sedimentary units formed and developed by the dynamic interactions of the river, waves and tides. The units formed by fluvial dynamics include: 1) Point bar is composed of clayey silt and sandy silt, 2) Channel bar composed of silty sand, 3) Levee with the composition of silty sand and 4) The flood plain of silty clay. The Late Holocene evolution of the Ma river delta was dominated by wave dynamics, reflected by a wave-formed association of dunes, interdune swamps and current sand beaches. The wave-formed units include 5) Dune’s sand and silty sand, 6) Back-dune depressions composed of sand silt clay, 7) Beach composed of sand, 8) Lagoon plain of silty clay and 9) Strand plain composed of silty sand. The tide-influenced units include 10) Supratidal flat with the composition of silty clay, 11) Intertidal flat characterized by clay or silty clay interbedded with thin fine sand or silty sand layers, 12) Subtidal flat of sand and silty sand.

As sea levels rise globally in response to anthropogenic climate change, coastal depositional systems that persist in dynamic equilibrium with accommodation space, sediment supply and hydrodynamic processes may begin to respond by redistributing sediment, causing erosion or migration of landforms that may have appeared as stable over previous decades to centuries. In contrast, systems that have adjusted to inherited or changing boundary conditions over historical times offer insights on the modes and timescales of potential future change in remobilised coastal systems. We investigate the coupled evolution of an estuarine sand barrier-spit and tidal delta over the past century, focusing on storm-driven erosion and overwash during recent decades that triggered recurrent barrier migration (rollover), ultimately welding it to the bedrock valley framework. Historical aerial photographs and recent high-resolution satellite and aerial imagery are analysed to map morphological change and calculate decadal trends in shoreline and barrier migration. Ocean wave and water level conditions between image dates capturing notable responses are analysed using wave and tide records from nearby measurement stations.

Collection of nearshore data such as bathymetry and benthic surveys are a requirement to all coastal projects. Typically, surveys are conducted in advance of a modelling exercise so as to replicate in-situ and existing conditions. These surveys only show one snapshot in time and as such do not represent conditions that are out of equilibrium from either seasonal or long-term changes. In these locations, an assessment of a timeseries of surveys would benefit the understanding of nearshore coastal dynamics. However, timeseries of nearshore data are seldom available. Traditional coastal survey technology, e.g., bathymetry from acoustic means or airborne lidar, are expensive and time consuming, and as such they are rarely conducted on a regular basis. Satellite data offers a novel solution by allowing access to very high-resolution data generated over a 20-year time period stored in easily accessible archives, including a convenient web-based application. This paper describes the application of historical satellite data to understand coastal change to a dynamic sand spit feature in Pigeon Point in Southwest Tobago.

AbstractGeological structures and Late Quaternary stratigraphy of the shallow subsurface along the southernmost Danish North Sea coast have been investigated using seismic data and shallow boreholes. A large-scale glaciotectonic thrust complex has been mapped in an area of 15 km by 40 km in the Fanø Bugt area. The affected succession consists of Neogene and Quaternary sediments deformed down to a depth of 200 – 360 m. A kineto-stratigraphic correlation to onshore glaciotectonic deformation suggests that the deformation took place during a westward advance stage of the Late Saalian (Warthe) glaciation. The western limit of the glaciotectonic structures constitutes an N-S striking deformation front situated 35 km off the west coast. Based on the glacial stratigraphy outside the deformation front, it is suggested that the same ice advance that caused the glaciotectonic deformation, eroded the top of the thrust sheets, and subsequently deposited a lower unit of meltwater sediments and an upper heterogenous glacigenic unit. The upper glacigenic unit forms a bank about 30 km offshore. Between the bank and the shore, the surface of the Saalian glacial landscape forms a wide depression ca. 50 m below sea level. This basin has controlled deposition in the area since the late Saalian and is filled with sediments of late Saalian, Eemian, Weichselian and Holocene age. The base of the Holocene marine deposits is thus a flat erosional surface extending eastward several kilometres below the onshore coastal areas and the northern Wadden Sea. This surface was transgressed 8800 years ago. An inverted, in plan view T-shaped, Holocene sand accumulation approximately 25 km long, 30 km wide and 15 – 25 m thick is situated on top of this surface at Blåvands Huk. According to recent estimates by the Danish Coastal Protection Board some 2.5 million m3 sediments are supplied annually to the system from the north. In the last 3000 years, 25 km of the west coast and the associated shoreface slope have prograded ca. 3 km towards the west forming a barrier spit complex. Large aeolian dunes and cover sands now conceal the spit complex. Extending twenty km west of Blåvands Huk is a highly dynamic bank, the Inner Horns Rev, with active sand-accumulation on the slopes. The Inner Horns Rev bank has grown ca. 3.5 km westward during the last 800 years. The deposits seem to be sourced by the coastal longshore sand transport from the north. The Outer Horns Rev was previously assumed to be a Saalian terminal moraine. However, this investigation reveals that it is also mainly a Holocene marine accumulation landform, but sourced from the west. Other sand accumulations, which are situated 20 – 30 km west of the coast, are probably sourced from both the south and the west.

This study examines the hydrodynamic regimes in Shediac Bay, located in New Brunswick, Canada, with a focus on the breach in the Grande-Digue sand spit. The breach, which was developed in the mid-1980s, has raised concerns about its potential impacts on water renewal time and water quality in the inner bay. The aims of this study, using mathematical modeling approaches, were to evaluate the flow regimes passing through the breach and influences on the distribution of dissolved matter, providing insights into whether the breach should be allowed to naturally evolve or be artificially infilled to prevent contaminant stagnancy in the bay. The study considered three simulation scenarios to comprehend the water renewal time and the role of the breach in the environmental management of Shediac Bay. Results indicated that completely closing the breach would significantly increase the water renewal time in the inner bay, although the spatial extent of this increase is limited. However, the study identified some limitations, including the need to better define the concentration limit for considering water as renewed and the lack of consideration of dynamic factors such as wind and wave effects.

The Rhône River on its Swiss course flows through the Lake of Geneva before traversing Geneva and continuing towards France. The river is entirely canalized upstream of the Lake of Geneva, over a length of about 160 km. Hence, a large river restoration project, the Third Rhône River Correction, is being planned for the upcoming 20-30 years. One of the first works to be realized will be the restoration of a delta estuary of the Rhône River into the lake. This delta will propose morphological diversity over a length of about 1.5 km, for a width of about 0.8 km, and will consist of a terrestrial part and a lake part. Both numerical and physical modelling have been performed to assess the morpho-dynamic potential of this delta. The morphological numerical modelling predicts evolution of the delta within a time frame of 30 years. The maritime numerical modelling shows the deformation of the delta head due to storm events on the lake, as well as the related littoral transport. The computations allowed assessing the progressive development of the delta into the lake, as well as the evolution of the terrestrial part and of a secondary river stretch. This allowed determining 3 interesting geometries to be tested on a physical model. The physical model has been constructed at an undistorted 1: 75 scale and reproduces morphology of the Rhône River and its delta with a movable bed and a movable delta. Two different materials have been mixed to simulate the sand and gravel parts of the sediment transport. Also, a wave generator has been used to reproduce storm events on the lake. This paper presents a comparison of numerical and physical model predictions of the morpho-dynamic behavior of the delta, including the influence of coastal events on the estuary dynamics.

Owing to its unique physical and socio-economic characteristics, the Saint Louis region stands out as one of the most susceptible areas in Senegal to the adverse impacts of coastal erosion. The dynamics of erosion in this region are significantly influenced by the Langue de Barbarie (LB), a sand spit formed at the mouth of the Senegal River. Initially, in 2003, a 4 m wide artificial breach was strategically introduced to mitigate flooding; however, sediment dynamics expanded it to 6 km by 2020, thereby affecting the entire region. This study delves into the coastline change of the LB, specifically divided into three zones (LB-1, LB-2, and LB-3), spanning the period from 1994 to 2042. Leveraging Geographic Information System (GIS) and remote sensing techniques, our investigation reveals that, prior to the breach’s creation, the average dynamic coastline rates in zones LB-1, LB-2, and LB-3 were estimated at 4.4, 5.9, and 4.4 m/year, respectively. Subsequent to the breach, these rates shifted to −1.2, 8.4, and −2.7 m/year, with the most significant erosion observed alongshore of LB-3 at −6.6 m/year during the period 2002–2012. Projecting into 2032, LB-1 and LB-3 are anticipated to experience erosion rates of −11.5 and −26.8 m/year, respectively, while the LB-2 records an estimated accretion rate of 8.41 m/year. Eroded areas are expected to total 571,458 m2, while accumulated areas are expected to total 67,191 m2. By 2042, zones LB-1, LB-2, and LB-3 are expected to experience erosion rates of −23 and −53.6 m/year, resulting in the erosion of 1,021,963 m2 and the accumulation of 94,930 m2 with a dynamic rate of 168.2 m/year in zone LB-3. These results have significant implications for solving the urgent issue of coastal erosion in LB.

Climate change is expected to raise river discharge and sea level in the future, and these near-term changes could alter the river flow regime and sedimentation pattern of future floods. Present hazard assessment studies have limitations in considering such morpho-dynamic responses in evaluating flood hazards or risks. Here, we present a multi-model-based approach to quantify such potential hazard parameters influenced by climate change for the most vulnerable communities living on river bars and islands of the Brahmaputra–Jamuna River. River flood-flow and flood wave propagation characteristics are predicted to be affected by changing temporal distribution patterns of precipitation as a result of enhanced global warming. Increased incidences of large multi-peak floods or uncommon floods resulting in long-duration floods driven by sea-level rise may happen as a result of this. To assess it, we have set up a hydromorphic model, Delft3D, for the Brahmaputra–Jamuna River forced by upstream flow, generated from a hydrological model SWAT, over the Brahmaputra basin. The simulations cover moderate, wettest, and driest conditions of the RCP8.5 scenario, and the results reflect the flooding consequences of the near-future, mid-century, and end-century. Floods in the Brahmaputra–Jamuna River are becoming more severe, frequent, and long-lasting, as a result of climate change, and are expected to last until the end of November rather than the current September timeline. While assessing the hazard, we found that the pattern and timing of the flood are as equally important as the peak of the flood, as the river continuously adjusts its cross-sectional area with the flow. The study also demonstrates that, depending on their location/position, climate-induced hazards can affect sand bars/islands disproportionally. The high flood depth, duration, and sedimentation have a significant impact on the sand bars downstream of the river, making them more vulnerable.

While beach erosion and sand loss are typically of great concern to the tourism industry, managing rapid morphological changes linked to large amounts of moving sediments is the challenge facing Grado, an important seaside resort in the northern Adriatic, Italy. The cause of the unusual management conflict is the presence of the Mula di Muggia Bank, a nearshore depositional system made up of relict and active migrating sandbanks extending up to 2 km seawards from the touristic beachfront. A reconstruction of the morpho-sedimentary evolution of the coastal system over a 200-year period was done using a large dataset which includes historical cartography, topographic maps, aerial photos and topo-bathymetric surveys. The results show the growth of a significant urban development aimed at creating a tourist destination by occupying the waterfront along fetch-limited coastal tracts with very shallow water and scarce hydrodynamics. Furthermore, a number of sandy dynamic landforms (longshore migrating bars, a bypass corridor, an ebb-tidal delta) and accumulation zones attest to a sediment excess which can be mostly attributed to the eastern river supplies. The progressive constant migration rate of 12.6 my−1 allowed the bank to induce the expansion of the low-energy silty backbarrier environment, characterised by abundant seagrass meadows a short distance directly in front of the tourist beaches of Grado. As a result of historical analysis and more current observations, areas with diverse morphosedimentary features and with varying tourist/recreational, ecological, and conservation values have been identified. These can be considered as basic units for future accurate planning and re-evaluation of coastal management choices to balance environmental protection and tourist use. A soft coastal defence approach is proposed which includes either the preservation of specific environments or the proper use of excess sand for beach nourishment via periodic dredging or sediment bypassing.

The vulnerability of coastal areas is related to the existence and functionality of infrastructure. Ports have had increased activity in the last few decades due to growing needs of the market. At the same time, there have been huge changes in maritime traffic, and some ports are specialized in container traffic. The port in Valencia developed notably in the last expansions, in the 1980s and in the recent northern expansion. Valencia’s port specializes in container traffic, and has become a Mediterranean leader and the metropolitan area is an important logistics center. Ports can create coastal erosion by altering wave patterns. The environmental effects of the port of Valencia were analyzed. The Spanish Mediterranean coastline as well as morpho-dynamic units were monitored. The solid transport capacity to the north and south of the Valencia port was estimated, and the effects of other infrastructure on sedimentary sources of beaches were also studied. The port of Valencia’s barrier effect is responsible for the situation at the beaches to the north and south. This effect is total and impedes net sediment transport, predominantly to the south along the stretch of coastline. However, the port is not the only factor responsible for this situation, and the lack of continental sediments must also be considered. In addition, climate change has an influence on the behavior of the coastline. The vulnerability of the coast has increased due to changes in coastal morphology, variations in littoral transport rates, and coastal erosion. To promote sustainable port management, some correction measures, such as sand bypassing, dune rehabilitation, and dune vegetation, are proposed.

Using the bathymetry information available from historical maps, the underwater slope of the Baltic Sea in the Lithuanian area of the shore is analysed south and north of the Klaipėda harbour. For this purpose, the old depth measurements have been converted into the metric system and cross profiles of the nearshore drawn, as well as, on this basis, the diagrams for the 3, 5, 7 and 10 m depth points have been constructed. The depth data from the maps compiled in 1743, 1855, 1875 and 1913 have been analysed. These periods correspond to specific conditions of the shore zone morpho- and litho-dynamics. In 1743 there was no beach protecting the dune ridge on the Curonian Spit, and sand was driven by wind from the shore zone to the large dunes. There were no hydro-engineering structures in the Klaipėda harbour; therefore nothing impeded sand migration along the shore. In 1855 the shores of the Klaipėda channel were fixed, but there were no harbour piers yet. In 1875, the piers were freshly built and a beachprotecting dune ridge partly formed. In 1913, this dune ridge was already finished and the Klaipėda port was fully functioning with 5–6 m depths at the port gates. Conclusions are made about the former bottom relief during different stages of the nearshore evolution and about the conditions which caused its changes.

The Bragança Coastal Plain is located in the Northeastern of Pará, in the Bragança-Viseu CoaxialBasin (Cretaceous), with an approximate surface area of 1,570 Km2. The geometry of the basin and itspaleotopography, associated with recent tectonic movements have controlled the distribution and thethickness of the tertiary and quaternary deposits. This coastal plain constitutes a macrotidal (6 m) depositionalsystem, developed in a hot and humid equatorial climate, with a dry and wet well defined seasons and anannual precipitation averaging 3,000 mm.The geomorphology of the area is subdivided into three main morphologic realms: (1) alluvial plain,with fluvial channel, levees and flood plain; (2) estuarine plain, with an estuarine channel subdivided intoestuarine funnel segment, straight segment, meandering segment and upstream channel, tidal creek and,floodplain and; (3) coastal plain, with salt marsh (inner and outer), tidal plain (supratidal mangroves,intertidal mangroves and sand flats with tidal shoals), chenier, coastal dunes and beach environments.The recent morpho-sedimentary units are separated from highland by a line of inactive cliffs that issituated 25 km from the coastline. This cliffs mark the higher Holocene sea level, very well knowed inbrazilian east coast as Holocenic Transgression (5,100 years B.P.). During this event was deposited a basaltransgressive sequence (S1), constituted by estuarine sand and mud and marine sand. Afterwards, underregressive or stillstand sea level the mangrove deposits prograde over the transgressive sand sheet buildinga prograding sequence (S2). Nowadays, this sequence are being overlain by a recent transgressive sequence(S3).The sedimentary model, based on lithostratigraphy and sedimentary processes, proposed to BragançaCoastal Plain show a complex coastal depositional system, constituted by different sedimentaryenvironments with singular sedimentary, stratigraphic and morphologic characteristics in relation to itsgeometry and spacial distribution of the environments.The morpho-sedimentary unit show that the environments studied from the alluvial plain to coastalplain represent a dynamic area dominated by macrotides and influenced by waves along the shoreline.Therefore, the depositional model proposed is composed by a coastal plain depositional system withfluvial-estuarine-tidal flat environments with dune-beach ridge associated.

From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elephants have a learnt culture, then it is possible to extend a definition of printing beyond Homo sapiens. Poole reports that elephants mechanically trumpet reproductions of human car horns into the air surrounding their society. If nothing else, this cross-species, cross-cultural reproduction, this ‘ability to mimic’ is ‘another sign of their intelligence’. Observation of child development suggests that the first significant meaningful ‘impression’ made on the human mind is that of the face of the child’s nurturer – usually its mother. The baby’s mind forms an ‘impression’, a mental print, a reproducible memory data set, of the nurturer’s face, voice, smell, touch, etc. That face is itself a cultural construct: hair style, makeup, piercings, tattoos, ornaments, nutrition-influenced skin and smell, perfume, temperature and voice. A mentally reproducible pattern of a unique face is formed in the mind, and we use that pattern to distinguish ‘familiar and strange’ in our expanding social orbit. The social relations of patterned memory – of imprinting – determine the extent to which we explore our world (armed with research aids such as text print) or whether we turn to violence or self-harm (Bretherton). While our cultural artifacts (such as vellum maps or networked voice message servers) bravely extend our significant patterns into the social world and the traversed environment, it is useful to remember that such artifacts, including print, are themselves understood by our original pattern-reproduction and impression system – the human mind, developed in childhood. The ‘print’ is brought to mind differently in different discourses. For a reader, a ‘print’ is a book, a memo or a broadsheet, whether it is the Indian Buddhist Sanskrit texts ordered to be printed in 593 AD by the Chinese emperor Sui Wen-ti (Silk Road) or the US Defense Department memo authorizing lower ranks to torture the prisoners taken by the Bush administration (Sanchez, cited in ABC). Other fields see prints differently. For a musician, a ‘print’ may be the sheet music which spread classical and popular music around the world; it may be a ‘record’ (as in a ‘recording’ session), where sound is impressed to wax, vinyl, charged silicon particles, or the alloys (Smith, “Elpida”) of an mp3 file. For the fine artist, a ‘print’ may be any mechanically reproduced two-dimensional (or embossed) impression of a significant image in media from paper to metal, textile to ceramics. ‘Print’ embraces the Japanese Ukiyo-e colour prints of Utamaro, the company logos that wink from credit card holographs, the early photographs of Talbot, and the textured patterns printed into neolithic ceramics. Computer hardware engineers print computational circuits. Homicide detectives investigate both sweaty finger prints and the repeated, mechanical gaits of suspects, which are imprinted into the earthy medium of a crime scene. For film makers, the ‘print’ may refer to a photochemical polyester reproduction of a motion picture artifact (the reel of ‘celluloid’), or a DVD laser disc impression of the same film. Textualist discourse has borrowed the word ‘print’ to mean ‘text’, so ‘print’ may also refer to the text elements within the vision track of a motion picture: the film’s opening titles, or texts photographed inside the motion picture story such as the sword-cut ‘Z’ in Zorro (Niblo). Before the invention of writing, the main mechanically reproduced impression of a cultural symbol in a medium was the humble footprint in the sand. The footprints of tribes – and neighbouring animals – cut tracks in the vegetation and the soil. Printed tracks led towards food, water, shelter, enemies and friends. Having learnt to pattern certain faces into their mental world, children grew older and were educated in the footprints of family and clan, enemies and food. The continuous impression of significant foot traffic in the medium of the earth produced the lines between significant nodes of prewriting and pre-wheeled cultures. These tracks were married to audio tracks, such as the song lines of the Australian Aborigines, or the ballads of tramping culture everywhere. A typical tramping song has the line, ‘There’s a track winding back to an old-fashion shack along the road to Gundagai,’ (O’Hagan), although this colonial-style song was actually written for radio and became an international hit on the airwaves, rather than the tramping trails. The printed tracks impressed by these cultural flows are highly contested and diverse, and their foot prints are woven into our very language. The names for printed tracks have entered our shared memory from the intersection of many cultures: ‘Track’ is a Germanic word entering English usage comparatively late (1470) and now used mainly in audio visual cultural reproduction, as in ‘soundtrack’. ‘Trek’ is a Dutch word for ‘track’ now used mainly by ecotourists and science fiction fans. ‘Learn’ is a Proto-Indo-European word: the verb ‘learn’ originally meant ‘to find a track’ back in the days when ‘learn’ had a noun form which meant ‘the sole of the foot’. ‘Tract’ and ‘trace’ are Latin words entering English print usage before 1374 and now used mainly in religious, and electronic surveillance, cultural reproduction. ‘Trench’ in 1386 was a French path cut through a forest. ‘Sagacity’ in English print in 1548 was originally the ability to track or hunt, in Proto-Indo-European cultures. ‘Career’ (in English before 1534) was the print made by chariots in ancient Rome. ‘Sleuth’ (1200) was a Norse noun for a track. ‘Investigation’ (1436) was Latin for studying a footprint (Harper). The arrival of symbolic writing scratched on caves, hearth stones, and trees (the original meaning of ‘book’ is tree), brought extremely limited text education close to home. Then, with baked clay tablets, incised boards, slate, bamboo, tortoise shell, cast metal, bark cloth, textiles, vellum, and – later – paper, a portability came to text that allowed any culture to venture away from known ‘foot’ paths with a reduction in the risk of becoming lost and perishing. So began the world of maps, memos, bills of sale, philosophic treatises and epic mythologies. Some of this was printed, such as the mechanical reproduction of coins, but the fine handwriting required of long, extended, portable texts could not be printed until the invention of paper in China about 2000 years ago. Compared to lithic architecture and genes, portable text is a fragile medium, and little survives from the millennia of its innovators. The printing of large non-text designs onto bark-paper and textiles began in neolithic times, but Sui Wen-ti’s imperial memo of 593 AD gives us the earliest written date for printed books, although we can assume they had been published for many years previously. The printed book was a combination of Indian philosophic thought, wood carving, ink chemistry and Chinese paper. The earliest surviving fragment of paper-print technology is ‘Mantras of the Dharani Sutra’, a Buddhist scripture written in the Sanskrit language of the Indian subcontinent, unearthed at an early Tang Dynasty site in Xian, China – making the fragment a veteran piece of printing, in the sense that Sanskrit books had been in print for at least a century by the early Tang Dynasty (Chinese Graphic Arts Net). At first, paper books were printed with page-size carved wooden boards. Five hundred years later, Pi Sheng (c.1041) baked individual reusable ceramic characters in a fire and invented the durable moveable type of modern printing (Silk Road 2000). Abandoning carved wooden tablets, the ‘digitizing’ of Chinese moveable type sped up the production of printed texts. In turn, Pi Sheng’s flexible, rapid, sustainable printing process expanded the political-cultural impact of the literati in Asian society. Digitized block text on paper produced a bureaucratic, literate elite so powerful in Asia that Louis XVI of France copied China’s print-based Confucian system of political authority for his own empire, and so began the rise of the examined public university systems, and the civil service systems, of most European states (Watson, Visions). By reason of its durability, its rapid mechanical reproduction, its culturally agreed signs, literate readership, revered authorship, shared ideology, and distributed portability, a ‘print’ can be a powerful cultural network which builds and expands empires. But print also attacks and destroys empires. A case in point is the Spanish conquest of Aztec America: The Aztecs had immense libraries of American literature on bark-cloth scrolls, a technology which predated paper. These libraries were wiped out by the invading Spanish, who carried a different book before them (Ewins). In the industrial age, the printing press and the gun were seen as the weapons of rebellions everywhere. In 1776, American rebels staffed their ‘Homeland Security’ units with paper makers, knowing that defeating the English would be based on printed and written documents (Hahn). Mao Zedong was a book librarian; Mao said political power came out of the barrel of a gun, but Mao himself came out of a library. With the spread of wireless networked servers, political ferment comes out of the barrel of the cell phone and the internet chat room these days. Witness the cell phone displays of a plane hitting a tower that appear immediately after 9/11 in the Middle East, or witness the show trials of a few US and UK lower ranks who published prints of their torturing activities onto the internet: only lower ranks who published prints were arrested or tried. The control of secure servers and satellites is the new press. These days, we live in a global library of burning books – ‘burning’ in the sense that ‘print’ is now a charged silicon medium (Smith, “Intel”) which is usually made readable by connecting the chip to nuclear reactors and petrochemically-fired power stations. World resources burn as we read our screens. Men, women, children burn too, as we watch our infotainment news in comfort while ‘their’ flickering dead faces are printed in our broadcast hearths. The print we watch is not the living; it is the voodoo of the living in the blackout behind the camera, engaging the blood sacrifice of the tormented and the unfortunate. Internet texts are also ‘on fire’ in the third sense of their fragility and instability as a medium: data bases regularly ‘print’ fail-safe copies in an attempt to postpone the inevitable mechanical, chemical and electrical failure that awaits all electronic media in time. Print defines a moral position for everyone. In reporting conflict, in deciding to go to press or censor, any ‘print’ cannot avoid an ethical context, starting with the fact that there is a difference in power between print maker, armed perpetrators, the weak, the peaceful, the publisher, and the viewer. So many human factors attend a text, video or voice ‘print’: its very existence as an aesthetic object, even before publication and reception, speaks of unbalanced, and therefore dynamic, power relationships. For example, Graham Greene departed unscathed from all the highly dangerous battlefields he entered as a novelist: Riot-torn Germany, London Blitz, Belgian Congo, Voodoo Haiti, Vietnam, Panama, Reagan’s Washington, and mafia Europe. His texts are peopled with the injustices of the less fortunate of the twentieth century, while he himself was a member of the fortunate (if not happy) elite, as is anyone today who has the luxury of time to read Greene’s works for pleasure. Ethically a member of London and Paris’ colonizers, Greene’s best writing still electrifies, perhaps partly because he was in the same line of fire as the victims he shared bread with. In fact, Greene hoped daily that he would escape from the dreadful conflicts he fictionalized via a body bag or an urn of ashes (see Sherry). In reading an author’s biography we have one window on the ethical dimensions of authority and print. If a print’s aesthetics are sometimes enduring, its ethical relationships are always mutable. Take the stylized logo of a running athlete: four limbs bent in a rotation of action. This dynamic icon has symbolized ‘good health’ in Hindu and Buddhist culture, from Madras to Tokyo, for thousands of years. The cross of bent limbs was borrowed for the militarized health programs of 1930s Germany, and, because of what was only a brief, recent, isolated yet monstrously horrific segment of its history in print, the bent-limbed swastika is now a vilified symbol in the West. The sign remains ‘impressed’ differently on traditional Eastern culture, and without the taint of Nazism. Dramatic prints are emotionally charged because, in depicting Homo sapiens in danger, or passionately in love, they elicit a hormonal reaction from the reader, the viewer, or the audience. The type of emotions triggered by a print vary across the whole gamut of human chemistry. A recent study of three genres of motion picture prints shows a marked differences in the hormonal responses of men compared to women when viewing a romance, an actioner, and a documentary (see Schultheiss, Wirth, and Stanton). Society is biochemically diverse in its engagement with printed culture, which raises questions about equality in the arts. Motion picture prints probably comprise around one third of internet traffic, in the form of stolen digitized movie files pirated across the globe via peer-to-peer file transfer networks (p2p), and burnt as DVD laser prints (BBC). There is also a US 40 billion dollar per annum legitimate commerce in DVD laser pressings (Grassl), which would suggest an US 80 billion per annum world total in legitimate laser disc print culture. The actively screen literate, or the ‘sliterati’ as I prefer to call them, research this world of motion picture prints via their peers, their internet information channels, their television programming, and their web forums. Most of this activity occurs outside the ambit of universities and schools. One large site of sliterate (screen literate) practice outside most schooling and official research is the net of online forums at imdb.com (International Movie Data Base). Imdb.com ‘prints’ about 25,000,000 top pages per month to client browsers. Hundreds of sliterati forums are located at imdb, including a forum for the Australian movie, Muriel’s Wedding (Hogan). Ten years after the release of Muriel’s Wedding, young people who are concerned with victimization and bullying still log on to http://us.imdb.com/title/tt0110598/board/> and put their thoughts into print: I still feel so bad for Muriel in the beginning of the movie, when the girls ‘dump’ her, and how much the poor girl cried and cried! Those girls were such biartches…I love how they got their comeuppance! bunniesormaybemidgets’s comment is typical of the current discussion. Muriel’s Wedding was a very popular film in its first cinema edition in Australia and elsewhere. About 30% of the entire over-14 Australian population went to see this photochemical polyester print in the cinemas on its first release. A decade on, the distributors printed a DVD laser disc edition. The story concerns Muriel (played by Toni Collette), the unemployed daughter of a corrupt, ‘police state’ politician. Muriel is bullied by her peers and she withdraws into a fantasy world, deluding herself that a white wedding will rescue her from the torments of her blighted life. Through theft and deceit (the modus operandi of her father) Muriel escapes to the entertainment industry and finds a ‘wicked’ girlfriend mentor. From a rebellious position of stubborn independence, Muriel plays out her fantasy. She gets her white wedding, before seeing both her father and her new married life as hollow shams which have goaded her abandoned mother to suicide. Redefining her life as a ‘game’ and assuming responsibility for her independence, Muriel turns her back on the mainstream, image-conscious, female gang of her oppressed youth. Muriel leaves the story, having rekindled her friendship with her rebel mentor. My methodological approach to viewing the laser disc print was to first make a more accessible, coded record of the entire movie. I was able to code and record the print in real time, using a new metalanguage (Watson, “Eyes”). The advantage of Coding is that ‘thinks’ the same way as film making, it does not sidetrack the analyst into prose. The Code splits the movie print into Vision Action [vision graphic elements, including text] (sound) The Coding splits the vision track into normal action and graphic elements, such as text, so this Coding is an ideal method for extracting all the text elements of a film in real time. After playing the film once, I had four and a half tightly packed pages of the coded story, including all its text elements in square brackets. Being a unique, indexed hard copy, the Coded copy allowed me immediate access to any point of the Muriel’s Wedding saga without having to search the DVD laser print. How are ‘print’ elements used in Muriel’s Wedding? Firstly, a rose-coloured monoprint of Muriel Heslop’s smiling face stares enigmatically from the plastic surface of the DVD picture disc. The print is a still photo captured from her smile as she walked down the aisle of her white wedding. In this print, Toni Collette is the Mona Lisa of Australian culture, except that fans of Muriel’s Wedding know the meaning of that smile is a magical combination of the actor’s art: the smile is both the flush of dreams come true and the frightening self deception that will kill her mother. Inserting and playing the disc, the text-dominant menu appears, and the film commences with the text-dominant opening titles. Text and titles confer a legitimacy on a work, whether it is a trade mark of the laser print owners, or the household names of stars. Text titles confer status relationships on both the presenters of the cultural artifact and the viewer who has entered into a legal license agreement with the owners of the movie. A title makes us comfortable, because the mind always seeks to name the unfamiliar, and a set of text titles does that job for us so that we can navigate the ‘tracks’ and settle into our engagement with the unfamiliar. The apparent ‘truth’ and ‘stability’ of printed text calms our fears and beguiles our uncertainties. Muriel attends the white wedding of a school bully bride, wearing a leopard print dress she has stolen. Muriel’s spotted wild animal print contrasts with the pure white handmade dress of the bride. In Muriel’s leopard textile print, we have the wild, rebellious, impoverished, inappropriate intrusion into the social ritual and fantasy of her high-status tormentor. An off-duty store detective recognizes the printed dress and calls the police. The police are themselves distinguished by their blue-and-white checked prints and other mechanically reproduced impressions of cultural symbols: in steel, brass, embroidery, leather and plastics. Muriel is driven in the police car past the stenciled town sign (‘Welcome To Porpoise Spit’ heads a paragraph of small print). She is delivered to her father, a politician who presides over the policing of his town. In a state where the judiciary, police and executive are hijacked by the same tyrant, Muriel’s father, Bill, pays off the police constables with a carton of legal drugs (beer) and Muriel must face her father’s wrath, which he proceeds to transfer to his detested wife. Like his daughter, the father also wears a spotted brown print costume, but his is a batik print from neighbouring Indonesia (incidentally, in a nation that takes the political status of its batik prints very seriously). Bill demands that Muriel find the receipt for the leopard print dress she claims she has purchased. The legitimate ownership of the object is enmeshed with a printed receipt, the printed evidence of trade. The law (and the paramilitary power behind the law) are legitimized, or contested, by the presence or absence of printed text. Muriel hides in her bedroom, surround by poster prints of the pop group ABBA. Torn-out prints of other people’s weddings adorn her mirror. Her face is embossed with the clown-like primary colours of the marionette as she lifts a bouquet to her chin and stares into the real time ‘print’ of her mirror image. Bill takes the opportunity of a business meeting with Japanese investors to feed his entire family at ‘Charlie Chan’’s restaurant. Muriel’s middle sister sloppily wears her father’s state election tee shirt, printed with the text: ‘Vote 1, Bill Heslop. You can’t stop progress.’ The text sets up two ironic gags that are paid off on the dialogue track: “He lost,’ we are told. ‘Progress’ turns out to be funding the concreting of a beach. Bill berates his daughter Muriel: she has no chance of becoming a printer’s apprentice and she has failed a typing course. Her dysfunction in printed text has been covered up by Bill: he has bribed the typing teacher to issue a printed diploma to his daughter. In the gambling saloon of the club, under the arrays of mechanically repeated cultural symbols lit above the poker machines (‘A’ for ace, ‘Q’ for queen, etc.), Bill’s secret girlfriend Diedre risks giving Muriel a cosmetics job. Another text icon in lights announces the surf nightclub ‘Breakers’. Tania, the newly married queen bitch who has made Muriel’s teenage years a living hell, breaks up with her husband, deciding to cash in his negotiable text documents – his Bali honeymoon tickets – and go on an island holiday with her girlfriends instead. Text documents are the enduring site of agreements between people and also the site of mutations to those agreements. Tania dumps Muriel, who sobs and sobs. Sobs are a mechanical, percussive reproduction impressed on the sound track. Returning home, we discover that Muriel’s older brother has failed a printed test and been rejected for police recruitment. There is a high incidence of print illiteracy in the Heslop family. Mrs Heslop (Jeannie Drynan), for instance, regularly has trouble at the post office. Muriel sees a chance to escape the oppression of her family by tricking her mother into giving her a blank cheque. Here is the confluence of the legitimacy of a bank’s printed negotiable document with the risk and freedom of a blank space for rebel Muriel’s handwriting. Unable to type, her handwriting has the power to steal every cent of her father’s savings. She leaves home and spends the family’s savings at an island resort. On the island, the text print-challenged Muriel dances to a recording (sound print) of ABBA, her hand gestures emphasizing her bewigged face, which is made up in an impression of her pop idol. Her imitation of her goddesses – the ABBA women, her only hope in a real world of people who hate or avoid her – is accompanied by her goddesses’ voices singing: ‘the mystery book on the shelf is always repeating itself.’ Before jpeg and gif image downloads, we had postcard prints and snail mail. Muriel sends a postcard to her family, lying about her ‘success’ in the cosmetics business. The printed missal is clutched by her father Bill (Bill Hunter), who proclaims about his daughter, ‘you can’t type but you really impress me’. Meanwhile, on Hibiscus Island, Muriel lies under a moonlit palm tree with her newly found mentor, ‘bad girl’ Ronda (Rachel Griffiths). In this critical scene, where foolish Muriel opens her heart’s yearnings to a confidante she can finally trust, the director and DP have chosen to shoot a flat, high contrast blue filtered image. The visual result is very much like the semiabstract Japanese Ukiyo-e woodblock prints by Utamaro. This Japanese printing style informed the rise of European modern painting (Monet, Van Gogh, Picasso, etc., were all important collectors and students of Ukiyo-e prints). The above print and text elements in Muriel’s Wedding take us 27 minutes into her story, as recorded on a single page of real-time handwritten Coding. Although not discussed here, the Coding recorded the complete film – a total of 106 minutes of text elements and main graphic elements – as four pages of Code. Referring to this Coding some weeks after it was made, I looked up the final code on page four: taxi [food of the sea] bq. Translation: a shop sign whizzes past in the film’s background, as Muriel and Ronda leave Porpoise Spit in a taxi. Over their heads the text ‘Food Of The Sea’ flashes. We are reminded that Muriel and Ronda are mermaids, fantastic creatures sprung from the brow of author PJ Hogan, and illuminated even today in the pantheon of women’s coming-of-age art works. That the movie is relevant ten years on is evidenced by the current usage of the Muriel’s Wedding online forum, an intersection of wider discussions by sliterate women on imdb.com who, like Muriel, are observers (and in some cases victims) of horrific pressure from ambitious female gangs and bullies. Text is always a minor element in a motion picture (unless it is a subtitled foreign film) and text usually whizzes by subliminally while viewing a film. By Coding the work for [text], all the text nuances made by the film makers come to light. While I have viewed Muriel’s Wedding on many occasions, it has only been in Coding it specifically for text that I have noticed that Muriel is a representative of that vast class of talented youth who are discriminated against by print (as in text) educators who cannot offer her a life-affirming identity in the English classroom. Severely depressed at school, and failing to type or get a printer’s apprenticeship, Muriel finds paid work (and hence, freedom, life, identity, independence) working in her audio visual printed medium of choice: a video store in a new city. Muriel found a sliterate admirer at the video store but she later dumped him for her fantasy man, before leaving him too. One of the points of conjecture on the imdb Muriel’s Wedding site is, did Muriel (in the unwritten future) get back together with admirer Brice Nobes? That we will never know. While a print forms a track that tells us where culture has been, a print cannot be the future, a print is never animate reality. At the end of any trail of prints, one must lift one’s head from the last impression, and negotiate satisfaction in the happening world. References Australian Broadcasting Corporation. “Memo Shows US General Approved Interrogations.” 30 Mar. 2005 http://www.abc.net.au>. 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Muriel’s Wedding. Dir. PJ Hogan. Perf. Toni Collette, Rachel Griffiths, Bill Hunter, and Jeannie Drynan. Village Roadshow, 1994. O’Hagan, Jack. On The Road to Gundagai. 1922. 2 Apr. 2005 http://ingeb.org/songs/roadtogu.html>. Poole, J.H., P.L. Tyack, A.S. Stoeger-Horwath, and S. Watwood. “Animal Behaviour: Elephants Are Capable of Vocal Learning.” Nature 24 Mar. 2005. Sanchez, R. “Interrogation and Counter-Resistance Policy.” 14 Sept. 2003. 30 Mar. 2005 http://www.abc.net.au>. Schultheiss, O.C., M.M. Wirth, and S.J. Stanton. “Effects of Affiliation and Power Motivation Arousal on Salivary Progesterone and Testosterone.” Hormones and Behavior 46 (2005). Sherry, N. The Life of Graham Greene. 3 vols. London: Jonathan Cape 2004, 1994, 1989. Silk Road. Printing. 2000. 20 Feb. 2005 http://www.silk-road.com/artl/printing.shtml>. Smith, T. “Elpida Licenses ‘DVD on a Chip’ Memory Tech.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. —. “Intel Boffins Build First Continuous Beam Silicon Laser.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. Watson, R. S. “Eyes And Ears: Dramatic Memory Slicing and Salable Media Content.” Innovation and Speculation, ed. Brad Haseman. Brisbane: QUT. [in press] Watson, R. S. Visions. Melbourne: Curriculum Corporation, 1994. Citation reference for this article MLA Style Watson, Robert. "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/08-watson.php>. APA Style Watson, R. (Jun. 2005) "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/08-watson.php>.