Journal articles on the topic 'Water quality management – Ontario – Lake Simcoe'

Sustainability, which attempts to balance environmental preservation and economic growth, includes puzzling problems such as better managing the world's water resources and enhancing the quality of life. Municipalities within the Nottawasaga Valley and Lake Simcoe Watersheds, north of Toronto, are now considered to have a high potential for significant growth. Both watersheds form part of the Georgian Bay ecosystem, within the Great Lakes Basin. Integrated watershed management planning by the Nottawasaga Valley and Lake Simcoe Region Conservation Authorities is protecting water resources and ensuring the availability of water servicing for controlled development. This includes the maintenance of streamflows for the assimilation of treated sewage effluent from headwater basins and protection of unimpaired aquatic habitat at the same time. Monitoring the performance and success of the watershed plans is a vital component to sustain a healthy ecosystem pulse while accommodating growth. The comprehensive GIS based, multi-partnered monitoring program being used is unique. This low-cost, transferable approach for watershed monitoring includes a biological method known as BioMAP. The monitoring program has a proven track record for pre-design and post-construction stages of new development. Various case studies are presented.

Abstract Urban Stormwater has been identified as a significant source of phosphorus to Severn Sound and a potential source of bacterial contamination which can affect recreational bathing areas within the Sound. In order to develop an effective remedial action plan, a cooperative study of urban Stormwater impacts was initiated in the Severn Sound Area of Concern (AOC) through a joint partnership that included Environment Canada (Great Lakes 2000 Cleanup Fund), the Ontario Ministry of the Environment, the Simcoe County District Health Unit, and various municipalities in the Sound. The study objectives were (1) characterization of dry weather and runoff quantity and quality; (2) monitoring effects of Stormwater runoff on the bacterial concentrations at an urban bathing area; and (3) development of pollution control plans for the participating urban municipalities in the Severn Sound watershed with an overall goal of a 20% reduction of Stormwater phosphorus loads. In general, the event mean concentrations of most runoff pollutants lie either within the range or below ranges reported by previous storm-water studies in Canada and the U.S., while some runoff pollutant concentrations (e.g., E. coli, heavy metals and nutrients) exceed the Ontario provincial water quality objectives. The bathing area sampling program recorded E. coli concentrations exceeding 600 organisms/100 mL at an outfall right after storm events started. Based on the limited sampling, it appears that rain events of approximately 20 mm or more may result in impingement of water with elevated E. coli counts on this bathing area within 6 hours of the onset of a rain event In order to update pollution loading estimates and develop pollution control plans, a retrofit Stormwater management model was applied. The planning model estimates an annual phosphorus loading of 1083 kg/year and a 20% reduction of phosporus loading, using source controls such as downspout disconnections and oil/water interceptors, drainage system controls such as grassed ditches and exfiltration systems, and downstream control such as water quality ponds. Pollution control plans were developed for each participating municipality based on the retrofit opportunities identified through the modelling exercise. The estimated cost is about $4 million. These plans provide specific recommendations regarding the implementation of various Stormwater retrofit measures and their financial requirements. A water quality pond identified by the pollution control plan for the Town of Penetanguishene has since been implemented.

Diatom-based paleolimnological techniques were used to assess long-term changes in the water quality of Lake Simcoe (Ontario, Canada) using 210Pb-dated sediment cores from four sites across the lake. Modest lake-wide shifts in diatom community composition occurred in the late 19th and early 20th centuries, suggesting that early cultural disturbances (e.g., land clearance and canal construction) had relatively minor effects on Lake Simcoe water quality. However, starting in the 1930s, phosphorus loading to the lake increased, which was closely tracked by increases in diatom taxa indicative of eutrophic conditions. The most pronounced lake-wide shift in diatom assemblages occurred in the mid- to late 20th century, the nature and timing of which strongly suggested a response to regional climate warming. An additional and marked lake-wide shift in diatom assemblages occurred in the mid-1990s, coinciding with the invasion of dreissenid mussels in Lake Simcoe. Our results indicate that Lake Simcoe water quality has been affected by the interaction of numerous environmental stressors over the past two centuries, the complexity of which has been amplified by recent warming.

Runoff from agricultural fields during the nongrowing season is a significant factor leading to phosphorous loading and diminishing water quality in Lake Simcoe, Ontario. Cover crops offer the potential to alleviate phosphorous loss during the nongrowing season by minimizing soil erosional processes and uptaking excess phosphorous; however, recent research suggests that its adoption remains relatively low. More concern lies with the lack of cover crop adoption on areas that are sensitive to soil erosion. This study intends to investigate the likelihood of agricultural productions located on erosive soils to adopt cover crops. Using satellite imagery in corroboration with the Universal Soil Loss Equation (USLE), this study reveals the frequency of cover crop production and associates soil loss sensitivity at a 30 m resolution from 2013 to 2018. Consistent with recent literature, this study reveals that a small portion (18%) of agricultural operations in the south Simcoe Watershed have incorporated cover crops over the past six years. Cover crops tend to be adopted at a low frequency in areas that have a low sensitivity to soil erosion. This study reveals that areas with higher soil erosion sensitivity are consistent with low-frequency adoption, indicating that these areas are less likely to adopt cover crops regularly. Promoting farm-scale benefits associated with cover crops should target areas in the south Simcoe Watershed that are prone to soil erosion to mitigate total phosphorus (TP) loading into Lake Simcoe.

Increasing nutrient and water regulations have necessitated development of best management practices for application of nitrogen (N) and water. This study was conducted to determine if there was an optimal balance of N and water applied for late storage cabbage (Brassica oleracea L. var. capitata). Five rates of N and five irrigation rates arranged in a response surface design replicated three times were supplied to Huron cabbage grown on sandy loam soil to study the interaction of N and water applied. Plots were located at the University of Guelph, Simcoe Research Station, Ontario, Canada from 2003 to 2005. Total and marketable yields were maximized from a low of 278 kg ha-1 N in 2005 to above the highest rate tested (400 kg ha-1 N) in the other 2 yr. In 2005, there were 29 d above 30 °C and marketable yield was 49% lower than 2004, which had only 1 d above 30 °C. A target soil water value of 100% of field capacity was required to maximize yield in all 3 yr. More N is required as the water supply increases. The main influence of irrigation and N application was on head volume. Head density based on fresh weight was not influenced by irrigation or N application, but head density based on dry weight decreased with increased N application. Irrigation and N application should be managed concurrently to maximize yield and quality and N and irrigation efficiency for late storage cabbage. However, N and water will not prevent lost yield due to hot days, which suggests that late-cabbage yields are very sensitive to high air temperatures. Key words: Brassica oleracea var. capitata, cabbage, irrigation, fertigation, quality, nutrient management, air temperature

INTRODUCTION Winter snow and ice can have a significant impact on our mobility, whether on foot or by car. Alongside plowing, arguably the greatest tool in combating snow and ice is salt. The most commonly used salt for winter maintenance is Sodium Chloride (NaCl), the same salt used in food and water softeners, is applied to roads, sidewalks, and parking lots as it is an effective deicer when temperatures are between 0°C and −12°C. Studies have shown that deicing with salt reduces accidents by 88% and injuries by 85% (Salt Institute 2017). The effectiveness of road salt, as well as its relative affordability, means that as much as four million tonnes may be applied annually in Canada for deicing (Environment Canada 2012). However, while salt is relatively inexpensive to purchase, there are a number of external costs that are becoming increasingly apparent. These include corrosion of vehicles and infrastructure like concrete, bridges, and water mains; damage and staining to the interior and exterior of buildings; impacts to roadside vegetation and soils; and the contamination of fresh water. In fact, the environmental impacts are such that it prompted Environment Canada to propose that winter salt be considered a toxic substance primarily due to the quantity that is applied annually (Environment Canada 2001). The Lake Simcoe watershed, approximately 3,400km2 in size, is situated just 20km north of Toronto, Ontario, with the southern portion of the watershed being considered part of the Greater Toronto Area (GTA), the most populous metropolitan area in Canada. As part of the GTA, the Lake Simcoe watershed has experienced and continues to experience considerable growth, and with this growth comes an increase in the amount of impervious surfaces requiring winter salting. Indeed, chloride has been showing a strong increasing trend in the urban creeks and in Lake Simcoe itself over the last 30 years. Even rural creeks are showing an increasing trend, albeit not as severe, nor are the concentrations of chloride reaching the same levels (LSRCA 2015). The highest chloride level recorded in a Lake Simcoe tributary was 6,120mg/l in the winter of 2013. Chloride guidelines for the protection of aquatic ecosystems utilize a guideline of 120mg/L for chronic exposure and 640mg/L for acute exposure (CCME 2011). While the high value recorded in the Lake Simcoe tributary greatly exceeds these guidelines, it is still drastically lower than values being recorded in larger, intensively urbanized catchments such as Cooksville Creek in Mississauga, Ontario, which sees concentrations in excess of 20,000 mg/L, the concentration of sea water, nearly every winter (Credit Valley Conservation personal comm). Similarly, in July of 2011 a small population of Atlantic blue crabs, a marine species, was found surviving in Mimico Creek in Toronto (Toronto Star: May 26, 2012). That a marine species was able to survive in this fresh water creek in summer demonstrates that the impacts of winter salt are not just limited to winter but are impacting shallow groundwater and thus summer baseflow, maintaining high chloride concentrations year round. The same is being seen in some urban creeks in the Lake Simcoe watershed, with summer baseflow concentrations exceeding the chronic guideline and trending upwards (LSRCA unpublished). While not yet as extreme as rivers in the more densely urbanized parts of the GTA, these examples foreshadow what is in store for Lake Simcoe rivers if current winter salt practices continue along with the projected urban growth. During the winter of 2012 an estimated 99,300 tonnes of salt was applied in the Lake Simcoe watershed, an amount that equals nearly 250kg of salt per capita, or ~3 times the average person's body weight in salt. This estimate was generated through a survey of local road agencies along with the total area of commercial/institutional parking lots within the watershed. The exercise served to highlight a knowledge gap around application practices and rates in commercial/institutional parking lots. The majority of road agencies were found to record annual volumes, application dates and rates whereas literature values range from 10–40% of the salt applied in a catchment come from commercial/institutional parking lots (Perera et al, 2009; Trowbridge et al, 2010; Lake Simcoe Region Conservation Authority, 2015), and a survey of winter maintenance contractors cite an average value of approximately 58g/m2/application (Fu et al, 2013) ( Figure 1 ). [Figure: see text] While these values were used in the estimation as they were the best available, observational data suggested these may be on the conservative side ( Figure 2 ). [Figure: see text] Therefore, monitoring of a 14 ha commercial lot was undertaken for the winters of 2014/15, 2015/16, and 2016/17 to better quantify the amount of salt coming from this type of land use. The winters of 2014/15 and 2016/17 saw similar applications of 1,067 and 1,010 tonnes applied respectively, while the mild winter of 2015/16 saw 556 tonnes applied. While the amounts varied somewhat each winter, the impacts downstream were consistent. Maximum concentrations recorded in the melt water reached 3.5 to 4 times the salt concentration of sea water every winter, equating to chloride concentrations of 70,000mg/L to 85,000mg/L; two orders of magnitude above the water quality guideline. As with most parking lots constructed in the last two decades, the runoff from this parking lot is captured in a stormwater pond prior to entering the receiving watercourse. Interestingly, the winter salt also caused persistent chemical stratification in the permanent pool of the pond. The pond was monitored with continuous monitors for the ice free period of 2015 and 2016 (April to December) during which the bottom water chloride concentration remained distinct from the surface chloride concentration, indicating stratification ( Figure 3 ). This has two significant implications; first of which is that this pond, and therefore many other ponds like it, may not be functioning as designed which is leading to diminished performance (McEnroe 2012, Marsalek 2003). Second is that ponds are acting as salt reservoirs, slowly releasing salt year round and contributing to river chloride concentrations that continually exceed the chronic exposure guideline and thereby exposing aquatic life to harmful concentrations during sensitive life cycle stages. [Figure: see text] To determine the extent to which the catchment land use type impacts stormwater ponds, chemical profiles were measured on three ponds in February 2017. The catchments included the 24.6 ha commercial catchment with 14 ha of salt application surface, an institutional catchment (14.3 ha) with 6 ha of salt application area that includes parking lots and roads, and a 16.4 ha residential catchment with 3 ha of salt application area comprised of tertiary municipal roads. Interestingly, all three ponds showed chemical stratification, with the severity of the stratification and highest chloride concentrations relating to the amount of salt application area in the catchment. The residential pond yielded a maximum chloride concentration of 3,115mg/L in the bottom waters, the institutional yielded 16,144mg/L, and the commercial yielded 25,530 mg/L with chloride concentrations in the bottom 0.5m of the pond exceeding that of sea water. The maximum chloride concentration recorded in the receiving watercourse downstream of the commercial lot was measured at 5,406 mg/L, well in excess of the acute guideline of 640 mg/L. These results highlight that commercial parking lots are not only receiving a significant volume of salt but are also having the most dramatic impacts on receiving stormwater infrastructure and watercourses.

With an historical onus on reactive water treatment in North America, most taste and odour (T&O) outbreaks and other water quality issues have been unanticipated and difficult to control. Recent severe outbreaks of these drinking water issues have prompted wider advocacy of a more proactive “source-to-tap” approach, with greater focus on multidisciplinary partnerships among utilities, scientists and management/policy-makers. However, the practical application of this management model is faced with fragmented drainage basins, waterbodies and jurisdictions, and often requires a common issue such as T&O to initiate its development. This paper presents an example of a successful cooperative approach to drinking water management, the Ontario Water Works Research Consortium (OWWRC), consisting of the six major water utilities drawing water from Western Lake Ontario, scientists from the Canadian and Ontario governments and universities, and several other agencies. Established in 1999 following severe T&O outbreaks, the OWWRC has since operated as a highly effective model, employing a science-based approach to T&O management, supporting research on source-water and treatment issues, public outreach and utility surveys. The paper describes this partnership and summarises the results of an OWWRC T&O survey as one of the significant steps towards source-water characterisation undertaken by this cooperative.

Abstract The nearshore areas of the Laurentian Great Lakes provide valuable ecosystem services including habitat for a variety of species and water for surrounding communities. Recent declines in nearshore water quality have increased the need for understanding the connectivity between nearshore and offshore areas; however observing water quality variability across the dynamic nearshore to offshore transition zone poses logistical challenges for traditional observing systems. Here we evaluate cross-shore and along-shore water quality gradients using observations from two three-week deployments of a Slocum autonomous glider in southern Lake Ontario. The glider was deployed between the Niagara River mouth and Rochester, NY during early and late summer 2018, and each deployment resulted in over 3000 vertical profiles of the water column and several transects between 2 km and 20 km from shore. In early summer, the cross-shore chlorophyll gradient was characterized by highest values just below the surface, at the frontal zone between weakly stratified conditions closer to shore and unstratified conditions offshore. In late summer, stratified conditions extended across the entire survey area. The depth of the thermocline was deeper and chlorophyll values were lower within 10 km of shore than offshore, where the highest chlorophyll values were observed in a distinct layer below the thermocline. In both early and late summer, the frontal boundary indicated by the cross-shore chlorophyll gradient was located below the surface and well offshore of what is typically considered the nearshore zone but was within the width of the coastal boundary layer. The high-resolution glider observations provide a detailed view of patterns of variability across a dynamic coastal zone and pinpoint the cross-shore frontal boundary that may be important for biologists to differentiate biological communities.

The Laurentian Great Lakes have a complex history of changes due to eutrophication, invasion of exotic species, and fisheries and phosphorus management practices. Remedial actions have reduced nutrient loadings and enhanced the role of food web interactions in improving water quality. Workshops sponsored through the United States – Canada international Joint Commission have addressed the relative importance of nutrient abatement and/or food web manipulation in affecting water quality trends. Both controls have combined to enhance water clarity in Lake Michigan. Lake Ontario has already exhibited the effects of nutrient controls and may be on the verge of manifesting food web controls. Research and monitoring recommendations to elucidate the effects of nutrient and food web controls include the following: (1) water quality and fisheries agencies must coordinate monitoring activities, standardize techniques, and establish and maintain long-term data sets to evaluate the effects of water quality and fisheries programs separately and together; (2) controlled, mesoscale, whole-system experiments should be performed to quantify rates (e.g. growth, predation, etc.) of food web interactions; and (3) the scientific community should promote research which quantifies the impact of changes in food web dynamics on changes in toxic substance levels in Great Lakes fishes.

Abstract The Cooperative Science and Monitoring Initiative aims to generate data and information to support environmental management in the Laurentian Great Lakes of North America. On a rotating basis, efforts are focused on each lake every five years. In this study, we developed a state-of-the-art hydrodynamic and ecological modeling framework to aggregate data collected during these initiative years and from other sources, and to simulate lake eutrophication processes in Lake Ontario, with an emphasis on nearshore conditions. Model calibration and validation were based primarily on data from three initiative years (2008, 2013, and 2018). This integrated model provides a framework for data organization, understanding complex lake process interactions, and guiding future data collection. It is designed as a management support tool that can simulate lake responses to changes in loading conditions, such as sensitivity of nearshore water quality to Niagara River phosphorus loads. Its designated aim is to support evaluation of management questions in Lake Ontario by providing quantitative evaluation of the relative benefits of potential nutrient loading abatement strategies to mitigate eutrophication in the nearshore. This framework is also well suited for possible future expansion to address management issues on a whole-lake basis.

Paleolimnological techniques are important for determining background ecological conditions and ecosystem responses to stressors when long-term data sets are absent. Research at the Dorset Environmental Sciences Centre (Ontario, Canada) has included paleolimnological studies to determine the effects of anthropogenic stressors on shield lakes, including eutrophication, acidic deposition, and climate change. Diatom-based total phosphorus (TP) inferences suggest that [TP] has declined in some lakes, despite increased inputs from anthropogenic sources. When coupled with siliceous algae-based pH inferences that suggest landscape-scale long-term acidification, these results indicate that the ecological effects of anthropogenic P inputs are being masked by the cumulative effects of multiple stressors. Detailed stratigraphic analyses of lakes that have experienced severe anthropogenic disturbances indicate that despite measured and inferred recovery in epilimnetic [TP] to predisturbance concentrations, pelagic communities have not recovered to predisturbance community composition; profundal communities and the variables associated with water quality (e.g., hypolimnetic oxygen) have also not recorded recovery. This suggests that (i) typical modeling approaches to quantify the effects of anthropogenic inputs on lake water [TP] should be used with caution and (ii) lake management approaches that follow the paradigm of “water quality recovery = biological recovery” may not be applicable to ecosystems being affected by multiple anthropogenic stressors.

The emerging shift in Great Lakes management from offshore to nearshore waters will require attention to complexities of coastal hydrodynamics and biogeochemical transformations. Emphasizing hydrodynamics, this work resolves transport processes in quantifying discharge plume and pollutant of concern (POC) footprint dimensions, the latter being the portion of the plume where water quality standards are not met. A generic approach, isolated from pollutant-specific biokinetics, provides first-approximation estimates of the footprint area. A high-resolution, linked hydrodynamic-tracer model is applied at a site in the Greater Toronto Area on Lake Ontario. Model results agree with observed meteorological and hydrodynamic conditions and satisfactorily simulate plume dimensions. Footprints are examined in the context of guidelines for regulatory mixing zone size and attendant loss of beneficial use. We demonstrate that the ratio of the water quality standard to the POC concentration at discharge is a key determinant of footprint dimensions. Footprint size for traditional pollutants (ammonia, total phosphorus) meets regulatory guidelines; however, that for soluble reactive phosphorus, a presently unattended pollutant, is ~1–2 orders of magnitude larger. This suggests that it may be necessary to upgrade treatment technologies to maintain consistency with regulatory guidelines and mitigate manifestations of the eutrophication-related soluble reactive phosphorus POC.

Buffer zones are an important component of forest-management strategies and are thought to reduce the impact of nutrients released after harvesting on water quality. Conceptually, steep slopes have shorter water residence times than shallow slopes, have a reduced capacity to moderate water quality, and therefore, require wider buffers. Carbon and N concentrations in riparian zone shallow soil water at 30 cm depth and lake water were measured on shallow and steep slopes at the Esker Lakes Research Area in northeastern Ontario to determine if nutrient concentrations were correlated to catchment terrain attributes. Field measured slope, slope class obtained from a triangular irregular network model, and upslope contributing area and topographic index calculated from a digital elevation model were calculated for each sampling location. Modeled terrain properties, including those currently used during forest-management planning, were not significantly correlated with soil water N and C concentrations, whereas only dissolved organic carbon levels were significantly greater on field measured steep slopes. Forest species composition and soil N levels were positively correlated with soil water N concentrations. These results from the undisturbed boreal ecosystem highlight the potential limitation of using only catchment slope as a tool for prescribing riparian buffers during harvesting when considering terrestrial nutrient export.

A geochemical investigation was conducted at the Quirke cell 14 mine waste management area near Elliot Lake, Ontario, Canada, to assess the evolution of water quality of submerged preoxidized uranium mine tailings. Dissolved solids, sulphate, and radium fluxes towards the water cover were calculated using measured solute concentrations, water-cover volumes, and seepage rates for 1993 and 1999. Results indicate that flooding of preoxidized tailings can lead to the initial release of dissolved solids, acidity, and sulphate from the tailings to the overlying water cover. However, the overall impact of this release on the water cover can be minimal in the long term because of dilution from precipitation and fresh water inflows and flushing of the oxidation products down into the pore water. Profiles of dissolved metals and sulphate across the tailings–water interface at the study site indicated a high degree of chemical stability. Solute concentrations in the water cover were homogeneous and generally low at all stations. Pore-water profiles revealed minor remobilization of some trace metals and radionuclides in the shallow pore water (~0.15 m).Key words: mine tailings, water cover, pore-water geochemistry, radium, metal mobility, diffusion, flux.

Growing cover or winter crops and retaining crop residue on agricultural lands are considered beneficial management practices to address soil health and water quality. Remote sensing is a valuable tool to assess and map crop residue cover and cover crops. The objective of this study is to evaluate the performance of linear spectral unmixing for estimating soil cover in the non-growing season (November–May) over the Canadian Lake Erie Basin using seasonal multitemporal satellite imagery. Soil cover ground measurements and multispectral Landsat-8 imagery were acquired for two areas throughout the 2015–2016 non-growing season. Vertical soil cover photos were collected from up to 40 residue and 30 cover crop fields for each area (e.g., Elgin and Essex sites) when harvest, cloud, and snow conditions permitted. Images and data were reviewed and compiled to represent a complete coverage of the basin for three time periods (post-harvest, pre-planting, and post-planting). The correlations between field measured and satellite imagery estimated soil covers (e.g., residue and green) were evaluated by coefficient of determination (R2) and root mean square error (RMSE). Overall, spectral unmixing of satellite imagery is well suited for estimating soil cover in the non-growing season. Spectral unmixing using three-endmembers (i.e., corn residue-soil-green cover; soybean residue-soil-green cover) showed higher correlations with field measured soil cover than spectral unmixing using two- or four-endmembers. For the nine non-growing season images analyzed, the residue and green cover fractions derived from linear spectral unmixing using corn residue-soil-green cover endmembers were highly correlated with the field-measured data (mean R2 of 0.70 and 0.86, respectively). The results of this study support the use of remote sensing and spectral unmixing techniques for monitoring performance metrics for government initiatives, such as the Canada-Ontario Lake Erie Action Plan, and as input for sustainability indicators that both require knowledge about non-growing season land management over a large area.

Abstract Climate change is already impacting the North American Great Lakes ecosystem and understanding the relationship between climate events and public health, such as waterborne acute gastrointestinal illnesses (AGIs), can help inform needed adaptive capacity for drinking water systems (DWSs). In this study, we assessed a harmonized binational dataset for the effects of extreme precipitation events (≥90th percentile) and preceding dry periods, source water turbidity, total coliforms, and protozoan AGI – cryptosporidiosis and giardiasis – in the populations served by four DWSs that source surface water from Lake Ontario (Hamilton and Toronto, Ontario, Canada) and Lake Michigan (Green Bay and Milwaukee, Wisconsin, USA) from January 2009 through August 2014. We used distributed lag non-linear Poisson regression models adjusted for seasonality and found extreme precipitation weeks preceded by dry periods increased the relative risk of protozoan AGI after 1 and 3–5 weeks in three of the four cities, although only statistically significant in two. Our results suggest that the risk of protozoan AGI increases with extreme precipitation preceded by a dry period. As extreme precipitation patterns become more frequent with climate change, the ability to detect changes in water quality and effectively treat source water of varying quality is increasingly important for adaptive capacity and protection of public health.

Introduction 2021 was the year that NFTs got big—not just in value but also in terms of the cultural consciousness. When digital artist Beeple sold the portfolio of his 5,000 daily images at Christie’s for US$69 million, the art world was left intrigued, confused, and outraged in equal measure. Depending on who you asked, non-fungible tokens (NFTs) seemed to be either a quick cash-grab or the future of the art market (Bowden and Jones; Smee). Following the Beeple sale, articles started to appear indicating that the film industry was abuzz for NFTs. Independent filmmaker Kevin Smith was quick to announce that he planned to release his horror film Killroy Was Here as an NFT (Alexander); in September 2021 the James Bond film No Time to Die also unveiled a series of collectibles to coincide with the film’s much-delayed theatrical release (Natalee); the distribution and collectible platforms Vuele, NFT Studios, and Mogul Productions all emerged, and the industry rumour mill suggests more start-ups are en route (CurrencyWorks; NFT Studios; NewsBTC). Blockchain disciples say that the technology will solve all the problems of the Internet (Tewari; Norton; European Business Review); critics say it will only perpetuate existing accessibility and equality issues (Davis and Flatow; Klein). Those more circumspect will doubtless sit back until the dust settles, waiting to see what parts of so-called web3 will be genuinely integrated into the architecture of the Internet. Pamela Hutchinson puts it neatly in terms of the arts sector: “the NFT may revolutionise the art market, film funding and distribution. Or it might be an ecological disaster and a financial bubble, in which few actual movies change hands, and fraudsters get rich from other people’s intellectual property” (Hutchinson). There is an uptick in the literature around NFTs and blockchain (see Quiniou; Gayvoronskaya & Meinel); however, the technology remains unregulated and unstandardised (Yeung 212-14; Dimitropoulos 112-13). Similarly, the sheer amount of funding being put into fundamental technical, data, and security-related issues speaks volumes to the nascency of the space (Ossinger; Livni; Gayvoronskaya & Meinel 52-6). Put very briefly, NFTs are part of a given blockchain system; think of them, like cryptocurrency coins, as “units of value” within that system (Roose). NFTs were initially rolled out on Ethereum, though several other blockchains have now implemented their own NFT frameworks. NFTs are usually not the artwork itself, but rather a unique, un-copyable (hence, non-fungible) piece of code that is attached, linked, or connected to another digital file, be that an image, video, text, or something else entirely. NFTs are often referred to as a digital artwork’s “certificate of authenticity” (Roose). At the time of writing, it remains to be seen how widely blockchain and NFT technology will be implemented across the entertainment industries. However, this article aims to outline the current state of implementation in the film trade specifically, and to attempt to sort true potential from the hype. Beginning with an overview of the core issues around blockchain and NFTs as they apply to film properties and adjacent products, current implementations of the technology are outlined, before finishing with a hesitant glimpse into the potential future applications. The Issues and Conversation At the core of current conversations around blockchain are three topics: intellectual property and ownership, concentrations of power and control, and environmental impact. To this I would like to add a consideration of social capital, which I begin with briefly here. Both the film industry and “crypto” — if we take the latter to encompass the various facets of so-called ‘web3’ — are engines of social capital. In the case of cinema, its products are commodified and passed through a model that begins with exclusivity (theatrical release) before progressing to mass availability (home media, streaming). The cinematic object, i.e., an individual copy of a film, is, by virtue of its origins as a mass product of the twentieth century, fungible. The film is captured, copied, stored, distributed, and shared. The film-industrial model has always relied on social phenomena, word of mouth, critical discourse, and latterly on buzz across digital social media platforms. This is perhaps as distinct from fine art, where — at least for dealers — the content of the piece does not necessarily matter so much as verification of ownership and provenance. Similarly, web3, with its decentralised and often-anonymised processes, relies on a kind of social activity, or at least a recorded interaction wherein the chain is stamped and each iteration is updated across the system. Even without the current hype, web3 still relies a great deal on discourse, sharing, and community, particularly as it flattens the existing hierarchies of the Internet that linger from Web 2.0. In terms of NFTs, blockchain systems attach scarcity and uniqueness to digital objects. For now, that scarcity and uniqueness is resulting in financial value, though as Jonathan Beller argues the notion of value could — or perhaps should — be reconsidered as blockchain technology, and especially cryptocurrencies, evolve (Beller 217). Regardless, NFT advocates maintain that this is the future of all online activity. To questions of copyright, the structures of blockchain do permit some level of certainty around where a given piece of intellectual property emerged. This is particularly useful where there are transnational differences in recognition of copyright law, such as in France, for instance (Quiniou 112-13). The Berne Convention stipulates that “the subsistence of copyright does not rest on the compliance with formal requirements: rights will exist if the work meets the requirements for protection set out by national law and treaties” (Guadamuz 1373). However, there are still no legal structures underpinning even the most transparent of transactions, when an originator goes out of their way to transfer rights to the buyer of the accompanying NFT. The minimum requirement — even courtesy — for the assignment of rights is the identification of the work itself; as Guadamuz notes, this is tricky for NFTs as they are written in code (1374). The blockchain’s openness and transparency are its key benefits, but until the code can explicitly include (or concretely and permanently reference) the ‘content’ of an NFT, its utility as a system of ownership is questionable. Decentralisation, too, is raised consistently as a key positive characteristic of blockchain technology. Despite the energy required for this decentralisation (addressed shortly), it is true that, at least in its base code, blockchain is a technology with no centralised source of truth or verification. Instead, such verification is performed by every node on the chain. On the surface, for the film industry, this might mean modes of financing, rights management, and distribution chains that are not beholden to multinational media conglomerates, streamers like Netflix, niche intermediaries, or legacy studios. The result here would be a flattening of the terrain: breaking down studio and corporate gatekeeping in favour of a more democratised creative landscape. Creators and creative teams would work peer-to-peer, paying, contracting, servicing, and distribution via the blockchain, with iron-clad, publicly accessible tracking of transactions and ownership. The alternative, though, is that the same imbalances persist, just in a different form: this is outlined in the next section. As Hunter Vaughan writes, the film industry’s environmental impact has long been under-examined. Its practices are diverse, distributed, and hard to quantify. Cinematic images, Vaughan writes, “do not come from nothing, and they do not vanish into the air: they have always been generated by the earth and sun, by fossil fuels and chemical reactions, and our enjoyment of them has material consequences” (3). We believe that by watching a “green” film like Avatar we are doing good, but it implicates us in the dirty secret, an issue of “ignorance and of voluntary psychosis” where “we do not see who we are harming or how these practices are affecting the environment, and we routinely agree to accept the virtual as real” (5). Beyond questions of implication and eco-material conceptualisation, however, there are stark facts. In the 1920s, the Kodak Park Plant in New York drew 12 million gallons of water from Lake Ontario each day to produce film stock. As the twentieth century came to a close, this amount — for a single film plant — had grown to 35-53 million gallons per day. The waste water was perfunctorily “cleaned” and then dumped into surrounding rivers (72-3). This was just one plant, and one part of the filmmaking process. With the shift to digital, this cost might now be calculated in the extraction of precious metals used to make contemporary cameras, computers, or storage devices. Regardless, extrapolate outwards to a global film industry and one quickly realises the impact is almost beyond comprehension. Considering — let alone calculating — the carbon footprint of blockchain requires outlining some fundamentals of the technology. The two primary architectures of blockchain are Proof of Work (PoW) and Proof of Stake (PoS), both of which denote methods of adding and verifying new blocks to a chain. PoW was the first model, employed by Bitcoin and the first iteration of Ethereum. In a PoW model, each new block has a specific cryptographic hash. To confirm the new block, crypto miners use their systems to generate a target hash that is less than or equal to that of the block. The systems process these calculations quickly, as the goal is to be “the first miner with the target hash because that miner is the one who can update the blockchain and receive crypto rewards” (Daly). The race for block confirmation necessitates huge amounts of processing power to make these quick calculations. The PoS model differs in that miners are replaced by validators (or staking services where participants pool validation power). Rather than investing in computer power, validators invest in the blockchain’s coins, staking those coins (tokens) in a smart contract (think of this contract like a bank account or vault). When a new block is proposed, an algorithm chooses a validator based on the size of their stake; if the block is verified, the validator receives further cryptocurrency as a reward (Castor). Given the ubiquity and exponential growth of blockchain technology and its users, an accurate quantification of its carbon footprint is difficult. For some precedent, though, one might consider the impact of the Bitcoin blockchain, which runs on a PoW model. As the New York Times so succinctly puts it: “the process of creating Bitcoin to spend or trade consumes around 91 terawatt-hours of electricity annually, more than is used by Finland, a nation of about 5.5 million” (Huang, O’Neill and Tabuchi). The current Ethereum system (at time of writing), where the majority of NFT transactions take place, also runs on PoW, and it is estimated that a single Ethereum transaction is equivalent to nearly nine days of power consumption by an average US household (Digiconomist). Ethereum always intended to operate on a PoS system, and the transition to this new model is currently underway (Castor). Proof of Stake transactions use significantly less energy — the new Ethereum will supposedly be approximately 2,000 times more energy efficient (Beekhuizen). However, newer systems such as Solana have been explicit about their efficiency goals, stating that a single Solana transaction uses less energy (1,837 Joules, to be precise) than keeping an LED light on for one hour (36,000 J); one Ethereum transaction, for comparison, uses over 692 million J (Solana). In addition to energy usage, however, there is also the question of e-waste as a result of mining and general blockchain operations which, at the time of writing, for Bitcoin sits at around 32 kilotons per year, around the same as the consumer IT wastage of the Netherlands (de Vries and Stoll). How the growth in NFT awareness and adoption amplifies this impact remains to be seen, but depending on which blockchain they use, they may be wasting energy and resources by design. If using a PoW model, the more valuable the cryptocurrency used to make the purchase, the more energy (“gas”) required to authenticate the purchase across the chain. Images abound online of jerry-rigged crypto data centres of varying quality (see also efficiency and safety). With each NFT minted, sold, or traded, these centres draw — and thus waste, for gas — more and more energy. With increased public attention and scrutiny, cryptocurrencies are slowly realising that things could be better. As sustainable alternatives become more desirable and mainstream, it is safe to predict that many NFT marketplaces may migrate to Cardano, Solana, or other more efficient blockchain bases. For now, though, this article considers the existing implementations of NFTs and blockchain technology within the film industry. Current Implementations The current applications of NFTs in film centre around financing and distribution. In terms of the former, NFTs are saleable items that can raise capital for production, distribution, or marketing. As previously mentioned, director Kevin Smith launched Jay & Silent Bob’s Crypto Studio in order to finish and release Killroy Was Here. Smith released over 600 limited edition tokens, including one of the film itself (Moore). In October 2021, renowned Hong Kong director Wong Kar-wai sold an NFT with unreleased footage from his film In the Mood for Love at Sotheby’s for US$550,000 (Raybaud). Quentin Tarantino entered the arena in January 2022, auctioning uncut scenes from his 1994 film Pulp Fiction, despite the threat of legal action from the film’s original distributor Miramax (Dailey). In Australia, an early adopter of the technology is director Michael Beets, who works in virtual production and immersive experiences. His immersive 14-minute VR film Nezunoban (2020) was split into seven different chapters, and each chapter was sold as an NFT. Beets also works with artists to develop entry tickets that are their own piece of generative art; with these tickets and the chapters selling for hundreds of dollars at a time, Beets seems to have achieved the impossible: turning a profit on a short film (Fletcher). Another Australian writer-producer, Samuel Wilson, now based in Canada, suggests that the technology does encourage filmmakers to think differently about what they create: At the moment, I’m making NFTs from extra footage of my feature film Miles Away, which will be released early next year. In one way, it’s like a new age of behind-the-scenes/bonus features. I have 14 hours of DV tapes that I’m cutting into a short film which I will then sell in chapters over the coming months. One chapter will feature the dashing KJ Apa (Songbird, Riverdale) without his shirt on. So, hopefully that can turn some heads. (Wilson, in Fletcher) In addition to individual directors, a number of startup companies are also seeking to get in on the action. One of these is Vuele, which is best understood as a blockchain-based streaming service: an NFT Netflix, if you like. In addition to films themselves, the service will offer extra content as NFTs, including “behind the scenes content, bonus features, exclusive Q&As, and memorabilia” (CurrencyWorks). Vuele’s launch title is Zero Contact, directed by Rick Dugdale and starring Anthony Hopkins. The film is marketed as “the World’s First NFT Feature Film” (as at the time of writing, though, both Vuele and its flagship film have yet to launch). Also launching is NFT Studios, a blockchain-based production company that distributes the executive producer role to those buying into the project. NFT Studios is a decentralised administrative organisation (DAO), guided by tech experts, producers, and film industry intermediaries. NFT Studios is launching with A Wing and a Prayer, a biopic of aeronaut Brian Milton (NFT Studios), and will announce their full slate across festivals in 2022. In Australia, Culture Vault states that its aim is to demystify crypto and champion Australian artists’ rights and access to the space. Co-founder and CEO Michelle Grey is well aware of the aforementioned current social capital of NFTs, but is also acutely aware of the space’s opacity and the ubiquity of often machine-generated tat. “The early NFT space was in its infancy, there was a lot of crap around, but don’t forget there’s a lot of garbage in the traditional art world too,” she says (cited in Miller). Grey and her company effectively act like art dealers; intermediaries between the tech and art worlds. These new companies claim to be adhering to the principles of web3, often selling themselves as collectives, DAOs, or distributed administrative systems. But the entrenched tendencies of the film industry — particularly the persistent Hollywood system — are not so easily broken down. Vuele is a joint venture between CurrencyWorks and Enderby Entertainment. The former is a financial technology company setting up blockchain systems for businesses, including the establishment of branded digital currencies such as the controversial FreedomCoin (Memoria); the latter, Enderby, is a production company founded by Canadian film producer (and former investor relations expert in the oil and uranium sectors) Rick Dugdale (Wiesner). Similarly, NFT Studios is partnered with consulting and marketing agencies and blockchain venture capitalists (NFT Investments PLC). Depending on how charitable or cynical one is feeling, these start-ups are either helpful intermediaries to facilitate legacy media moving into NFT technology, or the first bricks in the capitalist wall to bar access for entry to other players. The Future Is… Buffering Marketplaces like Mintable, OpenSea, and Rarible do indeed make the minting and selling of NFTs fairly straightforward — if you’ve ever listed an item for sale on eBay or Facebook, you can probably mint an NFT. Despite this, the current major barrier for average punters to the NFT space remains technical knowledge. The principles of blockchain remain fairly opaque — even this author, who has been on a deep dive for this article, remains sceptical that widespread adoption across multiple applications and industries is feasible. Even so, as Rennie notes, “the unknown is not what blockchain technology is, or even what it is for (there are countless ‘use cases’), but how it structures the actions of those who use it” (235). At the time of writing, a great many commentators and a small handful of scholars are speculating about the role of the metaverse in the creative space. If the endgame of the metaverse is realised, i.e., a virtual, interactive space where users can interact, trade, and consume entertainment, the role of creators, dealers, distributors, and other brokers and players will be up-ended, and have to re-settle once again. Film industry practitioners might look to the games space to see what the road might look like, but then again, in an industry that is — at its best — somewhat resistant to change, this may simply be a fad that blows over. Blockchain’s current employment as a get-rich-quick mechanism for the algorithmic literati and as a computational extension of existing power structures suggests nothing more than another techno-bubble primed to burst (Patrickson 591-2; Klein). Despite the aspirational commentary surrounding distributed administrative systems and organisations, the current implementations are restricted, for now, to startups like NFT Studios. In terms of cinema, it does remain to be seen whether the deployment of NFTs will move beyond a kind of “Netflix with tchotchkes” model, or a variant of crowdfunding with perks. Once Vuele and NFT Studios launch properly, we may have a sense of how this all will play out, particularly alongside less corporate-driven, more artistically-minded initiatives like that of Michael Beets and Culture Vault. It is possible, too, that blockchain technology may streamline the mechanics of the industry in terms of automating or simplifying parts of the production process, particularly around contracts, financing, licensing. This would obviously remove some of the associated labour and fees, but would also de-couple long-established parts and personnel of the industry — would Hollywood and similar industrial-entertainment complexes let this happen? 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