Find Your Park

The marine forecast is calling for 25-knot winds and 5-foot seas in Glacier Bay National Park today. Yesterday, when we were tightening the last nylocks on our hydrophone landers, and working out the last details of our array deployment, folks were pretty keen to remind us that the weather was going to kick up. I decided not to be nervous, what’s the point.

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Clockwise from upper right: Snacks, Kenya, Bumblebee, and Bruiser.  The hydrophones that listen where we cannot. 

Today in the rain and the fog we put four instruments, that our team has literally pour blood sweat and tears into, into the ocean for a second year. Aside from one overactive buoy on the final drop (I turned to Chris and said, “My only concern is about that buoy.” I should have listened to my gut sooner), our day went smoothly and quickly – despite the persistent drizzle and fog dancing on deck. Our efficient little team completed the deployment by 10:45am. Plenty of time for a quick visit to Strawberry Island, and a boat ride home, all before the weather hit. Unlike last year, where we hooted and hollered our victory, this year the boat ride back was subdued. I didn’t dance a victory dance, I sighed a blissful sigh of relief.

Want to know something though? The best part of today wasn’t getting the hydrophones in the water (though long term, I’m certain that’s what I’ll be most grateful for), the best part was seeing the harbor porpoise sipping air off the port side of our deployment vessel, watching the bull sea lion growl with his huge mouth agape, and spotting the seals and birds diving after the same schools of small fish. I love our hydrophones – don’t get me wrong. I’ve slept with them next to my bed at night, kissed their housings, and whispered sweet nothings to them. I love them most, however, because they give me the motivation, the inspiration, and the permission to be outside here in Glacier Bay.

The National Park Service is having its centennial anniversary this year. It has been one hundred years since the intrinsic value of our wild places was recognized, and protected for no other reason than to ensure its persistence. Being a part of this legacy is something that I can’t quite put words too. Joining the ranks of my mentors, past and present, and contributing to what we know about and how we interact with the natural world with forever be one of my greatest achievements. I’m fortunate enough to stand in the footsteps of giants; for me, however, those footsteps were carved out by the journey of glaciers moving through this landscape well before I was born. Footsteps that have become the ocean home to the animals that I love, and the backdrop to the science that I create.

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Staged and almost ready to go on the dock in Bartlett Cove. Our equipment prep was completed in the company of otters, eagle, and Bonaparte gulls happily cackling

Technology enables me to listen to a world I otherwise cannot hear, but it is the sound of the ocean butting up against the islands that brought me to acoustics in the first place. We human tool users are ingenious in finding ways to solve problems and answer questions. Places like Glacier Bay, however, are essential for inspiring the questions in the first place.

One hundred years. That’s not a trivial tenure. How many times over the past 100 years have you visited a National Park? If you’ve never been, let this be the year that you find your park. I’ve certainly found mine.

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The view from Strawberry Island, overlooking our hydrophone array: Glacier Bay National Park

 

 

 

Story Time with Whale Acoustics

First, let me apologize for being a little late with this post.  I generally post the second Friday of every month; It’s Tuesday. One of the reasons I’m late is because I flew back to my hometown in Birmingham, Alabama as an invited teacher at the N.E. Miles Jewish Day School.  I had the privilege of running three lessons on whale communication for students ranging from kindergarten to eighth grade.  Admittedly they kept me on my toes! Spending time with children is exciting and inspiring. We did a number of activities to demonstrate how marine mammals use sound to communicate. Students were given a small shaker containing one of four materials (hazelnuts, tacks, aduki beans, or rice) and they had to use their ears alone to find their “pods”.  We had fin whales, humpback whales, killer whales, and beluga whales.  Each pod was then given a ribbon the length of their whale to stretch out across the activity room.  Even I was impressed with how big a fin whale really is!

For the older groups we talked about the relationship between size and pitch (frequency), learned how to read spectrograms, and I introduced the concept of masking and noise pollution by playing a series of whale calls and adding vessel noise.  For the kindergartners and first graders, however, it seemed more appropriate to introduce the concept of sound in the ocean with a story.  I re-purposed a true story about a killer whale from Puget Sound named Springer who was separated from, and later reunited with her pod.  In real life recordings were made of Springer’s vocalizations to help identify which pod she belonged to.  In the story below, Springer uses her family whistle to try and re-connect, and she meets a number of other whales along the way. On each page I was able to play recordings of the animals in the pictures, so my young students could hear the actual voices of the animals. Enjoy!

Listening to the Past

…but first a name

This is what we see when we study humpback whales... but what do we hear?

This is what we see when we study humpback whales… but what do we hear?

I’ve dedicated the past 3 years to understanding non-song vocalizations, which admittedly is just a drop in the bucket. Now, as I venture into my fourth year of this relationship I have to acknowledge that I’ve moved from one chapter of my research into another. The Rapunzel Project (the whimsical name for my M.S. project) was my first foray into bio-acoustics, large scale fieldwork, and in internship development. While I wouldn’t consider myself an expert at any of these things, I’m also no longer a novice. I defended my thesis, we’re working on publications, and by and large I’ve put the Rapunzel Project to rest (I even retired the blog!).

All that being said I’m thrillingly eyeball deep in my PhD (first committee meeting: check!), and my research is actually rolling along in advance of my first field season (patting myself –very lightly – on the back). I’ve been giving talks on my research, and the blog posts are rolling out in various forms and locations. With all of this communicating about my research I became aware of something, my project didn’t have a name. Now I know that naming each project isn’t mandatory. Some people name their cars, some don’t; some people name their research, others don’t. But I have to admit writing the words “my dissertation research” over and over has grown tedious. As someone who values accessible communication as well as the role of creativity in science, I reached out to my fellow lab mates and asked for help with a name.

Calypso as she wistfully watches the sea... for humpback whales of course

Calypso as she wistfully watches the sea… for humpback whales of course

Suggestions varied wildly (“Life is the bubbles” anyone? How about a Calypso reference… so much fun). The name we settled on was astutely suggested by none other than ORCAA’s Selene Fregosi (maybe that writing workshop she wrote about helped with more than just her thesis). Without further ado let me introduce you to ORCAA’s Acoustic Spyglass: investigating the impact of vessel noise on humpback whale non-song behavior from the shores of Glacier Bay National Park.

I’m please with this name because (a) it incorporates both the visual and acoustic elements of the study, (b) because the use of a hydrophone array to localize animals is quite literally a form of “acoustic spying”, and (c) the use of a spyglass implies both antiquity and a sense of looking forward. When you pair visual observations with passive acoustic monitoring you are often looking forward (to the sea, tracking whales), but often technological constraints require that you listen retroactively after the hydrophones have been recovered. In this way I am quite literally listening to the past.

Listening to the Past

Nowhere is this more poignant than in the first chapter of the Acoustic Spyglass (see that… not “my dissertation research”), where I investigate non-song call stability at the decadal scale. I’ve acquired recordings of non-song vocalizations in North Pacific Humpbacks from the mid-1970’s through present day. I’ve been reviewing these to assess if non-song vocalizations, similar to song, change rapidly with time, or if humpbacks exhibit vocal stability. It is well known that humpback whale song changes annually, and this change is believed to be culturally mediated. Little is known, however, about how non-song vocalizations stand up to the test of time. Understanding the stability of non-song vocalizations may tell us something about call innateness, and may provide clues into how these vocalizations are used. Further, if non-song vocalizations (or specific types of non-song vocalizations) have been relatively stable for the past four decades then they may act as a metric against which to quantify change in the face of a shifting baseline (increasing ocean noise, climate change).

What’s so exciting (to me and possibly the ~twelve people who study non-song communication in humpback whales) is that based on first glance at least one call type – the SEAK Whup call – is remarkably stable over time! I’ve detected this vocalization in every data set currently in my possession. I want to be clear, that these findings are anecdotal at this point.  I’ve only just started quantifying my samples, and I have a long way to go before everything is sufficiently measured and described.  But from first glance would you agree that these two spectrograms look pretty similar?

"Whup" calls, R-L: 1976, courtesy of Roger Payne; 1982 courtesy of Greg Silber and Adam Frankel; 1995 courtesy of Fred Sharpe

“Whup” calls, R-L: 1976, courtesy of Roger Payne; 1982 courtesy of Greg Silber and Adam Frankel; 1995 courtesy of Fred Sharpe

There’s something magical about listening to vocalizations that were produced in the 1970’s and hearing some of the same purrs that I’ve grown familiar with.  That the scientific community forty years later is just now beginning to investigate what these non-song vocalizations mean is a testament to the breadth of research yet to be done on Southeast Alaskan humpback whales.  Humpback whales are long-lived, with lifespans that can reach 90+  years.  This means that the whales in these historic recordings may still be vocalizing in Southeast Alaska today.  Or perhaps these recordings may be a link between a previous generation of whales and those who have only recently made it to Southeast Alaska to forage.  In either case the analysis of this long-term acoustic data set is the first step to answering some of the basic questions about how humpback whales communicate and I’m extremely excited to be listening.

~This work is extremely collaborative. Data contributions have been made my individual researchers referenced above as well as the National Park Service, and the Alaska Whale Foundation~

***Follow my personal research blog here, or check out my lab’s blog blogs.oregonstate.edu/bioacoustics for a broader view of bio-acoustic research***