Sea Aquarium Quotes

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I felt I lived my life on the bottom of one of those great, sea aquariums with species foreign to me passing as dim shapes soundlessly, and with their own fixed purpose, overhead.
Owen Marshall (Owen Marshall: Selected Stories)
was a study on fulmar carcasses washed ashore on North Sea coastlines. Ninety-five percent had plastic in their stomachs—an average of 44 pieces per bird. A proportional amount in a human being would weigh nearly five pounds. There was no way of knowing if the plastic had killed them, although it was a safe bet that, in many, chunks of indigestible plastic had blocked their intestines. Thompson reasoned that if larger plastic pieces were breaking down into smaller particles, smaller organisms would likely be consuming them. He devised an aquarium experiment, using bottom-feeding lugworms that live on organic sediments, barnacles that filter organic matter suspended in water, and sand fleas that eat beach detritus. In the experiment, plastic particles and fibers were provided in proportionately bite-size quantities. Each creature promptly ingested them.
Alan Weisman (The World Without Us)
le reve est l'aquarium de la nuit.
Victor Hugo (The Toilers of the Sea)
Octopuses in at least two aquariums have learned to turn off the lights
Peter Godfrey-Smith (Other Minds: The Octopus, the Sea, and the Deep Origins of Consciousness)
The Vancouver aquarium wanted to create a life-size replica of a killer whale and sent hunters out to kill one on July 16, 1964 and bring its corpse back to use as a model.
John Hargrove (Beneath the Surface: Killer Whales, SeaWorld, and the Truth Beyond Blackfish)
The clear liquid in our eyes is seawater and therefore there are fish in our eyes, seawater being the natural medium of fish. Since blue and green are the colours of the richest seawater, blue and green eyes are the fishiest. Dark eyes are somewhat less fecund and albino eyes are nearly fishless, sadly so. But the quantity of fish in an eye means nothing. A single tigerfish can be as beautiful, as powerful, as an entire school of seafaring tuna. That science has never observed ocular fish does nothing to refute my theory; on the contrary, it emphasizes the key hypothesis, which is: love is the food of eye fish and only love will bring them out. So to look closely into someone's eyes with cold, empirical interest is like the rude tap-tap of a finder on an aquarium, which only makes the fish flee. In a similar vein, when I took to looking at myself closely in mirrors during the turmoil of adolescence, the fact that I saw nothing in my eyes, not even the smallest guppy or tadpole, said something about my unhappiness and lack of faith in myself at the time. ...I no longer believe in eye fish in [i]fact[/i], but still do in metaphor. In the passion of an embrace, when breath, the win, is at its loudest and skin at its saltiest, I still nearly think that I could stop things and hear, feel, the rolling of the sea. I am still nearly convinced that, when my love and I kiss, we will be blessed with the sight of angelfish and sea-horses rising to the surface of our eyes, these fish being the surest proof of our love. In spite of everything, I sill profoundly believe that love is something oceanic.
Yann Martel (Self)
To know Seattle one must know its waterfront. It is a good waterfront, not as busy as New York's, not as self-consciously colorful as San Francisco's, not as exotic as New Orleans, but a good, honest, working waterfront with big gray warehouses and trim fishing boats and docks that smell of creosote, and sea gulls and tugs and seafood restaurants and beer joints and fish stores--a waterfront where you can hear foreign languages and buy shrunken heads and genuine stuffed mermaids, where you can watch the seamen follow the streetwalkers and the shore patrol follow the sailors, where you can stand at an open-air bar and drink clam nectar, or sit on a deadhead and watch the water, or go to an aquarium and look at an octopus.
Murray Morgan (Skid Road: An Informal Portrait of Seattle)
Night-time, regarded as a separate sphere of creation, is a universe in itself. The material nature of man, upon which philosophers tell us that a column of air forty-five miles in height continually presses, is wearied out at night, sinks into lassitude, lies down, and finds repose. The eyes of the flesh are closed; but in that drooping head, less inactive than is supposed, other eyes are opened. The unknown reveals itself. The shadowy existences of the invisible world become more akin to man; whether it be that there is a real communication, or whether things far off in the unfathomable abyss are mysteriously brought nearer, it seems as if the impalpable creatures inhabiting space come then to contemplate our natures, curious to comprehend the denizens of the earth. Some phantom creation ascends or descends to walk beside us in the dim twilight: some existence altogether different from our own, composed partly of human consciousness, partly of something else, quits his fellows and returns again, after presenting himself for a moment to our inward sight; and the sleeper, not wholly slumbering, nor yet entirely conscious, beholds around him strange manifestations of life—pale spectres, terrible or smiling, dismal phantoms, uncouth masks, unknown faces, hydra-headed monsters, undefined shapes, reflections of moonlight where there is no moon, vague fragments of monstrous forms. All these things which come and go in the troubled atmosphere of sleep, and to which men give the name of dreams, are, in truth, only realities invisible to those who walk about the daylight world. The dream-world is the Aquarium of Night.
Victor Hugo (The Toilers of the Sea)
The end-Permian extinction also seems to have been triggered by a change in the climate. But in this case, the change went in the opposite direction. Right at the time of extinction, 252 million years ago, there was a massive release of carbon into the air—so massive that geologists have a hard time even imagining where all the carbon could have come from. Temperatures soared—the seas warmed by as much as eighteen degrees—and the chemistry of the oceans went haywire, as if in an out-of-control aquarium. The water became acidified, and the amount of dissolved oxygen dropped so low that many organisms probably, in effect, suffocated.
Elizabeth Kolbert (The Sixth Extinction: An Unnatural History)
Firther evidence of the difficulties of reduced-gravity-sex comes from the sea otter. To help hold the female in place, the male will typically pull the female's head back and grab onto her nose with his teeth. "Our vets have had to do rhinoplasty on some of the females", says Michaelle Stadler, a sea otter reseach coordinator at the Monterey Bay Aquarium. Sex can also be traumatic for the male otter, who endures aerial pecking attacks by sea gulls mistaking his erect penis for a novel ocean delicacy.
Mary Roach (Packing for Mars: The Curious Science of Life in the Void)
The door had six knobs on its inner side: the uppermost, which matched the outer one, a square of frost-furred crystal, and five beneath it, placed in an uneven row. The first two were of some sort of dark stone, one icy and the other matte and slippery-smooth. The fourth had the look of a tiny aquarium, a cylinder of turquoise sea shafted with sunlight. The bottom two were made of wood. The first was pale, carved with an intricate floral pattern. I could not tell if the second was similarly decorated, for it was largely covered in a wet moss woven with constellations of tiny white flowers.
Heather Fawcett (Emily Wilde’s Map of the Otherlands (Emily Wilde, #2))
I came to feel a certain kind of shame at the aquarium […] [T]here was a shame in being human: the shame of knowing that twenty of the roughly thirty-five classified species of sea horse worldwide are threatened with extinction because they are killed "unintentionally" in seafood production. The shame of indiscriminate killing for no nutritional necessity or political cause or irrational hatred or intractable human conflict. I felt shame in the deaths my culture justified by so thin a concern as the taste of canned tuna […] or the fact that shrimp make convenient hors d’oeuvres […] I felt shame for living in a nation of unprecedented prosperity--a nation that spends a smaller percentage of income on food than any other civilization has in human history--but in the name of affordability treats the animals it eats with cruelty so extreme it would be illegal if inflicted on a dog.
Jonathan Safran Foer
All the long afternoon, the sea was suspended there before their eyes only as a canvas of attractive colouring might hang on the wall of a wealthy bachelor’s flat and it was only in the intervals between the ‘hands’ that one of the players, finding nothing better to do, raised his eyes to it to seek from it some indication of the weather or the time, and to remind the others that tea was ready. And at night they did not dine in the hotel, where, hidden springs of electricity flooding the great dining-room with light, it became as it were an immense and wonderful aquarium against whose wall of glass the working population of Balbec, the fishermen and also the tradesmen’s families, clustering invisibly in the outer darkness, pressed their faces to watch, gently floating upon the golden eddies within, the luxurious life of its occupants, a thing as extraordinary to the poor as the life of strange fishes or molluscs (an important social question, this: whether the wall of glass will always protect the wonderful creatures at their feasting, whether the obscure folk who watch them hungrily out of the night will not break in some day to gather them from their aquarium and devour them).
Marcel Proust (In Search Of Lost Time (All 7 Volumes) (ShandonPress))
The clearest signs of Hakodate's current greatness, though, can be found clustered around its central train station, in the morning market, where blocks and blocks of pristine seafood explode onto the sidewalks like an edible aquarium, showcasing the might of the Japanese fishing industry. Hokkaido is ground zero for the world's high-end sushi culture. The cold waters off the island have long been home to Japan's A-list of seafood: hairy crab, salmon, scallops, squid, and, of course, uni. The word "Hokkaido" attached to any of these creatures commands a premium at market, one that the finest sushi chefs around the world are all too happy to pay. Most of the Hokkaido haul is shipped off to the Tsukiji market in Tokyo, where it's auctioned and scattered piece by piece around Japan and the big cities of the world. But the island keeps a small portion of the good stuff for itself, most of which seems to be concentrated in a two-hundred-meter stretch in Hakodate. Everything here glistens with that sparkly sea essence, and nearly everything is meant to be consumed in the moment. Live sea urchins, piled high in hillocks of purple spikes, are split with scissors and scraped out raw with chopsticks. Scallops are blowtorched in their shells until their edges char and their sweet liquor concentrates. Somewhere, surely, a young fishmonger will spoon salmon roe directly into your mouth for the right price.
Matt Goulding (Rice, Noodle, Fish: Deep Travels Through Japan's Food Culture)
In the late 1960s, a park could purchase an Atlantic bottlenose dolphin for about $300. Today, that same species will cost more than $100,000. Indeed, this spike in price has forced zoos to change their entire philosophy. “The attitude was these marine mammals were an expendable commodity,” a former vice president of Sea World confided. “If these animals perished, you’d just go out and replace them. The ease didn’t drive a great deal of research of what they needed to keep them healthy.[...] Yet if “expendability” was the industry’s previous philosophy, “reproduction” came to be its new one.
Jason Hribal (Fear of the Animal Planet: The Hidden History of Animal Resistance (Counterpunch))
Tragically, the average life expectancy during this era for captive orcas stood between one to four years. Aquariums often went through a whole series of whales before just one of them made it into adolescence. Today, the life expectancy of captive killer whales has improved: rising to about ten years. Yet this is still a far cry from the thirty to sixty years that orcas can live in the ocean.
Jason Hribal (Fear of the Animal Planet: The Hidden History of Animal Resistance (Counterpunch))
Sea World has owned fifty-one orcas called Shamu. The original Shamu was captured in 1965, after animal collector Ted Griffin harpooned the calf’s mother in Puget Sound.
Jason Hribal (Fear of the Animal Planet: The Hidden History of Animal Resistance (Counterpunch))
Sea World orcas work as many as eight shows a day, 365 days a year. In the ocean, these whales can swim up to ninety miles a day. In captivity, the tanks are measured in feet. In the ocean, orcas have highly evolved and cohesive matriarchal cultures. Generations of family members, combining both females and males, spend their entire lives together—with each family, or pod, communicating its own unique dialect. In captivity, little to none of this exists. Orca culture is effectively destroyed.
Jason Hribal (Fear of the Animal Planet: The Hidden History of Animal Resistance (Counterpunch))
The zoo industry is full of such contradictions. It helps people learn about the importance of animals, but not what is vitally important to the animals themselves. Sea mammals, elephants, and primates are capable of so many amazing feats, but they are incapable of demonstrating their intentions and making their own choices. The industry encourages you to think that these animals are intelligent, but not intelligent enough to have the ability to resist. The industry encourages you to care about them, so that you and your children will return for a visit. But it does not want you to care so much that you might develop empathy and begin to question whether these animals actually want to be there.
Jason Hribal (Fear of the Animal Planet: The Hidden History of Animal Resistance (Counterpunch))
Then I heard the voices of the aquarium fish: Son of the sea god! Wake! Suddenly I felt the power of the ocean all around me again, hundreds of gallons of salt water, thousands of fish trying to get my attention.
Rick Riordan (The Demigod Files (Percy Jackson and the Olympians))
that, instead of being fused to the skull, hangs loosely beneath the brain case. This enables the upper jaw to push forward and hyperextend open—wide enough to engulf, and crush, an adult bull elephant. As if the size and voraciousness of its feeding orifice were not enough, nature has endowed this monster with a predatory intelligence, honed by 400 million years of evolution. Six distinct senses expose every geological feature, every current, every temperature gradient … and every creature occupying its domain. The predator’s eyes contain a reflective layer of tissue situated behind the retina. When moving through the darkness of the depths, light is reflected off this layer, allowing the creature to see. In sunlight, the reflective plate is covered by a layer of pigment, which functions like a built-in pair of sunglasses. While black in normally pigmented members of the species, this particular male’s eyes are a cataract-blue—a trait found in albinos. As large as basketballs, the sight organs reflexively roll back into the skull as the creature launches its attack on its prey, protecting the eyeball from being damaged. Forward of the eyes, just beneath the snout, are a pair of directional nostrils so sensitive that they can detect one drop of blood or urine in a million gallons of water. The tongue and snout provide a sense of taste and touch, while two labyrinths within the skull function as ears. But it is two other receptor organs that make this predator the master of its liquid domain. The first of these mid-to-long-range detection systems is the lateral line, a hollow tube that runs along either flank just beneath the skin. Microscopic pores open these tubes to the sea. When another animal creates a vibration or turbulence in the water, the reverberations stimulate tiny hairs within these sensory cells that alert the predator to the source of the disturbance—miles away! Even more sensitive are the hunter’s long-range receptor cells, located along the top and underside
Steve Alten (Hell's Aquarium (Meg #4))
The English word “coral” also comes from Greek, meaning “what becomes hard in the hand,” “the maiden or nymph of the sea,” or “the heart of the sea.
Eric H. Borneman (Aquarium Corals: Selection, Husbandry, and Natural History: Selection, Husbandry and Natural History)
What’s the point of sea horses? I asked. The old man stood before them, mouth hung open, as if before his god.
David Vann (Aquarium)
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Philippine Sea, Pacific Ocean
Steve Alten (Hell's Aquarium (Meg #4))
of a school year didn’t help. I had lost my fiancée, I had lost my dream, and I wanted to go to a place where I didn’t know anyone. I discovered that the University of Hawaii at Manoa, in Honolulu, offered a master’s degree in oceanography with plans to expand to a Ph.D. program soon. It wasn’t Scripps, but it could get me going again. I had to rush to Honolulu so quickly, I missed graduation at Santa Barbara. I asked the Army for a delay in active duty and began looking for a part-time job. Dr. Norris may not have written the strongest letter of support for me, but he did tell me about his brother, Ken Norris, a UCLA professor who did summer research on whales and dolphins at the Oceanic Institute, east of Honolulu. The institute was connected to Sea Life Park, an aquarium that offered dolphin and whale shows. I zipped out there on a rented moped and soon had two jobs: training dolphins and whales for the tourist shows and helping Dr. Norris with his research when summer rolled around.
Robert D. Ballard (Into the Deep: A Memoir from the Man Who Found the Titanic)
The Exorcism of the North Sea On Sundays we sing. Ghost birds. You lead us to the southern cliffs. With our girl guide tents. The sun is ours. We have verses to prove it, tucked in the hems of our midwinter pockets. We are snow globes. Along the rows of whitewashed caravans young boys peer out and whistle if their mums aren't home. Everything is seen through murky glass. The sea lurches. Someone should save the soul of her. Lukewarm and watered down, holding all the girls in bathing suits. We stretch out our carol sheets and hum like bees.
Jen Campbell (The Girl Aquarium)
How tired she must be, I thought, after her rich, full life—a life lived between worlds. She had known the sea’s wild embrace; she had mastered the art of camouflage; she had learned the taste of our skin and the shapes of our faces; she had instinctively remembered how her ancestors wove eggs into chains. She had served as an ambassador for her kind to tens of thousands of aquarium visitors. What an odyssey she had lived.
Sy Montgomery (The Soul of an Octopus: A Surprising Exploration into the Wonder of Consciousness)
When molten rock (magma) pushes up through the sea floor, it forces tectonic plates to spread apart, or diverge, creating valleys known as rifts.
Steve Alten (Hell's Aquarium (Meg #4))
Anne Kihagi Explores San Francisco’s Best Cultural Attractions The city of San Francisco offers many museums and enriching cultural attractions. Here, Anne Kihagi explores three of the city’s best ones to visit shared in 3 part series. California Academy of Sciences The California Academy of Sciences houses several attractions under one roof sure to interest visitors of all ages. Offering an aquarium, a natural history museum, and a planetarium, the academy also boasts a 2.5-acre living roof. The venue is also home to various educational and research programs. The academy’s featured exhibits include the Steinhart Aquarium, which has 40,000 species, and the Osher Rainforest, which is a four-level exhibit with butterflies and birds. The academy has several long-standing exhibits like the Philippine Coral Reef, the Human Odyssey, the Tusher African Hall, and the California Coast. There are three exhibits for the academy’s youngest visitors to enjoy. The Naturalist Center features live species and educational games and films, while the Curiosity Grove is a California forest-themed play area. Finally, the Discovery Tidepool allows children to interact with California tidepool species.The academy also offers sleepovers for their youngest visitors. Children will be able to view the exhibits after-hours and enjoy milk and cookies before bed. They can choose to sleep in areas such as the flooded forest tunnel or the Philippine Coral Reef. The academy’s newest exhibits include the planetarium show Passport to the Universe, 400 gemstones and minerals in the geology collection, and the Giants of Land and Sea that showcases the northern part of the state’s natural wonders. You can visit the academy Monday through Saturday from 9:30 AM – 5:00 PM and on Sundays from 11:00 AM – 5:00 PM. Visitors who are 21 and older can attend the academy’s NightLife on Thursdays from 6:00 – 10:00 PM. General adult admission is $35.95 and senior citizen admission (65+ with ID) is $30.95. Child admission (ages 4-11) is $25.95, while youth admission (ages 12-17) is $30.95. Children under three receive free admission.
Anne Kihagi
Scarface swims along the sea bed in water
Steve Alten (Hell's Aquarium (Meg #4))
White of snow or white of page is not" the white of your skin, for skin, except when truly albino, always has some other color sleeping within it—a hint of red maple leaf, a touch of the blue ice at the edge of a melting stream, a richness implied of its many layers, the deltas of cells and blood, that deep fecundity that lies within and makes the skin shed, not like a snake, but as a tree (one of those golden cottonwoods flaring just now at the edge of the river) that sheds its leaves each moment while an eternity of leaf remains. Oh, nothing seems to me as white as your skin, all your languid ease of being—one resting upon the other, the sliver of your shoulder against the black fabric—reminds me so of the lost realm of beauty that I am afraid of nothing, and only dazed (as I was that day at the aquarium when the beluga whales came swimming toward me—how white they were, slipping out of the darkness, radiant and buoyant as silence and snow, incandescent as white fire, gliding through the weight of water, and when they sang in that chamber as small as the chambers of the human heart, murky with exhaustion and captivity and the fragments of what they had consumed, I was almost in love with them; they seemed the lost children of the moon, carrying in their milky mammalian skins a hint of glacial ice and singing to each other of all the existences they had left behind, their fins like the wings of birds or angels, clicking and whistling like canaries of the sea: there was no darkness in their bodies, like clouds drifting through unkempt skies, they illuminated the room). So I did not think of you so much as I felt you drifting through my being, in some gesture that held me poised like a hummingbird above the scarlet blossoms of the trumpet vine, I kissed you above the heart, and by above I mean there, not that geometric center, the breastbone that so many use to divide the body in half and so mistake for the place where the heart lies, but the exact location, a little to the left, just on the crescent where the breast begins to rise; oh, I know all that drift of white implies, the vanished clothing, the disappearing room, that landscape of the skin and night that opens in imagination and in feeling upon a sea of snow, so that just one kiss above the heart is a kiss upon the heart, as if one could kiss the very pulse of being, light upon the head of that pin that pins us here, that tiny disk where angels were once believed to dance, and all that nakedness without could not have been except for all that burning deep within
Rebecca Seiferle (Wild Tongue (Lannan Literary Selections))
Bering Sea along California’s coast, searching for shallow, protected harbors in which to birth their calves. The Tanaka Lagoon, essentially a man-made lake with
Steve Alten (Hell's Aquarium (Meg #4))