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In this study, components of the food-web in Macao wetlands were quantified using stable isotope ratio techniques based on carbon and nitrogen values. The δ13C and δ15N values of particulate organic matter (δ13CPOM and δ15NPOM, respectively) ranged from −30.64 ± 1.0 to −28.1 ± 0.7 ‰, and from −1.11 ± 0.8 to 3.98 ± 0.7 ‰, respectively. The δ13C values of consumer species ranged from −33.94 to −16.92 ‰, showing a wide range from lower values in a freshwater lake and inner bay to higher values in a mangrove forest. The distinct dietary habits of consumer species and the location-specific food source composition were the main factors affecting the δ13C values. The consumer 15N-isotope enrichment values suggested that there were three trophic levels; primary, secondary, and tertiary. The primary consumer trophic level was represented by freshwater herbivorous gastropods, filter-feeding bivalves, and plankton-feeding fish, with a mean δ15N value of 5.052 ‰. The secondary consumer level included four deposit-feeding fish species distributed in Fai Chi Kei Bay and deposit-feeding gastropods in the Lotus Flower Bridge flat, with a mean δ15N value of 6.794 ‰. The tertiary consumers group consisted of four crab species, one shrimp species, and four fish species in the Lotus Flower Bridge Flat, with a mean δ15N value of 13.473 ‰. Their diet mainly comprised organic debris, bottom fauna, and rotten animal tissues. This study confirms the applicability of the isotopic approach in food web studies.
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Sounding Architecture, is the first collaborative teaching development between Department of Architecture and Department of Music at the University of Hong Kong (HKU), introduced in Fall 2016. In this paper we present critical observations about the studio after a final public presentation of all projects. The Review was conducted with demonstrations by groups of students supervised by different Lecturer, in each case focusing on a different strategy to create a connection between Sound, Music, Acoustics, Space and Architectural Design. There was an assumption that the core working process would have to include the design of a new musical instrument, which in some cases became the final deliverable of the Studio and in other cases a step in a process that leads to a different outcome (such as an architectural Design, a performance or social experiment). One other relevant aspect was that Digital technology was used in the design and fabrication of the physical instruments' prototypes, but in very few cases, it was used in the actual generation or enhancement of sound, with the instruments relying almost exclusively in acoustic and mechanical sound.
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Maria Celeste Natário, Renato Epifânio, Carlos Ascenso André, Gonçalo Cordeiro, Inocência Mata, Jorge Rangel, Maria Antónia Espadinha
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