Twilight of the Ocean

 

Background on the first 2 layers of the ocean

The epipelagic zone refers to the first layer of the ocean (0 – 200m). It is also known as sunlit zone, or the euphotic zone, or sunlight zone – where most of the light is still visible. Many creatures were not discovered at first and this midwater region remained mysterious as submersibles preferred to save energy for exploring the deeper regions by turning off the lights. Later in the 1980s, dives in this zone up till the next zone stumbled upon the wide variety of organisms that were waiting to be discovered.

Source: DevianArt

 

However, the sunlit zone only accounts for up till 200m. Mesopelagic zone accounts for the bulk of 150m to 600m. Categorised as 200m to 600m deep, it is considered the second layer of the ocean. It was also observed that at 150m below the surface, 99% of the light has already been absorbed by the seawater. Hence, overall this section was named ‘Twilight of the Ocean’, where only faint and filtered sunlight is received during daytime near the end of the epipelagic zone (0-200m),

Light and survival

For human beings, light has been an integral part of our lives and is essential in survival; so much that invention of artificial light was crucial as sunlight only lasts in the daytime. However, light in the deep sea brings about more vulnerability instead.

In these first 2 layers of the ocean where light is the most abundant, so are the food sources. However, as sunlight dims deeper into the sea, the faint light turns the zone into a shadow theatre, where even the smallest of silhouettes will stand out distinctly against the brighter background.

Source: DiveFlagApp Blog
An example of shadow play in the deep. Source: DiveFlagApp Blog

In order to survive, the exhibition highlights ways the animals have adapted.

Picture taken at 'The Deep' exhibition
Picture taken at ‘The Deep’ exhibition

 

To avoid detection by predators, some deep sea animals have transparent bodies.

 

 

 

 

Other animals create its own light to counterbalance the opacity of tissues (known as Bioluminescence), or have a silvery reflective coating (known as Counterillumination). Sometimes there may be a combination of both.

Picture taken at 'The Deep' exhibition
Picture taken at ‘The Deep’ exhibition

Unlike how animals with transparent bodies try to avoid detection, bioluminescent animals like this angler fish adapt in a different way. This angler fish uses its fishing rod-like hanging from his head to lure in his prey.

 

 

 

Picture taken at 'The Deep' exhibition
Picture taken at ‘The Deep’ exhibition

However, this species is unique in its capacity to reel in the prey right up to his mouth by retracting its rod in a pouch, which is very similar to that of a fly-fisherman.

Other bioluminescent animals commonly use this property for communication, such as attracting a mate.

 

 

Source: Ocean Portal
Counterillumination at work. Source: Ocean Portal

Counterillumination refers to how light produced by the animals can help them camouflage from predators.

This fish shows how counterillumination helps the fish to blend in with the dimly lit waters, where light is coming from above.

 

 

Overall, the section can be said to be the most abundant in marine life, in terms of wildlife diversity and food sources. Different ways of adaptation can be observed in the marine animals living in this twilight zone as well.

Next up, Appearance of colours in the deep.

How Psychology plays a part

Though there are many psychological theories related to environmental threats, Nouvian has particularly utilised one of the theory to advocate for behavioural change.

The Lazarus theory on response to stress notes the few ways humans could have responded to environmental threats, and explains how failure to act can occur when the threat seems unstoppable.  Stressors may come from environment degradation, coupled with poverty, marginal health and nutrition, education, thus creating a vicious cycle of disempowerment and fatalism, despite inspiring initiatives taken by some to stop this cycle. Stressors can also come from our knowledge and beliefs about environmental losses as well as the direct experiences of important values that are threatened. This point would be more relevant to the Conservation of the sea, where Nouvian strives to educate the public through releasing pictures and specimen which can be referred to as the cream of the crop.

In this situation where we assume humans (generally, the consumers) have little control over this environmental threat, people cope either the problem-focused way by changing aspects of the situation, or the emotion-focused way by using protecting themselves to decrease the discomfort of stress, such as avoidance, denial or wishful thinking. Obviously, the easier and more common way out is the emotion-focused way. However, Claire Nouvian has sought to bring interest to the public instead, almost asking the public to reconsider their perspective on the conservation of this topic. At the end of her exhibition, she introduces industry practices that have been harming the deep sea. While she does not directly state in black and white what we should do or not do, she subtly puts her point across by evaluating mankind’s impact on the deep sea, allowing the masses to judge for themselves. This can help to reduce the possibility of consumers engaging in impractical avoidance and encourages them to engage in more problem-focused ways of changing tiny aspect of the whole situations. Though a daunting project, this encapsulates Nouvian’s remarkable fortitude and initiative.