INFO: Polar Heat Bringing Harder Winters - IPS ipsnews.net

Polar Heat Bringing Harder Winters
By Stephen Leahy

OSLO, Jun 15, 2010 (IPS) - Last winter's big snowfall and cold temperatures in the eastern United States and Europe were likely caused by the loss of Arctic sea ice, researchers concluded at the International Polar Year Oslo Science Conference in Norway last week.

Climate change has warmed the entire Arctic region, melting 2.5 million square kilometres of sea ice, and that, paradoxically, is producing colder and snowier winters for Europe, Asia and parts of North America.

"The exceptional cold and snowy winter of 2009-2010 in Europe, eastern Asia and eastern North America is connected to unique physical processes in the Arctic," said James Overland of the NOAA/Pacific Marine Environmental Laboratory in the United States.

"In future, cold and snowy winters will be the rule rather than the exception" in these regions, Overland told IPS.

Scientists have been surprised by the rapid warming of the Arctic, where annual temperatures have increased two to three times faster than the global average. In one part of the Arctic, over the Barents and Karas Seas north of Scandinavia, average annual temperatures are now 10 degrees C higher than they were in 1990.

Overland explains the warming of the Arctic as the result of a combination of climate change, natural variability, loss of sea ice reflectivity, ocean heat storage and changing wind patterns, which has disrupted the stability of the Arctic climate system. In just 30 years, all that extra heat has shrunk the Arctic's thick blanket of ice by 2.5 million square kilometres - an area equivalent to more than one quarter the size of the continental U.S.

The changes in the Arctic are now irreversible, he said.

"This is a very big change for the entire planet," said David Barber, an Arctic climatologist at the University of Manitoba in Canada. The planet's cold polar regions are crucial drivers of Earth's weather and climate.

"It has been one million years, some think 14 million years, since the Arctic was ice-free," Barber told the more than 2,300 researchers in Oslo at the largest-ever gathering of the polar-science community.

The International Polar Year (IPY), which just ended with the Oslo Science conference last weekend, involved more than 50,000 scientists from 60 countries conducting 30 months of unprecedented research at both poles. The last IPY was 50 years ago and led to the creation of the Antarctic Treaty to protect the southern polar region.

"Much of the remaining ice in the Beaufort Sea is rotten," said Barber, who spent long periods on research icebreakers in the region. Such vessels can only break through ice a little over a metre thick but they were plowing through multi-year ice 14 metres thick, he said.

"We watched a piece of ice the size of Manhattan break up right before our eyes," Barber said.

Although the ice recovers in winter and satellites recorded a full recovery this past winter, in reality much of it was a thin layer of ice on top of old rotten ice, he said. That explains the rapid decline already this year, a near-record low for May. At the end of the Arctic summer, the decline will likely come close to setting another new record, many here said.

Barber says an ice-free summer may be just three or four years away, when icebreakers will no longer be needed to navigate the region.

"The ice pack looks like Swiss cheese," agreed Mark Serreze, a senior research scientist at the National Snow and Ice Data Centre in Boulder, Colorado.

"It is inescapable this will be another very low year (in terms of ice extent)," Serreze told IPS.

With ever more open water absorbing the sun's heat, the Arctic Ocean is warming up, melting more ice in a positive feedback loop. A day of 24-hour summer sun in the Arctic puts more heat on the surface than a day in the tropics, said Overland. That extra heat in the ocean is gradually released into the lower atmosphere from October to January as the region re-freezes during the 24-hour nights.

Temperatures in January were -2C over the water, while the land was -25C, making conditions far windier and producing more snowfall than normal. Heavy snow on the remaining ice insulates it from the cold air, preventing it from thickening during the long winter.

"Sea ice is the key system in Arctic. It is just like a tropical forest...if the forest is cut down it affects the entire food web," Barber said.

Not only does the loss of ice affect conditions locally but "what happens in the Arctic dictates some of what happens in the mid-latitudes," he added.

This huge mass of warmer air over the Arctic in the late fall not only generates more wind and snow locally, several studies have now documented the impacts on global weather patterns.

The winter of 2005-6 was the coldest in 50 years in Japan and eastern Eurasia, reported Meiji Honda, a senior scientist with the Climate Diagnosis Group at Japan's Agency for Marine-Earth Science and Technology. Honda's studies show that the air over the Arctic was quite warm in the fall of 2005, which altered normal wind patterns, pushing the jet stream further south and bringing arctic cold to much of Eurasia and Japan. He also documented the same mechanism for the colder winters of 2007-8 and 2009-10, he told participants.

In eastern North America, the same conditions of 2007-8 produced increased precipitation and colder temperatures in the winter. As the sea ice declines, big impacts are likely to be seen in this region, said Sara Strey of the University of Illinois.

Another "wild card" in terms of effects from the Arctic warming is how much and how fast the region's permafrost - permanently frozen landscape - that contains enormous amounts of carbon and methane will also melt.

"Things have to change in the Arctic but we don't know what they will all be. That's the scary part," said Serreze.

"Our entire infrastructure is based on the status quo," he said, namely a stable climate of the past 10,000 years. "Change is already here. We must start adapting now. "

(END)

 

PUB: The Malahat Review - Creative Non-Fiction Contest

The Malahat Review: Essential Poetry, Fiction and Non-Fiction

Creative Non-Fiction Prize

The Malahat Review, Canada’s premier literary magazine, invites entries from Canadian, American, and overseas authors for its Creative Non-Fiction Prize. One award of $1,000 CAD is given.

2010 Deadline

The deadline for the 2010 Creative Non-Fiction Prize is August 1, 2010 (postmark date).

Guidelines

  • The entry must be between 2,000 and 3,000 words. Please indicate word count on the first page. Please double space your work.
  • No restrictions as to subject matter or approach apply. For example, the entry may be personal essay, memoir, cultural criticism, nature writing, or literary journalism.
  • Entry fee required:
    • $35 CAD for Canadian entries;
    • $40 US for American entries;
    • $45 US for entries from Mexico and outside North America.
  • Entrants receive a one-year subscription to The Malahat Review for themselves or a friend.
  • Entries previously published, accepted, or submitted for publication elsewhere are not eligible.
  • Entrants’ anonymity is preserved throughout the judging. Contact information (including an email address) should not appear on the submission, but along with the title on an enclosed separate page.
  • No submissions will be accepted by email.
  • The winner and finalists will be notified via email.
  • Entrants will not be notified about the judges' decisions even if an SASE is enclosed for this purpose.
  • The winner and finalists will be announced on the Malahat web site, with the publication of the winning entry in The Malahat Review’s Winter 2010 issue, and in Malahat lite, the magazine’s quarterly e-newsletter, in October 2010.
  • No entries will be returned, even if accompanied by an SASE.
  • Send entries and enquiries to:
    The Malahat Review
    University of Victoria
    P.O. Box 1700
    Stn CSC
    Victoria, B.C. V8W 2Y2
    Canada

    Email: malahat@uvic.ca
    Telephone: 250-721-8524
    Fax: 250-472-5051

Entrants wishing to pay by credit card may download and complete our Credit Card Payment Form then enclose it with their entries.

 

PUR: Quiddity : Book Trailer Contest

Book Trailer Contest for Writers and Small Presses

Two prizes of $350 as well as broadcast, Web, and print promotion by Quiddity will be awarded—one prize each in the categories Manuscripts and Books. (Runners-up and/or honorable mentions may also be selected.) This contest closes October 20, 2010 (postmark deadline).

Click here for guidelines.

Sample Manuscript Trailer:

 

Links to two of many resources for building book trailers:

  • For those who like to use iMovie, click here.
  • For a general "how-to" that includes Windows Movie, click here.

 

via sci.edu

 

PUB: 2010 Houston Writers Guild Writers Contests - Novel/Screenplay

Writers Contests - Houston Writers Guild

 

Click here for Spring 2010 Contests Winners!

Click here for Fall 2009 Contests Winners!

NDEADLINE - September 3, 2010


Fall Contest

Novel/Screenplay

By Genre
$2,000 TOTAL PRIZES
Six First Prizes
$300 for first place in each genre
Plus $200 more for the
Cream of the Crop: Total-- $500
(no ties)

1. Mystery/Thriller

2. Mainstream/Upmarket/Woman’s Fiction

3. Romance

4. Narrative Nonfiction

5. Action/Adventure/ Sci-fi

6. Young Adult (any genre)

$25 per entry
Add a second entry for $15
No membership requirements
First 12 pages your Novel or Screenplay


General Rules Apply


 

Click here for Entry Blank

You May Send Payment by PayPal


 

GENERAL RULES APPLY TO ALL ENTRIES

1. New rule: Even though you won first place in a previous contest, you may enter this contest with a different novel.

2. You do not have to pay/attend the workshop in order to enter the contest. Membership is not required to attend workshop or enter contests.

3. YOU MAY SEND MORE THAN ONE ENTRY. 

4. All entries must be in English. 

5. All entries in the Novel & Screenplay Contest must be from unpublished writers who are not under contract to any publisher anywhere or receive royalties for a published novel or screenplay that they did not pay to have printed. Published short story writers may enter new, unpublished novel or screenplay manuscripts. All entries must not have been published anywhere by anyone (royalty paying publisher or self-published) in whole or in part.

6. Do not send the entire manuscript. Send the first 12 pages only. 

7. SEND TWO (2) COPIES OF EACH ENTRY. Failure to do so may disqualify your entry.

8. Leave your name off the MS. Use the "header" to install like this:

     Title of your novel/Genre    (Insert page # on  right)  

9. Your name should only appear on the cover page. One cover page is sufficient if you detail all your entries on it.

10. Novels require a brief synopsis, no more that one page single-spaced (two copies). Less is better. Give us a two-sentence dramatic statement that explains the direct line of action of your main character. State your genre. The synopsis will be judged. Work on it! Send two copies of the one page single-spaced synopsis.

11. The title counts as part of the scoring. The title should be exciting.

12. All entries must be double-spaced in Times New Roman or Courier 12-point font. Do not use a smaller font in order to crowd more words on the page as our judges are already half blind. The title page does not count as a page.

13. Margins should be at least 1 inch (22-24 lines per page).

14. Pages must be numbered.

15. Chapter should start 1/3 of the way down the page. Failure to do will cost you points.

16. You may resubmit any novel that has not won first place in a previous contest of ours. If you placed 2nd, 3rd, etc., you may re-enter the same novel, but bring it up to snuff.

17. No staples. Paper clips only.

18. We cannot accept  e-mail attachments.  Our poor old computer is already overloaded.

19. We can accept payment through PayPal on our Entry Blank page on this website.

20. Prize money for any category will be divided among tie winners for that category and prize.

HINT! The most ignored rule in contests was failure to send TWO (2) copies. If you send less than two (2) copies, your entry will be discarded, but NOT your check! Look over your entry very carefully before sealing the envelope.

Click here for Entry Blank

You May Send Payment by PayPal

 

Winners of the screenplay-novel contest will be announced at the pre-conference party and all winners will be announced at the workshop and posted to this website.

Scored manuscripts will be returned to Workshop attendees. Other manuscripts will receive score sheets from judges if SASE is provided with entry.

Map to Conference Workshop Location 

 

Welcome    Meetings   Member News   Workshops    Contests    Writing Links    Contact

 

HOUSTON WRITERS GUILD

12523 Folkcrest Way :: Stafford, TX :: USA :: 77477

 info@HoustonWritersGuild.org

 

 

REVIEW: Book—'Fetishes and Monuments: Afro-Brazilian Art and Culture in the 20th Century'

Roger Sansi. Fetishes and Monuments: Afro-Brazillian Art and Culture in the 20th Century. Remapping Cultural History Series. New York: Berghahn Books, 2007. 213 pp. $60.00 (cloth), ISBN 978-1-84545-363-3.

Reviewed by Cynthia M. Canejo (University of North Carolina-Ashville)
Published on H-LatAm (June, 2010)
Commissioned by Kenneth Kincaid

Questioning Issues of Importance to Afro-Brazilian Art and Culture

In his book, Fetishes and Monuments: Afro-Brazilian Art and Culture in the Twentieth Century, Roger Sansi focuses on the transformation over the years of previous conceptions of “fetishes” and “idols” into sacred objects, artwork and public monuments. In reassessing scholarship on Afro-Brazilian cultural production, Sansi centers specifically on Candomblé in Bahia. Opening with a brief history of African cultural developments in Brazil (including a concise discussion of the Black Atlantic slave trade), Sansi acknowledges Salvador da Bahia as the earliest Portuguese center in Brazil and highlights its position as key port in international trade, especially in regard to sugar and slaves.

While the ideal audience for this text would be the sociologist or anthropologist (or students of either discipline), non-specialists will also find the book appealing. Since Sansi (a lecturer in anthropology at Goldsmith’s College, London) translates and defines all Portuguese terms, the text is fairly accessible to the uninitiated, allowing for a wider audience that could very well include the art historian.

The introduction contains a concise historiography of research on the subject of Candomblé, introducing a range from early racist or paternalist scholarship to the emergence of the intellectuals/scholars in Brazil who became participants in Candomblé, including the French sociologist Roger Bastide, the French photographer/historian Pierre Verger, and the Italian/Argentine painter Carybé (Hector Paride Bernabó). Sansi traces the development of Candomblé as Afro-Brazilian culture as a result of the “dialectical process of exchange between the leaders of Candomblé and a cultural elite of writers, artists, and anthropologists in Bahia” (p. 2).

In chapter 1, Sansi addresses specific aspects considered central to the house (place of worship or temple) of Candomblé, emphasizing the importance of the “gift” of embodying the saint (santo) or spirit of Orixás. In turning to specifics, he questions the validity of past studies which center on Candomblé as an unchanging entity. In the case of artwork, such as a shrine or altar, features are frequently borrowed (from sources varying from legendary characters to street figures) and altered to create the images of saints. This transformation reflects the dynamic nature of Candomblé and calls into question the claims that it is a fixed system.

In contrasting the assumed “purity” of African culture in Candomblé with the syncretism apparent in other Afro-Brazilian religions (integrating Catholicism, Spiritualism, or indigenous elements), Sansi leaves some fundamental issues unresolved. For example, if Candomblé were already the product of many African traditions that were transformed before and after arrival in Brazil, is it possible for the members of the Candomblé temple who reject syncretism (and sever the attachment to Catholicism and the related saints) to return to a “pure” African tradition? Since Candomblé, according to Sansi, seems to be open to change, would it not be valuable to clarify the similarities (or differences) in other Afro-Brazilian developments such as Umbanda or Macumba? Without this comparison, how can one be sure that Sansi is presenting an accurate portrayal of Afro-Brazilian art and culture? 

Concerning the narrow focus of the book, the title--Fetishes and Monuments: Afro-Brazilian Art and Culture in the Twentieth Century--is misleading. Sansi does not investigate Afro-Brazilian art and culture as a whole but only the art and culture of Candomblé in Bahia. By limiting his study to Bahia, the author loses an opportunity to inform his reader about Candomblé in a larger Brazilian context. 

In chapters 4-7, Sansi addresses important issues related to museum exhibits and ethics. In spite of the contemporary scholarly recognition of the power of the museum as a system of control, Sansi proposes that museum exhibitions are valuable because they offer an opportunity to reassess objects and affect public perceptions in beneficial ways. Regarding the comprehensiveness of Afro-Brazilian exhibitions, Sansi asks important questions: “Is Afro-Brazilian art produced by Black people or is it art that has an Afro-Brazilian style? Is it about race or is it about Culture?” (p. 153). That is to say, should works that focus on Afro-Brazilian subjects be included even when the artists themselves are not of African descent (if not, this would leave out essential artists of European origin, such as Carybé or Verger, as well as noted Brazilian artists such as Tarsila do Amaral or Hélio Oiticica)? Finally, as Candomblé practitioners begin to value museum representation, more objects have been donated and displayed. If museums “belong more to the elites than to the masses,” as Sansi states, which works are in fact shown (p. 102)?  

Our current notions of Afro-Brazilian art, according to Sansi, have been “constructed not only through texts but also through exhibitions and the trajectories of artists and art works” (p. 145). Having said that, Sansi limits his own discussion to artists who have been accepted into similar exhibitions and, therefore, would be part of an existing “canon” of Afro-Brazilian art. Since Sansi does not suggest names of other artists who could (or should) be incorporated, he leaves the “canon” unchanged--reinforcing the official opinion by not offering an alternative one. 

One of the problems of the book is that it fails to provide a close examination of the specific objects or artwork of importance to Afro-Brazilian culture (not to mention the works omitted from Afro-Brazilian religions outside of Candomblé). Be that as it may, an extensive description of the artifacts would not only have allowed for a more far-reaching analysis of the initial purpose of the sacred objects in Candomblé but would also have emphasized the cultural context both prior to and following appropriation by the museum. In other words, an in-depth analysis of the individual works would give the reader a much better sense of the effects of museum appropriation (and suggest whether an object may or may not lose meaning).

The strength of this book becomes apparent when Sansi steps out of the narrative that he has created in order to suggest a new approach or another possibility. For instance, he begins to indicate ways in which we may be able to interpret Afro-Brazilian art as high culture instead of simply lumping these works in the category of popular or folk art (one way that this could be accomplished would be through a change in museum display; that is, by presenting Candomblé objects as sacred art, perceptions of these artifacts could conceivably be elevated). Ultimately, Sansi’s questioning of issues throughout the text could be valuable in extending scholarly awareness and promoting change. While he may not always offer solutions, Roger Sansi does introduce critical issues that could open discussions of value for future studies.

 

VIDEO: Thomas Sayers Ellis

Thomas Sayers Ellis
Poet.Photographer.Genuinegro.


Photo Credit: Jati Lindsay

Thomas Sayers Ellis is a poet, photographer, and Assistant Professor of Creative Writing at Sarah Lawrence College in Yonkers, New York and a core faculty member of the Lesley University Low Residency MFA Program in Cambridge, MA. He previously taught as an associate professor at Case Western Reserve University in Cleveland, OH.

His first full-length collection, The Maverick Room, was published by Graywolf Press and won the John C. Zacharis First Book Award from Ploughshares. "The book takes as its subject the social, geographical and historical neighborhoods of Washington, D.C., bringing different tones of voice to bear on the various quadrants of the city." He is also the author of a chapbook The Genuine Negro Hero (Kent State University Press, 2001) and the chaplet Song On (Wintered Press 2005).

Ellis was born and raised in Washington, D.C.and attended Paul Laurence Dunbar High School in Washington D.C. In 1988 he co-founded The Dark Room Collective, an organization that celebrated and gave greater visibility to emerging and established writers of color (Cambridge, Massachusetts). Ellis received his B.A. from Harvard University and his M.F.A. from Brown University in 1995.

Ellis is known in the poetry community as a literary activist and innovator, one whose poems, "resist limitations and rigorously embrace wholeness." His poems have appeared in magazines such as AGNI, Callaloo, Grand Street, Harvard Review, Tin House, Columbia: A Journal of Literature and Art, and anthologized in The Best American Poetry (1997 and 2001) and in Take Three: AGNI New Poets Series (Graywolf Press, 1996), an anthology series featuring the work of three emerging poets in each volume. He has received fellowships and grants from The Fine Arts Work Center, the Ohio Arts Council, the Bread Loaf Writer's Conference, Yaddo, and The MacDowell Colony.

Thomas Sayers Ellis is a contributing editor to Callaloo and a consulting editor to A Public Space. He compiled and edited Quotes Community: Notes for Black Poets (University of Michigan Press, Poets on Poetry Series).

====================================

Thomas Sayers Ellis - All Their Stanzas Look Alike

 

Thomas Sayers Ellis - Sticks

 

Thomas Sayers Ellis - Or

 

 

INFO: World Cup Opening Visual Explosion > from African Digital Art

World Cup Opening Visual Explosion

On Thursday  & Friday night the world enjoyed a visual feast with the Fifa World Cup Opening World Cup Celebrations. As soon as I saw the first few moments of the celebration I had to find out who did the artwork and poster for the concert. It came to no surprise that the poster was done by none other than South African AMICOLLECTIVE. South Africa’s illustration house. As usual we let the images speak for themselves. Enjoy. Let us know what you enjoyed about the opening celebrations.

 

 

GULF OIL DISASTER: BP Vows Faster Payment of Claims as Anger Mounts - CBS News

BP Vows Faster Payment of Claims as Anger Mounts

Struggling Residents Say They're Shut Out by Red Tape or Receive Paltry Offers for Their Lost Livelihoods

  • BP work crews clean up the beach just east of the Florida-Alabama state line on Perdido Key, Fla., June 9, 2010, as shrimp trawlers skim for oil offshore in the background.

    BP work crews clean up the beach just east of the Florida-Alabama state line on Perdido Key, Fla., June 9, 2010, as shrimp trawlers skim for oil offshore in the background.  (AP Photo)

 

     

     

    • Photo Essay Oil Spill: A Photo Diary

      More than a Month after the Deepwater Horizon Oil Rig Explosion, Containment And Cleanup Efforts Continue

    • Photo Essay Oil Spill Threatens Wildlife

      Wildlife in the Gulf of Mexico remains increasingly vulnerable as oil from the Deepwater Horizon oil spill continues to infiltrate the coast

     

    (CBS/AP)  Updated 12:12 p.m. ET

    The Obama administration says BP has agreed to expedite the payment of claims to businesses and individuals whose livelihoods have been disrupted by the Gulf of Mexico oil spill.

    Tracy Wareing, who is with the National Incident Command office, told reporters in Washington that the understanding on payment of claims came in a meeting Wednesday with BP executives, including chief executive Tony Hayward.

    Special Section: Disaster in the Gulf

    Wareing said administration officials raised a "pressing concern" about the time BP has been taking to provide relief payments, particularly to businesses in the stricken area. She said the company will change the way it processes such claims and will expedite payments. Among other things, it will drop the current practice of waiting to make such payments until businesses have closed their books for each month.

    Wareing also said the administration assured that BP was accounting for the seasonal nature of many Gulf industries, paying shrimpers more during the shrimp season - which just began - rather than a twelfth of last year's income each month.

    Still, anger continues to mount among Gulf residents over BP's slow, bureaucratic, and parsimonious payments and it remains to be seen whether the company will follow through on its latest vows of haste and transparency.

    David Walter makes fake reefs for anglers to drop into the Gulf of Mexico -
    but his frustration as he tries to win compensation from BP for lost income is real.

    State regulators stopped issuing permits for the reefs on May 4 because of the oil spill, effectively killing off $350,000 in Walter's expected business. It sent him into a labyrinth of archived invoices and documents lost by BP. Finally, an offer came: $5,000.

    "I said that's not fair because if you say that, then I have to go out of business and I lose everything," said Walter, whose company is based in Alabama.

    Fishermen, property owners and businesspeople who have filed damage claims with BP are angrily complaining of delays, excessive paperwork and skimpy payments that have put them on the verge of going under as the financial and environmental toll of the seven-week-old disaster grows.

    Among the other signs of growing anger was an outburst during the Washington press conference Thursday in which a questioner on the phone told Coast Guard Adm. Thad Allen - the oil spill incident commander - that the American people are "disgusted," and told him to "Get it together. Get your act together."

    An operator had announced the caller as a reporter from the Chicago Tribune, but he appeared to be a protestor who had gained access to the call.

    Out in the Gulf, meanwhile, the oil company on Wednesday captured more of the crude that's been gushing from the bottom of the sea since April and began bringing in more heavy equipment to handle it.

    The containment effort played out as BP stock continued to plunge amid fears that the company might be forced to suspend dividends and find itself overwhelmed by the cleanup costs, penalties, damage claims and lawsuits generated by the biggest oil spill in U.S. history.

    More on the Gulf Oil Spill:

    Sheriff Fears Illegal Immigrants Cleaning Oil
    Ask CBS News: Is BP Hiding Anything?
    Tempers Flare in Gulf as BP Burns Oil
    How Much Oil Has Leaked?
    Scared Investors Send BP Shares to 14-Year Low
    Read Adm. Allen's Letter to BP CEO Tony Hayward
    BP Given 72 Hours to Develop Better Plan
    BP's Spill Contingency Plans Vastly Inadequate
    Oil Spill Wildlife Devastation

    BP tried to reassure investors before the London Stock Exchange opened Thursday, saying it was in a strong financial position and it saw no reason to justify the U.S. sell-off, and many analysts agree that the company can withstand the crisis.

    But shares in London plunged nevertheless. The stock had dropped as much as 11 percent to a 13-year low in early trading as experts warned dividend payouts would likely be postponed. However, it recovered some ground by midmorning, trading 4.3 percent lower at $5.47, as analysts suggested the sell-off was overdone.

    Shrimpers, oystermen, seafood businesses, out-of-work drilling crews and the tourism industry all are lining up to get paid back the billions of dollars washed away by the slick, and tempers have flared as locals direct outrage at BP over what they see as a tangle of red tape.

    "Every day we call the adjuster eight or 10 times. There's no answer, no answering machine," said Regina Shipp, who has filed $33,000 in claims for lost business at her restaurant in Alabama. "If BP doesn't pay us within two months, we'll be out of business. We've got two kids."

    BP spokesman Mark Proegler disputed any notion that the claims process is slow or that the company is dragging its feet.

    Proegler said BP has cut the time to process claims and issue a check from 45 days to as little as 48 hours, if the necessary documentation has been supplied. BP officials acknowledged that while no claims have been denied, thousands and thousands had not been paid by late last week because the company required more documentation.

    At the bottom of the sea, the containment cap on the ruptured well is capturing 630,000 gallons a day and pumping it to a ship at the surface, and the amount could nearly double by next week to roughly 1.17 million gallons, said Coast Guard Adm. Thad Allen, who is overseeing the crisis for the government.

    A second vessel expected to arrive within days should greatly boost capacity. BP also plans to bring in a tanker from the North Sea to help transport oil and an incinerator to burn off some of the crude.

    The government has estimated 600,000 to 1.2 million gallons are leaking per day, but a scientist on a task force studying the flow said the actual rate may be between 798,000 gallons and 1.8 million. A task force member said an estimate come Thursday or Friday.

    (AP/CBS/NOAA)

    The official answer to how big the leak is keeps getting put off, reports CBS News investigative correspondent Sharyl Attkisson. For the first time, BP gave high resolution video to scientists trying to figure it out, but it's still holding back other material.

    "Our estimate should be independent of BP," says Purdue University professor Steve Wereley. "We should take them out of the process."

    Crews working at the site toiled under oppressive conditions as the heat index soared to 110 degrees and toxic vapors emanated from the depths. Fireboats were on hand to pour water on the surface to ease the fumes.

    Allen also confronted BP over the complaints about the claims process, warning the company in a letter: "We need complete, ongoing transparency into BP's claims process including detailed information on how claims are being evaluated, how payment amounts are being calculated and how quickly claims are being processed."

    The admiral this week created a team including officials from the Federal Emergency Management Agency to help with the damage claims. It will send workers into Gulf communities to provide information about the process. He also planned to discuss the complaints with BP officials Wednesday.

    Under federal law, BP is required to pay for a range of losses, including property damage and lost earnings. Residents and businesses can call a telephone line to report losses, file a claim online and seek help at one of 25 claims offices around the Gulf. Deckhands and other fishermen generally need to show a photo ID and documentation such as a pay stub showing how much money they typically earn.

    To jump-start the process, BP was initially offering an immediate $2,500 to deckhands and $5,000 to fishing boat owners. Workers can receive additional compensation once their paperwork and larger claims are approved. BP said it has paid 18,000 claims so far and has hired 600 adjusters and operators to handle the cases.

    The oil giant said it expects to spend $84 million through June alone to compensate people for lost wages and profits. That number will grow as new claims are received. When it is all over, BP could be looking at total liabilities in the billions, perhaps tens of billions, according to analysts.

    BP stock dropped $5.45, or 16 percent, Wednesday - easily its worst day since the April 20 rig explosion that set off the spill and killed 11 workers. In the seven weeks since then, the company has lost half its market value.

    The latest slide came after Interior Secretary Ken Salazar promised a Senate energy panel to ask BP to compensate energy companies for losses if they have to lay off workers or suffer economically because of the Obama administration's six-month moratorium on deep-water drilling.

    Not everyone had complaints about the claims process.

    Bart Harrison of Clay, Ala., filed his first claim on Wednesday morning for lost rental income on his coastal property and expected to have a check for $1,010 within a few hours. The only documentation required was tax returns and rental histories for his units, which were both easy to provide.

    "The guy I talked to was knowledgeable and respectful," Harrison said. "It seemed like he really wanted to write a check and please me since it was my first time in."