Variation in Mutualisms: the Spatio- Temporal Mosaic of a Pollinator Assemblage
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Révision Taxinomique Et Nomenclaturale Des Rhopalocera Et Des Zygaenidae De France Métropolitaine
Direction de la Recherche, de l’Expertise et de la Valorisation Direction Déléguée au Développement Durable, à la Conservation de la Nature et à l’Expertise Service du Patrimoine Naturel Dupont P, Luquet G. Chr., Demerges D., Drouet E. Révision taxinomique et nomenclaturale des Rhopalocera et des Zygaenidae de France métropolitaine. Conséquences sur l’acquisition et la gestion des données d’inventaire. Rapport SPN 2013 - 19 (Septembre 2013) Dupont (Pascal), Demerges (David), Drouet (Eric) et Luquet (Gérard Chr.). 2013. Révision systématique, taxinomique et nomenclaturale des Rhopalocera et des Zygaenidae de France métropolitaine. Conséquences sur l’acquisition et la gestion des données d’inventaire. Rapport MMNHN-SPN 2013 - 19, 201 p. Résumé : Les études de phylogénie moléculaire sur les Lépidoptères Rhopalocères et Zygènes sont de plus en plus nombreuses ces dernières années modifiant la systématique et la taxinomie de ces deux groupes. Une mise à jour complète est réalisée dans ce travail. Un cadre décisionnel a été élaboré pour les niveaux spécifiques et infra-spécifique avec une approche intégrative de la taxinomie. Ce cadre intégre notamment un aspect biogéographique en tenant compte des zones-refuges potentielles pour les espèces au cours du dernier maximum glaciaire. Cette démarche permet d’avoir une approche homogène pour le classement des taxa aux niveaux spécifiques et infra-spécifiques. Les conséquences pour l’acquisition des données dans le cadre d’un inventaire national sont développées. Summary : Studies on molecular phylogenies of Butterflies and Burnets have been increasingly frequent in the recent years, changing the systematics and taxonomy of these two groups. A full update has been performed in this work. -
With Dada and Pop Art Influence
With Dada and Pop Art Influence The non-art movement • 1916-1923 • Reaction to the horror of World War I • Artists were mostly French and German. They took refuge in neutral Switzerland. • They were angry at the European society that had allowed the war to happen. • Dada was a form of protest. • It’s intention was to provoke and shock The name “Dada” was chosen because it was nonsensical. They wanted a name that made the least amount of sense. • They used any public forum to spit on: nationalism rationalism materialism and society in general Mona Lisa with a Mustache “The Fountain” “The Bride Stripped Bare by her Bachelors, Even” George Groz “Remember Uncle Augustus the Unhappy Inventor”(collage) Raoul Hausmann “ABCD” (collage) Merit Oppenheim “Luncheon in Fur” Using pre-existing objects or images with little or no transformation applied to them Artist use borrowed elements in their creation of a new work • Dada self-destructed when it was in danger of becoming “acceptable.” • The Dada movement and the Surrealists have influenced many important artists. Joseph Cornell (1903-1972) became one of the most famous artists to use assemblage. His work is both surreal and poetic. A 3-D form of using "found" objects arranged in such a way that they create a piece of art. The Pop American artist, Robert Rauschenberg, uses assemblage, painting, printmaking and collage in his work. He is directly influenced by the Dada-ists. “Canyon” “Monogram” “Bed” “Coca-cola Plan” “Retroactive” • These artist use borrowed elements in their creation to make a new work of art! • As long as those portions of copyrighted works are used to create a completely new and different work of art it was OK. -
Sculpture I – Assemblage
Name Sculpture I – Assemblage Artist: Joseph Cornell was a collector and carefully juxtaposing found objects in small, glass-front boxes, Cornell created visual poems in which surface, form, texture, and light play together. Using things we can see, Cornell made boxes about things we cannot see: ideas, memories, fantasies, and dreams. http://www.josephcornellbox.com/gallery_menu01.htm Learning Targets: Sculpture I understand how color can change a sculpture. I know there are many types of sculptures. I know that there is a wide variety of materials used in sculpture. I know how to implement the elements and principles of design into my Sculpture I know how create an sculpture with assemblage of recyclables I can create 3•D sculpture from cardboard, using paper construction methods such as scoring, mitering edges. I know how to work with paper construction techniques and Mache; learn about grain, bending, cutting, scoring, and quality of different types of paper. I know and understand the work of artist Joseph Cornell . Standards A: Skills and Techniques: The student understands and applies media, techniques and processes B: Creation and Communication: the student creates and communicates a range of subject matter, symbols and ideas using knowledge of structures and functions of visual arts. C: Cultural and Historical Connections: The student understands the visual arts in relation to history and culture. D: Aesthetic and Critical Analysis: The student assesses, evaluates and responds to the characteristics of works of art. E: Applications to Life: the student makes connections between the visual arts, other disciplines and the real world. Assessment: Design Considerations: o Outside Design, Color, Pattern, etc. -
Scopolia 88.Pdf
88 2016 PRIRODOSLOVNI MUZEJ SLOVENIJE MUSEUM HISTORIAE NATURALIS SLOVENIAE Vsebina / Contents: Andrej GOGALA: Zlate ose Slovenije (Hymenoptera: Chrysididae) Cuckoo wasps of Slovenia (Hymenoptera: Chrysididae) SCOPOLIA Revija Prirodoslovnega muzeja Slovenije Journal of the Slovenian Museum of Natural History 88 2016 CODEN SCPLEK - ISSN 0351-0077 SCOPOLIA SCOPOLIA 88 2016 SCOPOLIA 88/2016 Glasilo Prirodoslovnega muzeja Slovenije, Ljubljana / Journal of the Slovenian Museum of Natural History, Ljubljana Izdajatelj / Publisher: Prirodoslovni muzej Slovenije, Ljubljana, Slovenija / Slovenian Museum of Natural History, Ljubljana, Slovenia Sofi nancirata /Subsidised by: Ministrstvo za kulturo in Javna agencija za raziskovalno dejavnost Republike Slovenije. / Ministry of Culture and Slovenian Research Agency Urednik / Editor-in-Chief: Boris KRYŠTUFEK uredil /Edited by: Janez GREGORI Uredniški odbor / Editorial Board: Breda ČINČ-JUHANT, Igor DAKSKOBLER, Janez GREGORI, Miloš KALEZIĆ (SB), Mitja KALIGARIČ, Milorad MRAKOVČIĆ (HR), Jane REED (GB), Ignac SIVEC, Kazimir TARMAN, Nikola TVRTKOVIĆ (HR), Al VREZEC, Jan ZIMA (ČR) Naslov uredništva in uprave / Address of the Editorial Offi ce and Administration: Prirodoslovni muzej Slovenije, Prešernova 20, p.p. 290, SI – 1001 Ljubljana, Slovenija / Slovenian Museum of Natural History, Prešernova 20, PO.B. 290, SI - 1001 Ljubljana, Slovenia Račun pri UJP / Account at UJP: 01100-6030376931 Lektor za slovenščino in angleščino / Slovenian and English language editing: Henrik CIGLIČ Oblikovanje / Design: Boris JURCA Tisk / Printed by: Schwarz print d.o.o., Ljubljana Izideta najmanj dve številki letno, naklada po 600 izvodov / The Journal is published at least twice a year, 600 copies per issue. Natisnjeno / Printed: oktober / October, 2016 Naslovnica / Front cover: Zlate ose vrste Chrysura cuprea odlagajo jajčeca v gnezda čebel, ki gnezdijo v polžjih hišicah. -
The Quilt As Concept
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2009 The quilt as concept. Denise Mucci Furnish University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Furnish, Denise Mucci, "The quilt as concept." (2009). Electronic Theses and Dissertations. Paper 472. https://doi.org/10.18297/etd/472 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE QUILT AS CONCEPT By Denise Mucci Furnish B.A. University of Kentucky, 1972 B.F.A. University of Louisville, 2008 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of Fine Arts University of Louisville Louisville, Kentucky May 2009 Copyright 2009 by Denise Mucci Furnish All rights reserved TIlE QUILT AS CONCEPT By Denise Mucci Furnish B.A. University of Kentucky, 1972 B.F.A. University of Louisville, 2008 A Thesis Approved on March 9, 2009 By the following Thesis Committee: Thesis Director ii DEDICATION This thesis is dedicated to Guy M. Furnish whose dedication to education has made this possible. iii ACKNOWLEDGEMENTS I would like to thank my major professor, Lida Gordon, for years of inspiration, guidance, and patience. -
Las Plantas Nutricias De Las Orugas De Laeosopis Roboris (Esper, 1789) En Asturias (Norte De España) (Lepidoptera: Lycaenidae)
Boletín de la Sociedad Entomológica Aragonesa (S.E.A.), nº 54 (30/06/2014): 403–404. NOTAS CIENTÍFICAS Las plantas nutricias de las orugas de Laeosopis roboris (Esper, 1789) en Asturias (norte de España) (Lepidoptera: Lycaenidae) Hugo Mortera1 & Georges Verhulst2 1 Lope de Vega 12, 2º B. 33204 Gijón (Asturias, España) – [email protected] 2 186 avenue Van Becelaere. 1170 Bruxelles (Belgica) – [email protected] Resumen: se citan tres plantas nutricias para las orugas de Laeosopis roboris en Asturias: a) Phillyrea latifolia en el entorno de los Picos de Europa, lo que constituye el primer registro como planta nutricia para la Península Ibérica; b) Fraxinus angustifolia, que se cita por primera vez para Asturias como planta nutricia, en el suroeste, y c) Fraxinus excelsior, que era la única planta nutricia conocida has- ta ahora en Asturias, en la mayor parte de la región. Palabras clave: Lepidoptera, Lycaenidae, Laeosopis roboris, plantas nutricias, España, Asturias. The host plants of Laeosopis roboris (Esper, 1789) caterpillars in Asturias (northern Spain) (Lepidoptera: Lycaenidae) Abstract: Three host plants are recorded for the caterpillars of Laeosopis roboris in Asturias: a) Phillyrea latifolia near Picos de Europa, which constitutes the first record as host plant for the Iberian Peninsula; b) Fraxinus angustifolia, the first record as host plant for Asturias, in the south-west of the region, and c) Fraxinus excelsior, in most of the region, this being the only host plant known till now in Asturias. Key words: Lepidoptera, Lycaenidae, Laeosopis roboris, host plants, Spain, Asturias. Introducción Laeosopis roboris (Esper, 1789) es un licénido de distribución restrin- Se procedió a la búsqueda de orugas al pie de ejemplares de gida, que habita únicamente la Península Ibérica y una pequeña zona F. -
Updated Checklist of Vespidae (Hymenoptera: Vespoidea) in Iran
J Insect Biodivers Syst 06(1): 27–86 ISSN: 2423-8112 JOURNAL OF INSECT BIODIVERSITY AND SYSTEMATICS Monograph http://jibs.modares.ac.ir http://zoobank.org/References/084E3072-A417-4949-9826-FB78E91A3F61 Updated Checklist of Vespidae (Hymenoptera: Vespoidea) in Iran Zahra Rahmani1, Ehsan Rakhshani1* & James Michael Carpenter2 1 Department of Plant Protection, College of Agriculture, University of Zabol, P.O. Box 98615-538, I.R. Iran. 2 Division of Invertebrate Zoology, American Museum of Natural History, Central Park West at 79th Street, New York, NY 10024, USA. ABSTRACT. 231 species of the family Vespidae (Hymenoptera, Vespoidea) of Iran, in 55 genera belonging to 4 subfamilies Eumeninae (45 genera, 184 species), Masarinae (5 genera, 24 species), Polistinae (2 genera, 17 species) and Vespinae (3 genera, 6 species) are listed. An overall assessment of the distribution pattern of the vespid species in Iran indicates a complex fauna of different biogeographic regions. 111 species are found in both Eastern and Western Palaearctic regions, while 67 species were found only in the Eastern Palaearctic region. Few species (14 species – 6.1%) of various genera are known as elements of central and western Asian area and their area of distribution is not known in Europe (West Palaearctic) and in the Far East. The species that were found both in the Oriental and Afrotropical Regions comprises 11.7 and 15.6% the Iranian vespid fauna, respectively. Many species (48, 20.8%) are exclusively recorded from Iran and as yet there is no record of Received: these species from other countries. The highest percentage of the vespid 01 January, 2020 species are recorded from Sistan-o Baluchestan (42 species, 18.2%), Alborz (42 Accepted: species, 18.2%), Fars (39 species, 16.9%) and Tehran provinces (38 Species 17 January, 2020 16.5%), representing the fauna of the Southeastern, North- and South Central Published: of the country. -
Assemblage Art Combine Various Materials Together to Explore the Concept of Assemblage Art
Assemblage Art Combine Various Materials together to explore the concept of assemblage art. Big Idea Recycled materials can be used to create art. Standards 4.A Listens effectively in formal and 26.A Understand processes, traditional informal situations. tools and modern technologies used in the arts. 9.A Demonstrate and apply geometric 31.A Develop a positive self-concept. concepts involving points, lines, planes and space. 25A Understands the sensory elements, organizational principle and expressive qualities of the arts. Materials • Used cardboard boxes (lids are good too) • Metal scraps (make sure • Scissors these are not sharp) • Glue/tape • Popsicle sticks • Markers (for names and to • Other recycled materials, like decorate) buttons, lids, fabric, etc. • Scraps of sanded wood • Photographs of Louise (check with local lumber Nevelson work (search on yards, hardware stores or internet) parents) Inspirational Artwork & Resources Big Black by Louise Nevelson An American Tribe to the British People by Louise Nevelson The Art of Assemblage historical document by William Seitz Vocabulary Assemblage: a group of things gathered or collected; an assembly; collection Collage: a technique of composing a work of art by pasting on a single surface various materials Negative space: empty space, space around an object or form; also called white space Recycle: to extract useful materials from garbage or waste Recyclable: fit for or capable of being recycled Setup Find a clean space to work, either a table or floor area and cover it with newspaper. One may want access to a sink to wash hands. Directions 1. Describe assemblage to children and other vocabulary definitions. -
Cultural Ramifications of the Found Object in Contemporary African Art
International Journal of Multiculturalism Volume 2, Number 1, 2021. 50-74 DOI: 10.30546/2708-3136.2021.2.1.50 CULTURAL RAMIFICATIONS OF THE FOUND OBJECT IN CONTEMPORARY AFRICAN ART Clement E. AKPANG FRSA : https://orcid.org/ 0000-0002-5510-4304 Cross River University of Technology, Calabar, Nigeria © The Author(s) 2021 ABSTRACT ARTICLE INFO Arguably Found Object genre represents the most dominant form of ARTICLE HISTORY contemporary artistic expression with unlimited possibilities of material exploration and conceptual ideation. However, Found Object discourse Received: institutionalized in European art history is exclusively western and dismisses 17 November , 2020 Accepted: those of other cultures as mimesis and time-lag. This paper aims to prove that the dominant contemporary discourse of „Recyla Art‟ which many African sculptors 8 February, 2021 Published: have been absorbed into, problematically blurs the conceptual and ideological 25 April, 2021 differences in European and African exploration of discarded objects in art Available online: creation. Using a triangulation of Formalism, Iconography and Interviews as 25 April, 2021 methodologies, this paper subjects the works of El Anatsui, Delumprizulike, Nnena Okore, Bright Eke, Olu Amonda and others to formalistic and interpretative analysis to establish the postcolonial context of the found object in contemporary African art. Findings demonstrate that European and African appropriation of discarded objects in art differs according to societal context in KEYWORDS form and content. The paper therefore concludes that found object art is culture- specific and defined by unique cultural ramifications, thus, to fully understand Found Object, Art, the dynamism of this art genre, a culture-specific or localized reading is required Culture, Ramifications, because the context of its emergence in Europe stands in contradiction to its Africa, Europe conceptualism in contemporary African art-space. -
Laeosopis Roboris (Esper, [1793]) (Lepidoptera: Lycaenidae)
Boletín de la Sociedad Entomológica Aragonesa (S.E.A.), nº 56 (30/06/2015): 195–202. ISSN 1134-6094 DESCRIPCIÓN DE LOS ESTADIOS PREIMAGINALES DE LA "MORADILLA DEL FRESNO" LAEOSOPIS ROBORIS (ESPER, [1793]) (LEPIDOPTERA: LYCAENIDAE) Miguel Ginés Muñoz Sariot [email protected] Resumen: Se describen e ilustran con detalle todos los estadios preimaginales de Laeosopis roboris (Esper, [1793]). El huevo es de gran tamaño y en forma de botella achatada, con estructura reticular poco pronunciada. La especie presenta cuatro estadios larvarios. En el desarrollo larvario se observan grupos de sedas largas, serradas y negras en la región dorsal, y otros grupos de sedas blanquecinas de igual longitud en la zona lateral. En el resto de la cutícula predominan sedas secundarias, cortas, curvas e incoloras. La calaza de todas es nervada y de color negro. Los órganos mirmecófilos observados en las orugas son cúpulas perfo- radas concentradas en la placa protorácica y alrededor de la glándula de Newcomer. En estas zonas observamos largas sedas hidroides. La glándula de Newcomer es funcional desde el segundo estadio y presenta un par de orificios en sus extremos. La pu- pa presenta también sedas largas hidroides y doughnut-like papillae en el protórax y alrededor de los espiráculos del 6º segmento abdominal. En toda su cutícula se hallan dispersas numerosas sedas cortas y en forma de maza, excepto en la zona ventral. En los segmentos abdominales 5º y 6º se encuentran los órganos estridulatorios, que son descritos. Palabras clave: Lepidoptera, Lycaenidae, Laeosopis roboris, estadios preimaginales. Description of the preimaginal stages of Laeosopis roboris (Esper, [1793]) (Lepidoptera: Lycaenidae) Abstract: All preimaginal stages of Laeosopis roboris (Esper, [1793]) are described and illustrated in detail. -
Catálogo Y Atlas De Los Ropalóceros De La Finca Ribavellosa
CATÁLOGO Y ATLAS DE LOS ROPALÓCEROS DE LA FINCA RIBAVELLOSA. (LA RIOJA) ORGANISMO AUTÓNOMO PARQUES NACIONALES MEMORIA FINAL 2011 INFFE S.L. Ingeniería para el Medio Ambiente Índice 1. Introducción..................................................................................................................1 2. Agradecimientos ..........................................................................................................3 3. La zona de estudio .......................................................................................................4 3.1. Situación ....................................................................................................................4 3.2. Historia .......................................................................................................................5 3.3. Medio físico................................................................................................................6 3.4. Vegetación .................................................................................................................6 3.5. Fauna..........................................................................................................................7 4. Antecedentes................................................................................................................8 5. Objetivos .......................................................................................................................8 6. Material y métodos.......................................................................................................9 -
The Velvet Ants (Hymenoptera, Mutillidae) of Central Europe
Linzer biol. Beitr. 37/2 1505-1543 16.12.2005 The velvet ants (Hymenoptera, Mutillidae) of Central Europe A.S. LELEJ & Ch. SCHMID-EGGER A b s t r a c t : The species of Mutillidae from Central Europe are keyed, briefly diagnosed, their distribution and host relationships summarized. New synonymy is proposed: Ronisia brutia (PETAGNA 1787) = Mutilla crimeae STRAND 1917, syn.n.; Smicromyrme triangularis (RADOSZKOWSKI 1865) = S. pouzdranensis HOFFER 1936, syn.n. The key in German language is given also. 34 species in 15 genera are treated. K e y w o r d s : Hymenoptera, Mutillidae, key, Central Europe. Introduction The species of Mutillidae in Central Europe are poorly known, compared with the re- maining Aculeate groups as Apidae, Sphecidae, Crabronidae, Pompilidae or others. Until now, there is no complete key or monograph for the species of Central Europe. The basic work with keys for most European species is still the fauna of Italy by INVREA (1964), but obsolete in taxonomy and nomenclature. Lelej (1985) published a key to the former USSR species of Mutillidae in Russian language, comprising most species of Central Europe. PETERSEN (1988) revised the type species of FABRICIUS, and SUÁREZ (1988) revised the Myrmosinae of Spain and added keys for the species of the Western Pa- laearctic region. The German species were keyed by OEHLKE (1974) and the species of Smicromyrme and Physetopoda of Germany revised and keyed by SCHMID-EGGER & PETERSEN (1993). The Mutillidae of former Czechoslovakia were studied by HOFFER (1938) and keyed by BOUČEK & ŠNOFLÁK (1957). An important step to stability in no- menclature and taxonomy was done by the catalogue of the Palaearctic region by LELEJ (2002) with keys to all Mutillidae genera.