DOCSLIB.ORG

ADVANCEMENTS an EXCLUSIVE NEWSLETTER for MUSEUM SUPPORTERS Interpreting Historic Spaces Olossal

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ADVANCEMENTS an EXCLUSIVE NEWSLETTER for MUSEUM SUPPORTERS Interpreting Historic Spaces Olossal SPRING 2014 ADVANCEMENTS AN EXCLUSIVE NEWSLETTER FOR MUSEUM SUPPORTERS Interpreting Historic Spaces olossal. Immense. Gigantic. These are and a team of archivists and exhibit designers, some of the words that come to mind is working to answer these questions. when visitors arrive at the Intrepid Sea, C The Museum’s main indoor exhibit space on Air & Space Museum and fi rst see the historic the hangar deck provides much information aircraft carrier Intrepid. At approximately 900 on the history of Intrepid. Through artifacts feet long, if you were to stand the ship upright, and historic photographs, the exhibits shed Intrepid is only 150 feet shorter than New York light on the lives of those who served. The City’s Chrysler Building and 595 feet taller than challenge arises when visitors venture into Intrepid’s Combat Information Center (CIC) the Statue of Liberty. The mammoth ship, which the ship’s historic interiors—spaces where the as it looked in 1959. at the height of World War II was home to more men lived and worked. Sometimes, a docent or than 3,000 sailors, is now the centerpiece of tour guide can offer insight into the functions the Museum—hosting the country’s only state of particular spaces and share stories of those of the art collection storage facility on board who worked there, but without this staff, a ship, a 243 seat theater, an 18,000 square interpretation is left to the imagination. foot education facility which includes fi ve classrooms, and enough offi ces to house the That is all about to change, thanks to two Museum’s entire staff. grants from NEH and the diligent work of the Museum’s Exhibits team. In 2009, NEH While the immense size of Intrepid allows us awarded the Museum a $35,000 planning to do so much, it also presents some unique grant focused on interpreting historic spaces challenges. Each year, our Operations team on the ship. For the next fi ve years, Williams uses 1,500 gallons of paint to maintain the gathered research from Intrepid former crew Alfred “Pete” Smith, an Intrepid Operations Offi cer, ship. This past winter, they had to clear over during his recent oral history interview. members, historians, curators and exhibit 400,000 cubic feet of snow from the fl ight designers. The project gained traction in the deck. But there is a more subtle challenge spring of 2013, when the Exhibits team was that lies below decks, and it is one that the awarded a $300,000 implementation grant Museum’s Exhibits team is working diligently from NEH. The goal? Make the ship’s history to address: how does one tell the story of a come to life by sharing the thoughts, feelings massive ship that saw three decades of active and experiences of the ship’s crew within the duty? How do you share what it was like to historic spaces where they lived and worked. survive a kamikaze attack during World War II, and also interpret the complex emotions Armed with years of painstaking research, of those who served aboard Intrepid during the Exhibits team will roll out the fi rst the Vietnam War? The Museum’s Curator of interpretation prototype this summer in History, Jessica Williams, with the help of the Intrepid’s combat information center (CIC). A historic photo of Intrepid’s anchor chain room. National Endowment of the Humanities (NEH) CIC was the operational “brain” of Intrepid, Continued on page 4 The Intrepid Sea, Air & Space Museum is a non-profi t, educational institution featuring the legendary aircraft carrier Intrepid, the space shuttle Enterprise, the world’s fastest jets and a guided missile submarine. Through exhibitions, educational programming and the foremost collection of technologically groundbreaking aircraft and vessels, visitors of all ages and abilities are taken on an interactive journey through history to learn about American innovation and bravery. The Intrepid Museum fulfi lls its mission to honor our heroes, educate the public and inspire our youth by connecting them to history through hands-on exploration while bridging the future by inspiring innovation. INTREPID ADVANCEMENTS Masters of Disguise: The World of Camoufl age temporary exhibition at the Museum, of countershading, popularized by artist Precision, one of the leading tactical gear Masters of Disguise: The World of Abbott H. Thayer, plays with light and shadow design companies in the country. Crye’s A Camoufl age, examines camoufl age in such a way that the object appears fl atter company, based at the Brooklyn Navy Yard, in the natural world and explains the variety and thus less visible. developed MultiCam, a now standard-issue of ways humans have adapted methods of camoufl age pattern that helps the wearer Interactive components throughout the camoufl age for our own needs. hide in different environments. An example exhibition make the visitor’s experience both of the popular MultiCam pattern is on display fun and educational. Visitors can crawl into The exhibition highlights four types of in the exhibition. camoufl age—obscuring, mimicry, disruptive an 8-foot high tree stump to peer through and countershading. Eric Boehm, the holes and try to spot subtly hidden images Masters of Disguise: The World of Museum’s Curator of Aviation and Aircraft of a ship, a cannon, a tank and an airplane. Camoufl age is open to the public through Restoration, wanted to showcase samples The stump is evocative of the faux tree August 24, 2014, and is included with from the natural world along with examples stumps that were used as surveillance posts Museum admission. of human camoufl age in order to illustrate during World War I. To see examples of dazzle the close correlation between the two. painted ships, visitors can gaze through a periscope to see what these camoufl aged ships looked like from the perspective of a “ This exhibit on not seeing submarine commander, and in a hide and is well worth seeing.” seek display, guests will enjoy trying to fi nd the camoufl aged object. — the Wall Street Journal From the beginning of World War I, When people imagine an exhibition on camoufl age experts consulted with and camoufl age they may often think of used techniques from artists—such as traditional obscuring camoufl age, such Thayer—who provided insight into colors and as when an object or animal blends in design that would trick the human eye and with its background. When you fi rst enter make equipment and uniforms less visible. Masters of Disguise, you are faced with a Museum visitors can peruse books by scholar Roy R. Behrens, who has extensively This artifact model of the RMS Mauritania shows life-sized ghillie suit covered with foliage. the dazzle scheme camoufl age used by troop The ghillie suit, an example of obscuring studied the connection between the world ships during World War I. camoufl age, helped scouts blend in with of art and design and that of camoufl age. their surroundings. A model P-40 Warhawk, Today’s top camoufl age and tactical gear with its sand-colored paint scheme that hid designers are almost as likely to come from it from view as it fl ew over the North African art school backgrounds as they are to have desert, is another example of man-made service experience. obscuring camoufl age on display. One such designer, Caleb Crye, is the Mimicry camoufl age is demonstrated with a founder and Chief Executive Offi cer of Crye display on owl butterfl ies and their huge eyespots, which resemble an owl’s eyes and protect the butterfl y from predators. Disruptive camoufl age includes the use of bold patterns and dazzling colors that are meant to confuse the eye, while hiding the true features of the target. The camoufl age concept The Museum’s latest exhibition, Masters of Disguise, offers examples A life-size ghillie suit covered with webbing of camoufl age and invites visitors to interact with displays. and foliage welcomes visitors as they enter. 2 INTREPID ADVANCEMENTS Engaging our Community or each visitor who gets to experience artifact-based learning that provides and children maintain a sense of normalcy the Intrepid Museum first-hand, there enriching activities that enhance out- during a challenging period of their life. All Fare many others who would love to visit, of-school experiences for students and of these events include tours, educational but are unable due to age, health or financial promote family learning. This programming programs, demonstrations, activities and restrictions. In direct response to this need, is set apart by its engaging historic and meals. A portion of these events also include the Museum created Community Engagement science content, produced by the unique theatrical performances by professional NYC programs which are designed to reach those objects in the Museum’s collections— performance groups. individuals by venturing into the community to including the aircraft carrier Intrepid and One performance group that Tom Barry, deliver cultural programs to diverse audiences space shuttle Enterprise—and the human Manager of Community Engagement and STEM throughout the city. stories behind them. Initiatives, works with is Story Pirates—a Museum Educators head to hospitals, Additionally, in collaboration with the New musical comedy troupe that performs fun libraries, and community and veteran York City Department of Homeless Services and imaginative stories written by students. centers to lead demonstrations, and the New York City Administration for After a recent Story Pirates performance at experiments and discussions, and guide Child Services, the Museum hosts events for the Museum, nearly every child that attended children and families worked with other family members and in transitional housing submitted their own creative tale to Story and children awaiting Pirates.
Load more

Recommended publications
  • On Visual Art and Camouflage
    University of Northern Iowa UNI ScholarWorks Faculty Publications Faculty Work 1978 On Visual Art and Camouflage Roy R. Behrens University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©1978 The MIT Press Follow this and additional works at: https://scholarworks.uni.edu/art_facpub Part of the Art and Design Commons Recommended Citation Behrens, Roy R., "On Visual Art and Camouflage" (1978). Faculty Publications. 7. https://scholarworks.uni.edu/art_facpub/7 This Article is brought to you for free and open access by the Faculty Work at UNI ScholarWorks. It has been accepted for inclusion in Faculty Publications by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Leonardo. Vol. 11, pp. 203-204. 0024--094X/78/070 I -0203S02.00/0 6 Pergamon Press Ltd. 1978. Printed in Great Britain. ON VISUAL ART AND CAMOUFLAGE Roy R. Behrens* In a number of books on visual fine art and design [ 1, 21, countershading makes a 3-dimensional object seem flat, there is mention of the kinship between camouflage and while normal shading in flat paintings can make a painting, but no one has, to my knowledge, pursued it. I depicted object appear to be 3-dimensional. He also have intermittently researched this relationship for discussed the function of disruptive patterning, in which several years, and my initial observations have recently even the most brilliant colors may contribute to the been published [3]. Now I have been awarded a faculty destruction of an animal’s outline. While Thayer’s research grant from the Graduate School of the description of countershading is still respected, his book is University of Wisconsin-Milwaukee to pursue this considered somewhat fanciful because of exaggerated subject in depth.
    [Show full text]
  • LS28 Camouflage and Mimicry Follow up Student #2
    Follow-up Activity: For Students Life Science 28: Camouflage and Mimicry Introduction: In this lesson, camouflage & mimicry were explored as examples of adaptations adopted by animals to increase their chances of survival. What can an animal do to keep from being a predator's dinner? To survive, some animals use camouflage so they can better blend in with their surroundings. Camouflage is a set of colorings or markings on an animal that help it to blend in with its surroundings, or habitat, and prevent it from being recognized as potential prey. Activity: Candy Camouflage In this science activity, you and your friends will become the hungry predators and you'll hunt for different colored candies. But it may not be as easy as it sounds—some of your prey will be camouflaged by their habitats. Are you ready for the challenge? Materials: • Six plastic bags (one bag for M&Ms; 5 bags for Skittles, separated by color) • Plain M&Ms; at least 10 of each color (at least two 1.69-ounce packages may be needed) • Skittles; at least 60 of each color (one 16-oz package) • Metal pie tin or other deep plate • Cups for collecting candies during the hunt; one cup per predator • Timer • Data charts (attached) • 2-4 Volunteer predators to be hungry M&Ms-feasting birds Preparation: 1. Place 10 M&Ms of each color (yellow, blue, green, brown, red, orange) into one plastic bag 2. Place 60 Skittles of each color (orange, green, red, yellow, purple) into separate plastic bags. This means you will have 5 separate bags of Skittles: one bag containing only red, one bag containing only orange, one bag containing green, one bag of purple and one bag of yellow) 3.
    [Show full text]
  • Mimicry - Ecology - Oxford Bibliographies 12/13/12 7:29 PM
    Mimicry - Ecology - Oxford Bibliographies 12/13/12 7:29 PM Mimicry David W. Kikuchi, David W. Pfennig Introduction Among nature’s most exquisite adaptations are examples in which natural selection has favored a species (the mimic) to resemble a second, often unrelated species (the model) because it confuses a third species (the receiver). For example, the individual members of a nontoxic species that happen to resemble a toxic species may dupe any predators by behaving as if they are also dangerous and should therefore be avoided. In this way, adaptive resemblances can evolve via natural selection. When this phenomenon—dubbed “mimicry”—was first outlined by Henry Walter Bates in the middle of the 19th century, its intuitive appeal was so great that Charles Darwin immediately seized upon it as one of the finest examples of evolution by means of natural selection. Even today, mimicry is often used as a prime example in textbooks and in the popular press as a superlative example of natural selection’s efficacy. Moreover, mimicry remains an active area of research, and studies of mimicry have helped illuminate such diverse topics as how novel, complex traits arise; how new species form; and how animals make complex decisions. General Overviews Since Henry Walter Bates first published his theories of mimicry in 1862 (see Bates 1862, cited under Historical Background), there have been periodic reviews of our knowledge in the subject area. Cott 1940 was mainly concerned with animal coloration. Subsequent reviews, such as Edmunds 1974 and Ruxton, et al. 2004, have focused on types of mimicry associated with defense from predators.
    [Show full text]
  • Adaptations for Survival: Symbioses, Camouflage & Mimicry
    Adaptations for Survival: Symbioses, Camouflage & Mimicry OCN 201 Biology Lecture 11 http://www.berkeley.edu/news/media/releases/2005/03/24_octopus.shtml Symbiosis • Parasitism - negative effect on host • Commensalism - no effect on host • Mutualism - both parties benefit Often involves food but benefits may also include protection from predators, dispersal, or habitat Parasitism Leeches (Segmented Worms) Tongue Louse (Crustacean) Nematodes (Roundworms) Commensalism or Mutualism? Anemone shrimp http://magma.nationalgeographic.com/ Anemone fish http://www.scuba-equipment-usa.com/marine/APR04/ Mutualism Cleaner Shrimp and Eel http://magma.nationalgeographic.com/ Whale Barnacles & Lice What kinds of symbioses are these? Commensal Parasite Camouflage • Often important for predators and prey to avoid being seen • Predators to catch their prey and prey to hide from their predators • Camouflage: Passive or adaptive Passive Camouflage Countershading Sharks Birds Countershading coloration of the Caribbean reef shark © George Ryschkewitsch Fish JONATHAN CHESTER Mammals shiftingbaselines.org/blog/big_tuna.jpg http://www.nmfs.noaa.gov/pr/images/cetaceans/orca_spyhopping-noaa.jpg Passive Camouflage http://www.cspangler.com/images/photos/aquarium/weedy-sea-dragon2.jpg Adaptive Camouflage Camouflage by Accessorizing Decorator crab Friday Harbor Marine Health Observatory http://www.projectnoah.org/ Camouflage by Mimicry http://www.berkeley.edu/news/media/releases/2005/03/24_octopus.shtml Mimicry • Animals can gain protection (or even access to prey) by looking
    [Show full text]
  • Adaptations for Survival: Symbioses, Camouflage
    Adaptations for Survival: Symbioses, Camouflage & Mimicry OCN 201 Biology Lecture 11 http://www.oceanfootage.com/stockfootage/Cleaning_Station_Fish/ http://www.berkeley.edu/news/media/releases/2005/03/24_octopus.shtml Symbiosis • Parasitism - negative effect on host • Commensalism - no effect on host • Mutualism - both parties benefit Often involves food but benefits may also include protection from predators, dispersal, or habitat Parasites Leeches (Segmented Worms) Tongue Louse (Crustacean) Nematodes (Roundworms) Whale Barnacles & Lice Commensalism or Parasitism? Commensalism or Mutualism? http://magma.nationalgeographic.com/ http://www.scuba-equipment-usa.com/marine/APR04/ Mutualism Cleaner Shrimp http://magma.nationalgeographic.com/ Anemone Hermit Crab http://www.scuba-equipment-usa.com/marine/APR04/ Camouflage Countershading Sharks Birds Countershading coloration of the Caribbean reef shark © George Ryschkewitsch Fish JONATHAN CHESTER Mammals shiftingbaselines.org/blog/big_tuna.jpg http://www.nmfs.noaa.gov/pr/images/cetaceans/orca_spyhopping-noaa.jpg Adaptive Camouflage Camouflage http://www.cspangler.com/images/photos/aquarium/weedy-sea-dragon2.jpg Camouflage by Mimicry Mimicry • Batesian: an edible species evolves to look similar to an inedible species to avoid predation • Mullerian: two or more inedible species all evolve to look similar maximizing efficiency with which predators learn to avoid them Batesian Mimicry An edible species evolves to resemble an inedible species to avoid predators Pufferfish (poisonous) Filefish (non-poisonous)
    [Show full text]
  • OBITUARIES Sir Edward Poulton, F.R.S
    No. 3870, jANUARY 1, 1944 NATURE 15 the University of Edinburgh, previously held by a tragic death, and his successor, F. Hasenohrl, was Black. To him we owe the discovery of the maximum killed in action on the Italian front in 1915. The density of water. The centenary of John Dalton falls chemists born in 1844 include Prof. J. Emerson on July 27 of this year, but any commemoration Reynolds (died 1920), who occupied for twenty-eight must inevitably be clouded over by the results of years the chair of chemistry in the University of the air raid of December 24, 1940, when the premises Dublin, and Ferdinand Hurter (died 1898), a native of the Manchester Literary and Philosophical Society of Schaffhausen, Switzerland, who came to England were completely destroyed. From 1817 until 1844 in 1867 and became principal chemist to the United DaJton was president of the Society, and within its Alkali Company. Among astronomers, Prof. W. R. walls he taught, lectured and experimented. The Brooks (died 1921) of the United States was famous Society had an unequalled collection of his apparatus, as a 'comet hunter'. Charles Trepied (died 1907) was but after digging among the ruins the only things for many years director of the Observatory at found were his gold watch, a spark eudiometer and Bouzariah, eleven kilometres from Algiers, while some charred remains of letters and note-books. A Annibale Ricco (died 1919), though he began life as month after Dalton passed away in Manchester, an engineer, for nineteen years directed the observa­ Francis Baily died in London, after a life devoted to tory of Catania and Etna, his special subject being astronomy and kindred subjects.
    [Show full text]
  • How Discoveries in Papilio Butterflies Led to a New Species Concept 100
    Systematics and Biodiversity 1 (4): 441–452 Issued 9 June 2004 DOI: 10.1017/S1477200003001300 Printed in the United Kingdom C The Natural History Museum James Mallet* Department of Biology, Perspectives University College London, 4 Stephenson Way, Poulton, Wallace and Jordan: how London NW1 2HE, UK and discoveries in Papilio butterflies led to Department of Entomology, The Natural History Museum, Cromwell Road, a new species concept 100 years ago London SW7 5BD, UK submitted September 2003 accepted December 2003 Abstract A hundred years ago, in January 1904, E.B. Poulton gave an address en- titled ‘What is a species?’ The resulting article, published in the Proceedings of the Entomological Society of London, is perhaps the first paper ever devoted entirely to a discussion of species concepts, and the first to elaborate what became known as the ‘biological species concept’. Poulton argued that species were syngamic (i.e. formed reproductive communities), the individual members of which were united by synepi- gony (common descent). Poulton’s species concept was informed by his knowledge of polymorphic mimicry in Papilio butterflies: male and female forms were members of the same species, in spite of being quite distinct morphologically, because they belonged to syngamic communities. It is almost certainly not a coincidence that Al- fred Russel Wallace had just given Poulton a book on mimicry in December 1903. This volume contained key reprints from the 1860s including the first mimicry papers, by Henry Walter Bates, Wallace himself and Roland Trimen. All these papers deal with species concepts and speciation as well as mimicry, and the last two contain the initial discoveries about mimetic polymorphism in Papilio: strongly divergent female morphs must belong to the same species as non-mimetic males, because they can be observed in copula in nature.
    [Show full text]
  • Mimicry and Camouflage – Wasps to Tree Bark
    Mimicry and Camouflage – Wasps to Tree bark: Mimicry in dragonflies, like migration, is little understood. It does appear that the Eastern Amberwing uses both color and behavior to mimic wasps. Their body coloring resembles that of a paper wasp or yellow-jacket, and when threatened, a perched amberwing will often move their wings and abdomens in a very undragonfly-like manner. It’s believed that this behavior is meant to resemble a wasp, therefor scaring off potential predators like birds, frogs or even dragonfly geeks. I’ve seen this behavior several times, usually when amberwings are perched on wildflowers like goldenrod or eupatorium, and I suppose it does make them look a bit like a small wasp. Ambwerwings spend more time on meadow wildflowers than any other dragonfly – perhaps that’s how they evolved to mimic the behavior of flower-visiting wasps. This female Eastern Amberwing possesses a combo of markings and behavior that resemble a hornet or paper wasp – is it mimicry to scare off would be predators? Perhaps. Many dragonflies will poke you with their abdomen tips if you catch and hold them. It’s all bluff, they of course cannot sting, but perhaps it’s enough to scare off birds, lizards, raccoons and other potential predators that think they’re about to be stung by their dinner. Or they may simply hope that the ovipositors, cerci and epiprocts on their abdomen tips, harmless as they are, are pointed enough to bother the mouths, eyes or toes of their captures. Some dragonflies also have widened “clubs” towards the tip of their abdomen – it’s thought by some that this may be an attempt to mimic scorpions, or even the heads of small tree snakes.
    [Show full text]
  • Camouflage and Surrealism
    Ann Elias Camouflage and Surrealism amouflage in the Twenty-first century is a subject and practice of military science, biological science, culture and society. All are contexts in which concealment and deception—the conceptual underpinnings of Ccamouflage—find physical, visual and psychological expression. Camouflage’s ever-increasing associations today with war, nature, and everyday life are apparent in the global escalation of national military patterns, in intensifying interest in the chemistry and physics of animal behaviours and colours, in expanding cooption of military aesthetics for street fashion, and in the growing popularity of camouflage as a conceptual tool for cultural analysis.1 The word itself gradually spread from French into all languages after the First World War (WWI) when France, the first nation in military history, established a formalsection de camouflage.2 By 1925, ‘camouflage’ was increasingly used to identify animal concealment and deception, science’s terminology having become enmeshed with military lingo. Before the war, however, common biological terms were ‘mimicry’ and ‘concealing coloration’, indeed the very terms and natural phenomena that were brought to military attention by naturalists and scientists, including Abbott H. Thayer, for the development of camouflage in WWI.3 This essay is about intersections of nature, art and war but with an emphasis on how post-war European art was impacted by what Paul Fussell called ‘the new stylish foreign word camouflage’ and also by camouflage aesthetics.4 Roy R. Behrens has written extensively on this subject, but Behrens aside there is surprisingly little investigation of camouflage in relation to the European avantgarde of the 1920s and 1930s.
    [Show full text]
  • The Museum of Modern Art Roof Garden
    The Museum of Modern Art Roof Garden New York, New York 2003-05 Ken Smith. Ken Smith Landscape Architect, New York, New York Axonometric view from northwest Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/thld_a_00280 by guest on 27 September 2021 Jacky Bowring Revealing Concealment: The Strange Case of the MoMA Roof Garden Beware: Whoever pretends to be a ghost will eventually turn into one. Roger Caillois ^33s' Who am I? If this once I were to rely on a proverb, then perhaps everything would amount to l<nowing whom I "haunt." Andre Breton 1928^ A curious garden has alighted on the newly made-over MoMA, "Nature creates similarities. One need only think of mimicry. the Museum of Modern Art in New York. Not visible from the The highest capacity for producing similarities, however, is gallery itself since it is on the roof Ken Smith's camouflage man's. His gift of seeing resemblances is nothing other than garden is modeled on the generic splotchy pattern of army a rudiment of the powerful compulsion in former times to uniforms and military machines. Smith's garden is presented become and behave like something else. Perhaps there is none as "ironic" and a "subversion of camouflage's function to of his higher functions in which his mimetic faculty does not hide or conceal."' Such commentary is intended to allude play a decisive role."^ to the artifice of the practice of landscape architecture, As a social practice, mimicry is inherently anthropomorphic, where the fal<e natural is used to disguise "ugly" elements a subjective rather than objective perception.
    [Show full text]
  • The Origin of Mimicry
    The Origin of Mimicry Deception or merely coincidence Bram Wiggers, s2485834, [email protected], Supervisor: Dr. Harmen de Weerd Abstract: One of the most remarkable phenomena in nature is mimicry, the ability of one species (mimics) to imitate the phenotype of another species (models). Several reasons for the origin of mimicry have been proposed, but no definitive conclusion has been found yet. In this paper, different hypotheses will be tested by an agent based co-evolution model. We consider an adaptive plane with a camouflage and toxic gradient. Animal populations can move over this adaptive plane by evolving. Two options will be compared: (1) Deception, which assumes that mimics evolve to take advantage of the warning color of the models. (2) Coincidence, where models evolve a warning color that coincidentally benefits the mimics. We found that both the hypotheses are a plausible reason for the origin of mimicry, but that deception takes place in the coincidence environment as well. When the model loses its camouflage, the mimics do not move toward the model, but stay in their own place, which supports the idea of coincidence. 1 Introduction (Rabosky, Cox, Rabosky, Title, Holmes, Feldman, and McGuire, 2016) and other animals (Maan and One of the most remarkable phenomena in nature Cummings, 2011). Various research has been done is mimicry, the ability of animals (mimics) to mimic (Mallet and Joron, 1999), but no clear answer has the phenotype of other animals (models). Typically, been found for the origin of mimicry. the effect is called mimicry when the mimic imitates a phenotype of a model which can be dangerous We distinguish Batesian mimicry and M¨ullerian for a predator.
    [Show full text]
  • Glow in the Dark: Bioluminescence in the Animal and Human World by Elizabeth Kerr, 2020 CTI Fellow Bain Elementary School This
    Glow in the Dark: Bioluminescence in the Animal and Human World by Elizabeth Kerr, 2020 CTI Fellow Bain Elementary School This curriculum unit is recommended for: K-2, Science and Literacy Keywords: animals, adaptations, bioluminescence, biomimicry, communication, counter- illumination, aposematism, enzymes Teaching Standards: See Appendix 1 for teaching standards addressed in this unit. Synopsis: This unit will begin an exploration of animals and the adaptations they use to survive, specifically bioluminescence. Students will learn about animals that use bioluminescence and how it is used (communication, aposematism, counter-illumination, aggressive mimicry). Students will begin by studying various types of animals that employ bioluminescence. They will analyze the purpose of bioluminescence in each animal in their environment. The class will then learn about the concept of biomimicry. Students will then use light to create a device for communication across a distance inspired from nature. I plan to teach this unit during the coming year to 16 first grade students in Science and Literacy in the Spring of 2021. This unit will be shared with the other grade level appropriate teachers at my school. I would like the opportunity to teach each class the lab activity in our school science lab if possible. I give permission for Charlotte Teachers Institute to publish my curriculum unit in print and online. I understand that I will be credited as the author of my work. Glow in the Dark: Bioluminescence in the Animal and Human World Elizabeth Kerr Introduction As a teacher of young elementary students, I realized early on the best way to excite students about reading was to integrate reading strategies with science instruction.
    [Show full text]