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. -
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ISSN 0375-1511 Rec. zool. Surv. India: 112(part-3) : 101-112,2012 OBSERVATIONS ON THE STATUS AND DIVERSITY OF BUTTERFLIES IN THE FRAGILE ECOSYSTEM OF LADAKH 0 & K) AVTAR KAUR SIDHU, KAILASH CHANDRA* AND JAFER PALOT** High Altitude Regional Centre, Zoological Survey of India, Solan, H.P. * Zoological Survey of India,M-Block, New Alipore, Kolkata 700 053. **Western Ghats Regional Centre, Zoological Survey of India, Calicut, Kerala INTRODUCTION between Zansker and Ladakh ranges and Nubra valley on the east side of Ladakh range crossing As one of the more inaccessible parts of the the Khardungla pass. The river Indus is the Himalayan Ranges, the cold deserts of India are backbone of Ladakh. resource poor regions. These could be considered as an important study area because of their As a distinct biome, this cold desert need extremely fragile ecosystem. The regions on the specially focused research and a concerted effort north flank of the Himalayas experience heavy in terms of natural resource management, snowfall and these remains virtually cut off from especially in the light of their vulnerable ecosystems the rest of the country for several months in the and highly deficient natural resource status. year. Summers are short. The proportion of oxygen Ecology and biodiversity of the Ladakh is under is less than in many other places at a comparable severe stress due to severe pressures. Ladakh and altitude because of lack of vegetation. There is little Kargil districts have been greatly disturbed since moisture to temper the effects of rarefied air. The 1962 because of extensive military activities. -
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. -
The Radiation of Satyrini Butterflies (Nymphalidae: Satyrinae): A
Zoological Journal of the Linnean Society, 2011, 161, 64–87. With 8 figures The radiation of Satyrini butterflies (Nymphalidae: Satyrinae): a challenge for phylogenetic methods CARLOS PEÑA1,2*, SÖREN NYLIN1 and NIKLAS WAHLBERG1,3 1Department of Zoology, Stockholm University, 106 91 Stockholm, Sweden 2Museo de Historia Natural, Universidad Nacional Mayor de San Marcos, Av. Arenales 1256, Apartado 14-0434, Lima-14, Peru 3Laboratory of Genetics, Department of Biology, University of Turku, 20014 Turku, Finland Received 24 February 2009; accepted for publication 1 September 2009 We have inferred the most comprehensive phylogenetic hypothesis to date of butterflies in the tribe Satyrini. In order to obtain a hypothesis of relationships, we used maximum parsimony and model-based methods with 4435 bp of DNA sequences from mitochondrial and nuclear genes for 179 taxa (130 genera and eight out-groups). We estimated dates of origin and diversification for major clades, and performed a biogeographic analysis using a dispersal–vicariance framework, in order to infer a scenario of the biogeographical history of the group. We found long-branch taxa that affected the accuracy of all three methods. Moreover, different methods produced incongruent phylogenies. We found that Satyrini appeared around 42 Mya in either the Neotropical or the Eastern Palaearctic, Oriental, and/or Indo-Australian regions, and underwent a quick radiation between 32 and 24 Mya, during which time most of its component subtribes originated. Several factors might have been important for the diversification of Satyrini: the ability to feed on grasses; early habitat shift into open, non-forest habitats; and geographic bridges, which permitted dispersal over marine barriers, enabling the geographic expansions of ancestors to new environ- ments that provided opportunities for geographic differentiation, and diversification. -
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. -
Journal of Threatened Taxa
PLATINUM The Journal of Threatened Taxa (JoTT) is dedicated to building evidence for conservaton globally by publishing peer-reviewed artcles OPEN ACCESS online every month at a reasonably rapid rate at www.threatenedtaxa.org. All artcles published in JoTT are registered under Creatve Commons Atributon 4.0 Internatonal License unless otherwise mentoned. JoTT allows unrestricted use, reproducton, and distributon of artcles in any medium by providing adequate credit to the author(s) and the source of publicaton. Journal of Threatened Taxa Building evidence for conservaton globally www.threatenedtaxa.org ISSN 0974-7907 (Online) | ISSN 0974-7893 (Print) Communication A second report on butterflies (Lepidoptera) from Ladakh Union Territory and Lahaul, Himachal Pradesh, India Sanjay Sondhi, Balakrishnan Valappil & Vidya Venkatesh 26 May 2020 | Vol. 12 | No. 8 | Pages: 15817–15827 DOI: 10.11609/jot.5606.12.8.15817-15827 For Focus, Scope, Aims, Policies, and Guidelines visit htps://threatenedtaxa.org/index.php/JoTT/about/editorialPolicies#custom-0 For Artcle Submission Guidelines, visit htps://threatenedtaxa.org/index.php/JoTT/about/submissions#onlineSubmissions For Policies against Scientfc Misconduct, visit htps://threatenedtaxa.org/index.php/JoTT/about/editorialPolicies#custom-2 For reprints, contact <[email protected]> The opinions expressed by the authors do not refect the views of the Journal of Threatened Taxa, Wildlife Informaton Liaison Development Society, Zoo Outreach Organizaton, or any of the partners. The journal, the publisher, -
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.