(1) A Naturalist at the Dinner Table (2) Animal Life of the Carlsbad Cavern (3) Natural History of Canterbury: a Series of Articles on the Early History of the Province and on the History of Scientific Investigation, up till 1926, as well as on some Results of this Investigation (4) Birds and Beasts of the Roman Zoo: some Observations of a Lover of Animals

Nature ◽  
1928 ◽  
Vol 122 (3072) ◽  
pp. 392-394
Author(s):  
CHARLES ELTON
Author(s):  
Megan McPherson ◽  
Byron J Freeman ◽  
Suzanne E Pilaar Birch

Abstract Although it holds one of the largest university-based natural history collections in the United States, little has been known historically about the early development of the Georgia Museum of Natural History at the University of Georgia in Athens. Formally established in 1978, it was recognized as the state museum of natural history in 1999, but the findings presented here reveal that the origins of the museum’s collections date to much earlier: the early 1800s. Research conducted at the Richard B. Russell Special Collections Library tells the previously unknown story of the museum’s founding and growth during the nineteenth century. This paper details key aspects of the development of the collection, its changing location on campus, and the museum’s relationship with the university’s library and botanical gardens; it also identifies researchers in charge of the collections in the early and pivotal years of the institution.


1966 ◽  
Vol 12 ◽  
pp. 531-542 ◽  

Walter Frederick Whittard was born in Battersea on 26 October 1902 and died at his home at Westbury-on-Trym near Bristol on 2 March 1966. His father, Thomas W. Whittard, was a prosperous grocer in Clapham, London, whose wife Sarah (Cotterell) bore him four children, of whom Walter Frederick was the youngest. Little is known of the early history of the family; the surname is said to be derived from Whiteheart or Wytard and to mark a connexion with the Stroud region of Gloucestershire, while his mother’s family were associated with Stockton-on-Tees. He attended the County Secondary School at Battersea and as a boy his interests outside normal school activities were mainly zoological. He was an enthusiastic beetle collector (and in later life would still take note of the water-beetles to be found in a flooded quarry) and became a founder member of the school Natural History Society. Through a mutual friend of his elder brother Tom, however, he was introduced to T. Eastwood, of the Geological Survey, and it was Eastwood who aroused and fostered his interest in geology and induced his father to launch young Whittard on a geological career. Thus it came about that on Eastwood’s advice he attended A. J. Maslen’s evening classes in geology at Chelsea Polytechnic (now Chelsea College of Science and Technology) while still a schoolboy and it was here that Stubblefield and I first met him. Maslen’s gifts as a teacher were widely recognized and his classes attracted a number of well-known amateurs as well as a few schoolboys and many London External students in various stages of their careers. I remember in particular at this time Whittard’s enthusiasm for any geological excursions and the innumerable collecting trips that he made on his own to localities around London and the Home Counties and even as far afield as the Cotswolds.


Author(s):  
Scott MacDonald

The Sublimity of Document: Cinema as Diorama (Avant-Doc 2) is an international collection of in-depth, substantive interviews with moving-image artists working “avant-doc,” that is, making films that explore the territory between documentary and experimental cinema. The Sublimity of Document follows on MacDonald’s earlier Avant-Doc: Intersections of Documentary and Avant-Garde Cinema (Oxford, 2015), though the focus here is on filmmakers who are committed to document itself, willing to go anywhere on the planet (or within film archives or on the internet) to document what they believe we need to see—regardless of whatever political implications the film experiences they create may have for us. The book uses the early history of the museum habitat diorama of animal life, specifically the Akeley Hall of African Mammals at the American Museum of Natural History, as a way of rethinking both early and modern cinema of document—and especially those recent filmmakers and films devoted to providing a panorama of places and events that viewers might never have opportunities to experience in person. The twenty-seven interviews in The Sublimity of Document are organized panoramically within the volume.


2020 ◽  
Vol 43 ◽  
Author(s):  
Hannes Rakoczy

Abstract The natural history of our moral stance told here in this commentary reveals the close nexus of morality and basic social-cognitive capacities. Big mysteries about morality thus transform into smaller and more manageable ones. Here, I raise questions regarding the conceptual, ontogenetic, and evolutionary relations of the moral stance to the intentional and group stances and to shared intentionality.


Author(s):  
Robert M. Fisher

By 1940, a half dozen or so commercial or home-built transmission electron microscopes were in use for studies of the ultrastructure of matter. These operated at 30-60 kV and most pioneering microscopists were preoccupied with their search for electron transparent substrates to support dispersions of particulates or bacteria for TEM examination and did not contemplate studies of bulk materials. Metallurgist H. Mahl and other physical scientists, accustomed to examining etched, deformed or machined specimens by reflected light in the optical microscope, were also highly motivated to capitalize on the superior resolution of the electron microscope. Mahl originated several methods of preparing thin oxide or lacquer impressions of surfaces that were transparent in his 50 kV TEM. The utility of replication was recognized immediately and many variations on the theme, including two-step negative-positive replicas, soon appeared. Intense development of replica techniques slowed after 1955 but important advances still occur. The availability of 100 kV instruments, advent of thin film methods for metals and ceramics and microtoming of thin sections for biological specimens largely eliminated any need to resort to replicas.


1979 ◽  
Vol 115 (11) ◽  
pp. 1317-1319 ◽  
Author(s):  
J. E. Morgan

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