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Henriette E.,Botanical Gardens | Henriette E.,CNRS Science Conservation Center | Rocamora G.,Island Conservation Society | Rocamora G.,CNRS Science Conservation Center
Revue d'Ecologie (La Terre et la Vie) | Year: 2012

Survival rates of the endemic Seychelles White-eye Zosterops modestus were investigated in a small transferred population on Frégate Island, Seychelles. The population has been studied since the first conservation introduction of 37 Seychelles White-eyes in 2001-2003, in an attempt to secure the long term future of this critically endangered species. Re-sighting data of 206 birds from direct systematic surveys were analysed with Cormack-Jolly-Seber (CJS) models using the software MARK 5.1. Here we present the first robust estimates of adult annual survival published for this species. We also attempted to provide a preliminary survival rate of first-year birds. Adult survival probability ((φ) was found to be 76% in our best-supported model, and survival was constant over time. Annual adult survival rate did not differ significantly between the transferred white-eyes (φ = 72, n = 31) and the Frégatois (those born on Frégate) (φ = 78, n = 175), nor did it between males (φ = 77, n = 117) and females (φ = 74, n = 86). Juvenile survival rate could not be modelled due to insufficient data on chicks marked at the nest or shortly after fledgling. However, 24 out of 27 (89%) white-eyes marked as chicks/fledglings on Frégate between 2002 and 2008 survived to one year old, indicating potentially high juvenile survival rates, comparable to the adults. More data are needed on marked chicks/fledglings to determine reliable and robust juvenile survival rates through modelling. Our study revealed the importance of having good monitoring design, regular, systematic and long-term data collection for such transferred populations, which will aid in the estimation of reliable survival rates along with other demographic and ecological parameters. We recommend the continued collection of both protocol-driven and empirical data, as well as an increased effort to estimate juvenile survival rates which will lead to more accurate assessments of population status. Close monitoring of transferred threatened birds on small islands offers further opportunities to better understand fundamental principles of population dynamics and ecology in these environments. Source


Henriette E.,Botanical Gardens | Henriette E.,CNRS Science Conservation Center | Rocamora G.,Island Conservation Society | Rocamora G.,CNRS Science Conservation Center
Ostrich | Year: 2011

Post-release monitoring is an important aspect of species transfers, providing a basis for conservation and management actions to achieve long-term survival of the species. Between 2001 and 2003, the Seychelles White-eye Zosterops modestus became established on Frégate Island following the transfer of 37 adult colour-ringed birds from Conception Island. Capture and colour ringing of birds was undertaken at regular intervals to keep the majority of the population banded. As the population grew, sampling methodologies became necessary to estimate its size accurately. Here, we compare the results obtained between November 2005 and January 2006 using three different methods: (1) capture-mark-relocate (NOREMARK); (2) point-transect with 'distance sampling', and (3) direct systematic surveys. Fifty point counts of 10 min each were conducted and replicated three times. The estimate by capture-mark-relocate was 77 individuals (72-83; P >; 0.05) with better precision over distance sampling: 78 individuals (44-136; P > 0.05). The result from direct systematic surveys (81) indicated that estimates obtained with the two indirect methods were reliable. Based on present and previous method comparisons, we recommend using the capture-mark-relocate method for its higher precision and the NOREMARK program to determine sizes of island populations with a significant proportion of marked individuals. © 2011 Copyright Taylor and Francis Group, LLC. Source


News Article | January 20, 2016
Site: http://www.fastcompany.com

Right this moment, hundreds of miles above the Earth's surface, a fleet of 19 NASA satellites are silently orbiting the planet. As they travel along their individual paths, the spacecraft are constantly taking photos and collecting information that helps predict everything from impending hurricanes to aerosol levels in the atmosphere. But despite their importance, these satellites are easy to forget—because they're so difficult to see and imagine. That's something NASA is trying to change. For example, in March it released an animated video showing the satellites' various trajectories. This time around, it's taking a more aural approach to the problem with the a seashell-shaped structure called the Orbit Pavilion. Located outside NASA's Jet Propulsion Lab in Pasadena, California, the spiraling aluminum structure amplifies a symphony of sounds, each of which corresponds to one of the 19 satellites in orbit, plus the International Space Station. The brains behind this 3,500-square-foot structure are Jason Klimoski and Leslie Chang, of the Brooklyn-based architecture firm StudioKCA. The brief was left extremely open, the duo explain: "They came to us and said we've got these 19 satellites and we want to somehow have people interact with sound and with the trajectories of these satellites in an interesting way," says Klimoski. "The satellites are collecting data streams. That doesn’t really lend itself to good representation, so we had to think of a new creative way to do it." The firm worked with Shane Myrbeck, a sound artist and acoustic engineer at the firm Arup to assign each of the satellites its own sound—anything from water trickling to leaves rustling to deep tonal noises. Myrbeck then placed an array of speakers around the center of the space and programmed them to play the sounds in such a way that the visitors feel like they are zipping past them. Inspired by the way a conch shell conveys the sound of the sea, the building—made up of 72 perforated aluminum panels, each measuring six feet wide by 25 feet across—is designed to mitigate outside sounds and amplify the sounds of space. Of course, those sounds are just sonic interpretations of the orbiting spacecrafts—which themselves are silent and largely invisible from Earth. The timing is interpretive as well: a satellite that would typically take 90 minutes to complete an orbit is condensed down to five to create a whirling, immersive sensation. So while the installation does give visitors a sense of satellite's trajectory, don't count on a completely accurate experience. The point, as Klimoski puts it, is to create a sense of amazement that these satellites are spinning in orbit all around us in outer space, even if we can't see them. "We wanted to make that world tangible," he says. The Orbit Pavilion will be at the Jet Propulsion Lab in Pasadena, California until this summer (exact date TBD), when it will move to the Huntington Botanical Gardens in San Marino, California.


Kaitera J.,Finnish Forest Research Institute | Hiltunen R.,Botanical Gardens | Kauppila T.,Botanical Gardens | Pitkaranta M.,University of Helsinki | And 2 more authors.
Forest Pathology | Year: 2014

Natural fruiting and sporulation of cone rusts were investigated in cones of Picea spp. and leaves of Prunus spp. in a botanical garden in northern Finland in 2007-2012. Thekopsora areolata was the most frequent cone rust in Picea abies cones, where it colonizes the host tissues and hinders normal seed development. Aecia of T. areolata were also common in cones of Picea engelmannii and occasionally in cones of P. glauca. Aecia of T. areolata sporulated in cones that were at least one year old. Chrysomyxa pirolata, another pathogenic cone rust, fruited and sporulated annually but infrequently in current-year cones of P. abies. The spruce needle rust, Chrysomyxa ledi, fruited and sporulated commonly in current-year cone scales of P. abies, P. omorika and P. glauca, while P. rubens, P. mariana and P. pungens appeared to be resistant during the study period. Chrysomyxa ledi did not affect seed development in infected cones. Uredinia of T. areolata frequently occurred on leaves of 41 Finnish and Russian cultivars, varieties or subspecies of Prunus padus L. ssp. badus and ssp. borealis and Pr. virginiana both in the botanical garden and in the field, while 13 exotic Prunus spp. lacked rust fruitbodies. All the Pr. padus cultivars were highly susceptible to T. areolata, thus, spreading the rust efficiently to surroundings. This is the first report of aecia of T. areolata in cones of P. engelmannii and P. glauca, and those of C. ledi in cones of P. omorika and P. glauca. Molecular identification confirmed the presence of T. areolata and C. pirolata on all hosts, and all samples of C. ledi belonged to the C. ledi-rhododendri complex. © 2014 Blackwell Verlag GmbH. Source


News Article
Site: http://www.scientificamerican.com

This collection of exhibits at the intersection of science and art should keep you entertained during the cold winter months, no matter where you are in the country. Get out of the house and enjoy! FRAGILE BEAUTY: The Art & Science of Sea Butterflies on view indefinitely Smithsonian Museum of Natural History 1st Floor, Center, Sant Ocean Hall, Research Case 10th St. & Constitution Ave. NW Washington, D.C. Artist Cornelia Kubler Kavanagh and biological oceanographer Gareth Lawson bring the plight of tiny ocean pteropods—or “sea butterflies” —to light with larger-than-life sculptures. Kavanagh’s sculptures are based on tiny sea snails no bigger than a grain of sand. They honor the floating beauty of these animals, while evoking their struggle to survive in the face of ocean acidification. Gareth Lawson, from the Woods Hole Oceanographic Institution, studies ocean acidification and provided research that inspired Kavanagh’s creative work. REVEALING THE INVISIBLE: The History of Glass and the Microscope April 23, 2016 to March 19, 2017 The Corning Museum of Glass One Museum Way Corning, NY Glass made it possible for scientists and artists to see tiny living creatures once invisible to the human eye. Revealing the Invisible: The History of Glass and the Microscope tells the stories of scientists’ and artists’ exploration of the microscopic world between the 1600s and the late 1800s. Their discoveries fed people’s hunger to learn more about nature, increasing the popularity of microscopes and driving improvements in scientific glass. These advances culminated in the 19th century with the advent of modern scientific glassmaking and the perfection of the microscope. Unleash your sense of discovery as you explore the invisible through historic microscopes, rare books, and period illustrations. View the artworks of 23 artists who were selected from more than 100 entrants from around the world for this year’s science-inspired exhibition about biodiversity and extinction. The co-jurors for this exhibition were Elizabeth Corr, manager of art partnerships at the Natural Resources Defense Council, and Paula J. Ehrlich, president & CEO of the E.O. Wilson Biodiversity Foundation. This exhibition is the 17th International Art-Science Juried Exhibition organized by Art & Science Collaborations, Inc. (ASCI). Artists can use their skills and imagination to take on the issue of climate change and this work is now being seen in unprecedented numbers. The artists in Tipping Points use a variety of mediums including painting, photography, video, sculpture and drawing. Some have been partnering with scientists and environmental organizations. Others have been researching and documenting changes in glaciers and diminishing ice on trips to far northern regions of the planet; including boat trips to the Arctic and Antarctic. Some take a more poetic and imaginative approach to confront the seriousness of the issue and single biggest challenge of our time. HISTORICAL ILLUSTRATIONS OF SKIN DISEASE: Selections from the New Sydenham Society Atlas 1860-1884 September 17, 2015 - January 10, 2016 Cushing/Whitney Medical Library Sterling Hall of Medicine 333 Cedar Street New Haven, CT In this exhibit, Yale dermatologists Jean Bolognia and Irwin Braverman present the celebrated nineteenth century illustrations to a current clinical audience, making a relevant teaching point with each plate.  Twenty-five of the Atlas’ forty-nine plates are selected for display.  They depict cutaneous diseases ranging from the common, e.g. psoriasis and eczema, to the rare, e.g. iododerma and systematized epidermal nevi.  Examples of skin signs of systemic disease, including Addison’s disease, neurofibromatosis, and lupus erythematosus, are also shown.  The emotional toll which these chronic diseases inflicted upon patients is a striking feature of the many portraits on view. This innovative new exhibition, Emergence: Craft + Technology, features work that exemplifies the ever-increasing intertwining of advanced digital processes with traditional hand-made craft. Whether through the use of computer design programs, CNC and automated tools, or 3D printing, we celebrate the use of new technologies in the production of state-of-the-art craft. MACRO OR MICRO?: Challenging our Perceptions of Scale Museum of Science Art & Science Gallery 1 Science Park Boston, MA Today, researchers study the Earth at a variety of scales and with a variety of advanced equipment. While satellites take images of entire landscapes, electron microscopes use a beam of electrons to magnify objects up to 500,000 times. The resulting images, which differ in scale of a million times or more, are featured side-by-side in Macro or Micro? Challenging our perceptions of scale. Geographer Stephen Young and biologist Paul Kelly, both with Salem State University, have gathered compelling images from their scientific research to test viewers' perceptions of the Earth. Challenge yourself to determine the scale of these stunning images — the patterns and similarities between macro and micro views may surprise you. Artist and ocean advocate Courtney Mattison creates large scale ceramic installations and sculptures inspired by science and marine biology. Her intricate hand-crafted porcelain works celebrate the fragile beauty of endangered coral reef ecosystems and promote awareness to conserve and protect our natural world. Origin of the Universe. Evolution of the Universe. String Theory. Dark Matter. Dark Energy. Multiverse. Unification of Space + Time. Our Solar System. Cultural Cosmology. Art.Science.Gallery.’s science-inspired printmakers explore the cosmos in this far out exhibition for PrintAustin 2016, a city-wide printmaking festival. BIRDS OF TENNESSEE: Celebrating the Centennial of the Tennessee Ornithological Society October 5, 2015 - TBD McClung Museum of Natural History & Culture University of Tennessee, Knoxville 1327 Circle Park Drive Knoxville, TN To celebrate the centennial of the Tennessee Ornithological Society (TOS), the museum is displaying fifty-six engravings and lithographs featuring the birds of Tennessee. Spanning two hundred years from 1731 to 1931, the prints on view are by twelve artists: Eleazar Albin, Mark Catesby, Xaviero Manetti, Alexander Wilson, Titian Ramsay Peale, Alexander Rider, Prideaux John Selby, John James Audubon, John Gould, Daniel Giraud Elliot, Henry Eeles Dresser, and Rex Brasher. The works on view are drawn from the museum’s extensive collection of over three thousand ornithological prints and are on display in the pull-out drawer case in the entrance to the Decorative Arts gallery. 25 Years of the Hubble Space Telescope July 12, 2015 - January 17, 2016 Museum of Arts and Sciences 4182 Forsyth Road Baton Rouge, LA Since its launch in April 1990, the Hubble Space Telescope (HST) has provided stunning images of far-away stars, galaxies, and nebulae, and has shed light on many of the great mysteries of the universe. Today, HST continues to provide views of cosmic wonders never before seen. This exhibit displays some of the most intriguing images taken by HST over the past 25 years. CONDENSED MATTER COMMUNITY by appointment through January 2016 Synchrotron Radiation Center: Home of Aladdin 3731 Schneider Dr. Stoughton, WI Condensed Matter Community is a site-specific curatorial project organized by Kristof Wickman and Evan Gruzis intended to generate a dialogue about science, aesthetics, progress and entropy. The project uses the site of a decommissioned particle accelerator facility in rural Wisconsin, The Synchrotron Radiation Center: Home of Aladdin, as an exhibition space to frame a selection of artworks, prior to forthcoming experiments. NUMBERS IN NATURE: A Mirror Maze new permanent exhibit Museum of Science and Industry 5700 S. Lake Shore Drive Chicago, IL Patterns are everywhere if you know where to look! From the delicate nested spirals of a sunflower’s seeds, to the ridges of a majestic mountain range, to the layout of the universe, mathematical patterns abound in the natural world. Numbers in Nature: A Mirror Maze is a new permanent exhibit that will expose and explain the patterns that surround us. As you enter Numbers in Nature, lenticular images and an immersive large-format film reveal these repeating patterns hidden throughout nature: spirals, occurrences of the "golden ratio" (), Voronoi patterns, and fractal branching. You will even discover patterns and ratios found in your own body and in centuries of music, art, and architecture so that you'll never look at the world the same way again. This exhibition explores the relationship between culture and nature, one of the oldest human tropes. In this recurring schism, humans believe ourselves to be of nature and, alternately, distinct from it. As we search texts and traditions to support either position, the persistence of the trope itself is underscored; it’s an impasse, shifting in form. It’s also an embrace of or a resistance to the natural world that produced us; from which we believe we stand apart. In Raw and Cooked, artists Jim Jacobs, Joshua Winegar, and Paul Crow present work within this nature/culture dialectic. Jacobs begins with an ancient horticultural intervention, the graft, to focus our attention on a literal intersection of the natural and the human-made. Winegar takes on the natural world as a partner in a conversation with his psyche, alternately responding to, and intervening in, the world which surrounds him. Crow maps the span of his life onto the time frame of the human awareness of global climate change. Each artist begins with material that exists before agency and brings it through a process of intervention to manifest a hybrid: the artist in dialogue both with the world and without, and with an inner understanding of that world. ATOMS + BYTES: Redefining Craft in the Digital Age March 4 – June 26, 2016 Bellevue Arts Museum 510 Bellevue Way NE Bellevue, WA Today's makers have access to a wider array of tools, materials, and processes than ever before. Digital methods such as scanning and imaging, coding, CNC-milling, and rapid prototyping not only influence the way objects are designed, manufactured, and distributed, but also change the terms of our relationships with them. Atoms + Bytes: Redefining Craft in the Digital Age will showcase works by 30 international and local makers situated at the intersection of the digital and the analogue worlds. These artists, craftspeople, and designers excel in material practices that span millennia of craft traditions, while drawing on cutting-edge digital tools to develop innovative ways of making. The integration of these atoms and bytes, building blocks of matter and information, generates the new forms and typologies that shape our changing world. Through the presentation of works that embody mergers of traditional and digital processes and materials, Atoms + Bytes reframes the conversation about the place of technology within the historical trajectory of object-making and offers an invitation to reevaluate the way we place value on craft and define "hand-made." FIRES OF CHANGE November 19, 2015 – April 3, 2016 University of Arizona Museum of Art 1031 North Olive Road Tucson, AZ The worlds of art and fire science come together in Fires of Change. Curated by Flagstaff installation artist Shawn Skabelund, Fires of Change explores the increase in severity, size, and number of wildfires in the Southwest and their impact on the landscape through the eyes of artists. Through the art, visitors can get a sense of the true impact of the fires, from human to environmental. Fires of Change is an NEA and Joint Fire Science Consortium funded exhibition originating at the Coconino Center for the Arts in Flagstaff. Eleven artists spent a week in 2014 in fire science boot camp with the Southwest Fire Science Consortium and the Landscape Conservation Initiative to learn about the impact of wildfire in Northern Arizona.  They then spent the year creating original works in reaction to their experiences. CALIFORNIA FLORA: Botanical Paintings in Colored Pencil by Nina Antze January 7, 2016 – April 25, 2016 Please call ahead 707-527-9277 x 107 to see exhibit Heron Hall, Laguna Environmental Center 900 Sanford Road, Santa Rosa, CA California Flora is an exhibit of botanical paintings by colored pencil artist Nina Antze. The paintings were created over the past eight years and focus mainly on California natives. Also included are paintings documenting Luther Burbank’s Experiment Farm in Sebastopol and a piece from the Alcatraz Florilegium, a documentation of the plants of the Alcatraz gardens. Nina Antze is a botanical artist and quilt maker living in Northern California. She has a degree in Fine Art from San Francisco State University and has a Certificate in Botanical Illustration from the New York Botanical Gardens. She teaches Colored Pencil classes in the Botanical Certificate Program at Filoli Gardens, at the Sebastopol Center for the Arts and around the Bay Area. Her botanical paintings and colored pencil drawings have been exhibited in New York, at the Huntington Library, and at Filoli Gardens and her quilts have won numerous awards. She works in colored pencil, watercolor pencil and fabric. Her botanicals can be viewed at her website, www.pcquilt.com THE ALCATRAZ FLORILEGIUM: A Special Botanical Art Exhibit January 16 - 29, 2016 University of California Botanical Garden at Berkeley 200 Centennial Drive Berkeley, CA The Northern California Society of Botanical Artists (NCSBA) in collaboration with the Golden Gate National Parks Conservancy and the Garden Conservancy has created a florilegium, a series of botanical paintings, to document the plants of The Gardens of Alcatraz. The UC Botanical Garden is thrilled to welcome the NCSBA to exhibit this special showing of the Alcatraz Florilegium, with over 70 drawings and paintings, in our beautiful Julia Morgan Hall. TENTACLES: The Astounding Lives of Octopuses, Squid, and Cuttlefishes April 12, 2014 - September 2016 Monterey Bay Aquarium 886 Cannery Row Monterey, CA Journey to a world of undersea magicians, masters of disguise and quick-change artists. Our special exhibition is the largest, most diverse living exhibit ever created to showcase these amazing animals. You won't believe your eyes. A walk from Mount Diablo to the Hayward shoreline would cross through many ecosystems, each with their own unique set of inhabitants. Some of these creatures have very specific needs and limited ranges. Others are more adaptable and seem perfectly at home in an urban backyard. This collection of work by science illustrator Lucy Conklin explores the vast array of wildlife in the East Bay, and some of our unusual visitors. Whether they are long time residents, returning to their natural habitat after a long hiatus, or an oddity passing through unexplained, their journeys have a story. Creative inspiration is at the heart of both science and art – and our array of indoor and outdoor art installations blend art and science in delightful and insightful ways. Current installations include: BEAM Robot Fish: Controlled by solar cells, this BEAM robot sculpture (Biology, Electronic, Aesthetics, Mechanics) is designed to live, feed and fend for itself in the ocean. Cloud: Check out this mesmerizing art installation composed of hundreds of rotating glass panels designed to mimic the changes of state from solid to liquid to gas. Jacquard Coverlet: Marvel at this wall hanging woven on our antique Jacquard loom by volunteers. Like a computer, the loom’s mechanism uses binary to create the pattern. Do you know of any exhibits or have an upcoming exhibit that should be included on this list? Send me an email at symbiartic (dot) km (at) gmail (dot) com, or tweet me @eyeforscience with the deets. If it's scienceart related, it's fair game.

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