Author: More than a Dodo

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Imitation game

Last month we had the pleasure of hosting artist and scientist Dr Immy Smith as part of her week-long takeover of @IAmSciArt on Twitter. Drawing inspiration from the Museum’s collections, Immy has created some beautiful paintings. Here she tells us a little more about her interests and work…

My current artwork is focused on crypsis and mimicry – the ways that animals and plants disguise themselves or pretend to be something they’re not. Cryptic camouflage helps animals to avoid being seen, often to help them catch prey – or to avoid becoming prey themselves! Mimicry is also often about trying not to get eaten: the harmless hornet moth, for example, mimics a stinging insect to deter predators. I use these themes to develop print art projects, and also public workshops to help people learn more about the ecology of cryptic animals.

Cryptic Cards by Immy Smith

In my arts practice I try to imagine how animals and plants might evolve to camouflage themselves on human-made materials, and what they might look like. Will we one day find moths adapted to hide on advertising hoardings, or beetles mimicking litter? I made an entire deck of Cryptic Cards as a response to this kind of question.

Another project I’m working on at the moment is called Emergent Crypsis. This is a collaboration with Norweigan generative artist Anders Hoff who makes art using algorithms executed by a computer. I’m imagining how creatures might adapt to an extreme example of human-made patterns – computer generated abstract images.

Violin Beetle (Mormolyce phyllodes) by Immy Smith

My work requires me to closely study many animals and plants, but how do I learn about all these species in order to draw their imaginary relatives? How do I make my art a convincing representation of how life might find ways to hide on human-made art?

One answer is of course, the internet. I’ve been lucky enough to find many wildlife photographers online who are kind enough to let me use their images as reference. But photographs alone are not always enough to get to know the fine details and defining characteristics of a species: the joints and articulations of small insects, for example, are best studied from specimens. And some species are rare, or even extinct, and it can be hard to find photographic a reference.

Leaf-footed Bug (Diactor bilineatus) by Immy Smith

This is where scientific collections come into the picture. The collections held in museums and other institutions are not only essential for scientists and scientific illustrators, they are also an invaluable resource for artists of many disciplines, science communicators, and educators of many kinds. In the collections at the Oxford University Museum of Natural History I can photograph and sketch leaf-mimicking insects, for example, that are native to the forests of South America which I may never visit. I can study in minute detail the articulation of beetles that are rarely seen, and which might be difficult to find – and irresponsible to collect – myself.

A display of terrestrial bugs (Heteroptera) in the Museum, including the Leaf-footed Bug painted by Immy Smith

Not only do I find specific species that I want to study in natural history collections, I often see new ones – animals I didn’t know about or hadn’t thought of drawing before. In the same week that I visited Oxford, I also made a trip to Herbarium RNG in Reading to study plant mimicry, and found similar inspiration there. I can channel all this into both aesthetic art destined for print and sciart workshops that communicate the wonders of insects or plants with the wider community.

Working on sciart projects and educational workshops helps me appreciate the multitude of ways in which collections benefit research and education. We must try to communicate the plethora of roles they play, and the host of ways they cross into our lives – whether through scientific research on insects pollinators of the crops we eat, or via a deck of cards made by someone like me for mainly recreational purposes. We must fight to protect scientific collections because they are a resource that benefits all of us as a society.

More than a Dodo6 Comments

Oxford Swift City takes flight

The Museum is really pleased to be a partner in Oxford Swift City, a major new initiative to protect and nurture the city’s populations of swifts. Here Keo Baxendine at RSPB Midlands tells us more about the project…

Swift expert George Candelin shares his experience of researching the swifts at the Museum. Image: Colin Wilkinson.

The swifts have just returned to the UK after their long migration from Africa. At the Museum they have begun circling the tower where they nest each year.

These charismatic birds, Apus apus, are commonly recognised throughout the UK as a sign of summer. They also have a long cultural association with Oxford as a symbol of knowledge and dexterity. Yet sadly, the national swift population has fallen by 42 per cent since 1994, due to a lack of nesting sites and food.

The Oxford Swift City project hopes to turn the birds’ fortunes around by protecting existing swift nesting sites as well as encouraging the creation of new ones. Last night, project partners and guests gathered at the Museum to kick off the project.

The swift is an iconic species whose appearance announces the start of summer. Sadly the swift is in trouble. Numbers have dropped dramatically, putting the birds at risk of disappearing completely from the UK. The Oxford Swift City community project provides local people with a great opportunity to learn about this important bird and discover how to take action to help give swifts a home in Oxford.
– Lucy Hyde, Oxford Swift City Project Officer

Swift chicks in a nestbox in the Museum tower, shown on the webcam feed

There are lots of ways to get involved: take part as a swift survey volunteer; help out at a community event; or just put up a nestbox or plant wildflowers in the garden. You can also join a local swift expert on a number of ‘swift walks’ through Oxford over the summer.

The colony of swifts which nests in the Museum has been the subject of a research study since 1948, and is one of the longest continuous studies of a single bird species in the world. This work has contributed much to our knowledge of the swift.

Fittingly, Oxford Swift City is running a ‘Swift Tower’ design competition. Subject to approval, the winning design will be constructed in Oxford next year, providing ideal nesting spaces for swifts – so get scribbling!

Funded by the Heritage Lottery Fund, the RSPB-led Oxford Swift City project is supported by many local partners, including Oxford University, Oxford University Museum of Natural History, Oxford City Council, Thames Valley Environmental Records Centre, Environment Resources Management and the local Wildlife Trust.

For more information please email oxfordswiftcity@rspb.org.uk.

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Fossil-finding

By Jack J Matthews, research fellow

On the southern shores of Newfoundland in Canada lie rocks containing the oldest known evidence of large, architecturally-complex life. Deposited within the Ediacaran Period, some 565 million years ago, these deep marine deposits have been the focus of palaeontological research since the first discovery of fossils there in 1967, and the locality – Mistaken Point Ecological Reserve – now sits in the UNESCO World Heritage list.

As part of my research on these rocks, alongside colleagues from Memorial University of Newfoundland, and the University of Cambridge, I created a new geological map of the area, covering 35 km of coastline in and around the Reserve. As well as providing new insights into the rocks themselves, and what environments they were deposited in, this mapping had an unexpected outcome – the discovery of some totally new fossil sites.

Overview of the Mistaken Point outcrop of the famous ‘E’ Surface

One site in particular, dubbed the ‘E’ surface, is the focus for Ediacaran fossils in Newfoundland. It is an area about the size of three Olympic boxing rings, containing more than 3,000 fossil organisms. Through the mapping we found a number of other outcrops of this same surface, but each shows slightly different types of fossils.

This is a mystery: if all the outcrops are from the same geological surface, why do they show different fossil assemblages?

The clue to the answer came while photographing the fossils and overlying volcanic ash at Mistaken Point, when I heard a loud, deep boom: a freak wave had struck the bottom of the cliff below the outcrop, sending a large splash of salty spray over much of the surface.

This got me thinking – how are processes such as weathering and erosion affecting the fossil surfaces now? Closer observation revealed those outcrops of ‘E’ with pristine beautiful fossils tended to be further from the sea, have a shallower dip, and the overlying ash tended to fall away in little flakes revealing beautiful, crisp, fossils. Other outcrops with scruffy fossils were usually close to the sea, battered by waves and rocks, steeply dipping, and the overlying ash, and often the fossils below it, would gradually abrade away as they are attacked by the sea.

Looking along the ‘E’ surface showing areas still covered in ash (black) and revealed fossil surface (red and grey)

Palaeontologists often discuss how changes during the fossil preservation of an organism can affect what we discover today, but they rarely discuss how processes occurring after preservation – metamorphism, exhumation, weathering, erosion, and even the time, manner, and conditions in which the fossil is recorded – might all affect how we analyse and interpret the original community of life which became fossilised.

Our new paper, published by the Geological Society of London, talks about these Post-Fossilization Processes, and recommends that when researchers are collecting fossil data they consider how their measurements might have been biased by such factors.

For 50 years now, the coastline of Newfoundland has yielded some of the most important finds in understanding the rise of the early life of the Ediacara, and through that the first evidence of animal life. Discoveries over the past few years show there is still much more to be found, and we’ll just have to hope that the post-fossilization processes fall in our favour to allow for many more significant discoveries.

More than a Dodo4 Comments

The ‘birth’ of dinosaurs

by Hilary Ketchum, Earth Collections manager

In April 1842, 175 years ago this year, the dinosaurs were created – in a taxonomic sense at least. In a landmark paper in the Report for the British Association for the Advancement of Science, Richard Owen, one of the world’s best comparative anatomists, introduced the term ‘Dinosauria’ for the very first time.

Owen coined the term using a combination of the Greek words Deinos, meaning ‘fearfully great’, and Sauros, meaning ‘lizard’, in order to describe a new and distinct group of giant terrestrial reptiles discovered in the fossil record. He based this new grouping – called a clade in taxonomic terms – on just three genera: Megalosaurus, Iguanodon, and Hylaeosaurus.

In the Museum’s collections are some specimens of those three original dinosaurs, collected and described during this exciting early period of palaeontology. These discoveries, amongst others, helped to revolutionise our understanding of extinction, deep time, and the history of life on earth, and paved the way for the theory of evolution by natural selection.

Megalosaurus

The right lower jaw of Megalosaurus bucklandii from the Taynton Limestone Formation, Middle Jurassic, Oxfordshire, UK. OUMNH J.13505.

A nine metre long, 1.4 tonne carnivore that roamed England during the Middle Jurassic, about 167 million years ago, Megalosaurus has the accolade of being the world’s first named dinosaur. It was described by William Buckland, the University of Oxford’s first Reader in Geology, in 1824, and was discovered in a small village called Stonesfield, about 10 miles north of Oxford. The toothy jawbone of Megalosaurus is on display in the Museum.

The sacrum of Megalosaurus. One of the characteristics that made Richard Owen realise dinosaurs were a distinct group was the presence of a sacrum with five fused vertebrae, visible here in the specimen on display at the Museum.

Iguanodon
Iguanodon was a plant-eating reptile with a spike on the end of its thumbs, and teeth that look like those of an iguana, only 10 times bigger! Iguanodon lived in the Lower Cretaceous, around 130 million years ago and was named by Gideon Mantell in 1825.

When first discovered, Iguanodon’s spike was thought to go on its nose, like a rhinoceros or a rhinoceros iguana, rather than on its thumb, which is rather unique. In fact, we still don’t know why Iguanodon had such prominent thumb spikes.

Tooth of Iguanodon from the Wealden Group, Lower Cretaceous, Cuckfield, Sussex, UK. Gideon Mantell Collection. OUMNH K.59828.
The Iguanodon’s spike was first thought to go on its nose, rather than on its thumb. A paper label attached to the specimen reads, “Cast of the Horn of the Iguanodon, from Tilgate Forest; in the possession of G. Mantell, Castle Place, Lewes.”

Hylaeosaurus
A squat, armoured, plant-eating dinosaur with long spines on its neck and shoulders. It is the least well known and smallest of the three dinosaurs originally described, but arguably the cutest. Hylaeosaurus was also named by Gideon Mantell, in 1833.

A dorsal spine, probably from the holotype of Hylaeosaurus armatus from the Wealden Group, Lower Cretaceous, Sussex, UK. OUMNH K.59799. Accompanying label in Gideon Mantell’s handwriting.

The exact specimen used by Mantell to describe Hylaeosaurus armatus is in a big block of rock in the Natural History Museum in London. But recently I spotted a specimen in our collections that Mantell had sent to William Buckland in 1834. It has the following label with it, written by Mantell himself:

Extremity of a  dorsal spine of the Hylaeosaurus from my large  block –

Perhaps Mantell just snapped a bit off to send to his friend. Or perhaps more likely, it was one of the broken fragments Mantell said were lying near the main block when it was dug out of the ground.

*

From just three genera included in Dinosauria in 1842, we now have around 1,200 species nominally in the group. The study of dinosaurs has come a long way since those early days; new finds, new technologies, such as micro CT scanning and synchrotron scanning, and new statistical techniques are helping us to better understand these iconic animals and re-evaluate older specimen collections.

The Museum’s dinosaur specimens are exceptionally historically important, but are still used heavily by scientists from across the world for their contemporary research. This is something that I think William Buckland, Gideon Mantell and Richard Owen would be very pleased about.

Cetiosaurus fossil bones on display in the Museum

The one that got away…
Although Owen didn’t know it, other dinosaurs were known in 1842, including Cetiosaurus, the ‘whale lizard’. When Owen named it in 1841, he thought it was a giant marine reptile that ate plesiosaurs and crocodiles. By the following year, he suggested it was actually a crocodile that had webbed feet and used its tail for propulsion through the water.

It wasn’t until 1875, after more substantial remains had been found that Owen recognised Cetiosaurus as a land-living sauropod dinosaur. Interestingly, however, research published last month presented a new hypothesis for dinosaur relationships which, if the previous definition of Dinosauria had been adhered to, would have placed all sauropods outside of the group. So perhaps Owen’s earlier omission wasn’t so wrong after all.

More than a Dodo7 Comments

Which one’s Pink?

Image: Arthur Anker
In 1975, on Have a Cigar, Pink Floyd wryly sang “The band is just fantastic / That is really what I think / Oh, by the way, which one’s Pink?”

Well, in the rather different world of snapping shrimps there really is no question which one’s pink; and, unlikely as it seems, these two worlds have now overlapped…

The strikingly bright pink-clawed species of pistol shrimp pictured above, and discovered on the Pacific coast of Panama, has been given the ultimate rock and roll name in recognition of the discoverers’ favourite rock band – Pink Floyd. In a paper published today, and co-authored by our head of research Sammy De Grave, it has been named as Synalpheus pinkfloydi.

Just like all good rock bands, pistol shrimps, or snapping shrimps, have an ability to generate substantial amounts of sonic energy. By closing its enlarged claw at rapid speed the shrimp creates a high-pressure cavitation bubble, the implosion of which results in one of the loudest sounds in the ocean – strong enough to stun or even kill a small fish.

Combined with its distinct, almost glowing-pink snapping claw, Synalpheus pinkfloydi is aptly named by the report’s authors: lead author Arthur Anker of the Universidade Federal de Goiás in Brazil, Kristin Hultgren of Seattle University in the USA, and Sammy De Grave here at the Museum.

If Synalpheus pinkfloydi had adorned the cover of Pink Floyd’s 1977 album Animals, rather than the famous dirigible pig. Image: Chris Jarvis
Sammy has been a lifelong Pink Floyd fan and has been waiting for the opportunity to name the right new species after the band.

I have been listening to Floyd since The Wall was released in 1979, when I was 14 years old. I’ve seen them play live several times since, including the Hyde Park reunion gig for Live8 in 2005. The description of this new species of pistol shrimp was the perfect opportunity to finally give a nod to my favourite band.

Synalpheus pinkfloydi is not the only pistol shrimp with such a lurid claw. Its closely-related and similar-looking sister species, Synalpheus antillensis, scientifically described in 1909, is found in the western Atlantic, including the Caribbean side of Panama. But the authors of the new paper found that the two species show considerable genetic divergence, granting S. pinkfloydi a new species status and its very own rock and roll name.

Arthur Anker, the report’s lead author, says:

I often play Pink Floyd as background music while I’m working, but now the band and my work have been happily combined in the scientific literature.

Another Shrimp in the Wall featuring Synalpheus pinkfloydi, the Oxford University Museum of Natural History building, and other Pink Floyd references. Artwork by Kate Pocklington.
Animals feature frequently in the Floyd back-catalogue. Indeed, the 1977 album Animals includes tracks titled Dogs, Sheep, and a suite of music dedicated to pigs. Then there’s Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict from 1969’s Ummagumma. In fact, other biologists have already named a damselfly after that album: Umma gumma, in the family Calopterygidae.

However, until today there have been no crustacean names known to honour the band.

The full paper, Synalpheus pinkfloydi sp. nov., a new pistol shrimp from the tropical eastern Pacific (Decapoda: Alpheidae), by Arthur Anker, Kristin M. Hultgren, and Sammy De Grave is published by Zootaxa.

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I’m Off

So, this is it, my last blog (I know I am going to cry too!). It has been a wild ride and I have enjoyed every minute of it. So like the last episode of many sitcoms here is my flashback blog looking at all this project has achieved.

I first encountered this project as part of my work placement. Sarah Joomun, Project Officer at the time, welcomed me, explained about the project and told me what I was going to do. After two months of identifying specimens, writing narratives, locating missing specimens, and attempting to read illegible writing my time here was done. I then returned as Sarah moved jobs. This was it, my first ever proper museum job and boy was I going to rock it. What have I done in this time? Short answer: lots.

I am most proud of my blogs, and many things have inspired them. The first thing that intrigued me was finding “Sow.” written on the backs of tablets. Researching this led me to finding all about the Sowerby family as well as some of Lyell’s other friends and family. I have always loved how some of Lyell’s fossils show predator/prey relationships and so “Exploring Borings” was born. These blogs are a product of my inspiration and I hope they have inspired you.

gastropod-boring
One of my favourite bored specimens

 

You may remember from last month I was playing with structured light scanning and that was definitely one of my highlights from this project. It created some really amazing 3D images of the fossils. In total I created 3D images of 30 fossils which were chosen because they were pretty. I mean, why else would you pick specimens to digitise?

img_0333_edit
Pretty specimen chosen to scan

 

I had a lot of fun discovering quirks from people who have worked on the collection previously. Whether it was Lyell writing as yet uncrackable codes on the back of his tablets, curators not trusting information or ignoring original writing, it has led to a lot of bemused head scratching. I am sure one day all will become clear but I am sad to say that it won’t be because of me.

I may be gone but I am not forgotten, at least for the next 2 months. Presenting… Charles Lyell is currently on display in the museum. If you want to know what it’s about, come and have a look!

So that’s it, I’m done. Peace out.