July 3, 2014
So, this is on the shelves right now. Underage anthropomorphic martial chelonian cargo notwithstanding, the Triceratops on the cover is pretty standard.
The one on the inside is much less so. Or, at least it would have been up until a couple of years ago. Apparently, dinos that are All-Yesterdays-ed out are a pop culture Thing now.
I’m quite taken with this decidedly un-shrink-wrapped T. rex. But then I would be, wouldn’t I? He’s a big guy with a beard who’s interested in turtles–he’s about one spatial dimension away from being me.
So anyway, if you dig on dinos, you might want to pick this one up. Kudos to cover artist David Petersen for rocking it old school, and to interior artist Ross Campbell for going next-gen.
Immediate Update: Arf, about 60 seconds after hitting “publish”, I realized that those rascals at Love in the Time of Chasmosaurs had gotten here first. Go read their much better post, and then kiss your productive time away as you get sucked into whatever cool stuff they’ve been posting on lately. Seriously, be careful over there.
Got this in my inbox this morning. I presume this means that the 30 days start now. But if you’re interested in this stuff, don’t tarry.
And you should be interested in this stuff. This volume brings together some very active and knowledgeable researchers–including our fellow SV-POW!sketeer, Darren Naish, and sometime coauthor Dave Hone–writing on a broad range of interesting topics under the umbrella of behavior.
You’ve probably seen a lot of yapping in the news about a new “world’s largest dinosaur”, with the standard photos of people lying down next to unfeasibly large bones. Here’s my favorite–various versions of it have been making the rounds, but I grabbed this one from Nima’s post on his blog, The Paleo King.
The first point I need to make here is that photos like these are attention-grabbing but they don’t really tell you much. Partly because they’re hard to interpret, and partly because they almost always look more impressive than they really are. For example, I am 6’2″ tall (1.88 meters). If I lie down next to a bone that is
7’2″ (219 cm) 6’8″ (203 cm) long, it is going to look ungodly huge– a full half a foot longer than I am tall. But that is the length of the femur of the Brachiosaurus holotype–we’ve known of sauropod femora that big for a century now. People get tripped up by this sort of thing all the time–even scientists. Update: even me! Somehow I had gotten it into my head that the Brachiosaurus femur was 219 cm, when it is actually 203 cm. That goof doesn’t affect any of what follows, because from here on down I used Argentinosaurus as the point of reference.
Second point: at least some of the reporting on this new find has been unusually–and refreshingly–nuanced. The first news story I read about it was this one, which gives Paul Barrett plenty of airtime to explain why we should be cautious about jumping to any conclusions regarding the size of the new animal. That will turn out to be prophetic.
But let’s get back to that photo. Just eyeballing it, it looks like the femur is about half again as long as the dude is tall (the dude, BTW, is Pablo Puerta, for whom Puertasaurus is named). I was reading Nima’s post and he guessed that the femur was in the neighborhood of 3 meters, which would be a significant size increase over the next-biggest sauropod known from fossils that still exist (i.e., not including semi-apocraphyal gigapods like Amphicoelias fragillimus and Bruhathkayosaurus). The current based-on-existing-fossils record-holder is Argentinosaurus–there is a partial femur that would have been about 2.5 meters long when complete. So a 3-meter femur would be a wonderful thing. But alas, it just ain’t so–or at least the one in the photo isn’t anywhere near that big. Allow me to demonstrate.
Here’s another copy of the photo with some measurements applied. There is no actual scale bar in the picture, but we can use the dimensions of the things we can see to figure some stuff out.
For starters, there is a lot of perspective distortion going on here. Pallet B is 350 pixels wide at the near end, 280 pixels at the far end–a difference of 20%. I didn’t put the far-end measurement for Pallet A into the picture, but from corner to corner it is 295 pixels.
Shipping pallets vary in size around the world, but in the US the most common size is 48 x 40 inches. Other countries use different sizes, mostly smaller; I am unaware of any standard shipping pallets larger than 48×40. So assuming that the ones in the picture are that size is actually a liberal assumption that will lead to large estimates–if the pallets are smaller than 48×40, then all of the dimensions I’m about to calculate will be smaller as well. Obviously the pallets have their narrow ends facing us, which is nice because 40 inches is almost exactly 1 meter. So we can divide other things in the picture by pallet length and get their dimensions in meters.
The near side of the femur is pretty much in line with the stringer running left-to-right down the middle of Pallet A. From the measurements of the ends of that pallet, we’d expect the middle-distance width to be about 330 pixels, and in fact I got 335. The 830-pixel line I drew on the near side is not the total length of the bone–you could add a bit more for the femoral head, to a max of maybe 860 or 870 pixels. Divide that by 335 and you get a max length of about 2.6 meters.
The 800-pixel line for the far side of the femur goes from the top of the head to the bottom of the medial condyle, so there’s no extending needed there. That line is at about the mid-point of Pallet B, or about 315 pixels. If Pallet B is a meter wide, the femur is 2.5 meters long.
We can also check things by trying to figure out how tall Pablo Puerta is. At first that looks more encouraging for the possibility that this is a record-breaker. If we assume the femur really is 3 meters long, and compare the 800-pixel femur line to the 500-pixel Pablo line, Pablo is 62.5% the length of the femur, or 1.87 meters–about the same height as me. That would be pretty tall for an Argentinian, but it’s certainly plausible.
But that’s not a legit comparison, because Pablo is farther from the camera than is the femur. Look at Pallet A–we can use the slats as perspective guides to help figure out where the proximal end of the femur ought to be if projected back to Pablo’s distance from the camera. If we do that at both ends, the length of the femur if placed where Pablo is lying would be 750 pixels or fewer, which would make Pablo at least 2 meters tall. People get a lot taller than that, but it would make him unusually tall, and if you’re trying to emphasize how big your sauropod is, you probably won’t pick the tallest person in the room to pull a Jensen. If we assume Pablo’s about 5’8″–average height for an Argentinian male–then the femur is about 2.6 meters long, which is consistent with the estimates from the pallets. He could well be shorter, in which the case the femur might also be shorter.
There are of course vast amounts of uncertainty in all of this. I have heard the number 2.4 meters thrown around in the media, which is within the margin of error of my crude estimates here–I deliberately skewed large at most decision points to give the hypothesized 3-meter femur the best possible chance. I have to emphasize that this is not how you do science–I’m deliberately doing this quick and dirty. But even using these admittedly flawed and somewhat goofy methods, it’s easy to show that the femur isn’t 3 meters long, or anywhere near it.
So, three last points:
- As the post title implies, the new Argentine titanosaur is about the same size as Argentinosaurus. That shouldn’t be too surprising, since the mass estimates that have been quoted in the media are within a few percent of the mass estimates for Argentinosaurus. The new critter might be a hair bigger, but it doesn’t “smash” the record, and when we get actual measurements it could end up being smaller than Argentinosaurus in linear dimensions. I note that the size trumpeted in the media is a mass estimate based on femoral fatness, not femoral length. You’d think that if the biggest femur was demonstrably longer than the 2.5-meter Argentinosaurus femur, they’d lead with that. So the reporting so far is also consistent with an animal about the same size as Argentinosaurus.
- That is in no way a disappointing result! That biggest Argentinosaurus femur is incomplete, so the 2.5-meter length is an estimate. Even if the big femur shown here is only (only!) 2.4 meters long, it’s still the longest complete limb bone from anything, ever. And even if the new animal is identical to Argentinosaurus in size, there’s still a lot more of it, so we’ll get a better idea of what these super-gigantic titanosaurs looked like. That’s a big win.
- Finally, this is not a case of MYDD. There’s no paper yet, and I don’t blame the team for not making the measurements public until the work is done. I also don’t blame them for publicizing the find. So far, this seems to be exactly what they’re saying it is–an animal about the size of Argentinosaurus, and maybe just a hair bigger. That’s cool. I wish them the best of luck writing it up. I almost wrote “I can’t wait to see the paper” but actually I can–something like this, I’d rather they take their time and do it right. It may not be a record-smasher, but it’s a solid, incremental advance, and science needs those, too.
Remember how my better half, Dr. Vicki Wedel, edited a book about blunt force trauma, called Broken Bones?
If you live in SoCal and you’d like to get a copy, or get your copy signed, then you’re in luck. Vicki will be one of a dozen local authors signing books at the San Bernardino County Museum this coming Sunday, May 18. There will be books for sale if you don’t yet own the titles you want. Noted paleontologist and skeptic Don Prothero will be giving the keynote address and signing copies of his new book, Reality Check. If you’re in the area, come on by. Details here:
December 18, 2013
When we last left my better half, Dr. Vicki Wedel, she was helping to identify a Jane Doe who had been dead for 37 years by counting growth rings in the woman’s teeth. That case nicely illustrated Vicki’s overriding interest: to advance forensic anthropology by developing new methods and refining existing ones. To that end, for the past few years she has been working with her PhD advisor, Dr. Alison Galloway at UC Santa Cruz, to revise and update Alison’s 1999 book, Broken Bones: Anthropological Analysis of Blunt Force Trauma. The revised and much expanded (504 pages vs 371) second edition, co-edited by Vicki and Alison, came out Monday (Amazon, Amazon.co.uk).
You can read the whole table of contents on Amazon (click to look INSIDE!), but the short short version is that the book has three major sections. The first covers the science and practice of trauma analysis (pp. 5-130), and the second classifies hundreds of common fractures throughout the skeleton, with illustrations (pp. 133-313). The chapters in these sections were all written by Vicki, Alison, and another of Alison’s former students, Dr. Lauren Zephro, solo and in varying combinations. Lauren, whom I always think of as “the Amazon cop”, is a 6-foot blackbelt forensic anthropologist for the Santa Cruz County Sheriff’s Office. If push came to shove I have no doubt that she could beat me to death with her bare hands and then produce a technical analysis of my corpse.
The final section (pp. 314-410) consists of nine case studies contributed by forensic anthropologists, pathologists, medical examiners, forensic and medical artists, and a DoD casualty analyst, based across the Anglophone world from Hawaii to Scotland. There’s some grim stuff in there: trauma to the homeless and elderly, from intimate partner violence, and from child abuse. It’s gut-churningly awful that the defenseless suffer from bone-breaking violence; it’s always been amazing to me that people like Vicki, Alison, Lauren, and the other contributors have both the courage to face these horrors and the technical chops to make the unspeakable solvable.
Beyond that unavoidable darkness, if you’re interested in the many, varied, and often just plain weird ways in which people die, the book is a treasure trove. There’s an elderly woman lying on her deathbed for six years, slowly turning into a natural mummy… (wait for it) …while her daughter went on living in the same house. There’s a classification of plane crashes with a description of what human remains will be found and over what area. There are people hit by trains; the funniest line in this very serious book is the deadpan and unsurprising, “The typical pedestrian hit by a train is male and often highly intoxicated.”
That’s from the top of page 122. At the bottom of the same page is my one contribution to the book, which also appears as the cover art (yeah, nepotism, whatcha gonna do). There’s a story behind this. This guy–yes, male, dunno if he was intoxicated–was hit by a train and his head was sheared in half, with the somewhat fractured but mostly intact facial skeleton separated by a lot of missing bone from the occipital region. With no way to obtain the deceased guy’s permission to use his mortal remains in the book, Alison and Vicki didn’t feel comfortable including their photos, so I spent a weekend bashing out a technical drawing for them to use instead. That reawakened my interest in pen-and-ink work and led to the dödö pöst.
I should say two things right here: first, that yes, I am hijacking the rest of the post to talk about myself. (Is anyone really surprised? I thought not.) Second, that I have had no training and possibly my stippling violates Art Rules or best practice guidelines of which I am ignorant. But I hope it also illustrates what can be achieved in a couple of days, with about $15 worth of supplies, by a guy whose only rule is “möre döts”.
So anyway, if you’re curious, here’s the method I use for my pen-and-ink illustrations:
- Get a decent-sized photo of the object to be drawn. I usually roll with $2 8x10s from MalWart, in this case one for each half of the skull.
- Tape the photo down to your work surface. I have a large, incredibly hard, perfectly smooth cutting board that I use for this, but in a pinch you could use just about anything, including just a larger piece of paper. Cardboard off the backs of desk calendars is nice.
- Over the photo, tape down a piece of tracing paper.
- Lightly trace the outline of the photo and all the major details in pencil.
- Once you’ve gone as far as you can with that, peel up one side of the tracing paper, unstick the photo from the work surface, and remove it. Stick the tracing paper back down the work surface.
- Using the uncovered photo as a reference, pencil in any other salient details by eye. Also contour lines for shadows. All of the pencil lines are going to be erased later, so don’t be shy.
- Whenever you decide you’re done with the pencil, get a good pen and start tracing, directly over the pencil lines. I tend not to be too persnicketty about my tools but decent pens are a real help here. For these recent works, I picked up a three-pack of beige-tubed Micron pens for $7 (this set).
- In all of the following pen-related steps, be careful to keep your big stupid hand and arm off the wet ink you just laid down–one careless smear can ruin a few hours’ work. Having a work surface that you can rotate is nice, so your pen hand can approach the drawing from any angle. Anytime I have to lay my hand on the drawing, I put down a piece of clean scrap paper first. Even if the underlying ink is dry, it just feels like a smart precaution.
- Once the lines are on, add döts to taste. With a little experimentation, you can get patterns of dots to not only indicate light and dark but also suggest textures. Different pen tips and amounts of pressure will yield dots of different sizes, which can also be useful. Dense, overlapping dots can produce an effect similar to scratchboard. BTW, sometimes I do “gear down” and place each dot with thought and care, but in the dense sections I just rat-a-tat-tat like a Lilliputian jackhammer. Try different speeds and see what you can tolerate.
- When you’re done dötting, at least to a first approximation, and you’re dead certain the ink is all dry, get a decent eraser and erase all of the pencil lines. I used one of those clicky mechanical erasers because it was cheap and soft enough to not tear up the paper.
- Re-ink any lines lightened by the erasing. I find that the döts are usually unaffected, but lines are often knocked down a bit by the eraser work. I suppose it would be cleaner to just draw natively in pen, with no prior pencilling and therefore no erasing, but the few times I’ve tried it, it hasn’t gone well. YMMV. If you’re drawing a 3D solid, this is a good time to employ an old illustrator’s trick, which is to make the bottom outline heavier and darker than the rest, to subtly convey a sense of weight.
- Scan, touch up as needed in GIMP, post to blog, bask in self-admiration.
In this case I had a few more steps, which consisted of making variants of the drawing and test-driving them by Vicki and Alison so they could pick their favorites.
This is just embarrassing: after scanning the two drawings and doing a little touch-up, I just scooted them together until they looked like a skull. The problem is that the occiput is nowhere near anatomical position. See that flange of bone above the ear-hole, pointed down and right at a 45-degree angle? That’s the back end of the zygomatic arch, and it should be aimed at the forward stump of the arch, which is just down and back from the eye socket.
Here’s the B version, where I was working entirely off of the zygomatic arch ends, and trying to get the skull into anatomical position. Scientifically this is probably the best variant I produced (I’m not claiming it’s the best possible), but aesthetically it’s a little crowded.
I’ll spare you versions C-E, all of which just scooted the back end of the skull around in an attempt to find a balance between scientific and aesthetic concerns. Here’s the winning F version, which got used for the figure, and became the seed variant for the cover.
For the cover, we tried a lot of things, including the white skull on a black background, and one that was simply inverted from the figure. By this point the publisher had sent Vicki some test versions of the cover, and I thought it would be cool if the drawing was in the same color as the cover text, so I sampled that color from the publisher’s sample cover image and applied it to all of the drawn bits. They knocked it down a few tones for the printed version, so happily it’s not this garish.
Incidentally, I had never tried to replace a bunch of discontinuous areas of the same color with another color in GIMP, so I had to look it up. The two key steps are Select > By color, with the threshold set to zero (or not, if you want to grab a bunch of related colors at once), and “Fill whole selection” in the Bucket tool. Hat tip to this dude and his commenters.
One last step: I thought the bare, unfilled yellow version looked too flat, so I tried different levels of fill to make the skull pop out from the background. I didn’t use bucket fill here–too fiddly with so many dots and edges. Instead I created a new layer of solid yellow and dropped the opacity to 17%. Then went to the drawing layer and used the magic wand tool to select the whole non-skull background. Then popped back to the yellow layer and cleared that selection, leaving yellow fill only in the boundaries of the skull outline. I also tried 10% and 25% opacity for the fill layer, but 10% was too subtle and 25% was starting to swamp some of the detail in the drawing. Between goofing around with colors and opacity levels we went through 10 versions at this stage, of which the one above is the ultimate champion.
So, that’s how the cover art came to be. Back to the book. There’s a bibliography with 1237 references (Vicki knows), and an index. The book is hardbound, with a printed cover and no dustjacket, and IMHO reasonably priced at $65, currently a few bucks less on Amazon. You probably already know whether you want a copy. If so, do the right thing–it’s not too late to get it by Christmas.
November 16, 2013
Just a quick post to let you know that I will be presenting two different talks at the Berlin 11 open access conference on Monday and Tuesday next week.
The first one is in the satellite conference for early-career-researchers, where I’ll be talking about “Towards universal Open Access: what we can do about it, and who should do it.” There’s an exciting line-up of much more interesting speakers than me, including schoolboy genius Jack Andraka, SPARC director Heather Joseph, and visionary OA advocate Cameron Neylon.
My second talk is in the main conference, and will argue that “Open Access is about sharing, unity and sanity, not about money.” If anything, the line-up for the main conference is even more intimidating, with ministers from three European governments including our own David Willetts. I don’t know whether they’ll be sticking around for the parts of the conference when they’re not speaking, but if they are then I hope I can plant a seed.
I heard just in the last half-hour that the Satellite Conference will be broadcast live on the conference website. Please share this link! For anyone tweeting, the conference hashtag is #berlin11. No word yet on broadcast of the main conference.
I’ll be posting the slides for both talks after the conference, and perhaps turning the main-session one into a paper.
October 31, 2013
First, there’s a nice write-up of one of our papers (Wedel and Taylor 2013b on pneumaticity in sauropod tails) in the Huffington Post today. It’s the work of PLOS blogger Brad Balukjian, a former student of Matt’s from Berkeley days. The introduction added by the PLOS blogs manager is one of those where you keep wanting to interrupt, “Well, actually it’s not quite like that …” but the post itself, once it kicks in, is good. Go read it.
Brad also has a guest-post on Discover magazine’s Crux blog: How Brachiosaurus (and Brethren) Became So Gigantic. He gives an overview of the sauropod gigantism collection as a whole. Well worth a read to get your bearings on the issue of sauropod gigantism in general, and the new collection in particular.
PLOS’s own community blog EveryONE also has its own brief introduction to the collection.
And PLOS and PeerJ editor Andy Farke, recently in these pages because of his sensational juvenile Parasaurolophus paper, contributes his own overview of the collection, How Big? How Tall? And…How Did It Happen?
Finally, if you’re at SVP, go and pick up your free copy of the collection. Matt was somehow under the impression that the PLOS USB drives with the sauropod gigantism collection would be distributed with the conference packet when people registered. In fact, people have to go by the PLOS table in the exhibitor area (booth 4 in the San Diego ballroom) to pick them up. There are plenty of them, but apparently a lot of people don’t know that they can get them.
- Wedel, Mathew J., and Michael P. Taylor. 2013. Caudal pneumaticity and pneumatic hiatuses in the sauropod dinosaurs Giraffatitan and Apatosaurus. PLOS ONE 8(10):e78213. 14 pages. doi:10.1371/journal.pone.0078213 [PDF]