July 4, 2015
I got back this lunchtime from something a bit different in my academic career. I attended Court and Spark: an International Symposium on Joni Mitchell, hosted by the university of Lincoln and organised by Ruth Charnock.
I went mostly because I love Joni Mitchell’s music. But also partly because, as a scientist, I have a necessarily skewed perspective on scholarship as a whole, and I want to see whether I could go some way to correcting that by immersing myself in the world of the humanities for a day.
My own talk was on “Musical progress and emotional stasis from Blue (1971) to Hejira (1976)”. I’ve posted the abstract and the slides on my publications list, and you can get a broad sense of what was in from this blog-post about Hejira which talks a lot about Blue. (The talk was inspired by that blog-post, but it had a lot of new material as well.) I plan to write it up as a paper when I get a moment.
I was up in session 3, after lunch, so I’d had a couple of session to get used to how things were done. As far as I can tell, it seemed to go over pretty well, and there was some good discussion afterwards.
So how does a humanities conference stack up against a science one?
They were much less different than I’d imagined they would be. The main difference is that talks are called “papers”. As in “Did you hear the paper about X?”, or “I gave a paper on Y”. There was perhaps a little more time dedicated to discussion than at SVP or SVPCA.
Because I didn’t know how to dress, I erred on the side of conservative. As a result, I was the only man in the building wearing a tie, and was consequently the most overdressed person present — something that has never happened to me before, and likely never will again. (I typically wear a tie two or three times a year.)
All in all I had a great time. I’m currently in the process of trying to get my eldest son to appreciate Joni (he’s more of a prog-metal fan, which I can respect); against that backdrop, it was great to be surrounded be people who get it, who know all the repertoire, and who recognise allusions dropped into conversation. Also: beers with fellow-travellers between the main conference and the Maka Maron interview event in the evening; wine reception afterwards; Chinese food after that; after-party when we couldn’t eat any more food. (It was nice being invited along to that, given that I’d never any of the people before yesterday, and only even exchanged email with one of them.)
I’d had to get up 4:45 in the morning to drive up to Lincoln in time for the conference, so all in all it was a long day. But well worth doing.
I’d do it again in a heartbeat.
July 3, 2015
Brian Engh (bottom left, enthusing about the Ceratosaurus just off-screen) and I are recently returned to civilization after a stint of fieldwork in Utah. On the way home, we made a detour to Salt Lake to visit the new Natural History Museum of Utah.
The NHMU is one of the nicest museums I’ve ever had the pleasure of roaming through. They have a ton of stuff on display, including lots of real fossils and quite a few touchable specimens, with an understandably heavy emphasis on Utah’s extensive paleontological record.
The museum is also beautifully laid out – you can walk around almost all of the mounts and see most of them from multiple levels of elevation. The signage hits a new high for being both discreet and informative. Almost everything on display is clearly identified either as a cast or by specimen number (or maybe both), and the real specimens typically list both the discoverer and the preparator. I’ve never seen that before, and I like it a lot.
I suppose I should say a few words about the Barosaurus mount. It’s pretty cool – you can get very close to it, walk all the way around the body, and – crucially for a true sauropod lover – count vertebrae. They gave it 16 cervicals and 9 dorsals, just as hypothesized by McIntosh (2005), and unlike the AMNH Barosaurus, which has the neck cheated out by one extra cervical.
On the left in the photo above is the famous wall of ceratopsian skulls. More about that next time.
McIntosh, J.S. 2005. The genus Barosaurus Marsh (Sauropoda, Diplodocidae); pp. 38-77 in Virginia Tidwell and Ken Carpenter (eds.), Thunder Lizards: the Sauropodomorph Dinosaurs. Indiana University Press, Bloomington, Indiana, 495 pp.
June 30, 2015
You know what’s wrong with scholarly publishing?
Wait, scrub that question. We’ll be here all day. Let me jump straight to the chase and tell you the specific problem with scholarly publishing that I’m thinking of.
There’s nowhere to go to find all open-access papers, to download their metadata, to access it via an open API, to find out what’s new, to act as a platform for the development of new tools. Yes, there’s PubMed Central, but that’s only for work funded by the NIH. Yes, there’s Google Scholar, but that has no API, and at any moment could go the way of Google Wave and Google Reader when Google loses interest.
Instead, we have something like 4000 repositories out there, balkanised by institution, by geographical region, and by subject area. They have different UIs, different underlying data models, different APIs (if any). They’re built on different software platforms. It’s a jungle out there!
As researchers, we don’t need 4000 repos. You know what we need? One Repo.
Hey! That would be a good name for a project!
I’ve mentioned before how awesome and pro-open my employers, Index Data, are. (For those who are not regular readers, I’m a palaeontologist only in my spare time. By day, I’m a software engineer.) Now we’re working on an index of green/gold OA publishing. Metadata of every article across every repository and publisher. We want it to be complete, in the sense that we will be going aggressively for the long tail as opposed to focusing on some region or speciality, or things that are easily harvestable by OAI-PMH or other standards. We want it to be of a high, consistent quality in terms of metadata. We want it to be up to date. And most importantly, we want it to be fully open for all and any kind of re-use, by any other actor. This will include downloadable data files, OAI-PMH access, search-retrieve web services, embeddable widgets and more. We also envisage a Linked Data representation with a CRUD interface that allows third parties to contribute supplemental information, entity reconciliation, tagging, etc.
Instead of 4000 fragments, one big, meaty chunk of data.
Because we at Index Data have spent the last ten years helping aggregators and publishers and others getting access to difficult-to-access information through all kinds of crazy mechanisms, we have a unique combination of the skills, the tools, and the desire to pursue this venture.
So The One Repo is born. At the noment, we have:
- Harvesting set up for an initial set of 20 repositories.
- A demonstrator of one possible UI.
- A whitepaper describing the motivation and some of the technical aspects.
- A blog about the project’s progress.
- An advisory board of some of the brightest, most experienced and wisest people in the world of open access.
We’ve been flying under the radar for the last month and a bit. Now we’re ready for the world to know what we’re up to.
The One Repo is go!
June 29, 2015
I just read this on The Scholarly Kitchen and nearly fell out of my seat:
In an era with more access given to less qualified people (laypeople and an increasingly unqualified blogging corps presenting themselves as experts or journalists), not to mention to text-miners and others scouring the literature for connections, the obligation to better manage these materials seems to be growing. We can no longer depend on the scarcity of print or the difficulties of distance or barriers of professional expertise to narrow access down to experts with a true need.
I think this may be the most revealing thing ever written on The Scholarly Kitchen. It’s hard to see a way of reading it that isn’t contemptuous of everyone outside the Magic Circle. Ideally, the great unwashed should be excluded altogether; but if we can’t do that, then at least we must tell when what to read and how to use it. Heaven forfend that we let Ordinary People make such decisions for themselves. That is for the priestly caste to do.
June 19, 2015
A while back, we noted that seriously, Apatosaurus is just nuts, as proven by the illustrations in Ostrom and McIntosh (1966: plate 12).
Now I’m posting those illustrations again, in a modified form, to make the same point. Here ya go:
Here’s what’s changed since last time:
- “Apatosaurus” excelsus is Brontosaurus again!
- I cleaned up the scans of the plates, removing all the labels
- In the lateral view, I added a reconstruction of the missing neural spine, based on that of Apatosaurus louisae (from Gilmore 1936: plate XXIV). This reconstruction first appeared in Taylor and Wedel (2013a: figure 7).
- Most importantly, I added the ventral view of the vertebra from plate 13. Only now can you properly appreciate the truly bizarre shape of this bone. (The prezygs appear to project further forward than they should because the illustrated aspect is not true ventral, but slightly anteroventral.)
If only those three views were enough to construct a 3D model by photogrammetry! Sadly, it’s not possible to get photos of the whole vertebra from different angles now, as it’s tied up in the mounted Brontosaurus skeleton at the YPM:
The bottom line: these are some
crazy-ass morphologically distinctive vertebrae. Those ventrolaterally projecting processes that bear the cervical ribs are, for my money, the single most distinctive feature of apatosaurine sauropods. And they reach their zenith (or maybe their nadir, since they point downwards) in Brontosaurus. These processes are the reason that apatosaurs had Toblerone-shaped necks — triangular in cross-section, with the base flat or even concave. Any restoration that shows a tubular neck is way off base.
- Gilmore Charles W. 1936. Osteology of Apatosaurus, with special reference to specimens in the Carnegie Museum. Memoirs of the Carnegie Museum 11:175–300 and plates XXI–XXXIV.
- Ostrom, John H., and John S. McIntosh. 1966. Marsh’s Dinosaurs. Yale University Press, New Haven and London. 388 pages including 65 absurdly beautiful plates.
- Taylor, Michael P., and Mathew J. Wedel. 2013. Why sauropods had long necks; and why giraffes have short necks. PeerJ 1:e36. 41 pages, 11 figures, 3 tables. doi:10.7717/peerj.36
June 16, 2015
We stopped off at the Peggy’s Cove lighthouse on the way, and spotted a vertebrate, which I am pleased to present:
It’s a whale skull, but I have no idea what kind. Can anyone help out?
So much for vertebrates — it was really all about the inverts. Here are six of them:
I have a 2lb lobster here; my colleague Jakub went for two 1lb lobsters, as did Jason and Wolfram (not pictured). That’s Wolfram’s lobster closest to the camera, giving a better impression of just what awesome beasts these were.
Peggy’s Cove: recommended. For vertebrates and inverts.
(Thanks to Wolfram Schneider for these photos.)
New information on the integumentary ornamentation of Aquilops americanus (that I have on my shoulder)
June 14, 2015
BUT it’s waaay too detailed for a tattoo unless I wanted a full back piece. I sent Brian this sketch to convey what I wanted – to emphasize the strong lines of the piece, punch up the spines and spikes, basically shift it toward a comic book style without devolving into caricature:
Originally I was going to have Aquilops‘ name and year of discovery in the tat. I decided to drop the lettering, for several reasons. One, it won’t hold up as well over the next few decades. Two, if someone is close enough to read it, we’ll probably be talking about the tattoo already. Third, the tattoo is a better conversation starter without a caption. First I get to tell people what Aquilops is, then I get to explain what ‘fourth author‘ means. ;-)
As he did for the original Aquilops head recon, Brian sent a selection of possible color schemes, mostly based on those of extant lizards. I couldn’t decide which I liked best, so I talked it over with my tattoo artist, Tanin McCoe at Birch Avenue Tattoo in Flagstaff, Arizona. I wasn’t just interested in what looks good on paper, but what would work well with my skin tone and still look good 20 years from now. Tanin really liked the earth-tone color scheme with the dark stripe across the eye, so that’s how we went. The tattoo Aquilops is facing left instead of right because it’s on my left shoulder – my right deltoid was already occupied.
They do good work at Birch Avenue – Vicki’s gotten three pieces there, including this skeleton key that was also done by Tanin:
Yes, the key’s bit is a human sphenoid – that was my idea.
Anyway, I’m super-happy with the tattoo, and I’m glad it’s healed enough to show off. Thanks, Brian and Tanin!