In a word, amazingly. After 6 days (counting public galleries last Sunday), 4300 photos, 55 videos, dozens of pages of notes, and hundreds of measurements, we’re tired, happy, and buzzing with new observations and ideas.

We caught up with some old friends. Here Mike is showing an entirely normal and healthy level of excitement about meeting CM 584, a specimen of Camarasaurus from Sheep Creek, Wyoming. You may recognize this view of these dorsals from Figure 9 in our 2013 PeerJ paper.

We spent an inordinate amount of time in the public galleries, checking out the mounted skeletons of Apatosaurus and Diplodocus (and Gilmore’s baby Cam, and the two tyrannosaurs, and, and…).

I had planned a trip to the Carnegie primarily to have another look at the Haplocanthosaurus holotypes, CM 572 and CM 879. I was also happy for the chance to photograph and measure these vertebrae, CM 36034, which I think have never been formally described or referred to Haplocanthosaurus. As far as I know, other than a brief mention in McIntosh (1981) they have not been published on at all. I’m planning on changing that in the near future, as part of the larger Haplocanthosaurus project that now bestrides my career like a colossus.

The real colossus of the trip was CM 555, which we’ve already blogged about a couple of times. Just laying out all of the vertebrae and logging serial changes was hugely useful.

Incidentally, in previous posts and some upcoming videos, we’ve referred to this specimen as Brontosaurus excelsus, because McIntosh (1981) said that it might belong to Apatosaurus excelsus. I was so busy measuring and photographing stuff that it wasn’t until Friday that I realized that McIntosh made that call because CM 555 is from the same locality as CM 563, now UWGM 15556, which was long thought to be Apatosaurus excelsus but which is now (i.e., Tschopp et al. 2015) referred to Brontosaurus parvus. So CM 555 is almost certainly B. parvus, not B. excelsus, and in comparing the specimen to Gilmore’s (1936) plates of CM 563, Mike and I thought they were a very good match.

Finding the tray of CM 555 cervical ribs was a huge moment. It added a ton of work to our to-do lists. First we had to match the ribs to their vertebrae. Most of them had field numbers, but some didn’t. Quite a few were broken and needed to be repaired – that’s what I’m doing in the above photo. Then they all had to be measured and photographed.

It’s amazing how useful it was to be able to reassociate the vertebrae with their ribs. We only did the full reassembly for c6, in part because it was the most complete and perfect of all of the vertebrae, and in part because we simply ran out of time. As Mike observed in his recent post, it was stunning how the apatosaurine identity of the specimen snapped into focus as soon as we could see a whole cervical vertebra put back together with all of its bits.

We also measured and photographed the limb bones, including the bite marks on the radius (above, in two pieces) and ulna (below, one piece). Those will of course go into the description.

And there WILL BE a description. We measured and photographed every element, shot video of many of them, and took pages and pages of notes. Describing even an incomplete sauropod skeleton is a big job, so don’t expect that paper this year, but it will be along in due course. CM 555 may not be the most complete Brontosaurus skeleton in the world, but our ambition is to make it the best-documented.

In the meantime, we hopefully left things better documented than they had been. All of the separate bits of the CM 555 vertebrae – the centra, arches, and cervicals ribs – now have the cervical numbers written on in archival ink (with permission from collections manager Amy Henrici, of course), so the next person to look at them can match them up with less faffing about.

We have people to thank. We had lunch almost every day at Sushi Fuku at 120 Oakland Avenue, just a couple of blocks down Forbes Avenue from the museum. We got to know the manager, Jeremy Gest, and his staff, who were unfailingly friendly and helpful, and who kept us running on top-notch food. So we kept going back. If you find yourself in Pittsburgh, check ’em out. Make time for a sandwich at Primanti Bros., too.

We owe a huge thanks to Calder Dudgeon, who took us up to the skylight catwalk to get the dorsal-view photos of the mounted skeletons (see this post), and especially to Dan Pickering, who moved pallets in collections using the forklift, and moved the lift around the mounted skeletons on Tuesday. Despite about a million ad hoc requests, he never lost patience with us, and in fact he found lots of little ways to help us get our observations and data faster and with less hassle.

Our biggest thanks go to collections manager Amy Henrici, who made the whole week just run smoothly for us. Whatever we needed, she’d find. If we needed something moved, or if we needed to get someplace, she’d figure out how to do it. She was always interested, always cheerful, always helpful. I usually can’t sustain that level of positivity for a whole day, much less a week. So thank you, Amy, sincerely. You have a world-class collection. We’re glad it’s in such good hands.

What’s next? We’ll be posting about stuff we saw and learned in the Carnegie Museum for a long time, probably. And we have manuscripts to get cranking on, some of which were already gestating and just needed the Carnegie visit to push to completion. As always, watch this space.



You’ll remember that we’ve been playing with CM 555, a subadult apatosaurine of indeterminate species, though John McIntosh assigned it to Brontosaurus (then Apatosaurus) excelsus. At the start of the week, we had the centra and neural arches of cervicals 1-14, plus there were some appendicular elements on a shelf that we’d not yet gone to. But then today, Matt found this drawer:

It contained a nice selection of cervical ribs that were part of the same specimen. Jackpot!

[You might notice that some of them have the specimen number 584 written on them. The history is that CM 555 and CM 584 came out of the same quarry, but most of the bones were initially thought to belong to a camarasaur which was designated CM 584. John McIntosh (1981:25) identified them as belonging to an apatosaurine, and they are now considered to be part of CM 555. The limb bones are catalogued separately as CM 556, but recognised as likely belonging to the same individual.]

Most of these ribs had field numbers written on them which were able to use to associate them with individual cervicals; and those that lacked these numbers, we could associate anyway, because the options were limited to a relatively small number of gaps. The upshot is that we know which vertebra each of these belongs to.

We have both ribs of C6, which is probably the best preserved single vertebra — centrum and arch — so I was able to rebuild the vertebra from its component parts. Matt was impressed:

And to be fair, I was pretty darned impressed myself:

Truly, this is a beautiful specimen. It was already pretty lovely, but putting the cervical ribs in place changed everything. It was totally transformed from a nice diplodocid cervical to an absolutely rock-solid slam-dunk apatosaurine — one to make grown men weep.

Here it is in right posterolateral view, just generally being awesome.


  • McIntosh, John S. 1981. Annotated catalogue of the dinosaurs (Reptilia, Archosauria) in the collections of Carnegie Museum of Natural History. Bulletin of the Carnegie Museum 18:1–67.


Matt and I have completed Day 2 of our excursion to the Carnegie Musuem in Pittsburgh. Day 1 was spent in the public galleries, because collections aren’t open on Sunday, but today we got into the Big Bone room.

One of our targets was CM 555, a very nice nearly complete neck (C1-C14) from a subadult apatosaurine — quite possibly Brontosaurus excelsus, which is what John McIntosh catalogued it as, though I am not yet 100% convinced it’s the same thing as YPM 1980, the holotype of that species.

We were able to lay out the full sequence on the floor, on styroforam sheets, and spend quality time just looking at it and thinking about it. I don’t just mean documenting it for later analysis, but making use of that precious time right there with the physical specimen to think through together what it’s telling us. We have a bunch of new insights, which we’ll share when we’re not completely exhausted.

Here’s Matt with the first six cervicals. C1 (the atlas) is as usual an unprepossessing lump, but then things get interesting. C2 to C6 are all unfused, so the centra and neural arches are separate.

Behind C6, the arches are fused to the centra (though the fusion lines are still apparent in C7 and C8). This is a nice example of how, in sauropods, serial position recapitulates ontogeny — one of the great confounding factors when studying isolated vertebrae.

We’ve learned a lot already from CM 555. Tomorrow will be spent with the two big mounted diplodocids (Diplodocus carnegii CM 84 and Apatosaurus louisae CM 3018). We’ll let you know how it goes. I predict: awesome.

As noted in the last post, Matt and I are off to spend a week at the Carnegie Museum from 11th-15th March. We expect to see many, many fascinating specimens there: far more than we’ll be able to do proper work on in the five days we have. So our main goal is to exhaustively document the most important specimens that we see, so we can work on them later after we’ve got home. I think of this as the “harvesting” phase of research, with the grinding and baking to follow.

I was going to write a checklist for myself, to ensure that I cover all the bases and we don’t find ourselves in six months’ time looking at our records and saying “I can’t believe we forgot to do X for this specimen” — because, believe me, we have spent far too much of our lives doing this already. But then I realised I should share it with the world, in case it’s helpful to others, too.

So here’s what to do when dealing with, for example, an apatosaurine cervical like this one. Let me know in the comments if I forgot anything!

BYU 20178, cervical vertebra from an apatosaurine sauropod. ventral view, anterior to the left. Note that the scalebar is held at approximately half the height of the vertebra; and that the catalogue card is in view and legible, giving a record who collected the specimen, when, and where.

Sketch the specimen, even if (like me) you are a terrible artist. The process of sketching forces you to really look at it — at each part of it in turn — and often results in you noticing something you would otherwise have missed. It would be worth doing this even if you immediately threw the sketch away: but don’t do that, because you’re going to want to …

Measure the specimen, using a tape measure, digital calipers or both as appropriate. You want to get at least all the measurements that you’ll include in a formal description — total length, total height, width across zygapophyses, etc. — but it’s often useful to also get other, more obscure measurements, just to make sure you’ve got your head around the shape. For example, in the vertebra above, you might measure the diagonal distances from the anteriormost projection of each cervical rib to to opposite side’s posterolateralrmost part of the centrum. You record measurements in a table in your notebook, but some measurements are hard to describe: so just write them straight onto your sketch. To keep things straight, it can be useful to do the sketch in one colour and the measurements in another; or the sketch in pencil and the measurements in pen.

Now we come to photography. You want a lot of different kinds of photo, so lets consider them separately.

Take photographs of the specimen with its specimen label, ideally from several different aspects. This will make it easy to remember later which specimen is which. In a typical museum visit — especially a reconnaisance visit like our upcoming Carnegie trip — you’re going to see a lot of different specimens, and when you revisit your photos in six months it’ll be hard to keep them all straight. Make it easy on yourself. Also: the specimen label often contains other  useful information such as the quarry where the specimen was found. Capture that. Get a good close-up photo of the label alone, to ensure all the text is captured cleanly.

Take photographs from the cardinal directions. To illustrate a specimen nicely in a descriptive paper, you will at minimum want photos from anterior, posterior, dorsal, ventral and left and right lateral aspects (or as many of these are possible to obtain: you can’t always turn big specimens). Since these are the photos you’re likely to use in a publication, take extra care with these. Set up a plain-coloured background when possible so it’s easier to crop out later. Set up the best lighting you can. Take each photo several times so you can keep the best one. Use a tripod if you have one. (For much more on this, see Tutorial 8 on how to photograph big bones.)

Take photographs with a scalebar. This will give you a way to sanity-check your measurements later. Think carefully about scalebar placement. If you put it on top of the specimen so it obscures part of the fossil, be sure that’s not your only photo from that aspect: you won’t want to be left without good images of the whole bone. A scalebar placed on top of the specimen will appear larger than the same scalebar placed on the floor or the bench next to the specimen, thanks to perspective, which means your measurements are more trustworthy than photos of the scalebar. If you can easily arrange for it to be raised to half the total height of the specimen, you’ll get a more honest reading.

Photograph individual features of the bone with some kind of note. The reason I say “with some kind of note” is that I have hundreds of close-up photos of bits of sauropod vertebra which I evidently took in the hope of highlighting some specific bit of morphology, but I have no idea what morphology. Get a scrap of paper and scribble something like “big nutrient foramina”, draw an arrow on it, and place the scrap on the bone so that the arrow points at the feature. Take a photo; then remove the paper and take another photo. The first one is your note to yourself; the second is the raw material for an illustration that you might prepare later, highlighting the relevant feature in a more elegant way.

Do a video walkaround with narration. For some reason, we didn’t start doing this until very recently, but it’s a great way to get a rough-and-ready reminder of important aspects of the specimen. You can just do this with a phone, moving it around the specimen, pointing to interesting bits and saying things about them. Here’s an example of Matt pointing out some features of the preserved cervical vertebrae of Suuwassea, and here he is again pointing out how pelican vertebrae are made of nothing.

Take a shedload of undifferentiated photos from every possible angle. Your goal here is that you’ll be able to use photogrammetry later to make a 3D model of the fossil. I admit to my shame that I’ve still never successfully done this — but thanks to the kindness of my good friend Heinrich Mallison, who is an expect in this area, I do have some fine models, including the Xenoposeidon model that was published as a supplementary file to my 2018 paper. Even if you don’t have access to someone as helpful as Heinrich, it’s worth getting these comprehensive photo-sets because photogrammetry software is likely to get progressively easier to use. Hopefully in a couple more years there will be nothing to it but loading a bunch of photos and pressing a button.

Up till here, we’ve been concentrating on gathering information about the specimen in a form that we’ll be able to return to later and use in comparisons and illustrations. But we can do more than that now we’re here with the physical specimen:

Look at the bone texture. Figure out how much of it is real, and how much is reconstructed — a particular problem with older specimens. Keep an eye out for rugosities for muscle and ligament attachments, smooth areas and pockets for pneumatic diverticula (or fat pads in boring mammal verts), and any odd growths that might be ossified soft tissues or pathological reactive bone growth. These kinds of things are often much easier to see in the actual specimens than in even the very best photographs.

Check for areas where the specimen is under-prepared. It’s very common for a neural canal to remain filled with matrix — and easy to spot, so in a sense not a problem. But how often is a pneumatic feature obscured because it’s still full of matrix? This is probably part of the reason that caudal pneumaticity so often goes unobserved, and it will very often obscure foramina within the neural canal. Similarly, I don’t know whether the huge club on the end of the right cervical rib of NHMUK PV R173b (formerly BMNH R173b) is pathological bone or a mineral concretion, because all I have to go from is my lame photos. I should have figured that out while I was with the actual specimen.

Discuss the specimen with a friend. I just can’t overstate how important this is. When Matt and I visit a collection together, we discover much, much more than twice as much as either of us would alone. Isaac Asimov is said to have observed “The most exciting phrase to hear in science, the one that heralds new discoveries, is not “Eureka!” (I found it!) but “That’s funny …””. Whether or not he ever actually said it (it’s not in any of his written works) it’s certainly true that the key moment in investigating a specimen is frequently when one person says “Hey, take a look at this”. Two minds can spark off each other in a way that a single mind can’t.

Last of all, it’s worth giving a little bit of thought to the possibility that you’ll one day be doing publicity for this specimen. So:

Get someone to take photos of you with the specimen. You’ll need them for press releases and media packs. I’ve only once in my life been in physical proximity with the Brontomerus specimen: during the three-day 2007 visit when I did much of the descriptive work for the paper. Idiotically, although I was there with three colleagues (Matt, Randy Irmis and Sarah Werning), I didn’t get anyone to take a photo of me with the material. So when we needed a photo for the publicity:

The Brontomerus mcintoshi holotype specimen OMNH 27761-27800, 61248 and 66429-66432 with the authors of the paper that described it. Back row (L to R): Mike Taylor, Matt Wedel, Rich Cifelli.

There was no good way to get it. I certainly wasn’t going to fly back out to the USA just to get a photo. So we got our Emmy award-winning special-effects-wizard friend Jarrod Davis to photoshop me into a photo that the museum had been able to take of Matt and Rich. (You can see the evidence here and here if you want to see how it was done. And, yes, before he could even start composing me in, Jarrod had to rescue a ludicrously under-exposed base image.)

Much better to avoid such nonsense. Get good photos of you with the specimens, like the one at the top of the Sauropocalypse post, and then if you ever need ’em you’ve got ’em.


If you followed along with the last post in this series, you now have some bird vertebrae to play with. Here are some things to do with them.

1. Learn the parts of the vertebrae, and compare them with those of other animals

Why are we so excited about bird vertebrae around here? Mostly because birds are reasonably long-necked living dinosaurs, and although their vertebrae differ from those of sauropods in relative proportions, all of the same bits are present in roughly the same places. If you know the parts of a bird vertebra and what each one does, you have a solid foundation for inferring the functions of sauropod vertebrae. Here’s a diagram I made for my SVP poster with Kent Sanders way back in 1999. I used an ostrich vertebra here but you should be able to find the same features in a cervical vertebra of just about any bird.

These are both middle cervical vertebrae in right lateral view. A middle cervical vertebra of a big ostrich will be between 3 and 4 inches long (7.5-10 cm), and one from a big brachiosaur like Giraffatitan will be about ten times longer.

I should do a whole post on neck muscles, but for now see this post and this paper.

2. Put the vertebrae in order, and rearticulate them

It is often useful to know where you are in the neck, and the only way to figure that out is to determine the serial position of the vertebrae. Here’s an articulated cervical series of a turkey in left lateral view, from Harvey et al. (1968: pl. 65):

Harvey’s “dorsal spine” is the neural spine or spinous process, and his “ventral spine” is the carotid process. The “alar process” is a sort of bridge of bone connecting the pre- and postzygapophyses; you can see a complete version in C3 in the photo below, and a partial version in C4.

Speaking of that photo, here’s my best attempt at rearticulating the vertebrae from the smoked turkey neck I showed in the previous post, with all of the vertebrae in left dorsolateral view.

These things don’t come with labels and it can take a bit of trial and error to get them all correctly in line. C2 is easy, with its odd articular surface for the atlas and narrow centrum with a ventral keel. Past that, C3 and C4 are usually pretty blocky, the mid-cervicals are long and lean, and then the posterior cervicals really bulk out. Because this neck section had been cut before I got it, some of the vertebrae look a little weird. Somehow I’m missing the front half of C6. The back half of C14 is also gone, presumably still stuck to the bird it went with, and C7 and C12 are both sectioned (this will come in handy later). I’m not 100% certain that I have C9 and C10 in the right order. One handy rule: although the length and neural spine height change in different ways along the column, the vertebrae almost always get wider monotonically from front to back.

And here’s the duck cervical series, in right lateral view. You can see that although the specific form of each vertebra is different from the equivalent vert in a turkey, the same general rules apply regarding change along the column.

Pro tip: I said above that these things don’t come with labels, but you can fix that. Once you have the vertebrae in a satisfactory order, paint a little dot of white-out or gesso on each one, and use a fine-point Sharpie or art pen to write the serial position (bone is porous and the white foundation will keep the ink from possibly making a mess). You may also want to put the vertebrae on a string or a wire to keep them in the correct order, but even so, it’s useful to have the serial position written on each vertebra in case you need to unstring them later.

3. Look at the air spaces

One nice thing about birds is that all of the species that are readily commercially available have pneumatic traces on and in their vertebrae, which are broadly comparable to the pneumatic vertebrae of sauropods.

The dorsal vertebrae of birds are even more obviously similar to those of sauropods than are the cervicals. These dorsal vertebrae of a duck (in left lateral view) show a nice variety of pneumatic features: lateral fossae on the centrum (what in sauropods used to be called “pleurocoels”), both with and without foramina, and complexes of fossae and foramina on the neural arches. Several of the vertebrae have small foramina on the centra that I assume are neurovascular. One of the challenges in working with the skeletal material of small birds is that it becomes very difficult to distinguish small pneumatic foramina and spaces from vascular traces. Although these duck vertebrae have small foramina inside some of the lateral fossae, the centra are mostly filled with trabecular, marrow-filled bone. In this, they are pretty similar to the dorsal vertebrae of Haplocanthosaurus, which have fossae on the neural arches and the upper parts of the centra, but for which the ventral half of each centrum is a brick of non-pneumatic bone. For more on distinguishing pneumatic and vascular traces in vertebrae, see O’Connor (2006) and Wedel (2007).

This turkey cervical, in left posterolateral view, shows some pneumatic features to nice advantage. The lateral pneumatic foramina in bird cervicals are often tucked up inside the cervical rib loops where they can be hard to see and even harder to photograph, but this one is out in the open. Also, the cervicals of this particular turkey have a lot of foramina inside the neural canal. In life these foramina are associated with the supramedullary diverticula, a set of air-filled tubes that occupy part of the neural canal in many birds — see Atterholt and Wedel (2018) for more on this unusual anatomical system. The development of foramina inside the neural canal seems to be pretty variable among individuals. In ostriches I’ve seen individuals in which almost every cervical has foramina inside the canal, and many others with no foramina. For turkeys it’s even more lopsided in my experience; this is the first turkey in which I’ve found really clear pneumatic foramina inside the neural canals. This illustrates one of the most important aspects of pneumaticity: pneumatic foramina and cavities in bones show that air-filled diverticula were present, but the absence of those holes and spaces does not mean that diverticula were absent. Mike and I coined the term “cryptic diverticula” for those that leave no diagnostic traces on the skeleton — for more on that, see the discussion section in Wedel and Taylor (2013b).

Finally, it’s worth taking a look at the air spaces inside the vertebrae. Here’s a view into C12 of the turkey cervical series shown above. The saw cut that sectioned this neck happened to go through the front end of this vertebra, and with a little clean-up the honeycomb of internal spaces is beautifully displayed. If you are working with an intact vertebra, the easiest way to see this for yourself is to get some sandpaper and sand off the front end of the vertebra. It only takes a few minutes and you’ll be less likely to damage the vertebrae or your fingers than if you cut the vertebra with a saw. Similar complexes of small pneumatic cavities are present in the vertebrae of some derived diplodocoids, like Barosaurus (see the lateral view in the middle of this figure), and in most titanosauriforms (for example).

I have one more thing for you to look for in your bird vertebrae, and that will be the subject of the next installment in this series. Stay tuned!


When I started working on sauropods, I thought their vertebrae were cool but they were loaded with weird structures that I didn’t understand. Then I dissected my first ostrich neck and suddenly everything made sense: this was a muscle attachment, that was a pneumatic feature, this other thing was a ligament scar. Everyone who is interested enough to read this blog should give themselves the same “Aha!” moment. You don’t even have to eat the birds yourselves, lots of people don’t like bird necks and will give them away if you ask.

If you get a whole bird, the neck is usually included with the giblets. Around Thanksgiving and Christmas you can often find bundles of spare turkey necks at your grocer or butcher.

This spring I picked up some smoked turkey necks at the grocery store. I wanted to make turkey stew and I figured I might as well get some toys in the bargain. Here are some neck segments in the crock pot.

And here they are after a few hours of cooking. Time to separate the meat from the bones. That neck segment in the middle of the above photo is a pretty good match for the ostrich neck cross-section in this post.

Here are parts of three vertebrae with the long, multi-segment muscles removed, but with the shorter single-segment muscles still connecting them. Anterior is to the right; that’s a cervical ribs sticking out at the lower right “corner”.

Here’s a single intact cervical in left lateral view with most of the meat off, but ready for a long simmer to loosen the remaining crud. This is roughly the same orientation as the lateral view of Mike’s famous turkey cervical.

Meat goes back in the pot.

Bones go on to the next stage: simmering. One of the nice things about the stepwise process of cleaning bones is that you can stop at any point, put the bones in the freezer, and come back days or months later. This bowl of bones went into the freezer in exactly the state you see here, and I didn’t pull them out and finish cleaning them until last week.

If you have a pot-sized strainer, it makes things easier, especially for rinsing. These aren’t turkey vertebrae, these are the verts from my Thanksgiving ducks. But the principle and the process are the same.

After simmering for an hour or two, it’s time to pick off the loosened muscles, ligaments, cartilage, and so on. Here are two similar turkey cervicals after simmering, in dorsal view with anterior to the right. The one on the left has not been cleaned and has all kinds of crud stuck to it, including a big chunk of intervertebral ligament sticking out between the rami of the postzygapophyses. The one on the right has been through a first-pass cleaning.

What tools should you use? Whatever you have to hand. I like old toothbrushes for scrubbing off little bits of muscle and tendon, toothpicks for shoving spinal cord bits through the neural canal and for picking bits of meat out of hard-to-reach places, and the Mark 1 thumbnail for planing off articular cartilage, as shown here with the back end of a duck cervical.

Here’s the outcome of a cleaning session: on the left, the bowl I used for cleaning the vertebrae. In the top middle, the pile of gloop I pulled off. And on the right, a bowl of cleaned turkey and duck vertebrae, ready for degreasing.

Here are the vertebrae of a couple of ducks after soaking overnight in 3% hydrogen peroxide, the ordinary stuff you get at the drugstore or dollar store.

Here’s another bowl with turkey vertebrae. They were all at the bottom of the bowl when I went to bed, floating when I got up the next morning. This is pretty common with lightweight pneumatic vertebrae: the oxygen bubbling out of the hydrogen peroxide has gotten trapped in the internal air spaces and made the vertebrae buoyant.

After a night in the hydrogen peroxide, it’s time to rinse and dry the vertebrae. I put this mixed lot of turkey and duck verts on a plate with a paper towel and left them out on the kitchen counter. In the summertime, when it’s hot and dry, I might put them outside for a bit and they’d be dry in a couple of hours. Indoors in the winter it can take a couple of days for the vertebrae to get completely dry.

Here’s the same batch of vertebrae a couple of days later, clean and dry and ready for whatever comes next.

Which bird should you use? Bigger birds have vertebrae that are easier to clean, harder to damage, and more fun to look at, but use whatever you can get your hands on. This photo shows the axis, a middle cervical, and a posterior cervical from the turkey (top) and duck (bottom). Note that the duck was so young that the cervical ribs hadn’t fused and they fell off during the cleaning process.

If you’ve been following along, you have some nice clean bird vertebrae to play with. So what now — what should you do with them? That will the subject of an upcoming post. Stay tuned!

The 1st Palaeontological Virtual Congress is underway now, and will run through December 15. Mike and I have two presentations up:

“What do we mean by the directions ‘cranial’ and ‘caudal’ on a vertebra?” by Mike and me, which consists of a video Mike made presenting a slide show that he put together. The presentation sums up our thinking following the series of vertebral orientation posts here earlier this summer and fall, which are all available here.

“Reconstructing an unusual specimen of Haplocanthosaurus using a blend of physical and digital techniques” by me and a gang of WesternU-based collaborators, including Jessie Atterholt and Thierra Nalley, both of whom you saw in our recent pig-hemisecting adventures. Almost everything I’ve written on this blog about Haplocanthosaurus in 2018 was part of the run-up to this presentation (except, somewhat ironically, the post about pneumaticity), which also includes quite a bit that I haven’t put on the blog yet. So even if you follow SV-POW!, the 1PVC slideshow should have plenty of stuff you haven’t seen yet.

IF you can see it–you have to be a registered 1PVC ‘attendee’ to log in to the site and see the presentations. So probably you are either already registered and this post is old news, or not registered and this post seems useless. Why would I bother telling you about stuff you can’t see?

The answer is that neither Mike or I intend for our work to disappear when 1PVC comes to an end on December 15. Both of us are planning to put our abstracts and slide decks up as PeerJ Preprints, which is our default move for conference presentations these days (e.g., this, this, and this). I believe Mike is also going to post his video to YouTube. So the work will not only live on after the congress is over, it will jump to a much broader audience. We’re looking forward to letting everyone see what we’ve been up to, and I’m sure we’ll have some more things to say here when that happens.

So, er, go see our stuff if you’re a 1PVC attendee, and if you’re not, hang in there, we’ll have that stuff out to you in a few days. UPDATE: The Haplo presentation is up now (link).