I was in Philadelphia and New York last week, visiting colleagues on the East Coast and getting in some collaborative research. Much more to say about that in the future – even just the touristy stuff will fill several posts.

One highlight of the trip was visiting the Academy of Natural Sciences in Philadelphia last Friday. Ted Daeschler (of Tiktaalik fame) and Jason Poole (who illustrated this sweet book) were my generous hosts and I got to see a ton of cool stuff both out on exhibit and behind the scenes. Seriously, I could post for a month just on the Academy visit.

A personal highlight for me was seeing the cervical vertebrae of the sauropod dinosaur Suuwassea on exhibit. They are in a glass case and you can get around them pretty well to see a lot of anatomy. At first I was pumped to get nice color photos of all the vertebrae from up close and from multiple angles. Then I thought, “Huh, maybe I should just shoot a video.” So I did. Here you go, four minutes of hot sauropod vertebra action:


By contrast to the very delicate pelican humerus and ulna in the previous post, here is the left femur of Aepyornis OUMNH 4950 — an “elephant bird” from Antolanbiby, Madagascar. It’s just a couple of meters away from the pelican, in the same Oxford gallery:

This is of course a ludicrously robust bone, as befits a gigantic ground-dwelling bird. But the fun thing is that it, too, is very pneumatic. You can see this in lots of ways: the foramina up at the top, the little patch of stretched texture at mid-length, and most of all in the honeycomb structure of the inside of the bone, which we can see where the cortex has broken off at both proximal and distal ends.

Birds: they’re made of air.

Here are the humerus and ulna of a pelican, bisected:

What we’re seeing here is the top third of each bone: humerus halves on the left, ulna halves on the right, in a photo taken at the 2012 SVPCA in one of our favourite museums.

The hot news here is of course the extreme pneumaticity: the very thin bone walls, reinforced only at the proximal extremely by thin struts. Here’s the middle third, where as you can see there is essentially no reinforcement: just a hollow tube, that’s all:

And then at the distal ends, we see the struts return:

Here’s the whole thing in a single photo, though unfortunately marred by a reflection (and obviously at much lower resolution):

We’ve mentioned before that pelicans are crazy pneumatic, even by the standards of other birds: as Matt said about a pelican vertebra (skip to 58 seconds in the linked video), “the neural spine is sort of a fiction, almost like a tent of bone propped up”.

Honestly. Pelican skeletons hardly even exist.

Back in 2009, I posted on a big cervical series discovered in Big Bend National Park. Then in 2013 I posted again about how I was going to the Perot Museum in Dallas to see that cervical series, which by then was fully prepped and on display but awaiting a full description. Ron Tykoski and Tony Fiorillo (2016) published that description a couple of years ago, and after almost five years it’s probably time I posted an update.

I did visit the Perot Museum in 2013 and Ron and Tony kindly let me hop the fence and get up close and personal with their baby. I got a lot of nice photos and measurements of the big specimen. It’s an impressive thing. Compared to the other big sauropod cervicals I’ve gotten to play with, these vertebrae aren’t all that long – the two longest centra are about 80cm, compared to ~120cm for Sauroposeidon, Puertasaurus, and Patagotitan, and 137cm for Supersaurus (more details here) – but they are massive. According to the table of measurements (yay!) in Tykoski and Fiorillo (2016), which accord well with the measurements I took when I was there, the last vert is 117.5cm tall from the bottom of the cervical rib to the top of the neural spine, 98.4cm wide across the diapophyses, and has a cotyle measuring 29cm tall by 42cm wide. Here it is with me for scale:

I guarantee you, standing next to that thing and imagining it being inside the neck of a living animal is a breathtaking experience.

I failed in my mission in one way. In a comment on my 2013 post, I said, “I’ll try to get some good lateral views of the mount with as little perspective as possible.” But it can’t be done – the geometry of the room and the size of the skeleton don’t allow it, as Ron noted in the very next comment. There is one place in the exhibit hall where you can get the whole skeleton into the frame, and that’s a sort of right anterolateral oblique view. Here’s my best attempt:

So, this is an awesome specimen and you should go see it. As you can see from the photos, the vertebrae are right on the other side of the signage, with no glass between you and them, so you can see a lot. The rest of the exhibits are top notch as well. Definitely worth a visit if you find yourself within striking distance of Dallas.


Tykoski, R.S. and Fiorillo, A.R. 2016. An articulated cervical series of Alamosaurus sanjuanensis Gilmore, 1922 (Dinosauria, Sauropoda) from Texas: new perspective on the relationships of North America’s last giant sauropod. Journal of Systematic Palaeontology 15(5):339-364.

Left side, posterolateral oblique view, wide shot.

Same thing, close up.

Right side, lateral, wide.

Same thing, close up.

For more on this and other pneumatic sauropod tails, please see Wedel and Taylor (2013, here). And for more on the currently unresolved taxonomic status of FMNH P25112, see this post.

Computer programmer, essayist and venture capitalist Paul Graham writes:

In most fields, prototypes have traditionally been made out of different materials. Typefaces to be cut in metal were initially designed with a brush on paper. Statues to be cast in bronze were modelled in wax. Patterns to be embroidered on tapestries were drawn on paper with ink wash. Buildings to be constructed from stone were tested on a smaller scale in wood.

What made oil paint so exciting, when it first became popular in the fifteenth century, was that you could actually make the finished work from the prototype. You could make a preliminary drawing if you wanted to, but you weren’t held to it; you could work out all the details, and even make major changes, as you finished the painting.

You can do this in software too. A prototype doesn’t have to be just a model; you can refine it into the finished product. I think you should always do this when you can. It lets you take advantage of new insights you have along the way. But perhaps even more important, it’s good for morale.

– Paul Graham, “Design and Research

Mike and I have long been drawn by the idea that blog posts, like conference talks and posters, could be first drafts of research papers. In practice, we haven’t generated many successful examples. We basically wrote our 2013 neural spine bifurcation paper as a series of blog posts in 2012. And Mike’s 2014 neck cartilage paper grew out of this 2013 blog post, although since he accidentally ended up writing 11 pages I suppose the blog post was more of a seed than a draft.

I should also note that we are far from the first people to do the blog-posts-into-papers routine. The first example I know of in paleo was Darren’s Tet Zoo v1 post on azhdarchid paleobiology, which formed part of the skeleton of Witton and Naish (2008).

Nevertheless, the prospect of blogging as a way to generate research papers remains compelling.

And as long as I’m on about blogging and papers: sometimes people ask if blogging doesn’t get in the way of writing papers. I can’t speak for anyone else, but for me it goes in the opposite direction: I blog most when I am most engaged and most productive, and drops in blogging generally coincide with drops in research productivity. I think that’s because when I’m rolling on a research project, I am constantly finding or noticing little bits that are cool and new, but which aren’t germane to what I’m working on at the moment. I can’t let those findings interfere with my momentum, but I don’t want to throw them away, either. So I blog them. Also the blog gives me a place to burn off energy at the end of the day, when I can still produce words but don’t have the discipline to write technical prose.

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The photo at the top of the post is of Giraffatitan dorsal vertebrae in a case at the MfN Berlin, from Mike’s and my visit with the DfG 533 group back in late 2008. I picked that photo so I could make the following dumb off-topic observation: with its upturned transverse processes, the dorsal on the right looks like it’s being all faux melodramatic, a la:

Hey sports fans, as the year winds down I bring you another podcast appearance. This time out I’m rolling with Mark Hallett, and we’re talking about sauropods through the lens of our still-plausibly-somewhat-newish book, The Sauropod Dinosaurs: Life in the Age of Giants, on the I Know Dino podcast. Many thanks to Sabrina and Garret for having us on the show. While you’re on that page, check out the nice preview of Mark’s 2018 dinosaur calendar, which is available at Pomegranate and Amazon.

The photo shows the Diplodocus carnegii cast mounted in the natural history museum in Vienna, one of Andrew Carnegie’s gifts to the world. A happy seasonal metaphor, sez me. Hope your new year is equally happy!