Radiocarbon Dating, Chronologic Framework, and Changes in Accumulation Rates of Holocene Estuarine Sediments from Chesapeake Bay

Rapidly accumulating Holocene sediments in estuaries commonly are difficult to sample and date. In Chesapeake Bay, we obtained sediment cores as much as 20min length and used numerous radiocarbon ages measured by accelerator mass spectrometry methods to provide the first detailed chronologies of Holocene sediment accumulation in the bay. Carbon in these sediments is a complex mixture of materials from a variety of sources. Analyses of different components of the sediments show that total organic carbon ages are largely unreliable, because much of the carbon (including coal) has been transported to the bay from upstream sources and is older than sediments in which it was deposited. Mollusk shells (clams, oysters) and foraminifera appear to give reliable results, although reworking and burrowing are potential problems. Analyses of museum specimens collected alive before atmospheric nuclear testing suggest that the standard reservoir correction for marine samples is appropriate for middle to lower Chesapeake Bay. The biogenic carbonate radiocarbon ages are compatible with 210Pb and 137Cs data and pollen stratigraphy from the same sites. Post-settlement changes in sediment transport and accumulation is an important environmental issue in many estuaries, including the Chesapeake. Our data show that large variations in sediment mass accumulation rates occur among sites. At shallow water sites, local factors seem to control changes in accumulation rates with time. Our two relatively deep-water sites in the axial channel of the bay have different long-term average accumulation rates, but the history of sediment accumulation at these sites appears to reflect overall conditions in the bay. Mass accumulation rates at the two deep-water sites rapidly increased by about fourfold coincident with widespread land clearance for agriculture in the Chesapeake watershed.

Notes on Microtine Rodents from the Brooks Range, Arctic Alaska

In connection with parasitological studies carried on during 1949 for the U.S. Public Health Service, the writer collected a considerable number of mammals from the northern edge of the "Endicott" section of the Brooks Range, in Arctic Alaska. The mammalian fauna of this region is poorly known, since apparently no previous collecting has been done here. About 200 microtine rodents were collected, mostly near Tolugak Lake (latitude 68° 24' N, longitude 151° 26' W), near the head of the Anaktuvuk River Valley. A few specimens were also taken at Umiat, on the Colville River, about 80 miles north of Tolugak Lake (latitude 69° 23' N, longitude 152° 10' W). Five species are represented: Clethrionomys rutilis dawsoni (Merriam), Microtus oeconomus macfarlani Merriam, Microtus miurus paneaki, n. subsp., Lemmus trimucronatus alascensis Merriam and Dicrostonyx groenlandicus rubricatus (Richardson). More complete details concerning their ecology and reproduction will be presented in a later paper, at which time the other mammals obtained will also be considered. The specimens have been deposited in the U.S. National Museum.

“PROVINCIALISM, PICKING SIDES AND BIAS: EFFECTS OF GEOGRAPHY ON MEDIA COVERAGE OF CRYSTAL BRIDGES MUSEUM OF AMERICAN ART, 2005-10.”

The development of Crystal Bridges Museum of American Art in Bentonville, Arkansas, by Wal-Mart heiress Alice Walton has prompted diverse coverage from print and online media. This investigation looked at trends in news stories and commentary from 2005-10 to show how the location of a medium affected coverage. Through the author’s own observations and interviews with journalists and other interested parties, several trends emerged. Media outlets outside Arkansas portrayed the museum as trying to plunder the cultural heritage of local communities and relied partly on the museum’s association with Wal-Mart and stereotypes of Arkansas to frame coverage. Arkansas media, faced with limited cooperation from the museum’s public relations apparatus, typically played a cheerleader role, at times overemphasizing the importance of the collection in the art world and showcasing few critical voices in stories about acquisitions and other areas of the museum’s development.