Reply to "Mega-highstand or megatsunami? Discussion of McMurtry et al. "Elevated marine deposits in Bermuda record a late Quaternary megatsunami": Sed. Geol. 200 (2007) 155-165" by Paul J. Hearty and Storrs L. Olson

Our recent paper [McMurtry, G.M., Tappin, D.R., Sedwick, P.N., Wilkinson, I., Fietzkc, J. and Sellwood, B., 2007a. Elevated marine deposits in Bermuda record a late Quaternary megatsunami. Sedimentary Geol. 200, 155-165.] critically re-examined elevated marine deposits in Bermuda, and concluded that their geological setting, sedimentary relations, micropetrography and microfaunal assemblages were inconsistent with sustained intertidal deposition. Instead, we hypothesized that these deposits were the result of a large tsunami that impacted the Bermuda island platform during the mid-Pleistocene. Hearty and Olson [Hearty, P.J., and Olson, S.L., in press. Mega-highstand or megatsunami? Discussion of McMurtry et al. "Elevated marine deposits in Bermuda record a late Quaternary megatsunami": Sedimentary Geology, 200, 155-165, 2007 (Aug. 07). Sedimentary Geol. 200, 155-165.] in their response, attempt to refute our conclusions and claim the deposits to be the result of a +21 m eustatic sea level highstand during marine isotope stage (MIS) 11. In our reply we answer the issues raised by Hearty and Olson [Hearty, P.J., and Olson, S.L., in press. Mega-highstand or megatsunami? Discussion of McMurtry et al. "Elevated marine deposits in Bermuda record a late Quaternary megatsunami": Sedimentary Geology, 200, 155-165, 2007 (Aug. 07). Sedimentary Geol. 200,155-165.] and conclude that the Bermuda deposits do not provide unequivocal evidence of a prolonged +21 m eustatic sea level highstand. Rather, the sediments are more likely the result of a past megatsunami in the North Atlantic basin. (c) 2008 Elsevier B.V. All rights reserved.

Correlation between process cheese meltability determined by sensory analysis, computer vision method and Olson and Price test

The meltabilities of 14 process cheese samples were determined at 2 and 4 weeks after manufacture using sensory analysis, a computer vision method, and the Olson and Price test. Sensory analysis meltability correlated with both computer vision meltability (R-2 = 0.71, P < 0.001) and Olson and Price meltability (R-2 = 0.69, P < 0.001). There was a marked lack of correlation between the computer vision method and the Olson and Price test. This study showed that the Olson and Price test gave greater repeatability than the computer vision method. Results showed process cheese meltability decreased with increasing inorganic salt content and with lower moisture/fat ratios. There was very little evidence in this study to show that process cheese meltability changed between 2 and 4 weeks after manufacture..

Explaining history to children: Otto and Marie Neurath’s work on the ‘Visual history of mankind’

This essay traces the development of Otto Neurath’s ideas that led to the publication of one of the first series of children’s books produced by the Isotype Institute in the late 1940s, the Visual History of Mankind. Described in its publicity material as ‘new in content’ and ‘new in method’, it embodied much of Otto Neurath’s thinking about visual education, and also coincided with other educational ideas in the UK in the 1930s and 1940s. It exemplified the Isotype Institute’s approach: teamwork, thinking about the needs of younger readers, clear explanation, and accessible content. Further, drawing on correspondence, notes and drawings from the Otto and Marie Neurath Isotype Collection at the University of Reading, the essay presents insights to the making of the books and the people involved, the costs of production and the influence of this on design decisions, and how the books were received by teachers and children.

From hieroglyphics to Isotype: a visual autobiography (Otto Neurath)

Otto Neurath (1882–1945) wrote From hieroglyphics to Isotype during the last two years of his life and this is the first publication of the text in full, carefully edited from the original manuscripts. He called it a 'visual autobiography', in which he documents the importance of visual material to him from his earliest years to his professional activity with the picture language of Isotype. Neurath draws clear links between the stimulus he received as a boy from illustrated books, toys and exhibitions to the considered work in visual education that occupied him for the last two decades of his life. This engaging and informal account gives a rich picture of Central European culture around the turn of the twentieth century, seen through the eyes of Neurath's insatiable intelligence, as well as a detailed exposition of the technique of Isotype, a milestone of modern graphic design. This edition includes the numerous illustrations intended by Neurath to accompany his text, and is completed by an extensive appendix showing examples from the rich variety of graphic material that he collected.

Isotype in Africa, 1952–58

A review of work done by the Isotype Institute in the 1940s and 1950s, associated with Africa. The chapter discusses Otto Neurath's growing interest in the last years of his life in the issue of presenting information to (West) Africans through Isotype methods. Although this interest was not realised by Otto Neurath in the form of completed work during his lifetime, Marie Neurath and the Isotype Institute did successfully carry out numerous projects in Britain's West African colonies during the 1950s, in Sierra Leone, Gold Coast (Ghana), and most extensively in the Western Region of Nigeria. Discussion of these projects illustrates the means by which Isotype work was carried out in a developing world context, the difficulties that were encountered, and the issues of effectiveness and sustainability the work raised.

Isotype: design and contexts 1925–1971

The work in graphic communication carried out by Otto Neurath and his associates – now commonly known simply as Isotype – has been the subject of much interest in recent years. Conceived and developed in the 1920s as ‘the Vienna method of pictorial statistics’, this approach to designing information had from its inception the power to grow and spread internationally. Political developments in Europe played their part in its development, and production moved to the Netherlands (1934) and to England (1940), where the Isotype Institute continued to produce work until 1971. Bringing together the latest research, this book is the first comprehensive, detailed account of its subject. The Austrian, Dutch, and English years of Isotype are described here freshly and extensively. There are chapters on the notable extensions of Isotype to Soviet Russia, the USA, and Africa. Isotype work in film and in designing for children is fully documented and discussed. Between these main chapters the book presents interludes documenting Isotype production visually. Three appendices reprint key documents. In its international coverage and its extensions into the wider terrain of history, this book opens a new vista in graphic design.

Future, Fortune, and the graphic design of information

This is a study of graphic information designed for Future Books/Future magazine (UK) and Fortune magazine (USA) in the years immediately after the Second World War. It highlights work made by the Isotype Institute for Future, which is then situated against contributions by Abram Games and F. H. K. Henrion. Similar work in Fortune under the art editorship of Will Burtin is discussed in a parallel account, drawing on examples by him and by others including György Kepes, Matthew Liebowitz, Alex Steinweiss and Ladislav Sutnar. Attention is drawn to links and relationships between to the two periodicals and the graphic information published in both. Further comparisons are made between underlying editorial and design strategies pursued by Otto Neurath (Isotype Institute) and Will Burtin. An argument is made for recognising the little-known innovations of Future alongside the long-acknowledged innovations of Fortune.