998 resultados para Australian Museum -- Catalogs


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Title from cover.

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Each vol. has also a distinctive title.

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This Article does not have an abstract.

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Until recently, species of the deep-water ascophoran genus Siphonicytara have been recorded from only two areas, nearly 10,000 km apart. Three species were known from the East Indies and one from the southwest Indian Ocean. A hitherto unrecognized species is now known from the southern-most Philippine region, and six new species have recently been described from New Caledonia. A further new species from relatively shallow water, S. occidentalis, is described here from Western Australia. Examination of fossil specimens from the Tertiary of Victoria and South Australia has shown that specimens attributed to Parina clypeata Waters have a close relationship with Siphonicytara, and the species is referred here to this genus, as is Mucronella airensis Maplestone. Another Tertiary species with a similar distribution, 'Eschara elevata' Waters not Tenison Woods, is assigned to Siphonicytara irregularis (Maplestone). The stratigraphic range for the family extends from the Late Eocene to Recent. Eschara elevata Tenison Woods sensu stricto is the type species of the genus Tubitrabecularia Bassler, and a discussion of the nature and status of this genus is included. A key to the species described is given.

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Museums face increasing pressure to attract wider audiences. This requires an understanding of visitor expectations and motivations for visiting the ‘real’ museum. Websites can act as an attracting mechanism for ‘real’ museum visits. However, for the most part, museums have concentrated their efforts on attracting visitors to promotional efforts and collecting statistical data on the demographic profiles of visitors. Museum websites as a means of attracting audiences have been ignored in the research literature. This paper researches the role of museum websites in developing audiences with special attention to the attracting power of the websites for visitors. Content analysis of 40 Australian museum websites was conducted using a structured tool, WebNPattract, designed and tested specifically for the purpose. Content analysis results can be used for the purpose of strategic positioning of the museum and cultural tourism. The paper outlines five aspects of museums—museum offer; corporate governance; finding the museum; characteristics; and governance communication—and two approaches to museum websites: the ‘aesthetic’ and the ‘services’ perspectives. Marketing implications can be deduced from website orientation.

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Catalog of an exhibition held at the Visual Arts Gallery, Florida International University. Essayby Paul Cummings

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Opiine wasps (Hymenoptera: Braconidae: Opiinae) are parasitoids of dacine fruit flies (Diptera: Tephritidae: Dacinae), the primary horticultural pests of Australia and the South Pacific. Effective use of opiines for biological control of fruit flies is limited by poor taxonomy and identification difficulties. To overcome these problems, this thesis had two aims: (i) to carry out traditional taxonomic research on the fruit fly infesting opine braconids of Australia and the South Pacific; and (ii) to transfer the results of the taxonomic research into user friendly diagnostic tools. Curated wasp material was borrowed from all major Australian museum collections holding specimens. This was supplemented by a large body of material gathered as part of a major fruit fly project in Papua New Guinea: nearly 4000 specimens were examined and identified. Each wasp species was illustrated using traditional scientific drawings, full colour photomicroscopy and scanning electron microscopy. An electronic identification key was developed using Lucid software and diagnostic images were loaded on the web-based Pest and Diseases Image Library (PaDIL). A taxonomic synopsis and distribution and host records for each of the 15 species of dacine-parasitising opiine braconids found in the South Pacific is presented. Biosteres illusorius Fischer (1971) was formally transferred to the genus Fopius and a new species, Fopius ferrari Carmichael and Wharton (2005), was described. Other species dealt with were Diachasmimorpha hageni (Fullaway, 1952), D. kraussii (Fullaway, 1951), D. longicaudata (Ashmead, 1905), D. tryoni (Cameron, 1911), Fopius arisanus (Sonan, 1932), F. deeralensis (Fullaway, 1950), F. schlingeri Wharton (1999), Opius froggatti Fullaway (195), Psyttalia fijiensis (Fullaway, 1936), P. muesebecki (Fischer, 1963), P. novaguineensis (Szépliget, 1900i) and Utetes perkinsi (Fullaway, 1950). This taxonomic component of the thesis has been formally published in the scientific literature. An interactive diagnostics package (“OpiineID”) was developed, the centre of which is a Lucid based multi-access key. Because the diagnostics package is computer based, without the space limitations of the journal publication, there is no pictorial limit in OpiineID and so it is comprehensively illustrated with SEM photographs, full colour photographs, line drawings and fully rendered illustrations. The identification key is only one small component of OpiineID and the key is supported by fact sheets with morphological descriptions, host associations, geographical information and images. Each species contained within the OpiineID package has also been uploaded onto the PaDIL website (www.padil.gov.au). Because the identification of fruit fly parasitoids is largely of concern to fruit fly workers, rather than braconid specialists, this thesis deals directly with an area of growing importance to many areas of pure and applied biology; the nexus between taxonomy and diagnostics. The Discussion chapter focuses on this area, particularly the opportunities offered by new communication and information tools as new ways delivering the outputs of taxonomic science.

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This work was a interactive object piece that was installed at West Space as part of the 'Conceted Efforts' exhibition. Three clipboards hosted a petition addressed to Australian Museum Directors urging them to accept this artist card in lieu of payment when artists visit their institution, a list of potential elements of proof of position as an Australian artist, and an example of the artist card. The work explored the potential for collaboration between artists and institutions and explored the value of artists in the contemporary art world.

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