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Fig. 6 in A well preserved pan-pleurodiran (Dortokidae) turtle from the English Lower Cretaceous and the first radiometric date for the Wessex Formation (Hauterivian-Barremian) of the Isle of Wight, United Kingdom

Fig. 6. Dorsal vertebrae of IWCMS 2018.44. A-F, complete dorsal vertebra with fused neural; G-L, dorsal vertebra centrum; M-R, dorsal vertebra centrum; S-X, complete dorsal vertebra; Y-AD, neural arch of a posterior dorsal vertebra. All of them are shown in left lateral (A,G,M,S,Y), right lateral (B,H,N,T,Z), anterior (C,I,O,U,AA), posterior (D,J,P,V,AB), dorsal (E,K,Q,W,AC), and ventral (F,L,R,X,AD) views.

Fig. 5 in A well preserved pan-pleurodiran (Dortokidae) turtle from the English Lower Cretaceous and the first radiometric date for the Wessex Formation (Hauterivian-Barremian) of the Isle of Wight, United Kingdom

Fig. 5. Cervical vertebrae of IWCMS 2018.44. A-F, neural arch of the axis (cervical vertebra 2); G-L, cervical vertebra 3; M-R, cervical vertebra 4; S-X, cervical vertebra 5; Y-AD, cervical vertebra 6; AE-AJ, cervical vertebra 7; AK-AP, cervical vertebra 8. All of them are shown in left lateral (A,G,M,S,Y,AE,AK), right lateral (B,H,N,T,Z,AF,AL), anterior (C,I,O,U,AA,AG,AM), posterior (D,J,P,V,AB,AH,AN), dorsal (E,K,Q,W,AC,AI,AO), and ventral (F,L,R,X,AD,AJ,AP) views.

Fig. 4. IWCMS 2018.44 in A well preserved pan-pleurodiran (Dortokidae) turtle from the English Lower Cretaceous and the first radiometric date for the Wessex Formation (Hauterivian-Barremian) of the Isle of Wight, United Kingdom

Fig. 4. IWCMS 2018.44, partial skeleton of Eodortoka cf. morellana. A,C,E, virtual three-dimensional reconstruction of the left shell plates and of the bones preserved inside the specimen; B,D,F, virtual three-dimensional reconstruction of the bones virtually removing the shell, in dorsal (A,B), ventral (C,D), and left lateral (E,F) views. The anterior and posterior ends of the shell cannot be reconstructed because they were not accurately scanned (black in A, E). The plates of the shell and the bones were reconstructed independently (shell plates in yellow, vertebrae in green, appendicular bones in blue, and girdles in pink). Abbreviations: c, costal; cav, caudal vertebra; cev7, seventh cervical vertebra; cev8, eighth cervical vertebra; dv, dorsal vertebra; hyo, hyoplastron; hyp, hypoplastron; lcor, left coracoid; lhu, left humerus; lil, left illium; lis; left ischium; lsc, left scapula; me, mesoplastron; ne, neural; p, peripheral; rfe, right femur; rfi, right fibula; rhu; right humerus; rpu, right pubis; rsc, right scapula; rti, right tibia; sv, sacral vertebra; xi, xiphiplastron.

Fig. 1 in A well preserved pan-pleurodiran (Dortokidae) turtle from the English Lower Cretaceous and the first radiometric date for the Wessex Formation (Hauterivian-Barremian) of the Isle of Wight, United Kingdom

Fig. 1. Geology of the Isle of Wight showing the discovery site of Eodortoka cf. morellana IWCMS.2018.44 from the Wessex Formation. A, Map of the Isle of Wight with the locality indicated by a red star, modified from Gale (2019). B, Simplified stratigraphic column of the Wessex Formation of Compton and Brook Bays, with range of original horizon shown. C, Photo of Brook Bay showing the exposed Wessex Formation, with an arrow indicating where the specimen was found.

Fig. 2 in A well preserved pan-pleurodiran (Dortokidae) turtle from the English Lower Cretaceous and the first radiometric date for the Wessex Formation (Hauterivian-Barremian) of the Isle of Wight, United Kingdom

Fig. 2. Tera Wasserburg plot of turtle calcite 206Pb/238U intercept age. Quoted ages include propagated 2% long-term reproducibility of secondary reference material.

Fig. 3. IWCMS 2018.44 in A well preserved pan-pleurodiran (Dortokidae) turtle from the English Lower Cretaceous and the first radiometric date for the Wessex Formation (Hauterivian-Barremian) of the Isle of Wight, United Kingdom

Fig. 3. IWCMS 2018.44, partial skeleton of Eodortoka cf. morellana. A, dorsal view, B, ventral view, C, anterior view, D, posterior view, E, left lateral view, F, right lateral view. G-H, details of the ornamental pattern on the outer surface of the shell, at the level of the left first costal (G) and of the left hypoplastron (H).

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"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18

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