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141 results for “collecting practices”
Fig. 4.3 in Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections
Fig. 4.3. Diplopods in UV fluorescence on top, in white light in the middle, in NIR at the bottom. UV fluorescence show that diplopods can fluoresce in different ways (blue, orange or not at all). NIR show the diplopods without the external pigmented layer.
Fig. 2.30. 3D in Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections
Fig. 2.30. 3D model of a mobile Palaeolithic art from "le Trou des Nutons". Above: coloured surface model; middle: Surface without texture; below: image processed with automatic filtering method to highlight surface features of bison bone. The acquisition was made with a 5 Mpx RGB machine vision camera.
Fig. 3.12 in Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections
Fig. 3.12. Sitophilus oryzae (3.8mm body size) scanned with DISC3D. A. Scanning scheme with 398 camera positions. B. EDOF-image from the red camera position. C. Vcm-mesh (~250k polygones). D. Textured model.
Fig. 2.31 in Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections
Fig. 2.31. Perisama cardases captured with PLD. The normal colour image with relighting option is found on the upper left. Upper right is the grey scale image, bottom left the normal map and bottom right algorithmically-generated sketch using a filter.
Fig. 2.28. Picture for H in Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections
Fig. 2.28. Picture for H-RTI digitisation. The highlights on the black spheres allow the algorithm to reconstruct a RTI model.
Fig. 3.35 in Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections
Fig. 3.35. Screen capture of the Mephisto scanning software while recombining scans of a stuffed African elephant produced with the Gotcha infrared sensor.
Fig. 3.32 in Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections
Fig. 3.32. Ishango rod digitised with NextEngine. https://sketchfab.com/models/555f0a85ca224ab88f3712272d877ce7
Fig. 3.31 in Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections
Fig. 3.31. Skull of Pan paniscus (RMCA) scanned with NextEngine. Left: the mesh with texture; right: the mesh without texture. https://sketchfab.com/models/38295c2ee9dd428f93134d0e97ffe851
Fig. 3.36. 3D in Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections
Fig. 3.36. 3D model of the mammoth on display at the RBINS permanent exhibition. The bones were scanned one by one at the moment the skeleton was disassembled to move it to another exhibition spot. The Gotcha infrared depth sensor was used and the different 3D models were virtually reassembled in lhpFusionBox (ULB, Brussels). https://sketchfab.com/models/2d25256368a44a0fb98d0418ac500d47
Fig. 3.34 in Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections
Fig. 3.34. The Primesense infrared depth sensor of the Gotcha with a tripod, allowing it to stand or be used handheld while scanning.
Fig. 2.26. Plane 5 in Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections
Fig. 2.26. Plane 5 of the specimen page at Zoosphere.net, showing the distribution of the specimen's species, as retrieved from GBIF. Image copyright MfN.
Fig. 2.24. Plane 3 in Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections
Fig. 2.24. Plane 3 of the specimen page at Zoosphere.net, showing the taxonomy of the specimen. Image copyright MfN.
Fig. 2.23. Plane 2 in Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections
Fig. 2.23. Plane 2 of the specimen page at Zoosphere.net, showing the specimen pictures. Image copyright MfN.
Fig. 2.11 in Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections
Fig. 2.11. Specimen stored within glycerin. Cleared and stained specimen of Haplochromis sp. pictured in glycerin. The right part of the picture is photographed with a magnification of 5×. Scale = 500 µm.
Fig. 2.20 in Handbook of best practice and standards for 2D+ and 3D imaging of natural history collections
Fig. 2.20. Overview of the digitised specimen with the ZooSphere setup, visible at Zoosphere.net. Image copyright MfN.
FIGURE 6. Map showing estimated collection area. Points are field localities and 15 meter buffer shows estimated prospecting areas for 2008 in Novel analysis of locality data can inform better inventory and monitoring practices for paleontological resources at John Day Fossil Beds National Monument Oregon, USA
FIGURE 6. Map showing estimated collection area. Points are field localities and 15 meter buffer shows estimated prospecting areas for 2008 (yellow), 2009 (green), and 2010 (blue). Precise locality information is available to qualified researchers upon request from JODA's museum program.
FIGURE 9. All field collections from 2013 - early 2019 in Novel analysis of locality data can inform better inventory and monitoring practices for paleontological resources at John Day Fossil Beds National Monument Oregon, USA
FIGURE 9. All field collections from 2013 - early 2019 to be used for tracking previous collection area. Points outside of JODA boundaries are BLM, USFS, or private localities. Precise locality information is available to qualified researchers upon request from JODA's museum program.
"I made the recording because Iam an amateur recording engineer and also work for a radio station. At the time, Iwas researching for a religious programme, for the radio and by pure chance and good luck, Iwas in the centre of York at the time the street preacher was there. Iam building up a personal library of 'ambient sounds' to use on various radio shows as 'sound effects'. The recording was taken outside St Helen's Church in St Helen's Square, in the centre of York. There was a fairly large crowd walking about, shopping. It was a Saturday. Some people were standing and listening to the man, some were mocking him, others didn't even notice. It was a sunny day, with a slight wind. St Helen's square is a large 'meeting place' for people with seats, flowers and usually musicians. I live in the centre of York and hear a lot of very interesting sounds there, everything from busking musicians, to many foreign languages, church bells, animals and much more. Ireally liked the recording of the preacher as it is quite clear that he passionately believes what he is saying. He was unaware that Iwas recording him. Iwish Ihad captured his whole sermon. He, and other members of his church visit the centre of York quite often, and preach there. Idon't know the name of his church." [Jools/vedas]19 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
"I made the recording because Iam an amateur recording engineer and also work for a radio station. At the time, Iwas researching for a religious programme, for the radio and by pure chance and good luck, Iwas in the centre of York at the time the street preacher was there. Iam building up a personal library of 'ambient sounds' to use on various radio shows as 'sound effects'. The recording was taken outside St Helen's Church in St Helen's Square, in the centre of York. There was a fairly large crowd walking about, shopping. It was a Saturday. Some people were standing and listening to the man, some were mocking him, others didn't even notice. It was a sunny day, with a slight wind. St Helen's square is a large 'meeting place' for people with seats, flowers and usually musicians. I live in the centre of York and hear a lot of very interesting sounds there, everything from busking musicians, to many foreign languages, church bells, animals and much more. Ireally liked the recording of the preacher as it is quite clear that he passionately believes what he is saying. He was unaware that Iwas recording him. Iwish Ihad captured his whole sermon. He, and other members of his church visit the centre of York quite often, and preach there. Idon't know the name of his church." [Jools/vedas]19
"It was recorded on Sunday, morning of the 28th of September as some of the slower runners of the Berlin Marathon made it past Torstrasse near my flat. Iwas out to buy some bread for breakfast, but Iusually bring a camera and my Edirol R-1 recorder whenever Igo out. Since Iwas freshly returned to Berlin Iguess Iwas sensitive to the more antiquated sounds which still survive there, like that of the organ grinder. Iam generally interested in how human beings are replacing the presence of Nature with an artificial environment made entirely by human hands (and thus far more understandable, it is hoped). In this new Human Nature, the sounds of Nature are also Human made. Iwrite about these things, but Ialso use the sounds in my videos and my interactive and generative media work, so generally Iam wandering around building up my archive of media documents for use as material in future works." [Baruch/ gottlieb]17 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
"It was recorded on Sunday, morning of the 28th of September as some of the slower runners of the Berlin Marathon made it past Torstrasse near my flat. Iwas out to buy some bread for breakfast, but Iusually bring a camera and my Edirol R-1 recorder whenever Igo out. Since Iwas freshly returned to Berlin Iguess Iwas sensitive to the more antiquated sounds which still survive there, like that of the organ grinder. Iam generally interested in how human beings are replacing the presence of Nature with an artificial environment made entirely by human hands (and thus far more understandable, it is hoped). In this new Human Nature, the sounds of Nature are also Human made. Iwrite about these things, but Ialso use the sounds in my videos and my interactive and generative media work, so generally Iam wandering around building up my archive of media documents for use as material in future works." [Baruch/ gottlieb]17
"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
ScienceDex guides
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Allen Brain Atlas
Allen Brain Atlas is an Allen Institute collection of brain map atlases, datasets, APIs, and analysis tools covering mouse, human, and non-human primate brain resources.
Annotated Behaviour and Observability Dataset (ABODe)
ABODe is a University of Edinburgh DataShare dataset for behavior classification in group-housed mice using home-cage video, identities, bounding boxes, ground-plate positions, and annotator labels.
DANDI Archive for NWB datasets
DANDI is a BRAIN Initiative archive for publishing and sharing neurophysiology data, including electrophysiology, optophysiology, and behavioral data packaged as NWB and related standards.
International Brain Laboratory public data
The International Brain Laboratory public data releases expose standardized mouse decision-making experiments, including Neuropixels recordings, widefield calcium imaging, behavior, and session metadata accessed through the ONE API.
OpenNeuro
OpenNeuro is a free, open platform for sharing neuroimaging datasets, with public search, dataset pages, and download paths for web, S3, DataLad, and the OpenNeuro CLI.