The genus Anopaea represents a small but distinctive group of inoceramid bivalves that apparently remained functionally endobyssate. The somewhat unusual morphology (for an inoceramid) probably results from structural modifications tofacilitate sediment penetration at a high angle and anchorage by an antero-ventral byssus. Although never as common as thecontemporary genera Retroceramus and Inoceramus, Anopaea is now known from temperate bivalve assemblages in both the Northern and Southern Hemispheres. It persisted from the Late Jurassic (Tithonian) to the Early Cretaceous (Neocomian), and possibly even later.
Marine hard-bottom communities are undergoing severe change under the influence of multiple drivers, notably climate change, extraction of natural resources, pollution and eutrophication, habitat degradation, and invasive species. Monitoring marine biodiversity in such habitats is, however, challenging as it typically involves expensive, non-standardized, and often destructive sampling methods that limit its scalability. Differences in monitoring approaches furthermore hinders inter-comparison among monitoring programs. Here, we announce a Marine Biodiversity Observation Network (MBON) consisting of Autonomous Reef Monitoring Structures (ARMS) with the aim to assess the status and changes in benthic fauna with genomic-based methods, notably DNA metabarcoding, in combination with image-based identifications. This article presents the results of a 30-month pilot phase in which we established an operational and geographically expansive ARMS-MBON. The network currently consists of 20 observatories distributed across European coastal waters and the polar regions, in which 134 ARMS have been deployed to date. Sampling takes place annually, either as short-term deployments during the summer or as long-term deployments starting in spring. The pilot phase was used to establish a common set of standards for field sampling, genetic analysis, data management, and legal compliance, which are presented here. We also tested the potential of ARMS for combining genetic and image-based identification methods in comparative studies of benthic diversity, as well as for detecting non-indigenous species. Results show that ARMS are suitable for monitoring hard-bottom environments as they provide genetic data that can be continuously enriched, re-analyzed, and integrated with conventional data to document benthic community composition and detect non-indigenous species. Finally, we provide guidelines to expand the network and present a sustainability plan as part of the European Marine Biological Resource Centre (www.embrc.eu).
Darcee Chavis and Marquel Payne, Evansville, son, Marquel Dionate Jr., Apr. 22Starr Frankenberger and Danny Porter, Evansville, daughter, Alaura Joy, Apr. 22Jennifer Farrar and Prentice Carter, Evansville, son, Braxten Glenn, Apr. 24Jennifer Farrar and Prentice Carter, Evansville, daughter, Brynlee Catherine, Apr. 24Larren and Jim Maloney, Newburgh, son, Abell James, Apr. 24Michelle Casey and Andrew Everett, Evansville, daughter, Willow Carol Addalynn, Apr. 24Rose and Christopher Duran, Evansville, son, Wesley Michael, Apr. 24Crystal and John Bollinger, Mount Vernon, Ind., son, Ryker Gabriel, Apr. 25Ashley and Brett Allega, Evansville, son, Ezekial James, Apr. 26Jessica and Derrike McDaniel, Evansville, daughter, Paislee Rae, Apr. 26Miriah Spann and Brandon Mattingly, Mount Vernon, Ind., son, Bryr Rose, Apr. 26Christie and Caleb Pfohl, Fort Branch, Ind., daughter, Savannah Jade, Apr. 27Jessica Smith and Phillip McCallister, Boonville, Ind., son, Phillip Matthew Jr., Apr. 27Madaline Gray and Luis Cejas, Evansville, daughter, Rosaleigh Elaine, Apr. 27Madeline Wilm and William Walker, Haubstadt, Ind., son, Kaygeth Allen, Apr. 27Leticia and Joshua Bahr, Newburgh, son, Dorian Aloysius, Apr. 28Sessily Bruner and Trey Mcgillicuddy, Evansville, son, Kamari Lashaue, Apr. 28Samantha and Bruce Ripple, Evansville, daughter, Alice Victoria, Apr. 29FacebookTwitterCopy LinkEmail
Through reasons only known to themselves, aspirational coffee chain Costa recently chose durable tabloid magnet Peter Andre to front its publicity drive around the launch of its ’flat white’ coffee, featured in these very pages (see Masterclass, pages 34-35).However, professional celebrity tittle-tattlers, The Mirror’s 3am Girls, were less than impressed when they received the invitation from Andre’s management, Can Associates, to witness his flat white-making masterclass in a Costa store, as it featured a number of very specific stipulations:l “The interview will be about Costa Coffee and the event only.”l “3am online agrees to give Can Associates Limited full copy and headline approval of the interview.”l “3am online understands that no images of Katie Price can run with this feature, relating to this feature at all.”l “3am online, under all circumstances, must accompany the photographs of Peter Andre with positive text/captions/headings.”While most journo’s hackles would be raised by such demands, the 3am Girls devised a suitably withering response: “The reason this bothers us so much is because it’s Peter bloody Andre. Should it really be a special privilege to get a cup of coffee and five minutes of his time? He’d do well to remember that if it wasn’t for his marriage, he’d probably still be getting paid by Costa… it’s just that a barista’s salary has a few less zeros on it.” Ouch!
Pret A Manger CEO Clive Schlee has announced on his personal blog that the company’s temporary vegetarian pop-up will remain permanent in Soho, London.Veggie Pret was intended to open for one month in June, but extended throughout the summer due to an overwhelming response from consumers.Over 45 brand new vegetarian and vegan recipes have been developed for Veggie Pret and some of the top eight best-selling products have been suitable for vegans.Due to popular demand of ‘Veggie Pret’, the company has also indicated that it could open further vegetarian sites throughout the nation in the future.Schlee stated on his blog: “Twelve weeks ago, we opened Veggie Pret as a month-long pop up in Soho. We were so overwhelmed by the public response that we kept it open for the summer. I can now tell you that we’ve taken the decision to keep it open forever and, if we can, to open more Veggie Pret shops in the future.“We are now debating where to open the second Veggie Pret. The odds are that it will be a visible corner in the City of London, where we can convert an existing shop to a pop up and see if it resonates with City workers before deciding whether or not to make it permanent. I hope we can bring Veggie Pret to more cities in due course.”Over 20,000 customers have voted for which new recipes have “hit the spot” or “lost the plot” using iPads and a special voting wall in the shop, and via social media using #VeggiePret.Earlier this month, Pret A Manger opened its first motorway service shop, as part of a trial partnership with Welcome Break.
Load remaining images On Friday, Lettuce kicked off their two-night stand at Playstation Theater in the heart of New York City’s iconic Times Square. Fresh off the release of their new EP Mt. Crushmore this week, the band was at the top of their game, featuring their full arsenal of talented musicians: Adam Smirnoff, Jesus Coomes, Ryan Zoidis, Eric “Benny” Bloom, Neal Evans, Adam Deitch, Eric Krasno, and now-permanent member Nigel Hall.At the band’s Playstation Theater run last November, Nigel Hall was just a featured guest, coming in to sing a pair of soulful covers ahead of the release of his debut solo album, Ladies and Gentleman…Nigel Hall. This time around, now a regular member of the lineup, Hall and the rest of the band shined, delivering fan favorites new and old–cuts from the new release, jazzy, focused improv, and some sing-along covers, including “Everybody Wants to Rule the World” by British 80’s pop act Tears For Fears.For the encore, the band had a trick up their sleeve: Fresh off a performance of School Of Rock down the block, guitar prodigy Brandon “Taz” Niederauer joined the band to help them “crush” their Crush anthem “Sounds Like A Party”. Watch fan-shot video of the encore sit-in below, thanks to YouTube user Nick Fitanides:Lettuce is connecting right now–firing on all cylinders–and they’ve never sounded better. And with one more night in Times Square tonight, the party is just getting started.Check out photos from Lettuce’s night one dance party below courtesy of Capacity Images.
On April 15, 1862, poet Emily Dickinson began corresponding with critic Thomas Wentworth Higginson. Their fervent and revealing letters, written over 23 years, are now considered a landmark of American literature.Reclusive and shy, Dickinson was rarely published in her own lifetime (she died in 1886), and seldom left her family home in Amherst, Mass. But she is world-famous today for an oblique, vivid style whose interiority and unconventional punctuation anticipated the modernist poetry of T.S. Eliot, Ezra Pound, Mina Loy, Marianne Moore, and others.Dickinson, 31 years old when she began writing to Higginson, included four poems with her first letter. It began with a now-famous question: “Are you too deeply occupied to say if my Verse is alive?”At Harvard, her verse is alive all over again, courtesy of “Fugitive Sparrows,” an exhibit of Dickinson poems rendered as visual art. It is on display in the Woodberry Poetry Room in Lamont Library through May 2.The creator of the installation is Adams House art tutor Zachary Sifuentes ’97-’99. “Her lines behave like large flocks of sparrows,” he wrote in one exhibit card, “fugitive from apprehension.”Last year, Sifuentes, who is also a preceptor in Expository Writing at Harvard, was reading an index of first lines, which is the only way to access Dickinson’s untitled works. He discovered that the first lines, read together, “create new poems by themselves.”With many of her poems, added Sifuentes, “You can read the lines out of order, and they still make sense — to the extent Dickinson makes sense.”He attended an opening reception for the installation on Tuesday (April 6). With him were about 30 other people, old and young. Unlike many other forms of art, said Poetry Room curator Christina Davis, “Poetry is something you can age into.”In brief opening remarks, Davis — a poet herself — said the exhibit had inspired her to reread Dickinson’s letters. She quoted the poet’s famous opening question to Higginson, then reminded listeners of Dickinson’s not-so-famous following line, which itself anticipates a modernist literary sentiment: “The mind is so near itself — it cannot see.”Dickinson employed dashes abundantly in her poems, said Sifuentes. This graphical oddity of expression was like the poet “skipping a stone across a pond,” he said, not “delving into a subject so much as grazing it from different angles.”Sifuentes used different angles of his own — lenses, telescopes, a large-scale drawing, audio, a computer — to renew a reader’s experience of Dickinson’s poems.Three poem fragments, on placards under trees outside, are only seen through telescopes set up in the Poetry Room, whose windows overlook green space outside Houghton Library. “We noticed smallest things,” one fragment reads, peered at from afar. “Things overlooked before / By this great light upon our Minds … .”Two other poems, set in miniature type, can only be read through two vintage lenses in a display case. Included is a favorite of Sifuentes, one that “still terrifies me,” he said. “Drowning is not so pitiful,” it begins, “As the attempt to rise.”Another Dickinson poem, the familiar “This is my letter to the World / That never wrote to Me,” was set in type by Sifuentes, who teaches letterpress classes at Bow & Arrow Press in Adams House. The result is a “metal book,” he said, that can only be read in an accompanying mirror.The old lenses and spyglasses on display in the exhibit are on loan from the Collection of Historical Scientific Instruments at Harvard University. Sara Schechner ’79, A.M. ’82, Ph.D. ’88, the collection’s David P. Wheatland Curator, was on hand for the opening, ready to give a stand-up lesson on the old instruments.“I like my collaborations with other parts of Harvard,” she said of the first-time project on Dickinson. “It was fun to mix with poetry here.”Schechner, a historian of science, said the vintage lenses were variously meant to gather in, magnify, and project light. Pointing to one, she said, “it takes a lot of light and puts it in a small place,” acknowledging the apt analog to a great poem.One of the spyglasses belonged to the late Frances W. Wright, who taught astronomy and celestial navigation at Harvard from 1928 to 1971. Dickinson, a close observer who wrote 200 poems that touch on science, probably would have liked the idea of lenses and scopes being turned on her elusive work — so little spied in her own time.But unlike science, Dickinson’s poems hold back from an attempt at full revelation. Schechner observed that, as with telescopes so it is with poems: “One can get close — but only so close.”Scholars say her poems use science to amplify the wonder of nature, not to define its reductive essence. To Dickinson, that essence remained ineffable. “This World,” she wrote in one poem, “is not Conclusion.”The technical intercessions in “Fugitive Sparrows” are intended to interrupt “our normal ways of approaching and reading a poem,” said Sifuentes. The telescopes bring “you close, but you still have to focus and work and strive to actually read.”He focused and worked and strove on his own to complete the exhibit’s most ambitious rendering of Dickinson into visual art. It’s a 90-inch by 45-inch drawing made entirely from her 1,775 poems — all 160,000 words and 450,000 letters, with each line handwritten separate and apart.The project, said Sifuentes, cost him four months of effort — three or four hours a day, seven days of every week.“It became an impressionistic process,” he said, and one energetic enough to use up 73 pigment pens. The completed work resembles — well — a flock of sparrows. The result, Sifuentes wrote on an exhibit card, has a way of “turning sight into a metaphor for reading.”The lines in the drawing “behave the way her poetry does,” he also wrote of Dickinson, “tangential, acoustic, dwelling in a long and layered conversation. They take the form of hubbub on the eye.”Starting April 14, the Dickinson exhibit will get a kind of second life, with lines from her poems printed on the colorful plastic chairs that are scattered over Harvard Yard in good weather as part of the University’s “common spaces” initiative.“You can shuffle her lines around, and still create a poem,” said Sifuentes, who plans to record the rearranged chairs’ found poems every day.In the preface to an 1890 volume of Dickinson’s work, published posthumously, Higginson wrote that “she habitually concealed her mind, like her person, from all but a very few friends.”“Fugitive Sparrows,” supported by Lori Gross, associate provost for arts and culture, may help to reveal what Dickinson has concealed, and may make the shy poet a few more friends. Besides, the secret of Dickinson’s genius is well out, impossible to conceal again.Making that point, Davis quoted another of the poet’s incisive lines: “No bird resumes its egg.”The Poetry Room is open weekdays during Lamont Library hours, but is only staffed 9 a.m.-5 p.m.
Like many industries, it’s easy for financial services companies to get complacent and fall into lulls. We’ve all been there, you get into a process, you build out the process, you get comfortable with it and you don’t generally question the process.But we’re living in a new world order when it comes to security, risk, hacks and breaches, spanning cyberterrorism, identity fraud, nation states and the like – which all bring significant and dire consequences for financial services organizations and their customers.Data has become a commodity – and the reality is that data has a monetary value. Personal and identity-related data has an even higher monetary value. And financial services, whether that’s fintech, banking, credit reporting or others, all possess the highest-grade data available, putting the value associated with that data that much higher.What boggles my mind is that in this new world order of increasingly sophisticated threats, coupled with the rising value of data, why aren’t more financial services institutions making security a priority, and more so a continual priority since day one? Why aren’t they being more vigilant?The answer is threefold and it comes down to three big vices plaguing the financial services and the broader business communities:InertiaThe reality is that big companies generally don’t move very fast. There’s a tendency not to change things unless they’re broken, and that applies to everything from corporate policies to IT infrastructure. It can be a challenge to rationalize an investment in something that appears to be working well, whether it’s poorly architected or not.However, as the headlines have shown in recent months, it’s paramount that financial services organizations examine their authentication strategies, their encryption strategies, and their architectural strategies. This involves also putting good “cyber hygiene” strategies into play such as applying security patches and doing the due diligence to ensure architectures minimize risks with data at rest encryption, among others protective measures.No doubt it’s difficult to try and unwind a systemic culture of inertia, but getting continued investment for systems that just appear healthy may not be the greatest option longer term.HubrisNo one believes their company will be compromised, despite the overwhelming odds that almost everyone over time will be compromised. Just like the children of Lake Wobegon that are “greater than average,” many companies believe with confidence that their architecture and security will beat the odds. This is all the more so with large companies with strong track records of success. Again – as recent headlines show – security is not a “fix it and forget it” endeavor.NaivetéPeople in large companies too often want to bury their heads in the sand when it comes to security and risk and think “this couldn’t possible happen to me.”So where does the responsibility fall when it comes to security? Is it with the CSO? IT? The general manager? It’s really all of the above, in a true security crisis it’s useless to point fingers. Sure, the CSO is often the executive that takes responsibility, but they can’t be expected to defend everything and their budget isn’t limitless.For emerging financial services institutions, many of which may not have a strong security background, it’s a matter of engaging in a dialogue about what’s truly at risk when storing their customers’ personal information. This includes the holistic architecture that has been constructed and its long-term viability in an increasingly dynamic industry.Consider the three vices discussed above and have a frank and honest evaluation of whether your financial services organization might be guilty of any of them. Is there a good cyber strategy in place? Are new security patches being downloaded and installed? If massive corporations and credit reporting agencies such as…..well, you know them by now in the headlines….are being hacked and crippled by cybercriminals, what’s to stop your organization from being the next victim? If you don’t want your analytics, trading, or cloud platforms left without solid security, we welcome a deeper discussion around how not to be a #cybersecurity target.
Muhammad Yunus, the 2006 Nobel Peace Prize winner, spoke at the 2017-2018 Notre Dame Going Global Forum on Thursday night, addressing his work in social business. Yunus, who has been a pioneer in the realms of human development and microcredit, was named as this year’s recipient of the Ford Family Notre Dame Award for International Development and Solidarity.Prior to the presentation of the Ford Family Award, University President John Jenkins praised Yunus not only for his work in microcredit and microsavings, but also for his interest in social entrepreneurship.“Professor Yunus teaches us that a new way of doing business is possible,” Jenkins said. “One that leaves room for selflessness, for social concern and mutual responsibility. Economic development must not come at the expense of human dignity.”Ray Offenheiser, director of the Notre Dame Initiative for Global Development in the Keough School of Global Affairs, led the conversation with Yunus.Yunus discussed how his upbringing in Bangladesh exposed him to the economic and social issues he has fought to change throughout his life. Yunus said he saw how banks and the wealth distribution did not enable poor people to prosper.“What good is economics if it doesn’t solve the problems of the people around them,” Yunus said.Yunus felt overtaken by the concept of loansharking and the poor people who were victimized by the act, so he decided loan small amounts of money to these people himself in the form of a microloan.There are some academics who are skeptical of microfinance, Offenheiser said. However, Yunus said the system is very effective — the microloans are always eventually paid back by the borrowers.“The bank is owned by the borrowers themselves,” Yunus said. “This is the most well-managed bank in the whole country [of Bangladesh].”Despite Yunus’ development in microcredit, there is a “right” and “wrong” type of way to conduct this business, he said. Yunus warned against those who have taken his practices and ultimately used it for loansharking.“Economic services are like oxygen,” Yunus said. “If we don’t have oxygen, we cannot breathe, we cannot function. That’s what happens when we don’t have financial services. If you don’t have connection to the financial services, people cannot function. And then we call them poor people.”Yunus encouraged people to change the wealth distribution system. In order to aid human development, he said, it is necessary to make sure that wealth flows downward rather than upward.Tags: ford family notre dame award, going global forum, Keough School of Global Affairs, Muhammad Yunus
Sater persists. What if they did something “cool”? Sheik is game, but only if “the music is relevant to the culture at large.” At that moment, Sater recalls Spring Awakening, a play he first read in high school and later used for auditions. After reading the play, Sheik is sold. The pair snags a commission from the La Jolla Playhouse in California, but there’s a shift in leadership. Thanks to cutbacks and the events of September 11, 2001, the Roundabout Theatre Company and Connecticut’s Longacre Theater bow out. For two years, the musical has no producer. “It was a very difficult and arduous process,” admits Sheik, who frequently regrets getting involved. A roster of new and veteran actors (including Spring Awakening alums Krysta Rodriguez and Andy Mientus) is ready to unveil a bold new interpretation of a Broadway classic. What can audiences expect? “This is a really exciting new way to do the show,” Sheik tells Broadway.com. “And I love that the instruments are so integrated into the choreography. All that stuff has made it much more exciting to watch the show for me, personally.” Adds Arden: “It’s the most excited I’ve ever been about anything ever. It’s a company of 23 Broadway debuts, and so many incredible artists who would probably, unfortunately, never have the opportunity to be seen on a world stage. And now they’re going to be rock stars.” Spring Awakening is published in the United States, but its path to the stage is as laborious as it was in Germany. The first production is three years later at New York’s Irving Place. The Times dismisses the German-language production—its “lax construction” and subject matter doom it to obscurity. In 1917, an English-language production comes to the Thirty-Ninth Street Theatre. The City Commission of Licenses demands the production shut down just before curtain. The New York State Supreme Court intervenes. The first and only performance features walkouts as well as “rollings of the eye” and “many sniggers,” according to The Times. He also produces his own plays. At his own expense, Wedekind publishes his first play Frühlings Erwachen. (You might know it as The Awakening of Spring or Spring Awakening.) The shockingly blunt drama covers the sexual awakening of three adolescents. However, the play doesn’t hit the stage until 1906 when it is produced at Berlin’s Kammerspiele. (Wedekind also plays the Masked Man.) Despite the content—and attracting the annoyance of German censors on this and his other works—the play stays in the repertoire for 20 years and makes Wedekind a household name. Look that the “Blue Wind” has brought to the Great White Way: Deaf West’s revival of Spring Awakening! The new production, which features deaf actors and is performed simultaneously in spoken English and American Sign Language, bows September 27 at the Brooks Atkinson Theatre. The story behind this new take on a modern classic spans 150 years, two continents and eight Tonys. Let’s get started. Show Closed This production ended its run on Jan. 24, 2016 Spring Awakening Time does not increase Spring Awakening’s mainstream appeal. When the English Stage Society puts the show on privately, it is still “heavily censored” by the Lord Chamberlain. A year later, the National Theatre’s attempt to mount a “full version” is so riddled with discord that there’s a “permanent split” between its board and creative team, led by Laurence Olivier. In 1974, the National Theatre finally produces the first uncensored version in British history. A 1986 production in Toronto, starring children in the leading roles instead of professional actors, features walkouts during previews. “I expected to be arrested when I put this on,” director Derek Goldby says. “One-hundred [walk-outs] a night is nothing.” With Hulce on board, Spring Awakening gets a concert staging at Lincoln Center’s American Songbook series. That leads to a commitment from the Atlantic Theater Company. After an off-Broadway run, Spring Awakening opens at the Eugene O’Neill Theatre on December 10, 2006. This time The New York Times holsters its ire, calling the new musical a “straight shot of eroticism” and “haunting and electrifying by turns.” Spring Awakening wins eight Tony awards (including Best Musical), launches several careers (Lea Michele, Jonathan Groff), and runs for over two years. Related Shows Singer-songwriter Duncan Sheik and writer Steven Sater were brought together by a higher power. Both belonged to the same NYC Buddhist organization. “I came to his house to chant with him,” Sater told American Theatre, “and I stayed for five-and-a-half hours.” First, the pair collaborates on a song for Sater’s new play, Umbrage. That, in turn, inspires Sheik’s 2001 album, Phantom Moon. What will they do next? Sater mentions working on a theater project, a prospect that holds little interest for Sheik. “There is a pandering aspect to a lot of musicals, the sense that they ought to be fun with a capital F,” Sheik later tells The New York Times.” View Comments David Kurs, the artistic director of Deaf West Theatre, approaches Michael Arden about directing a show for the Los Angeles-based company. Arden suggests Spring Awakening. Initially, Kurs balks at another production of the popular show, which has made its way to high schools. He comes around. “The musical moments are very clear,” Kurs tells American Theatre. “We have this wonderful dialogue switching into the musical moments, and that really helps our deaf audience understand the story.” The show plays two different engagements in Los Angeles and receives raves. “It’s hard to enumerate all the ways in which the Deaf West’s Awakening is so very, very good,” The Los Angeles Times gushes. A big fan of the production is Broadway producer Ken Davenport. “About seven seconds after the curtain went up,” he decides Deaf West’s show is headed east. Spring Awakening director Michael Mayer tells Tony-nominated actor and aspiring producer Tom Hulce about Sheik and Sater’s attempt to meld contemporary songs with the play’s 1890’s Germany setting. Hulce, a longtime admirer of Wedekind’s play, loves the idea. Years later, Sheik contributes the score and two songs (with Sater) to 2004’s At Home at the End of the World. Mayer directs the film, which Hulce produces. The month the film is released, Hulce offers to help the duo “complete the adventure…wherever it might take us.” Frank Wedekind is born in Hannover, Germany, though he spends a good chunk of his youth in a castle in Switzerland. Wedekind moves to Munich in 1884. He has an eclectic work history: advertising manager, circus secretary, journalist for a satirical weekly and cabaret performer. “Mostly,” John Simon explained in his review of Wedekind’s diary, “he would rise at noon, see people in the afternoon, have dinner with friends, go to a theater or cabaret or opera house, then drink in good company till early morning.”