Can salmonids (Oncorhynchus spp.) be identified to species using vertebral morphometrics?

Remains of anadromous Pacific salmon and trout (genus Oncorhynchus) are common in archaeological sites from California to Alaska; however, morphological similarity generally precludes species identification, limiting the range of questions that salmonid remains can address in relation to past human use and ongoing efforts in conservation biology. We developed a relatively simple, rapid, and non-destructive way to classify salmon and trout vertebrae from archaeological contexts to species using length, height and the ratio of length to height. Modern reference material was obtained from all seven anadromous Oncorhynchus species native to the west coast of North America. A minimum of ten adult Chinook (Oncorhynchus tshawytscha), chum (Oncorhynchus keta), coho (Oncorhynchus kisutch), pink (Oncorhynchus gorbuscha), and sockeye salmon (Oncorhynchus nerka) and cutthroat (Oncorhynchus clarki clarki) and steelhead trout (Oncorhynchus mykiss) were skeletonized and vertebra length and height were measured. Morphometric analyses compared species classification success based on Linear Discriminant Analysis (LDA), Classification and Regression Trees (CART), and randomForest, with CART performing the best. Classification analyses used all seven species individually, but because of considerable overlap among several species we also conducted analyses on four species groupings. We assigned Chinook salmon and cutthroat to their own groups based on their dissimilarities from each other and the other species. The remaining species were divided into two group complexes (a) chum, coho, and steelhead; and (b) pink and sockeye. When we grouped species according to similar morphology, CART overall success rates increased, ranging from 92 to 100%. Individual species with the highest successful classification rates using CART were Chinook salmon and cutthroat, from 92 to 100%, respectively. We applied our classification to an assemblage of ancient (1000–3000 year old) salmonid vertebrae from the Swiftwater Rockshelters excavations on the upper Wenatchee River in Washington State, U.S.A.     

Textiles as the Face of Modernity: Artistry and Industry in Mid-Century America

This article examines the rise of a new profession of textile designer-intermediary in mid-twentieth-century America in light of the nation’s advancements in textile production, design, display and promotion. Unlike William Morris’s nineteenth-century call for a return to handcrafts to combat the evils of the British Industrial Revolution, American textiles were promoted as the face of modernity to reflect and exploit the miracles of technology. Emerging from these developments came the ‘Super Designers’ and ‘Techno-Craftsmen’, as designers Jack Lenor Larsen and Boris Kroll referred to them, who united handcraft sensibilities with good design and mass production.¹ These traits were also shared by weavers such as Anni Albers, Dorothy Liebes and Marianne Strengell, and designers of printed textiles such as Alexander Girard and Alvin Lustig. Despite an increasing reliance on mechanization, their textiles provided a human element — through texture, colour, pattern and connections to the past — to foil the threat of robotic mass production and mindless monotony. Working as corporate heads, industrial consultants, cultural ambassadors and textile collectors and connoisseurs, these designers emphasized in their work and writing the value of well-designed textiles for both visual and utilitarian purposes, collectively advancing contemporary textiles as ideal representatives of modern American design.     

La théorie des éléments de Christophorus Clavius et l'idée du globe terraqué

Christophorus Clavius' Theory of the Elements and the Idea of the Terraqueous Globe. The need to reconcile Aristotle's theory of elementary spheres with the evidence of earth above sea level – the so‐called ‘terra firma’ – induced an important conceptual shift. As a consequence anti‐Aristotelian arguments were brought to the fore in order to be incorporated into the very same Aristotelian tradition. The German Jesuit Christophorus Clavius played a momentous role in this process. He introduced the idea of the terraqueous globe into the Scholastic cosmology, modifying the logical frame of Aristotelian physics. The present work analyses Clavius' theory as well as the procedures he considers to reach his purpose. He used a combinatorial approach to study the relations occurring between the four elements – earth, water, air and fire – and analysed their relations from a physical perspective, proposing a possible structure of the sublunary world.     

Have Taught a Foreign Language in Elementary Grades

The cultural democratization of post-Franco Spain meant the removal of the division between high and low culture. Such democratization of Spanish culture meant a new concept of culture in which, as stated by the postmodern motto, “everything goes,” and that in television translated as the proliferation of reality shows and trash TV and in literature as non-intellectual publications aimed at entertaining readers. Belén Esteban's work Ambiciones y reflexiones (2013) is a good example. I make use of this work to prove that what has traditionally been considered as “low culture” is not necessarily a culture inferior to “high culture” in Spain today. Thus I underline the necessity of replacing the term “low culture” or counterculture for “postculture.” The methodology I utilize is made up mostly of the critical theories of Helen Graham and Jo Labanyi regarding the dichotomy between high and low culture, Cristina Moreiras-Menor's postulate about the need for accepting show culture and consumer culture in Spain due to the split with the dictatorial past this culture signifies, and Mario Vargas Llosa’s rejection of present-day mass culture, a rejection that the aforementioned theorists challenge. Additionally, I support my study with José Álvarez-Junco's premises regarding the difficulty of defining national identity, a crucial topic in Ambiciones y reflexiones and which is related to the high/low culture dichotomy. Luis Moreno-Caballud’s criticism about democracy and its meaning in our neoliberal cultural market complements the critical methodology of this analysis.