View allAll Photos Tagged Extinct,
Superdomain: Neomura
Domain: Eukaryota
(unranked): Opisthokonta
(unranked) Holozoa
(unranked) Filozoa
Kingdom: Animalia
Subkingdom: Eumetazoa
(unranked): Bilateria
(unranked): Protostomia
Superphylum: Lophotrochozoa
Phylum: Mollusca
Subphylum: Conchifera
Class: Cephalopoda
Subclass: †Orthoceratoidea
Order: †Orthocerida
Family: †Proteoceratidae
Genus: †Treptoceras
Species: †T. duseri
Superdomain: Neomura
Domain: Eukaryota
(unranked): Unikonta
(unranked): Obazoa
(unranked): Opisthokonta
(unranked) Holozoa
(unranked) Filozoa
Kingdom: Animalia
Subkingdom: Eumetazoa
Clade: ParaHoxozoa
Clade: Bilateria
Clade: Nephrozoa
Superphylum: Deuterostomia
Phylum: Chordata
Subphylum: Cephalochordata
Class: Leptocardii
Order: Amphioxiformes
Family: Branchiostomatidae
Genus: †Palaeobranchiostoma
Species: †P. hamatoterga
Mt Eden's summit crater and downtown Auckland city
From the book Our Mountains. www.ourmountainsbook.wordpress.com
Extinct monsters and creatures of other days : a popular account of some of the larger forms of ancient animal life / by Rev. H. N. Hutchinson. With illustrations by J. Smit, Alice B. Woodward, J. Green, Charles Knight, and others.
London : Chapman & Hall, 1910.
Posemètre à extinction d'écran "intégralement français", exemplaire n° 2340 aluminium émaillé et laiton nikelé (sic), échelles gravées. 8 cm, 60 g. Livré en étui aluminium avec notice 8 pages.
"Lire le temps de pose, en regard de l'ouverture du diaphragme, lorsque la lueur est sur le point de s'éteindre brusquement"
Bourse de matériel photographique, 31 octobre 2015, St-Bonnet de Mûre (Rhône)
Left: Chesapecten nefrens
Miocene
Choptank Formation
Calvert Cliffs, Maryland
Right: Chesapecten jeffersonius
Pliocene
Yorktown Formation.
Yorktown, Virginia
Quite an amazing new fossil skeleton of an extinct mammal seems to have appeared at the Natural History Museum.
An extinct genus of ungulates which lived from the Late Eocene to the earliest Oligocene.
Dinosaur Court
This series of sculpted dinosaurs and extinct mammals was commissioned in 1854 and unveiled in 1856. This was designed to accompany the Crystal Palace in its new home in Bromley.
The beasts were built by Benjamin Waterhouse Hawkins, and were the first of their kind. Hawkins was assisted with Sir Richard Owen providing some technical guidance on the dinosaurs.
The design of some of these dinosaurs are rather innacurate, but others are believed to be quite realistic.
Crystal Palace Park came from the Penge Place estate when, in 1854, the Crystal Palace was moved from Hyde Park (where it was set up in 1851 for The Great Exhibition).
The Crystal Palace was designed by Joseph Paxton, who also played a role in the relocation and designing the new site with its Italian gardens and terraces.
The area waned in the late c19th, and despite hosting the Festival of Empire in 1911, the managing company declared bankruptcy. In 1913 the Earl of Plymouth purchased it to save it, and a public supscription was raised to purchase it for the nation.
It was a naval training ground during the Great War, after which it was the first Imperial War Museum.
The 1920s saw a programme of restoration and rejuvenation, but 30 November 1936 an office fire broke out and the building burned down.
Since then the Park has hosted various events and partial development. Today it is primarily a public park.
Taken in Crystal Palace
Extinct monsters : a popular account of some of the larger forms of ancient animal life / by Rev. H. N. Hutchinson ... with illustrations by J. Smit and others.
London : Chapman & Hall, 1896.
These are two 'twin volcanoes', Grábrók,(in the bacground), and Grábrókarfell, both now forever (?) resting. Although not so impressive in size they pumped out a lot of lava which until this day gives its surrounding a very distinctive black look (seen on some other photos in this stream, eg. www.flickr.com/photos/39802802@N08/3886975012/ ).
The moment of extinction is generally considered to be the death of the last individual of the species, although the capacity to breed and recover may have been lost before this point.
An extinct volcano on the western side of the island of San Miguel in the Azores - the remains of the crater can clearly be seen at the top right .
Extinct monsters : a popular account of some of the larger forms of ancient animal life / by Rev. H. N. Hutchinson ... with illustrations by J. Smit and others.
London : Chapman & Hall, 1896.
Extinct monsters and creatures of other days : a popular account of some of the larger forms of ancient animal life / by Rev. H. N. Hutchinson. With illustrations by J. Smit, Alice B. Woodward, J. Green, Charles Knight, and others.
London : Chapman & Hall, 1910.
lucky enough today to get INTO the wolf exhibit at our zoo. red wolf, only 17 left...they are extinct. they didn't like people in their cage with them, so very skittish. they are going to breed them and put them back into the wild.
Records and Wireframes presents moving image works by artists Paul Dolan (UK) and Paul Walde (Canada) alongside skeletal remains of the extinct Tasmanian Tiger, on loan from the collection of the University of Dundee’s D’Arcy Thompson Zoology Museum. Curated for NEoN by artist Kelly Richardson to accompany her exhibition at DCA, ‘The Weather Makers’, ‘Records and Wireframes’ explores themes around climate change and screen culture with allusions to the past, present and future.
In the expansive video installation Requiem for a Glacier (2013), Paul Walde memorialises British Columbia’s Jumbo Glacier, or “Qat’muk”, now under immediate threat from global warming and resort development. The work shows a four-movement oratorio performed by an orchestra and chorus atop the area’s Farnham Glacier. Over thirty-seven minutes, Requiem for a Glacier features panoramic glacier views alongside the oratorio that was composed by converting data such as temperature records for the area, into musical notation.
Requiem for a Glacier (2013), Paul Walde
The theme of disappearing landscapes, and data as a form of media archaeological artifact, continues in Paul Dolan’s real-time video work, Wireframe Valley (2017), which presents the gradual disappearance of a digitally constructed landscape, revealing its virtual origins. The defining features of the landscape degrade over the exact duration of the exhibition. In the context of global warming, where the physical planet is increasingly incapable of sustaining life as we know it, our refuge amongst digital environments may not placate us for long.
Wireframe Valley (2017), Paul Dolan
Should we fail to alter our course, predictions for the fallout from large-scale, unchecked industry are nothing short of terrifying. Some scientists believe that a 6th mass extinction event is already underway through the “biological annihilation” of wildlife in recent decades. Recent studies suggest that the Tasmanian Tiger’s extinction in the 1930s was itself caused by drought.[1] Due to human overpopulation and overconsumption, roughly 50% of the earth’s wildlife population has been lost during our lifetime. A recently published study in the peer-reviewed journal Proceedings of the National Academy of Sciences forgoes the usual sober tone and refers to the gravity of the loss as a “frightening assault on the foundations of human civilisation”. [2]
Carrying on from themes explored in Kelly Richardson’s exhibition The Weather Makers at DCA, Records and Wireframes shows the work of artists who, through their art, are creating digital records expressing how we understand our world today. These art works, like the fragmented thylacine skull, may become artifacts that future archaeologists consider in their search to appreciate how, in 2017, inhabitants of Earth understood the global environmental crisis facing them.
About the Artists
Paul Walde is an intermedia artist, composer, and curator. His work has been exhibited across the United States and Canada, including View From Up Here: The Arctic at the Center of the World at the Anchorage Museum, Anchorage, USA (2016), All Together Now at the University of Toronto Art Centre in Toronto, Canada (2014); Beyond/In Western New York (2007), a biennial organised by the Albright Knox Gallery in Buffalo, USA;. His work is held in several Canadian and American collections including the Museum London, Canada and the Anchorage Museum, Anchorage, USA. Walde currently lives and works in Victoria, British Columbia, where he is Associate Professor of Visual Arts and Department Chair at the University of Victoria.
Paul Dolan is an artist, animator and musician, interested in the materiality of media and how it relates to ideas surrounding ‘nature’ and ‘environment’. He is a current PhD candidate at Northumbria University where he is exploring changing notions of materiality within computer simulation-related contemporary art. Wireframe Valley (originally from 2015, reproduced in 2017) was commissioned by Queens Hall (Hexham, England) and included in the exhibition Land Engines alongside established artists using video game design tools to create works that explore computer generated landscapes, including David Blandy (UK), Jen Southern (UK) and Mark Tribe (USA). He currently lives and works in North East England, where he is Senior Lecturer of Animation at Northumbria University.
Supported by the High Commission of Canada to the United Kingdom
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[1] www.theguardian.com/science/2017/sep/28/tasmanian-tigers-...
[2] Gerardo Ceballos, Paul R. Ehrlich, and Rodolfo Dirzo (2017) ‘Biological annihilation via the ongoing sixth mass extinction signalled by vertebrate population losses and declines’ Proceedings of the National Academy of Sciences of the United States of America. See www.pnas.org/content/114/30/E6089 Accessed: 25/09/17.
Opening Preview Thursday 9 November 5pm – part of our Gallery Tours and Exhibition Opening Night programme
CENTRESPACE
Dundee Contemporary Arts
152 Nethergate
DD1 4DY
Extinct and Endangered Species
These two 'wide front' (as opposed to the narrow 'tricycle front' type) tractors are part of a vanishing legacy. Due to mergers, bankruptcies and "Getting back to our core businesses," neither of these companies makes tractors for the small farm consumer. Oliver vanished in the 1970s and Allis Chalmers now supports oilfield operations.
James Oliver began casting chilled iron plows in the 1860s, shortly after the American Civil War. Early in the 20th Century, Oliver began to make plows for Henry Ford's tractors, but as Ford concentrated more on automobile production, Oliver's son John ('J.D.') merged his company with four other agricultural tool manufacturers, notably the Hart-Parr Tractor Works. In 1962, the White Motor Corporation (a separate company that evolved out of R.H. White's invention of a steam 'car') purchased the Oliver Farm Equipment Company. In 1976, Oliver Tractors ceased existence as a separate entity and even White no longer markets farm tractors.
The Allis-Chalmers Manufacturing Co. of West Allis, WI built their Model B from 1938 to 1957. Designed by Clifford Brooks Stevens, who also designed one of the Studebaker Hawk models, later Harley-Davidson motorcycles and Oscar Mayer's Wienermobile.
Giant ground sloth fossil. Natural History Museum, South Kensington, London. It is believed to have persisted into recent times in island habitats.
Seminole Canyon State Park, Val Verde County, Texas. One of the more remote state parks, tucked into the southwest corner of Texas about an hour's drive west of Del Rio.
This area has been inhabited since the very earliest days that humans set foot in North America, going back nearly 12,000 years - back during the last Ice Age when the land was more verdant with now-extinct animals still roaming the surrounding prairies and forest. But over the millenia, the climate changed to its current, arid desert landscape - and the Indians adapted.
All through these years, the local Indians drew pictograms all over the surrounding canyon walls and caves. In the dry climate, protected by overhanging rock walls, many of these pictograms survived through the ages. Some of the more famous sites, such as the Fate Bell and Panther Cave, are the feature attractions of Seminole Canyon, and can be visited by guided tour through the park.
However, I have not yet visited these sites - instead focusing on other areas of the park. On the first visit (March 9th, 2008), I arrived after the park had closed for the day. I walked along the short 'Windmill Trail', a small loop near the visitor's center. This trail leads down to a small year-round spring and the ruins of a water catchment system that was used by local settlers over the past hundred years.
The return trip (September 27, 2008) was much more fruitful - I chose to hike the Rio Grande River Trail, a six-mile out-and-back loop that leads to the far corner of the park, almost a stone's throw from Old Mexico. With recent rains it was fairly lively and green, with countless butterflies passing through on their annual migration. The trail starts alongside the original 'Loop Trail', the 1882 railroad alignment that was abandoned a decade later when a less strenuous route was forged and the Pecos River High Bridge was built.
The trail itself is pretty boring - a flat, featureless hike across a nondescript desert plain. But the main highlight of the hike quickly comes into view. There is a mile-long spur shooting off to the left called the Pressa Trail, which leads to an overlook looking down at a three-way intersection in the Seminole Canyon below. Here, the waters from Lake Amistad many miles away along the Rio Grande peter out; to the right, the waters are wide and deep, muddied from the recent rainstorms. To the left, the two forks of Seminole Canyon are mostly dry. From the top of the overlook, sheer cliffs lead staight down over a hundred feet to the waters below. The view is, well, *breathtaking* - and worth the trip.
Back on the main trail, a few miles later it comes to an abrupt end at the junction where Seminole Canyon merges with the Rio Grande. The location overlooks the Panther Cave pictograms, on the opposite shore far below, accessible only by boat. To the right, a few hundred yards away, are the hills of Mexico. Here, the water is deeper, the canyons steeper, the chasm wider. An impressive view, although not as amazing as the Pressa Trail overlook.
From here, it is a straight hike back along the south portion of the loop, my only companion a great horned toad trying to hide in the gravel of the trail. I would like to return to this park to take the guided tours, and there are other tours available nearby on private land to other pictogram sites as well. And I am told this park is also fabulous for bird watchers as well.
Recurvirostra Avosetta - Extinct in Britain for more than a 100 years due to loss of habitat and predation for their eggs and feathers, they reemerged during World War II when reclaimed land was returned to salt marsh to make things difficult for invaders.
Superdomain: Neomura
Domain: Eukaryota
Clade: Amorphea
(unranked): Obazoa
(unranked): Opisthokonta
(unranked) Holozoa
(unranked) Filozoa
Clade: Choanozoa
Kingdom: Animalia
Subkingdom: Eumetazoa
Clade: ParaHoxozoa
Clade: Bilateria
Clade: Nephrozoa
Superphylum: Deuterostomia
Phylum: Chordata
Clade: Olfactores
Subphylum: Vertebrata
Infraphylum: Gnathostomata
Clade: Eugnathostomata
Clade: Teleostomi
Superclass: Tetrapoda
Clade: Reptiliomorpha
Clade: Amniota
Class: Mammalia
Clade: Theriimorpha
Clade: Theriiformes
Clade: Trechnotheria
Clade: Cladotheria
Clade: Zatheria
Clade: Tribosphenida
Clade: Eutheria
Infraclass: Placentalia
Clade: Exafroplacentalia
Magnorder: Boreoeutheria
Superorder: Laurasiatheria
(unranked): Scrotifera
Grandorder: Ferungulata
Clade: Ungulata
Order: Artiodactyla
Clade: Artiofabula
Clade: Cetruminantia
Clade: Cetancodontamorpha
Suborder: Whippomorpha
Clade: Cetaceamorpha
Infraorder: Cetacea
Parvorder: Mysticeti
Superfamily: Physeteroidea
Family: Kogiidae
Genus: †Praekogia
Species: †P. cedrosensis