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Anti-icing properties of polar bear fur
The polar bear (Ursus maritimus) is the only Arctic land mammal that dives into water to hunt. Despite thermalinsulation provided by blubber and fur layers and low Arctic temperatures, their fur is typically observed to be freeof ice. This study investigates the anti-icingproperties of polar bear fur. Here, we show that polar bear fur exhibitslow ice adhesion strengths comparable to fluorocarbon-coatedfibers, with the low ice adhesion a consequence ofthe fur sebum (hair grease). Lipid analyses reveal the presence of cholesterol, diacylglycerols, anteisomethyl-branchedfatty acids, and the unexpected absence of squalene. Quantum chemical calculations predict low iceadsorption energies for identified lipids and high adsorption for squalene, suggesting that sebum composition isresponsible for the observed anti-icingproperties. Our work enhances understanding of polar bears and their interactionswith their environment and builds on Inuit knowledge of natural anti-icingmaterials.The polar bear (Ursus maritimus) is the only Arctic land mammal that dives into water to hunt. Despite thermal insulation provided by blubber and fur layers and low Arctic temperatures, their fur is typically observed to be free of ice. This study investigates the anti-icing properties of polar bear fur. Here, we show that polar bear fur exhibits low ice adhesion strengths comparable to fluorocarbon-coated fibers, with the low ice adhesion a consequence of the fur sebum (hair grease). Lipid analyses reveal the presence of cholesterol, diacylglycerols, anteisomethyl-branched fatty acids, and the unexpected absence of squalene. Quantum chemical calculations predict low ice adsorption energies for identified lipids and high adsorption for squalene, suggesting that sebum composition is responsible for the observed anti-icing properties. Our work enhances understanding of polar bears and their interactions with their environment and builds on Inuit knowledge of natural anti-icing materials
Surveying the landscape of COVID-19 web collections in European GLAM institutions
During the coronavirus (COVID-19) pandemic, defined for this chapter as January 2020 to May 2023, cultural heritage institutions undertook significant efforts to document this unprecedented era for posterity. This chapter focuses on how these institutions have documented the pandemic online, detailing a survey conducted by the WARCnet project in 2022, which explored COVID-19 web collection strategies by Galleries, Libraries, Archives, and Museums (GLAM) institutions in Europe, analysing responses from the UK, Belgium, and other European countries
Exploring DNA degradation in situ and in museum storage through genomics andmetagenomics
Assessing spatially explicit long-term landscape dynamics based on automated production of land category layers from Danish late nineteenth-century topographic maps in comparison with contemporary maps
Historical topographical maps containvaluable, spatially and thematically detailed informa-tion about past landscapes. Yet, for analyses of land-scape dynamics through geographical informationsystems, it is necessary to “unlock” this informationvia map processing. For two study areas in northernand central Jutland, Denmark, we apply object-basedimage analysis, vector GIS, colour image segmen-tation, and machine learning processes to producemachine-readable layers for the land use and landcover categories forest, wetland, heath, dune sand,and water bodies from topographic maps from thelate nineteenth century. Obtained overall accuracywas 92.3%. A comparison with a contemporarymap revealed spatially explicit landscape dynamic
KNV01585-01 Greve Main 27
Forud for udstykning til erhvervsbebyggelse på 1,2 ha forundersøgte Museum Sydøstdanmark området. Der fremkom perifer bopladsaktivitet i form af gruber, kogegruber (heriblandt en kogegruberække) og en brønd. Området blev efter forundersøgelsen frigivet
Remote Places and Twilight Hours:Viggo Johansen's Landscapes
Viggo Johansen (1851-1935) var en særlig skagensmaler. Berømt på sin egen tid og stadig virtuos og aktuel, når øjnene hviler på ham i dag. Imidlertid er han ikke i eftertiden blevet kanoniseret i samme grad som dem, han malede i nærheden af: P.S. Krøyer, Anna Ancher, Michael Ancher og resten af dansk kunsts absolutte top i slutningen af 1800-tallet