Five Continents Museum

ABSTRACT Artificial intelligence (AI) is being increasingly applied in the geosciences, particularly in fields like mineralogy, where it supports tasks such as mineral classification, automated thin‐section image analysis, or mineral exploration targeting. Such tasks require large structured and standardized data sets, which are currently not available. We build two databases to fill this gap: (i) MRMinerals contains a list of the 400 most common and geologically significant minerals, including major rock‐forming minerals, key accessory minerals, and economically important ore minerals with machine‐readable formulas as the key feature. (ii) MineralTD contains a large training data set with 10,000+ compositions for each of the 400 minerals in MRMinerals. MineralTD is split into two subdatasets: MineralTDMeasured and MineralTDSynthetic . MineralTDMeasured contains approximately 140,000 mineral compositions from the open‐access geochemical databases and repositories GEOROC, Pangaea, PetDB, RRUFF, and ESMD. MineralTDSynthetic contains synthetic mineral compositions, generated using machine‐readable formulas from MRMinerals, with at least 10,000 compositions per mineral. MineralTD is annotated with metadata, such as mineral frequency, rock classification, data source, and methods used to provide a full understanding of the individual data set. The MRMinerals and MineralTD are ready‐to‐use open access data sets that enable scalable, data‐driven research in mineralogy, e.g., ML applications.

Abstract The so-called “Solnhofen limestones” of southern Germany are widely recognized for their abundance of Late Jurassic fossil vertebrates, with pterosaurs being no exception. Within the recognized plenitude of the pterosaurs within this assemblage, although ctenochasmatid remains are relatively abundant, gnathosaurines are scarce, with only one known Solnhofen representative of the group known thus far. The Late Kimmeridgian locality of Brunn (near Regensburg, Germany) represents the oldest locality of the Solnhofen complex (“Solnhofen Archipelago” in recent literature), with only one pterosaur having been described from this locality to date. Here, a second pterosaur taxon from within this locality and a new gnathosaur is introduced, Spathagnathus roeperi gen. et sp. nov., whose novel tooth and dental enamel features add to the known dental diversity for the group. The new taxon represents the oldest occurrence of a gnathosaurine and contributes to the paleoenvironmental stratigraphic range for the Gnathosaurinae within the overall fossil assemblage of the Solnhofen Archipelago. Furthermore, the new taxon adds to the known diversity of ctenochasmatids in the Late Jurassic and underlines the importance of this early radiation of pterodactyloid pterosaurs during this time.

The Miocene Hegau volcanic field in southern Germany situated 60 -70 km east of the Rhinegraben, is part of the Tertiary-Quaternary extension-related magmatic province of western and central Europe.Magmatism in the European continental rift zone exhibits a

A comprehensive and updated catalog of the genus Glenea Newman, 1842 is presented with the key to the sub-genera for Philippine species. The genus counts 87 species (77 species and 10 subspecies), ranged in seven subgenera. Glenea caraga invittaticollis Breuning, 1966 rest. status = Glenea caraga subvittaticolis Breuning, 1968 n. syn. (un. repl. nom).

The development of folk crafts in Russia was closely connected with the formation of handicrafts museums that performed complex tasks of preserving, studying and promoting folk art. The study of their history today is one of the problems that have not yet been sufficiently studied in museology. Handicrafts museums were considered by researchers primarily in the general historical context of the influence of state policy and provincial zemstvos on the development of handicraft industry in Russia. However, the phenomenon of handicrafts museums remains insufficiently studied from the point of view of history and the theory of museum work. The type of the handicrafts museum has not yet been singled out as an actual form of the museum institution of the last quarter of the XIX – the first third of the XX centuries, which spread in several provinces of the Russian Empire. The purpose of the article is to review the main activities of the Moscow Handicrafts Museum - an example of the formation of new types of museums in Russia and their influence on the development of folk crafts in the second half of the 19th century – the first third of the 20th centuries. Moscow Handicrafts Museum opened in 1885. His task was to fully promote the development of folk art and the implementation of handicrafts. One of the main features and goals of creating the Handicrafts Museums in the Russian Empire was the formation of an established system of state patronage over the peasants who were freed from serfdom and promotion of their involvement in the new sector of the economy. The museum staff formed the museum collection, actively participated in organizing the training of folk craftsmen, arranging production workshops, became intermediaries in the art market, and was engaged in active exhibition work around the world, especially at large industrial fairs. In the 1890–1910s, the case started in Moscow spread quickly to almost the whole country. Handicrafts museums immediately arose in several provinces of Russia. One of the program documents of that period was the concept of the development of the Handicrafts Museum, proposed in a report of Sergey Morozov in 1910. Thus, at the beginning of the twentieth century in Moscow, the structure of an effective museum was formed, aimed at systematic work with folk crafts and successfully involving a wide range of partners: artists and scientists, merchants and foreign industrialists. Thanks to the assistance of handicrafts museums in Russia in the late XIX – early XX centuries traditional folk crafts were able to survive and be adequately represented throughout the world. The aesthetic significance of folk art has been recognized. The study of folk art has become an important subject of scientific research. All aspects of the multifaceted history of the formation and development of handicrafts museums and their role in the socio-economic and cultural development of Russia are of great scientific interest and require careful further study.

Gottfried Lindauer’s New Zealand: The Māori Portraits, Ngahiraka Mason and Zara Stanhope (eds) (2016) Auckland: Auckland University Press, 284 pp., ISBN 978 1 86940 856 5 (hbk), NZ$75 Strangers Arrive: Emigrés and the Arts in New Zealand, 1930–1980, Leonard Bell (2017) Auckland: Auckland University Press, 320 pp., ISBN 978 1 86940 873 2 (hbk), NZ$75 Bloomsbury South: The Arts in Christchurch 1933–1953, Peter Simpson (2016) Auckland: Auckland University Press, 364 pp., ISBN 978 1 86940 848 0 (hbk), NZ$69.99 Photographies calédoniennes d’antan: Des premiers contacts à la Grande guerre (1848–1918), Frédéric Angleviel (2017) Noumea: Pacific Footprint, 208 pp., ISBN 978 2 90816 620 0 (pbk), CFP 3900 Working Lives c.1900: A Photographic Essay, Erik Olssen (2014) Dunedin: University of Otago Press, 176 pp., ISBN 978 1 87757 851 9 (pbk), NZ$50 Dancing With the King: The Rise and Fall of the King Country, 1864–1885, Michael Belgrave (2017) Auckland: Auckland University Press, 452 pp., ISBN 978 1 86940 869 5 (hbk), NZ$65 In Haste with Aloha: Letters and Diaries of Queen Emma, 1881–1885, David W. Forbes (ed.) (2017) Honolulu: University of Hawai‘i Press, 256 pp., ISBN 978 0 82485 783 7 (pbk), US$45 Conciliation on Colonial Frontiers: Conflict, Performance, and Commemoration in Australia and the Pacific Rim, Kate Darian-Smith and Penelope Edmonds (eds) (2015) Abingdon, Oxon: Routledge, 256 pp., ISBN 978 0 41574 430 0 (hbk), £120 The Empires’ Edge: Militarization, Resistance and Transcending Hegemony in the Pacific, Sasha Davis (2016) Athens, GA: University of Georgia Press, 176 pp., ISBN 978 0 82034 735 6 (pbk), USD$22.95 Discovery and Empire: The French in the South Seas, John West-Sooby (ed.) (2013) Adelaide: University of Adelaide Press, 302 pp., ISBN 978 1 92206 453 0 (pbk), AU$55 Doctors in Denial: The Forgotten Women in the ‘Unfortunate Experiment’, Ronald W. Jones (2017) Dunedin: Otago University Press, 248 pp., ISBN 978 0 94752 243 8 (pbk), NZ$39.95 To the Mountains, a Collection of New Zealand Alpine Writings, Laurence Fearnley and Paul Hersey (eds) (2018) Dunedin: Otago University Press, 372 pp., ISBN 978 1 98853 120 5 (hbk), NZ$45 Rugby: A New Zealand History, Ron Palenski (2015) Auckland: Auckland University Press, 462 pp., ISBN 978 1 86940 836 7 (pbk), NZ$69.99 Good-Bye Maoriland: The Songs and Sounds of New Zealand’s Great War, Chris Bourke (2017) Auckland: Auckland University Press, 308 pp., ISBN 978 1 86940 871 8 (pbk), NZ$59.99 Hard Frost: Structures of Feeling in New Zealand Literature 1908–1945, John Newton (2017) Wellington: Victoria University Press, 368 pp., ISBN 978 1 77656 162 9 (pbk), NZ$40 The Expatriate Myth: New Zealand Writers and the Colonial World, Helen Bones (2018) Dunedin: Otago University Press, 242 pp., ISBN 978 1 98853 117 5 (pbk), NZ$35 Freelove, Sia Figiel (2016) Honolulu: Lō’ihi Press, 240 pp., ISBN 978 0 98225 355 7 (pbk), US$24.98

The post-9/11 wars have brought forth a new generation of military veterans in the US and rekindled debates about social and psychological problems related to war experience. These veterans produced a plethora of firsthand war narratives in diverse genres and media. This article explores how public discourse about civil-military relationships, war experience, and trauma, simmering since the domestic divisions over Vietnam, turned to such first-person narratives in recent years to discuss the psychological costs of war and homecoming. It interprets the proliferation of veterans’ writing projects as part of a civic activist movement that, postulating a social crisis in civil-military relationships, seeks to address veterans’ social and emotional struggles through community (re)building and social therapy. The writing projects promote themselves as a means to bridge the experiential gap between civilians and veterans and, in doing so, they enact social reintegration.

The Bundeswehr Museum of Military History in the north of Dresden will be the largest military history museum in Germany. Before German reunification, the museum buildings housed the Museum of the National People’s Army. Its collections and premises were later transferred to the Bundeswehr. Following an international competition, American architect Daniel Libeskind was commissioned to completely refurbish one of the existing buildings and to add a new extension. The wedge-shaped, asymmetric extension that Libeskind designed cuts through the massive existing building and its clearly articulated features, creating space for large and heavy exhibits in vertical shafts that span several floors. Here, form will follow function. At the same time, the architecture is charged with symbolic meaning, making the building itself the first and largest object in the exhibition. Key to the new permanent exhibition, which will open in late 2011, is its exploration of issues from multiple perspectives. Traditional expectations are questioned and fresh perspectives offer a new look at complex issues in military and cultural history. Accessible, diverse and full of contrasts – this is a museum that will encourage visitors to find their own point of view. The Bundeswehr Museum of Military History will be a place where science and the public meet. It will be a forum for engaging with military history and for public debate on the role of war and the military in the past, present and future.