More than 350 birdspecies use the Pacificflyway each year.RENTINGFARMSFORTEMPORARYHABITATAnewNature Conservaincyprogram pays ricefarmers in the northern CentralValley to flood theirfields during peak migration times.These"pop-uphabitats are cheaperthan setting aside and maintaining permanent retugesMINETHEDATARENTTHEFIELDSCrowdsourceddataonbird sight-Floodingricefields Inlate winterings and NASA satellite images arecan berisky:Theymight.not.dryanalyzedtodetermine whereandoutbyplantingtime.Famersarewhenwefiands:aremost:neededcompensated.accordingly八acres ofpop-upFLOODTHEFIELDSSAVETHEBIRDShabitatwereAU.FlieldsarecoveredwithafewThetemporarywetlandshostedfloodedin2014.inches of waterfortwoto eightmorethan50 speciesofshore-weeks.Migrating birdsfeed andbirds.waders,and waterfowl-rest in the pop-up habitats.200.000 birds-in 2014.HABITATLOSSBY2080Modeling suggests that the species below will lose a significantamount of habitat. Conservation efforts have expanded habitatsofwinter-coastalandwetlandspecies such as mallardsLost55%47%49%32%92%Whip-poor-willNorthern pygmy owlPacific golden ploverGreater sage-grouseSprague's pipitArid landEastemforestWesternforestGrasslandOcean,coastNGMMAPS.GRAPHIC:ALVARO VALINO.SOURCES:NATIONALAUDUBON SOCIETYNATURECONSERVANCY:CORNELLLABOFORNITHOLOGY
NGM MAPS. GRAPHIC: ÁLVARO VALIÑO. SOURCES: NATIONAL AUDUBON SOCIETY; NATURE CONSERVANCY; CORNELL LAB OF ORNITHOLOGY $ Whip-poor-will Eastern forest Northern pygmy owl Western forest Pacific golden plover Ocean, coast Sprague’s pipit Grassland Greater sage-grouse Arid land Lost 55% 49% 47% 32% 92% 9,600 A new Nature Conservancy program pays rice farmers in the northern Central Valley to flood their fields during peak migration times. These “pop-up” habitats are cheaper than setting aside and maintaining permanent refuges. Modeling suggests that the species below will lose a significant amount of habitat. Conservation efforts have expanded habitats of winter-coastal and wetland species such as mallards. FLOOD THE FIELDS Fields are covered with a few inches of water for two to eight weeks. Migrating birds feed and rest in the pop-up habitats. MINE THE DATA Crowdsourced data on bird sightings and NASA satellite images are analyzed to determine where and when wetlands are most needed. RENT THE FIELDS Flooding rice fields in late winter can be risky: They might not dry out by planting time. Farmers are compensated accordingly. SAVE THE BIRDS The temporary wetlands hosted more than 50 species of shorebirds, waders, and waterfowl— 200,000 birds—in 2014. More than 350 bird species use the Pacific flyway each year. acres of pop-up habitat were flooded in 2014. 1. 3. 2. 4. RENTING FARMS FOR TEMPORARY HABITAT HABITAT LOSS BY 2080
EXPLOREAncientWorlds自A Mural'sCDNew DateSurreal life-size figures ona sandstonewall in Utah'sHorseshoeCanyonmaybethousands of years youngerthan experts estimated.Usingnewtechniquestogaugehowlongrockshadbeenexposedto sunlight,researchers significantly.narrowedtheperiodin which the mural must havebeen painted.Their reconstruction ofevents:2,000yearsagoasheet of rock fellfrom the cliff.Artists then used the freshsurface as their canvas.About900 years ago another sheetfell,takingafewpaintedfigures with it.StevenSimms,aUtahState University archaeolo-REPATRIATINGHISTORYgist involved in the research,Aftertwo centuries abroad, Mexico'sfirst sweeping,native-authored his-thinks thepaintings maytoryis back home again,Last fall the National Institute of Anthropologyhavebeen made withinaandHistoryacquiredthree17th-centuryvolumes-twowritteninSpanfew hundred years of theish:thethird.theCodexChimalpahin(belowleft).inNahuatl-fromthefirst rockfall, during a time ofBritish and Foreign Bible Society.In 1827 a priest traded the vivid, hand-majortransformationas cornwrittenaccountsoflife,society,andpoliticsinAztecMexicoforastackfarmers fromthe southmovedof Bibles.Nowthatthetomes have returned to Mexico,historians thereinto a region peopled bycan get a fresh look at their country's pre-Hispanic past. -Jerermy Berlinhunter-gatherers.In Simms's scenario"the farmers come in largeAnumbers.Theytakeovertheland, hunt all the game. Thehunter-gatherersarepushedto themargins."Under thoseacircumstances,hesays,"thisartcouldbesomethingofan old tradition that they'reholding on to for power pur-4447poses."-A.R.WilliamsPHOTOS:FRAIIDGEMANIMAGESR(TOPK:CHRISTIE'S4WL
Ancient Worlds EXPLORE Surreal life-size figures on a sandstone wall in Utah’s Horseshoe Canyon may be thousands of years younger than experts estimated. Using new techniques to gauge how long rocks had been exposed to sunlight, researchers significantly narrowed the period in which the mural must have been painted. Their reconstruction of events: 2,000 years ago a sheet of rock fell from the cliff. Artists then used the fresh surface as their canvas. About 900 years ago another sheet fell, taking a few painted figures with it. Steven Simms, a Utah State University archaeologist involved in the research, thinks the paintings may have been made within a few hundred years of the first rockfall, during a time of major transformation as corn farmers from the south moved into a region peopled by hunter-gatherers. In Simms’s scenario “the farmers come in large numbers. They take over the land, hunt all the game. The hunter-gatherers are pushed to the margins.” Under those circumstances, he says, “this art could be something of an old tradition that they’re holding on to for power purposes.” —A. R. Williams A Mural’s New Date REPATRIATING HISTORY After two centuries abroad, Mexico’s first sweeping, native-authored history is back home again. Last fall the National Institute of Anthropology and History acquired three 17th-century volumes—two written in Spanish; the third, the Codex Chimalpahin (below left), in Nahuatl—from the British and Foreign Bible Society. In 1827 a priest traded the vivid, handwritten accounts of life, society, and politics in Aztec Mexico for a stack of Bibles. Now that the tomes have returned to Mexico, historians there can get a fresh look at their country’s pre-Hispanic past. —Jeremy Berlin PHOTOS: FRANÇOIS GOHIER (TOP); CHRISTIE’S IMAGES/BRIDGEMAN IMAGES
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EXPLORE2UsAt 7:35 a.m. on November 13,1872,in the port city of Le Havre, France,The Dawn ofthe art world changed forever. Claude Monet gazed out his hotel windowandbegantopaintwhathesaw.Theresult(above)was"lmpressionImpressionismSoleilLevant"("lmpression,Sunrise")-andthebirthofamovement.How do we know exactly when Impressionism began? Because ofDonaldOlson,aTexasStateUniversityastrophysicistwhousesastronomytosolveartand literarymysteries.Whenart historianGeraldineLefebvreandMarmottanMonetMuseumdeputydirectorMarianneMathieuaskedOlsontohelpdeterminethepainting'sprovenance,theself-styled“celestial sleuth"began by poring overmapsand photos to identify Monet'shotelandroom.Thenheturnedtoastronomy-usingtherisingsunandthemoontodeterminethetide,season,andtimeofday-andconsulteddigitized19th-centuryweatherobservations.Thefinalclueswerethesmoke plumes in the painting,showing the wind blowing eastto west.Thosefindings-plusthe"72"byMonet'ssignature-closedthecaseand put a precise time stamp on a timeless work of art.Jeremy BerlinPHOTO:HERITAGEIMAGEPARTNERSHIP/ARTTRESOURCE,N
Us EXPLORE PHOTO: HERITAGE IMAGE PARTNERSHIP/ART RESOURCE, NY At 7:35 a.m. on November 13, 1872, in the port city of Le Havre, France, the art world changed forever. Claude Monet gazed out his hotel window and began to paint what he saw. The result (above) was “Impression, Soleil Levant” (“Impression, Sunrise”)—and the birth of a movement. How do we know exactly when Impressionism began? Because of Donald Olson, a Texas State University astrophysicist who uses astronomy to solve art and literary mysteries. When art historian Géraldine Lefebvre and Marmottan Monet Museum deputy director Marianne Mathieu asked Olson to help determine the painting’s provenance, the self-styled “celestial sleuth” began by poring over maps and photos to identify Monet’s hotel and room. Then he turned to astronomy—using the rising sun and the moon to determine the tide, season, and time of day—and consulted digitized 19th-century weather observations. The final clues were the smoke plumes in the painting, showing the wind blowing east to west. Those findings—plus the “72” by Monet’s signature—closed the case and put a precise time stamp on a timeless work of art. —Jeremy Berlin The Dawn of Impressionism
James CameronAvisionary and a master craftsman,he pushes art and technology to new frontiers,In cinema, he shapes light and soundtotell themostunforgcttablestories of ourtimeOn the.ocean's floor, he.madehistory:diving alone to the bottom of the Mariana Trenchin a submersible that he designedBut whether he's imagining new worldsor exploring the furthest reaches of this one,his Rolex always makes the journey with him,challenginghim to confronttheunknownand realize the impossible, again and again.ROLEXFORAN OFFICIALROLEXUEWELERCALLI-BOO-367-6S39.ROLEXVAREOTRAOEMARKS,NEWYORK