Bird Fact Friday – New Species

From page 197 of Birds of South America: Passerines:

Since November 2011, there have been six new species described by several authors that had not yet been accepted as valid by the South American Checklist Committee (SACC) by the publication of this book:

Roosevelt Stipple-Throated Antwren
Inambari Woodcreeper
Chico’s Tyrannulet
Sucunduri Yellow-Margined Flycatcher
Inambari Gnatcatcher
Campina Jay

As of January 10, the Inambari Woodcreeper is the only species of these six that has been accepted by the SACC.

Birds of South America: Passerines
Ber van Perlo

vanPerloThis comprehensive field guide to the birds of South America covers all 1,952 passerine species to be found south of Panama, including offshore islands such as Trinidad, the Galapagos, and the Falklands, and the islands of the Scotia Arc leading to the Antarctic mainland. It features 197 stunning color plates and detailed species accounts that describe key identification features, habitat, songs, and calls. All plumages for each species are illustrated, including males, females, and juveniles. This easy-to-use guide is the essential travel companion for experienced birdwatchers and novice birders alike.

Try your hand at solving an L.A. Math mystery

If you caught the rather incredible trailer for L.A. Math, you know it’s not your typical scholarly math book. Romance, crime, and mathematics don’t often go hand in hand, but emeritus professor in the Department of Mathematics at California State University Jim Stein cooked up the idea for an unconventional literary math book that would speak to students in his liberal arts math class. The end result is an entertaining, backdoor approach to practical mathematics knowledge, ranging from percentages and probability to set theory, statistics, and the mathematics of elections. Recently, Stein spoke to us about writing L.A. Math. Not only that, he left us with a mathematical mystery to solve.

L.A. Math is definitely an unusual book.  Brian Clegg described it by saying “It’s as if Ellery Queen, with the help of P. G. Wodehouse, spiced up a collection of detective tales with a generous handful of practical mathematics.”  How did you happen to write it?

JS: I absolutely loved it when he described it that way, because I was brought up on Ellery Queen.  For younger readers, Ellery Queen was one of the greatest literary detectives of the first half of the twentieth century, specializing in classic Sherlock Holmes type cases.  The Ellery Queen stories were written by the team of Manfred Dannay and Frederick Lee — and my mother actually dated one of them!

LA MathThe two other mystery writers who influenced me were Agatha Christie and Rex Stout.  Rex Stout wrote a series featuring Nero Wolfe and Archie Goodwin; the books are presumably written by Archie Goodwin describing their cases, so I used that as the model for Freddy Carmichael.  The relationship between Archie and Nero also served, somewhat, as a parallel for the relationship between Freddy and Pete.  Nero and Pete both have addictions — Nero wants to spend his time eating elaborate cuisine and raising orchids, and Pete wants to spend his time watching and betting on sports.  It’s up to Archie and Freddy to prod them into taking cases.

How does Agatha Christie enter the picture?

JS: I’d taught liberal arts mathematics — math for poets — maybe ten times with temporary success but no retention.  Students would learn what was necessary to pass the course, and a year later they’d forgotten all of it.  That’s not surprising, because the typical liberal arts math course has no context that’s relevant for them.  They’re not math-oriented.  I know I had several history courses discussing the Battle of Azincourt, but I don’t remember anything about it because it has no context for me.

Agatha Christie’s best-known detective is Hercule Poirot, and one day I was in a library reading a collection of short stories she had written entitled The Labors of Hercules.  Christie had a background in the classics, and did something absolutely brilliant — she constructed a series of twelve detective stories featuring Hercule Poirot, each of which was modeled, in one way or another, around the Twelve Labors of Hercules in classical mythology.  I thought to myself — why don’t I do something like that for topics in liberal arts math?  Maybe the students would remember a few of the ideas because they’d have the context of a story from which to remember it.

Could you give an example?

JS: How about this?  Why don’t we take a story from the book, and present it the way Ellery Queen would have.  Ellery Queen always played fair with the reader, giving him or her all the clues, and after all the clues had been presented, EQ would write a paragraph entitled “Challenge to the Reader”.  EQ would tell the reader “Now you have all the clues.  Can you figure out whodunit?” — or words to that effect.

OK, here’s what we’ll do.  We’ll take The Case of the Vanishing Greenbacks, Chapter 2 in L.A. Math, and present the story up to the crucial point.  Then we’ll let the reader try to figure out whodunit, and finish the story next week.

Chapter 2 – The Case of the Vanishing Greenbacks

   The phone rang just as I stepped out of the shower. It was Allen.

“Freddy, are you available for an embezzlement case?”

My biggest success had been in an embezzlement case involving a Wall Street firm specializing in bond trading. Allen had given me a whopping bonus for that one, which was one of the reasons I could afford to take it easy in L.A. I had done well in a couple of other similar cases, and had gotten the reputation of being the go-to guy in embezzlement cases. It never hurts to have a reputation for being good at something. Besides, you don’t see many guys in my line of work who can read balance sheets.

I’ve always felt it’s important to keep the cash flow positive, and the truth was that I was available for a jaywalking case if it would help the aforementioned cash flow. But it never hurts to play a little hard-to-get.

“I can probably clear my calendar if it looks interesting.”

Allen paused for a moment, either to collect his thoughts or to take a bite of one of those big greasy pastrami sandwiches he loves. “I’m pretty sure you’ll find it interesting. It’s stumped some people in L.A., and I told them I had a good man out there. BTW, that’s you.”

It’s nice to be well thought of – especially by someone in a position to send you business. I knew that Allen’s firm, though headquartered in New York, had arrangements with other firms in other cities. I didn’t really care about the details as long as the check cleared – which it always had.

“I’m certainly willing to listen. What’s the arrangement?”

“Consulting and contingency fee. Fifty‑fifty split.”

That was our usual arrangement. Burkitt Investigations got a guaranteed fee, plus a bonus for solving the case. Allen and I split it down the middle.

“OK, Allen, fill me in.”

“Ever heard of Linda Vista, Freddy?”

Temporary blank. Movie star? Socialite? Then I had it. Linda Vista was a town somewhere in Orange County with a big art community.

For those of you not up on California politics, Orange County is a bastion of conservatism. You have Orange County to thank, or blame, for Richard Nixon and Ronald Reagan. But Linda Vista, which my fragmentary Spanish translates as “pretty view”, was different from your basic Orange County bastion.

The vista in Linda Vista was sufficiently linda that it had attracted a thriving artistic community.   There were plenty of artists in Linda Vista, and most of them were liberals.

As a result, Linda Vista was highly polarized. The moderates were few and far between. On the left, you had the artists, with their funky bungalows and workshops. On the right, you had the stockbrokers and real-estate moguls, living in gated communities so they wouldn’t have to have any contact with the riff-raff, except for the tradesmen delivering or repairing stuff. However, there were enough artists and hangers-on to acquire political clout – after all, it’s still one man-one vote in a democracy, rather than one dollar-one vote. Pitched battles had raged over practically every issue from A (abortion) to Z (zoning), and many of these battles had made state and even national news.

That’s all I knew about Linda Vista, other than not to try to drive down there at rush hour, which turned one hour on the 405 to more than twice that. The obvious question was: what kind of a contingency case had they got? So I asked it.

Allen filled me in. “The city is out a bunch of bucks, and each side is accusing the other of fraud and embezzlement. Because of the split in the political situation, the City Manager gave half the budget to the conservatives, and the other half to the liberals, letting each determine how to spend its half. Both sides claim to have been shortchanged.”

Allen paused to catch his breath. “I’ve got a friend who works in the City Manager’s office. I told him I had a good man out there who’d done a lot of first‑class work in embezzlement cases. Want to take a look at it?”

“Sure. How much time should I put in before I throw in the towel?” In other words, how much is the consulting fee?

“As much as you like.” In other words, since Allen’s meter wasn’t running, feel free to burn some midnight oil. “The consulting fee is $3,000, upped to ten if you figure it out and get proof.” You don’t have to be an expert at division to realize that I was guaranteed a minimum of $1,500 for the time I put in, and $5,000 if I doped it out. You also don’t have to be an expert at division to realize that Allen was getting the same amount for making a phone call. I decided to be reincarnated as an employer rather than an employee.

Allen gave me a brief description of the protagonists, and I spent a good portion of the evening with a pot of coffee and my computer, getting some background information on them. I’ll say one thing for the Information Age; it’s a lot easier to run a background check on people than it used to be. What with search engines and social networks, you save a lot on gas money and shoe leather.

The next morning I waited until after rush hour, and made the trek to Linda Vista. The City Hall was located in a section of town where the vista was a long way from linda, unless strip malls filled with 7‑11s and fast-food stores constitute your idea of attractive scenery. I found a place to park, straightened my coat and tie, and prepared for the interviews.

I was scheduled to have three of them. I had been hoping to arrange for longer interviews, but everyone’s in a rush nowadays, and I was getting a quarter-hour with each, tops. They’d all been interviewed previously – Allen had mentioned that this case had stumped others – and people are generally less than enthusiastic about being asked the same questions again. And again. The first interview was with Everett Blaisdell, conservative city councilman, who would explain why the conservatives happened to be short. The next was with Melanie Stevens, liberal city councilwoman, ditto. The last interview would be with Garrett Ryan, City Manager.

I have a bad habit. My opinion of members of groups tends to be formed by the members of those groups that I have seen before. Consequently, I was expecting the conservative Everett Blaisdell to look like a typical paunchy southern senator with big jowls. So I was a little surprised to discover that Everett Blaisdell was a forty-ish African-American who looked like he had spent years twenty through thirty as an NBA point guard.

He got right down to business. “I want you to know,” he barked, “that everything that we have done with our budget allocation has been strictly by the book. Our expenses have been completely documented.” He handed me a folder full of ledger sheets and photos of checks, which I glanced at and stashed in my briefcase.

Blaisdell was clearly angry. “The business community is the heart of Linda Vista, and it is ridiculous to suggest that it would act in a manner detrimental to its citizens. We are $198,000 short in our budget.”

You don’t expect NBA point guards to get out of breath too easily, considering the time they have to go up and down the court, but maybe Blaisdell wasn’t in shape. He paused, giving me a chance to get a question in edgewise. “Just what do you think has happened, Mr. Blaisdell?” I inquired mildly.

“I know what has happened. Melanie Stevens and her radical crowd have managed to get hold of that money. They want $200,000 to fund a work of so‑called art which I, and every right‑thinking citizen of Linda Vista, find totally offensive. It’s mighty suspicious that the missing funds, $198,000, almost precisely cover the projected cost of the statue.”

I was curious. “If you don’t mind my asking, exactly what is this statue?”

Blaisdell’s blood pressure was going up. “They are going to build a scale replica of the Statue of Liberty and submerge it in Coca‑Cola. You may know that Coca‑Cola is acidic, and it will eventually dissolve metal. They say that this so‑called dynamic representational art represents the destruction of our civil liberties by over‑commercialization. Well, let me tell you, we’ll fight it.”

He looked at his watch. “Sorry, I’ve got another appointment. When you find out what those scum have done with the money, let me know.” He walked me to his door.

It took a few minutes to locate Melanie Stevens’ office, as it was in a different wing of the building, possibly to minimize confrontations between her and Blaisdell. It was a bad day for stereotypes. My mental picture of Melanie Stevens, ultra‑liberal, was that of a long-haired hippie refugee from the ’60s. The real Melanie Stevens was a pert gray‑haired grandmother who looked like she had been interrupted while baking cookies for her grandchildren. She, too, was evidently on a tight schedule, for she said, “Sorry, I can only give you about ten minutes, but I’ve made copies of all our expenses.” More ledger sheets and photos of checks went into my briefcase.

“Let me tell you, Mr. Carmichael, that we could have used that $198,000. We planned to use it for a free clinic. I know exactly what has happened. Blaisdell has doctored the books. I’m sure glad that Ryan had the guts to ask you to look into it.”

“Blaisdell seems to think that your people are responsible for the missing funds,” I observed.

She snorted. “That’s just typical of what they do. Whenever they’re in the wrong, they lie and accuse the other side of lying. They rip off the community, and channel money into PACs. Political action committees. Or worse. Blaisdell knows he faces a stiff battle for re-election, and I wouldn’t be the least bit surprised to find that money turning up in his campaign fund.”

“He seems to think that you are going to use the funds for an art project, rather than a free clinic,” I remarked.

“He’s just blowing smoke. He knows quite well that the statue will be funded through private subscription.” She looked at her watch. “Let me know when you pin the loss on them.”

I left Stevens’ office for the last interview, with Garrett Ryan, whose anxious expression made it clear that he was not a happy camper. “Have you got any ideas yet?” he asked.

I shook my head. “I’ve just talked to Blaisdell and Stevens. They’ve each handed me files containing what they consider to be complete documentation. They’ve each given me a story asserting their own innocence, and blaming the other. I take it that the missing amount is $198,000?”

Now it was Ryan’s turn to shake his head. “No, each side says that it is missing $198,000. Quite a coincidence. And I’ll tell you, Mr. Carmichael, despite the animosity between them, I think that they are both honorable individuals. I find it difficult to believe that either would rip the city off.”

I focused on Ryan’s coincidence. “It’s funny that they are both short exactly the same amount. Perhaps you could tell me a little more about the budgetary process.”

“It’s really quite simple. Each resident of Linda Vista is taxed a fixed amount. Any complicated tax scheme would just result in a full employment act for accountants. The previous census resulted in a $100 assessment per individual. The population of Linda Vista increased by 20% since the last census. We didn’t need any increase in operating expenditures; under my guidance we’ve done a fiscally conservative and frugal job of running the city. As a result, the Council voted to reduce everybody’s taxes by 20%. Needless to say, this was a very popular move.”

“I’ll bet it was. Did everyone pay their taxes, Mr. Ryan?”

“Everybody. We’re very proud of that ‑‑ a 100% collection rate. Despite what you may have heard, the citizens of Linda Vista are very civic‑minded. Liberals and conservatives alike.”

I’ve spent enough time with balance sheets to know that accuracy is extremely important. “Was this population increase exactly 20%, or is that merely an approximate figure?”

Ryan consulted a sheet of paper. “Exactly 20%. I have a sheet of printout that gives information to four decimal places, so I can be quite sure of that.”

Just then a phone rang. Ryan picked it up, and engaged in some political doubletalk. After a few minutes he replaced the receiver. “Sorry, Mr. Carmichael. I’m behind schedule. Let me know if you make any progress.”   We shook hands, and I left.

A couple of hours later, I got home, having stopped for a bite but still avoiding rush-hour traffic. Pete noticed my presence, and asked, “So how’d things go in Linda Vista, Freddy?”

“I had a pretty interesting day. Want to hear about it?”

He nodded. I took about fifteen minutes to describe the problem and the cast of characters. “It looks like I’ll have to spend a day or so looking over the books.”

Pete shook his head. “It seems pretty clear to me.”

I’d seen it before — everybody’s a detective. Amateurs always think they know who the guilty party is, because it fits in with their preconceptions. I didn’t know whether Pete had cast Blaisdell in the role of a political fat-cat out to line his campaign war chest, or whether he was a conservative who saw Melanie Stevens as a radical troublemaker. Anyway, you’ve got to learn not to jump to conclusions in my line of work.

“You can’t do it like that, Pete. You’ve got to trace down the paper trails. I’ve done this lots of times.”

Pete grabbed a piece of paper, scribbled something on it, and sealed it in an envelope. “Five dollars will get you twenty that the name of the guilty party is inside this envelope.”

Pete needed taking down a peg. Maybe two pegs. Besides, I liked getting four‑to‑one odds on what was obviously an even‑ money proposition. “You’ve got a bet,” I said. We wrote our names on the envelope, and Pete put it on the table next to the HDTV.

“Whenever you’re ready, we’ll unseal the envelope.” I headed back to the guesthouse for a session with the books.

Challenge to the Reader: You have all the clues. Can you name the party responsible for the missing greenbacks? We’ll give you until the next blog to figure it out, when we’ll present the conclusion to the story.

Bird Fact Friday – Evolution

From page 14 of Better Birding:

Birds, like all animals, have evolved to take the best advantage of their environment. For example, the Northern Harrier glide and swoops low over fields and marshes, periodically flapping and hovering because that enables it to see the small rodents it preys on. Birds like wrens and rails are dark in plumage because they are most often found in dense habitats, the better to blend in with shadows. Species that make their home in the desert are often paler. The intuitive birder keeps these things in mind when looking for a specific species of bird out in the field.

Better Birding: Tips, Tools & Concepts for the Field
George L. Armistead and Brian L. Sullivan

Better BirdingBetter Birding reveals the techniques expert birders use to identify a wide array of bird species in the field—quickly and easily. Featuring hundreds of stunning photos and composite plates throughout, this book simplifies identification by organizing the birds you see into groupings and offering strategies specifically tailored to each group. Skill building focuses not just on traditional elements such as plumage, but also on creating a context around each bird, including habitat, behavior, and taxonomy—parts so integral to every bird’s identity but often glossed over by typical field guides. Critical background information is provided for each group, enabling you to approach bird identification with a wide-angle view, using your eyes, brain, and binoculars more strategically, resulting in a more organized approach to learning birds.

PUP celebrates National Bird Day with our most-loved birding post

Stephenson_WarblerGWarblers exhibit an array of seasonal plumages and have distinctive yet oft-confused calls and songs, making them one of the most challenging birds to identify. Enter The Warbler Guide, a phenomenal field guide that assists novice and experienced birders alike in the proper identification of the 56 species of warblers in the United States and Canada. This groundbreaking guide features more than 1,000 stunning color photos, extensive species accounts with multiple viewing angles, and an entirely new system of vocalization analysis that helps you distinguish songs and calls. We also have a Warbler Guide app, with exciting new 3D graphics that let you view a bird from the exact angle you see it in the field—an ideal companion to the book.

To celebrate annual National Bird Day, we give you one of our most popular posts to date, the downloadable quick-finders from The Warbler Guide. You can enjoy some free, and in-high-demand downloads here.

Still need more birds? You might also want to check out this fabulous interview with the authors of Better Birding, George L. Armistead of the American Birding Association and Brian L. Sullivan of the Cornell Lab of Ornithology. Both discuss how they became birders, and how it grew into an emotional, even spiritual endeavor.

Happy birding.

Anna Frebel on the search for the oldest stars

Frebel jacketAstronomers study the oldest observable stars in the universe in much the same way that archaeologists study ancient artifacts on Earth. Stellar archaeologist Anna Frebel is credited with discovering several of the oldest and most primitive stars, and her book, Searching for the Oldest Stars is a gripping firsthand account of her work. Recently she took the time to answer some questions:

What is your main research topic and what is stellar archaeology?

AF: My work is broadly centered on finding the oldest stars in the universe and using them to explore how the first stars and the first galaxies formed soon after the Big Bang. This works because these ancient stars are about 13 billion years old and they are still shining. The universe itself, by comparison, is 13.8 billion years old. I find these ancient stars in the outskirts of the Milky Way galaxy, using a large telescope. I’m also researching how the chemical elements heavier than hydrogen and helium were first created in those early stars, which ultimately allowed Earth to form and to bring about life in the universe.

What is your biggest discovery?

AF: I have been fortunate enough to discover several “record holding stars”. In 2007, I found a 13.2 billion year-old star, which is incredibly old. This followed the 2005 discovery of the chemically most primitive star – a star of the second generation of stars to have formed in the universe. Since then, I have analyzed some incredible ancient stars in dwarf galaxies that orbit the Milky Way galaxy, and together with my team, we have recently beaten said 2005 record, which was enormously exciting.

Why do people say we are made from stardust?

AF: We humans are made from all sorts of different chemical elements, mostly carbon. We breathe oxygen and nitrogen, we wear silver and gold jewelry. All these elements were once, atom by atom, created inside different kinds of stars and their supernova explosions over the course of billions of years. Studying this evolution of the chemical elements in the universe with the help of ancient stars means that I’m literally studying the cosmic origins of the building blocks of life. So we really are closely connected with the universe, far more than we realize.

How did you decide to become a scientist?

AF: From a young age I knew I wanted to study stars. They were just so fascinating to me, these big spheres of gas, fusing new elements to gain energy to shine for eons in the sky. Fortunately, I received good advice during high school on how to become an astronomer. After studying physics until 2002, I turned to astronomy and the rest is history. Today, I take pride in sharing my story with young people and the general public by telling them what astronomers do on a daily basis, and how scientific results are achieved. I am passionate about conveying the importance of science literacy to the young and the young at heart while inspiring them with the beauty and mystery of the cosmos.

What kind of telescope is used for your astronomical observations?

AF: Astronomers use all kinds of different telescopes on Earth as well as from space to peer deep into the cosmos. It depends on the type of project and the brightness of the objects which telescope is best suited. Space observations are being carried out remotely, whereas ground-based observations are still done by the astronomer who has to travel to the telescope. More and more telescopes are becoming automated to enable remote controlled “office observing”.

Anna Frebel in front of the 6.5m Magellan Telescope in Chile.

Anna Frebel in front of the 6.5m Magellan Telescope in Chile.

Are you traveling to any telescopes?

AF: Yes, I regularly fly to Chile to the Magellan Telescopes to carry out my observations. These are some of the largest telescopes in the world and the dark night sky in the Southern Hemisphere is terrific for studying the cosmos. It’s the favorite part of my job and I love discovering new facts about the universe through these observations!

What does it mean when you say you’re going observing?

AF: To use the telescopes, you have to fly to Chile. First to Santiago, then to La Serena and from there is a 2-3h drive up the mountains of the Atacama Desert where the telescopes are. There are guest rooms there for the observers to sleep during the day and the observatory chefs are cooking delicious meals for everyone. Dinner is eaten together by all observers, including the technical staff. It’s a little community with the sole purposes of caring for the telescopes and obtaining exquisite astronomical observations all night long of a breathtaking sky.

What does a typical night at the telescope look like?

AF: All preparations for the night happen during the afternoon while it’s still light outside. After sunset, I usually choose the first targets from my list, which I begin to observe soon after dark. Each star is observed for 10-30 minutes. We immediately inspect each observation and then decide on the fly whether we need more data or not. If we have found an interesting old star we may choose to immediately observe it for a few more hours.

Did anything ever go wrong at the telescopes?

AF: Of course! Mostly when it’s cloudy because then we can’t observe any starlight. This can be very frustrating because it can mean that we have to come back to the telescope a year later to try again. Clouds spell bad luck. Other times, the air layers above the telescope are often not as smooth as is required. This makes the stars twinkle and appear less sharp, which means less good data and longer exposure times. And sometimes there are technical problems with the telescope too.

How do you get your telescope time? Can I go to your telescope and observe, too?

AF: To obtain telescope time, astronomers have to submit a proposal to a committee that selects the best projects and awards them the time. The proposal contains a detailed description of the project and the technical details on what information is being sought. Telescope use is restricted to professional astronomers because of the considerable expense. The cost is about USD 50,000 to 100,000 per night, depending on the telescope, and often paid by various institutions and universities who jointly operate observatories. While this is a lot of money, it’s actually not that much in comparison to many other research facilities.

Are there any special moments at the telescope that you remember in particular?

AF: Yes, going observing is always magical and memorable. Of course I particularly remember big discoveries and the excited nervousness of checking and checking whether we didn’t make a mistake and that the discovery was really what it appeared to be. Then, there have been the frustrating moments of sitting at the telescopes for nights on end listening to the rain and flying home empty-handed. I have been there when severe technical problems and even a bush fire prevented observing during clear nights. But I always associate observing with the most colorful sunsets, the calm and peaceful atmosphere up in the mountains, and of course the sleepless but exciting nights.

Anna Frebel is the Silverman (1968) Family Career Development Assistant Professor in the Department of Physics at the Massachusetts Institute of Technology. She is author of Searching for the Oldest Stars, and has received numerous international honors and awards for her discoveries and analyses of the oldest stars. She lives in Cambridge, Massachusetts.

New Physics & Astrophysics Catalog

We invite you to browse our Physics & Astrophysics 2016 catalog:


Interacademy Partnership Check out Doing Global Science, an introductory guide to responsible science in our globalized society. Written by a committee of leading scientists from all over the world, this text is required reading for anyone involved in scientific inquiry.
Thorne Modern Classical Physics is a graduate-level text and reference book for first-year students that covers statistical physics, optics, elastodynamics, fluid mechanics, plasma physics, and special and general relativity and cosmology.

A. Zee has contributed another new title to our In a Nutshell series entitled Group Theory in a Nutshell for Physicists. He takes all the nuts and bolts of a mathematical subject and makes it accessible for physicists. PUP is also publishing the second edition of Astrophysics in a Nutshell by Dan Maoz this season, a work that has become a standard text in courses on astrophysics.

If you would like updates of new titles emailed to you, subscribe to our newsletter.

Finally, PUP will be at the American Physical Society March Meeting in Baltimore from March 14 to March 18.

Stunning Species in Better Birding

Need a last minute gift for the budding birder on your list? Detailing tips and unveiling critical techniques, Better Birding: Tips, Tools, and Concepts for the Field by George L. Armistead and Brian L. Sullivan helps the novice bird watcher to transition into a sophisticated and well-informed birder. With hundreds of impressive photos and composite plates, Better Birding allows readers to efficiently organize and memorize various bird species that aid the identification and watching process. By learning the bird’s behaviors, taxonomy, and habitat, recognition is quicker and easier. This slideshow of stunning photos is simply a limited selection from this remarkable field guide.

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Lapland Longspur-Vyn-120615-0060

Juvenile Long-billed Curlew, UT, Jul (JL). Long-billed Curlew is big, long billed, and buffy cinnamon below, and it lacks crown stripes. Adults are similar year-round, and juveniles become adultlike over the first fall/winter. Age determination can be difficult and is best accomplished by focusing on the wing coverts: juveniles have dark-centered coverts with broad pale fringes, and adults have dark-barred coverts with a narrow central streak. Juveniles often tend to be whiter faced and shorter billed than adults.

Tundra Swans with White-fronted Geese, OR, Feb (BLS). Swans as a group are easily identified by their large size, white plumage, and long, graceful necks, but determining the species of swan can be a lot harder!

Male “Eastern” Purple Finch, CT, Oct (MS). Note extensively reddish coloration extending to underparts, flanks, back, and rump, and peaked crown. Note browner ear coverts with pinkish-red supercilium, and larger bill than on House Finch. Underparts have blurry streaks. Pacific males average browner below and have shorter primary projection, though individual birds out of range should be identified to subspecies with care: pay attention to songs and calls!

Juvenile Double-crested Cormorants, NJ, Oct (GLA). Juvenile cormorants are brownish, lacking the glossy iridescence and bright bare parts of adults; eyes are brownish, changing to blue green over the first two years. Juveniles of all species have uniformly fresh plumage, especially the upperwing coverts and flight feathers. Double-crested shows remarkable juvenile plumage variation, ranging from buffy to dark brown below, and from pale fringed to more adultlike above.

Eurasian Jackdaw, United Kingdom, Mar (AC). Eurasian Jackdaw is known from the ABA Area mainly from the 1980s, when several birds were scattered around the Northeast and the species actually bred in Pennsylvania. Since then there have been no records, and given how distinctive this species is, it seems unlikely to have gone overlooked.

Brown-morph Eastern Screech-Owl, FL, Jan (JG).

Tropical Kingbird, PA, Jun (GLA). Tropical Kingbirds are fairly common vagrants along the West Coast from midfall through winter, but on the Atlantic Coast they are much rarer, with only a few records, some from fall and a few from spring/summer. Note the large bill, short rounded wings, and long brown tail of the bird at left. The June bird can be safely aged as an adult male based on its notched outer primaries.

Nonbreeding Kittlitz’s Murrelet, AK, May (AJ). Breeding Kittlitz’s Murrelets vary in general appearance but usually lack the rusty tones of Marbled. Some are grayer, such as this bird, while some are spangled golden above. Nonbreeding birds are similar to Marbled though usually grayer above. Note the bold white face and very broad collar. Kittlitz’s can always be distinguished from Marbled based on its very short, thick bill, which appears to be stuck onto its fluffy white face.

Male Antillean Nighthawk, FL, Jul (LM). Antillean Nighthawk is sometimes very difficult if not impossible to distinguish from perched Common Nighthawk. In general, Antillean has a buffy belly and a contrastingly whiter breast, usually whitish scapulars, and pale gray tertials. Identification should be confirmed with voice.

Nighthawks all have very small bills and very big mouths. In contrast to other nightjars, nighthawks lack long rictal bristles (whiskers) around the bill, and this helps quickly distinguish a perched nighthawk from other nightjars

Flammulated Owl, AZ, May (BS) Like the screech-owls, Flammulated nests in tree cavities, and it readily takes to nest boxes. Unlike the screech-owls, Flammulated Owl is migratory, so vagrants do occur. The bird at right was at a migrant trap, and Flammulated has reached the Gulf Coast, Florida, and Texas on occasion.

Adult Trumpeter Swan and adult Tundra Swan. When both species occur together, size can be obvious, with Trumpeter being much larger.In addition to size, note the thicker, longer neck on Trumpeter, and facial skin details. Adults of both species, WA, Nov (BLS).

(right half of photo) Spectacled (left, SNGH) and Steller’s eiders (right, CLW) are true Alaska specialties. Structurally, Common Eider is larger and more heavily built, with a bigger head that is distinctly sloped. King Eider is more compact and likely to be brushed off as a scoter. The distant fl ock on this page shows a typical view of migrating Common Eiders, with adult males sticking out like a sore thumb among the females and immatures (BLS). (left half of photo) Birders typically see these species on breeding grounds, but at a few places, such as Gambell, these eiders can be seen on migration. Spectacled is large and robust,like Common Eider. Males are unmistakable, while females usually show enough of the “spectacle” pattern to be obvious.Steller’s Eider is smaller and more compact. Males are striking, but females are more likely to be confused. Look for the overall dark coloration, and the bold white borders on the speculum. The Surf Scoter fl ock above the horizon is meant to provide acomparison between the eiders and a species more familiar to most birders (BLS). (left half of photo) Eiders in flight. Common (left, CLW) and King eiders (right, GLA) are the two species most frequently encountered by birders, and they are often seen in flight at migration points.

Adult male Lapland Longspur, AK, June (GV). Male longspurs are striking, with flashy plumage and amazing breeding displays. They are easy to identify so this chapter focuses more on nonbreeding males, females, and immatures, which are drabber overall, clad in buff, brown, black, and white, and make for a real identification challenge. In addition to plumage details, shape and voice provide helpful identification clues.

George L. Armistead is events coordinator at the American Birding Association and a research associate in the Ornithology Department at the Academy of Natural Sciences of Drexel University. He has led birding tours on all seven continents. Brian L. Sullivan is eBird program codirector and photographic editor for Birds of North America Online at the Cornell Lab of Ornithology. He is the author of numerous papers on bird identification and the coauthor of The Crossley ID Guide: Raptors and Offshore Sea Life ID Guide: West Coast (both Princeton).

Bird Fact Friday – The migratory habits of the Peregrine Falcon

From page 85 of Hawks from Every Angle:

Peregrine Falcons often travel great distances on migration. Their name originates from the word peregrinate, which means “to wander.” Individual peregrines have been tracked from Alaska to South America and across the Atlantic from the Florida Keys.

Hawks from Every Angle: How to Identify Raptors in Flight
Jerry Liguori

LiguoriIdentifying hawks in flight is a tricky business. Across North America, tens of thousands of people gather every spring and fall at more than one thousand known hawk migration sites—from New Jersey’s Cape May to California’s Golden Gate. Yet, as many discover, a standard field guide, with its emphasis on plumage, is often of little help in identifying those raptors soaring, gliding, or flapping far, far away.

Hawks from Every Angle takes hawk identification to new heights. It offers a fresh approach that literally looks at the birds from every angle, compares and contrasts deceptively similar species, and provides the pictures (and words) needed for identification in the field. Jerry Liguori pinpoints innovative, field-tested identification traits for each species from the various angles that they are seen.

Featuring 339 striking color photos on 68 color plates and 32 black & white photos, Hawks from Every Angle is unique in presenting a host of meticulously crafted pictures for each of the 19 species it covers in detail—the species most common to migration sites throughout the United States and Canada. All aspects of raptor identification are discussed, including plumage, shape, and flight style traits.

For all birders who follow hawk migration and have found themselves wondering if the raptor in the sky matches the one in the guide, Hawks from Every Angle—distilling an expert’s years of experience for the first time into a comprehensive array of truly useful photos and other pointers for each species—is quite simply a must.

Lynn Gamwell on math and the visual arts’ shared cultural history

GamwellMathematicians and artists have historically shared a common interest: inquiry and comprehension of the intricacies of the world around them, whether through numerical or aesthetic design. Illustrating the relationship between math and art from antiquity to present day, Lynn Gamwells Mathematics and Art highlights the significant impact these two linked worlds have on one another. Gamwell recently took the time to answer some questions about her book. Examining the modern disciplines of art and math, she reveals the profound philosophy of self-reflection that these two cultural and intellectual pursuits share. Don’t forget to check out the stunning slideshow following the Q&A.

What’s the basic idea of your book?

LG: I started with the assumption that how people understand reality relates directly to the concepts of mathematics that develop in their culture. Mathematics is a search for patterns, and artists, in turn, create visualizations of the patterns discovered in their time. So I describe a general history of mathematics and the related artwork.

Since you begin in Stone Age times, your book covers over 5000 years. Is there a historical focus to the book?

LG: Yes, there are 13 chapters, and the first gives the background up to around 1800 AD. The other 12 chapters are on the modern and contemporary eras, although I occasionally dip back into pre-modern times to give the background of a topic. A central question that drove my exploration of the modern era was: where did abstract, non-objective art come from? Between around 1890 and 1915, many artists stopped depicting people and landscapes and start using pure color and form as the vocabulary of their art. Why? I argue that modern art is an expression of the scientific worldview. Beginning in the late nineteenth century and continuing today, researchers describe bacteria, cells, radiation, and pulsars that are invisible to the unaided eye, as well as mathematical patterns in nature.

Can you give a few examples of the relation of math and art?

LG: Italian Renaissance artists, such as Leonardo da Vinci, constructed the space in paintings such as The Last Supper using linear perspective, which is a geometric projection invented in the 1430s by the architect Filippo Brunelleschi. In the twentieth century, Swiss Constructivists such as Karl Gerstner created symmetrical patterns based on the mathematics of group theory, which measures the amount of symmetry in a system, such as atoms and sub-atomic particles. The contemporary America artist Jim Sanborn uses topology, which is the projection of geometric shapes onto surfaces that are stretched and distorted. For example in photographs of cliffs in Ireland, Jim first projected concentric circles onto the rocks and then took the photograph with a long exposure at moonrise. These artists are, of course, interested in many other things besides mathematics; aesthetic issues are their primary focus.

The examples you give are artists who are inspired by math; are mathematicians ever influenced by art?

LG: Mathematics are rarely inspired by a particular piece of art (since most artists use elementary arithmetic and geometry), but rather they aspire to include in their proofs general aesthetic qualities, such as purity, simplicity, and elegance.

You mention Leonardo da Vinci; didn’t he use the Golden Ration?

LG: No. It is a common misconception that a ratio described by Euclid as “mean and extreme ratio” has been used by artists throughout history because it holds the key to beautiful proportions. This myth was begun in the early nineteenth century by a German scholar who called Euclid’s ratio “golden.” The myth took a tenacious hold on Western intellectuals because, as science was beginning to take them off their privileged pedestal, it assured them that all beauty is based on a ratio embodied in human anatomy. There is no science supporting this claim.

Your book is a global history; did you find that there is a difference between math in the East and West?

LG: Yes, because a culture’s understanding of mathematics is based in its understanding of reality. In antiquity, Eastern mathematics in based in Taoism, the view that nature is composed of myriad parts that came together by self-assembly into a harmonious whole. Thus Chinese mathematicians discerned patterns in numbers, such as the Luoshu (magic square), in which numbers in the rows, columns, and diagonals have the same sum (the harmonious whole). On the other hand, Western cultures believed that a divine person (The Egyptian sun-god Ra, the God of Abraham, Plato’s carpenter) had imposed order on formless chaos. Thus Westerners went looking for this order, and they found it in the movement of the stars (the Babylonian zodiac), and the planets (Kepler’s Laws of Planetary Motion). Although there was a difference between Eastern and Western math when there was little contact, in today’s culture there is one global math.

The book includes the diverse fields of art, philosophy, mathematics, and physics; what is your educational background?

LG: I have a BA in philosophy and a PhD in art history. I’m self-taught in the history of science and math.

At 576 pages, this is a long book with extensive endnotes and 500+ illustrations; how long did it take you?

LG: 12 years of research and writing, plus one year in production.

Did you make any discoveries about art that especially surprised you?

LG: Yes. When I started my research I thought that artists during the modern era (the twentieth- and twenty-first centuries) would have only a vague knowledge of the math of their times, because of the famed “two cultures” divide. But I found specific historical evidence (an artist’s essay, manifesto, interview, or letter), which demonstrated that the artist had direct knowledge of a particular piece of mathematics and had embodied it in his or her art. Examples include: Aleksandr Rodchenko, Henry Moore, Piet Mondrian, Max Bill, Dorothea Rockburne, as well as musicians, such as Arnold Schoenberg, and poets, such as T. S. Eliot and James Joyce. Again, I would stress that for such artists mathematics is a secondary interest at best, and they are concerned with materials, expressive content, and purely aesthetic issues.

Any surprising discoveries about math and science?

LG: Yes, here are two. Much of what is taught as physics is really philosophy (interpretation) of physical data. An example is the Copenhagen interpretation of quantum physics, which was taught as THE gospel truth from its announcement in 1927 to around 1960. In fact, there are other ways to interpret the same laboratory data, which were largely ignored. I’m used to such dogmatism in the art world, where artists and critics are known to proclaim what art IS, but I expected to find a more cool-headed rationalism in the laboratory. Alas, we’re all human beings, driven by our passions. Another example is the strong resistance to Platonism (the view that abstract objects exist outside time and space) in modern culture, even though Platonism is the view held by most working mathematicians (i.e., they believe they are discovering patterns not creating them). While doing research, I found myself viewed with suspicion of being a religious missionary (disguised as a scholar) because I gave a sympathetic reading of historical religious documents (in other words, I tried to describe reality from their point of view). In fact, my outlook is completely secular. I came to realize that many secularists are unable to separate Platonism from its long association with religious doctrine, which touches a nerve in certain otherwise dispassionate academics.

Are you planning another project? What are you going to do next?

LG: I’m going to take some time off and regroup. I’ve started to think about writing something for children.

Check out the slideshow highlighting just a few of the book’s stunning images:

Eric J. Heller (American, b. 1946), Transport 2, ca. 2000. Digital print.
KIlkee County Claire, Ireland

Eric J. Heller (American, b. 1946), Transport 2, ca. 2000. Digital print. Courtesy of the artist.

Center of the Cat’s Eye Nebula (NGC 6543), 2004. NASA, ESA, HEIC, and The Hubble Heritage Team (STScI/AURA)

Zodiac. Digital print, 2015. Umbra Studio, New York.

Luoshu diagram, from Zhu Xi, Zhouyi (twelfth century AD), reproduced in Yitu mingbian (Clarification of the diagrams in the book of changes), by Hu Wei (1706 AD), chap. 1. Needham Research Institute, Cambridge, England.

Tatsuo Miyajima, Keep Changing, Connect with Everything, Continue Forever, 1998. LED, IC, electric wire, plastic, aluminum panel, iron, 113 1/4 × 151 3/16 × 5 1/8 in. (288 × 384 × 13 cm). Museum of Contemporary Art, Tokyo, courtesy of the artist and SCAI The Bathhouse, Tokyo, Japan. Photo: Norihiro Ueno.

Sylvie Donmoyer (French, b. 1959), Still Life with Magic Square, 2011. Oil on canvas, 26 × 20 in. (66 × 50.8 cm). Courtesy of the artist.

Andrei Bely’s chart of the stress pattern in lines of verse, in Символизм (Symbolism; Moscow: Musaget, 1910), 260. Public domain.

Andrea Mantegna (Italian, 1431–1506), The Adoration of the Magi, 1495–1500. Distemper on linen, 19 1/8 × 25 13/16 in. (54.6 × 70.7 cm). J. Paul Getty Museum, Los Angeles, inv. 85.PA.417. Photo: Courtesy of the Getty's Open Content Program

Jim Sanborn (American, b. 1945), Kilkee County Clare, Ireland, 1997. Large-format projection, digital print, 30 × 36 in. (76.2 × 91.4 cm). Courtesy of the artist.

Force Fields diagrams, in James Clerk Maxwell, A Treatise on Electricity and Magnetism (Oxford: Clarendon Press, 1873). Public domain.

Karl Gerstner (Swiss, b. 1930), Color Sound 66: Introversion, 1998. Nitrocellulose lacquers on phenolic resin panels, 46 3/4 × 46 3/4 in. (119 × 119 cm). Courtesy of the artist.

Simon Thomas (British, b. 1960), Planeliner, 2005. Bead blasted stainless steel, 23 5/8 in. (60 cm) diam. × 2 1/4 in. (5.55 cm) high. Courtesy of the artist.

Robert Bosch (American, b. 1963), Knot? 2006. Digital print, 34 × 34 in. (86.3 × 86.3 cm). Courtesy of the artist.

Erik Demaine (Canadian-born American, b. 1981) and Martin Demaine (American, b. 1942), Untitled (0264), from the Earthtone Series, 2012. Mi-Teintes paper, 19 in. (48.2 cm) high. Courtesy of the artists.

Lynn Gamwell is lecturer in the history of art, science, and mathematics at the School of Visual Arts in New York. She is the author of Exploring the Invisible: Art, Science, and the Spiritual (Princeton).

The Digital Einstein Papers: An Open Access Story

EinsteinA year ago in December, Princeton University Press rolled out an unprecedented open access initiative: the ongoing publication of Einstein’s massive written legacy comprising more than 30,000 unique documents. The Digital Einstein Papers, one of the most ambitious publishing projects ever undertaken, launched to widespread fanfare from the scientific, publishing, and tech communities, with enthusiastic coverage from The New York Times, (which hailed the papers as “the Dead Sea Scrolls of Physics”), to Inside Higher Ed, The Guardian, and far beyond. You can watch Diana Buchwald, editor of The Collected Papers of Albert Einstein, launch The Digital Einstein here.

A year out, what has the success looked like in terms of traffic? Ken Reed, Digital Production Manager at Princeton University Press takes us behind the scenes:

The Digital Einstein Papers site launched on 5 December 2014, and in the past year has had over 340,000 sessions, with over 3.2 million pageviews.

Site traffic has been worldwide, with the top five countries in order being the United States, Germany, India, Canada, and Brazil. The site is mobile optimized, especially for the iOS, which accounts for 50% of mobile traffic to the site. This is vital for global users, since by some accounts the mobile share of web traffic is now at 33% globally.

The Papers features advanced search technology and allows users to easily navigate between the original languages in which the texts were written and their English translation, as well as extensive supplementary material. But the Press is always looking to make technological improvements. In the past year, Princeton University Press has worked closely with the developer, Tizra, to monitor traffic and continually tweak display issues, especially around mobile devices. We have recently added a news tab, and the future will hold more enhancements to the site, including added functionality for the search results, and the addition of a chronological sort.

At present, the site presents 13 volumes published by the editors of the Einstein Papers Project, with a 14th slated to go online in 2016. Here is just a sampling of the included documents:

“My Projects for the Future” — In this high school French essay, a seventeen-year-old Einstein describes his future plans, writing that “young people especially like to contemplate bold projects.”

Einstein’s first job offer — Einstein graduated from university in 1900, but had great difficulty finding academic employment. He received this notice of his appointment as a technical clerk at the Swiss Patent Office in June 1902 and would later describe his time there as happy and productive.

“On the Electrodynamics of Moving Bodies” — Einstein’s 1905 paper on the special theory of relativity is a landmark in the development of modern physics.

Keep an eye on this exciting open access project as it evolves in 2016 and beyond. Explore for yourself here.

Economist Diane Coyle on the role of the global University Press

We were thrilled to see that noted economist Diane Coyle mentioned Princeton University Press in a new post on her blog, The Enlightened Economist that touches on the role of the globalized university press, the coming “disruption” in higher education, and open access:

Last week I attended the European Advisory Board meeting of Princeton University Press, the theme of the discussion being the role of university presses in the globalized 21st century. A while ago Sam Leith had an interesting article in the Guardian praising university presses for their stewardship of non-fiction publishing at a time when many commercial publishers have become fearful ‘me-too’ merchants. It could seem paradoxical: the university presses’ freedom from short term commercial pressure has created the conditions for longer term success, at least for some. Happily, Princeton University Press is one of those that’s thriving. There is a huge appetite for ideas, and the scholarly presses publishing books that address a wider audience than only academics and their libraries have been there to meet it. The appetite is also global, and again a small group of university presses have addressed the global market (much of PUP’s recent growth has been outside its home market in the US).

The other question is what will the ‘university’ part of ‘global university press’ look like in a decade or two? Higher education is ripe for disruption. It seems clear now this will not take the form of MOOCs, although they will have their market. Yet who knows what shape exactly it will take. One of my advisory board colleagues suggested publishing could be able to provide the true interdisciplinarity modern global issues require, whereas traditional university departmental silos discourage it. My hunch is that keeping a clear focus on the ‘product’ being the provision of ideas and scholarship to readers of all kinds around the world, and being agnostic about the exact means of delivering those ideas, will be the way to ride out disruptive technologies. A ‘freemium’ approach looks a good bet too: for example, the open access Digital Einstein website alongside the Quotable Einstein along with many other of his books for sale. (I note by the way there’s a holiday discount at the moment on purchases via the PUP website!)

My latest three books have been published by Princeton, and I’m delighted to be associated with such a distinguished purveyor of ideas to the world.

Thanks, Diane! Suffice to say, we’re delighted too. Read more on The Enlightened Economist.


Diane Coyle is the author of a number of books, including GDP: A Brief but Affectionate History, The Economics of Enough and The Soulful Science: What Economists Really Do and Why It Matters (both Princeton). She holds a PhD in economics from Harvard and is a visiting research fellow at the University of Oxford’s Smith School of Enterprise and the Environment.


Mark Denny discusses Ecological Mechanics

According to Mark Denny, the time is right for biomechanics to be folded into the broader study of ecology. In Ecological Mechanics, Denny explains how the principles of physics and engineering can be used to understand the remarkable ways plants and animals interact with each other and their surroundings, and how this controls where species can survive and reproduce. Recently, Denny shared some thoughts on the emerging discipline and his new book:

Ecological MechanicsEcological mechanics is not something I’ve heard of. Is it a new field of study?

MD: Yes and no. Biomechanics, the field in which I was raised, has traditionally focused on trying to understand how individual plants and animals work: how they are shaped to perform certain functions, what materials they are constructed from, how they interact with wind and moving water. But this biomechanical perspective has matured to the point where it can now be productively applied to questions of how individuals interact. In other words, the time is right for biomechanics to be folded into the broader study of ecology. That’s the basic idea of the book: to reveal to ecologists can they benefit from incorporating some physics and engineering in their approach, to challenge biomechanics to extend their expertise beyond the individual, to bring two well established disciplines together.

Can you give me a good example of ecological mechanics in action?

MD: I’d be delighted to! Let’s take coral reefs. They are an iconic example of how an assemblage of plants and animals interact to build a community that can grow and persist in a physically stressful environment, in this case the wave-beaten shores of tropical islands. But coral reefs exist in a delicate balance. Fish that shelter among branching coral colonies eat the seaweeds that otherwise would outcompete corals for space on the reef. If too many of the branching corals are broken by waves, the fish population declines, and the seaweeds take over. So, the state of the reef is a complex interaction between fluid mechanics (which governs wave forces), solid mechanics (which governs the ability of corals to resist those forces), and ecology, (which accounts for the community-wide consequences of coral breakage). But ecologists have had no way to predict how these interactions will play out as climate changes. Fortunately, ecological mechanics can now provide the answer. By taking into account both the predicted increase in intensity of tropical cyclones and the reduction in strength of corals due to ocean acidification, we can use the principles of engineering to accurately predict the change in species composition on a reef, and, from that, to use ecological principles to predict the change in competitive interactions between corals and seaweeds.

What’s the scope of the subject matter?

MD: Broad! In the first section we cover basic concepts from the physics of diffusion to fluid mechanics. We then use those concepts to understand the forces that plants and animals encounter both on land and in water, how animals move, and how the environment affects the temperature of everything, both living and dead. Then there’s a section on the mechanics of materials: how the chemical composition of a structure determines its stiffness and strength, how the shape of the structure affects the forces imposed on materials, and how structures interact in dynamic fashion with their surrounds. We then finish up by tying together the information from the previous sections. We explore how variation in the environment affects the plants’ and animals’ performance, and how that variation changes through time and space. We delve into the statistics of extremes (which can be used to predict the likelihood of ecological catastrophes), and we see how physics causes ecological patterns to emerge even in physically uniform habitats. There’s plenty here for both terrestrial and aquatic biologists, at scales ranging from the molecular to the global.

What tools will I take away from reading Ecological Mechanics?

MD: Great question. In a nut shell, you should come away with enough practical knowledge not only to understand the ecomechanics literature, but also to start working as a practicing ecomechanic. The chapter on thermal mechanics, for instance, teaches you how to construct a head-budget model for an organism that you can use to predict body temperature in any environment. The chapter on scale transition theory provides a recipe for predicting how the average performance of a population will change as the population spreads through space.

Sounds pretty technical, though. How much of a background in physics, math, and engineering would one need?

MD: Not much, actually. If you’ve had a course in basic physics somewhere along the line, and remember a reasonable amount of the algebra you learned in high school, the ideas presented here are should be easy to absorb. My own formal background in math and physics is absolutely minimal. Most of what I know about engineering I learned by explaining it to myself, and I think that has put me in a good position to explain this material to others. Readers are likely to be pleasantly surprised at how far a little bit of mathematics and basic physics can take them.

Given the scope and level of the discussion, what do you see as the audience for Ecological Mechanics?

MD: I wrote this text with several audiences in mind. First, there are ecologists and biomechanics actively involved in research, everyone from undergraduates on up. I feel certain that the breadth of information presented here will provide them with new perspectives on their subjects, new ways of thinking about the ways in which plants and animals interact with each other and with their environment, and the tools to explore those thoughts. The text can also be used as the basis for an upper-level undergraduate course. Combining as it does biomechanics and ecology, it could easily fit into a general curriculum in biology. It could equally well provide accessory information for other courses; various chapters could be used in isolation in a general biomechanics course, for instance, or a general course in ecology. And lastly, I hope there is an audience among folks who are just interested in science. Ecological mechanics involves such a compelling mixture of physical and biological science; I’m hoping that people will pick up this book just to scratch the itch of curiosity.

How did someone with little background in math and physics end up in a field like ecological mechanics?

MD: Pure serendipity. Like so many people, I went to college planning to go to medical school. I majored in zoology, avoided math, and put off taking physics until my senior year, and even then I took it pass/fail. But I found that physics offered a different (and intriguing) way of thinking about the world. And that really clicked into place when, in my final semester, I took a biomechanics course from Steve Wainwright and Steve Vogel. They showed me how the physics perspective could be applied to biology, and I’ve been riding that wow!! feeling ever since. I’d love to pass that excitement along to others, and books like this are best way I know to do that.

Mark Denny is the John B. and Jean DeNault Professor of Marine Sciences at Stanford University’s Hopkins Marine Station in Pacific Grove, California. His books include Biology and the Mechanics of the Wave-Swept Environment, Air and Water, and How the Ocean Works.