Diving into the vertical dimension of elasmobranch movement ecology

Knowledge of the three-dimensional movement patterns of elasmobranchs is vital to understand their ecological roles and exposure to anthropogenic pressures. To date, comparative studies among species at global scales have mostly focused on horizontal movements. Our study addresses the knowledge gap of vertical movements by compiling the first global synthesis of vertical habitat use by elasmobranchs from data obtained by deployment of 989 biotelemetry tags on 38 elasmobranch species. Elasmobranchs displayed high intra- and interspecific variability in vertical movement patterns. Substantial vertical overlap was observed for many epipelagic elasmobranchs, indicating an increased likelihood to display spatial overlap, biologically interact, and share similar risk to anthropogenic threats that vary on a vertical gradient. We highlight the critical next steps toward incorporating vertical movement into global management and monitoring strategies for elasmobranchs, emphasizing the need to address geographic and taxonomic biases in deployments and to concurrently consider both horizontal and vertical movements

Diving into the vertical dimension of elasmobranch movement ecology

Knowledge of the three-dimensional movement patterns of elasmobranchs is vital to understand their ecological roles and exposure to anthropogenic pressures. To date, comparative studies among species at global scales have mostly focused on horizontal movements. Our study addresses the knowledge gap of vertical movements by compiling the first global synthesis of vertical habitat use by elasmobranchs from data obtained by deployment of 989 biotelemetry tags on 38 elasmobranch species. Elasmobranchs displayed high intra- and interspecific variability in vertical movement patterns. Substantial vertical overlap was observed for many epipelagic elasmobranchs, indicating an increased likelihood to display spatial overlap, biologically interact, and share similar risk to anthropogenic threats that vary on a vertical gradient. We highlight the critical next steps toward incorporating vertical movement into global management and monitoring strategies for elasmobranchs, emphasizing the need to address geographic and taxonomic biases in deployments and to concurrently consider both horizontal and vertical movements

Lillian Freiman : Paintings and Drawings

Nasby outlines Freiman's life and discusses her style of drawing and subject matter. 2 bibl. ref

Fastwürms : Ex Ovo Omnia

This catalogue documents an exhibition of selected works by Fastwürms that opened with the unveiling of a sculpture commissioned specifically for the Macdonald Stewart Art Centre’s Sculpture Park. Nasby situates the artists' new work within the context of their oeuvre, and explains that EX OVO OMNIA is Fastwürms' sculptural interpretation of the history of biology (up until the discovery of DNA). List of works. Bio-bibliography 7 p. 2 bibl. ref

Guelph Artists 2002

In recognition of Guelph’s 175th anniversary, Nasby invited 85 artists from the city to produce a work specifically about it. This catalogue documents the resulting exhibition. Nasby suggests the works in the show attest to the diversity and vitality of the arts in this small Ontario city. Includes an appendix that lists selelcted archival materials currently housed in the Macdonald Stewart Art Centre. List of works. Bibl. 7 p

The University of Guelph Art Collection ; A Catalogue of Paintings, Drawings, Prints and Sculpture

Nasby outlines both the development of the University of Guelph art collection and of the Macdonald Stewart Art Centre

Contemporary Inuit Drawings = Dessins inuit contemporains

Describing drawing as the most direct mode of visual expression, Nasby outlines the stylistic characteristics of Inuit art since the late 1940s. 1 bibl. ref

Qamanittuaq Drawings by Baker Lake Artists

Publication to accompany a touring exhibition of Inuit drawings selected from the Macdonald Stewart Art Centre’s collection. Nasby traces the development of contemporary art in Baker Lake, beginning with the inception of a drawing 46 in the early 1950s. Stylistic and thematic changes in Inuit art are discussed. Text in English and Inuktitut. 2 bibl. ref