cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.25549/whit-ouc11399kb20
title: Dick Whittington Photography Collection, 1924-1987

description: The "Dick" Whittington Studio was the largest and finest photography studio in the Los Angeles area from 1924 to 1987. Specializing in commercial photography, the Whittington Studio took photographs for nearly every major business and organization in Los Angeles; in so doing, they documented the growth and commercial development of Los Angeles. Clients included Max Factor, the Broadway, Bullock's, and May Co. department stores, the California Fruit Growers Association, Signal Oil, Shell Oil, Union Oil, Van de Kamp's bakeries, Forest Lawn, Sparkletts Water, CBS, Don Lee Television, Goodyear Tire and Rubber, real estate developers, construction companies, automobile, aircraft, and railroad companies, and drive-in theaters. Another notable client was the University of Southern California, which contracted with the Whittington Studios for coverage of athletic and other events. The collection consists primarily of roughly 500,000 negatives; the rest are photoprints. Supporters The collection is only partially digitized, but thanks to the generous help of the National Endowment for the Humanities (NEH) and the National Historical Publications and Records Commission (NHPRC), the USC Libraries has digitized 76,645 at-risk negatives in obsolete formats from the 1920s to 1940s.
DOI: 10.25549/whit-ouc11399kb5g
title: Dick Whittington Photography Collection, 1924-1987

description: The "Dick" Whittington Studio was the largest and finest photography studio in the Los Angeles area from 1924 to 1987. Specializing in commercial photography, the Whittington Studio took photographs for nearly every major business and organization in Los Angeles; in so doing, they documented the growth and commercial development of Los Angeles. Clients included Max Factor, the Broadway, Bullock's, and May Co. department stores, the California Fruit Growers Association, Signal Oil, Shell Oil, Union Oil, Van de Kamp's bakeries, Forest Lawn, Sparkletts Water, CBS, Don Lee Television, Goodyear Tire and Rubber, real estate developers, construction companies, automobile, aircraft, and railroad companies, and drive-in theaters. Another notable client was the University of Southern California, which contracted with the Whittington Studios for coverage of athletic and other events. The collection consists primarily of roughly 500,000 negatives; the rest are photoprints. Supporters The collection is only partially digitized, but thanks to the generous help of the National Endowment for the Humanities (NEH) and the National Historical Publications and Records Commission (NHPRC), the USC Libraries has digitized 76,645 at-risk negatives in obsolete formats from the 1920s to 1940s.
DOI: 10.25549/whit-ouc11399need
title: Dick Whittington Photography Collection, 1924-1987

description: The "Dick" Whittington Studio was the largest and finest photography studio in the Los Angeles area from 1924 to 1987. Specializing in commercial photography, the Whittington Studio took photographs for nearly every major business and organization in Los Angeles; in so doing, they documented the growth and commercial development of Los Angeles. Clients included Max Factor, the Broadway, Bullock's, and May Co. department stores, the California Fruit Growers Association, Signal Oil, Shell Oil, Union Oil, Van de Kamp's bakeries, Forest Lawn, Sparkletts Water, CBS, Don Lee Television, Goodyear Tire and Rubber, real estate developers, construction companies, automobile, aircraft, and railroad companies, and drive-in theaters. Another notable client was the University of Southern California, which contracted with the Whittington Studios for coverage of athletic and other events. The collection consists primarily of roughly 500,000 negatives; the rest are photoprints. Supporters The collection is only partially digitized, but thanks to the generous help of the National Endowment for the Humanities (NEH) and the National Historical Publications and Records Commission (NHPRC), the USC Libraries has digitized 76,645 at-risk negatives in obsolete formats from the 1920s to 1940s.
DOI: 10.15468/dl.zspkxx
title: Occurrence Download

description: A dataset containing 15 species occurrences available in GBIF matching the query:
{
 "and" : [
 "HasGeospatialIssue is false",
 "HasCoordinate is true",
 "OccurrenceStatus is Present",
 {
 "not" : {
 "BasisOfRecord" : [
 "is one of (Fossil, Living Specimen)"
 ]
 }
 },
 "DistanceFromCentroidInMeters is greater than or equal to 2000",
 "Geometry POLYGON ((105.610544 14.999999, 179.999961 14.999999, 179.999961 65.08290100000001, 105.610544 65.08290100000001, 105.610544 14.999999))",
 "TaxonKey is Pomachromis richardsoni"
 ]
}

 The dataset includes 15 records from 7 constituent datasets; see https://api.gbif.org/v1/occurrence/download/0001196-260226173443078/datasets/export for details.
 
Data from some individual datasets included in this download may be licensed under less restrictive terms.
DOI: 10.25549/maw-ouc113889317
title: Seated horned figure holding a child

description: A seated male shaman presents a child. There are three horns on the shaman's headdress. His shoulders bear the marks or modules of scarification. The act of cutting the wound can be done in a short time, but the healing process can take up to a year.
DOI: 10.25549/maw-ouc113888901
title: Seated couple : female with hands on her cheek

description: The male sits with his right knee drawn to his body and he rests his right elbow on it. He is unusual, because his chin has a beard. The female sits with crossed legs, her hand to a cut on her cheek. Incised marks on her chest suggest a form of scarification. Both figures have traces of black pigment.
DOI: 10.25549/maw-ouc113889314
title: Seated couple : female with hands on her cheek

description: The male sits with his right knee drawn to his body and he rests his right elbow on it. He is unusual, because his chin has a beard. The female sits with crossed legs, her hand to a cut on her cheek. Incised marks on her chest suggest a form of scarification. Both figures have traces of black pigment.
DOI: 10.25549/maw-ouc113889254
title: Seated couple : female with hands on her cheek

description: The male sits with his right knee drawn to his body and he rests his right elbow on it. He is unusual, because his chin has a beard. The female sits with crossed legs, her hand to a cut on her cheek. Incised marks on her chest suggest a form of scarification. Both figures have traces of black pigment.
DOI: 10.25549/maw-ouc113889312
title: Seated male with pregnant female

description: The male figure represents a shaman, a man of knowledge. He sits close to his pregnant wife, who holds her left hand to her face. Her pose is very common for pregnant females. The area above her right hand is painted black, which is unusual. The shaman's pose seems to be reassuring and comforting. See also MawM0209.
DOI: 10.5281/zenodo.18796437
title: Beryllium-10  — Inverted Solar Proxy & Atmospheric Vibration Analysis (1841–2013)

description: This dataset is part of the Bicameral Solar Engine project, a multi-scalar deterministic framework that maps the relationship between solar harmonic cycles and terrestrial systems including climate, economics, and biological populations. All datasets share a common methodology: raw signals are detrended using an 11-year centered moving average, normalized into Z-scores. This record contains the Beryllium-10 (¹⁰Be) inverted solar proxy analysis
DOI: 10.5281/zenodo.18796436
title: Beryllium-10  — Inverted Solar Proxy & Atmospheric Vibration Analysis (1841–2013)

description: This dataset is part of the Bicameral Solar Engine project, a multi-scalar deterministic framework that maps the relationship between solar harmonic cycles and terrestrial systems including climate, economics, and biological populations. All datasets share a common methodology: raw signals are detrended using an 11-year centered moving average, normalized into Z-scores. This record contains the Beryllium-10 (¹⁰Be) inverted solar proxy analysis
DOI: 10.25549/maw-ouc113887116
title: Mixtec ceramic censer : openwork design

description: The open design of this censer lightens the censer and allows the incense to burn better. The design combines a step motif as well as the woven mat motif. The two feet contain pellets to create a rattler noise.
DOI: 10.25549/maw-ouc113887164
title: Mixtec tripodal bowl

description: The number three appears to have significance. It appears as three legs, three solid bands, three stepped spiral rings and two of those rings are divided into three quadrants. There are three realms in Mesoamerica: Heaven, the Sky, Earth, the living world, and the Underworld, the land of the dead.
DOI: 10.25549/maw-ouc113887118
title: Maya copador swimmer bowl

description: The number three appears to have significance. It appears as three legs, three solid bands, three stepped spiral rings and two of those rings are divided into three quadrants. There are three realms in Mesoamerica: Heaven, the Sky, Earth, the living world, and the Underworld, the land of the dead.
DOI: 10.25549/maw-ouc113887166
title: Maya copador swimmer bowl

description: The number three appears to have significance. It appears as three legs, three solid bands, three stepped spiral rings and two of those rings are divided into three quadrants. There are three realms in Mesoamerica: Heaven, the Sky, Earth, the living world, and the Underworld, the land of the dead.
DOI: 10.25549/maw-ouc113887126
title: Macehead (scepter head) or jar top with seated elite and three canines (coyotes)

description: This ceremonial object could be the top of a jar, a staff, a scepter or a macehead. On the top of the form, there is a seated elite figure holding his hand out. The slanted side is decorated with three canines, possibly dogs or coyotes. The style of the object is called Copador, which was made in El Salvador or Honduras.
DOI: 10.25549/maw-ouc113889329
title: Seated male with pregnant female

description: The male figure represents a shaman, a man of knowledge. He sits close to his pregnant wife, who holds her left hand to her face. Her pose is very common for pregnant females. The area above her right hand is painted black, which is unusual. The shaman's pose seems to be reassuring and comforting. See also MawM0209.
DOI: 10.15468/dl.wk86bs
title: Occurrence Download

description: A dataset containing 1753 species occurrences available in GBIF matching the query:
{
 "and" : [
 "OccurrenceStatus is Present",
 "TaxonKey is Glycyrrhiza uralensis"
 ]
}

 The dataset includes 1753 records from 80 constituent datasets; see https://api.gbif.org/v1/occurrence/download/0001197-260226173443078/datasets/export for details.
 
Data from some individual datasets included in this download may be licensed under less restrictive terms.
DOI: 10.25549/maw-ouc113889335
title: Archaic joined pair : twins

description: Two male figures are seated with their arms around each others shoulders. They are very similar, except one is a bit taller and the other has a horn (the mark of a shaman). Are they twins? It is also possible that they larger figure is female and the horned figure a male. Are they a couple? See also MawM0208.
DOI: 10.25549/maw-ouc113888903
title: Shamanic drummers

description: These gentlemen appear to be two drummers creating music, but their feet tell another story. Since their feet are on the drum, they are riding the drum during shamanic flight.
DOI: 10.25549/maw-ouc113889123
title: Standing female (mother) holding a child

description: A standing female figure wears a wrap-around skirt. The mother holds her child with her left arm close to her body. The child's head appears elongated and crested; the result of a hairstyle, a hat, or a modified cranium (skull).
DOI: 10.25549/maw-ouc113889124
title: Seated figure with avian reclinatario (backrest) : whistle

description: An elite male sits with his back to an avian reclinatario. The backrest in the form of a bird with a wattle could be a totem or a nahual (animal spirit). The fan held by the male represents a symbol of his authority.
DOI: 10.25549/whit-ouc11399nee1
title: Dick Whittington Photography Collection, 1924-1987

description: The "Dick" Whittington Studio was the largest and finest photography studio in the Los Angeles area from 1924 to 1987. Specializing in commercial photography, the Whittington Studio took photographs for nearly every major business and organization in Los Angeles; in so doing, they documented the growth and commercial development of Los Angeles. Clients included Max Factor, the Broadway, Bullock's, and May Co. department stores, the California Fruit Growers Association, Signal Oil, Shell Oil, Union Oil, Van de Kamp's bakeries, Forest Lawn, Sparkletts Water, CBS, Don Lee Television, Goodyear Tire and Rubber, real estate developers, construction companies, automobile, aircraft, and railroad companies, and drive-in theaters. Another notable client was the University of Southern California, which contracted with the Whittington Studios for coverage of athletic and other events. The collection consists primarily of roughly 500,000 negatives; the rest are photoprints. Supporters The collection is only partially digitized, but thanks to the generous help of the National Endowment for the Humanities (NEH) and the National Historical Publications and Records Commission (NHPRC), the USC Libraries has digitized 76,645 at-risk negatives in obsolete formats from the 1920s to 1940s.
DOI: 10.25549/whit-ouc11399kd68
title: Dick Whittington Photography Collection, 1924-1987

description: The "Dick" Whittington Studio was the largest and finest photography studio in the Los Angeles area from 1924 to 1987. Specializing in commercial photography, the Whittington Studio took photographs for nearly every major business and organization in Los Angeles; in so doing, they documented the growth and commercial development of Los Angeles. Clients included Max Factor, the Broadway, Bullock's, and May Co. department stores, the California Fruit Growers Association, Signal Oil, Shell Oil, Union Oil, Van de Kamp's bakeries, Forest Lawn, Sparkletts Water, CBS, Don Lee Television, Goodyear Tire and Rubber, real estate developers, construction companies, automobile, aircraft, and railroad companies, and drive-in theaters. Another notable client was the University of Southern California, which contracted with the Whittington Studios for coverage of athletic and other events. The collection consists primarily of roughly 500,000 negatives; the rest are photoprints. Supporters The collection is only partially digitized, but thanks to the generous help of the National Endowment for the Humanities (NEH) and the National Historical Publications and Records Commission (NHPRC), the USC Libraries has digitized 76,645 at-risk negatives in obsolete formats from the 1920s to 1940s.
DOI: 10.25549/whit-ouc11399kauq
title: Dick Whittington Photography Collection, 1924-1987

description: The "Dick" Whittington Studio was the largest and finest photography studio in the Los Angeles area from 1924 to 1987. Specializing in commercial photography, the Whittington Studio took photographs for nearly every major business and organization in Los Angeles; in so doing, they documented the growth and commercial development of Los Angeles. Clients included Max Factor, the Broadway, Bullock's, and May Co. department stores, the California Fruit Growers Association, Signal Oil, Shell Oil, Union Oil, Van de Kamp's bakeries, Forest Lawn, Sparkletts Water, CBS, Don Lee Television, Goodyear Tire and Rubber, real estate developers, construction companies, automobile, aircraft, and railroad companies, and drive-in theaters. Another notable client was the University of Southern California, which contracted with the Whittington Studios for coverage of athletic and other events. The collection consists primarily of roughly 500,000 negatives; the rest are photoprints. Supporters The collection is only partially digitized, but thanks to the generous help of the National Endowment for the Humanities (NEH) and the National Historical Publications and Records Commission (NHPRC), the USC Libraries has digitized 76,645 at-risk negatives in obsolete formats from the 1920s to 1940s.
DOI: 10.25549/whit-ouc11399kb32
title: Dick Whittington Photography Collection, 1924-1987

description: The "Dick" Whittington Studio was the largest and finest photography studio in the Los Angeles area from 1924 to 1987. Specializing in commercial photography, the Whittington Studio took photographs for nearly every major business and organization in Los Angeles; in so doing, they documented the growth and commercial development of Los Angeles. Clients included Max Factor, the Broadway, Bullock's, and May Co. department stores, the California Fruit Growers Association, Signal Oil, Shell Oil, Union Oil, Van de Kamp's bakeries, Forest Lawn, Sparkletts Water, CBS, Don Lee Television, Goodyear Tire and Rubber, real estate developers, construction companies, automobile, aircraft, and railroad companies, and drive-in theaters. Another notable client was the University of Southern California, which contracted with the Whittington Studios for coverage of athletic and other events. The collection consists primarily of roughly 500,000 negatives; the rest are photoprints. Supporters The collection is only partially digitized, but thanks to the generous help of the National Endowment for the Humanities (NEH) and the National Historical Publications and Records Commission (NHPRC), the USC Libraries has digitized 76,645 at-risk negatives in obsolete formats from the 1920s to 1940s.
DOI: 10.25549/whit-ouc11399kd3i
title: Dick Whittington Photography Collection, 1924-1987

description: The "Dick" Whittington Studio was the largest and finest photography studio in the Los Angeles area from 1924 to 1987. Specializing in commercial photography, the Whittington Studio took photographs for nearly every major business and organization in Los Angeles; in so doing, they documented the growth and commercial development of Los Angeles. Clients included Max Factor, the Broadway, Bullock's, and May Co. department stores, the California Fruit Growers Association, Signal Oil, Shell Oil, Union Oil, Van de Kamp's bakeries, Forest Lawn, Sparkletts Water, CBS, Don Lee Television, Goodyear Tire and Rubber, real estate developers, construction companies, automobile, aircraft, and railroad companies, and drive-in theaters. Another notable client was the University of Southern California, which contracted with the Whittington Studios for coverage of athletic and other events. The collection consists primarily of roughly 500,000 negatives; the rest are photoprints. Supporters The collection is only partially digitized, but thanks to the generous help of the National Endowment for the Humanities (NEH) and the National Historical Publications and Records Commission (NHPRC), the USC Libraries has digitized 76,645 at-risk negatives in obsolete formats from the 1920s to 1940s.
DOI: 10.25549/maw-ouc113985225
title: Tlatelolco standing female figure

description: A standing Tlatilco Female with short bulbous legs holds both hands on her abdomen. Her large elongated tapered head contains narrow punctuated eyes. Nothe the body paint, especially the red triangular area around the belly-button.
DOI: 10.25549/maw-ouc113985421
title: Tlatelolco standing female figure

description: A standing Tlatilco Female with short bulbous legs holds both hands on her abdomen. Her large elongated tapered head contains narrow punctuated eyes. Nothe the body paint, especially the red triangular area around the belly-button.
DOI: 10.25549/maw-ouc113985409
title: Pretty lady : standing female wearing a turban

description: In the valley of Mexico, the Tlatilco culture was located to the west of the great central Mexican lakes. Their society produced female figurines headdresses, hairstyles, jewelry, and sometimes clothing.
DOI: 10.25549/maw-ouc113985419
title: Student study ceramics, Tlatilco : standing female figure

description: Part of Student Study Ceramic grouping.
DOI: 10.25549/maw-ouc113985436
title: Standing female figure : dancer

description: Tlatilco potters excelled in small delicate figures, such as this young girl in a grass skirt dancing. Ninety percent of the figurines made during the Preclassic period were female.
DOI: 10.25549/maw-ouc113887566
title: Copper nose ring

description: The lost wax technique was used to create this copper nose ring. The nose ring was fabricated in beeswax, embedded in a fine clay mold, heated to dry out the clay mold and melt the wax out. Molted metal is poured into the negative space mold to form the copper nose ring. The molten copper cools and solidifies. The hot mold/metal is placed into cool water to break the mold and free the copper nose ring.
DOI: 10.25549/maw-ouc113887518
title: Stone fragment : Mictlantecuhtli : Lord of death

description: The Nahuatl word "tecuhtli" means "Lord" and "mictlan" means "the underworld." Therefore, Mictlantecuhtli means Lord of the Underworld or Death. He rules the realm of the dead with his wife, Mictlancihuatl. Artifact was found with MawM0270.
DOI: 10.25549/maw-ouc113887534
title: Penate : seated stylized human figure wearing a mask and a maize headdress

description: The Mixtec sculpture represents a man squatting on the ground with his arms folded on top of his knees. These sculptures called penates are usually small personal amulets. The form of the body remains rectangular and divided into three square areas. They were mass produced for personal use. This large penate is unusual, because he wears a mask and a corn headdress. The Aztec name for this God is Centeotl, the young male corn God.
DOI: 10.25549/maw-ouc113887536
title: Mixtec ear spool or ring

description: The Mixtec culture excelled in the time consuming lapidary and metallurgy arts. The stone-work required chipping, drilling, sawing, abrading, and polishing. The goldsmithing involved melting, forging, burnishing, folding and cutting metal.
DOI: 10.25549/maw-ouc113887569
title: Mixtec ear spool or ring

description: The Mixtec culture excelled in the time consuming lapidary and metallurgy arts. The stone-work required chipping, drilling, sawing, abrading, and polishing. The goldsmithing involved melting, forging, burnishing, folding and cutting metal.
DOI: 10.25549/maw-ouc113889334
title: Seated figure with avian reclinatario (backrest) : whistle

description: An elite male sits with his back to an avian reclinatario. The backrest in the form of a bird with a wattle could be a totem or a nahual (animal spirit). The fan held by the male represents a symbol of his authority.
DOI: 10.25549/maw-ouc113889342
title: Kneeling figure making masa with mano and metate

description: An androgynous figure with shoulder scarification kneels in front of a metate. The person uses a mano to grind corn for masa.
DOI: 10.25549/maw-ouc113889366
title: Seated female holding a reclined male

description: A seated female holds a smaller male in her lap. She looks upon him with a smile and a great deal of affection. It is rare to see a show of care and affection in Mesoamerican art. Is she mother and adolescent son, or wife and husband?
DOI: 10.25549/maw-ouc113889362
title: Seated female holding a reclined male

description: A seated female holds a smaller male in her lap. She looks upon him with a smile and a great deal of affection. It is rare to see a show of care and affection in Mesoamerican art. Is she mother and adolescent son, or wife and husband?
DOI: 10.25549/maw-ouc113889351
title: Anthropomorphic slinger with avian headdress : whistle

description: This warrior stands ready to encounter his foe with his sling armed and ready to fire. The face is human, but has an animal quality. His elaborate headdress appears to be a bird's head.
DOI: 10.25549/maw-ouc113985240
title: Colima Tlaloc fang-faced vessel

description: A squat spherical vessel has a spout and a pedestal base added to the body. The body has been appliqued with the characteristics of Tlaloc, the Mesoamerican Rain God. His attributes are concentric goggled eyes, an angular nose, a mustache, and a large toothy fanged mouth