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Today's featured article

Banded sugar worker ant with cocoon
Banded sugar worker ant with cocoon

The banded sugar ant (Camponotus consobrinus) is a species of ant endemic to Australia. A member of the genus Camponotus in the subfamily Formicinae, it was described by German entomologist Wilhelm Ferdinand Erichson in 1842. Its common name refers to the ant's preference for sweet food and the distinctive orange-brown band around its gaster. The ant is polymorphic and relatively large, with castes called major workers (soldiers) and minor workers. Ants in these groups measure around 5 to 15 millimetres (0.20 to 0.59 inches) in length. Mainly nocturnal, the ants prefer a mesic habitat, and are commonly found in forests and woodlands; they are also found in urban areas, where they are considered a household pest. The ant's diet includes sweet secretions obtained from aphids and other insects. Workers prey on some insects, killing them with a spray of formic acid. Banded sugar ants are prey for other ants, echidnas and birds. The eggs of this species were consumed by Indigenous Australians. (Full article...)

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USS Gyatt, with her new missile system aft
USS Gyatt, with her new missile system aft

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Walter Clayton Jr. in 2023
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Mary II and William III
Mary II and William III
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The Jewish Cemetery

The Jewish Cemetery is an oil-on-canvas painting by the Dutch landscape painter Jacob van Ruisdael. Painted in 1654 or 1655, it is an allegorical landscape painting suggesting ideas of hope and death, while also being based on Beth Haim, a cemetery located on Amsterdam's southern outskirts, at the town of Ouderkerk aan de Amstel. Beth Haim is a resting place for some prominent figures among Amsterdam's large Jewish Portuguese community in the 17th century. Ruisdael presents the cemetery as a landscape variant of a vanitas painting, employing deserted tombs, ravaged churches, stormy clouds, dead trees, changing skies, and flowing water to symbolize death and the transience of all earthly things. The known provenance for the painting dates back only to 1739 and its original owner is not documented; since 1926, it has been owned by the Detroit Institute of Arts.

Painting credit: Jacob van Ruisdael

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