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Migration is widespread across taxonomic groups and increasingly recognized as fundamental to maintaining abundant wildlife populations and communities. Many ungulate herds migrate across the western United States to access food and avoid harsh environmental conditions. With the advent of global positioning system (GPS) collars, researchers can describe and map the year-round movements of ungulates at both large and small spatial scales. The migrations can traverse landscapes that are a mix of different jurisdictional ownership and management. Today, the landscapes migrating herds traverse are increasingly threatened by fencing, high-traffic roads, oil and gas development, and other types of permanent development. Through the use of GPS collars, a model of science-based conservation emerged in which migration corridors, stopovers, and winter ranges can be mapped in detail, thereby allowing threats and conservation opportunities to be identified and remedied. In 2018, the U.S. Geological Survey (USGS) assembled a Corridor Mapping Team (CMT) to work collaboratively with western states to map migrations of Odocoileus hemionus (mule deer), Cervus canadensis (elk), and Antilocapra americana (pronghorn). Led by the USGS Wyoming Cooperative Fish and Wildlife Research Unit, the team consists of Federal scientists, university researchers, and biologists and analysts from participating State and Tribal agencies. The first set of maps described a total of 42 migrations across 5 western states and was published in 2020 as the first volume of this report series. This second volume describes an additional 65 migrations mapped within 9 western states and select Tribal lands. As the western United States continues to grow, this report series and the associated map files released by the USGS will allow for migration maps to be used for conservation planning by a wide array of State and Federal stakeholders to reduce barriers to migration caused by fences, roads, and other development. [ABSTRACT FROM AUTHOR]

The article offers insights about the planned online conference for working artists' use of new communication media. One insight considers the new possibilities the information age can offer in bringing people together through information and communication. They also include the author's query whether new models for artists and art organizations are being conceptualized in the absence of public funding.

The author reflects on art criticism and art critics. He states the three characters and strengths of art criticisms such as immediate, of the moment, and engaged with a contemporary artifact and readership. He says that art critics might be poets, philosophers, journalists, curators, or anyone who can hold someone else's attention for a moment. He also mentions that art criticism is a minor literature and that art critics are minor or regional writer.

An interview with artist Shinro Ontake is presented. According to him, his works are influenced by Cheval, a postman. Ontake says his work is not an escape attempt, but more of a desire to create. He points out that although most of his works in the 1980s were considered abstract paintings, he believes they are figurative.

An interview with printmaker Fernando Lopes is presented. When asked about the printmaking mediums he had used, he narrates etching in the Bay of Rio, and lithography in the School of Visual Arts in Rio. According to Lopes, his subject matter for the last 15 years has been geometric shapes and spatial relationships, but that he has moved to iconic figuration. He explains the main strains of Russian constructivism in Brazil, which include concretism and neo-concretism.

The article provides information on the topics discussed by the author during his presentation at the symposium "The Architect's Triangle: Architectural Practice, Education, & Media." The symposium was designed to explore the relationships of journalism, architectural practice and education. It highlights the author's presentation strategy in giving the contrasting case of new tendencies in the visual arts. These include citing books, articles and significant names related to visual art.

An interview with artist Shelagh Keeley is presented. Keeley was born in Oakville, Ontario and now lives in New York City. Her work has been exhibited widely in Canada, the U.S., France, Japan, and Italy. It includes wall drawings, paintings, and bookworks, often focusing on the human body and on imagery from natural history. She was chosen as the first artist to produce a book for "International Ink."

The article offers information on the functions of automatic drawing. It states that automatism is a form of practice of drawing with one's eyes closed, creating a nervous outline and motion. It discusses that the idea of automatism relied on Sigmund Freud's distinction between secondary and first processes of thinking. An overview of perspectives of several artists about automatism including Coop Himmelblau, Wolf Prix, and Andre Masson is presented.

An interview with Ruby Lerner, executive director of IMAGE Film/Video Center in Atlanta, Georgia, and Cheryl Chisholm, director of the Atlanta Third World Film Festival, is presented. Lerner talks about the possibilities of developing an audience for serious film or video in Atlanta, Georgia. She also discusses her plan for IMAGE during late 1989 and 1990. Chisholm presents the planned programs for the Atlanta Third World Film Festival.

The article discusses the highlights of a November 1988 Southeast regional meeting of the National Association of Artists' Organizations where a panel was created to discuss the topic "What Defines Us As a Region?" The panel's discussion suggested that regionalism may still be a live issue within the art world today. Several members of the panel include John Eaton of the Georgia Volunteer Lawyers, Del Hamilton of the 7 Stages Theater, Atlanta, and Mary Anne Maier of Artswatch, Louisville.

The article examines the problems facing the Mattress Factory Group in Atlanta, Georgia. One of the issues facing the group is questions about the value of the annual Great Mattress Factory Show to artists due in part to its carnival atmosphere. It points out that the ad hoc nature of the decision making process is contrary to the reputation and visibility of the group and the event. Also noted are the drawbacks of transforming the group into a stable organization.

An interview with Vitaly Komar and Alexander Melamid, a team of Russian-born American graphic artists, is presented. When asked about the kind of performances they are doing, Komar says that their work is presented like a slide show performance which focuses on their roots as Russians and documents their life in Israel where they emigrated before moving to the U.S. Melamid says that the humor found in their works is due to their exaggerated presentation of the contradictions in everyday life.