Evaluation of fixed sample-size plans for Plutella xylostella (Lepidoptera: Plutellidae) on broccoli crops in Australia

Fixed sample-size plans for monitoring Plutella xylostella (L.) (Lepidoptera: Plutellidae) on broccoli and other Brassica vegetable crops are popular in Australia for their simplicity and ease of application. But the sample sizes used are often small, ≈10–25 plants per crop, and it may be that they fail to provide sufficient information upon which to base pest control decisions. We tested the performance of seven fixed sample-size plans (10, 15, 20, 30, 35, 40, and 45 plants) by resampling a large data set on P. xylostella in commercial broccoli crops. For each sample size, enumerative and presence-absence plans were assessed. The precision of the plans was assessed in terms of the ratio of the standard error to the mean; and at least 45 and 35 samples were necessary for the enumerative and presence-absence plans, respectively, to attain the generally accepted benchmark of ≤0.3. Sample sizes of 10–20 were highly imprecise. We also assessed the consequences of classifications based on action thresholds (ATs) of 0.2 and 0.8 larvae per plant for the enumerative case, and 0.15 and 0.45 proportion of plants of infested for the presence-absence case. Operating characteristic curves and investigations of the frequency of correct decisions suggest improvements in the performance of plans with increased sample size. In both the enumerative and presence-absence cases, the proportion of incorrect decisions was much higher for the lower of the two ATs assessed, and type II errors (i.e., failure to suggest pest control upon the AT is exceeded) generally accounted for the majority of this error. Type II errors are the most significant from a producer’s standpoint. Further consideration is necessary to determine what is an acceptable type II error rate.

Investment in sensory structures, testis size, and wing coloration in males of a diurnal moth species: trade-offs or correlated growth?

For dioecious animals, reproductive success typically involves an exchange between the sexes of signals that provide information about mate location and quality. Typically, the elaborate, secondary sexual ornaments of males signal their quality, while females may signal their location and receptivity. In theory, the receptor structures that receive the latter signals may also become elaborate or enlarged in a way that ultimately functions to enhance mating success through improved mate location. The large, elaborate antennae of many male moths are one such sensory structure, and eye size may also be important in diurnal moths. Investment in these traits may be costly, resulting in trade-offs among different traits associated with mate location. For polyandrous species, such trade-offs may also include traits associated with paternity success, such as larger testes. Conversely, we would not expect this to be the case for monandrous species, where sperm competition is unlikely. We investigated these ideas by evaluating the relationship between investment in sensory structures (antennae, eye), testis, and a putative warning signal (orange hindwing patch) in field-caught males of the monandrous diurnal painted apple moth Teia anartoides (Lepidoptera: Lymantriidae) in southeastern Australia. As predicted for a monandrous species, we found no evidence that male moths with larger sensory structures had reduced investment in testis size. However, contrary to expectation, investment in sensory structures was correlated: males with relatively larger antennae also had relatively larger eyes. Intriguingly, also, the size of male orange hindwing patches was positively correlated with testis size.

Experimental evolution reveals that population density does not affect moth signalling behaviour and antennal morphology

Population density can play a vital role in determining investment in reproductive behaviours and morphologies of invertebrates. Males reared in high-density environments, where competition is high but difficulties in locating mates are low, may invest more in reproductive structures associated with sperm competition such as testes, at the expense of those traits associated with mate location, such as antennae. In species where females advertise for mates, such as most moths, a high-density environment may also lead to a reduction in pheromonal signalling (calling) length and frequency as a result of high mate abundance. While such responses have been shown at the phenotypically plastic level in moths, heritable evolutionary adaptations have seldom been tested, and studies of how population density influences pheromone signalling strategies are scarce. Here we use behavioural assays and scanning electron microscopic measurements to test whether larval population density influences, at the genetic level, the ability of males to locate females and male investment into antennal morphology, in addition to its effect on the frequency and duration of female calling. We used two replicated populations of the Indian meal moth Plodia interpunctella that had experimentally evolved under high or low population densities for 35 generations. We found no significant divergence in antennal morphology or mate acquisition behaviours between the two density populations. These findings suggest that although population density has the ability to create plastic changes in both morphological and behavioural traits, this factor alone is unlikely to be causing evolutionary change in male and female signalling in this species.

Aspects of the ecology of swamp antechinus (Antechinus minimus maritimus) on a Bass Strait island

The swamp antechinus (Antechinus minimus maritimus) is a small insectivorous marsupial inhabiting closed heath and tussock grassland in south-eastern Australia. The species is considered 'Near Threatened' on the
Australian mainland. Populations persist on coastal islands off Wilsons Promontory, but their current status is unknown. This study investigated the density, diet and reproduction of the swamp antechinus on Kanowna Island.
Data were collected by live trapping in different vegetation types during four trips between August 2003 and January 2004. Higher animal densities (47-129 ha^-1) were found for Kanowna Island than for previously studied mainland populations (1-18 ha^-1). Examination ofscats showed that this species eats a wide variety ofprey types, with moth larvae a major dietary component, particularly during the breeding season. Births were estimated to have occurred between 28 June and 8 August, which is a longer period than reported for other populations of this species. Factors including reduced predation, restricted dispersal and increased food availability may be responsible for supporting this dense population.

Ultraviolet cues affect the foraging behaviour of blue tits

The function of avian ultraviolet (UV) vision is only just beginning to be understood. One plausible hypothesis is that UV vision enhances the foraging ability of birds. To test this, we carried out behavioural experiments using wild-caught blue tits foraging for cabbage moth and winter moth caterpillars on natural and artificial backgrounds. The light environment in our experiments was manipulated using either UV-blocking or UV-transmitting filters. We found that the blue tits tended to find the first prey item (out of four) more quickly when UV cues were present. This suggests that UV vision offers benefits to birds when searching for cryptic prey despite the prey and backgrounds reflecting relatively little UV Although there was no direct effect of UV on the time taken to find all four prey items in a trial, search performance in the absence of UV wavelengths tended to increase over the course of an experiment. This may reflect changes in the search tactics of the birds. To our knowledge, these are the first data to suggest that birds use UV cues to detect cryptic insect prey and have implications for our understanding of protective coloration.

Pheromone production, male abundance, body size, and the evolution of elaborate antennae in moths

The males of some species of moths possess elaborate feathery antennae. It is widely assumed that these striking morphological features have evolved through selection for males with greater sensitivity to the female sex pheromone, which is typically released in minute quantities. Accordingly, females of species in which males have elaborate (i.e., pectinate, bipectinate, or quadripectinate) antennae should produce the smallest quantities of pheromone. Alternatively, antennal morphology may be associated with the chemical properties of the pheromone components, with elaborate antennae being associated with pheromones that diffuse more quickly (i.e., have lower molecular weights). Finally, antennal morphology may reflect population structure, with low population abundance selecting for higher sensitivity and hence more elaborate antennae. We conducted a phylogenetic comparative analysis to test these explanations using pheromone chemical data and trapping data for 152 moth species. Elaborate antennae are associated with larger body size (longer forewing length), which suggests a biological cost that smaller moth species cannot bear. Body size is also positively correlated with pheromone titre and negatively correlated with population abundance (estimated by male abundance). Removing the effects of body size revealed no association between the shape of antennae and either pheromone titre, male abundance, or mean molecular weight of the pheromone components. However, among species with elaborate antennae, longer antennae were typically associated with lower male abundances and pheromone compounds with lower molecular weight, suggesting that male distribution and a more rapidly diffusing female sex pheromone may influence the size but not the general shape of male antennae.

Evanescent

Exhibition of original artworks created in 2013. Evanescent is a new series produced in 2013 which premiered at the Castlemaine State Festival 15-24 March 2013. The series revisits a childhood delight and fascination with the projected image and the natural world. For me then, as it is now, a magnifying glass was a wonder; its simple optics twisted light into abstract comas and sci-fi aberrations; able to compact a whole view into a luminous, paradoxically inverted phantom that could fit literally into the palm of my hand. By curling fingers and thumb around the lens and cupping both hands around the elusive rays, and by peering into the space in which I had trapped them, I fancied that I had entered into the secret workings of the eye. Chrysalis, for example, appears as a scenic projection from a hand-held lens and simultaneously as the litter of the forest floor. It is produced with a makeshift camera-obscura. The nebulous silhouettes of trees, some blurred under the passing clouds of a summer wind resolve here and there into crisp lines curled across the surface of a fallen leaf on which a moth chrysalis adheres. The leaf assumes Brobdingnagian proportions and thickness as the evanescent image shrinks and is foreshortened then dissolves in the enlarged dust and grit. It manifests the unique sight anchored at this fixed point, to reveal what we might see if we were to become vegetable or mineral. Near and far, large and small, superimpose, trigonometrically exact in their adjacency and spatial relations, presenting us with a located point of view.Why? I want to understand more intimately the interior of the natural landscape, rather than any ‘scene’ of human presence, or the context of any cultural landmark. In the steep, bush locations in which I am making these images, my means are necessarily makeshift; my camera and an old manual-aperture lens able to be carried in a backpack with a black T-shirt as a 'dark-tent'. The project is not systematic but intuitive and responsive to prevailing conditions and the effect on the projection caused by sun, shade, weather and situation. I am guided by the response of objects, textures and surfaces to the projected image and how they modulate and map it. This is landscape, but not from a human point of view.

Cocoon of the silkworm Antheraea pernyi as an example of a thermally insulating biological interface.

Biological materials are hierarchically organized complex composites, which embrace multiple practical functionalities. As an example, the wild silkworm cocoon provides multiple protective functions against environmental and physical hazards, promoting the survival chance of moth pupae that resides inside. In the present investigation, the microstructure and thermal property of the Chinese tussah silkworm (Antheraea pernyi) cocoon in both warm and cold environments under windy conditions have been studied by experimental and numerical methods. A new computational fluid dynamics model has been developed according to the original fibrous structure of the Antheraea pernyi cocoon to simulate the unique heat transfer process through the cocoon wall. The structure of the Antheraea pernyi cocoon wall can promote the disorderness of the interior air, which increases the wind resistance by stopping most of the air flowing into the cocoon. The Antheraea pernyi cocoon is wind-proof due to the mineral crystals deposited on the outer layer surface and its hierarchical structure with low porosity and high tortuosity. The research findings have important implications to enhancing the thermal function of biomimetic protective textiles and clothing.

The effect of fibrous structural difference on thermal insulation properties of biological composites: silkworm cocoons

As a biological fibrous structure, silkworm cocoon provides multiple protective functionalities to safeguard the silk moth pupa’s metabolic activity. The mechanism of this protection could be adopted in clothing manufacture to provide more comfortable apparel. In this study, the thermal insulation properties of both domestic Bombyx mori (B. mori) and wild Antheraea pernyi (A. pernyi) cocoons were investigated under both warm and cold environmental conditions. Computational fluid dynamics models have been developed to simulate the heat transfer process through both types of cocoon wall structures. The simulation results show that the wild A. pernyi cocoon reduces the intensity of convection and heat flux between the environment and the cocoon interior and has higher wind resistance than its domestic counterpart. Compared with A. pernyi cocoon, the B. mori cocoon facilitates easy air transfer and decreases the temperature lag when the surrounding conditions are changed. The new knowledge has significant implications for developing biomimetic thermal functional materials.

37° Sur a 19° Norte: Fotografía contemporánea de Australia

Curatorial considerations, aims and objectives:The title for this exhibition (37 ° South to 19 ° North) refers to the Latitude of Melbourne, Australia and Cuernavaca, Mexico.My curatorial objective for making such a reference to the geographical was to invoke a sense of both distance and connection between the two locations of Australia and Mexico and to also create a sense of sharing, not only between our distant landscapes and cultures but also between the feelings and emotions that we all experience in response to the places in which we live out the moments which make up our daily lives.In developing this project I considered the work of more than 35 contemporary Australian photographers and finally selected 15 photographers (including myself). Most of these artists have or have had close connection to Melbourne and to the southern/eastern line of Australian continent. The final selection ranged from Hobart to Maroochydore and one artist who had lived in Melbourne for many years but was now living in Mexico. These photographers (and the specific works) were selected because their long term creative practice captures a sense of location (place and space) with a deep introspective sensibility which I feel offers a viewer a personal and softly spoken vision of some particular aspect of an Australian location, be that exterior landscape or interior place and a sense of unique connection to such places. These images are not documents but rather representations of feelings, stories, memories and dreams which emerge in the milieu of our inhabitants.In selecting the works, careful consideration was also given to diversity of approaches to photographic practice in conjunction to thematic content. Formats and media included black and white, pin hole photography, toy camera, large format (both 4” x 5” and 10”x 8”), phone camera, various digital camera images and other experimental approaches. The local art scene in Cuernavaca is very strong and there is a strong interest in photography. This is partially due to the number of local arts schools and universities which offer studies in photography as well as the political dimension regarding Mexican art in general - as a tool of both political media, reportage and documentary work, photography is a significant medium for many of the people who would be visiting the exhibition. I therefore felt it was important to address the diversity of approaches to the medium which are currently being explored by Australian practitioners.The City Museum of Cuernavaca provided two large walls and some smaller sections of side walls on both the grounds level and the upper level of the main museum galleries for exhibition.The works were arranged with a simple thematic structure. Top level, left to right, then bottom level, left to right starting with images which presented a sense of wilderness and landscape (which were also quite abstract and reductive) to more representational landscape images moving to landscape with small figures (people) emerging within the images (Ash Kerr) to landscapes with larger figures and the emerging presence of man-made elements to urban landscapes and then to interior urban scapes and finally to interior locations with people and finally finishing on the metaphorical image by Harry Nankin of Bogong Moths and the politics of climate change. (It is also interesting to note that the migration path of the Bongong moth matches well the distribution of the artists selected for this project)Broadly speaking the images started outside with broad landscape to intimate interior locations. With these works a great deal of personal content from each photographer was presented. Most artists chose to present 3 large format images while some only presented 2 images. Other graphic and visual elements were considered in the final placement of the images.It must also be noted that the artists selected ranged broadly from very highly established and significant local artists to mid-career/younger establishing artist to some lesser known and emerging artists. From a curatorial perspective I feel this is offers the possibility of what I shall term, a more balanced representation of the local Australian practice and it provides a context in which both established and emerging artists / works must engage on a dialogue, within the exhibition. I believe it also placing the curatorial premise on the strength of the work rather than on whom the artists are and their status. It also supports the younger emerging artists and provides a less formal and predictable outcome for the established artists and for as a collective presentation as a whole.