Patterns of painting in satin bowerbirds Ptilonorhynchus violaceus and males' responses to changes in their paint

Satin bowerbirds Ptilonorhynchus violaceus have an elaborate multi-component sexual display, some components of which have been extensively studied. We describe a relatively unstudied component of this display, bower painting, and birds' responses to manipulations of their paint. Males of this species focus their display around a stick bower constructed on the forest floor which they decorate with a variety of objects and paint. Painting involves a male masticating plant material and wiping the plant-saliva mixture onto the inside walls of the bower; during courtship visits to bowers, females nibble at this paint. We found that 93% of 53 males painted their bowers at our study site and the time males spent painting their bowers accounted for 24% of their time at the bower. We experimentally removed and added paint to bowers to test whether males respond to these changes in their paint. Males gave more advertisement calls and spent less time manipulating sticks at the bower when we added fresh wet paint to their bowers compared to older dried paint or a control treatment. They did not respond to the removal of paint from their bowers, perhaps because it was primarily older dried paint that was removed. We also found that males painted more frequently when there was measurable wind in their bowers, which could have degraded the quality of the signal. Our findings indicate that fresh wet paint is more important to males than older dried paint and, together with previous work at this site, suggest that paint may act as a signal to females. Given that females nibble bower sticks during courtship, we suggest that bower paint may function as a chemical sexual signal rather than a visual signal.

Aboriginal Art Collection: Highlights from Australia's Public Museums and Galleries

Contents: Introduction SUSAN COCHRANE National Gallery of Australia, Canberra WALLY CARUANA National Museum of Australia, Canberra DAVID KAUS Museum and Art Gallery of the Northern Territory, Darwin MARGIE WEST Art Gallery of New South Wales, Sydney HETTI PERKINS AND KEN WATSON Museum of Contemporary Art, Sydney BERNICE MURPHY Queensland Art Gallery, Brisbane MARCO NEALE Queensland Museum, Brisbane RICHARD ROBINS National Gallery of Victoria, Melbourne JUDITH RYAN Museum Victoria, Melbourne GAYE SCULTHORPE Tasmanian Museum and Art Gallery, Hobart KIM AKERMAN AND DAVID HANSEN Art Gallery of Western Australia, Perth MICHAEL O'FERRALL AND BRENDA L. CROFT Western Australian Museum, Perth ROSS CHADWICK AND MANCE LOFGREN Art Gallery of South Australia, Adelaide JANE HYLTON South Australian Museum, Adelaide PHILIP A. CLARKE List of Plates Bibliography Editor's Acknowledgments Contributors Index

Gulliver, a long terminal repeat retrotransposon from the genome of the oriental blood fluke Schistosoma japonicum

We characterized the consensus sequence and structure of a long terminal repeat (LTR) retrotransposon from the genome of the human blood fluke, Schistosoma japonicum, and have earned this element, Gulliver. The full length, consensus Gulliver LTR retrotransposon was 4788 bp, and it was flanked at its 5'- and 3'-ends by LTRs of 259 bp. Each LTR included RNA polymerase II promoter sequences, a CAAT signal and a TATA box, Gulliver exhibited features characteristic of a functional LTR retrotransposon including two read through (termination) ORFs encoding retroviral gag and pol proteins of 312 and 1071 amino acid residues, respectively. The gag ORF encoded motifs conserved in nucleic acid binding proteins, while the pol ORF encoded conserved domains of aspartic protease, reverse transcriptase (RT), RNaseH and integrase, in that order, a pol pattern conserved in the gypsy lineage of LTR retrotransposons. Whereas the sequence and structure of Gulliver was similar to that of gypsy, phylogenetic analysis revealed that Gulliver did not group particularly closely with the gypsy family. Rather, its closest relatives were a LTR retrotransposon from Caenorhabditis elegans, mag from Bombyx mori and, to a lesser extent, easel from the salmon Oncorhynchus keta. Dot blot hybridizations indicated that Gulliver was present at between 100 and several thousand copies in the S. japonicum genome, and Southern hybridization analysis suggested its probable presence in the genome of Schistosoma mansoni. Transcripts encoding the RT domain of Gulliver were detected by RT-PCR in larval and adult stages of S. japonicum, indicating that (at least) the RT domain of Gulliver is transcribed. This is the first report of the sequence and structure of an LTR retrotransposon from any schistosome or indeed from any species belonging to the phylum Platyhelminthes. (C) 2001 Elsevier Science B.V. All rights reserved.