Next to nothing

An eighteen-line lyric

Policy: the perils of doing nothing

A lack of buy-in by the United States arguably represents the greatest obstacle to tackling climate change. A major new report urges America to take action to cut emissions and begin adapting to climate change.

Everything and nothing project

An EPRSC ‘Partnerships for Public Engagement’ scheme 2010. FEC 122,545.56/UoR 10K everything and nothing is a performance and workshop which engages the public creatively with mathematical concepts: the Poincare conjecture, the shape of the universe, topology, and the nature of infinity are explored through an original, thought provoking piece of music theatre. Jorge Luis Borges' short story 'The Library of Babel' and the aviator Amelia Earhart’s attempt to circumnavigate the globe combine to communicate to audience key mathematical concepts of Poincare’s conjecture. The project builds on a 2008 EPSRC early development project (EP/G001650/1) and is led by an interdisciplinary team the19thstep consisting of composer Dorothy Ker, sculptor Kate Allen and mathematician Marcus du Sautoy. everything and nothing has been devised by Dorothy Ker and Kate Allen, is performed by percussionist Chris Brannick, mezzo soprano Lucy Stevens and sound designer Kelcey Swain. The UK tour targets arts-going audiences, from the Green Man Festival to the British Science Festival. Each performance is accompanied with a workshop led by Topologist Katie Steckles. Alongside the performances and workshops is a website, http://www.everythingandnothingproject.com/ The Public engagement evaluation and monitoring for the project are carried out by evaluator Bea Jefferson. The project is significant in its timely relation to contemporary mathematics and arts-science themes delivering an extensive programme of public engagement.

Nothing is safe: intolerance of uncertainty is associated with compromised fear extinction learning

Extinction-resistant fear is considered to be a central feature of pathological anxiety. Here we sought to determine if individual differences in Intolerance of Uncertainty (IU), a potential risk factor for anxiety disorders, underlies compromised fear extinction. We tested this hypothesis by recording electrodermal activity in 38 healthy participants during fear acquisition and extinction. We assessed the temporality of fear extinction, by examining early and late extinction learning. During early extinction, low IU was associated with larger skin conductance responses to learned threat vs. safety cues, whereas high IU was associated with skin conductance responding to both threat and safety cues, but no cue discrimination. During late extinction, low IU showed no difference in skin conductance between learned threat and safety cues, whilst high IU predicted continued fear expression to learned threat, indexed by larger skin conductance to threat vs. safety cues. These findings suggest a critical role of uncertainty-based mechanisms in the maintenance of learned fear.

Turing Test: Mindless Game?

The Turing Test, originally configured for a human to distinguish between an unseen man and unseen woman through a text-based conversational measure of gender, is the ultimate test for thinking. So conceived Alan Turing when he replaced the woman with a machine. His assertion, that once a machine deceived a human judge into believing that they were the human, then that machine should be attributed with intelligence. But is the Turing Test nothing more than a mindless game? We present results from recent Loebner Prizes, a platform for the Turing Test, and find that machines in the contest appear conversationally worse rather than better, from 2004 to 2006, showing a downward trend in highest scores awarded to them by human judges. Thus the machines are not thinking in the same way as a human intelligent entity would.

Developmental changes in presynaptic muscarinic modulation of excitatory and inhibitory neurotransmission in rat piriform cortex in vitro: relevance to epileptiform bursting susceptibility

Suppression of depolarizing postsynaptic potentials and isolated GABA-A receptor-mediated fast inhibitory postsynaptic potentials by the muscarinic acetylcholine receptor agonist, oxotremorine-M (10 microM), was investigated in adult and immature (P14-P30) rat piriform cortical (PC) slices using intracellular recording. Depolarizing postsynaptic potentials evoked by layers II-III stimulation underwent concentration-dependent inhibition in oxotremorine-M that was most likely presynaptic and M2 muscarinic acetylcholine receptor-mediated in immature, but M1-mediated in adult (P40-P80) slices; percentage inhibition was smaller in immature than in adult piriform cortex. In contrast, compared with adults, layer Ia-evoked depolarizing postsynaptic potentials in immature piriform cortex slices in oxotremorine-M, showed a prolonged multiphasic depolarization with superimposed fast transients and spikes, and an increased 'all-or-nothing' character. Isolated N-methyl-d-aspartate receptor-mediated layer Ia depolarizing postsynaptic potentials (although significantly larger in immature slices) were however, unaffected by oxotremorine-M, but blocked by dl-2-amino-5-phosphonovaleric acid. Fast inhibitory postsynaptic potentials evoked by layer Ib or layers II-III-fiber stimulation in immature slices were significantly smaller than in adults, despite similar estimated mean reversal potentials ( approximately -69 and -70 mV respectively). In oxotremorine-M, only layer Ib-fast inhibitory postsynaptic potentials were suppressed; suppression was again most likely presynaptic M2-mediated in immature slices, but M1-mediated in adults. The degree of fast inhibitory postsynaptic potential suppression was however, greater in immature than in adult piriform cortex. Our results demonstrate some important physiological and pharmacological differences between excitatory and inhibitory synaptic systems in adult and immature piriform cortex that could contribute toward the increased susceptibility of this region to muscarinic agonist-induced epileptiform activity in immature brain slices.

Causes of the apparent scale independence of fractal indices associated with forest fragmentation in Bolivia

In a recent investigation, Landsat TM and ETM+ data were used to simulate different resolutions of remotely-sensed images (from 30 to 1100 m) and to analyze the effect of resolution on a range of landscape metrics associated with spatial patterns of forest fragmentation in Chapare, Bolivia since the mid-1980s. Whereas most metrics were found to be highly dependent on pixel size, several fractal metrics (DLFD, MPFD, and AWMPFD) were apparently independent of image resolution, in contradiction with a sizeable body of literature indicating that fractal dimensions of natural objects depend strongly on image characteristics. The present re-analysis of the Chapare images, using two alternative algorithms routinely used for the evaluation of fractal dimensions, shows that the values of the box-counting and information fractal dimensions are systematically larger, sometimes by as much as 85%, than the "fractal" indices DLFD, MPFD, and AWMFD for the same images. In addition, the geometrical fractal features of the forest and non-forest patches in the Chapare region strongly depend on the resolution of images used in the analysis. The largest dependency on resolution occurs for the box-counting fractal dimension in the case of the non-forest patches in 1993, where the difference between the 30 and I 100 m-resolution images corresponds to 24% of the full theoretical range (1.0 to 2.0) of the mass fractal dimension. The observation that the indices DLFD, MPFD, and AWMPFD, unlike the classical fractal dimensions, appear relatively unaffected by resolution in the case of the Chapare images seems due essentially to the fact that these indices are based on a heuristic, "non-geometric" approach to fractals. Because of their lack of a foundation in fractal geometry, nothing guarantees that these indices will be resolution-independent in general. (C) 2006 International Society for Photogrammetry and Remote Sensing, Inc. (ISPRS). Published by Elsevier B.V. All rights reserved.

Overview and response to reviewers of The Singing Neanderthals

Why are humans musical? Why do people in all cultures sing or play instruments? Why do we appear to have specialized neurological apparatus for hearing and interpreting music as distinct from other sounds? And how does our musicality relate to language and to our evolutionary history? Anthropologists and archaeologists have paid little attention to the origin of music and musicality — far less than for either language or ‘art’. While art has been seen as an index of cognitive complexity and language as an essential tool of communication, music has suffered from our perception that it is an epiphenomenal ‘leisure activity’, and archaeologically inaccessible to boot. Nothing could be further from the truth, according to Steven Mithen; music is integral to human social life, he argues, and we can investigate its ancestry with the same rich range of analyses — neurological, physiological, ethnographic, linguistic, ethological and even archaeological — which have been deployed to study language. In The Singing Neanderthals Steven Mithen poses these questions and proposes a bold hypothesis to answer them. Mithen argues that musicality is a fundamental part of being human, that this capacity is of great antiquity, and that a holistic protolanguage of musical emotive expression predates language and was an essential precursor to it. This is an argument with implications which extend far beyond the mere origins of music itself into the very motives of human origins. Any argument of such range is bound to attract discussion and critique; we here present commentaries by archaeologists Clive Gamble and Iain Morley and linguists Alison Wray and Maggie Tallerman, along with Mithen's response to them. Whether right or wrong, Mithen has raised fascinating and important issues. And it adds a great deal of charm to the time-honoured, perhaps shopworn image of the Neanderthals shambling ineffectively through the pages of Pleistocene prehistory to imagine them humming, crooning or belting out a cappella harmonies as they went.