Use Of Conspecific Gestural Cues To Solve An Object-Choice Task In Tufted Capuchin Monkeys (Cebus Apella)

Capuchin monkeys, Cebus sp., utilize a wide array of gestural displays in the wild, including facial displays such as lip-smacking and bare-teeth displays. In captivity, they have been shown to respond to the head orientation of humans, show sensitivity to human attentional states, as well as follow human gazes behind barriers. In this study, I investigated whether tufted capuchin monkeys (Cebus apella) would attend to and utilize the gestural cues of a conspecific to obtain a hidden reward. Two capuchins faced each other in separate compartments of an apparatus with an open field in between. The open field contained two cups with holes on one side such that only one monkey, a so-called cuing monkey, could see the reward inside one of the cups. I then moved the cups toward the other signal-receiving monkey and assessed whether it would utilize untrained cues provided by the cuing monkey to select the cup containing the reward. Two of four female capuchin monkeys learned to select the cup containing the reward significantly more often than chance. Neither of these two monkeys performed over chance spontaneously, however, and the other two monkeys never performed above chance despite many blocks of trials. Successful choices by two monkeys to obtain hidden rewards provided experimental evidence that capuchin monkeys attend to and utilize the gestural cues of conspecifics.

Phenakistoscope

The object consists of a disc with 20 or so images of an object/person around the edges, each slightly in a different position and space. Extending from the edges of the disc is a shutter: there are slots that one looks through with a solid part in between that blocks some of our view when in rotation to give the illusion of movement. A mirror is also used with the device. The user spins the wheel, while looking at the mirror and seeing the reflection of the phenakistoscope. The shutter blocks some of the image so that what we see appears to be moving, or animated. (Leskosky, 178)

The Atlantic and Everything After

As a reader, I am drawn to pieces that flirt with the boundaries between prose and poetry and I believe these preferences are evidenced in my own work, which not only encompasses creative nonfiction and poetry, but which also teases its way along the line separating the two. In The Atlantic and Everything After, I have worked with both prose poetry and the lyric essay, two styles that combine and highlight the different strengths of creative nonfiction and poetry.I created this work to explore the transformation I embarked upon when I first boarded that plane to Nova Scotia in August 2009. I created it to pay homage to the people and places that have moved or changed me. I created it to acknowledge the many similarities of travel and writing, both of which are often ugly, uncomfortable, a bit frightening, and terribly frustrating.In the process of its creation, I was forced to confront painful and delightful memories, to realize the significance of those memories within my own heart. I exercised the modes of poetry and nonfiction (and a few in between) in order to bring the many complicated aspects of travel together in a way that does its discomfort and enchantment equal justice. I have filled the pages of The Atlantic and Everything After with my poems and my prose, my own life-cherishing force. I am pleased to welcome you to it.