Why do Chinese alligators (Alligator sinensis) form bellowing choruses: A playback approach

Crocodilians are quite vocal relative to other reptile groups, and the alligators are among the most vocal of the crocodilians. The Chinese alligator, Alligator sinensis, is usually solitary but engages in bellowing choruses in certain waters during the mating season. This paper reports the organization of Chinese alligator's bellowing choruses based upon field observations and playback experiments. Alligators of both genders engaged in the choruses, remaining immobile throughout and inclining toward bellowing synchronously (i.e., starting and finishing at about the same time). The choruses lasted about 10 min with abrupt onset and offset. Moreover, playback experiments revealed that both male and female alligators responded equally to bellowing stimuli from the same and opposite sexes and that none of the tested alligators approached the loudspeaker in spite of playback of male or female stimuli. These suggest that Chinese alligators. may not bellow to compete for or attract mates during the choruses. Instead, when their ecological behaviors, namely, dispersed inhabitation, multi-copulation, restricted mating season, etc., are considered, we hypothesize that they may synchronize bellows to enhance group detectability for assembling individuals into certain waters for subsequent copulations. (C) 2009 Acoustical Society of America. [DOI: 10.1121/1.3203667]

Playback Theatre: the art of being oneself. A tool for empowerment and real change for individuals and communities

This article presents the application of a theatrical technique—Playback Theatre, which was developed in the United States during the 1970s—to social intervention, as a narrative and listening space that confers value and dignity upon the person and the unique and distinct individual experiences that facilitate their social and relational integration. This art of being oneself, as the author states, uses the oral tradition and spontaneous and creative communication of psychodrama and combines them with theatrical expression. This technique has been shown to be pertinent to both community social work and support groups for persons in problematic situations. The aim of this is to celebrate some specific moment of their lives, as individuals or as a community, and to define strategies for improving living conditions or resolving or alleviating conflicts. It is also used to assess the achievements of the proposed objectives, to strengthen the motivation to change and to transform existing relationships into collaborative ones. This is possible not only owing to the participation of persons, but also to the assumption of different roles that can permit the overcoming of certain traumatic events.In addition to support groups, it is used for the training and supervision of social work professionals. The theatrical technique in question allows them to assume roles as diverse as narrator, audience or actor, whether simultaneously or successively. Taking the role of «performer» or guide to the theatrical action requires prior preparation in order for the group of participants to be able to pool their individualities and their emotions and reflect on them. The participatory methodology that Playback Theatre proposes is important in community social work and is posed in a new and transformative key.

Responses to interactive playback predict future pairing success in nightingales

Birdsong is a sexually selected trait that serves in territory defence and mate choice. Individual song traits can be affected by the body condition of the male and thus may reflect his quality. Such relations between male quality and general singing performance raise the question whether differences in male quality also affect response strategies used in dyadic interactions. To address this question, we studied the relation between pairing success of male common nightingales, Luscinia megarhynchos, and their responses to rivals posing different levels of threat. Using interactive playback, we exposed males prior to mating to either aggressively or moderately singing rivals (by song overlapping and song alternating, respectively). Males that remained unpaired throughout the season (bachelors) interrupted their singing significantly more often after being overlapped than after alternating playback, whereas subsequently mated males kept the number of singing interruptions more constant across playback treatment. This suggests that subsequently paired males are less discriminative than are bachelors when challenged by rivals varying in aggressiveness. Regardless of playback treatment, males that later became paired responded significantly more strongly than did bachelor males. Thus, an increase in singing after a vocal interaction prior to mating predicted future mating success. (c) 2006 The Association for the Study of Animal Behaviour. Published by Elsevier Ltd. All rights reserved.

El teatro Playback : talleres de improvisación teatral para la integración de los inmigrantes latinoamericanos en Montreal

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Weather conditions and moon phase influence on Tropical Screech Owl and Burrowing Owl detection by playback

Sampling owls in a reliable and standardized way is not easy given their nocturnal habits. Playback is a widely employed technique to survey owls. We assessed the influence of wind speed, temperature, air humidity, and moon phase on the response rate of the Tropical Screech Owl Megascops choliba and the Burrowing Owl Athene cunicularia in southeast Brazil. Tropical Screech Owl occurs in scrubland and wooded habitats, whereas the Burrowing Owl inhabits open grasslands to grassland savannah. Sixteen survey points were systematically distributed in four different landscape types, ranging from open grassland to woodland savannah. Field work was conducted in 2004 from June to December, the reproductive season of the two owl species. Our study design consisted of eight field expeditions of five nights each; four expeditions occurred under full moon and four under new moon conditions. At each survey station, we performed a broadcast/listening sequence involving several calls and vocalizations from each species, starting with Tropical Screech Owl (the smaller species). From 112 sample periods for each species within their respective preferred habitats, we obtained 54 responses from Tropical Screech Owl (48% response rate) and 30 responses (27% response rate) from Burrowing Owl. We found that the response rate of Tropical Screech Owl increased under conditions of higher temperature and air humidity, while the response rate of Burrowing Owl was higher during full moon nights.

Studio e progetto di un dispositivo per la replica in playback di vibrazioni meccaniche

Il lavoro presentato ha avuto l’obiettivo, attraverso lo studio dei più comuni servomotori stepper, di replicare profili di accelerazione registrati o definiti con l’utilizzo di una piattaforma hardware Arduino in grado di salvare ed elaborare dati. Per raggiungere tale risultato è stato realizzato un braccio meccanico in grado di replicare l’accelerazione su un singolo asse di interesse. L’intento del progetto è fungere da base per l’elaborazione di un dispositivo a tre assi utilizzabile in maniera estesa nei diversi campi in cui i fenomeni vibrazionali possono essere di rilievo.

Humpback whale social sounds: Sources levels and response to playback

Humpback whale ‘‘social sounds’’ appear to be used in communication when whales interact but they have received little study in comparison to the song. During experiments as part of the Humpback whale Acoustics Research Collaboration (HARC), whales migrating past the study site on the east coast of Australia produced a wide range of social sounds. Whales were tracked visually using a theodolite and singers were tracked acoustically using an array of five widely spaced hydrophones. Source levels of social sounds were calculated from the received level of the sounds, corrected for measured propagation loss. Playbacks of social sounds were made using a J11 transducer and the consequent reactions were recorded in terms of the change in direction of the migrating whales in relation to the playback position. In one playback, a DTAG was place on a female with calf. Playback of social sounds resulted in significant changes in the course of the migrating whales, in some cases towards the transducer while in others it was away from the transducer. From the estimates of source levels it is possible to assess the effectiveness of the playback and the range of influence of social sounds. [Work supported by ONR and DSTO.]

An objective approach to measuring video playback quality in lossy networks using TCP

In this work, we investigate a new objective measurement for assessing the video playback quality for services delivered in networks that use TCP as a transport layer protocol. We define the new metric as pause intensity to characterize the quality of playback in terms of its continuity since, in the case of TCP, data packets are protected from losses but not from delays. Using packet traces generated from real TCP connections in a lossy environment, we are able to simulate the playback of a video and monitor buffer behaviors in order to calculate pause intensity values. We also run subjective tests to verify the effectiveness of the metric introduced and show that the results of pause intensity and the subjective scores made over the same real video clips are closely correlated.

SoundCipher

The SoundCipher software library provides an easy way to create music in the Processing development environment. With the SoundCipher library added to Processing you can write software programs that make music to go along with your graphics and you can add sounds to enhance your Processing animations or games. SoundCipher provides an easy interface for playing 'notes' on the JavaSound synthesizer, for playback of audio files, and comunicating via MIDI. It provides accurate scheduling and allows events to be organised in musical time; using beats and tempo. It uses a 'score' metaphor that allows the construction of simple or complex musical arrangements. SoundCipher is designed to facilitate the basics of algorithmic music and interactive sound design as well as providing a platform for sophisticated computational music, it allows integration with the Minim library when more sophisticated audio and synthesis functionality is required and integration with the oscP5 library for communicating via open sound control.

Video-stimulated accounts: Young children accounting for interactional matters in front of peers

Research in the early years places increasing importance on participatory methods to engage children. The playback of video-recording to stimulate conversation is a research method that enables children’s accounts to be heard and attends to a participatory view. During video-stimulated sessions, participants watch an extract of video-recording of a specific event in which they were involved, and then account for their participation in that event. Using an interactional perspective, this paper draws distinctions between video-stimulated accounts and a similar research method, popular in education, that of video-stimulated recall. Reporting upon a study of young children’s interactions in a playground, video-stimulated accounts are explicated to show how the participants worked toward the construction of events in the video-stimulated session. This paper discusses how the children account for complex matters within their social worlds, and manage the accounting of others in the video-stimulated session. When viewed from an interactional perspective and used alongside fine grained analytic approaches, video-stimulated accounts are an effective method to provide the standpoint of the children involved and further the competent child paradigm.

Improvisation in interactive music systems

This project investigates machine listening and improvisation in interactive music systems with the goal of improvising musically appropriate accompaniment to an audio stream in real-time. The input audio may be from a live musical ensemble, or playback of a recording for use by a DJ. I present a collection of robust techniques for machine listening in the context of Western popular dance music genres, and strategies of improvisation to allow for intuitive and musically salient interaction in live performance. The findings are embodied in a computational agent – the Jambot – capable of real-time musical improvisation in an ensemble setting. Conceptually the agent’s functionality is split into three domains: reception, analysis and generation. The project has resulted in novel techniques for addressing a range of issues in each of these domains. In the reception domain I present a novel suite of onset detection algorithms for real-time detection and classification of percussive onsets. This suite achieves reasonable discrimination between the kick, snare and hi-hat attacks of a standard drum-kit, with sufficiently low-latency to allow perceptually simultaneous triggering of accompaniment notes. The onset detection algorithms are designed to operate in the context of complex polyphonic audio. In the analysis domain I present novel beat-tracking and metre-induction algorithms that operate in real-time and are responsive to change in a live setting. I also present a novel analytic model of rhythm, based on musically salient features. This model informs the generation process, affording intuitive parametric control and allowing for the creation of a broad range of interesting rhythms. In the generation domain I present a novel improvisatory architecture drawing on theories of music perception, which provides a mechanism for the real-time generation of complementary accompaniment in an ensemble setting. All of these innovations have been combined into a computational agent – the Jambot, which is capable of producing improvised percussive musical accompaniment to an audio stream in real-time. I situate the architectural philosophy of the Jambot within contemporary debate regarding the nature of cognition and artificial intelligence, and argue for an approach to algorithmic improvisation that privileges the minimisation of cognitive dissonance in human-computer interaction. This thesis contains extensive written discussions of the Jambot and its component algorithms, along with some comparative analyses of aspects of its operation and aesthetic evaluations of its output. The accompanying CD contains the Jambot software, along with video documentation of experiments and performances conducted during the project.

OpenRatSLAM : an open source brain-based SLAM system

RatSLAM is a navigation system based on the neural processes underlying navigation in the rodent brain, capable of operating with low resolution monocular image data. Seminal experiments using RatSLAM include mapping an entire suburb with a web camera and a long term robot delivery trial. This paper describes OpenRatSLAM, an open-source version of RatSLAM with bindings to the Robot Operating System framework to leverage advantages such as robot and sensor abstraction, networking, data playback, and visualization. OpenRatSLAM comprises connected ROS nodes to represent RatSLAM’s pose cells, experience map, and local view cells, as well as a fourth node that provides visual odometry estimates. The nodes are described with reference to the RatSLAM model and salient details of the ROS implementation such as topics, messages, parameters, class diagrams, sequence diagrams, and parameter tuning strategies. The performance of the system is demonstrated on three publicly available open-source datasets.

Information experience : approaches to theory and practice

The Queensland University of Technology Research Team has recently edited a book on the idea of information experience. Authors from many parts of the world and focussed on many contexts have contributed chapters. The book represents the first attempt to profile and discuss information experience as a research domain and a research object, together with emphasis on different theories and methods being used in workplace, educational and community contexts. In this session members of the editorial team will introduce the book. We anticipate it will be of interest to any information professionals, students or researchers interested in understanding peoples' information experience.

Recording primate vocalizations

Ornithologists have been exploring the possibilities and the methodology of recording and archiving animal sounds for many decades. Primatologists, however, have only relatively recently become aware that recordings of primate sound may be just as valuable as traditional scientific specimens such as skins or skeletons, and should be preserved for posterity (Fig. 16.1). Audio recordings should be fully documented, archived and curated to ensure proper care and accessibility. As natural populations disappear, sound archives will become increasingly important (Bradbury et al., 1999). Studying animal vocal communication is also relevant from the perspective of behavioural ecology. Vocal communication plays a central role in animal societies. Calls are believed to provide various types and amounts of information. These may include, among other things: (1) information about the sender's identity (e.g. species, sex, age class, group membership or individual identity); (2) information about the sender's status andmood (e.g. dominance, fear or aggressive motivation, fitness); and (3) information about relevant events or discoveries in the sender's environment (e.g. predators, food location). When studying acoustic communication, sound recordings are usually required to analyse the spectral and temporal structure of vocalizations or to perform playback experiments (Chapter 11)...