Blue Marlin, Makaira nigricans, Movements in the Western North Atlantic Ocean: Results of a Cooperative Game Fish Tagging Program, 1954-88

Blue marlin, Makaira nigricans, tag and recapture data are summarized for 1954-1988. During this period, 8,447 fish have been tagged and only 30 (0.35 percent) have been returned. Results of the tagging program indicate that blue marlin not only travel considerable distances (7,OOO km from the U. S. Virgin Islands to the Ivory Coast of West Africa), but have remained at large for up to 8 years. Seasonal movements, however, are difficult to determine accurately.

Annual Report of the Game and Fisheries Department for the period Ist July, 1957 to 30th June, 1958

This report follows the now established practice of covering the financial year although, as before, for the sake of continuity and accuracy many of the statistics refer to the calendar year. This year has again been an outstanding one in the field of research on wildlife conservation problems, and culminated in one of the largest short-term biological projects yet carried out in the Protectorate. The latter involved the removal by shooting of nearly 500 hippo from badly over-grazed areas in the Queen Elizabeth National Park, but every carcass was examined by a team of scientists, a variety of scientific data collected, and the meat disposed of for local consumption. Not one animal was wasted.

Annual Report of the Game and Fisheries Department for the period 1st July 1956 to 30th June, 1957

This report continues to cover the period of the financial year. Although, as before, for the sake of continuity and accuracy many of the statistics refer to the calendar year. The year has been notable in particular for the launching of extensive research projects on wild-life conservation problems, and much progress has already been made. This has been rendered possible by the greatly appreciated help and interest of the Fulbright Commission, who arranged for three experienced American wild-life scientists to work on these problems in Uganda. The latter have been working in conjunction with The Game and Fisheries Department's Biologist, as a team under the general Direction of the recently created Fauna Research Committee.

Game Vertebrate Densities in Hunted and Nonhunted Forest Sites in Manu National Park, Peru

Manu National Park of southern Peru is one of the most renowned protected areas in the world, yet large-bodied vertebrate surveys conducted to date have been restricted to Cocha Cashu Biological Station, a research station covering <0.06 percent of the 1.7Mha park. Manu Park is occupied by >460 settled Matsigenka Amerindians, 300-400 isolated Matsigenka, and several, little-known groups of isolated hunter-gatherers, yet the impact of these native Amazonians on game vertebrate populations within the park remains poorly understood. On the basis of 1495 km of standardized line-transect censuses, we present density and biomass estimates for 23 mammal, bird, and reptile species for seven lowland and upland forest sites in Manu Park, including Cocha Cashu. We compare these estimates between hunted and nonhunted sites within Manu Park, and with other Neotropical forest sites. Manu Park safeguards some of the most species-rich and highest biomass assemblages of arboreal and terrestrial mammals ever recorded in Neotropical forests, most likely because of its direct Andean influence and high levels of soil fertility. Relative to Barro Colorado Island, seed predators and arboreal folivores in Manu are rare, and generalist frugivores specializing on mature fruit pulp are abundant. The impact of such a qualitative shift in the vertebrate community on the dynamics of plant regeneration, and therefore, on our understanding of tropical plant ecology, must be profound. Despite a number of external threats, Manu Park continues to serve as a baseline against which other Neotropical forests can be gauged.

Annual Report of the Game and Fisheries Department for the year ended 31st December 1952

The annual report presents information on Lake Victoria, Lake Albert (including tbe Albert Nile and associated Fisheries)-Report by Lake Albert Fisheries Officer,Lake Kyoga and Waters of Eastern Uganda-Report by Fisheries Officer, Serere. Lakes George, Edward and Waters of Western Uganda -Report by the Fisheries Officer, Kichwamba Fish Farming-Report by the Fisheries Officer, Fish Fanning,dams,crocodiles. It presents information on angaling, Trouting, Nile Perch and Ripon Falls Barbel

Annual Report of the Game and Fisheries Department for the year ended 31st December, 1953

Summary of fish production on main lakes of Uganda 1953, consumption of fish in Uganda 1953, imports and exports of fish, including reports from the different regions Fisheries by Regions (1) Lake Victoria (2) Lake Albert (3) Lake Kyoga and Waters of Eastern Uganda Lakes George, Edward, Fish Farming, Dams and miscellaneous minor waters. It includes information on: Angling which includes Trouting, Nile Perch fishing and Tiger Fishing, Ripon Falls Barbel and Tailpiece.

A reason for unreason: returns-based beliefs in game theory

Players cooperate in experiments more than game theory would predict. We introduce the ‘returns-based beliefs’ approach: the expected returns of a particular strategy in proportion to total expected returns of all strategies. Using a decision analytic solution concept, Luce’s (1959) probabilistic choice model, and ‘hyperpriors’ for ambiguity in players’ cooperability, our approach explains empirical observations in various classes of games including the Prisoner’s and Traveler’s Dilemmas. Testing the closeness of fit of our model on Selten and Chmura (2008) data for completely mixed 2 × 2 games shows that with loss aversion, returns-based beliefs explain the data better than other equilibrium concepts.

Linear quadratic game and non-cooperative predictive methods for potential application to modelling driver-AFS interactive steering control

This paper is concerned with the modelling of strategic interactions between the human driver and the vehicle active front steering (AFS) controller in a path-following task where the two controllers hold different target paths. The work is aimed at extending the use of mathematical models in representing driver steering behaviour in complicated driving situations. Two game theoretic approaches, namely linear quadratic game and non-cooperative model predictive control (non-cooperative MPC), are used for developing the driver-AFS interactive steering control model. For each approach, the open-loop Nash steering control solution is derived; the influences of the path-following weights, preview and control horizons, driver time delay and arm neuromuscular system (NMS) dynamics are investigated, and the CPU time consumed is recorded. It is found that the two approaches give identical time histories as well as control gains, while the non-cooperative MPC method uses much less CPU time. Specifically, it is observed that the introduction of weight on the integral of vehicle lateral displacement error helps to eliminate the steady-state path-following error; the increase in preview horizon and NMS natural frequency and the decline in time delay and NMS damping ratio improve the path-following accuracy. © 2013 Copyright Taylor and Francis Group, LLC.

Agency and animation: the performance of interactive game characters

As an animator and practice-based researcher with a background in games development, I am interested in technological change in the video game medium, with a focus on the tools and technologies that drive game character animation and interactive story. In particular, I am concerned with the issue of ‘user agency’, or the ability of the end user to affect story development—a key quality of the gaming experience and essential to the aesthetics of gaming, which is defined in large measure by its interactive elements. In this paper I consider the unique qualities of the video game1 as an artistic medium and the impact that these qualities have on the production of animated virtual character performances. I discuss the somewhat oppositional nature of animated character performances found in games from recent years, which range from inactive to active—in other words, low to high agency. Where procedural techniques (based on coded rules of movement) are used to model dynamic character performances, the user has the ability to interactively affect characters in real-time within the larger sphere of the game. This game play creates a high degree of user agency. However, it lacks the aesthetic nuances of the more crafted sections of games: the short cut-scenes, or narrative interludes where entire acted performances are mapped onto game characters (often via performance capture)2 and constructed into relatively cinematic representations. While visually spectacular, cut-scenes involve minimal interactivity, so user agency is low. Contemporary games typically float between these two distinct methods of animation, from a focus on user agency and dynamically responsive animation to a focus on animated character performance in sections where the user is a passive participant. We tend to think of the majority of action in games as taking place via playable figures: an avatar or central character that represents a player. However, there is another realm of characters that also partake in actions ranging from significant to incidental: non-playable characters, or NPCs, which populate action sequences where game play takes place as well as cut scenes that unfold without much or any interaction on the part of the player. NPCs are the equivalent to supporting roles, bit characters, or extras in the world of cinema. Minor NPCs may simply be background characters or enemies to defeat, but many NPCs are crucial to the overall game story. It is my argument that, thus far, no game has successfully utilized the full potential of these characters to contribute toward development of interactive, high performance action. In particular, a type of NPC that I have identified as ‘pivotal’3—those constituting the supporting cast of a video game—are essential to the telling of a game story, particularly in genres that focus on story and characters: adventure games, action games, and role-playing games. A game story can be defined as the entirety of the narrative, told through non-interactive cut-scenes as well a interactive sections of play, and development of more complex stories in games clearly impacts the animation of NPCs. I argue that NPCs in games must be capable of acting with emotion throughout a game—in the cutscenes, which are tightly controlled, but also in sections of game play, where player agency can potentially alter the story in real-time. When the animated performance of NPCs and user agency are not continuous throughout the game, the implication is that game stories may be primarily told through short movies within games, making it more difficult to define video games animation as a distinct artistic medium.