Earth song as storywork: Reclaiming Indigenous knowledges

Is it possible for Indigenous ways of knowing, which draw on earth song and storywork, to find a place within the academy? Indigenous peoples recognise that the earth has a song, which we can listen to as story. In return, we can sing our story to the world and of the world. In this paper, the authors explore their own stories and songs. They explain the ways that listening to the earth’s song and working with stories can inform their work in the academy – as teachers who support younglings to hear their voices and develop their own songs, and as the writers and tellers of curriculum. The authors ask whether it is possible for Indigenous academics to combine their academic work with Indigenous ways of knowing. They argue that, not only is the combination possible, it can be used to create a harmonious voice that will help them to reclaim their power as Indigenous academic women.

Elihu Stone collection undated, 1913-1962.

Collection contains materials pertaining to the life and work of Stone.

Reengaging, reenacting and reenvisaging discourses of disaster through public space performance: Austerity, art, and the art of protest

This paper offers a mediation on disaster, recovery, resilience, and restoration of balance, in both a material and a metaphorical sense, when ‘disaster’ befalls not the body politic of the nation but the body personal. In the past few decades, of course, artists, activists and scholars have deliberately tried to avoid describing personal, physical and phenomenological experiences of the disabled body in terms of difficulty and disaster. This has been part of a political move, from a medical model, in which disability, disease and illness are positioned as personal catastrophes, to a social model, in which disability is positioned as a social construct that comes from systems, institutions and infrastructure designed to exclude different bodies. It is a move that is responsible for a certain discomfort people with disabilities, and artists with disabilities, today feel towards performances that deploy disability as a metaphor for disaster, from Hijikata, to Theatre Hora. In the past five years, though, this particular discourse has begun rising again, particularly as people with disabilities fact their own anything but natural disasters as a result of the austerity measures now widespread across the US, UK, Europe and elsewhere. Measures that threaten people’s ability to live, and take part in social and institutional life, in any meaningful way. Measures that, as artist Katherine Araniello notes, also bring additional difficulty, danger, and potential for disaster as they ripple outwards across the tides of familial ties, threatening family, friends, and careers who become bound up in the struggle to do more with less. In this paper, I consider how people with disabilities use performance, particularly public space interventionalist performance, to reengage, renact and reenvisage the discourse of national, economic, environmental or other forms of disaster, the need for austerity, the need to avoid providing people with support for desires and interests as well as basic daily needs, particularly when fraud and corruption is so right, and other such ideas that have become an all too unpleasant reality for many people. Performances, for instance, like Liz Crow’s Bedding Out, where she invited people into her bed – for people with disabilities a symbolic space, which necessarily becomes more a public living room restaurant, office and so forth than a private space when poor mobility means they spend much time it in – to talk about their lives, their difficulties, and dealing with austerity. Or, for instance, like the Bolshy Divas, who mimic public and political policy, reports and advertising paranoia to undermine their discourses about austerity. I examine the effects, politics and ethics of such interventions, including examination of the comparative effect of highly bodied interventions (like Crow’s) and highly disembodied interventions (like the Bolshy Diva’s) in discourses of difficulty, disaster and austerity on a range of target spectator communities.

Performing immobility / protesting immobility: The risks & rewards of public space protest performances

Though there is much interest in mobilities and performing mobilities as a characteristic of modern, urban, social life today, this is not always matched by attention to immobilities, as the flipside of mobility in modern life. In this paper, I investigate public space performances designed to draw attention to precisely this counterpoint to current discourses of mobilities – performances about the socially produced immobilities many people with disabilities find a more fundamental feature of day-to-day life, the fight for mobility, and the freedom found when accommodations for alternative mobilities are made available. Although public policy is increasingly aligned with a social model of disability, which sees disability as socially constructed through systems, institutions and infrastructure deliberately designed to exclude specific bodies – stairs, curbs, queues and so forth – and although governments in the US, UK, and to a lesser degree Australia, New Zealand and other Commonwealth nations aim to address these inequalities, the experience of immobility is still every-present for many people. This often comes not just from pain, or from impairment, or event from lack of accommodations for alternative mobilities, but from fellow social performers’ antipathy to, appropriation of, or destruction of accommodations designed to facilitate access for a range of different bodies in public space, and thus the public sphere. The archetypal instance of this tension between the mobile, and those needing accommodations to allow mobility, is, of course, the antipathy many able bodied people feel towards the provision of disabled parking spaces. A cursory search online shows thousands of accounts of antagonism, vitriol, and even violence prompted by disputes which began when a disabled person asked an able person to exit a designated disabled parking space. For many, it seems, expecting them to pass by such parks so others can experience the mobility they take for granted is too much. In this paper, I examine a number of protest performances in public space in which activist present actions – for example, placing wheelchairs in every regular parking space in a precinct – to give bystanders, passersby and spectators, as well as antagonistic fellow social performers, a sense of what socially produced immobility feels like. I examine responses to such protest performances, and what they say about the potential social, political and ethical impacts of such protests, in terms of their potential to produce new attitudes to mobility, alternative mobility, and access to alternative modes of mobility.

Changing resonator geometry to boost sound power decouples size and song frequency in a small insect

Despite their small size, some insects, such as crickets, can produce high amplitude mating songs by rubbing their wings together. By exploiting structural resonance for sound radiation, crickets broadcast species-specific songs at a sharply tuned frequency. Such songs enhance the range of signal transmission, contain information about the signaler's quality, and allow mate choice. The production of pure tones requires elaborate structural mechanisms that control and sustain resonance at the species-specific frequency. Tree crickets differ sharply from this scheme. Although they use a resonant system to produce sound, tree crickets can produce high amplitude songs at different frequencies, varying by as much as an octave. Based on an investigation of the driving mechanism and the resonant system, using laser Doppler vibrometry and finite element modeling, we show that it is the distinctive geometry of the crickets' forewings (the resonant system) that is responsible for their capacity to vary frequency. The long, enlarged wings enable the production of high amplitude songs; however, as a mechanical consequence of the high aspect ratio, the resonant structures have multiple resonant modes that are similar in frequency. The drive produced by the singing apparatus cannot, therefore, be locked to a single frequency, and different resonant modes can easily be engaged, allowing individual males to vary the carrier frequency of their songs. Such flexibility in sound production, decoupling body size and song frequency, has important implications for conventional views of mate choice, and offers inspiration for the design of miniature, multifrequency, resonant acoustic radiators.

Ontologies for representation of folk song metadata

The digital management of collections in museums, archives, libraries and galleries is an increasingly important part of cultural heritage studies. This paper describes a representation for folk song metadata, based on the Web Ontology Language (OWL) implementation of the CIDOC Conceptual Reference Model. The OWL representation facilitates encoding and reasoning over a genre ontology, while the CIDOC model enables a representation of complex spatial containment and proximity relations among geographic regions. It is shown how complex queries of folk song metadata, relying on inference and not only retrieval, can be expressed in OWL and solved using a description logic reasoner.

Rights of Portugal, in reference to Great Britain and the question of the slave trade, or, the manifesto and protest of the weak, against the ingratitude, oppression, and violence of the strong ...

Enquanto os políticos e diplomatas polemizavam e agiam, Thomas Buxton publicava, depois de viajar ao Brasil e ao Caribe, o mais completo levantamento sobre o tráfico negreiro jamais feito até então.

Neural representations of courtship song in the Drosophila brain.

Acoustic communication in drosophilid flies is based on the production and perception of courtship songs, which facilitate mating. Despite decades of research on courtship songs and behavior in Drosophila, central auditory responses have remained uncharacterized. In this study, we report on intracellular recordings from central neurons that innervate the Drosophila antennal mechanosensory and motor center (AMMC), the first relay for auditory information in the fly brain. These neurons produce graded-potential (nonspiking) responses to sound; we compare recordings from AMMC neurons to extracellular recordings of the receptor neuron population [Johnston's organ neurons (JONs)]. We discover that, while steady-state response profiles for tonal and broadband stimuli are significantly transformed between the JON population in the antenna and AMMC neurons in the brain, transient responses to pulses present in natural stimuli (courtship song) are not. For pulse stimuli in particular, AMMC neurons simply low-pass filter the receptor population response, thus preserving low-frequency temporal features (such as the spacing of song pulses) for analysis by postsynaptic neurons. We also compare responses in two closely related Drosophila species, Drosophila melanogaster and Drosophila simulans, and find that pulse song responses are largely similar, despite differences in the spectral content of their songs. Our recordings inform how downstream circuits may read out behaviorally relevant information from central neurons in the AMMC.

Holosticha hamulata n. sp and Holosticha heterofoissneri Hu and Song, 2001, two urostylid ciliates (Protozoa, Ciliophora) from intertidal sediments of the Yellow Sea

Two marine urostylid ciliates, Holosticha hamulata n. sp. and Holosticha heterofoissneri Hu and Song, 2001, were investigated using live observation and protargol impregnation. Both species were isolated from Korean intertidal sediments of the Yellow Sea. Holosticha hamulata measures about 150 x 25 pro in vivo, and is characterized by a tripartite body shape with a narrow head, an inflated trunk, and a tail that distally projects ventrally forming a hook-like structure. It is the characteristic body shape that distinguishes H. hamulata distinctly from congeners. Holosticha hamulata differs from H. heterofoissneri, possibly the nearest relative, also by the location of the contractile vacuole (ahead of mid-body versus near posterior body third) and the configuration of the macronucleus (on average, 33 scattered nodules assuming a Y-shape versus 17 nodules that may form a U shape). The average number of the macronuclear nodules is a pronounced feature showing great consistency in populations of each species. However, their arrangement is variable in H. heterofoissneri where the nodules are basically scattered or connected by fine fibers forming an elongate U-shape. The location of the contractile vacuole as a taxonomic feature is discussed and a dichotomous key to the species of Holosticha sensu stricto is provided.

The ecology of the song thrush, Turdus philomelos Br., in Ireland

Over the last 30 years, western European Song Thrush populations have declined with the steepest decline recorded on British farmland. Changes in agricultural practices have been implicated in these population declines. Ireland is an agriculturally dominated landscape but changes in agriculture here have occurred on a relatively slower rate and scale. Little is known about the ecology of the Song Thrush in Ireland, even though it is not classified as a species of conservation concern here. Some decline is thought to have occurred but the current breeding population appears to be stable and widespread. In light of these facts, this study investigated various aspects of Song Thrush ecology in relation to the Irish landscape from 2001-2003. The breeding season extended from mid March to late June, where mean clutch size was 4.1 and number of fledglings was 3.7. There were very few third broods. Daily nest survival rates were calculated for egg stage 0.9362, incubation stage 0.9505 and nestling stage 0.6909. Most nest failures were due to avian predation at both egg and chick stages. Most nests were located 1.3 -2.4m from the ground at trees, bushes or hedgerow. Clutch size was significantly higher on farmland than garden & parkland and woodland, and the number of fledglings was significantly lower in nests in trees than hedgerow and bush sites. Daily nest fail rates were significantly higher at tree sites and partly concealed nests. Nesting areas had significantly denser vertical vegetation than non-nesting areas. Mercury and the organochlorine HEOD were the most common contaminants in Song Thrush eggs and livers. However concentrations and occurrence were low and of no apparent biological or ecological concern. The presence of breeding Song Thrushes was influenced by mixed surrounding farmland, the absence of grass surrounding farmland, ditches especially wet ones, tall dense vegetation and trimmed boundaries. Song Thrush winter densities were predicted by ditches, with wet or dry, low thin vegetation and untrimmed boundaries. Winter densities were almost double that of the breeding season, probably due to the arrival and passage of migrating Song Thrushes through the country, especially in November. Changes in Irish agriculture did not differ significantly in areas of Song Thrush breeding population stability and apparent decline during 1970 1990. Even though the current breeding population heavily uses farmland, woodland, human and scrub habitats are more preferred. Nevertheless no farmland habitat was avoided, highlighting a positive relationship between breeding Song Thrushes and Irish agriculture. This appears to be in contrast with findings between breeding Song Thrushes and British agriculture. Theses findings are compared with other studies and possible influences by agricultural intensification, climate, latitude and insular syndrome are discussed. Implications for conservation measures are considered, especially for areas of decline. Even though Song Thrushes are currently widespread and stable here, future environmental consequences of longer-term changes in Irish agriculture and perhaps climate change remain to be seen.

Imaging Learned Song Representations in Populations of Sensorimotor Neurons Essential to Vocal Communication

Perceiving or producing complex vocalizations such as speech and birdsongs require the coordinated activity of neuronal populations, and these activity patterns can vary over space and time. How learned communication signals are represented by populations of sensorimotor neurons essential to vocal perception and production remains poorly understood. Using a combination of two-photon calcium imaging, intracellular electrophysiological recording and retrograde tracing methods in anesthetized adult male zebra finches (Taeniopygia guttata), I addressed how the bird's own song and its component syllables are represented by the spatiotemporal patterns of activity of two spatially intermingled populations of projection neurons (PNs) in HVC, a sensorimotor area required for song perception and production. These experiments revealed that neighboring PNs can respond at markedly different times to song playback and that different syllables activate spatially intermingled HVC PNs within a small region. Moreover, noise correlation analysis reveals enhanced functional connectivity between PNs that respond most strongly to the same syllable and also provides evidence of a spatial gradient of functional connectivity specific to PNs that project to song motor nucleus (i.e. HVC_RA cells). These findings support a model in which syllabic and temporal features of song are represented by spatially intermingled PNs functionally organized into cell- and syllable-type networks.

Of mice, birds, and men: the mouse ultrasonic song system has some features similar to humans and song-learning birds.

Humans and song-learning birds communicate acoustically using learned vocalizations. The characteristic features of this social communication behavior include vocal control by forebrain motor areas, a direct cortical projection to brainstem vocal motor neurons, and dependence on auditory feedback to develop and maintain learned vocalizations. These features have so far not been found in closely related primate and avian species that do not learn vocalizations. Male mice produce courtship ultrasonic vocalizations with acoustic features similar to songs of song-learning birds. However, it is assumed that mice lack a forebrain system for vocal modification and that their ultrasonic vocalizations are innate. Here we investigated the mouse song system and discovered that it includes a motor cortex region active during singing, that projects directly to brainstem vocal motor neurons and is necessary for keeping song more stereotyped and on pitch. We also discovered that male mice depend on auditory feedback to maintain some ultrasonic song features, and that sub-strains with differences in their songs can match each other's pitch when cross-housed under competitive social conditions. We conclude that male mice have some limited vocal modification abilities with at least some neuroanatomical features thought to be unique to humans and song-learning birds. To explain our findings, we propose a continuum hypothesis of vocal learning.