Using satellite telemetry and environmental niche modelling to inform conservation targets for a long-distance migratory raptor in its wintering grounds

Understanding the ecology of migratory birds during the non-breeding season is necessary for ensuring their conservation. Using satellite telemetry data we describe winter ranging behaviour and movements of pallid harriers Circus macrourus that bred in Kazakhstan. We developed an ecological niche model for the species in Africa, to identify the most suitable wintering areas for pallid harriers and the importance of habitat in determining the location of those areas. We also assessed how well represented suitable areas are in the network of protected areas. Individual harriers showed relatively high fidelity to wintering areas but with potential for interannual changes. The ecological niche model highlighted the importance of open habitats with natural vegetation. Most suitable areas for the species were located in eastern Africa. Suitable areas had a patchy distribution but were relatively well included in the network of protected areas. The preferential use of habitats with natural vegetation by wintering pallid harriers and the patchiness of the most suitable areas highlight the harrier's vulnerability to land-use changes and the associated loss of natural vegetation in Africa. Conservation of harriers could be enhanced by preserving natural grasslands within protected areas and improving habitat management in the human-influenced portions of the species’ core wintering areas.

Geographical literacy, attitudes, and experiences of freshman students: A qualitative study at Florida International University

The purpose of the study was to explore the geography literacy, attitudes and experiences of Florida International University (FIU) freshman students scoring at the low and high ends of a geography literacy survey. The Geography Literacy and ABC Models formed the conceptual framework. Participants were freshman students enrolled in the Finite Math course at FIU. Since it is assumed that students who perform poorly on geography assessments do not have an interest in the subject, testing and interviewing students allowed the researcher to explore the assumption. ^ In Phase I, participants completed the Geography Literacy Survey (GLS) with items taken from the 2010 NAEP Geography Subject Area Assessment. The low 35% and high 20% performers were invited for Phase II, which consisted of semi-structured interviews. A total of 187 students participated in Phase I and 12 in Phase II. ^ The primary research question asked was what are the geography attitudes and experiences of freshman students scoring at the low and high ends of a geographical literacy survey? The students had positive attitudes regardless of how they performed on the GLS. ^ The study included a quantitative sub-question regarding the performance of the students on the GLS. The students’ performance on the GLS was equivalent to the performance of 12th grade students from the NAEP Assessment. There were three qualitative sub-questions from which the following themes were identified: the students’ definition of geography is limited, students recall more out of school experiences with geography, and students find geography valuable. In addition, there were five emergent themes: there is a concern regarding a lack of geographical knowledge, rote memorization of geographical content is overemphasized, geographical concepts are related to other subjects, taking the high school level AP Human Geography course is powerful, and there is a need for real-world applications of geographical knowledge. ^ The researcher offered as suggestions for practice to reposition geography in our schools to avoid misunderstandings, highlight its interconnectedness to other fields, connect the material to real world events/daily decision-making, make research projects meaningful, partner with local geographers, and offer a mandatory geography courses at all educational levels.^

Human-Computer interaction methodologies applied in the evaluation of haptic digital musical instruments

Recent developments in interactive technologies have seen major changes in the manner in which artists, performers, and creative individuals interact with digital music technology; this is due to the increasing variety of interactive technologies that are readily available today. Digital Musical Instruments (DMIs) present musicians with performance challenges that are unique to this form of computer music. One of the most significant deviations from conventional acoustic musical instruments is the level of physical feedback conveyed by the instrument to the user. Currently, new interfaces for musical expression are not designed to be as physically communicative as acoustic instruments. Specifically, DMIs are often void of haptic feedback and therefore lack the ability to impart important performance information to the user. Moreover, there currently is no standardised way to measure the effect of this lack of physical feedback. Best practice would expect that there should be a set of methods to effectively, repeatedly, and quantifiably evaluate the functionality, usability, and user experience of DMIs. Earlier theoretical and technological applications of haptics have tried to address device performance issues associated with the lack of feedback in DMI designs and it has been argued that the level of haptic feedback presented to a user can significantly affect the user’s overall emotive feeling towards a musical device. The outcome of the investigations contained within this thesis are intended to inform new haptic interface.

Intersubjectivité performeur-spectateur et pédagogie perceptive

Cette recherche étudie le vécu des spectateurs d’un dispositif performatif particulier basé sur la pratique de la pédagogie perceptive : les performances sur le mode du Sensible. La relation entre spectateurs et performeurs est un processus intersubjectif (Barba, 2004) ; celle qui s’établit entre le pédagogue perceptif et la personne accompagnée (Bourhis, 2009). Mais plus précisément, quelles sont les spécificités de la résonance chez le spectateur lorsque cette relation prend source dans les processus de réciprocité du Sensible transposés dans le cadre performatif ? Une méthodologie qualitative d’inspiration phénoménologique permet d’extraire à travers neuf entretiens, réalisés à l’issue de trois performances, six niveaux de résonance donnant à voir un spectateur « résonnant », actif et mobilisé. Les résultats confirment des natures de résonance mises en évidence dans la littérature (physiologique, proprioceptive, tonique, émotionnelle) et ouvrent à d’autres types de résonance (d’états et du Sensible), plus spécifiques à la pratique de la pédagogie perceptive.

Mapping and modulating spatial attention asymmetries in young and older adults

Healthy young adults demonstrate a group-level, systematic preference for stimuli presented in the left side of space relative to the right (‘pseudoneglect’) (Bowers & Heilman, 1980). This results in an overestimation of features such as size, brightness, numerosity and spatial frequency in the left hemispace, probably as a result of right cerebral hemisphere dominance for visuospatial attention. This spatial attention asymmetry is reduced in the healthy older population, and can be shifted entirely into right hemispace under certain conditions. Although this rightward shift has been consistently documented in behavioural experiments, there is very little neuroimaging evidence to explain this effect at a neuroanatomical level. In this thesis, I used behavioural methodology and electroencephalography (EEG) to map spatial attention asymmetries in young and older adults. I then use transcranial direct current stimulation (tDCS) to modulate these spatial biases, with the aim of assessing age-related differences in response to tDCS. In the first of three experiments presented in this thesis, I report in Chapter Two that five different spatial attention tasks provide consistent intra-task measures of spatial bias in young adults across two testing days. There were, however, no inter-task correlations between the five tasks, indicating that pseudoneglect is at least partially driven by task-dependent patterns of neural activity. In Chapter Three, anodal tDCS was applied separately to the left (P5) and right (P6) posterior parietal cortex (PPC) in young and older adults, with an aim to improve the detection of stimuli appearing in the contralateral visual field. There were no age differences in response to tDCS, but there were significant differences depending on baseline performance. Relative to a sham tDCS protocol, tDCS applied to the right PPC resulted in maintained visual detection across both visual fields in adults who were good at the task at baseline. In contrast, left PPC tDCS resulted in reduced detection sensitivity across both visual fields in poor performers. Finally, in Chapter Four, I report a right-hemisphere lateralisation of EEG activity in young adults that was present for long (but not short) landmark task lines. In contrast, older adults demonstrated no lateralised activity for either line length, thus providing novel evidence of an age-related reduction of hemispheric asymmetry in older adults. The results of this thesis provide evidence of a highly complex set of factors that underlie spatial attention asymmetries in healthy young and older adults.

LADIES AND GENTLEMEN, THE PLAY O AUTO DA COMPADECIDA GOES TO THE TELEVISON!

 This paper aims to present the results of a study on the translation of the narrative structure of the play Auto da Compadecida, by Ariano Suassuna, into the homonymous TV mini-series, directed by Guel Arraes (Globo,1999). The play has in its structure a representation within another - the auto (designation of the medieval miracle plays in the Latin Culture) is represented as part of a circus presentation, having as its narrator a clown that, in the role of the author, presents the story, its characters and, throughout the play, interferes and interacts with the spectator (reader). Arraes, in turn, establishes a different configuration to the narrative structure of his text, once he changes the circus representation for an audiovisual one. In this perspective, the auto by Arraes presents the film The Passion of Christ within the TV mini-series O Auto da Compadecida. In general, we observe that Arraes brings to his translation the audiovisual language technology of his time, rewriting the sertanejo’s beliefs from the mass media point of view. Within this study, we propose reflections on the adaptation process as a translation act and also on the intertextuality between genres deriving from this intersemiotic process.    KEY WORDS: Intersemiotic Translation; Literature; TV mini-series.