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.

Intimacy at work: Playback theatre and corporate cultural change in Mercedes Benz, Brazil

On the back of a faltering economic year in 2007 and a major merger of motor car and truck dealerships, international motor car giant Mercedes Benz adopted a radical approach to re-aligning the company vision for their Brazilian business. Adopting a people-centred approach to change, they integrated participatory theatre and personal stories into a nationwide cultural development programme producing twelve performances in twelve cities. The central content of the performances came from employees who told personal stories that were then performed onstage. Each event acted as a unique expression of workplace values that would be led by employee attitudes and behaviour. Through the dialogic process, the company established a new code of conduct for customer care for the next phase of company activity. This article critiques various aspects of the programme and considers the value and limitations in the person-centred approach facilitated through theatre.

Refugee performance: aesthetic representation and accountability in playback theatre

This essay seeks to unpack some of the issues concerning representation when performing refugee stories using playback theatre. It questions the reductive influence of narrative structure and, using the framework of artist as ethnographer, it argues that strong aesthetic production is required to overcome the dampening effect of empathy when performing personal stories in refugee/asylum contexts. The tension that emerges among the key imperatives of accountable, accurate and aesthetic representation in refugee performance is then explored as a dialogic space.

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.

Enhanced playback of automated service emulation models using entropy analysis

Service virtualisation is a supporting tool for DevOps to generate interactive service models of dependency systems on which a system-under-test relies. These service models allow applications under development to be continuously tested against production-like conditions. Generating these virtual service models requires expert knowledge of the service protocol, which may not always be available. However, service models may be generated automatically from network traces. Previous work has used the Needleman-Wunsch algorithm to select a response from the service model to play back for a live request. We propose an extension of the Needleman-Wunsch algorithm, which uses entropy analysis to automatically detect the critical matching fields for selecting a response. Empirical tests against four enterprise protocols demonstrate that entropy weighted matching can improve response accuracy.

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.