Male mice song syntax depends on social contexts and influences female preferences.

In 2005, Holy and Guo advanced the idea that male mice produce ultrasonic vocalizations (USV) with some features similar to courtship songs of songbirds. Since then, studies showed that male mice emit USV songs in different contexts (sexual and other) and possess a multisyllabic repertoire. Debate still exists for and against plasticity in their vocalizations. But the use of a multisyllabic repertoire can increase potential flexibility and information, in how elements are organized and recombined, namely syntax. In many bird species, modulating song syntax has ethological relevance for sexual behavior and mate preferences. In this study we exposed adult male mice to different social contexts and developed a new approach of analyzing their USVs based on songbird syntax analysis. We found that male mice modify their syntax, including specific sequences, length of sequence, repertoire composition, and spectral features, according to stimulus and social context. Males emit longer and simpler syllables and sequences when singing to females, but more complex syllables and sequences in response to fresh female urine. Playback experiments show that the females prefer the complex songs over the simpler ones. We propose the complex songs are to lure females in, whereas the directed simpler sequences are used for direct courtship. These results suggest that although mice have a much more limited ability of song modification, they could still be used as animal models for understanding some vocal communication features that songbirds are used for.

Duetos na Amazônia: análise da sintaxe do canto em dueto do gênero Thryothorus (Aves, Troglodytidae)

Em muitas aves que cantam em dplayback com dueto modificado em sintaxe e na faixa de frequência com casais nos arredores do ueto, os pares combinam suas parcelas de forma alternada para resultar em um único canto. A família Troglodytidae (corruíras e garrinchas) compreende 23 espécies que cantam em dueto, dentre elas a espécie Thryothorus genibarbis. O canto em dueto dessa espécie carrega a informação referente ao reconhecimento específico, no entanto, os parâmetros físicos que o compõe (frequência e duração) são variáveis entre os casais e apenas a sintaxe, ou seja, a ordem de emissão das notas que compõe o canto é conservada. A partir disso, para investigar o papel da sintaxe e dos parâmetros físicos na decodificação do reconhecimento específico foram realizados experimentos de Parque Ecológico de Gunma (Santa Bárbara, Pará) e no campus da Universidade Federal do Pará (Belém, Pará). Investigou-se também a existência de um padrão geral de modulação nas unidades que compõem o dueto dessa espécie, e em segundo momento foram avaliadas as similaridades entre a sintaxe do canto de Thryothorus genibarbis e de mais sete espécies filogeneticamente próximas. A partir das análises de modulação, foi encontrado um padrão geral nas unidades sonoras (notas) do dueto de diferentes casais. Em relação às similaridades entre a sintaxe do canto de T. genibarbis e das demais espécies simpátricas, há mais diferenças entre T. genibarbis e T. leucotis que são sintópicas. Dessa forma, a sintaxe do dueto de T. genibarbis pode ser importante como código de articulação do dueto entre os pares, mas não contém informação referente ao reconhecimento específico, diferentemente da faixa de frequência, que quando modificada a partir de 36% do sinal original, o canto perde o caráter de reconhecimento.

Differenzierung von Reviergesängen und mitochondrialem Cytochrom-b in drei ausgewählten Singvogelgattungen (Aves, Passeriformes: Genus Regulus, Genus Seicercus und Parus major)

ZusammenfassungLautäußerungen von Singvögeln (Passeriformes) werden gemeinhin als Träger phylogenetischer Information betrachtet, obwohl direkte Nachweise in vergleichend bioakustischen Studien rar sind. Dieser Thematik widmet sich meine Dissertation am Beispiel dreier Singvogelgruppen: Goldhähnchen (Regulus), Goldbrillenlaubsänger (Seicercus) sowie verwandter Laubsänger (Phylloscopus) und Kohlmeisen (Parus major). Neben der Erhebung bioakustischer Daten wurde für jede Gruppe eine molekulare Phylogenie basierend auf Cytochrom-b-Sequenzen erstellt und für verschiedene akustische Merkmale Homoplasie-indizes berechnet (CI, RI und RC). Die phylogenetisch informativen Gesangsstrukturen innerhalb der Gattungen Regulus und Seicercus/ Phylloscopus sind sämtlich Syntaxmerkmale, zumeist der Gesamtstrophe, seltener von Strophenabschnitten. Bei den Goldhähnchen (Regulus) sind solche Syntaxmerkmale angeboren, Elementmerkmale hingegen sind erlernt und phylogenetisch nicht informativ. Die innerhalb der Kohlmeisen homogene Gesangssyntax ist erst auf höherer taxonomischer Ebene (Gattung Parus) ein informatives Merkmal. Der mittels einer Merkmalsmatrix berechnete akustische Divergenzindex zwischen Taxonpaaren steigt signifikant proportional zur genetischen Distanz. Damit ist erstmalig der Zusammenhang zwischen genetischer und akustischer Differenzierung quantifiziert. Die molekulare Phylogenie erhellt zudem bislang ungeklärte phylogenetische Beziehungen innerhalb aller drei Taxa. Diese werden im Hinblick auf das phylogenetische und das biologische Artkonzept diskutiert. Der Artstatus des Teneriffa-Goldhähnchens (Regulus teneriffae) sowie der bokharensis-Kohlmeisen ist fragwürdig aufgrund ihrer engen Verwandtschaft zu zu einzelnen Subspezies der Wintergoldhähnchen bzw. der Kohlmeisen.

Losing their marbles : syntax-free programming for assessing problem-solving skills

Novice programmers have difficulty developing an algorithmic solution while simultaneously obeying the syntactic constraints of the target programming language. To see how students fare in algorithmic problem solving when not burdened by syntax, we conducted an experiment in which a large class of beginning programmers were required to write a solution to a computational problem in structured English, as if instructing a child, without reference to program code at all. The students produced an unexpectedly wide range of correct, and attempted, solutions, some of which had not occurred to their teachers. We also found that many common programming errors were evident in the natural language algorithms, including failure to ensure loop termination, hardwiring of solutions, failure to properly initialise the computation, and use of unnecessary temporary variables, suggesting that these mistakes are caused by inexperience at thinking algorithmically, rather than difficulties in expressing solutions as program code.

Managing Process Model Complexity - Part I: Concrete Syntax

While Business Process Management (BPM) is an established discipline, the increased adoption of BPM technology in recent years has introduced new challenges. One challenge concerns dealing with process model complexity in order to improve the understanding of a process model by stakeholders and process analysts. Features for dealing with this complexity can be classified in two categories: 1) those that are solely concerned with the appearance of the model, and 2) those that in essence change the structure of the model. In this paper we focus on the former category and present a collection of patterns that generalize and conceptualize various existing features. The paper concludes with a detailed analysis of the degree of support of a number of state-of-the-art languages and language implementations for these patterns.

Managing process model complexity via abstract syntax modifications

As a result of the growing adoption of Business Process Management (BPM) technology different stakeholders need to understand and agree upon the process models that are used to configure BPM systems. However, BPM users have problems dealing with the complexity of such models. Therefore, the challenge is to improve the comprehension of process models. While a substantial amount of literature is devoted to this topic, there is no overview of the various mechanisms that exist to deal with managing complexity in (large) process models. It is thus hard to obtain comparative insight into the degree of support offered for various complexity reducing mechanisms by state-of-the-art languages and tools. This paper focuses on complexity reduction mechanisms that affect the abstract syntax of a process model, i.e. the structure of a process model. These mechanisms are captured as patterns, so that they can be described in their most general form and in a language- and tool-independent manner. The paper concludes with a comparative overview of the degree of support for these patterns offered by state-of-the-art languages and language implementations.

Capital music : personal expression with a public display of song choice

Using information and communication technology devices in public urban places can help to create a personalised space. Looking at a mobile phone screen or listening to music on an MP3 player is a common practice avoiding direct contact with others e.g. whilst using public transport. However, such devices can also be utilised to explore how to build new meaningful connections with the urban space and the collocated people within. We present findings of work-in-progress on Capital Music, a mobile application enabling urban dwellers to listen to music songs as usual, but also allowing them to announce song titles and discover songs currently being listened to by other people in the vicinity. We study the ways that this tool can change or even enhance people’s experience of public urban spaces. Our first user study also found changes in choosing different songs. Anonymous social interactions based on users’ music selection are implemented in the first iteration of the prototype that we studied.

Managing process model complexity via concrete syntax modifications

While Business Process Management (BPM) is an established discipline, the increased adoption of BPM technology in recent years has introduced new challenges. One challenge concerns dealing with the ever-growing complexity of business process models. Mechanisms for dealing with this complexity can be classified into two categories: 1) those that are solely concerned with the visual representation of the model and 2) those that change its inner structure. While significant attention is paid to the latter category in the BPM literature, this paper focuses on the former category. It presents a collection of patterns that generalize and conceptualize various existing mechanisms to change the visual representation of a process model. Next, it provides a detailed analysis of the degree of support for these patterns in a number of state-of-the-art languages and tools. This paper concludes with the results of a usability evaluation of the patterns conducted with BPM practitioners.

The sound of music : sharing song selections between collocated strangers in public urban places

This paper presents Capital Music, a mobile application enabling real-time sharing of song choices with collocated urban dwellers. Due to the real-time, location-based peer-to-peer approach of the application, a user experience study was performed utilising the Wizard of Oz method. The study provides insight into how sharing non-privacy sensitive but personal data in an anonymous way can influence the user experience of people in public urban places. We discuss the findings in relation to how Capital Music influences the process of “cocooning” in public urban places, the practice of designing anonymous interactions between collocated strangers, and how the sharing of song choices can create a sense of commonality between anonymous users in the urban space. The outcomes of this study are relevant for future location-based social networking applications that aim to create interactions between collocated strangers.

Song means : Analysing and interpreting recorded popular song by Allan Moore

“Who are you? How do you define yourself, your identity?” With these words Allan Moore opens his exhaustive new work proposing a more comprehensive approach to the musicological analysis of popular song. The last three decades have seen a huge expansion of the anthology of the sociological and cultural meanings of pop, but Moore’s book is not another exploration of this field, although some of these ideas are incorporated in this work. Rather, he addresses the limitations of conventional musicology when dealing particularly with songs: “I address popular song rather than popular music. The defining feature of popular song lies in the interaction of everyday words and music… it is how they interact that produces significance in the experience of song”.

Of repetition and of song

Allyson Reynolds, for many years now, has been a keen student of nature. Nature’s forms have always been important to her work, but it would be wrong to see Reynolds as simply transcribing directly from the natural world. For this artist, nature and the natural world represents an elusive invitation and so Reynolds doesn’t so much paint from nature, although resemblance and imitation are clearly evident, as work to render visually and emotionally tangible this invitation. And for a viewer this is no small thing as the invitation is to become attuned and connect with nature as it exists in ourselves, that is to see as nature. Reynolds’ is inviting us as viewers to connect and participate with the nature of nature that is evident in ourselves through the act of perceiving. Reynolds’ work can do this because it is a work born of deep evocation. The sensibility from which it emerges or is transacted is poetic, intensely so, but more than that it works to make of viewing an act of poetry, through a celebration of seeing. Reynolds evocation is born of a deep feeling towards and contemplation of the natural world - it is as though the world lives in her and is now a seamless part of her creative vocabulary. In such personal work there is a profoundly felt and revealed sense of the intimate and like true intimacy it revels in both its dark and quiet, as well as its playful and light, aspects. What is special about Reynolds’ visual poetry is that it able to render this intimacy so accessible. It is an accessibility that is available for the viewer who is able to not only look but also surrender to that looking, accepting and working with the flow of thoughts and associations it occasions...

Timed Probabilistic Automaton : a bridge between Raven and Song Scope for automatic species recognition

Raven and Song Scope are two automated sound anal-ysis tools based on machine learning technique for en-vironmental monitoring. Many research works have been conducted upon them, however, no or rare explo-ration mentions about the performance and comparison between them. This paper investigates the comparisons from six aspects: theory, software interface, ease of use, detection targets, detection accuracy, and potential application. Through deep exploration one critical gap is identified that there is a lack of approach to detect both syllables and call structures, since Raven only aims to detect syllables while Song Scope targets call structures. Therefore, a Timed Probabilistic Automata (TPA) system is proposed which separates syllables first and clusters them into complex structures after.

GOMA Birthday Song

This work was commissioned by the Queensland Art Gallery to mark the fifth birthday of the Gallery of Modern Art. The brief was quite open, with the only directive to make the work complement the major exhibition "we miss you magic land!" by Perth artists, Pip & Pop (Tanya Schultz and Nicole Andrijevic). This musical work draws on a similarly otherworldly, childlike theme, influenced in part by the cinematic world of Gene Wilder's Willy Wonka.

Sovereignty, song and 'The Sapphires' (Wayne Blair 2012)

With its foregrounding of the political issue of the denial of Aboriginal Australian sovereignty by British invaders in its big budget, mainstream narrative, 'The Sapphires' (Wayne Blair 2012) is shown to be another example of a "fourth formation" (Starrs 2012) in Moore and Muecke's 1985 model. Blair's feel-good movie features an all-Aboriginal Australian troupe of singers, The Sapphires, who undertake a journey of self-discovery whereby they learn the importance of choosing the protest songs of black Soul over the white coloniser's "whining" Country and Western songs and this is historically contextualised with a discussion of Aboriginal Australians and popular radio. Furthermore, this paper argues the iconic 'Welcome to Country' is twice subverted to reinforce this theme, firstly in the Cummeragunja pub and secondly in war-torn Vietnam. Finally, the prediction is made that a "fifth formation", in which seeking recognition of Aboriginal Australian sovereignty is no longer the goal because it has become the ongoing reality, will soon be the project of Australian film-makers as they celebrate this long overdue societal shift.