ORCA-SPOT: An Automatic Killer Whale Sound Detection Toolkit Using Deep Learning

Large bioacoustic archives of wild animals are an important source to identify reappearing communication patterns, which can then be related to recurring behavioral patterns to advance the current understanding of intra-specific communication of non-human animals. A main challenge remains that most large-scale bioacoustic archives contain only a small percentage of animal vocalizations and a large amount of environmental noise, which makes it extremely difficult to manually retrieve sufficient vocalizations for further analysis – particularly important for species with advanced social systems and complex vocalizations. In this study deep neural networks were trained on 11,509 killer whale (Orcinus orca) signals and 34,848 noise segments. The resulting toolkit ORCA-SPOT was tested on a large-scale bioacoustic repository – the Orchive – comprising roughly 19,000 hours of killer whale underwater recordings. An automated segmentation of the entire Orchive recordings (about 2.2 years) took approximately 8 days. It achieved a time-based precision or positive-predictive-value (PPV) of 93.2% and an area-under-the-curve (AUC) of 0.9523. This approach enables an automated annotation procedure of large bioacoustics databases to extract killer whale sounds, which are essential for subsequent identification of significant communication patterns. The code will be publicly available in October 2019 to support the application of deep learning to bioaoucstic research. ORCA-SPOT can be adapted to other animal species

IAIN BAXTER& and N.E. THING CO.: A Study in Pop-Inflected Conceptual Art

The Canadian artist IAIN BAXTER&, known before 2005 as Iain Baxter, created an innovative Conceptual Art practice in the mid-60s that continues to make important contributions even today. He has maintained a strong collaborative element in his art, as witnessed by his role in the short-lived group IT (1965) and N.E. THING CO. (1966-1978)--an actual incorporated company consisting of BAXTER& and his first wife, Ingrid Baxter as chief officers--and by the addition of an ampersand to his legal name in 2005 to signify the open-ended quality of his work that relies on viewers‘ contributions to help determine its meaning. This dissertation introduces the term Pop-inflected Conceptual Art to describe how BAXTER& merges his use of information technologies, modern and ubiquitous materials, and pedestrian activities with a desire to question the received role and purpose of art through an epistemological approach. By presenting BAXTER&‘s key influences—Zen Buddhism, as described by D.T. Suzuki and Alan Watts, and the communications theory of Marshall McLuhan—this study describes five underlying principles that inform BAXTER&‘s work individually and in unison. These principles are: his preference for foregrounding the banal; creation of the infoscape that merges the natural world and the constant stream of information within North American culture; proclivity for experimenting with such unlikely media as plastics and telecommunication media; understanding of art‘s kinship with language; and usage of pseudonyms. This study describes the core terms of McLuhan‘s theory in order to analyze this thinker‘s significance for BAXTER&‘s work; moreover, it presents how the above five principles are evident throughout the three main divisions in BAXTER&‘s artistic career: before, during, and after his tenure with N.E. THING CO. Through an analysis of key examples of many of this artist‘s works, this study also determines affinities to both established Pop artists and his Conceptual Art peers, while distinguishing how his Zen and McLuhanesque hybrid approach, which includes a consistent reliance on humor to communicate definitively his ideas, sets him apart from these groups of artists and foregrounds his role as the precursor to such younger Vancouver photoconceptual artists as Ian Wallace, Jeff Wall, Rodney Graham, and Stan Douglas