Spartan Daily, October 20, 1959

Volume 47, Issue 20https://scholarworks.sjsu.edu/spartandaily/3936/thumbnail.jp

Computational ethology for primate sociality: a novel paradigm for computer-vision-based analysis of animal behaviour

Research in the biological and wildlife sciences is increasingly reliant on video data for measuring animal behaviour, however large-scale analysis is often limited by the time and resources it takes to process video archives. Computer vision holds serious potential to unlock these datasets to analyse behaviour at an unprecedented level of scale, depth and reliability, however thus far a framework for processing and analysing behaviour from large-scale video datasets is lacking. This thesis attempts to solve this problem by developing the theory and methods for capturing long-term sociality of animal populations from longitudinal video archives, laying the foundations for an emerging field; computational ethology of animals in the wild. It makes several key contributions by a) establishing the first unified longitudinal video dataset of wild chimpanzee stone tool use across a 30 year period, and building a framework for collaborative research using cloud-technology b) developing a set of computational tools to allow for processing of large volumes of video data for automated individual identification and behaviour recognition c) applying these automated methods to validate use for social network analysis and d) measuring the social dynamics and behaviour of a group of wild chimpanzees living in the forest of Bossou, Guinea, West Africa. In Chapter 1 I introduce the theoretical and historical context for the thesis, and outline the novel methodological framework for using computer vision to measure animal social behaviour in video. In Chapter 2 I introduce the methodology for processing and managing a longitudinal video archive, and future directions for a new framework for collaborative research workflows in the wildlife sciences using cloud technology. In Chapter 3 I lay the foundations of this framework for analysing behaviour and unlocking video datasets, using deep learning and face recognition. In Chapter 4 I evaluate the robustness of the method for modelling long-term sociality and social networks at Bossou and test whether life history variables predict individual-level sociality patterns. In Chapter 5 I introduce the final component to this framework for measuring long-term animal behaviour, through audiovisual behavioural recognition of chimpanzee nut-cracking. In my final chapter (6) I discuss the main contributions, limitations and future directions for research. Overall this thesis integrates a diverse range of interdisciplinary methods and concepts from primatology, ethology, engineering, and computer vision, to build the foundations for further exploration of cognition, ecology and evolution in wild animals using automated methods

The Anchor, Volume 87.13: January 17, 1975

The Anchor began in 1887 and was first issued weekly in 1914. Covering national and campus news alike, Hope College’s student-run newspaper has grown over the years to encompass over two-dozen editors, reporters, and staff. For much of The Anchor\u27s history, the latest issue was distributed across campus each Wednesday throughout the academic school year (with few exceptions). As of Fall 2019 The Anchor has moved to monthly print issues and a more frequently updated website. Occasionally, the volume and/or issue numbering is irregular

Embodied Cognitive Science of Music. Modeling Experience and Behavior in Musical Contexts

Recently, the role of corporeal interaction has gained wide recognition within cognitive musicology. This thesis reviews evidence from different directions in music research supporting the importance of body-based processes for the understanding of music-related experience and behaviour. Stressing the synthetic focus of cognitive science, cognitive science of music is discussed as a modeling approach that takes these processes into account and may theoretically be embedded within the theory of dynamic systems. In particular, arguments are presented for the use of robotic devices as tools for the investigation of processes underlying human music-related capabilities (musical robotics)

Soulfulness as an Orientation to Contemplative Practice: Culture, Liberation, and Mindful Awareness

Soulfulness is introduced here as an orientation to contemplative practice that centers a synergistic integration of the psychological, spiritual, and cultural dimensions of soul (deepness, aliveness, authenticity, and a healing/transformative resource) to inform the design and implementation of culturally attuned methods. Soulfulness is characterized by themes emerging from diasporic African cultural influences and inspired by an African American cultural sensibility. These themes include an ethos of interconnectedness, a relational/communal sensibility, the centrality of spirituality, creativity and improvisation, a holistic orientation to human experience, emotional expressiveness, resilience and overcoming adversity, and struggles for liberation in the context of historical and ongoing dehumanization and oppression. The “SOUL” (Soulfulness-Oriented, Unitive, and Liberatory) approach is offered as an example of innovation and adaptation that meaningfully considers cultural and contextual factors in order to maximize the effectiveness of contemplative practices with culturally diverse groups. The SOUL-Centered Practice (SCP) framework describes foundational elements to guide the development of practices grounded in mindful awareness processes and infused with qualities of soulfulness. The SOUL approach is hypothesized to be particularly resonant with historically oppressed and marginalized people of color who experience the transgenerational impact of collective traumas such as genocide, slavery, and colonization as well as the dehumanizing soul-assaults of ongoing racism and intersectional oppression. The ultimate goal of the emerging practice is to contribute to the utilization of contemplative practice for the elevation our collective well-being as an interconnected human community in the context of ongoing struggles for liberation and social justice. Implications for research, further conceptual development, and the design of culturally syntonic contemplative practices are discussed

African music and its use in the school: an investigation

The purpose of this dissertation is to investigate the educational possibilities of African music in all schools. To the best of the author's knowledge, African music is almost completely ignored in most non-African schools in South Africa, and where it is taught, the essential elements which make the music "African" are almost completely ignored. It seems deplorable that such a rich musical resource has hardly been tapped in the non-African school. This state of affairs comes about because of negative attitudes towards things African in general and towards the African in particular. In his research in the Western Cape, the author has found that Africans no longer play traditional musical instruments such as the bow and that there is an increasing tendency to move away from traditional musical instruments in favour of Western ones. It is hoped therefore that this dissertation will lead to an appreciation of African music at all schools and that it will somehow contribute towards the revival of bow-playing in urban African communities, because a large part of this dissertation is devoted towards bow-playing and its possible uses in the school. This dissertation is in two parts: the first is a broad systematic introduction to African music, with special reference to African music in South Africa. In this section musical aspects such as form, harmony and rhythm are discussed separately. The influence of speech on song and categories of Nguni song are also included in this section. There are also detailed descriptions of some of the instrumental types in Africa and their uses in society. It should be stressed that the. terminology used in both parts, for example, 'cross-rhythm', is not necessarily the terminology used by the Africans, but is used here to facilitate understanding by all

Developing the Whole Child Through Movement in the Music Classroom

The early twentieth century brought forth some very strong figures in the world of arts pedagogy. Among them were Carl Orff and Emile Jacque-Dalcroze. Both were composers as well as music educators. Both believed that in order for a musician to perform expressively rather than mechanically, one had to feel music in the body. Orff and Dalcroze followers today uphold these men’s idea that movement is an essential part of the music class. Seeking to feel more comfortable and knowledgeable about movement in teaching K-6 general music classes, I set out to research through books, films, my own movement experiences and activites through which I guided my students. Through the process, I discovered how important movement is for complete human development. In this paper I present examples of movement activities that can be incorporated in music classes. All examples have been tested in my classroom. Through the engagement of such activities we can find a means to bring craft beyond function and into the realm of art. We can be enriched through movement in our co-ordination, learning, problem solving, sense of community and healthy well being. We can find a means of self expres- sion as well as an empathy toward others, important ingredients for living in a free world

The Observer

Student newspaper for Central Washington University for April 26-May 2, 2012. Vol. 91, No. 4.https://digitalcommons.cwu.edu/cwu_student_newspaper/5596/thumbnail.jp