Faculty concert: Jacques Zoon, flute, Iseut Chuat, cello, Read Gainsford, guest artist, piano, January 26, 1998

This is the concert program of the Faculty Concert: Jacques Zoon, flute, Iseut Chuat, cello, Read Gainsford, guest artist, piano performance on Monday, January 26, 1998 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Sonata in E minor, BWV 1034 by Johann Sebastian Bach, Trio for Flute, Cello and Piano by Bohuslav Martinu, The Jet Whistle by Heitor Villa-Lobos, Trois Aquarelles by Philippe Gaubert, and Vox balaenae (Voice of the Whale) by George Crumb. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Imagined and imaginary whales: Benedict Anderson, Salman Rushdie and George Orwell

George Orwell, anticipating many of the arguments made by Benedict Anderson in the “Patriotism and Racism” chapter of Imagined Communities, illuminated patriotism and nationalism as shifting aspects of a wider dialectical interplay between an identification with imagined communities and a loyalty to humanity. Orwell's essay “Inside the Whale” can be seen, contrary to Salman Rushdie's criticism that it advocates quietism, as an essay about imaginary homelands. In this reading the whale is a metaphor for a dialectical space created by a writer in order to gain purchase on the unceasing dialectic of history. Analysis of The Lion and the Unicorn in this article links Orwell's work with that of Anderson and Rushdie by exploring in his vision of a classless England the relationship between the personal imaginary homeland and the political imagined community

Ahab, Ulysses, and the white whale: Vittorio Gassman’s adaptation of Moby-Dick

Il saggio analizza alcuni aspetti e problemi sollevati dall'adattamento teatrale del capolavoro di Melville da parte di Vittorio Gassman, con particolare attenzione all'accostamento proposto tra la figura di Ulisse e quella del capitano Ahab.The essay investigates some features and issues raised by Vittorio Gassman's adaptation for the stage of Melville's masterpiece. Specific attention is paid to the conjunction of the figures of Ulysses, on the one hand, and of Captain Ahab, on the other

Volume 50 - April 1970

Volume 50 - April 1970. 45 pages including covers and advertisements. POETRY DUCLOS, STEPHEN A SUNDAY IN MARCH BURNET, JAMES AMPLE APPLE McINTYRE, ROBERT (printed by Nancy Clark) BELOVED KOUNTRY CHILDREN FROM JAMES L. McGUIRE ELEMENTARY SCHOOL and SHAW JUNIOR HIGH SCHOOL, CHILDREN\u27S POETRY PARILLO, J.A. CRYSTAL FANTASY KELLY, ROBERT DUCK CLARK, ROY PETER ECOLOGY (to mother earth) MAAIA, WILLIAM GARBAGE MEN MERLUZZO, PAUL IMPROVISATION #34 TO SISERO MOCKAITIS, JOSEPH ON THE OCCASION OF THE HORSE PARTRIDGE, T.L. OUT OF ORDER GOODHUE, JIM RAMBLE MERLUZZO, PAUL URCHIN PAUL, MICHAEL WORK PROSE CHARPENTIER, ROBERT L. THE BOOK OF PEACE BISCONE, DEBBI INK STAINS UPON A SOGGY BLOTTER DiGIOVANNI, NICHOLAS MOBY DICK McDONALD, WAY SAINT CAROLINA ART CLARK, NANCY COVE

The Indonesian Verbal Suffix –Nya; Nominalization or Subordination?

The suffix ‑nya is one of the most frequent and polysemic suffixes in Indonesian. It can provide definite determination and topicalization. The “Verb‑nya“, which often appears in a topicalized subject Noun Phrase (NP), is generally labelled as a deverbal noun. Nevertheless, many syntactic constraints set it apart from Indonesian deverbal nouns. “Verb‑nya“ must be complemented by a NP, which can easily be reconstructed as a former subject: a sentence is topicalized and thus becomes a noun clause, generally the subject of the main clause Verb Phrase (VP). I argue that “Verb‑nya“ is a subordinate noun clause, almost always conveying causality. This causal noun clause, an innovation in formal written Indonesian (especially in the media), seems to fill a “gap“: the impossibility of beginning a sentence with a subordinating morpheme (‘that', ‘because')

Soundings: the Newsletter of the Monterey Bay Chapter of the American Cetacean Society. 2006

(PDF contains 88 pages.

5. Carried Around the Bend: Celebration

Papers given at conf \u27Discovery \u2799: festival of faith and life\u27, Erindale College, Univ of Toronto in Mississauga, June 10-13 1999

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