Measuring context dependency in birdsong using artificial neural networks

Context dependency is a key feature in sequential structures of human language, which requires reference between words far apart in the produced sequence. Assessing how long the past context has an effect on the current status provides crucial information to understand the mechanism for complex sequential behaviors. Birdsongs serve as a representative model for studying the context dependency in sequential signals produced by non-human animals, while previous reports were upper-bounded by methodological limitations. Here, we newly estimated the context dependency in birdsongs in a more scalable way using a modern neural-network-based language model whose accessible context length is sufficiently long. The detected context dependency was beyond the order of traditional Markovian models of birdsong, but was consistent with previous experimental investigations. We also studied the relation between the assumed/auto-detected vocabulary size of birdsong (i.e., fine- vs. coarse-grained syllable classifications) and the context dependency. It turned out that the larger vocabulary (or the more fine-grained classification) is assumed, the shorter context dependency is detected

Involvement of p38 MAPK and ERK/MAPK pathways in staurosporine-induced production of macrophage inflammatory protein-2 in rat peritoneal neutrophils

AbstractStimulation of rat peritoneal neutrophils with staurosporine (64 nM) induced production of macrophage inflammatory protein-2 (MIP-2) and phosphorylation of p38 mitogen-activated protein kinase (MAPK) and extracellular signal-regulated kinase/MAP kinase (ERK/MAPK). The staurosporine-induced MIP-2 production at 4 h was inhibited by the highly specific p38 MAPK inhibitor SB 203580 and the MAPK/ERK kinase (MEK-1) inhibitor PD 98059 in a concentration-dependent manner. By treatment with SB 203580 (1 μM) or PD 98059 (50 μM), the staurosporine-induced increase in the levels of mRNA for MIP-2 was only partially lowered, although the staurosporine-induced MIP-2 production was completely inhibited. Consistent with the inhibition by the protein synthesis inhibitor cycloheximide, SB 203580 and PD 98059 inhibited MIP-2 production at 4 h either when added simultaneously with staurosporine or 2 h after stimulation with staurosporine. In contrast, the DNA-dependent RNA polymerase inhibitor actinomycin D did not inhibit MIP-2 production at 4 h when it was added 2 h after staurosporine stimulation. Dot blot analysis demonstrated that treatment with SB 203580 or PD 98059 down-regulates the stability of MIP-2 mRNA. These results suggested that p38 MAPK and ERK/MAPK pathways are involved in translation of MIP-2 mRNA to protein and stabilization of MIP-2 mRNA

初期ディジタルペイントプログラムの発想

Dr. Richard G. Shoup originated the SuperPaint Frame buffer System in the Computer Science Lab at the Xerox Palo Alto Research Center (PARC) in late 1972. At the epoch, there were very few artists were working with computers. So Dr. Richard G. Shoup had important concept for the program. It was about who will be going to use his program. The painting artist was the user who was not computer engineers of course. Dr. Richard G. Shoup should write the program that was similar in feeling for painting artists to use matiere that was used to. We could see marks of unique ideas for the painting artists to the AURORA DIGITAL VIDEO GRAPHICS SYSTEM AU/100 sold later it was sophisticated by the SuperPaint Frame buffer System, until finished the epoch. And then the AURORA was to sink into oblivion without going against fast-evolving common sense in the world. For this reason, I am sure writing down the concept to this paper is my job of leading importance and I am sure it has a special meaning

ActionScriptによるトイ・アニメーションの試み(眠れる知的好奇心の覚醒をもとめて)

There is the man who enjoys it more than 40 minutes while watching fish inside a big water tank of an aquarium, like a man in the song that is "The fool on the hill" written by Lennon & McCartney. The song said, "Day after day, alone on a hill, the man with the foolish grin is keeping perfectly still..." Of course the man in the aquarium is not a fool. So why is not he tired from it? The reason is because the big water tank shows his subconscious image to himself, like a mirror of magic. An aquarium resembles an abstract animation film. It resembles pleasure of playing with toys. For example it is maybe the same as playing with toy blocks. I wished to make such animation films since I was a student. There is the application named Flash. As a trial of abstraction expression in new Epoch, I examined early abstract animation films for significance of abstract animation films of the present day. Then I made a sample data of the Toy-Animation by ActionScript included in Flash. I showed the process that made the Toy-Animation in the following

芸術としてのアニメーションの認識 : アニメーション基礎教育のために始めに認識すべきこと

ANIME means cartoon films that made in Japan. In other words, that is not meaning animation. As a matter of fact there are many vulgar ANIME works around us. This is very strange to me. Why are good works few in ANIME films? This situation is my big question as a fan of animation. I feel a sense of impending crisis at the process of making ANIME films of today. Therefore I wrote this article so we need consider this situation from starting point of animation once again. In first chapter I mentioned about motion mechanism of animation and about Kokoro as an acceptor of animation, also I explained art characteristics of animation in last chapter. And I was able to find an answer of the question at last. That is simple. Almost ANIME do not include art, this is the answer, but this is big problem

現代アニメーションの観点

This article consists of three chapters comprising two sections each. I described movement of animation in the first chapter. I described a function of a frame of animation film in the first section of this chapter and I described enlarged interpretation of a conception about animation in the next section. I described animation technology within entertainment movies in the first section of the second chapter and I described realistic expression in movies and unrealistic expression in animation films in the next section. I described the Anime that abandoned movement of animation in the first section of the last chapter and I described each works created by three animation artists in the last section and elucidated a meaning of animation