AFES Miscellaneous Publication 2010-02

Research has been conducted since 2001 to assist growers in identifying components of peony field cut flower production and distribution from field selection and planting to post harvest handling and packaging for export. This experiment addressed three components of the production cycle: field planting dates, root quality and plant productivity, and post harvest handling of cut stems. In a comparison of planting times (autumn, spring or as containerized plants in mid summer), ‘Sarah Bernhardt’ and ‘Felix Crouse’ showed no difference in shoot number and growth one full year after planting. ‘Duchess de Nemours’ and ‘Alexander Fleming’ showed significant reductions in growth compared to the other cultivars, and we suspect disease rather than planting time as the problem. All treatments where bud break had occurred in storage with ‘Duchess de Nemours’ and ‘Alexander Fleming,’ new shoots rotted, and recovery was slow. A treatment of elemental sulfur was not sufficient to protect roots from storage rot. ‘Sarah Bernhardt’ roots and crown buds were weighed, counted and measured prior to planting in order to learn if a correlation exists between root quality and subsequent growth and flowering. Three root attributes were correlated with the total number of stems produced: total number of eyes per plant, total number of roots per plant, and root fresh weight. Characteristics such as root length and maximum diameter were not correlated with subsequent growth. We found no relationship between any root characteristics and the number of flowering stems and foliage height in the first year. The attributes that showed correlation could not be fitted to a linear or curvilinear model explaining the nature of the correlation. Larger sample sizes will be necessary to clarify these relationships. The best method for handling peony cut flowers for greatest vase life is to cut peonies dry and store them dry in a cooler (34°F) at 80+% relative humidity until shipping. Use of water in buckets in the field or pulsing flowers with water in the cooler does not improve vase life of peonies. Under optimum conditions, ‘Sarah Bernhardt’ peonies lasted up to 15 days in a vase, 8-9 days from bud break to full bloom, and an additional 5-6 days in full bloom. Chilling in a cooler is the most important attribute to long vase life

Generation of folk song melodies using Bayes transforms

The paper introduces the `Bayes transform', a mathematical procedure for putting data into a hierarchical representation. Applicable to any type of data, the procedure yields interesting results when applied to sequences. In this case, the representation obtained implicitly models the repetition hierarchy of the source. There are then natural applications to music. Derivation of Bayes transforms can be the means of determining the repetition hierarchy of note sequences (melodies) in an empirical and domain-general way. The paper investigates application of this approach to Folk Song, examining the results that can be obtained by treating such transforms as generative models

Predictive uncertainty in auditory sequence processing

Copyright © 2014 Hansen and Pearce. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms

Cross entropy as a measure of musical contrast

We present a preliminary study of using the information theoretic concept of cross-entropy to measure musical contrast in a symbolic context, with a focus on melody. We measure cross-entropy using the Information Dynamics Of Music (IDyOM) framework. Whilst our long term aim is to understand the use of contrast in Sonata form, in this paper we take a more general perspective and look at a broad spread of Western art music of the common practice era. Our results suggest that cross-entropy has a useful role as an objective measure of contrast, but that a fuller picture will require more work

Infotropism as the underlying principle of perceptual organization

Whether perceptual organization favors the simplest or most likely interpretation of a distal stimulus has long been debated. An unbridgeable gulf has seemed to separate these, the Gestalt and Helmholtzian viewpoints. But in recent decades, the proposal that likelihood and simplicity are two sides of the same coin has been gaining ground, to the extent that their equivalence is now widely assumed. What then arises is a desire to know whether the two principles can be reduced to one. Applying Occam's Razor in this way is particularly desirable given that, as things stand, an account referencing one principle alone cannot be completely satisfactory. The present paper argues that unification of the two principles is possible, and that it can be achieved in terms of an incremental notion of `information seeking' (infotropism). Perceptual processing that is infotropic can be shown to target both simplicity and likelihood. The ability to see perceptual organization as governed by either objective can then be explained in terms of it being an infotropic process. Infotropism can be identified as the principle which underlies, and thus generalizes the principles of likelihood and simplicity

Seamounts as refugia from ocean acidification for cold-water stony corals

Cold-water stony corals create habitat for a diverse range of deep-water species but are thought to be threatened by ocean acidification due to oceanic uptake of anthropogenic CO2. Knowledge of the severity of this threat is hampered by our limited understanding of the distribution and habitat requirements of these corals. Here we estimate the global acidification threat to these organisms using a global database of cold-water stony coral records and a species distribution modelling approach. We parameterised the models using present-day environmental data, and then replaced these data with future projections of ocean chemistry from the year 2099. We found suitable coral habitat to be very heterogeneously distributed, being concentrated in the northern North Atlantic and around New Zealand. Projected changes in ocean chemistry induced a pronounced reduction in habitat suitability in the North Atlantic, and a low-to-moderate impact elsewhere under both the IPCC IS92a and S650 scenarios. Seamount summits are impacted by these changes, but consistently provide more suitable habitat than the surrounding seafloor, with around 98% of seamount summits having higher suitability in both future scenarios; this is because they lie in shallower waters with a higher aragonite saturation state. These results suggest that anthropogenic-induced changes in ocean chemistry are likely to severely impact cold-water stony coral habitat in the deep-sea of the North Atlantic, and that impacts will be less severe elsewhere. We predict that coral communities on the summits and upper slopes of seamounts will be less susceptible to ocean acidification during this century than those on the surrounding seafloor, and thus that seamounts may serve as temporary refugia. © 2010 Blackwell Verlag GmbH

Uncertainty and Surprise Jointly Predict Musical Pleasure and Amygdala, Hippocampus, and Auditory Cortex Activity

Listening to music often evokes intense emotions [1, 2]. Recent research suggests that musical pleasure comes from positive reward prediction errors, which arise when what is heard proves to be better than expected [3]. Central to this view is the engagement of the nucleus accumbens—a brain region that processes reward expectations—to pleasurable music and surprising musical events [4, 5, 6, 7, 8]. However, expectancy violations along multiple musical dimensions (e.g., harmony and melody) have failed to implicate the nucleus accumbens [9, 10, 11], and it is unknown how music reward value is assigned [12]. Whether changes in musical expectancy elicit pleasure has thus remained elusive [11]. Here, we demonstrate that pleasure varies nonlinearly as a function of the listener’s uncertainty when anticipating a musical event, and the surprise it evokes when it deviates from expectations. Taking Western tonal harmony as a model of musical syntax, we used a machine-learning model [13] to mathematically quantify the uncertainty and surprise of 80,000 chords in US Billboard pop songs. Behaviorally, we found that chords elicited high pleasure ratings when they deviated substantially from what the listener had expected (low uncertainty, high surprise) or, conversely, when they conformed to expectations in an uninformative context (high uncertainty, low surprise). Neurally, we found using fMRI that activity in the amygdala, hippocampus, and auditory cortex reflected this interaction, while the nucleus accumbens only reflected uncertainty. These findings challenge current neurocognitive models of music-evoked pleasure and highlight the synergistic interplay between prospective and retrospective states of expectation in the musical experience