title: Does ‘acoustic anchoring’ reduce post-translocation dispersal of North Island robins?

authors: Bradley, David William

subjects: acoustic anchoring

abstract: Context: Animal translocations are an important conservation tool; however, post-release dispersal can hinder successful population establishment. Playback of conspecific song attracts dispersing individuals in some species, although its application following animal translocation has yet to be rigorously investigated.

Aims: To determine whether conspecific song can be used as an ‘acoustic anchor’, we adopted an experimental approach during the translocation of 60 North Island robins (Petroica longipes).
Methods: At one of two release locations, we broadcast song at natural rates from four speakers (4 h per morning), for 9 days following release; we set the second release location as a control where identical conditions were established but no playback occurred. To assess the impact of playback, we monitored speaker and control locations, surveyed tracks around the release areas, and radio-tracked robins over nine playback days and an additional 9 days.
Key results: Most robins left both immediate release areas; however, our results showed that (1) more robins (6 birds on 14 of the 18 days), in particular females (3 birds), approached the playback location than the ‘flagged’ control location (3 male birds on 5 of the 18 days), (2) individual robins returned to the playback location repeatedly, unlike those at the control site, and (3) robins also visited the playback location longer after playback than they did silent control locations. In contrast, radio-telemetry data from five robins suggested that general dispersal was not influenced by playback. Two radio-tracked females moved over long distances (some to >3 km from their release location), whereas two radio-tracked males remained relatively close to the release sites.
Conclusions: We demonstrated a short-term attraction effect of playback over a period of several weeks for some birds, particularly females. In contrast, we detected fewer birds over a shorter period at the silent control release site, where no females were detected. However, long-term monitoring at both sites suggested that the effect of playback on reducing post-release dispersal was transitory.
Implications: The lack of a clear and lasting effect of acoustic anchoring on dispersal in the present study has provided information on the limited utility of song playback as a conservation management tool for this species. Consideration of the species’ ecology and suitability for ‘acoustic anchoring’ must be made before playback is employed as a conservation measure to reduce excess post-translocation dispersal.

text: Does ‘acoustic anchoring’ reduce post-translocation dispersal of North Island robins? Context: Animal translocations are an important conservation tool; however, post-release dispersal can hinder successful population establishment. Playback of conspecific song attracts dispersing individuals in some species, although its application following animal translocation has yet to be rigorously investigated.

Aims: To determine whether conspecific song can be used as an ‘acoustic anchor’, we adopted an experimental approach during the translocation of 60 North Island robins (Petroica longipes).
Methods: At one of two release locations, we broadcast song at natural rates from four speakers (4 h per morning), for 9 days following release; we set the second release location as a control where identical conditions were established but no playback occurred. To assess the impact of playback, we monitored speaker and control locations, surveyed tracks around the release areas, and radio-tracked robins over nine playback days and an additional 9 days.
Key results: Most robins left both immediate release areas; however, our results showed that (1) more robins (6 birds on 14 of the 18 days), in particular females (3 birds), approached the playback location than the ‘flagged’ control location (3 male birds on 5 of the 18 days), (2) individual robins returned to the playback location repeatedly, unlike those at the control site, and (3) robins also visited the playback location longer after playback than they did silent control locations. In contrast, radio-telemetry data from five robins suggested that general dispersal was not influenced by playback. Two radio-tracked females moved over long distances (some to >3 km from their release location), whereas two radio-tracked males remained relatively close to the release sites.
Conclusions: We demonstrated a short-term attraction effect of playback over a period of several weeks for some birds, particularly females. In contrast, we detected fewer birds over a shorter period at the silent control release site, where no females were detected. However, long-term monitoring at both sites suggested that the effect of playback on reducing post-release dispersal was transitory.
Implications: The lack of a clear and lasting effect of acoustic anchoring on dispersal in the present study has provided information on the limited utility of song playback as a conservation management tool for this species. Consideration of the species’ ecology and suitability for ‘acoustic anchoring’ must be made before playback is employed as a conservation measure to reduce excess post-translocation dispersal.

year: 2011

title: Grotesque Inversions On Stage, In Film: Horrid Yet Curious, Fascinating Yet Alarming

authors: Dellow, Delwyn Rae

subjects: Grotesque Theatre

abstract: Grotesque theatre is not a genre but a style of theatre made up of many strands which has been employed over many centuries beginning in Ancient Greece, particularly with Aristophanes and moving through time to the present.  François Rabelais recognised the grotesque in Church Feasts, Festivals, Guild performances, sotties and farces.  This thesis investigates through theatre and film the seven strands Bakhtin identifies:  grotesque image, abusive language, grotesque madness, scatalogical humour, light, reversals and the lower bodily stratum (1984, pp. 24-41).  In particular the thesis traces inversions in both theatre and film.  These two mediums have been selected to compare and contrast the use of the grotesque in each, as they share two strong commonalities in acting and the requirement of scripts.  

	Each chapter of this thesis deals with a script, and the last two chapters  incorporate the use of a movie for contrast.  The Introduction introduces the grotesque, offering an explanation of the styles of the grotesque as defined by Mikhail Bakhtin and Philip Thomson.  Examples are shown in pictures.  Chapter one explores two plays written by Eugene Ionesco:   Amedée or How to Get Rid of It, and Rhinoceros.  Chapter two moves back through time to Aristophanes' Lysistrata and explores the power women's bodies might have when men are in need.  The third chapter investigates The Roaring Girl, written by Middleton and Dekker.  This delves into the life of the character Moll Cutpurse and shows why Moll chose to dress as a man.  Chapters four and five deal with the fantasy and the gothic elements in Frankenstein and Dracula respectively:  focusing on bodily transformations; as well as the treatment of the monster and Dracula by society,  and their treatment in turn of society.  

	The grotesque is an intriguing style of theatre because it deals essentially with human nature and the human body in its imperfect and ever-changing form.  The grotesque therefore lends itself to horror, comedy and exaggeration making it a style which does not have to be limited by strict parameters.  The grotesque can be successfully woven into other genres such as the gothic or the absurd giving it even greater dimensions in storytelling, staging and special effects.  Human beings are often torn between the gory or visually disturbing whilst needing the safety of the normal and acceptable.  The grotesque offers both, which can make a scintillating piece of entertainment by fulfilling our needs at both ends of the emotional spectrum.  Grotesque theatre therefore by its very nature is a style which will continue to exist so long as it keeps its patrons in suspense.

text: Grotesque Inversions On Stage, In Film: Horrid Yet Curious, Fascinating Yet Alarming Grotesque theatre is not a genre but a style of theatre made up of many strands which has been employed over many centuries beginning in Ancient Greece, particularly with Aristophanes and moving through time to the present.  François Rabelais recognised the grotesque in Church Feasts, Festivals, Guild performances, sotties and farces.  This thesis investigates through theatre and film the seven strands Bakhtin identifies:  grotesque image, abusive language, grotesque madness, scatalogical humour, light, reversals and the lower bodily stratum (1984, pp. 24-41).  In particular the thesis traces inversions in both theatre and film.  These two mediums have been selected to compare and contrast the use of the grotesque in each, as they share two strong commonalities in acting and the requirement of scripts.  

	Each chapter of this thesis deals with a script, and the last two chapters  incorporate the use of a movie for contrast.  The Introduction introduces the grotesque, offering an explanation of the styles of the grotesque as defined by Mikhail Bakhtin and Philip Thomson.  Examples are shown in pictures.  Chapter one explores two plays written by Eugene Ionesco:   Amedée or How to Get Rid of It, and Rhinoceros.  Chapter two moves back through time to Aristophanes' Lysistrata and explores the power women's bodies might have when men are in need.  The third chapter investigates The Roaring Girl, written by Middleton and Dekker.  This delves into the life of the character Moll Cutpurse and shows why Moll chose to dress as a man.  Chapters four and five deal with the fantasy and the gothic elements in Frankenstein and Dracula respectively:  focusing on bodily transformations; as well as the treatment of the monster and Dracula by society,  and their treatment in turn of society.  

	The grotesque is an intriguing style of theatre because it deals essentially with human nature and the human body in its imperfect and ever-changing form.  The grotesque therefore lends itself to horror, comedy and exaggeration making it a style which does not have to be limited by strict parameters.  The grotesque can be successfully woven into other genres such as the gothic or the absurd giving it even greater dimensions in storytelling, staging and special effects.  Human beings are often torn between the gory or visually disturbing whilst needing the safety of the normal and acceptable.  The grotesque offers both, which can make a scintillating piece of entertainment by fulfilling our needs at both ends of the emotional spectrum.  Grotesque theatre therefore by its very nature is a style which will continue to exist so long as it keeps its patrons in suspense.

year: 2012

title: Systemic racism in clinical psychology: Symposia

authors: Wairoa-Harrison, Sophia

subjects: Racial oppression

abstract: This study constitutes a part of the Working to End Racial Oppression (WERO) project on Systemic Racism in Health Education, Training, and Practice. The focus is on the three dimensions of racism in psychology in Aotearoa New Zealand: its costs, systems and the potential responses that exist. Content: To set the scene, the session will begin with a 30-minute presentation that outlines evidence from three WERO studies on different levels of racism affecting indigenous Māori and minoritised groups. First study presents findings from a desktop analysis of papers across university psychology departments. The findings will be compared with previous studies (Levy, 2007; Levy & Waitoki, 2015) to identify the changes in inclusion of Māori and culturally focused paper at different timepoints. The second study involves semi-structured interviews with Māori students enrolled in clinical psychology training programmes (n = 19) to understand the extent of cultural responsiveness, support, disparities, and representation within programmes. The third study draws on preliminary survey findings with directors of training programmes to depict the progress towards including taha Māori and cultural competency in the psychology curriculum since the studies by Abbott and Durie (1987) and Nathan (1999). The rest of the session will be conducted as a wānanga or a forum that includes a panel discussion amongst WERO research team while allowing for a reciprocal exchange of knowledge with the attendees. Opportunities will be provided for attendees to ask questions, provide feedback to the research analyses and findings, and share their experiences of witnessing or encountering racism in psychology. The session will be opened with a karakia (prayer) and attendees to be offered manaakitanga (hospitality) and tikanga (custom) to ensure cultural safety. Goals: In this session, the research team will bring the evidence derived from robust analyses on existence and ramifications of racism in psychology to the fore. These findings will be integrated with the Waitangi Tribunal claim (Levy, 2018) to shed light on the manifestations of racism across systems and agents responsible for the regulation, training and employment of psychologists. Findings will be used to inform ways for all in psychology to embark on Te Tiriti-focused, culturally-competent and equitable approaches in the quest of indigenising the psychology discipline and advancing it to be relevant to the multicultural nature of Aotearoa populations.

text: Systemic racism in clinical psychology: Symposia This study constitutes a part of the Working to End Racial Oppression (WERO) project on Systemic Racism in Health Education, Training, and Practice. The focus is on the three dimensions of racism in psychology in Aotearoa New Zealand: its costs, systems and the potential responses that exist. Content: To set the scene, the session will begin with a 30-minute presentation that outlines evidence from three WERO studies on different levels of racism affecting indigenous Māori and minoritised groups. First study presents findings from a desktop analysis of papers across university psychology departments. The findings will be compared with previous studies (Levy, 2007; Levy & Waitoki, 2015) to identify the changes in inclusion of Māori and culturally focused paper at different timepoints. The second study involves semi-structured interviews with Māori students enrolled in clinical psychology training programmes (n = 19) to understand the extent of cultural responsiveness, support, disparities, and representation within programmes. The third study draws on preliminary survey findings with directors of training programmes to depict the progress towards including taha Māori and cultural competency in the psychology curriculum since the studies by Abbott and Durie (1987) and Nathan (1999). The rest of the session will be conducted as a wānanga or a forum that includes a panel discussion amongst WERO research team while allowing for a reciprocal exchange of knowledge with the attendees. Opportunities will be provided for attendees to ask questions, provide feedback to the research analyses and findings, and share their experiences of witnessing or encountering racism in psychology. The session will be opened with a karakia (prayer) and attendees to be offered manaakitanga (hospitality) and tikanga (custom) to ensure cultural safety. Goals: In this session, the research team will bring the evidence derived from robust analyses on existence and ramifications of racism in psychology to the fore. These findings will be integrated with the Waitangi Tribunal claim (Levy, 2018) to shed light on the manifestations of racism across systems and agents responsible for the regulation, training and employment of psychologists. Findings will be used to inform ways for all in psychology to embark on Te Tiriti-focused, culturally-competent and equitable approaches in the quest of indigenising the psychology discipline and advancing it to be relevant to the multicultural nature of Aotearoa populations.

year: 2023-03-25