title: Behavior-based assessment of the auditory abilities of brushtail possums

authors: Osugi, Mizuho

subjects: signal detection

abstract: Brushtail possums (Trichosurus vulpecula) were trained to press a right lever when a tone was presented (a tone-on trial) and a left lever when a tone was not presented (a tone-off trial) to gain access to food. During training the tone was set at 80 dB(A), with a frequency of 0.88 kH for 3 possums and of 4 kH for the other 2. Once accuracy was over 90% correct across five consecutive sessions, a test session was conducted where the intensity of the tone was reduced by 8 dB(A) over blocks of 20 trials until accuracy over a block fell below 60%. After each test session, training sessions were reintroduced and continued until accuracy was again over 90%, when another test session was conducted. This process continued until there were at least five test sessions at that tone frequency. The same procedure was then used with frequencies of 0.20, 0.88, 2, 4, 10, 12.5, 15, 20, 30, and 35 kHz. Percentage correct and d9 decreased approximately linearly for all possums as tone intensity reduced. Both sets of lines were shallowest at the higher frequencies and steepest at the lower frequencies. Hit and false alarm rates mirrored each other at high frequencies but were asymmetric at lower frequencies. Equal d9 contours showed that sensitivity increased from 2 to 15 kHz and continued to be high over 20 to 35 kHz. The possums remained sensitive to the 20 to 35 kHz tones even at low intensities. The present study is the first to report the abilities of possum to detect tones over this range of frequencies and its results support the findings of a microelectrode mapping survey of possums’ auditory cortex.

text: Behavior-based assessment of the auditory abilities of brushtail possums Brushtail possums (Trichosurus vulpecula) were trained to press a right lever when a tone was presented (a tone-on trial) and a left lever when a tone was not presented (a tone-off trial) to gain access to food. During training the tone was set at 80 dB(A), with a frequency of 0.88 kH for 3 possums and of 4 kH for the other 2. Once accuracy was over 90% correct across five consecutive sessions, a test session was conducted where the intensity of the tone was reduced by 8 dB(A) over blocks of 20 trials until accuracy over a block fell below 60%. After each test session, training sessions were reintroduced and continued until accuracy was again over 90%, when another test session was conducted. This process continued until there were at least five test sessions at that tone frequency. The same procedure was then used with frequencies of 0.20, 0.88, 2, 4, 10, 12.5, 15, 20, 30, and 35 kHz. Percentage correct and d9 decreased approximately linearly for all possums as tone intensity reduced. Both sets of lines were shallowest at the higher frequencies and steepest at the lower frequencies. Hit and false alarm rates mirrored each other at high frequencies but were asymmetric at lower frequencies. Equal d9 contours showed that sensitivity increased from 2 to 15 kHz and continued to be high over 20 to 35 kHz. The possums remained sensitive to the 20 to 35 kHz tones even at low intensities. The present study is the first to report the abilities of possum to detect tones over this range of frequencies and its results support the findings of a microelectrode mapping survey of possums’ auditory cortex.

year: 2011

title: Staying in, tuning in, and coming out: Music as imagined space in lesbians’ coming out geographies

authors: Hardie, Lisa Caroline

subjects: Music

abstract: This thesis examines the mutually constitutive relationship between lesbians, music, place and space. It is argued that music creates safe spaces for a small group of lesbians during their coming out process. Feminist, post-structuralist and queer theories and methodologies provide the framework for this research. In particular Foucault’s concept ‘heterotopia’ is utilised to argue that music can subvert hegemonic sexualised spaces and create temporary utopic imagined spaces for lesbians. Based on a series of semi-structured interviews and music elicitation with ten lesbians (aged between 27 and 34) in the United Kingdom and New Zealand, the findings show how imagined spaces created by music play a significant role in the performance of lesbian sexual identities, coming out, and feelings of belonging. 

Three themes frame my analysis of lesbian music heterotopias. First, I argue that music can create safe spaces for lesbians who experience feelings of shame, fear, and embarrassment. Acting as a type of mobile and symbolic ‘closet’, music may shield young lesbians from homophobic attitudes and reactions. Second, music may be understood as intimate space in which same-sex longing, loving and heartache can be explored and expressed. Music becomes a technology of memory whereby the listener creates a heterotopia of time to reminisce past same-sex desires and heartache. Third, I consider the way in which music can be understood as connecting space. Places such as bars and concerts are transformed by music and become places in which lesbians may connect and socialise. Feelings of isolation dissolve when connections are made in both imagined and real spaces of music. These findings illustrate that both the private and public lesbian geographies of music helps create communities of belonging.

This thesis responds to the lack of attention paid to lesbians’ coming out geographies and demonstrates the power of music in subverting the sexual hegemony of everyday imagined and real spaces. Considering lesbians’ coming out music heterotopias may encourage a more critical understanding of power, sexualities, music, space and place.

text: Staying in, tuning in, and coming out: Music as imagined space in lesbians’ coming out geographies This thesis examines the mutually constitutive relationship between lesbians, music, place and space. It is argued that music creates safe spaces for a small group of lesbians during their coming out process. Feminist, post-structuralist and queer theories and methodologies provide the framework for this research. In particular Foucault’s concept ‘heterotopia’ is utilised to argue that music can subvert hegemonic sexualised spaces and create temporary utopic imagined spaces for lesbians. Based on a series of semi-structured interviews and music elicitation with ten lesbians (aged between 27 and 34) in the United Kingdom and New Zealand, the findings show how imagined spaces created by music play a significant role in the performance of lesbian sexual identities, coming out, and feelings of belonging. 

Three themes frame my analysis of lesbian music heterotopias. First, I argue that music can create safe spaces for lesbians who experience feelings of shame, fear, and embarrassment. Acting as a type of mobile and symbolic ‘closet’, music may shield young lesbians from homophobic attitudes and reactions. Second, music may be understood as intimate space in which same-sex longing, loving and heartache can be explored and expressed. Music becomes a technology of memory whereby the listener creates a heterotopia of time to reminisce past same-sex desires and heartache. Third, I consider the way in which music can be understood as connecting space. Places such as bars and concerts are transformed by music and become places in which lesbians may connect and socialise. Feelings of isolation dissolve when connections are made in both imagined and real spaces of music. These findings illustrate that both the private and public lesbian geographies of music helps create communities of belonging.

This thesis responds to the lack of attention paid to lesbians’ coming out geographies and demonstrates the power of music in subverting the sexual hegemony of everyday imagined and real spaces. Considering lesbians’ coming out music heterotopias may encourage a more critical understanding of power, sexualities, music, space and place.

year: 2012

title: Relational and culturally responsive supervision of doctoral students working in Māori contexts: Inspirations from the Kingitanga

authors: Glynn, Ted

subjects: Relational and culturally responsive supervision

abstract: There is much to celebrate in the greatly increased number of Māori and non-Māori students in New Zealand tertiary institutions undertaking doctoral research on issues of importance to Māori.
However, in honouring their commitments to the Treaty of Waitangi, tertiary institutions need to ensure that Māori doctoral students and their Māori communities maintain their right to define their own research questions, research paradigms and methodologies. As supervisors of doctoral research students investigating issues of significance to Māori people, it is essential that we learn to position ourselves as visitors in someone else’s cultural space, as partners in the Treaty of Waitangi, and as co-constructors of knowledge and research methodology rather than as experts and gatekeepers (Berryman, SooHoo, & Nevin, 2013; Glynn, 2012).

This paper was occasioned by an invitation from the organisers of the annual Kingitanga Day cultural and educational programme at the University of Waikato. The Kingitanga movement has much to teach us about how to frame and conduct research that responds to long-standing injustices that have marginalised Māori people. The Kingitanga has inspired us through the resistance, resilience, agency and humility of its leaders in asserting their right to define the effects of historic and contemporary injustices, and the right to define their own responses to these injustices.

In this paper, we explore some of the relational and culturally responsive understandings we have arrived at from supervising the research of four doctoral candidates in Education (two Māori and two non-Māori). This research has been designed to promote the success and wellbeing of Māori students in mainstream schools, addressing historic and ongoing injustices experienced by Māori students and their whānau and communities.

text: Relational and culturally responsive supervision of doctoral students working in Māori contexts: Inspirations from the Kingitanga There is much to celebrate in the greatly increased number of Māori and non-Māori students in New Zealand tertiary institutions undertaking doctoral research on issues of importance to Māori.
However, in honouring their commitments to the Treaty of Waitangi, tertiary institutions need to ensure that Māori doctoral students and their Māori communities maintain their right to define their own research questions, research paradigms and methodologies. As supervisors of doctoral research students investigating issues of significance to Māori people, it is essential that we learn to position ourselves as visitors in someone else’s cultural space, as partners in the Treaty of Waitangi, and as co-constructors of knowledge and research methodology rather than as experts and gatekeepers (Berryman, SooHoo, & Nevin, 2013; Glynn, 2012).

This paper was occasioned by an invitation from the organisers of the annual Kingitanga Day cultural and educational programme at the University of Waikato. The Kingitanga movement has much to teach us about how to frame and conduct research that responds to long-standing injustices that have marginalised Māori people. The Kingitanga has inspired us through the resistance, resilience, agency and humility of its leaders in asserting their right to define the effects of historic and contemporary injustices, and the right to define their own responses to these injustices.

In this paper, we explore some of the relational and culturally responsive understandings we have arrived at from supervising the research of four doctoral candidates in Education (two Māori and two non-Māori). This research has been designed to promote the success and wellbeing of Māori students in mainstream schools, addressing historic and ongoing injustices experienced by Māori students and their whānau and communities.

year: 2015