Gotowa bibliografia na temat „Vibration par sympathie”

Abstract Leafhoppers in the tribe Erythroneurini are a concern for grape growers in California due to direct feeding damage by piercing the leaves. Management of leafhopper populations in vineyards may be accomplished by insecticide applications, the release of natural enemies, conservation biological control, exploitation of controlled deficit irrigation, or a combination of the above. Based on research on other leafhopper species, a behavioral mating disruption is a viable option, but nothing is known about the mating communication and circadian signaling of these species in vineyards. The objectives of this study were to identify and describe vibrational signals associated with mate selection behavior of Erasmoneura variabilis and Erythroneura ziczac, and evaluate the occurrence of vibrational signals within sympatric populations of E. variabilis, E. ziczac, and Homalodisca vitripennis on grapevines. Analysis of vibrational communication signals revealed that 1) one female signal and two distinct male signals are used in E. variabilis pair formation, 2) the pair formation process in E. variabilis is divided into three communication phases, 3) E. variabilis pre-copulatory communication is longer in the presence than in the absence of male-male rivalry, 4) two distinct signals are used in E. ziczac pair formation, and 5) E. variabilis, E. ziczac, and H. vitripennis sing at night and during the day. Results include detailed descriptions of leafhopper communication signals that are relevant for future development of vibrational disruption as a novel method to suppress populations under field conditions.

Abstract1. A female choice experiment between two stocks of the sibling species Drosophila melanogaster and D. simulans revealed a complete sexual isolation between the two species. 2. The courtship behaviour of males and females of the two species has been recorded in single pair matings by one observer using a microcomputer. It can be classified into the same 16 elements without stressing the species-typical aspects of the performances. 3. A detailed comparison of four courtship parameters per behavioural element, (I) percentage of total number of courtship acts, (II) percentage of total courtship time, (III) mean boutlength, and (IV) mean frequency per minute, showed a substantial quantitative differentiation of both sexes between the two closely-related species. 4. Drosophila simulans males and females are both less active in performing their behaviours than D. melanogaster. Scissoring is the major type of wingdisplay in the courtship of D. simulans males, and vibration is more common in the courtship of D. melanogaster males. Drosophila simulans females show lower frequencies per minute of all elements, except walking, extruding, and flicking. 5. Courtship duration in D. melanogaster males is controlled by the elements: orientation, following, and attempted copulation, as was shown by correlation analysis. In D. simulans males, courtship duration is mainly controlled by the elements licking and attempted copulation. However, with respect to the correlation coefficients of individual male behaviours the two species do not differ significantly. Therefore, we could not single out decisive and distinctive elements for enhancement of female's receptivity as a discriminating feature of male sexual behaviour of the two species. 6. First-order sequential analysis of intra-male dyadic transitions between adjacent behaviour elements of D. melanogaster and D. simulans shows quantitative differences primarily in transitions with either vibration or scissoring as the preceding or succeeding acts. Differences between the two female species are mainly limited to transitions in which the rejection-movements decamping and kicking are involved. 7. Analysis of inter-individual dyadic sequences gives the communicative value of male elements relative to the female elements and vice versa. In the communicative interactions with females, scissoring is the major type of wingdisplay in D. simulans males. It accomplishes the same role either in responding to the female or in stimulating the female as vibration does in D. melanogaster males. The elements standing, preening, and extruding are the central behaviours of females in both species in elucidating the male elements orientation, major type of wingdisplay, licking, and attempted copulation. However, the degree to which these male elements are initiated by the female's elements differs quantitatively between the two species. These quantitative differences emphasizes the differentiation in patterns of interaction between sexes between the two species.

Le cristal Baschet est un instrument de musique conçu par les frères Baschet dans les années1950. Les sons émis par cet instrument résultent de vibrations induites par le frottement,causées par l’interaction entre les doigts humides du musicien et des tiges de verre. Chaquetige est reliée à un résonateur constitué d’un assemblage de poutres, dont les caractéristiquesdynamiques fixent la hauteur de la note. Les vibrations sont ensuite transmises à de grandes etfines plaques métalliques qui jouent le rôle d’éléments rayonnants. La fabrication et le réglage del’instrument s’appuient principalement sur un savoir-faire empirique. L’objectif de la thèse est deconstruire un modèle du fonctionnement acoustique de l’instrument, afin de mieux comprendrel’influence des paramètres de lutherie sur la jouabilité et le timbre singulier du son produit. Unmodèle, qualifié de minimal est développé pour rendre compte des auto-oscillations résultant dufrottement. Le résonateur est décrit par sa base modale, issue d’un modèle numérique, validépar une analyse modale expérimentale. L’interaction entre le doigt et le résonateur est régie parune loi de friction connue de la littérature. Celle-ci est par ailleurs mesurée au moyen d’uneméthode inverse appropriée, développée pour identifier les spécificités du contact frottant entrele doigt mouillé et la tige de verre. Pour ce système dynamique, les conditions d’apparition desauto-oscillations sont étudiées au moyen d’une analyse de stabilité linéaire et également de simulationstemporelles. Celles-ci permettent de discuter le rôle des paramètres de conception etde réglage du résonateur sur la facilité d’émission du son, c’est-à-dire la jouabilité de l’instrument.Le modèle minimal de l’instrument est enrichi de façon à prendre en compte des élémentsconnectés au résonateur tels que des tiges libres (moustaches) ou des plaques métalliques fines(diffuseurs). Ces éléments induisent un enrichissement spectral important, qui participe à l’identitésonore de l’instrument. Les moustaches donnent lieu à des vibrations par sympathie, dontles conditions d’apparition peuvent être modulées dans le temps, donnant lieu à des effets perceptifsinhabituels. Ce phénomène est mis en évidence expérimentalement et les paramètres lecontrôlant sont identifiés grâce des études paramétriques numériques. Les plaques fines en métalvibrent avec de grandes amplitudes, ce qui induit des non-linéarités géométriques conduisant àun enrichissement spectral similaire à celui existant dans les sons produits par les gongs. Ceteffet, étudié expérimentalement, s’exprime de façon relativement hétérogène sur l’ensemble dela tessiture de l’instrument.Le travail développé dans la thèse permet de comprendre et hiérarchiser les mécanismes physiquesimpliqués dans la production sonore de l’instrument, contribuant ainsi à la formalisationde règles de conception utiles à son évolution
The Cristal Baschet is a musical instrument designed by the Baschet brothers in the 1950s. The sounds produced by this instrument result from vibrations induced by friction, caused by the interaction between the musician's wet fingers and glass rods. Each rod is connected to a resonator made of an assembly of beams, whose dynamic characteristics determine the pitch of the note. The vibrations are then transmitted to large, thin metal plates that act as radiating elements. The instrument's fabrication and tuning rely primarily on empirical know-how. The objective of the thesis is to build a model of the acoustic functioning of the instrument, to better understand the influence of design parameters on playability and the unique timbre of the sound produced.A minimal model is developed to account for the self-oscillations resulting from friction. The resonator is described by its modal basis, derived from a numerical model, validated by an experimental modal analysis. The interaction between the finger and the resonator is governed by a friction law known from the literature. This law is measured using an appropriate inverse method developed to identify the specifics of the frictional contact between the wet finger and the glass rod. For this dynamic system, the conditions for the appearance of self-oscillations are studied through linear stability analysis and also through time-domain simulations. These allow for a discussion of the role of design and tuning parameters of the resonator on the ease of sound emission, i.e., the playability of the instrument.The minimal model of the instrument is enriched to take into account elements connected to the resonator, such as free rods (whiskers) or thin metal plates (diffusers). These elements induce significant spectral enrichment, contributing to the sound identity of the instrument.The whiskers give rise to sympathetic vibrations, whose conditions of appearance can be modulated over time, leading to unusual perceptual effects. This phenomenon is experimentally demonstrated, and the controlling parameters are identified through numerical parametric studies.The thin metal plates vibrate with large amplitudes, which induces geometric nonlinearities leading to spectral enrichment similar to that found in the sounds produced by brass instruments. This effect, studied experimentally, is expressed relatively unevenly across the instrument’s range.The work developed in the thesis helps to understand and prioritize the physical mechanisms involved in the sound production of the instrument, thereby contributing to the formalization of design rules useful for its development

This chapter turns to the seminal work of the English anthropologist/ cyberneticist, Gregory Bateson (1904-80) as a crucial ecological and ludic foundation not only for the work of Deleuze and Guattari – the pair coined the term ‘plateau’ as a continuous, self-vibrating region of intensities from Bateson’s study of Balinese culture – but also Brian Massumi’s more recent exploration of the supernormal tendency in animal play as a metacommunicative model for a new form of political metamodelisation based on Guattari’s advocacy of an ethico-aesthetic paradigm. Drawing heavily on Bateson’s 1955 essay, ‘A Theory of Play and Fantasy’, Massumi stresses how, for example, a play fight between wolf cubs entails the staging of a paradox, whereby a cub bites and at the same time says ‘This is not a bite, this is not a fight, this is a game,’ whereby the ludic stands in for the suspended analogue: real combat. Massumi calls this level of abstraction game’s ‘-esqueness,’ its metacommunicative level which self-reflexively mobilizes a vitality affect that generates a trans-situational process that moves across and between intersecting existential territories. The latter entails the construction of a third dimension, the ‘included middle’ of play and combat’s mutual influence, which Massumi calls ‘sympathy’.