Predation risk is a major driver of the distribution of prey animals, which typically show strong responses to cues for predator presence. An unresolved question is whether naïve individuals respond to mimicked cues, and whether such cues can be used to deter prey. We investigated whether playback of wolf sounds induces fear responses in naïve ungulates in a human-dominated landscape from which wolves have been eradicated since 1879. We conducted a playback experiment in mixed-coniferous and broadleaved forest that harboured three cervid and one suid species. At 36 locations, we played wolf sounds, sounds of local sheep or no sounds, consecutively, in random order, and recorded visit rate and group size, using camera traps. Visit rates of cervids and wild boar showed a clear initial reduction to playback of both wolf and sheep sounds, but the type of response differed between sound, forest type and species. For naïve wild boar in particular, responses to predator cues depended on forest type. Effects on visit rate disappeared within 21 days. Group sizes in all the species were not affected by the sound treatment. Our findings suggest that the responses of naïve ungulates to wolf sound seem to be species specific, depend on forest type and wear off in time, indicating habituation. Before we can successfully deter ungulates using predator sound, we should further investigate how different forest types affect the perception of naïve ungulates to these sounds, as responses to predator sound may depend on habitat characteristics.
MULTIFILE
Predation risk is a major driver of the distribution of prey animals, which typically show strong responses to cues for predator presence. An unresolved question is whether naïve individuals respond to mimicked cues, and whether such cues can be used to deter prey. We investigated whether playback of wolf sounds induces fear responses in naïve ungulates in a human-dominated landscape from which wolves have been eradicated since 1879. We conducted a playback experiment in mixed-coniferous and broadleaved forest that harboured three cervid and one suid species. At 36 locations, we played wolf sounds, sounds of local sheep or no sounds, consecutively, in random order, and recorded visit rate and group size, using camera traps. Visit rates of cervids and wild boar showed a clear initial reduction to playback of both wolf and sheep sounds, but the type of response differed between sound, forest type and species. For naïve wild boar in particular, responses to predator cues depended on forest type. Effects on visit rate disappeared within 21 days. Group sizes in all the species were not affected by the sound treatment. Our findings suggest that the responses of naïve ungulates to wolf sound seem to be species specific, depend on forest type and wear off in time, indicating habituation. Before we can successfully deter ungulates using predator sound, we should further investigate how different forest types affect the perception of naïve ungulates to these sounds, as responses to predator sound may depend on habitat characteristics.
MULTIFILE
This investigation explores relations between 1) a theory of human cognition, called Embodied Cognition, 2) the design of interactive systems and 3) the practice of ‘creative group meetings’ (of which the so-called ‘brainstorm’ is perhaps the best-known example). The investigation is one of Research-through-Design (Overbeeke et al., 2006). This means that, together with students and external stakeholders, I designed two interactive prototypes. Both systems contain a ‘mix’ of both physical and digital forms. Both are designed to be tools in creative meeting sessions, or brainstorms. The tools are meant to form a natural, element in the physical meeting space. The function of these devices is to support the formation of shared insight: that is, the tools should support the process by which participants together, during the activity, get a better grip on the design challenge that they are faced with. Over a series of iterations I reflected on the design process and outcome, and investigated how users interacted with the prototypes.
This PD project aims to gather new knowledge through artistic and participatory design research within neighbourhoods for possible ways of addressing and understanding the avoidance and numbness caused by feelings of vulnerability, discomfort and pain associated with eco-anxiety and chronic fear of environmental doom. The project will include artistic production and suitable forms of fieldwork. The objectives of the PD are to find answers to the practice problem of society which call for art that sensitises, makes aware and helps initiate behavioural change around the consequences of climate change. Rather than visualize future sea levels directly, it will seek to engage with climate change in a metaphorical and poetic way. Neither a doom nor an overly techno-optimistic scenario seem useful to understand the complexity of flood risk management or the dangers of flooding. By challenging both perspectives with artistic means, this research hopes to counter eco-anxiety and create a sense of open thought and susceptibility to new ideas, feelings and chains of thought. Animation and humour, are possible ingredients. The objective is to find and create multiple Dutch water stories, not just one. To achieve this, it is necessary to develop new methods for selecting and repurposing existing impactful stories and strong images. Citizens and students will be included to do so via fieldwork. In addition, archival materials will be used. Archives serve as a repository for memory recollection and reuse, selecting material from the audiovisual archive of the Institute of Sound & Vision will be a crucial part of the creative work which will include two films and accompanying music.
Despite their various appealing features, drones also have some undesirable side-effects. One of them is the psychoacoustic effect that originates from their buzzing noise that causes significant noise pollutions. This has an effect on nature (animals run away) and on humans (noise nuisance and thus stress and health problems). In addition, these buzzing noises contribute to alerting criminals when low-flying drones are deployed for safety and security applications. Therefore, there is an urgent demand from SMEs for practical knowledge and technologies that make existing drones silent, which is the main focus of this project. This project contributes directly to the KET Digital Innovations\Robotics and multiple themes of the top sectors: Agriculture, Water and Food, Health & Care and Safety. The main objective of this project is: Investigate the desirability and possibilities of extremely silent drone technologies for agriculture, public space and safety This is an innovative project and there exist no such drone technology that attempts to reduce the noises coming from drones. The knowledge within this project will be converted into the first proof-of-concepts that makes the technology the first Minimum Viable Product suitable for market evaluations. The partners of this project include WhisperUAV, which has designed the first concept of a silent drone. As a fiber-reinforced 3D composite component printer, Fiberneering plays a crucial role in the (further) development of silent drone technologies into testable prototypes. Sorama is involved as an expert company in the context of mapping the sound fields in and around drones. The University of Twente is involved as a consultant and co-developer, and Research group of mechatronics at Saxion is involved as concept developer, system and user requirement verifier and validator. As an unmanned systems innovation cluster, Space53 will be involved as innovation and networking consultant.
Het project “Maakprocessen Compositie en Sound Design - Stimulering van creatie in de creatieve werkvelden door middel van onderzoek door makers voor makers” is tot stand gekomen in samenspraak met de BCMM (Beroepsvereniging Componisten Multimedia) en zeven componisten en sound designers. Het project beoogt een goed voorbeeld te ontwikkelen van de manier waarop componisten en sound designers kunnen samenwerken aan het ontwikkelen van maakprocessen zonder dat dit te veel tijd kost. Deze professionalisering is ook nodig omdat componisten en sound designers, net als andere professionals in de creatieve werkvelden, steeds duidelijker moeten kunnen communiceren met derden over hun manier van werken. Het is de bedoeling het project te relateren aan een tweede KIEM-aanvraag en een RAAKmkb-aanvraag in dit resp. het komende jaar. De outputs zijn, naast de professionalisering van de betrokken componisten en sound designers, presentaties voor collega-componisten van deze manier van samenwerken en hetgeen het oplevert, en een publicatie van lessons learned door het lectoraat.
