Effects of ambient and boat noise on hearing and communication in three fish species living in a marine protected area (Miramare, Italy)   总被引：2，自引：0，他引：2  

Antonio Codarin  Lidia E. Wysocki  Friedrich Ladich  Marta Picciulin 《Marine pollution bulletin》2009,58(12):1880-1887

The WWF-Natural Marine Reserve of Miramare (Trieste, Italy) is located in a major industrial and vacation area in the Adriatic Sea. Consequently, noise emanating from boating and shipping is an inevitable factor for local fishes. This study investigates the effects of ambient and ship noise on representatives of three vocal fish families with different hearing abilities. Ambient and ship noise were recorded, their sound pressure levels measured and played back in the lab. Auditory sensitivity was determined in Chromis chromis, Sciaena umbra and Gobius cruentatus, utilizing the auditory evoked potential recording technique. Compared to lab conditions, hearing thresholds determined during ambient noise playbacks were barely masked. Contrary, the noise emanating from a cabin-cruiser substantially reduced auditory sensitivity relative to thresholds in ambient noise. This masking effect was most pronounced in the frequency range where acoustic communication takes place. Boat noise potentially affects acoustic communication in fishes inhabiting the reserve.  相似文献   

Nano-art,dynamic matter and the sight/sound of touch     

《Geoforum》2014

This paper offers an auto-ethnographic account of Midas, an immersive bio-media installation created by artist Paul Thomas. The experiences of the installation provide a stepping-off point for a discussion of the corporeal geographies and the nano-imaginaries that the work develops. Understanding the senses as a principle means whereby the body mingles with the world and with itself, we begin from a focus on Midas’s presentation of the inter-relations of touch, vision and hearing, thereby extending geographical thinking on aurality, but also reworking the immersive geographies that are implicated within ontologies of touch. We draw out these geographies by way of the depths and passages of Irigaray’s (1993) fluid ontology of touch. From here we explore the ‘creative rethinking’ of matter that the installation develops, exploring the organismic topographies that it develops which stand against nano-imaginaries of matter that are focused either on the corporeal violence of nano-splatter, or the understanding of nanotechnologies through the mastery and control of matter.  相似文献