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Data for Clarkson, Dwyer, Flecknell, Leach and Rowe, 'Handling method alters the hedonic value of reward in laboratory mice'
No full text<p>Raw data files for the paper 'Handling method alters the hedonic value of reward in laboratory mice' by Jasmine M Clarkson, Dominic M Dwyer, Paul A Flecknell, Matthew C Leach and Candy Rowe.</p>This work was funded by a BBSRC DTP studentship grant (BB/J014516/1)
The mean (+ SE) amount of quinine (mg) eaten per session in Sessions 3–8 in each of the experimental groups.
No full text<p>Horizontal lines on the graph indicate the maximum amount of quinine available within a session for each group. The asterisk denotes a significantly lower ingestion of quinine in the Mild Defence group compared to the other groups. (N = 10 for all groups except the Non-Mimetic group where N = 9).</p
The proportion of eaten defended prey that were mildly defended in Sessions 3–8 and in the simultaneous choice session.
No full text<p>Values over 0.5 show a preference for mildly over moderately defended prey. Birds marked with an asterisk (*) were labelled as discriminating birds.</p
The mean numbers (+/− SE) of mildly defended (circles) and moderately defended prey (squares) eaten in each session by birds in each of the experimental groups (N = 10 for all groups).
No full text<p>The mean numbers (+/− SE) of mildly defended (circles) and moderately defended prey (squares) eaten in each session by birds in each of the experimental groups (N = 10 for all groups).</p
The number of each type of prey presentation made in sessions for all four experimental groups.
No full text<p>The number of each type of prey presentation made in sessions for all four experimental groups.</p
The mean (+ SE) number of mildly defended prey (light grey bars) and moderately defended prey (dark grey bars) eaten per session when birds had reached asymptote (sessions 3–8).
No full text<p>In (a) data for all birds in all groups is included, and in (b) only data for the six discriminating birds in the Non-mimetic group is included (see text for details). Values that were significantly lower in the Non-Mimetic group compared to the Mild Defence and Moderate Defence group are marked with an asterisk. (N = 10 for all groups except the Non-Mimetic group where N = 9 in (a) and N = 6 in (b)).</p
Data for "Pattern and speed interact to hide moving prey", Umeton et al Current Biology 2019
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Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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