1,721,180 research outputs found
Targeted limb movements of insects
No full textMatheson T, Dürr V. Targeted limb movements of insects. Journal of Physiology. 2002;543:S1P
Functional somatatopy of targeted limb movements in an insect
No full textDürr V, Matheson T. Functional somatatopy of targeted limb movements in an insect. In: Proc.Göttingen.Neurobiol.Conf. Vol 28. 2001: 319-319
Load compensation in targeted limb movements of an insect
No full textMatheson T, Dürr V. Load compensation in targeted limb movements of an insect. In: Proc.Congr.Int.Soc.Neuroethol. Vol 6. 2001: 179-179
Proprioceptive plasticity in the control of aimed leg movements
No full textPage KL, Dürr V, Matheson T. Proprioceptive plasticity in the control of aimed leg movements. In: Proc.7th Congr.Int.Soc.Neuroethol. 2004: po 237-po 237
Parallel somatotopic maps of gustatory and mechanosensory neurons in the central nervous system of an insect
No full textRelatively little is still known about the sense of taste, or contact chemoreception, compared with other sensory modalities, despite its importance to many aspects of animal behaviour. The central projections of the sensory neurons from bimodal contact chemoreceptors (basiconic sensilla) were compared with those from mechanosensory tactile hairs located on similar regions of the middle leg of the locust. Basiconic sensilla are multiply innervated, containing one mechanosensory and several chemosensory neurons, whereas tactile hairs are innervated by a single mechanosensory neuron. We show that the sensory neurons from tactile hairs form a complete 3-dimensional somatotopic map in the mesothoracic ganglion. Sensory neurons from hairs located on the coxa projected to a region near the midline of the ganglion with neurons from hairs located on progressively more distal parts of the leg arborizing in successively more lateral regions of neuropil. All the neurons from basiconic sensilla, both mechanosensory and chemosensory, also projected in a similar, strictly somatotopic, manner, and the arbors from these neurons overlapped considerably with those from tactile hairs on equivalent parts of the leg to form a continuous region. Thus, the position of a receptor on the leg is preserved in the central nervous system not only for the mechanosensory neurons from both tactile hairs and basiconic sensilla but also for chemosensory neurons. We could observe no anatomical features or small differences in projection region between sensory neurons from individual basiconic sensilla consistent with differences in modality. J. Comp. Neurol. 425:82-96, 2000. (C) 2000 Wiley-Liss, Inc
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Full text link“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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