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Figure 1 from: Kaňuch P, Dorková M, Mikhailenko AP, Polumordvinov OA, Jarčuška B, Krištín A (2017) Isolated populations of the bush-cricket Pholidoptera frivaldszkyi (Orthoptera, Tettigoniidae) in Russia suggest a disjunct area of the species distribution. ZooKeys 665: 85-92. https://doi.org/10.3897/zookeys.665.12339
Figure 1 - Sampled sites of Pholidoptera frivaldszkyi populations in Central and Eastern Europe. Three geographically homogeneous genetic clusters in the Carpathian Mountains defined by spatial analysis of molecular variance are colour coded according to Kaňuch et al. (2014). Arrows denote sites in eastern Romania where individuals that share the most similar haplotypes to populations found in Russia (ellipse) have occurred (see Fig. 2). The species range validated by the IUCN Red List (Hochkirch et al. 2016) is outlined by the dotted line.
Figure 2 from: Murase A, Inui R, Miki R, Miyazaki Y (2017) Revising the distribution of a threatened goby, Apocryptodon punctatus (Perciformes, Oxudercidae), in Japan with the discovery of an isolated population. ZooKeys 645: 71-83. https://doi.org/10.3897/zookeys.645.10755
Figure 2 - Distribution map of Apocryptodon punctatus in Japanese waters. Solid star indicates the present record from Kushima City, Miyazaki Prefecture, Kyushu; solid circles, records with voucher specimens deposited in a museum; gray circle, records with additional museum specimens in the present study; open circles, records with uncatalogued specimens; solid triangle, photo record; open triangles, literature records without a voucher.
Figure 1 from: Murase A, Inui R, Miki R, Miyazaki Y (2017) Revising the distribution of a threatened goby, Apocryptodon punctatus (Perciformes, Oxudercidae), in Japan with the discovery of an isolated population. ZooKeys 645: 71-83. https://doi.org/10.3897/zookeys.645.10755
Figure 1 - Lateral view of a fresh specimen of Apocryptodon punctatus, KPM-NI 40559, 35.6 mm SL, collected from a mudflat estuary of Kushima City, Miyazaki Prefecture, Kyushu, Southern Japan. Top, photo number KPM-NR 166540B; bottom, photo number KPM-NR 166540A.
Figure 1 from: Ang Y, Rajaratnam G, Su KFY, Meier R (2017) Hidden in the urban parks of New York City: Themira lohmanus, a new species of Sepsidae described based on morphology, DNA sequences, mating behavior, and reproductive isolation (Sepsidae, Diptera). ZooKeys 698: 95-111. https://doi.org/10.3897/zookeys.698.13411
Figure 1 - Surstyli (dorsal view) for male Themira biloba (A) and Themira "biloba-like" (B). Red arrows indicate basal process on left surstylus; green arrow for basal process on right surstylus.
Figure 3 from: Ang Y, Rajaratnam G, Su KFY, Meier R (2017) Hidden in the urban parks of New York City: Themira lohmanus, a new species of Sepsidae described based on morphology, DNA sequences, mating behavior, and reproductive isolation (Sepsidae, Diptera). ZooKeys 698: 95-111. https://doi.org/10.3897/zookeys.698.13411
Figure 3 - Adult female (A–H), showing lateral (A) and dorsal (B) views of habitus (sans abdomen), anterior (C) and ventral (D) views of head capsule, anterior and posterior views of fore leg (E), mid leg (F) and rear leg (G), and ventral view of abdomen (H).
Figure 2 from: Ang Y, Rajaratnam G, Su KFY, Meier R (2017) Hidden in the urban parks of New York City: Themira lohmanus, a new species of Sepsidae described based on morphology, DNA sequences, mating behavior, and reproductive isolation (Sepsidae, Diptera). ZooKeys 698: 95-111. https://doi.org/10.3897/zookeys.698.13411
Figure 2 - Adult male (A–M), showing lateral (A) and dorsal (B) views of habitus, anterior (C) and ventral (D) views of head capsule, anterior and posterior views of fore leg (E), mid leg (F) and rear leg (G); ventral view of abdomen (H) showing modified 4th sternites; anterior (I), dorsal (J), left (K) and right (L) views of hypopygium, as well as various views of the penis (M).
Bulk RNA seq gene expression data from synovial endothelial cells (EC) isolated from S1PR1 ECKO mice and controls after serum induced arthritis
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Songs In Isolation II: Easing Restrictions
<p>Text from YouTube description box: "Goodness! We're easing restrictions even though we're only JUST squeaking under that mystical 1.0 transmission rate! Looks like Australia's getting ready to feed people to the corporate machine, again. Whoopie!"</p> <p>This piece draws on the use of language, voice, and layering from Mark Applebaum’s series, <em>Three Unlikely Corporate Sponsorships</em> (2016). It was composed in response to the ill-timed easing of COVID-19 restrictions in June 2020 in Australia. At the time, I was shocked that the Australian government was choosing to ease restrictions given the lingering COVID-19 cases and my home country’s government (New Zealand) response to COVID cases at that pandemic phase. I saw mixed reactions on social media, with some enthusiastic about returning to “normal” and others more cautious and skeptical.</p> <p>I stacked text layers in a word processor to form a score and performed each layer while recording. A low-quality headset microphone was used to record the voice to evoke the quality of an early computer conferencing call quality. The texts position on the page in the text score informed the pitch centre of each line’s vocal takes. The audio was then processed with different effects to separate the layers sonically.</p> <p>The text was taken from themes I viewed on social media with regards to dieting (losing weight gained during lockdown), supermarket stock shortages, opinions on easing restrictions, and news conference snippets on social media as well as public news websites like the Australian Broadcasting Company (ABC). Like Applebaum, I use the rhythm of speech and pitches that we employ in speech to shape the musical output. The text choices and movement from one section to the next are deliberately playful.</p>
Songs in Isolation V: Being Inside
<p>Text from YouTube description box: "We're still locked down in Melbourne. Our taps in our rental place have started constantly dripping again for the 30th time since we've lived here. No one's coming to fix anything at the moment. Life is breaking down."</p> <p>This piece was written in October 2020, inspired by the incessant dripping of the taps in our bathroom sink and shower that our landlords had refused to repair for several years. At the time, Melbourne was nearing the opening-up phase, and each day felt like torture until we were allowed to reconnect in physical spaces with friends and family. The eternal sameness of daily life was taking its toll, and I was back to cutting my hair to change the monotony of experience. People are generally aurally irritated by dripping taps, and it is, additionally, used as a torture technique, commonly called Chinese water torture (de Young 2015).</p> <p>I used <em>Max</em>, <em>Ableton Live</em>, <em>GLVD</em> (version three, with gestures: fist, palm, peace sign, and pinky out) and one hand manually controlled volumes on a second MIDI controller. GLVD version three, my <em>Max</em>-patch device interface was not optimised and thus CPU intensive, which caused problems with <em>Ableton Live</em>. I used the single glove to help compensate for this drain on computing power. This piece is the only one not to incorporate voice. In its place, I used the vibration drone of my hair clippers and reverb to bring out the overtones as I would with voice.</p> <p> </p>
Songs in Isolation VI: First there was nothing, then it exploded
<p>Text from YouTube description box: "This is one of the only surviving creative pieces of an earlier, more CPU intensive version of the glove coding. A glitch made the filters and reverb explode. I was controlling this audio by rolling one wrist side to side. The synth line you can hear periodically throughout this was being created by lapses in my concentration (for keeping the other hand still) as I wrestled with the big distorted noise. My favourite bits are where you hear the pitches start to arise from the noise, and the last bit where I lost control, regretted it, managed to restart it, and then wondered how long this had been going and brought it into a close. I thought, as it was happening, that this lasted ten minutes. Conservative estimate. My surprise to know the glitch went for around two minutes! The audio was recorded on the 28th of August, 2020."</p> <p>This is the second surviving creative work for my self-built datagloves, <em>GLVD</em>, version three. I use <em>Max, GLVD, </em>and voice to compose the work. This piece merges serendipity, flow, and an explosion of energy. Melbourne was about to relax most COVID-19 restrictions and enter “COVID-normal” rules (Taylor 2020). It was also the beginning of the Melbourne hayfever season. Documentation notes from this period describe being in lockdown for so long that time and future lost meaning. I had lost the will to plod through a workload and was burnt out. This piece provided brief relief.</p> <p>A data glitch made the self-built filter effect in <em>Max</em> and reverb explode, in sonic terms. The sound is like a film foley for a missile explosion. I controlled this audio by the roll position of my right wrist. The synth line heard periodically throughout was created by lapses in my concentration (keeping the other hand still) as I wrestled with the big, distorted noise sound. The noise begins as chaos and transforms to a shaped pitch as I realised that the sonic output remained under my control. In discovering my control in the chaos, I brought the sound to near silence, regretted the choice, and revived the sound. I lost my sense of time and became fully engaged in making. In a moment of self and time-consciousness, I brought the noise to a close for the second time, thinking I had spent over 10 minutes engrossed in the activity. The shifting perception of time was unexpected. The sound felt all-encompassing and caused me to lose track of the timescale in line with the concepts of ‘flow’ and embodiment (Schön 1983; Csikszentmihalyi 2009). The engagement was fascinating through its surprise and the control of the initial unpredictability.</p> <p>I left the glitch untouched to preserve the moment and scale of the absorption with the activity. The glitch itself was not edited. The synth and speech (in the finished recording and recording process) leading up to and after the glitch were edited to frame the glitch and document the synth and vocoder sounds I had created in <em>Max. </em>They were overlaid and panned in the mix.</p>
Songs in Isolation III: Umm... Omm?
<p>Text from YouTube description box: "Things are difficult, and sometimes you just have to breathe through it. Breathe through the stress of relationship breakdowns, the stress of COVID-19, things changing for the worse in the blink of an eye. These are the times when all you can do is just... do you."</p> <p>This piece is a continuation of the Extended Vocal Techniques and throat-singing practice from my master’s degree and explores the impact of physical locations and virtual (electronic) locations on voice use. I wrote it in response to renewed encouragement on social media to meditate and create a sense of space and peace in one’s environment in July of Melbourne’s second large-scale lockdown.</p> <p>I used layers of voice using overtone (filtering vocal formants by control of the tongue, oropharynx, and nasopharynx) and undertone (period doubling the fundamental pitch with the false vocal folds) singing. Om (from Indian religions and a common syllable uttered in meditation or associated with yoga) was the first layer and inspiration for the sonic journey. The minimal harmony and shifting overtones and fundamentals create a space that hangings with no actual resolution but with some tension that builds over the duration and fades without musically resolving.</p> <p>The work aimed to develop a faux-meditation style piece of music that created a relaxing space with an edge to the sonic content that stepped outside the genre-specific confines. That is, the lack of traditional harmony and an increased dissonance in note selection. The piece is intentionally short, so the sonic environment is disrupted prematurely for the established meditation music parameters.</p>
Songs in Isolation IV: Fuzzy Logic
<p>Text from YouTube description box: "Week three million four hundred and twenty-two of Melbourne lockdown. I've got the brain-fuzz, what've you got? I used a screen recording of the Mind Monitor App for iPad and used the OSC data from my own brain-hole (captured by the Muse EEG device) to "control" the effects and sounds through Max/MSP and Ableton."</p> <p>This piece was written in September 2020 in response to the heightening of my brain fog due to the stress of the second Melbourne COVID-19 lockdown, working on a doctoral project during the pandemic, and the pressures of remaining positive and supportive in my role as an educator while anti-lockdown protests became a regular feature of Melbourne life (McGowan 2020). For my doctoral thesis, This étude was also used to test Muse 2 (a consumer EEG device) as an embodied sound controller and alternative to glove-based gesture control.</p> <p>I use voice and the <em>Muse 2</em> EEG device to control distortion and other effects and generate MIDI (Musical Instrument Digital Interface) notes. Delta, theta, alpha, beta, and gamma brain waves were routed into <em>Max</em> via OSC via iPad and a secondary application to accept <em>Muse 2</em>’s data. Each brain wave type controlled a different sound source. One voice layer sings an “ah” with and without vocal fry (individual pops of air through the vocal folds) and an undertone. The video was created by recording the device output while listening to the final work.</p> <p>The piece is named for the logic theory, its common-purpose use in washing machine advertisements as mundane aspects of life, brain fog (cognitive fuzziness), and the control of distortion (or fuzz) in turning my brain waves into real numbers between 0 and 1.</p>
Songs In Isolation XI: Your Subconscious is Knocking, Pt.1
<p>Text from YouTube description box: "Songs In Isolation XI: Your Subconscious is Knocking, Pt.1" </p> <p>I composed this piece in September 2021. This piece illustrates the continued impact of COVID-lockdowns and traumatic events enabled by the shift in communication paradigms of COVID-life and the increase of gender-based online abuse (Kee, Al‐Anesi, and Al‐Anesi 2022; Wahlquist 2022; Berger 2021). The impact on me was dissociation. Dissociation can occur in several ways when the brain is overwhelmed to deal with a situation, lasting for shorter or longer periods. My brain had patches of momentary amnesia during traumatic events described in the obscured text (layer 1) and deleted the trauma information, leaving me with only the symptoms.</p> <p>This piece has two layers and was created using <em>Max</em> and voice. The first noise is driven by a layer of text that talks about an abusive situation I endured from 2020-2021 that mainly occurred through an online platform. The noise gate passes sound through when the text is spoken. The second layer is audible when the “Shh” and breath or mouth sounds are audible (this second noise gate works the same as the first). The second layer interacts with the first and ducks the first layer’s sound.</p> <p>The “Shh” line represents my brain’s moments of disconnection, and the initial quieter, tonal noise is my experience; my subconscious and body are trying to tell me what is happening. When the “Shh” ducks the first layer, it becomes the momentary dissociation of a brain under siege. The different types of “Shh” are the ferocity with which the brain can effectively self-censor.</p>
Songs In Isolation VIII: Flame
<p>Text from YouTube description box: "Sit back, and watch the world burn." </p> <p>This piece was written in February 2021. It uses breath, field recordings, and a lighter. It was written in response to being told of the terminal illness of a friend that was left to fester during COVID-19, renewed urges to ease restrictions unwisely, anti-vaccination protests, vaccination rollout bungles, wimpy climate change action by the Australian government, more poor handling of sexual assault in Australian workplaces, particularly in the parliament, and more confused aid requirements amid smaller scale lockdowns in Victoria, Australia. This piece represents the beginning of a departure from highly contagious emotional and behavioural links during the initial COVID-19 lockdown periods. The work relates to mounting frustrations from inaction, complacency, and repetitiveness of experience.</p> <p>Breath and lighter flicking samples accompany each other and interact with field recordings and bush sounds (recordings taken at the Organ Pipes National Park, VIC, Australia, in January 2021). Breath reinforces the birdsong and fire sounds and acts as the gas flow through the lighter through gentle whistles, inhaling, exhaling, and other mouth noises. Inhales and exhales are used rhythmically with small amounts of inward phonation to create a subdued climax in the piece to reflect Australia's political and conservational apathy.</p>
Rapid Inference of Antibiotic Susceptibility Phenotype of Uropathogens using Metagenomic Sequencing with Neighbour Typing - Klebsiella spp. Isolates for RASE Databases and Paired Isolates
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Rapid Inference of Antibiotic Susceptibility Phenotype of Uropathogens using Metagenomic Sequencing with Neighbour Typing - E. coli Isolates for RASE Databases and Paired Isolates
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Fig. 2 in First Toxoplasma gondii isolate from an aborted foetus of European bison (Bison bonasus bonasus L.)
Fig. 2 Specific amplicons with primers Np6/Np21 (a) and primers TGRE1/TGRE1-2 (b): M-molecular marker, lines 1–3— N. caninum DNA; lines 4–5— T. gondii RH DNA; lines 6–11 – tachyzoites from in vitro culture (Bison bonasus); lines 12–14— scrapings (Vero cells + tachyzoites); line 15—positive control—N. caninum DNA; line 16—positive control—DNA of T. gondii RH; lines 17–18— negative control
Fig. 3 in Molecular and physiological characterization of the chitin synthase B gene isolated from CUlex pipieNS palleNS (Diptera: Culicidae)
Fig. 3 Expression profiles of CpCHSB during different developmental stages. Stages include egg (EG), fourth-instar larvae (L4), pupae (PU), post-eclosion (PE), and post-blood meal (PBM). Relative expression levels were calculated based on the lowest expression value, which was ascribed an arbitrary value of 1. Results are shown as the mean ± SE
Figure 2 in Filtrates from cultures of endophytic fungi isolated from leaves of Copaifera oblongifolia (Fabaceae) affect germination and seedling development differently
Figure 2. Variations (mean ± standard error) of seedling survival (A) and its relationship with seed mass (B) of Copaifera oblongifolia as a function of treatments with inoculation of different species of endophytic fungi. Different letters on the bars indicate statistical variations between treatments (P <0.05) according contrast analysis
Supplementary data for "Novel isolates expand the physiological diversity of Prochlorococcus and illuminate its macroevolution" by Becker et. al.
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Allen Brain Atlas
Allen Brain Atlas is an Allen Institute collection of brain map atlases, datasets, APIs, and analysis tools covering mouse, human, and non-human primate brain resources.
Annotated Behaviour and Observability Dataset (ABODe)
ABODe is a University of Edinburgh DataShare dataset for behavior classification in group-housed mice using home-cage video, identities, bounding boxes, ground-plate positions, and annotator labels.
DANDI Archive for NWB datasets
DANDI is a BRAIN Initiative archive for publishing and sharing neurophysiology data, including electrophysiology, optophysiology, and behavioral data packaged as NWB and related standards.
International Brain Laboratory public data
The International Brain Laboratory public data releases expose standardized mouse decision-making experiments, including Neuropixels recordings, widefield calcium imaging, behavior, and session metadata accessed through the ONE API.
OpenNeuro
OpenNeuro is a free, open platform for sharing neuroimaging datasets, with public search, dataset pages, and download paths for web, S3, DataLad, and the OpenNeuro CLI.