Informational conflicts created by the waggle dance

The honeybee (Apis mellifera) waggle dance is one of the most intriguing animal communication signals. A dancing bee communicates the location of a profitable food source and its odour. Followers may often experience situations in which dancers indicate an unfamiliar location but carry the scent of a flower species the followers experienced previously at different locations. Food scents often reactivate bees to resume food collection at previously visited food patches. This double function of the dance creates a conflict between the social vector information and the private navigational information. We investigated which kind of information followers with field experience use in this situation and found that followers usually ignored the spatial information encoded by the waggle dance even if they followed a dance thoroughly (five waggle runs or more). They relied on private information about food source locations instead (in 93% of all cases). Furthermore, foragers preferred to follow dancers carrying food odours they knew from previous field trips, independently of the spatial information encoded in the dance. Surprisingly, neither odour identity nor the location indicated by the dancer was an important factor for the reactivation success of a dance. Our results contrast with the assumption that (i) followers usually try to decode the vector information and (ii) dances indicating an unfamiliar location are of little interest to experienced foragers.     

The Invisibility of Disability: Using Dance to Shake from Bioethics the Idea of ‘Broken Bodies’

Complex social and ethical problems are often most effectively solved by engaging them at the messy and uncomfortable intersections of disciplines and practices, a notion that grounds the InVisible Difference project, which seeks to extend thinking and alter practice around the making, status, ownership, and value of work by contemporary dance choreographers by examining choreographic work through the lenses of law, bioethics, dance scholarship, and the practice of dance by differently‐abled dancers. This article offers a critical thesis on how bioethics has come to occupy a marginal and marginalizing role in questions about the differently‐abled body. In doing so, it has rendered the disabled community largely invisible to and in bioethics. It then defends the claim that bioethics – as a social undertaking pursued collaboratively by individuals from different disciplines – must take much better notice of the body and the embodied individual if it is to better achieve its ends, which include constructing a moral and just society. Finally, this article considers how the arts, and specifically dance (and here dance by differently‐abled dancers), provides us with rich evidence about the body and our ability to respond positively to normally ‘othered’ bodies. It concludes that greater attention to empirical evidence like that being generated in InVisible Difference will help to expand the reach and significance of bioethics, and thereby its relevance to (and consciousness of) important questions about the status of bodies and bodily differences, which must be considered as central to its ambitions.     

Path integration in insects

The most notable advance in our knowledge of path integration in insects is a new understanding of how the honeybee measures the distance that it travels during its foraging trips. Data from two groups show that the bee's odometer records distance in terms of the net amount of image motion over the retina that is accumulated during a flight. Progress has also been made in clarifying the relation between path integration and other navigational strategies. On unfamiliar ground, path integration is the only available means of navigation. In familiar surroundings, however, guidance by landmarks may override guidance by path integration. Path integration then becomes a back-up strategy that is used primarily when landmarks fail.     

Guidepost neurons for the lateral olfactory tract: Expression of metabotropic glutamate receptor 1 and innervation by glutamatergic olfactory bulb axons

The guidepost neurons for the lateral olfactory tract, which are called lot cells, are the earliest‐generated neurons in the neocortex. They migrate tangentially and ventrally further down this tract, and provide scaffolding for the olfactory bulb axons projecting into this pathway. The molecular profiles of the lot cells are largely uncharacterized. We found that lot cells specifically express metabotropic glutamate receptor subtype‐1 at a very early stage of development. This receptor is functionally competent and responds to a metabotropic glutamate receptor agonist with a transient increase in the intracellular calcium ion concentration. When the glutamatergic olfactory bulb axons were electrically stimulated, lot cells responded to the stimulation with a calcium increase mainly via ionotropic glutamate receptors, suggesting potential neurotransmission between the axons and lot cells during early development. Together with the finding that lot cells themselves are glutamatergic excitatory neurons, our results provide another notable example of precocious interactions between the projecting axons and their intermediate targets. © 2012 Wiley Periodicals, Inc. Develop Neurobiol, 2012     

Comments on L.S. Vygotsky's Theater Review on E.V. Gel'tser's Performance

This article presents detailed comments on L.S. Vygotsky's review of the famous Russian ballerina E.V. Gel'tser's performance during her Gomel tour in the autumn of 1922. We present a reconstruction of the cultural context, which is quite essential for understanding multiple aspects of the content of Vygotsky's review. We stress the importance of the distinction between artificial and natural movements introduced by Vygotsky's when considering the uniqueness of expressive movement in choreography.

The uniqueness of cathartic experience, which became a central theme in Vygotsky's research monograph The Psychology of Art (1925), is examined in this review using the analysis of classical dance perception. We establish the methodological importance of Vygotsky's account of the opposition between classical and so-called untaught, natural dance (I. Duncan and M. Fokine), which in turn makes it possible to designate the fundamental difference between “spiritual” [dukhovnyi] and “mental/emotional” [dushevnyi] experience.     

Swarm Site Fidelity in the Sex Role-Reversed Dance Fly Empis borealis

In the dance fly species Empis borealis (L.), females (1–40) gather to swarm at landmarks (swarm markers, like trees and bushes), and males carrying an insect prey visit these swarms for mating. We noticed earlier that some swarm sites were used for several years and that they appeared to be frequented by a similar number of swarming females in each year, although the numbers of females varied greatly among swarm sites and certain sites attracted more swarming individuals than others. To explore swarm site fidelity in this mating system, in 1993 we monitored the same swarm sites that we studied in 1989, addressing the questions, Would the same swarm sites still attract the same number of females and males after 4 years? and Why do some swarm sites attract more displaying females than others? The number of females swarming at the different markers in 1993 was approximately the same as 4 years earlier. Some of these swarm sites are known to have been used for 18 years. The swarm sites with the largest number of flies had a high sun exposure during the day and were found at coniferous swarm marker trees and in a mixed forest habitat. A swarm site with few females attending and with a low amount of insolation during the day can be predicted to be abandoned as a swarming site soon. Empis borealis swarm sites thus persist over many years and are attended by a similar number of individuals each year. To our knowledge, such site fidelity has not been demonstrated for any swarming insect species earlier.     

The spatial precision of the honey bees' dance communication

Many social insect species that employ directional recruitment to food finds communicate the location of their targets with seemingly needless imprecision. Here we present evidence that the spatial precision of the honey bees' dance communication has been tuned by selection so that recruits are neither so accurate that they usually find areas which have already been depleted nor so inaccurate that they usually fail to find the advertised resources altogether. First, the bees' distance errors are similar in magnitude to their directional errors, and their angular errors decrease greatly with increasing distance to the target (decreasing more than fourfold between 100 and 700 m). As a result, the absolute scatter of recruits remains relatively constant with changing distance to the target (increasing by less than 50% between 100 and 700 m). This is to be expected if the optimal level of imprecision is the same for distance and direction and does not change with the distance of the target from the nest. Second, comparative studies involving three tropical- and one temperate-zone species (all Apis)suggest that the precision of the bees' languages may have been tuned in accordance with the spatial characteristics of the resources each species uses. We suggest that both the round dance, which conveys no directional information for nearby targets, and the high angular divergence in waggle dances indicating targets within several hundred meters of the colony are both understandable in this context.