Einstein, von Frisch and the honeybee: a historical letter comes to light

The work of the Nobel Laureate Karl von Frisch, the founder of this journal, was seminal in many ways. He established the honeybee as a key animal model for experimental behavioural studies on sensory perception, learning and memory, and first correctly interpreted its famous dance communication. Here, we report on a previously unknown letter by the Physicist and Nobel Laureate Albert Einstein that was written in October 1949. It briefly addresses the work of von Frisch and also queries how understanding animal perception and navigation may lead to innovations in physics. We discuss records proving that Einstein and von Frisch met in April 1949 when von Frisch visited the USA to present a lecture on bees at Princeton University. In the historical context of Einstein’s theories and thought experiments, we discuss some more recent discoveries of animal sensory capabilities alien to us humans and potentially valuable for bio-inspired design improvements. We also address the orientation of animals like migratory birds mentioned by Einstein 70 years ago, which pushes the boundaries of our understanding nature, both its biology and physics.

Deep neural network and field experiments reveal how transparent wing windows reduce detectability in moths

Lepidoptera – a group of insects in which wing transparency has arisen multiple times - exhibit much variation in the size and position of transparent wing zones. However, little is known as to how this variability affects detectability. Here, we test how the size and position of transparent elements affect predation of artificial moths by wild birds in the field. We also test whether deep neural networks (DNNs) might be a reasonable proxy for live predators, as this would enable one to rapidly test a larger range of hypotheses than is possible with live animals. We compare our field results with results from six different DNN architectures (AlexNet, VGG-16, VGG-19, ResNet-18, SqueezeNet, and GoogLeNet). Our field experiment demonstrated the effectiveness of transparent elements touching wing borders at reducing detectability, but showed no effect of transparent element size. DNN simulations only partly matched field results, as larger transparent elements were also harder for DNNs to detect. The lack of consistency between wild predators’ and DNNs’ responses raises questions about what both experiments were effectively testing, what is perceived by each predator type, and whether DNNs can be considered to be effective models for testing hypotheses about animal perception and cognition.

Mind your Meat: Religious Differences in the Social Perception of Animals

Whilst previous work demonstrated that animals are categorized based on their edibility, little research has systematically evaluated the role of religion in the perception of animal edibility, particularly when specific animals are deemed sacred in a religion. In two studies, we explored a key psychological mechanism through which sacred animals are deemed inedible by members of a faith: mind attribution. In Study 1, non-vegetarian Hindus in Singapore (N = 70) evaluated 19 animals that differed in terms of their sacredness and edibility. Results showed that participants categorized animals into three groups: holy animals (high sacredness but low edibility), food animals (low sacredness but high edibility) and neutral animals (low sacredness and low edibility). Holy animals were deemed to possess greater mental life compared to other animal categories. In Study 2, we replicated this key finding with Hindus in India (N = 100), and further demonstrated that the observed pattern of results was specific to Hindus but not Muslims (N = 90). In both studies, mind attribution mediated the negative association between sacredness and edibility. Our findings illustrate how religious groups diverge in animal perception, thereby highlighting the role of mind attribution as a crucial link between sacredness and edibility.

Donald Wesling: "Animal Perception and Literary Language"

Donald Wesling: "Animal Perception and Literary Language" Palgrave Studies in Animals and Literature.Cham: Palgrave Macmillan, 2019. 286 pp.

Von Uexküll Revisited: Addressing Human Biases in the Study of Animal Perception

More than 100 years ago, the biologist Jakob von Uexküll suggested that, because sensory systems are diverse, animals likely inhabit different sensory worlds (umwelten) than we do. Since von Uexküll, work across sensory modalities has confirmed that animals sometimes perceive sensory information that humans cannot, and it is now well-established that one must account for this fact when studying an animal’s behavior. We are less adept, however, at recognizing cases in which non-human animals may not detect or perceive stimuli the same way we do, which is our focus here. In particular, we discuss three ways in which our own perception can result in misinformed hypotheses about the function of various stimuli. In particular, we may (1) make untested assumptions about how sensory information is perceived, based on how we perceive or measure it, (2) attribute undue significance to stimuli that we perceive as complex or striking, and (3) assume that animals divide the sensory world in the same way that we as scientists do. We discuss each of these biases and provide examples of cases where animals cannot perceive or are not attending to stimuli in the same way that we do, and how this may lead us to mistaken assumptions. Because what an animal perceives affects its behavior, we argue that these biases are especially important for researchers in sensory ecology, cognition, and animal behavior and communication to consider. We suggest that studying animal umwelten requires integrative approaches that combine knowledge of sensory physiology with behavioral assays.

Becoming-Animal Cinema Narrative

This chapter connects distinctive animal territories to specific uses of film language through a series of case studies, most notably Robert Bresson’s Au hasard Balthazar (1966), Michelangelo Frammartino’s Le Quattro Volte (2011), Bela Tarr’s The Turin Horse (2011), and Ang Lee’s Life of Pi (2012). Significantly, becoming-animal cannot be represented by conventional point-of-view and shot-reverse-shot editing (the structural mainstay of filmic suture), because it ties the animal to the conventional (and thus delimiting) human vectorial space of Deleuze’s action-image. Instead, inspired by Pier Paolo Pasolini’s seminal essay, ‘The “Cinema of Poetry”’, the chapter notes that all four filmmakers resort to a form of free-indirect discourse, whereby animality fills up the film from the inside as formative of the representation rather than rendering the subject within the structure of representation. Not unlike T.S. Eliot’s objective correlative, where the character’s subjectivity is presented objectively in and through the mise-en-scène as well as individual focalisation (in this case the character is also on-screen), animal perception is able to be expressed by a form of camera self-consciousness, what Deleuze calls ‘cinema a special kind of cinema where the camera makes itself felt.