In eastern North America, "tree bats" (Genera: Lasiurus and Lasionycteris) are highly susceptible to collisions with wind energy turbines and are known to fly offshore during migration. This raises concern about ongoing expansion of offshore wind-energy development off the Atlantic Coast. Season, atmospheric conditions, and site-level characteristics such as local habitat features (e.g., forest coverage) have been shown to influence wind turbine collision rates by bats onshore, and similar features may be related to risk offshore. In response to rapidly developing offshore wind energy development, I assessed the factors affecting coastal and offshore presence of tree bats. I continuously gathered tree bat nightly occurrence data using stationary acoustic recorders on five structures (four lighthouses on barrier islands and one light tower offshore) off the coast of Virginia, USA, across all seasons, 2012–2019. I used generalized additive models to describe nightly tree bat occurrence in relation to multiple factors. I found that sites either indicated maternity or migratory patterns in their seasonal occurrence pattern that were associated with local roosting resources (i.e., presence of forest). Across all sites, nightly occurrence was negatively related to wind speed and positively related to temperature and visibility. Using predictive performance metrics, I concluded that the model was highly predictive for the Virginia coast. My findings were consistent with other studies—tree bat occurrence probability and presumed mortality risk to offshore wind-energy collisions is highest on nights with low wind speed, high temperature and visibility during spring and fall. The high predictive model performance I observed provides a basis for which managers, using a similar monitoring and modeling regime, could develop an effective curtailment-based mitigation strategy. Although information at fixed points is helpful for managing specific sites, large questions remain on certain aspects of tree bat migration, in part because direct evidence (i.e., tracking of individuals) has been difficult to obtain so far. For instance, patterns in fall behavior such as the timing of migration events, the existence of migratory pathways, consistencies in the direction of travel, the drivers of over-water flight, and the activity states of residents (or bats in stopover) remain unstudied in the mid-Atlantic. The recently established Motus Wildlife Tracking System, an array of ground-based receiver stations, provides a new technique to track individual bats via the ability to detect course-scale movement paths of attached very high frequency radio-tags. To reveal patterns in migration, and to understand drivers of over-water flight, I captured and radio-tagged 115 eastern red bats (Lasiurus borealis) and subsequently tracked their movements. For the bats with evidence of large movements, most traveled in a southwesterly direction whereby paths were often oriented interior toward the continental landmass rather than being oriented along the coastline. This observation challenges earlier held beliefs that bats closely follow linear landscape features, such as the coast, when migrating. I documented bats traveling across wide sections of the Chesapeake and Delaware bays confirming the species' ability to travel across large water bodies. This behavior typically occurred in the early hours of the night and during favorable flying conditions such as low wind speeds, warm temperatures, and/or during sudden increases in temperature associated with the passage of cold fronts. For bats engaging in site residency through the fall, the proportion of night-hours in which bats were in a resting state (and possibly torpor), increased with colder temperatures and the progression of the fall season. My study demonstrated that bats may be at risk to offshore wind turbine collisions off the mid-Atlantic, but that this risk might be minimal if most bats are migrating toward the interior landscape rather than following the coast. Nonetheless, if flight over large water bodies such as Chesapeake and Delaware bays is a viable proxy for over-ocean flight, then collision risk at offshore wind turbines may be somewhat linked to atmospheric, seasonal timing, or other effects, and therefore some level of predictable and manageable with mitigations options such as smart curtailment. / Master of Science / In eastern North America on the mid-Atlantic and Northeast coasts, a group of bat species named "tree bats" engage in seasonal migrations—generally shifting north in spring and south in fall. On the East coast, it is known that eastern red bats and silver-haired bats will occasionally fly over the ocean during these periods. Although this behavior is somewhat hard to explain due to their reliance on trees for day-time roosting, it raises concern conservation concerns due to the current and future rapid development of offshore wind energy turbines. This is compounded by the fact that collision rates with turbines are high for this species group in general and highest in the fall migratory season. The fall period is also when bats may be attracted to tall structures such as turbines and when most offshore flight happens. Nevertheless, bats are sensitive to atmospheric conditions such as temperature and wind speed, and other factors influence their propensity to fly (and be at risk to turbine strikes). So, understanding these drivers may aid in understanding the conditions that present the highest risk to strike at offshore wind turbines. In response to rapid offshore wind development in the Atlantic, I recorded bats in coastal Virginia, USA from 2012–2019, using acoustic monitors—devices that collect the echolocation vocalizations of bats. I found that tree bat visitation offshore or on barrier islands was associated with wind speed, temperature, visibility, and seasonality. Using statistical modeling, I developed a predictive tool to assess occurrence probabilities at varying levels of wind speed, temperature, and seasonality. Probability of occurrence and therefore assumed risk to collision was highest on high temperature and visibility nights, low wind speed nights, and during the spring and fall seasons. Therefore, I suggest a similar modeling regime could be used to predict the occurrence of bats at offshore wind sites to inform potential mitigation efforts. Next, I attempted to answer broader questions about tree bat migratory behavior such as attempting to identify migratory pathways throughout the mid-Atlantic. The Motus Wildlife Tracking System gives researchers the ability to directly track individuals over long-distances with radio-transmitters and ground-based receiver stations. Using Motus, I captured and radio-tagged >100 tree bats, which were of majority eastern red bats and tracked their movements throughout the mid-Atlantic region. I found that movements were not oriented along the coastline, which challenged previously held beliefs that bats use the coast during migration. Tree bats also traversed large bodies of water, the Chesapeake and Delaware bays, confirming the ability for this group to fly over-water. Through statistical modeling, I found that these over-water bouts were early in the night and related to advantageous flying conditions such as low wind speeds, high temperatures, and during periods of sudden temperature increase (which could be linked to the passage of cold weather fronts). Offshore collision risk to tree bats may be somewhat minimal if most bats orient inland, rather than coastal for their migration movement. Nevertheless, for those bats that do fly over the ocean, if crossing large waterbodies is a viable proxy for over-ocean movement, then this behavior is linked to multiple factors, of which can be used to predict occurrences and even potentially predict and manage risk to collision.

OPTIMUS MOTUS (R) ist ein grafischer Editor, um komplexe Bewegungsabläufe zu modellieren, zu optimieren, zu testen und schließlich als Funktionsbausteine für die SPS-Welt zu exportieren. So können SPS-Bewegungsprogramme erheblich schneller entwickelt und geändert werden als bei manueller Programmentwicklung. Die aus der Kurventechnik bekannte Bewegungsqualität kommt damit auch bei Servoantrieben zum Tragen. Das Debugging entfällt, weil die Quelltexte maschinell erzeugt werden.

OPTIMUS MOTUS (R) ist ein grafischer Editor, um komplexe Bewegungsabläufe zu modellieren, zu optimieren, zu testen und schließlich als Funktionsbausteine für die SPS-Welt zu exportieren. So können SPS-Bewegungsprogramme erheblich schneller entwickelt und geändert werden als bei manueller Programmentwicklung. Die aus der Kurventechnik bekannte Bewegungsqualität kommt damit auch bei Servoantrieben zum Tragen. Das Debugging entfällt, weil die Quelltexte maschinell erzeugt werden.

Bird migration is a poorly-known yet important phenomenon, as understanding movement patterns of birds can inform conservation strategies and public health policy for animal-borne diseases. Recent advances in wildlife tracking technology, in particular the Motus system, have allowed researchers to track even small flying birds and insects with radio transmitters that weigh fractions of a gram. This system relies on a community-based distributed sensor network that detects tagged animals as they move through the detection nodes on journeys that range from small local movements to intercontinental migrations. The quantity of data generated by the Motus system is unprecedented, is on its way to surpass the size of all other centralized databases of animal detection and requires novel statistical methods. Building from the bsam package in R, I propose two new biologically informed Bayesian state-space models for animal movement in JAGS that include informed assumptions about songbird behavior. I evaluate the models using a simulation study in realistic conditions of data missingness. One of these models is generalized to a hierarchical version that fits population-level movement through joint estimation of movement parameters over multiple animal tracks. To apply the models, I then employ a localization routine on a Motus data set from migrating songbirds (Red-eyed Vireos - Vireo olivaceus) from the Eastern coast of North America. This allows me to apply the new hierarchical model and its predecessor to estimate unobserved locations and behaviors. Migratory flights were observed to occur mostly in the evenings along the coast and directed migratory flights were detected over water over e.g. the Bay of Fundy, the Long Island Sound and the New York Bight. Area-restricted searches were confined to coastal areas, in particular the Gulf of Maine, Long Island and Cape May.

Il s’agit de l’emploi de la technologie numérique dans la mise en scène de la tragédie grecque antique, en d’autres termes, de la réception de la tragédie grecque au sein du théâtre digital. En tant que performance digitale la tragédie grecque semble fonctionner comme un kaléidoscope du temps ; tout à la fois comme une lentille ou un miroir écrasé, où se développent  un jeu, un « aller-retour » entre les identités et les qualités : spectateur / citoyen, politique / religieux, espace-temps du mythe / temps actuel, présence / absence. Grâce à l’emploi de la technologie et d’équivalents digitaux, les artistes reconceptualisent une série de notions de la tragédie telles que la communauté, la cité, l’hybris, le masque, le conflit, le tragique, et ils proposent des expériences sensorielles équivalentes au spectateur contemporain : les médias numériques deviennent un équivalent de la parole. Oikos, le palais royal, lieu devant lequel et au sein duquel se déroulent la plupart des événements et conflits, est remplacé par l’écran palimpseste ; on est dans l’image dans laquelle on vit désormais, c’est au sein de l’écran que l’on produit l’Histoire. La convention du masque conduit à l’expérimentation avec des technologies sonores. La fonction politique de la tragédie grecque et la création de l’effet de communauté, se produisent désormais par le biais de la technologie numérique. Les spectateurs forment des communautés éphémères lors de leurs réunions dans l’environnement technologique, la fragmentation rhizomatique de la scène « cache » la communauté, pour la transformer en une communauté virtuelle. Enfin, c’est le tragique qui se développe sur scène en tant qu’idée et phénomène performatif. / The thesis focuses on the use of digital technology in the staging of Greek Tragedy that is, the reception of Greek tragedy in the digital theatre. Greek tragedy, when digitally staged, seems to function as a kaleidoscope of our times; sometimes a lens and at others a shattered mirror, where a game, a "toing and froing" between identities and qualities exists: spectator/citizen, political/religious, time-space of myth/actual current time, presence/absence. With the use of technology and of digital equivalents, artists re-conceptualize a series of key notions such as the community, the city, the hubris, the mask, the conflict, the tragic and create equivalent effects for the contemporary spectator: Digital media becomes the equivalent of discourse. The “oikos”, the royal palace, in front of and within which most events and conflicts occur, is replaced by the screen-palimpsest: it is within the image that we live, we clash, we make history. The mask convention leads to experimentation with sound technologies. The much-discussed political function of tragedy in the context of democratic Athens and the building of a sense of community is now realised through digital technology. Spectators form ephemeral communities in their meeting within the technological environment, the rhizomatic fragmentation of the theatre stage, "hides" the community to transform it into a virtual community. In the end, it is the tragic that is being developed as an idea and a performative phenomenon. / Στο επίκεντρο βρίσκεται η χρήση της ψηφιακής τεχνολογίας στη σκηνοθεσία της αρχαίας ελληνικής τραγωδίας, δηλαδή η πρόσληψη της αρχαίας ελληνικής τραγωδίας στο ψηφιακό θέατρο. H αρχαία ελληνική τραγωδία ως ψηφιακή παράσταση, μοιάζει να λειτουργεί ως καλειδοσκόπιο του καιρού∙ άλλοτε ως φακός και κάποιες φορές ως θρυμματισμένος καθρέπτης, όπου ένα παιχνίδι, ένα «πήγαινε-έλα» αναπτύσσεται ανάμεσα στις ταυτότητες και τις ποιότητες : θεατής/πολίτης, πολιτικό/θρησκευτικό, ο χωροχρόνος του μύθου/ο πραγματικός τρέχων χρόνος, παρουσία/απουσία. Με τη χρήση της τεχνολογίας και των ψηφιακών ισοδυνάμων, οι καλλιτέχνες επανοηματοδοτούν στο παρόν μια σειρά κομβικών εννοιών για την τραγωδία, όπως η κοινότητα, η πόλις, η ύβρις, η μάσκα, η σύγκρουση, το τραγικό και δημιουργούν ισοδύναμες αισθήσεις και εντυπώσεις στον σύγχρονο θεατή: Τα ψηφιακά μέσα γίνονται ισοδύναμο του λόγου. Ο οίκος, το βασιλικό ανάκτορο μπροστά και εντός του οποίου συντελούνται τα περισσότερα γεγονότα και οι συγκρούσεις, αντικαθίσταται από την οθόνη παλίμψηστο: μέσα στην εικόνα ζούμε, συγκρουόμαστε, παράγουμε ιστορία. Η σύμβαση της μάσκας οδηγεί στον πειραματισμό με τις τεχνολογίες του ήχου. Η πολυσυζητημένη πολιτική λειτουργία της τραγωδίας στο πλαίσιο της δημοκρατικής Αθήνας και η δημιουργία του αισθήματος κοινότητας δημιουργείται πλέον μέσα από την ψηφιακή τεχνολογία. Oι θεατές σχηματίζουν εφήμερες κοινότητες στη συνάντησή τους μέσα στο τεχνολογικό περιβάλλον, η ριζωματική θραυσματοποίηση της θεατρικής σκηνής, «κρύβει» την κοινότητα, για να τη μετατρέψει σε εικονική κοινότητα. Τέλος, είναι το τραγικό που αναπτύσσεται ως ιδέα και ως επιτελεστικό φαινόμενο.

Una performance teatrale è un meccanismo complesso che viaggia attraverso molte variabili. L'approccio della lettura dell'evento performativo come nodo d'incontro e scambio di diversi agenti e aspetti è stato inoltre presentato dall'International Federation for Theater Research (IFTR) nella pubblicazione Theatrical Events. Borders, Dynamics, Frames. La tesi dottorale, in accordo con tale lettura, presenta tre case-study: Motus, Punchdrunk e Robert Wilson. I tre esempi sono qui analizzati nella loro totalità di opere d'arte, fenomeni culturali e meccanismi organizzativi, evidenziandone peculiarità, similitudini e differenze. Di ognuno sono stati valutati il processo creativo, le strategie di produzione, la relazione con la stampa e/o i mezzi di diffusione, le collaborazioni con la comunità artistica, la relazione con il pubblico. La ricerca è stata portata avanti coordinando diverse metodologie: la preferenza è stata data alle fonti primarie e al lavoro di campo nell'area di New York - interviste, fotografie, raccolta di dati e materiale iconografico. Sono stati poi consultati gli archivi della New York Public Library for the Performing Arts, della Byrd Hoffmann Foundation e del The Watermill Center. Il secondo capitolo si avvale inoltre della preziosa collaborazione sul campo dei ricercatori del gruppo ISPOCC (Initiative for the Study and Practice of Organized Creativity and Culture) della Columbia University Business School / A performance is a dynamic system that involves many variables. The importance of theatre performances as aesthetic-communicative encounters of a wide range of agents and aspects has also been stressed by IFTR, through the working group "Theatrical events" and its publication Theatrical Events. Borders, Dynamics, Frames. In accordance with the IFTR approach, the dissertation presents three case-study: Motus, Punchdrunk and Robert Wilson. The three international artists and companies are studied here as a crossroad of interactions among art, marketing, and social context, tracing similarities and differences in their theatrical productions. Specifically, the research analyzed four theatrical events: Sleep No More by Punchdrunk, Syrma Antigones project by Motus, The Discovery Watermill Day and The Old Woman by Robert Wilson. The essay is the result of a combined archive and fieldwork research based in New York. The archival materials is from New York Public Library for the Performing Arts, Byrd Hoffman Foundation, The Watermill Center, Motus theater company's archive, while the fieldwork collected visual materials such as pictures, sketches, videos as well as interviews and artists notes during the events. Part of the Sleep No More's fieldwork is in collaboration with ISPOCC (Initiative for the Study and Practice of Organized Creativity and Culture) at Columbia University Business School.