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An abundant Paddlefish Polyodon spathula population exists in a 0.8 ha pool below a water control structure at Sam D. Hamilton Noxubee National Wildlife Refuge, Mississippi. Managers were concerned that regulated flows from the structure were causing an ecological trap if Paddlefish were being attracted from the larger river downstream during the spawning period, but conditions were not suitable to facilitate reproduction. Between February 2016 to April 2018, 117 Paddlefish were identified and daily abundance was estimated between 18 and 75 fish. Telemetry study of 59 fish suggests a mixed population structure where some remain in the pool year-round and other emigrate seasonally, cued by rising spring discharge and water temperature. Reproduction was not documented which suggests a critical component needed for spawning may be missing, at least during this study. Therefore, given the need to remove Paddlefish from the pool, translocation and flow releases may be effective management strategies.

Nature-like fish passes have been designed with the intent to re-connect river corridors and provide passage for all species occurring in a system. Nature-like fish pass designs have been constructed in Europe and elsewhere with some success, but performance of these designs has not been evaluated for North American species. Re-establishing passage for adult anadromous clupeids to their spawning areas is critical considering their recent dramatic population declines. Two nature-like fish pass designs in New England were evaluated for passage of anadromous adult alewives (Alosa pseudoharengus) using passive integrated transponder (PIT) telemetry and showed differing results. At Town Brook in Plymouth, Massachusetts the 32 m long perturbation boulder rock ramp with a 1:24 slope passed 94% of attempting fish with most ascending in under 22 minutes. At East River in Guilford, Connecticut the 48 m long steppool bypass design with a 1:14 slope passed only 40% of attempting fish with a median transit time of 75 minutes. Two technical fishway designs at the field sites were also evaluated and showed contrasting performance. At Town Brook a 14 m long 1:7 slope pool and weir fishway exhibited attraction and passage deficiencies. At East River two 3.05 m long steeppass fishways both passed the majority of attempting fish but one steeppass fishway may have had poor attraction efficiency. At both sites tagged fish passed rapidly downstream through the fish passes after spawning. Nature like fish pass designs are suitable for the passage of alewife but further evaluations are required to more precisely identify the influence of vertical drop per pool and specific local hydraulics on behaviors and passage performance for this species.

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This article systematically reviews the dimensions of »passage« as a concept in music and other arts, cultural studies, historiography, and philosophy in eight sections. After an introductory analysis of Jasper Johns’ painting Passage from 1962 and a preamble on the fields of discourse on »passage/transition«, the second section differentiates between the philosophical aspects of a passage-movement in time and space (as well as in music) and the third section discusses historiographically orientated aspects of a multiply concentrated timeline on the cusp of an epoch. The fourth section takes a closer look at the formal-syntactic dimension of the passage concept by discussing the »bridge passage« (also labelled »pont« or »transition«) in the first movement of Beethoven’s third symphony; the fifth section refers to the »transversal« passage of rationality (Wolfgang Welsch), and the sixth section approaches intercultural passages, focussing on the opposition between the concept of cultural antagonism in Arnold van Genepp’s Rites de passage [1908] and the politically informed concept of transcultural recognition by composer Klaus Huber (as documented in his opera Schwarzerde about Russian poet Ossip Mandelstam, 2001). The seventh section relates the passage-concept to diverse experiences of space and time in new music debating orchestral works by Mauricio Kagel ( Trancisión I and II, 1958–59), Helmut Lachenmann ( Staub, 1985/87), and Mathias Spahlinger ( passage/paysage, 1989/90). The final section explores the passage between the flow of images and stills in film focussing on Jean-Luc Godard’s »tableaux vivants«. A dialectic conception of fixation and flow as documented in Hegel’s philosophy has been replaced by a continuous »transition in the transitionless« (Wolfgang Welsch) in postmodern philosophy and art. In certain constellations, passages that cross barriers may turn into »transgressions« that intentionally ignore rules and tear down borders in order to break open the restrictions of systematized and totalized thought and aesthetic practice.

The published version of Felix Mendelssohn Bartholdy’s Piano Trio No. 1 op. 49 has been repeatedly compared to an older, manuscript version of the piece. These comparisons have documented motivic, harmonic, syntactic, and formal changes, but have not yet discussed the comprehensive changes in the »brilliant« passagework. However, these changes admittedly were the reason for the revision, and they provide the most apparent examples of change between the two versions. They have prominently shaped the aesthetic impression of the work to the present day. This article examines a few selected examples of changes in the passagework between the two versions, in order to deliberate the question why they have not, to date, been the subject of discussion in Mendelssohn studies. As a result of the revisions of the passagework, the piano part became more »brilliant«. This can be attributed to at least four discernable factors: 1. the »filling out« of the piano part, 2. the priority given to the descant voice, 3. the priority given to figures that »avalanche down from« a peak note, 4. an arrangement of the accompanying parts that makes these features audible. Three further types of compositional changes can be discerned: 1. the addition of accompanying melodic voices, 2. their reinforced integration with the other instruments, 3. passagework that is increasingly expressively charged. Existing analysis has yet to address such extensive modifications. They do not comply with a concept of structure, in which solely motives, themes, and harmonies appear as substantial and everything else as procedural. A reason for the long-lasting disregard of the passage groups and figurations might thus be found in the fact that they are not thematic, but »melodic«. Since these melodic figures did not immediately attract the attention of analysts, the structural consequences of the melodic peak notes in the piano figurations, now more closely integrated with the string melodies, remained unnoticed. It is also likely that Mendelssohn-analysts have missed the expressivity gained by the revisions of the passagework, at least partly on account of general reservations concerning the category of expression. Expression was, however, one of the primary function-carrying determinants during the end of the 18th and beginning of the 19th centuries. Mendelssohn performance practice, usually caught in the same substance/ procedure-antagonism as musical analysis, suffers equally from a deficit of attention paid to the »brilliant«, expressive, and structural possibilities of the passagework.

In 19th-century piano music, the passage is considered to be a means of transition. Passages do not have a specific function in the »ideal type« schemata of form, which distribute voices according to compositional rules. In contrast, the passage pushes the motoric abilities of the player and the perceptual capacities of the listener into a region of extremes. In his Studies for Player Piano, Conlon Nancarrow resorts to the fast figurations of the passage. However, the mechanism of the player piano, the specific sound of Nancarrow’s instruments, the polyphonic compositional techniques, and the formal principle of tempo canon transform these fast figurations into new rhythmic phenomena. While in the 19th century a circular relation of music, rhythm, and the human body holds for the organization of musical time, this circle is interrupted in Nancarrow’s music. He creates a new kind of music that is not tied back to the body any more. Instead, the formal principle of canon with its specific polyphonic and temporal features creates a modified experience of time. Using an expression that has been coined by Pierre Boulez we call this experience the »smooth time« of music.

Quantum and classical frameworks form two perspectives for describing physical systems. Their formulation also presents interesting isomorphism: for example, the Schrodinger equation can find its classical correspondence in the paraxial Helmholtz equation, and coherent atomic population transfers is analogous to coupling dynamics in waveguides. In classical coupled mode systems, quantum notion can be manifested in the following ways: (1) adiabatic (i.e., sufficiently slow) evolution of the Hamiltonian enables robust mode conversion and light transfer, where the dynamics is carried out in predominantly one eigenmode; (2) non-Hermitian Hamiltonians give rise to peculiar singularities known as exceptional points (EPs), associated with not only degenerate eigenvalues but coalescent eigenvectors. In this dissertation, we explore the above principles in light manipulation, sensing, and photonic emulation. First, we numerically demonstrate two examples of photonic devices based on adiabatic evolution engineering. We present a coupled waveguide system analogous to the atomic physics process of stimulated Raman adiabatic passage, where the principle of adiabaticity not only allows high-extinction polarization mode splitting, but also counterintuitively mitigates the losses from the plasmonic structure involved. We show a modal hybridization effect in rib waveguide geometry that allows the mode to adiabatically evolve from one polarization to its orthogonal state upon electro-optic modulation in thin film lithium niobate, enabling an actively switchable polarization converter. We propose a generic EP emulator based on programmable photonics to tackle the challenging implementation of EP. Our approach combines on-chip operations of coupling, loss and detuning based on generic photonic modules (Mach-Zehnder interferometers), and a discrete scheme for mapping Hamiltonians to common mesh architecture. We demonstrate multiple exemplary EP functionalities, including loss-induced transparency, encircling second-order EPs in the PT and anti-PT symmetry picture, and a third-order EP. The proposed EP emulator marks a new paradigm for discrete, \textit{in situ} programming of EPs and multi-functional, repurposable EP devices. We also present our preliminary work on NV center-induced EPs. In contrast to conventional fluorescence-based schemes for addressing NV centers, we leverage NV centers' absorption to bring a coupled ring resonator system to an EP and numerically demonstrate the emerging dynamics. Our primary numerical results promise proof-of-concept magnetometry, combining NV centers' response to magnetic and microwave fields with the sensitivity enhancing nature of EP. This dissertation sheds light on unconventional photonics inspired by quantum-like principles. / 2025-08-29T00:00:00Z

In a heterogenous environment, an animal will increase its search effort in areas where resources are abundant. This behavior can be detected in a path by a decrease in speed, an increase in tortuosity, or both. First passage time, the amount of time required for an animal to traverse a circle of a given radius, or buffer, is a common metric for quantifying spatial and temporal changes along a path. Historical methodology involving first passage time limits the utility of this metric. Here we instead follow the methodology put forth by Street et al. (2018) and use a power-law model to characterize the relationship between first passage time and the scale of the first passage time buffer radii. We then test the model’s applicability across multiple movement modes using simulated data and further explore its utility by applying it to a dataset of deer movement and the associated landscape data.

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