Since March 2006 the Institute of Meteorology in Leipzig (LIM) is owner of a commercial Mini-SODAR. The Mini-SODAR is very small in size and therefore mobile. It can be set up with low effort in short time at any place. The first testmeasurement was operated in June 2006 at the boundary layer field site Falkenberg that belongs to the Meteorological Observatory Lindenberg (MOL) of the German Meteorological Service (DWD) and was parallel accompanied by the measurement of a windtower and a Doppler-SODAR. The results of this six-hour-measurement are presented here. A statistical comparison between Mini-SODAR, tower data and Doppler-SODAR was performed. Also backscatter intensity and profile data from Mini-SODAR were analysed and interpreted. / Seit März 2006 ist das Leipziger Institut für Meteorologie (LIM) in Besitz eines kommerziellen Mini-SODARs. Das Mini-SODAR ist auf Grund seiner Größe sehr mobil und lässt sich unter geringem Aufwand schnell an einem beliebigen Standort aufbauen. Die erste größere Testmessung und gleichzeitig Vergleichsmessung dieses Gerätes mit einem Windmast und einem Doppler-SODAR fand im Juni 2006 auf dem Grenzschichtmessfeld in Falkenberg statt, welches zum Meteorologischen Observatorium (MOL) des Deutschen Wetterdienstes (DWD) gehört. Die Auswertung dieser 6-stündigen Messung wird hier vorgestellt. Es wurde ein statistischer Vergleich zwischen Mini-SODAR, Windmast und Doppler-SODAR durchgeführt. Weiterhin wurden das Sodargramm und die gemessenen Profildaten des Mini-SODARs untersucht und interpretiert.

oligodendrocytes migrate from the corpus callosum into the overlying cortex. The incidence of cilia did not change markedly across age groups, and did not vary consistently with the number of processes per cell, which was used as an indication of the maturation stage of OPCs and young OLs. The mean percent of Olig1 immunopositive (Olig1+) cells having cilia across ages was 33.1% + 16.5%, with all ages combined. In O4+ cells of these mice, 56.7 + 3.6% had primary cilia. If it is the case that adult OLs do not have cilia, the point in the lineage when primary cilia are lost is still unknown. Adult mice that had been injected with cyclopamine to block cilia-dependent Shh signaling were examined to determine whether the rate of generating new OPCs was influenced. In the CC of control mice, the numerical density of Olig1+/BrdU+ cells was 1.29 + 0.07/mm2 was reduced to 0.68 + 0.38/mm2 in the cyclopamine-injected group, and the numerical density of all BrdU+ cells (including both Olig1+ and Olig1- cells) of 4.55 + 1.50/mm2 in the control group was reduced to 3.14 + 1.27/mm2 in the cyclopamine-injected group. However, there were only 2 mice in each group and the differences were not statistically significant.

The sonic muscle of toadfish is the fastest vertebrate muscle ever measured, and the rate of transport of Ca2+ and dissociation of cross-bridge are also fatest. Parvalbumins are Ca2+-binding proteins present in vertebrate muscle, and they can aid muscle relaxation. Several isoforms of parvalbumin had been identified and presented in variable proportion in different kinds of muscles (e.g. red muscle, white muscle and pink muscle). Both male and female grunting toadfish (Allenbatrachus grunniens) have intrinsic sonic muscles attached on swim bladders. The morphology of male and female sonic muscle was compared, and no significant differences in both length, width, thickness and weight were found. SDS-PAGE and western blotting were used to determine the total parvalbumin expression and identify the parvalbumins from sonic muscle and body white muscle. There were no significant differences in total parvalbumin expression in sonic muscle and body white muscle. The result indicates that there is no positive correlation between high content of parvalbumins and speed of muscle relaxation. In native-PAGE, two and four parvalbumin isoforms were identified from sonic muscle and body white muscle, respectively. The estimated size of Parv1, Parv2 and Parv3 size in grunting toadfish¡¦s sonic muscle were 10kDa, 10.5kDa and 10.5kDa, respectively, and the isoelectric points of Parv1, Parv2 and Parv3 in grunting toadfish were 4.77, 4.58 and 4.42, respectively. In the sonic muscle, the major parvalbumin isoform was parvalbumin isoform 1 (Parv1), which comprised more than 94% of total parvalbumin, and parvalbumin isoform 2 (Pav2) comprised vi only 5% of total parvalbumin content. In body white muscle, on the other hand, the major isoform was parvalbumin isoform 2 (Parv2) which comprised 58% of toal parvalbumin. Both Parv1 (with Parv1a) and Parv3 comprised about 20%. Parvalbumin isoforms were be discussed. The result supports that Parv1 has a highest effect on the relaxation of the grunting-toadfish¡¦s sonic muscle.

The swim bladder of Glaucosoma hebracium is specialized by having two side membranes extending dorsally from the side to the vertebrae. This characteristic supports the morphology of the Glaucosomatidae. There is a pair of reddish muscles connecting the skull and the swim bladder of the Glaucosoma hebracium. This type of muscle is likely to involve with sound production. However, vocalization has not been reported in the Glaucosomatids. As direct recordings for sound production in live specimens of this species could not easily be carried out, function of these swim bladder muscles was assessed by means of biochemical assay. Activities of Citrate synthase (CS) and L-lactate dehydrogenase (LDH), known to involve with energy supply during muscle contraction were assessed. Two-dimensional gels for the white muscle, tail region red muscle and swim bladder muscles were compared to reveal difference of protein expression. Results show that CS activity of the swim bladder muscle was higher than the white muscle. But LDH activities in these two types of muscles were not significant different. As high activities in CS reflecting aerobic nature of the tissue, the present dataset suggests that the swim bladder muscles should involve with sound production. Proteomics analyzes identified 14 proteins from the swim bladder muscle, one of them are related to energy production (ATP synthase beta chain). Two-dimensional gels show some different spots from these three type muscles. These results help us to find some different proteins in these three types of muscles of this fish. In conclusions base on these evidence in morphology, histology, enzyme activity assay and two-dimensional gels, the swim bladder muscles should involve with sound production in G. hebracium.

Recently, artists and designers have begun to use digital technologies in order to stimulate bodily interaction, while scientists keep revealing new findings about sensorimotor contingencies, changing the way in which we understand human knowledge. However, implicit knowledge generated in artistic projects can become difficult to transfer and scientific research frequently remains isolated due to specific disciplinary languages and methodologies. By mutually enriching holistic creative approaches and highly specific scientific ways of working, this doctoral dissertation aims to set the foundation for Enactive Sound Design. It is focused on sound that engages sensorimotor experience that has been neglected within the existing design practices. The premise is that such a foundation can be best developed if grounded in transdisciplinary methods that bring together scientific and design approaches. The methodology adopted to achieve this goal is practice-based and supported by theoretical research and project analysis. Three different methodologies were formulated and evaluated during this doctoral study, based on a convergence of existing methods from design, psychology and human-computer interaction. First, a basic design approach was used to engage in a reflective creation process and to extend the existing work on interaction gestalt through hands-on activities. Second, psychophysical experiments were carried out and adapted to suit the needed shift from reception-based tests to a performance-based quantitative evaluation. Last, a set of participatory workshops were developed and conducted, within which the enactive sound exercises were iteratively tested through direct and participatory observation, questionnaires and interviews. A foundation for Enactive Sound Design developed in this dissertation includes novel methods that have been generated by extensive explorations into the fertile ground between basic design education, psychophysical experiments and participatory design. Combining creative practices with traditional task analysis further developed this basic design approach. The results were a number of abstract sonic artefacts conceptualised as the experimental apparatuses that can allow psychologists to study enactive sound experience. Furthermore, a collaboration between designers and scientists on a psychophysical study produced a new methodology for the evaluation of sensorimotor performance with tangible sound interfaces.These performance experiments have revealed that sonic feedback can support enactive learning. Finally, participatory workshops resulted in a number of novel methods focused on a holistic perspective fostered through a subjective experience of self-producing sound. They indicated the influence that such an approach may have on both artists and scientists in the future. The role of designer, as a scientific collaborator within psychological research and as a facilitator of participatory workshops, has been evaluated. Thus, this dissertation recommends a number of collaborative methods and strategies that can help designers to understand and reflectively create enactive sound objects. It is hoped that the examples of successful collaborations between designers and scientists presented in this thesis will encourage further projects and connections between different disciplines, with the final goal of creating a more engaging and a more aware sonic future.

Revised; Originally Published: 2014 / 4 pp. / Sonic pest devices are tools that emit sound in the attempt to repel, deter, or kill unwanted animals such as insects, rodents, birds and large mammals. There are many commercially available sonic pest devices that claim to be effective.Commercially available sonic pest devices for use in residential applications have not been shown to be effective in scientific studies. For this reason, use of these devices is not advised to treat common pest problems. Although some researchers are developing sonic techniques that illustrate promise for very specific pests, these technologies are yet to be commercially available.

Chronic inflammation stimulates mammary tumourigenesis by disrupting signalling interactions between the epithelial ducts and the surrounding stromal microenvironment. Adipocyte enhancer-binding protein 1 (AEBP1) promotes mammary epithelial cell hyperplasia as a stromal factor that enhances activity of the proinflammatory transcription factor Nuclear Factor-?B (NF-?B) in macrophages. Aberrant NF-?B activity in macrophages elevates production of proinflammatory signals and the ligand sonic hedgehog (Shh), a significant contributor to tumourigenesis. In this study, Shh expression was elevated in macrophages isolated from transgenic mice (AEBP1TG) that overexpress AEBP1. Transient overexpression of AEBP1 in a macrophage cell line resulted in increased Shh expression. Furthermore, hedgehog target genes Gli1 and Bmi1 were up-regulated in mammary epithelium of AEBP1TG mice and HC11 mammary epithelial cells co-cultured with AEBP1TG macrophages. Growth of HC11 cells and mammary tumours was enhanced in response to AEBP1TG macrophages. These findings suggest that macrophage AEBP1 overexpression contributes to mammary hyperplasia through enhanced hedgehog signalling.

Sonic hedgehog (Shh) is a signaling molecule that is involved in patterning the embryo and regulates adult stem cell homeostasis. Patched1 (Ptch1) is the receptor for Shh and upon binding to Shh is endocytosed, allowing downstream signaling to occur. Ptch1 is critical to the cellular response to Shh because it is both a negative regulator of the Shh signaling pathway and a transcriptional target of the pathway. Therefore, the regulation of Ptch1 levels will directly affect the ability of cells to respond to Shh. Understanding this process requires the characterization of novel Ptch1-interacting proteins that regulate Ptch1 levels in the cell. This thesis investigated a role for the adapter protein Tom1 as a putative Ptch1-interacting protein involved in regulating Ptch1 levels through endocytic cycling. It was found that Tom1 overexpression did not regulate the patterning of vertebrate nervous system, but did play a role the sub-cellular localization of Ptch1.

FLOW operates on two levels, firstly as an engaging live performance environment and secondly as a vehicle to discuss a number of philosophical ideas relating to sound as art. As a performance piece FLOW exists to provide an inclusive interactive environment for musicians and casual visitors alike. A series of sensors allow those who enter the arena to make interventions in an immersive soundscape through their movements, opening up possibilities for the exploration of sound and gestural action within the space. The piece challenges the conventional roles of performer and spectator and offers interactive technology as a means of uniting the two. The artist creates a re-imagination of the performance paradigm based on active engagement rather than passive observance through the establishment of a circular discourse between human and computer. The following paper will also examine the nature of sound as art, suggesting that the poststructural ideas of Derrida and Deleuze and Guattari can be used as a conduit to define sonic emergences and morphologies within a Human/computer discourse, both in terms of timbral nature and spatial diffusion. Central to this is the concept that suggests the relationship between man and machine in interactive sonic art is one of energy transfer from organic fluidity to digital regulation and back to energy in the form of processed sound, according to the processes put in place. This leads into a final discussion of the nature of experimental compositional process, the choice between the determinate and the stochastic and the compromises between these that may need to be made to retain artistic coherence.

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