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To investigate whether piglets show different personality types due to teat position, a number ofexperiments were performed on 21 different litters, 9 to 31 days old. The tests included threefocal piglets in each litter with different teat position, anterior, middle and posterior, inobservations on suckling behaviour, undisturbed behaviours, a novel object test and a straw-testwhere thirteen behaviours were observed. The tests found an effect on teat position on frequencyof disputes between piglets during suckling and their teat position (P=0.018) and a tendency ofdifference in undisturbed playing behaviour between piglets at different teat position (P=0.057).All tests found differences between litters concerning behaviours. With a Principal componentanalysis, the four personality types curiosity, playful, food interest and straw interest wasestablished. No effect between different teat positions and personality type were found, but atendency of difference between personality trait playful and different teat positions (P=0.062). Inconclusion: no significant differences between teat position and personality type in piglets couldbe established.

Data for the period 2015-04 to 2015-09 was analyzed in order to examine the possible relationship between teat wash failure and the result on milk yield for dairy cows. Data provided by Sveriges Lantrbruksuniversitet over 49 093 specific milking events were used. Two linear mixed-effects models and one basic OLS-model were estimated. In order to perform the analysis a lot of data manipulation also had to be performed. The data analysis was divided into to two parts. First the variable of interest (teatwash) was examined by constructing two versions of the different models; an unrestricted- and a restricted version were teatwash had been excluded. Because of the large sample and linear mixed-effect models an out-of-sample forecasting method was used as the primary evaluation criteria. The prediction errors were evaluated on the basis of root mean squared error (RMSE) and mean squared error (MSE). The difference between the unrestricted- and restricted models was very small and no indication of a relationship between teat wash failure and milk yield was found. The second part involved the comparison of prediction errors between the two mixed-effect models and the OLS-model. Surprisingly, the basic OLS-model resulted in the lowest prediction error although obvious breach of assumptions.

Data were collected from a 1,000 cow commercial dairy unit during three different time periods to determine the interrelationships between teat shape, teat erosion, mastitis (as measured by the California Mastitis Test and somatic cell counts), and milk production. Results showed no relationship between teat shape or teat end erosion and milk or fat production. The relationship between teat end erosion and mastitis appeared to be masked by the high level of teat erosion. There was an indication that cows with flat and cone shaped teat ends were prone to higher California Mastitis Test scores than cows with pointed, round, or disk shaped teat ends. Pointed teat ends showed the highest amount of erosion and cone and flat teat ends showed the least amount of erosion. There was a high correlation between the California Mastitis Test and somatic cell counts. Teat end erosion and California Mastitis Test scores decreased and milk production increased when a change in milking equipment and milking technique occurred and teat dipping was instigated.

In order to investigate if difference in personality is depended on the teat positions in piglets, Sus scrofa, 63 piglets, from 21 litters, were studied. The piglets were at an age between 9 and 31 days. 3 piglets in each of the 21 litters, one that suckled at an anterior teat, one at a middle teat, and one at a posterior teat, were studied during lactation, undisturbed activity, and introduction to a novel object respectively to new straw. In total thirteen behaviors were recorded. The only significant difference between the teat position were disputes during suckling (P=0.018). There was a tendency of playing during undisturbed activity (P=0.062) between the teat positions. There were significant differences between the litters for every behavior except for inactive piglet lying alone (P=0.108) and when exploring new straw (P=0.584). There is only evidence for behavioral differences for the frequency of disputes during suckling between piglets at different teat positions. A principal component analysis, which accounted for 64.2 % of the variance, suggested four personality traits: exploration (19.2 %), playfulness (17.5 %), interest in food (14.8 %), and interest in straw (10.9 %). However, no significant differences were found for these components for the different teat positions.

<p>Time of flight is an imaging technique with uses depth information to capture 3D information in a scene. Recent developments in the technology have made ToF cameras more widely available and practical to work with. The cameras now enable real time 3D imaging and positioning in a compact unit, making the technology suitable for variety of object recognition tasks</p><p>An object recognition system for locating teats is at the center of the DeLaval VMS, which is a fully automated system for milking cows. By implementing ToF technology as part of the visual detection procedure, it would be possible to locate and track all four teat’s positions in real time and potentially provide an improvement compared with the current system.</p><p>The developed algorithm for teat detection is able to locate teat shaped objects in scenes and extract information of their position, width and orientation. These parameters are determined with an accuracy of millimeters. The algorithm also shows promising results when tested on real cows. Although detecting many false positives the algorithm was able to correctly detected 171 out of 232 visible teats in a test set of real cow images. This result is a satisfying proof of concept and shows the potential of ToF technology in the field of automated milking.</p>

The objective of this study was to determine whether piglets from different positions in the teat order differ inpersonality. Teat order is established within the first days after birth and from that time, piglets basically suckle fromthe same teat pair until weaning. Three piglets from each of 21 litters (n = 63) were chosen for their place in teatorder; one from anterior teats (A), one from middle teats (B), and one from rear teats (C). The piglets were observedduring suckling, undisturbed behaviour, a novel object test and a straw test. A total of 13 behaviours were registered.A significant difference (P &lt; 0.05) between A, B and C piglets was found in the frequency of disputes duringsuckling, where B piglets were most involved in disputes and C piglets least involved, and a tendency (P &lt; 0.1) wasfound in frequency of undisturbed playing and exploration. A piglets played and explored most, and C piglets least.Four interesting components were found with principal component analysis, explaining 62.4 % of the total variation.These represent personality traits tentatively named exploration, playfulness, food interest and straw interest. Therewere no significant differences in personality type between A, B and C piglets although a tendency that A pigletswere most playful and C piglets were least playful was found. Hence, this study suggests that there might be acorrelation between teat order position and personality.

372f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-01T15:44:07Z No. of bitstreams: 1 Patrick%20Campbell.pdf: 4396428 bytes, checksum: 4a32b8bae51e2e5ef54c28adee5d6b4b (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães(ednaide@ufba.br) on 2013-04-10T13:55:19Z (GMT) No. of bitstreams: 1 Patrick%20Campbell.pdf: 4396428 bytes, checksum: 4a32b8bae51e2e5ef54c28adee5d6b4b (MD5) / Made available in DSpace on 2013-04-10T13:55:19Z (GMT). No. of bitstreams: 1 Patrick%20Campbell.pdf: 4396428 bytes, checksum: 4a32b8bae51e2e5ef54c28adee5d6b4b (MD5) Previous issue date: 2011 / No decorrer desta análise desconstrucionista da evolução artística do Teat(r)o Oficina Uzyna Uzona e de sua obra contemporânea, exemplificada pelo espetáculo Os Sertões, o mitograma de Narciso é utilizado como tropo organizador para repensar a estética da companhia. Concorrentemente, a obra do Oficina serve como estímulo para identificar os aspectos restauradores do mito de Ovídio que não aparecem na conceitualização freudiana do narcisismo primário, mas que permeiam a teoria psicanalítica como rastro, apontando para uma questionável subjetividade-em-processo poética. Conexões são traçadas entre o mitograma original de Narciso com todos seus personagens suplementares, a teoria psicanalítica e desconstrucionista pós-freudiana, e a noção de Trans- Humanidade desenvolvida pelo Teat(r)o Oficina. Esta reescritura antropofágica e interdisciplinar revela um Narciso Ctônico, filho das águas, prole das divindades fluviais Liríope e Céfiso, cujo fascínio por sua imagem especular é, de fato, um anelo para unir-se com sua ancestralidade através do sacrifício transformador e criativo. Esta reapropriação do mitograma é utilizada subsequentemente como tropo para reescrever a historiografia do Oficina, cuja transformação de um grupo de teatro amador auto-reflexivo em uma entidade cultural fértil e fecunda, reflete a metamorfose do Narciso articulado por Freud no Narciso Ctônico (des)construído nesta escritura. Em seguida, o texto performático de Os Sertões é analisado a partir de quatro categorias estéticas sintagmáticas – tempo/espaço/ação; corporeidade; musicalidade; e multimídia - para tecer um sintagma narcísicoctônico constituído pelo espaçamento policárpico, o corpo impróprio, o eco da (M)Other, e a reflexão geófita, que revela como Narciso rearticula e é rearticulado pela escritura cênica contemporânea do Uzyna Uzona. Finalmente, a questionável subjetividade-em-processo ctônica traçada pelo Oficina no decorrer da montagem de Os Sertões é relacionada ao sujeito subalterno silencioso e irrepresentável delineado por Gayatri Chakravorty Spivak. Em vez do tropo fonocêntrico da fala, que Spivak utiliza para prender o subalterno num abraço binário com o privilegiado Sujeito da Europa, Os Sertões apresenta-nos um alternativo; o estupro-como-grama – uma noção conflituosa da inscrição e do hibridismo forçados que caracterizou a cena primal da colonização do Brasil, e que permeia o texto social até hoje como rastro. Essa ferida primal, essa (não) origem – comum ao mitograma de Narciso e à fundação do Brasil – é cooptada antropofagicamente no palco pelo Oficina, que demonstra que é a própria diferência do conhecimento incorporado, sagrado e sensual do subalterno que desde sempre espaça o texto (pós) colonial, (forçadamente) palimpséstico e híbrido que articula toda subjetividade no Brasil. O Teat(r)o Oficina sugere que, enquanto há muitos sujeitos brasileiros presos no discurso falogocêntrico alienador e imolador do neoimperialismo, ao imbuir sua escritura poética com a cadência ancestral das manifestações culturais subalternas africanas, indígenas e mestiças, o artista militante pós-colonial pode negociar e até momentaneamente transcender sua castração e transformarse,assim como Narciso Ctônico, em sujeito-em-processo subversivo em constante (r)evolução. / Salvador

The morphological structure of the udder ofsheep is important due to the possible complications of lamb breeding and the use of machine milking. Bad teats position, short teats are problematic in lambing period and milking machin. Lambs can´t findt too big and horizontal teats.

Da palavra no livro à palavra no palco. Desvendar os caminhos dessa transposição é o principal objetivo desse estudo. Nosso trabalho investigou a transposição e a transformação da obra euclidiana em peça teatral, a passagem de uma estrutura discursiva para um dispositivo de enunciação diferente. A peça: \"A Luta, primeira parte\" compreende o início da Campanha de Canudos e suas três primeiras expedições. Demonstramos caráter autônomo e universal desta obra, pois, mesmo sendo uma das cinco partes de \"Os Sertões\", carrega consigo diversos elementos representativos de todo o trabalho executado e, principalmente, dos elementos que caracterizam e identificam a encenação do grupo Teat(r)o Oficina Uzyna Uzona liderado pelo encenador, dramaturgo e ator José Celso Martinez Corrêa. Estruturamos o nosso trabalho na análise do espetáculo através de cenas previamente escolhidas como amostras, nas quais observamos: a teatralização do texto e sua interpretação cênica. Toda essa análise baseou-se no acompanhamento dos ensaios (abertos e fechados), em muitas das apresentações, das discussões entre os membros do grupo, dos comentários do diretor Zé Celso e em entrevistas com os integrantes do grupo. Procuramos descrever um processo de criação que, ao se defrontar com inúmeras referências (históricas, atuais, universais, teatrais e até mesmo pessoais) não fizesse apenas uma \"livre associação de ideias\" ou uma mera categorização. Nossa intenção foi dar visibilidade ao trabalho de criação. / From the word in the book to the word in the stage. To uncover the paths that implementation is the main objective of this study. Our study investigated the implementation and transformation of the Euclidian work on the play, the passage of a discourse structure for a different device enunciation. The piece: \"The Fight, first part\" (A Luta, primeira parte) comprises the beginning of the Canudo\'s War (Campanha de Canudos) and the first three expeditions. Demonstrating a stand-alone character and universal this piece, even though it\'s one of the five parts of \"Rebellion in the Backlands\" (Os Sertões), it carries diverse representative elements of all work done and especially those elements that characterize and identify the staging of the group Teat(r)o Oficina Uzyna Uzona run by the stage director, playwright and actor José Celso Martinez Corrêa. We tailor our work in the analysis of the spectacle through the scenes previously chosen as samples, in which we observed: a dramatization of the text and its scenic interpretation. All of this analysis was based on monitoring the rehearsals (open and closed), in a lot of the presentations, the discussions between members of the group, the commentaries of the director Zé Celso and in interviews with members of the group. We look to describe a process of creation that when presented with numerous references (historical, actual, universal, theatrical and even personal) it\'s not just a simple association of ideas or a mere categorization. Our intention was to give visibility to the work of creation.