In "Behavioral Thermoregulation by Turtle Embryos," published in Proceedings of the National Academy of Sciences in April, 2011, Wei-Guo Du, Bo Zhao, Ye Chen, and Richard Shine report that turtle embryos can move towards warmer temperatures within the egg when presented with a small, 0.8 degrees Celsius gradient. This behavioral thermoregulation may benefit the embryo's fitness by accelerating the rate of development enough to decrease the incubation period by up to four and a half days. Embryos are generally thought to have little control over their surroundings. This study revealed that embryos may be able to control their developmental environment by modifying their behavior.

In “Testing the Kin Selection Theory: Who Controls the Investments?” Bert Hölldobler and Edward Osborne Wilson discussed the predictive power of kin selection theory, a theory about the evolution of social behaviors. As part of Hölldobler's and Wilson's 1990 book titled The Ants, Hölldobler and Wilson compared predictions about the reproductive practices of ants to data about the reproductive practices of ants. They showed that the data generally supported the expected behaviors proposed by kin selection theory. Later in their careers, both Hölldobler and Wilson argued that kin selection theory provided an insufficient explanation for the evolution of social behavior. Hölldobler and Wilsons' efforts were emblematic of a larger trend among ant researchers and sociobiologists to explain the evolution of social behavior by focusing on the reproductive dynamics of social organisms.

Ameisen: Die heimliche Weltmacht (Ants: Nature’s Secret Power) is a nature documentary about ants. Wolfgang Thaler wrote, filmed, and directed the film, which focuses on the work of ant researcher Bert
Hölldobler. The 2004 film was produced by Adi Mayer Film for Österreichischer Rundfunk (Austrian Broadcasting), a public service broadcaster headquartered in Vienna, Austria. Ants: Nature’s Secret Power (Ants) surveys the adaptive and reproductive behaviors of a variety of ant species in both laboratory and natural settings. Thaler’s and Hölldoblers’ film communicated the reproductive practices of ants to a popular audience in an accessible manner, familiarizing the public with rarely seen aspects of ants.

Does school participatory budgeting (SPB) increase students’ political efficacy? SPB, which is implemented in thousands of schools around the world, is a democratic process of deliberation and decision-making in which students determine how to spend a portion of the school’s budget. We examined the impact of SPB on political efficacy in one middle school in Arizona. Our participants’ (n = 28) responses on survey items designed to measure self-perceived growth in political efficacy indicated a large effect size (Cohen’s d = 1.46), suggesting that SPB is an effective approach to civic pedagogy, with promising prospects for developing students’ political efficacy.

In this paper, I outline the drawbacks with the two main behavioral approaches to animal behavior problems and argue that each alone is insufficient to underpin a field of clinical animal behavior. Applied ethology offers an interest in an animal’s spontaneous behavior in natural contexts, understood within an ecological and evolutionary context, but lacks an awareness of mechanisms that can be manipulated to modify the behavior of individual animals. Behaviorism in the form of Applied Behavior Analysis offers a toolkit of techniques for modifying the behavior of individual animals, but has seldom been applied to non-human species, and often overlooks phylogenetic aspects of behavior. Notwithstanding the historical animosities between the two fields of animal behavior they are philosophically highly compatible – both being empiricist schools stemming ultimately from Darwin’s insights. Though each individually is incomplete, I argue that an integrated approach that synthesizes the strengths of each holds great promise in helping the many animals who need our assistance to survive and thrive in human-dominated environments.

Journal of Surrealism and the Americas, Cinema Issue (2016)

Robert Desnos’s and Man Ray’s 1928 film L'Etoile de mer has long been considered an exemplar of the surrealist love story, thematically similar to Salvador Dalí’s and Luis Buñuel’s Un Chien andalou (1929) but less overtly shocking. In comparison to the elaborate iconographical analyses of Chien, critiques of L'Etoile tend to describe its avant-garde cinematic style, to distinguish how it illustrates or deviates from Desnos’s scenario, or to provide summary analysis of some of its more obviously Freudian iconography. There have been fewer scholarly explorations of specific symbolism, yet the film exhibits many political-philosophical intertexts, one of which explicitly builds a bridge between the surrealist revolution and America’s core self-signifier, Liberty.

Journal of Surrealism and the Americas, Cinema Issue (2016)

La Ciudad Frente al Río (The City in Front of the River) is an Argentinian, ten-minute long film directed by Italian Surrealist Enrico Gras in 1949. The film was part of the promotional material for Bajo Belgrano, a modern housing plan sponsored by the Buenos Aires City Hall under the auspice of populist president Juan Perón. As part of this promotion, German photographer Grete Stern designed a brochure with images from the film and text by the Study for the Plan of Buenos Aires (Estudio del Plan de Buenos Aires, hereafter EPBA). I compare the film and brochure to contemporaneous work by Stern: a series of photomontages illustrating a women’s advice column. The column mined its readers’ dreams for insights into their unconscious, and advised them on proper behavior. Following a similar method, the film found Buenos Aires’ unconscious in the chaos of city life, and revealed what I have termed as "pastoral modernity" as the cure. Masked behind a veneer of revolutionary modernity, the message of these works was that of a nostalgic return to the past—an invitation to sleep, and to dream. Complicating this message, subtle hints in both the film and the photomontages point to the artists’ awareness of the totalizing vision they were collaborating with.

Journal of Surrealism and the Americas, Cinema Issue (2016)

This paper deals with a version of Surrealism that emerged in San Francisco in the late 1940s, and its influence on Wallace Berman’s film Aleph (1966) and Harry Smith’s Early Abstractions.

Many San Francisco poets of the 1940s through the 1970s understood poets as a visionary company possessing a nearly sacerdotal authority arising from their capacity to put aside the individual self and open themselves to influences from beyond—in a peculiar turn, these influences came to be understood as energy waves that are transmitted through the ether and operate the poet/artist—and cinema and the radio became models for these transmissions. The collage art that resulted was understood as anemic, cobbled together from insecurely apprehended fragments of thought carried in radio signals nearly drowned out by static. I conclude with comments relating the idea of artists’ feeble imaginations being operated by remote control to film and electric media.