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Showing posts sorted by date for query SOCIOBIOLOGY. Sort by relevance Show all posts

Monday, December 01, 2025

 

Glossy flowers: an enticing call from afar, a mystery up close




University of Würzburg





The existence of glossy surfaces in the plant and animal world poses a mystery to science. This is because clear and consistent signals are advantageous for reliable communication, for example between flowers and pollinators. Glossiness contradicts this principle, as its appearance is highly dependent on the viewing angle and illumination conditions and is therefore variable.

A research team at Julius-Maximilians-Universität Würzburg (JMU) has now investigated this contradiction. Their study shows that gloss fundamentally changes the efficacy of the visual signal depending on the distance and viewing angle of the observer, therefore has both advantages and disadvantages.

The Surface Structure creates the Gloss

The study was conducted under the leadership of Dr. Johannes Spaethe at the Chair of Behavioral Physiology and Sociobiology at JMU; Dr. Casper J. van der Kooi, head of a research group at the University of Groningen and at that time a Humboldt Fellow visiting the University of Würzburg, and Alexander Dietz as part of his master's thesis were responsible for the study. The team has now published the results of its research in the journal Science Advances.

“The difference between matte and glossy flowers lies in their microscopic surface structure,” says Johannes Spaethe, explaining the background to the study. Most flowers have a matte surface formed by countless tiny, cone-shaped cells – snapdragons, for example. This structure scatters the incident light in all directions. The result is a stable color signal that looks the same to pollinators from almost every angle.

In contrast, glossy flowers, such as buttercups, have flat surface cells. These act like tiny mirrors that reflect bright, directional flashes of light. These reflections can overlap or even overlay the actual color signal caused by the flower pigments.

Behavioral Experiments with Artificial Flowers

To investigate the effect of gloss on pollinators, the research team conducted behavioral experiments with bumblebees (Bombus terrestris). Using artificial flower replicas that differed only in their surface texture – matte or glossy – they were able to precisely analyze the insects' reactions. Their results reveal a fundamental visual conflict of objectives.

“The advantage of glossy flowers is that they are more easily recognizable from a distance,” explains Alexander Dietz. The gloss effect makes a decisive difference, especially at the perception limit of bumblebees, at very small viewing angles between three and six degrees: shiny flowers were still visible to the insects, while matte flowers of the same color and size could no longer be recognized.

However, there is a downside: “The same shine that attracts from a distance makes it difficult to perceive colors at close range,” explains Casper van der Kooi. The experiments showed that bumblebees had significantly more difficulty distinguishing between similar colors at close range on shiny surfaces. “The light reflected from the flat cells interfered with the reliable interpretation of the color signal,” says the scientist.

This risk of confusion has noticeable ecological consequences: For bees, foraging on glossy flowers becomes less efficient because they have to spend more time and energy distinguishing the correct flowers. For the plants, in turn, there is an increased risk of so-called “interspecific pollen transfer” – i.e., the transfer of pollen between different species – which can reduce reproductive success.

More than just a Question of Appearance: Lessons from Evolution

So what does this compromise mean for the evolution of the plant world? “Glossiness appears to be an evolutionary strategy for certain ecological conditions in which improved visibility from a distance outweighs the disadvantage of more difficult color recognition at close range,” says Johannes Spaethe.

However, the study also shows why evolution has favored a matte surface in most flowers: this ensures a spatially consistent and thus reliable color signal through broad light scattering. This reliability improves the ability of pollinators to reliably recognize and distinguish flowers.

Incidentally, this conflict of objectives between recognizability and signal accuracy is not limited to the world of flowers. “Similar principles also play a role in the interaction between predators and prey,” says Alexander Dietz. For example, the gloss of insect cuticles hinders mantises and jumping spiders in accurately tracking their prey, and the flashes of light from fish scales can reduce the probability of birds hitting their target during an attack.

Tuesday, June 03, 2025

SOCIOBIOLOGY

Renowned psychiatrist illuminates biological roots of mental illness through pioneering research



Professor Francesco Benedetti bridges neuroscience and clinical practice at IRCCS Ospedale San Raffaele




Genomic Press

Francesco Benedetti, MD, IRCCS Ospedale San Raffaele, Milano, Italy. 

image: 

Francesco Benedetti, MD, IRCCS Ospedale San Raffaele, Milano, Italy.

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Credit: Francesco Benedetti, MD




MILANO, Italy, 3 June 2025 – In a comprehensive Genomic Press Interview published in Brain Medicine, Professor Francesco Benedetti shares his transformative journey from confronting childhood awareness of mental illness to becoming a leading figure in psychiatric research. As founder and leader of the Psychiatry & Clinical Psychobiology research unit at IRCCS Ospedale San Raffaele, Dr. Benedetti has dedicated decades to reclaiming psychiatry's rightful place within medical science.

Professor Benedetti's career trajectory reflects both personal conviction and scientific rigor. Despite facing rejection from traditional psychiatric training programs that viewed mental illness as merely "functional," he persevered through an alternative path that ultimately revolutionized treatment approaches for mood disorders. "I see no boundaries between science and everyday clinical work," Dr. Benedetti states, emphasizing his commitment to translating research directly into patient care.

Chronotherapeutics: A Revolutionary Approach to Treatment

The urgent need to help acutely depressed, suicidal patients with bipolar disorder who showed no response to standard antidepressant treatments drove Professor Benedetti and his colleagues toward chronotherapeutics. Their innovative protocols combining environmental stimuli such as light and dark with sleep-wake rhythm manipulations have achieved rapid therapeutic effects in acute depression. These developments emerged from direct clinical observation rather than theoretical speculation.

Professor Benedetti's team pioneered techniques that remain widely used today. Through international lecture tours, he continues teaching colleagues these methods developed in the 1990s, demonstrating how neuroscience research and clinical practice can harmonize effectively. The work has revealed crucial insights into how genetic variants of core clock machinery components including GSK-3β, CLOCK, and hPER3 influence human behavior and brain function.

Uncovering the Immune Connection in Mood Disorders

A pattern of unusual infections and autoimmune conditions among psychiatric patients sparked Professor Benedetti's exploration into immuno-psychiatry. His clinical observations of patients experiencing relapses following fevers and infections led to groundbreaking research on immune-inflammatory mechanisms in mood disorder etiopathogenesis. This perspective gained particular relevance during the COVID-19 pandemic, when Professor Benedetti predicted and subsequently documented post-COVID depression linked to prolonged inflammation.

Current research in Professor Benedetti's laboratory focuses on how gene variants moderate the effects of life events and pathogen exposure on immune-inflammatory setpoints. These mechanisms ultimately impair brain homeostasis, particularly affecting white matter integrity. Through advanced neuroimaging techniques, his team has demonstrated how the interaction between genetic factors, adverse childhood experiences, and low-grade inflammation produces measurable changes in brain structure.

Bridging Molecular Mechanisms and Clinical Reality

Professor Benedetti's approach to psychiatric genomics extends beyond academic interest. By studying functional polymorphisms affecting treatment response, his research has contributed to personalized medicine approaches now offered through pharmacogenetic screening packages worldwide. Notably, variants affecting serotonin promoter, 5-HT2A, COMT, and GSK-3β genes influence both illness course and treatment outcomes.

The integration of brain imaging with genetic analysis has revealed how treatment interacts with gene variants to alter neural responses and brain structure during recovery. This comprehensive approach demonstrates that mood disorders involve complex interactions between biological vulnerability, environmental exposure, and therapeutic intervention. Questions arising from this work include: How might early identification of genetic risk profiles guide preventive interventions? Could immune system modulation become a primary treatment strategy for certain mood disorder subtypes?

Challenging Medical Misogyny and Advancing Women's Health

Beyond his scientific contributions, Professor Benedetti advocates passionately against medical misogyny and the dismissal of women's mental health concerns. He challenges the persistent notion that conditions specific to women represent weakness or hysteria, noting that suicide remains the leading cause of postpartum death in developed nations. This advocacy reflects his broader commitment to reducing stigma by demonstrating that mental illnesses are "deeply rooted in our body malfunction, as it happens in every other branch of medicine."

His research perspective appears endless, driven by exponential progress in neuroscience and the recognition that modern psychiatry remains "still in its infancy." Professor Benedetti continues observing patients, asking questions, and applying new methodological advances to unlock the biological basis of mental suffering. The rewards come not from academic accolades but from seeing other researchers build upon his findings to increase patient benefits.

A Life Dedicated to Scientific Truth

Professor Francesco Benedetti's Genomic Press interview is part of a larger series called Innovators & Ideas that highlights the people behind today's most influential scientific breakthroughs. Each interview in the series offers a blend of cutting-edge research and personal reflections, providing readers with a comprehensive view of the scientists shaping the future. By combining a focus on professional achievements with personal insights, this interview style invites a richer narrative that both engages and educates readers. This format provides an ideal starting point for profiles that delve into the scientist's impact on the field, while also touching on broader human themes. More information on the research leaders and rising stars featured in our Innovators & Ideas – Genomic Press Interview series can be found in our publications website: https://genomicpress.kglmeridian.com/.

The Genomic Press Interview in Brain Medicine titled "Francesco Benedetti: breaking boundaries between modern psychiatry and clinical medicine," is freely available via Open Access on 3 June 2025 in Brain Medicine at the following hyperlink: https://doi.org/10.61373/bm025k.0065.

About Brain Medicine: Brain Medicine (ISSN: 2997-2639, online and 2997-2647, print) is a peer-reviewed medical research journal published by Genomic Press, New York. Brain Medicine is a new home for the cross-disciplinary pathway from innovation in fundamental neuroscience to translational initiatives in brain medicine. The journal's scope includes the underlying science, causes, outcomes, treatments, and societal impact of brain disorders, across all clinical disciplines and their interface.

Visit the Genomic Press Virtual Library: https://issues.genomicpress.com/bookcase/gtvov/

Our full website is at: https://genomicpress.kglmeridian.com/

Francesco Benedetti immersed in visual art and music at Musea Brugge, January 2025, embodying his philosophy of satisfying his “voracious curiosity” through museum visits and cultural experiences.

Credit

Francesco Benedetti

Thursday, May 08, 2025

‘Not much zoology – apart from the rabbit!’ Desmond Morris on his secret surrealist love romp film


The zoologist, now aged 97, is about to unveil Time Flower, his fantasy-fuelled film in which he pursues a woman called Ramona – who gave such a brave performance leaping off the bonnet of a car that he proposed to her


Art

Interview

Donna Ferguson
Thu 8 May 2025 
THE GUARDIAN

In the opening scene of Time Flower, a surrealist film by the zoologist Desmond Morris, a woman is lying facedown on the ground, clutching the grass with manicured hands and shaking her head. She is about to start running across a Wiltshire moor in elegant black heels, chased by Morris in a shirt and tie, her eyes wide, her lipstick dark, the angle of the shot emphasising her perfect, parted, panting mouth. Just before she trips and falls, a wild rabbit will stare straight at the camera – and flee.

This 10-minute black-and-white film, which Morris made in 1950 while he was a 22-year-old student at Birmingham University, has lain untouched in his archive for nearly 75 years. Created in response to Salvador Dalí and Luis Buñuel’s Un Chien Andalou, it is a testament to Morris’s early work as a surrealist artist. He exhibited alongside Joan Miró before he became a zoology broadcaster and the author of The Naked Ape.

She sat on the front of the car. The rabbit came out and froze. When I stopped the car, she was thrown on to the rabbit

Now 97, Morris has decided to allow the film – which stars his late wife Ramona, with whom he co-wrote the 1966 book Men and Pandas – to be shown for the first time since the 1950s, at the University of Birmingham during the Flatpack film festival. “While I was studying zoology at Birmingham,” says Morris, “I joined a club that showed films – and one of the first was Un Chien Andalou. It shocked, startled and excited me. That was when I decided to make my own surrealist film.”

He had met Ramona playing sardines (a variation of hide-and-seek) at a country house party in the spring of 1949, when she was 18. He fell madly in love, he says, pursuing her all the way to France when she moved there. “My pursuit of Ramona in the film is symbolic of my pursuit of her in real life,” he says. “The film was inspired by the love story of my life. We stayed together as a couple until she died at the age of 88 in 2018.”

She has fantasies and he has fantasies’ … Ramona Baulch, later Ramona Morris, in Time Flower. Photograph: Flatpack Festival

He calls Time Flower “a cyclic film in which the end and the beginning are more or less the same. It starts with the man chasing the woman, and he continues to pursue her throughout the whole film until he finally catches up with her – and dies. But the point is that, while he’s chasing her, she has fantasies and he has fantasies, and these are what’s going on in their unconscious minds during the chase.”

He persuaded Ramona to star in it after she returned to England. “In 1950, our relationship was fresh and young: we were falling deeply in love with one another, and it was very passionate,” he says. “But a passionate relationship of that kind isn’t just sexual. It has to be more. And what I really respected, apart from her body, was her brain, which was extraordinary, as were her courage and generosity. She would do anything I asked her to do for the film.”
 
Irrational intensity’ … an image from Time Flower. Photograph: Flatpack festival

He decided to propose to her after she agreed, for the film, to leap off the bonnet of his car late at night to catch a wild rabbit frozen in the headlights. “I was joking when I suggested it to her, but she said, ‘Yes of course I will.’ She sat on the front of the car, the rabbit came out, froze, I stopped the car – and she was thrown off on to the rabbit.”


All hell broke loose. “These rabbits were big and it was fierce – scratching and biting her – and so I rushed round with a blanket. We got it home and I kept it in an enclosure until we were ready to film. Then we shot a few seconds before it ran off. But what I discovered that day – and this is one of the big bonuses, for me, of making Time Flower – was my girlfriend’s extraordinary courage. I thought, ‘If somebody’s prepared to be thrown off my car to catch a rabbit for me, then I’ve found the girl I want to marry.’ That was the moment I decided.”

He sees no connection between the animalistic, highly sexualised relationship between the film’s protagonists and his landmark study, The Naked Ape, which suggested human sexual traits and behaviour could only be understood in the context of animal behaviour and evolution. “Apart from the rabbit, there wasn’t much zoology – although a hedgehog appears at one point,” he says. “No, my zoological research was quite separate.”
‘The love story of my life’ … Ramona and Desmond Morris in 1956. Photograph: Desmond Morris/Flatpack festival

But he acknowledges that the film and his surrealist paintings, which he continues to create every night between the hours of midnight and 4am, may have been indirectly influenced by his knowledge of natural history and nature, and his lifelong interest in the reproductive behaviour of animals. He still sees humans as “very strange apes” and “the way in which animals perform strange, bizarre courtship dances” has always fascinated him, visually. “It wasn’t a zoological film, but it did have an underlying, implicit eroticism,” he says. “There’s a great deal of sexual implications in the film, if not explications.”

In 1951, Time Flower was given an award by the Institute of Amateur Cinematographers and Morris filmed a sequel, The Butterfly and the Pin. “That one was a complete disaster, I won’t let anyone see it. It’s about an artist being visited by ‘life’ and ‘death’ in his studio, with a man representing death and a woman representing life, and these two characters fight over the artist. It was a good idea, but the lack of funds to finance it affected the production.”

He never made any other films and became too “embarrassed” to let anyone watch Time Flower. “Its production values are appalling and there were so many things I couldn’t film that I wanted to.” But after he was approached by the film-maker Andy Howlett, who had staged a “seance” of Time Flower at a gallery in Birmingham in 2016, he agreed it could be shown during the Flatpack festival as part of the University of Birmingham’s 125th anniversary celebrations this weekend. “I had another look at it – I hadn’t seen it myself for a long time – and I thought, ‘Well, it may be crudely and poorly produced but it has a kind of irrational intensity that I like.”
My zoological research was quite separate’ … A painting by Morris first exhibited in Birmingham in 1949. Photograph: Desmond Morris/Flatpack festival

The film will be screened twice at the festival, first with its original Prokofiev accompaniment and then with a new live score by Kinna Whitehead, before being deposited for posterity with the BFI National Archive. Although he still wishes Time Flower were a better film, Morris is pleased that audiences are interested in his surrealist work and says that demand for his paintings, which are still regularly exhibited, has also increased in recent years. “I think it’s because they know that when I die, which can’t be very far off, my prices will increase. Because the best career move for any artist is to die, of course. Your work becomes much more valuable.”

One painting he made in 1948 sold for more than £50,000 two years ago. “I was cross because I wanted to buy it myself. It was one of my favourite paintings and I wanted it back.” It has been “lovely”, he says, to remember Ramona as a young woman again in Time Flower, and that is one of the key reasons he wanted the film to be shown. “I’ve outlived her now by more than six years and it’s very strange to still be here, without her, after a relationship that lasted 69 years.”

He is grateful, however, that he is still able to write and paint. When it comes to living a long life, “that’s the secret,” he says. “I don’t know why the hell I’m still here – but that’s what keeps me going.”

Time Flower will be shown on Saturday 10 May at the Exchange at 4.45pm as part of the University of Birmingham’s 125th anniversary celebrations and Flatpack festival.

Desmond John Morris (born 24 January 1928) is an English zoologist, ethologist and surrealist painter, as well as a popular author in human sociobiology.



ACROSS THE POND AT THE SAME TIME 

kenneth anger magick lantern cycle from archive.org
Jun 18, 2018 — Kenneth Anger The Magick Lanterne Cycle Complete Vol 1 ; Topics: experimental, lantern, cycle, kenneth anger ; Item Size: 4.0G.
kenneth anger magick lantern cycle from www.imdb.com
Included on the two disc set is a 70 minute sequence where Kenneth Anger talks about his life and experiences; his views on art in general and film in ...
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kenneth anger magick lantern cycle from www.amazon.ca
This 2-DVD set contains Anger s complete Magick Lantern Cycle, from his landmark debut FIREWORKS in 1947 to his breathtaking phantasmagoria LUCIFER RISING in ...
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kenneth anger magick lantern cycle from en.wikipedia.org
Working exclusively in short films, he produced almost 40 works beginning in 1937, nine of which have been grouped together as the "Magick Lantern Cycle".