C'mkri ' Jlletin 32

Total Page:16

File Type:pdf, Size:1020Kb

C'mkri ' Jlletin 32 C'MKRI ' jlletin 32 Kll. 1982 RESOURCES OF TUNAS AND RELATED SPECIES AND THEIR FISHERIES IN THE INDIAN OCEAN E. G. SILAS & P. P. PILLAI CENTRAL MARINE FISHERIES RESEARCH INSTITUTE (Indian Council ui Agricultural Research) P.B. No. 1912, Cochin 682 III8, India CMFRI bulletin 32 APRIL 1982 RESOURCES OF TUNAS AND RELATED SPECIES AND THEIR FISHERIES IN THE INDIAN OCEAN E. G. SILAS & P. P. PILLAI CENTRAL MARINE FISHERIES RESEARCH INSTITUTE {Indian Council of Agricultural Research) J>.B. No. 1912, Cochin 682 018, India Bulletins are issued periodically by Central Marine Fisheries Research Institute to interpret current knowledge in the various fields of research on marine fisheries and allied subjects in India. G Copyright reserved Edited and Published by E. G. SILAS Director Central Marine Fisheries Research Institute Cochin-682 018, India Restricted circulation Dr. Richard S. Shomura (left) noting the weight of a bigeye tuna (Co. 82 Kg) taken by the longline gear on board R/V ANTON BRUUN from the s3ulhsrn Indian Ocean. (Photo by E. G. Silas) CONTENTS I. INTRODUCTION .. .. .. .. .. ., .. 1 II. TAXONOMY AND DISTRIBUTION OF TUNAS, TUNA-LIKE FISHES AND BILLHSHES IN THE INDIAN OCBAN 3 List of species Tunas and tuna-like fishes—Distinctive characteristics of the species Billfishes—Distinctive characteristics of the species III. FISHING METHODS .. .. .. .. .. ., .. 24 Surface fishery School identification Pole and line (live-bait) fishery Purse seine fishery Surface trolling Fish aggregating devices (FAD) Sub-surface fishery Longline fishery Other methods of fishing Drift gillnet fishery Set nets Harpooning IV. TUNA ENVIRONMENT .. ., ,. ,. ,. ., .. 41 Temperature and oxygen Tuna migration Salinity Transparency Mixing process Oceanic islands and banks Submarine topography Food supply Satellite imagery V. TUNA FISHERY IN THE INDIAN OCEAN : TREND IN THE EXPLOITATION OF THE STOCKS, PRESENT STATUS OF THE FISHERY AND RESOURCES OF TUNAS AND RELATED SPECIES .. .. .. 72 General review of the present trend of fishery Group-wise production of tunas, tuna-like species and billfishes Species-wise production of tunas, tuna-like fishes and billfishes Review of the level and status of participation in the Indian Ocean tuna fishery (country- wise) Japanese longline fishery Taiwanese longline fishery V l-A Executive summary of tire state of stocks of tunas, tuna-like fishes and billfishes—current level of exploitation and potential for expansion Yellowfin tuna Albacore Bigeye tuna Southern bluefin tuna Striped marlin Blue marlin Black marlin Sailfish Swordfish Skipjack tuna Other tunas and tuna-like fishes Tuna fisheries in the Indian waters : present status Resources Crafts and gears Trend in all India catch State-wise catch Tuna landings at selected centres Future prospects BAIT FISHES .. .. .. .. .. .. .. 136 Live-bait for pole and line fishery Fishing techniques Floating receivers Transportation Bait for tuna longline Culture of bait fishes BY-CATCH .. .. .. .. .. .. .. 141 POST-HARVEST STORAGE, PROCESSING AND MARKETING .. .. .. .. 147 MANAGEMENT PLAN FOR THE TUNA FISHERY IN THE INDIAN OCEAN .. .. .. 151 Tuna fishery in the continental shelfwaters Surface fishery from the EEZ of island states Tuna fishery in the high seas Longlining from within and outside the EEZ Tuna fishery from the surface waters of the high seas Controls Surveillance Options open for tuna fishery development in the EEZ of India and the contiguous seas Augmenting production Management Need for foreign expertise THE NEED FOR AN INTERNATIONAL COMMISSION FOR THE CONSERVATION OF INDIAN OCEAN TUNA (ICCIOT) .. .. .. .. .. .. 16S REFERENCES .. .. .. .. .. .. .. 165 APPENDIX I-III .. .. .. .. .. .. 172 PREFACE In 1961,1 had an occasion to discuss with one of India's leading fishery technocrat and policy planner my researches on Indian tuna and tuna-like fishes. I was shocked when he retorted with a question whether we really had any tunas in our waters and if so whether they were only zoological curiosities. Such was the official attitude and my attempt to explain matters was just brushed aside. In January 1962, I convened an International Symposium on Scombroid Fishes at Mandapam Camp under the auspices of the Marine Biological Association of India and the Proceedings published in 1964 and 1967, combined with the scientific contributions sent from India to the FAO sponsored ' World Scientific Meeting on the Biology of Tunas and Related Species' held in July 1962 at California amply justifies that we do have sizeable tuna resources and India is placed in an advantageous position to exploit these from her waters and from the contiguous high seas. Unfortunately there has been an apathy on the part of our fishery planners to not even look at tuna fishingseriously, resulting in our lagging in this area offisheries as compared to some of the smaller nations who have limited facilities but are looking at development of tuna fisheries more positively. Indecision for some reason or other has been rampant and in the past two decades a stream of potential entrepreneurs from within and outside the country have turned up with propositions for entering on collaborative pro­ grammes in tuna fishery, but all these have been futile exercises ending only in conducted tours and dialogues. The indigenous production in our small scale fishery sector through the mechanisation and increasing effort through gill netting, purse seining, and pole and line fishing have augmented production of the coastal species of tunas and tuna-like fishes and tunas from the Lakshadweep from hardly 7800 tonnes in 1961 to 26,000 tonnes in 1979. However, we are practically at the same stage as in 1961 as far as exploitation of the resources of the Exclusive Economic Zone (EEZ) and contiguous high seas, beyond the inshore continental shelf waters are concerned. A few exercises of insufficient nature in longlining and purse seining have been carried out, but inadequacy of the gear and the cursory effort expended have given if at all only negative results. We are still deliberating on the pros and cons of entering tuna fisheries of the high seas. The two decades from the 1961 to 1981 have seen major shifts in the pattern of large scale commercial tuna fisheries in the Indian Ocean which was started by the Japanese longline fishery in 1952. The Republic of China (Taiwan) and the Republic of Korea have entered the fisheries in the 60's and early 70's respectively for longlining and a number of nations including non-Indian Ocean countries are now planning for longlining and purse seining for tunas in the Indian Ocean. The declaration of the Exclusive Economic Zone by India in August, 1976 has given a flip to the efforts in organizing development programmes for the exploitation of fishes from beyond the continental shelf waters. The Government of India had permitted some joint venture programmes to come up, but these have by and large not helped in the overall development programmes. Recently, the Government of India has pro­ claimed a chartering policy with a view to accelerate the development of deep sea fishing in this country. Tunas being highly migratory species, any development programme should envisage also the scope of harvest­ ing the resources not only from our EEZ but also from the contiguous high seas. The time has come when whatever information is known about Indian Ocean tunas and tuna-like fishes, their ecology and fisheries including present levels of exploitation should be made available to the public forum so that it will be easily accessible to the fishing industry and those interested in commercial fisheries re­ sources. Such a compendium would go a long way in educating our technocrats and policy planners to take decisions on development strategies, help in investment decisions and plan to see how India could become an important partner for sharing the tuna resources of the Indian Ocean. The fishing industry should also benefit from the same. iii I would like to place on record our indebtness to Dr. S. Jones who initiated the studies on Indian Tunas and to Late Dr. Wilbert M. Chapman for the great encouragement he gave for the studies on Indian Tunas in the early sixties. A close association of over three months with Dr. Richard S. Shomura on board the Research Vessel ' Anton Bruun' during its Vth cruise in the Indian Ocean during the International Indian Ocean Expedition from January-May, 1964 enabled me to have a deeper insight into the problems of tuna fisheries of the Indian Ocean. Most of the photographs published in this report were taken by me during this cruise which covered areas between 22°N and 48°S, and 55°E and 75°E. My sincere thanks are due to Dr. Shomura for the courtesies extended. In the preparation of this report, help has been received in the form of literature, and the authors have had the benefit of personal discussions with a number of active workers in this field. Thanks are due to Dr. Shoji Ueyanagi, Far Seas Fisheries Reseach Laboratory, Shimizu, Japan ; Dr. J. A. Gulland and Dr. Francis J. Christy, Resources and Environment Division, FAO; Dr. Wayne J. Baldwin, Hawaii Institute of Marine Biology, University of Hawaii, Hawaii; Dr. R. F. Kearney, South Pacific Commission and Dr. Peter H. Pearse, Commissioner, Department of Fisheries and Oceans, Government of Canada. To Dr. K. P. P. Nambiar, MPEDA-India, Tokyo, Japan, we are appreciative of the interest he has shown in our work on tunas, and for the fruitful discussions and the information he has sent us. In order to make this- work more meaningful, some charts and maps from earlier publications are reproduced here and their sources are duly acknowledged. I hear talks that foreign consultants are being invited to come to India to make a feasibility study of whether or not we should develop tuna fisheries of our EEZ and high seas. While we shall certainly require expertise in certain specific aspects of tuna fisheries particularly with an emphasis on training our personnel, it is highly doubtful with the information available with us, whether we should spend lakhs of Rupees on such wasteful exercises.
Recommended publications
  • Linking Math with Art Through the Elements of Design
    2007 Asilomar Mathematics Conference Linking Math With Art Through The Elements of Design Presented by Renée Goularte Thermalito Union School District • Oroville, California www.share2learn.com [email protected] The Elements of Design ~ An Overview The elements of design are the components which make up any visual design or work or art. They can be isolated and defined, but all works of visual art will contain most, if not all, the elements. Point: A point is essentially a dot. By definition, it has no height or width, but in art a point is a small, dot-like pencil mark or short brush stroke. Line: A line can be made by a series of points, a pencil or brush stroke, or can be implied by the edge of an object. Shape and Form: Shapes are defined by lines or edges. They can be geometric or organic, predictably regular or free-form. Form is an illusion of three- dimensionality given to a flat shape. Texture: Texture can be tactile or visual. Tactile texture is something you can feel; visual texture relies on the eyes to help the viewer imagine how something might feel. Texture is closely related to Pattern. Pattern: Patterns rely on repetition or organization of shapes, colors, or other qualities. The illusion of movement in a composition depends on placement of subject matter. Pattern is closely related to Texture and is not always included in a list of the elements of design. Color and Value: Color, also known as hue, is one of the most powerful elements. It can evoke emotion and mood, enhance texture, and help create the illusion of distance.
    [Show full text]
  • 1 Math Action Figures- Human Body Proportion 11-18-14 AO
    ARTS IMPACT LESSON PLAN Visual Arts and Math Infused Lesson Lesson One: Math Action Figures: Human Body Proportion Author: Meredith Essex Grade Level: Seventh Enduring Understanding Ratio and proportional relationships can guide accurate portrayal of human figures of any size. Lesson Description (Use for family communication and displaying student art) Students apply understandings of fractions, scale, and ratio to create a human figure in proportion. Head and total height of a human figure is drawn on grid paper based on a 1:8 ratio multiplied by a scale factor. Students then divide the figure horizontally into 8 equal parts and place parts of the figure in those fractional areas guided by a proportion diagram. Last, students use math tools and colorful pens to transform their figure into a “Math Action Figure” character with special math powers. Learning Targets and Assessment Criteria Target: Uses understanding of ratio and scale to map out a human figure. Criteria: Uses ratio of 1:8 (head to body) multiplied by a scale factor to establish proportional head and body height in drawing. Target: Documents proportion calculations. Criteria: Records ratio multiplied by scale factor equation on drawing. Target: Uses understanding of proportion to represent additional parts of a human figure. Criteria: Divides height of figure into 8 equal parts. Sketches head in top 1/8 and sketches parts of figure in other fractional areas guided by diagram and prompts. Target: Creates a math action figure using craftsmanship. Criteria: Defines contour of figure and adds invented geometric elements using pen, grid squares, and straight edge to suggest human and math-inspired characteristics.
    [Show full text]
  • Leonardo's Vitruvian Man Drawing: a New Interpretation Looking at Leonardo's Geometric Constructions
    Nexus Netw J (2015) 17:507–524 DOI 10.1007/s00004-015-0247-7 RESEARCH Leonardo’s Vitruvian Man Drawing: A New Interpretation Looking at Leonardo’s Geometric Constructions Vitor Murtinho1 Published online: 9 April 2015 Ó Kim Williams Books, Turin 2015 Abstract Generally speaking, today’s scientific community considers that the famous figure drawn by Leonardo da Vinci at the end of the fifteenth century was made using the Golden ratio. More specifically, the relationship established between the circle’s diameter and the side of the square is a consequence of the geometric relationship probably discovered by Euclid, but made famous by Luca Pacioli in his De Divina proportione. Aware of the close working relationship between Leonardo and Pacioli, namely in the writing of this last book, the theory that establishes a close relationship between these two figures, making use of this remarkable mathematical relationship, has gained credibility. In fact, the use of the Divina proporzione, despite being a very stimulating construction on an intellectual level, presents too great a margin of error, especially for such a competent geometrician as Leonardo da Vinci was. For that reason, the relationship between these two figures (square and circle) is grounded on a much simpler geometric relationship than the one found at the base of the definition, for instance, of Le Corbusier’s Modulor. Keywords Leonardo da Vinci Á Vitruvian man Á Vesica piscis Á Golden number Á Proportion Introduction No human investigation may claim to be a true science if it has not passed through mathematical demonstrations, and if you say that the sciences that begin and end in the mind exhibit truth, this cannot be allowed, but must be & Vitor Murtinho [email protected] 1 CES-Department of Architecture, University of Coimbra, Colegio das Artes, Largo D.
    [Show full text]
  • Vitruvian Man
    Activity 1A: Ratio Calculations: Vitruvian Man Students complete a table of ideal human proportions based on Leonardo da Vinci’s iconic drawing of Vitruvian Man. Students use the ratios to calculate dimensions of body features for different-sized individuals with Vitruvian Man’s proportions. Students measure dimensions of head and height for humans and animated characters and calculate their head : height ratios. Understandings • The relationships between body parts can be expressed mathematically using ratios. • Human body ratios vary. • A person’s or character’s appearance can be altered by varying his or her body ratios. Materials Needed • Optional: Printed or digital images of animated characters with varying body proportions (see Advance Preparation) • Handout 1: Unit Overview • Assessment Checklist: Character Design • Handout 2: Vitruvian Man Proportions • Optional: Proportion Matters slide presentation (see Advance Preparation) • Handout 3: Calculating Vitruvian Man Measurements • Handout 4: Human Head : Height Ratios • Rulers • Images of people and animated characters from Appendix A: Head : Height Proportion Images (one per student) (see Advance Preparation) • Handout 5: Journal Assignment DIGITAL/MEDIA/ARTS: MATHEMATICS 8 PROPORTION MATTERS © Education Development Center, Inc. 2011 1. Optional: Show students animated characters with varying proportions. Display the images of animated characters. Ask students: • What do you notice about the differences in the sizes of these characters’ heads in relation to their bodies? What about the sizes of their facial characteristics, such as eyes and mouths? • What effect do you think these visual properties have on your perception of the character? 2. Introduce the concept of proportion. Tell students that in this unit they will look at how body and facial proportions can be quantified mathematically.
    [Show full text]
  • On a Human Scale. Drawing and Proportion of the Vitruvian Figure Veronica Riavis
    7 / 2020 On a Human Scale. Drawing and Proportion of the Vitruvian Figure Veronica Riavis Abstract Among the images that describe the proportions of the human body, Leonardo da Vinci’s one is certainly the most effective, despite the fact that the iconic drawing does not faithfully follow the measurements indicated by Vitruvius. This research concerned the geometric analysis of the interpretations of the Vitruvian man proposed in the Renaissance editions of De Architectura, carried out after the aniconic editio princeps by Sulpicio da Veroli. Giovanni Battista da Sangallo drew the Vitruvian figure directly on his Sulpician copy, very similar to the images by Albrecht Dürer in The Symmetry of the Human Bodies [Dürer 1591]. Fra Giocondo proposes in 1511 two engravings of homo ad quadratum and ad circulum in the first Latin illustrated edition of De Architectura, while the man by Cesare Cesariano, author of the first version in vernacular of 1521, has a deformed body extension to adapt a geometric grid. Francesco di Giorgio Martini and Giacomo Andrea da Ferrara also propose significant versions believed to be the origin of Leonardo’s figuration due to the friendship that bound them. The man inscribed in the circle and square in the partial translation of Francesco di Giorgio’s De Architectura anticipates the da Vinci’s solution although it does not have explicit metric references, while the drawing by Giacomo Andrea da Ferrara reproduces a figure similar to Leonardo’s one. The comparison between the measures expressed by Vitruvius to proportion the man and the various graphic descriptions allows us to understand the complex story of the exegesis of the Roman treatise.
    [Show full text]
  • How Art Contribute to the Understanding of Mathematical Concepts?
    © 2019 IJRAR December 2019, Volume 6, Issue 4 www.ijrar.org (E-ISSN 2348-1269, P- ISSN 2349-5138) HOW ART CONTRIBUTE TO THE UNDERSTANDING OF MATHEMATICAL CONCEPTS? Sunita Yadav Assistant professor of Mathematics Abstract: - Nowadays, understanding mathematics is crucial in terms of a personal development and people’s life adjustment to a modern society. As well as it is important to see the interrelations between mathematics, arts and other aspects of the society including economic and social development for a high quality well-being life. This paper presents a mixed methods study whose objective was to learn about a possible contribution of art to the understanding of mathematical concepts. Here teaching approach for studying mathematics is presented. The method is the result of a combination between art and technology in order to stimulate and motivate students in mathematics often considered boring and difficult to understand. This helps students revive the art perception displaying its hidden science base and understand that artists’ reasoning is reducible to mathematical concepts. Learning and tend to score higher on various levels of assessment. Creating an environment that uses cross-curricular teaching to harness student skills creates a unique and engaging classroom environment. Accordingly, Mason et al. (2005) noted in their study that, “participants enthusiastically described how music, visual arts, and drama have impacted individual children and youth. According to participants, through arts activities students gained and demonstrated skills in problem solving, sequencing, following direction, teaming, communicating, planning and organizing, and self assessment”. Keywords: - Arts, mathematics, communicating, planning and organizing, and self assessment. Introduction: - Fine art and mathematics are intertwined and have complemented each other from the very beginning.
    [Show full text]
  • AN EXPLORATION of BODY IMAGE and PSYCHOLOGICAL WELL-BEING AMONG AGING AFRICAN AMERICAN and EUROPEAN AMERICAN WOMEN by Natalie Ja
    AN EXPLORATION OF BODY IMAGE AND PSYCHOLOGICAL WELL-BEING AMONG AGING AFRICAN AMERICAN AND EUROPEAN AMERICAN WOMEN by Natalie Jane Sabik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Psychology and Women’s Studies) in The University of Michigan 2012 Doctoral Committee: Professor Elizabeth Ruth Cole, Chair Professor Deborah Keller-Cohen Professor Jacqui Smith Professor Lucretia Monique Ward _______________________© Natalie Jane Sabik_________________________ All rights reserved 2012 To my parents, who have always encouraged me, inspired me, and gave me their support. ii ACKNOWLEDGEMENTS I would not have been able to complete this dissertation without the love and support of my family. Justin, you have been with me through everything, from the moment I decided I wanted to earn my Ph.D. and took on my first research project, and you’ve always known I could finish what I started. From you, I have learned patience, and your generosity and kindness have given me the strength and support to continue to work towards my professional goals. I am so glad you’ve chosen to take this path with me, and that you have been so selfless in your decisions, including making the move to Ann Arbor with me. Mom, I would never have had the guts to sets my sights so high if I hadn’t had you as my role model. You work harder than anyone I know, and watching you continue to challenge yourself personally and professionally has been a gift. I want to be like you when I grow up.
    [Show full text]
  • Late Twentieth Century Connections Between Architecture and Fractal
    Michael J. “Fractal Architecture”: Ostwald Late Twentieth Century Connections Between Architecture and Fractal Geometry Michael Ostwald examines the intricate, constantly shifting relationship between architecture and fractal geometry. At times this dependence is diffuse, and modes of theoretical transference are subtle, symbolic or semiological. At other times wholesale appropriations of geometry takes place and large fragments of theory are pirated away from their originating discipline and used opportunistically. Introduction For more than two decades an intricate and contradictory relationship has existed between architecture and the sciences of complexity. While the nature of this relationship has shifted and changed throughout that time a common point of connection has been fractal geometry. Both architects and mathematicians have each offered definitions of what might, or might not, constitute fractal architecture. Curiously, there are few similarities between architects’ and mathematicians’ definitions of “fractal architecture”. There are also very few signs of recognition that the other side’s opinion exists at all. Practising architects have largely ignored the views of mathematicians concerning the built environment and conversely mathematicians have failed to recognise the quite lengthy history of architects appropriating and using fractal geometry in their designs. Even scholars working on concepts derived from both architecture and mathematics seem unaware of the large number of contemporary designs produced in response to fractal geometry or the extensive record of contemporary writings on the topic. The present paper begins to address this lacuna. Here I focus primarily on architectural appropriations of fractal geometry to briefly describe more than twenty years of “fractal architecture” and to identify key trends or shifts in the development, acceptance and rejection of this concept; the aim is to provide an overview for both architects and mathematicians of the rise and fall of fractal architecture in the late twentieth century.
    [Show full text]
  • Madeline Mackay
    Not yet Earth by Madeline Mackay A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts In Printmaking Department of Art and Design University of Alberta © Madeline Mackay, 2017 Not Yet Earth Flesh seeps into every part of my images. Sometimes it is barely suggested and sometimes it is overt: a hand, a knee or a whole body, or a pile of visceral strands that evoke flesh only obliquely. Not Yet Earth is rooted in a series of performative interactions, in which my body engages with other kinds of flesh as I 'play' with discarded pieces of butcher's meat, assembling and disassembling the scraps, twisting, moving and arranging them in pools of water and mud. The dead flesh is my drawing tool and my creation. Through manipulating it I impose my will on its existence and also by implication upon my own living flesh. Conversely, in becoming an extension of my body, the material acts upon my substance and changes it in return. These performative interactions inform all the series in this exhibition, each of which brings a different understanding to the careful, ritual arrangement of the meat strands. Through them I address the tension between our understanding of the body as self and as matter. This theme is both universal and intensely personal; two years ago I was diagnosed with a disorder that caused my immune system to turn against itself and attack the platelets in my blood, causing spontaneous bruising among other symptoms. I have never been more aware that my flesh has an existence that is independent of mine.
    [Show full text]
  • Leonardo Da Vinci's Anatomical Drawings and Juan De Arfe Y Villafañe
    ARCHIVO ESPAÑOL DE ARTE, LXXXVII, 346 ABRIL-JUNIO 2014, pp. 139-156 ISSN: 0004-0428, eISSN: 1988-8511 doi: 10.3989/aearte.2014.10 LEONARDO DA VINCI’S ANATOMICAL DRAWINGS AND JUAN DE ARFE Y VILLAFAÑE BORIS RÖHRL University of Applied Sciences RheinMain, Wiesbaden, Germany The four volumes of the Varia commensuración para la escultura y architectura (1585–87) of the Spanish silversmith and sculptor Juan de Arfe y Villafañe represent an extensive compilation of Italian art techniques of the Renaissance. The sources for the Libro segundo, which includes systematic explanations on the theory of proportions, the skeleton and musculature have yet to be discovered. Its didactic and illus- trative structure is unique in the context of sixteenth-century literature. The general layout and some details of the illustrations of the first three chapters seem to be derived from the Windsor convolute of anatomical drawings by Leonardo da Vinci. Key words: Anatomical drawings; Artistic anatomy; Leonardo da Vinci; Juan de Arfe y Villafañe; Didactic literature of the Renaissance. DIBUJOS ANATÓMICOS DE LEONARDO DA VINCI Y JUAN DE ARFE Y VILLAFAÑE Los cuatros libros de Varia commensuración para la escultura y architectura (1585-1587) del platero y escultor Juan de Arfe y Villafañe representan un extenso compendio de las teorías y técnicas del Renaci- miento italiano. Las fuentes del Libro segundo, que contiene explicaciones sistemáticas sobre la proporción de la figura humana, el esqueleto y la musculatura, aún no han sido descubiertas. La estructura didáctica y las ilustraciones son únicas en el contexto de la literatura del siglo XVI. El formato general y algunos detalles de las ilustraciones de los primeros tres capítulos parecen tener su origen en los dibujos anatómicos de Leonardo da Vinci conservados en el castillo de Windsor.
    [Show full text]
  • She's Electric—The Influence of Body Proportions on Perceived Gender of Robots Across Cultures
    robotics Article She’s Electric—The Influence of Body Proportions on Perceived Gender of Robots across Cultures † Gabriele Trovato 1,* ID , Cesar Lucho 2 and Renato Paredes 2 1 School of International Liberal Studies, Waseda University, 11-1430, 1-6-1 Nishi-Waseda, Shinjuku-ku, Tokyo 169-8050, Japan 2 Pontificia Universidad Católica del Perú, Lima 32, Peru; [email protected] (C.L.); [email protected] (R.P.) * Correspondence: [email protected]; Tel.: +81-(0)3-3203-6449 (ext. 71-8387) † This paper is an extended version of Trovato, G.; Lucho, C.; Eyssel, F.; Bernotat, J. The Influence of Body Proportions on Perceived Gender of Robots in Latin America. In Proceedings of the Third International Conference on Love and Sex with Robots, LSR 2017, London, UK, 19–20 December 2017. Received: 15 August 2018; Accepted: 3 September 2018; Published: 5 September 2018 Abstract: The assignment of gender to robots is a debatable topic. Subtle aspects related to gender, in a robot’s appearance, may create biased expectations of the robot’s abilities and influence user acceptance. The present research is a cross-cultural study involving more than 150 participants to investigate the perception of gender in robot design by manipulating body proportions. We are focusing specifically on the contrast between two extremely different cultures: Peruvian and Japanese. From the survey based on stimuli varying in the proportion between chest, waist, and hips, the results indicate the importance of chest-to-hip ratio and waist-to-hip ratio in the attribution of gender to robots.
    [Show full text]
  • Using Literature to Introduce Ratio and Proportion
    Michigan Reading Journal Volume 52 Issue 3 Article 9 September 2020 Using Literature to Introduce Ratio and Proportion William P. Bintz Sara D. Moore Follow this and additional works at: https://scholarworks.gvsu.edu/mrj Recommended Citation Bintz, William P. and Moore, Sara D. (2020) "Using Literature to Introduce Ratio and Proportion," Michigan Reading Journal: Vol. 52 : Iss. 3 , Article 9. Available at: https://scholarworks.gvsu.edu/mrj/vol52/iss3/9 This Voices from the Region is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Michigan Reading Journal by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Using Literature to Introduce Ratio and Proportion by William P. Bintz, Ph.D. and Sara D. Moore, Ph.D. William P. Sara D. Bintz, Ph.D. Moore, Ph.D. Background If teachers address isolated content areas, a school William Bintz is a literacy educator and Sara Moore day will never have enough hours for them to is a math educator. We conduct collaborative, class- teach both literacy and mathematics adequately room-based research on the effects of interdisciplinary and thoroughly. However, by creating connec- curriculum on teaching and learning, especially the tions between content areas, teachers can help integration of literacy and mathematics. Recently, as ensure that students have ample opportunity to part of a professional development initiative, a mid- develop both areas (Altieri, 2009, p. 346). dle-school mathematics teacher in a large, urban, mid-western school district invited William to give a This article describes an instructional lesson that used demonstration lesson in her seventh-grade mathemat- literature to integrate literacy and mathematics and ics class.
    [Show full text]