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Interactions and Symbiotic Relationships Between Organisms
Quiz by Sheri Ward
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A symbiosis (SIM-bie-OH-sis) is a close, long-term relationship between two organisms. Three examples of symbiotic relation- ships include: parasitism, mutualism, and commensalism. Parasitism (PAR-uh-SIET-IZ-UHM) is a relationship in which one indi- vidual is harmed while the other individual benefits. Mutualism (MYOO-choo-uhl-IZ-uhm) is a relationship in which both organisms derive some benefit. In commensalism (kuh-MEN-suhl-IZ-uhm), one organism benefits, but the other organism is neither helped nor harmed. Parasitism Parasitism is similar to predation in that one organism, called the host, is harmed and the other organism, called the parasite, benefits. However, unlike many forms of predation, parasitism usually does not result in the immediate death of the host. Generally, the parasite feeds on the host for a long time rather than kills it. Parasites such as aphids, lice, leeches, fleas, ticks, and mosquitoes that remain on the outside of their host are called ectoparasites. Parasites that live inside the hostâs body are called endoparasites. Familiar endoparasites are heart- worms, disease-causing protists, and tapeworms, such as the one shown in Figure 20-5. Natural selection favors adaptations that allow a parasite to exploit its host efficiently. Parasites are usually specialized anatomically and physiologically for a par- asitic lifestyle. Parasites can have a strong negative impact on the health and reproduction of the host. Consequently, hosts have evolved a variety of defenses against parasites. Skin is an important defense that prevents most parasites from entering the body. Tears, saliva, and mucus defend openings through which parasites could pass, such as the eyes, mouth, and nose. Finally, the cells of the immune system may attack para- sites that get past these defenses. parasite from the Latin word parasitus, meaning âone who eats at the table of anotherâ Word Roots and Origins Tapeworms are endoparasites that can grow to 20 m or greater in length. Tapeworms are so specialized for a parasitic lifestyle that they do not have a digestive system. They live in the hostâs small intestine and absorb nutrients directly through their skin. Tapeworms reproduce by producing egg-filled chambers, which are released in their hostâs feces to be unknowingly picked up by a future host. FIGURE 20-5 Copyright Š by Holt, Rinehart and Winston. All rights reserved. 404 CHAPTER 20 Mutualism Mutualism is a relationship in which two species derive some benefit from each other. Some mutualistic relation- ships are so close that neither species can survive without the other. An example of mutualism, shown in Figure 20-6, involves ants and some species of Acacia plants. The ants nest inside the acaciaâs large thorns and receive food from the acacia. In turn, the ants protect the acacia from herbi- vores and cut back competing vegetation. Pollination is one of the most important mutualistic rela- tionships on Earth. Animals such as bees, butterflies, flies, beetles, bats, and birds that carry pollen between flowering plants are called pollinators. A flower is a lure for pollina- tors, which are attracted by the flowerâs color, pattern, shape, or scent. The plant usually provides foodâin the form of nectar or pollenâfor its pollinators. As a pollinator feeds in a flower, it picks up a load of pollen, which it may then carry to other flowers of the same species. Commensalism Commensalism is an interaction in which one species benefits and the other species is not affected. Species that scavenge for leftover food items are often considered commensal species. However, a relationship that appears to be commensalism may simply be mutu- alism in which the mutual benefits are not apparent. An example of a commensal relationship is the relationship between cattle egrets and Cape buffaloes in Tanzania. The birds feed on small animals such as insects and lizards that are forced out of their hiding places by the movement of the buffaloes through the grass. Occasionally, the cattle egrets also feed on ectoparasites from the hide of the buffaloes, but the buffaloes gen- erally do not benefit from the presence of the egrets.Filmic Techniques Based on the work of Brad Smilanich Mis-en-Scene: originally a French theatrical term arrangements of all the visual elements of the stage area in film â âthe contents of the frame and the way those contents are organizedâ include: lighting, costume, dĂŠcor, props, camera movement or distance . . . all photographic decisions etc. Proxemics: Spatial relationship among characters within the mis-en-scene Rule of Thirds: a compositional rule of thumb in painting, design, photography etc. suggests image divided into 9 equal parts with two vertical and two horizontal lines important elements of the mis-en-scene should be placed along these lines and their intersections some suggest aligning with intersections makes for more interesting pictures than just centreing the subject Proxemics Camera Distance: Quite literally, how far the camera is from the subject being filmed The Hand Camera Camera Distance: Quite literally, how far the camera is from the subject being filmed Extreme Close Up: Singles out one small portion of the body or object Used to intensify emotion, or show reaction Camera Distance: Close up Shot: Shows head of character or small significant object Used to show emotions Camera Distance: Medium Shot: shows figures from the waist up allows character to be seen within background Camera Distance: Long Shot: shows figures from feet up similar to the âstageâ in live theatre orients audience to figures within a location or surrounding Camera Distance: Extreme Long Shot: Sometimes called an âestablishing shotâ Panoramic view of an exterior location orients audience to a location Camera Distance: Camera Angle: Cameraâs angle of view relative to the subject being photographed High Angle Shot: looks down on the subject often used to make the subject look small and insignificant (in combination with camera distance) puts the camera (audience) in âpowerâ position Camera Angle: Low Angle Shot: looks up at the subject often used to make the subject look large and powerful puts the camera (audience) in a âsubmissiveâ position Camera Angle: Flat Angle Shot: camera on same plane as the subject feels most ânormalâ to an audience Camera Angle: Canted Shot: frame is unbalanced in relation to the subject may indicate a symbolic unbalance in the character Camera Angle: Camera Movement literally the camera moving with or around or to follow the subjects in the mis-en-scene or frame Camera Movement: Tilting Movement camera moves up or down on a horizontal axis similar to head nodding movement may be used to show subjects relation to surroundings Camera Movement: Panning Movement camera moves side to side on a vertical axis similar to head shaking movement may be used to establish setting Camera Movement: Dolly Movement camera mounted on a vehicle that moves along with the subject (camera moves, not pivots) follows the subject to signify something important Camera Movement: Crane Shot camera mounted on a crane or boom permits camera to move in & out, up & down, backward & forward often used for high aerial establishing shots Misc. Shots: Hand Held: camera carried to seem jerky, giving ârealistic feelâ Push In: camera moves up to a characterâs face to indicate an epiphany (realization) Spiral: camera circles subject for effect End for ELA 20-2 and 10-1 Shot Transitions/Editing: artificial editing done to string together multiple shots to create a narrative scene or sequence a cut is the change from one shot to another usually separated in to âsoftâ and âhardâ cuts Jump Cut: an instantaneous change from one shot to another this can be very natural or may disorient the audience, depending on how it is used Transitions/Editing Swish Pan: A pan where the speed of the camera is so fast that images are blurry used often to connect events in different settings that are connected by time Transitions/Editing Dissolve: transition where one shot gradually dissapears while another shot gradually appears often used to suggest change of setting or long time passage i.e. flashbacks Transitions/Editing Fade In/Out: transition where the shot gradually overexposes to white or underexposes to black often used to suggest a lengthy passage of time or change in location Transitions/Editing Wipe: transition where one shot is gradually eliminated as another shot moves onto the screen can be vertically or horizontally often suggests movement of the camera to another location Transitions/Editing Iris In/Out: transition where one shot gradually appears as an expanding circle in the middle of an old image suggests . . .??? Transitions/Editing Shot-Reverse Shot: one character is shown looking (often off-screen) at another character, and then the other character is shown looking "back" at the first character. Since the characters are shown facing in opposite directions, the viewer unconciously assumes that they are looking at each other. Transitions/Editing Two-Shot: Face-up shot of two people. Often used in interviews, or when two presenters are hosting a show. A "One-Shot" could be a mid-shot of either of these subjects. A "Three-Shot", unsurprisingly, contains three people. Transitions/Editing Shot Transitions/Editing: Sound: used to reflect or enhance what is shown visually on the screen can include dialogue, music, sound effects, voiceover etc. Diegetic Sound: sound that has a source in the world of the story dialogue spoken by characters, sound made by objects, or music coming from a source grounded in the story of the film Non-diegetic Sound: sound that has a source outside the world of the story usually part of the score or the soundtrack Parallel Sound: sound that complements the image shown i.e. romantic music during a love scene Counterpoint Sound: sound that contradicts the âfeelingâ of the image a happy song played while images of graphic violence are portrayed Voiceover: voice of a non-visible narrator laid over the scene often provides some comment about the narrative of the film Sound Bridge: used to âsoftenâ the transition between one scene and another takes sound from the next shot and overlays it on the current shot 2-3 seconds earlier than we see the image Examples of Diegetic/Non-Diegetic: In the first clip, the non-diegetic music changes to diegetic music when the main character moves inside of the convenience store. In the second clip, the âduhn duhn duuuuhâ which often is non-diegetic becomes diegetic because it is the band in the passing bus playing that music! End for ELA 20-1 Lighting: Can be used by a director to: Control the mood of a scene guide a viewerâs eye to a specific place in mis-en-scene Emphasize and de-emphasize elements in frame Add texture and color Make people look beautiful, ugly, sinister, or angelic Standard 3-Point Lighting: uses three lights called the key light, fill light and back light forms the basis of most lighting. once you understand three point lighting you are well on the way to understanding all lighting. Key Light: main light usually the strongest and has the most influence on the look of the scene. it is placed to one side of the camera/subject so that side is well lit and other side has shadow. Fill Light: secondary light is placed on the opposite side of the key light used to fill the shadows created by key softer and less bright than key Back Light: placed behind the subject ; lights it from the rear. provides definition and subtle highlights around the subject's outlines. Separates subject from background provides a three-dimensional look. Standard 3-Point Lighting: http://www.zvork.fr/vls/ Try using this simulator to play with lighting with those 3 points.Structural functional approach, social conflict approach and symbolic interaction apparoach in sociologyInteractions and EcosystemsWave Interactions and ColorNowadays, millions of us are turning to chatbots for emotional support. But can AI ever be capable of empathy? What about the consequences of people seeking emotional support from machines that can only pretend to care? Can the rise of so-called empathetic AI change the way we understand empathy and interact with one anotherďź The researchers found that the empathiser must first be able to perceive how the other person is feeling. They must also be affected by those emotions, feel them to some degree themselves, and differentiate between themselves and the other person. On the first point, in recent years, AI-powered chatbots have made progress in their ability to read human emotions. Most chatbots are powered by large language models (LLMs) that work by predicting which words are most likely to appear together based on training data. In this way, LLMs like ChatGPT can seemingly identify our feelings and respond appropriately most of the time. But when it comes to the other criteria, AI still misses the mark in many ways. Empathy is interpersonal, with continued cues and feedback helping to strengthen the empathiserâs response. It also requires some degree of intuitive awareness of an individual and their situation. Consider someone who cries while telling a doctor she is pregnant. If we know her history of trying for years to be pregnant, we can imagine that her tears mean something different than, say, if she didnât want to have kids. Current AIs are incapable of understanding that kind of slight difference in emotion . The big question is whether AI can truly feel human emotions. Some think AIs might one day share our feelings. One approach is to continue enlarging LLMs with ever vaster and more diverse data and integrate multimodal data like facial expressions and voice. By doing this, AI may develop emotional capabilities. Currently, simple versions of these emotion-reading robots already exist. Yet, some scholars argue that you canât really know what sadness is unless you have felt sad. âYou need to have emotions to experience empathy,â says psychologist Michael Inzlicht at the University of Toronto in Canada. Genuine empathy emerges from social interactions and recognizing other minds - a complete phenomenon requiring consciousness , something AI lacks now and likely always will.Forces and InteractionsChanges and Interactions in Ecosystems test