COMMUNICATION

Why are some insects so shiny and iridescent?

First here’s a post I answered on HOW insects form shiny or iridescent exoskeletons. It’s always good to know the answer to how because it can give context to the why. So why are some insects iridescent or shiny? 

This can be split into two main categories; communicative functions and non-communicative.  

COMMUNICATION

1. Mate Selection 

While insects tend to use chemical communication more as a means of attracting potential mates colouration can however play a significant role in mate selection in a number of ways. 

Honest signalling - in which the colouration reveals the quality of the individual as these colourations are costly to produce. Therefore only individuals that are high-quality are able to afford the cost of producing these signals (in this case the iridescence or shiny colouration)

Example: 

A study (Fitzstephens & Getty, 2000) found that male Calopteryx maculata (Black-winged damselfly) with higher fat stores had a much bluer iridescent colouration compared to males on low fat diets.

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Amplifier traits - iridescent / shiny colours may be used to amplify the differences in the signals of quality (however no studies have directly focused if this is a function of iridescence)

Sensory drives - iridescent colouration was favoured due to being more effective in signalling in certain ecological environments 

Receiver Bias -  females (or in rare cases the males or hermaphrodites) as the receivers may have favoured certain iridescent colouration due to being better received by their sensory system therefore resulting in the evolution of this colouration

2. Species Recognition

Man species use iridescent / shiny colouration in order to identify members of their own species! As simple as that! 

Example: 

Colias eurytheme (orange sulfur butterfly) use UV iridescence to communication with conspecifics

Why Are Some Insects So Shiny And Iridescent?

3.Agonistic interactions

Iridescense / shiny colouration may be used in intrasexual encounters; mostly male-male agonistic encounters and can be used as a territorial signal.

4.flocking behaviour

Can help insects that school together facilitate their orientation or direction within their schools / flocks. This is seen in many aquatic species of fish and even squid. 

5.  Predation avoidance 

Iridescense / shiny colouration can be used to order to actually avoid predation! Although at first glance you’d assume this would make them more visible, this isn’t always the case. 

Mimicry / camouflage - insects can avoid predation by mimicking objects, leaves, raindrops, other harmful species or even by blending into the background 

Examples: 

A number of iridescent jumping spider species (Salticidae);  such as Brettus adonis in this study (Jackson & Hallas 1986) were found to mimic raindrops to avoid predation   

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The iridescent green leaf beetles such as the  (Dogbane Leaf Beetle, Chrysochus auratus) similarity use their iridescence colouration to mimic dew on leaves.

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Species like tiger beetles ( Cicindelinae) even use their iridescence to create an unsaturated appearance that allow them to blend into their envrionment (Schultz 1986, 2001)

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Warning colouration - insects may use their colouration to communicate their toxicity or unpalatability serving as aposematic warning.

Example: 

Panamanian tortoise beetle (Charidotella egregia) that change from gold to red when disturbed by predators(Vigneron et al. 2007).

Why Are Some Insects So Shiny And Iridescent?

Startle displays - some species will use their iridescence colouration to create a flash that may startle potential predators long enough for them to escape due to the way in which the iridescence reflects light.

Example:

The tiger beeltes again! Some of them have bright colouration like below that they use as startle defenses against predators (Sargent 1990). 

image

NON-COMMUNICATION

1. Thermoregulation

There’s much debate over whether Iridescense / shiny colouration has any function in either heat absorption or dispersion. 

Some found evidence that the structures used to created iridescense / shiny colouration acted as heat collectors, like in the wings of butterflies ( Miaoulis & Heilman 1998). However other’s have found no evidence of thermoregulation in tiger beetles Schultz & Hadley (1987). 

2.Friction reduction

iridescense structures may reduce the friction in burrowing insects  

Example: Carabid Beetles (Brachininae) (Seago et al. 2009). 

Why Are Some Insects So Shiny And Iridescent?

These are just some of the proposed and studied functions of iridescense and shiny colouration in insects, there are more that aren’t as well studied or understood just yet! 

More reading: 

Doucet S, Meadows M 2009, ‘Iridescence: a functional perspective’, Journal of the Royal Society Interface, vol.6, no.2, pp.115–132 

Meadows M, Butler M, Morehouse N, Taylor L, Toomey M, McGraw K, Rutowski R 2009, ‘Iridescence: views from many angles’, Journal of the Royal Society Interface, vol.6, pp.203–211

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Chopin, Bach Used Human Speech ‘cues’ To Express Emotion In Music

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Music has long been described, anecdotally, as a universal language.

This may not be entirely true, but we’re one step closer to understanding why humans are so deeply affected by certain melodies and modes.

A team of McMaster researchers has discovered that renowned European composers Frédéric Chopin and Johann Sebastian Bach used everyday speech “cues” to convey emotion in some of their most famous compositions. Their findings were recently published in Frontiers of Psychology: Cognition.

Their research stemmed from an interest in human speech perception — the notion that “happy speech” for humans tends to be higher in pitch and faster in timing, while “sad speech” is lower and slower.

These same patterns are reflected in the delicate nuances of Chopin and Bach’s music, the McMaster team found.

To borrow from Canadian singer-songwriter Feist, we “feel it all” because the music features a very familiar cadence or rhythmic flow. It’s speaking to us in a language we understand.

“If you ask people why they listen to music, more often than not, they’ll talk about a strong emotional connection,” says Michael Schutz, director of McMaster’s MAPLE (Music, Acoustics, Perception & LEarning) Lab, and an associate professor of music cognition and percussion.

“What we found was, I believe, new evidence that individual composers tend to use cues in their music paralleling the use of these cues in emotional speech.” For example, major key or “happy” pieces are higher and faster than minor key or “sad” pieces.

The team also discovered that Bach and Chopin appear to “trade-off” their use of cues within the examined music.

Sets with larger pitch differences between major and minor key pieces had smaller timing differences, and vice versa. This may reflect efforts to balance the cues to avoid sounding trite, Schutz explains.

Schutz and Matthew Poon, a Music alumnus from the Class of 2012, began analyzing a complete body or “corpus” of three 24-piece sets by Chopin and Bach several years ago, as part of an Undergraduate Student Research Award (USRA) project. Poon is now a graduate student at the University of Toronto.

The pair analyzed all 48 preludes and fugues from J.S. Bach’s Well-Tempered Clavier (Book 1); as well as all 24 of Chopin’s Preludes (Op. 28). The pieces were chosen based on their historical significance and enduring popularity amongst performers, educators and audiences.

In order to ensure the tonal areas of each composition stayed in their stated keys, analysis was confined to the first eight complete measures — excluding pick-ups — from each of the 72 pieces.

Previous research on musical emotion has often involved manipulating existing melodies and compositions, Schutz explains. For example, transposing a melody higher or playing a song slower than written, in order to explore changes in emotional responses.

The McMaster-led study built upon that work by exploring how Bach and Chopin used emotional cues in their actual work — music still performed and enjoyed on a regular basis, hundreds of years after it was composed.

Can the same research be applied to modern pop music? Schutz says yes, although it’s much easier to analyze classical music based on the availability of sheet music and detailed notation, he offers.


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