S2 Ep 1. Blue-Chip Science: Blue Planet
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To kick off the second season of Small Screen Science, we’re diving in to the wonderful world of natural history documentaries, with Blue Planet II! Perhaps the most influential nature documentary series of all time, the ‘Blue Planet II effect’ has made people more aware of our impact on the environment.
During the episode we chat to Simon Watt about the most endangered ‘mingers’ and why ugly animals get such a raw deal in conservation. Look out for the scrotum frog and the kakapo. Ever thought of a spider being cute? Try searching for the jumping spider and work out why it is cuter than other spider species.
2020 is the international year of sound, so who better to speak to than Martyn Harries, BAFTA and Emmy award winning re-recording mixer who has worked with the great Sir David Attenborough himself! We talk about the difficulties around recording sound underwater as well as the use of Foley.
Sit back, relax and enjoy our foray into all things Blue Planet II!
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Meet our guests
Simon Watt
Simon Watt is a biologist, writer, science communicator, comedian and TV presenter who runs the ‘Ugly Animal Preservation Society’ which is a comedy night with a conservation twist. He is a fellow podcaster (Level Up Human) and is perhaps best known as a presenter on the BAFTA winning documentary series ‘Inside Nature’s Giants’, and the Channel 4 special ‘The Elephant: Life After Death’.
Martyn Harries
Martyn Harries is a BAFTA and Emmy award winning re-recording mixer and a Senior Lecturer in Audio and Music Technology at the University of the West Of England, Bristol. His work in the BBC’s Natural History Unit, on series such as Natural World, Springwatch and David Attenborough’s nature documentaries, has gained him international recognition and awards. He can also be heard blowing his own trumpet (literally) in bands and orchestras around Bristol, even making an appearance on the soundtrack of David Attenborough’s series “Africa”.
Blue Planet blogs
Episode Photo Gallery
It’s international Year of Sound, so we’ve got some images of BAFTA and Emmy award winner Martyn Harries doing what he does best…can you spot Sir David? We’ve also got a kakapo and jumping spider in honour of biologist and comedian Simon Watt…did we mention he has a book out?
Episode References (if you fancy some extra reading)
Agrawal, T., Lee, M., Calcetas, A., Clarke, D., Lin, N. and Schachner, A. (2020) Hearing water temperature: Characterizing the development of nuanced perception of auditory events. Available from: https://psyarxiv.com/eb9pj/
Bixler, R., Crosby,. C, Howell, K. and Tucker. T. (2015) Choosing illustrations of spider (faces) for best first impressions in natural history interpretive programs. Journal of Interpretation Research. 20:2 pp. 7-18
Borgi, M., Cogliati-Dezza, I., Brelsford, V., Meints, K. and Cirulli, F. (2014) Baby schema in human and animal faces induces cuteness perception and gaze allocation in children. Frontiers in Psychology. 5:411
Buckley, R. (2016) Aww: The emotion of perceiving cuteness. Frontiers in Psychology. 7:1740
Cabe, P. and Pittenger, John. (2000) Human sensitivity to acoustic information from vessel filling. Journal of Experimental Psychology: Human perception and performance. 26:1 pp 313-324
Intelligent sound engineering (2017) [Blog] Why can you hear the difference between hot and cold water? Available from: https://intelligentsoundengineering.wordpress.com/2017/05/20/why-can-you-hear-the-difference-between-hot-and-cold-water/
Kringelbach, M., Stark, E., Alexander, C., Bornstein, M. and Stein, A. (2016) On cuteness: Unlocking the parental brain and beyond. Trends in Cognitive Science. 7 pp. 545-558
Peng, H. and Reiss, J. (2018) Why can you hear a difference between pouring hot and cold water? An investigation of temperature dependence and psychoacoustics. Available from: https://www.aes.org/e-lib/browse.cfm?elib=19737
Velasco, C., Jones, R., King, S. and Spence, C. (2013) The sound of temperature: What information do pouring sounds convey concerning the temperature of a beverage. Journal of Sensory Studies. 28 pp. 335-345