http://www.youtube.com/watch?v=VjE0Kdfos4Y
L'oiseau existe bien sur, est-ce que le vidéo et son talent vocal est un montage ou pas?

Incroyable ! Une preuve de télépathie de plus : j'ai parlé très exactement de cette séquence avec ma copine hier soir. J'ai vu ce reportage il y a quelques années sur le câble. En tout cas merci beaucoup pour le lien.BeRReGoN a écrit :Il y a eu quelques sujets a propos de savoir si une photo ou un vidéo était "fake" ou pas alors en voici un d'un oiseau, le ménure superbe, superb lyrebird en anglais.
http://www.youtube.com/watch?v=VjE0Kdfos4Y
L'oiseau existe bien sur, est-ce que le vidéo et son talent vocal est un montage ou pas?
Richard Dawkins a écrit : If somebody believes that the world is only six thousand years old or of the order of a few thousand years old, when the true age of the earth is of the order or a few billion years old, that means they are out by a factor of... A million. Which is not a trivial error.
Je sais et mes services c'est 200$ US tu peux m'envoyer ça sur paypal.mf9000 a écrit : Incroyable ! Une preuve de télépathie de plus : j'ai parlé très exactement de cette séquence avec ma copine hier soir. J'ai vu ce reportage il y a quelques années sur le câble. En tout cas merci beaucoup pour le lien.
Moi, c'est cette vidéo qui m'a convaincu... quel sens du rythme cet oiseauBeRReGoN a écrit :Moi aussi j'ai le même doute, même si c'est tiré d'un documentaire sérieux, d'autres preuves seraient appréciées.
J'ai les mêmes doutes... J'ai vu le documentaire de la BBC il y a quelques années : je me souviens très bien du déclic d'appareil photo, mais pas du moteur ou de la sirène d'alarme. Je pense que ça m'aurait marqué.Jean-Francois a écrit :Moi, c'est cette vidéo qui m'a convaincu... quel sens du rythme cet oiseauBeRReGoN a écrit :Moi aussi j'ai le même doute, même si c'est tiré d'un documentaire sérieux, d'autres preuves seraient appréciées.![]()
Sérieusement, la plupart de la vidéo initiale m'apparaît vraie mais la partie "moteur" est sans doute un canular. D'ailleurs, vous remarquerez que l'on ne voit pas la tête de l'oiseau à ce moment-là. Par contre l'espèce de déclic d'appareil photo me semble possible, cet oiseau est clairement un bon imitateur. J'ai trouvé deux articles récents sur les capacités d'imitation de cet oiseau*, je l'ai survolé rapidement et n'y ait pas vu de mention d'imitation de sons "artificiels".
Jean-François
* Putland DA et al. (2006) Biology Letters 2:367-370; Zann R, Dunstan E (2008) Animal Behaviour 76:1043-1054.
Richard Dawkins a écrit : If somebody believes that the world is only six thousand years old or of the order of a few thousand years old, when the true age of the earth is of the order or a few billion years old, that means they are out by a factor of... A million. Which is not a trivial error.
Une histoire datant de 1930, ce n'est pas très convaincant sans preuves supplémentaires.Mimicry
A lyrebird's call is a rich mixture of its own song and any number of other sounds it has heard. The lyrebird's syrinx is the most complexly-muscled of the Passerines (songbirds), giving the lyrebird extraordinary ability, unmatched in vocal repertoire and mimicry. Lyrebirds render with great fidelity the individual songs of other birds and the chatter of flocks of birds, and also mimic other animals, human noises, machinery of all kinds, explosions, and musical instruments. The lyrebird is capable of imitating almost any sound — from a mill whistle to a cross-cut saw, and, not uncommonly, sounds as diverse as chainsaws [2], car engines and car alarms, fire alarms, rifle-shots, camera shutters, dogs barking and crying babies. Lyrebirds are shy birds and a constant stream of bird calls coming from one place is often the only way of identifying them and their presence. The female lyrebird is also an excellent mimic, but she is not heard as often as the male lyrebird [3] [4] [5].
One researcher, Sydney Curtis, has recorded flute-like lyrebird calls in the vicinity of the New England National Park. Similarly, in 1969, a park ranger, Neville Fenton, recorded a lyrebird song, which resembled flute sounds, in the New England National Park, near Dorrigo in northern coastal New South Wales. After much detective work by Fenton, it was discovered that in the 1930s, a flute player living on a farm adjoining the park used to play tunes near his pet lyrebird. The lyrebird adopted the tunes into his repertoire, and retained them after release into the park. Neville Fenton forwarded a tape of his recording to Norman Robinson. Because a lyrebird is able to carry two tunes at the same time, Robinson filtered out one of the tunes and put it on the phonograph for the purposes of analysis. The song represents a modified version of two popular tunes in the 1930s: "The Keel Row" and "Mosquito's Dance". Musicologist David Rothenberg has endorsed this information.
An anecdotal example
A Lyrebird's tale
During the early 1930s, a male lyrebird, called "James", formed a close bond of friendship with a human being, Mrs. Wilkinson, after she had been offering food to him over a period of time. James would perform his courtship dance for her on one of his mounds which he had constructed in her backyard — and he would also put on his display for a wider audience, but only when Mrs. Wilkinson was one of those present. On one such occasion, James' performance lasted for forty-three minutes, and included steps to a courtship dance accompanied by his own tune — and also included imitating perfectly the calls of an Australian Magpie, and a young magpie being fed by a parent-bird, a Eastern Whipbird, a Bellbird, a complete laughing-song of a Kookaburra, two Kookaburras laughing in unison, a Yellow-tailed Black-cockatoo, a Gang-gang Cockatoo, an Eastern Rosella, a Pied Butcherbird, a Wattle-bird, a Grey Shrike-thrush, a Thornbill, a White-browed Scrubwren, a Striated Pardalote, a Starling, a Yellow Robin, a Golden Whistler, a flock of parrots whistling in flight, the Crimson Rosella, several other birds whose notes his audience were not able to identify, and the song of honey-eaters (tiny birds with tiny voices), that gather in numbers and "cheep" and twitter in a multitudinous sweet whispering. In order to mimic the honeyeaters' singing faithfully, James was obliged to subdue his powerful voice to the faintest pianissimo, but he contrived, nevertheless, to make each individual note of the soft chorus audibly distinct. Also included in James' performance was his perfect mimicry of the sounds made by a rock-crusher at work, a hydraulic ram, and the tooting of motor-horns.
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