When negotiating a narrow gap, honeybees tend to fly through the middle of the gap, balancing the distances to the boundary on either side. To investigate the basis of this "centering response," bees were trained to fly through a tunnel on their way to a feeding site and back, while their flight trajectories were filmed from above. The wall on either side carried a visual pattern. When the patterns were stationary vertical gratings, bees tended to fly through the middle of the tunnel, i.e. along its longitudinal axis. However, when one of the gratings was in motion, bees flying in the same direction as the moving grating tended to fly closer to it, while bees flying in the opposite direction tended to fly closer to the stationary grating. This demonstrates, directly and unequivocally, that flying bees estimate the distances of surfaces in terms of the apparent motion of their images. A series of further experiments revealed that the distance to the gratings is gauged in terms of their apparent angular speeds, and that the visual system of the bee is capable of measuring angular speed largely independently of the spatial period, intensity profile, or contrast of the grating. Thus, the motion-sensitive mechanisms mediating range perception appear to be qualitatively different from those that mediate the well-known optomotor response in insects, or those involved in motion detection and ocular tracking in man.

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A mechanical model of a dancing honeybee was used to investigate the role of various components of the wagging dance in the transfer of information to follower bees. The model simulates the dance, carries a scent, and has an acoustic near-field similar to that of live dancers. The movements of the model are controlled by a computer, and selected components of the dance can be manipulated independently of others. The number of bees approaching scented baits at various distances and directions from the hive was observed, both during simulated "normal" dances and dances in which different components provided potentially conflicting information about the location of the food. The results indicate that the wagging run is the" master component" of the dance. The figure-of-eight dance path does not seem to convey information. Both sound and wagging must be present in the dance, but no specific roles were found for these components. Both sound and wagging convey information about distance and direction, and they appear to be largely redundant.

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