Academic literature on the topic 'Custodianship accounts'

This article presents the history of the administration and management of the Lahore Shahidganj, a site that was disputed between Muslims and Sikhs, from 1850 to 1936. Drawing on a rare and detailed record of land bequest, management of the Shahidganj site by its ‘unreformed’ Sikh mahants from 1850 to 1928, and representations by Anjuman-i Islamia and Shiromani Gurdwara Parbandhak Committee (SGPC), this article accounts for almost 100 years of history of development, use of and ambitions for this site. This highly textured account of personal and familial interests, urban land use and Sikh and Muslim shrine worship and orthodoxy at the Shahidganj is one of very few long-ranging studies of religious endowments in colonial India. The dispute over Shahidganj has largely been understood through the lenses of symbolic association and communal politics; this study complicates the understanding of formation of community at this place of worship in colonial north India by focusing on the nature and significance of custodial control over the site under colonial law and administrative practice. It demonstrates public participation and use of this religious site to be contingent on the rights and practices of custodians, both real and prospective. This article complicates the view that places of worship in colonial India were inherently accessible and supported the formation of religious publics, instead demonstrating how religious uses of the Shahidganj site were managed and deeply contested.

Farmers today are increasingly facing pressure from policy and market forces to improve their environmental performance. Yet – despite widespread recognition of the negative externalities of agriculture on a national and global scale – many farmers would argue that, as “custodians of the countryside” they have always respected and cared for the local environment, and play a central role in creating and maintaining the countryside as we know it today. In this paper, we use evidence emerging from research with farmers across England and Wales to explore farmer accounts of environmental concern and action in the context of both traditional farming values and contemporary imperatives. We draw particularly on scholarly work around constructs of “good farming” to consider the extent to which environmental concern has been accommodated within a wide range of farming contexts across England and Wales. Our findings highlight an intrinsic sense of care towards the environment among farmers and reveal how environmental management has in many ways become an integral part of farming discourse; recognised as synergistic with personal and business goals concerning (i) personal respect for the environment and conservation; (ii) countryside custodianship; (iii) farm legacy and succession; (iv) “good” agricultural practice and compliance with regulation; and/or (v) financial profitability. We discuss some of the issues arising from our findings and offer our thoughts on implications for efforts to encourage farmers to carry out environmentally beneficial activities. Whilst expressions of environmental concern do not necessarily equate to effective action on the ground, recognising that many farmers believe environmental management to be part of good farming practice provides a more positive foundation for engaging with them on this topic than assuming they need to be cajoled into action.

Abstract: This article takes seriously the artistic, intellectual, literary, and curatorial approaches to curation that frame, display, and make meaning out of what is unrepresentable, such as the empty pedestal on which had sat a colonial and/or Confederate monument. By momentarily stepping away from the traditional role of museums to preserve and protect art objects, the article points out the ways exhibitions can produce and affect moods and emotions. If traditionally, museums can account for ownership and custodianship, can an account, therefore, of exhibitions consider spiritual, emotional, or psychic phenomena? In a post-conflict setting such as South Africa, exhibitions like the 2nd Johannesburg Biennale, which centred works about traumatic events like genocide in Rwanda and violent subjugation under apartheid in South Africa, led inevitably to privatisation and art market expansion. The article points to curator Okwui Enwezor’s interest in Africa and Asia.

The penetration of ICT in the management and study of material culture and the emergence of digital cultural repositories and linked cultural data in particular are expected to enable new paths in humanities research and new approaches to cultural heritage. Success is contingent upon securing information trustworthiness, long-term preservation, and the ability to re-use, re-combine and re-interpret digital content. In this perspective, we review the use in the cultural heritage domain of digital curation and curation-aware repository systems; achieving semantic interoperability through ontologies; explicitly addressing contextual issues of cultural heritage and humanities information; and the services of digital research infrastructures. The last two decades have witnessed an increasing penetration of ICT in the management and study of material culture, as well as in the Humanities at large. From collections management, to object documentation and domain modelling, to supporting the creative synthesis and re-interpretation of data, significant progress has been achieved in the development of relevant knowledge structures and software tools. As a consequence of this progress, digital repositories are being created that aim at serving as digital cultural memories, while a process of convergence among the different kinds of memory institutions, i.e., museums, archives, and libraries, in what concerns their information functions is already evolving. Yet the advantages offered by information management technology, mass storage, copying, and the ease of searching and quantitative analysis, are not enough to ensure the usefulness of those digital cultural memories unless information trustworthiness, long-term preservation, and the ability to re-use, re-combine and re-interpret digital content are ensured. Furthermore, the widely encountered need for integrating heterogeneous information becomes all the more pressing in the case of cultural heritage due to the specific traits of information in this domain. In view of the above fundamental requirements, in this presentation we briefly review the leveraging power of certain practices and approaches in realizing the potential of digital cultural memories. In particular, we review the use of digital curation and curation-aware repository systems; achieving semantic interoperability through ontologies; explicitly addressing contextual issues of cultural heritage and humanities information; and the services of digital research infrastructures. Digital curation is an interdisciplinary field of enquiry and practice, which brings together disciplinary traditions and practices from computer science, information science, and disciplines practicing collections-based or data-intensive research, such as history of art, archaeology, biology, space and earth sciences, and application areas 38 such as e-science repositories, organizational records management, and memory institutions (Constantopoulos and Dallas 2008). Digital curation aims at ensuring adequate representation of and long-term access to digital information as its context of use changes, and at mitigating the risk of repositories becoming “data mortuaries”. To this end a lifecycle approach to the representation of curated information objects is adopted; event-centric representations are used to capture information “life events”; the class of agents involved is extended to include knowledge producers and communicators in addition to information custodians; and context-specificity is explicitly addressed. Cultural heritage information comprises representations of actual cultural objects (texts, artefacts, historical records, etc.), their histories, agents (persons and organizations) operating on such objects, and their relationships. It also includes interpretations of and opinions about such objects. The recording of this knowledge is characterized by disciplinary diversity, representational complexity and heterogeneity, historical orientation, and textual bias. These characteristics of information are in line with the character of humanities research: hermeneutic and intertextual, rather than experimental; narrative, rather than formal; idiographic rather than nomothetic; and, conformant to a realist rather than positivist account of episteme (Dallas 1999). The primary use of this information has been to support knowledge-based access, while now it is gradually also being targeted at various synthetic and creative uses. A rich semantic structure, including subsumption, meronymic, temporal, spatial, and various other semantic relations, is inherent to cultural information. Complexity is compounded by terminological inconsistency, subjectivity, multiplicity of interpretation and missing information. From an information lifecycle perspective, digital curation involves a number of distinct processes: appraisal; ingesting; classification, indexing and cataloguing; knowledge enhancement; presentation, publication and dissemination; user experience; repository management; and preservation. These processes rely on three supporting processes, namely, goal and usage modelling, domain modelling and authority management. These processes effectively capture the context of digital curation and produce valuable resources which can themselves be seen as curated digital assets (Constantopoulos and Dallas 2008; Constantopoulos et al. 2009). The field of cultural information presents itself as a privileged domain for digital curation. There is a relatively long history of developing library systems and museum systems, along with recent intense activity on interoperable, semantically rich cultural information systems, boosted by two important developments: the emergence of the CIDOC CRM (ISO 21127) 1 standard ontology for cultural documentation; and the movement for convergence of museum, library and archive systems, one manifestation of which is the CIDOC CRM compatible FRBR-oo model 2 . Advances such as those outlined above allow addressing old research questions in new ways, as well as putting new questions that were very hard or impossible to tackle without the means of digital technologies. Significant enablers towards this direc- 1 http://www.cidoc-crm.org/ 2 http://www.cidoc-crm.org/frbr_inro.html 39 tion are the so-called digital research infrastructures, which bear the promise of facilitating research through sharing tools and data. Several trends can be identified in the development of research infrastructures, which follow two main approaches: a) The normative approach, whereby normalized collections of data and tools are developed as common resources and managed centrally by the infrastructure. b) The regulative approach, whereby resources reside with individual organizations willing to contribute them, under specific terms, to the community. A set of interoperability conditions and mechanisms provide a regulatory function that lies at the heart of the infrastructure. Both approaches are being pursued in all disciplines, but the mix differs: in hard sciences building common normalized infrastructures appears to be a necessity, with a complementary, yet significant role to be played by a network of interoperable, disparate sources. In the humanities, on the other hand, long scholarly traditions have produced a formidable variety of information collections and formats, mostly offering interpreted, rather than raw material for publication and sharing. These conditions favour the development of regulated networks of interoperable sources, with centralized, normative infrastructures in a complementary capacity. By way of example, a recent such infrastructure is DARIAH- GR / ΔΥΑΣ 3 , one of the national constituents of DARIAH-EU 4 , the Europe-wide digital infrastructure in the arts and humanities. DARIAH- GR / ΔΥΑΣ is a hybrid -virtual distributed infrastructure, bringing together the strengths and capacities of leading research, academic, and collection custodian institutions through a carefully defined, lightweight layer of services, tools and activities complementing, rather than attempting to replicate, prior investments and capabilities. Arts and humanities data and content resources are as a rule thematically organized, widely distributed, under the custodianship and curation of diverse institutions, including government agencies and departments, public and private museums, archives and special libraries, as well as academic and research units, associations, research projects, and other actors, and displaying a diverse degree of digitization. The mission of the infrastructure is then to provide the research communities with effective, comprehensive and sustainable capability to discover, access, integrate, analyze, process, curate and disseminate arts and humanities data and information resources, through a concerted plan of virtual services and tools, and hybrid (combined virtual and physical) activities, integrating and running on top of existing primary information systems and leveraging integration and synergies with DARIAH- EU and other related infrastructures and aggregators (e.g. ARIADNE 5 , CARARE 6 , LoCloud 7 ). In its first stage of development, the DARIAH- GR / ΔΥΑΣ Research Infrastructure has offered the following groups of services: 3 http://www.dyas-net.gr/ 4 http://www.dariah.eu/ 5 http://www.ariadne-infrastructure.eu/ 6 http://www.carare.eu/ 7 http://www.locloud.eu/ 40 • Data sharing : comprehensive registries of digital resources; • Supporting the development of digital resources : tools and best practice guidelines for the development of digital resources; • Capacity building: workshops and training activities; and • Digital Humanities Observatory : evidence-based research on digital humanities, monitoring, outreach and dissemination activities. Key factor in the development of DARIAH- GR / ΔΥΑΣ, ARIADNE, CARARE and LoCloud resources alike has been a curation-oriented aggregator, the Metadata and Object Repository - MORe 8 (Gavrilis, Angelis & Dallas 2013; Gavrilis et al. 2013). This system supports the aggregation of metadata from multiple sources (OAI-PMH, Archive, SIP, Omeka, MINT) and heterogeneous systems in a single repository, the creation of unified indexes of normalized and enriched metadata, the creation of RDF databases, and the publication of aggregated records to multiple recipients (OAI- PMH, Archive, Elastic Search, RDF Stores). It enables the dynamic definition of validation and enrichment plans, supported by a number of micro-services, as well as the measurement of metadata quality. MORe can incorporate any XML/RDF metadata schema and can support several intermediate schemas in parallel. Its architecture is based on micro-services, a software development model according to which a complex application is composed of small, independent services communicating via a language-agnostic API, thus being highly reusable. MORe currently maintains access to 30 SKOS-encoded thesauri, totaling several hundred thousands of terms, as well as to copies of the Geo-names and Perio.do services, thus offering information enrichment on the basis of a wide array of sources. Metadata enrichment is a process of automatic generation of metadata through the linking of metadata elements with data sources and/or vocabularies. The enrichment process increases the volume of metadata, but it also considerably enhances their precision, therefore their quality. Performing metadata aggregation and enrichment carries several benefits: increase of repository / site traffic, better retrieval precision, concentration of indexes in one system, better performance of user services. To date MORe is used by 110 content provider institutions, and accommodates 23 different metadata schemas and about 20,800,000 records. The advent of digital infrastructures for arts and humanities research calls for a deeper understanding of how humanists work with digital resources, tools and services as they engage with different aspects of research activity: from capturing, encoding, and publishing scholarly data to analyzing, visualizing, interpreting and communicating data and research argumentation to co-workers and readers. Digitally enabled scholarly work and the integration of digital content, tools and methods present not only commonalities but also differences across disciplines, methodological traditions, and communities of researchers. A significant challenge in providing integrated access to disparate digital humanities resources and, more broadly, in supporting digitally-enabled humanities research, lies in empirically capturing the context of use of digital content, methods and tools. 8 http://more.dcu.gr/ 41 Several attempts have been made to develop a conceptual framework for DH in practice. In 2008, the AHRC ICT Methods Network 9 developed a taxonomy of digital methods in the arts and humanities. This was the basis for the classification of over 200 digital humanities projects funded by the U.K. Arts and Humanities Research Council in the online resource arts-humanities.net, as well as for the subsequent Digital Humanities at Oxford 10 taxonomy. Other initiatives to build a taxonomy of Digital Humanities include TADIRAH 11 and DH Commons 12 . From 2011 to 2015 the Network for Digital Methods in the Arts and Humanities 13 (NeDiMAH) ran over 40 activities structured around key methodological areas in the humanities (digital representations of space and time; visualisation; linked data; creating and using large scale corpora; and creating editions). Through these activities, NeDiMAH gathered a snapshot of the practice of digital humanities in Europe, and the impact of digital methods on research. A key output of NeDiMAH is NeMO 14 : the NeDiMAH Ontology of Digital Methods in the Arts and Humanities . This ontology of digital methods in the humanities has been built as a framework for understanding not just the use of digital methods, but also their relationship to digital content and tools. The development of an ontology, rather than a taxonomy, stands in recognition of the complexity of the digital humanities landscape, the interdisciplinarity of the field, and the dependencies that impact the use of digital methods in research. NeMO provides a conceptual framework capable of representing scholarly work in the humanities, addressing aspects of intentionality and capturing the diverse associations between research actors and their goals, activities undertaken, methods employed, resources and tools used, and outputs produced, with the aim of obtaining semantically rich structured representations of scholarly work (Angelis et al 2015; Hughes, Constantopoulos & Dallas 2016). It is grounded on earlier empirical research through semi-structured interviews with scholars from across Europe, which focused on analysing their research practices and capturing the resulting information requirements for research infrastructures (Benardou, Constantopoulos & Dallas 2013). The relevance of NeMO to the DH community was validated in a series of workshops through use cases contributed by researchers. A variety of complex associative queries articulated by researchers and encoded in SPARQL, demonstrated the potential of NeMO as an effective mechanism for information extraction and reasoning with regard to the use of digital resources in scholarly work and as a knowledge base schema for documenting scholarly practices. In a recent workshop in DH2016, researchers created their own NeMO-based descriptions of projects with an easy to use tool (Constantopoulos et al 2016). 9 http://www.methodsnetwork.ac.uk/index.html 10 https://digital.humanities.ox.ac.uk/people-projects 11 http://tadirah.dariah.eu/vocab/index.php 12 http://dhcommons.org/ 13 http://nedimah.eu/ 14 http://nemo.dcu.gr/ 42 Knowledge bases documenting scholarly practice through NeMO can be useful to researchers by (a) helping them find information on earlier work relevant for their own research; (b) supporting goal-oriented organization of research work; (c) facilitating the discovery of new paths with regard to resources, tools and methods; and, (d) promoting networking among researchers with common interests. In addition research groups can get support for better project planning by explicitly exposing links between goals, actors, activities, methods, resources and tools, as well as assistance for discovering methodological trends, future directions and promising research ideas. Funding agencies, on the other hand, could benefit from the kind of systematic documentation and comparative overview of project work enabled by the ontology.

First Nations’ custodianship of Country has provided incalculable benefits to Australia. Geographical devaluation of this custodianship has been central to settler colonial and later governmental economic and development policy that worked/s to remove First Nations from Country. Indeed, the negation of First Nations sovereignties to extract value from the environment for non-Indigenous dividends underpins the development and operation of state-directed economic activity in Australia. As a result, how First Nations are valued, or not, is tied to cultural, political and economic ideas about First Nations’ presence on Country. Welcome to Country ceremonies exemplify the complexities associated with geographical valuations of First Nations’ presence. Such ceremonies incentivise labour demands for Elder and older First Nations to enact language and culturally specific custodianship even as broader non-Indigenous institutions are hostile to self-determined development and Indigenous sovereignties. The article provides a theoretical account of the geographical valuations and modelling tendencies with respect to First Nations economic development that focus on the state as the key interlocutor. Where scholarship draws attention to the role of the state as recognising the cultural rather than economic dimension of First Nations activities, Welcome to Country ceremonies demonstrate the importance of regional and local scales of First Nations sovereign practices. First Nations and Elder capacities to perform these ceremonies are both a normalised and under-considered element of regional development activities. Welcome to Country constitutes an important case site for understanding the complex interactions between First Nations axiologies and non-Indigenous geographical valuations.

The implementation of the Treasury Single Account (TSA) in Zambia brought about drastic changes in the management of public funds. The Bank of Zambia assumed custodianship of public funds while Commercial Banks remain revenue collection agents throughout the country. This study investigated the effect of the TSA on Commercial Banks Deposit Mobilization and Lending in Zambia. Secondary and Time series data were collected from the Bank of Zambia (BOZ) annual reports covering the pre- and post-TSA implementation eras, over a ten-year period (2010-2019). The independent variable was represented by Government Deposits (representing the TSA), while aggregate Commercial Banks Deposits and Loans and Advances were the dependent variables. The data were analysed using descriptive, regression and correlation analysis, with the aid of IBM SPSS Statistics version 28. The findings of the study revealed that Government Deposits have a significant positive effect on Commercial Banks Deposit Mobilization [(P-value 0.001; (CI: 95%)]. The study also revealed that Government Deposits have significant positive effect on Commercial Banks Loans and Advances [(P-value 0.001; (CI: 95%)]. The trend analysis on Government Deposits further revealed a slow growth in Government Deposits after TSA implementation compared to the pre-TSA period. The trend analysis on Loans and Advances also revealed a slower growth in Loans and Advances during the post –TSA era. The study therefore concluded that the TSA which aims to withdraw Government Deposits from Commercial Banks has a negative effect on Commercial Bank Deposits and their lending ability. The study recommended that banks should develop strategies to attract private sector deposits, to fill the void created by the implementation of the TSA. Banks should come up with innovative solutions to tap into the unbanked population. It is important that banks develop attractive savings products to encourage the culture of saving among citizens. The study further recommended that the Ministry of Finance should consider allowing Commercial Banks involved in revenue collection, a few days float before revenue is remitted to the main TSA account at Bank of Zambia (BOZ).

Abstract Museums which display all of their colonial collections are rare, and those which offer clear information on collection provenances and colonial histories in displays are rarer still. Absence and silence surrounding the colonial past in Europe's museums places them at odds with international pressure to account for the custodianship of colonial-era collections. This is examined here through investigating the silent heritage of the Ruxton Nigeria Collection, held at the Horniman Museum and Gardens in London. Ruxton collected as a military official during Britain's conquest of Nigeria. His collection is typical of assemblages throughout European ethnographic museums, dominated by “everyday” material heritage, not the “treasures” of elites which monopolise restitution discourse. How can provenance research be conducted upon quieter collections dating from the colonial era with little accompanying documentation? What are the potential impacts of such research upon restitution debates? From the available evidence around the Ruxton collection, it is clear that silences are more fundamental than just a matter of archival gaps, and if silences remain even after provenance research (which many museums are unable to conduct on all of their collections), then we need to question not only why and how collections are displayed, but how museums justify having them at all.

IntroductionRegional identity is a constant construction, in which landscape, human activity and cultural imaginary build a narrative of place. For the Tasmanian Midlands, the interactions between history, ecology and agriculture both define place and present problems in how to recognise, communicate and balance these interactions. In this sense, regionality is defined not so much as a relation of margin to centre, but as a specific accretion of environmental and cultural histories. According weight to more-than-human perspectives, a region can be seen as a constellation of plant, animal and human interactions and demands, where creative art and design can make space and give voice to the dynamics of exchange between the landscape and its inhabitants. Consideration of three recent art and design projects based in the Midlands reveal the potential for cross-disciplinary research, embedded in both environment and community, to create distinctive and specific forms of connectivity that articulate a regional identify.The Tasmanian Midlands have been identified as a biodiversity hotspot (Australian Government), with a long history of Aboriginal cultural management disrupted by colonial invasion. Recent archaeological work in the Midlands, including the Kerry Lodge Archaeology and Art Project, has focused on the use of convict labour during the nineteenth century in opening up the Midlands for settler agriculture and transport. Now, the Midlands are placed under increasing pressure by changing agricultural practices such as large-scale irrigation. At the same time as this intensification of agricultural activity, significant progress has been made in protecting, preserving and restoring endemic ecologies. This progress has come through non-government conservation organisations, especially Greening Australia and their program Tasmanian Island Ark, and private landowners placing land under conservation covenants. These pressures and conservation activities give rise to research opportunities in the biological sciences, but also pose challenges in communicating the value of conservation and research outcomes to a wider public. The Species Hotel project, beginning in 2016, engaged with the aims of restoration ecology through speculative design while The Marathon Project, a multi-year curatorial art project based on a single property that contains both conservation and commercially farmed zones.This article questions the role of regionality in these three interconnected projects—Kerry Lodge, Species Hotel, and Marathon—sited in the Tasmanian Midlands: the three projects share a concern with the specificities of the region through engagement with specifics sites and their histories and ecologies, while also acknowledging the forces that shape these sites as far more mobile and global in scope. It also considers the interdisciplinary nature of these projects, in the crossover of art and design with ecological, archaeological and agricultural practices of measuring and intervening in the land, where communication and interpretation may be in tension with functionality. These projects suggest ways of working that connect the ecological and the cultural spheres; importantly, they see rural locations as sites of knowledge production; they test the value of small-scale and ephemeral interventions to explore the place of art and design as intervention within colonised landscape.Regions are also defined by overlapping circles of control, interest, and authority. We test the claim that these projects, which operate through cross-disciplinary collaboration and network with a range of stakeholders and community groups, successfully benefit the region in which they are placed. We are particularly interested in the challenges of working across institutions which both claim and enact connections to the region without being centred there. These projects are initiatives resulting from, or in collaboration with, University of Tasmania, an institution that has taken a recent turn towards explicitly identifying as place-based yet the placement of the Midlands as the gap between campuses risks attenuating the institution’s claim to be of this place. Paul Carter, in his discussion of a regional, site-specific collaboration in Alice Springs, flags how processes of creative place-making—operating through mythopoetic and story-based strategies—requires a concrete rather than imagined community that actively engages a plurality of voices on the ground. We identify similar concerns in these art and design projects and argue that iterative and long-term creative projects enable a deeper grappling with the complexities of shared regional place-making. The Midlands is aptly named: as a region, it is defined by its geographical constraints and relationships to urban centres. Heading south from the northern city of Launceston, travellers on the Midland Highway see scores of farming properties networking continuously for around 175 kilometres south to the outskirts of Brighton, the last major township before the Tasmanian capital city of Hobart. The town of Ross straddles latitude 42 degrees south—a line that has historically divided Tasmania into the divisions of North and South. The region is characterised by extensive agricultural usage and small remnant patches of relatively open dry sclerophyll forest and lowland grassland enabled by its lower attitude and relatively flatter terrain. The Midlands sit between the mountainous central highlands of the Great Western Tiers and the Eastern Tiers, a continuous range of dolerite hills lying south of Ben Lomond that slope coastward to the Tasman Sea. This area stretches far beyond the view of the main highway, reaching east in the Deddington and Fingal valleys. Campbell Town is the primary stopping point for travellers, superseding the bypassed towns, which have faced problems with lowering population and resulting loss of facilities.Image 1: Southern Midland Landscape, Ross, Tasmania, 2018. Image Credit: Patrick Sutczak.Predominantly under private ownership, the Tasmanian Midlands are a contested and fractured landscape existing in a state of ecological tension that has occurred with the dominance of western agriculture. For over 200 years, farmers have continually shaped the land and carved it up into small fragments for different agricultural agendas, and this has resulted in significant endemic species decline (Mitchell et al.). The open vegetation was the product of cultural management of land by Tasmanian Aboriginal communities (Gammage), attractive to settlers during their distribution of land grants prior to the 1830s and a focus for settler violence. As documented cartographically in the Centre for 21st Century Humanities’ Colonial Frontier Massacres in Central and Eastern Australia 1788–1930, the period 1820–1835, and particularly during the Black War, saw the Midlands as central to the violent dispossession of Aboriginal landowners. Clements argues that the culture of violence during this period also reflected the brutalisation that the penal system imposed upon its subjects. The cultivation of agricultural land throughout the Midlands was enabled by the provision of unfree convict labour (Dillon). Many of the properties granted and established during the colonial period have been held in multi-generational family ownership through to the present.Within this patchwork of private ownership, the tension between visibility and privacy of the Midlands pastures and farmlands challenges the capacity for people to understand what role the Midlands plays in the greater Tasmanian ecology. Although half of Tasmania’s land areas are protected as national parks and reserves, the Midlands remains largely unprotected due to private ownership. When measured against Tasmania’s wilderness values and reputation, the dry pasturelands of the Midland region fail to capture an equivalent level of visual and experiential imagination. Jamie Kirkpatrick describes misconceptions of the Midlands when he writes of “[f]latness, dead and dying eucalypts, gorse, brown pastures, salt—environmental devastation […]—these are the common impression of those who first travel between Spring Hill and Launceston on the Midland Highway” (45). However, Kirkpatrick also emphasises the unique intimate and intricate qualities of this landscape, and its underlying resilience. In the face of the loss of paddock trees and remnants to irrigation, change in species due to pasture enrichment and introduction of new plant species, conservation initiatives that not only protect but also restore habitat are vital. The Tasmanian Midlands, then, are pastoral landscapes whose seeming monotonous continuity glosses over the radical changes experienced in the processes of colonisation and intensification of agriculture.Underlying the Present: Archaeology and Landscape in the Kerry Lodge ProjectThe major marker of the Midlands is the highway that bisects it. Running from Hobart to Launceston, the construction of a “great macadamised highway” (Department of Main Roads 10) between 1820–1850, and its ongoing maintenance, was a significant colonial project. The macadam technique, a nineteenth century innovation in road building which involved the laying of small pieces of stone to create a surface that was relatively water and frost resistant, required considerable but unskilled labour. The construction of the bridge at Kerry Lodge, in 1834–35, was simultaneous with significant bridge buildings at other major water crossings on the highway, (Department of Main Roads 16) and, as the first water crossing south of Launceston, was a pinch-point through which travel of prisoners could be monitored and controlled. Following the completion of the bridge, the site was used to house up to 60 male convicts in a road gang undergoing secondary punishment (1835–44) and then in a labour camp and hiring depot until 1847. At the time of the La Trobe report (1847), the buildings were noted as being in bad condition (Brand 142–43). After the station was disbanded, the use of the buildings reverted to the landowners for use in accommodation and agricultural storage.Archaeological research at Kerry Lodge, directed by Eleanor Casella, investigated the spatial and disciplinary structures of smaller probation and hiring depots and the living and working conditions of supervisory staff. Across three seasons (2015, 2016, 2018), the emerging themes of discipline and control and as well as labour were borne out by excavations across the site, focusing on remnants of buildings close to the bridge. This first season also piloted the co-presence of a curatorial art project, which grew across the season to include eleven practitioners in visual art, theatre and poetry, and three exhibition outcomes. As a crucial process for the curatorial art project, creative practitioners spent time on site as participants and observers, which enabled the development of responses that interrogated the research processes of archaeological fieldwork as well as making connections to the wider historical and cultural context of the site. Immersed in the mundane tasks of archaeological fieldwork, the practitioners involved became simultaneously focused on repetitive actions while contemplating the deep time contained within earth. This experience then informed the development of creative works interrogating embodied processes as a language of site.The outcome from the first fieldwork season was earthspoke, an exhibition shown at Sawtooth, an artist-run initiative in Launceston in 2015, and later re-installed in Franklin House, a National Trust property in the southern suburbs of Launceston.Images 2 and 3: earthspoke, 2015, Installation View at Sawtooth ARI (top) and Franklin House (bottom). Image Credits: Melanie de Ruyter.This recontextualisation of the work, from contemporary ARI (artist run initiative) gallery to National Trust property enabled the project to reach different audiences but also raised questions about the emphases that these exhibition contexts placed on the work. Within the white cube space of the contemporary gallery, connections to site became more abstracted while the educational and heritage functions of the National Trust property added further context and unintended connotations to the art works.Image 4: Strata, 2017, Installation View. Image Credit: Karen Hall.The two subsequent exhibitions, Lines of Site (2016) and Strata (2017), continued to test the relationship between site and gallery, through works that rematerialised the absences on site and connected embodied experiences of convict and archaeological labour. The most recent iteration of the project, Strata, part of the Ten Days on the Island art festival in 2017, involved installing works at the site, marking with their presence the traces, fragments and voids that had been reburied when the landscape returned to agricultural use following the excavations. Here, the interpretive function of the works directly addressed the layered histories of the landscape and underscored the scope of the human interventions and changes over time within the pastoral landscape. The interpretative role of the artworks formed part of a wider, multidisciplinary approach to research and communication within the project. University of Manchester archaeology staff and postgraduate students directed the excavations, using volunteers from the Launceston Historical Society. Staff from Launceston’s Queen Victorian Museum and Art Gallery brought their archival and collection-based expertise to the site rather than simply receiving stored finds as a repository, supporting immediate interpretation and contextualisation of objects. In 2018, participation from the University of Tasmania School of Education enabled a larger number of on-site educational activities than afforded by previous open days. These multi-disciplinary and multi-organisational networks, drawn together provisionally in a shared time and place, provided rich opportunities for dialogue. However, the challenges of sustaining these exchanges have meant ongoing collaborations have become more sporadic, reflecting different institutional priorities and competing demands on participants. Even within long-term projects, continued engagement with stakeholders can be a challenge: while enabling an emerging and concrete sense of community, the time span gives greater vulnerability to external pressures. Making Home: Ecological Restoration and Community Engagement in the Species Hotel ProjectImages 5 and 6: Selected Species Hotels, Ross, Tasmania, 2018. Image Credits: Patrick Sutczak. The Species Hotels stand sentinel over a river of saplings, providing shelter for animal communities within close range of a small town. At the township of Ross in the Southern Midlands, work was initiated by restoration ecologists to address the lack of substantial animal shelter belts on a number of major properties in the area. The Tasmania Island Ark is a major Greening Australia restoration ecology initiative, connecting 6000 hectares of habitat across the Midlands. Linking larger forest areas in the Eastern Tiers and Central Highlands as well as isolated patches of remnant native vegetation, the Ark project is vital to the ongoing survival of local plant and animal species under pressure from human interventions and climate change. With fragmentation of bush and native grasslands in the Midland landscape resulting in vast open plains, the ability for animals to adapt to pasturelands without shelter has resulted in significant decline as animals such as the critically endangered Eastern Barred Bandicoot struggle to feed, move, and avoid predators (Cranney). In 2014 mass plantings of native vegetation were undertaken along 16km of the serpentine Macquarie River as part of two habitat corridors designed to bring connectivity back to the region. While the plantings were being established a public art project was conceived that would merge design with practical application to assist animals in the area, and draw community and public attention to the work that was being done in re-establishing native forests. The Species Hotel project, which began in 2016, emerged from a collaboration between Greening Australia and the University of Tasmania’s School of Architecture and Design, the School of Land and Food, the Tasmanian College of the Arts and the ARC Centre for Forest Value, with funding from the Ian Potter Foundation. The initial focus of the project was the development of interventions in the landscape that could address the specific habitat needs of the insect, small mammal, and bird species that are under threat. First-year Architecture students were invited to design a series of structures with the brief that they would act as ‘Species Hotels’, and once created would be installed among the plantings as structures that could be inhabited or act as protection. After installation, the privately-owned land would be reconfigured so to allow public access and observation of the hotels, by residents and visitors alike. Early in the project’s development, a concern was raised during a Ross community communication and consultation event that the surrounding landscape and its vistas would be dramatically altered with the re-introduced forest. While momentary and resolved, a subtle yet obvious tension surfaced that questioned the re-writing of an established community’s visual landscape literacy by non-residents. Compact and picturesque, the architectural, historical and cultural qualities of Ross and its location were not only admired by residents, but established a regional identity. During the six-week intensive project, the community reach was expanded beyond the institution and involved over 100 people including landowners, artists, scientists and school children from the region (Wright), attempting to address and channel the concerns of residents about the changing landscape. The multiple timescales of this iterative project—from intensive moments of collaboration between stakeholders to the more-than-human time of tree growth—open spaces for regional identity to shift as both as place and community. Part of the design brief was the use of fully biodegradable materials: the Species Hotels are not expected to last forever. The actual installation of the Species Hotelson site took longer than planned due to weather conditions, but once on site they were weathering in, showing signs of insect and bird habitation. This animal activity created an opportunity for ongoing engagement. Further activities generated from the initial iteration of Species Hotel were the Species Hotel Day in 2017, held at the Ross Community Hall where presentations by scientists and designers provided feedback to the local community and presented opportunities for further design engagement in the production of ephemeral ‘species seed pies’ placed out in and around Ross. Architecture and Design students have gone on to develop more examples of ‘ecological furniture’ with a current focus on insect housing as well as extrapolating from the installation of the Species Hotels to generate a VR visualisation of the surrounding landscape, game design and participatory movement work that was presented as part of the Junction Arts Festival program in Launceston, 2017. The intersections of technologies and activities amplified the lived in and living qualities of the Species Hotels, not only adding to the connectivity of social and environmental actions on site and beyond, but also making a statement about the shared ownership this project enabled.Working Property: Collaboration and Dialogues in The Marathon Project The potential of iterative projects that engage with environmental concerns amid questions of access, stewardship and dialogue is also demonstrated in The Marathon Project, a collaborative art project that took place between 2015 and 2017. Situated in the Northern Midland region of Deddington alongside the banks of the Nile River the property of Marathon became the focal point for a small group of artists, ecologists and theorists to converge and engage with a pastoral landscape over time that was unfamiliar to many of them. Through a series of weekend camps and day trips, the participants were able to explore and follow their own creative and investigative agendas. The project was conceived by the landowners who share a passion for the history of the area, their land, and ideas of custodianship and ecological responsibility. The intentions of the project initially were to inspire creative work alongside access, engagement and dialogue about land, agriculture and Deddington itself. As a very small town on the Northern Midland fringe, Deddington is located toward the Eastern Tiers at the foothills of the Ben Lomond mountain ranges. Historically, Deddington is best known as the location of renowned 19th century landscape painter John Glover’s residence, Patterdale. After Glover’s death in 1849, the property steadily fell into disrepair and a recent private restoration effort of the home, studio and grounds has seen renewed interest in the cultural significance of the region. With that in mind, and with Marathon a neighbouring property, participants in the project were able to experience the area and research its past and present as a part of a network of working properties, but also encouraging conversation around the region as a contested and documented place of settlement and subsequent violence toward the Aboriginal people. Marathon is a working property, yet also a vital and fragile ecosystem. Marathon consists of 1430 hectares, of which around 300 lowland hectares are currently used for sheep grazing. The paddocks retain their productivity, function and potential to return to native grassland, while thickets of gorse are plentiful, an example of an invasive species difficult to control. The rest of the property comprises eucalypt woodlands and native grasslands that have been protected under a conservation covenant by the landowners since 2003. The Marathon creek and the Nile River mark the boundary between the functional paddocks and the uncultivated hills and are actively managed in the interface between native and introduced species of flora and fauna. This covenant aimed to preserve these landscapes, linking in with a wider pattern of organisations and landowners attempting to address significant ecological degradation and isolation of remnant bushland patches through restoration ecology. Measured against the visibility of Tasmania’s wilderness identity on the national and global stage, many of the ecological concerns affecting the Midlands go largely unnoticed. The Marathon Project was as much a project about visibility and communication as it was about art and landscape. Over the three years and with its 17 participants, The Marathon Project yielded three major exhibitions along with numerous public presentations and research outputs. The length of the project and the autonomy and perspectives of its participants allowed for connections to be formed, conversations initiated, and greater exposure to the productivity and sustainability complexities playing out on rural Midland properties. Like Kerry Lodge, the 2015 first year exhibition took place at Sawtooth ARI. The exhibition was a testing ground for artists, and a platform for audiences, to witness the cross-disciplinary outputs of work inspired by a single sheep grazing farm. The interest generated led to the rethinking of the 2016 exhibition and the need to broaden the scope of what the landowners and participants were trying to achieve. Image 7: Panel Discussion at Open Weekend, 2016. Image Credit: Ron Malor.In November 2016, The Marathon Project hosted an Open Weekend on the property encouraging audiences to visit, meet the artists, the landowners, and other invited guests from a number of restoration, conservation, and rehabilitation organisations. Titled Encounter, the event and accompanying exhibition displayed in the shearing shed, provided an opportunity for a rhizomatic effect with the public which was designed to inform and disseminate historical and contemporary perspectives of land and agriculture, access, ownership, visitation and interpretation. Concluding with a final exhibition in 2017 at the University of Tasmania’s Academy Gallery, The Marathon Project had built enough momentum to shape and inform the practice of its participants, the knowledge and imagination of the public who engaged with it, and make visible the precarity of the cultural and rural Midland identity.Image 8. Installation View of The Marathon Project Exhibition, 2017. Image Credit: Patrick Sutczak.ConclusionThe Marathon Project, Species Hotel and the Kerry Lodge Archaeology and Art Project all demonstrate the potential of site-based projects to articulate and address concerns that arise from the environmental and cultural conditions and histories of a region. Beyond the Midland fence line is a complex environment that needed to be experienced to be understood. Returning creative work to site, and opening up these intensified experiences of place to a public forms a key stage in all these projects. Beyond a commitment to site-specific practice and valuing the affective and didactic potential of on-site installation, these returns grapple with issues of access, visibility and absence that characterise the Midlands. Paul Carter describes his role in the convening of a “concretely self-realising creative community” in an initiative to construct a meeting-place in Alice Springs, a community defined and united in “its capacity to imagine change as a negotiation between past, present and future” (17). Within that regional context, storytelling, as an encounter between histories and cultures, became crucial in assembling a community that could in turn materialise story into place. In these Midlands projects, a looser assembly of participants with shared interests seek to engage with the intersections of plant, human and animal activities that constitute and negotiate the changing environment. The projects enabled moments of connection, of access, and of intervention: always informed by the complexities of belonging within regional locations.These projects also suggest the need to recognise the granularity of regionalism: the need to be attentive to the relations of site to bioregion, of private land to small town to regional centre. The numerous partnerships that allow such interconnect projects to flourish can be seen as a strength of regional areas, where proximity and scale can draw together sets of related institutions, organisations and individuals. However, the tensions and gaps within these projects reveal differing priorities, senses of ownership and even regional belonging. Questions of who will live with these project outcomes, who will access them, and on what terms, reveal inequalities of power. Negotiations of this uneven and uneasy terrain require a more nuanced account of projects that do not rely on the geographical labelling of regions to paper over the complexities and fractures within the social environment.These projects also share a commitment to the intersection of the social and natural environment. They recognise the inextricable entanglement of human and more than human agencies in shaping the landscape, and material consequences of colonialism and agricultural intensification. Through iteration and duration, the projects mobilise processes that are responsive and reflective while being anchored to the materiality of site. Warwick Mules suggests that “regions are a mixture of data and earth, historically made through the accumulation and condensation of material and informational configurations”. Cross-disciplinary exchanges enable all three projects to actively participate in data production, not interpretation or illustration afterwards. Mules’ call for ‘accumulation’ and ‘configuration’ as productive regional modes speaks directly to the practice-led methodologies employed by these projects. The Kerry Lodge and Marathon projects collect, arrange and transform material taken from each site to provisionally construct a regional material language, extended further in the dual presentation of the projects as off-site exhibitions and as interventions returning to site. The Species Hotel project shares that dual identity, where materials are chosen for their ability over time, habitation and decay to become incorporated into the site yet, through other iterations of the project, become digital presences that nonetheless invite an embodied engagement.These projects centre the Midlands as fertile ground for the production of knowledge and experiences that are distinctive and place-based, arising from the unique qualities of this place, its history and its ongoing challenges. Art and design practice enables connectivity to plant, animal and human communities, utilising cross-disciplinary collaborations to bring together further accumulations of the region’s intertwined cultural and ecological landscape.ReferencesAustralian Government Department of the Environment and Energy. Biodiversity Conservation. Canberra: Commonwealth of Australia, 2018. 1 Apr. 2019 <http://www.environment.gov.au/biodiversity/conservation>.Brand, Ian. The Convict Probation System: Van Diemen’s Land 1839–1854. Sandy Bay: Blubber Head Press, 1990.Carter, Paul. “Common Patterns: Narratives of ‘Mere Coincidence’ and the Production of Regions.” Creative Communities: Regional Inclusion & the Arts. Eds. Janet McDonald and Robert Mason. Bristol: Intellect, 2015. 13–30.Centre for 21st Century Humanities. Colonial Frontier Massacres in Central and Eastern Australia 1788–1930. Newcastle: Centre for 21st Century Humanitie, n.d. 1 Apr. 2019 <https://c21ch.newcastle.edu.au/colonialmassacres/>.Clements, Nicholas. The Black War: Fear, Sex and Resistance in Tasmania. St Lucia: U of Queensland P, 2014. Cranney, Kate. Ecological Science in the Tasmanian Midlands. Melbourne: Bush Heritage Australia, 2016. 1 Apr. 2019 <https://www.bushheritage.org.au/blog/ecological-science-in-the-tasmanian-midlands>.Davidson N. “Tasmanian Northern Midlands Restoration Project.” EMR Summaries, Journal of Ecological Management & Restoration, 2016. 10 Apr. 2019 <https://site.emrprojectsummaries.org/2016/03/07/tasmanian-northern-midlands-restoration-project/>.Department of Main Roads, Tasmania. Convicts & Carriageways: Tasmanian Road Development until 1880. Hobart: Tasmanian Government Printer, 1988.Dillon, Margaret. “Convict Labour and Colonial Society in the Campbell Town Police District: 1820–1839.” PhD Thesis. U of Tasmania, 2008. <https://eprints.utas.edu.au/7777/>.Gammage, Bill. The Biggest Estate on Earth: How Aborigines Made Australia. Crows Nest: Allen & Unwin, 2012.Greening Australia. Building Species Hotels, 2016. 1 Apr. 2019 <https://www.greeningaustralia.org.au/projects/building-species-hotels/>.Kerry Lodge Archaeology and Art Project. Kerry Lodge Convict Site. 10 Mar. 2019 <http://kerrylodge.squarespace.com/>.Kirkpatrick, James. “Natural History.” Midlands Bushweb, The Nature of the Midlands. Ed. Jo Dean. Longford: Midlands Bushweb, 2003. 45–57.Mitchell, Michael, Michael Lockwood, Susan Moore, and Sarah Clement. “Building Systems-Based Scenario Narratives for Novel Biodiversity Futures in an Agricultural Landscape.” Landscape and Urban Planning 145 (2016): 45–56.Mules, Warwick. “The Edges of the Earth: Critical Regionalism as an Aesthetics of the Singular.” Transformations 12 (2005). 1 Mar. 2019 <http://transformationsjournal.org/journal/issue_12/article_03.shtml>.The Marathon Project. <http://themarathonproject.virb.com/home>.University of Tasmania. Strategic Directions, Nov. 2018. 1 Mar. 2019 <https://www.utas.edu.au/vc/strategic-direction>.Wright L. “University of Tasmania Students Design ‘Species Hotels’ for Tasmania’s Wildlife.” Architecture AU 24 Oct. 2016. 1 Apr. 2019 <https://architectureau.com/articles/university-of-tasmania-students-design-species-hotels-for-tasmanias-wildlife/>.

Abstract We present a thought experiment exploring the role of more-than-human–human relations in the socio-political fabric of smart cities and historical political conflicts in Palestine. The site of focus (and struggle) is Palestinian East Jerusalem, where ‘natural’ land protections create inequities. We interrogate decentring of humans experiencing oppression while centring non-human entities at the intersection of land, race, natural, and cultural heritage in imagining a smart ‘just’ East Jerusalem. We argue decentring may create dualities that do not adequately account for issues of power, risking further marginalisation for those on the periphery of existing power structures. We propose alternative framings of custodianship, evoking multiple dimensions across geography and temporalities to reimagine more equitable and emergent justice founded on decolonial more-than-human–human relations.