Journal articles on the topic 'Golf mower'

Warm season turfgrasses can be grown successfully in the transition zone, but dormancy occurs to some extent during the winter. Overseeding with cool-season turfgrasses is necessary if winter dormancy of warm season turfgrasses is not tolerated. The increasing availability of zoysiagrass cultivars has enabled this genus to be considered suitable for low-maintenance golf courses, especially for golf tees and golf fairways. On the other hand, zoysiagrasses have the most rigid leaves of all turfgrass species, followed by bermudagrasses and by the other warm season turf species. Thus, to have a high mowing quality, mowers working constantly on zoysiagrasses require more sharpening than mowers working on other grasses. Rotary mowers are not suitable for mowing at low heights and often result in scalping, while reel mowers perform optimal mowing at a short height (below 2.5 cm) but require accurate management and frequent sharpening. Autonomous mowers have proven to produce a superior turf quality compared with traditional walk-behind rotary mowers, but no autonomous mower has ever been tested at a low mowing height on an overseeded warm season turfgrass. Because of this, the trial was carried out to simulate a golf tee overseeded with cool season turfgrasses, with low input fertilisation rates and with one of the most difficult turf species to mow; i.e. Zoysia matrella (L.) Merr. The trial was carried out in San Piero a Grado (Pisa, Italy) from October 2016 to October 2018. After a two-year period the best turf quality was achieved with Festuca rubra L. ssp. cultivars among the overseeded species, especially during fall. In many cases turf quality increased after manila grass green up since the combination of both cool season and warm season species gave a higher quality to the turfgrass, due to the finer leaf texture and higher shoot density of some cool season species. Moreover, recovery of manila grass ground cover was satisficing. In conclusion, a polystand of manila grass and Festuca rubra ssp. could be suitable for golf tees with low-input management.

The recent release of `True-Putt' (previously `DW-184') creeping bluegrass [Poa annua L. f. reptans (Hauskins) T. Koyama] gives turfgrass managers a new option for seeding into annual bluegrass (Poa annua L.) greens. Because little is known about the culture and management of this newly available seeded cultivar, effective methods for seedling establishment into existing turfgrass canopies, both living and dead, were studied. Four surface cultivation treatments were compared for seedbed preparation before seeding into an existing turfgrass canopy. When seeding into dead turf, two passes with vertical mowing units were more effective than hollow-tine cultivation (HTC), solid-tine cultivation (STC), one pass with the vertical mower plus STC, and the uncultivated control during the first year. Differences were not significant during the second year, most likely because of shallower depth of the vertical mower. Plots averaged about 75% cover by 4 weeks after planting during both years, illustrating the rapid establishment potential for `True-Putt'. After seeding into a live turf canopy, seedlings were indistinguishable from the existing turf, making it impossible to evaluate establishment success.

This study is about the manufacturing of a personified automatic robotic lawn mower with image recognition. The system structure is that the platform above the crawler tracks is combined with the lawn mower, steering motor, slide rail, and webcam to achieve the purpose of personification. Crawler tracks with a strong grip and good ability to adapt to terrain are selected as a moving vehicle to simulate human feet. In addition, a lawn mower mechanism is designed to simulate the left and right swing of human mowing to promote efficiency and innovation, and then human eyes are replaced by Webcam to identify obstacles. A human-machine interface is added so that through the mobile phone remote operation, users can choose a slow mode, inching mode, and obstacle avoidance mode on the human-machine interface. When the length of both sides of the rectangular area is input to the program, the automatic robotic lawn mower will complete the instruction according to the specified path. The chip of a Digital Signal Processor (DSP) TMS320F2808 is used as the core controller, and Raspberry Pi is used as image recognition and human-machine interface design. This robot can reduce labor costs and improve the efficiency of mowing by remote control. In addition to the use as an automatic mower on farms, this study concept can also be used in the lawn maintenance of golf courses and school playgrounds.

Creeping bentgrass (Agrostis stolonifera var. palustris Huds.) is desirable as a putting green turfgrass in the transition zone as a result of year-round green color, ball roll, and playability. However, management challenges exist for bentgrass greens, including winter temperature fluctuations. Frosts often cause cancellations or delays of tee time resulting in lost revenue. In response to this winter golf course management issue, a research project was initiated at Clemson University from 1 Dec. 2005 and 2006 to 1 Aug. 2006 and 2007 on a ‘L93’ creeping bentgrass putting green to determine the impacts of foot traffic or mower traffic and time of traffic application on bentgrass winter performance. Treatments consisted of no traffic (control), foot traffic, and walk-behind mower traffic (rolling) at 0700 and 0900 hr when canopy temperatures were at or below 0 °C. Foot traffic included ≈75 steps within each plot using size 10 SP-4 Saddle Nike golf shoes (soft-spiked sole) administered by a researcher weighing ≈75 kg. A Toro Greensmaster 800 walk-behind greens mower weighing 92 kg with a 45.7-cm roller was used for rolling traffic. Data collected included canopy and soil temperatures (7.6 cm depth), visual turfgrass quality (TQ), clipping yield (g·m−2), shoot chlorophyll concentration (mg·g−1), root total nonstructural carbohydrates (TNC) (mg·g−1), soil bulk density (g·cm−3), and water infiltration rates (cm·h−1). Time and type of traffic significantly influenced bentgrass winter performance. On all TQ rating dates, 0700 hr rolling traffic decreased TQ by ≈1.1 units compared with foot traffic at 0700 hr. In December, regardless of traffic application time, rolling traffic reduced bentgrass shoot growth ≈17%. However, in February, chlorophyll, soil bulk density, and water infiltration differences were not detected. By the end of March, all treatments had acceptable TQ. Root TNC was unaffected in May, whereas shoot chlorophyll concentrations were unaffected in May and August. This study indicates bentgrass damage resulting from winter traffic is limited to winter and early spring months and full recovery should be expected by summer.

Sand size can affect the ability to incorporate topdressing into the turf canopy and thatch on golf course putting greens; unincorporated sand interferes with mowing and play. This 3-year field trial was initiated to determine the effects of sand size on sand incorporation, surface wetness, and anthracnose (caused by Colletotrichum cereale Manns sensu lato Crouch, Clarke, and Hillman) of annual bluegrass [Poa annua L. f. reptans (Hausskn) T. Koyama] maintained as a putting green. The experimental design was a randomized complete block with four replications; treatments included a non-topdressed control and three topdressing sands (medium-coarse, medium, or medium-fine) applied every 2 weeks at 0.15 L·m−2 during the summer. Topdressing with medium-coarse sand was more difficult to incorporate than the medium and medium-fine sands, resulting in a greater quantity of sand collected with mower clippings. Analyzing the particle distribution of sand removed by mowing confirmed that coarser sand particles were more likely to be removed in mower clippings. Surface wetness measured as volumetric water content (VWC) at the 0- to 38-mm depth zone was greater in non-topdressed plots than topdressed plots on 35% of observations. Few differences in VWC were found among sand size treatments. Turf responses to topdressing were not immediate; however, as sand accumulated in the turf canopy, topdressed plots typically had lower anthracnose severity than non-topdressed turf after the first year. Additionally, topdressing with medium and medium-fine sands produced similar or occasionally lower disease severity than topdressing with medium-coarse sand. The lack of negative effects of medium and medium-fine sands combined with better incorporation after topdressing and less disruption to the putting surface should allow golf course superintendents to apply topdressing at frequencies and/or quantities needed during the summer to maintain high-quality turf and playing conditions.

Ataenius spretulus (Haldeman) (Coleoptera: Scarabaeidae) is the most common grub in golf course fairways in Michigan. Ataenius spretulus grubs are 3- to 10-fold more abundant in golf course fairways (mowed at a height of 1.5 cm) than in the roughs (mowed at a height of 5.0 cm or higher). Predation and infection by Paenibacillus sp. were previously reported to be greater in the rough, and may partially explain outbreaks of A. spretulus grubs in golf course fairways. In addition to natural enemies, cultural practices of irrigation and mowing could also be important factors, especially if A. spretulus prefers to oviposit in the fairway over the rough. In this paper we examine the impact of soil moisture and mowing height on oviposition and habitat selection. In a greenhouse experiment where A. spretulus adults were given a choice of turf maintained at fairway or rough height, no ovipositional preference for one or the other was observed. In three different growth chamber experiments where adults were allowed to choose among fairway or rough turf plugs held in soil at different moisture levels, adults preferred turf plugs in soil at a volumetric moisture content of 13% to 26% over turf plugs in soil at 8% to 9% moisture for their habitat selection. We conclude from these greenhouse and growth chamber experiments that A. spretulus adults do not choose turf habitat based on mowing height, but may be influenced by soil moisture levels.

The effect of mowing regime on lateral spread and rhizome growth of dallisgrass and bahiagrass was determined in field studies conducted in 2003 and 2004 in North Carolina over 5 mo. Treatments were selected to simulate mowing regimes common to intensively managed common bermudagrass turfgrass and include 1.3-, 5.2-, and 7.6-cm heights at frequencies of three, two, and two times per week, respectively. A nonmowed check was included for comparison. Lateral spread of dallisgrass was reduced 38 to 47% regardless of mowing regime when compared with the nonmowed check. Rhizome fresh weight of dallisgrass was reduced 49% in 2003 and 30% in 2004 when mowed at the 7.6-cm regime after 5 mo, whereas the 5.2-cm mowing regime caused a reduction of 31%. Rhizome fresh weight of dallisgrass was most negatively affected by the 1.3-cm regime, which caused reductions of 57% in 2003 and 37% in 2004. Lateral spread of bahiagrass was more strongly affected by mowing height and frequency than dallisgrass, with reductions of 21 to 27%, 40%, and 44 to 62% when mowed at 7.6, 5.2, and 1.3-cm regimes, respectively. Rhizome fresh weight of bahiagrass was reduced 24 to 33%, 55%, and 70 to 73% when mowed at 7.6, 5.2, and 1.3 cm, respectively. Based upon these results, areas mowed at a golf course rough height (≥ 5.2 cm) may be more conducive to bahiagrass spread, whereas dallisgrass may tolerate areas mowed at a fairway height (1.3 cm). Mowing at the shorter heights examined in this study clearly reduced the potential ofPaspalumspp. vegetative spread and may help to explain observed distributions ofPaspalumspp. infestations in bermudagrass turfgrass.

Greenhouse and field experiments were performed to investigate diclofop rate and mowing height interactions on goosegrass control and ‘Tifgreen’ and ‘Tifdwarf’ bermudagrass tolerance. In greenhouse experiments, greatest goosegrass control was achieved with diclofop when plants were maintained at 1.3 cm. Increased diclofop rates were required to suppress goosegrass mowed higher than 1.3 cm or unmowed. Greater than 90% goosegrass control was achieved with the combination of 1.3-cm mowing height and 0.6 kg ai ha–1of diclofop. In field experiments, a minimum of 2 weeks was necessary for complete herbicidal activity. Diclofop at 1.1 kg ha–1provided >90% control of goosegrass mowed between 1.9 to 2.5 cm. The addition of nonionic surfactant (0.25% by vol) to diclofop did not influence control. The addition of metribuzin (0.1 kg ai ha–1) to diclofop resulted in initial increased control, but it was transient The addition of MSMA (2.2 kg ai ha–1) to diclofop reduced goosegrass control an average of 18% compared to diclofop treatments alone. Tifdwarf bermudagrass was more sensitive to diclofop compared to Tifgreen. Seven to 14 days were required for Tifdwarf to recover from initial injury. This injury, although significant, was acceptable for bermudagrass used for golf greens. Clipping weights following treatment were also less for Tifdwarf than Tifgreen.

Dollar spot, caused by Sclerotinia homoeocarpa F.T. Bennett, is an important disease of creeping bentgrass (Agrostis stolonifera L.) on golf courses in the northern United States. Canopy moisture in the form of dew plays an important role in the development of dollar spot and routine displacement has been shown to reduce disease severity. The use of plant growth regulators (PGRs) is a common management practice for maintaining creeping bentgrass fairways, but their influence on dollar spot is unclear. The objective of this field study was to elucidate the influence of dew removal at the time of fungicide application on dollar spot control in creeping bentgrass regulated by trinexapac-ethyl (TE). Main factors in the study included three dew removal strategies (non-treated, dew removed–mowed, and dew removed–not mowed) before the application of four fungicide treatments (non-treated, chlorothalonil, propiconazole, and iprodione). All fungicide treatments were applied once to turfgrass previously treated with TE or not treated. The presence or absence of dew at the time of fungicide application generally had no influence on fungicide performance with respect to dollar spot control. Based on the results of this study, dew removal before the application of fungicides targeting dollar spot is unnecessary. Applications of TE before fungicides reduced dollar spot severity in some cases, but reductions in symptom expression were limited and did not result in markedly improved dollar spot control.

A relatively accurate estimate of turfgrass evapotranspiration (ET) using environmental parameters readily obtainable from a local weather station would be of benefit to golf course superintendents, landscape managers, and homeowners. The Penman–Monteith model is clearly a poorer estimate than that obtained by Bellani plates or spheres. It has been suggested that, while the Penman–Monteith model is good in the drier climate of the southwestern United States, other models may be of greater practicable utility in climates such as are common in Kansas. Thus, other models have been evaluated for their suitability as turfgrass ET estimates in Kansas-like climates. Turfgrass ET was measured via lysimeters in 1992–94. Specifically, measurements were taken on three tall fescue varieties mowed at 6.35 or 7.62 cm, and zoysiagrass and perennial ryegrass mowed at 2.54 cm. Evaporation from black Bellani plates was measured simultaneously. These evaporation and ET rates were compared to those estimated by various empirical models whose data came from a weather station located within 31 m of the Bellani plates and lysimeters. Empirical models included temperature methods (e.g., FAO-24 Blaney–Criddle), radiation methods (e.g., Jensen–Haise, Hargreaves–Samani), combination equations (e.g., Priestly–Taylor, Penman), and variants. The best model(s) determined from these comparisons will likely become the method(s) of choice for estimating turfgrass ET in Kansas.

The effect of mowing regimens on lateral spread of khakiweed (Alternanthera pungens Kunth) was determined through field studies conducted over a 3-month period in Texas during 2009 and 2010. Treatments were selected to simulate mowing regimens common to intensively managed common bermudagrass [Cynodon dactylon (L.) Pers.] turf and included heights of 1.3 cm (three times/wk), 2.5 cm (two times/week), and 5.1 cm (two times/week). A non-mowed control was included for comparison. Differences in lateral spread of khakiweed among mowing regimens were apparent 4 weeks after initial treatment (WAIT). However, plant diameter increased for all mowing regimens over the course of the trial. Khakiweed plants subjected to the 1.3-cm mowing regimen did not increase in diameter from Week 2 through Week 12, whereas the other two mowing regimens exhibited steady increases in plant diameter over the same time period. By 12 WAIT, non-mowed control plots measured 80.8 cm in diameter, whereas those maintained at 1.3 cm measured 55.3 cm. Comparatively, plants subjected to the 2.5- and 5.1-cm mowing regimens measured 64.7 and 68.8 cm, respectively. Therefore, khakiweed infestations may be more prevalent in bermudagrass mowing heights commonly used for golf course roughs, athletic fields, and home lawns (2.5 cm or greater). However, the production of a thick taproot high in carbohydrate content may enable khakiweed to regenerate from frequent defoliation common to fairway mowing regimes (2.5 cm or less). Adjustments in mowing height may not be enough to effectively reduce khakiweed populations in bermudagrass turf.

Advanced technology and biomechanics were applied in the development of a new bicycle. Factors investigated included the position of the cyclist, geometry of the bicycle, transmission system, and the drag characteristics. Several wind tunnel tests were conducted to determine the minimum drag conditions for bicycle configurations and positions of the athlete. The results showed a clear advantage for nonspoked disc wheels of high composite material without discontinuity between the tire and the wheel. The conventional bicycle frame was redesigned and the optimum body position of the cyclist was determined. These findings were utilized in the development of the bicycle ridden by Francesco Moser in establishing a new 1-hour world record in 1984, and also in aiding the gold-medal-winning 4 × 100 km Italian team in the 1984 Los Angeles Olympic Games.

Summer decline in turf quality of creeping bentgrass (Agrostis palustris Hud.) is a major problem in golf course green management. The objective of this study was to examine whether seasonal changes and cultivar variations in turf performance are associated with changes in photosynthesis and respiration rates for creeping bentgrass. The study was conducted on a USGA-specification putting green in Manhattan, Kans., during 1997 and 1998. Four creeping bentgrass cultivars, `L-93', `Crenshaw', `Penncross', and `Providence', were examined. Grasses were mowed daily at 4 mm and irrigated on alternate days to replace 100% of daily water loss. In both years, turf quality, canopy net photosynthetic rate (Pn), and leaf photochemical efficiency (Fv/Fm) were high in May and June and decreased to the lowest levels in July through September. Whole-plant respiration rate (R) and canopy minus air temperature (▵T) increased during summer months. In October, turf quality and Pn increased, whereas R and T decreased. During summer months, turf quality was highest for `L-93', lowest for `Penncross', and intermediate for `Providence' and `Crenshaw'. Seasonal changes and cultivar variations in turf quality were associated with the decreasing photosynthetic rate and increasing respiration rate.

Renovation is an opportune time for golf courses to address annual bluegrass (Poa annua L.) weed populations. Dazomet (tetrahydro-3,5-dimethyl-2H-1,3,5-thiadiazine-2-thione) is an effective fumigant, but without a tarp cover, it is only effective at the highest labeled rates. Fraise mowing cultivation could be used to help remove surface material and allow practitioners to effectively fumigate at lower rates. In Summer 2018 and Summer 2019, two cool-season fairway renovation experiments were conducted in East Lansing, MI. The objective of these experiments was to assess annual bluegrass control and creeping bentgrass establishment following dazomet applications to fraise mowed surfaces. In the first experiment (fraise mowing surface disturbance experiment), dazomet was applied at a fixed rate (294 kg·ha−1) to fraise mowed plots at varying levels of surface disturbance (0%, 15%, 50%, and 100%) to a depth of 1.9 cm. In the second experiment (dazomet rate experiment), fraise mowing removed 100% of surface material at a depth of 1.9 cm and dazomet was applied at five rates (0, 294, 588, 147 + 147, and 294 + 294 kg·ha−1). Both experiments were conducted on two soils (sand topdressed vs. native) and evaluated two methods of fumigant incorporation (solid-tine cultivation vs. tillage). Five days after treatments were applied, plots were seeded with ‘Pure Select’ creeping bentgrass (Agrostis stolonifera L.). The level of fraise mowing surface disturbance had no effect on annual bluegrass emergence, and creeping bentgrass cover was poorest in native soils at the highest levels of surface disturbance. In the dazomet rate experiment, dazomet applied twice at 294 kg·ha−1 provided the most consistent control of annual bluegrass. With the exception to single applications of 294 in 2018, all dazomet treatments allowed for greater creeping bentgrass establishment than the nontreated control. Fraise mowing cultivation may simplify the removal of surface material from large areas; however, even when combined with dazomet applied at the highest rates, it fails to provide complete annual bluegrass control.

The controversial Pascua-Lama mining project, straddling the border between Chile and Argentina and operated by Canada’s Barrick Gold, gained international notoriety when the company proposed to “move” three glaciers located at the mine site. The glaciers variously appeared, changed form, and disappeared as the project was developed, presented to the public, subjected to various modifications, and ultimately put on hold. The environmental impact assessment process created an inventory of the landscape that turned nature into an object of environmental management. At the same time, the element of public participation embedded in Chile’s environmental impact legislation helped to mobilize local and international activism. El polémico proyecto minero de Pascua-Lama que maneja la empresa canadiense Barrick Gold en la frontera entre Chile y Argentina quedó sometido al escrutinio internacional cuando la empresa propuso “mover” tres glaciares situados en la mina. Los glaciares aparecieron, cambiaron de forma y desaparecieron conforme el proyecto se desarrollaba, presentaba ante el público y era sometido a diversas modificaciones; en última instancia, fue suspendido. El proceso de evaluación de impacto ambiental dio lugar a un inventario del paisaje que convirtió a la naturaleza en un objeto de gestión ambiental. Al mismo tiempo, la participación ciudadana fundamentada en la legislación chilena de impacto ambiental ayudó a movilizar activistas locales e internacionales.

Until recently, phytopathogenic bacteria have not been considered potential biological weed control candidates because they lack the ability to penetrate intact plants. This deficiency can be overcome by providing entry wounds or using surfactants. Spray application ofPseudomonas syringaepv.tagetis(5 × 108cells/ml) in aqueous buffer with a surfactant produced severe disease in Canada thistle, common ragweed, Jerusalem artichoke, sunflower, and certain other members of the Compositae under field conditions. Spray application of the bacterium without surfactant was ineffective on all reported hosts.Xanthomonas campestrispv.poannuacontrolled annual bluegrass in bermudagrass golf greens when applied by spray during mowing. The bacterium entered through mowing injuries, causing lethal, systemic wilt. Application of the bacterium to annual bluegrass in the absence of fresh mowing injuries failed to produce symptoms. Under field conditions, this previously unknown pathovar's host range was limited to a single subspecies of annual bluegrass, but inundative application to freshly mowed turf resulted in infection of diverse annual bluegrass biotypes. In field trials, six monthly applications resulted in greater than 70% control. The preceding examples are among the first attempts to use foliar phytopathogenic bacteria for biological weed control. Efficacy of these bacterial bioherbicides and of future biocontrol strategies employing bacteria is dependent on facilitated host penetration.

In mid-November 2009, thin, yellow, and irregular-shaped scalloped rings 10 to 25 cm in diameter were observed on 5 to 10% of a golf course putting green in Charles Town, WV. The 20-year-old USGA-specification sand-based green was mowed at 3.1-mm height and consisted of 60% annual bluegrass (Poa annua L.) and 40% creeping bentgrass (Agrostis stoloniferous L. ‘Putter’). Minimum and maximum daily air temperature ranged from 2 to 22°C, respectively, with 38 mm of rainfall during the appearance of rings symptoms. Only affected annual bluegrass plants exhibited a peculiar yellow chlorosis of the upper and lower leaves. A single fungal isolate was obtained from active mycelium found within symptomatic annual bluegrass leaves and grown on potato dextrose agar (PDA) amended with chloramphenicol (0.1 g/liter). Fungal colony morphology (i.e., light yellow with irregular-shaped 2- to 4-mm-diameter sclerotia first appearing off-white but progressing to brown by 21 to 28 days in culture) and sequencing of the internal transcribed spacer (ITS) 5.8S rDNA region with primers ITS1 and ITS4 confirmed the isolate as Waitea circinata var. circinata (Warcup & Talbot) with ≥99% sequence identity with GenBank Accession No. FJ755889 (1,2,4). To confirm pathogenicity, a 6-mm-diameter plug of the isolate was removed from the expanding edge of a 4-day-old culture grown on PDA and placed in contact with the lower leaves of 12-week-old annual bluegrass (0.001 g of surface-sterilized seed per cm2) grown in 5- × 5-cm plastic pots of autoclaved 85% sand and 15% potting soil. Six pots were inoculated with the isolate and six pots were inoculated with an isolate-free agar plug and then placed in a moist chamber at 28°C. Leaf chlorosis and aerial mycelium was observed in all six inoculated pots 8 to 10 days after inoculation, and symptoms were similar to those expressed in the field. All noninoculated plants remained healthy and asymptomatic. W. circinata var. circinata was reisolated from symptomatic leaves and again confirmed by colony traits and sequencing of the ITS-5.8S rDNA region and submitted as GenBank Accession No. HM807582. To our knowledge, this is the first report of brown ring patch in West Virginia and could be economically important because of intensive fungicide practices used to maintain high-quality putting greens on golf courses (3). References: (1) C. Chen et al. Plant Dis. 91:1687, 2007. (2) K. de la Cerda et al. Plant Dis. 91:791, 2007. (3) J. Kaminski and F. Wong. Golf Course Manage. 75:98, 2007. (4) T. Toda et al. Plant Dis. 89:536, 2005.

AbstractEconomically solvent fresh-market potato production is predominantly dependent on the ability to efficiently produce consistent tuber quality and high yield, and the ability to meet first-to-market demand with early-season potatoes. Unfortunately, these two qualifiers often work against each other in terms of production management. In response, we studied integrated potato vine management programs that support timely early-season potato harvest. Vine management with a flail chopper, roller, and flame burner used alone or followed by diquat was evaluated when initiated 21 or 14 d prior to harvest in 2015 and 2016. Potato varieties included ‘Yukon Gold’ and ‘Dark Red Norland’. Potato leaf and stem management, as well as tuber skinning, stolon separation, grade, and yield were quantified. Among mechanical methods, potato leaf and stem management were poor when vines were rolled or mowed but better when flail chopped. In general, vine management and tuber skin set was better when treatments were initiated 21 d prior to harvest as opposed to 14 d. Vine management, tuber skin set, and yield were comparable when potato vines were flail chopped followed by flame burning and where diquat was applied twice, offering a viable program for smaller scale or organic production.

Tall fescue (Schedonorus arundinaceus (Schreb.) Dumort.) is the most widely used species in the European transition zone, however, despite its good wear tolerance, its use is still limited to lawns and landscape areas due to concerns about its ability to withstand low mowing regimes. A two years field study was conducted to access performance of twenty tall fescue cultivars (‘Ares’, ‘Armani’, ‘Dynamites LS’, ‘Firecracker SLS’, ‘Firewall’, ‘Foxhound’ ‘Granditte’, ‘JT-LT2′, ‘JT-338′, ‘Karakum’, ‘Lexington’, ‘Olympic Gold’, ‘Rebounder’, ‘Rhambler SRP’, ‘Starlett’, ‘Supersonic’, ‘Talladega’, ‘Thunderstruck’, ‘Titanium 2LS’, ‘Turfway’) mowed weekly at 18 mm. Turfgrass was evaluated every two weeks for visual quality, color, density, texture and uniformity, as well as percent green cover (PGC) and dark green color index (DGCI), and normalized difference vegetation index (NDVI), and traction twice per year. Although no cultivars showed sufficient quality throughout the year, ‘Turfway’, ‘Titanium 2LS’ and ‘JT-338’ achieved high quality rating during spring and fall, the two seasons with the highest frequency of games played on sports field in northern Italy. Traction ratings collected in these study fell within acceptable range for football fields. Our results suggest that improved dwarf-type tall fescue cultivars can be used in sport fields in Northern Italy.

Management of dollar spot (incited by Sclerotinia homoeocarpa) on golf course fairways is increasingly challenging. The objectives of this study were to determine the influence of mowing frequency and plant growth regulators (PGRs) on dollar spot severity and on the residual efficacy of fungicides for control of dollar spot. Two 4-month-long studies were conducted on ‘Putter’ creeping bentgrass (Agrostis stolonifera) maintained as a fairway at the University of Connecticut. Treatments were arranged in a three-by-three-by-five factorial that assessed the influence of mowing frequency (2, 4, or 6 days week–1) and PGRs (paclobutrazol, trinexapac-ethyl, or none) on dollar spot control by five fungicide treatments (boscalid, chlorothalonil, iprodione, propiconazole, or none). Turf was mowed in the afternoon hours to minimize the confounding effect of mowing frequency on leaf wetness duration. Treatments were initiated in the late spring of 2007 and 2008, and each fungicide treatment was reapplied only when dollar spot exceeded a threshold of five infection centers plot–1. In the absence of fungicides, dollar spot severity was reduced by 63 to 90% in plots treated with paclobutrazol and by 13 to 55% in plots treated with trinexapac-ethyl. Dollar spot severity was 23 to 50% lower in plots mown 2 days week–1 compared with those mown 6 days week–1. In cases where a significant interaction was observed between mowing frequency and PGRs, dollar spot was reduced on most rating dates in plots treated with trinexapacethyl that were mown 2 days week–1 compared with those mown 6 days week–1. Survival analysis of days until threshold was met revealed that duration of control of fungicides in plots receiving paclobutrazol were 28 to 84% longer compared with plots not receiving PGR. Duration of control by fungicides was generally similar between plots treated with trinexapac-ethyl and no PGR. In general, mowing frequency did not influence duration of control. Results from this study indicate that paclobutrazol could be used to increase the treatment interval of fungicides and that mowing frequency in the absence of dew is likely to have little influence on fungicide residual efficacy. When used without fungicides, PGRs and less frequent mowing may reduce dollar spot in situations where fungicide use is limited.

In summer of 2008, two turfgrass samples were submitted to the Turfgrass Diagnostic Lab at the University of Wisconsin–Madison. The samples were from golf courses in Beaver Dam, WI on 12 June and Minneapolis, MN on 14 July. Both samples were collected from 40-year-old native soil putting greens mowed at 3.2 mm that had received annual sand topdressing since 1992. The putting greens were a mixture of approximately 75% annual bluegrass (Poa annua L.) and 25% creeping bentgrass (Agrostis stolonifera L.) Stand symptoms observed in the field were bright yellow, sunken rings that were approximately 5 cm thick and 15 to 35 cm in diameter. Some rings were incomplete, giving a scalloped appearance. Affected plants were severely chlorotic and lacked any discrete lesions or spots. Symptoms were more prominent on annual bluegrass than creeping bentgrass. Upon incubation of samples at room temperature in a moist chamber for 24 h, fungal mycelia with septations and right-angle branching were observed in the foliage and thatch layer. Two isolates were obtained from affected annual bluegrass in each sample. Isolations were performed by washing affected leaves in 0.5% NaOCl solution for 2 min, blotting the tissue dry, and plating the tissue on potato dextrose agar (PDA) amended with chloramphenicol (0.05 g/liter), streptomycin (0.05 g/liter), and tetracycline (0.05 g/liter). After incubation for 2 days at 23°C, isolates were transferred and maintained on PDA. All four isolates had multinucleate hyphae and displayed sclerotial characteristics similar to those reported for Waitea circinata var. circinata (2). Sequencing the ITS1F/ITS4-amplified rDNA internal transcribed spacer (ITS) region confirmed the isolates as W. circinata var. circinata, with ≥99% sequence similarity to published W. circinata var. circinata ITS sequences (GenBank Accession No. FJ755849) (1,2,4). To confirm pathogenicity, isolates were inoculated onto 6-week-old annual bluegrass (True Putt/DW184) grown in 10-cm-diameter pots containing calcined clay (Turface; Profile Products LLC., Buffalo Grove, IL). Two 4-mm-diameter agar plugs for each isolate were removed from the margins of 3-day-old colonies grown on PDA and placed near the soil surface to ensure contact with the lower leaf blades. Each isolate was placed in four separate pots to have four replicated tests per isolate, and four noninfested pots were utilized as negative controls. All pots were placed in moist chambers at 28°C with a 12-h light/dark cycle. Within 4 to 6 days, inoculated plants exhibited severe chlorosis and a minor amount of aerial mycelium was observed. Inoculated plants became necrotic after 15 to 20 days, while the noninoculated plants remained healthy. W. circinata var. circinata was reisolated from inoculated plants and its identity was confirmed by morphological and molecular characteristics. This pathogen was previously reported as a causal agent of brown ring patch of creeping bentgrass in Japan and annual bluegrass in the western United States (2,4). To our knowledge, this is the first report of brown ring patch in Minnesota and Wisconsin. Intensive fungicide practices are needed to control brown ring patch; therefore, this disease could have significant economic impact throughout the Upper Midwest (3). References: (1) C. M. Chen et al. Plant Dis. 93:906, 2009 (2) K. de la Cerda et al. Plant Dis. 91:791, 2007. (3) J. Kaminski and F. Wong. Golf Course Manage. 75(9):98, 2007. (4) T. Toda et al. Plant Dis. 89:536, 2005.

In late May and early June of 2008, bright yellow, thin, irregular-shaped rings that were 10 to 15 cm in diameter were observed on 30% of an annual bluegrass (Poa annua L.) putting green in Coopersburg, PA. The 46-year-old silt-loam soil green was mowed at a 3.1-mm height and consisted of 80% annual bluegrass and 20% creeping bentgrass (Agrostis stolonifera L., unknown cultivar). During the appearance of ring symptoms, the overall minimum and maximum daily air temperature ranged from 19.9 to 31.1°C, respectively, along with 40.3 mm of total rain accumulation. In late May, only individual affected annual bluegrass plants exhibited a bright yellow chlorosis of upper and lower leaf blades and crown. By early June, affected annual bluegrass plants appeared dark brown and water soaked, turning reddish brown and then tan as they dessicated, wilted, and died. Fungal mycelium, similar in appearance to Rhizoctonia spp., was found among affected leaf blades and within the thatch layer. A single fungal isolate was obtained from affected annual bluegrass tissue and grown on potato dextrose agar (PDA) plus 0.1 g of chloramphenicol per liter. Fungal colony morphology and sequencing of the ITS1F/ITS4-amplified rDNA internal transcribed spacer (ITS) region confirmed the isolate as Waitea circinata var. circinata, with ≥90% similar homology match to published W. circinata var. circinata ITS sequences (GenBank Accession No. DQ900586) (2,4). To confirm pathogenicity, the isolate was inoculated onto 6-week-old annual bluegrass (0.001 g of surface-sterilized seed per cm2) grown in 5- × 5-cm2 plastic pots containing autoclaved 70% sand and 30% potting soil. Plants were maintained daily at a 4.0-mm height using a hand-held scissors. One 6-mm-diameter plug of the isolate was removed from the active edge of a 5-day-old culture grown on PDA and placed in contact with the lower leaf blades of the target plants. Four pots were inoculated with the isolate and four pots were inoculated with an isolate-free agar plug for each of two experimental runs. After inoculation, all pots were placed in a moist chamber at 28°C. In both experiments leaf blade chlorosis and a modest amount of aerial mycelium was observed in all four isolate-introduced pots at 5 to 7 days after inoculation. Symptoms were similar to those expressed in the field, and by 21 to 28 days, all isolate-infected plants died, whereas the noninoculated plants remained healthy and nonsymptomatic. W. circinata var. circinata was reisolated from symptomatic tissue of those inoculated plants and again confirmed by colony traits and rDNA ITS region sequences. This pathogen was reported previously as the causal agent of brown ring patch on annual bluegrass and rough bluegrass (Poa trivialis L.) in the western United States. (1,2). To our knowledge, this is the first report of brown ring patch in Pennsylvania. The economic impact of this disease could be significant since intensive fungicide practices are used to produce high-quality putting green surfaces in the region (3). References: (1) C. Chen et al. Plant Dis. 91:1687, 2007. (2) K. de la Cerda et al. Plant Dis. 91:791, 2007. (3) J. Kaminski and F. Wong. Golf Course Mgmt. 75(9):98, 2007. (4) T. Toda et al. Plant Dis. 89:536, 2005.

Background:Osteoarthritis of the knee (KOA) is a very common rheumatic disease, and its global burden is gradually increasing (1). The benefits of exercise in patients with KOA are supported by high-level evidence and take their place in primary care therapy (2). Today, coronavirus disease 2019 has developed as a pandemic all over the world, creating difficulties in healthcare and highlighting home-based rehabilitation (HBR) (3). Randomized controlled trials (RCTs) are considered the gold standard for evaluating the effects of clinical interventions, but poorly reported results can have negative consequences. The Physiotherapy Evidence Database (PEDro) evaluates the methodological quality of RCTs (4). The CONSORT (Consolidated Standards of Reporting Trials) statement has been developed to improve the reporting quality of RCTs (5).There are no studies examining the quality of RCTs related to HBR in patients with KOA.Objectives:The aim of this study was to assess the reporting quality of HBR trials for KOA, and explore the factors associated with the reporting.Methods:Two independent researchers investigated HBR RCTs in patients with KOA published between 1999 and 2020 were sourced from PubMed, the Cochrane Reviews and Web of Science. Each researcher evaluated the methodological quality of the included studies using the PEDro scoring and reporting aspects using 9 items from CONSORT. The relationship between adherence to the CONSORT criteria and the PEDro score were evaluated.Results:Twenty-five RCTs met our eligibility criteria. The mean PEDro score of studies is 5.76 ± 1.48. Only one study found high quality (PEDro score: ≥ 9). The PEDro scores were: randomization type (96%, 24/25) and baseline comparability (92%, 23/25); all studies described group comparisons and variablity measures. In contrast, concealed allocation (18%, 7/25), blinding of participants (16%, 4/25) and therapists (0%) were not included in most studies. The CONSORT criteria were: flow diagram (92%, 23/25), sample size, subgroup analysis and sources of funding (56%, 11/25 for all three), while the majority of studies the trial registration number (16%, 4/25) was not available. A high level of correlation was found between meeting the CONSORT criteria and PEDro scores (r=0.820, p<0.001).Conclusion:The majority of RCTs based on HBR for KOA are low-to-modarate quality studies based on the PEDro score. Adherence to the CONSORT criteria is linked to high quality scores. If the studies are planned and written in accordance with the CONSORT criteria, we think that better quality studies will emerge.References:[1]Safiri S, Kolahi AA, Smith E, Hill C, Bettampadi D, Mansournia MA, et al. Global, regional and national burden of osteoarthritis 1990-2017: a systematic analysis of the Global Burden of Disease Study 2017. Ann Rheum Dis. 2020;79(6):819-28.[2]Skou ST, Pedersen BK, Abbott JH, Patterson B, Barton C. Physical Activity and Exercise Therapy Benefit More Than Just Symptoms and Impairments in People With Hip and Knee Osteoarthritis. J Orthop Sport Phys. 2018;48(6):439-47.[3]Karasavvidis T, Hirschmann MT, Kort NP, Terzidis I, Totlis T. Home-based management of knee osteoarthritis during COVID-19 pandemic: literature review and evidence-based recommendations. J Exp Orthop. 2020;7(1):52.[4]Sherrington C, Herbert RD, Maher CG, Moseley AM. PEDro. A database of randomized trials and systematic reviews in physiotherapy. Man Ther. 2000;5(4):223-6.[5]Moher D, Hopewell S, Schulz KF, Montori V, Gøtzsche PC, Devereaux PJ, et al. CONSORT 2010 explanation and elaboration: updated guidelines for reporting parallel group randomised trials. Int J Surg. 2012;10(1):28-55.Disclosure of Interests:None declared.

The year 2020 will be recorded in world history as one of the most challenging periods. With the benefit of hindsight from previous crises, humanity will eventually (and this time hopefully) prevail. Covid-19 pandemic which has been around for a full calendar year sets a reminder and a call for us to adapt with a new mindset to embrace the new normal in our life. Not many countries can strike a delicate balance between saving lives and protecting livelihoods during this difficult time. Obviously, most developing countries have been struggling to control this seemingly intractable calamity from the first day of the outbreak. Covid-19 pandemic has sent the world one strong message, it is that we are only as safe as the most vulnerable among us. This indicates the central place of solidarity in our life. While we are predicting the emergency-authorized vaccine as the “game-changer”, estimating the outcome in the following years leads us to numerous possibilities and scenarios. Questions surrounding vaccine distribution, efficacy rate, and unintended consequences will still linger. Narrowing down the probabilities will lead us to two contrasting scenarios either growth will be propelled immediately or growth will not be accelerated due to various factors. Echoing previous editorial notes, the impact of the Covid-19 pandemic on SDGs targets (also to other global and national development plans) can be mixed. The quintessential question is on how we maintain positive outcomes when the pandemic is over and how to get back on the right track. Apparently, many development targets need to be revised and some if not most of them might not be easy to catch up with. This situation arguably sets a backdrop for “the great reset” where all development strategies need to be restarted, policies have to be scrutinized, and targets must be re-calibrated. Undoubtedly, making predictions these days is not an easy job indeed. Too many variables and events need to be taken into account so as to reflect the complex world we live in. Sophisticated statistical methods and state-of-the-art computation technology do not really guarantee accuracy. It only needs a shock which makes our prediction becomes irrelevant. Many these days acknowledge VUCA (volatility, uncertainty, complexity, and ambiguity) as inherent characteristics of modern development. This poses serious challenges for those who work as planners in various contexts. Revising our projection might increase credibility but nobody knows for how long the revised targets will remain in a dynamic setting like nowadays. The year 2020 gives a lesson that we seemingly learn the hard way. One important lesson is on finding the correct perspective in viewing government spending. For many years we have seen the dominant role of government spending in development and it becomes more prominent when the economy stagnates. However, we have also been constantly looking for a better way to increase the quality of spending and more importantly: the way we measure it. Apparently, it seems, current measurement is inextricably linked with rigid public accounting standard which does not allow much flexibility and largely fulfills an administrative purpose. Sadly, it tends to normalize the “gold standard” of government spending: “the more we spend, the better” which unfortunately reveals the downside of such a spending pattern. That explains the acceleration of absorption rate at the end of the fiscal year, anecdotes on a spending frenzy, and whimsical disbursement for the sake of spending. Alternative measurement like efficiency score needs to be introduced immediately as a replacement of current performance indicators which is merely based on the monetary-based absorption rate of the annual budget. A simplistic method of budget absorption rate might still be relevant with tangible projects like infrastructure but it might be barely sensible within the context of intangible activities such as research, studies, advisory, and other knowledge sector-related projects. In order to reduce the Covid-19 contagion, governments opt for mobility restriction which consequently causes almost entirely business activities into the hold. Travelling and MICE industries—which arguably predominates government spending on knowledge-sector as well as one of the most prioritized sectors in the economy—have been hit the hardest during the pandemic. The inefficiency problem has been rising to the surface and this time should attract more attention to policymakers and scholars. This sends an urgent call for those who are competent to develop a correct alternative to measure one’s performance. Indeed, government spending is considered as the prime mover during difficult times and plays a pivotal role to accelerate economic recovery. However, the quality of spending will determine policy effectiveness. Mobility restriction brings a corollary that practices like working from home, digital economy, and assistive technology become a new normal. Numerous companies in developed countries pledged to resume this highly efficient and environment-friendly practice even after the pandemic. Yet, we have to ponder upon this shift into the context of developing countries where the informal economy is still rampant with the labor force population entering its peak. Probably unbeknownst to many, this “inefficiency” and negative externality (air pollution, road congestion, disposed waste) somehow correlates with employment creation and significantly acts as an economic multiplier. Finding the balance between “multiplier” and “efficiency” on government spending is therefore another issue that should be on the problem-solving bucket list. With quality spending, the policy effectiveness will lead to better outcomes which hopefully will bring rapid recovery. Not only have the Covid-19 crisis taken a heavy toll on people’s lives, but it also made a dent in the global economy. Its adverse impact on jobs, livelihoods, poverty, and inequality has been reversing some of the gains that countries had made over the past few decades. To contain the damage, countries the world over have been adopting and adapting various policies to protect their populations and stabilize the economy. Problems and challenges that remain unsolved before the pandemic have been looking for solutions. Therefore, in this issue, we invite authors from diverse academic backgrounds to present their works not exclusively revolving around topics on Covid-19 pandemic but also to other important themes such as poverty (Nuryitmawan), urban planning (Sari et al), public finance (Putri), disaster mitigation (Erlinna), environment (Yazawa and Shimizu), well-being measurement (Suriadi and Kususanto), middle class (Pratomo et al), and tourism (Warganegara). We invite the readership to give us feedback on these articles and we surely welcome submissions on other topics from all fields of science in the upcoming issue.

Brakes India is a manufacturer of braking systems in India, with the largest market share. Axle Tech America (ATA) a US based manufacturer, is a supplier of quality, cost effective transaxles, for customers, who manufacture utility vehicles, tractors, lawn mowers, and golf carts. Brakes India supplied machined castings to M/S ATA. The Indian supplier provided six parts, monthly, over a period of four years. The study was aimed at developing a production schedule, that was optimal in normal times, and adapted to capacity contraction due to disruptions such as caused by the pandemic, and consequent lockdown of facilities.

Selection for fall dormancy (FD) in alfalfa can impact other traits, such as dry matter yield (DMY), winter survival rate (WSR) and chemical compositions. Nine alfalfa varieties were mowed during the early flowering stage from 2015 to 2018. The results showed that the WSRs of both Zhongmu No. 2 and Caoyuan No. 3 exceeded 95% and there was a significant negative correlation between the FD rating and WSR (-0.988; P less than 0.01). The four-year average DMY of Zhongmu No. 2 was the highest (11,912 kg ha-1). The crude protein contents of Caoyuan No. 3 and Zhongmu No. 2 were both greater than 20%. Zhongmu No. 2 had the lowest acid detergent fiber (30.2%) and neutral detergent fiber (48.4%) contents as well as the highest relative feed values (126). Zhongmu No. 2, Adrenalin, Gold Empress and Caoyuan No. 3 (FD 1-4) were the optimum alfalfa varieties for planting in Hohhot, Inner Mongolia, China.

Unlike some current discourse on automediality, this essay eschews most of the analysis concerning the adoption or modification of avatars to deliberately enhance, extend or distort the self. Rather than the automedial enabling of alternative, virtual selves modified by playful, confronting or disarming avatars we concentrate instead on emerging efforts to present the self in hyper-realist, interactive modes. In doing so we ask, what is the relationship between traumatic forms of automediation and the affective impact on and response of the audience? We argue that, while on the one hand there are promising avenues for valuable individual and social engagements with traumatic forms of automediation, there is an overwhelming predominance of suffering as a theme in such virtual depictions, comingled with uncritically asserted promises of empathy, which are problematic as the technology assumes greater mainstream uptake.As Smith and Watson note, embodiment is always a “translation” where the body is “dematerialized” in virtual representation (“Virtually” 78). Past scholarship has analysed the capacity of immersive realms, such as Second Life or online games, to highlight how users can modify their avatars in often spectacular, non-human forms. Critics of this mode of automediality note that users can adopt virtually any persona they like (racial, religious, gendered and sexual, human, animal or hybrid, and of any age), behaving as “identity tourists” while occupying virtual space or inhabiting online communities (Nakamura). Furthermore, recent work by Jaron Lanier, a key figure from the 1980s period of early Virtual Reality (VR) technology, has also explored so-called “homuncular flexibility” which describes the capacity for humans to seemingly adapt automatically to the control mechanisms of an avatar with multiple legs, other non-human appendages, or for two users to work in tandem to control a single avatar (Won et. al.). But this article is concerned less with these single or multi-player online environments and the associated concerns over modifying interactive identities. We are principally interested in other automedial modes where the “auto” of autobiography is automated via Artificial Intelligences (AIs) to convincingly mimic human discourse as narrated life-histories.We draw from case studies promoted by the 2017 season of ABC television’s flagship science program, Catalyst, which opened with semi-regular host and biological engineer Dr Jordan Nguyen, proclaiming in earnest, almost religious fervour: “I want to do something that has long been a dream. I want to create a copy of a human. An avatar. And it will have a life of its own in virtual reality.” As the camera followed Nguyen’s rapid pacing across real space he extolled: “Virtual reality, virtual human, they push the limits of the imagination and help us explore the impossible […] I want to create a virtual copy of a person. A digital addition to the family, using technology we have now.”The troubling implications of such rhetoric were stark and the next third of the program did little to allay such techno-scientific misgivings. Directed and produced by David Symonds, with Nguyen credited as co-developer and presenter, the episode “Meet the Avatars” immediately introduced scenarios where “volunteers” entered a pop-up inner city virtual lab, to experience VR for the first time. The volunteers were shown on screen subjected to a range of experimental VR environments designed to elicit fear and/or adverse and disorienting responses such as vertigo, while the presenter and researchers from Sydney University constantly smirked and laughed at their participants’ discomfort. We can only wonder what the ethics process was for both the ABC and university researchers involved in these broadcast experiments. There is little doubt that the participant/s experienced discomfort, if not distress, and that was televised to a national audience. Presenter Nguyen was also shown misleading volunteers on their way to the VR lab, when one asked “You’re not going to chuck us out of a virtual plane are you?” to which Nguyen replied “I don't know what we’re going to do yet,” when it was next shown that they immediately underwent pre-programmed VR exposure scenarios, including a fear of falling exercise from atop a city skyscraper.The sweat-inducing and heart rate-racing exposures to virtual plank walks high above a cityscape, or seeing subjects haptically viewing spiders crawl across their outstretched virtual hands, all elicited predictable responses, showcased as carnivalesque entertainment for the viewing audience. As we will see, this kind of trivialising of a virtual environment’s capacity for immersion belies the serious use of the technology in a range of treatments for posttraumatic stress disorder (see Rizzo and Koenig; Rothbaum, Rizzo and Difede).Figure 1: Nguyen and researchers enjoying themselves as their volunteers undergo VR exposure Defining AutomedialityIn their pioneering 2008 work, Automedialität: Subjektkonstitution in Schrift, Bild und neuen Medien, Jörg Dünne and Christian Moser coined the term “automediality” to problematise the production, application and distribution of autobiographic modes across various media and genres—from literary texts to audiovisual media and from traditional expression to inter/transmedia and remediated formats. The concept of automediality was deployed to counter the conventional critical exclusion of analysis of the materiality/technology used for an autobiographical purpose (Gernalzick). Dünne and Moser proffered a concept of automediality that rejects the binary division of (a) self-expression determining the mediated form or (b) (self)subjectivity being solely produced through the mediating technology. Hence, automediality has been traditionally applied to literary constructs such as autobiography and life-writing, but is now expanding into the digital domain and other “paratextual sites” (Maguire).As Nadja Gernalzick suggests, automediality should “encourage and demand not only a systematics and taxonomy of the constitution of the self in respectively genre-specific ways, but particularly also in medium-specific ways” (227). Emma Maguire has offered a succinct working definition that builds on this requirement to signal the automedial universally, noting it operates asa way of studying auto/biographical texts (of a variety of forms) that take into account how the effects of media shape the kinds of selves that can be represented, and which understands the self not as a preexisting subject that might be distilled into story form but as an entity that is brought into being through the processes of mediation.Sidonie Smith and Julia Watson point to automediality as a methodology, and in doing so emphasize how the telling or mediation of a life actually shapes the kind of story that can be told autobiographically. They state “media cannot simply be conceptualized as ‘tools’ for presenting a preexisting, essential self […] Media technologies do not just transparently present the self. They constitute and expand it” (Smith and Watson “Virtually Me” 77).This distinction is vital for understanding how automediality might be applied to self-expression in virtual domains, including the holographic avatar dreams of Nguyen throughout Catalyst. Although addressing this distinction in relation to online websites, following P. David Marshall’s description of “the proliferation of the public self”, Maguire notes:The same integration of digital spaces and platforms into daily life that is prompting the development of new tools in autobiography studies […] has also given rise to the field of persona studies, which addresses the ways in which individuals engage in practices of self-presentation in order to form commoditised identities that circulate in affective communities.For Maguire, these automedial works operate textually “to construct the authorial self or persona”.An extension to this digital, authorial construction is apparent in the exponential uptake of screen mediated prosumer generated content, whether online or theatrical (Miller). According to Gernalzick, unlike fictional drama films, screen autobiographies more directly enable “experiential temporalities”. Based on Mary Anne Doane’s promotion of the “indexicality” of film/screen representations to connote the real, Gernalzick suggests that despite semiotic theories of the index problematising realism as an index as representation, the film medium is still commonly comprehended as the “imprint of time itself”:Film and the spectator of film are said to be in a continuous present. Because the viewer is aware, however, that the images experienced in or even as presence have been made in the past, the temporality of the so-called filmic present is always ambiguous” (230).When expressed as indexical, automedial works, the intrinsic audio-visual capacities of film and video (as media) far surpass the temporal limitations of print and writing (Gernalzick, 228). One extreme example can be found in an emergent trend of “performance crime” murder and torture videos live-streamed or broadcast after the fact using mobile phone cameras and FaceBook (Bender). In essence, the political economy of the automedial ecology is important to understand in the overall context of self expression and the governance of content exhibition, access, distribution and—where relevant—interaction.So what are the implications for automedial works that employ virtual interfaces and how does this evolving medium inform both the expressive autobiographical mode and audiences subjectivities?Case StudyThe Catalyst program described above strove to shed new light on the potential for emerging technology to capture and create virtual avatars from living participants who (self-)generate autobiographical narratives interactively. Once past the initial gee-wiz journalistic evangelism of VR, the episode turned towards host Nguyen’s stated goal—using contemporary technology to create an autonomous virtual human clone. Nguyen laments that if he could create only one such avatar, his primary choice would be that of his grandfather who died when Nguyen was two years old—a desire rendered impossible. The awkward humour of the plank walk scenario sequence soon gives way as the enthusiastic Nguyen is surprised by his family’s discomfort with the idea of digitally recreating his grandfather.Nguyen next visits a Southern California digital media lab to experience the process by which 3D virtual human avatars are created. Inside a domed array of lights and cameras, in less than one second a life-size 3D avatar is recorded via 6,000 LEDs illuminating his face in 20 different combinations, with eight cameras capturing the exposures from multiple angles, all in ultra high definition. Called the Light Stage (Debevec), it is the same technology used to create a life size, virtual holocaust survivor, Pinchas Gutter (Ziv).We see Nguyen encountering a life-size, high-resolution 2D screen version of Gutter’s avatar. Standing before a microphone, Nguyen asks a series of questions about Gutter’s wartime experiences and life in the concentration camps. The responses are naturalistic and authentic, as are the pauses between questions. The high definition 4K screen is photo-realist but much more convincing in-situ (as an artifact of the Catalyst video camera recording, in some close-ups horizontal lines of transmission appear). According to the project’s curator, David Traum, the real Pinchas Gutter was recorded in 3D as a virtual holograph. He spent 25 hours providing 1,600 responses to a broad range of questions that the curator maintained covered “a lot of what people want to say” (Catalyst).Figure 2: The Museum of Jewish Heritage in Manhattan presented an installation of New Dimensions in Testimony, featuring Pinchas Gutter and Eva SchlossIt is here that the intersection between VR and auto/biography hybridise in complex and potentially difficult ways. It is where the concept of automediality may offer insight into this rapidly emerging phenomenon of creating interactive, hyperreal versions of our selves using VR. These hyperreal VR personae can be questioned and respond in real-time, where interrogators interact either as casual conversers or determined interrogators.The impact on visitors is sobering and palpable. As Nguyen relates at the end of his session, “I just want to give him a hug”. The demonstrable capacity for this avatar to engender a high degree of empathy from its automedial testimony is clear, although as we indicate below, it could simply indicate increased levels of emotion.Regardless, an ongoing concern amongst witnesses, scholars and cultural curators of memorials and museums dedicated to preserving the history of mass violence, and its associated trauma, is that once the lived experience and testimony of survivors passes with that generation the impact of the testimony diminishes (Broderick). New media modes of preserving and promulgating such knowledge in perpetuity are certainly worthy of embracing. As Stephen Smith, the executive director of the USC Shoah Foundation suggests, the technology could extendto people who have survived cancer or catastrophic hurricanes […] from the experiences of soldiers with post-traumatic stress disorder or survivors of sexual abuse, to those of presidents or great teachers. Imagine if a slave could have told her story to her grandchildren? (Ziv)Yet questions remain as to the veracity of these recorded personae. The avatars are created according to a specific agenda and the autobiographical content controlled for explicit editorial purposes. It is unclear what and why material has been excluded. If, for example, during the recorded questioning, the virtual holocaust survivor became mute at recollecting a traumatic memory, cried or sobbed uncontrollably—all natural, understandable and authentic responses given the nature of the testimony—should these genuine and spontaneous emotions be included along with various behavioural ticks such as scratching, shifting about in the seat and other naturalistic movements, to engender a more profound realism?The generation of the photorealist, mimetic avatar—remaining as an interactive persona long after the corporeal, authorial being is gone—reinforces Baudrillard’s concept of simulacra, where a clone exists devoid of its original entity and unable to challenge its automedial discourse. And what if some unscrupulous hacker managed to corrupt and subvert Gutter’s AI so that it responded antithetically to its purpose, by denying the holocaust ever happened? The ethical dilemmas of such a paradigm were explored in the dystopian 2013 film, The Congress, where Robyn Wright plays herself (and her avatar), as an out of work actor who sells off the rights to her digital self. A movie studio exploits her screen persona in perpetuity, enabling audiences to “become” and inhabit her avatar in virtual space while she is limited in the real world from undertaking certain actions due to copyright infringement. The inability of Wright to control her mimetic avatar’s discourse or action means the assumed automedial agency of her virtual self as an immortal, interactive being remains ontologically perplexing.Figure 3: Robyn Wright undergoing a full body photogrammetry to create her VR avatar in The Congress (2013)The various virtual exposures/experiences paraded throughout Catalyst’s “Meet the Avatars” paradoxically recorded and broadcast a range of troubling emotional responses to such immersion. Many participant responses suggest great caution and sensitivity be undertaken before plunging headlong into the new gold rush mentality of virtual reality, augmented reality, and AI affordances. Catalyst depicted their program subjects often responding in discomfort and distress, with some visibly overwhelmed by their encounters and left crying. There is some irony that presenter Ngyuen was himself relying on the conventions of 2D linear television journalism throughout, adopting face-to-camera address in (unconscious) automedial style to excitedly promote the assumed socio-cultural boon such automedial VR avatars will generate.Challenging AuthenticityThere are numerous ethical considerations surrounding the potential for AIs to expand beyond automedial (self-)expression towards photorealist avatars interacting outside of their pre-recorded content. When such systems evolve it may be neigh impossible to discern on screen whether the person you are conversing with is authentic or an indistinguishable, virtual doppelganger. In the future, a variant on the Turning Test may be needed to challenge and identify such hyperreal simulacra. We may be witnessing the precursor to such a dilemma playing out in the arena of audio-only podcasts, with some public intellectuals such as Sam Harris already discussing the legal and ethical problems from technology that can create audio from typed text that convincingly replicate the actual voice of a person by sampling approximately 30 minutes of their original speech (Harris). Such audio manipulation technology will soon be available to anybody with the motivation and relatively minor level of technological ability in order to assume an identity and masquerade as automediated dialogue. However, for the moment, the ability to convincingly alter a real-time computer generated video image of a person remains at the level of scientific innovation.Also of significance is the extent to which the audience reactions to such automediated expressions are indeed empathetic or simply part of the broader range of affective responses that also include direct sympathy as well as emotions such as admiration, surprise, pity, disgust and contempt (see Plantinga). There remains much rhetorical hype surrounding VR as the “ultimate empathy machine” (Milk). Yet the current use of the term “empathy” in VR, AI and automedial forms of communication seems to be principally focused on the capacity for the user-viewer to ameliorate negatively perceived emotions and experiences, whether traumatic or phobic.When considering comments about authenticity here, it is important to be aware of the occasional slippage of technological terminology into the mainstream. For example, the psychological literature does emphasise that patients respond strongly to virtual scenarios, events, and details that appear to be “authentic” (Pertaub, Slater, and Barker). Authentic in this instance implies a resemblance to a corresponding scenario/activity in the real world. This is not simply another word for photorealism, but rather it describes for instance the experimental design of one study in which virtual (AI) audience members in a virtual seminar room designed to treat public speaking anxiety were designed to exhibit “random autonomous behaviours in real-time, such as twitches, blinks, and nods, designed to encourage the illusion of life” (Kwon, Powell and Chalmers 980). The virtual humans in this study are regarded as having greater authenticity than an earlier project on social anxiety (North, North, and Coble) which did not have much visual complexity but did incorporate researcher-triggered audio clips of audience members “laughing, making comments, encouraging the speaker to speak louder or more clearly” (Kwon, Powell, and Chalmers 980). The small movements, randomly cued rather than according to a recognisable pattern, are described by the researchers as creating a sense of authenticity in the VR environment as they seem to correspond to the sorts of random minor movements that actual human audiences in a seminar can be expected to make.Nonetheless, nobody should regard an interaction with these AIs, or the avatar of Gutter, as in any way an encounter with a real person. Rather, the characteristics above function to create a disarming effect and enable the real person-viewer to willingly suspend their disbelief and enter into a pseudo-relationship with the AI; not as if it is an actual relationship, but as if it is a simulation of an actual relationship (USC). Lucy Suchman and colleagues invoke these ideas in an analysis of a YouTube video of some apparently humiliating human interactions with the MIT created AI-robot Mertz. Their analysis contends that, while it may appear on first glance that the humans’ mocking exchange with Mertz are mean-spirited, there is clearly a playfulness and willingness to engage with a form of AI that is essentially continuous with “long-standing assumptions about communication as information processing, and in the robot’s performance evidence for the limits to the mechanical reproduction of interaction as we know it through computational processes” (Suchman, Roberts, and Hird).Thus, it will be important for future work in the area of automediated testimony to consider the extent to which audiences are willing to suspend disbelief and treat the recounted traumatic experience with appropriate gravitas. These questions deserve attention, and not the kind of hype displayed by the current iteration of techno-evangelism. Indeed, some of this resurgent hype has come under scrutiny. From the perspective of VR-based tourism, Janna Thompson has recently argued that “it will never be a substitute for encounters with the real thing” (Thompson). Alyssa K. Loh, for instance, also argues that many of the negatively themed virtual experiences—such as those that drop the viewer into a scene of domestic violence or the location of a terrorist bomb attack—function not to put you in the position of the actual victim but in the position of the general category of domestic violence victim, or bomb attack victim, thus “deindividuating trauma” (Loh).Future work in this area should consider actual audience responses and rely upon mixed-methods research approaches to audience analysis. In an era of alt.truth and Cambridge Analytics personality profiling from social media interaction, automediated communication in the virtual guise of AIs demands further study.ReferencesAnon. “New Dimensions in Testimony.” Museum of Jewish Heritage. 15 Dec. 2017. 19 Apr. 2018 <http://mjhnyc.org/exhibitions/new-dimensions-in-testimony/>.Australian Broadcasting Corporation. “Meet The Avatars.” Catalyst, 15 Aug. 2017.Baudrillard, Jean. “Simulacra and Simulations.” Jean Baudrillard: Selected Writings. Ed. Mark Poster. Stanford: Stanford UP, 1988. 166-184.Bender, Stuart Marshall. Legacies of the Degraded Image in Violent Digital Media. Basingstoke: Palgrave Macmillan, 2017.Broderick, Mick. “Topographies of Trauma, Dark Tourism and World Heritage: Hiroshima’s Genbaku Dome.” Intersections: Gender and Sexuality in Asia and the Pacific. 24 Apr. 2010. 14 Apr. 2018 <http://intersections.anu.edu.au/issue24/broderick.htm>.Debevec, Paul. “The Light Stages and Their Applications to Photoreal Digital Actors.” SIGGRAPH Asia. 2012.Doane, Mary Ann. The Emergence of Cinematic Time: Modernity, Contingency, the Archive. Cambridge: Harvard UP, 2002.Dünne, Jörg, and Christian Moser. “Allgemeine Einleitung: Automedialität”. Automedialität: Subjektkonstitution in Schrift, Bild und neuen Medien. Eds. Jörg Dünne and Christian Moser. München: Wilhelm Fink, 2008. 7-16.Harris, Sam. “Waking Up with Sam Harris #64 – Ask Me Anything.” YouTube, 16 Feb. 2017. 16 Mar. 2018 <https://www.youtube.com/watch?v=gMTuquaAC4w>.Kwon, Joung Huem, John Powell, and Alan Chalmers. “How Level of Realism Influences Anxiety in Virtual Reality Environments for a Job Interview.” International Journal of Human-Computer Studies 71.10 (2013): 978-87.Loh, Alyssa K. "I Feel You." Artforum, Nov. 2017. 10 Apr. 2018 <https://www.artforum.com/print/201709/alyssa-k-loh-on-virtual-reality-and-empathy-71781>.Marshall, P. David. “Persona Studies: Mapping the Proliferation of the Public Self.” Journalism 15.2 (2014): 153-170.Mathews, Karen. “Exhibit Allows Virtual ‘Interviews’ with Holocaust Survivors.” Phys.org Science X Network, 15 Dec. 2017. 18 Apr. 2018 <https://phys.org/news/2017-09-virtual-holocaust-survivors.html>.Maguire, Emma. “Home, About, Shop, Contact: Constructing an Authorial Persona via the Author Website” M/C Journal 17.9 (2014).Miller, Ken. More than Fifteen Minutes of Fame: The Evolution of Screen Performance. Unpublished PhD Thesis. Murdoch University. 2009.Milk, Chris. “Ted: How Virtual Reality Can Create the Ultimate Empathy Machine.” TED Conferences, LLC. 16 Mar. 2015. <https://www.ted.com/talks/chris_milk_how_virtual_reality_can_create_the_ultimate_empathy_machine>.Nakamura, Lisa. “Cyberrace.” Identity Technologies: Constructing the Self Online. Eds. Anna Poletti and Julie Rak. Madison, Wisconsin: U of Wisconsin P, 2014. 42-54.North, Max M., Sarah M. North, and Joseph R Coble. "Effectiveness of Virtual Environment Desensitization in the Treatment of Agoraphobia." International Journal of Virtual Reality 1.2 (1995): 25-34.Pertaub, David-Paul, Mel Slater, and Chris Barker. “An Experiment on Public Speaking Anxiety in Response to Three Different Types of Virtual Audience.” Presence: Teleoperators and Virtual Environments 11.1 (2002): 68-78.Plantinga, Carl. "Emotion and Affect." The Routledge Companion to Philosophy and Film. Eds. Paisley Livingstone and Carl Plantinga. New York: Routledge, 2009. 86-96.Rizzo, A.A., and Sebastian Koenig. “Is Clinical Virtual Reality Ready for Primetime?” Neuropsychology 31.8 (2017): 877-99.Rothbaum, Barbara O., Albert “Skip” Rizzo, and JoAnne Difede. "Virtual Reality Exposure Therapy for Combat-Related Posttraumatic Stress Disorder." Annals of the New York Academy of Sciences 1208.1 (2010): 126-32.Smith, Sidonie, and Julia Watson. Reading Autobiography: A Guide to Interpreting Life Narratives. 2nd ed. Minneapolis: U of Minnesota P, 2010.———. “Virtually Me: A Toolbox about Online Self-Presentation.” Identity Technologies: Constructing the Self Online. Eds. Anna Poletti and Julie Rak. Madison: U of Wisconsin P, 2014. 70-95.Suchman, Lucy, Celia Roberts, and Myra J. Hird. "Subject Objects." Feminist Theory 12.2 (2011): 119-45.Thompson, Janna. "Why Virtual Reality Cannot Match the Real Thing." The Conversation, 14 Mar. 2018. 10 Apr. 2018 <http://theconversation.com/why-virtual-reality-cannot-match-the-real-thing-92035>.USC. "Skip Rizzo on Medical Virtual Reality: USC Global Conference 2014." YouTube, 28 Oct. 2014. 2 Apr. 2018 <https://www.youtube.com/watch?v=PdFge2XgDa8>.Won, Andrea Stevenson, Jeremy Bailenson, Jimmy Lee, and Jaron Lanier. "Homuncular Flexibility in Virtual Reality." Journal of Computer-Mediated Communication 20.3 (2015): 241-59.Ziv, Stan. “How Technology Is Keeping Holocaust Survivor Stories Alive Forever”. Newsweek, 18 Oct. 2017. 19 Apr. 2018 <http://www.newsweek.com/2017/10/27/how-technology-keeping-holocaust-survivor-stories-alive-forever-687946.html>.

Conurbation [f. CON- + L. urb- and urbs city + -ation] An aggregation of urban areas. (OED) Beyond the urban, further and lower even than the suburban, lies the con-urban. The conurban: with the urban, partaking of the urbane, lying against but also perhaps pushing against or being contra the urban. Conurbations stretch littorally from Australian cities, along coastlines to other cities, joining cities through the passage of previously outlying rural areas. Joining the dots between cities, towns, and villages. Providing corridors between the city and what lies outside. The conurban is an accretion, an aggregation, a piling up, or superfluity of the city: Greater London, for instance. It is the urban plus, filling the gaps between cities, as Los Angeles oozing urbanity does for the dry, desert areas abutting it (Davis 1990; Soja 1996). I wish to propose that the conurban imaginary is a different space from its suburban counterpart. The suburban has provided a binary opposition to what is not the city, what lies beneath its feet, outside its ken. Yet it is also what is greater than the urban, what exceeds it. In modernism, the city and its denizens define themselves outside what is arrayed around the centre, ringing it in concentric circles. In stark relief to the modernist lines of the skyscraper, contrasting with the central business district, central art galleries and museums, is to be found the masses in the suburbs. The suburban as a maligned yet enabling trope of modernism has been long revalued, in the art of Howard Arkeley, and in photography of suburban Gothic. It comes as no surprise to read a favourable newspaper article on the Liverpool Regional Art Gallery, in Sydney's Western Suburbs, with its exhibition on local chicken empires, Liverpool sheds, or gay and lesbians living on the city fringe. Nor to hear in the third way posturing of Australian Labor Party parliamentarian Mark Latham, the suburbs rhetorically wielded, like a Victa lawn mover, to cut down to size his chardonnay-set inner-city policy adversaries. The politics of suburbia subtends urban revisionism, reformism, revanchism, and recidivism. Yet there is another less exhausted, and perhaps exhaustible, way of playing the urban, of studying the metropolis, of punning on the city's proper name: the con-urban. World cities, as Saskia Sassen has taught us, have peculiar features: the juxtaposition of high finance and high technology alongside subaltern, feminized, informal economy (Sassen 1998). The Australian city proudly declared to be a world city is, of course, Sydney while a long way from the world's largest city by population, it is believed to be the largest in area. A recent newspaper article on Brisbane's real estate boom, drew comparisons with Sydney only to dismiss them, according to one quoted commentator, because as a world city, Sydney was sui generis in Australia, fairly requiring comparison with other world cities. One form of conurbanity, I would suggest, is the desire of other settled areas to be with the world city. Consider in this regard, the fate of Byron Bay a fate which lies very much in the balance. Byron Bay is sign that circulates in the field of the conurban. Craig MacGregor has claimed Byron as the first real urban culture outside an Australian city (MacGregor 1995). Local residents hope to keep the alternative cultural feel of Byron, but to provide it with a more buoyant economic outlook. The traditional pastoral, fishing, and whaling industries are well displaced by niche handicrafts, niche arts and craft, niche food and vegetables, a flourishing mind, body and spirit industry, and a booming film industry. Creative arts and cultural industries are blurring into creative industries. The Byron Bay area at the opening of the twenty-first century is attracting many people fugitive from the city who wish not to drop out exactly; rather to be contra wishes rather to be gently contrary marked as distinct from the city, enjoying a wonderful lifestyle, but able to persist with the civilizing values of an urban culture. The contemporary figure of Byron Bay, if such a hybrid chimera may be represented, wishes for a conurbanity. Citizens relocate from Melbourne, Canberra, and Sydney, seeking an alternative country and coastal lifestyle and, if at all possible, a city job (though without stress) (on internal migration in Australia see Kijas 2002): Hippies and hip rub shoulders as a sleepy town awakes (Still Wild About Byron, (Sydney Morning Herald, 1 January 2002). Forerunners of Byron's conurbanity leave, while others take their place: A sprawling $6.5 million Byron Bay mansion could be the ultimate piece of memorabilia for a wealthy fan of larrikin Australian actor Paul Hogan (Hoges to sell up at Byron Bay, Illawarra Mercury, 14 February 2002). The ABC series Seachange is one key text of conurbanity: Laura Gibson has something of a city job she can ply the tools of her trade as a magistrate while living in an idyllic rural location, a nice spot for a theme park of contemporary Australian manners and nostalgia for community (on Sea Change see Murphy 2002). Conurban designates a desire to have it both ways: cityscape and pastoral mode. Worth noting is that the Byron Shire has its own independent, vibrant media public sphere, as symbolized by the Byron Shire Echo founded in 1986, one of the great newspapers outside a capital city (Martin & Ellis 2002): <http://www.echo.net.au>. Yet the textual repository in city-based media of such exilic narratives is the supplement to the Saturday broadsheet papers. A case in point is journalist Ruth Ostrow, who lives in hills in the Byron Shire, and provides a weekly column in the Saturday Australian newspaper, its style gently evocative of just one degree of separation from a self-parody of New Age mores: Having permanently relocated to the hills behind Byron Bay from Sydney, it's interesting for me to watch friends who come up here on holiday over Christmas… (Ostrow 2002). The Sydney Morning Herald regards Byron Bay as another one of its Northern beaches, conceptually somewhere between Palm Beach and Pearl Beach, or should one say Pearl Bay. The Herald's fascination for Byron Bay real estate is coeval with its obsession with Sydney's rising prices: Byron Bay's hefty price tags haven't deterred beach-lovin' boomers (East Enders, Sydney Morning Herald 17 January 2002). The Australian is not immune from this either, evidence 'Boom Times in Byron', special advertising report, Weekend Australia, Saturday 2 March 2002. And plaudits from The Financial Review confirm it: Prices for seafront spots in the enclave on the NSW north coast are red hot (Smart Property, The Financial Review, 19 January 2002). Wacky North Coast customs are regularly covered by capital city press, the region functioning as a metonym for drugs. This is so with Nimbin especially, with regular coverage of the Nimbin Mardi Grass: Mardi Grass 2001, Nimbin's famous cannabis festival, began, as they say, in high spirits in perfect autumn weather on Saturday (Oh, how they danced a high old time was had by all at the Dope Pickers' Ball, Sydney Morning Herald, 7 May 2001). See too coverage of protests over sniffer dogs in Byron Bay in Easter 2001 showed (Peatling 2001). Byron's agony over its identity attracts wider audiences, as with its quest to differentiate itself from the ordinariness of Ballina as a typical Aussie seaside town (Buttrose 2000). There are national metropolitan audiences for Byron stories, readers who are familiar with the Shire's places and habits: Lismore-reared Emma Tom's 2002 piece on the politics of perving at King's beach north of Byron occasioned quite some debate from readers arguing the toss over whether wanking on the beach was perverse or par for the course: Public masturbation is a funny old thing. On one hand, it's ace that some blokes feel sexually liberated enough to slap the salami any old time… (Tom 2002). Brisbane, of course, has its own designs upon Byron, from across the state border. Brisbane has perhaps the best-known conurbation: its northern reaches bleed into the Sunshine Coast, while its southern ones salute the skyscrapers of Australia's fourth largest city, the Gold Coast (on Gold Coast and hinterland see Griffin 2002). And then the conburbating continues unabated, as settlement stretches across the state divide to the Tweed Coast, with its mimicking of Sanctuary Cove, down to the coastal towns of Ocean Shores, Brunswick Heads, Byron, and through to Ballina. Here another type of infrastructure is key: the road. Once the road has massively overcome the topography of rainforest and mountain, there will be freeway conditions from Byron to Brisbane, accelerating conurbanity. The caf is often the short-hand signifier of the urban, but in Byron Bay, it is film that gives the urban flavour. Byron Bay has its own International Film Festival (held in the near-by boutique town of Bangalow, itself conurban with Byron.), and a new triple screen complex in Byron: Up north, film buffs Geraldine Hilton and Pete Castaldi have been busy. Last month, the pair announced a joint venture with Dendy to build a three-screen cinema in the heart of Byron Bay, scheduled to open mid-2002. Meanwhile, Hilton and Castaldi have been busy organising the second Byron All Screen Celebration Film Festival (BASC), after last year's inaugural event drew 4000 visitors to more than 50 sessions, seminars and workshops. Set in Bangalow (10 minutes from Byron by car, less if you astral travel)… (Cape Crusaders, Sydney Morning Herald, 15 February 2002). The film industry is growing steadily, and claims to be the largest concentration of film-makers outside of an Australian capital city (Henkel 2000 & 2002). With its intimate relationship with the modern city, film in its Byron incarnation from high art to short video, from IMAX to multimedia may be seen as the harbinger of the conurban. If the case of Byron has something further to tell us about the transformation of the urban, we might consider the twenty-first century links between digital communications networks and conurbanity. It might be proposed that telecommunications networks make it very difficult to tell where the city starts and ends; as they interactively disperse information and entertainment formerly associated with the cultural institutions of the metropolis (though this digitization of urbanity is more complex than hyping the virtual suggest; see Graham & Marvin 1996). The bureau comes not just to the 'burbs, but to the backblocks as government offices are closed in country towns, to be replaced by online access. The cinema is distributed across computer networks, with video-on-demand soon to become a reality. Film as a cultural form in the process of being reconceived with broadband culture (Jacka 2001). Global movements of music flow as media through the North Coast, with dance music culture and the doof (Gibson 2002). Culture and identity becomes content for the information age (Castells 1996-1998; Cunningham & Hartley 2001; OECD 1998; Trotter 2001). On e-mail, no-one knows, as the conceit of internet theory goes, where you work or live; the proverbial refashioning of subjectivity by the internet affords a conurbanity all of its own, a city of bits wherever one resides (Mitchell 1995). To render the digital conurban possible, Byron dreams of broadband. In one of those bizarre yet recurring twists of Australian media policy, large Australian cities are replete with broadband infrastructure, even if by 2002 city-dwellers are not rushing to take up the services. Telstra's Foxtel and Optus's Optus Vision raced each other down streets of large Australian cities in the mid-1990s to lay fibre-coaxial cable to provide fast data (broadband) capacity. Cable modems and quick downloading of video, graphics, and large files have been a reality for some years. Now the Asymmetrical Digital Subscriber Line (ADSL) technology is allowing people in densely populated areas close to their telephone exchanges to also avail themselves of broadband Australia. In rural Australia, broadband has not been delivered to most areas, much to the frustration of the conurbanites. Byron Bay holds an important place in the history of the internet in Australia, because it was there that one of Australia's earliest and most important internet service providers, Pegasus Network, was established in the late 1980s. Yet Pegasus relocated to Brisbane in 1993, because of poor quality telecommunications networks (Peters 1998). As we rethink the urban in the shadow of modernity, we can no longer ignore or recuse ourselves from reflecting upon its para-urban modes. As we deconstruct the urban, showing how the formerly pejorative margins actually define the centre the suburban for instance being more citified than the grand arcades, plazas, piazzas, or malls; we may find that it is the conurban that provides the cultural imaginary for the urban of the present century. Work remains to be done on the specific modalities of the conurban. The conurban has distinct temporal and spatial coordinates: citizens of Sydney fled to Manly earlier in the twentieth century, as they do to Byron at the beginning of the twenty-first. With its resistance to the transnational commercialization and mass culture that Club Med, McDonalds, and tall buildings represent, and with its strict environment planning regulation which produce a litigious reaction (and an editorial rebuke from the Sydney Morning Herald [SMH 2002]), Byron recuperates the counter-cultural as counterpoint to the Gold Coast. Subtle differences may be discerned too between Byron and, say, Nimbin and Maleny (in Queensland), with the two latter communities promoting self-sufficient hippy community infused by new agricultural classes still connected to the city, but pushing the boundaries of conurbanity by more forceful rejection of the urban. Through such mapping we may discover the endless attenuation of the urban in front and beyond our very eyes; the virtual replication and invocation of the urban around the circuits of contemporary communications networks; the refiguring of the urban in popular and elite culture, along littoral lines of flight, further domesticating the country; the road movies of twenty-first century freeways; the perpetuation and worsening of inequality and democracy (Stilwell 1992) through the action of the conurban. Cities without bounds: is the conurban one of the faces of the postmetropolis (Soja 2000), the urban without end, with no possibility for or need of closure? My thinking on Byron Bay, and the Rainbow Region in which it is situated, has been shaped by a number of people with whom I had many conversations during my four years living there in 1998-2001. My friends in the School of Humanities, Media, and Cultural Studies, Southern Cross University, Lismore, provided focus for theorizing our ex-centric place, of whom I owe particular debts of gratitude to Baden Offord (Offord 2002), who commented upon this piece, and Helen Wilson (Wilson 2002). Thanks also to an anonymous referee for helpful comments. References Buttrose, L. (2000). Betray Byron at Your Peril. Sydney Morning Herald 7 September 2000. Castells, M. (1996-98). The Information Age. 3 vols. Blackwell, Oxford. Cunningham, S., & Hartley, J. (2001). Creative Industries from Blue Poles to Fat Pipes. Address to the National Humanities and Social Sciences Summit, National Museum of Canberra. July 2001. Davis, M. (1990). City of Quartz: Excavating the Future in Los Angeles. Verso, London. Gibson, C. (2002). Migration, Music and Social Relations on the NSW Far North Coast. Transformations, no. 2. <http://www.ahs.cqu.edu.au/transformation...>. Graham, S., and Marvin, S. (1996). Telecommunications and the City: Electronic Spaces, Urban Places. Routledge, London & New York. Griffin, Graham. (2002). Where Green Turns to Gold: Strip Cultivation and the Gold Coast Hinterland. Transformations, no. 2. <http://www.ahs.cqu.edu.au/transformation...> Henkel, C. (2002). Development of Audiovisual Industries in the Northern Rivers Region of NSW. Master thesis. Queensland University of Technology. . (2000). Imagining the Future: Strategies for the Development of 'Creative Industries' in the Northern Rivers Region of NSW. Northern Rivers Regional Development Board in association with the Northern Rivers Area Consultative Committee, Lismore, NSW. Jacka, M. (2001). Broadband Media in Australia Tales from the Frontier, Australian Film Commission, Sydney. Kijas, J. (2002). A place at the coast: Internal migration and the shift to the coastal-countryside. Transformations, no. 2. <http://www.ahs.cqu.edu.au/transformation...>. MacGregor, Craig. (1995). The Feral Signifier and the North Coast. In The Abundant Culture: Meaning And Significance in Everyday Australia, ed. Donald Horne & Jill Hooten. Allen and Unwin, Sydney. Martin, F., & Ellis, R. (2002). Dropping in, not out: the evolution of the alternative press in Byron Shire 1970-2001. Transformations, no. 2. <http://www.ahs.cqu.edu.au/transformation...>. Mitchell, W.J. (1995). City of Bits: Space, Place, and the Infobahn. MIT Press, Cambridge, Mass. Molnar, Helen. (1998). 'National Convergence or Localism?: Rural and Remote Communications.' Media International Australia 88: 5-9. Moyal, A. (1984). Clear Across Australia: A History of Telecommunications. Thomas Nelson, Melbourne. Murphy, P. (2002). Sea Change: Re-Inventing Rural and Regional Australia. Transformations, no. 2. <http://www.ahs.cqu.edu.au/transformation...>. Offord, B. (2002). Mapping the Rainbow Region: Fields of belonging and sites of confluence. Transformations, no. 2. <http://www.ahs.cqu.edu.au/transformation...>. Organisation for Economic Cooperation and Development (OECD). (1998). Content as a New Growth Industry: Working Party for the Information Economy. OECD, Paris. Ostrow, R. (2002). Joyous Days, Childish Ways. The Australian, 9 February. Peatling, S. (2001). Keep Off Our Grass: Byron stirs the pot over sniffer dogs. Sydney Morning Herald. 16 April. <http://www.smh.com.au/news/0104/14/natio...> Peters, I. (1998). Ian Peter's History of the Internet. Lecture at Southern Cross University, Lismore. CD-ROM. Produced by Christina Spurgeon. Faculty of Creative Industries, Queensland University of Technology, Brisbane. Productivity Commission. (2000). Broadcasting Inquiry: Final Report, Melbourne, Productivity Commission. Sassen, S. (1998). Globalisation and its Contents: Essays on the New Mobility of People and Money. New Press, New York. Soja, E. (2000). Postmetropolis: critical studies of cities and regions. Blackwell, Oxford. . (1996). Thirdspace: journeys to Los Angeles and other real-and-imagined places. Blackwell, Cambridge, Mass. Stilwell, F. (1992). Understanding Cities and Regions: Spatial Political Economy. Pluto Press, Sydney. Sydney Morning Herald (SMH). (2002). Byron Should Fix its own Money Mess. Editorial. 5 April. Tom, E. (2002). Flashing a Problem at Hand. The Weekend Australian, Saturday 12 January. Trotter, R. (2001). Regions, Regionalism and Cultural Development. Culture in Australia: Policies, Publics and Programs. Ed. Tony Bennett and David Carter. Cambridge University Press, Cambridge. 334-355. Wilson, H., ed. (2002). Fleeing the City. Special Issue of Transformations journal, no. 2. < http://www.ahs.cqu.edu.au/transformation...>. Links http://www.echo.net.au http://www.smh.com.au/news/0104/14/national/national3.html http://www.ahs.cqu.edu.au/transformations/journal/issue2/issue.htm Citation reference for this article MLA Style Goggin, Gerard. "Conurban" M/C: A Journal of Media and Culture 5.2 (2002). [your date of access] < http://www.media-culture.org.au/0205/conurban.php>. Chicago Style Goggin, Gerard, "Conurban" M/C: A Journal of Media and Culture 5, no. 2 (2002), < http://www.media-culture.org.au/0205/conurban.php> ([your date of access]). APA Style Goggin, Gerard. (2002) Conurban. M/C: A Journal of Media and Culture 5(2). < http://www.media-culture.org.au/0205/conurban.php> ([your date of access]).

In the last decade, the cell phone’s transformation from a tool for mobile telephony into a multi-modal, computational “smart” media device has engendered a new kind of emplacement, and the ubiquity of technological mediation into the everyday settings of urban life. With it, a new kind of media literacy has become necessary for participation in the networked social publics (Ito; Jenkins et al.). Increasingly, the way we experience our physical environments, make sense of immediate events, and form impressions is through the lens of the camera and through the ear of the microphone, framed by the mediating possibilities of smartphones. Adopting these practices as a kind of new media “grammar” (Burn 29)—a multi-modal language for public and interpersonal communication—offers new perspectives for thinking about the way in which mobile computing technologies allow us to explore our environments and produce new types of cultural knowledge. Living in the Social Multiverse Many of us are concerned about new cultural practices that communication technologies bring about. In her now classic TED talk “Connected but alone?” Sherry Turkle talks about the world of instant communication as having the illusion of control through which we micromanage our immersion in mobile media and split virtual-physical presence. According to Turkle, what we fear is, on the one hand, being caught unprepared in a spontaneous event and, on the other hand, missing out or not documenting or recording events—a phenomenon that Abha Dawesar calls living in the “digital now.” There is, at the same time, a growing number of ways in which mobile computing devices connect us to new dimensions of everyday life and everyday experience: geo-locative services and augmented reality, convergent media and instantaneous participation in the social web. These technological capabilities arguably shift the nature of presence and set the stage for mobile users to communicate the flow of their everyday life through digital storytelling and media production. According to a Digital Insights survey on social media trends (Bennett), more than 500 million tweets are sent per day and 5 Vines tweeted every second; 100 hours of video are uploaded to YouTube every minute; more than 20 billion photos have been shared on Instagram to date; and close to 7 million people actively produce and publish content using social blogging platforms. There are more than 1 billion smartphones in the US alone, and most social media platforms are primarily accessed using mobile devices. The question is: how do we understand the enormity of these statistics as a coherent new media phenomenon and as a predominant form of media production and cultural participation? More importantly, how do mobile technologies re-mediate the way we see, hear, and perceive our surrounding evironment as part of the cultural circuit of capturing, sharing, and communicating with and through media artefacts? Such questions have furnished communication theory even before McLuhan’s famous tagline “the medium is the message”. Much of the discourse around communication technology and the senses has been marked by distinctions between “orality” and “literacy” understood as forms of collective consciousness engendered by technological shifts. Leveraging Jonathan Sterne’s critique of this “audio-visual litany”, an exploration of convergent multi-modal technologies allows us to focus instead on practices and techniques of use, considered as both perceptual and cultural constructs that reflect and inform social life. Here in particular, a focus on sound—or aurality—can help provide a fresh new entry point into studying technology and culture. The phenomenon of everyday photography is already well conceptualised as a cultural expression and a practice connected with identity construction and interpersonal communication (Pink, Visual). Much more rarely do we study the act of capturing information using mobile media devices as a multi-sensory practice that entails perceptual techniques as well as aesthetic considerations, and as something that in turn informs our unmediated sensory experience. Daisuke and Ito argue that—in contrast to hobbyist high-quality photographers—users of camera phones redefine the materiality of urban surroundings as “picture-worthy” (or not) and elevate the “mundane into a photographic object.” Indeed, whereas traditionally recordings and photographs hold institutional legitimacy as reliable archival references, the proliferation of portable smart technologies has transformed user-generated content into the gold standard for authentically representing the everyday. Given that visual approaches to studying these phenomena are well underway, this project takes a sound studies perspective, focusing on mediated aural practices in order to explore the way people make sense of their everyday acoustic environments using mobile media. Curation, in this sense, is a metaphor for everyday media production, illuminated by the practice of listening with mobile technology. Everyday Listening with Technology: A Case Study The present conceptualisation of curation emerged out of a participant-driven qualitative case study focused on using mobile media to make sense of urban everyday life. The study comprised 10 participants using iPod Touches (a device equivalent to an iPhone, without the phone part) to produce daily “aural postcards” of their everyday soundscapes and sonic experiences, over the course of two to four weeks. This work was further informed by, and updates, sonic ethnography approaches nascent in the World Soundscape Project, and the field of soundscape studies more broadly. Participants were asked to fill out a questionnaire about their media and technology use, in order to establish their participation in new media culture and correlate that to the documentary styles used in their aural postcards. With regard to capturing sonic material, participants were given open-ended instructions as to content and location, and encouraged to use the full capabilities of the device—that is, to record audio, video, and images, and to use any applications on the device. Specifically, I drew their attention to a recording app (Recorder) and a decibel measurement app (dB), which combines a photo with a static readout of ambient sound levels. One way most participants described the experience of capturing sound in a collection of recordings for a period of time was as making a “digital scrapbook” or a “media diary.” Even though they had recorded individual (often unrelated) soundscapes, almost everyone felt that the final product came together as a stand-alone collection—a kind of gallery of personalised everyday experiences that participants, if anything, wished to further organise, annotate, and flesh out. Examples of aural postcard formats used by participants: decibel photographs of everyday environments and a comparison audio recording of rain on a car roof with and without wipers (in the middle). Working with 139 aural postcards comprising more than 250 audio files and 150 photos and videos, the first step in the analysis was to articulate approaches to media documentation in terms of format, modality, and duration as deliberate choices in conversation with dominant media forms that participants regularly consume and are familiar with. Ambient sonic recordings (audio-only) comprised a large chunk of the data, and within this category there were two approaches: the sonic highlight, a short vignette of a given soundscape with minimal or no introduction or voice-over; and the process recording, featuring the entire duration of an unfolding soundscape or event. Live commentaries, similar to the conventions set forth by radio documentaries, represented voice-over entries at the location of the sound event, sometimes stationary and often in motion as the event unfolded. Voice memos described verbal reflections, pre- or post- sound event, with no discernable ambience—that is, participants intended them to serve as reflective devices rather than as part of the event. Finally, a number of participants also used the sound level meter app, which allowed them to generate visual records of the sonic levels of a given environment or location in the form of sound level photographs. Recording as a Way of Listening In their community soundwalking practice, Förnstrom and Taylor refer to recording sound in everyday settings as taking world experience, mediating it through one’s body and one’s memories and translating it into approximate experience. The media artefacts generated by participants as part of this study constitute precisely such ‘approximations’ of everyday life accessed through aural experience and mediated by the technological capabilities of the iPod. Thinking of aural postcards along this technological axis, the act of documenting everyday soundscapes involves participants acting as media producers, ‘framing’ urban everyday life through a mobile documentary rubric. In the process of curating these documentaries, they have to make decisions about the significance and stylistic framing of each entry and the message they wish to communicate. In order to bring the scope of these curatorial decisions into dialogue with established media forms, in this work’s analysis I combine Bill Nichols’s classification of documentary modes in cinema with Karin Bijsterveld’s concept of soundscape ‘staging’ to characterise the various approaches participants took to the multi-modal curation of their everyday (sonic) experience. In her recent book on the staging of urban soundscapes in both creative and documentary/archival media, Bijsterveld describes the representation of sound as particular ‘dramatisations’ that construct different kinds of meanings about urban space and engender different kinds of listening positions. Nichols’s articulation of cinematic documentary modes helps detail ways in which the author’s intentionality is reflected in the styling, design, and presentation of filmic narratives. Michel Chion’s discussion of cinematic listening modes further contextualises the cultural construction of listening that is a central part of both design and experience of media artefacts. The conceptual lens is especially relevant to understanding mobile curation of mediated sonic experience as a kind of mobile digital storytelling. Working across all postcards, settings, and formats, the following four themes capture some of the dominant stylistic dimensions of mobile media documentation. The exploratory approach describes a methodology for representing everyday life as a flow, predominantly through ambient recordings of unfolding processes that participants referred to in the final discussion as a ‘turn it on and forget it’ approach to recording. As a stylistic method, the exploratory approach aligns most closely with Nichols’s poetic and observational documentary modes, combining a ‘window to the world’ aesthetic with minimal narration, striving to convey the ‘inner truth’ of phenomenal experience. In terms of listening modes reflected in this approach, exploratory aural postcards most strongly engage causal listening, to use Chion’s framework of cinematic listening modes. By and large, the exploratory approach describes incidental documentaries of routine events: soundscapes that are featured as a result of greater attentiveness and investment in the sonic aspects of everyday life. The entries created using this approach reflect a process of discovering (seeing and hearing) the ordinary as extra-ordinary; re-experiencing sometimes mundane and routine places and activities with a fresh perspective; and actively exploring hidden characteristics, nuances of meaning, and significance. For instance, in the following example, one participant explores a new neighborhood while on a work errand:The narrative approach to creating aural postcards stages sound as a springboard for recollecting memories and storytelling through reflecting on associations with other soundscapes, environments, and interactions. Rather than highlighting place, routine, or sound itself, this methodology constructs sound as a window into the identity and inner life of the recordist, mobilising most strongly a semantic listening mode through association and narrative around sound’s meaning in context (Chion 28). This approach combines a subjective narrative development with a participatory aesthetic that draws the listener into the unfolding story. This approach is also performative, in that it stages sound as a deeply subjective experience and approaches the narrative from a personally significant perspective. Most often this type of sound staging was curated using voice memo narratives about a particular sonic experience in conjunction with an ambient sonic highlight, or as a live commentary. Recollections typically emerged from incidental encounters, or in the midst of other observations about sound. In the following example a participant reminisces about the sound of wind, which, interestingly, she did not record: Today I have been listening to the wind. It’s really rainy and windy outside today and it was reminding me how much I like the sound of wind. And you know when I was growing up on the wide prairies, we sure had a lot of wind and sometimes I kind of miss the sound of it… (Participant 1) The aesthetic approach describes instances where the creation of aural postcards was motivated by a reduced listening position (Chion 29)—driven primarily by the qualities and features of the soundscape itself. This curatorial practice for staging mediated aural experience combines a largely subjective approach to documenting with an absence of traditional narrative development and an affective and evocative aesthetic. Where the exploratory documentary approach seeks to represent place, routine, environment, and context through sonic characteristics, the aesthetic approach features sound first and foremost, aiming to represent and comment on sound qualities and characteristics in a more ‘authentic’ manner. The media formats most often used in conjunction with this approach were the incidental ambient sonic highlight and the live commentary. In the following example we have the sound of coffee being made as an important domestic ritual where important auditory qualities are foregrounded: That’s the sound of a stovetop percolator which I’ve been using for many years and I pretty much know exactly how long it takes to make a pot of coffee by the sound that it makes. As soon as it starts gurgling I know I have about a minute before it burns. It’s like the coffee calls and I come. (Participant 6) The analytical approach characterises entries that stage mediated aural experience as a way of systematically and inductively investigating everyday phenomena. It is a conceptual and analytical experimental methodology employed to move towards confirming or disproving a ‘hypothesis’ or forming a theory about sonic relations developed in the course of the study. As such, this approach most strongly aligns with Chion’s semantic listening mode, with the addition of the interactive element of analytical inquiry. In this context, sound is treated as a variable to be measured, compared, researched, and theorised about in an explicit attempt to form conclusions about social relationships, personal significance, place, or function. This analytical methodology combines an explicit and critical focus to the process of documenting itself (whether it be measuring decibels or systematically attending to sonic qualities) with a distinctive analytical synthesis that presents as ‘formal discovery’ or even ‘truth.’ In using this approach, participants most often mobilised the format of short sonic highlights and follow-up voice memos. While these aural postcards typically contained sound level photographs (decibel measurement values), in some cases the inquiry and subsequent conclusions were made inductively through sustained observation of a series of soundscapes. The following example is by a participant who exclusively recorded and compared various domestic spaces in terms of sound levels, comparing and contrasting them using voice memos. This is a sound level photograph of his home computer system: So I decided to record sitting next to my computer today just because my computer is loud, so I wanted to see exactly how loud it really was. But I kept the door closed just to be sort of fair, see how quiet it could possibly get. I think it peaked at 75 decibels, and that’s like, I looked up a decibel scale, and apparently a lawn mower is like 90 decibels. (Participant 2) Mediated Curation as a New Media Cultural Practice? One aspect of adopting the metaphor of ‘curation’ towards everyday media production is that it shifts the critical discourse on aesthetic expression from the realm of specialised expertise to general practice (“Everyone’s a photographer”). The act of curation is filtered through the aesthetic and technological capabilities of the smartphone, a device that has become co-constitutive of our routine sensorial encounters with the world. Revisiting McLuhan-inspired discourses on communication technologies stages the iPhone not as a device that itself shifts consciousness but as an agent in a media ecology co-constructed by the forces of use and design—a “crystallization of cultural practices” (Sterne). As such, mobile technology is continuously re-crystalised as design ‘constraints’ meet both normative and transgressive user approaches to interacting with everyday life. The concept of ‘social curation’ already exists in commercial discourse for social web marketing (O’Connell; Allton). High-traffic, wide-integration web services such as Digg and Pinterest, as well as older portals such as Reddit, all work on the principles of arranging user-generated, web-aggregated, and re-purposed content around custom themes. From a business perspective, the notion of ‘social curation’ captures, unsurprisingly, only the surface level of consumer behaviour rather than the kinds of values and meaning that this process holds for people. In the more traditional sense, art curation involves aesthetic, pragmatic, epistemological, and communication choices about the subject of (re)presentation, including considerations such as manner of display, intended audience, and affective and phenomenal impact. In his 2012 book tracing the discourse and culture of curating, Paul O’Neill proposes that over the last few decades the role of the curator has shifted from one of arts administrator to important agent in the production of cultural experiences, an influential cultural figure in her own right, independent of artistic content (88). Such discursive shifts in the formulation of ‘curatorship’ can easily be transposed from a specialised to a generalised context of cultural production, in which everyone with the technological means to capture, share, and frame the material and sensory content of everyday life is a curator of sorts. Each of us is an agent with a unique aesthetic and epistemological perspective, regardless of the content we curate. The entire communicative exchange is necessarily located within a nexus of new media practices as an activity that simultaneously frames a cultural construction of sensory experience and serves as a cultural production of the self. To return to the question of listening and a sound studies perspective into mediated cultural practices, technology has not single-handedly changed the way we listen and attend to everyday experience, but it has certainly influenced the range and manner in which we make sense of the sensory ‘everyday’. Unlike acoustic listening, mobile digital technologies prompt us to frame sonic experience in a multi-modal and multi-medial fashion—through the microphone, through the camera, and through the interactive, analytical capabilities of the device itself. Each decision for sensory capture as a curatorial act is both epistemological and aesthetic; it implies value of personal significance and an intention to communicate meaning. The occurrences that are captured constitute impressions, highlights, significant moments, emotions, reflections, experiments, and creative efforts—very different knowledge artefacts from those produced through textual means. Framing phenomenal experience—in this case, listening—in this way is, I argue, a core characteristic of a more general type of new media literacy and sensibility: that of multi-modal documenting of sensory materialities, or the curation of everyday life. 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