Journal articles on the topic 'RMIT University. Landscape Architecture Program'

<p>A garden is an outdoor relaxation area, set aside for the display of plants and other natural habitats solitary to human life. However, due to the reduced open space in urban areas, turning parks into gardens has become common. Therefore, a roof garden is an attractive option because it is private, and accessible to only certain people. Presently, the Study Program Landscape Architecture Universitas Trisakti, Jakarta, Indonesia, has a roof garden used to support certain subjects' practical activities. However, the concept of a green pattern applied to the roof garden of this institution is not optimal. Therefore, this study aims to determine the design principles that have not been maximized in the roof garden of Study Program Landscape Architecture due to inaccuracy in the arrangement of the green pattern. This is descriptive research intended to describe and examine the characteristics, relationships, similarities, and differences of green patterns in the roof garden with other phenomena.</p>

The Study Program of Landscaping and Gardening (Program Studi Lanskap dan Pertamanan (LDP)), one of the study programs at SMKN 63 Jagakarsa, South Jakarta, needs guidance related to learning materials of landscape design. The purpose of providing landscape design materials for school members (teachers and students) is to increase the knowledge and skills of making landscape designs and optimize the function and beauty of the school's out space. It supports the behavior of the environmental awareness that the Adiwiyata program promotes. Community service activities in the form of socialization and training so that school members can design the landscape independently and distribute questionnaires to measure the level of achievement of the socialization and training were carried out. The case area to be designed is a corner garden in the front yard of SMKN 63. The activity results show that the participants' perceptions fall into the category of agreeing to strongly agree on the value of the benefits of the service material. Participants were very enthusiastic and active. Creativity and design making still need guidance. Evaluation in the following month shows the follow-up of the resulting design. This enthusiasm led to a cooperation agreement between SMKN 63 and a community service team from the Landscape Architecture Department, Faculty of Laskap Architecture and Environmental Technology, Trisakti University to foster school residents sustainably.

The merging of the Landscape Architecture Program (LA) with the Department of Horticulture had no effect on visibility of horticulture at Colorado State University and in the state. It did enhance the stature of the merged department as it became second only to the Department of Animal Sciences in terms of undergraduate majors and graduates in the College of Agricultural Sciences. The merger had only a limited impact on the budget. The LA is accredited. Accreditation standards aided the LA in justification of a new position. Since the merger, the Landscape Design and Contracting Program has become accredited through the Associated Landscape Contractors of America (Reston, Va.). Horticulture, which has no accrediting agency, is at a disadvantage in competing for open positions.

<p class="Body1">The following paper presents an interdisciplinary design studio program at the School of Architecture and Built Environment, Deakin University, referred to as the ‘UrbanHeart Surgery’. This is a design based research forum that attempts to facilitate a landscape of decision-making that stimulates an integrated approach to design within the urban context.</p><p>The Urbanheart program has developed into a very successful teaching, research and public/community relations program. It has not only secured an ongoing relationship with various planning authorities, but its core of industrial partnerships has expanded to include four regional councils (Bendigo, Ballarat, Geelong, Surfcoast and Warrnambool), three metropolitan municipalities (Melbourne City, Port Phillip, Wyndham and Maribyrnong) and close links with various Victorian State government departments.</p><p>The program actively integrates postgraduate students from Architecture, Urban Design, Landscape Architecture and Planning. The different scales of resolution at which the unit operates would welcome further integration with students from Mechanical Engineering, Art and Design, Information Technology and Environmental Science.</p>

The objective of this study is to present the concept and significance of special landscape values. The research explains special landscape values within landscape protection using Hungarian scientific literature as well as international and national law. In the last decades the measurement and conservation of non-protected landscapes and landscape elements were emphasised by landscape protection. One of the biggest research of the last years was TÉKA project, done by Corvinus University of Budapest Faculty of Landscape Architecture. The program dealt with surveying Hungarian landscape values. In this paper I am going to analyse the types of special landscape values and their frequencies on a plain region using an open database prepared by TÉKA program. In addition to the definition of special landscape values in the Érmellék loess ridge geographical micro region the study intends to reveal the advantages and disadvantages of using the database.

Nationally, the urban and community forests are in a state of rapid decline. About 52% of street trees are dead or dying. The average tree life of the urban areas is about five times less than in rural areas. The growing national awareness of the importance and benefits of trees and their role in maintaining a healthy environment magnifies the need for urban forestry training programs. The Southern University Urban Forestry Program (funded by USDA Forest Service, Southern Region) is set up to address the critical need for high quality, user-oriented urban forestry training for minority students, and to bridge the gap between minority participation and national forestry resources, education and management programs. This unique program places major emphasis on experiential learning activities in addition to sound academic education. The four-year curriculum will be centered around forestry, horticulture, urban and community planning and landscape architecture.

The Frances L. Loeb Library at the Harvard Graduate School of Design has served the needs of the teaching faculty and students of the University, and of architecture, landscape architecture and urban planning design scholars worldwide, since the beginning of the architecture program in 1900. During that period the library has had two different homes, and the collections have grown through a combination of purchased acquisitions and gifts from faculty and alumni of the School. The library has been an integral part of the School throughout its history, working closely with faculty and students to support design education.

This Community Service Program (PKM) is implemented based on a Memorandum of Agreement (MoA) between the Agrotechnology Study Program, Faculty of Agriculture, Madura Islamic University and East Pademawu Village. The coaching program carried out is related to landscape learning materials. The purpose of providing landscape design materials for East Pademawu BUMDes is to improve landscape design insight and skills, to optimize the function and beauty and role of local village education parks so that they can support BUMDes administrators towards independent villages. Service activities in the form of providing materials and training followed by distributing questionnaires (based on a Likert scale whose score has been determined) to measure the level of achievement of socialization and training carried out. The location for the design is the backyard of the East Pademawu Village Hall office. The results of the participants' assessment of the benefits of the training through observation sheets showed an increase in the benefits, soft skills of BUMDes participants and the quality of local village facilities and infrastructure with a percentage of 83%. Participants showed enthusiasm and activity in the good category and agreed on the educational park landscape plan that had been optimally designed on village land. However, for mastery of material, creativity and conveying ideas, participants fall into the sufficient category so that there is a need for guidance and retraining which is based on the approval of cooperation between partner members and the garden landscape design team of the Madura Islamic University so that periodic guidance for BUMDes can still be carried out. The shortcoming that still needs to be considered for participants is a sense of design which can be overcome and minimized by broadening their horizons and actively joining the landscape design community.

Oklahoma Proven is a plant evaluation and marketing program developed by the Department of Horticulture and Landscape Architecture at Oklahoma State University. An advisory committee comprised of representatives from state agencies, industry, and Oklahoma Botanical Garden and Arboretum Affiliate Gardens makes plant recommendations to an executive committee which in turn selects one tree, shrub, perennial, and annual for promotion each year. Trees and shrubs are selected 3 to 5 years ahead of promotion while perennials and annuals are selected 1 to 2 years in advance to give nurseries time to increase production. Marketing includes posters, billboards, pot stakes, and hang tags with the Oklahoma Proven logo and related extension service programming and news coverage. Consumers appreciate having help selecting plants and one retail nursery reported an 81% increase in sales of Oklahoma Proven plants. Funding for the program is provided by industry, Oklahoma Agricultural Experiment Station, Oklahoma Cooperative Extension Service, and a grant from Oklahoma Department of Agriculture.

To address the acute need of Washington's tree fruit industry for professional horticulturists, the Agriculture Sciences Department at Wenatchee Valley College and the Department of Horticulture and Landscape Architecture at Washington State University have developed and implemented a unique undergraduate degree program. This program represents a new way of addressing the need for professional horticultural positions in Washington's tree fruit industry amidst tradition, reductions in state higher education budgets, and eroding confidence in the public education system. This program is not a credit transfer program but a fully articulated agreement. We established a small working team that represented the partners. Their goal was to discuss and develop a concept framework that has three parts: administrative, curriculum and industry support. The objectives of the program are to address the need of Washington's tree fruit industry for entry level horticulturists who could assume more responsibility earlier in their career, to make the fruit industry and integral partner, to prepare students for graduate study as well as industry professionals and to capitalize on the respective strengths of the partners.

Modern studies and research in the field of architecture are developed on the basis of strengthening international cooperation on different geopolitical spaces. Strategies of developing landscape architecture as well as research and educational services are presented in European Landscape Convention. For this reason this document is reviewed in the paper. International European study and research platform Le:Notre is one of the effective ways to develop integral and coordinated studies and research in landscape architecture. Having virtual easily accessible space for collaborative research, art and studies in landscape as its aim, Le:Notre is becoming a place where innovative knowledge-based products, which are significant internationally and reflecting regional specifics, are created. Researchers and teaching staff of the Faculty of Architecture of Vilnius Gediminas Technical University, including the author of this paper, for several years have been involved in the collaborative research on this platform and are looking forward to improving and widening the prospects for studies and research of landscape architecture at VGTU by working recently in a comprehensive modern European virtual study program in landscape architecture. It is strongly anticipated that this product will affect the quality of landscape studies at VGTU and encourage our students and junior researchers to deepen their knowledge in landscape architecture of Lithuania and other European regions. Santrauka Šiuolaikinės studijos ir tyrimai architektūros srityje atliekami bendradarbiaujant skirtingų šalių mokslininkams plačiose geopolitinėse erdvėse. Europos kraštovaizdžio konvencija apibrėžia pagrindines kraštovaizdžio architektūros vystymo strategijas, taip pat ir šioje srityje vykdomų mokslinių tyrimų bei teikiamų akademinių paslaugų kryptis. Todėl straipsnyje šis dokumentas yra nagrinėjamas. Kraštovaizdžio architektūros studijų ir mokslo integralumo bei koordinacijos siekiama įvairiais būdais, vienas iš jų – tarptautinės virtualiųjų studijų platformos Le:Notre sukūrimas. Siekdama sukurti skirtingų šalių mokslo, kūrybos, studijų ir kitų susijusių sričių žmonių bendravimo ir tobulėjimo erdvę, Le:Notre žinių platforma tapo vieta, kurioje sukuriami nauji universalūs intelektiniai produktai, paliekantys vietos tautiniam ir regioniniam savitumui išreikšti bei prieinami daugeliui besidominčiųjų šiuolaikinėmis nuotolinio bendravimo priemonėmis. VGTU architektūros fakulteto mokslininkai ir pedagogai, taip pat ir šio straipsnio autorius, jau keletą metų aktyviai bendradarbiaujantys šioje erdvėje, siekia praplėsti kraštovaizdžio studijų ir mokslo Architektūros fakultete galimybes bei šiuo metu su partneriais kuria visa apimantį šiuolaikinį Europinės kraštovaizdžio architektūros nuotolinių studijų tinklą. Tikėtina, kad šis akademinis produktas, būdamas prieinamas vietos studentams ir pedagogams, paveiks kraštovaizdžio architektūros studijų ir mokslo VGTU Architektūros fakultete kokybę bei paskatins studentus ir jaunuosius tyrėjus giliau domėtis kraštovaizdžio architektūros klausimais Lietuvoje ir kituose Europos regionuose.

This paper is based on the two years community-based participatory action research (CBPAR), focusing on Cross-Cultural Design Collaboration (CCDC) landscape design studio, held in Iwase Neighborhood Association area, Matsudo, Japan. We first briefly introduce the problems of Japanese local community and introduce the priorities of collaboration between university and community in Japan. Then, we introduce the Design and Build program, which was incorporated into the Chiba University CCDC studio in 2014. The authors suggest “Students live in the Neighborhood Association” model as an effective way to facilitate the collaborative programs between university and local community. We critically reflect on the process of CCDC landscape design studio held in Iwase, Matsudo city in 2017-2018. Based on that, we provide the recommendations for the implementation of interdisciplinary practical programs in Universities, so they can contribute to the quality of life of local communities utilizing the suggested model.Keywords: community, landscape design, interdisciplinary research, community-based participatory action researcheISBN 2398-4287 © 2018. The Authors. Published for AMER ABRA cE- Bs by e-International Publishing House, Ltd., U.K. Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.https://doi.org/10.21834/e-bpj.v3i9.1491

<p><strong>Abstract</strong></p><p>Collaboration among the professional disciplines has an important impact on the success of education and training. It is known that the architectural profession interacts with different professional disciplines at national and international universities that provide architectural education. These professions should be included in architectural education programs, especially because architecture is related to different disciplines such as civil engineering, interior architecture, landscape architecture, urban and regional planning. In this respect, design students studying in the field of architecture need to acquire interdisciplinary vocational education in order to develop their imagination, ability of thinking and to realize what they thinked.</p><p>In this context, a survey was conducted with 61 students from the 4th grade students who took the Landscape Design course in the Architecture Department of Avrasya University, which provides architectural education. The students who attended the lessons were asked for their opinions about whether the lessons contributing their professional quality or not. Survey questions were analyzed by SPSS Statistics 24 analysis program. The students who participated in the survey stated that the course was especially helpful when designing the site plan, determining the site elevations and building entry-exit points. In addition, students stated that they would like to take the landscape design course in 2nd grade instead of taking in the 4th grade.</p><p> <strong>Öz</strong></p><p>Mesleki disiplinler arasındaki ortak çalışmalar, eğitim öğretimin başarısı üzerinde önemli bir etkiye sahiptir. Mimarlık eğitimi veren ulusal ve uluslararası üniversitelerde de mimarlık mesleğinin farklı meslek disiplinleri ile etkileşim içerisinde olduğu bilinmektedir. Özellikle Mimarlığın, İnşaat Mühendisliği, İç Mimarlık, Peyzaj Mimarlığı, Şehir Bölge Planlama gibi farklı disiplinler ile ilişkili olmasından dolayı, bu disiplinlere dair mesleki bilgiler eğitim programlarında yer almalıdır. Bu açıdan mimarlık alanında eğitim öğretim gören tasarım öğrencilerinin, düşünme, düşünüleni görme ve hayata geçirme adına hayal güçlerini geliştirmek için disiplinler arası mesleki eğitimi almaları gerekmektedir.</p><p>Bu bağlamda, bu çalışmada mimarlık eğitimi veren Avrasya Üniversitesi Mimarlık Bölümü, Peyzaj Tasarım dersini alan 4. Sınıf öğrencilerinden 61 kişi ile bir anket çalışması yapılmıştır. Dersi alan öğrencilerden ders kapsamında görüşleri istenmiş ve almış oldukları dersin, mesleki eğitimlerine katkısı olup olmadığı sorgulanmıştır. Anket soruları SPSS Statistics 24 analiz programı ile analiz edilmiştir. Ankete katılan öğrenciler dersin özellikle; vaziyet planı tasarlarken, arazi kotlarını ve bina giriş-çıkış noktalarını belirlerken yardımcı olduğunu ifade etmişlerdir. Ayrıca öğrenciler ankete vermiş oldukları cevaplarında 4. sınıfta almış oldukları Peyzaj Tasarım dersinin, eğitim öğretim yılları içerisinde 2. sınıfta almak istediklerini belirtmişlerdir.</p>

This paper introduces a joint program between the University of Malaya and Kuala Lumpur City Hall undertaking the Therapeutic Sensory Stimulation Garden at University of Malaya Medical Centre to promote an inclusive society through sensory therapy. Good universal design practices of sensory gardens visited in the UK, Singapore and Hong Kong highlighted. Outcomes showed that users’ engagement with the landscape features promotes positive developments in social behaviours. In contrary, it proved a weak partnership between practitioners, researchers, authorities and users as well as non-availability of design guidelines for these gardens. Both outcomes are a significant argument in the conclusion.© 2016. The Authors. Published for AMER ABRA by e-International Publishing House, Ltd., UK. Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies, Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.Keywords: Inclusive society; intergenerational society; sensory garden; universal design.

This paper introduces a joint program between the University of Malaya and Kuala Lumpur City Hall undertaking the Therapeutic Sensory Stimulation Garden at University of Malaya Medical Centre to promote an inclusive society through sensory therapy. Good universal design practices of sensory gardens visited in the UK, Singapore, and Hong Kong is highlighted. Outcomes showed that users’ engagement with the landscape features promotes positive developments in social behaviours. In contrary, it proved a limited partnership between practitioners, researchers, authorities and users as well as non-availability of design guidelines for these gardens. Both outcomes are a significant argument in the conclusion.2398-4295 © 2016. The Authors. Published for AMER ABRA by e-International Publishing House, Ltd., UK.. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.Keywords: Inclusive society; sensory garden; sensory therapy; universal design

Architectural design studios are the crux and core of architecture education. The closure of face-to-face Design studios due to the COVID-19 pandemic during the years 2020 and 2021 has indeed posed a set of challenges to architectural education. Through a rigorous set of research methods, the paper investigates the various possibilities and perspectives of making the challenges into opportunities to rethink, innovate and move on. The paper aims to develop a model for implementing studio-based learning innovative, appropriate, and conducive to covid and post-covid environments. The first objective dealt with in this paper is to find the consensus on the directives to solve and respond to the contemporary challenges of the pandemic for the SBL. The second is to arrive at a toolkit or a model that strategically summarizes the processes for the directives. The School of Architecture, Building, and Design from Taylor’s University Malaysia has been the case study of the investigation. The research methods involved conducting focus group meetings with various stakeholders, such as the Students, Tutors, Studio Coordinators, Program Directors, and the Head of the School. The findings firstly offered a set of shifts in paradigms of SBL and secondly, a toolkit that we named as Design Implementation Model (DIM) for a hybrid studio pedagogy that we envisage and envision to be the future of architectural education.

Purpose The level of live, reduction of pollution and positive human health is affected by the quality of landscape. In addition, many benefits such as aesthetic, psychological and social can be achieved. The quality of landscape is integrated with the individual’s needs. The scope of landscape must be determined according to user needs and planning methods. The purpose of this study is to propose a house of quality (HOQ) model to identify the landscape design requirements. The Islamic University of Gaza (IUG) was used as a case study. The need to implement the proposed HOQ model has been identified. Also, the male and female students’ priorities have been identified, and the weight of campus landscape design elements was extracted. Design/methodology/approach The male and female IUG students’ needs were identified using a questionnaire survey. The data were analyzed for testing statistical validity and reliability using SPSS. HOQ model was built using EDRAW Max program. Findings The ten most important student needs are “cleanliness, praying, feeling safe, feeling comfortable psychic, drinking, spaciousness and breadth, shading, quiet, rest and sitting, and fresh air.” Based on these results and needs assessment, the HOQ was constructed. The most important design elements are “group of seats, shrubs, trees, lawns, pergola, and seats chairs or benches.” Originality/value This study adds to the designer’s knowledge about HOQ application in design, and contributes significantly to consider public participation as a way in collecting the voice of customers.

In the emerging era of technology, the architectural world is taking inspiration from nature for solutions to its problems, which involve the study of natural design systems and various processes. This research investigation, carried out in the fourth year architecture design studio, aims to investigate bio-mimicry as a development process, involving it for architectural design. It also attempts to study innovation by integrating the digital tools like Rhino, Grasshopper, Ladybug and Para Cloud Gem. A new understanding of solving design issues with the help of natural processes and phenomena is the basic aim. Natural systems offer design strategies to improve design thinking due to the availability of extensive repertoire; which makes incorporating multi-functional and self-organized biomimetic principles into the design process a requirement. This discusses an undergraduate design studio titled "Digital Design through Bio-mimicry" which was taught by the author in an architectural degree program at the University of Engineering and Technology Lahore, Department of Architecture in Spring 2018. Following the exploration of individual research topics, the findings were implemented into design solutions. It has been a critical challenge for the author to increase the skill of students about biomimetic thinking, making them learn about how to handle digital tool’s performance issues, as well as making them work on the development of interesting form generation. The challenges encountered in the teaching process and future lines of the work are discussed in this paper. Keywords: Biomimetic processes, Architectural education, Digital Techniques, Vertical Landscape, Computer-Aided Architectural Design

The preservation and restoration of habitats and ecological connectivity inside cities is crucial to ensure wildlife can find suitable areas to forage, rest and reproduce, as well as to disperse, thereby allowing metapopulation functioning. In this study, we used data collected by a citizen science program between 2016 and 2018 to determine which families of pollinators were the most frequently observed in Seoul and with which habitats pollinators had the highest affinities. Using species distribution modeling and landscape graph approaches, we located the main habitats and corridors to reinforce connectivity for six pollinator families. Finally, we identified habitats and corridors where conservation actions should be prioritized. In total, 178 species belonging to 128 genera and 60 families were observed. Hymenopterans were the most recorded, followed by dipterans and lepidopterans. The most suitable habitats for pollinators were constituted of public parks, university campuses, and Cultural Heritage sites. In a dense city like Seoul, most of the conservation corridors are located in built-up areas. Innovative urban planning and architecture are therefore required as well as the setting-up of ecological management practices to lead to a more sustainable urbanism for pollinators and wildlife in general.

The scientific publication outlines the methodology of teaching the specialized academic discipline “Design, Part 5” as a component of training of students of the Institute of Architecture and Design majoring in Design, aimed at the preparation of a comprehensive interior design project for a concept restaurant. Identification and usage of the national style features in the interior design of restaurants are becoming key factors in further stylization and transformation of ethnic motifs in modern interiors. The article highlights the results of mastering of the theoretical material by students during the semester, fulfillment of practical tasks, as well as the requirements to the content, volume and presentation of the course project. Based on the structure of the educational and professional program, the article describes the formation and development of student professional (special) competencies in the process of studying the academic discipline, as well as program learning outcomes. Interior design of theme restaurants is the object of the course and diploma design at the Department of Design and Architecture Fundamentals of the Institute of Architecture and Design of Lviv Polytechnic National University. The academic discipline “Design, Part 5” taught on the fourth year of study is a part of training of students majoring in Design; the study of this discipline develops the creativity of future designers, focuses them at the independent search for ideas and original three-dimensional solutions, requires processing of additional visual information and research and methodological literature. Students get acquainted with the history, modern experience and progressive interior design ideas for theme restaurants, learn how to find completed projects in the world practice and critically analyze them. In the course of the practical studies, students master the basic methods and principles of drafting working drawings, professional terminology used in the process of the interior design. Students often continue to work on the topics of their course projects on the interior design of catering establishments, and improve them by developing additional graphic brand elements, elements of landscape design in the catering establishment exterior, create design of large summer indoor or outdoor terraces, green recreation areas in their future diploma theses.

It is one of the biggest city parks of Ankara, which people can easily reach in daily use, walking, jogging, sitting, picnicking, playing etc. Göksu Park, which provides opportunities for activities such as, is built on the old Susuz pond in Eryaman. The park was opened in 2003. In this study, a 3-stage method was applied to determine and evaluate the area adequacy of the park. In the first stage, the first picture selection was made with the team of landscape architects in the park, using the nominal group technique, among the photographs taken in the area, obtained from the municipality and received the most likes from social media accounts with many followers. In the second stage, the criteria for the evaluation of field adequacy with the Delphi technique were determined by consulting the faculty members in the Department of Landscape Architecture, Faculty of Agriculture, Ankara University, who were selected as experts on the subject. Then, using the observation and comparison tables, the survey questions were prepared and after the application of the survey to the visitor group and park staff, as the third step, the survey data was based on whether the difference between the observed frequencies (OF) and expected frequencies (EF) was statistically significant with the help of SPSS 25 statistical program. Chi-square independence analysis, which is a test, and linear regression analysis were performed. By counting the frequencies, the relevant photographs will be examined and the relationship between density and field adequacy has been interpreted. With this study, it will contribute to the plans and designs of new projects so that the green areas and parks that people need due to the increasing population and urbanization can be used adequately in the future.

Tourism is one of the fastest growing industries in the world. San Antonio is one of the Texas’ top tourist cities and a major tourism destination nationally. The city has a rich and unique historic urban landscape characterized by its river with its famous “Riverwalk,” historic neighborhoods, and major landmarks such as San Antonio Franciscan Missions which are on the U.S. “tentative list” as possible UNESCO World Heritage Sites. Local government has completed a multiyear project to restore and enhance 13 miles of the San Antonio River both north and south of downtown. It is expected that the river improvement project will reinforce the connection to the San Antonio Missions and encourage visitors to circulate along the river beyond the downtown area. Master of Architecture students of The University of Texas at San Antonio (UTSA) explored the sustainable tourism alternatives in the Mission Historic District in the spring semesters of 2012 and 2013. The Advanced Design Studio (ARC 6136) focused on research-based exploration and application of advanced design theory relative to alternative tourism. This course discussed the relationships between the design of architecture, tourist city, and the alternative practices of tourism. Students investigated the tourism potentials in the District such as sustainable tourism, rural tourism, recreational tourism, cultural heritage tourism, and culinary tourism, and develop master plans for the selected sites. Students were expected to plan, program, and design the proposed tourism activities and tourist spaces on both urban and building scales. This paper focuses specifically on culinary tourism, cultural heritage tourism, and rural tourism, and discusses how to enhance the attractiveness of the destination for visitors and residents; expand the tourism activities offered; and provide maximum efficiency in the economical, historical, social, and cultural dimensions of tourism through sustainable development practices and proposed design projects.

BackgroundSystemic lupus erythematosus (SLE) is a complex autoimmune disease with unknown etiology involving multiple immune cells and has diverse clinical phenotypes. This heterogeneous nature has hampered a better understanding of SLE pathogenesis and the development of effective therapeutic agents. While recent single-cell RNA sequencing studies of SLE identified several important cell subpopulations, they were limited by sparse expression information at single-cell level and small sample sizes.ObjectivesThis study aimed to elucidate the dysregulated gene expression pattern linked to multiple clinical statuses of SLE with a fine cellular resolution and higher sensitivity. We also attempted to resolve a complex interaction between risk variants and the transcriptome dysregulation seen in SLE patients.MethodsWe conducted a large-scale bulk transcriptome study of 6,386 RNA-sequencing data including 27 purified immune cell types in peripheral blood from 136 SLE and 89 healthy donors in the Immune Cell Gene Expression Atlas from the University of Tokyo (ImmuNexUT) cohort1. At enrollment, SLE patients had diverse clinical manifestations (disease activity, organ involvement and treatment profiles) and 22 patients were re-evaluated after belimumab treatment.ResultsWe first profiled two distinct cell-type-specific transcriptomic signatures: disease-state and disease-activity signatures, reflecting disease establishment and exacerbation, respectively.After confirming the high replicability of both signatures in independent cohorts, we identified candidates of biological processes unique to each signature: e.g., upregulated E2F transcriptional activity in Th1, CD8+ memory T-lineage and NK cells, and dynamic increase of IL21 and CXCL13 in Th1 cells in an active phase of SLE. Pathway analysis highlighted the importance of immunometabolic process for SLE (e.g., oxidative phosphorylation) in cell-type-specific resolution.Moreover, we demonstrated cell-type-specific contributions to diverse organ involvement, e.g., Th1 for mucocutaneous, monocyte-lineage cells for musculoskeletal, neutrophil-lineage cells for renal activity, respectively.We also observed the strong associations of disease-activity signatures with treatment effect: (i) belimumab suppressed activity signatures from B-lineage cells, especially in good responders and (ii) mycophenolate mofetil substantially suppressed activity signatures from plasmablast, Th1, and central memory CD8 cells.However, through stratified LD score regression using large-scale SLE-GWASs, we revealed that disease-activity signatures were less enriched around SLE risk variants than disease-state signatures. Consistent with this result, the directions of SLE risk alleles’ expression quantitative trait locus (eQTL) effects were significantly concordant with the directions of disease-state signatures, but not with those of activity signatures. These findings suggested that the current genetic case-control studies may not well capture clinically vital biology linked to drug target discovery for SLE. Meanwhile, we also detected some examples of activity signatures that might contribute to the disease risk by modulating risk allele’s eQTL effects.Figure 1.ConclusionWe identified comprehensive gene signatures reflecting the establishment and exacerbation of SLE, which provide essential foundations for future genomic, genetic, and clinical studies.References[1]Ota, M. et al. Dynamic landscape of immune cell-specific gene regulation in immune-mediated diseases. Cell 2021;184:3006-21.e17.AcknowledgementsThis study was supported by Chugai Pharmaceutical Co., Ltd., Tokyo, Japan; the Ministry of Education, Culture, Sports; and the Japan Agency for Medical Research and Development (AMED) (JP21tm0424221 and JP21zf0127004).Disclosure of InterestsMasahiro Nakano: None declared, Mineto Ota Grant/research support from: Mineto Ota belongs to the Social Cooperation Program, Department of functional genomics and immunological diseases, supported by Chugai Pharmaceutical., Yusuke Takeshima Grant/research support from: Yusuke Takeshima belonged to the Social Cooperation Program, Department of functional genomics and immunological diseases, supported by Chugai Pharmaceutical., Yukiko Iwasaki: None declared, Hiroaki Hatano: None declared, Yasuo Nagafuchi Grant/research support from: Yasuo Nagafuchi belongs to the Social Cooperation Program, Department of functional genomics and immunological diseases, supported by Chugai Pharmaceutical., Kwangwoo Kim: None declared, So-Young Bang: None declared, Hye Soon Lee: None declared, Hirofumi Shoda: None declared, Xuejun Zhang: None declared, Sang-Cheol Bae: None declared, Chikashi Terao: None declared, Kazuhiko Yamamoto: None declared, Tomohisa Okamura Grant/research support from: Tomohisa Okamura belongs to the Social Cooperation Program, Department of functional genomics and immunological diseases, supported by Chugai Pharmaceutical., Kazuyoshi Ishigaki: None declared, Keishi Fujio Speakers bureau: Keishi Fujio receives speaker fees from Chugai Pharmaceutical., Consultant of: Keishi Fujio receives consulting honoraria from Chugai Pharmaceutical., Grant/research support from: Keishi Fujio receives research support from Chugai Pharmaceutical.

Abstract In MEXT Program for Scientific Research on Innovative Areas “Systems Cancer” and “Systems Cancer in Neo-Dimension” (2010-2019), we developed a large-scale genome data analysis pipeline called Genomon in collaboration with Professor Seiji Ogawa (Kyoto University). Our efforts successfully produced innovative results on cancer genomics. This system is implemented on the supercomputers SHIROKANE and FUGAKU. One of the contributions unraveled the overall picture of genetic abnormalities in malignant brain tumors (Mutational landscape and clonal architecture in grade II and III gliomas. Nat Genet 2015) that exploited Genomon on SHIROKANE. However, with the spread of new measurement technology and new computing environments, no one thinks that the future can be figured on this simple extension. On the other hand, for cancer genomic medicine, Institute of Medical Science University of Tokyo made a research team analyzing whole genome sequences. The challenge we faced was to transform thousands to millions of genomic aberrations per case into precision medicine. It is what we now call “digital transformation.” IBM’s Watson for Genomics was introduced for our research purpose. In the process, we identified the effectiveness of AI, the indispensability of specialist intervention, and bottlenecks. We recognized that natural language processing technology such as BERT and Google Knowledge Graph AI technology will open up the future. Automatic document creation is also a realistic issue. Cancer research is getting more difficult and larger in scale. For example, analysis of genomic data from 60, 954 cases revealed a new underlying mechanism in which multiple mutations within the same oncogene synergistically work (Nature 2021). AI with an accuracy of X% does not seem to be the goal. What is needed is not a black box, but explainable AI that explains “why” in a human-understandable way. We are currently conducting research with Fujitsu Laboratories for this direction.

At the request of the municipality of Figuig, a team of scientists, working under the supervision of Professor Jean-Pierre Vallat of the University Paris Diderot and the School of architecture Paris-Val-de-Seine, was entrusted with the task of drawing up and inventory and making an analysis of the cultural properties of the oasis. This program has been led in order to assist the local authorities in the preparation of the nomination file for the inscription of the oasis on the World Heritage List. The oasis is regarded as a matter of fact as a cultural landscape, composed by an important cultural heritage, both material and immaterial. Figuig is indeed characterized by a rich architecture, particularly the ksour (fortified villages) with mud brick houses. Figuig also comprises a palm grove irrigated by a complex network of canals and “foggaras” (pits). Moreover, all the individual and collectives practices connected to the palm grove and to the ksour constitute an important immaterial cultural heritage. The bulk of scientific data (from archaeological, geographical, historical, anthropological investigations) calls for a coherent archiving in order to insure the heritage, environmental and tourism management of the oasis. For this purpose, a GIS would be useful. As a scientific and management tool, the GIS is a precious device which makes it possible to produce thematic (archaeological, historical, touristic, etc.) mappings and inventories. In parallel with these scientific initiatives, the training of the various stakeholders in the practice of the GIS is being developed. Individuals from the municipality, the cooperation offices and the tourism sector are thus developing new competencies. In this respect, the GIS should be a shared tool with multiple applications: scientific researches, heritage management, urban development, tourism management, etc. In this context, this paper sets to analyse the stakes, perspectives and applications of the GIS regarding the necessary development of the oasis whilst protecting its heritage, and ensuring good governance, transparency and justification in the framework of generally binding protective measures.

An urban forestry strategy is presented for Ontario, in response to a growing need to manage for viable and healthy urban vegetation. Urban forestry is about planning and managing existing and/or new treed vegetation of all types and associated wildlife, to establish attractive urban habitats, using systematic forestry-like approaches and environmental principles, in combination with arboricultural and modified silvicultural techniques. Urban forestry managers, having various educational backgrounds, are increasingly becoming involved in managing our urban forest, our habitat.Currently, there is no educational institution that totally prepares students for a career in urban forestry. As a result, people entering this field do so on an ad hoc basis, having various educational backgrounds, which do not cover all aspects of urban forestry management. A second problem is the limited awareness of various levels of government that systematic urban forestry management for densely populated areas is a growing need.Factors contributing to the need for urban forestry management, as well as obstacles to establishing such programs, are discussed. The urban forest, its managers, the content of programs and experience in the USA are outlined. Proposed actions include:1 development of a provincial policy, through the enlargement of the private land forestry program to initiate and support urban forestry programs;2 evaluation of the feasibility of having conservation authorities include urban forestry in their mandate;3 establishment of an umbrella-type diploma course administered by an educational institution; and4 establishment of an urban forestry chair at a university with cross appointments in forestry, planning and/or landscape architecture. Key Words : Urban forestry programs, options and alternatives for Ontario communities.

More than 20 years of independence brought a lot of radical and abrupt changes to society. The sphere of higher education is not an exception. 11 points of European directive 2005/36/EB describe the desired results of architectural studies. During the last decade in the context of the above mentioned results the following problems and challenges in the field of learning quality and teaching methods could be observed: the lack of study process flexibility for deepening of the precise skills necessary for architect; the lack of motivation of students at the beginning of the studies; individualism and lack of team work skills; lack of analytical skills and abilities to evaluate real situation; necessity to develop spatial thinking and artistic skills permanently; lack of professional responsibility and misunderstanding of the architect's role in society, and etc. While developing a systematic approach, architectural studies at Kaunas University of technology are characterized by integrity of: building design, town planning and landscape architecture, academic knowledge and practical skills, scientific research and design decisions, art and technology subjects. Study process, study subjects, assignments for students, and etc. are understood as the elements of one system. In this way, even small changes can have significant consequences for the whole system, i.e. even small improvements of the study program and methods can lead to the efficient solution of these problems. Development of artistic skills and spatial thinking, problem oriented learning, tasks outside curricula, creation of favourable conditions for learning, international students exchange, research and design integration, and etc. provide the missing flexibility of the study program and enable us to solve the various problems that arise in the study process: to eliminate differences of students primary skills, to increase students’ motivation to seek contextual, high quality and interesting architectural solutions, to increase professional responsibility, to develop skills to work in different cultural contexts, and so on. Santrauka Per daugiau kaip dvidešimt nepriklausomybės metų įvyko nemažai radikalių ir staigių pokyčių visuomenės gyvenime. Aukštojo mokslo sritis taip pat nėra išimtis. 11 Europos Parlamento ir Tarybos direktyvos 2005/36/EB punktų nusako siekiamus architektūros studijų rezultatus. Minėtų rezultatų kontekste per pastaruosius dešimt metų studijų kokybei ir mokymo metodams kyla įvairūs iššūkiai: studijų proceso didesnio lankstumo poreikis siekiant ugdyti specifinius įgūdžius bei reguoti į skirtingus besimokančių asmenų poreikius, studentų motyvacijos stoka studijų pradžioje, individualizmas ir komandinio darbo gebėjimų, analitinių ir realios situacijos vertinimo įgūdžių trūkumas, būtinybė nuolatos vystyti erdvinį mąstymą ir meninius gebėjimus, profesinės atsakomybės stoka bei architekto vaidmens visuomenėje nesuvokimas ir kt. Stebint ir vertinant studijų proceso kokybės pokyčius Kauno technologijos universitete galima teigti, kad ir nedideli studijų programos ir metodų patobulinimai gali lemti efektyvų minėtų problemų sprendimą. Meninių gebėjimų ir erdvinio mąstymo ugdymas, į problemos sprendimą orientuotas mokymas, papildomos užduotys, palankios darbui ir mokymuisi atmosferos sukūrimas, tarptautiniai studentų mainai, mokslinių tyrimų ir projektavimo integracija ir kt. suteikia studijų programai trūkstamo lankstumo ir leidžia operatyviai spręsti įvairias problemas, kylančias studijų procese: panaikinti studentų pradinių gebėjimų skirtumus, didinti studentų motyvaciją ieškoti kontekstualių, kokybiškų ir įdomių sprendimų, didinti profesinę atsakomybę, ugdyti gebėjimus dirbti įvairiuose kultūriniuose kontekstuose ir kt.

<p><strong>ABSTRACT</strong></p><p>Design studios have a multi-layered and integrative structure that involves different thinking and learning approaches. Outcomes are quite numerous and diverse in terms of the students. Therefore, various seminars, workshops, and many other events are organized by universities for this purpose in the education process. These activities help students to be successful in both the educational process and the business life. In this process, developing and changing technology has entered into education processes and has become a part of education. Thus, over time, the use of technology, as well as traditional methods, has become a necessity in architectural education institutions. Lessons with digital technologies have been added to current course contents. For students, these technologies are used as subsidiary tools in making the presentations. The international research and design seminar and workshop activity was held in Kyrenia on May 6-13, 2018, was organised by the Girne American University (GAU) Department of Interior Architecture and the International Centre for Heritage Studies for the first time. The event was carried out in collaboration with the University of Florence, the Sapienza University of Rome, the Özyeğin University and the Department of Antiquities and Museums (TRNC). The workshop consists of 11 scientific committee members<sup>1</sup>, 7 scientific coordinators<sup>2</sup>, 5 organization committee members<sup>3</sup> and 16 studio trainers<sup>4</sup>, who observed and led the process and studies during 8 days. The workshop trainers consist of 16 faculty member and PhD students totally, 13 of whom are from these universities and 3<sup>5</sup> of whom are from the Karadeniz Technical University. The aim of this study is to measure and evaluate the technological achievements provided to the students through this international workshop activity. The survey technique was used to find out what extent students benefit from the technology while expressing their projects and to question the achievements based on the technology through the workshop activity. The survey was conducted with 36 students who participated in this event. In the direction of the survey results, the most effective factors and variables were determined to put forward the technology achievements on the students. At the end of the study, the achievements of the students from the workshop activity, one of the informal training methods, were examined. SPSS 23.0 program was used for the statistical analyzes, which is based on the data of the survey.</p><p><strong>ÖZ</strong></p><p>Tasarım atölyeleri farklı düşünme ve öğrenme yaklaşımlarını barındıran çok katmanlı ve bütüncül bir yapıya sahiptir. Kazanımları ise öğrenciler açısından oldukça fazla ve çeşitlidir. Bu amaçla eğitim sürecinde, çeşitli seminerler, atölye çalışmaları ve daha benzeri birçok etkinlik üniversitelerce düzenlenmektedir. Bu etkinlikler öğrencilerin, hem eğitim sürecinde hem de iş hayatında başarılı olabilmelerine yardımcı olmaktadır. Bu süreçte gelişen ve değişen teknoloji eğitim süreçlerine de girmiş ve eğitimin bir parçası haline gelmiştir. Böylece mimarlık eğitim kurumlarında zamanla geleneksel yöntemlerin yanında teknoloji kullanımı bir ihtiyaç haline gelmiştir. Mevcut ders içeriklerine dijital teknolojileri içeren dersler eklenmiştir. Bu teknolojiler ise, öğrencilerin sunumlarını gerçekleştirmelerinde, yardımcı araçlar olarak kullanılmaktadır. 6-13 Mayıs 2018 tarihinde Girne’de gerçekleşen ‘Reading and Designing the Kyrenia Castle: Enhancing Heritage in The Historical Landscape’ uluslararası araştırma, tasarım semineri ve atölye etkinliği, Girne Amerikan Üniversitesi (GAU) İç Mimarlık Bölümü ve Uluslararası Kültürel Miras Çalışmaları Merkezi tarafından ilk kez düzenlenmiştir. Etkinlik, Floransa Üniversitesi, Roma Sapienza Üniversitesi, Özyeğin Üniversitesi ve Eski Eserler ve Müzeler Dairesi (KKTC) işbirliği ile gerçekleştirilmiştir. 11 bilimsel komite üyesi, 7 bilimsel koordinatör, 5 organizasyon komitesi üyesi ve 16 stüdyo eğitmeni tarafından yapılan atölye çalışması, 8 günlük gözlem, deneyim ve uygulama sürecini kapsamaktadır. Atölye eğitmenleri, söz konusu üniversitelerden 13, Karadeniz Teknik Üniversitesi’nden 3 olmak üzere toplam 16 öğretim elemanı ve doktora öğrencisinden oluşmaktadır. Yapılan bu çalışmanın amacı, gerçekleştirilen uluslararası etkinliğin öğrencilere sağladığı teknolojiye dayalı kazanımların ölçülmesi ve değerlendirilmesidir. Atölye çalışmaları sürecinde öğrencilerin projelerini ifade etme biçimlerinde teknolojiden ne derece yararlandıkları ve teknolojiye dayalı kazanımlarının sorgulanması için anket (survey) tekniği kullanılmıştır. Anket çalışması etkinliğe katılan 36 öğrenci ile gerçekleştirilmiştir. Anket sonuçları doğrultusunda etkinliğin öğrenciler üzerindeki teknoloji kazanımlarını belirlemede en etkili faktörler ve değişkenler ortaya konulmaya çalışılmıştır. Çalışmanın son aşamasında, informal eğitim metotlarından biri olan atölye çalışmasından öğrencilerin teknolojiye dayalı kazanımları irdelenmiştir. Araştırmada oluşturulan verilerle gerçekleştirilen istatistiksel analizler için SPSS 23.0 programı kullanılmıştır.</p><div><div><p> </p></div></div>

ABSTRACT Traditional approaches to the strengthening of dimensional wood roof joist systems are often intrusive and require a substantial amount of additional labour to remove ceilings or roof sections. In an effort to design a less intrusive system for reinforcing over-stressed dimensional wood joists, a roof joist strengthening system was designed consisting of a tension steel plate installed along the bottom of the existing joists with bolted side plate connections. An experimental program was conducted at the University of Manitoba to assess the viability of the reinforcement design. A total of 15 joists were tested to failure under four-point bending conditions, consisting of 5 unreinforced control joists, 5 joists with steel reinforcement, and another 5 reinforced joists with an artificial defect introduced at mid-span along the tension side. The purpose of introducing an artificial defect at mid-span was to simulate the failure modes observed at R.W. Bobby Bend School in Stonewall, Manitoba, where certain roof joists contained knots, splits or cracks along the bottom of the joist within the mid-span region. Service loads based on the applied snow and dead loads applied to these joists were calculated using the National Building Code of Canada [1] and were approximated in the experiment as 8.5 kN. The results indicated that the steel reinforcement produced a 46.8% increase in average load-carrying capacity compared to control joists, and a 33.1% increase in capacity for reinforced joists with artificial defects. The average deflection at service loads was 19.5% lesser than the deflection of the control joists, and the apparent stiffness was determined to increase by 50.0%. The results from this research support the conclusion that the steel reinforcement system for dimensional wood joists is a viable alternative to traditional systems that effectively increases the load-carrying capacity, stiffness, and ductility of the structure.

ABSTRACT Traditional approaches to the strengthening of dimensional wood roof joist systems are often intrusive and require a substantial amount of additional labour to remove ceilings or roof sections. In an effort to design a less intrusive system for reinforcing over-stressed dimensional wood joists, a roof joist strengthening system was designed consisting of a tension steel plate installed along the bottom of the existing joists with bolted side plate connections. An experimental program was conducted at the University of Manitoba to assess the viability of the reinforcement design. A total of 15 joists were tested to failure under four-point bending conditions, consisting of 5 unreinforced control joists, 5 joists with steel reinforcement, and another 5 reinforced joists with an artificial defect introduced at mid-span along the tension side. The purpose of introducing an artificial defect at mid-span was to simulate the failure modes observed at R.W. Bobby Bend School in Stonewall, Manitoba, where certain roof joists contained knots, splits or cracks along the bottom of the joist within the mid-span region. Service loads based on the applied snow and dead loads applied to these joists were calculated using the National Building Code of Canada [1] and were approximated in the experiment as 8.5 kN. The results indicated that the steel reinforcement produced a 46.8% increase in average load-carrying capacity compared to control joists, and a 33.1% increase in capacity for reinforced joists with artificial defects. The average deflection at service loads was 19.5% lesser than the deflection of the control joists, and the apparent stiffness was determined to increase by 50.0%. The results from this research support the conclusion that the steel reinforcement system for dimensional wood joists is a viable alternative to traditional systems that effectively increases the load-carrying capacity, stiffness, and ductility of the structure.

Seven spot ladybird beetle, (Coccinella septempunctata) is a widely distributed natural enemy of soft-bodied insect pests especially aphids worldwide. Both the adult and larvae of this coccinellid beetle are voracious feeders and serve as a commercially available biological control agent around the globe. Different techniques are adopted to enhance the mass rearing and storage of this natural enemy by taking advantage of its natural ability to withstand under extremely low temperatures and entering diapause under unfavorable low temperature conditions. The key objective of this study was to develop a cost effective technique for enhancing the storage life and predatory potential of the larvae of C. septempunctata through cold storage in conjunction with the use of nuclear techniques, gamma radiations. Results showed that the host eating potential of larvae was enhanced as the cold storage duration was increased. Gamma irradiation further enhanced the feeding potential of larvae that were kept under cold storage. Different irradiation doses also affected the development time of C. septempuntata larvae significantly. Without cold storage, the lower radiation doses (10 and 25 GY) prolonged the developmental time as compared to un-irradiated larvae. Furthermore, the higher dose of radiation (50GY) increased the developmental time after removal from cold storage. This study first time paves the way to use radiation in conjunction with cold storage as an effective technique in implementation of different biological control approaches as a part of any IPM programs.Key wordGamma irradiations; cold storage, Coccinella septempunctata larvae; predatory potential; integrated pest management programme.INTRODUCTIONNuclear techniques such as gamma radiations have a vast application in different programmes of biological control including continuous supply of sterilized host and improved rearing techniques (Greany and Carpenter, 2000; Cai et al., 2017). Similarly irradiation can be used for sentinel-host eggs and larvae for monitoring survival and distribution of parasitoids (Jordão-paranhos et al., 2003; Hendrichs et al., 2009; Tunçbilek et al., 2009; Zapater et al., 2009; Van Lenteren, 2012). Also, at the production level, such technique may facilitate the management of host rearing, improve quality and expedite transport of product (Fatima et al., 2009; Hamed et al., 2009; Wang et al., 2009). Gamma irradiations can also be used to stop insect’s development to enhance host suitability for their use in different mass rearing programs (Celmer-Warda, 2004; Hendrichs et al., 2009; Seth et al., 2009). Development and survival of all insects have a direct connection with temperatures which in turn affect the physical, functional and behavioral adaptations (Ramløy, 2000). Many insects living in moderate regions can survive at low temperature by process of diapause. A temperature between 0 to 10oC may cause some insects to become sluggish and they only become active when the temperature is suitable. Such insects show greater adaptations to flexible temperature regimes for better survival. Many studies have reported this concept of cold-hardiness in insects in general (Bale, 2002; Danks, 2006) and specifically in coccinellid beetles over past years (Watanabe, 2002; Koch et al., 2004; Pervez and Omkar, 2006; Labrie et al., 2008; Berkvens et al., 2010). Using this cold hardiness phenomenon, many coccinellids have been studied for the effect of cold storage such as Coccinella undecimpunctata (Abdel‐Salam and Abdel‐Baky, 2000), Coleomegilla maculata (Gagné and Coderre, 2001) and Harmonia axyridis (Watanabe, 2002). This natural phenomenon, therefore, can be a helpful tool in developing low temperature stockpiling for improving mass-rearing procedures (Mousapour et al., 2014). It may provide a significant output in terms of providing natural enemies as and when required during pest infestation peaks (Venkatesan et al., 2000). Use of irradiation in conjunction with cold storage proves to be an effective technique in implementation of different biological control approaches as a part of any IPM programme. A study reported that the pupate of house fly, Musca domestica irradiated at dose of 500 Gy and can stored up to 2 months at 6°C for future use for a parasitoid wasp Spalangia endius rearing (Zapater et al., 2009). Similarly, when irradiated at 20 GY, parasitic wasps Cotesia flavipes were stored safely up to two months without deterioration of their parasitic potential (Fatima et al., 2009). Similarly, bio-control program of sugarcane shoot borer Chilo infescatellus proved successful through the use of irradiation combined with cold storage of its egg and larval parasitoids Trichogramma chilonis and C. flavipes (Fatima et al., 2009). Less mobile life stages such as larvae are of significance in any IPM strategy because they remain on target site for more time period as compared to adults. Therefore, use of predatory larvae is very promising in different biological control approaches because of their immediate attack on pests and more resistance to unfavorable environmental conditions than delicate egg stage. In addition, with their augmentation into fields, larval stage shows their presence for longer time than adult stage and their feeding potential is also satisfactory as that of adults. For the best utilization of these predators in the field and maximum impact of 3rd and 4th larval instars on prey, we should encourage late 2nd second instar larvae of predatory beetles in the fields as these instars have more feeding capacity due to increased size and ability to handle larger preys.In spite of higher significance, there is little information available about the effect of cold storage on the survival of larval instars of different ladybird beetles and its effect on their predatory potential. Very few studies report the use of cold storage for non-diapausing larval stage like for Semiadalia undecimnotata and only one study reported the short-term storage (up to two weeks) of 2nd and 3rd instar coccinellid, C. maculate, without any loss in feeding voracity of larvae after storage (Gagné and Coderre, 2001). The survival of 3rd and 4th larval instars of C. undecimpunctata for 7 days after storage at 5oC was reported in a study but the survival rate declined after 15-60 days of storage (Abdel‐Salam and Abdel‐Baky, 2000). As C. septempunctata is considered one of the voracious predators (Afroz, 2001; Jandial and Malik, 2006; Bilashini and Singh, 2009; Xia et al., 2018) and diapause is a prominent feature of this beetle and it may undergo facultative diapause under suitable laboratory conditions (Suleman, 2015). No information is available to date about the combined effect of cold storage and irradiation on the larval instars of this species.OBJECTIVES The objective of this study was to devise a cost effective technique for the cold storage and its effect on the subsequent predatory potential of the seven spotted ladybird beetle larvae in conjunction with the use of gamma radiations. Hypothesis of the study was that an optimum length of low temperature treatment for storage purpose would not affect the predation capacity of C. septempunctata larvae and their developmental parameters including survival and pupation will remain unaffected. Furthermore, use of gamma irradiation will have some additional effects on survival and feeding capacity of irradiated C. septempunctata larvae. Such techniques can be utilized in different biocontrol programs where short term storage is required. So these larvae can be successfully imparted in different IPM programs against sucking complex of insect pests as a component of biological control strategyMATERIALS AND METHODSPlant materials: Collection and rearing of C. septempunctata: Adult C. septempunctata were collected from the wheat crop (in NIAB vicinity and farm area) in the month of March during late winter and early in spring season 2016-2017. They were kept in plastic jars and were fed with brassica aphids. Under controlled laboratory conditions (25+2oC, 16h: 8h L:D and 65+5% R.H.), eggs of C. septempuctata were obtained and after hatching, larvae were also given brassica aphids as dietary source. Larvae of second instar were selected for this experiment (as the first instar is generally very weak and vulnerable to mortality under low temperatures). As the larvae approached second instar, they were separated for the experimentation. Irradiation of larvae at different doses: Irradiation of larvae was carried out by the irradiation source 137CS at Radiation laboratory, and the larvae were then brought back to the IPM laboratory, Plant Protection Division, Nuclear Institute for Agriculture and Biology (NIAB) Faisalabad. Radiation doses of 10 GY (Grey), 25 GY and 50 GY were used to treat the second instar larvae. There were three replicates for each treatment and five larvae per replicate were used. Control treatment was left un-irradiated.Cold storage of irradiated larvae: In present work, second instar C. septempunctata larvae were studied for storage at low temperature of 8oC. The larvae were kept at 8oC for 0, I and II weeks where week 0 depicts no cold treatment and this set of larvae was left under laboratory conditions for feeding and to complete their development. For larvae that were kept under cold storage for one week at 8°C, the term week I was devised. Similarly, week II denotes the larvae that remained under cold conditions (8°C) for two continuous weeks. Larvae were removed from cold storage in their respective week i.e., after week I and week II and were left under laboratory conditions to complete their development by feeding on aphids. Data collection: For recording the predatory potential of C. septempunctata larvae, 100 aphids were provided per larva per replicate on a daily basis until pupation as this number was more than their feeding capacity to make sure that they were not starved (personal observation). Observations were recorded for survival rate, developmental time and feeding potential. Data analysis: Data were statistically analysed by Statistical Software SPSS (Version 16.0). The data were subjected to normality check through the One-sample Kolmogorov-Smirnov test. Non normal data were transformed to normal data which were then used for all parametric variance tests. One-way and two-way analyses of variance were used. For comparison between variables, LSD test at α 0.05 was applied.RESULTSFeeding potential of irradiated larvae after removal from cold storage: Results showed an increase in the feeding potential of C. septempunctata larvae with increased cold storage duration. The feeding potential was significantly higher for the larvae that spent maximum length of time (week II) under cold storage conditions followed by week I and week 0. Gamma irradiations further enhanced the feeding potential of larvae that were kept under cold storage. When larvae were irradiated at 10 GY, the eating capacity of larvae increased significantly with the duration of cold storage. Similarly, larvae that were irradiated at 25 GY, showed increase in feeding potential on aphids as the time period of cold storage increased. The feeding potential of larvae that were irradiated at 50 GY, was again significantly increased with increase of cold storage duration. When different radiation doses were compared to week 0 of storage, there was a significant difference in feeding potential and larvae irradiated at 50 GY consumed the maximum numbers of aphids when no cold storage was done followed by larvae irradiated at 10 and 25 GY. With the other treatment, where larvae were kept under cold storage for one week (week I) the larvae irradiated at 50GY again showed the highest feeding potential. The feeding potential of irradiated larvae was again significantly higher than the un-irradiated larvae that were kept for two weeks (week II) under cold storage (table 1).Two-way ANOVA was performed to check the interaction between the different radiation doses and different lengths of storage durations for feeding potential of C. septempunctata larvae on aphids. The feeding potential of larvae irradiated at different doses and subjected to variable durations of cold storage were significantly different for both the radiation doses and cold storage intervals. Furthermore, the interaction between the radiation doses and storage duration was also significant meaning that the larvae irradiated at different doses with different length of cold storage were having significant variations in feeding levels (table 2).Developmental time of irradiated larvae after removal from cold storage: Significant difference was found in the development time of the larvae of C. septempunctata when irradiated at different doses at week 0 (without cold storage). The larvae irradiated at 10 GY took the maximum time for development and with the increase in irradiation dosage, from 25 to 50 GY, the time of development was shortened. The larvae irradiated at 50 GY had the same development time as the un-irradiated ones. When, the irradiated larvae were subjected to cold storage of one week duration (week I), their development time after removal from storage condition varied significantly. The larvae irradiated at 25 GY took the maximum time for development followed by larvae irradiated at 50 GY and 10 GY. There was an indication that the development time was extended for irradiated larvae as compared to un-irradiated larvae.Results also depicted a significant difference in the time taken by irradiated larvae to complete their development after taken out from cold storage of two weeks duration (week II). As the storage time of irradiated larvae increased, the development time was prolonged. Results showed that the larvae that were irradiated at 25 and 50 GY, took the maximum time to complete their development. With the prolonged duration of cold storage up to two weeks (week II), this difference of development time was less evident at lower doses (10 GY). The larvae irradiated at 10 GY showed a significant difference in their developmental duration after being taken out of cold storage conditions of the week 0, I and II. There was no difference in the developmental duration of larvae that were un-irradiated and subjected to different regimes of storage. Un-irradiated larvae were least affected by the duration of storage. With the increase in the storage time, a decrease in the developmental time was recorded. Larvae that were irradiated at 10 GY, took the maximum period to complete their development when no cold storage was done (week 0) followed by week I and II of cold storage. When the larvae irradiated at 25 GY were compared for their development time, there was again significant difference for week 0, I and II of storage duration. Maximum time was taken by the larvae for their complete development when removed from cold storage after one week (week I). With the increase in storage duration the time taken by larvae to complete their development after removal from cold storage reduced.When the larvae were removed after different lengths of cold storage duration i.e., week 0, week I and week II, there was a significant difference in the developmental time afterwards. Results have shown that the higher dose of radiation, increased the developmental time after removal from cold storage. The larvae irradiated at 50 GY took the longest time to complete their development after removal from cold storage (week I and week II) as compared the larvae that were not kept under cold storage conditions (week 0) (table 3).Interaction between the different radiation doses and different lengths of storage durations for development time of larvae were checked by two-way ANOVA. The development time of larvae irradiated at different doses and subjected to variable durations of cold storage were significantly different for both the doses and cold storage intervals. Furthermore, the interaction between the radiation doses and storage duration was also significant meaning that the larvae irradiated at different doses with different length of cold storage were having significant variations in development times (table 4). DISCUSSIONThe present research work indicates the possibility of keeping the larval instars of C. septempunctata under cold storage conditions of 8oC for a short duration of around 14 days without affecting its further development and feeding potential. Furthermore, irradiation can enhance the feeding potential and increase the development time of larval instars. This in turn could be a useful technique in mass rearing and field release programmes for biological control through larval instars. Usually temperature range of 8-10oC is an optimal selection of low temperature for storage as reported earlier for eggs two spotted ladybird beetle, Adalia bipunctata and the eggs of C. septempunctata (Hamalainen and Markkula, 1977), Trichogramma species (Jalali and Singh, 1992) and fairyfly, Gonatocerus ashmeadi (Hymenoptra; Mymaridae) (Leopold and Chen, 2007). However, a study reported more than 80% survival rate for the coccinellid beetle, Harmonia axyridis for up to 150 days at moderately low temperature of 3-6oC (Ruan et al., 2012). So there is great flexibility in coccinellid adults and larvae for tolerating low temperature conditions. After removal from cold storage, larvae showed better feeding potential with consumption of more aphids when compared to normal larvae that were not placed under low temperature conditions. This indicates that when the adult or immature insect stages are subjected to low temperature environment, they tend to reduce their metabolic activity for keeping them alive on the reserves of their body fats and sustain themselves for a substantial length of time under such cold environment. Hereafter, the larval instars that were in cold storage were behaving as if starved for a certain length of time and showed more hunger. This behavior of improved or higher feeding potential of stored larvae has been reported previously (Chapman, 1998). Hence, the feeding potential of C. septempunctata larvae significantly increased after cold storage. Gagné and Coderre (2001) reported higher predatory efficacy in larvae of C. maculata when stored at the same temperature as in the present study i.e., 8oC. Similarly, Ruan et al. (2012) showed that the multicolored Asian ladybug, H. axyridis, when stored under cold conditions, had more eating capacity towards aphids Aphis craccivora Koch than the individuals that were not stored. Such studies indicate that the higher feeding potential in insects after being subjected to low temperature environmental conditions could be due to the maintenance of their metabolism rate to a certain level while utilizing their energy reserves to the maximum extent (Watanabe, 2002).The individuals coming out from cold storage are therefore capable of consuming more pray as they were in a condition of starvation and they have to regain their energy loss through enhanced consumption. Furthermore, the starvation in C. septempunctata has previously been reported to affect their feeding potential (Suleman et al., 2017). In the present study, the larval development was delayed after returning to normal laboratory conditions. Cold storage affects the life cycle of many insects other than coccinellids. The cold storage of green bug aphid parasitoid, Lysiphlebus testaceipes Cresson (Hymenoptra; Braconidae) mummies increased the life cycle 3-4 times. Nevertheless, in current study the development process of stored larvae resumed quickly after taking them out and larvae completed their development up to adult stage. Similar kinds of results were reported for resumption of larval development after removal from cold storage conditions. Such studies only report satisfactory survival rates and development for a short duration of cold storage but as the length of storage is increased, it could become harmful to certain insects. Gagné and Coderre (2001) reported that cold storage for longer period (three weeks) proved fatal for almost 40% of larvae of C. maculata. Furthermore, in the same study, the feeding potential of C. maculata larvae was also affected beyond two weeks of cold storage due to the loss of mobility after a long storage period. Many studies have reported that longer durations of low temperature conditions can either damage the metabolic pathways of body cells or may increase the levels of toxins within the bodies of insects. Also, low temperature exposure for longer duration may cause specific interruptions in the insect body especially neuro-hormones responsible for insect development, which could be dangerous or even life threatening.Chen et al. (2004) also reported that the biological qualities of parasitized Bemisia tabaci pupae on population quality of Encarsia formosa were affected negatively with increase in cold storage duration. Similarly, the egg hatchability of green lacewing Chrysoperla carnea Stephen was lost completely beyond 18 days of cold storage (Sohail et al., 2019). However, in the present study the cold storage was done for maximum two weeks and it is to be regarded as a short term storage hence the survival rate was satisfactory. Longer periods of cold storage for larvae are not considered safe due to their vulnerable state as compared to adults which are hardier. Also 2nd instar larvae used in the present study for cold storage for being bigger in size and physical stronger than 1st instar. Abdel‐Salam and Abdel‐Baky (2000) reported that in C. undecimpunctata the cold storage of 3rd and 4th larval instars was higher and considered safer than early larval instars. The same study showed sharp decline in survival rate after two weeks and there was no survival beyond 30-60 days of cold storage. The present study showed that short term storage of the larvae of C. septempunctata could be done without any loss of their feeding potential or development so the quality of predator remained unaffected. Similar kind of work for many other insects had been reported previously where cold storage technique proved useful without deteriorating the fitness of stored insects. For example, the flight ability of reared codling moth Cydia pomonella Linnaeus remained unaffected after removal from cold storage (Matveev et al., 2017). Moreover, a sturdy reported that pupae of a parasitoid wasp Trichogramma nerudai (Hymenoptera; Trichogrammatidae) could be safely put in cold storage for above than 50 days (Tezze and Botto, 2004). Similarly, a technique of cold storage of non-diapausing eggs of black fly Simulium ornaturm Meigen was developed at 1oC. Another study reported safe storage of a predatory bug insidious flower bug Orius insidiosus for more than 10 days at 8°C (Bueno et al., 2014).In present study without cold storage, the lower doses of 10 and 25 GY prolonged the developmental time as compared to un-irradiated larvae and higher doses of irradiations in conjunction with cold storage again significantly prolonged the developmental time of larvae when returned to the laboratory conditions. Salem et al. (2014) also reported that Gamma irradiations significantly increased the duration of developmental stages (larvae and pupae) in cutworm, Agrotis ipsilon (Hufnagel). In another study, where endoparasitic wasps Glyptapanteles liparidis were evaluated with irradiated and non-irradiated gypsy moth Lymantria dispar larvae for oviposition, it was found that non-irradiated larvae had a shorter time to reach the adult stage as compared to irradiated larvae (Novotny et al., 2003). Both for higher doses with cold storage and lower doses without cold storage extended the larval duration of C. septempunctata. In another study when the parasitoid wasp Habrobracon hebetor was irradiated at the dose of 10 GY, it resulted in prolonged longevity (Genchev et al., 2008). In the same study, when another parasitoid Ventruria canescens was irradiated at lower doses of 4GY and 3 GY, it resulted in increased emergence from the host larvae, while gamma irradiations at the dose of 1 GY and 2 GY significantly stimulated the rate of parasitism (Genchev et al., 2008). The current study also indicated higher rates of predation in the form of increased feeding potential of larvae as a result of irradiations at lower doses.CONCLUSIONThe outcome of the current study shows that storage of 2nd instar C. septempunctata at low temperature of 8oC for a short duration of about 14 days is completely safe and could have broader application in different biocontrol programs. Such flexibility in storage duration can also assist in different mass rearing techniques and commercial uses. The combination of gamma radiation with low temperature cold storage could be a useful tool in developing different biological pest management programs against sucking insect pests. Incidence of periodic occurrence of both the target insect pests with their predatory ladybird beetles in synchrony is an important aspect that could be further strengthened by cold storage techniques. Therefore, short or long term bulk cold storage of useful commercial biocontrol agents and then reactivating them at appropriate time of pest infestation is a simple but an advantageous method in mass rearing programs. Increased feeding capacity of stored larvae is another edge and hence such larvae may prove more beneficial as compared to unstored larvae. Both cold storage and improved feeding of the C. septempuctata larvae can be utilized for implementation of IPM for many sucking insect pests of various crops, fruits and vegetables. Due to some constraints this study could not be continued beyond two weeks but for future directions, higher doses and longer duration periods could further elaborate the understanding and better application of such useful techniques in future IPM programmes on a wider scale. Also, some other predatory coccinellid beetle species can be tested with similar doses and cold storage treatments to see how effective this technique is on other species as well.ACKNOWLEDGMENTS We acknowledge the Sugarcane Research and Development Board for providing a research grant (No. SRDB/P/4/16) to carry out this research work. 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 The symposium INSIDEOUT was held in Melbourne Australia from 22 to 24 April 2005. Its focus was to encourage new thinking, research and teaching between interior and landscape discourse and practice. Papers by national and international academics, practitioners and postgraduate students in the disciplines of interior design, landscape architecture, art and design were presented and published in this issue of IDEA Journal. All papers – except the invited papers by Elizabeth Grosz and Ross Gibson – have been refereed in accordance with the IDEA Journal refereeing process. The symposium was supported by IDEA (Interior Design/Interior Architecture Educators Association), RMIT School of Architecture and Design, The Australian Institute of Landscape Architects, the Louis Laybourne Smith School of Architecture and Design at the University of South Australia, and the Royal Botanic Gardens, Melbourne. In keeping with the concept of bringing two sides together – insides and outsides – this introduction is composed of two views.
 
 

Program accreditation in higher education, which determines the extent to which academic and vocational standards in a particular field are met by a higher education program by an accreditation body; measurement, evaluation and external quality assurance process. There are some criteria used in evaluation in accreditation processes of higher education programs. One of these criteria is program outputs. Program outcomes are the knowledge, skills and behaviors that a higher education program provides to its students during their education. The aim of this study is to examine the program output determination, update and measurement-evaluation processes carried out as part of the accreditation studies of the Department of Landscape Architecture, Faculty of Architecture and Design of Atatürk University. Within the scope of the study, the accreditation self-assessment report of the department, department quality commission reports and stakeholder meeting reports were examined and a survey was conducted to reach the program outputs. With the study, it has been evaluated that accreditation processes can play a pioneering role in establishing certain standards for landscape architecture education and developing measures by continuously monitoring the quality of education with measurement and evaluation methods. In addition, it has been concluded that an evaluation based on the opinions of the faculty members and students at the graduation stage will be insufficient in evaluating the level of achievement of the program outputs, and it will be more accurate to apply for the opinions of graduates who have graduated from the program and have at least 1-2 years of working experience in the sector.

This article describes a state-supported, multiuniversity, interdisciplinary effort to address unmet disaster recovery needs identified by six hard-hit, low-capacity North Carolina communities following Hurricane Matthew. At the request of the director of the North Carolina Division of Emergency Management and the state governor, university officials created a team of faculty, practitioners, and students called the Hurricane Matthew Disaster Recovery and Resilience Initiative (HMDRRI). This 2-year program delivered research, teaching, and engagement activities of the sort that are not typically undertaken by federal or state emergency management agencies, insurance providers, or nonprofit organizations. HMDRRI also offered graduate students in land-use planning, landscape architecture, and architecture opportunities to help provide community assistance under the supervision and mentoring of faculty and practitioners. An overarching goal of the program was to help build greater rural resilience, an outcome that has received inadequate attention from academics and practitioners.

The use of modules encourages independent study. It direct students to practice or rehearse information. To gain mastery of the concepts, exercises are given following the progression of activities from easy to difficult. The arrangement of the exercises as such formalizes the level of difficulty that the learners can perform. Another benefit of using modules for instruction is the acquisition of a better self-study or learning skills among students. Students engage themselves in learning concepts presented in the module. This study used the descriptive method in the development and evaluation of academic learning modules. The modules were evaluated using Grammarly software to determine the plagiarized content and grammar correctness of each and every module. Findings shows that there are twelve Permanent and Part-time faculty members in the Architecture Program collaborated in developing 17 Modules, five faculty members in Fine Arts Program that produced 11 Modules and 2 faculty member in Landscape Architecture Program that produced 5 Modules. Based on the result of plagiarism check of the 33 modules run in Grammarly checker software, 66.66% or 22 out 33 of the modules contain above 10% detected plagiarized content. The results of Grammarly check is ranging from 60+% to 80+% at the average of correct grammar content. Researches of similar nature of the study may be conducted to validate the findings of the study.

The COVID-19 Pandemic has severely impacted educational systems around the globe, necessitating rapid modifications to the educational milieu while safeguarding human health and wellbeing. Following the closure of universities in Saudi Arabia, the instructors of all theory courses were mandated to switch from face-to-face course delivery to remote teaching and learning. This research examines the challenges and impacts of the COVID-19 Pandemic on the mode of teaching and learning and the numerous adaptations in the pedagogical framework of the Landscape Architecture program at Imam Abdulrahman Bin Faisal University, Saudi Arabia. It also explores the opportunities the transition to online education presents to faculty and students moving forward. The data were collected using an online questionnaire survey and focus group discussions. Data analyses consisted of descriptive statistics and thematic content analysis. The research finds that the sudden transition to online teaching and learning disrupted academic activities and had negatively affected the existing teaching and learning framework. Therefore, the research recommends an adaptable and dynamic teaching framework agile enough to cope with sudden disruptions. It concludes with lessons for future teaching and learning frameworks and amendments for upcoming sessions to deal with similar situations.

On the following page you will find the declaration form. • Please answer each question. • You should submit the form along with the rest of your submission files. • The deadline is the submission date written in your publishing agreement. All conference organisers/editors are required to declare details about their peer review. We will published the information you provide as part of your proceedings. The 5th International Symposium of Sustainable Landscape Development (The 5th ISSLD) was held on 22-23 September 2020 in Bogor, Indonesia. All papers published in this proceeding have been peer-reviewed through a process managed by the Editor by involving reviewers from academics and professionals in the field of landscape architecture. • Type of peer review: Double-blind All papers were uploaded through the organizer’s website http://arl.faperta.ipb.ac.id/symposium. All papers passed a basic check of writing format, including size, margins, font type and size, manuscript structure, compliance with submission instructions, quality of English grammar, and plagiarism checks. Reviewers provided opportunities to Authors for correction of discrepancies in the writing format and English grammar and plagiarism. Papers that still did not meet the minimum 25% of plagiarism checks were rejected. We used a double-blind system for peer-review while keeping the identity of reviewers and authors anonymous. One external reviewer and one review editor staff member reviewed each paper using professional and scientific standards. The review process took approximately 30 days. The reviewers decided to accept or reject the paper along with the reasons. Editor sent forms of correction, acceptance, and rejection to the appropriate authors. • Submission management system: The submission was made through the ISSLD website management system at the address http://arl.faperta.ipb.ac.id/symposium developed by the ISSLD Operator. The submission, review, and acceptance systems were carried out through the website. Management of the website also includes: 1. Managing access of reviewers and editors to papers; 2. Automatic registration for ISSLD 3. Papers submission; 4. List of ISSLD every year; 4. Program book schedule of events, materials for Keynote and Invited Speakers, the title of the presentation, and presenter’s name. 5. Communication via email between the program committee, reviewers, and authors; 6. Preparation and Publication of conference programs; 7. All authors who submit papers are assumed to have accepted the terms of Publication License; 8. All requirements for papers, templates, and sample papers can be accessed for Author or aspiring writer. • Number of submissions received: 65 • Number of submissions sent for review: 56 • Number of submissions accepted: 46 • Acceptance Rate (Number of Submissions Accepted / Number of Submissions Received X 100): 82,14 • The average number of reviews per paper: 2 • Total number of reviewers involved: 14 • Any additional info on the review process: All papers have passed the English language check using Grammarly and plagiarism check using Turnitin • Contact person for queries: Name : Akhmad Arifin Hadi Affiliation: IPB University seminar_arl@apps.ipb.ac.id arifin_hadi@apps.ipb.ac.id

ObjectiveTo track and visually assess how automated attention structures within the electronic health record (EHR) compete for clinicians attention during computer physician order entry that could potentially lead to transactions hazards in the clinical narrative.IntroductionIn recent years, studies in health and medicine have shifted toward eHealth communication and the relationships among human interaction, computer literacy, and digital text content in medical discourses (1-6). Clinicians, however, continue to struggle with EHR usability, including how to effectively capture patient data without error (7-9). Usability is especially problematic for clinicians, who must now acquire new skills in electronic documentation (10). Challenges with the EHR occur because of clinicians’ struggle with attention to the non-linear format of clinical content and automated technologies (11). It is therefore important to understand how attention structures are visually situated within the EHR’s narrative architecture and audience for whom electronic text is written. It is equally important to visualize and track how automated language and design in health information technology (HIT) affect users’ attention when documenting clinical narratives (12). In the study of health information technology, researchers of eHealth platforms need to recognize how the construction of human communication lies within the metaphoric expression, design, and delivery of the EHR’s information architecture (13). Many studies of electronic health records (EHR) examine the design and usability in the development stages. Some studies focus on the economic value of the EHR Medicare incentive program, which affects providers’ return on investment (ROI). Few studies, however, identify the communicative value of how attention structures within the EHR’s information architecture compete for users’ attention during the clinical documentation process (9, 14).MethodsThis paper highlights methods from an observed EHR pre-launch testing event that analyzes the visual effects of attention structures within the EHR’s information landscape. The observation was completed in two separate stages, each with one IT facilitator and two participant demographics: Stage 1. On-site HIT clinical application staff testing and, Stage 2. Twenty-five participants (RN and non-RN clinical staff). During the second stage of the event, one participant’s task performance was screencast-recorded. The length of the testing for the one participant totaled 37 minutes. Because the EHR domain is propelled by both the Internet and Intranet, a contextual-rhetorical analysis of the data collected was performed which incorporated Nielsen's 10 Usability Heuristics for Interaction Design (15, 16) and Stuart Blythe’s methodological approach to analyzing digital writing and technology to defining rhetorical units of analysis in digital Web research (17).ResultsThe UX observation and contextual-rhetorical analysis of EHR design supports a 4-year qualitative study consisting of hospital interviews at two acute-care facilities and an online, national survey of revenue integrity and clinical documentation improvement specialists. The testing event served as an opportunity to observe how a healthcare organization user-experience tests the functionality of the EHR’s design build before launching it live. The testing event also provides an understanding of clinicians’ organizational needs and challenges during the clinical documentation process. The contextual-rhetorical analysis identified how the structure of narrative in the EHR represents rhetorical units of value that might influence how clinicians make decisions about narrative construction.ConclusionsThis UX case study analysis of an EHR testing event identifies how scarcity of attention and clinicians’ reliance on technology affect clinical documentation best practices leading to potential transaction hazards in the clinical narrative.The study is relevant in eHealth data surveillance because it shows how visual cues within the design of the EHR's technological landscape affect clinicians’ decision-making processes while documenting the EHR-generated clinical narrativeReferences1. Black A, Car J, Majeed A, Sheikh A. Strategic considerations for improving the quality of eHealth research: we need to improve the quality and capacity of academia to undertake informatics research. Journal of Innovation in Health Informatics. 2008;16(3):175-7.2. Meeks DW, Smith MW, Taylor L, Sittig DF, Scott JM, Singh H. An analysis of electronic health record-related patient safety concerns. Journal of the American Medical Informatics Association. 2014;21(6):1053-9.3. Owens KH. Rhetorics of e-Health and information age medicine: A risk-benefit analysis. JAC. 2011:225-35.4. Petersson J. Geographies of eHealth: Studies of Healthcare at a Distance2014.5. Solomon S. How we can end the disconnect in health. Health Voices. 2014(15):23.6. Subbiah NK. Improving Usability and Adoption of Tablet-based Electronic Health Record (EHR) Applications: Arizona State University; 2018.7. Khairat S, Burke G, Archambault H, Schwartz T, Larson J, Ratwani RM. Perceived Burden of EHRs on Physicians at Different Stages of Their Career. Applied clinical informatics. 2018;9(02):336-47.8. Staggers N, Elias BL, Makar E, Alexander GL. The Imperative of Solving Nurses’ Usability Problems With Health Information Technology. Journal of Nursing Administration. 2018;48(4):191-6.9. Yackel TR, Embi PJ. Unintended errors with EHR-based result management: a case series. Journal of the American Medical Informatics Association. 2010;17(1):104-7.10. Stewart WF, Shah NR, Selna MJ, Paulus RA, Walker JM. Bridging the inferential gap: the electronic health record and clinical evidence. Health Affairs. 2007;26(2):w181-w91.11. Johnson SB, Bakken S, Dine D, Hyun S, Mendonça E, Morrison F, et al. An electronic health record based on structured narrative. Journal of the American Medical Informatics Association. 2008;15(1):54-64.12. Lanham RA. The economics of attention: Style and substance in the age of information: University of Chicago Press; 2006.13. Salvo MJ. Rhetorical action in professional space: Information architecture as critical practice. Journal of Business and Technical Communication. 2004;18(1):39-66.14. Sittig DF, Singh H. A new socio-technical model for studying health information technology in complex adaptive healthcare systems. Cognitive Informatics for Biomedicine: Springer; 2015. p. 59-80.15. Nielsen J. 10 usability heuristics for user interface design. Nielsen Norman Group. 1995;1(1).16. Nielsen J, Molich R, editors. Heuristic evaluation of user interfaces. Proceedings of the SIGCHI conference on Human factors in computing systems; 1990: ACM.17. Blythe S. Digital Writing Research. In: McKee HA, DeVoss D, editors. Digital Writing Research: Technologies, Methodologies and Ethical Issues (New Dimensions in Computers and Composition)Cresskill, NJ: Hampton Press; 2007. p. 203-28.

Introduction The exhibition of an artist’s work is traditionally accepted as representing the final stage of the creative process (Staniszewski). This article asks, however, whether this traditional view can be reassessed so that the curatorial practice of mounting an exhibition becomes, itself, a creative outcome feeding into work that may still be in progress, and that simultaneously operates as a learning and teaching tool. To provide a preliminary examination of the issue, we use a single case study approach, taking an example of practice currently used at an Australian university. In this program, internal and external students work together to develop and deliver an exhibition of their own work in progress. The exhibition space has a professional website (‘CQUniversity Noosa Exhibition Space’), many community members and the local media attend exhibition openings, and the exhibition (which runs for three to four weeks) becomes an outcome students can include in their curriculum vitae. This article reflects on the experiences, challenges, and outcomes that have been gained through this process over the past twelve months. Due to this time frame, the case study is exploratory and its findings are provisional. The case study is an appropriate method to explore a small sample of events (in this case exhibitions) as, following Merriam, it allows the construction of a richer picture of an under-examined phenomenon to be constructed. Although it is clear that this approach will not offer results which can be generalised, it can, nevertheless, assist in opening up a field for investigation and constructing a holistic account of a phenomenon (in this case, the exhibition space as authentic learning experience and productive teaching tool), for, as Merriam states, “much can be learned from a particular case” (51). Jennings adds that even the smallest case study is useful as it includes an “in-depth examination of the subject with which to confirm or contest received generalizations” (14). Donmoyer extends thoughts on this, suggesting that the single case study is extremely useful as the “restricted conception of generalizability … solely in terms of sampling and statistical significance is no longer defensible or functional” (45). Using the available student course feedback, anonymous end-of-term course evaluations, and other available information, this case study account offers an example of what Merriam terms a “narrative description” (51), which seeks to offer readers the opportunity to engage and “learn vicariously from an encounter with the case” (Merriam 51) in question. This may, we propose, be particularly productive for other educators since what is “learn[ed] in a particular case can be transferred to similar situations” (Merriam 51). Breaking Ground exhibition, CQUniversity Noosa Exhibition Space, 2014. Photo by Ulrike Sturm. Background The Graduate Certificate of Creative Industries (Creative Practice) (CQU ‘CB82’) was developed in 2011 to meet the national Australian Quality Framework agency’s Level 8 (Graduate Certificate) standards in terms of what is called in their policies, the “level” of learning. This states that, following the program, graduates from this level of program “will have advanced knowledge and skills for professional or highly skilled work and/or further learning … [and] will apply knowledge and skills to demonstrate autonomy, well-developed judgment, adaptability and responsibility as a practitioner or learner” (AQF). The program was first delivered in 2012 and, since then, has been offered both two and three terms a year, attracting small numbers of students each term, with an average of 8 to 12 students a term. To meet these requirements, such programs are sometimes developed to provide professional and work-integrated learning tasks and learning outcomes for students (Patrick et al., Smith et al.). In this case, professionally relevant and related tasks and outcomes formed the basis for the program, its learning tasks, and its assessment regime. To this end, each student enrolled in this program works on an individual, self-determined (but developed in association with the teaching team and with feedback from peers) creative/professional project that is planned, developed, and delivered across one term of study for full- time students and two terms for part- timers. In order to ensure the AQF-required professional-level outcomes, many projects are designed and/or developed in partnership with professional arts institutions and community bodies. Partnerships mobilised utilised in this way have included those with local, state, and national bodies, including the local arts community, festivals, and educational support programs, as well as private business and community organisations. Student interaction with curation occurs regularly at art schools, where graduate and other student shows are scheduled as a regular events on the calendar of most tertiary art schools (Al-Amri), and the curated exhibition as an outcome has a longstanding tradition in tertiary fine arts education (Webb, Brien, and Burr). Yet in these cases, it is ultimately the creative work on show that is the focus of the learning experience and assessment process, rather than any focus on engagement with the curatorial process itself (Dally et al.). When art schools do involve students in the curatorial process, the focus usually still remains on the students' creative work (Sullivan). Another interaction with curation is when students undertaking a tertiary-level course or program in museum, and/or curatorial practice are engaged in the process of developing, mounting, and/or critiquing curated activities. These programs are, however, very small in number in Australia, where they are only offered at postgraduate level, with the exception of an undergraduate program at the University of Canberra (‘215JA.2’). By adopting “the exhibition” as a component of the learning process rather than its end product, including documentation of students’ work in progress as exhibition pieces, and incorporating it into a more general creative industries focused program, we argue that the curatorial experience can become an interactive learning platform for students ranging from diverse creative disciplines. The Student Experience Students in the program under consideration in this case study come from a wide spectrum of the creative industries, including creative writing, film, multimedia, music, and visual arts. Each term, at least half of the enrolments are distance students. The decision to establish an on-campus exhibition space was an experimental strategy that sought to bring together students from different creative disciplines and diverse locations, and actively involve them in the exhibition development and curatorial process. As well as their individual project work, the students also bring differing levels of prior professional experience to the program, and exhibit a wide range of learning styles and approaches when developing and completing their creative works and exegetical reflections. To cater for the variations listed above, but still meet the program milestones and learning outcomes that must (under the program rules) remain consistent for each student, we employed a multi-disciplinary approach to teaching that included strategies informed by Gardner’s theory of multiple intelligences (Gardner, Frames of Mind), which proposed and defined seven intelligences, and repeatedly criticised what he identified as an over-reliance on linguistic and logical indices as identifiers of intelligence. He asserted that these were traditional indicators of high scores on most IQ measures or tests of achievement but were not representative of overall levels of intelligence. Gardner later reinforced that, “unless individuals take a very active role in what it is that they’re studying, unless they learn to ask questions, to do things hands on, to essentially re-create things in their own mind and transform them as is needed, the ideas just disappear” (Edutopia). In alignment with Gardner’s views, we have noted that students enrolled in the program demonstrate strengths in several key intelligence areas, particularly interpersonal, musical, body-kinaesthetic, and spacial/visual intelligences (see Gardner, ‘Multiple Intelligences’, 8–18). To cater for, and further develop, these strengths, and also for the external students who were unable to attend university-based workshop sessions, we developed a range of resources with various approaches to hands-on creative tasks that related to the projects students were completing that term. These resources included the usual scholarly articles, books, and textbooks but were also sourced from the print and online media, guest speaker presentations, and digital sites such as You Tube and TED Talks, and through student input into group discussions. The positive reception of these individual project-relevant resources is evidenced in the class online discussion forums, where consecutive groups of students have consistently reflected on the positive impact these resources have had on their individual creative projects: This has been a difficult week with many issues presenting. As part of our Free Writing exercise in class, we explored ‘brain dumping’ and wrote anything (no matter how ridiculous) down. The great thing I discovered after completing this task was that by allowing myself to not censor my thoughts by compiling a writing masterpiece, I was indeed “free” to express everything. …. … I understand that this may not have been the original intended goal of Free Writing – but it is something I would highly recommend external students to try and see if it works for you (Student 'A', week 5, term 1 2015, Moodle reflection point). I found our discussion about crowdfunding particularly interesting. ... I intend to look at this model for future exhibitions. I think it could be a great way for me to look into developing an exhibition of paintings alongside some more commercial collateral such as prints and cards (Student 'B', week 6, term 1 2015, Moodle reflection point). In class I specifically enjoyed the black out activity and found the online videos exceptional, inspiring and innovating. I really enjoyed this activity and it was something that I can take away and use within the classroom when educating (Student 'C', week 8, term 1 2015, Moodle reflection point). The application of Gardner’s principles and strategies dovetailed with our framework for assessing learning outcomes, where we were guided by Boud’s seven propositions for assessment reform in higher education, which aim to “set directions for change, designed to enhance learning achievements for all students and improve the quality of their experience” (26). Boud asserts that assessment has most effect when: it is used to engage students in productive learning; feedback is used to improve student learning; students and teachers become partners in learning and assessment; students are inducted into the assessment practices of higher education; assessment and learning are placed at the centre of subject and program design; assessment and learning is a focus for staff and institutional development; and, assessment provides inclusive and trustworthy representation of student achievement. These propositions were integral to the design of learning outcomes for the exhibition. Teachers worked with students, individually and as a group, to build their capacity to curate the exhibition, and this included such things as the design and administration of invitations, and also the physical placement of works within the exhibition space. In this way, teachers and students became partners in the process of assessment. The final exhibition, as a learning outcome, meant that students were engaged in productive learning that placed both assessment and knowledge at the centre of subject and project design. It is a collation of creative pieces that embodies the class, as a whole; however, each piece also represents the skills and creativity of individual students and, in this way, are is a trustworthy representations of student achievement. While we aimed to employ all seven recommendations, our main focus was on ensuring that the exhibition, as an authentic learning experience, was productive and that the students were engaged as responsible and accountable co-facilitators of it. These factors are particularly relevant as almost all the students were either currently working, or planning to work, in their chosen creative field, where the work would necessarily involve both publication, performance, and/or exhibition of their artwork plus collaborative practice across disciplinary boundaries to make this happen (Brien). For this reason, we provided exhibition-related coursework tasks that we hoped were engaging and that also represented an authentic learning outcome for the students. Student Curatorship In this context, the opportunity to exhibit their own works-in-progress provided an authentic reason, with a deadline, for students to both work, and reflect, on their creative projects. The documentation of each student’s creative process was showcased as a stand-alone exhibition piece within the display. These exhibits not only served not only to highlight the different learning styles of each student, but also proved to inspire creativity and skill development. They also provided a working model whereby students (and potential enrollees) could view other students’ work and creative processes from inception to fully-realised project outcomes. The sample online reflections quoted above not only highlight the effectiveness of the online content delivery, but this engagement with the online forum also allowed remote students to comment on each other’s projects as well as to and respond to issues they were encountering in their project planning and development and creative practice. It was essential that this level of peer engagement was fostered for the curatorial project to be viable, as both internal and external students are involved in designing the invitation, catalogue, labels, and design of the space, while on-campus students hang and label work according to the group’s directions. Distance students send in items. This is a key point of this experiment: the process of curating an exhibition of work from diverse creative fields, and from students located thousands of kilometres apart, as a way of bringing cohesion to a diverse cohort of students. That cohesiveness provided an opportunity for authentic learning to occur because it was in relation to a task that each student apparently understood as personally, academically, and professionally relevant. This was supported by the anonymous course evaluation comments, which were overwhelmingly positive about the exhibition process – there were no negative comments regarding this aspect of the program, and over 60 per cent of the class supplied these evaluations. This also met a considerable point of anxiety in the current university environment whereby actively engaging students in online learning interactions is a continuing issue (Dixon, Dixon, and Axmann). A key question is: what relevance does this curatorial process have for a student whose field is not visual art, but, for instance, music, film, or writing? By displaying documentation of work in progress, this process connects students of all disciplines with an audience. For example, one student in 2014 who was a singer/songwriter, had her song available to be played on a laptop, alongside photographs of the studio when she was recording her song with her band. In conjunction with this, the cover artwork for her CD, together with the actual CD and CD cover, were framed and exhibited. Another student, who was also a musician but who was completing a music history project, sent in pages of the music transcriptions he had been working on during the course. This manuscript was bound and exhibited in a way that prompted some audience members to commented that it was like an artist’s book as well as a collection of data. Both of these students lived over 1,000 kilometres from the campus where the exhibition was held, but they were able to share with us as teaching staff, as well as with other students who were involved in the physical setting up of the exhibition, exactly how they envisaged their work being displayed. The feedback from both of these students was that this experience gave them a strong connection to the program. They described how, despite the issue of distance, they had had the opportunity to participate in a professional event that they were very keen to include on their curricula vitae. Another aspect of students actively participating in the curation of an exhibition which features work from diverse disciplines is that these students get a true sense of the collaborative interconnectedness of the disciplines of the creative industries (Brien). By way of example, the exhibit of the singer/songwriter referred to above involved not only the student and her band, but also the photographer who took the photographs, and the artist who designed the CD cover. Students collaboratively decided how this material was handled in the exhibition catalogue – all these names were included and their roles described. Breaking Ground exhibition, CQUniversity Noosa Exhibition Space, 2014. Photo by Ulrike Sturm. Outcomes and Conclusion We believe that the curation of an exhibition and the delivery of its constituent components raises student awareness that they are, as creatives, part of a network of industries, developing in them a genuine understanding of the way the creating industries works as a profession outside the academic setting. It is in this sense that this curatorial task is an authentic learning experience. In fact, what was initially perceived as a significant challenge—, that is, exhibiting work in progress from diverse creative fields—, has become a strength of the curatorial project. In reflecting on the experiences and outcomes that have occurred through the implementation of this example of curatorial practice, both as a learning tool and as a creative outcome in its own right, a key positive indicator for this approach is the high level of student satisfaction with the course, as recorded in the formal, anonymous university student evaluations (with 60–100 per cent of these completed for each term, when the university benchmark is 50 per cent completion), and the high level of professional outcomes achieved post-completion. The university evaluation scores have been in the top (4.5–5/.5) range for satisfaction over the program’s eight terms of delivery since 2012. Particularly in relation to subsequent professional outcomes, anecdotal feedback has been that the curatorial process served as an authentic and engaged learning experience because it equipped the students, now graduates, of the program with not only knowledge about how exhibitions work, but also a genuine understanding of the web of connections between the diverse creative arts and industries. Indeed, a number of students have submitted proposals to exhibit professionally in the space after graduation, again providing anecdotal feedback that the experience they gained through our model has had a sustaining impact on their creative practice. While the focus of this activity has been on creative learning for the students, it has also provided an interesting and engaging teaching experience for us as the program’s staff. We will continue to gather evidence relating to our model, and, with the next iteration of the exhibition project, a more detailed comparative analysis will be attempted. At this stage, with ethics approval, we plan to run an anonymous survey with all students involved in this activity, to develop questions for a focus group discussion with graduates. We are also in the process of contacting alumni of the program regarding professional outcomes to map these one, two, and five years after graduation. We will also keep a record of what percentage of students apply to exhibit in the space after graduation, as this will also be an additional marker of how professional and useful they perceive the experience to be. In conclusion, it can be stated that the 100 per cent pass rate and 0 per cent attrition rate from the program since its inception, coupled with a high level (over 60 per cent) of student progression to further post-graduate study in the creative industries, has not been detrimentally affected by this curatorial experiment, and has encouraged staff to continue with this approach. References Al-Amri, Mohammed. “Assessment Techniques Practiced in Teaching Art at Sultan Qaboos University in Oman.” International Journal of Education through Art 7.3 (2011): 267–282. AQF Levels. Australian Qualifications Framework website. 18 June 2015 ‹http://www.aqf.edu.au/aqf/in-detail/aqf-levels/›. Boud, D. Student Assessment for Learning in and after Courses: Final Report for Senior Fellowship. Sydney: Australian Learning and Teaching Council, 2010. Brien, Donna Lee, “Higher Education in the Corporate Century: Choosing Collaborative rather than Entrepreneurial or Competitive Models.” New Writing: The International Journal for the Practice and Theory of Creative Writing 4.2 (2007): 157–170. Brien, Donna Lee, and Axel Bruns, eds. “Collaborate.” M/C Journal 9.2 (2006). 18 June 2015 ‹http://journal.media-culture.org.au/0605›. Burton, D. Exhibiting Student Art: The Essential Guide for Teachers. New York: Teachers College Press, Columbia University, New York, 2006. CQUniversity. CB82 Graduate Certificate in Creative Industries. 18 July 2015 ‹https://handbook.cqu.edu.au/programs/index?programCode=CB82›. CQUniversity Noosa Exhibition Space. 20 July 2015 ‹http://www.cqunes.org›. 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Flyvbjerg, Bent. “Five Misunderstandings about Case-Study Research.” Qualitative Inquiry 12.2 (2006): 219–245. Gardner, H. Frames of Mind: The Theory of Multiple Intelligences, New York: Basic Books, 1983. ———. Multiple Intelligences: New Horizons in Theory and Practice, New York: Basic Books, 2006. George Lucas Education Foundation. 2015 Edutopia – What Works in Education. 16 June 2015 ‹http://www.edutopia.org/multiple-intelligences-howard-gardner-video#graph3›. Gerring, John. “What Is a Case Study and What Is It Good For?” American Political Science Review 98.02 (2004): 341–354. Hooper-Greenhill, Eilean. “Museums and Communication: An Introductory Essay.” Museum, Media, Message 1 (1995): 1. Jennings, Paul. The Public House in Bradford, 1770-1970. Keele: Keele University Press, 1995. Levy, Jack S. “Case Studies: Types, Designs, and Logics of Inference.” Conflict Management and Peace Science 25.1 (2008): 1–18. Merriam, Sharan B. Qualitative Research: A Guide to Design and Implementation: Revised and Expanded from Qualitative Research and Case Study Applications in Education. Jossey-Bass, 2009. Miles, M., and S. Rainbird. From Critical Distance to Engaged Proximity: Rethinking Assessment Methods to Enhance Interdisciplinary Collaborative Learning in the Creative Arts and Humanities. Final Report to the Australian Government Office for Learning and Teaching, Sydney. 2013. Monash University. Rethinking Assessment to Enhance Interdisciplinary Collaborative Learning in the Creative Arts and Humanities. Sydney: Office of Learning and Teaching, 2013. Muller, L. Reflective Curatorial Practice. 17 June 2015 ‹http://research.it.uts.edu.au/creative/linda/CCSBook/Jan%2021%20web%20pdfs/Muller.pdf›. O’Neill, Paul. Curating Subjects. London: Open Editions, 2007. Patrick, Carol-Joy, Deborah Peach, Catherine Pocknee, Fleur Webb, Marty Fletcher, and Gabriella Pretto. The WIL (Work Integrated Learning) Report: A National Scoping Study [Final Report]. Brisbane: Queensland University of Technology, 2008. Rule, A.C. “Editorial: The Components of Authentic Learning.” Journal of Authentic Learning 3.1 (2006): 1–10. Seawright, Jason, and John Gerring. “Case Selection Techniques in Case Study Research: A Menu of Qualitative and Quantitative Options.” Political Research Quarterly 61.2 (2008): 294–308. Smith, Martin, Sally Brooks, Anna Lichtenberg, Peter McIlveen, Peter Torjul, and Joanne Tyler. Career Development Learning: Maximising the Contribution of Work-Integrated Learning to the Student Experience. Final project report, June 2009. Wollongong: University of Wollongong, 2009. Sousa, D.A. How the Brain Learns: A Teacher’s Guide. 2nd ed. Thousand Oaks, CA: Corwin Press, 2001. Stake, R. “Qualitative Case Studies”. The Sage Handbook of Qualitative Research. 3rd ed. Eds. N.K. Denzin and Y.S. Lincoln. Thousand Oaks, CA: Sage, 2005. 433-466. 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IntroductionRegional identity is a constant construction, in which landscape, human activity and cultural imaginary build a narrative of place. For the Tasmanian Midlands, the interactions between history, ecology and agriculture both define place and present problems in how to recognise, communicate and balance these interactions. In this sense, regionality is defined not so much as a relation of margin to centre, but as a specific accretion of environmental and cultural histories. According weight to more-than-human perspectives, a region can be seen as a constellation of plant, animal and human interactions and demands, where creative art and design can make space and give voice to the dynamics of exchange between the landscape and its inhabitants. Consideration of three recent art and design projects based in the Midlands reveal the potential for cross-disciplinary research, embedded in both environment and community, to create distinctive and specific forms of connectivity that articulate a regional identify.The Tasmanian Midlands have been identified as a biodiversity hotspot (Australian Government), with a long history of Aboriginal cultural management disrupted by colonial invasion. Recent archaeological work in the Midlands, including the Kerry Lodge Archaeology and Art Project, has focused on the use of convict labour during the nineteenth century in opening up the Midlands for settler agriculture and transport. Now, the Midlands are placed under increasing pressure by changing agricultural practices such as large-scale irrigation. At the same time as this intensification of agricultural activity, significant progress has been made in protecting, preserving and restoring endemic ecologies. This progress has come through non-government conservation organisations, especially Greening Australia and their program Tasmanian Island Ark, and private landowners placing land under conservation covenants. These pressures and conservation activities give rise to research opportunities in the biological sciences, but also pose challenges in communicating the value of conservation and research outcomes to a wider public. The Species Hotel project, beginning in 2016, engaged with the aims of restoration ecology through speculative design while The Marathon Project, a multi-year curatorial art project based on a single property that contains both conservation and commercially farmed zones.This article questions the role of regionality in these three interconnected projects—Kerry Lodge, Species Hotel, and Marathon—sited in the Tasmanian Midlands: the three projects share a concern with the specificities of the region through engagement with specifics sites and their histories and ecologies, while also acknowledging the forces that shape these sites as far more mobile and global in scope. It also considers the interdisciplinary nature of these projects, in the crossover of art and design with ecological, archaeological and agricultural practices of measuring and intervening in the land, where communication and interpretation may be in tension with functionality. These projects suggest ways of working that connect the ecological and the cultural spheres; importantly, they see rural locations as sites of knowledge production; they test the value of small-scale and ephemeral interventions to explore the place of art and design as intervention within colonised landscape.Regions are also defined by overlapping circles of control, interest, and authority. We test the claim that these projects, which operate through cross-disciplinary collaboration and network with a range of stakeholders and community groups, successfully benefit the region in which they are placed. We are particularly interested in the challenges of working across institutions which both claim and enact connections to the region without being centred there. These projects are initiatives resulting from, or in collaboration with, University of Tasmania, an institution that has taken a recent turn towards explicitly identifying as place-based yet the placement of the Midlands as the gap between campuses risks attenuating the institution’s claim to be of this place. Paul Carter, in his discussion of a regional, site-specific collaboration in Alice Springs, flags how processes of creative place-making—operating through mythopoetic and story-based strategies—requires a concrete rather than imagined community that actively engages a plurality of voices on the ground. We identify similar concerns in these art and design projects and argue that iterative and long-term creative projects enable a deeper grappling with the complexities of shared regional place-making. The Midlands is aptly named: as a region, it is defined by its geographical constraints and relationships to urban centres. Heading south from the northern city of Launceston, travellers on the Midland Highway see scores of farming properties networking continuously for around 175 kilometres south to the outskirts of Brighton, the last major township before the Tasmanian capital city of Hobart. The town of Ross straddles latitude 42 degrees south—a line that has historically divided Tasmania into the divisions of North and South. The region is characterised by extensive agricultural usage and small remnant patches of relatively open dry sclerophyll forest and lowland grassland enabled by its lower attitude and relatively flatter terrain. The Midlands sit between the mountainous central highlands of the Great Western Tiers and the Eastern Tiers, a continuous range of dolerite hills lying south of Ben Lomond that slope coastward to the Tasman Sea. This area stretches far beyond the view of the main highway, reaching east in the Deddington and Fingal valleys. Campbell Town is the primary stopping point for travellers, superseding the bypassed towns, which have faced problems with lowering population and resulting loss of facilities.Image 1: Southern Midland Landscape, Ross, Tasmania, 2018. Image Credit: Patrick Sutczak.Predominantly under private ownership, the Tasmanian Midlands are a contested and fractured landscape existing in a state of ecological tension that has occurred with the dominance of western agriculture. For over 200 years, farmers have continually shaped the land and carved it up into small fragments for different agricultural agendas, and this has resulted in significant endemic species decline (Mitchell et al.). The open vegetation was the product of cultural management of land by Tasmanian Aboriginal communities (Gammage), attractive to settlers during their distribution of land grants prior to the 1830s and a focus for settler violence. As documented cartographically in the Centre for 21st Century Humanities’ Colonial Frontier Massacres in Central and Eastern Australia 1788–1930, the period 1820–1835, and particularly during the Black War, saw the Midlands as central to the violent dispossession of Aboriginal landowners. Clements argues that the culture of violence during this period also reflected the brutalisation that the penal system imposed upon its subjects. The cultivation of agricultural land throughout the Midlands was enabled by the provision of unfree convict labour (Dillon). Many of the properties granted and established during the colonial period have been held in multi-generational family ownership through to the present.Within this patchwork of private ownership, the tension between visibility and privacy of the Midlands pastures and farmlands challenges the capacity for people to understand what role the Midlands plays in the greater Tasmanian ecology. Although half of Tasmania’s land areas are protected as national parks and reserves, the Midlands remains largely unprotected due to private ownership. When measured against Tasmania’s wilderness values and reputation, the dry pasturelands of the Midland region fail to capture an equivalent level of visual and experiential imagination. Jamie Kirkpatrick describes misconceptions of the Midlands when he writes of “[f]latness, dead and dying eucalypts, gorse, brown pastures, salt—environmental devastation […]—these are the common impression of those who first travel between Spring Hill and Launceston on the Midland Highway” (45). However, Kirkpatrick also emphasises the unique intimate and intricate qualities of this landscape, and its underlying resilience. In the face of the loss of paddock trees and remnants to irrigation, change in species due to pasture enrichment and introduction of new plant species, conservation initiatives that not only protect but also restore habitat are vital. The Tasmanian Midlands, then, are pastoral landscapes whose seeming monotonous continuity glosses over the radical changes experienced in the processes of colonisation and intensification of agriculture.Underlying the Present: Archaeology and Landscape in the Kerry Lodge ProjectThe major marker of the Midlands is the highway that bisects it. Running from Hobart to Launceston, the construction of a “great macadamised highway” (Department of Main Roads 10) between 1820–1850, and its ongoing maintenance, was a significant colonial project. The macadam technique, a nineteenth century innovation in road building which involved the laying of small pieces of stone to create a surface that was relatively water and frost resistant, required considerable but unskilled labour. The construction of the bridge at Kerry Lodge, in 1834–35, was simultaneous with significant bridge buildings at other major water crossings on the highway, (Department of Main Roads 16) and, as the first water crossing south of Launceston, was a pinch-point through which travel of prisoners could be monitored and controlled. Following the completion of the bridge, the site was used to house up to 60 male convicts in a road gang undergoing secondary punishment (1835–44) and then in a labour camp and hiring depot until 1847. At the time of the La Trobe report (1847), the buildings were noted as being in bad condition (Brand 142–43). After the station was disbanded, the use of the buildings reverted to the landowners for use in accommodation and agricultural storage.Archaeological research at Kerry Lodge, directed by Eleanor Casella, investigated the spatial and disciplinary structures of smaller probation and hiring depots and the living and working conditions of supervisory staff. Across three seasons (2015, 2016, 2018), the emerging themes of discipline and control and as well as labour were borne out by excavations across the site, focusing on remnants of buildings close to the bridge. This first season also piloted the co-presence of a curatorial art project, which grew across the season to include eleven practitioners in visual art, theatre and poetry, and three exhibition outcomes. As a crucial process for the curatorial art project, creative practitioners spent time on site as participants and observers, which enabled the development of responses that interrogated the research processes of archaeological fieldwork as well as making connections to the wider historical and cultural context of the site. Immersed in the mundane tasks of archaeological fieldwork, the practitioners involved became simultaneously focused on repetitive actions while contemplating the deep time contained within earth. This experience then informed the development of creative works interrogating embodied processes as a language of site.The outcome from the first fieldwork season was earthspoke, an exhibition shown at Sawtooth, an artist-run initiative in Launceston in 2015, and later re-installed in Franklin House, a National Trust property in the southern suburbs of Launceston.Images 2 and 3: earthspoke, 2015, Installation View at Sawtooth ARI (top) and Franklin House (bottom). Image Credits: Melanie de Ruyter.This recontextualisation of the work, from contemporary ARI (artist run initiative) gallery to National Trust property enabled the project to reach different audiences but also raised questions about the emphases that these exhibition contexts placed on the work. Within the white cube space of the contemporary gallery, connections to site became more abstracted while the educational and heritage functions of the National Trust property added further context and unintended connotations to the art works.Image 4: Strata, 2017, Installation View. Image Credit: Karen Hall.The two subsequent exhibitions, Lines of Site (2016) and Strata (2017), continued to test the relationship between site and gallery, through works that rematerialised the absences on site and connected embodied experiences of convict and archaeological labour. The most recent iteration of the project, Strata, part of the Ten Days on the Island art festival in 2017, involved installing works at the site, marking with their presence the traces, fragments and voids that had been reburied when the landscape returned to agricultural use following the excavations. Here, the interpretive function of the works directly addressed the layered histories of the landscape and underscored the scope of the human interventions and changes over time within the pastoral landscape. The interpretative role of the artworks formed part of a wider, multidisciplinary approach to research and communication within the project. University of Manchester archaeology staff and postgraduate students directed the excavations, using volunteers from the Launceston Historical Society. Staff from Launceston’s Queen Victorian Museum and Art Gallery brought their archival and collection-based expertise to the site rather than simply receiving stored finds as a repository, supporting immediate interpretation and contextualisation of objects. In 2018, participation from the University of Tasmania School of Education enabled a larger number of on-site educational activities than afforded by previous open days. These multi-disciplinary and multi-organisational networks, drawn together provisionally in a shared time and place, provided rich opportunities for dialogue. However, the challenges of sustaining these exchanges have meant ongoing collaborations have become more sporadic, reflecting different institutional priorities and competing demands on participants. Even within long-term projects, continued engagement with stakeholders can be a challenge: while enabling an emerging and concrete sense of community, the time span gives greater vulnerability to external pressures. Making Home: Ecological Restoration and Community Engagement in the Species Hotel ProjectImages 5 and 6: Selected Species Hotels, Ross, Tasmania, 2018. Image Credits: Patrick Sutczak. The Species Hotels stand sentinel over a river of saplings, providing shelter for animal communities within close range of a small town. At the township of Ross in the Southern Midlands, work was initiated by restoration ecologists to address the lack of substantial animal shelter belts on a number of major properties in the area. The Tasmania Island Ark is a major Greening Australia restoration ecology initiative, connecting 6000 hectares of habitat across the Midlands. Linking larger forest areas in the Eastern Tiers and Central Highlands as well as isolated patches of remnant native vegetation, the Ark project is vital to the ongoing survival of local plant and animal species under pressure from human interventions and climate change. With fragmentation of bush and native grasslands in the Midland landscape resulting in vast open plains, the ability for animals to adapt to pasturelands without shelter has resulted in significant decline as animals such as the critically endangered Eastern Barred Bandicoot struggle to feed, move, and avoid predators (Cranney). In 2014 mass plantings of native vegetation were undertaken along 16km of the serpentine Macquarie River as part of two habitat corridors designed to bring connectivity back to the region. While the plantings were being established a public art project was conceived that would merge design with practical application to assist animals in the area, and draw community and public attention to the work that was being done in re-establishing native forests. The Species Hotel project, which began in 2016, emerged from a collaboration between Greening Australia and the University of Tasmania’s School of Architecture and Design, the School of Land and Food, the Tasmanian College of the Arts and the ARC Centre for Forest Value, with funding from the Ian Potter Foundation. The initial focus of the project was the development of interventions in the landscape that could address the specific habitat needs of the insect, small mammal, and bird species that are under threat. First-year Architecture students were invited to design a series of structures with the brief that they would act as ‘Species Hotels’, and once created would be installed among the plantings as structures that could be inhabited or act as protection. After installation, the privately-owned land would be reconfigured so to allow public access and observation of the hotels, by residents and visitors alike. Early in the project’s development, a concern was raised during a Ross community communication and consultation event that the surrounding landscape and its vistas would be dramatically altered with the re-introduced forest. While momentary and resolved, a subtle yet obvious tension surfaced that questioned the re-writing of an established community’s visual landscape literacy by non-residents. Compact and picturesque, the architectural, historical and cultural qualities of Ross and its location were not only admired by residents, but established a regional identity. During the six-week intensive project, the community reach was expanded beyond the institution and involved over 100 people including landowners, artists, scientists and school children from the region (Wright), attempting to address and channel the concerns of residents about the changing landscape. The multiple timescales of this iterative project—from intensive moments of collaboration between stakeholders to the more-than-human time of tree growth—open spaces for regional identity to shift as both as place and community. Part of the design brief was the use of fully biodegradable materials: the Species Hotels are not expected to last forever. The actual installation of the Species Hotelson site took longer than planned due to weather conditions, but once on site they were weathering in, showing signs of insect and bird habitation. This animal activity created an opportunity for ongoing engagement. Further activities generated from the initial iteration of Species Hotel were the Species Hotel Day in 2017, held at the Ross Community Hall where presentations by scientists and designers provided feedback to the local community and presented opportunities for further design engagement in the production of ephemeral ‘species seed pies’ placed out in and around Ross. Architecture and Design students have gone on to develop more examples of ‘ecological furniture’ with a current focus on insect housing as well as extrapolating from the installation of the Species Hotels to generate a VR visualisation of the surrounding landscape, game design and participatory movement work that was presented as part of the Junction Arts Festival program in Launceston, 2017. The intersections of technologies and activities amplified the lived in and living qualities of the Species Hotels, not only adding to the connectivity of social and environmental actions on site and beyond, but also making a statement about the shared ownership this project enabled.Working Property: Collaboration and Dialogues in The Marathon Project The potential of iterative projects that engage with environmental concerns amid questions of access, stewardship and dialogue is also demonstrated in The Marathon Project, a collaborative art project that took place between 2015 and 2017. Situated in the Northern Midland region of Deddington alongside the banks of the Nile River the property of Marathon became the focal point for a small group of artists, ecologists and theorists to converge and engage with a pastoral landscape over time that was unfamiliar to many of them. Through a series of weekend camps and day trips, the participants were able to explore and follow their own creative and investigative agendas. The project was conceived by the landowners who share a passion for the history of the area, their land, and ideas of custodianship and ecological responsibility. The intentions of the project initially were to inspire creative work alongside access, engagement and dialogue about land, agriculture and Deddington itself. As a very small town on the Northern Midland fringe, Deddington is located toward the Eastern Tiers at the foothills of the Ben Lomond mountain ranges. Historically, Deddington is best known as the location of renowned 19th century landscape painter John Glover’s residence, Patterdale. After Glover’s death in 1849, the property steadily fell into disrepair and a recent private restoration effort of the home, studio and grounds has seen renewed interest in the cultural significance of the region. With that in mind, and with Marathon a neighbouring property, participants in the project were able to experience the area and research its past and present as a part of a network of working properties, but also encouraging conversation around the region as a contested and documented place of settlement and subsequent violence toward the Aboriginal people. Marathon is a working property, yet also a vital and fragile ecosystem. Marathon consists of 1430 hectares, of which around 300 lowland hectares are currently used for sheep grazing. The paddocks retain their productivity, function and potential to return to native grassland, while thickets of gorse are plentiful, an example of an invasive species difficult to control. The rest of the property comprises eucalypt woodlands and native grasslands that have been protected under a conservation covenant by the landowners since 2003. The Marathon creek and the Nile River mark the boundary between the functional paddocks and the uncultivated hills and are actively managed in the interface between native and introduced species of flora and fauna. This covenant aimed to preserve these landscapes, linking in with a wider pattern of organisations and landowners attempting to address significant ecological degradation and isolation of remnant bushland patches through restoration ecology. Measured against the visibility of Tasmania’s wilderness identity on the national and global stage, many of the ecological concerns affecting the Midlands go largely unnoticed. The Marathon Project was as much a project about visibility and communication as it was about art and landscape. Over the three years and with its 17 participants, The Marathon Project yielded three major exhibitions along with numerous public presentations and research outputs. The length of the project and the autonomy and perspectives of its participants allowed for connections to be formed, conversations initiated, and greater exposure to the productivity and sustainability complexities playing out on rural Midland properties. Like Kerry Lodge, the 2015 first year exhibition took place at Sawtooth ARI. The exhibition was a testing ground for artists, and a platform for audiences, to witness the cross-disciplinary outputs of work inspired by a single sheep grazing farm. The interest generated led to the rethinking of the 2016 exhibition and the need to broaden the scope of what the landowners and participants were trying to achieve. Image 7: Panel Discussion at Open Weekend, 2016. Image Credit: Ron Malor.In November 2016, The Marathon Project hosted an Open Weekend on the property encouraging audiences to visit, meet the artists, the landowners, and other invited guests from a number of restoration, conservation, and rehabilitation organisations. Titled Encounter, the event and accompanying exhibition displayed in the shearing shed, provided an opportunity for a rhizomatic effect with the public which was designed to inform and disseminate historical and contemporary perspectives of land and agriculture, access, ownership, visitation and interpretation. Concluding with a final exhibition in 2017 at the University of Tasmania’s Academy Gallery, The Marathon Project had built enough momentum to shape and inform the practice of its participants, the knowledge and imagination of the public who engaged with it, and make visible the precarity of the cultural and rural Midland identity.Image 8. Installation View of The Marathon Project Exhibition, 2017. Image Credit: Patrick Sutczak.ConclusionThe Marathon Project, Species Hotel and the Kerry Lodge Archaeology and Art Project all demonstrate the potential of site-based projects to articulate and address concerns that arise from the environmental and cultural conditions and histories of a region. Beyond the Midland fence line is a complex environment that needed to be experienced to be understood. Returning creative work to site, and opening up these intensified experiences of place to a public forms a key stage in all these projects. Beyond a commitment to site-specific practice and valuing the affective and didactic potential of on-site installation, these returns grapple with issues of access, visibility and absence that characterise the Midlands. Paul Carter describes his role in the convening of a “concretely self-realising creative community” in an initiative to construct a meeting-place in Alice Springs, a community defined and united in “its capacity to imagine change as a negotiation between past, present and future” (17). Within that regional context, storytelling, as an encounter between histories and cultures, became crucial in assembling a community that could in turn materialise story into place. In these Midlands projects, a looser assembly of participants with shared interests seek to engage with the intersections of plant, human and animal activities that constitute and negotiate the changing environment. The projects enabled moments of connection, of access, and of intervention: always informed by the complexities of belonging within regional locations.These projects also suggest the need to recognise the granularity of regionalism: the need to be attentive to the relations of site to bioregion, of private land to small town to regional centre. The numerous partnerships that allow such interconnect projects to flourish can be seen as a strength of regional areas, where proximity and scale can draw together sets of related institutions, organisations and individuals. However, the tensions and gaps within these projects reveal differing priorities, senses of ownership and even regional belonging. Questions of who will live with these project outcomes, who will access them, and on what terms, reveal inequalities of power. Negotiations of this uneven and uneasy terrain require a more nuanced account of projects that do not rely on the geographical labelling of regions to paper over the complexities and fractures within the social environment.These projects also share a commitment to the intersection of the social and natural environment. They recognise the inextricable entanglement of human and more than human agencies in shaping the landscape, and material consequences of colonialism and agricultural intensification. Through iteration and duration, the projects mobilise processes that are responsive and reflective while being anchored to the materiality of site. Warwick Mules suggests that “regions are a mixture of data and earth, historically made through the accumulation and condensation of material and informational configurations”. Cross-disciplinary exchanges enable all three projects to actively participate in data production, not interpretation or illustration afterwards. Mules’ call for ‘accumulation’ and ‘configuration’ as productive regional modes speaks directly to the practice-led methodologies employed by these projects. The Kerry Lodge and Marathon projects collect, arrange and transform material taken from each site to provisionally construct a regional material language, extended further in the dual presentation of the projects as off-site exhibitions and as interventions returning to site. The Species Hotel project shares that dual identity, where materials are chosen for their ability over time, habitation and decay to become incorporated into the site yet, through other iterations of the project, become digital presences that nonetheless invite an embodied engagement.These projects centre the Midlands as fertile ground for the production of knowledge and experiences that are distinctive and place-based, arising from the unique qualities of this place, its history and its ongoing challenges. Art and design practice enables connectivity to plant, animal and human communities, utilising cross-disciplinary collaborations to bring together further accumulations of the region’s intertwined cultural and ecological landscape.ReferencesAustralian Government Department of the Environment and Energy. Biodiversity Conservation. Canberra: Commonwealth of Australia, 2018. 1 Apr. 2019 <http://www.environment.gov.au/biodiversity/conservation>.Brand, Ian. The Convict Probation System: Van Diemen’s Land 1839–1854. Sandy Bay: Blubber Head Press, 1990.Carter, Paul. “Common Patterns: Narratives of ‘Mere Coincidence’ and the Production of Regions.” Creative Communities: Regional Inclusion & the Arts. Eds. Janet McDonald and Robert Mason. Bristol: Intellect, 2015. 13–30.Centre for 21st Century Humanities. Colonial Frontier Massacres in Central and Eastern Australia 1788–1930. Newcastle: Centre for 21st Century Humanitie, n.d. 1 Apr. 2019 <https://c21ch.newcastle.edu.au/colonialmassacres/>.Clements, Nicholas. The Black War: Fear, Sex and Resistance in Tasmania. St Lucia: U of Queensland P, 2014. Cranney, Kate. Ecological Science in the Tasmanian Midlands. Melbourne: Bush Heritage Australia, 2016. 1 Apr. 2019 <https://www.bushheritage.org.au/blog/ecological-science-in-the-tasmanian-midlands>.Davidson N. “Tasmanian Northern Midlands Restoration Project.” EMR Summaries, Journal of Ecological Management & Restoration, 2016. 10 Apr. 2019 <https://site.emrprojectsummaries.org/2016/03/07/tasmanian-northern-midlands-restoration-project/>.Department of Main Roads, Tasmania. Convicts & Carriageways: Tasmanian Road Development until 1880. Hobart: Tasmanian Government Printer, 1988.Dillon, Margaret. “Convict Labour and Colonial Society in the Campbell Town Police District: 1820–1839.” PhD Thesis. U of Tasmania, 2008. <https://eprints.utas.edu.au/7777/>.Gammage, Bill. The Biggest Estate on Earth: How Aborigines Made Australia. Crows Nest: Allen & Unwin, 2012.Greening Australia. Building Species Hotels, 2016. 1 Apr. 2019 <https://www.greeningaustralia.org.au/projects/building-species-hotels/>.Kerry Lodge Archaeology and Art Project. Kerry Lodge Convict Site. 10 Mar. 2019 <http://kerrylodge.squarespace.com/>.Kirkpatrick, James. “Natural History.” Midlands Bushweb, The Nature of the Midlands. Ed. Jo Dean. Longford: Midlands Bushweb, 2003. 45–57.Mitchell, Michael, Michael Lockwood, Susan Moore, and Sarah Clement. “Building Systems-Based Scenario Narratives for Novel Biodiversity Futures in an Agricultural Landscape.” Landscape and Urban Planning 145 (2016): 45–56.Mules, Warwick. “The Edges of the Earth: Critical Regionalism as an Aesthetics of the Singular.” Transformations 12 (2005). 1 Mar. 2019 <http://transformationsjournal.org/journal/issue_12/article_03.shtml>.The Marathon Project. <http://themarathonproject.virb.com/home>.University of Tasmania. Strategic Directions, Nov. 2018. 1 Mar. 2019 <https://www.utas.edu.au/vc/strategic-direction>.Wright L. “University of Tasmania Students Design ‘Species Hotels’ for Tasmania’s Wildlife.” Architecture AU 24 Oct. 2016. 1 Apr. 2019 <https://architectureau.com/articles/university-of-tasmania-students-design-species-hotels-for-tasmanias-wildlife/>.

Symposium “Completing the Data Pipeline: Collections Data Use in Research, Education and Outreach. The conference theme, Collections and Data in an Uncertain World, turns the spotlight on a number of opportunities that can advance the experience of undergraduate biology education. Today, millions of records from Natural History Collections worldwide are available to students and educators through portals such as iDigBio, https://www.idigbio.org/portal/search. These records facilitate explorations for disciplinary and interdisciplinary understanding of a changing and uncertain biodiversity landscape across space and time. Biological and paleontological specimens data can be combined with ecological or geological data to investigate large scale questions related to climate change, invasive species or resource management. This session highlights resources and initiatives of the Ecological Society of America (ESA) for undergraduate students and faculty that focus on emerging developments in core competencies, careers and diversity. For too long, undergraduate biology/ecology education has centered primarily round mastery of disciplinary content often involving rote learning. The Vision and Change in Undergraduate Biology Education conference organized by the American Association for the Advancement of Science (AAAS) in 2009 identified a set of core competencies that include understanding of the nature of science, communication, collaboration, and quantitative skills. These skills, and the fluency across disciplines such as ecology, environmental science, evolutionary biology and systematics are the hallmarks of the 21st century biologist. www.visionandchange.org ESA has long advocated active learning in the classroom. In 2006, ESA education leaders launched, Teaching Issues and Experiments in Ecology (TIEE), an education journal designed to promote inquiry, scientific thinking, collaborative work, formative evaluation, and alternative assessment in the college classroom. Today, the LifeDiscoveryEd Digital Library (LDDL), www.lifediscoveryed.org, built on the metadata architecture of ESA’s EcoEd Digital Library established in 2006, serves three disciplinary society communities including ESA, Botanical Society of America (BSA) and Society for the Study of Evolution (SSE), encouraging cross-dissemination of resources. Together, the three societies form the LifeDiscovery partners and co-organize the Life Discovery – Doing Science Biology Education conference (LDC) every 18 months, www.esa.org/ldc. A unique feature of the LDC is the Education Share Fair where participants may present teaching ideas at any stage of development to solicit feedback from their peers. In a response to a need for a more robust approach to advancing data literacy, ESA joined with the Quantitative Undergraduate Biology Education and Synthesis (QUBES) project, to offer a series of Faculty Mentoring Networks (FMN) launched in 2016, https://qubeshub.org, http://esa.org/fed/fmn/. Additionally, ESA is a pioneer in undergraduate diversity mentoring through the Strategies for Ecology Education, Diversity and Sustainability (SEEDS) program, www.esa.org/seeds which has a campus chapter network in 100 campuses developed since 1996. In 2016, ESA became involved in the 3dnaturalists project, led by Colorado State University, that seeks to understand how bioblitzes might make a difference in recruiting and retaining underrepresented minorities in ecology and sustainability sciences. In 2017, ESA joined the Core Team of the Biodiversity Literacy in Undergraduate Education (BLUE) network project to liaise with relevant scientific and professional societies and to provide input on engaging diverse participants in the project This session will discuss: how ESA’s education initiatives can be leveraged for faculty professional development in the Biodiversity Literacy in Undergraduate Education (BLUE) project. the ways that engaging students in biodiversity data in ecology research will open the doors to building key biological science competencies and 21st century careers the potential of using place-based specimen data through bioblitzes to engage minority students in a culturally responsive scientific endeavor. how ESA’s education initiatives can be leveraged for faculty professional development in the Biodiversity Literacy in Undergraduate Education (BLUE) project. the ways that engaging students in biodiversity data in ecology research will open the doors to building key biological science competencies and 21st century careers the potential of using place-based specimen data through bioblitzes to engage minority students in a culturally responsive scientific endeavor.

IntroductionAs the teaching staff working in a university postgraduate program—the Graduate Certificate of Creative Industries (Creative Practice) at Central Queensland University, Australia—an ongoing concern has been to ensure our students engage with the digital course content (delivered via the Moodle learning management system). This is an issue shared across the sector (La Pointe and Reisetter; Dargusch et al.) and, in our case, specifically in the area of students understanding how this online course content and tasks could benefit them in a program that is based around individual projects. As such, we are invested in enhancing student engagement both within the framework of this individual program and at an institution level. Like many institutions which now offer degrees which are either partially or fully online, the program in question offers a blended learning environment, with internal students also expected to engage with online materials (Rovai and Jordan; Colis and Moonen). The program was developed in 2011, first offered in 2012, and conducted two and sometimes three terms a year since then.Within the first year of delivery, low levels of student participation in online learning were identified as problematic. This issue was addressed using strategies that made use of characteristic strengths among our creative industries students, by developing and linking a peer-to-peer mentoring approach to our blended learning course design. Our challenge in this (as project facilitators and as teachers) has been to devise strategies to shift the students from reluctant to engaged online content users. A key strategy has evolved around introducing peer-mentoring as an intrinsic behaviour in the courses in the program. While not using a full case study approach, we do offer this singular instance for consideration as “much can be learned from a particular case” (Merriam 51). The below is based on our own observations, together with formal and informal student feedback gathered since 2012.Mentors and MentoringThe term mentor can have different meanings depending on the context in which the phrase is used. Ambrosetti and Dekkers note that “it is evident from the literature that there is no single definition for mentoring” (42). Drawing on an array of literature from a number of disciplines to qualify the definition of the term mentoring, Ambrosetti and Dekkers have identified a series of theorists whose definitions demonstrate the wide-ranging interpretation of what this act might be. Interestingly, they found that, even within the relatively narrow context of pre-service teacher research, words used to identify the term mentor varied from relatively collegial descriptors for the established teacher such as supporter, friend, collaborator, role model, and protector, to more formalised roles including trainer, teacher, assessor, and evaluator. The role to be played by a mentor—and how it is described—can also vary according to parameters around, and the purpose of, the mentoring relationship. That is, even though “mentoring, as described in literature, generally involves supporting and providing feedback to the mentee without judgment or criteria” (43), the dynamics of the mentor-mentee relationship may influence the perception and the nature of these roles. For example, the mentoring relationship between a teacher and pre-service teacher may be perceived as hierarchical whereby knowledge and feedback is “passed down” from mentor to mentee, that is, from a more authoritative, experienced figure to a less knowledgeable recipient. As such, this configuration implies a power imbalance between the roles.The relationships involved in peer-to-peer mentoring can be similarly defined. In fact, Colvin and Ashman describe the act of peer-mentoring as “a more experienced student helping a less experienced student improve overall academic performance”, and a relationship that “provides advice, support, and knowledge to the mentee” (122). Colvin and Ashman’s research also suggests that “if mentors and mentees do not have a clear sense of their roles and responsibilities, mentors will find it difficult to maintain any sort of self‐efficacy” (122)—a view that is held by others researchers in this field (see Hall et al.; Reid; Storrs, Putsche and Taylor). However, this collective view of peer-to-peer mentorship was not what we aimed to foster. Instead, we wanted our courses and program to both exhibit and inculcate practices and processes which we felt are more in line with our understanding of the creative industries, including a more organic, voluntary and non-hierarchical approach to peer-to-peer mentorship. This could use Ambrosetti and Dekker’s less hierarchical descriptors of supporter, friend, and collaborator listed above.Student CohortThe student cohort in this program regularly includes on-campus and distance education students in approximately equal ratios, with those studying by distance often geographically very widely dispersed across Australia, and sometimes internationally. The students in this program come from a diverse spectrum of creative industries’ art forms, including creative writing, digital media, film, music, and visual arts. Most enter the program with advanced skills, undergraduate or equivalent qualifications and/or considerable professional experience in their individual areas of creative practice and are seeking to add a postgraduate-level of understanding and scholarly extension to this practice (Kroll and Brien; Webb and Brien). Students also utilise a wide range of learning styles and approaches when developing and completing the creative works and research-informed reflective reports which comprise their assessment. All the students in the program’s courses utilise, and contribute to, a single online Moodle site each term. Some also wish to progress to research higher degree study in creative practice-led research projects (Barrett and Bolt) after completing the program.Applying Peer-to-Peer Mentoring in a Project-Based ProgramThe student cohort in this program is diverse, both geographically and in terms of the area of individual creative industries’ specialisation and the actual project that each student is working on. This diversity was a significant factor in the complexity of the challenge of how to make the course online site and its contents and tasks (required and optional) relevant and engaging for all students. We attempted to achieve this, in part, by always focusing on content and tasks directly related to the course learning outcomes and assessment tasks, so that their usefulness and authenticity in terms of the student learning journey was, we hoped, obvious to students. While this is a common practice in line with foundational conceptions of effective learning and teaching in higher education, we also proposed that we might be able to insure that course content was accessed and engaged with, and tasks completed, by linking the content and tasks in Moodle to the action of mentoring. In this, students were encouraged to discuss their projects in the online discussion forum throughout the term. This began with students offering brief descriptions of their projects as they worked through the project development stage, to reports on progress including challenges and problems as well as achievements. Staff input to these discussions offered guidance—both through example and (at times) gentle direction—on how students could also give collegial advice to other students on their projects. This was in terms of student knowledge and experience gained from previous work plus that learned during the program. In this, students reported on their own activities and how learning gained could potentially be used in other professional fields, as for example: “I specifically enjoyed the black out activity and found the online videos exceptional, inspiring and innovating. I really enjoyed this activity and it was something that I can take away and use within the classroom when educating” (‘Student 1’, week 8, Term 1 2015). Students also gave advice for others to follow: “I understand that this may not have been the original intended goal of Free Writing—but it is something I would highly recommend … students to try and see if it works for you” (‘Student 2’, week 5, Term 1 2015). As each term progressed, and trust built up—a key aspect of online collaboration (Holton) as well as a fruitful mentoring relationship (Allen and Poteet)—joint problem solving also began to take place in these discussions.As most of the students never interact face-to-face during the term, the relative impersonality of the online discussions in Moodle, although certainly not anonymous, seemed to provide a safe platform for peer-to-peer mentoring, even when this was offered by those who were also interacting in class as well. As facilitators of this process, we also sought to model best-practice interaction in this communication and ensure that any posts were responded to in an encouraging and timely manner (Aragon). As a result, the traffic within these forums generally increased each week so that, by the end of the term, every student (both external and internal) had contributed significantly to online discussions—even those who appeared to be more reluctant participants in the beginning weeks of the term. Strategies to Facilitate Peer-to-Peer MentoringSeeking to facilitate this process, we identified discrete points within the term’s course delivery at which we would encourage a greater level of engagement with the online resources and, through this, also encourage more discussion in the online discussion forum. One of the strategies we employed was to introduce specific interactions as compulsory components of the course but, at the same time, always ensuring that these mandated interactions related directly to assessment items. For example, a key assessment task requires students to write reflectively about their creative work and processes. We duly included information and examples of reflective writing as resources online. In order to further develop this skill for both internal and external students, we adopted an active and iterative learning approach to this task by asking students to write reflectively, each week, about the online resources provided to them. In asking students to do this, we reiterated that, at the end of term, a core part of the assessment item was that each student would be asked to describe, analyse and reflect on how they used these resources to facilitate their creative practice. At the end of the term, therefore, each student could collate his or her weekly responses, and use these as part of this assessment task. However, before this final reflection needed to be completed, these reflective musings were already being refined and extended as a result of the commentaries offered by other students responding to these weekly reflections. In this, these commenting students were, in fact, playing the role of peer-to-peer mentors, assisting each other to enhance their abilities in reflective thinking and writing.It should be stated that neither formal mentoring roles nor expectations of the process or its outcomes were pre-determined, defined or outlined to students by the teaching staff or communicated directly to them in any way (such as via the course materials). Instead, internal and distance students were encouraged to communicate with each other and offer guidance, help and support to each other (but which was never described as peer-to-peer mentorship) via their use of the Moodle learning managements system as both a group communication tool and a collaborative learning resource (Dixon, Dixon and Axmann). It is common for creative practitioners to collect data in the form of objects, resources, tools, and memories in order to progress their work and this habit has been termed that of the “bowerbird” (Brady). Knowing that it likely that many of our students are already proficient bowerbirds with many resources in their personal collections, we also facilitated a peer-to-peer mentoring activity in the form of an online competition. This competition asked students to post their favourite interactive resource onto the Moodle site, accompanied by a commentary explaining why and how it could be used. Many students engaged with these peer-posted resources and then, in turn, posted reflections on their usefulness, or not, for their own personal practice and learning. This, in turn, engendered more resources to be posted, shared, and discussed in terms of project problem-solving and, thus, became another ongoing activity that encouraged students to act as increasingly valued peer-mentors to each other.The Practical Application of Peer-to-Peer MentoringEach term, it is a course requirement that the student cohort, both internal and external, combine to create a group outcome—an exhibition of their creative work (Sturm, Beckton and Brien). For some students, the work exhibited is completed; for others, particularly part-time students, the work shown is frequently still in progress. Given that the work in the student exhibition regularly includes music and creative writing as well as visual art, this activity forces students to engage with their peers in ways that most of them have not previously encountered. This interaction includes communication across the internal and distance members of the cohort to determine what work will be included in the exhibition, and how work will be sent for display by external students, as well as liaising in relation to range of related considerations including: curatorial (what the exhibition will be named, and how work is to be displayed), cataloguing (how the works, and their contributors, are to be described), and the overall design of the catalogue and invitation (Sturm, Beckton and Brien). Students make these decisions, as a group, with guidance from staff mainly being offered in terms of practical information (such as what days and times the exhibition space can be accessed) and any limitations due to on-site health and safety considerations and other university-wide regulations.Student feedback has been very positive in relation to this aspect of the course (Sturm, Beckton and Brien), and its collective nature is often remarked on in both formal and informal feedback. We are also finding that some prospective students are applying to the program with a knowledge of this group exhibition and some information about how it is achieved. After graduation, students have reported that this experience of peer-to-peer working across the spectrum of creative industries’ art forms has given them a confidence that they were able to apply in real work situations and has, moreover been a factor that directly led to relevant employment. One student offered in unsolicited feedback: “It was a brilliant course that I gained a lot from. One year on, I have since released another single and work as an artist manager, independently running campaigns for other artists. The course also helped make me more employable as well, and I now work … as a casual admin and projects officer” (Student 3, 2015).Issues Arising from Peer-to-Peer MentoringAn intrinsic aspect of facilitating and encouraging this peer-to-peer mentoring was to allow a degree of latitude in relation to student online communication. The week-to-week reflection on the online resources was, for instance, the only mandated activity. Other participation was modeled and encouraged, but left to students as to how often and when they participated, as well as the length of their posts. In each term, we have found student involvement in discussions increased throughout the term, and tended to exceed our expectations in both quantity and quality of posts.We have also found that the level of intimate detail offered, and intimacy developed, in the communications was far greater than we had initially anticipated, and that there were occasions when students raised personal issues. Initially, we were apprehensive about this, particularly when one student discussed past mental health challenges. At the time, we discussed that the creative arts – whether in terms of its creation or appreciation – are highly personal practices (Sternberg), and that the tone taken by many of the creative individuals, theorists, and researchers whose materials we use as resources was often personally revealing (see, for example, Brien and Brady). By not interfering, other than ensuring that the tone students used with each other was always respectful and focused on the professional aspects of what was being discussed, we observed that this personal revelation translated into high levels of engagement in the discussions, and indeed, encouraged peer support and understanding. Thus, in terms of the student who revealed information about past health issues and who at one stage had considered withdrawing from the course, this student later related to staff—in an unsolicited communication—that these discussions led to him feeling well supported. This student has, moreover, continued to work on related creative practice projects after completing the program and, indeed, is now considering continuing onto Masters level studies.ConclusionIn relation to much of the literature of mentoring, this experience of student interaction with others through an online discussion board appears to offer a point of difference. While that literature reports on other examples of peer-to-peer mentoring, most of these follow the seemingly more usual vertical mentoring model (that is, one which is hierarchical), rather than what developed organically in our case as a more horizontal mode. This is, moreover, a mode which has many synergies with the community of practice and collaborative problem solving models which are central to the creative industries (Brien and Bruns).Collings, Swanson, and Watkins have reported on the positive impact of peer mentoring on student wellbeing, integration, and retention. In terms of effects and student outcomes, although we have not yet collected data on these aspects of this activity, our observations together with informal and University-solicited feedback suggests that this peer-to-peer mentoring was useful (in terms of their project work) and affirming and confidence-building (personally and professionally) for students who are both mentors and mentees. These peer-to-peer mentoring activities assisted in developing, and was encouraged by, an atmosphere in which students felt it was appropriate and safe to both offer support and critique of each others’ work and ideas, as well as encouragement when students felt discouraged or creatively blocked. Students, indeed, reported in class and online that this input assisted them in moving through their projects and, as program staff, we saw that that this online space created a place where collaborative problem-solving could be engaged in as the need arose—rather than in a more forced manner. As teachers, we also found these students became our post-graduate colleagues in the way more usually experienced in the doctoral supervisor-student relationship (Dibble and Loon).The above reports on a responsive learning and teaching strategy that grew out of our understanding of our students’ needs that was, moreover, in line with our institution’s imperatives. We feel this was a successful and authentic way of involving students in online discussions, although we did not originally foresee that they would become mentors in the process. The next step is to develop a project to formally evaluate this aspect of this program and our teaching, as well as whether (or how) they reflect the overarching discipline of the creative industries in terms of process and philosophy. ReferencesAllen, Tammy D., and Mark L. Poteet. “Developing Effective Mentoring Relationships: Strategies from the Mentor’s Viewpoint.” The Career Development Quarterly 48.1 (1999): 59–57.Ambosetti, Angelina, and John Dekkers. “The Interconnectedness of the Roles of Mentors and Mentees in Pre-Service Teacher Education Mentoring Relationships.” Australian Journal of Teaching Education 35.6 (2010): 42–55.Aragon, Steven R. “Creating Social Presence in Online Environments.” New Directions for Adult and Continuing Education 100 (2003): 57–68. Barrett, Estelle, and Barbara Bolt, eds. Practice as Research: Approaches to Creative Arts Enquiry. London: I.B. Tauris, 2007.Brady, Tess. “A Question of Genre: Demystifying the Exegesis.” TEXT: Journal of the Australian Association of Writing Programs 4.1 (2000). 1 Mar. 2016 <http://www.textjournal.com.au/april00/brady.htm>.Brien, Donna Lee, and Tess Brady. “Collaborative Practice: Categorising Forms of Collaboration for Practitioners.” TEXT: The Journal of the Australian Association of Writing Programs 7.2 (2003). 1 Mar. 2016 <http://www.textjournal.com.au/oct03/brienbrady.htm>.Brien, Donna Lee, and Axel Bruns. “Editorial.” M/C Journal 9.2 (2006) 1 Mar. 2016 <http://www.textjournal.com.au/oct03/brienbrady.htm>.Central Queensland University. CB82 Graduate Certificate in Creative Industries. 2016. 1 Mar. 2016 <http://handbook.cqu.edu.au/programs/index?programCode=CB82>.Colis, B., and J. Moonen. Flexible Learning in a Digital World: Experiences and Expectations. London: Kogan-Page, 2001.Collings, R., V. Swanson and R. Watkins. “The Impact of Peer Mentoring on Levels of Student Wellbeing, Integration and Retention: A Controlled Comparative Evaluation of Residential Students in U.K. Higher Education.” Higher Education 68 (2014): 927–42.Colvin, Janet W., and Miranda Ashman. “Roles, Risks and Benefits of Peer Mentoring Relationships in Higher Education.” Mentoring and Tutoring: Partnership in Learning 18.2 (2010): 121–34. Dargusch, Joanne, Lois R. Harris, Kerry Reid-Searl, and Benjamin Taylor. “Getting the Message Through: Communicating Assessment Expectations to First Year Students.” Australian Association of Research in Education Conference. Fremantle, WA: 2015.Dibble, Brian, and Julienne van Loon. “The Higher Degree Research Journey as a Three Legged Race.” TEXT: Journal of the Australian Association of Writing Programs 8.2 (2004). 20 Feb. 2016 <http://www.textjournal.com.au/oct04/dibble_vanloon.htm>.Dixon, Robert, Kathryn Dixon, and Mandi Axmann. “Online Student Centred Discussion: Creating a Collaborative Learning Environment.” Hello! Where Are You in the Landscape of Educational Technology: Proceedings ASCILITE. Melbourne: ASCILITE, 2008. 256–264.Hall, Kendra M., Rani Jo Draper, Leigh K. Smith, and Robert V. Bullough. “More than a Place to Teach: Exploring the Perceptions of the Roles and Responsibilities of Mentor Teachers.” Mentoring & Tutoring: Partnership in Learning 16.3 (2008): 328–45.Holton, Judith A. “Building Trust and Collaboration in a Virtual Team.” Team Performance Management: An International Journal 7.3/4 (2001): 36–47.Kroll, Jeri, and Donna Lee Brien. “Studying for the Future: Training Creative Writing Postgraduates for Life after Degrees.” Australian Online Journal of Arts Education 2.1 (2006): 1–13.La Pointe, Loralee, and Marcy Reisetter. “Belonging Online: Students’ Perceptions of the Value and Efficacy of an Online Learning Community.” International Journal on E-Learning 7.4 (2008): 641–65.Merriam, Sharan B. Qualitative Research: A Guide to Design and Implementation. San Francisco, CA: Jossey-Bass, 2009.Reid, E. Shelley. “Mentoring Peer Mentors: Mentor Education and Support in the Composition Program.” Composition Studies 36.2 (2008): 51–79.Rovai, A.P., and Hope M. Jordan. “Blended Learning and Sense of Community: A Comparative Analysis with Traditional and Fully Online Graduate Courses.” Virginia: Regent University, 2004. 20 Feb. 2016 <http://www.irrodl.org/index.php/irrodl/article/view/192/274>.Storrs, D., L. Putsche, and A. Taylor. “Mentoring Expectations and Realities: An Analysis of Metaphorical Thinking among Female Undergraduate Protégés and Their Mentors in a University Mentoring Programme.” Mentoring & Tutoring: Partnership in Learning 16.2 (2008): 175–88. Sternberg, Robert. The Nature of Creativity: Contemporary Psychological Perspectives. Cambridge: Cambridge UP, 1988.Sturm, Ulrike, Denise Beckton, and Donna Lee Brien. “Curation on Campus: An Exhibition Curatorial Experiment for Creative Industries Students.” M/C Journal 18.4 (2015). 12 Feb. 2016 <http://journal.media-culture.org.au/index.php/mcjournal/article/view/1000>.Webb, Jen, and Donna Lee Brien. “Preparing Graduates for Creative Futures: Australian Creative Arts Programs in a Globalising Society.” Partnerships for World Graduates: AIC (Academia, Industry and Community) 2007 Conference. Melbourne: RMIT, 28–30 November 2007.

This variable describes what kind of concept of culture underlies the cultural coverage at a certain point of time or across time. The variable dissects the concept of culture into cultural forms that are being journalistically covered. It presupposes that each article predominantly focuses on one cultural genre or discipline, such as literature, music, or film, which is the case in most articles in the cultural beat that are written according to cultural journalists’ areas of specialization. By identifying the cultural forms covered, the variable delivers an answer to the question of what kind of culture has been covered, or what kind of culture has been represented. Forms of culture are sometimes also called artistic or cultural disciplines (Jaakkola, 2015) or cultural genres (Purhonen et al., 2019), and cultural classification (Janssen et al., 2011) or cultural hierarchy (Schmutz, 2009). The level of detail varies from study to study, according to the need of knowledge, with some scholars tracing forms of subculture (Schmutz et al., 2010), while others just identify the overall development of major cultural forms (Purhonen et al., 2019; Jaakkola, 2015a).
 The concepts of culture can roughly be defined as being dominated by high cultural, popular cultural, or everyday cultural forms (Kristensen, 2019). While most culture sections in newspapers are dominated by high culture, and the question is rather about which disciplines, in the operationalization it is not always easy to draw lines between high and popular forms in the postmodern cultural landscape where boundaries are being blurred. Nevertheless, the major forms of culture in the journalistic operationalization of culture are literature, classical music, theatre, and fine arts. As certain forms of culture – such as classical music and opera – are focused on classical high culture, and other forms – such as popular music and comics – represent popular forms, distribution of coverage according to cultural forms may indicate changes in the cultural concept.
 Field of application/theoretical foundation
 The question of the concept of culture is a standard question in content analyses on arts and cultural journalism in daily newspapers and cultural magazines, posed by a number of studies conducted in different geographical areas and often with a comparative intent (e.g., Szántó et al., 2004; Janssen, 1999; Reus & Harden, 2005; Janssen et al., 2008; Larsen, 2008; Kõnno et al., 2012; Jaakkola, 2015a, 2015b; Verboord & Janssen, 2015; Purhonen et al., 2019; Widholm et al., 2019). The essence of culture has been theorized in cultural studies, predominantly by Raymond Williams (e.g., 2011), and sociologists of art (Kroeber & Kluckhohn, 1952). In studying journalistic coverage of arts and culture, the concept of culture reveals the anatomy of coverage and whether the content is targeting a broader audience (inclusive concept of culture) or a narrow audience (exclusive or elitist concept of culture). A prevalent motivation to study the ontological dimension of cultural coverage is also to trace cultural change, which means that the concept of culture is longitudinally studied (Purhonen et al., 2019).
 References/combination with other methods of data collection
 Concept of culture often occurs as a variable to trace cultural change. The variable is typically coupled with other variables, mainly with representational means, i.e., the journalistic genre (Jaakkola, 2015), event type (Stegert, 1998), or author gender (Schmutz, 2009; Jaakkola, 2015b). Quantitative content analyses may also be complemented with qualitative analyses (Purhonen et al., 2019).
 Sample operationalization
 Cultural forms are separated according to the production structure (journalists and reviewers specializing in one cultural form typically indicate an increase of coverage for that cultural form). At a general level, the concept of culture can be divided into the following cultural forms: literature, music – which is, according to the newsroom specialization typically roughly categorized into classical and popular music – visual arts, theatre, dance, film, design, architecture and built environment, media, comics, cultural politics, cultural history, arts education, and other. Subcategories can be separated according to the interest and level of knowledge. The variable needs to be sensitive towards local features in journalism and culture.
 
 Example study
 Jaakkola (2015b)
 
 Information about Jaakkola, 2015
 Author: Maarit Jaakkola
 Research question/research interest: Examination of the cultural concept across time in culture sections of daily newspapers
 Object of analysis: Articles/text items on culture pages of five major daily newspapers in Finland 1978–2008 (Aamulehti, Helsingin Sanomat, Kaleva, Savon Sanomat, Turun Sanomat)
 Timeframe of analysis: 1978–2008, consecutive sample of weeks 7 and 42 in five year intervals (1978, 1983, 1988, 1993, 1998, 2003, 2008)
 
 Info about variable
 Variable name/definition: Concept of culture
 Unit of analysis: Article/text item
 Values: 
 
 
 
 
 
 Cultural form
 
 
 Description
 
 
 
 
 1. Fiction literature
 
 
 Fiction books: fictional genres such as poetry, literary novels, thrillers, detective novels, children’s literature, etc.
 
 
 
 
 2. Non-fiction literature
 
 
 
 Non-fiction books: non-fictional genres such as textbooks, memoirs, encyclopedias, etc.
 
 
 
 
 3. Classical music
 
 
 Music of more high-cultural character, such as symphonic music, chamber music, opera, etc.
 
 
 
 
 4. Popular music
 
 
 Music of more popular character, such as pop, rock, hip-hop, folk music, etc.
 
 
 
 
 5. Visual arts
 
 
 Fine arts: painting, drawing, graphical art, sculpture, media art, photography, etc.
 
 
 
 
 6. Theatre
 
 
 Scene art, including musicals (if not treated as music, i.e. in coverage of concerts and albums)
 
 
 
 
 7. Dance
 
 
 Scene art, including ballet (if not treated as music, .e. in coverage of concerts and albums)
 
 
 
 
 8. Film
 
 
 Cinema: fiction, documentary, experimental film, etc.
 
 
 
 
 9. Design
 
 
 Design of artefacts, jewelry, fashion, interiors, graphics, etc.
 
 
 
 
 10. Architecture
 
 
 Design, aesthetics, and planning of built environment
 
 
 
 
 11. Media
 
 
 Television, journalism, Internet, games, etc.
 
 
 
 
 12. Comics
 
 
 Illustrated periodicals
 
 
 
 
 13. Cultural politics
 
 
 Policies, politics, and administration concerning arts and culture in general
 
 
 
 
 14. Cultural history
 
 
 Historical issues and phenomena
 
 
 
 
 15. Education
 
 
 Educational issues concerning different cultural disciplines
 
 
 
 
 16. Other
 
 
 Miscellaneous minor categories, e.g., lifestyle issues (celebrity, gossip, everyday cultural issues), and larger categories developed from within the material can be separated into values of their own
 
 
 
 
 
 
 Scale: nominal
 Intercoder reliability: Cohen's kappa > 0.76 (two coders)
 
 References
 Jaakkola, M. (2015a). The contested autonomy of arts and journalism: Change and continuity in the dual professionalism of cultural journalism. Tampere: Tampere University Press.
 Jaakkola, M. (2015b). Outsourcing views, developing news: Changes of art criticism in Finnish dailies, 1978–2008. Journalism Studies, 16(3), 383–402.
 Janssen, S. (1999). Art journalism and cultural change: The coverage of the arts in Dutch newspapers 1965–1990. Poetics 26(5–6), 329–348.
 Janssen, S., Kuipers, G., & Verboord, M. (2008). Cultural globalization and arts journalism: The international orientation of arts and culture coverage in Dutch, French, German, and U.S. newspapers, 1955 to 2005. American Sociological Review, 73(5), 719–740.
 Janssen, S., Verboord, M., & Kuipers, G. (2011). Comparing cultural classification: High and popular arts in European and U.S. elite newspapers. Kölner Zeitschrift für Soziologie und Sozialpsychologie, 63(51), 139–168.
 Kõnno, A., Aljas, A., Lõhmus, M., & Kõuts, R. (2012). The centrality of culture in the 20th century Estonian press: A longitudinal study in comparison with Finland and Russia. Nordicom Review, 33(2), 103–117.
 Kristensen, N. N. (2019). Arts, culture and entertainment coverage. In T. P. Vos & F. Hanusch (Eds.), The international encyclopedia of journalism studies. Wiley-Blackwell.
 Kroeber, A. L., & Kluckhohn, C. (1952). Culture: A critical review of concepts and definitions. Meridian Books.
 Larsen, L. O. (2008). Forskyvninger. Kulturdekningen i norske dagsaviser 1964–2005 [Displacements: Cultural coverage in Norwegian dailies 1964–2005]. In K. Knapskog & L.O. Larsen (Eds.), Kulturjournalistikk: pressen og den kulturelle offentligheten (pp. 283–329). Scandinavian Academic Press.
 Purhonen, S., Heikkilä, R., Karademir Hazir, I., Lauronen, T., Rodríguez, C. F., & Gronow, J. (2019). Enter culture, exit arts? The transformation of cultural hierarchies in European newspaper culture sections, 1960–2010. Routledge.
 Reus, G., & Harden, L. (2005). Politische ”Kultur”: Eine Längsschnittanalyse des Zeitungsfeuilletons von 1983 bis 2003 [Political ‘culture’: A longitudinal analysis of culture pages, 1983–2003]. Publizistik, 50(2), 153–172.
 Schmutz, V. (2009). Social and symbolic boundaries in newspaper coverage of music, 1955–2005: Gender and genre in the US, France, Germany, and the Netherlands. Poetics, 37(4), 298–314. 
 Schmutz, V., van Venrooij, A., Janssen, S., & Verboord, M. (2010). Change and continuity in newspaper coverage of popular music since 1955: Evidence from the United States, France, Germany, and the Netherlands. Popular Music and Society, 33(4), 505–515.
 Stegert, G. (1998). Feuilleton für alle: Strategien im Kulturjournalismus der Presse [Feuilleton for all: Strategies in cultural journalism of the daily press]. Max Niemeyer Verlag.
 Szántó, A., Levy, D. S., & Tyndall, A. (Eds.). (2004). Reporting the arts II: News coverage of arts and culture in America. National Arts Journalism Program (NAJP).
 Verboord, M., & Janssen, J. (2015). Arts journalism and its packaging in France, Germany, the Netherlands and the United States, 1955–2005. Journalism Practice, 9(6), 829–852.
 Widholm, A., Riegert, K., & Roosvall, A. (2019). Abundance or crisis? Transformations in the media ecology of Swedish cultural journalism over four decades. Journalism. Advance online publication August, 6. Journalism. https://doi.org/10.1177/1464884919866077
 Williams, R. (2011). Keywords: A vocabulary of culture and society. Routledge. (Original work published 1976).

Black women are treated as though we are a box of chocolates presented to individual white women for their eating pleasure, so they can decide for themselves and others which pieces are most tasty (hooks 80). Introduction bell hooks equates African-American women with chocolates, which are picked out and selected for someone else’s pleasure. In her writing about white women who have historically dominated the feminist movement, hooks challenges the ways that people conceptualise the “self” and “other”. She uses a feminist lens to question widespread assumptions about the place of Black women in American society. hooks’s work has been applied to the Australian context by Bronwyn Fredericks, to explore the ways that Aboriginal women and men are perceived and “selected” by the broader Australian society. In this paper, we extend previous work about the metaphor of chocolate to discuss the themes underpinning an art exhibition—Hot Chocolate—which was curated by Troy-Anthony Baylis and Frances Wyld. Baylis and Wyld are Aboriginal Australians who are based in Adelaide and whose academic and creative work is centred within South Australia. The exhibition was launched on 14 November 2012 as part of Adelaide’s Visual Arts Program Feast Festival 2012 (CroftWarcon and Fredericks). It was curated in Adelaide’s SASA Gallery (which is associated with the School of Art, Architecture and Design at the University of South Australia). This paper focuses on the development of Hot Chocolate and the work produced by Aboriginal artists contained within it, and it includes a conversation about the work of Pamela CroftWarcon. Moreover, it discusses these works produced by the artists and links them back to the issues of identity and race, and how some Aboriginal people are selected like chocolates over and above others. In this, we are interested in exploring some of the issues around politics, desire, skin, and the fetishisation of race and bodies. The Metaphor of Chocolate This work will focus on how Aboriginal Australians are positioned as “chocolates” and how people of colour are viewed by the wider society, and about whether people have a pliable “soft centre” or a brittle “hard centre.” It uses hooks’s work as a point of reference to the power of the metaphor of chocolate in considering questions about who is “tasty.” In the Australian context, some Aboriginal people are deemed to be more “tasty” than others, in terms of what they say, write, and do (or what they avoid saying, writing, or doing). That is, they are seen as being sweeter chocolates and nicer chocolates than others. We understand that some people find it offensive to align bodies and races of people with chocolate. As Aboriginal women we do not support the use of the term ‘chocolate’ or use it when we are referring to other Aboriginal people. However, we both know of other Aboriginal people who use the metaphor of chocolate to talk about themselves, and it is a metaphor that other people of colour throughout the world similarly might use or find offensive. Historically, chocolate and skin colour have been linked, and some people now see these connections as something that reminds them of a colonial and imperial past (Gill). Some Aboriginal people are chosen ahead of others, perhaps because of their “complementary sweetness,” like an after-dinner mint that will do what the government and decision makers want them to do. They might be the ones who are offered key jobs and positions on government boards, decision-making committees, or advisory groups, or given priority of access to the media outlets (Fredericks). Through these people, the government can say, “Aboriginal people agree with us” or “this Aboriginal person agrees with us.” Aileen Moreton-Robinson is important to draw upon here in terms of her research focused on white possession (2005). Her work explains how, at times, non-Indigenous Anglo-Australians may act in their own interests to further invest in their white possession rather than exercise power and control to make changes. In these situations, they may select Aboriginal people who are more likely to agree with them, ether knowingly or in ignorance. This recycles the colonial power gained through colonisation and maintains the difference between those with privilege and those without. Moreover, Aboriginal people are further objectified and reproduced within this context. The flip side of this is that some Aboriginal people are deemed to be the “hard centres” (who are not pliable about certain issues), the “less tasty” chocolates (who do not quite take the path that others expect), or the “brittle” types that stick in your teeth and make you question whether you made the right choice (who perhaps challenge others and question the status quo). These Aboriginal people may not be offered the same access to power, despite their qualifications and experience, or the depth of their on-the-ground, community support. They may be seen as stirrers, radicals, or trouble makers. These perceptions are relevant to many current issues in Australia, including notions of Aboriginality. Of course, some people do not think about the chocolate they choose. They just take one from the box and see what comes out. Perhaps they get surprised, perhaps they are disappointed, and perhaps their perceptions about chocolates are reinforced by their choice. In 2011, Cadbury was forced to apologise to Naomi Campbell after the supermodel claimed that an advertisement was racist in comparing her to a chocolate bar (Sweney). Cadbury was established in 1824 by John Cadbury in Birmingham, England. It is now a large international corporation, which sells chocolate throughout the world. The advertisement for Cadbury’s Bliss range of Dairy Milk chocolate bars used the strapline, “Move over Naomi, there's a new diva in town” (Moss). Campbell (quoted in Moss) said she was “shocked” by the ad, which was intended as a tongue-in-cheek play on Campbell's reputation for diva-style tantrums and behaviour. “It's upsetting to be described as chocolate, not just for me but for all black women and black people,” she said. “I do not find any humour in this. It is insulting and hurtful” (quoted in Moss). This is in opposition to the Aboriginal artists in the exhibition who, although as individuals might find it insulting and hurtful, are using the chocolate reference to push the boundaries and challenge the audience’s perceptions. We agree that the metaphor of chocolate can take us to the edge of acceptable discussion. But we also believe that being at the edge of acceptability allows us to explore issues that are uncomfortable. We are interested in using the metaphor of chocolate to explore the ways that non-Indigenous people view Aboriginal Australians, and especially, discussions around the politics of identity, desire, skin, and the fetishisation of race and bodies. Developing the Exhibition The Hot Chocolate exhibition connected chocolate (the food) and Hot Chocolate (the band) with chocolate-coloured people. It was developed by Troy-Anthony Baylis and Frances Wyld, who invited nine artists to participate in the exhibition. The invited artists were: Troy-Anthony Baylis, Bianca Beetson, Pamela CroftWarcon, Cary Leibowitz, Yves Netzhammer + Ralph Schraivogel, Nat Paton, Andrew Putter and Dieter Roth (CroftWarcon and Fredericks). The exhibition was built around questions of what hot chocolate is and what it means to individuals. For some people, hot chocolate is a desirable, tasty drink. For others, hot chocolate brings back memories of music from the British pop band popular during the 1970s and early 1980s. For people with “chocolate-coloured skin”, chocolate can be linked to a range of questions about desirability, place, and power. Hot Chocolate, the band, was based in Britain, and was an inter-racial group of British-born musicians and immigrants from Jamaica, the Bahamas, Trinidad and Grenada. The title and ethnic diversity of the group and some of their song lyrics connected with themes for curatorial exploration in the Hot Chocolate exhibition. For example: I believe in miracles. Where you from, you sexy thing? … Where did you come from baby? ... Touch me. Kiss me darling… — You Sexy Thing (1975). It started with a kiss. I didn’t know it would come to this… — It Started With A Kiss (1983). When you can't take anymore, when you feel your life is over, put down your tablets and pick up your pen and I'll put you together again… — I’ll Put You Together Again (1978). All nine artists agreed to use lyrics by Hot Chocolate to chart their journeys in creating artworks for the exhibition. They all started with the lyrics from It Started With A Kiss (1983) to explore ways to be tellers of their own love stories, juxtaposed with the possibility of not being chosen or not being memorable. Their early work explored themes of identity and desirability. As the artists collaborated they made many references to both Hot Chocolate song lyrics and to hooks’s discussion about different “types” of chocolate. For example, Troy-Anthony Baylis’s Emotional Landscape (1997-2010) series of paintings is constructed with multiple “x” marks that represent “a kiss” and function as markers for creating imaginings of Country. The works blow “air kisses” in the face of modernity toward histories of the colonial Australian landscape and art that wielded power and control over Aboriginal subjects. Each of the nine artists linked chocolate with categorisations and constructions of Aboriginality in Australia, and explored the ways in which they, as both Aboriginal peoples and artists, seemed to be “boxed” (packaged) for others to select. For some, the idea that they could be positioned as “hot chocolate”—as highly desirable—was novel and something that they never expected at the beginning of their art careers. Others felt that they would need a miracle to move from their early “box” into something more desirable, or that their art might be “boxed” into a category that would be difficult to escape. These metaphors helped the artists to explore the categories that are applied to them as artists and as Aboriginal people and, particularly, the categories that are applied by non-Indigenous people. The song lyrics provided unifying themes. I’ll Put You Together Again (1978) is used to name the solidarity between creative people who are often described as “other”; the lyrics point the way to find the joy in life and “do some tastin'.” You Sexy Thing (1975) is an anthem for those who have found the tastiness of life and the believing in miracles. In You Sexy Thing, Hot Chocolate ask “Where you from?”, which is a question that many Aboriginal people use to identify each others’ mobs and whom they belong to; this question allows for a place of belonging and identity, and it is addressed right throughout the exhibition’s works. The final section of the exhibition uses the positive Everyone’s A Winner (1978) to describe a place that satisfies. This exhibition is a winner, and “that’s no lie.” Pamela CroftWarcon’s Works In a conversation between this paper’s authors on 25 November 2013, Dr Pamela CroftWarcon reflected on her contributions to the Hot Chocolate exhibition. In this summary of the conversation, CroftWarcon tells the story of her artwork, her concepts and ideas, and her contribution to the exhibition. Dr Pamela CroftWarcon (PC): I am of the Kooma clan, of the Uralarai people, from south-west Queensland. I now live at Keppel Sands, Central Queensland. I have practised as a visual artist since the mid-1980s and have worked as an artist and academic regionally, nationally, and internationally. Bronwyn Fredericks (BF): How did you get involved in the development of Hot Chocolate? PC: I was attending a writing workshop in Brisbane, and I reconnected with you, Bronwyn, and with Francis Wyld. We began to yarn about how our lives had been, both personally and professionally, since the last time we linked up. Francis began to talk about an idea for an exhibition that she and Troy wanted to bring together, which was all about Hot Chocolate. As we talked about the idea for a Hot Chocolate exhibition, I recalled a past discussion about the writing of bell hooks. For me, hooks’s work was like an awakening of the sense and spirit, and I have shared hooks’s work with many others. I love her comment about Black women being “like a box of chocolates”. I can understand what she is saying. Her work speaks to me; I can make sense of it and use it in my arts practice. I thus jumped at the chance to be involved. BF: How do you understand the concepts that frame the exhibition? PC: Many of the conversations I have had with other Aboriginal people over the years have included issues about the politics of living in mixed-race skin. My art, academic papers, and doctoral studies (Croft) have all focused on these issues and their associated politics. I call myself a “fair-skinned Murri”. Many non-Indigenous Australians still associate the colour of skin with authentic Aboriginal identity: you have to be dark skinned to be authentic. I think that humour is often used by Aboriginal people to hide or brush away the trauma that this kind of classification can cause and I wanted to address these issues in the exhibition. Many of the exhibition’s artworks also emphasise the politics of desire and difference, as this is something that we as Indigenous people continually face. BF: How does your work connect with the theme and concepts of the exhibition? PC: My art explores the conceptual themes of identity, place and Country. I have previously created a large body of work that used found boxes, so it was quite natural for me to think about “a box of chocolates”! My idea was to depict bell hooks’s ideas about people of colour and explore ways that we, as Aboriginal people in Australia, might be similar to a box of chocolates with soft centres and hard centres. BF: What mediums do you use in your works for the exhibition? PC: I love working with found boxes. For this work, I chose an antique “Winning Post” chocolate box from Nestlé. I was giving new life to the box of chocolates, just with a different kind of chocolate. The “Winning Post” name also fitted with the Hot Chocolate song, Everyone’s A Winner (1978). I kept the “Winning Post” branding and added “Dark Delicacies” as the text along the side (see Figure 1). Figure 1.Nestle’s “Winning Post” Chocolate Box. Photograph by Pamela CroftWarcon 2012. PC: I bought some chocolate jelly babies, chocolates and a plastic chocolate tray – the kind that are normally inserted into a chocolate box to hold the chocolates, or that you use to mould chocolates. I put chocolates in the bottom of the tray, and put chocolate jelly babies on the top. Then I placed them into casting resin. I had a whole tray of little chocolate people standing up in the tray that fitted into the “Winning Post” box (see Figures 2 and 3). Figure 2. Dark Delicacies by Pamela CroftWarcon, 2012. Photograph by Bronwyn Fredericks 2012. Figure 3. Dark Delicacies by Pamela CroftWarcon, 2012. Photograph by Pamela CroftWarcon 2012. PC: The chocolate jelly babies in the artwork depict Aboriginal people, who are symbolised as “dark delicacies”. The “centres” of the people are unknown and waiting to be picked: maybe they are sweet; maybe they are soft centres; maybe they are hard centres. The people are presented so that others can decide who is “tasty”─maybe politicians or government officers, or maybe “individual white women for their eating pleasure” (hooks) (see Figures 4 and 5). Figure 4. Dark Delicacies by Pamela CroftWarcon, 2012. Photograph by Pamela CroftWarcon 2012. Figure 5. Dark Delicacies by Pamela CroftWarcon, 2012. Photograph by Pamela CroftWarcon 2012. BF: What do you hope the viewers gained from your works in the exhibition? PC: I want viewers to think about the power relationship between Indigenous and non-Indigenous Australians. I want people to listen with their ears, heart, mind, and body, and accept the challenges and changes that Indigenous people identify as being necessary. Icould have put names on the chocolates to symbolise which Aboriginal people tend to be selected ahead of others, but that would have made it too easy, and maybe too provocative. I didn’t want to place the issue with Aboriginal people, because it is mostly non-Indigenous people who do the “picking”, and who hope they get a “soft centre” rather than a “peanut brittle.” I acknowledge that some Aboriginal people also doing the picking, but it is not within the same context. BF: How do you respond to claims that some people might find the work offensive? PC: I believe that we can all tag something as offensive and it seems to be an easy way out. What really matters is to reflect on the concepts behind an artist’s work and consider whether we should make changes to our own ways of thinking and doing. I know some people will think that I have gone too far, but I’m interested in whether it has made them think about the issues. I think that I am often perceived as a “hard-centred chocolate”. Some people see me as “trouble,” “problematic,” and “too hard,” because I question, challenge, and don’t let the dominant white culture just simply ride over me or others. I am actually quite proud of being thought of as a hard-centred chocolate, because I want to make people stop and think. And, where necessary, I want to encourage people to change the ways they react to and construct “self” and “other.” Conclusion The Hot Chocolate exhibition included representations that were desirable and “tasty”: a celebration of declaring the self as “hot chocolate.” Through the connections with the food chocolate and the band Hot Chocolate, the exhibition sought to raise questions about the human experience of art and the artist as a memorable, tasty, and chosen commodity. For the artists, the exhibition enabled the juxtaposition of being a tasty individual chocolate against the concern of being part of a “box” but not being selected from the collection or not being memorable enough. It also sought to challenge people’s thinking about Aboriginal identity, by encouraging visitors to ask questions about how Aboriginal people are represented, how they are chosen to participate in politics and decision making, and whether some Aboriginal people are seen as being more “soft” or more “acceptable” than others. Through the metaphor of chocolate, the Hot Chocolate exhibition provided both a tasty delight and a conceptual challenge. It delivered an eclectic assortment and delivered the message that we are always tasty, regardless of what anyone thinks of us. It links back to the work of bell hooks, who aligned African American women with chocolates, which are picked out and selected for someone else’s pleasure. We know that Aboriginal Australians are sometimes conceptualised and selected in the same way. We have explored this conceptualisation and seek to challenge the imaginations of others around the issues of politics, desire, skin, and fetishisation of race and bodies. References Croft, Pamela. ART Song: The Soul Beneath My Skin. Doctor of Visual Art (Unpublished thesis). Brisbane: Griffith U, 2003. CroftWarcon, Pamela and Bronwyn Fredericks. It Started With a KISS. Hot Chocolate. Exhibition catalogue. Adelaide: SASA Gallery, 24 Oct.-29 Nov. 2012. Fredericks, Bronwyn. “Getting a Job: Aboriginal Women’s Issues and Experiences in the Health Sector.” International Journal of Critical Indigenous Studies 2.1 (2009): 24-35. Gill, Rosalind. Gender and the Media. Malden, MA: Polity, 2007. hooks, bell. Teaching to Transgress Education as the Practice of Freedom. London: Routledge, 1994. Moreton-Robinson, Aileen. “The House That Jack Built: Britishness and White Possession.” ACRAWSA Journal 1, (2005): 21-29. 1 Feb. 2014. ‹http://www.acrawsa.org.au/ejournal/?id=8› Moss, Hilary. “Naomi Campbell: Cadbury Ad “Insulting & Hurtful”. The Huntington Post 31 May (2011). 16 Dec. 2013. ‹http://www.huffingtonpost.com/2011/05/31/naomi-campbell-cadbury-ad_n_868909.html#› Sweney, Mark. “Cadbury Apologises to Naomi Campbell Over ‘Racist’ Ad.” The Guardian 3 Jun. (2011). 16 Dec. 2013. ‹http://www.theguardian.com/media/2011/jun/03/cadbury-naomi-campbell-ad›


 
 
 Previously limited and somewhat neglected as a focus of academic scrutiny, interest in home and domesticity is now growing apace across the humanities and social sciences (Mallett; Blunt, “Cultural Geographies of Home”; Blunt and Dowling). This is evidenced in the recent publication of a range of books on home from various disciplines (Chapman and Hockey; Cieraad; Miller; Chapman; Pink; Blunt and Dowling), the advent in 2004 of a new journal, Home Cultures, focused specifically on the subject of home and domesticity, as well as similar recent special issues in several other journals, including Antipode, Cultural Geographies, Signs and Housing, Theory and Society. This increased interest in the home as a site of social and cultural inquiry reflects a renewed fascination with home and domesticity in the media, popular culture and everyday life. Domestic life is explicitly central to the plot and setting of many popular and/or critically-acclaimed television programs, especially suburban dramas like Neighbours [Australia], Coronation Street [UK], Desperate Housewives [US] and The Secret Life of Us [Australia]. The deeply-held value of home – as a place that must be saved or found – is also keenly represented in films such as The Castle [Australia], Floating Life [Australia], Rabbit-Proof Fence [Australia], House of Sand and Fog [US], My Life as a House [US] and Under the Tuscan Sun [US]. But the prominence of home in popular media imaginaries of Australia and other Western societies runs deeper than as a mere backdrop for entertainment. Perhaps most telling of all is the rise and ratings success of a range of reality and/or lifestyle television programs which provide their audiences with key information on buying, building, renovating, designing and decorating home. In Australia, these include Backyard Blitz , Renovation Rescue, The Block, Changing Rooms, DIY Rescue, Location, Location and Our House. Likewise, popular magazines like Better Homes and Gardens and Australian Vogue Living tell us how to make our homes more beautiful and functional. Other reality programs, meanwhile, focus on how we might secure the borders of our suburban homes (Crimewatch [UK]) and our homeland (Border Security [Australia]). Home is also a strong theme in other media forms and debates, including life writing, novels, art and public dialogue about immigration and national values (see Blunt and Dowling). Indeed, notions of home increasingly frame ‘real world’ experiences, “especially for the historically unprecedented number of people migrating across countries”, where movement and resettlement are often configured through processes of leaving and establishing home (Blunt and Dowling 2). In this issue of M/C Journal we contribute to these critical voices and popular debates, seeking to further untangle the intricate and multi-layered connections between home and everyday life in the contemporary world. Before introducing the articles comprising this issue, we want to extend some of the key themes that weave through academic and popular discussions of home and domesticity, and which are taken up and extended here by the subsequent articles. Home is powerful, emotive and multi-faceted. As a basic desire for many, home is saturated with the meanings, memories, emotions, experiences and relationships of everyday life. The idea and place of home is perhaps typically configured through a positive sense of attachment, as a place of belonging, intimacy, security, relationship and selfhood. Indeed, many reinforce their sense of self, their identity, through an investment in their home, whether as house, hometown or homeland. But at the same time, home is not always a well-spring of succour and goodness; others experience alienation, rejection, hostility, danger and fear ‘at home’. Home can be a site of domestic violence or ‘house arrest’; young gay men and lesbians may feel alienated in the family home; asylum seekers are banished from their homelands; indigenous peoples are often dispossessed of their homelands; refugees might be isolated from a sense of belonging in their new home(land)s. But while this may seriously mitigate the affirmative experience of home, many still yearn for places, both figurative and material, to call ‘home’ – places of support, nourishment and belonging. The experience of violence, loss, marginalisation or dispossession can trigger, in Michael Brown’s words, “the search for a new place to call home”: “it means having to relocate oneself, to leave home and reconfigure it elsewhere” (50). Home, in this sense, understood as an ambiguous site of both belonging and alienation, is not a fixed and static location which ‘grounds’ an essential and unchanging sense of self. Rather, home is a process. If home enfolds and carries some sense of desire for positive feelings of attachment – and the papers in this special issue certainly suggest so, most quite explicitly – then equally this is a relationship that requires ongoing maintenance. Blunt and Dowling call these processes ‘homemaking practices’, and point to how home must be understood as a lived space which is “continually created and recreated through everyday practices” (23). In this way, home is posited as relational – the ever-changing outcome of the ongoing and mediated interaction between self, others and place. What stands out in much of the above discussion is the deep inter-connection between home, identity and self. Across the humanities and social sciences, home has been keenly explored as a crucial site “for the construction and reconstruction of one’s self” (Young 153). Indeed, Blunt and Dowling contend that “home as a place and an imaginary constitutes identities – people’s sense of themselves are related to and produced through lived and imaginative experiences of home” (24). Thus, through various homemaking practices, individuals generate a sense of self (and social groups produce a sense of collective identity) while they create a place called home. Moreover, as a relational entity, neither home nor identity are fixed, but mutually and ongoingly co-constituted. Homemaking enables changing and cumulative identities to be materialised in and supported by the home (Blunt and Dowling). Unfolding identities are progressively embedded and reflected in the home through both everyday practices and routines (Wise; Young), and accumulating and arranging personally meaningful objects (Marcoux; Noble, “Accumulating Being”). Consequently, as one ‘makes home’, one accumulates a sense of self. Given these intimate material and affective links between home, self and identity, it is perhaps not surprising that writing about a place called home has often been approached autobiographically (Blunt and Dowling). Emphasising the importance of autobiographical accounts for understanding home, Blunt argues that “through their accounts of personal memories and everyday experiences, life stories provide a particularly rich source for studying home and identity” (“Home and Identity”, 73). We draw attention to the importance of autobiographical accounts of home because this approach is prominent across the papers comprising this issue of M/C Journal. The authors have used autobiographical reflections to consider the meanings of home and processes of homemaking operating at various scales. Three papers – by Brett Mills, Lisa Slater and Nahid Kabir – are explicitly autobiographical, weaving scholarly arguments through deeply personal experiences, and thus providing evocative first-hand accounts of the power of home in the contemporary world. At the same time, several other authors – including Melissa Gregg, Gilbert Caluya and Jennifer Gamble – use personal experiences about home, belonging and exclusion to introduce or illustrate their scholarly contentions about home, self and identity. As this discussion suggests, home is relational in another way, too: it is the outcome of a relationship between material and imaginative qualities. Home is somewhere – it is situated, located, emplaced. But it is also much more than a location – as suggested by the saying, ‘A house is not a home’. Rather, a house becomes a home when it is imbued with a range of meanings, feelings and experiences by its occupants. Home, thus, is a fusion of the imaginative and affective – what we envision and desire home to be – intertwined with the material and physical – an actual location which can embody and realise our need for belonging, affirmation and sustenance. Blunt and Dowling capture this relationship between emplacement and emotion – the material and the imaginative – with their powerful assertion of home as a spatial imaginary, where “home is neither the dwelling nor the feeling, but the relation between the two” (22). Moreover, they demonstrate that this conceptualisation also detaches ‘home’ from ‘dwelling’ per se, and invokes the creation of home – as a space and feeling of belonging – at sites and scales beyond the domestic house. Instead, as a spatial imaginary, home takes form as “a set of intersecting and variable ideas and feelings, which are related to context, and which construct places, extend across spaces and scales, and connects places” (Blunt and Dowling 2). The concept of home, then, entails complex scalarity: indeed, it is a multi-scalar spatial imaginary. Put quite simply, scale is a geographical concept which draws attention to the layered arenas of everyday life – body, house, neighbourhood, city, region, nation and globe, for instance – and this terminology can help extend our understanding of home. Certainly, for many, house and home are conflated, so that a sense of home is coterminous with a physical dwelling structure (e.g. Dupuis and Thorns). For others, however, home is signified by intimate familial or community relationships which extend beyond the residence and stretch across a neighbourhood (e.g. Moss). And moreover, without contradiction, we can speak of hometowns and homelands, so that home can be felt at the scale of the town, city, region or nation (e.g. Blunt, Domicile and Diaspora). For others – international migrants and refugees, global workers, communities of mixed descent – home can be stretched into transnational belongings (e.g. Blunt, “Cultural Geographies of Home”). But this notion of home as a multi-scalar spatial imaginary is yet more complicated. While the above arenas (house, neighbourhood, nation, globe, etc.) are often simply posited as discrete territories, they also intersect and interact in complex ways (Massey; Marston). Extending this perspective, we can grasp the possibility of personal and collective homemaking processes operating across multiple scales simultaneously. For instance, making a house into a home invariably involves generating a sense of home and familiarity in a wider neighbourhood or nation-state. Indeed, Greg Noble points out that homemaking at the scale of the dwelling can be inflected by broader social and national values which are reflected materially in the house, in “the furniture of everyday life” (“Comfortable and Relaxed”, 55) – landscape paintings and national flags and ornaments, for example. He demonstrates that “homes articulate domestic spaces to national experience” (54). For others – those moving internationally between nation-states – domestic practices in dwelling structures are informed by cultural values and social ideals which extend well beyond the nation of settlement. Everyday domestic practices from one’s ‘land of origin’ are integral for ‘making home’ in a new house, neighbourhood and country at the same time (Hage). Many of the papers in this issue reflect upon the multi-scalarity of homemaking processes, showing how home must be generated across the multiple intersecting arenas of everyday life simultaneously. Indeed, given this prominence across the papers, we have chosen to use the scale of home as our organising principle for this issue. We begin with the links between the body – the geography closest to our skin (McDowell) – the home, and other scales, and then wind our way out through evocations of home at the intersecting scales of the house, the neighbourhood, the city, the nation and the diasporic. The rhetoric of home and belonging not only suggests which types of places can be posited as home (e.g. houses, neighbourhoods, nations), but also valorises some social relations and embodied identities as homely and others as unhomely (Blunt and Dowling; Gorman-Murray). The dominant ideology of home in the Anglophonic West revolves around the imaginary ‘ideal’ of white, middle-class, heterosexual nuclear family households in suburban dwellings (Blunt and Dowling). In our lead paper, Melissa Gregg explores how the ongoing normalisation of this particular conception of home in Australian politico-cultural discourse affects two marginalised social groups – sexual minorities and indigenous Australians. Her analysis is timely, responding to recent political attention to the domestic lives of both groups. Scrutinising the disciplinary power of ‘normal homes’, Gregg explores how unhomely (queer and indigenous) subjects and relationships unsettle the links between homely bodies, ideal household forms and national belonging in politico-cultural rhetoric. Importantly, she draws attention to the common experiences of these marginalised groups, urging “queer and black activists to join forces against wider tendencies that affect both communities”. Our first few papers then continue to investigate intersections between bodies, houses and neighbourhoods. Moving to the American context – but quite recognisable in Australia – Lisa Roney examines the connection between bodies and houses on the US lifestyle program, Extreme Makeover: Home Edition, in which families with disabled members are over-represented as subjects in need of home renovations. Like Gregg, Roney demonstrates that the rhetoric of home is haunted by the issue of ‘normalisation’ – in this case, EMHE ‘corrects’ and normalises disabled bodies through providing ‘ideal’ houses. In doing so, there is often a disjuncture between the homely ideal and what would be most helpful for the everyday domestic lives of these subjects. From an architectural perspective, Marian Macken also considers the disjuncture between bodily practices, inhabitation and ideal houses. While traditional documentation of house designs in working drawings capture “the house at an ideal moment in time”, Macken argues for post factum documentation of the house, a more dynamic form of architectural recording produced ‘after-the-event’ which interprets ‘the existing’ rather than the ideal. This type of documentation responds to the needs of the body in the inhabited space of domestic architecture, representing the flurry of occupancy, “the changes and traces the inhabitants make upon” the space of the house. Gilbert Caluya also explores the links between bodies and ideal houses, but from a different viewpoint – that of the perceived need for heightened home security in contemporary suburban Australia. With the rise of electronic home security systems, our houses have become extensions of our bodies – ‘architectural nervous systems’ which extend our eyes, ears and senses through modern security technologies. The desire for home security is predicated on controlling the interplay between the house and wider scales – the need to create a private and secure defensible space in hostile suburbia. But at the same time, heightened home security measures ironically connect the mediated home into a global network of electronic grids and military technologies. Thus, new forms of electronic home security stretch home from the body to the globe. Irmi Karl also considers the connections between technologies and subjectivities in domestic space. Her UK-based ethnographic analysis of lesbians’ techo-practices at home also considers, like Gregg, tactics of resistance to the normalisation of the heterosexual nuclear family home. Karl focuses on the TV set as a ‘straightening device’ – both through its presence as a key marker of ‘family homes’ and through the heteronormative content of programming – while at the same time investigating how her lesbian respondents renegotiated the domestic through practices which resisted the hetero-regulation of the TV – through watching certain videos, for instance, or even hiding the TV set away. Susan Thompson employs a similar ethnographic approach to understanding domestic practices which challenge normative meanings of home, but her subject is quite different. In an Australian-based study, Thompson explores meanings of home in the wake of relationship breakdown of heterosexual couples. For her respondents, their houses embodied their relationships in profoundly symbolic and physical ways. The deterioration and end of their relationships was mirrored in the material state of the house. The end of a relationship also affected homely, familiar connections to the wider neighbourhood. But there was also hope: new houses became sources of empowerment for former partners, and new meanings of home were created in the transition to a new life. Brett Mills also explores meanings of home at different scales – the house, neighbourhood and city – but returns to the focus on television and media technologies. His is a personal, but scholarly, response to seeing his own home on the television program Torchwood, filmed in Cardiff, UK. Mills thus puts a new twist on autobiographical narratives of home and identity: he uses this approach to examine the link between home and media portrayals, and how personal reactions to “seeing your home on television” change everyday perceptions of home at the scales of the house, neighbourhood and city. His reflection on “what happens when your home is on television” is solidly but unobtrusively interwoven with scholarly work on home and media, and speaks to the productive tension of home as material and imaginative. As the above suggests, especially with Mills’s paper, we have begun to move from the homely connections between bodies and houses to focus on those between houses, neighbourhoods and beyond. The next few papers extend these wider connections. Peter Pugsley provides a critical analysis of the meaning of domestic settings in three highly-successful Singaporean sitcoms. He argues that the domestic setting in these sitcoms has a crucial function in the Singaporean nation-state, linking the domestic home and national homeland: it is “a valuable site for national identities to be played out” in terms of the dominant modes of culture and language. Thus, in these domestic spaces, national values are normalised and disseminated – including the valorisation of multiculturalism, the dominance of Chinese cultural norms, benign patriarchy, and ‘proper’ educated English. Donna Lee Brien, Leonie Rutherford and Rosemary Williamson also demonstrate the interplay between ‘private’ and ‘public’ spaces and values in their case studies of the domestic sphere in cyberspace, examining three online communities which revolve around normatively domestic activities – pet-keeping, crafting and cooking. Their compelling case studies provide new ways to understand the space of the home. Home can be ‘stretched’ across public and private, virtual and physical spaces, so that “online communities can be seen to be domesticated, but, equally … the activities and relationships that have traditionally defined the home are not limited to the physical space of the house”. Furthermore, as they contend in their conclusion, these extra-domestic networks “can significantly modify practices and routines in the physical home”. Jennifer Gamble also considers the interplay of the virtual and the physical, and how home is not confined to the physical house. Indeed, the domestic is almost completely absent from the new configurations of home she offers: she conceptualises home as a ‘holding environment’ which services our needs and provides care, support and ontological security. Gamble speculates on the possibility of a holding environment which spans the real and virtual worlds, encompassing email, chatrooms and digital social networks. Importantly, she also considers what happens when there are ruptures and breaks in the holding environment, and how physical or virtual dimensions can compensate for these instances. Also rescaling home beyond the domestic, Alexandra Ludewig investigates concepts of home at the scale of the nation-state or ‘homeland’. She focuses on the example of Germany since World War II, and especially since re-unification, and provides an engaging discussion of the articulation between home and the German concept of ‘Heimat’. She shows how Heimat is ambivalent – it is hard to grasp the sense of longing for homeland until it is gone. Thus, Heimat is something that must be constantly reconfigured and maintained. Taken up in a critical manner, it also attains positive values, and Ludewig suggests how Heimat can be employed to address the Australian context of homeland (in)security and questions of indigenous belonging in the contemporary nation-state. Indeed, the next couple of papers focus on the vexed issue of building a sense home and belonging at the scale of the nation-state for non-indigenous Australians. Lisa Slater’s powerful autobiographical reflection considers how non-indigenous Australians might find a sense of home and belonging while recognising prior indigenous ownership of the land. She critically reflects upon “how non-indigenous subjects are positioned in relation to the original owners not through migrancy but through possession”. Slater urges us to “know our place” – we need not despair, but use such remorse in a productive manner to remake our sense of home in Australia – a sense of home sensitive to and respectful of indigenous rights. Nahid Kabir also provides an evocative and powerful autobiographical narrative about finding a sense of home and belonging in Australia for another group ‘beyond the pale’ – Muslim Australians. Hers is a first-hand account of learning to ‘feel at home’ in Australia. She asks some tough questions of both Muslim and non-Muslim Australians about how to accommodate difference in this country. Moreover, her account shows the homing processes of diasporic subjects – transnational homemaking practices which span several countries, and which enable individuals and social groups to generate senses of belonging which cross multiple borders simultaneously. Our final paper also contemplates the homing desires of diasporic subjects and the call of homelands – at the same time bringing our attention back to home at the scales of the house, neighbourhood, city and nation. As such, Wendy Varney’s paper brings us full circle, lucidly invoking home as a multi-scalar spatial imaginary by exploring the diverse and complex themes of home in popular music. Given the prevalence of yearnings about home in music, it is surprising so little work has explored the powerful conceptions of home disseminated in and through this widespread and highly mobile media form. Varney’s analysis thus makes an important contribution to our understandings of home presented in media discourses in the contemporary world, and its multi-scalar range is a fitting way to bring this issue to a close. Finally, we want to draw attention to the cover art by Rohan Tate that opens our issue. A Sydney-based photographer, Tate is interested in the design of house, home and the domestic form, both in terms of exteriors and interiors. This image from suburban Sydney captures the shifting styles of home in suburban Australia, giving us a crisp juxtaposition between modern and (re-valued) traditional housing forms. Bringing this issue together has been quite a task. We received 60 high quality submissions, and selecting the final 14 papers was a difficult process. Due to limits on the size of the issue, several good papers were left out. We thank the reviewers for taking the time to provide such thorough and useful reports, and encourage those authors who did not make it into this issue to keep seeking outlets for their work. The number of excellent submissions shows that home continues to be a growing and engaging theme in social and cultural inquiry. As editors, we hope that this issue of M/C Journal will make a vital contribution to this important range of scholarship, bringing together 14 new and innovative perspectives on the experience, location, creation and meaning of home in the contemporary world. References Blunt, Alison. “Home and Identity: Life Stories in Text and in Person.” Cultural Geography in Practice. Eds. Alison Blunt, Pyrs Gruffudd, Jon May, Miles Ogborn, and David Pinder. London: Arnold, 2003. 71-87. ———. Domicile and Diaspora: Anglo-Indian Women and the Spatial Politics of Home. Malden: Blackwell, 2005. ———. “Cultural Geographies of Home.” Progress in Human Geography 29.4 (2005): 505-515. ———, and Robyn Dowling. Home. London: Routledge, 2006. Brown, Michael. Closet Space: Geographies of Metaphor from the Body to the Globe. London: Routledge, 2000. Chapman, Tony. Gender and Domestic Life: Changing Practices in Families and Households. Basingstoke: Palgrave Macmillan, 2004. ———, and Jenny Hockey, eds. Ideal Homes? Social Change and Domestic Life. London: Routledge, 1999. Cieraad, Irene, ed. At Home: An Anthropology of Domestic Space. Syracuse: Syracuse University Press, 1999. Dupuis, Ann, and David Thorns. “Home, Home Ownership and the Search for Ontological Security.” The Sociological Review 46.1 (1998): 24-47. Gorman-Murray, Andrew. “Homeboys: Uses of Home by Gay Australian Men.” Social and Cultural Geography 7.1 (2006): 53-69. Hage, Ghassan. “At Home in the Entrails of the West: Multiculturalism, Ethnic Food and Migrant Home-Building.” Home/world: Space, Community and Marginality in Sydney’s West. Eds. Helen Grace, Ghassan Hage, Lesley Johnson, Julie Langsworth and Michael Symonds. Annandale: Pluto, 1997. 99-153. Mallett, Shelley. “Understanding Home: A Critical Review of the Literature.” The Sociological Review 52.1 (2004): 62-88. Marcoux, Jean-Sébastien. “The Refurbishment of Memory.” Home Possessions: Material Culture Behind Closed Doors. Ed. Daniel Miller. Oxford: Berg, 2001. 69-86. Marston, Sally. “A Long Way From Home: Domesticating the Social Production of Scale.” Scale and Geographic Inquiry: Nature, Society and Method. Eds. Eric Sheppard and Robert McMaster. Oxford: Blackwell, 2004. 170-191. Massey, Doreen. “A Place Called Home.” New Formations 17 (1992): 3-15. McDowell, Linda. Gender, Identity and Place: Understanding Feminist Geographies. Cambridge: Polity, 1999. Miller, Daniel, ed. Home Possessions: Material Culture Behind Closed Doors. Oxford: Berg, 2001. Moss, Pamela. “Negotiating Space in Home Environments: Older Women Living with Arthritis.” Social Science and Medicine 45.1 (1997): 23-33. Noble, Greg. “Comfortable and Relaxed: Furnishing the Home and Nation.” Continuum: Journal of Media and Cultural Studies 16.1 (2002): 53-66. ———. “Accumulating Being.” International Journal of Cultural Studies 7.2 (2004): 233-256. Pink, Sarah. Home Truths: Gender, Domestic Objects and Everyday Life. Oxford: Berg, 2004. Wise, J. Macgregor. “Home: Territory and Identity.” Cultural Studies 14.2 (2000): 295-310. Young, Iris Marion. “House and Home: Feminist Variations on a Theme.” On Female Body Experience: ‘Throwing Like a Girl’ and Other Essays. New York: Oxford University Press, 2005. 123-154. 
 
 
 
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