Social innovation in local food in Japan: Choku-bai-jo markets and Teikei cooperative practices

The working paper depicts two innovative examples from Japan of the direct supply of food, which involves the development of closer producer-consumer relations, as well as closer producer-producer networks. Choku-bai-jo and Teikei networks are considered as examples of practices implicated in alternative food networks (AFNs). One example has become a quasi-public endeavour and is seen by the Japanese state as a legitimate part of rural development and is promoted in support of small producers. The other is borne from consumer concern over food quality and, despite its long-lived status, this arrangement remains marginal and with little institutional or governmental support. A model which blends the organization and aims of both examples holds potential for a more sustainable eco-economic future.

Can the study of natural vegetation succession assist in the control of soil erosion on abandoned croplands on the Loess Plateau, China?

In the Loess Plateau, China, arable cultivation of slope lands is common and associated with serious soil erosion. Planting trees or grass may control erosion, but planted species may consume more soil water and can threaten long-term ecosystem sustainability. Natural vegetation succession is an alternative ecological solution to restore degraded land, but there is a time cost, given that the establishment of natural vegetation, adequate to prevent soil erosion, is a longer process than planting. The aims of this study were to identify the environmental factors controlling the type of vegetation established on abandoned cropland and to identify candidate species that might be sown soon after abandonment to accelerate vegetation succession and establishment of natural vegetation to prevent soil erosion. A field survey of thirty-three 2 × 2–m plots was carried out in July 2003, recording age since abandonment, vegetation cover, and frequency of species together with major environmental and soil variables. Data were analyzed using correspondence analysis, classification tree analysis, and species response curves. Four vegetation types were identified and the data analysis confirmed the importance of time since abandonment, total P, and soil water in controlling the type of vegetation established. Among the dominant species in the three late-successional vegetation types, the most appropriate candidates for accelerating and directing vegetation succession were King Ranch bluestem (Bothriochloa ischaemum) and Lespedeza davurica (Leguminosae). These species possess combinations of the following characteristics: tolerance of low water and nutrient availability, fibrous root system and strong lateral vegetative spread, and a persistent seed bank.

Ballet-Granite

Live Performance, Szuper Gallery + Curtain Razors Dur: 50 mins NTSC HD 2011 Direction/Conception - Susanne Clausen, Pavlo Kerestey, Michele Sereda Performance Installation - Susanne Clausen, Pavlo Kerestey Performers - Jason Cawood, Susanne Clausen, Blair Fornwald, Morgan Garneau, John Hampton, Pavlo Kerestey, Michele Sereda Cave Video - Susanne Clausen and Pavlo Kerestey Sound scape - Szuper Gallery Voice - Michele Sereda Ballet Band - Billy Hughes, Trent Mailander and Otis Young Music - Dance of the Spirits - Danilo Villalta Technical Direction - Kenneth Young Stage Management - Paul Crepeau Sound Support - Jeff Morton Structural Design Consultant - James Phillips and Caragana Production Design Inc Set Assistants - Rebbeca Donison and Shelby Lowe Headress - Alla Sidorenko Costume consultation - Dean Renwick Documentation, Still - Carey Shaw, Szuper Gallery Documentation, Moving - Gabriel Yahyahkeekoot Administration + PR - Carey Shaw and the Mackenzie Art Gallery Poster Design - Rio Saxon Design Produced by Curtain Razors and Szuper Gallery in collaboration with the Mackenzie Art Gallery with the support of the Canada Council for the Arts, the Saskatchewan Arts Board and the City of Regina Arts Advisory Committee.

Accessing extremes of mid-latitudinal wave activity: methodology and application

A statistical methodology is proposed and tested for the analysis of extreme values of atmospheric wave activity at mid-latitudes. The adopted methods are the classical block-maximum and peak over threshold, respectively based on the generalized extreme value (GEV) distribution and the generalized Pareto distribution (GPD). Time-series of the ‘Wave Activity Index’ (WAI) and the ‘Baroclinic Activity Index’ (BAI) are computed from simulations of the General Circulation Model ECHAM4.6, which is run under perpetual January conditions. Both the GEV and the GPD analyses indicate that the extremes ofWAI and BAI areWeibull distributed, this corresponds to distributions with an upper bound. However, a remarkably large variability is found in the tails of such distributions; distinct simulations carried out under the same experimental setup provide sensibly different estimates of the 200-yr WAI return level. The consequences of this phenomenon in applications of the methodology to climate change studies are discussed. The atmospheric configurations characteristic of the maxima and minima of WAI and BAI are also examined.

Cosmic effects on the intimate screen: J. B. Priestley, Ralph Richardson and 'Johnson over Jordan' (1965)

This article considers ideas about the suitability of experimental, non-naturalist, narrative forms in theatre and television, through the example of a 1965 BBC2 adaptation of J. B. Priestley's 1939 play Johnson over Jordan. Using both textual analysis of the programme and research into the BBC production documentation, this essay explains how the circumstances and conditions of 1960s television adaptation and the star casting of Sir Ralph Richardson transformed Priestley's stage play. The TV adaptation achieved cosmic effects on an intimate scale, through inference and the imaginative integration of the studio space with dubbed sound.

The Life of Galileo and Brechtian television drama

Bertolt Brecht's dramaturgy was as influential upon the development of British drama on television between the 1950s and the 1970s as it was in the theatre. His influence was made manifest through the work of writers, directors and producers such as Tony Garnett, Ken Loach, John McGrath and Dennis Potter, whose attempts to create original Brechtian forms of television drama were reflected in the frequent reference to Brecht in contemporary debate concerning the political and aesthetic direction and value of television drama. While this discussion has been framed thus far around how Brechtian techniques and theory were applied to the newer media of television, this article examines these arguments from another perspective. Through detailed analysis of a 1964 BBC production of The Life of Galileo, I assess how the primary, canonical sources of Brecht's stage plays were realised on television during this period, locating Brecht's drama in the wider context of British television drama in general during the 1960s and 1970s. I pay particular attention to the use of the television studio as a site that could replicate or reinvent the theatrical space of the stage, and the responsiveness of the television audience towards Brechtian dramaturgy.

The role of baroclinic waves in the initiation of tropical cyclones across the southern Indian Ocean

Cases where tropical storms are initiated simultaneously along one latitude are investigated. It is argued that such structure arises as part of a baroclinic wave. A case from February 2008 is examined using European Centre for Medium-Range Forecasts (ECMWF) analyses; the birth of three tropical cyclones in the low-level cyclonic regions to the east of upper-level troughs suggests that the wave was instrumental for initiation. Archived satellite imagery and storm warnings reveal that baroclinic waves over the southern Indian Ocean accompany tropical cyclogenesis twice a season on average, mainly in late summer, when breaking Rossby waves on the subtropical westerly jet are closest to the Intertropical Convergence Zone (ITCZ). Copyright © 2012 Royal Meteorological Society

Evaluation of a photosynthesis-based biogenic isoprene emission scheme in JULES and simulation of isoprene emissions under present-day climate conditions

We have incorporated a semi-mechanistic isoprene emission module into the JULES land-surface scheme, as a first step towards a modelling tool that can be applied for studies of vegetation – atmospheric chemistry interactions, including chemistry-climate feedbacks. Here, we evaluate the coupled model against local above-canopy isoprene emission flux measurements from six flux tower sites as well as satellite-derived estimates of isoprene emission over tropical South America and east and south Asia. The model simulates diurnal variability well: correlation coefficients are significant (at the 95 % level) for all flux tower sites. The model reproduces day-to-day variability with significant correlations (at the 95 % confidence level) at four of the six flux tower sites. At the UMBS site, a complete set of seasonal observations is available for two years (2000 and 2002). The model reproduces the seasonal pattern of emission during 2002, but does less well in the year 2000. The model overestimates observed emissions at all sites, which is partially because it does not include isoprene loss through the canopy. Comparison with the satellite-derived isoprene-emission estimates suggests that the model simulates the main spatial patterns, seasonal and inter-annual variability over tropical regions. The model yields a global annual isoprene emission of 535 ± 9 TgC yr−1 during the 1990s, 78 % of which from forested areas.

Space, authenticity and utopia in the hip-hop teen dance film

The dance film flourished in the 2000s in the form of the hip-hop teen dance film. Such films as Save the Last Dance (Thomas Carter, 2001), Honey (Billy Woodruff, 2002) and Step Up (Anne Fletcher, 2006) drew on hip-hop’s dominance of the mainstream music industry and combined the teen film’s pre-existing social problem and musical narratives. Yet various tension were created by their interweaving of representations of post-industrial city youth with the utopian sensibilities of the classical Hollywood musical. Their narratives celebrated hip-hop performance, and depicted dance’s ability to bridge cultural boundaries and bring together couples and communities. These films used hip-hop to define space and identity yet often constructed divisions within their soundscapes, limiting hip-hop’s expressive potential. This article explores the cycle’s celebration of, yet struggle with, hip-hop through examining select films’ interactions between soundscape, narrative and form. It will engage with these films’ attempts to marry the representational, narrative and aesthetic meanings of hip-hop culture with the form and ideologies of the musical genre, particularly the tensions and continuities that arise from their engagement with the genre’s utopian qualities identified by Richard Dyer (1985). Yet whilst these films illustrate the tensions and challenges of combining hip-hop culture and the musical genre, they also demonstrate an effective integration of hip-hop soundscape and the dancing body in their depiction of dance, highlighting both form’s aesthetics of layering, rupture and flow (Rose, 1994: 22).