Differing responses to landscape change : implications for small mammal assemblages in forest fragments

Human modification of landscapes typically results in many species being confined to small, isolated and degraded habitat fragments. While fragment size and isolation underpin many studies of modified landscapes, vegetation characteristics are less frequently incorporated. The relative influence of biogeographic (e.g. size, isolation) and vegetation parameters on assemblages is poorly understood, but critical for conservation management. In this study, a multiple hypothesis testing framework was used to determine the relative importance of biogeographic and vegetation parameters in explaining the occurrence of an assemblage of small mammals in 48 forest fragments in an agricultural landscape in south-eastern Australia. Fragment size and vegetation characteristics were consistently important predictors of occurrence across species. In contrast, fragment isolation was important for just one native species. Differing abilities of species to move through the landscape provide a reasonable explanation for these results. We conclude that for effective conservation of assemblages, it is important to: (1) consider differing responses of species to landscape change, and (2) move beyond a focus primarily on spatial attributes (size, isolation) to recognise that landscape change also has profound effects on habitat composition and quality.

Towering over all : the Italianate villa in the colonial landscape

The Picturesque aesthetic emerged in the later 18th century, uniting the Sublime and the Beautiful and had its roots in the paintings of Claude Lorrain. In Britain, and in Australia, it came to link art, literature and landscape with architecture. The Picturesque aesthetic informed much of colonial culture which was achieved, in part, through the production and dissemination of architectural pattern books catering for the aspirations of the rising middle classes. This was against a background of political change including democratic reform. The Italianate villa, codified and promoted in such pattern books, was a particularly successful synthesis of style, form and function. The first Italianate villa in England, Cronkhill (1803) by John Nash contains all the ingredients which were essential to the model and had a deeper meaning. Deepdene (from 1807) by Thomas Hope gave the model further impetus. The works of Charles Barry and others in a second generation confirmed the model's acceptability. In Britain, its public status peaked with Osborne House (from 1845), Queen Victoria's Italianate villa on the Isle of Wight, Robert Kerr used a vignette of Osborne House on the title page of his sophisticated and influential pattern book, The Gentleman's House (1864,1871). It was one of many books, including those of J.C, Loudon and AJ. Downing, current in colonial Victoria. The latter authors and horticulturists were themselves villa dwellers with libraries and orchards, two criteria for the true villa lifestyle. Situation and a sense of retreat were the two further criteria for the villa lifestyle. As the new colony of Victoria blossomed between 1851 and 1891, the Italianate villa, its garden setting and its landscape siting captured the tenor of the times. Melbourne, the capital was a rich manufacturing metropolis with a productive hinterland and international markets. The people enjoyed a prosperity and lifestyle which they wished to display. Those who had a position in society were keen to demonstrate and protect it. Those with aspirations attempted to provide the evidence necessary for such acceptance, The model matured and became ubiquitous. Its evolution can be traced through a series of increasingly complicated rural and suburban examples, a process which modernist historians have dismissed as a decadent decline. These villas, in fact, demonstrate an increasingly sophisticated retreat by merchants from ‘the Town’ and by graziers from ‘the Country’. In both town and country, the towers of villas mark territory newly acquired. The same claim was often made in humbler situations. Government House, Melbourne (from 1871), a splendid Italianate villa and arguably finer than Osborne House, was set in a cultivated landscape and towered above all It incorporated the four criteria and, in addition, claimed its domain, focused authority and established the colony's social status. It symbolised ancient notions of democracy and idealism but with a modem appreciation for the informal and domestic. Government House in Melbourne is the epitome of the Italianate villa in the colonial landscape and is the climax of the Picturesque aesthetic in Victoria.

Metaphoric use of the mountain symbol in painting

This paper consists of two parts. The focus of Part I is the symbol of the mountain and its metaphoric use in art history and in the mythology of many cultures. Part II links an examination of twentieth century contemporary artists and relevant issues, the mythology and historical references covered in Part I and the paintings that make up the body of the thesis. The study is concerned with the role of the symbol and the form of its interpretation in the expression of ideas and images that are relevant to it. These themes have been developed in order to place the paintings in a context of continuity and establish iconographic links with the past. One particular site has been chosen through which to examine the symbolic associations between the mountain and the metaphoric quest. The metaphor of pilgrimage to the site and of searching for a lost unity is implicit in this process. The realisation reached at the summit confirms the significance of this journey. Each painting is discussed and linked with the themes that are relevant to it, linking the research recorded in Part I with the execution of the paintings, aiming at a synthesis of theory and practice.

Beyond mimesis : place, interpretation and response

My study examines the subjective nature of artistic interpretation through the notion of mimesis as process or transformation of material. Influential factors that mediate in the artistic process, such as memory, reflection and an awareness of cultural analogy and metaphor, are examined and related to a specific project in the studio, where the mediation process is further influenced by the materials used to produce the images. My studies of the concept of mimesis have revealed an intermediary realm that exists in the space between empirical reality and its interpretation. Throughout history the process of mimesis has been integral to all forms of the arts. In Plato's time the production of an image that simulated things as they appeared to the eye was considered a desired ideal. Aristotle later introduced developments which extended this concept to include a refiguring or reforming of material derived from the original source, making new connections between existing factors and in this transformation bringing new meanings to a symbolically constituted world. This discussion of the representation of reality, the influence of a dialogue between notions of imitation and the recreation of material continues throughout the exegesis. My study emphasises the interpretive stage of the mimetic process where a consideration of these themes is most relevant and some of the factors that can influence its outcome. It is my opinion that the production of images in response to the particularities of place can be defined in three stages. Firstly, the experience of the place; secondly, the beginning and maturation of the idea or concept; where mimesis takes place, and thirdly, the production of the art work in response. This process is illustrated in Part 2 of the exegesis, where the development of the studio work is documented and linked with the themes discussed in Part 1. The geographic site or place I selected to study is adjacent to Mt. Noorat, a volcanic site in the Western district of Victoria; the surrounding plains are littered with scoria that has been thrown out of the volcano thousands of years ago. Early British, Scottish and Irish settlers to this region used the stone to construct fences reminiscent of their homeland, through this activity they cleared the land and confined and protected their stock. My interests are in factors that include - the material of the stone, notions of enclosure and safety, of boundaries and circumscribed space, and of the cultural reflection that has taken place in this reconstruction of Eurocentric vision. These walls also represent the means by which land was enclosed and property defined, moving from a situation of public access to notions of ownership and the annexation of land for individual gain. Around each point of eruption, the craggy volcanic scoria has been used to create a constructed landscape which both symbolises and mirrors the Anglo - Celtic origins of the people. I have used the legend of Narcissus to illustrate the self-reflective and introspective processes that the settlers invoked in their attempts to come to terms with a strange land. I consider that the story of Narcissus, who fell in love with his own reflection, finds a parellel in the creation of the walls. The re-creation of artifacts from their own cultural environment provided the settlers with a familiar 'face' in an alien world; a reassurance of the familiar in an unfamiliar terrain. Part of this study is an investigation of this notion of landscape as cultural reflection. Geographers have long known that landscape is a cultural construct, an historically evolving ideal manifested in painting, prints and drawings as well as poetry, gardens and parks. One can view these constructions as illustrations or images of meaning which constitute representations of cultural ideals. The neo-classical influence reflected in the paintings of artists who accompanied the early expeditions to Australia demonstrates these themes. The medium of the mirror provides the opportunity to suggest aspects of a cultural reflection and an awareness of identity that has relevance to contemporary Australian culture, therefore, I have allowed it to play a major role throughout this study. Its role in mimesis, firstly, as a reflection in an imitative sense is established, then in its refigurative role, in which the similarities between the original and the reformed rely more on correlative factors than representation. I have used examples from the history of art to illustrate this potential. The formation and development of a narrative involving reflection threads throughout the thesis, both in the visual presentation and in the exegesis. The production of a body of paintings, drawings and sculpture reflect my interpretation and response to the particular site. The correspondences between these works and my theoretical concerns is articulated in the exegesis. The metaphor implied by the use of the walls as agents of enclosure also refers to the capacity of the individual to be confined by notional boundaries and restrictive practices where totalising systems of thought dominate theoretical debate and restrict its freedom. I have used images where gaps in the walls represent the potential implicit to the concept of liminal space, where the spectator moves from one physical space to another and from one stage of development to another. The threshold of this opening in the walls becomes the site where transformation can take place, a metaphor for the mimetic process where the initial experience is translated and transformed into the final product. The paintings, drawings and other works in this series fulfil the role of marks on the surface of the mirror, separating the initial experience from the processes of memory, reflection and speculation. The works draw attention to the materiality that they represent and yet provide the opportunity for new insights and experiences, allowing the subjective nature of artistic activity to combine symbolic elements relating to the site, resulting in the production of meaning.

Gap-crossing decisions of forest birds in a fragmented landscape

Habitat loss and fragmentation are recognized as primary drivers of biodiversity loss worldwide. To understand the functional effects of habitat fragmentation on bird populations, data on movement across gaps in habitat cover are necessary, although rarely available. In this study, we used call playback to simulate a conspecific territorial intruder to entice birds to move through the landscape in a predictable and directional manner. We then quantified the probability of movement in continuous forest and across cleared gaps for two forest-dependent species, the grey shrike-thrush (Colluricincla harmonica) and the white-throated treecreeper (Cormobates leucophaeus). Fifty-four playback trials were conducted for each species across distances ranging from 25 to 480 m in continuous forest and 15-260 m across gaps in a forest-agricultural landscape in southern Victoria, Australia. The probability of movement was significantly reduced by gaps in forest cover for both species. Shrike-thrushes were six times more likely to move 170 m in continuous forest than to cross 170-m gaps. The mean probability that treecreepers would cross any gap at all was less than 0.5, and they were three times less likely to move 50 m across a gap than through continuous forest. Both species displayed non-linear responses to increasing gap distance: we identified a gap-tolerance threshold of 85 m for the shrike-thrush and 65 m for the treecreeper beyond which individuals were most unlikely to cross. The presence of scattered paddock trees increased functional connectivity for the shrike-thrush, with individuals crossing up to 260 m when scattered trees were present. We conclude that gaps in habitat cover are barriers to movement, and that characteristics of the intervening matrix influence landscape permeability.

Where and when to revegetate : a quantitative method for scheduling landscape reconstruction

Restoration of native vegetation is required in many regions of the world, but determining priority locations for revegetation is a complex problem. We consider the problem of determining spatial and temporal priorities for revegetation to maximize habitat for 62 bird species within a heavily cleared agricultural region, 11 000 km2 in area. We show how a reserve-selection framework can be applied to a complex, large-scale restoration-planning problem to account for multi-species objectives and connectivity requirements at a spatial extent and resolution relevant to management. Our approach explicitly accounts for time lags in planting and development of habitat resources, which is intended to avoid future population bottlenecks caused by delayed provision of critical resources, such as tree hollows. We coupled species-specific models of expected habitat quality and fragmentation effects with the dynamics of habitat suitability following replanting to produce species-specific maps for future times. Spatial priorities for restoration were determined by ranking locations (150-m grid cells) by their expected contribution to species habitat through time using the conservation planning tool, ‘‘Zonation.’’ We evaluated solutions by calculating expected trajectories of habitat availability for each species. We produced a spatially explicit revegetation schedule for the region that resulted in a balanced increase in habitat for all species. Priority areas for revegetation generally were clustered around existing vegetation, although not always. Areas on richer soils and with high rainfall were more highly ranked, reflecting their potential to support high-quality habitats that have been disproportionately cleared for agriculture. Accounting for delayed development of habitat resources altered the rank-order of locations in the derived revegetation plan and led to improved expected outcomes for fragmentation-sensitive species. This work demonstrates the potential for systematic restoration planning at large scales that accounts for multiple objectives, which is urgently needed by land and natural resource managers.

Thresholds, incidence functions, and species-specific cues : responses of woodland birds to landscape structure in south-eastern Australia

Looking out from a vantage point across a large tract of forest gives a superficial impression of uniformity: the crowns of canopy trees follow the folds and contours of the landscape to provide a continuous cover of wooded vegetation. But this visual appearance belies the truth: forested landscapes are far from uniform. On closer examination, they comprise a complex mosaic of different vegetation types and and stands of different age-classes, differing structural features, and modified to a varying extent by human land-uses. Forests have a critical role in the conservation of biodiversity throughout the world (Peterken 1996; Laurance and Bierregard 1997; Lindenmayer and Franklin 2002) and a key feature contributing to their conservation value is the response of forest biota to the heterogeneity inherent in forested landscapes (Lindenmayer et al. 2006). Consequently, an understanding of the implications of landscape structure for the maintainance of species and ecological processes is an important foundation for forest management and biodiversity conservation.

Engaging, exploring, and experiencing multicultural music in Australian music teacher education : the changing landscape of multicultural music education

ln multicultural Australia, the development of positive intercultural attitudes is essential in the creation of a harmonious society. Music education is a powerful medium to address cultural inclusivity. The 2005 National Review of School Music Education challenges Australian higher education institutions to prepare programs that explore multiculturalism to engender tolerance.This research explored how final year teacher education students at Monash University and Deakin University (Victoria, Australia) engage with music of other cultures and how this affects their understanding of cultural diversity in school music. From 2005 to 2008, teacher education students undertaking music methodologies were invited to participate in semi-structured interviews.The data collected from the interviews were transcribed and analyzed using interpretative phenomenological analysis, and from these data, we developed patterns of meaning that are reported thematically; student teachers' beliefs, attitudes, and understandings of multiculturalism and the classroom realities of multiculturalism.The findings contribute to how we, as tertiary educators, evaluate our role and programs.

Painting that moves : digital realism and the single moving image

Explores space and object relations in a digital 3-D animation production, "Moving-Image". The exegesis examines these relations through an analysis of pictorial realism in painting. The illusion of three dimensional forms in the space of the computer screen is contextualised by investigation of the work's underlying digital conditions.

Photography towards painting : the techniques of large contact negatives

Investigates the relationship between painting and photography, with a special focus on techniques using large contact negatives and digital applications. The thesis is comprised of a written exegesis that contextualises and informs upon an exhibition of photographic and digital inkjet montages. It discusses the theoretical and structural issues underpinning the conceptual basis of the research and elaborates upon the applications and processes involved in producing each exhibited image.

Small mammals in a fragmented landscape

Small mammals displayed contrasting patterns of occurence in forest fragments. Population studies revealed that key processes responsible for survival in habitat patches include demographic flexibility and the movement of individuals between patches. Combining pattern- and process-based approaches provides a more complete understanding of fauna in modified landscapes.

L. Bernard Hall and the feminine in Australian painting 1885-1935

This thesis draws on images to explore the processes by which an individual - Lindsay Bernard Hall - and a categorical concept - the feminine - became devalued in Australia's national tradition. It celebrates Hall's contribution to Australia's cultural heritage and the significance of his art in the visual record of modernising womanhood.

Landscape pattern, countryside heterogeneity and bird conservation in agricultural environments

This study confirms the valuable contribution that agricultural landscapes make to bird conservation in Australia. While native vegetation is critical to conservation efforts, careful management of production land-use types may provide additional benefits. Results show that productive farm enterprises can make real contributions to the success of broader conservation goals.

Transformations : landscape in recent Australian fiction / Gillian Mary Tyas

Focusing on novels written since 1980 by Australian authors Rodney Hall, Liam Davison, Tim Winton, Elizabeth Jolley and Gerald Murnane, and engaging with responses to the land by visual and performing artists, this thesis explores the idea that the writer and artist are mediators in the multitude of experiences that constitutes landscape.