Hierarchial patterns of invertebrate assemblage structure in stony upland streams change with time and flow permanence

1. Studies in several parts of the world have examined variation in univariate descriptors of macroinvertebrate assemblage structure in perennially flowing stony streams across hierarchies of spatial scale using nested analyses of variance. However, few have investigated whether this spatial variation changes with time or whether these results are representative of habitats other than riffles or of other stream types, such as intermittently flowing streams.

2. We describe patterns in taxon richness and abundance from two sets of samples from stony streams in the Otway Range and the Grampians Range, Victoria, Australia, collected using hierarchical designs. Sampling of riffles was repeated in the Otways, to determine whether spatial patterns were consistent among times. In the Grampians, spatial patterns were compared between intermittent and perennially flowing streams (stream type) by sampling pools.

3. In the Otways streams, most variation in the dependent variables occurred between sample units. Patterns of variation among the other scales (streams, segments, riffles, groups of stones) were not consistent between sampling times, suggesting that they may have little ecological significance.

4. In the Grampians streams, variation in macroinvertebrate taxon richness and abundance differed significantly between replicate streams within each stream type but not between stream types or pools. The largest source of variation in taxon richness was stream type. Little variation occurred among sample units.

5. The pattern of most variation occurring among sample units is robust both to differences in the method of sampling and different dependent variables among studies and increasingly appears to be a property of riffles in stony, perennial upland streams. High variation among sample units (residual variation) limits the explanatory power of linear models and therefore, where samples are from a single sampling time, small but significant components of variation are unlikely to represent features of assemblage structure that will be stable over time.

Private protected areas? Assessing the suitability for incorporating conservation agreements over private land into the National Reserve System : a case study of Victoria

All Australian governments are committed to the establishment of a  comprehensive, adequate and representative system of conservation  reserves. Many of the most threatened species and communities throughout Australia occur mainly or wholly on private land. A range of mechanisms has been developed to achieve conservation on private land. This article  assesses the legal security, permanence and management intent of such mechanisms in Victoria, in relation to protected area criteria. The  implications of this analysis for the Australian National Reserve System and landowners with these mechanisms on their properties are discussed.

Switching on the chronometer of history : communism, postcommunism and heritage

The destruction of monuments accompanying the fall of Communism ignited debates about preservation of manifestations of a hated regime. While heritage professionals called for their preservation as ‘historical documents’, many monuments were destroyed or removed. Yampolsky sees anti-Communist iconoclasm as a rejection of the totalitarianism of time embodied in Communist monuments. These ‘intentional monuments’ were intended to ‘negate the march of time and oppose to it the permanence of human action’. They demonstrated the alleged end of history in a classless utopia.

Iconoclastic acts against these monuments involved the crossing of ‘the invisible boundaries of the sacral zone surrounding monuments, switching on the chronometer of history’. In doing so, iconoclasts provide the conditions for reassertion of heritage practices: heritage requires a sense of the flow of time, a difference between past, present and future.

Having restarted the chronometer of history, a society is forced to assess where it stands in relation to its past. Will it continue on a path of ‘wilful forgetting’, or seek to confront the past? The danger of wilful forgetting is the creation of nostalgia. Alternatively, preservation of places of memory helps processing of the past required for movement into the future. ‘One need only consider the way in which Berliners tore down the hated Berlin Wall in the aftermath of 1989’, Fulbrook writes, ‘to understand the desire to rid the landscape of a hated excrescence, a symbol of a rejected political past. But…for those who come after, the effort of historical imagination is all the greater for lack of a topography of experience’.

Heritage preservation can produce a ‘topography of experience’, through which the experience of Communism is examined. Reassertion of a humanistic historical time through heritage practices reveals the arrogant futility of utopian projects seeking to bring history to an end.

Mussolini and the idealisation of empire : the Augustan exhibition of Romanita

The Augustan Exhibition of Romanita`, held in Rome’s Palazzo delle Esposizioni between 1937 and 1938, exemplifies the aestheticisation, ritualisation and sacralisation of politics during the Fascist era in Italy. This article conducts a multi-layered spatial analysis of the exhibition that considers space as passively experienced, as an agent to re-map memory, as a mediator between intention and reception and as having both physical and mental characteristics. The relative sizes of the spaces, their sequence and their axial placement within the Palazzo’s plan were the most powerful forces that conveyed the exhibition’s overall political and social aims. The Mostra Augustea della Romanita` (MAR) is here analysed as a form of historical representation with a specific narrative which is played out within an orchestrated space in order to create and reinforce a (Fascist) political identity. The idea of Rome took on material aspects through a kind of ‘recognition effect’ for the visitor by presenting Romanita` as a collective mirror in which to view an image of their own social visage. Thus an active connection would, according to the organisers, be forged between a Roman past and a Fascist present, and its two leaders and creators, Augustus and Mussolini, as well as between the individual and society. The MAR also demonstrates the prevalence of the cult of Il Duce in Fascist society and its importance for maintaining high levels of consent. With its focus on a particular view of the ancient world, the MAR was an ephemeral event that acted as teleological justification for the advent and supposed permanence of Fascism, which at the same time presented itself as a unique archaeological, scientific and educational document of the Roman world.

Transfer of electronic commerce trust between brick-and-mortar and online business environments

Through experimentation, we establish a causal relationship between trust and the expansion of a retailer from online to brick-and-mortar and vice versa. Trust is multidimensional and contingent on the distribution path first chosen. Vendor trustworthiness (knowledge-based) and technological trustworthiness (institution-based) have different effects depending on the initial and new distribution channel. Expanding from brick-and-mortar to online negatively affects technology-based trust, while transfers from an online to a physical location maintain the same level of technology-based trust. Vendor-based trust is positively affected by transfer from online to the brick-and-mortar location, and is not significantly unaffected by transfers from brick and-mortar to online locations. The perceived “permanence” of a physical location influences consumer beliefs about the location’s trustworthiness.

Multiple-object tracking in cluttered and crowded public spaces

This paper addresses the problem of tracking moving objects of variable appearance in challenging scenes rich with features and texture. Reliable tracking is of pivotal importance in surveillance applications. It is made particularly difficult by the nature of objects encountered in such scenes: these too change in appearance and scale, and are often articulated (e.g. humans). We propose a method which uses fast motion detection and segmentation as a constraint for both building appearance models and their robust propagation (matching) in time. The appearance model is based on sets of local appearances automatically clustered using spatio-kinetic similarity, and is updated with each new appearance seen. This integration of all seen appearances of a tracked object makes it extremely resilient to errors caused by occlusion and the lack of permanence of due to low data quality, appearance change or background clutter. These theoretical strengths of our algorithm are empirically demonstrated on two hour long video footage of a busy city marketplace.

The unstable print: Material challenges in printmaking and the moving image

The past few years have seen an emergence of printmakers motivated by moving-image technology to use print as performative creative practice; in film and animation, as installation and in various processes of thinking and production. Notions of movement and change that could be said to identify much of our contemporary world reflect the interests of a number of printmakers who utilize printmaking characteristics of multiplicity and reproduction by integrating the digital and the handmade within the moving-image. There seems to be a restlessness by some artists who wish to explore an unbounded, experimental approach to printmaking; perhaps it is a natural progression for printmakers to relate their processes of thinking and production to concepts of frame-by-frame production – to additive and subtractive methods, multiple imagery and the reproduced or copy. But what happens when printmaking that has entered the realm of multimedia technology returns to the physical, material print? This paper presents and discusses printmaking as moving image, and in particular the practice of printmaking that utilizes the copy and multiplicity while exploiting qualities of change through, for example, organic non-archival materials. Drawing from my own print projects and practice as well as the work of other Australian printmakers, the paper asks: can the physical print convincingly perform, not only represent, movement and change as analog experience through its materiality, and how is it to be valued within printmaking conventions concerned with longevity and permanence?