Magnitude, form and bioavailability of fluvial carbon exports from Irish organic soils under pasture

Organic soils are widespread in Ireland and vulnerable to degradation via drainage for agriculture. The soil-landuse combination of pasture on organic soils may play a disproportionate role in regional C dynamics but is yet to receive study. Fluvial C fluxes and labile organic fractions were determined for two such sites at nested field (c.4 ha) and subcatchment scales (>40 ha); one relatively dry and nutrient rich, the other wetter and nutrient poor. Field scale flux from the nutrient poor site over 2 years was 38.9 ± 6.6 g C m⁻² yr⁻¹ with DIC > DOC > POC at 57, 32 and 11 % respectively, and 72 % DIC was comprised of above equilibrium CO₂. At the nutrient rich site, which overlies limestone geology, field scale export over an individual year was 90.4 g C m⁻² with DIC > DOC > POC at 49, 42 and 9 %, but with 90 % DIC as bicarbonate. By comparison with the nutrient poor site, the magnitude and composition of inorganic C exports from the nutrient rich site implied considerable export of soil-respiratory C as bicarbonate, and lower evasion losses due to carbonate system buffering. Labile DOC determined using dark incubations indicated small fractions (5–10 %) available for remineralisation over typical downstream transit times of days to weeks. These fractions are probably conservative as photolysis in the environment can increase the proportion of labile compounds via photocleavage and directly remineralise organic matter. This study demonstrates that monitoring at soil–water interfaces can aid capture of total landscape fluvial fluxes by precluding the need to incorporate prior C evasion, although rapid runoff responses at field scales can necessitate high resolution flow proportional, and hydrograph sampling to constrain uncertainty of flux estimates.

"the easter rising of 1916: A step towards the independence of ireland analysed through the works of irish writers."

The 1916 Easter Rising, an unsuccessful insurrection which resulted in the Irish War of Independence, generated a deep change in the political landscape in Ireland. The purpose of this work is to describe this crucial period in the history of Ireland through the voices of Irish writers who expressed their ideas and feelings about the way Ireland was close to gaining its independence. Thanks to songs, poems and literature, I analysed the events of that period through the eyes of the Irish people. Authors like Roddy Doyle and William Butler Yeats were fundamental in examining this topic very thoroughly. Through their works, they were able to convey their knowledge about the events of those years and, at the same time, to give their own opinion, as Irish people, on the topic.

An investigation into the techniques for detecting hedgehogs in a rural landscape

Various techniques and devices have been developed for the purpose of detecting wildlife but many only provide optimum results in particular habitats, for certain species or under ideal weather conditions. It is therefore advantageous to understand the efficiency and suitability of techniques under different scenarios. The effectiveness of methods for detecting rural Irish hedgehogs was investigated as part of a larger study in April 2008. Road kill sightings and questionnaires were employed to locate possible hedgehog sites. Six sites were subsequently selected, and in these areas trapping, spotlighting and foot print tunnels were employed to investigate whether hedgehogs were indeed in the surrounding landscape. Infrared thermal imagery was examined as a detection device. Trapping and infrared imagery failed to detect hedgehogs in areas where they had previously been recorded. Footprint tunnels proved to be unsuccessful in providing absolute proof of hedgehogs in an area. No single method of detection technique could be relied upon to conclude the presence of hedgehogs in an area. A combination of methods is therefore recommended. However, spotlighting was the most effective method, taking a mean of 4 nights to detect a hedgehog, in comparison to 48 nights if footprint tunnels were used as a sole method of detection. This was also suggested by rarefaction curves of these two detection techniques, where over a 48 night period hedgehogs were expected to be recorded 27 times through spotlighting and just 5 times in an equivalent period of footprint tunnel nights.

Airborne Laser Scanning and the Archaeological Interpretation of Ireland’s First World War Landscape”:The Case Study of Randalstown Training Camp

The training of Irish soldiers for service in the British Army during the First World War required the establishment of training camps across the island, such as at Shane’s Castle Estate, close to Randalstown in County Antrim, Northern Ireland. The camp saw active use from 1914 to 1918 but after the war it was demilitarised and returned to use as farmland. Archaeological investigations have revealed that earthwork traces of the camp can still be identified in the modern landscape. Comparison of a map of the camp from 1915, Airborne Laser Scanning data and aerial photographs has enabled the footprint of the camp to be re-established, while also helping to identify the location of specific elements such as the remains of barrack huts, stores, mess halls and officers’ quarters.

Choreographies of Irish Modernity

Although movement is often viewed as forming the ‘kinetic basis’ of the modern age, the analysis of movement practices such as dance is often neglected in theories of modernity. Dance theorists such as André Lepecki (2006) and Randy Martin (1998) have argued for an awareness of how the kinaesthetic politics of modernity perform a colonization of space and bodies in their constant drive toward movement and mobility. This chapter examines how an analysis of two dance works by Irish artists, one from the early twentieth century and one from the early twenty-first century, can contribute to these discussions of modernity and dance, and how the works might illuminate connections between dance and politics in Ireland in their alternative approaches to these modernist kinaesthetic politics. Taking a brief, contextualizing look at an early dance play by William Butler Yeats, the chapter then focuses on what echoes, or afterlives, can be found from this early modernist work in a piece by contemporary dance theatre choreographer Fearghus Ó’Conchúir. In both works we see the ability of dance to create an alternative space within the pervading discourses (or movements) of a sociopolitical and cultural landscape that allows the spectator – through a visceral connection with a dancer – to experience a different perspective on the ‘idea of a nation’.

Capturing Australian indigenous perception of virtual landscape

This short paper presents a means of capturing non spatial information (specifically understanding of places) for use in a Virtual Heritage application. This research is part of the Digital Songlines Project which is developing protocols, methodologies and a toolkit to facilitate the collection and sharing of Indigenous cultural heritage knowledge, using virtual reality. Within the context of this project most of the cultural activities relate to celebrating life and to the Australian Aboriginal people, land is the heart of life. Australian Indigenous art, stories, dances, songs and rituals celebrate country as its focus or basis. To the Aboriginal people the term “Country” means a lot more than a place or a nation, rather “Country” is a living entity with a past a present and a future; they talk about it in the same way as they talk about their mother. The landscape is seen to have a spiritual connection in a view seldom understood by non-indigenous persons; this paper introduces an attempt to understand such empathy and relationship and to reproduce it in a virtual environment.

Landscape symphonies : gardening as a source of landscape architecture practice engaged with change

The notion of designing with change constitutes a fundamental and foundational theoretical premise for much of what constitutes landscape architecture, notably through engagement with ecology, particularly since the work of Ian McHarg in the 1960s and his key text Design with Nature. However, while most if not all texts in landscape architecture would cite this engagement of change theoretically, few go any further than citation, and when they do their methods seem fixated on utilising empirical, quantitative scientific tools for doing so, rather than the tools of design, in an architectural sense, as implied by the name of the discipline, landscape architecture.

Concerning the house museum and the picturesque landscape in the work of Sir John Soane : with raw hints for post-heritage museum space

The picturesque aesthetic in the work of Sir John Soane, architect and collector, resonates in the major work of his very personal practice – the development of his house museum, now the Soane Museum in Lincoln’s Inn Fields in London. Soane was actively involved with the debates, practices and proponents of picturesque and classical practices in architecture and landscape and his lectures reveal these influences in the making of The Soane, which was built to contain and present diverse collections of classical and contemporary art and architecture alongside scavenged curiosities. The Soane Museum has been described as a picturesque landscape, where a pictorial style, together with a carefully defined itinerary, has resulted in the ‘apotheosis of the Picturesque interior’. Soane also experimented with making mock ruinscapes within gardens, which led him to construct faux architectures alluding to archaeological practices based upon the ruin and the fragment. These ideas framed the making of interior landscapes expressed through spatial juxtapositions of room and corridor furnished with the collected object that characterise The Soane Museum. This paper is a personal journey through the Museum which describes and then reviews aspects of Soane’s work in the context of contemporary theories on ‘new’ museology. It describes the underpinning picturesque practices that Soane employed to exceed the boundaries between interior and exterior landscapes and the collection. It then applies particular picturesque principles drawn from visiting The Soane to a speculative project for a house/landscape museum for the Oratunga historic property in outback South Australia, where the often, normalising effects of conservation practices are reviewed using minimal architectural intervention through a celebration of ruinous states.

The MESH book : landscape / infrastructure

Resulting from a series of student-run 'Edge' conferences that have been held in Australia and New Zealand (beginning at RMIT in 1983), The Mesh Book is a collection of essays grouped into themes of Invisible Infrastructures (systems of belief), Immanent Infrastructures (natural systems) and Present Infrastructures (roads and services). Ranging from esoteric discussions to analytical case studies, the book assembles a broad spectrum of ideas on the landscape within the context of Australia and a contemporary study of place.

Landscape landscapism

Clearly the world is a different place to what it was 40 years ago, and much of that difference can be characterised as disturbances to the local on the basis of globalism, particularly due to changes in communication and information technology. Like it did to modernism before it, this societal change calls for, or more aptly calls to, designers to reformulate their practices to reflect this significant new paradigm. This is a rationale that has driven much avant-garde activity in the 20th century, and in this case, 'landscape urbanism' in the 21st. In the case of this discussion, it is important to recognise the avant-garde cycle at work in the development of the discipline, not only to contextualise its production, but so that its greatest values can be welcomed: despite the propaganda and arrogance, important revisions occurred to the canons after all the -isms. That said, I do find myself asking: do we need another -ism?

Modern landscape

Landscape is a perennial source of conceptual material for most creative disciplines, and, arguably, everything else, but it is always irritating to landscape architects how it is seized on by architects when their own canon is boring them or their language of form is getting a bit straight. What is frustrating is that while landscape architecture attempts to come to terms with factors, systems and nuances of situations that may result in form, there is a tendency in architecture to make icons of generic 'natural' archetypes. This is not to say that landscape architecture has yet developed a strong formal language that engages with these nuances, just that the struggle with them is at its root, and this struggle with specificity in the face of generic-ness is a noble one. In the face of this, to see architecture describe a 'new' and 'innovative' interest in landscape in 'the ground' seems like a diversion: surely there must be innovation in a real, articulate and sophisticated understanding of the architectural canon.