Quantifying the relationship between temperature regulation in the ear and floret development stage in wheat (Triticum aestivum L.) under heat and drought stress

Thermal imaging is a valuable tool for the elucidation of gas exchange dynamics between a plant and its environment. The presence of stomata in wheat glumes and awns offers an opportunity to assess photosynthetic activity of ears up to and during flowering. The knowledge of spatial and temporal thermodynamics of the wheat ear may provide insight into interactions between floret developmental stage (FDS), temperature depression (TD) and ambient environment, with potential to be used as a high-throughput screening tool for breeders. A controlled environment study was conducted using six spring wheat (Triticum aestivum L.) genotypes of the elite recombinant inbred line Seri/Babax. Average ear temperature (AET) was recorded using a hand held infrared camera and gas exchange was measured by enclosing ears in a custom built cuvette. FDS was monitored and recorded daily throughout the study. Plants were grown in pots and exposed to a combination of two temperature and two water regimes. In the examined wheat lines, TD varied from 0.1°C to 0.6°C according to the level of stress imposed. The results indicated that TD does not occur at FDS F3, the peak of active flowering, but during the preceding stages prior to pollen release and stigma maturity (F1-F2). These findings suggest that ear temperature during the early stages of anthesis, prior to pollen release and full extension of the stigma, are likely to be the most relevant for identifying heat stress tolerant genotypes.

Marine Isotope Stage 9 environments of fluvial deposits at Hackney, north London, UK

Middle Pleistocene deposits at Hackney, north London comprise a thick unit of organic sands and silts occupying a channel near the confluence of the River Thames in south-eastern England and its left-bank tributary the River Lea. They represent a short time interval, perhaps no more than a few years, within a late Middle Pleistocene interglacial. The organic sediments are overlain by unfossiliferous sands and gravels indicating deposition on the floodplain of a braided river under cool or cold climatic conditions. The fossil plant, insect, mollusc and vertebrate remains from the interglacial deposits all indicate climatic conditions with summers warmer than the present in SE England, and winters with a similar thermal climate. The biostratigraphic evidence suggests that the time period represented by the organic unit is part of MIS 9, although the geochronological evidence for such an age is inconclusive. The palaeontological evidence strongly suggests that this temperate stage was warmer than the succeeding temperate stage MIS 7 or the Holocene, and approaching the Ipswichian (MISs 5e) in its warmth. The multidisciplinary description of the Hackney deposits is one of the first to reconstruct terrestrial conditions in Marine Isotope Stage 9 in Western Europe.

Haptic interfaces: the live and the recorded body in Beckett's Eh Joe on stage and screen

Beckett’s sparse and minimalist pieces have continuously addressed the nature and characteristics of the media for which they were written. What does it mean when a work written specifically for television is transposed to the stage, as film director Atom Egoyan did in his 2006 version of Beckett’s Eh Joe? This article will focus on the implications of such a transposition and discuss how Egoyan’s version reveals the haptic interface present in the original piece, between body and technology, between the flesh and “spirit made light” of the electronic broadcast.

The interval and indoor playmaking

Although early modern acting companies were adept at using different kinds of venue, performing indoors imposed a significant change in practice. Since indoor theatres required artificial lighting to augment the natural light admitted via windows, candles were employed; but the technology was such that candles could not last untended throughout an entire performance. Performing indoors thus introduced a new component into stage practice: the interval. This article explores what extant evidence (such as it is) might tell us about the introduction of act breaks, how they may have worked, and the implications for actors, audiences and dramatists. Ben Jonson's scripting of the interval in two late plays, The Staple of News and The Magnetic Lady, is examined for what it may suggest about actual practice, and the ways in which the interval may have been considered integral to composition and performance is explored through a reading of Middleton and Rowley's The Changeling. The interval offered playwrights a form of structural punctuation, drawing attention to how acts ended and began; actors could use the space to bring on props for use in the next act; spectators might use the pause between acts to reflect on what had happened and, perhaps, anticipate what was to come; and stage-sitters, the evidence indicates, often took advantage of the hiatus in the play to assert their presence in the space to which all eyes naturally were drawn.