Journal articles: 'Blue Birds (Program)' – Grafiati (2024)

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Abstract We combined Breeding Bird Survey point count protocol and distance sampling to survey spring migrant and breeding birds in Vicksburg National Military Park on 33 days between March and June of 2003 and 2004. For 26 of 106 detected species, we used program DISTANCE to estimate detection probabilities and densities from 660 3-min point counts in which detections were recorded within four distance annuli. For most species, estimates of detection probability, and thereby density estimates, were improved through incorporation of the proportion of forest cover at point count locations as a covariate. Our results suggest Breeding Bird Surveys would benefit from the use of distance sampling and a quantitative characterization of habitat at point count locations. During spring migration, we estimated that the most common migrant species accounted for a population of 5000–9000 birds in Vicksburg National Military Park (636 ha). Species with average populations of >300 individuals during migration were: Blue-gray Gnatcatcher (Polioptila caerulea), Cedar Waxwing (Bombycilla cedrorum), White-eyed Vireo (Vireo griseus), Indigo Bunting (Passerina cyanea), and Ruby-crowned Kinglet (Regulus calendula). Of 56 species that bred in Vicksburg National Military Park, we estimated that the most common 18 species accounted for >8150 individuals. The six most abundant breeding species, Blue-gray Gnatcatcher, White-eyed Vireo, Summer Tanager (Piranga rubra), Northern Cardinal (Cardinalis cardinalis), Carolina Wren (Thryothorus ludovicianus), and Brown-headed Cowbird (Molothrus ater), accounted for >5800 individuals.

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The objective of this study was to evaluate the performance of broiler chickens in different lighting programs. Broiler chickens were fed on feeders of different colours at different breeding phases. In total, 240 Cobb500™ chicks mixed at 1 d of age were used. They were distributed in a completely randomized design. The treatments followed a 2 × 4 factorial design: two lighting programs (continuous and intermittent), and four colours of feeders (white, green, blue, and red). The birds were evaluated for weekly productive performance and the data were submitted to analysis of variance and later Tukey’s test for comparison of means. In the periods 1–7, 1–21, and 1–42 d of age, lighting programs and feeder colours affected weight gain, feed intake, and feed conversion. Intermittent red feeders influenced positively the performance of birds. It is possible to replace conventional lighting programs for intermittent lighting programs. Red feeders exert a positive influence on the performance of broiler chickens.

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Parrots of the genus Amazona are among the most threatened species of the Order Pscittaciformes. This work describes allozyme polymorphisms in three Amazon parrot species - the Blue-fronted Amazon (Amazona aestiva), the Orange-winged Amazon (Amazona amazonica), and the Festive Amazon (Amazona festiva) -, and provides useful data for the evaluation of their genetic variability. We electrophoretically analyzed blood samples from 68 wild-caught individuals, maintained in captivity in three Brazilian zoos. Eight of the ten studied enzyme loci exhibited polymorphism. Glucosephosphate isomerase (Gpi) proved to be a diagnostic locus for the identification of these Amazon species. The expected average heterozygosity of the Blue-fronted Amazon (0.060) differed significantly from the expected heterozygosities of the Orange-winged Amazon and the Festive Amazon (0.040 and 0.039, respectively). This result was discussed as a consequence of hybridization between two geographic A. aestiva subspecies, and alternatively as a particular trait of this species. Genetic variability of the Blue-fronted Amazon compared to birds in general is not low on a species-wide level, despite the fact that this parrot is one of the most illegally traded species. Allozyme analysis proved to be an useful tool in monitoring the genetic variation within the genus Amazona and can be applied in the management program of other threatened species of this genus.

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Ostriches from the South African Black (SAB) and Zimbabwean Blue (ZB) strains, raised to slaughter age in Oudtshoorn, South Africa, were used to investigate the possibility of improving the growth and survival of commercial ostriches through crossbreeding. Growth data from purebred and crossbred ostriches were analysed to estimate heterotic effects at different age intervals. Heterosis was significant at 1 month (P = 0.017) and 14 months of age (P = 0.03), and approached significance (P < 0.071) at 7, 8 and 13 months of age. Different growth patterns were observed between the two purebred strains, with weight at 14 months differing significantly (SAB 89.6 ± 0.9 kg v. ZB 98.3 ± 4.5 kg). The weight advantage relative to SAB birds at this stage amounted to 10% for ZB, 11% for ZB × SAB and 13% for SAB × ZB (all P < 0.05). Mortality to 30 days also showed significant heterosis (P < 0.05). ZB birds had the highest mortality rate at 0.38 ± 0.03, followed by the SAB × ZB (0.34 ± 0.03), the SAB (0.27 ± 0.01) and the ZB × SAB (0.23 ± 0.02) strains. Results indicate that crossbreeding may be utilised to improve the growth and chick survival of commercial ostriches. The breed combinations should be assessed for other productivity traits to determine the viability of a structured crossbreeding program.

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The Blue-and-yellow macaw (Ara ararauna) is a charismatic and easily recognized species. While they are classified as being of “least concern” in the International Union for Conservation of Nature (IUCN) Red List, their populations are declining. In Brazil, the accelerated destruction of one of its key habitats, the Cerrado biome, is a principal cause of their decreasing abundance. As with other species affected by loss of the Cerrado, active conservation measures are required. While usually rare in urban ecosystems, Ara ararauna occurs and breeds in small numbers in the city of Rondonópolis, a medium-sized city located in Mato Grosso, Central-West Region of Brazil. Blue-and-yellow macaw pairs nest in the tops of dead palm trees, but as the macaws are nest-site limited and suitable dead trees are scarce in urban areas, the installation of artificial nest sites in domestic backyards could help that urban population to thrive. To investigate whether local people would be willing to engage with conservation efforts and in particular to support macaw conservation, we surveyed the attitudes of Rondonópolis residents to measure: (1) citizens’ preferences among the bird species that occur in the city; (2) the average area of their yards, and (3) the willingness of residents to: (a) plant fruit trees to attract macaws to their yards and (b) to install artificial nests in their yards. Larger and more colorful birds (Ara ararauna, the Red-and-green macaw Ara chloropterus and Toco Toucan Ramphastos toco) were the bird species most valued across all socio-economic groups, suggesting that the charismatic species would be more likely to be supported by urbanites. Overall, people had good biodiversity knowledge, with respondents being able to identify half of our sample of local bird species, on average, and almost half had seen a nest site. The great majority were willing to plant fruit trees (78%) and provide nest sites (70%) for macaws. This willingness to engage was not affected by socioeconomic differences. These data indicate that a municipal macaw conservation program could be successful in Rondonópolis, and we argue that macaws could be a flagship species which would benefit wider efforts to engage Brazilian urbanites in active engagement with nature.

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Role of conservation of birds has been least considered during modification of vegetative habitats, in studies conducted on birds in protected areas and urban landscapes in Sri Lanka. The present study was intended to assess the relationship between landscape and the composition and distribution of avifauna in University of Kelaniya, a human-modified area. The study was conducted selecting 8 habitats including open ground, low, moderately, and highly wooded habitats. A survey was conducted from 0530 to 0730 hr in the morning and 1630-1830 hr in the evening from August to December 2016 ensuring eight sampling events at each habitat. Point counting method (15 m radius) was used along a 100 m line transect. Species diversity parameters were analyzed. Principal Component Analysis (PCA) was performed to characterize the habitats with bird species. A total of 40 species were recorded. Species richness (r = 27) and species heterogeneity (H′ = 3.09) were the highest in Mee amba sevana habitat while species evenness (J = 0.977) was the highest in medical center area habitat. Total abundance (n = 135) was recorded in Saiba ground. Asian brown flycatcher (Saiba ground, medical center area, Mee amba sevana, Girls’ Hostel complex, and English language unit habitats) and white-bellied drongo (Saiba ground, medical center area, Girls’ Hostel complex, English language unit, and Thal weta premises) were widely distributed (z > 0, Kruskal-Wallis, Minitab 14). The second largest distribution was recorded by black-hooded oriole, blue-tailed bee-eater, cattle egret, feral pigeon, brown-headed barbet, red-vented bulbul, and rose-ringed parakeet within four habitats (z > 0, Kruskal-Wallis). According to the PCA, Saiba ground habitat was categorized by open ground dwelling birds, and Mee amba sevana was characterized by frugivorous birds, while Girls’ Hostel complex habitat was characterized by carnivorous birds. Comparatively, medical center area habitat contributes to the highest species diversity with many flowering and fruiting trees while providing sufficient food resources and high floral structural complexity. Recorded avifaunal community composition ensures considerable conservation value to university premises of Kelaniya. Awareness and monitoring programs are recommended for sustainable conservation of bird species in Kelaniya.

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Wright-Patterson Air Force Base (near Dayton, OH) continues to expand their local community educational outreach programs with the new mobile science research laboratory, Tech Trek - Mobile Research Laboratory. Tech Trek serves surrounding communities using a 40-foot customized Blue Bird bus equipped with an R.J. Lee Instruments Limited portable scanning electron microscope (SEM). The microscope is on loan from the Materials and Manufacturing Directorate of the Air Force Research Laboratory (AFRL) at Wright-Patterson Air Force Base.The purpose of the Tech Trek program is to stimulate school science programs by making state-of-the-art, usually cost-prohibitive scientific equipment and experienced support staff accessible to schools. The program is focussed on providing opportunities for students currently in the grades six through twelve, our future scientists and engineers, to interact with role models in science and technology while being engaged in interesting scientific research. Using this mobile format combination classroom and laboratory,

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Abstract We studied the patterns of sexual dichromatism and seasonal variation in plumage color in the Diademed Tanager (Stephanophorus diadematus), a species previously considered devoid of variation in adult plumage. The general coloration of this species is dark blue-violet, with a white-blue and red crown. Plumage reflectance of seven body regions from 33 study skins belonging to adults of both sexes was measured. Reflectance values were used in a principal components analysis (PCA) and hue, short-wave chroma, and UV chroma were also measured directly on the spectra. Both PCA factor scores and these latter variables were subjected to two-way ANCOVAs with sex and season as main factors and the year of capture as a covariate. We found that crowns of males were significantly brighter than those of females. In addition, the nape, chest, and belly showed significant differences in spectral shape, with relatively greater short-wave reflectance and less long-wave reflectance in males than in females. Although sexes were alike in hue, they differed in chroma in almost all body regions. Brightness also differed between seasons, and contrary to our expectation nonbreeding birds were brighter than breeding ones. This result may be a consequence of the particular molt program of tanagers that includes only a complete post-reproductive molt. Despite finding seasonal differences in spectral shape in various body regions, no significant changes in hue, short-wave chroma, or UV chroma were evident. To our knowledge, this is the first report of variation in adult plumage color for the Diademed Tanager, and we suggest that dichromatism in tanagers may be even more pervasive than is currently recognized. Dicromatismo Críptico y Variación Estacional de Color en Stephanophorus diadematus Resumen. Estudiamos los patrones de dicromatismo sexual y variación estacional en la coloración del plumaje de Stephanophorus diadematus, una especie previamente considerada carente de variación en la coloración del plumaje adulto. La coloración general de esta especie es azul violáceo oscuro, con una corona blanca azulada y roja. Se midió la reflectancia de siete regiones corporales en 33 pieles de estudio pertenecientes a adultos de ambos sexos. Los valores de reflectancia se utilizaron en un análisis de componentes principales, y además se midieron el tono (hue), la intensidad del color de onda corta y la intensidad del color de UV directamente sobre los espectros. Tanto los factores del análisis de componentes principales como las variables mencionadas fueron sujetos a ANCOVAs de dos factores, considerando el sexo y la estación como factores principales, y el año de captura como covariable. Estos análisis mostraron que la corona de los machos es significativamente más brillante que la de las hembras. Además, la nuca, el pecho y el vientre mostraron diferencias significativas en la forma espectral, presentando los machos mayor reflectancia en la zona de onda corta y menor en la zona de onda larga que las hembras. Si bien el tono no difirió entre sexos, la intensidad del color difirió en la mayoría de las regiones corporales entre machos y hembras. El brillo también difirió entre temporadas y, contrariamente a nuestra expectativa, los individuos capturados en la temporada no reproductiva fueron más brillantes que aquellos capturados en la temporada reproductiva. Este resultado podría deberse al programa de muda particular presente en Thraupidae, que incluye una única muda post-reproductiva completa. Si bien encontramos diferencias entre estaciones en la forma espectral en varias regiones corporales, no se detectaron diferencias en el tono, la intensidad del color de onda corta ni la intensidad del color de UV. Este es, de acuerdo a nuestro conocimiento, el primer estudio que muestra variación en la coloración del plumaje adulto de S. diadematus. Sugerimos que el dicromatismo en Thraupidae podría ser más común de lo que actualmente se piensa.

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Perkembangan Jasa Transportasi di Indonesia semakin meningkat setiap tahunya, hal ini dipengaruhi dengan perkembangan teknologi yang semakin canggih. Kemajuan pesat ini tentunya memberikan dampak perubahan yang signifikan, baik berdampak positif maupun negatif terhadap pelaku usaha lainya. Munculnya transportasi online mampu menggerus pelaku usaha konvensional, Kendati demikian jasa transportasi taksi Blue Bird masih mampu bertahan ditengah pesatnya persaingan di era globalisasi ini. Penelitian ini bertujuan untuk mengetahui seberapa besar pengaruh Kualitas pelayanan, Brand Image dan Kepuasan Pelanggan terhadap Loyalitas Pelanggan taksi Blue Bird. Jenis penelitian yang digunakan adalah kuantitatif dengan teknik accidental sampling, dengan melibatkan 105 responden pelanggan taksi Blue Bird di mall Ciputra Jakarta Barat. Untuk pengumpulan data meliputi observasi, penyebaran kuesioner dan studi kepustakaan. Metode analisis yang digunakan yaitu uji validitas, uji reliabilitas, uji asumsi klasik, analisis linear berganda dan uji hipotesis. Pengolahan data menggunakan program SPSS Versi 22.0 dan menghasilkan kesimpulan bahwa kualitas pelayanan (XI) tidak memberikan pengaruh positif dengan nilai signifikan 0,122 lebih besar dari 0.05, variabel Brand Image tidak memberikan pengaruh positif dengan nilai signifikan 0,192 lebih besar dari 0,05 dan variabel Kepuasan Pelanggan memberikan pengaruh positif dengan nilai signifikan 0,002 lebih kecil dari 0,05.

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Terdapat beberapa jenis transportasi baik dalam bentuk kendaraan pribadi seperti mobil, sepeda motor serta angkutan umum baik angkutan online maupun offline. Transportasi online dan offline bersaing dalam menawarkan berbagai pelayanan dan promosi yang dapat menarik minat masyarakat dalam memilih moda transporasi mana yang akan dipilih dalam melakukan aktifitas dari dan menuju Bandara. Berdasarkan uraian diatas, penelitian ini dilakukan untuk menganalisis minat masyarakat terhadap pemilihan moda transportasi taksi online (Grab) dan taksi konvensional (Blue Bird) dari dan menuju Bandara Internasional I Gusti Ngurah Rai.Dalam penelitian ini peneliti menggunakan pendekatan analisa regresi logistik biner yang diolah melalui program SPSS 17.0. Penentuan pilihan moda transportasi dilakukan dengan survey kuisioner menggunakan media onine. Hasil penelitian dari 100 responden menentukan preferensi pemilihan moda terdapat 90 responden memilih taksi online (Grab) dan 10 responden memilih taksi konvensional (Blue Bird).Berdasarkan hasil analisis diatas, moda transportasi yang lebih diminati masyarakat adalah moda transportasi online (Grab) dilihat dari beberapa aspek yang ditawarkan penyedia jasa online maupun konvensional, seperti tarif sebesar 49%, kemudahan mendapat moda sebesar 78% dan kualitas pelayanan sebesar 85%.

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Program kemitraan masyarakat ini dilakukan sebagai bentuk pengabdian kepada masyarakat dalam rangka merespon kendala berkomunikasi yang dihadapi oleh para pengemudi taksi saat mendapatkan penumpang internasional. Sehingga program pendampingan pelatihan ini bertujuan untuk meningkatkan pengetahuan , kompetensi d a n p er ca ya di ri para pengemudi taksi Blue Bird di wilayah DKI Jakarta dan sekitarnya agar mampu berkomunikasi dengan tepat melalui program pendampingan pelatihan Bahasa Inggris. Pada awalnya program pendampingan pelatihan Bahasa inggris ini dirancang sedemikian rupa dengan mengenalkan jenis-jenis ungkapan sederhana saat membuka percakapan, percakapan inti, meminta dan memberi informasi. Selain itu, pelatihan pengucapan/ pronounciation yang benar akan kosakata Bahasa inggris pun menjadi fokus dalam program ini mengingat salah satu kendala berbahasa adalah pelafalan kata yang kurang tepat sehingga memicu kesalah pahaman akan makna yang disampaikan. Diawal pelaksanaan program dilakukan secara tatap muka dengan mengenalkan jenis-jenis ungkapan sederhana yang biasa digunakan untuk menunjang profesi supir taksi. Namun, dengan merebaknya virus Covid-19 ditengah proses pembelajaran berlangsung, maka sistem pembelajaran pun beralih ke daring dengan menggunakan berbagai jenis kelas daring/ platform seperti Edmodo dan juga menggunakan platform video conference melalui Zoom. Adapun hasil pelatihan ini berhasil meningkatkan kepercayaan diri dan keterampilan dalam berkomunikasi para supir taksi menjadi lebih fasih, lancar , benar pada saat berkomunikasi dengan penumpang internasional.

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Every established company certainly hopes that the company can grow rapidly, advance and have a long life. The survival of a company depends very much on what the company produces through the performance of the workers in the company. A worker will give a maximum performance if they get satisfaction from the results of their work. The satisfaction of these workers can be given through employee benefits that are appropriate for their work. With employee benefits, workers will provide maximum and good performance and have a sense of loyalty to the company. The purpose of this study was to find out how the application of PSAK No.24 (revised 2013) regarding post-employment benefits in a company, the suitability of recognition, measurement and disclosure and the impact of the application of PSAK No. 24 (Revised 2013). The author conducted research at PT. Indonesian Telecommunications.Tbk and PT. Blue Bird.Tbk. The results of the study show that the two companies have implemented post-employment benefits in accordance with PSAK No.24 (revised 2013). PT Telekomunikasi Indonesia.TbK implements both post-employment benefits programs, namely defined benefits and definite contributions, while for PT. Bird Bird.Tbk only implements a defined contribution program. Because both companies have implemented PSAK No. 24 (Revised 2013) which took effect on January 1, 2015 then the financial statements of the two companies must be reviewed. Therefore, both companies should maintain their consistency in implementing PSAK No.24 in accordance with the applicable regulations. Because employee benefits are a large operating expenses of the company and can affect the company's profit.

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Abstract We report a new automated fluorescence assay for determination of albumin in urine. The dye Albumin Blue 580 specifically binds to albumin with exhibition of strong red fluorescence. The albumin concentration is calculated from emission intensity at 616 nm (excitation at 590 nm) and a calibration curve. Two Cobas Fara programs cover working ranges of 2–200 and 1–50 mg/L with detection limits of 1.4 and 0.4 mg/L, respectively. Within-run CVs (n = 10) ranged from 1.7% (189 mg/L) to 8.9% (7.2 mg/L) for 2–200 mg/L and from 2.9% (43.3 mg/L) to 5.7% (2.3 mg/L) for the 1–50 mg/L range. A test of urine samples (n = 100) submitted to routine analysis gave results that agreed well with those by the Behring nephelometric assay: AB 580 = 0.922 (± 0.010) BNA + 4.16 (± 0.78). No interference was detected from other urine components, including several proteins and 46 drugs. The high specificity and sensitivity make the method ideal for determination of microalbuminuria. In addition, the method is fast, inexpensive, and well-suited for clinical laboratory application and thus may be used instead of immunoassays.

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Background: The indiscriminate use of antibiotics both in humans and in animals, has contributed to the development of bacterial resistance. One of the key mechanisms in the resistance of enterobacteria to antibiotics is the production of extendedspectrum β-lactamases (ESBLs), which reduce the therapeutic options available. Several studies have been performed in different animal species in order to isolate and identify multidrug-resistant strains and determine their antibiotic sensitivity profile. The purpose of this study was to detect ESBL-producing enterobacteria in isolates from a pet blue-fronted amazon parrot.Case: A 16-year-old pet blue-fronted-amazon parrot (Amazona aestiva) weighing 0.445 kg, from the city of Presidente Castelo Branco, Paraná, Brazil, was admitted into a specialized veterinary clinic in the city of Maringá. This parrot was presented with agitation and aggressive behavior. It was fed with sunflower seeds, and its cage was small and unsanitary especially in the feeding and drinking areas, which were heavily contaminated with feces. The parrot had been diagnosed with acute sinusitis approximately one year prior, with a history of treatment with tylosin, thuya (a herbal remedy popularly used for fowl pox), and a mineral-vitamin complex. The clinical symptoms included dyspnea and bilateral increase of facial swelling, with a mass in the peri-nasal region. A membranous red tissue not related to the nictitating membrane was observed in the lower left eyelid. To obtain a better clinical evaluation, the bird was anesthetized with an intramuscular injection of dextroketamine 50 mg/kg (KetaminS+™). Subsequently, physical examination, head radiographic examinations, and an attempt at sinus draining were performed. The radiographic examinations showed a decreased amount of air in the nasal sinuses. For treatment, oral itraconazole and vitamin A were prescribed, and a dietary improvement, prioritizing the offering of fruits and industrialized food for parrots was proposed. Samples were collected from the cloaca and choanae by making rotating movements with compressed sterile swabs in the corresponding locations. All samples were kept in Amies transport media with activated coal and forwarded under refrigeration to the Laboratory of Preventive Veterinary Medicine and Public Health in the Post-Graduation Program in Animal Sciences with Emphasis in Bioactive Products at Universidade Paranaense (UNIPAR).Discussion: The samples were subjected to phenotypic antimicrobial sensitivity tests and phenotypic testing for detecting ESBL-producing strains. Escherichia coli was identified and isolated from the cloacal sample. Phenotypic tests for antimicrobial sensitivity, detected resistance to the following antimicrobials: ceftriaxone, ceftiofur, cefotaxime, cefepime, ampicillin, amoxicillin, amoxicillin + clavulanate, and tetracycline. The phenotypic test for detecting ESBL-producing strains was positive. The findings in this study had no relation with the clinical symptoms presented by the parrot. However, in the samples collected, it was possible to detect the presence of ESBL-producing Escherichia coli, indicating that this parrot had strains in its cloacal microbiota that were either multidrug-resistant or at a subclinical stage of an infection. This knowledge is important, since the presence of this bacteria in a pet represents an important factor in the dissemination of multidrug-resistant strains into the environment, as well as being a source of contamination for both humans and other animals.

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Abstract Background: VOCs are the hallmark of SCD and can lead to serious complications and organ damage. P-selectin, a cell adhesion protein, plays a central role in the multicellular interactions that can lead to VOCs. Crizanlizumab, a first-in-class humanized monoclonal antibody that targets P-selectin, is approved in several regions to prevent/reduce VOC burden for patients (pts) with SCD aged ≥16 years. Pts in some countries can obtain early access to crizanlizumab before health authority approval via a MAP (NCT03720626); first pt enrolled in June 2018. Aim: To describe the proportions of pts with 0 home- or 0 healthcare-managed VOCs after 6 months of treatment with crizanlizumab in the MAP (in countries where publication of these data is allowed). Methods: The MAP was designed to provide access to crizanlizumab for SCD pts with serious or life-threatening disease for which no comparable or satisfactory alternative to crizanlizumab was available as treatment in their country. Other eligibility criteria included: aged 16-70 years (18-70 years in Italy); history of VOCs as assessed by the treating physician (including recurrent VOCs while receiving hydroxyurea [HU], L-glutamine or other therapies); and not eligible for a crizanlizumab clinical trial. At baseline, treating physicians were asked about their pts' disease burden in the 12 months prior to requesting access to crizanlizumab (eg frequency of home- or healthcare-managed VOCs and opioid use for VOC management). The proportions of pts with 0 home- or 0 healthcare-managed VOCs after 6 months of treatment with crizanlizumab are described overall and stratified by SCD genotype and history of HU use. Results: Treating physicians made requests for initial access to crizanlizumab for 146 pts eligible for this analysis. Most of these pts were from Brazil (n=105; 72%), with the remainder residing in Italy, Spain, Israel, Canada, Portugal and Switzerland. Of the 144 pts with baseline data (missing, n=2), 142 (99%) had ≥1 home-managed VOC (median [interquartile range; IQR] of 6 [4‒8.5] VOCs) and 137 (95%) had ≥1 healthcare-managed VOC (median [IQR] of 3 [2‒5] VOCs) in the 12 months before entry into the MAP. Opioids were taken for VOC management by 92% of pts in the 12 months prior to baseline (n=132/144); the most common was morphine (n=57/132; 43%). As of June 2021, 102 of the 146 pts with initial requests had received crizanlizumab for ≥6 months and had resupply requests submitted by their physicians. For these 102 pts, median (IQR) age was 33 (25-40) years, 62% were female, 47% were of African American ethnicity, the genotype was HbSS in 79%, and a history of HU use was reported in 45% of these pts. Eleven pts (5%) discontinued crizanlizumab during the 6 months of treatment reported in this analysis. Of the 102 pts with data available 6 months post-crizanlizumab initiation, 46 (45%) reported 0 home-managed VOCs (median [IQR] of 1 [0‒2] VOC) and 62 (61%) reported 0 healthcare-managed VOCs (median [IQR] of 0 [0‒1] VOCs) during this time period. The proportions of pts with 0 home- or 0 healthcare-managed VOCs after 6 months of treatment with crizanlizumab stratified by SCD genotype and history of HU use are shown in Figure 1. Clinicians participating in the MAP anecdotally reported improvement in certain clinical complications (eg leg ulcers and priapism), reduced frequency of hospitalizations, shorter lengths of hospital stay and reduced use of opioids in some pts after crizanlizumab treatment. Adverse events were consistent with those reported in other crizanlizumab studies. Limitations: The difference in time periods for which data are available (ie 12 months for baseline data vs 6 months for post-treatment initiation data) precludes a comparison of data pre- and post-initiation of crizanlizumab in this analysis. Information about HU use was not provided for all pts, therefore the proportion of pts with a history of HU use in this analysis could be higher than reported. Conclusion: Pts participating in the crizanlizumab MAP had a high burden of home- and healthcare-managed VOCs at baseline despite many pts reporting a history of HU use; almost all required opioids for VOC management. Findings from this analysis looking at the proportion of pts with 0 home- or 0 healthcare-managed VOCs after 6 months of treatment with crizanlizumab are promising, although additional data with ≥12 months of exposure are required to compare VOC burden on treatment with that reported here at baseline. Figure 1 Figure 1. Disclosures Cançado: Novartis: Consultancy. Colombatti: NovoNordisk: Membership on an entity's Board of Directors or advisory committees; Novartis: Honoraria, Membership on an entity's Board of Directors or advisory committees; Global Blood Therapeutics: Membership on an entity's Board of Directors or advisory committees, Research Funding; bluebird bio: Membership on an entity's Board of Directors or advisory committees, Research Funding; Forma Therapeutics: Membership on an entity's Board of Directors or advisory committees. Quarta: Novartis: Membership on an entity's Board of Directors or advisory committees, Other: collaboration relationships for Advisory boards, Webinar events, editorial projects; Speaker at conferences; Celgene: Other: collaboration relationships for Advisory boards, Webinar events, editorial projects; Sanofi - Genzyme: Membership on an entity's Board of Directors or advisory committees, Other: collaboration relationships for Advisory boards, Webinar events, editorial projects; Speaker at conferences; Blue Bird Bio: Other: collaboration relationships for Advisory boards, Webinar events, editorial projects; Takeda: Other: collaboration relationships for Advisory boards, Webinar events, editorial projects; speaker at conferences; Bristol Meyer Squibb: Membership on an entity's Board of Directors or advisory committees, Other: Speaker at conferences. DeBonnett: Novartis Pharmaceuticals Corporation: Current Employment. Soliman: Novartis: Current Employment. Sarkar: Novartis: Current Employment. Pinto: Novartis: Consultancy; Global Blood therapeutics (GBT): Consultancy; EMS, Brazil: Consultancy.

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Abstract Background Blastic plasmacytoid dendritic cell neoplasm (BPDCN) is an extremely rare hematologic malignancy affecting 1.5-2.0 per million adults per year worldwide, which corresponds to approximately 1,000 cases in Europe. It is a highly aggressive disease characterized by skin and bone marrow involvement, with secondary sites including lymph nodes and viscera. BPDCN is associated with a poor prognosis, median overall survival of 8-14 months, and has no firm consensus for therapy. Tagraxofusp (TAG, SL-401) is currently the only approved first-line treatment for adult patients with BPDCN in Europe. TAG is a targeted therapy directed to CD123 that has shown efficacy in a controlled, prospective trial with prespecified endpoints. Specifically, TAG is a recombinant cytotoxin composed of human interleukin-3 fused to a truncated diphtheria toxin payload that targets CD123, the α-subunit of interleukin-3 receptor commonly overexpressed on the surface of BPDCN tumor cells. In the past, most adult and pediatric patients in Europe were treated with a plethora of experimental combination chemotherapies often imported from aggressive myeloid and lymphoid malignancy treatment regimens, followed by hematopoietic stem cell transplantation (SCT), as best available treatment. However, there is no robust evidence of the effectiveness and safety of these therapies for BPDCN, due to its rarity, the absence of prospective studies, and the variability in diagnostic criteria, definition of endpoints, and assessment of outcomes. As of July 2021, 65 patients with BPDCN have been treated with TAG in a clinical setting outside the US, as part of an expanded access program. Continued collection of clinical data from the use of TAG in a real-world setting in patients with BPDCN is important to increase the knowledge of clinical outcomes, especially in patient populations commonly underrepresented in clinical trials. This is the first real-world evidence prospective registry in patients with BPDCN receiving TAG. The study is designed to meet the requirements included in the marketing authorization by the European Commission, to further investigate the effectiveness and safety of TAG in the treatment of patients with first-line or relapsed/refractory BPDCN. Study Design and Methods This is a noninterventional, single-arm study (EudraCT: 2021-001684-24) in patients with BPDCN to assess clinical effectiveness and safety of TAG under real-world routine clinical practice conditions (12 mcg/kg intravenously [IV] once daily on days 1-5 of a 21-day cycle, per the summary of product characteristics general recommendation). Up to 125 patients are planned for inclusion in approximately 65 clinical sites in Europe estimated over 3 years. Eligible patients have a diagnosis of BPDCN and are scheduled to start TAG monotherapy, per physician's decision. The primary study objectives are to determine the complete response (CR) rate, defined as CR + clinical CR (CR with residual skin abnormality not indicative of active disease) after 3 months of treatment, and to assess the safety of TAG, in particular the incidence and severity of capillary leak syndrome (CLS). Secondary objectives include analysis of the rate of patients bridging to SCT, progression-free survival, overall survival, best overall response, duration of response, dose interruptions/administration of IV albumin supplementation in patients with CLS or CLS symptoms, incidence and severity of adverse events of special interest (AESIs), overall safety, and TAG treatment administered. AESIs include CLS and hepatic, renal, and cardiac events. Per routine clinical practice, quarterly data collection is anticipated during the study. In addition, data will be collected at screening, enrollment, early discontinuation, and study end (Figure). The end of the registry safety data collection will be 18 months after the last enrolled patient's first visit (LPFV). Interim analyses will be performed annually, and an effectiveness interim analysis is scheduled at 12 months post-LPFV. All effectiveness and safety analyses will be performed using descriptive statistics. Survival data will be summarized using the Kaplan-Meier method. Subgroup analyses for effectiveness and safety may be performed, on the basis of gender, age, or Eastern Cooperative Oncology Group performance status at baseline. Enrollment is planned to start by December 2021. Figure 1 Figure 1. Disclosures Platzbecker: Celgene/BMS: Honoraria; Novartis: Honoraria; Janssen: Honoraria; Takeda: Honoraria; AbbVie: Honoraria; Geron: Honoraria. Angelucci: Menarini-Stemline: Honoraria, Membership on an entity's Board of Directors or advisory committees, Other: steering commitee, Speakers Bureau; Vertex Pharmaceuticals: Honoraria, Other: DMC; Celgene BSM: Honoraria, Other: DMC; Blue Bird Bio: Honoraria, Membership on an entity's Board of Directors or advisory committees; Novartis: Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Crispr therapeutics: Honoraria, Other: DMC; Glaxo: Honoraria, Membership on an entity's Board of Directors or advisory committees; Gilead: Honoraria, Membership on an entity's Board of Directors or advisory committees. Montesinos: Glycomimetics: Consultancy; Teva: Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Sanofi: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Incyte: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Tolero Pharmaceutical: Consultancy; Janssen: Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Forma Therapeutics: Consultancy; Pfizer: Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Celgene: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Daiichi Sankyo: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Karyopharm: Membership on an entity's Board of Directors or advisory committees, Research Funding; Novartis: Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Agios: Consultancy; AbbVie: Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Astellas Pharma, Inc.: Consultancy, Honoraria, Other: Advisory board, Research Funding, Speakers Bureau; Stemline/Menarini: Consultancy. Lemoni: AbbVie: Membership on an entity's Board of Directors or advisory committees; Janssen: Membership on an entity's Board of Directors or advisory committees; Jazz: Membership on an entity's Board of Directors or advisory committees; Daiichi Sankyo: Membership on an entity's Board of Directors or advisory committees; Servier: Membership on an entity's Board of Directors or advisory committees; Stemline Therapeutics: Membership on an entity's Board of Directors or advisory committees; Celgene: Research Funding. Spyridonidis: Menarini: Current Employment. Casariego: Menarini: Current Employment. Mughal: Stemline: Current Employment, Current holder of stock options in a privately-held company; Oxford University Press, Informa: Other: financial benefit and/or patents . Mohty: Sanofi: Honoraria, Research Funding; Pfizer: Honoraria; Novartis: Honoraria; Takeda: Honoraria; Jazz: Honoraria, Research Funding; Janssen: Honoraria, Research Funding; Gilead: Honoraria; Celgene: Honoraria, Research Funding; Bristol Myers Squibb: Honoraria; Astellas: Honoraria; Amgen: Honoraria; Adaptive Biotechnologies: Honoraria.

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Starch quality is one of the most important agronomic traits in rice (Oryza sativa L). In this study, we identified single nucleotide polymorphisms (SNPs) in the Waxy and Alk genes of eight rice varieties and their associations with starch physicochemical properties.vi.e.vamylose content (AC) and gelatinization temperature (GT). Seven Sri Lankan rice varieties, Pachchaperumal, Herathbanda, At 354, Bg 352, Balasuriya, H 6 and Bw 295-5 were detected as high amylose varieties while Nipponbare exhibited low amylose content. In silico analysis of the Waxy gene revealed that all tested Sri Lankan varieties possessed ‘G’ (Wxa allele) instead of ‘T’ in the first intron which could explain varieties with high and intermediate amylose content. All Sri Lankan varieties had ‘A’ instead of ‘C’ in exon 6 of the Waxy gene and this fact was tally with the varieties showing high amylose content. Therefore, possessing the Wxa allele in the first intron and ‘A’ in exon 6 could be used as a molecular marker for the selection of high amylose varieties as validated using several Sri Lankan varieties. All Sri Lankan varieties except, Bw 295-5 exhibited the intermediate type of GT which could not be explained using the so far reported allelic differences in the Alk gene. However, Bw 295-5 which is a low GT variety had two nucleotide polymorphisms in the last exon of the Alk gene, i.e. ‘G’ and ‘TT’ that represent low GT class. Therefore, it can be concluded that sequence variations of Waxy and Alk genes reported in this study are useful in breeding local rice varieties with preferential amylose content and GT class.Key word Alk gene, amylose content, single nucleotide polymorphism, Waxy gene.INTRODUCTIONRice (Oryza sativa L.) is one of the leading food crops of the world. More than half of the world’s population relies on rice as the major daily source of calories and protein (Sartaj and Suraweera, 2005). After grain yield, quality is the most important aspect of rice breeding. Grain size and shape largely determine the market acceptability of rice, while cooking quality is influenced by the properties of starch. In rice grains starch is the major component that primarily controls rice quality. Starch consists of two forms of glucose polymers, relatively unbranched amylose and a highly branched amylopectin. Starch-synthesizing genes may contribute to variation in starch physicochemical properties because they affect the amount and structure of amylose and amylopectin in rice grain (Kharabian-Masouleh et al., 2012). Amylose content (AC), gelatinization temperature (GT) and gel consistency (GC) is the three most important determinants of eating and cooking quality. Amylose content is the ratio of amylose amount present in endosperm to total starch content. Rice varieties are grouped based on their amylose content into waxy (0-2%), very low (3-9%), low (10-19%), intermediate (20-25%), and high (> 25%) (Kongseree and Juliano, 1972). The most widely used method for amylose determination is a colorimetric assay where iodine binds with amylose to produce a blue-purple color, which is measured spectrophotometrically at a single wavelength (620nm). Low amylose content is usually associated with tender, cohesive and glossy cooked rice; while, high amylose content is associated with firm, fluffy and separate grains of cooked rice. The Waxy (Wx) gene, which encodes granule-bound starch synthase I (GBSSI), is the major gene controlling AC in rice (Nakamura, 2002). The Waxy gene is located on chromosome six and various single nucleotide polymorphisms (SNPs) of Wx were found, including a ‘G’ to ‘T’ SNP of the first intron, ‘A’ to ‘C’ SNP of the sixth exon and ‘C’ to ‘T’ SNP of the tenth exon (Larkin and Park, 2003). The ‘AGGTATA’ sequence at the 5’splice-junction coincides with the presence of the Wxa allele, while the ‘AGTTATA’ sequence coincides with the presence of the Wxb allele. Therefore, all intermediate and high amylose cultivars had ‘G’ nucleotide while low amylose cultivars had ‘T’ nucleotide at the putative leader intron 5′ splice site. The cytosine and thymidine (CT) dinucleotide repeats in the 5’- untranslated region (UTR) of the Waxy gene were reported to be a factor associated with AC. However, the relationship between these polymorphisms and amylose contents is not clear. Amylopectin chain length distribution plays a very important role to determine GT in cooked rice. The time required for cooking is determined by the gelatinization temperature of starch. It is important because it affects the texture of cooked rice and it is related to the cooking time of rice. The gelatinization temperature is estimated by the alkali digestibility test. It is measured by the alkali spreading value (ASV). The degree of spreading value of individual milled rice kernels in a weak alkali solution (1.7% KOH) is very closely correlated with gelatinized temperature. According to the ASV, rice varieties may be classified as low (55 to 69°C), intermediate (70 to 74°C) and high (> 74°C) GT classes. In a breeding program ASV is extensively used to estimate the gelatinization temperature. The synthesis of amylopectin is more complex than that of amylose. Polymorphisms in the starch synthase IIa (SSIIa) gene which is recognized as the Alk gene are responsible for the differences in GT in rice (Umemoto and Aoki, 2005; Waters et al., 2006). Two single nucleotide polymorphisms (SNPs) in the last exon of the Alk gene are responsible for the differences in GT in rice. The biochemical analysis clearly showed that the function of the amino acids caused by these two SNPs is essential for SSIIa enzyme activity (Nakamura et al., 2005) and those are ‘G’/‘A’ SNP at 4424 bp position and ‘GC’/‘TT’ SNPs at 4533/4534 bp position with reference to Nipponbare rice genomic sequence. Based on the SNPs, Low SSIIa enzyme activity results in S-type amylopectin, which is enriched in short chains whereas high SSIIa enzyme activity produces L-type amylopectin (Umemoto et al., 2004). Therefore, the combination of ‘G’ at SNP3 and ‘GC’ at SNP4 is required to produce L-type rice starch and this has a higher GT relative to S-type starch. GC is a standard assay that is used in rice improvement programs to determine the texture of softness and firmness in high amylose rice cultivars. Intermediate and low amylose rice usually has soft gel consistency. Sequence variation in exon 10 of the Waxy gene associates with GC (Tran et al., 2011).OBJECTIVES The objectives of this study were to detect polymorphisms in major starch synthesizing genes among several rice cultivars as models and to determine the relationship between their SNP variations and starch physicochemical properties. Also, we analyzed major starch synthesizing gene sequences of several Sri Lankan rice varieties in silico aiming at utilizing this information in rice breeding programs.MATERIALS AND METHODSPlant materials: Seeds of eight Oryza sativa L. accessions were obtained from the Rice Research and Development Institute (RRDI), Bathalagoda, Sri Lanka and Gene Bank of Plant Genetic Resource Center (PGRC), Gannoruwa.Characterization of grain physical parameters: Grain length and width were determined using a vernier caliper. Ten grains from each sample were collected randomly and measured to obtain the average length and width of the milled rice. The average length and width were recorded as their length and width. Based on the length and width of the grains, the milled rice grains were classified into four classes (table 1) according to the method accepted by RRDI Bathalagoda, Sri Lanka.According to the scale L/S – Long Slender, L/M – Long Medium, I/B – Intermediate Bold and S/R –Short RoundAnalysis of amylose content: Initially, rice samples were dehusked and polished prior to milling. Ten whole – milled rice kernels of eight rice samples were ground separately by using mortar and pestle. Amylose content per 100 mg was determined by measuring the blue value of rice varieties as described by Juliano (1971). About 100mg rice sample was shifted into a 100 mL volumetric flask and 1mL of 95% ethanol was added. Then 9mL of 1N NaOH was added and the content was boiled for 20min. at boiling temperature to gelatinize the starch. After cooling the content, the volume was made up to 100mL and 5mL of starch solution was pipetted out into a 100mL volumetric flask. The blue color was developed by adding 1mL of 1N acetic acid and 2 mL of iodine solution (0.2g iodine and 2.0g potassium iodine in 10 mL aqueous solution). Then volume was made up to 100mL with distilled water and the solution was kept for 20min. after shaking. Finally, the absorbance of the solution was measured at 620nm using Spectrophotometer T80 (PG Instruments Limited) as described by Juliano (1971). The standard curve was prepared using 40mg of potato-amylose to calculate the amylose content of rice varieties through absorbance values. Forty mg of potato amylose was put into a 100 mL of volumetric flask and 1ml of 95% ethanol and 9mL of NaOH were added and content was heated for 20min at boiling temperature. After cooling the content volume of the solution was made up to 100mL using distilled water. Then 1mL, 2mL, 3mL, 4mL and 5mL of amylose solution were pipetted out into 100mL flasks. Then 0.2mL, 0.4mL, 0.6mL, 0.8mL and 1mL of 1N acetic acid were added to the flasks respectively. Finally, 2mL of iodine solution was added to each flask and volume was made up to 100mL with distilled water. Solutions were stood up for 20min. after shaking and absorbance values were measured at 620nm. Measured absorbance values were plotted at 620nm against the concentration of anhydrous amylose (mg).Analysis of gelatinization temperature: GT was indirectly measured on rice by the alkali spreading value. Husked and polished seeds per accession were used for the analysis. Selected duplicate sets of six milled grains without cracks of each sample were put into Petri dishes. About 10mL of 1.7% KOH was added and grains were spread in the petri dish to provide enough space. The constant temperature at 30°C was maintained to ensure better reproducibility. After 23hrs, the degree of disintegration was quantified by a standard protocol with a numerical scale of 1–7 (table 2) as reported by Cruz and Khush (2000). As reported by Juliano (2003), GT of rice was determined using the alkaline spreading scale, where 1.0-2.5: High (74-80 °C), 2.6-3.4: High-intermediate (70-74 °C), 3.5-5.4: Intermediate (70-74 °C) and 5.5-7.0 Low: (55-70 °C).Bioinformatics and statistical analysis: The available literature was used to identify the most likely candidate genes associated with rice starch quality and their SNPs of each gene (Hirose et al., 2006; Waters and Henry, 2007; Tran et al., 2011). In all the tested varieties except Bg 352 and At 354, the DNA sequence of each gene was retrieved from the Rice SNP Seek database (http://snp-seek.irri.org/). The gene sequences of At 354 and Bg 352 were obtained from the National Research Council 16-016 project, Wayamba University of Sri Lanka. Multiple sequence alignment was conducted for the DNA sequence using Clustal Omegavsoftware (https://www.ebi.ac.uk/Tools/msa/clustalo/). Starch physiochemical data obtained were subjected to a one-way analysis of variance (ANOVA) followed by Duncan’s New Multiple Range Test (DNMRT) to determine the statistical differences among varieties at the significance level of p ≤ 0.05. Statistical analysis was done using SAS version 9.1 (SAS, 2004).ESULTS AND DISCUSSION: Physical properties of rice grains: Physical properties such as length, width, size, shape and pericarp color of rice grains obtained from eight different rice varieties are given in table 3. Classification of rice grains was carried out, according to their sizes and shapes based on Juliano (1985). The size of the rice grains was determined as per grain length while grain shape was determined by means of length and width ratio of the rice kernel. In the local market, rice is classified as Samba (short grain), Nadu (intermediate grain) and Kora (long/medium) based on the size of the grain (Pathiraje et al., 2010). Lengths of rice kernels were varied from 5.58 to 6.725 mm for all varieties. The highest grain length and width were given by At 354 and Pachchaperumal respectively. The varieties, Bw 295-5 and H 6 showed a length: width ratio over 3 which is considered as slender in grain shape. Bw 295-5, H 6, At 354, Bg 352 and Nipponbare possessed white pericarp and others possessed red pericarp.Relationship between amylose content and SNPs variation of waxy loci in selected varieties: Amylose content was measured in seven Sri Lankan rice varieties and one exotic rice variety. Amylose content of the evaluated varieties varied significantly with p ≤ 0.05 with the lowest of 15.11% and highest of 28.63% which were found in Nipponbare and Bw 295-5, respectively (table 4). The majority of the evaluated varieties fell into the high AC category (between 25-28%). Only Nipponbare could be clearly categorized under the low amylose group (table 4). The amylose content of Bg 352, Pachchaperumal and Herathbanda have already been determined by early studies of Rebeira et al. (2014) and Fernando et al. (2015). Most of the data obtained in the present experiment has agreed with the results of previous studies. Major genes such as Waxy and their functional SNPs have a major influence on amylose in rice (Nakamura et al., 2005). Accordingly, single nucleotide polymorphism, ‘G’/‘T’, at the 5’ leader intron splice site of the GBSSI has explained the variation in amylose content of varieties. Accordingly, high and intermediate amylose varieties have ‘AGGTATA’ while low amylose varieties have the sequence ‘AGTTATA’, which might lead to a decrease in the splicing efficiency. Therefore, the GBSSI activity of Nipponbare might be considerably weak and resulted in starch with low amylose content. Hence, producing ‘G’/‘T’ polymorphism clearly differentiates low amylose rice varieties, as reported by Nakamura et al. (2005). In GBSSI, Larkin and Park (2003) identified an ‘A’/‘C’ polymorphism in exon 6 and a ‘C’/‘T’ polymorphism in exon 10 which resulted in non- synonymous amino acid change. Chen et al. (2008) reported that the non-synonymous ‘A’/‘C’ SNP at exon 6 had the highest possible impact on GBSSI. Accordingly, the ‘A’/‘C’ polymorphism in exon 6 causes a tyrosine/serine amino acid substitution while the ‘C’/‘T’ polymorphism in exon 10 causes a serine/proline amino acid substitution. In view of this information, there is a relationship between the polymorphism detected by in silico analysis and amylose content obtained from our experiment. Out of the eight tested rice varieties, only one variety, Nipponbare was categorized as low amylose variety (10-19%) and it exhibited ‘T’ nucleotide at the intron splice site (table 4; figure 1). Varieties such as Pachchaperumal, Balasuriya, Bw 295-5, H 6, Herathbanda, At 354 and Bg 352 which contained high amylose (> 25%), had ‘G’ and ‘A’ nucleotides at intron splice site and exon 6 respectively (table 4; figure 1). The predominant allelic pattern of intron splice site and exon 6 are different in varieties containing intermediate amylose content (20-25%) which showed ‘G’ and ‘C’ nucleotides respectively. Of these selected rice varieties, none of the intermediate type amylose variety was found.Relationship between gel consistency and SNPs variation in Waxy loci: In this study, GC data of Herathbanda, Hondarawalu, Kuruluthuda, Pachchaperumal and Bg 352 were obtained from Fernando et al. (2015). The results of Tran et al. (2011) showed that the exon 10 ‘C’/‘T’ SNP of Wx has mainly affected GC. Accordingly, rice with a ‘C’ at exon 10 had soft and viscous gels once cooked. However, a sample with a ‘T’ had short and firm gels. In this study, Herathbanda, Hondarawalu, Kuruluthuda and Pachchaperumal had ‘C’ nucleotide and Bg 352 had ‘T’ nucleotide in exon 10 (table 5; figure 2). However, ‘C’/‘T’ substitution analysis could not be used to explain the GC of tested varieties.Relationship between gelatinized temperature and SNPs variation of Alk loci in selected rice varieties: Although there were differences in the scores, the degree of disintegration of all samples was saturated at 23 hrs. Most of the selected rice varieties showed the intermediate disintegration score. Varieties, Pachchaperumal, Balasuriya, H 6, Herathbanda, At 354 and Bg 352 were categorized into intermediate GT class (70–74°C) as indicated by an alkali spreading (AS) value of 5 (table 6; figure 3). Nipponbare and Bw 295-5 showed the highest disintegration score indicating the dispersion of all grains. Hence these varieties were categorized into low GT class (55-69°C) as indicated by an AS value of 6 (table 6; figure 3). However, high GT class rice varieties (> 74°C) were not found in the tested samples. Chromosomal mutation within the Alk gene has led to a number of single nucleotide polymorphisms (SNPs). Umemoto et al. (2004) identified four SNPs in Alk gene. Thus, SNP3 and SNP4 may be important genetic polymorphisms that are associated with GT class. According to the SNP3 and SNP4, eight rice varieties could be classified into either high GT or low GT types. If there is ‘A’ instead of ‘G’ at 4424 bp position of Alk gene with reference to Nipponbare rice genomic sequence, it codes methionine instead of valine amino acid residue in SSIIa, whilst two adjacent SNPs at bases 4533 and 4534 code for either leucine (‘GC’) or phenylalanine (‘TT’). Rice varieties with high GT starch had a combination of valine and leucine at these residues. Rice varieties with low GT starch had a combination of either methionine and leucine or valine and phenylalanine at these same residues. Nipponbare carried the ‘A’ and ‘GC’ nucleotides, while Bw 295-5 carried the ‘G’ and ‘TT’ nucleotides. Hence these varieties were classified into low GT class. Varieties such as Pachchaperumal, Balasuriya, H 6, Herathbanda, At 354 and Bg 352 carried ‘G’ and ‘GC’ nucleotides and these varieties were classified into high GT rice varieties. However, intermediate GT status could not be determined by SNP3 and SNP4 mutation of Alk gene (table 6; figure 4).In silico analysis of the polymorphisms in GBSSI gene and Alk genes of rice varieties retrieved from Rice-SNP-database: In this study, GBSSI gene and Alk gene were compared with the sequences retrieved from the Rice-SNP-Seek database to validate the SNPs further. As previously reported by Ayres et al. (1997), all low amylose varieties had the sequence ‘AGTTATA’ in exon 1. In agreement with preliminary work done by Larkin and Park (2003), all of the intermediate amylose varieties have the allelic pattern of GCC. All of the high amylose varieties have either the GAC or GAT allele of GBSSI. Among 42 rice accessions with the Sri Lankan pedigree, four allelic patterns were found; TAC, GCC, GAC and GAT (table 7). In this allelic pattern, the first letter corresponds to the ‘G’/‘T’ polymorphism in 5’ leader intron splice-junction, the second letter corresponds to the ‘A’/‘C’ polymorphism in exon 6 and the third letter corresponds to the ‘C’/‘T’ polymorphism in exon10 of Waxy gene. Analysis of the ‘G’/‘T’ polymorphism in the Wx locus showed that 41 rice cultivars shared the same ‘AGGTATA’ sequence at the 5’ leader intron splice-junction. But only 1 rice cultivar, Puttu nellu was found with ‘T’ nucleotide in intron1/exon1 junction site, which could be categorized as a low amylose variety (table 7). As discussed above, varieties with an intermediate level of apparent amylose could be reliably distinguished from those with higher apparent amylose based on a SNP in exon 6. Hence, only three rice varieties Nalumoolai Karuppan, Pannithi and Godawel with ‘C’ nucleotide in exon 6 exhibited the possibility of containing intermediate amylose content (table 7). High activity of GBSSI produces high amylose content leading to a non-waxy, non-sticky or non-glutinous phenotype. Therefore, according to the in silico genotypic results, rest of the 38 rice varieties may produce high amylose content in the endosperm (table 7). Proving this phenomenon. Abeysekera et al. (2017) has reported that usually, most of Sri Lankan rice varieties contain high amylose content. Targeted sequence analysis of exon 8 of the Alk gene in 42 different rice cultivars were found with three SNP polymorphisms that resulted in a changed amino acid sequence and, of these three SNPs, two SNPs were reported to be correlated with possible GT differences. Accordingly, Puttu nellu and 3210 rice varieties carried the ‘G’ and ‘TT’ nucleotides in SNP3 and SNP4 respectively (table 7). Hence these varieties can be classified into low GT class and except these two; other rice varieties carried the ‘G’ and ‘GC’ nucleotides in SNP3 and SNP4 respectively. Therefore, those varieties can possibly be classified into high GT rice varieties (table 7). However, further experiments are necessary to check the phenotypic variations for grain amylose content and GT class of in silico analyzed rice varieties. CONCLUSION Present results revealed the relationship between SNPs variation at Waxy loci and the amylose content of selected rice varieties. Accordingly, Pachchaperumal, At 354, Bg 352, Herathbanda, H 6, Balasuriya and Bw 295-5 with high amylose content had ‘G’ instead of ‘T’ in the first intron exhibiting the presence of Wxa allele with reference to Nipponbare which had low amylose content. Also all tested varieties had ‘A’ in exon 6 of the Waxy gene. Thus present findings i.e. presence of Wxa allele and SNP ‘A’ in exon 6 could be used as a potential molecular marker for the selection of high amylose varieties. In addition, Bw 295-5 which is a low GT variety, had two SNPs variations in the last exon of the Alk gene i.e. ‘G’ and ‘TT’ which is likely to be used to represent low GT class. Accordingly, sequence variations identified in Waxy and Alk genes could be utilized in the future rice breeding programs for the development of varieties with preferential amylose content and GT class.ACKNOWLEDGMENTSDirector and staff of the Gene Bank, Plant Genetic Resources Center, Gannoruwa are acknowledged for giving rice accessions.CONFLICT OF INTERESTAuthors have no conflict of interest.REFERENCESAbeysekera, W., G. Premakumara, A. Bentota and D. S. Abeysiriwardena, 2017. Grain amylose content and its stability over seasons in a selected set of rice varieties grown in Sri Lanka. Journal of agricultural sciences Sri Lanka, 12(1): 43-50.Ayres, N., A. McClung, P. Larkin, H. Bligh, C. Jones and W. Park, 1997. Microsatellites and a single-nucleotide polymorphism differentiate apparentamylose classes in an extended pedigree of us rice germ plasm. Theoretical applied genetics, 94(6-7): 773-781.Chen, M.-H., C. Bergman, S. Pinson and R. Fjellstrom, 2008. 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St. Paul, Minnesota, USA, 774.Juliano, B. O., 2003. Rice chemistry and quality. Island publishing house. Island publishing house, Manila: 1-7.Kharabian-Masouleh, A., D. L. Waters, R. F. Reinke, R. Ward and R. J. Henry, 2012. Snp in starch biosynthesis genes associated with nutritional and functional properties of rice. Scientific reports, 2(1): 1-9.Kongseree, N. and B. O. Juliano, 1972. Physicochemical properties of rice grain and starch from lines differing in amylose content and gelatinization temperature. Journal of agricultural food chemistry, 20(3): 714-718.Larkin, P. D. and W. D. Park, 2003. Association of waxy gene single nucleotide polymorphisms with starch characteristics in rice (Oryza sativa L.). Molecular Breeding, 12(4): 335-339.Nakamura, Y., 2002. Towards a better understanding of the metabolic system for amylopectin biosynthesis in plants: Rice endosperm as a model tissue. Plant cell physiology, 43(7): 718-725.Nakamura, Y., P. B. Francisco, Y. Hosaka, A. Sato, T. Sawada, A. Kubo and N. Fujita, 2005. Essential amino acids of starch synthase iia differentiate amylopectin structure and starch quality between Japonica and Indica rice varieties. Plant molecular biology, 58(2): 213-227.Pathiraje, P., W. Madhujith, A. Chandrasekara and S. Nissanka, 2010. The effect of rice variety and parboiling on in vivo glycemic response. Journal of tropical agricultural research, 22(1): 26-33.Rebeira, S., H. Wickramasinghe, W. Samarasinghe and B. Prashantha, 2014. Diversity of grain quality characteristics of traditional rice (Oryza sativa L.) varieties in sri lanka. Tropical agricultural research, 25(4): 470-478.Sartaj, I. Z. and S. A. E. R. Suraweera, 2005. Comparison of different parboiling methods on the quality characteristics of rice. Annals of the Sri Lankan Department of Agriculture, 7: 245-252.Tran, N., V. Daygon, A. Resurreccion, R. Cuevas, H. Corpuz and M. Fitzgerald, 2011. A single nucleotide polymorphism in the waxy gene explains a significant component of gel consistency. Theoretical applied genetics, 123(4): 519-525.Umemoto, T. and N. Aoki, 2005. Single-nucleotide polymorphisms in rice starch synthase iia that alter starch gelatinisation and starch association of the enzyme. Functional plant biology, 32(9): 763-768.Umemoto, T., N. Aoki, H. Lin, Y. Nakamura, N. Inouchi, Y. Sato, M. Yano, H. Hirabayashi and S. Maruyama, 2004. Natural variation in rice starch synthase iia affects enzyme and starch properties. Functional plant biology, 31(7): 671-684.Waters, D. L. and R. J. Henry, 2007. Genetic manipulation of starch properties in plants: Patents 2001-2006. Recent patents on biotechnology, 1(3): 252-259.Waters, D. L., R. J. Henry, R. F. Reinke and M. A. Fitzgerald, 2006. Gelatinization temperature of rice explained by polymorphisms in starch synthase. Plant biotechnology journal, 4(1): 115-122.

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Light during incubation can influence embryonic and postembryonic development of chickens, but the underlying mechanisms are poorly understood. Previous studies have demonstrated that red and blue lights during incubation had opposite effects on the development of embryonic melatonin biosynthesis; red light results in the highest and blue light in the lowest amplitude of the daily rhythm. Therefore, in this study, we investigated if exposure to monochromatic red (632 nm) and blue (463 nm) light during incubation can differently influence growth, selected biochemical (glucose, cholesterol, triacylglycerols) and endocrine (corticosterone and thyroid hormones) traits and behavioural parameters during postembryonic development in broiler chickens. For analysis, we used 10 and 11 hatchlings incubated in red and blue light, respectively and 10 birds per each group (six males and four females) in 3-weeks-old broilers. During the rapid growth phase (days 18, 20 and 21 of age), higher body weight was recorded in broilers incubated under red compared to blue light, whereas endocrine and metabolic traits did not differ between the treatments. The improved growth rate was related to behavioural traits, mainly because chickens incubated in red light exhibited more passive (resting, standing, preening, dust bathing) and less active behaviours (walking, foraging, fighting, wing-flapping) than the blue-light incubated birds. The time spent for eating and drinking and the results of the tonic immobility test did not differ between both groups. Our results suggest that red and blue monochromatic light during incubation can differently program the postembryonic development of broilers, with possible consequences for their growth and welfare.

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Light is a critical management factor for broiler production, and the wavelength spectrum, one of its components, can affect bird physiology, behavior and production. Among all the senses, sight is important to birds, and their visual system possess several adaptations that allow them to perceive light differently from humans. Therefore, it is critical to consider whether the exposure to monochromatic light colors influences broiler visual ability, which could affect behavioral expression. The present study examined the effects of various light colors on the visual systems of broiler chickens. Ross 708 males were raised from 0 to 35 days under three wavelength programs [blue (dominant wavelengths near 455 nm), green (dominant wavelengths near 510 nm) or white]. Broilers were given a complete ophthalmic examination, including chromatic pupillary light reflex testing, rebound tonometry, anterior segment biomicroscopy and indirect ophthalmoscopy (n = 36, day 21). To assess ocular anatomy, broilers were euthanized, eyes were weighed, and dimensions were taken (n = 108, day 16 and day 24). An autorefractor was used to assess the refractive index and the corneal curvature (n = 18, day 26). To evaluate spatial vision, broilers underwent a grating acuity test at one of three distances–50, 75, or 100 cm (n = 24, day 29). Data were analyzed as a one-way ANOVA using the MIXED procedure or Proc Par1way for non-normally distributed data. Significant differences were observed for refractive index and spatial vision. Birds raised under blue light were slightly more hyperopic, or far-sighted, than birds raised under white light (P = 0.01). As for spatial vision, birds raised under blue light took less time to approach the stimulus at distances of 50 cm (P = 0.03) and 75 cm (P = 0.0006) and had a higher success rate (choosing the right feeder, P = 0.03) at 100 cm than birds raised under white light. Improvements in spatial vision for birds exposed to blue light can partially explain the behavioral differences resulting from rearing broilers under different wavelengths.

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Abstract Information on the subtle changes in behaviour of poultry birds to varying lighting conditions and other environmental factors offers ways to enhance the welfare and egg production. This study examined the effect of light colours on the cumulative activity index and behaviours of 52 Super Nick chickens with the age of days one to 9 weeks old, divided into three pens. Twelve chickens were randomly assigned to the control pen (2 x 2 meters width) with exposure to white light (WL). Twenty hens were randomly distributed to each of the two cages (4 x 4 meters width), where treatment was either exposed to blue (BL) or red light (RL) depending on the lighting schedule. The behaviours were recorded in the morning, midday, and afternoon. The perching sticks were installed in week 5. BORIS software was employed for analysing the videos to label the duration and frequency of the behaviours while Swarmsight program was used to calculate the cumulative activity index. The results showed that cumulative activity index, active behaviours (walking, running, eating, drinking, standing and food pecking), comfort behaviours (perching, wing flapping, body shaking, and head-scratching) were higher (P < 0.05) under WL than under BL and RL. The preening, sitting, and sleeping of the BL group were higher (P < 0.05) than WL and RL. Aggressive and gentle feather pecking frequencies were higher (P < 0.05) in the RL group than in the WL and BL group. The chickens preferred to dustbathe in the afternoon. After the perches were installed, foraging, leg stretching, and standing frequency and the sitting and sleeping duration declined; however, the perching, eating duration and running, food pecking frequency increased. With each passing week, aggressive pecking frequency, walking, perching, and drinking duration increased, but leg stretching and sitting duration declined. The results provide a comprehensive understanding of the influence of light colours on the behaviours of laying hens and thereby offers solutions for designing light-based platforms to enhance welfare.

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The co*ckle Cerastoderma edule is one of the most common macrofauna species in the Wadden Sea areas of the North Sea. co*ckle population dynamics are influenced by various abiotic and biotic factors such as temperature, food availability, and inter- and intraspecific competition. co*ckles play an important role in the food web of the Wadden Sea, for instance, large shellfish-eating birds, such as oystercatchers and common eiders, use the co*ckle C. edule and the blue mussel Mytilus edulis as a main diet component. However, the populations of shellfish-eating bird species have been declining dramatically across the Wadden Sea since the beginning of the 21st century. While there are detailed monitoring programs in blue mussels due to commercial interests, little information is known about the stocks and long-term dynamics of co*ckles in the German Wadden Sea. To fill this gap, in 2005 a local conservation society (“Der Mellumrat e.V.”) initiated a study to sample co*ckles at one transect per year south of the island of Mellum, which was extended by 5 more transects in 2011. In addition to the spatial analysis, we analyzed the long-term variability in co*ckle population dynamics. Min/max autocorrelation factor analysis (MAFA) revealed a decline in co*ckle abundance, while no clear length trends were found. Canonical and spearman correlation analyses exposed significant correlations between co*ckle abundance and length and chlorophyll a, mussel bank area as well as oystercatcher and common eider populations. This study clearly shows that there is an urgent need for comprehensive time series of co*ckle data to analyze and explain ecological long-term changes in co*ckle population dynamics in relation to environmental changes and to point out how parts of the Wadden Sea food web, such as shellfish-eating birds are affected by these changes.

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One of the insufficiently studied issues in the during of replacement young stock hens young meat-and-egg chickens rearing is the determination of rational parameters of light programs for them. Proceeding from this, research was conducted at the SPRS NAAS to study the effect of the light spectrum in the poultry house during the rearing of replacement young stock of Birkovskiy meat-and-egg chickens on the results of its rearing and the productive indicators of adult birds. 6 groups of Birkovskiy meat-and-egg day-old chicks were formed, during the cultivation of which, respectively, LED lamps (LED) of cold white (4500 K), warm white (3000 K), green, blue and red light, as well as standardized incandescent lamps were used. (IL). At the age of 18 weeks, conditioned chicks were transferred to the poultry house for adult birds, where all of their groups were kept under warm white light (3000 K) with LED. It was found that the replacement young stock grown under green and cold white light (4500 K) at the age of 18 weeks had an advantage in live weight of 78-116 g (P≤0.05) compared to those grown under red light or LED or warm white IL light (2700 K). There were no other statistically significant differences in the main indicators of rearing young stock under light sources with different spectra. The rearing young reared under green and blue light later had a 1.6-1.9 g greater egg mass (P≤0.05) compared to those grown under warm white light LED (3000 K) or IL (2700 K), however, was inferior in egg production and total egg mass yield per initial laying hen to young animals that were grown under cold white (4500 K) light. There were no statistically significant differences between the groups that were grown under the light of different spectra in terms of the yield of hatching eggs and the main indicators of their incubation.

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AbstractThe chicken (Gallus gallus) is one of the most common and widespread domestic species, with an estimated total population of 25 billion birds worldwide. The vast majority of chickens in agriculture originate from hybrid breeding programs and is concentrated on few commercially used high performance lines, whereas numerous local and indigenous breeds are at risk to become extinct. To preserve the genomic resources of rare and endangered chicken breeds innovative methods are necessary. Here, we established a solid workflow for the derivation and biobanking of chicken primordial germ cells (PGCs) from blue layer hybrids. To achieve this, embryos of a cross of heterozygous blue egg layers were sampled to obtain blood derived and gonadal male as well as female PGCs of different genotypes (hom*ozygous, heterozygous and nullizygous blue-allele bearing). The total efficiency of established PGC lines was 45% (47/104) within an average of 49 days until they reached sufficient numbers of cells for cryopreservation. The stem-cell character of the cultivated PGCs was confirmed by SSEA-1 immunostaining, and RT-PCR amplification of the pluripotency- and PGC-specific genes cPOUV, cNANOG, cDAZL and CVH. The Sleeping Beauty transposon system allowed to generate a stable integration of a Venus fluorophore reporter into the chicken genome. Finally, we demonstrated that, after re-transfer into chicken embryos, Venus-positive PGCs migrated and colonized the forming gonads. sem*n samples of 13 raised cell chimeric roosters were analyzed by flow cytometry for the efficiency of germline colonization by the transferred PGCs carrying the Venus reporter and their proper differentiation into vital spermatids. Thus, we provide a proof-of-concept study for the potential use of PGCs for the cryobanking of rare breeds or rare alleles.

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I sat alone on the beach under the shade of a big umbrella. My husband, Bill, and our three children were in the condo taking a break from the Florida sunshine. Dreamily, I gazed at the vast Gulf of Mexico, the brilliant blue sky stretching endlessly above. I was sitting about 50 feet from the surf, but I couldn't actually see the waves hitting the beach; I was almost blind. It was a windy day in late May and I loved feeling the ocean breeze sweeping over me. I imagined I could hear the waves crashing onto the surf, but the sound was only a memory. I was totally deaf. Although I had a cochlear implant and could hear the waves, the cry of sea gulls, and many other sounds with the technology, I wasn't wearing it at the moment and everything I heard was in my mind. As a child, my understanding of speech was better and my vision was clearer. My diagnosis was optic atrophy at age 5 and my vision gradually degenerated over the years. For unknown reasons, nerve damage caused hearing loss and during my teens, my hearing grew worse and worse until by the time I was ready for college, I was profoundly deaf. I chose to attend Gallaudet University because my high school teachers and my parents felt I would receive better services as a deaf and blind student. I feel it was a very good decision; when I entered Gallaudet, it was like entering a new and exhilarating world. Before attending Gallaudet, while I struggled to cope with hearing loss combined with severely low vision, my world grew smaller and smaller, not being able to communicate efficiently with others. At Gallaudet, I suddenly found I could communicate with almost anybody I met on campus using sign language. Thus, my self-confidence and independence grew as I proceeded to get a college education.It wasn't an easy route to follow. I didn't know Braille at the time and depended on using a CCTV (closed captioned television) electronic aid which magnified text, enabling me to read all my college books. I also relied on the assistance of a class aid who interpreted all my teachers' lectures and class discussions because I was unable to see people's signing unless they signed right in front of my face. It was slow going and often frustrating, trying to keep involved socially and keeping up with my coursework but when I was 13 years old, my vision specialist teacher who had worked with me from 5th grade until I graduated from high school, wrote a note for me saying, "Anything worthwhile seldom comes easy." The phrase stuck in my mind and I tried to follow this philosophy. In 1989 after 7 years of persistence, I graduated with a Bachelor's of Arts degree in psychology. With the B.A. in hand and having developed good communication skills with deaf and deaf-blind people using sign language and ASL (American Sign Language), I was ready to face the world. But I wasn't exactly ready; I knew I wanted a professional job working with deaf-blind people and the way to get there was to earn a master's degree. I applied for admission into Gallaudet's graduate school and was accepted into the vocational rehabilitation counselling program. While I thoroughly enjoyed graduate school experience, I got to work with my class mates one-on-one more often and there were a lot more hands-on activities, it became obvious to me that I wasn't prepared for graduate school. I needed to learn Braille and how to use Braille technology; my vision had worsened a lot since starting college. In addition, I needed a break from school and needed to gain experience in the working world. After completing one and a half years and earning 15 credit hours in the master's program, I left Gallaudet and found a job in Baltimore, Maryland.The job was with a new program for adults who were visually and hearing impaired and mentally disabled. My job was assisting the clients with independent living and work related skills. Most of the other staff were deaf, communicating via ASL. By then, I was skilled using tactile signing, putting my hand on the back of the signer's hand to follow movements by touch, and I made friends with co-workers. I felt grown up and independent working full-time, living in my own apartment, using the subway train and bus to travel to and from work. I didn't have any serious problems living on my own. There was a supermarket up the road to which I could walk or ride a bus. But I needed a taxi ride back to the apartment when I had more groceries than I could carry. I would leave a sign I made out of cardboard and wrote my address in big black numbers, on my apartment door to help the driver find my place. I used a white cane and upon moving to Baltimore, an Orientation and Mobility (O and M) teacher who worked with blind people, showing them how to travel in the city, taught me the route to my work place using the subway and bus. Thus, I was independent and knew my way to work as well as to a nearby shopping mall. One day as I stood on the subway station platform holding my white cane, waiting for my train, the opposite train pulled in. As I stood watching passengers hurrying to board, knowing my train would arrive soon on the other side, a woman ran up to me and started pulling my arm. I handed her my notebook and black marker I used for communicating with people in the public, telling her I couldn't hear and would she please write in large print? She frantically scribbled something, but I couldn't read the note. She then gave me back the pen and pad, grabbed my arm again and started pulling me towards the train. I refused to budge, gesturing towards the opposite tracks, clearly indicating I was waiting for the other train. Finally, she let go, dashed into the train before the doors closed. I watched the train pull away, sadly reflecting that some people who wanted to help, just didn't understand how to approach disabled people. As a deaf-blind traveller, it was my duty to help educate the general public how to assist disabled persons in a humane way. After I established my new life for a few months, Bill was offered a position in the same program and moved to Baltimore to join me. He had worked at the Helen Keller National Centre in New York where I met him while doing a summer internship there three years before. I was thrilled when he got the job working beside me and we got to know each other on a daily basis. We had been dating since we met although I was in college and he was working and living in New York and then Cleveland, Ohio. Bill being hearing and sighted, was skilled in sign language and communication techniques with deaf-blind people. He had a wonderful attitude towards disabled people and made me feel like a normal person who was capable of doing things. We shared a lot and were very comfortable with each other. After nearly six months together in Baltimore, we married in May 1992, several weeks before my 28th birthday.After our first year of marriage living in Maryland, Bill and I moved to Little Rock, Arkansas. We wanted to live closer to my family and parents, Ron and Judy Cummings, who lived in Poplar Bluff, Missouri, 176 miles north of Little Rock. I wanted to go back to school and entered the deaf education program at the University of Arkansas at Little Rock with the goal of becoming a teacher for deaf-blind students. I never dreamed I would have a deaf-blind child of my own one day. My vision and hearing loss were caused by nerve damage and no one else in my family nor Bill's had a similar disability.I was pregnant with our first child when I entered UALR. In spite of my growing belly, I enjoyed the teacher training experience. I worked with a deaf-blind 12-year-old student and her teacher at the Arkansas School for the Deaf; observed two energetic four-year-olds in the pre-school program. But when my son, Joe was born in June 1994, my world changed once again. School became less important and motherhood became the ultimate. As a deaf-blind person, I wanted to be the best mom within my abilities.I decided that establishing good communication with my child was an important aspect of being a deaf-blind mom. Bill was in full agreement and we would set Joe on the kitchen table in his infant carrier, reciting together in sign language, "The three Bears". I could see Joe's tiny fists and feet wave excitedly in the air as he watched us signing children's stories. I would encourage Joe to hold my fingers while I signed to him, trying to establish a tactile signing relationship. But he was almost two years old when he finally understood that he needed to sign into my hands. We were sitting at the table and I had a bag of cookies. I refused to give him one until he made the sign for "cookie" in my hand. I quickly rewarded him with a cookie and he got three or four each time he made the sign in my hand. Today at 16, Joe is an expert finger speller and can effectively communicate with me and his younger deaf-blind brother, Ben.When Joe was two and a half, I decided to explore a cochlear implant. It was 1996 and we were living in Poplar Bluff by then. My cousin, who was studying audiology, told me that people using cochlear implants were able to understand sound so well they didn't need good vision. I made an appointment with the St. Louis cochlear implant program and after being evaluated, I decided to go ahead. I am glad I have a cochlear implant. After months of practice I learned to use the new sound and was eventually able to understand many environmental sounds. I never regained the ability of understanding speech, though, but I could hear people's voices very clearly, the sound of laughter, birds singing, and many more. Being able to hear my children's voices is especially wonderful, even when they get noisy and I get a headache. That fall I went to Leader Dogs School for the Blind (LDSB) where I met Milo, a large yellow Labrador retriever. At LDSB I learned how to care for and work with a dog guide. Having Milo as my companion and guide was like stepping into another new and wonderful world of independence. With Milo, I could walk briskly and feel secure. Milo was a big help as a deaf-blind mom, too. With Milo's guiding help, it was wonderful following my children while they rode tricycles or bikes and the whole family enjoyed going out for walks together. Our second son, Ben, was born in February 1999. He was a perfectly healthy little boy and Bill and I were looking forward to raising two sons. Joe was four and a half years old when Ben was born and was fascinated in his new brother. But when Ben was 5 months old, he was diagnosed with Langerhans Cell Histiocytosis (LCH), a rare childhood disease and in some cases, fatal. It was a long, scary road we followed as Ben received treatment at the children's hospital in St. Louis which involved making the 150 mile trip almost weekly for chemotherapy and doctor check-ups. Through it all, Ben was a happy little boy, in spite of the terrible rash that affected his scalp and diaper area, a symptom of LCH. Bill and I knew that we had to do everything possible to help Ben. When he was a year old, his condition seemed stable enough for me to feel comfortable leaving my family for two months to study Braille and learn new technology skills at a program in Kansas City. My vision had deteriorated to a point where I could no longer use a CCTV.Bill's mom, Marie Reid, who lived in Cleveland, Ohio, made a special trip to stay at our home in Poplar Bluff to help Bill with the boys while I was gone. I was successful at the program, learning Braille, making a change from magnification to Braille technology. Upon returning home, I began looking for a job and found employment as a deaf-blind specialist in a new project in Mississippi. The job was in Tupelo and we moved to northern Mississippi, settling into a new life. We transferred Ben's treatment to St. Judes Children's hospital located in Memphis, 94 miles west of Tupelo. I went to work and Bill stayed home with the boys, which worked well. When Ben had to go to St. Judes every three weeks for chemotherapy, Bill was able to drive him. The treatment was successful, the rash had disappeared and there were no traces of LCH in Ben's blood tests. But when he was almost 3 years old, he was diagnosed with optic atrophy, the same eye disease I suffered from and an audiologist detected signs of inner ear hearing loss.Shocked at the news that our little son would grow up legally blind and perhaps become deaf, Bill and I had to rethink our future. We knew we wanted Ben to have a good life and as a deaf-blind child, he needed quality services. We chose to move to Pittsburgh, Pennsylvania because I knew there were good services for deaf-blind people and I could function independently as a stay-home mom. In addition, Cleveland, Ohio, where Marie Reid and several of Bill's siblings lived, was a two hour's drive from Pittsburgh and living near family was important to us. With regret, I left my job opportunity and new friends and we re-located to Pittsburgh. We lived on a quiet street near Squirrel Hill and enrolled Joe into a near-by Catholic school. Ben received excellent early intervention services through the Pittsburgh public school, beginning Braille, using a white cane and tactile signing. The Pennsylvania services for the blind generously purchased a wonderful computer system and Braille display for me to use at home. I was able to communicate with Joe's and Ben's teachers and other contacts using e-mail. Ben's Braille teacher provided us with several print/Braille books which I read to the boys while Ben touched the tactile pictures. I made friends in the deaf and deaf-blind community and our family attended social events. Besides the social benefits of a deaf community, Pittsburgh offered a wonderful interpreting service and I was able to take Ben to doctor appointments knowing an interpreter would meet me at the hospital to assist with communication. I also found people who were willing to help me as volunteer SSPs (support Service Providers), persons whose role is to assist a deaf-blind person in any way, such as shopping, going to the bank, etc. Thus, I was able to function quite independently while Bill worked. Perhaps Bill and I were a bit crazy; after all, we had enough on our plate with a deaf-blind son and a deaf-blind mom, but love is a mysterious thing. In October 2003, Tim was born and our family was complete. Having two school-aged children and a baby on my hands was too much for me to handle alone. Bill was working and busy with culinary arts school. We realized we needed more help with the children, plus the high cost of living in the city was a struggle for us. We decided for the family's best interest, it would be better to move back to Poplar Bluff. After Joe and Ben were out of school in June, my mom flew out to Pittsburgh to escort them back to her home while Bill finished his externship for his culinary arts degree and in the late summer of 2004, we packed up our apartment, said good-bye to Pittsburgh, and drove to Missouri. The move was a good decision in many ways. Poplar Bluff, a rural town in south-eastern Missouri, has been my hometown since I was 10 years old. My extended family live there and the boys are thriving growing up among their cousins. Ben is receiving Braille and sign language services at public school and reads Braille faster than me!While both Bill and I are deeply satisfied knowing our children are happy, we have made personal sacrifices. Bill has given up his career satisfaction as a professional cook, needing to help look after the children and house. I have given up the benefits of city life such as interpreting and SSP services, not to mention the social benefits of a deaf community. But the children's well-being comes first, and I have found ways to fulfil my needs by getting involved with on-line groups for deaf-blind people, including writers and poets. I have taken a great interest in writing, especially children's stories and hope to establish a career as a writer. While I work on my computer, Bill keeps busy engaging the boys in various projects. They have built a screened-in tree house in the backyard where Ben and Tim like to sleep during warm summer nights.“It's almost 5 o'clock," Bill signed into my hand, rousing me from my thoughts. Time to prepare for our homeward journey the next day to Poplar Bluff, Missouri.Christy and Family

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Every act of art is able to reveal, balance and revive the relations between a territory and its inhabitants (François Davin, Southern Forest Sculpture Walk Catalogue)Introducing the Understory Art in Nature TrailIn February 2015, a colossal wildfire destroyed 98,300 hectares of farm and bushland surrounding the town of Northcliffe, located 365 km south of Perth, Western Australia (WA). As the largest fire in the recorded history of the southwest region (Southern Forest Arts, After the Burn 8), the disaster attracted national attention however the extraordinary contribution of local knowledge in saving a town considered by authorities to be “undefendable” (Kennedy) is yet to be widely appreciated. In accounting for a creative scene that survived the conflagration, this case study sees culture mobilised as a socioeconomic resource for conservation and the healing of community spirit.Northcliffe (population 850) sits on a coastal plain that hosts majestic old-growth forest and lush bushland. In 2006, Southern Forest Arts (SFA) dedicated a Southern Forest Sculpture Walk for creative professionals to develop artworks along a 1.2 km walk trail through pristine native forest. It was re-branded “Understory—Art in Nature” in 2009; then “Understory Art in Nature Trail” in 2015, the understory vegetation layer beneath the canopy being symbolic of Northcliffe’s deeply layered caché of memories, including “the awe, love, fear, and even the hatred that these trees have provoked among the settlers” (Davin in SFA Catalogue). In the words of the SFA Trailguide, “Every place (no matter how small) has ‘understories’—secrets, songs, dreams—that help us connect with the spirit of place.”In the view of forest arts ecologist Kumi Kato, “It is a sense of place that underlies the commitment to a place’s conservation by its community, broadly embracing those who identify with the place for various reasons, both geographical and conceptual” (149). In bioregional terms such communities form a terrain of consciousness (Berg and Dasmann 218), extending responsibility for conservation across cultures, time and space (Kato 150). A sustainable thematic of place must also include livelihood as the third party between culture and nature that establishes the relationship between them (Giblett 240). With these concepts in mind I gauge creative impact on forest as place, and, in turn, (altered) forest’s impact on people. My abstraction of physical place is inclusive of humankind moving in dialogic engagement with forest. A mapping of Understory’s creative activities sheds light on how artists express physical environments in situated creative practices, clusters, and networks. These, it is argued, constitute unique types of community operating within (and beyond) a foundational scene of inspiration and mystification that is metaphorically “rising from the ashes.” In transcending disconnectedness between humankind and landscape, Understory may be understood to both culturalise nature (as an aesthetic system), and naturalise culture (as an ecologically modelled system), to build on a trope introduced by Feld (199). Arguably when the bush is cultured in this way it attracts consumers who may otherwise disconnect from nature.The trail (henceforth Understory) broaches the histories of human relations with Northcliffe’s natural systems of place. Sub-groups of the Noongar nation have inhabited the southwest for an estimated 50,000 years and their association with the Northcliffe region extends back at least 6,000 years (SFA Catalogue; see also Crawford and Crawford). An indigenous sense of the spirit of forest is manifest in Understory sculpture, literature, and—for the purpose of this article—the compilation CD Canopy: Songs for the Southern Forests (henceforth Canopy, Figure 1).As a cultural and environmental construction of place, Canopy sustains the land with acts of seeing, listening to, and interpreting nature; of remembering indigenous people in the forest; and of recalling the hardships of the early settlers. I acknowledge SFA coordinator and Understory custodian Fiona Sinclair for authorising this investigation; Peter Hill for conservation conversations; Robyn Johnston for her Canopy CD sleeve notes; Della Rae Morrison for permissions; and David Pye for discussions. Figure 1. Canopy: Songs for the Southern Forests (CD, 2006). Cover image by Raku Pitt, 2002. Courtesy Southern Forest Arts, Northcliffe, WA.Forest Ecology, Emotion, and ActionEstablished in 1924, Northcliffe’s ill-founded Group Settlement Scheme resulted in frontier hardship and heartbreak, and deforestation of the southwest region for little economic return. An historic forest controversy (1992-2001) attracted media to Northcliffe when protesters attempting to disrupt logging chained themselves to tree trunks and suspended themselves from branches. The signing of the Western Australian Regional Forest Agreement in 1999 was followed, in 2001, by deregulation of the dairy industry and a sharp decline in area population.Moved by the gravity of this situation, Fiona Sinclair won her pitch to the Manjimup Council for a sound alternative industry for Northcliffe with projections of jobs: a forest where artists could work collectively and sustainably to reveal the beauty of natural dimensions. A 12-acre pocket of allocated Crown Land adjacent to the town was leased as an A-Class Reserve vested for Education and Recreation, for which SFA secured unified community ownership and grants. Conservation protocols stipulated that no biomass could be removed from the forest and that predominantly raw, natural materials were to be used (F. Sinclair and P. Hill, personal interview, 26 Sep. 2014). With forest as prescribed image (wider than the bounded chunk of earth), Sinclair invited the artists to consider the themes of spirituality, creativity, history, dichotomy, and sensory as a basis for work that was to be “fresh, intimate, and grounded in place.” Her brief encouraged artists to work with humanity and imagination to counteract residual community divisiveness and resentment. Sinclair describes this form of implicit environmentalism as an “around the back” approach that avoids lapsing into political commentary or judgement: “The trail is a love letter from those of us who live here to our visitors, to connect with grace” (F. Sinclair, telephone interview, 6 Apr. 2014). Renewing community connections to local place is essential if our lives and societies are to become more sustainable (Pedelty 128). To define Northcliffe’s new community phase, artists respected differing associations between people and forest. A structure on a karri tree by Indigenous artist Norma MacDonald presents an Aboriginal man standing tall and proud on a rock to become one with the tree and the forest: as it was for thousands of years before European settlement (MacDonald in SFA Catalogue). As Feld observes, “It is the stabilizing persistence of place as a container of experiences that contributes so powerfully to its intrinsic memorability” (201).Adhering to the philosophy that nature should not be used or abused for the sake of art, the works resonate with the biorhythms of the forest, e.g. functional seats and shelters and a cascading retainer that directs rainwater back to the resident fauna. Some sculptures function as receivers for picking up wavelengths of ancient forest. Forest Folk lurk around the understory, while mysterious stone art represents a life-shaping force of planet history. To represent the reality of bushfire, Natalie Williamson’s sculpture wraps itself around a burnt-out stump. The work plays with scale as small native sundew flowers are enlarged and a subtle beauty, easily overlooked, becomes apparent (Figure 2). The sculptor hopes that “spiders will spin their webs about it, incorporating it into the landscape” (SFA Catalogue).Figure 2. Sundew. Sculpture by Natalie Williamson, 2006. Understory Art in Nature Trail, Northcliffe, WA. Image by the author, 2014.Memory is naturally place-oriented or at least place-supported (Feld 201). Topaesthesia (sense of place) denotes movement that connects our biography with our route. This is resonant for the experience of regional character, including the tactile, olfactory, gustatory, visual, and auditory qualities of a place (Ryan 307). By walking, we are in a dialogue with the environment; both literally and figuratively, we re-situate ourselves into our story (Schine 100). For example, during a summer exploration of the trail (5 Jan. 2014), I intuited a personal attachment based on my grandfather’s small bush home being razed by fire, and his struggle to support seven children.Understory’s survival depends on vigilant controlled (cool) burns around its perimeter (Figure 3), organised by volunteer Peter Hill. These burns also hone the forest. On 27 Sept. 2014, the charred vegetation spoke a spring language of opportunity for nature to reassert itself as seedpods burst and continue the cycle; while an autumn walk (17 Mar. 2016) yielded a fresh view of forest colour, patterning, light, shade, and sound.Figure 3. Understory Art in Nature Trail. Map Created by Fiona Sinclair for Southern Forest Sculpture Walk Catalogue (2006). Courtesy Southern Forest Arts, Northcliffe, WA.Understory and the Melody of CanopyForest resilience is celebrated in five MP3 audio tours produced for visitors to dialogue with the trail in sensory contexts of music, poetry, sculptures and stories that name or interpret the setting. The trail starts in heathland and includes three creek crossings. A zone of acacias gives way to stands of the southwest signature trees karri (Eucalyptus diversicolor), jarrah (Eucalyptus marginata), and marri (Corymbia calophylla). Following a sheoak grove, a riverine environment re-enters heathland. Birds, insects, mammals, and reptiles reside around and between the sculptures, rendering the earth-embedded art a fusion of human and natural orders (concept after Relph 141). On Audio Tour 3, Songs for the Southern Forests, the musician-composers reflect on their regionally focused items, each having been birthed according to a personal musical concept (the manner in which an individual artist holds the totality of a composition in cultural context). Arguably the music in question, its composers, performers, audiences, and settings, all have a role to play in defining the processes and effects of forest arts ecology. Local musician Ann Rice billeted a cluster of musicians (mostly from Perth) at her Windy Harbour shack. The energy of the production experience was palpable as all participated in on-site forest workshops, and supported each other’s items as a musical collective (A. Rice, telephone interview, 2 Oct. 2014). Collaborating under producer Lee Buddle’s direction, they orchestrated rich timbres (tone colours) to evoke different musical atmospheres (Table 1). Composer/Performer Title of TrackInstrumentation1. Ann RiceMy Placevocals/guitars/accordion 2. David PyeCicadan Rhythmsangklung/violin/cello/woodblocks/temple blocks/clarinet/tapes 3. Mel RobinsonSheltervocal/cello/double bass 4. DjivaNgank Boodjakvocals/acoustic, electric and slide guitars/drums/percussion 5. Cathie TraversLamentaccordion/vocals/guitar/piano/violin/drums/programming 6. Brendon Humphries and Kevin SmithWhen the Wind First Blewvocals/guitars/dobro/drums/piano/percussion 7. Libby HammerThe Gladevocal/guitar/soprano sax/cello/double bass/drums 8. Pete and Dave JeavonsSanctuaryguitars/percussion/talking drum/cowbell/soprano sax 9. Tomás FordWhite Hazevocal/programming/guitar 10. David HyamsAwakening /Shaking the Tree /When the Light Comes guitar/mandolin/dobro/bodhran/rainstick/cello/accordion/flute 11. Bernard CarneyThe Destiny Waltzvocal/guitar/accordion/drums/recording of The Destiny Waltz 12. Joel BarkerSomething for Everyonevocal/guitars/percussion Table 1. Music Composed for Canopy: Songs for the Southern Forests.Source: CD sleeve and http://www.understory.com.au/art.php. Composing out of their own strengths, the musicians transformed the geographic region into a living myth. As Pedelty has observed of similar musicians, “their sounds resonate because they so profoundly reflect our living sense of place” (83-84). The remainder of this essay evidences the capacity of indigenous song, art music, electronica, folk, and jazz-blues to celebrate, historicise, or re-imagine place. Firstly, two items represent the phenomenological approach of site-specific sensitivity to acoustic, biological, and cultural presence/loss, including the materiality of forest as a living process.“Singing Up the Land”In Aboriginal Australia “there is no place that has not been imaginatively grasped through song, dance and design, no place where traditional owners cannot see the imprint of sacred creation” (Rose 18). Canopy’s part-Noongar language song thus repositions the ancient Murrum-Noongar people within their life-sustaining natural habitat and spiritual landscape.Noongar Yorga woman Della Rae Morrison of the Bibbulmun and Wilman nations co-founded The Western Australian Nuclear Free Alliance to campaign against the uranium mining industry threatening Ngank Boodjak (her country, “Mother Earth”) (D.R. Morrison, e-mail, 15 July 2014). In 2004, Morrison formed the duo Djiva (meaning seed power or life force) with Jessie Lloyd, a Murri woman of the Guugu Yimidhirr Nation from North Queensland. After discerning the fundamental qualities of the Understory site, Djiva created the song Ngank Boodjak: “This was inspired by walking the trail […] feeling the energy of the land and the beautiful trees and hearing the birds. When I find a spot that I love, I try to feel out the lay-lines, which feel like vortexes of energy coming out of the ground; it’s pretty amazing” (Morrison in SFA Canopy sleeve) Stanza 1 points to the possibilities of being more fully “in country”:Ssh!Ni dabarkarn kooliny, ngank boodja kookoorninyListen, walk slowly, beautiful Mother EarthThe inclusion of indigenous language powerfully implements an indigenous interpretation of forest: “My elders believe that when we leave this life from our physical bodies that our spirit is earthbound and is living in the rocks or the trees and if you listen carefully you might hear their voices and maybe you will get some answers to your questions” (Morrison in SFA Catalogue).Cicadan Rhythms, by composer David Pye, echoes forest as a lively “more-than-human” world. Pye took his cue from the ambient pulsing of male cicadas communicating in plenum (full assembly) by means of airborne sound. The species were sounding together in tempo with individual rhythm patterns that interlocked to create one fantastic rhythm (Australian Broadcasting Corporation, Composer David Pye). The cicada chorus (the loudest known lovesong in the insect world) is the unique summer soundmark (term coined by Truax Handbook, Website) of the southern forests. Pye chased various cicadas through Understory until he was able to notate the rhythms of some individuals in a patch of low-lying scrub.To simulate cicada clicking, the composer set pointillist patterns for Indonesian anklung (joint bamboo tubes suspended within a frame to produce notes when the frame is shaken or tapped). Using instruments made of wood to enhance the rich forest imagery, Pye created all parts using sampled instrumental sounds placed against layers of pre-recorded ambient sounds (D. Pye, telephone interview, 3 Sept. 2014). He takes the listener through a “geographical linear representation” of the trail: “I walked around it with a stopwatch and noted how long it took to get through each section of the forest, and that became the musical timing of the various parts of the work” (Pye in SFA Canopy sleeve). That Understory is a place where reciprocity between nature and culture thrives is, likewise, evident in the remaining tracks.Musicalising Forest History and EnvironmentThree tracks distinguish Canopy as an integrative site for memory. Bernard Carney’s waltz honours the Group Settlers who battled insurmountable terrain without any idea of their destiny, men who, having migrated with a promise of owning their own dairy farms, had to clear trees bare-handedly and build furniture from kerosene tins and gelignite cases. Carney illuminates the culture of Saturday night dancing in the schoolroom to popular tunes like The Destiny Waltz (performed on the Titanic in 1912). His original song fades to strains of the Victor Military Band (1914), to “pay tribute to the era where the inspiration of the song came from” (Carney in SFA Canopy sleeve). Likewise Cathie Travers’s Lament is an evocation of remote settler history that creates a “feeling of being in another location, other timezone, almost like an endless loop” (Travers in SFA Canopy sleeve).An instrumental medley by David Hyams opens with Awakening: the morning sun streaming through tall trees, and the nostalgic sound of an accordion waltz. Shaking the Tree, an Irish jig, recalls humankind’s struggle with forest and the forces of nature. A final title, When the Light Comes, defers to the saying by conservationist John Muir that “The wrongs done to trees, wrongs of every sort, are done in the darkness of ignorance and unbelief, for when the light comes the heart of the people is always right” (quoted by Hyams in SFA Canopy sleeve). Local musician Joel Barker wrote Something for Everyone to personify the old-growth karri as a king with a crown, with “wisdom in his bones.”Kevin Smith’s father was born in Northcliffe in 1924. He and Brendon Humphries fantasise the untouchability of a maiden (pre-human) moment in a forest in their song, When the Wind First Blew. In Libby Hammer’s The Glade (a lover’s lament), instrumental timbres project their own affective languages. The jazz singer intended the accompanying double bass to speak resonantly of old-growth forest; the cello to express suppleness and renewal; a soprano saxophone to impersonate a bird; and the drums to imitate the insect community’s polyrhythmic undercurrent (after Hammer in SFA Canopy sleeve).A hybrid aural environment of synthetic and natural forest sounds contrasts collision with harmony in Sanctuary. The Jeavons Brothers sampled rustling wind on nearby Mt Chudalup to absorb into the track’s opening, and crafted a snare groove for the quirky eco-jazz/trip-hop by banging logs together, and banging rocks against logs. This imaginative use of percussive found objects enhanced their portrayal of forest as “a living, breathing entity.”In dealing with recent history in My Place, Ann Rice cameos a happy childhood growing up on a southwest farm, “damming creeks, climbing trees, breaking bones and skinning knees.” The rich string harmonies of Mel Robinson’s Shelter sculpt the shifting environment of a brewing storm, while White Haze by Tomás Ford describes a smoky controlled burn as “a kind of metaphor for the beautiful mystical healing nature of Northcliffe”: Someone’s burning off the scrubSomeone’s making sure it’s safeSomeone’s whiting out the fearSomeone’s letting me breathe clearAs Sinclair illuminates in a post-fire interview with Sharon Kennedy (Website):When your map, your personal map of life involves a place, and then you think that that place might be gone…” Fiona doesn't finish the sentence. “We all had to face the fact that our little place might disappear." Ultimately, only one house was lost. Pasture and fences, sheds and forest are gone. Yet, says Fiona, “We still have our town. As part of SFA’s ongoing commission, forest rhythm workshops explore different sound properties of potential materials for installing sound sculptures mimicking the surrounding flora and fauna. In 2015, SFA mounted After the Burn (a touring photographic exhibition) and Out of the Ashes (paintings and woodwork featuring ash, charcoal, and resin) (SFA, After the Burn 116). The forthcoming community project Rising From the Ashes will commemorate the fire and allow residents to connect and create as they heal and move forward—ten years on from the foundation of Understory.ConclusionThe Understory Art in Nature Trail stimulates curiosity. It clearly illustrates links between place-based social, economic and material conditions and creative practices and products within a forest that has both given shelter and “done people in.” The trail is an experimental field, a transformative locus in which dedicated physical space frees artists to culturalise forest through varied aesthetic modalities. Conversely, forest possesses agency for naturalising art as a symbol of place. Djiva’s song Ngank Boodjak “sings up the land” to revitalise the timelessness of prior occupation, while David Pye’s Cicadan Rhythms foregrounds the seasonal cycle of entomological music.In drawing out the richness and significance of place, the ecologically inspired album Canopy suggests that the community identity of a forested place may be informed by cultural, economic, geographical, and historical factors as well as endemic flora and fauna. Finally, the musical representation of place is not contingent upon blatant forms of environmentalism. The portrayals of Northcliffe respectfully associate Western Australian people and forests, yet as a place, the town has become an enduring icon for the plight of the Universal Old-growth Forest in all its natural glory, diverse human uses, and (real or perceived) abuses.ReferencesAustralian Broadcasting Commission. “Canopy: Songs for the Southern Forests.” Into the Music. Prod. Robyn Johnston. Radio National, 5 May 2007. 12 Aug. 2014 <http://www.abc.net.au/radionational/programs/intothemusic/canopy-songs-for-the-southern-forests/3396338>.———. “Composer David Pye.” Interview with Andrew Ford. The Music Show, Radio National, 12 Sep. 2009. 30 Jan. 2015 <http://canadapodcasts.ca/podcasts/MusicShowThe/1225021>.Berg, Peter, and Raymond Dasmann. “Reinhabiting California.” Reinhabiting a Separate Country: A Bioregional Anthology of Northern California. Ed. Peter Berg. San Francisco: Planet Drum, 1978. 217-20.Crawford, Patricia, and Ian Crawford. Contested Country: A History of the Northcliffe Area, Western Australia. Perth: UWA P, 2003.Feld, Steven. 2001. “Lift-Up-Over Sounding.” The Book of Music and Nature: An Anthology of Sounds, Words, Thoughts. Ed. David Rothenberg and Marta Ulvaeus. Middletown, CT: Wesleyan UP, 2001. 193-206.Giblett, Rod. People and Places of Nature and Culture. Bristol: Intellect, 2011.Kato, Kumi. “Addressing Global Responsibility for Conservation through Cross-Cultural Collaboration: Kodama Forest, a Forest of Tree Spirits.” The Environmentalist 28.2 (2008): 148-54. 15 Apr. 2014 <http://link.springer.com/article/10.1007/s10669-007-9051-6#page-1>.Kennedy, Sharon. “Local Knowledge Builds Vital Support Networks in Emergencies.” ABC South West WA, 10 Mar. 2015. 26 Mar. 2015 <http://www.abc.net.au/local/stories/2015/03/09/4193981.htm?site=southwestwa>.Morrison, Della Rae. E-mail. 15 July 2014.Pedelty, Mark. Ecomusicology: Rock, Folk, and the Environment. Philadelphia, PA: Temple UP, 2012.Pye, David. Telephone interview. 3 Sep. 2014.Relph, Edward. Place and Placelessness. London: Pion, 1976.Rice, Ann. Telephone interview. 2 Oct. 2014.Rose, Deborah Bird. Nourishing Terrains: Australian Aboriginal Views of Landscape and Wilderness. Australian Heritage Commission, 1996.Ryan, John C. Green Sense: The Aesthetics of Plants, Place and Language. Oxford: Trueheart Academic, 2012.Schine, Jennifer. “Movement, Memory and the Senses in Soundscape Studies.” Canadian Acoustics: Journal of the Canadian Acoustical Association 38.3 (2010): 100-01. 12 Apr. 2016 <http://jcaa.caa-aca.ca/index.php/jcaa/article/view/2264>.Sinclair, Fiona. Telephone interview. 6 Apr. 2014.Sinclair, Fiona, and Peter Hill. Personal Interview. 26 Sep. 2014.Southern Forest Arts. Canopy: Songs for the Southern Forests. CD coordinated by Fiona Sinclair. Recorded and produced by Lee Buddle. Sleeve notes by Robyn Johnston. West Perth: Sound Mine Studios, 2006.———. Southern Forest Sculpture Walk Catalogue. Northcliffe, WA, 2006. Unpaginated booklet.———. Understory—Art in Nature. 2009. 12 Apr. 2016 <http://www.understory.com.au/>.———. Trailguide. Understory. Presented by Southern Forest Arts, n.d.———. After the Burn: Stories, Poems and Photos Shared by the Local Community in Response to the 2015 Northcliffe and Windy Harbour Bushfire. 2nd ed. Ed. Fiona Sinclair. Northcliffe, WA., 2016.Truax, Barry, ed. Handbook for Acoustic Ecology. 2nd ed. Cambridge Street Publishing, 1999. 10 Apr. 2016 <http://www.sfu.ca/sonic-studio/handbook/Soundmark.html>.

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Abstract:

‘Every space has become ad space’. Steve Hayden, Wired Magazine, May 2003. Marshall McLuhan’s (1964) dictum that media technologies constitute a sensory extension of the body shares a conceptual affinity with Ernst Jünger’s notion of ‘“organic construction” [which] indicates [a] synergy between man and machine’ and Walter Benjamin’s exploration of the mimetic correspondence between the organic and the inorganic, between human and non-human forms (Bolz, 2002: 19). The logo or brand is co-extensive with various media of communication – billboards, TV advertisem*nts, fashion labels, book spines, mobile phones, etc. Often the logo is interchangeable with the product itself or a way or life. Since all social relations are mediated, whether by communications technologies or architectonic forms ranging from corporate buildings to sporting grounds to family living rooms, it follows that there can be no outside for sociality. The social is and always has been in a mutually determining relationship with mediating forms. It is in this sense that there is no outside. Such an idea has become a refrain amongst various contemporary media theorists. Here’s a sample: There is no outside position anymore, nor is this perceived as something desirable. (Lovink, 2002a: 4) Both “us” and “them” (whoever we are, whoever they are) are all always situated in this same virtual geography. There’s no outside …. There is nothing outside the vector. (Wark, 2002: 316) There is no more outside. The critique of information is in the information itself. (Lash, 2002: 220) In declaring a universality for media culture and information flows, all of the above statements acknowledge the political and conceptual failure of assuming a critical position outside socio-technically constituted relations. Similarly, they recognise the problems inherent in the “ideology critique” of the Frankfurt School who, in their distinction between “truth” and “false-consciousness”, claimed a sort of absolute knowledge for the critic that transcended the field of ideology as it is produced by the culture industry. Althusser’s more complex conception of ideology, material practices and subject formation nevertheless also fell prey to the pretence of historical materialism as an autonomous “science” that is able to determine the totality, albeit fragmented, of lived social relations. One of the key failings of ideology critique, then, is its incapacity to account for the ways in which the critic, theorist or intellectual is implicated in the operations of ideology. That is, such approaches displace the reflexivity and power relationships between epistemology, ontology and their constitution as material practices within socio-political institutions and historical constellations, which in turn are the settings for the formation of ideology. Scott Lash abandons the term ideology altogether due to its conceptual legacies within German dialectics and French post-structuralist aporetics, both of which ‘are based in a fundamental dualism, a fundamental binary, of the two types of reason. One speaks of grounding and reconciliation, the other of unbridgeability …. Both presume a sphere of transcendence’ (Lash, 2002: 8). Such assertions can be made at a general level concerning these diverse and often conflicting approaches when they are reduced to categories for the purpose of a polemic. However, the work of “post-structuralists” such as Foucault, Deleuze and Guattari and the work of German systems theorist Niklas Luhmann is clearly amenable to the task of critique within information societies (see Rossiter, 2003). Indeed, Lash draws on such theorists in assembling his critical dispositif for the information age. More concretely, Lash (2002: 9) advances his case for a new mode of critique by noting the socio-technical and historical shift from ‘constitutive dualisms of the era of the national manufacturing society’ to global information cultures, whose constitutive form is immanent to informational networks and flows. Such a shift, according to Lash, needs to be met with a corresponding mode of critique: Ideologycritique [ideologiekritik] had to be somehow outside of ideology. With the disappearance of a constitutive outside, informationcritique must be inside of information. There is no outside any more. (2002: 10) Lash goes on to note, quite rightly, that ‘Informationcritique itself is branded, another object of intellectual property, machinically mediated’ (2002: 10). It is the political and conceptual tensions between information critique and its regulation via intellectual property regimes which condition critique as yet another brand or logo that I wish to explore in the rest of this essay. Further, I will question the supposed erasure of a “constitutive outside” to the field of socio-technical relations within network societies and informational economies. Lash is far too totalising in supposing a break between industrial modes of production and informational flows. Moreover, the assertion that there is no more outside to information too readily and simplistically assumes informational relations as universal and horizontally organised, and hence overlooks the significant structural, cultural and economic obstacles to participation within media vectors. That is, there certainly is an outside to information! Indeed, there are a plurality of outsides. These outsides are intertwined with the flows of capital and the imperial biopower of Empire, as Hardt and Negri (2000) have argued. As difficult as it may be to ascertain the boundaries of life in all its complexity, borders, however defined, nonetheless exist. Just ask the so-called “illegal immigrant”! This essay identifies three key modalities comprising a constitutive outside: material (uneven geographies of labour-power and the digital divide), symbolic (cultural capital), and strategic (figures of critique). My point of reference in developing this inquiry will pivot around an analysis of the importation in Australia of the British “Creative Industries” project and the problematic foundation such a project presents to the branding and commercialisation of intellectual labour. The creative industries movement – or Queensland Ideology, as I’ve discussed elsewhere with Danny Butt (2002) – holds further implications for the political and economic position of the university vis-à-vis the arts and humanities. Creative industries constructs itself as inside the culture of informationalism and its concomitant economies by the very fact that it is an exercise in branding. Such branding is evidenced in the discourses, rhetoric and policies of creative industries as adopted by university faculties, government departments and the cultural industries and service sectors seeking to reposition themselves in an institutional environment that is adjusting to ongoing structural reforms attributed to the demands by the “New Economy” for increased labour flexibility and specialisation, institutional and economic deregulation, product customisation and capital accumulation. Within the creative industries the content produced by labour-power is branded as copyrights and trademarks within the system of Intellectual Property Regimes (IPRs). However, as I will go on to show, a constitutive outside figures in material, symbolic and strategic ways that condition the possibility of creative industries. The creative industries project, as envisioned by the Blair government’s Department of Culture, Media and Sport (DCMS) responsible for the Creative Industry Task Force Mapping Documents of 1998 and 2001, is interested in enhancing the “creative” potential of cultural labour in order to extract a commercial value from cultural objects and services. Just as there is no outside for informationcritique, for proponents of the creative industries there is no culture that is worth its name if it is outside a market economy. That is, the commercialisation of “creativity” – or indeed commerce as a creative undertaking – acts as a legitimising function and hence plays a delimiting role for “culture” and, by association, sociality. And let us not forget, the institutional life of career academics is also at stake in this legitimating process. The DCMS cast its net wide when defining creative sectors and deploys a lexicon that is as vague and unquantifiable as the next mission statement by government and corporate bodies enmeshed within a neo-liberal paradigm. At least one of the key proponents of the creative industries in Australia is ready to acknowledge this (see Cunningham, 2003). The list of sectors identified as holding creative capacities in the CITF Mapping Document include: film, music, television and radio, publishing, software, interactive leisure software, design, designer fashion, architecture, performing arts, crafts, arts and antique markets, architecture and advertising. The Mapping Document seeks to demonstrate how these sectors consist of ‘... activities which have their origin in individual creativity, skill and talent and which have the potential for wealth and job creation through generation and exploitation of intellectual property’ (CITF: 1998/2001). The CITF’s identification of intellectual property as central to the creation of jobs and wealth firmly places the creative industries within informational and knowledge economies. Unlike material property, intellectual property such as artistic creations (films, music, books) and innovative technical processes (software, biotechnologies) are forms of knowledge that do not diminish when they are distributed. This is especially the case when information has been encoded in a digital form and distributed through technologies such as the internet. In such instances, information is often attributed an “immaterial” and nonrivalrous quality, although this can be highly misleading for both the conceptualisation of information and the politics of knowledge production. Intellectual property, as distinct from material property, operates as a scaling device in which the unit cost of labour is offset by the potential for substantial profit margins realised by distribution techniques availed by new information and communication technologies (ICTs) and their capacity to infinitely reproduce the digital commodity object as a property relation. Within the logic of intellectual property regimes, the use of content is based on the capacity of individuals and institutions to pay. The syndication of media content ensures that market saturation is optimal and competition is kept to a minimum. However, such a legal architecture and hegemonic media industry has run into conflict with other net cultures such as open source movements and peer-to-peer networks (Lovink, 2002b; Meikle, 2002), which is to say nothing of the digital piracy of software and digitally encoded cinematic forms. To this end, IPRs are an unstable architecture for extracting profit. The operation of Intellectual Property Regimes constitutes an outside within creative industries by alienating labour from its mode of information or form of expression. Lash is apposite on this point: ‘Intellectual property carries with it the right to exclude’ (Lash, 2002: 24). This principle of exclusion applies not only to those outside the informational economy and culture of networks as result of geographic, economic, infrastructural, and cultural constraints. The very practitioners within the creative industries are excluded from control over their creations. It is in this sense that a legal and material outside is established within an informational society. At the same time, this internal outside – to put it rather clumsily – operates in a constitutive manner in as much as the creative industries, by definition, depend upon the capacity to exploit the IP produced by its primary source of labour. For all the emphasis the Mapping Document places on exploiting intellectual property, it’s really quite remarkable how absent any elaboration or considered development of IP is from creative industries rhetoric. It’s even more astonishing that media and cultural studies academics have given at best passing attention to the issues of IPRs. Terry Flew (2002: 154-159) is one of the rare exceptions, though even here there is no attempt to identify the implications IPRs hold for those working in the creative industries sectors. Perhaps such oversights by academics associated with the creative industries can be accounted for by the fact that their own jobs rest within the modern, industrial institution of the university which continues to offer the security of a salary award system and continuing if not tenured employment despite the onslaught of neo-liberal reforms since the 1980s. Such an industrial system of traditional and organised labour, however, does not define the labour conditions for those working in the so-called creative industries. Within those sectors engaged more intensively in commercialising culture, labour practices closely resemble work characterised by the dotcom boom, which saw young people working excessively long hours without any of the sort of employment security and protection vis-à-vis salary, health benefits and pension schemes peculiar to traditional and organised labour (see McRobbie, 2002; Ross, 2003). During the dotcom mania of the mid to late 90s, stock options were frequently offered to people as an incentive for offsetting the often minimum or even deferred payment of wages (see Frank, 2000). It is understandable that the creative industries project holds an appeal for managerial intellectuals operating in arts and humanities disciplines in Australia, most particularly at Queensland University of Technology (QUT), which claims to have established the ‘world’s first’ Creative Industries faculty (http://www.creativeindustries.qut.com/). The creative industries provide a validating discourse for those suffering anxiety disorders over what Ruth Barcan (2003) has called the ‘usefulness’ of ‘idle’ intellectual pastimes. As a project that endeavours to articulate graduate skills with labour markets, the creative industries is a natural extension of the neo-liberal agenda within education as advocated by successive governments in Australia since the Dawkins reforms in the mid 1980s (see Marginson and Considine, 2000). Certainly there’s a constructive dimension to this: graduates, after all, need jobs and universities should display an awareness of market conditions; they also have a responsibility to do so. And on this count, I find it remarkable that so many university departments in my own field of communications and media studies are so bold and, let’s face it, stupid, as to make unwavering assertions about market demands and student needs on the basis of doing little more than sniffing the wind! Time for a bit of a reality check, I’d say. And this means becoming a little more serious about allocating funds and resources towards market research and analysis based on the combination of needs between students, staff, disciplinary values, university expectations, and the political economy of markets. However, the extent to which there should be a wholesale shift of the arts and humanities into a creative industries model is open to debate. The arts and humanities, after all, are a set of disciplinary practices and values that operate as a constitutive outside for creative industries. Indeed, in their creative industries manifesto, Stuart Cunningham and John Hartley (2002) loath the arts and humanities in such confused, paradoxical and hypocritical ways in order to establish the arts and humanities as a cultural and ideological outside. To this end, to subsume the arts and humanities into the creative industries, if not eradicate them altogether, is to spell the end of creative industries as it’s currently conceived at the institutional level within academe. Too much specialisation in one post-industrial sector, broad as it may be, ensures a situation of labour reserves that exceed market needs. One only needs to consider all those now unemployed web-designers that graduated from multi-media programs in the mid to late 90s. Further, it does not augur well for the inevitable shift from or collapse of a creative industries economy. Where is the standing reserve of labour shaped by university education and training in a post-creative industries economy? Diehard neo-liberals and true-believers in the capacity for perpetual institutional flexibility would say that this isn’t a problem. The university will just “organically” adapt to prevailing market conditions and shape their curriculum and staff composition accordingly. Perhaps. Arguably if the university is to maintain a modality of time that is distinct from the just-in-time mode of production characteristic of informational economies – and indeed, such a difference is a quality that defines the market value of the educational commodity – then limits have to be established between institutions of education and the corporate organisation or creative industry entity. The creative industries project is a reactionary model insofar as it reinforces the status quo of labour relations within a neo-liberal paradigm in which bids for industry contracts are based on a combination of rich technological infrastructures that have often been subsidised by the state (i.e. paid for by the public), high labour skills, a low currency exchange rate and the lowest possible labour costs. In this respect it is no wonder that literature on the creative industries omits discussion of the importance of unions within informational, networked economies. What is the place of unions in a labour force constituted as individualised units? The conditions of possibility for creative industries within Australia are at once its frailties. In many respects, the success of the creative industries sector depends upon the ongoing combination of cheap labour enabled by a low currency exchange rate and the capacity of students to access the skills and training offered by universities. Certainly in relation to matters such as these there is no outside for the creative industries. There’s a great need to explore alternative economic models to the content production one if wealth is to be successfully extracted and distributed from activities in the new media sectors. The suggestion that the creative industries project initiates a strategic response to the conditions of cultural production within network societies and informational economies is highly debateable. The now well documented history of digital piracy in the film and software industries and the difficulties associated with regulating violations to proprietors of IP in the form of copyright and trademarks is enough of a reason to look for alternative models of wealth extraction. And you can be sure this will occur irrespective of the endeavours of the creative industries. To conclude, I am suggesting that those working in the creative industries, be they content producers or educators, need to intervene in IPRs in such a way that: 1) ensures the alienation of their labour is minimised; 2) collectivising “creative” labour in the form of unions or what Wark (2001) has termed the “hacker class”, as distinct from the “vectoralist class”, may be one way of achieving this; and 3) the advocates of creative industries within the higher education sector in particular are made aware of the implications IPRs have for graduates entering the workforce and adjust their rhetoric, curriculum, and policy engagements accordingly. Works Cited Barcan, Ruth. ‘The Idleness of Academics: Reflections on the Usefulness of Cultural Studies’. Continuum: Journal of Media & Cultural Studies (forthcoming, 2003). Bolz, Norbert. ‘Rethinking Media Aesthetics’, in Geert Lovink, Uncanny Networks: Dialogues with the Virtual Intelligentsia. Cambridge, Mass.: MIT Press, 2002, 18-27. Butt, Danny and Rossiter, Ned. ‘Blowing Bubbles: Post-Crash Creative Industries and the Withering of Political Critique in Cultural Studies’. Paper presented at Ute Culture: The Utility of Culture and the Uses of Cultural Studies, Cultural Studies Association of Australia Conference, Melbourne, 5-7 December, 2002. Posted to fibreculture mailing list, 10 December, 2002, http://www.fibreculture.org/archives/index.html Creative Industry Task Force: Mapping Document, DCMS (Department of Culture, Media and Sport), London, 1998/2001. http://www.culture.gov.uk/creative/mapping.html Cunningham, Stuart. ‘The Evolving Creative Industries: From Original Assumptions to Contemporary Interpretations’. Seminar Paper, QUT, Brisbane, 9 May, 2003, http://www.creativeindustries.qut.com/research/cirac/documen... ...ts/THE_EVOLVING_CREATIVE_INDUSTRIES.pdf Cunningham, Stuart; Hearn, Gregory; Cox, Stephen; Ninan, Abraham and Keane, Michael. Brisbane’s Creative Industries 2003. Report delivered to Brisbane City Council, Community and Economic Development, Brisbane: CIRAC, 2003. http://www.creativeindustries.qut.com/research/cirac/documen... ...ts/bccreportonly.pdf Flew, Terry. New Media: An Introduction. Oxford: Oxford University Press, 2002. Frank, Thomas. One Market under God: Extreme Capitalism, Market Populism, and the End of Economic Democracy. New York: Anchor Books, 2000. Hartley, John and Cunningham, Stuart. ‘Creative Industries: from Blue Poles to fat pipes’, in Malcolm Gillies (ed.) The National Humanities and Social Sciences Summit: Position Papers. Canberra: DEST, 2002. Hayden, Steve. ‘Tastes Great, Less Filling: Ad Space – Will Advertisers Learn the Hard Lesson of Over-Development?’. Wired Magazine 11.06 (June, 2003), http://www.wired.com/wired/archive/11.06/ad_spc.html Hardt, Michael and Negri, Antonio. Empire. Cambridge, Mass.: Harvard University Press, 2000. Lash, Scott. Critique of Information. London: Sage, 2002. Lovink, Geert. Uncanny Networks: Dialogues with the Virtual Intelligentsia. Cambridge, Mass.: MIT Press, 2002a. Lovink, Geert. Dark Fiber: Tracking Critical Internet Culture. Cambridge, Mass.: MIT Press, 2002b. McLuhan, Marshall. Understanding Media: The Extensions of Man. London: Routledge and Kegan Paul, 1964. McRobbie, Angela. ‘Clubs to Companies: Notes on the Decline of Political Culture in Speeded up Creative Worlds’, Cultural Studies 16.4 (2002): 516-31. Marginson, Simon and Considine, Mark. The Enterprise University: Power, Governance and Reinvention in Australia. Cambridge: Cambridge University Press, 2000. Meikle, Graham. Future Active: Media Activism and the Internet. Sydney: Pluto Press, 2002. Ross, Andrew. No-Collar: The Humane Workplace and Its Hidden Costs. New York: Basic Books, 2003. Rossiter, Ned. ‘Processual Media Theory’, in Adrian Miles (ed.) Streaming Worlds: 5th International Digital Arts & Culture (DAC) Conference. 19-23 May. Melbourne: RMIT University, 2003, 173-184. http://hypertext.rmit.edu.au/dac/papers/Rossiter.pdf Sassen, Saskia. Losing Control? Sovereignty in an Age of Globalization. New York: Columbia University Press, 1996. Wark, McKenzie. ‘Abstraction’ and ‘Hack’, in Hugh Brown, Geert Lovink, Helen Merrick, Ned Rossiter, David Teh, Michele Willson (eds). Politics of a Digital Present: An Inventory of Australian Net Culture, Criticism and Theory. Melbourne: Fibreculture Publications, 2001, 3-7, 99-102. Wark, McKenzie. ‘The Power of Multiplicity and the Multiplicity of Power’, in Geert Lovink, Uncanny Networks: Dialogues with the Virtual Intelligentsia. Cambridge, Mass.: MIT Press, 2002, 314-325. Links http://hypertext.rmit.edu.au/dac/papers/Rossiter.pdf http://www.creativeindustries.qut.com/ http://www.creativeindustries.qut.com/research/cirac/documents/THE_EVOLVING_CREATIVE_INDUSTRIES.pdf http://www.creativeindustries.qut.com/research/cirac/documents/bccreportonly.pdf http://www.culture.gov.uk/creative/mapping.html http://www.fibreculture.org/archives/index.html http://www.wired.com/wired/archive/11.06/ad_spc.html Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Rossiter, Ned. "Creative Industries and the Limits of Critique from " M/C: A Journal of Media and Culture< http://www.media-culture.org.au/0306/11-creativeindustries.php>. APA Style Rossiter, N. (2003, Jun 19). Creative Industries and the Limits of Critique from . M/C: A Journal of Media and Culture, 6,< http://www.media-culture.org.au/0306/11-creativeindustries.php>

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Image 1: Hasbro/Tiger Electronics 1998 Furby. (Photo credit: Author) Introduction Since the mid-1990s robotic and digital creatures designed to offer social interaction and companionship have been developed for commercial and research interests. Integral to encouraging positive experiences with these creatures has been the use of cute aesthetics that aim to endear companions to their human users. During this time there has also been a growth in online communities that engage in cultural production through fan fiction responses to existing cultural artefacts, including the widely recognised electronic companion, Hasbro’s Furby (image 1). These user stories and Furby’s online representation in general, demonstrate that contrary to the intentions of their designers and marketers, Furbys are not necessarily received as cute, or the embodiment of the helpless and harmless demeanour that goes along with it. Furbys’ large, lash-framed eyes, small, or non-existent limbs, and baby voice are typical markers of cuteness but can also evoke another side of cuteness—monstrosity, especially when the creature appears physically capable instead of helpless (Brzozowska-Brywczynska 217). Furbys are a particularly interesting manifestation of the cute aesthetic because it is used as tool for encouraging attachment to a socially interactive electronic object, and therefore intersects with existing ideas about technology and nonhuman companions, both of which often embody a sense of otherness. This paper will explore how cuteness intersects withand transitions into monstrosity through online representations of Furbys, troubling their existing design and marketing narrative by connecting and likening them to other creatures, myths, and anecdotes. Analysis of narrative in particular highlights the instability of cuteness, and cultural understandings of existing cute characters, such as the gremlins from the film Gremlins (Dante) reinforce the idea that cuteness should be treated with suspicion as it potentially masks a troubling undertone. Ultimately, this paper aims to interrogate the cultural complexities of designing electronic creatures through the stories that people tell about them online. Fan Production Authors of fan fiction are known to creatively express their responses to a variety of media by appropriating the characters, settings, and themes of an original work and sharing their cultural activity with others (Jenkins 88). On a personal level, Jenkins (103) argues that “[i]n embracing popular texts, the fans claim those works as their own, remaking them in their own image, forcing them to respond to their needs and to gratify their desires.” Fan fiction authors are motivated to write not for financial or professional gains but for personal enjoyment and fan recognition, however, their production does not necessarily come from favourable opinions of an existing text. The antifan is an individual who actively hates a text or cultural artefact and is mobilised in their dislike to contribute to a community of others who share their views (Gray 841). Gray suggests that both fan and antifan activity contribute to our understanding of the kinds of stories audiences want: Although fans may wish to bring a text into everyday life due to what they believe it represents, antifans fear or do not want what they believe it represents and so, as with fans, antifan practice is as important an indicator of interactions between the textual and public spheres. (855) Gray reminds that fans, nonfans, and antifans employ different interpretive strategies when interacting with a text. In particular, while fans intimate knowledge of a text reflects their overall appreciation, antifans more often focus on the “dimensions of the moral, the rational-realistic, [or] the aesthetic” (856) that they find most disagreeable. Additionally, antifans may not experience a text directly, but dislike what knowledge they do have of it from afar. As later examples will show, the treatment of Furbys in fan fiction arguably reflects an antifan perspective through a sense of distrust and aversion, and analysing it can provide insight into why interactions with, or indirect knowledge of, Furbys might inspire these reactions. Derecho argues that in part because of the potential copyright violation that is faced by most fandoms, “even the most socially conventional fan fiction is an act of defiance of corporate control…” (72). Additionally, because of the creative freedom it affords, “fan fiction and archontic literature open up possibilities – not just for opposition to institutions and social systems, but also for a different perspective on the institutional and the social” (76). Because of this criticality, and its subversive nature, fan fiction provides an interesting consumer perspective on objects that are designed and marketed to be received in particular ways. Further, because much of fan fiction draws on fictional content, stories about objects like Furby are not necessarily bound to reality and incorporate fantastical, speculative, and folkloric readings, providing diverse viewpoints of the object. Finally, if, as robotics commentators (cf. Levy; Breazeal) suggest, companionable robots and technologies are going to become increasingly present in everyday life, it is crucial to understand not only how they are received, but also where they fit within a wider cultural sphere. Furbys can be seen as a widespread, if technologically simple, example of these technologies and are often treated as a sign of things to come (Wilks 12). The Design of Electronic Companions To compete with the burgeoning market of digital and electronic pets, in 1998 Tiger Electronics released the Furby, a fur-covered, robotic creature that required the user to carry out certain nurturance duties. Furbys expected feeding and entertaining and could become sick and scared if neglected. Through a program that advanced slowly over time regardless of external stimulus, Furbys appeared to evolve from speaking entirely Furbish, their mother tongue, to speaking English. To the user, it appeared as though their interactions with the object were directly affecting its progress and maturation because their care duties of feeding and entertaining were happening parallel to the Furbish to English transition (Turkle, Breazeal, Daste, & Scassellati 314). The design of electronic companions like Furby is carefully considered to encourage positive emotional responses. For example, Breazeal (2002 230) argues that a robot will be treated like a baby, and nurtured, if it has a large head, big eyes, and pursed lips. Kinsella’s (1995) also emphasises cute things need for care as they are “soft, infantile, mammalian, round, without bodily appendages (e.g. arms), without bodily orifices (e.g. mouths), non-sexual, mute, insecure, helpless or bewildered” (226). From this perspective, Furbys’ physical design plays a role in encouraging nurturance. Such design decisions are reinforced by marketing strategies that encourage Furbys to be viewed in a particular way. As a marketing tool, Harris (1992) argues that: cuteness has become essential in the marketplace in that advertisers have learned that consumers will “adopt” products that create, often in their packaging alone, an aura of motherlessness, ostracism, and melancholy, the silent desperation of the lost puppy dog clamoring to be befriended - namely, to be bought. (179) Positioning Furbys as friendly was also important to encouraging a positive bond with a caregiver. The history, or back story, that Furbys were given in the instruction manual was designed to convey their kind, non-threatening nature. Although alive and unpredictable, it was crucial that Furbys were not frightening. As imaginary living creatures, the origin of Furbys required explaining: “some had suggested positioning Furby as an alien, but that seemed too foreign and frightening for little girls. By May, the thinking was that Furbies live in the clouds – more angelic, less threatening” (Kirsner). In creating this story, Furby’s producers both endeared the object to consumers by making it seem friendly and inquisitive, and avoided associations to its mass-produced, factory origins. Monstrous and Cute Furbys Across fan fiction, academic texts, and media coverage there is a tendency to describe what Furbys look like by stringing together several animals and objects. Furbys have been referred to as a “mechanized ball of synthetic hair that is part penguin, part owl and part kitten” (Steinberg), a “cross between a hamster and a bird…” (Lawson & Chesney 34), and “ “owl-like in appearance, with large bat-like ears and two large white eyes with small, reddish-pink pupils” (ChaosInsanity), to highlight only a few. The ambiguous appearance of electronic companions is often a strategic decision made by the designer to avoid biases towards specific animals or forms, making the companion easier to accept as “real” or “alive” (Shibata 1753). Furbys are arguably evidence of this strategy and appear to be deliberately unfamiliar. However, the assemblage, and exaggeration, of parts that describes Furbys also conjures much older associations: the world of monsters in gothic literature. Notice the similarities between the above attempts to describe what Furbys looks like, and a historical description of monsters: early monsters are frequently constructed out of ill-assorted parts, like the griffin, with the head and wings of an eagle combined with the body and paws of a lion. Alternatively, they are incomplete, lacking essential parts, or, like the mythological hydra with its many heads, grotesquely excessive. (Punter & Byron 263) Cohen (6) argues that, metaphorically, because of their strange visual assembly, monsters are displaced beings “whose externally incoherent bodies resist attempts to include them in any systematic structuration. And so the monster is dangerous, a form suspended between forms that threatens to smash distinctions.” Therefore, to call something a monster is also to call it confusing and unfamiliar. Notice in the following fan fiction example how comparing Furby to an owl makes it strange, and there seems to be uncertainty around what Furbys are, and where they fit in the natural order: The first thing Heero noticed was that a 'Furby' appeared to be a childes toy, shaped to resemble a mutated owl. With fur instead of feathers, no wings, two large ears and comical cat paws set at the bottom of its pudding like form. Its face was devoid of fuzz with a yellow plastic beak and too large eyes that gave it the appearance of it being addicted to speed [sic]. (Kontradiction) Here is a character unfamiliar with Furbys, describing its appearance by relating it to animal parts. Whether Furbys are cute or monstrous is contentious, particularly in fan fictions where they have been given additional capabilities like working limbs and extra appendages that make them less helpless. Furbys’ lack, or diminution of parts, and exaggeration of others, fits the description of cuteness, as well as their sole reliance on caregivers to be fed, entertained, and transported. If viewed as animals, Furbys appear physically limited. Kinsella (1995) finds that a sense of disability is important to the cute aesthetic: stubby arms, no fingers, no mouths, huge heads, massive eyes – which can hide no private thoughts from the viewer – nothing between their legs, pot bellies, swollen legs or pigeon feet – if they have feet at all. Cute things can’t walk, can’t talk, can’t in fact do anything at all for themselves because they are physically handicapped. (236) Exploring the line between cute and monstrous, Brzozowska-Brywczynska argues that it is this sense of physical disability that distinguishes the two similar aesthetics. “It is the disempowering feeling of pity and sympathy […] that deprives a monster of his monstrosity” (218). The descriptions of Furbys in fan fiction suggest that they transition between the two, contingent on how they are received by certain characters, and the abilities they are given by the author. In some cases it is the overwhelming threat the Furby poses that extinguishes feelings of care. In the following two excerpts that the revealing of threatening behaviour shifts the perception of Furby from cute to monstrous in ‘When Furbies Attack’ (Kellyofthemidnightdawn): “These guys are so cute,” she moved the Furby so that it was within inches of Elliot's face and positioned it so that what were apparently the Furby's lips came into contact with his cheek “See,” she smiled widely “He likes you.” […] Olivia's breath caught in her throat as she found herself backing up towards the door. She kept her eyes on the little yellow monster in front of her as her hand slowly reached for the door knob. This was just too freaky, she wanted away from this thing. The Furby that was originally called cute becomes a monster when it violently threatens the protagonist, Olivia. The shifting of Furbys between cute and monstrous is a topic of argument in ‘InuYasha vs the Demon Furbie’ (Lioness of Dreams). The character Kagome attempts to explain a Furby to Inuyasha, who views the object as a demon: That is a toy called a Furbie. It's a thing we humans call “CUTE”. See, it talks and says cute things and we give it hugs! (Lioness of Dreams) A recurrent theme in the Inuyasha (Takahashi) anime is the generational divide between Kagome and Inuyasha. Set in feudal-era Japan, Kagome is transported there from modern-day Tokyo after falling into a well. The above line of dialogue reinforces the relative newness, and cultural specificity, of cute aesthetics, which according to Kinsella (1995 220) became increasingly popular throughout the 1980s and 90s. In Inuyasha’s world, where demons and monsters are a fixture of everyday life, the Furby appearance shifts from cute to monstrous. Furbys as GremlinsDuring the height of the original 1998 Furby’s public exposure and popularity, several news articles referred to Furby as “the five-inch gremlin” (Steinberg) and “a furry, gremlin-looking creature” (Del Vecchio 88). More recently, in a review of the 2012 Furby release, one commenter exclaimed: “These things actually look scary! Like blue gremlins!” (KillaRizzay). Following the release of the original Furbys, Hasbro collaborated with the film’s merchandising team to release Interactive ‘Gizmo’ Furbys (image 2). Image 2: Hasbro 1999 Interactive Gizmo (photo credit: Author) Furbys’ likeness to gremlins offers another perspective on the tension between cute and monstrous aesthetics that is contingent on the creature’s behaviour. The connection between Furbys and gremlins embodies a sense of mistrust, because the film Gremlins focuses on the monsters that dwell within the seemingly harmless and endearing mogwai/gremlin creatures. Catastrophic events unfold after they are cared for improperly. Gremlins, and by association Furbys, may appear cute or harmless, but this story tells that there is something darker beneath the surface. The creatures in Gremlins are introduced as mogwai, and in Chinese folklore the mogwai or mogui is a demon (Zhang, 1999). The pop culture gremlin embodied in the film, then, is cute and demonic, depending on how it is treated. Like a gremlin, a Furby’s personality is supposed to be a reflection of the care it receives. Transformation is a common theme of Gremlins and also Furby, where it is central to the sense of “aliveness” the product works to create. Furbys become “wiser” as time goes on, transitioning through “life stages” as they “learn” about their surroundings. As we learn from their origin story, Furbys jumped from their home in the clouds in order to see and explore the world firsthand (Tiger Electronics 2). Because Furbys are susceptible to their environment, they come with rules on how they must be cared for, and the consequences if this is ignored. Without attention and “food”, a Furby will become unresponsive and even ill: “If you allow me to get sick, soon I will not want to play and will not respond to anything but feeding” (Tiger Electronics 6). In Gremlins, improper care manifests in an abrupt transition from cute to monstrous: Gizmo’s strokeable fur is transformed into a wet, scaly integument, while the vacant portholes of its eyes (the most important facial feature of the cute thing, giving us free access to its soul and ensuring its total structability, its incapacity to hold back anything in reserve) become diabolical slits hiding a lurking intelligence, just as its dainty paws metamorphose into talons and its pretty puckered lips into enormous Cheshire grimaces with full sets of sharp incisors. (Harris 185–186) In the Naruto (Kishimoto) fan fiction ‘Orochimaru's World Famous New Year's Eve Party’ (dead drifter), while there is no explicit mention of Gremlins, the Furby undergoes the physical transformation that appears in the films. The Furby, named Sasuke, presumably after the Naruto antagonist Sasuke, and hinting at its untrustworthy nature, undergoes a transformation that mimics that of Gremlins: when water is poured on the Furby, boils appear and fall from its back, each growing into another Furby. Also, after feeding the Furby, it lays eggs: Apparently, it's not a good idea to feed Furbies chips. Why? Because they make weird cocoon eggs and transform into… something. (ch. 5) This sequence of events follows the Gremlins movie structure, in which cute and furry Gizmo, after being exposed to water and fed after midnight, “begins to reproduce, laying eggs that enter a larval stage in repulsive cocoons covered in viscous membranes” (Harris 185). Harris also reminds that the appearance of gremlins comes with understandings of how they should be treated: Whereas cute things have clean, sensuous surfaces that remain intact and unpenetrated […] the anti-cute Gremlins are constantly being squished and disembowelled, their entrails spilling out into the open, as they explode in microwaves and run through paper shredders and blenders. (Harris 186) The Furbys in ‘Orochimaru's World Famous New Year's Eve Party’ meet a similar end: Kuro Furby whined as his brain was smashed in. One of its eyes popped out and rolled across the floor. (dead drifter ch. 6) A horde of mischievous Furbys are violently dispatched, including the original Furby that was lovingly cared for. Conclusion This paper has explored examples from online culture in which different cultural references clash and merge to explore artefacts such as Furby, and the complexities of design, such as the use of ambiguously mammalian, and cute, aesthetics in an effort to encourage positive attachment. Fan fiction, as a subversive practice, offers valuable critiques of Furby that are imaginative and speculative, providing creative responses to experiences with Furbys, but also opening up potential for what electronic companions could become. In particular, the use of narrative demonstrates that cuteness is an unstable aesthetic that is culturally contingent and very much tied to behaviour. As above examples demonstrate, Furbys can move between cute, friendly, helpless, threatening, monstrous, and strange in one story. Cute Furbys became monstrous when they were described as an assemblage of disparate parts, made physically capable and aggressive, and affected by their environment or external stimulus. Cultural associations, such as gremlins, also influence how an electronic animal is received and treated, often troubling the visions of designers and marketers who seek to present friendly, nonthreatening, and accommodating companions. These diverse readings are valuable in understanding how companionable technologies are received, especially if they continue to be developed and made commercially available, and if cuteness is to be used as means of encouraging positive attachment. References Breazeal, Cynthia. Designing Sociable Robots. Cambridge, MA: MIT Press, 2002. Brzozowska-Brywczynska, Maja. "Monstrous/Cute: Notes on the Ambivalent Nature of Cuteness." Monsters and the Monstrous: Myths and Metaphors of Enduring Evil. Ed. Niall Scott. Amsterdam/New York: Rodopi. 2007. 213 - 28. 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