Journal articles on the topic 'Otago Harbour'

The horizontal distribution and speciation of iron in the Otago Harbour, New Zealand, a shallow, vertically well mixed estuary, was investigated on six occasions from April to November 1993. Iron speciation was determined by a suite of analytical methods focussing on the chemical reactivity of iron. The dominant source of iron into the water column in these waters was resuspension of bottom sediments, particularly under windy conditions. The only important freshwater source of iron to the harbour, the Water of Leith, appeared to be a major source of iron to Otago Harbour only under conditions of high stream flow. However, the influence of the Water of Leith was often detectable down harbour by the presence of more reactive/labile iron phases. Prolonged periods of strong winds also appeared to supply large concentrations of reactive iron to the water column, possibly by mixing and resuspension of sediment material from below the redox boundary. Experiments on natural samples from Otago Harbour revealed that at pH 4.0 ascorbic acid was able to reduce Fe(III) oxyhydroxides more effectively than was hydroxylamine hydrochloride. This difference may reflect either different mechanisms for the reduction of iron oxyhydroxides or differences in the crystallinity of these oxyhydroxides.

Parasitism is increasingly recognized as an important determinant of population dynamics, productivity and community structure in intertidal ecosystems, and yet there is very little known about the effect of parasites on polychaetes, which represent a major component of the benthic fauna. We surveyed 11 polychaete species from a mudflat in Otago Harbour, New Zealand, and found that seven of these were infected by five parasite species: four trematodes and one apicomplexan gregarine. The gregarine found in Spirobranchus cariniferus and a strigeid trematode using Streblosoma toddae as its first intermediate host are both likely to have negative fitness impacts on their hosts. Other trematodes found were at the metacercarial stage and thus use polychaetes as second intermediate hosts. The most common, an opecoelid, infected the polychaetes Heteromastus filiformis and Abarenicola affinis at relatively high abundance. There was no indication of parasite-induced mortality in these two hosts based on the relationship between host size and infection intensity. However, a comparison of intact H. filiformis individuals with those that fragmented during collection revealed a significantly higher number of opecoelid metacercariae per segment in the fragments than in the complete individuals, suggesting that infection may compromise the structural integrity of the polychaetes. These results suggest that there exists a great diversity of both trematodes and host–trematode associations within the polychaete fauna, whose ecological impact remains to be quantified.

AbstractEvidence is accumulating rapidly showing that temperature and other climatic variables are driving many ecological processes. At the same time, recent research has highlighted the role of parasitism in the dynamics of animal populations and the structure of animal communities. Here, the likely interactions between climate change and parasitism are discussed in the context of intertidal ecosystems. Firstly, using the soft-sediment intertidal communities of Otago Harbour, New Zealand, as a case study, parasites are shown to be ubiquitous components of intertidal communities, found in practically all major animal species in the system. With the help of specific examples from Otago Harbour, it is demonstrated that parasites can regulate host population density, influence the diversity of the entire benthic community, and affect the structure of the intertidal food web. Secondly, we document the extreme sensitivity of cercarial production in parasitic trematodes to increases in temperature, and discuss how global warming could lead to enhanced trematode infections. Thirdly, the results of a simulation model are used to argue that parasite-mediated local extinctions of intertidal animals are a likely outcome of global warming. Specifically, the model predicts that following a temperature increase of less than 4°C, populations of the amphipod Corophium volutator, a hugely abundant tube-building amphipod on the mudflats of the Danish Wadden Sea, are likely to crash repeatedly due to mortality induced by microphallid trematodes. The available evidence indicates that climate-mediated changes in local parasite abundance will have significant repercussions for intertidal ecosystems. On the bright side, the marked effects of even slight increases in temperature on cercarial production in trematodes could form the basis for monitoring programmes, with these sensitive parasites providing early warning signals of the environmental impacts of global warming.

AbstractMarine limpets, Notoacmea scapha, were collected from an intertidal mud flat in Otago Harbour, New Zealand, and examined for infection with larval trematodes. Three separate species of trematode (opecoelid sp. A, Acanthoparyphium sp. A and Curtuteria australis) were identified from the limpets, based on molecular evidence. This is the first report of these three trematodes in limpets, indicating that the latter are physiologically suitable second-intermediate hosts. However, based on ecological information on the diet of the parasites' definitive hosts, we conclude that the limpet N. scapha does not contribute to the transmission of any of the trematodes. Instead, it acts as a sink for cercariae that fail to locate appropriate second-intermediate hosts.

Pseudochromadora reathae n. sp. is described from intertidal sand in Otago Harbour (southern New Zealand), and Pseudodesmodora lacrima n. sp. is described from subtidal sediment in the Firth of Thames (northern New Zealand). Pseudochromadora reathae n. sp. differs from other species of the genus through the combination of the following characters: sexual dimorphism in the shape of the apertura amphidialis, no interdigitation of body annuli at level of lateral alae, presence of eight longitudinal rows of somatic setae, and conspicuous pre-cloacal supplements consisting of star-shaped projections flanked by two cuticularised pieces. Pseudodesmodora lacrima n. sp. is characterised by the presence of large unispiral amphids on amphidial plates, conspicuous ducts in the head region, low a values, and short cephalic setae.

SUMMARYRecent studies have shown that some digenean trematodes previously identified as single species due to the lack of distinguishing morphological characteristics actually consist of a number of genetically distinct cryptic species. We obtained mitochondrial 16S and nuclear ITS1 sequences for the redial stages of Acanthoparyphium sp. and Curtuteria australis collected from snails and whelks at various locations around Otago Peninsula, New Zealand. These two echinostomes are well-known host manipulators whose impact extends to the entire intertidal community. Using phylogenetic analyses, we found that Acanthoparyphium sp. is actually composed of at least 4 genetically distinct species, and that a cryptic species of Curtuteria occurs in addition to C. australis. Molecular data obtained for metacercariae dissected from cockle second intermediate hosts matched sequences obtained for Acanthoparyphium sp. A and C. australis rediae, respectively, but no other species. The various cryptic species of both Acanthoparyphium and Curtuteria also showed an extremely localized pattern of distribution: some species were either absent or very rare in Otago Harbour, but reached far higher prevalence in nearby sheltered inlets. This small-scale spatial segregation is unexpected as shorebird definitive hosts can disperse trematode eggs across wide geographical areas, which should result in a homogeneous mixing of the species on small geographical scales. Possible explanations for this spatial segregation of the species include sampling artefacts, local adaptation by first intermediate hosts, environmental conditions, and site fidelity of the definitive hosts.

AbstractAlthough most of the notothenioid fishes have geographic distributions restricted to the Southern Ocean, several species with inferred Antarctic origins have come to permanently inhabit the warmer waters around New Zealand and southern South America. However, it remains unknown whether the Antarctic ancestry of these secondarily temperate species continues to influence their modern heat tolerance. We investigated the heat tolerance of one such secondarily temperate nototheniid, Notothenia angustata, which is now endemic to the waters around the South Island of New Zealand. Their heat tolerance was determined using the critical thermal maximum (CTMax) both when acclimatized to their winter water temperatures (7.9°C), and warm acclimated (15°C) near the summer water temperatures in Otago Harbour. When compared to equivalently acclimated specimens of the basal New Zealand notothenioid Bovichtus variegatus, N. angustata have consistently lower CTMaxs, though they are significantly greater than those determined from 10°C acclimated specimens of its endemic Antarctic congener, N. coriiceps. While this shows greater heat tolerance in the secondarily temperate N. angustata than in endemic Antarctic species, it also suggests that some of its ancestral intolerance to heat persists.

AbstractMetacercariae of the trematode Curtuteria australis (Echinostomatidae) accumulate in the foot of the New Zealand cockle Austrovenus stutchburyi, severely impairing the cockle's ability to burrow under the sediments. This results in increased predation by birds on cockles, and thus enhanced transmission rates of the parasite to its bird definitive hosts. This host manipulation by the trematode is costly: fish regularly crop the tip of the foot of cockles stranded on the sediment surface, killing any metacercariae they ingest. A second, previously undetected trematode species (characterized by 23 collar spines) co-existing with C. australis, has been found in the foot of cockles in the Otago Harbour, South Island, New Zealand. The relative abundance of the two species varies among localities, with the identity of the numerically dominant species also changing from one locality to the next. Both C. australis and the new species have a strong preference for encysting in the tip of the cockle's foot, where their impact on the burrowing ability of the host is greatest, and where they both face the risk of cropping by fish. Results indicate that these two species are ecological equivalents, and their combined numbers determine how the cockle population is affected.

The patterns of association between parasites within a particular host are determined by a number of factors. One of these factors is whether or not infection by one parasite influences the probability of acquiring other parasite species. This study investigates the pattern of association between various parasites of the New Zealand cockleAustrovenus stutchburyi. Hundreds of cockles were collected from one locality within Otago Harbour, New Zealand and examined for trematode metacercariae and other symbionts. Two interspecific associations emerged from the study. First, the presence of the myicolid copepodPseudomyicola spinosuswas positively associated with higher infection intensity by echinostomes. The side-effect of the copepod's activities within the cockle is suggested as the proximate mechanism that facilitates infection by echinostome cercariae, leading to a greater rate of accumulation of metacercariae in cockles harbouring the copepod. Second, a positive association was also found between infection intensity of the metacercariae of foot-encysting echinostomes and that of gymnophallid metacercariae. This supports earlier findings and suggests that the gymnophallid is a hitch-hiker parasite because, in addition to the pattern of positive association, it (a) shares the same transmission route as the echinostomes, and (b) unlike the echinostomes, it is not capable of increasing the host's susceptibility to avian predation. Thus, both active hitch-hiking and incidental facilitation lead to non-random infection patterns in this parasite community.

The two companions scurry off when they hear a noise at the door. It was only a noise, but it was also a message, a bit of information producing panic: an interruption, a corruption, a rupture of communication. Was the noise really a message? Wasn’t it, rather, static, a parasite? Michael Serres, 1982. Since, ordinarily, channels have a certain amount of noise, and therefore a finite capacity, exact transmission is impossible. Claude Shannon, 1948. Reading Information At their most simplistic, there are two means for shifting information around – analogue and digital. Analogue movement depends on analogy to perform computations; it is continuous and the relationships between numbers are keyed as a continuous ordinal set. The digital set is discrete; moving one finger at a time results in a one-to-one correspondence. Nevertheless, analogue and digital are like the two companions in Serres’ tale. Each suffers the relationship of noise to information as internal rupture and external interference. In their examination of historical constructions of information, Hobart and Schiffman locate the noise of the analogue within its physical materials; they write, “All analogue machines harbour a certain amount of vagueness, known technically as ‘noise’. Which describes the disturbing influences of the machine’s physical materials on its calculations” (208). These “certain amounts of vagueness” are essential to Claude Shannon’s articulation of a theory for information transfer that forms the basis for this paper. In transforming the structures and materials through which it travels, information has left its traces in digital art installation. These traces are located in installation’s systems, structures and materials. The usefulness of information theory as a tool to understand these relationships has until recently been overlooked by a tradition of media art history that has grouped artworks according to the properties of the artwork and/or tied them into the histories of representation and perception in art theory. Throughout this essay I use the productive dual positioning of noise and information to address the errors and impurity inherent within the viewing experiences of digital installation. Information and Noise It is not hard to see why the fractured spaces of digital installation are haunted by histories of information science. In his 1948 essay “The Mathematical Theory of Communication” Claude Shannon developed a new model for communications technologies that articulated informational feedback processes. Discussions of information transmission through phone lines were occurring alongside the development of technology capable of computing multiple discrete and variable packets of information: that is, the digital computer. And, like art, information science remains concerned with the material spaces of transmission – whether conceptual, social or critical. In the context of art something is made to be seen, understood, viewed, or presented as a series of relationships that might be established between individuals, groups, environments, and sensations. Understood this way art is an aesthetic relationship between differing material bodies, images, representations, and spaces. It is an event. Shannon was adamant that information must not be confused with meaning. To increase efficiency he insisted that the message be separated from its components; in particular, those aspects that were predictable were not to be considered information (Hansen 79). The problem that Shannon had to contend with was noise. Unwanted and disruptive, noise became symbolic of the struggle to control the growth of systems. The more complex the system, the more noise needed to be addressed. Noise is both the material from which information is constructed, as well as being the matter which information resists. Weaver (Shannon’s first commentator) writes: In the process of being transmitted, it is unfortunately characteristic that certain things are added to the signal which were not intended by the information source. These unwanted additions may be distortions of sound (in telephony, for example) or static (in radio), or distortions in shape or shading of picture (television), or errors in transmission (telegraphy or facsimile), etc. All of these changes in the transmitted signal are called noise. (4). To enable more efficient message transmission, Shannon designed systems that repressed as much noise as possible, while also acknowledging that without some noise information could not be transmitted. Shannon’s conception of information meant that information would not change if the context changed. This was crucial if a general theory of information transmission was to be plausible and meant that a methodology for noise management could be foregrounded (Pask 123). Without meaning, information became a quantity, a yes or no decision, that Shannon called a “bit” (1). Shannon’s emphasis on separating signal or message from both predicability and external noise appeared to give information an identity where it could float free of a material substance and be treated independently of context. However, for this to occur information would have to become fixed and understood as an entity. Shannon went to pains to demonstrate that the separation of meaning and information was actually to enable the reverse. A fluidity of information and the possibilities for encoding it would mean that information, although measurable, did not have a finite form. Tied into the paradox of this equation is the crucial role of noise or error. In Shannon’s communication model information is not only complicit with noise; it is totally dependant upon it for understanding. Without noise, either encoded within the original message or present from sources outside the channel, information cannot get through. The model of sender-encoder-channel-signal (message)-decoder-receiver that Shannon constructed has an arrow inserting noise. Visually and schematically this noise is a disruption pointing up and inserting itself in the nice clean lines of the message. This does not mean that noise was a last minute consideration; rather noise was the very thing Shannon was working with (and against). It is present in every image we have of information. A source, message, transmitter, receiver and their attendant noises are all material infrastructures that serve to contextualise the information they transmit, receive, and disrupt. Figure 1. Claude Shannon “The Mathematical Theory of Communication” 1948. In his analytical discussion of the diagram, Shannon actually locates noise in two crucial places. The first position accorded noise is external, marked by the arrow that demonstrates how noise is introduced to the message channel whilst in transit. External noise confuses the purity of the message whilst equivocally adding new information. External noise has a particular materiality and enters the equation as unexplained variation and random error. This is disruptive presence rather than entropic coded pattern. Shannon offers this equivocal definition of noise to be everything that is outside the linear model of sender-channel-receiver; hence, anything can be noise if it enters a channel where it is unwelcome. Secondly, noise was defined as unpredictability or entropy found and encoded within the message itself. This for Shannon was an essential and, in some ways, positive role. Entropic forces invited continual reorganisation and (when engaging the laws of redundancy) assisted with the removal of repetition enabling faster message transmission (Shannon 48). Weaver calls this shifting relationship between entropy and message “equivocation” (11). Weaver identified equivocation as central to the manner in which noise and information operated. A process of equivocation identified the receiver’s knowledge. For Shannon, a process of equivocation mediated between useful information and noise, as both were “measured in the same units” (Hayles, Chaos 55). To eliminate noise completely is to sacrifice information. Information understood in this way is also about relationships between differing material bodies, representations, and spaces, connected together for the purposes of transmission. It, like the artwork, is an event. This would appear to suggest a correlation between information transmission and viewing in galleries. Far from it. Although, the contemporary information channel is essentially a tube with fixed walls, (it is still constrained by physical properties, bandwidth and so on) and despite the implicit spatialisation of information models, I am not proposing a direct correlation between information channels and installation spaces. This is because I am not interested in ‘reading’ the information of either environment. What I am suggesting is that both environments share this material of noise. Noise is present in four places. Firstly noise is within the media errors of transmission, and secondly, it is within the media of the installation, (neither of which are one way flows). Thirdly, the viewer or listener introduces noise as interference, and lastly, it is present in the very materials thorough which it travels. Noise layered on noise. Redundancy and Modulation So far in this paper I have discussed the relationship of information to noise. For the remainder, I want to address some particular processes or manifestations of noise in New Zealand artists’ collective, et al.’s maintenance of social solidarity–instance 5 (2006, exhibited as part of the SCAPE Biennal of Art in Public Space, Christchurch Art Gallery). The installation occupies a small alcove that is partially blocked by a military-style portable table stacked with newspapers. Inside the space are three grey wooden chairs, some headphones, and a modified data projection of Google Earth. It is not immediately clear if the viewer is allowed within the spaces of the alcove to listen to the headphones as monotonous voices fill the whole space intoning political, social, and religious platitudes. The headphones might be a tool to block out the noise. In the installation it is as if multiple messages have been sent but their source, channel, and transmitter are unintelligible to the receiver. All that is left is information divorced from meaning. As other works by et al. have demonstrated, social solidarity is not a fundamentalism with directed positions and singular leaders. For example, in rapture (2004) noise disrupts all presence as a portable shed quivers in response to underground nuclear explosions 40,000km away. In the fundamental practice (2005) the viewer is left attempting to decode the un-encoded, as again sound and large steel barriers control and determine only certain movements (see http://www.etal.name/ for some documentation of these projects) . maintenance of social solidarity–instance 5 is a development of the fundamental practice. To enter its spaces viewers slip around the table and find themselves extremely close to the projection screen. Despite the provision of copious media the viewer cannot control any aspect of the environment. On screen, and apparently integral to the Google Earth imagery, are five animated and imposing dark grey monolith forms. Because of their connection to the monotonous voices in the headphones, the monoliths seem to map the imposition of narrative, power, and force in various disputed territories. Like their sudden arrival in Kubrick’s 2001: A Space Odyssey (1968) it is the contradiction of the visibility and improbability of the monoliths that renders them believable. On the video landscape the five monoliths apparently house the dispassionate voices of many different media and political authorities. Their presence is both redundant and essential as they modulate the layering of media forces – and in between, error slips in. In a broad discussion of information Gilles Deleuze and Felix Guattari highlight the necessary role of redundancy commenting that: redundancy has two forms, frequency and resonance; the first concerns the significance of information, the second (I=I) concerns the subjectivity of communication. It becomes apparent that information and communication, and even significance and subjectification, are subordinate to redundancy (79). In maintenance of social solidarity–instance 5 patterns of frequency highlight the necessary role of entropy where it is coded into gaps in the vocal transmission. Frequency is a structuring of information tied to meaningful communication. Resonance, like the stack of un-decodable newspapers on the portable table, is the carrier of redundancy. It is in the gaps between the recorded voices that connections between the monoliths and the texts are made, and these two forms of redundancy emerge. As Shannon says, redundancy is a problem of language. This is because redundancy and modulation do not equate with relationship of signal to noise. Signal to noise is a representational relationship; frequency and resonance are not representational but relational. This means that an image that might be “real-time” interrupts our understanding that the real comes first with representation always trailing second (Virilio 65). In maintenance of social solidarity–instance 5 the monoliths occupy a fixed spatial ground, imposed over the shifting navigation of Google Earth (this is not to mistake Google Earth with the ‘real’ earth). Together they form a visual counterpoint to the texts reciting in the viewer’s ears, which themselves might present as real but again, they aren’t. As Shannon contended, information cannot be tied to meaning. Instead, in the race for authority and thus authenticity we find interlopers, noisy digital images that suggest the presence of real-time perception. The spaces of maintenance of social solidarity–instance 5 meld representation and information together through the materiality of noise. And across all the different modalities employed, the appearance of noise is not through formation, but through error, accident, or surprise. This is the last step in a movement away from the mimetic obedience of information and its adherence to meaning-making or representational systems. In maintenance of social solidarity–instance 5 we are forced to align real time with virtual spaces and suspend our disbelief in the temporal truths that we see on the screen before us. This brief introduction to the work has returned us to the relationship between analogue and digital materials. Signal to noise is an analogue relationship of presence and absence. No signal equals a break in transmission. On the other hand, a digital system, due to its basis in discrete bits, transmits through probability (that is, the transmission occurs through pattern and randomness, rather than presence and absence (Hayles, How We Became 25). In his use of Shannon’s theory for the study of information transmission, Schwartz comments that the shift in information theory from analogue to digital is a shift from an analogue relationship of signal to noise to one of the probability of error (318). As I have argued in this paper, if it is measured as a quantity, noise is productive; it adds information. In both digital and analogue systems it is predictability and repetition that do not contribute information. Von Neumann makes the distinction clear saying that to some extent the “precision” of the digital machine “is absolute.” Even though, error as a matter of normal operation and not solely … as an accident attributable to some definite breakdown, nevertheless creeps in (294). Error creeps in. In maintenance of social solidarity–instance 5, et al. disrupts signal transmission by layering ambiguities into the installation. Gaps are left for viewers to introduce misreadings of scale, space, and apprehension. Rather than selecting meaning out of information within nontechnical contexts, a viewer finds herself in the same sphere as information. Noise imbricates both information and viewer within a larger open system. When asked about the relationship with the viewer in her work, et al. collaborator p.mule writes: To answer the 1st question, communication is important, clarity of concept. To answer the 2nd question, we are all receivers of information, how we process is individual. To answer the 3rd question, the work is accessible if you receive the information. But the question remains: how do we receive the information? In maintenance of social solidarity–instance 5 the system dominates. Despite the use of sound engineering and sophisticated Google Earth mapping technologies, the work appears to be constructed from discarded technologies both analogue and digital. The ominous hovering monoliths suggest answers: that somewhere within this work are methodologies to confront the materialising forces of digital error. To don the headphones is to invite a position that operates as a filtering of power. The parameters for this power are in a constant state of flux. This means that whilst mapping these forces the work does not locate them. Sound is encountered and constructed. Furthermore, the work does not oppose digital and analogue, for as von Neumann comments “the real importance of the digital procedure lies in its ability to reduce the computational noise level to an extent which is completely unobtainable by any other (analogy) procedure” (295). maintenance of social solidarity–instance 5 shows how digital and analogue come together through the productive errors of modulation and redundancy. et al.’s research constantly turns to representational and meaning making systems. As one instance, maintenance of social solidarity–instance 5 demonstrates how the digital has challenged the logics of the binary in the traditions of information theory. Digital logics are modulated by redundancies and accidents. In maintenance of social solidarity–instance 5 it is not possible to have information without noise. If, as I have argued here, digital installation operates between noise and information, then, in a constant disruption of the legacies of representation, immersion, and interaction, it is possible to open up material languages for the digital. Furthermore, an engagement with noise and error results in a blurring of the structures of information, generating a position from which we can discuss the viewer as immersed within the system – not as receiver or meaning making actant, but as an essential material within the open system of the artwork. References Barr, Jim, and Mary Barr. “L. Budd et al.” Toi Toi Toi: Three Generations of Artists from New Zealand. Ed. Rene Block. Kassel: Museum Fridericianum, 1999. 123. Burke, Gregory, and Natasha Conland, eds. et al. the fundamental practice. Wellington: Creative New Zealand, 2005. Burke, Gregory, and Natasha Conland, eds. Venice Document. et al. the fundamental practice. Wellington: Creative New Zealand, 2006. Daly-Peoples, John. Urban Myths and the et al. Legend. 21 Aug. 2004. The Big Idea (reprint) http://www.thebigidea.co.nz/print.php?sid=2234>. Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. London: The Athlone Press, 1996. Hansen, Mark. New Philosophy for New Media. Cambridge, MA and London: MIT Press, 2004. Hayles, N. Katherine. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and Informatics. Chicago and London: U of Chicago P, 1999. Hayles, N. Katherine. Chaos Bound: Orderly Disorder in Contemporary Literature and Science. Ithaca and London: Cornell University, 1990. Hobart, Michael, and Zachary Schiffman. Information Ages: Literacy, Numeracy, and the Computer Revolution. Baltimore: Johns Hopkins UP, 1998. p.mule, et al. 2007. 2 Jul. 2007 http://www.etal.name/index.htm>. Pask, Gordon. An Approach to Cybernetics. London: Hutchinson, 1961. Paulson, William. The Noise of Culture: Literary Texts in a World of Information. Ithaca and London: Cornell University, 1988. Schwartz, Mischa. Information Transmission, Modulation, and Noise: A Unified Approach to Communication Systems. 3rd ed. New York: McGraw-Hill, 1980. Serres, Michel. The Parasite. Trans. Lawrence R. Schehr. Baltimore: John Hopkins UP, 1982. Shannon, Claude. A Mathematical Theory of Communication. July, October 1948. Online PDF. 27: 379-423, 623-656 (reprinted with corrections). 13 Jul. 2004 http://cm.bell-labs.com/cm/ms/what/shannonday/paper.html>. Virilio, Paul. The Vision Machine. Trans. Julie Rose. Bloomington and Indianapolis: Indiana UP, British Film Institute, 1994. Von Neumann, John. “The General and Logical Theory of Automata.” Collected Works. Ed. A. H. Taub. Vol. 5. Oxford: Pergamon Press, 1963. Weaver, Warren. “Recent Contributions to the Mathematical Theory of Communication.” The Mathematical Theory of Commnunication. Eds. Claude Shannon and Warren Weaver. paperback, 1963 ed. Urbana and Chicago: U of Illinois P, 1949. 1-16. Work Discussed et al. maintenance of social solidarity–instance 5 2006. Installation, Google Earth feed, newspapers, sound. Exhibited in SCAPE 2006 Biennial of Art in Public Space Christchurch Art Gallery, Christchurch, September 30-November 12. Images reproduced with the permission of et al. Photographs by Lee Cunliffe. Acknowledgments Research for this paper was conducted with the support of an Otago Polytechnic Resaerch Grant. Photographs of et al. maintenance of social solidarity–instance 5 by Lee Cunliffe. Citation reference for this article MLA Style Ballard, Su. "Information, Noise and et al." M/C Journal 10.5 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0710/02-ballard.php>. APA Style Ballard, S. (Oct. 2007) "Information, Noise and et al.," M/C Journal, 10(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0710/02-ballard.php>.