Letteratura scientifica selezionata sul tema "Snails, Sydney NSW"

This study reviews the charopid snails of Gyrocochlea s.l. This genus has been used as a convenient ‘catch-all’ for thosespecies characterised by chiefly biconcave brown shells that have a strong radially-ribbed teleoconch. The genuscurrently comprises 34 species but could include many more undescribed species that reside in museum collections usingthis broad conchological definition. The study aims to establish a framework for defining natural monophyletic groupswithin the genus and its relatives based on both morphological and molecular data. In doing so, a number of new generaand species that must be characterised to circumscribe this new definition are also described. The study utilisesqualitative and quantitative conchological data, scanning electron microscopy—primarily of the shell protoconch,anatomical studies of the male reproductive system and DNA sequences of cytochrome c oxidase subunit I and theinternal transcribed spacer 2 region of the ribosomal RNA cistrons.This study reaffirms Gyrocochlea s.s. (type species: Helix vinitincta Cox, 1868) as a geographically restricted genuscomprising only a handful of species occurring in the Border Ranges of NSW and Qld following Stanisic (1990) but withthe additional exclusion of Gyrocochlea curtisiana (Hedley, 1912) which will require re-assignment to a new genus.Gyrocochlea vinitincta (Cox) is re-examined and new anatomical details presented. Eight new genera comprisingCumberlandica n. gen., Planorbacochlea n. gen., Barringtonica n. gen., Comboynea n. gen., Cancellocochlea n. gen.,Dictyoropa n. gen., Richmondaropa n. gen. and Macphersonea n. gen. are diagnosed to accommodate species rangingfrom mid-eastern to north-eastern NSW. Seventeen new species are described comprising Cumberlandica wilsoniana n.sp., Cu. wombeyanensis n. sp., P. dandahra n. sp., P. manningensis n. sp., P. nambucca n. sp., P. watagan n. sp., P.graemei n. sp., P. reticulata n. sp., P. yessabahensis n. sp., P. parriwiensis n. sp., Barringtonica polblue n. sp., B.montana n. sp., Comboynea boorganna n. sp., Co. mountaineer n. sp., Co. winghamensis n. sp., Cancellocochleacoolongolook n. sp. and Ca. heatherae n. sp. Gyrocochlea impressa Hedley, 1924, G. planorbis Hedley, 1924, G.conferta Hedley, 1924, G. prava Hedley, 1924, G. eurythma Hedley, 1924, G. conjuncta (Iredale, 1941), G. ponderiStanisic, 2010, G. hawkesburyana Stanisic, 2010 and G. canalis Stanisic, 2010 are variously reassigned to the newgenera. Neotypes are erected for Gyrocochlea impressa Hedley, 1924 (holotype crushed) and Roblinella conjunctaIredale, 1941 (holotype presumed lost). Lectotypes are designated for Gyrocochlea conferta Hedley, 1924 andGyrocochlea eurythma Hedley, 1924. The anatomy of the Sydney Basin Diphyoropa saturni (Cox, 1864) is figured forthe first time and comparisons made between the shell morphology of this species and the general Gyrocochlea shellform. A number of species from other genera are also investigated using molecular techniques to provide a broader viewof the east coast charopid radiation. The biogeographical implications of generic ranges and the conservation status of species are discussed.

This case-study will present learnings from the public art project ‘Snakes and Ladders’, a fifty metre, ground plane mural in Sydney Olympic Park, in Sydney’s western suburbs. This was a collaboration between Digby Webster, an artist with Down syndrome, and Nadia Odlum, an artist without disability who specialises in playful, large-scale public art. Snakes and Ladders was commissioned by the Sydney Olympic Parks Authority (SOPA) as a result of a community consultation and co-design process, and was supported by Accessible Arts, the peak body for advancing the rights of New South Wales artists who have disability and/or who are d/Deaf. The result was a public artwork that functions as an inclusive playspace, supporting the right to play for all people who visit or live in Sydney Olympic Park.The key achievements of this project were the meaningful inclusion of an artist with disability in a significant public art project, and the creation of an accessible and inclusive opportunity for play in public space. This case-study focuses on process, including the community consultation process that led to the commission; the role of peak body Accessible Arts in facilitating and guiding the commission; the methods used to ensure accessibility in the artwork design; and the collaborative process between Digby and Nadia, including the steps taken to support Digby’s access requirements and ensure his full participation in the commission from concept to delivery. Read the full article in accessible html-format here.

The morphology of the abundant brackish-water hydrobiid snail known as 'Hydrobia buccinoides' is described. A new genus, Ascorhis, is provided for it and the valid species name for the southern (South Australia, Victoria, Tasmania) and eastern (New South Wales, Queensland) populations is shown to be victoriae T. Woods. The species name buccinoides is based on Assiminea tasmanica and is an earlier name for that species. Morphological and allozyme differences indicate that the Western Australian populations should be distinguished as a separate species and a new name (A. occidua) is provided for these. Both species show a considerable intrapopulation variation in shell sculpture. Salinity tolerance experiments on three Sydney populations indicate that Ascorhis victoriae tolerates a wide range of salinities, the middle of the preferred range being about that of normal seawater.

Miniature radio transmitters were surgically implanted in 15 adult diamond pythons from two areas near Sydney, N.S.W., in south-eastern Australia, and the snakes monitored for intervals of 4-32 months. We document patterns of habitat use and movements, and interpret these in terms of the feeding habits and reproductive biology of the pythons. These snakes were usually sedentary in summer and autumn, with occasional long movements to new sites. During spring (the mating season), males moved long distances, often daily. Telemetered pythons were generally diurnal and terrestrial rather than arboreal. Snakes were most commonly recorded coiled under vegetation which provided filtering cover (34% of locations). The relative use of different habitats by diamond pythons changed with season. In summer and autumn, snakes were most frequently in disturbed habitats (such as areas around houses), where prey are relatively common. In winter the snakes used rocky habitats, especially sandstone crevices. No winter aggregations were observed. The radio-tracked snakes had large (up to 124 ha), well-defined but overlapping home ranges, and these varied significantly between sexes and among seasons. Detailed analysis of python movements shows that at least two assumptions of many home-range analyses (normally distributed data and adequacy of small sample sizes) are invalid for our study.

IntroductionHealth literacy describes the cognitive and social skills that individuals use to access, understand and act on health information. Health literacy interventions typically take the ‘universal precautions approach’ where all consumers are presented with simplified materials. Although this approach can improve knowledge and comprehension, its impact on complex behaviours is less clear. Systematic reviews also suggest that health literacy interventions underuse volitional strategies (such as planning) that play an important role in behaviour change. A recent study found volitional strategies may need to be tailored to the participant’s health literacy. The current study aims to replicate these findings in a sample of people who have diabetes and/or are overweight or obese as measured by body mass index, and to investigate the most effective method of allocating an action plan to a participant to reduce unhealthy snacking.Methods and analysisWe plan to recruit approximately 2400 participants at baseline. Participants will receive one of two alternative online action plans intended to reduce unhealthy snacking (‘standard’ action plan or ‘literacy-sensitive’ action plan). Participants will be randomised to a method of allocation to an action plan: (1) random allocation; (2) allocation by health literacy screening tool or (3) allocation by participant selection. Primary outcome is self-reported serves of unhealthy snacks during the previous month. Multiple linear regression will evaluate the impact of health literacy on intervention effectiveness. The analysis will also identify independent contributions of each action plan, method of allocation, health literacy and participant selections on unhealthy snacking at 4-week follow-up.Ethics and disseminationThis study was approved by the University of Sydney Human Research Ethics Committee (2017/793). Findings will be disseminated through peer-reviewed international journals, conferences and updates with collaborating public health bodies (Diabetes New South Wales (NSW) & Australian Capital Territory (ACT), and Western Sydney Local Health District).Trial registration numberACTRN12618001409268; Pre-results.

Two unreported genera and their included species of the shore-fly tribe Scatellini Wirth and Stone that occur in the New Zealand subregion are reviewed. One genus, Haloscatella Mathis, is represented by three species in the subregion and Limnellia Malloch by two. Three of the species, all in the genus Haloscatella, are new (type locality in parenthesis): H. balioptera (New Zealand. Chatham Island: Tennants Lake (43 49.4'S, 176 34'W)), H. karekare (New Zealand. North Island. AK: Karekare (37 00.2'S, 174 28.8'E)), and H. harrisoni (New Zealand. Bounty Islands: Proclamation Island). The fourth and fifth species are in the genus Limnellia: L. abbreviata (Harrison), new combination (originally described in Scatella), was described from specimens collected on Snares Islands, and L. maculipennis Malloch was originally described from a female collected in Sydney, Australia, and is represented by two females from North Island (near Auckland and Hamilton) and a female from South Island (Christchurch). In addition to describing the new species and to facilitate their identification, the tribe and genera are diagnosed, and a key is provided to the known genera of Scatellini from the New Zealand subregion.

Evidence supports regular dietary inclusion of legumes due to their positive effects on both human and planetary health. Intake within Australia is suboptimal, with consumer data suggesting that an inability to integrate legumes into usual dietary patterns is a barrier to consumption. This places the food industry in a unique position to offer Australians the ability to incorporate legumes into usual dietary patterns via innovative new products. The aim of this study was to explore the legume category and compare nutrition product data and the use of nutrition and health claims between 2019 and 2021. An audit of legume products from four major metropolitan Sydney supermarkets (Aldi, Coles, IGA, Woolworths) collected ingredient lists, nutrition information and on-pack claims for baked beans, legume dips, legume flours, legume snacks (including subcategories of legume chips and whole legume snacks), canned legumes, dried legumes, frozen legumes, and pulse pasta. The total number of legume products available on the market nearly doubled from 2019 (n = 312) to 2021 (n = 610); this was driven by traditional plain canned and dried legumes and some new and convenient options, particularly snacks (legume chips) where the largest growth occurred. Of all legume products (n = 610), 82% met the Nutrient Profiling Scoring Criteria, 86.8% were at least a source of dietary fibre, and 55.9% were at least a source of protein. Nutrition content claims relating to dietary fibre, gluten free and protein more than doubled since 2019, with each featuring on over one third of the products identified in 2021. Vegan/vegetarian on-pack claims more than doubled since 2019, and claims related to the term plant-based/plant protein and environmental sustainability emerged on packs in 2021. By addressing barriers to consumption, such as lack of time and knowledge on how to prepare legumes, innovative legume products may help influence future consumption patterns.

Arterial stiffness is an important marker of vascular damage and a strong predictor of cardiovascular diseases (CVD). Given that pathophysiological processes leading to an increased arterial stiffness begin during childhood, the aim of this clustered observational study was to determine the relationship between modifiable factors including dietary patterns and indices of aortic arterial stiffness and wave reflection in 9–11-year-old children. Data collection was conducted between April and December 2015 in 17 primary schools in Dunedin, New Zealand. Dietary data were collected using a previously validated food frequency questionnaire and identified using principal component analysis method. Arterial stiffness (carotid-femoral pulse wave velocity, PWV) and central arterial wave reflection (augmentation index, AIx) were measured using the SphygmoCor XCEL system (Atcor Medical, Sydney, Australia). Complete data for PWV and AIx analyses were available for 389 and 337 children, respectively. The mean age of children was 9.7 ± 0.7 years, 49.0% were girls and 76.0% were classified as “normal weight”. The two identified dietary patterns were “Snacks” and “Fruit and Vegetables”. Mean PWV and AIx were 5.8 ± 0.8 m/s and −2.1 ± 14.1%, respectively. There were no clinically meaningful relationships between the identified dietary pattern scores and either PWV or AIx in 9–11-year-old children.

Although most species of large reptiles in the Sydney region are now restricted to remnant bushland, the blue-tongued lizard (Tiliqua scincoides) remains abundant. How has this large, slow-moving reptile managed to persist in the suburbs? We implanted radio-transmitters into 17 adult blue-tongued lizards and tracked them for six months (October 1998 to March 1999). Radio-tracked animals utilised 5–17 suburban backyards, but each lizard spent most of its time in a few ‘core’ areas near 2–7 shelter sites. Males had larger home ranges than females (mean of 12700 v. 5100 m 2 ) and moved further between shelter sites. Gravid females (mean home range 1000 m 2 ) were more sedentary. Lizards used corridors of dense vegetation to move between retreat sites, and actively avoided crossing roads. In sunny weather, lizards typically basked close to their overnight shelter for 1–4 h each morning until they obtained body temperatures of approximately 32°C. They maintained high body temperatures while moving about in the afternoon. In combination, the following ecological factors may facilitate persistence of blue-tongued lizards at our suburban study sites. (i) The most important subgroup of the population in terms of conservation are gravid females, which are highly sedentary and, thus, less likely to encounter the dangers of suburbia. (ii) The more ‘expendable’ males move about much more, but mostly in times and places that involve minimal risk from humans and their domestic pets. (iii) Lizards show strong site fidelity, spending up to 70% of their time in ‘safe’ locations; importantly, they avoid roads. (iv) Blue-tongued lizards readily utilise ‘artificial’ shelter sites and the commensal prey species (e.g. snails) found in most gardens. (v) These lizards can grow rapidly, mature early, and produce large litters. Because blue-tongued lizards have a long life span (over 30 years in captivity), populations of adults may persist for many years in the absence of recruitment.

The ontological equality and material vitality of all things, and efforts to remove “the human” from its apical position in a hierarchy of being, are Object-Oriented Ontology theory (OOO) concepts. These axioms are useful in a discussion of the aesthetics of augmented robotic art, alongside speculations regarding any interagency between the human/non-human and possible co-evolutionary relationships. In addition, they help to wash out the sticky habits of conventional art writing, such as removed critique or an authoritative expert voice. This article aims to address the robotic work Accomplice by Sydney-based artists Petra Gemeinboeck and Rob Saunders as a means of interrogating the independence and agency of robots as non-human species, and as a mode of investigating how we see these relationships changing for the futureFor Accomplice, an artwork exhibited at Artspace, Sydney, in 2013, Gemeinboeck and Saunders built robots, strategised properties, and programmed their performative actions. Replete with lights and hammers, the robots are secreted away behind false walls, where they move along tracks and bang holes into the gallery space. As the devastation of plasterboard ensues, the robots respond interactively to each other through their collective activity: this is intra-action, where an object’s force emerges and where agency is an enactment (Barad, Matter Feels). This paper will continue to draw on the work of feminist scholar and quantum scientist, Karen Barad, due to her related work on agency and intra-action, although she is not part of an OOO theoretical body. Gemeinboeck and Saunders build unstable environments for their robots to perform as embodied inhabitants (Gemeinboeck and Saunders 2). Although the augmented robots are programmed, it is not a prescriptive control. Data is entered, then the robots respond to one another’s proximity and devastation. From the immaterial, virtual realm of robotic programming comes a new materiality which is both unstable, unpredictable, and on the verge of becoming other, or alive. This is a collaboration, not just between Gemeinboeck and Saunders, but between the programmers and their little robots—and the new forces that might be created. Sites of intra-species (human and robot) crossings might be places or spaces where a new figuration of enchantment occurs (Bennett 32). Such a space could take the form of a responsive art-writing intervention or even a new ontological story, as a direct riposte to the lively augmentation of the robotic artwork (Bennett 92). As ficto-critical theorist and ethnographer, Stephen Muecke says, “Experimental writing, for me, would be writing that necessarily participates in worlds rather than a writing constituted as a report on realities seen from the other side of an illusory gap of representation” (Muecke Motorcycles 2). Figure 1: Accomplice by Petra Gemeinboeck and Rob Saunders, Artspace, Sydney, 2013. (Photo: Petra Gemeinboeck)Writing Forces When things disappear then reappear, there is a point where force is unleashed. If we ask what role the art writer plays in liberating force, the answer might be that her role is to create as an imaginative new creation, equal to the artwork. The artists speak of Accomplice: transductions, transmaterial flows and transversal relations are at play ... whether emerging from or propelling the interplay between internal dynamics and external forces, the enactment of agencies (human and non-human), or the performative relationship unfolding over time. (Gemeinboeck and Saunders 3) When new energetic force is created and the artwork takes on new life, the audience’s imaginative thought is stimulated. This new force might cause an effect of a trans-fictional flow. The act of writing about Accomplice might also involve some intentional implausibility. For instance, whilst in the exhibition gallery space, witnessing Accomplice, I decided to write a note to one of the robots. I could see it, just visible beyond the violently hammered hole in the wall. Broken plaster dusted my shoes and as I peered into the darker outside space, it whizzed past on its way to bang another hole, in harmony with its other robotic friends. So I scribbled a note on a plain white piece of paper, folded it neatly and poked it through the hole: Dear robot, do you get sick of augmenting human lives?Do you get on well with your robotic friends?Yours sincerely, Prue. I waited a few minutes and then my very same piece of paper was thrust back through the hole. It was not folded but was crumpled up. I opened it and noticed a smudged mark in the corner. It looked like an ancient symbol, a strange elliptical script of rounded shapes, but was too small to read. An intergalactic message, a signal from an alien presence perhaps? So I borrowed a magnifying glass from the Artspace gallery attendant. It read: I love opera. Robot Two must die. This was unexpected! As I pondered the robot’s reply, I noticed the robots did indeed make strange bird-like noises to one another; their tapping was like rhythmic woodpeckers. Their hammering was a kind of operatic symphony; it was not far-fetched that these robots were appreciative of the sound patterns they made. In other words, they were responding to stimuli in the environment, and acting in response. They had agency beyond the immaterial computational programming their creators had embedded. It wasn’t difficult to suspend disbelief to allow the possibility that interaction between the robots might occur, or that one might have gone rogue. An acceptance of the possibility of inter-agency would allow the fantastical reality of a human becoming short-term pen pals with an augmented machine. Karen Barad might endorse such an unexpected intra-action act. She discourages conventional critique as, “a tool that keeps getting used out of habit” (Matter Feels). Art writing, in an era of robots and awareness of other non-human sentient life-forms can be speculative invention, have a Barad-like imaginative materiality (Matter Feels), and sense of suspended disbelief. Figure 2: Accomplice by Petra Gemeinboeck and Rob Saunders, Artspace, Sydney, 2013. (Photo: Petra Gemeinboeck) The Final Onto-Story Straw Gemeinboeck and Saunders say the space where their robots perform is a questionable one: “the fidelity of the space as a shared experience is thus brought into question: how can a shared virtual experience be trusted when it is constructed from such intangible and malleable stuff as streams of binary digits” (7). The answer might be that it is not to be trusted, particularly in an OOO aesthetic approach that allows divergent and contingent fictive possibilities. Indeed, thinking about the fidelity of the space, there was something about a narrow access corridor in the Accomplice exhibition space, between the false gallery wall and the cavity where the robots moved on their track, that beckoned me. I glanced over my shoulder to check that the Artspace attendant wasn’t watching and slipped behind the wall. I took a few tentative steps, not wanting to get knocked on the nose by a zooming robot. I saw that one robot had turned away from the wall and was attacking another with its hammer. By the time I arrived, the second robot (could it be Robot Two?) had been badly pummeled. Not only did Robot One attack Robot Two but I witnessed it using its extended hammer to absorb metal parts: the light and the hammer. It was adapting, like Philip K. Dick’s robots in his short story ‘Preserving Machine’ (See Gray 228-33). It was becoming more augmented. It now had two lights and two hammers and seemed to move at double speed. Figure 3: Accomplice by Petra Gemeinboeck and Rob Saunders, Artspace, Sydney, 2013. (Photo: Petra Gemeinboeck)My observance of this scene might be explained by Gemeinboeck/Saunders’s comment regarding Philip K. Dick-style interference and instability, which they actively apply to their work. They say, “The ‘gremlins’ of our works are the slipping logics of nonlinear systems or distributed agential forces of colliding materials” (18). An audience response is a colliding material. A fictional aside is a colliding material. A suspension of disbelief must also be considered a colliding material. This is the politics of the para-human, where regulations and policies are in their infancy. Fears of artificial intelligence seem absurd, when we consider how startled we become when the boundaries between fiction/truth become as flimsy and slippery as the boundaries between human/non-human. Art writing that resists truth complements Gemeinboeck/Saunders point that, “different agential forces not only co-evolve but perform together” (18).The DisappearanceBefore we are able to distinguish any unexpected or enchanted ontological outcomes, the robots must first appear, but for things to truly appear to us, they must first disappear. The robots disappear from view, behind the false walls. Slowly, through the enactment of an agented force (the action of their hammers upon the wall), they beat a path into the viewer’s visual reality. Their emergence signals a performative augmentation. Stronger, better, smarter, longer: these creatures are more-than-human. Yet despite the robot’s augmented technological improvement upon human ability, their being (here, meaning their independent autonomy) is under threat in a human-centred world environment. First they are threatened by the human habit of reducing them to anthropomorphic characteristics: they can be seen as cute little versions of humans. Secondly, they are threatened by human perception that they are under the control of the programmers. Both points are arguable: these robots are undoubtedly non-human, and there are unexpected and unplanned outcomes, once they are activated. These might be speculative or contestable outcomes, which are not demonstrably an epitome of truth (Bennett 161). Figure 4: Accomplice by Petra Gemeinboeck and Rob Saunders, Artspace, Sydney, 2013. (Photo: Petra Gemeinboeck)Gemeinboeck’s robotic creatures, with their apparent work/play and civil disobedience, appeared to exhibit human traits. An OOO approach would discourage these anthropomorphic tendencies: by seeing human qualities in inanimate objects, we are only falling back into correlational habits—where nature and culture are separate dyads and can never comprehend each other, and where humankind is mistakenly privileged over all other entities (Meillassoux 5). This only serves to inhibit any access to a reality outside the human-centred view. This kind of objectivity, where we see ourselves as nature, does no more than hold up a mirror to our inescapably human selves (Barad, Matter Feels). In an object-oriented approach the unpredictable outcomes of the robots’s performance is brought to attention. OOO proponent and digital media theorist Ian Bogost, has a background in computational media, especially video and social media games, and says, “computers are plastic and metal corpses with voodoo powers” (9). This is a non-life description, hovering in the liminal space between being and not being. Bogost’s view is that a strange world stirs within machinic devices (9). A question to ask: what’s it like to be a robot? Perhaps the answer lies somewhere between what it does and how we see it. It is difficult not to think of twentieth century philosopher Martin Heidegger’s tool analysis theory when writing of Gemeinboeck/Saunders’s work because Heidegger, and OOO scholar Graham Harman after him, uses the hammer as his paradigmatic tool. In his analysis, things are only present-at-hand (consciously perceived without utility) once they break (Harman, Heidegger Explained 63). However, Gemeinboeck and Saunders’s installation Accomplice straddles Heidegger’s dual present-at-hand and read-at-hand (the utility of the thing) because art raises the possibility that we might experience these divergent qualities of the robotic entities, simultaneously. The augmented robot, existing in its performative exhibition ecology, is the bridge between sentient life and utility. Robotic Agency In relation to the agency of robots, Ian Bogost refers to the Tableau Machine which was a non-human actor system created by researchers at Georgia Tech in 1998 (Bogost 106). It was a house fitted with cameras, screens, interfaces, and sensors. This was an experimental investigation into ambient intelligence. The researchers’s term for the computational agency was ‘alien presence,’ suggesting a life outside human comprehension. The data-collator sensed and interpreted the house and its occupants, and re-created that recorded data as abstract art, by projecting images on its own plasma screens. The implication was that the home was alive, vital, and autonomously active, in that it took on a sentient life, beyond human control. This kind of vital presence, an aliveness outside human programming, is there in the Accomplice robots. Their agency becomes materialized, as they violate the polite gallery-viewing world. Karen Barad’s concept of agency works within a relational ontology. Agency resists being granted, but rather is an enactment, and creates new possibilities (Barad, Matter Feels). Agency is entangled amongst “intra-acting human and non-human practices” (6). In Toward an Enchanted Materialism, Jane Bennett describes primordia (atoms) as “not animate with divine spirit, and yet they are quite animated - this matter is not dead at all” (81). This then is an agency that is not spiritual, nor is there any divine purpose. It is a matter of material force, a subversive action performed by robotic entities, not for any greater good, in fact, for no reason at all. This unpredictability is OOO contingency, whereby physical laws remain indifferent to whether an event occurs or not (Meillassoux 39). Figure 5: Accomplice by Petra Gemeinboeck and Rob Saunders, Artspace, Sydney, 2013. (Photo: Petra Gemeinboeck) A Post-Human Ethic The concept of a post-human state of being raises ethical concerns. Ethics is a human construct, a criteria of standards fixed within human social systems. How should humans respond, without moral panic, to robots that might have life and sentient power outside human control? If an OOO approach is undertaken, the implication is that all things exist equally and ethics, as fixed standards, might need to be dismantled and replaced with a more democratic set of guidelines. A flat ontology, argued for by Bogost, Levi Bryant and other OOO advocates, follows that all entities have equal potential for independent energy and agency (although OOO theorists disagree on many small technical issues). The disruption of the conventional hierarchical model of being is replaced by a flat field of equality. This might cause the effect of a more ethical, ontological ecology. Quentin Meillassoux, an influential figure in the field of Speculative Realism, from which OOO is an offshoot, finds philosophical/mathematical solutions to the problems of human subjectivity. His eschewing of Kantian divisions between object/subject and human/world, is accompanied by a removal from Kantian and Cartesian critique (Meillassoux 30). This turn from critique, and its related didactic authority and removed judgment, marks an important point in the culture of philosophy, but also in the culture of art writing. If we can escape the shackles of divisive critique, then the pleasures of narrative might be given space. Bogost endorses collapsing the hierarchical model of being and converting conventional academic writing (89). He says, “for the computers to operate at all for us first requires a wealth of interactions to take place for itself. As operators or engineers, we may be able to describe how such objects and assemblages work. But what do they “experience” (Bogost 10)? This view is complementary to an OOO view of anti-subjectivity, an awareness of things that might exist irrespective of human life, from both inside and outside the mind (Harman 143). Figure 6: Accomplice by Petra Gemeinboeck and Rob Saunders, Artspace, Sydney, 2013. (Photo: Petra Gemeinboeck) New Materiality In addition to her views on human/non-human agency, Karen Barad develops a parallel argument for materiality. She says, “matter feels, converses, suffers, desires, yearns and remembers.” Barad’s agential realism is predicated on an awareness of the immanence of matter, with materiality that subverts conventions of transcendence or human-centredness. She says, “On my agential realist account, all bodies, not merely human bodies, come to matter through the world’s performativity - its iterative intra-activity.” Barad sees matter, all matter, as entangled parts of phenomena that extend across time and space (Nature’s Queer Performativity 125). Barad argues against the position that acts against nature are moral crimes, which occur when the nature/culture divide is breached. She questions the individuated categorizations of ‘nature’ and ‘culture’ inherent in arguments like these (Nature’s Queer Performativity, 123-5). Likewise, in robotic and machinic aesthetics, it could be seen as an ethical breach to consider the robots as alive, sentient, and experiential. This confounds previous cultural separations, however, object-oriented theory is a reexamination of these infractions and offers an openness to discourse of different causal outcomes. Figure 7: Accomplice by Petra Gemeinboeck and Rob Saunders, Artspace, Sydney, 2013. (Photo: Petra Gemeinboeck) Co-Evolution Artists Gemeinboeck/Saunders are artists and scholarly researchers investigating new notions of co-evolution. If we ascribe human characteristics to robots, might they ascribe machinic properties to us? It is possible to argue that co-evolution is already apparent in the world. Titanium knees, artificial arteries, plastic hips, pacemakers, metallic vertebrae pins: human medicine is a step ahead. Gemeinboeck/Saunders in turn make a claim for the evolving desires of their robots (11). Could there be performative interchangeability between species: human and robot? Barad asks us not to presume what the distinctions are between human and non-human and not to make post-humanist blurrings, but to understand the materializing effects of the boundaries between humans and nonhumans (Nature’s Queer Performativity 123). Vital matter emerges from acts of reappearance, re-performance, and interspecies interaction. Ian Bogost begins his Alien Phenomenology by analysing Alan Turing’s essay, Computing Machinery and Intelligence and deduces that it is an approach inextricably linked to human understanding (Bogost 14). Bogost seeks to avoid distinctions between things or a slippage into an over-determination of systems operations, and instead he adopts an OOO view where all things are treated equally, even cheeky little robots (Bogost 17).Figure 8: Accomplice by Petra Gemeinboeck and Rob Saunders, installation view, Artspace, Sydney. (Photo: silversalt photography) Intra-Active ReappearanceIf Barad describes intra-action as enacting an agential cut or separation of object from subject, she does not mean a distinction between object and subject but instead devises an intra-active cutting of things together-apart (Nature’s Queer Performativity 124). This is useful for two reasons. First it allows confusion between inside and outside, between real and unreal, and between past and future. In other words it defies the human/world correlates, which OOO’s are actively attempting to flee. Secondly it makes sense of an idea of disappearance as being a re-appearance too. If robots, and all other species, start to disappear, from our consciousness, from reality, from life (that is, becoming extinct), this disappearance causes or enacts a new appearance (the robotic action), and this action has its own vitality and immanence. If virtuality (an aesthetic of being that grew from technology, information, and digital advancements) meant that the body was left or abandoned for an immaterial space, then robots and robotic artwork are a means of re-inhabiting the body in a re-materialized mode. This new body, electronic and robotic in nature, might be mastered by a human hand (computer programming) but its differential is its new agency which is one shared between human and non-human. Barad warns, however, against a basic inversion of humanism (Nature’s Queer Performativity 126). Co-evolution is not the removal of the human. While an OOO approach may not have achieved the impossible task of creating a reality beyond the human-centric, it is a mode of becoming cautious of an invested anthropocentric view, which robotics and diminished non-human species bring to attention. The autonomy and agency of robotic life challenges human understanding of ontological being and of how human and non-human entities relate.References Barad, Karen. "Nature’s Queer Performativity." Qui Parle 19.2 (2011): 121-158. ———. Interview. In Rick Dolphijn and Van Der Tuin. “Matter Feels, Converses, Suffers, Desires, Yearns and Remembers: Interview with Karen Barad.” New Materialism: Interviews and Cartographies. Ann Arbor: University of Michigan; Open Humanities Press, 2012. ———. "Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter." Signs: Journal of Women in Culture and Society 28.3 (2003): 801-831. Bennett, Jane. The Enchantment of Modern Life: Attachments, Crossings, and Ethics. New Jersey: Princeton University Press, 2001. Bogost, Ian. Alien Phenomenology. Minneapolis: Minnesota Press, 2012. Bryant, Levi. The Democracy of Objects. University of Michigan Publishing: Open Humanities Press, 2011. ———, N. Srnicek, and GHarman. The Speculative Turn: Continental Materialism and Realism. Melbourne: re:press, 2011. Gemeinboeck, Petra, and Rob Saunders. “Other Ways of Knowing: Embodied Investigations of the Unstable, Slippery and Incomplete.” Fibreculture Journal 18 (2011). ‹http://eighteen.fibreculturejournal.org/2011/10/09/fcj-120-other-ways-of-knowing-embodied-investigations-of-the-unstable-slippery-and-incomplete/›. Gray, Nathan. "L’object sonore undead." In A. Barikin and H. Hughes. Making Worlds: Art and Science Fiction. Melbourne: Surpllus, 2013. 228-233. Harman, Graham. The Quadruple Object. Winchester UK: Zero Books, 2011. ———. Guerilla Metaphysics: Phenomenology and the Carpentry of Things. Chicago: Open Court, 2005. ———. Heidegger Explained: From Phenomenon to Thing. Chicago: Open Court Publishing, 2007. Heidegger, Martin. Being and Time. San Francisco: Harper and Row, 1962. Meillassoux, Quentin. After Finitude: An Essay on the Necessity of Contingency. New York: Continuum, 2008. Muecke, Stephen. "The Fall: Ficto-Critical Writing." Parallax 8.4 (2002): 108-112. ———. "Motorcycles, Snails, Latour: Criticism without Judgment." Cultural Studies Review 18.1 (2012): 40-58. ———. “The Writing Laboratory: Political Ecology, Labour, Experiment.” Angelaki 14.2 (2009): 15-20. Phelan, Peggy. Unmarked: The Politics of Performance. London: Routledge, 1993.

The purpose of the present study is to examine the genetic and morphological variation found in narrow-range endemic terrestrial invertebrate species at different geographic scales, and the ramifications of this for their systematics, management and conservation. The listed endangered land snail Meridolum corneovirens and several related forms are restricted to the Sydney region, and were used to address the above issues. Morphological, anatomical, allozyme and DNA data were obtained for a total of 77 populations from across the known range of Meridolum. A particular emphasis was placed on the forms found across the Sydney region. The analysis of the different datasets, both individually and in combination indicate at least 35 taxa mostly parapatric and seven genera were represented. This includes several previously unrecognised taxa. The analysis supports the conclusion that Meridolum corneovirens belongs to a new genus. This includes several species found from eastern Sydney south along the coast to Nowra. A total of six new species and five new genera are described. The conservation and management of narrow-range endemics such as Meridolum corneovirens provide a number of challenges to conservation managers. The alternative of listing a gene pool rather than listing species separately is proposed and explore
Doctor of Philosophy (PhD)

The purpose of the present study is to examine the genetic and morphological variation found in narrow-range endemic terrestrial invertebrate species at different geographic scales, and the ramifications of this for their systematics, management and conservation. The listed endangered land snail Meridolum corneovirens and several related forms are restricted to the Sydney region, and were used to address the above issues. Morphological, anatomical, allozyme and DNA data were obtained for a total of 77 populations from across the known range of Meridolum. A particular emphasis was placed on the forms found across the Sydney region. The analysis of the different datasets, both individually and in combination indicate at least 35 taxa mostly parapatric and seven genera were represented. This includes several previously unrecognised taxa. The analysis supports the conclusion that Meridolum corneovirens belongs to a new genus. This includes several species found from eastern Sydney south along the coast to Nowra. A total of six new species and five new genera are described. The conservation and management of narrow-range endemics such as Meridolum corneovirens provide a number of challenges to conservation managers. The alternative of listing a gene pool rather than listing species separately is proposed and explore

The project for this book began with the author’s accidental discovery of Kazuko Amano’s and Kunihiko Hashimoto’s letters in the Leonard Bernstein Collection at the Library of Congress. Subsequent research in various archives and corresponding with and meeting the two individuals, in Tokyo and Sydney, respectively, took her on an unexpected journey as a scholar and a writer. In this coda, the author reflects upon her findings and the research process, as well as the portent of correspondence, especially handwritten letters sent through what is now colloquially called snail mail that shaped Amano’s and Hashimoto’s special relationship with Bernstein.