Статті в журналах з теми "Berry Sensory Assessment"

Bunch thinning is a widespread management practice in vineyards and it has been reported to improve grape and wine quality depending on the timing and intensity of its application. This study assessed whether bunch thinning could affect vine performance, grape and wine chemistry and sensory attributes for Shiraz and Semillon in a hot Australian climate.Own rooted Semillon and Shiraz vines planted in 1990 at the Waite Campus of the University of Adelaide were evaluated. For both varieties, bunch thinning was carried out by removing 50 % of bunches at veraison (EL35) for four and two seasons for Semillon and Shiraz, respectively. Vine performance, berry and wine chemistry and berry and wine sensory characteristics were assessed. Results showed a dramatic effect on yield but only minor effects on the other yield components. Berry and wine chemistry were also mostly unaffected by the treatment. Semillon wines from un-thinned vines were preferred, while for Shiraz, bunch thinning improved the wine acceptance by the sensory panel.To support the decision on whether to bunch thin and justify its cost, a significant increase in fruit and wine quality should be expected; however, in this study, only mild effects were found. This study provides the wine industry with a better understanding of the effects of bunch thinning in a hot climate.

Berry cell death assessment can become one of the most objective parameters to assess important berry quality traits, such as aroma profiles that can be passed to the wine in the winemaking process. At the moment, the only practical tool to assess berry cell death in the field is using portable near-infrared spectroscopy (NIR) and machine learning (ML) models. This research tested the NIR and ML approach and developed supervised regression ML models using Shiraz and Chardonnay berries and wines from a vineyard located in Yarra Valley, Victoria, Australia. An ML model was developed using NIR measurements from intact berries as inputs to estimate berry cell death (BCD), living tissue (LT) (Model 1). Furthermore, canopy architecture parameters obtained from cover photography of grapevine canopies and computer vision analysis were also tested as inputs to develop ML models to assess BCD and LT (Model 2) and the intensity of sensory descriptors based on visual and aroma profiles of wines for Chardonnay (Model 3) and Shiraz (Model 4). The results showed high accuracy and performance of models developed based on correlation coefficient (R) and slope (b) (M1: R = 0.87; b = 0.82; M2: R = 0.98; b = 0.93; M3: R = 0.99; b = 0.99; M4: R = 0.99; b = 1.00). Models developed based on canopy architecture, and computer vision can be used to automatically estimate the vigor and berry and wine quality traits using proximal remote sensing and with visible cameras as the payload of unmanned aerial vehicles (UAV).

An improved understanding of the hormonal control of grape (Vitis vinifera L.) berry ripening and the ability to manipulate it are of interest scientifically and commercially. Grapes are nonclimacteric fruit with ethylene unlikely to have a principal role in berry ripening but there are several other hormones thought to be involved. In this work, a significant delay in Riesling berry ripening was achieved through preripening treatments with the synthetic auxin 1-naphthaleneacetic acid (NAA). The initiation of sugar accumulation was delayed and the rate of sugar accumulation was lower in NAA-treated fruit, resulting in a 15-day delay in harvest. NAA treatments also reduced the rate of decline in malic acid levels that occurs during ripening, and increased the synchronicity of malic acid and berry sugar accumulation. Sensory panel assessment revealed a significant difference between wine made from control and NAA-treated fruit. Analysis of the volatile composition of the wines’ headspace showed that the concentration of several compounds was altered significantly by the NAA treatment. These data provide further support for the involvement of auxins in inhibiting ripening and suggest that auxin treatments may be useful in controlling both winery intake, and fruit and wine composition.

Berry cell death (BCD) is linked to the development of flavors and aromas in berries and wine. The BCD pattern and rate within a growing season start at around 90–100 days after anthesis (DAA), and the rate until harvest depends on environmental factors. This study assessed the BCD effects on berry and wine composition from a boutique commercial vineyard in Victoria, Australia, using fluorescent imaging. Results showed differences in wine sensory profiles from the two blocks studied, mainly related to variations in BCD, due to differences in altitude between blocks. Furthermore, two machine learning (ML) models were constructed using near-infrared spectroscopy (NIR) measurements from full berries as inputs and living tissue (LT) and dead tissue (DT) from berries as targets (Model 1). Model 2 was developed using Brix, LT, DT from the east and west sides of canopies as inputs and using 19 sensory descriptors from wines as targets. High correlation and performances were achieved for both models without signs of overfitting (R = 0.94 and R = 0.80, respectively). These models could be used for decision-making purposes as an objective and comprehensive berry maturity assessment obtained in a non-destructive, accurate, and in a real-time fashion close to harvest, to secure specific wine styles.

The article considers the principle of developing a list of descriptors to describe the sensory characteristics of processed fruit and berry products as a result of osmotic dehydration with hypertonic sucrose solution. The analytical method of organoleptic analysis - the quantitative descriptive method, was used to determine significant characteristics. Initially, the testers compiled a preliminary list of descriptors for processed products, including 54 characteristics, which are divided into groups: consistency, appearance, taste, color and aroma. After deleting synonyms, antonyms, and hedonic descriptors, there are 12 descriptive characteristics left in the list. The following descriptors were identified: integrity of form, gloss, brightness of color, consistency: dense, juicy, soft, tender, watery, chewable, sticky, taste: pronounced varietal, sweet and sour taste, intense and extraneous aroma. After discussion between the testers and the head of research for unambiguous understanding of the descriptive characteristics was carried out studies of samples of berry, fruit products and structured reference profilograms frozen and frozen sweet berries and dried reference and dried fruit production. As a result of the organoleptic evaluation, it was found that all processed berries and fruits have a well-preserved consistency, appearance, taste, aroma and color. Levels of density, richness was appreciated, preserved the integrity of the form, pronounced colouring, no foreign flavor, taste of berries meets the variety, berries are delicate compared to a control sample. Thus the organoleptic quality assessment of processed fruit products showed that pre-osmotic dehydration with sucrose solutions for further processes such as freezing and drying have allowed for some handles to protect the structure of fruit and berry raw materials and does not negatively affect the indicators of appearance, consistency, taste, color and aroma, and improved their quality compared to traditional frozen or dried fruit and berry production.

This study evaluates the effect of microwave treatment in grape maceration at laboratory scale on the content of free and glycosidically bound varietal compounds of must and wines and on the overall aroma of wines produced with and without SO2. The volatile compounds were extracted by solid phase extraction and analyzed by gas chromatography–mass spectrometry, carrying out a sensory evaluation of wines by quantitative descriptive analysis. Microwave treatment significantly increased the free and bound fraction of most varietal compounds in the must. Wines from microwave maceration showed faster fermentation kinetics and shorter lag phase, resulting in an increase in some volatile compounds of sensory relevance. The absence of SO2 caused a decrease in concentration of some volatile compounds, mainly fatty acids and esters. The sensory assessment of wines from microwave treatment was higher than the control wine, especially in wines without SO2, which had higher scores in the “red berry” and “floral” odor attributes and a more intense aroma. This indicates that the pre-fermentative treatment of grapes with microwaves could be used to increase the wine aroma and to reduce the occurrence of SO2.

The article presents 2 methods for making concentrates from fruits and berries, which were later used as a filler for alginate capsules. The results of the physicochemical parameters of the obtained concentrates are presented. Of the 15 options for the formulations of fruit and berry concentrates - capsule fillers, 11 formulations were selected, which were divided into categories "up to 7 years" and "7 +" depending on their composition. Under laboratory conditions, the technological regime for the manufacture of alginate capsules by the drop method was worked out. As a result of the single-factor experiment, it was revealed that from the moment a drop of about 6 mm in size is immersed to the formation of a capsule wall with a thickness of about 2.3 mm, 2 minutes are needed in the given experiment parameters: the concentration of alginate in the filler solution is 1 %, the Ph of the filler is 4.2, the concentration of calcium salt, where the drops are immersed to form a sphere - 1 %, the size of the drop is 6 mm, the thickness of the capsules is not less than 2 mm and not more than 2.5 mm. To prevent the process of gelation, it is necessary to heat the spheres in a bath of water at 85 °C for 10 minutes. With such a manipulation, the gelification process stops, and the center of the sphere remains liquid. Prototypes have been developed that are stable if, during storage, they are immersed in a neutral medium of the filler. Based on the results of a sensory assessment of the quality and texture of yogurt from sheep and goat milk mixed with capsules according to M. Bourne, it can be concluded that mixing the homogeneous structure of yogurt with capsules has a positive effect on the taste range, the product acquires a new look and taste, while not losing its quality.

Hedonic scale testing is a well-accepted methodology for assessing consumer perceptions but is compromised by variation in voluntary responses between cultures. Check-all-that-apply (CATA) methods using emotion terms or emojis and facial expression recognition (FER) are emerging as more powerful tools for consumer sensory testing as they may offer improved assessment of voluntary and involuntary responses, respectively. Therefore, this experiment compared traditional hedonic scale responses for overall liking to (1) CATA emotions, (2) CATA emojis and (3) FER. The experiment measured voluntary and involuntary responses from 62 participants of Asian (53%) versus Western (47%) origin, who consumed six divergent yogurt formulations (Greek, drinkable, soy, coconut, berry, cookies). The hedonic scales could discriminate between yogurt formulations but could not distinguish between responses across the cultural groups. Aversive responses to formulations were the easiest to characterize for all methods; the hedonic scale was the only method that could not characterize differences in cultural preferences, with CATA emojis displaying the highest level of discrimination. In conclusion, CATA methods, particularly the use of emojis, showed improved characterization of cross-cultural preferences of yogurt formulations compared to hedonic scales and FER.

The paper analyzes the hardware implementation of the rapid method of bioimpedance spectrometry for assessing the degree of berry ripeness. This method is based on the measurement of electrophysical parameters of biological tissues of berries given that the permeability of cell membranes changes during ripening. When creating a portable device for rapid assessment of the degree of berry ripeness, the research results described below were used. After the onset of maturation, when there is an increase in the content of dry soluble substances, there is also an increase in the informative indicator- the coefficient of dispersion of tissue polarization, defined as the ratio of the modules of electrical impedances measured at two frequencies. When berries reach ripeness suitable for harvesting, its increase significantly slows down and stabilizes. The device allows the operator to record this process and determine the optimal timing for harvesting. The operation principle of the device is as follows. The berry is placed in the impedance sensor, made in the form of a clothespin, and contacts with its electrodes. Regulated by the microcontroller, electric current from two sources of sinusoidal current with different frequencies is alternately set between the electrodes in a berry. When the current flows, the voltage across the electrodes is proportional to the magnitude of the berry tissue impedance module. Next, the voltage of each frequency is converted to codes and alternately sent to the microcontroller, which calculates their ratio - the coefficient of dispersion of berry tissue polarization. The result of the calculation is displayed on the screen of the alpha-numeric indicator. Before the beginning of berry maturation, an operator monitors the change in the dispersion coefficient of the berry tissue polarization with the help of the device at intervals of 2-3 days. When its increase stops, the berry is considered to have reached ripeness suitable for harvesting.

The objective of this survey was to describe assessment and treatment approaches commonly used by occupational therapists for children exhibiting handwriting and related fine motor difficulties. Secondarily, the application of weights as a treatment modality was also explored. Fifty experienced paediatric occupational therapists from Ontario (46%), Quebec (22%) and six other Canadian provinces, were surveyed by telephone. The majority of therapists indicated that they evaluated gross/fine motor and perceptual skills, motor planning, quality of movement and sensory functioning for this population, while psychosocial and environmental factors were often not formally evaluated. Evaluations most commonly utilized included the Beery, Bruininks-Oseretsky and Gardner Tests. Standardized handwriting assessments were rarely employed. All used an eclectic treatment approach with sensorimotor most frequently selected (90%). Work setting and years of experience did not influence the treatment approach favoured.

In grapevine breeding, loose grape bunch architecture is one of the most important selection traits, contributing to an increased resilience towards Botrytis bunch rot. Grape bunch architecture is mainly influenced by the berry number, berry size, the total berry volume, and bunch width and length. For an objective, precise, and high-throughput assessment of these architectural traits, the 3D imaging sensor Artec® Spider was applied to gather dense point clouds of the visible side of grape bunches directly in the field. Data acquisition in the field is much faster and non-destructive in comparison to lab applications but results in incomplete point clouds and, thus, mostly incomplete phenotypic values. Therefore, lab scans of whole bunches (360°) were used as ground truth. We observed strong correlations between field and lab data but also shifts in mean and max values, especially for the berry number and total berry volume. For this reason, the present study is focused on the training and validation of different predictive regression models using 3D data from approximately 2000 different grape bunches in order to predict incomplete bunch traits from field data. Modeling concepts included simple linear regression and machine learning-based approaches. The support vector machine was the best and most robust regression model, predicting the phenotypic traits with an R2 of 0.70–0.91. As a breeding orientated proof-of-concept, we additionally performed a Quantitative Trait Loci (QTL)-analysis with both the field modeled and lab data. All types of data resulted in joint QTL regions, indicating that this innovative, fast, and non-destructive phenotyping method is also applicable for molecular marker development and grapevine breeding research.

The potential of image proximal sensing for agricultural applications has been a prolific scientific subject in the recent literature. Its main appeal lies in the sensing of precise information about plant status, which is either harder or impossible to extract from lower-resolution downward-looking image sensors such as satellite or drone imagery. Yet, many theoretical and practical problems arise when dealing with proximal sensing, especially on perennial crops such as vineyards. Indeed, vineyards exhibit challenging physical obstacles and many degrees of variability in their layout. In this paper, we present the design of a mobile camera suited to vineyards and harsh experimental conditions, as well as the results and assessments of 8 years’ worth of studies using that camera. These projects ranged from in-field yield estimation (berry counting) to disease detection, providing new insights on typical viticulture problems that could also be generalized to orchard crops. Different recommendations are then provided using small case studies, such as the difficulties related to framing plots with different structures or the mounting of the sensor on a moving vehicle. While results stress the obvious importance and strong benefits of a thorough experimental design, they also indicate some inescapable pitfalls, illustrating the need for more robust image analysis algorithms and better databases. We believe sharing that experience with the scientific community can only benefit the future development of these innovative approaches.

Non-destructive tools for the in situ evaluation of vine fruit quality and vineyard management can improve the market value of table grape. We proposed a new approach based on a portable fluorescence sensor to map the ripening level of Crimson Seedless table grape in five different plots in the East, Central-North and South of the Macedonia Region of Greece. The sensor provided indices of ripening and color such as SFRR and ANTHRG correlated to the chlorophyll and anthocyanin berry contents, respectively. The mean ANTHRG index was significantly different among all the plots examined due to the occurrence of different environmental conditions and/or asynchronous ripening processes. The indices presented moderate, poor in some cases, spatial variability, probably due to a significant vine-to-vine, intra-vine and intra-bunch variability. The cluster analysis was applied to the plot with the most evident spatial structure (at Kilkis). Krigged maps of the SFRR, ANTHRG and yield were classified by k-means clustering in two-zones that differed significantly in their mean values. ANTHRG and SFRR were inversely correlated over 64% of the plot. SFRR appeared to be a potential useful proxy of yield since it was directly correlated to yield over 66% of the plot. The grape color (ANTHRG) was slightly higher over the low-yield zones with respect to the high-yield zones. Our study showed that the combination of anthocyanins and chlorophyll indices detected in the field on Crimson Seedless table grape by a portable fluorescence sensor can help in defining the best harvest time and the best areas for harvesting.

AbstractThe climate of north-western Spain, with high temperatures and relative humidity during the grapevine vegetative cycle, can especially favour the development of fungal diseases in vineyards. One of the most important diseases is downy mildew, caused by the fungusPlasmopara viticola. The aim of the current study is to propose a system containing phenological data, biological sensors of pathogen indicator and the agrometeorological Goidanich Index in order to optimize the application of downy mildew fungicide treatments. The study was conducted in a vineyard of the ‘Ribeiro’ Designation of Origin region from 2005 to 2016 during theVitisvegetative period. Aerobiological sampling was performed using a LANZONI VPPS-2000 volumetric trap. The highest number of infection cycles was recorded during the 2009 harvest, with a total of 16 cycles. Years with fewer infection cycles were 2008, 2011 and 2012 (13 cycles). Primary infections were produced during the third fortnight of April and a high amount of secondary infection cycles were detected by the Goidanich algorithm during the fruit development and berry ripening stages. The best estimators of theP. viticolaspore concentrations were the fungus spore levels during the previous day, the average temperature 5 days before and rainfall 2 days before. The regression equation obtained accounted for the 95.9% of the spore concentration variation. The combination of the Goidanich index and biological sensors provides a valuable tool to establish an accurate, modern, integrated downy mildew pest-management strategy.

Abstract Traditionally, wine producers perform early wine quality prediction on-site based on the berry morphological and sensory characteristics together with the measurement of basic chemical parameters. Incorporating analysis on grape and wine volatiles could potentially achieve accurate prediction of wine quality, but forming these models requires careful selection of grapes, controlled fermentations and standardised quality assessment. Here, we present 3 models for the prediction of quality in Shiraz wine. Modelling was done by general regression analysis with 4-fold cross-validation. Model 1 (R 2 = 99.97% and 4-fold R 2 = 97.61%) for prediction of wine quality from wine volatiles, Model 2 (R 2 = 99.89% and 4-fold R 2 = 98.42%) for early prediction of wine quality from free- and glycosidically- bound grape volatiles, and Model 3 (R 2 = 91.62% and 4-fold R 2 = 80.21%) for prediction of wine quality from free grape volatiles only. The accuracy of these models presents an advancement in the early prediction of wine quality and provide a valuable tool to assist grape growers and winemakers in understanding quality in the vineyard to better direct scarce resources.

Compressed vintages, high alcohol and low wine acidity are but a few repercussions of climate change effects on Australian viticulture. While warm and cool growing regions may have different practical concerns related to climate change, they both experience altered berry and must composition and potentially reduced desirable wine characteristics and market value. Storms, drought and uncertain water supplies combined with excessive heat not only depress vine productivity through altered physiology but can have direct consequences on the fruit. Sunburn, shrivelling and altered sugar-flavour-aroma balance are becoming more prevalent while bushfires can result in smoke taint. Moreover, distorted pest and disease cycles and changes in pathogen geographical distribution have altered biotic stress dynamics that require novel management strategies. A multipronged approach to address these challenges may include alternative cultivars and rootstocks or changing geographic location. In addition, modifying and incorporating novel irrigation regimes, vine architecture and canopy manipulation, vineyard floor management, soil amendments and foliar products such as antitranspirants and other film-forming barriers are potential levers that can be used to manage the effects of climate change. The adoption of technology into the vineyard including weather, plant and soil sensors are giving viticulturists extra tools to make quick decisions, while satellite and airborne remote sensing allow the adoption of precision farming. A coherent and comprehensive approach to climate risk management, with consideration of the environment, ensures that optimum production and exceptional fruit quality is maintained. We review the preliminary findings and feasibility of these new strategies in the Australian context.

There is, in our sense of place, little cognisance of what lies underground. Yet our sense of place, instinctive, unconscious, primeval, has its own underground: the secret spaces which mirror our insides; the world beneath the skin. Our roots lie beneath the ground, with the minerals and the dead. (Hughes 83) The-Home-and-Away-Game Imagine the earth-grounded, “diagrammatological” trajectory of a footballer who as one member of a team is psyching himself up before the start of a game. The siren blasts its trumpet call. The footballer bursts out of the pavilion (where this psyching up has taken place) to engage in the opening bounce or kick of the game. And then: running, leaping, limping after injury, marking, sliding, kicking, and possibly even passing out from concussion. Finally, the elation accompanying the final siren, after which hugs, handshakes and raised fists conclude the actual match on the football oval. This exit from the pavilion, the course the player takes during the game itself, and return to the pavilion, forms a combination of stasis and movement, and a return to exhausted stasis again, that every player engages with regardless of the game code. Examined from a “diagrammatological” perspective, a perspective Rowan Wilken (following in the path of Gilles Deleuze and W. J. T. Mitchell) understands as “a generative process: a ‘metaphor’ or way of thinking — diagrammatic, diagrammatological thinking — which in turn, is linked to poetic thinking” (48), this footballer’s scenario arises out of an aerial perspective that depicts the actual spatial trajectory the player takes during the course of a game. It is a diagram that is digitally encoded via a sensor on the footballer’s body, and being an electronically encoded diagram it can also make available multiple sets of data such as speed, heartbeat, blood pressure, maybe even brain-wave patterns. From this limited point of view there is only one footballer’s playing trajectory to consider; various groupings within the team, the whole team itself, and the diagrammatological depiction of its games with various other teams might also be possible. This singular imagining though is itself an actuality: as a diagram it is encoded as a graphic image by a satellite hovering around the earth with a Global Positioning System (GPS) reading the sensor attached to the footballer which then digitally encodes this diagrammatological trajectory for appraisal later by the player, coach, team and management. In one respect, this practice is another example of a willing self-surveillance critical to explaining the reflexive subject and its attribute of continuous self-improvement. According to Docker, Official Magazine of the Fremantle Football Club, this is a technique the club uses as a part of game/play assessment, a system that can provide a “running map” for each player equipped with such a tracking device during a game. As the Fremantle Club’s Strength and Conditioning Coach Ben Tarbox says of this tactic, “We’re getting a physiological profile that has started to build a really good picture of how individual players react during a game” (21). With a little extra effort (and some sizeable computer processing grunt) this two dimensional linear graphic diagram of a footballer working the football ground could also form the raw material for a three-dimensional animation, maybe a virtual reality game, even a hologram. It could also be used to sideline a non-performing player. Now try another related but different imagining: what if this diagrammatological trajectory could be enlarged a little to include the possibility that this same player’s movements could be mapped out by the idea of home-and-away games; say over the course of a season, maybe even a whole career, for instance? No doubt, a wide range of differing diagrammatological perspectives might suggest themselves. My own particular refinement of this movement/stasis on the footballer’s part suggests my own distinctive comings and goings to and from my own specific piece of home country. And in this incessantly domestic/real world reciprocity, in this diurnally repetitive leaving and coming back to home country, might it be plausible to think of “Home as Capital of the Region”? If, as Walter Benjamin suggests in the prelude to his monumental Arcades Project, “Paris — the Capital of the Nineteenth Century,” could it be that both in and through my comings and goings to and from this selfsame home country, my own burgeoning sense of regionality is constituted in every minute-by-minutiae of lived experience? Could it be that this feeling about home is manifested in my every day-to-night manoeuvre of home-and-away-and-away-and-home-making, of every singular instance of exit, play/engage, and the return home? “Home, Capital of the Region” then examines the idea that my home is that part of the country which is the still-point of eternal return, the bedrock to which I retreat after the daily grind, and the point from which I start out and do it all again the next day. It employs, firstly, this ‘diagrammatological’ perspective to illustrate the point that this stasis/movement across country can make an electronic record of my own psychic self-surveillance and actualisation in-situ. And secondly, the architectural plan of the domestic home (examined through the perspective of critical regionalism) is used as a conduit to illustrate how I am physically embedded in country. Lastly, intermingling these digressive threads is chora, Plato’s notion of embodied place and itself an ancient regional rendering of this eternal return to the beginning, the place where the essential diversity of country decisively enters the soul. Chora: Core of Regionality Kevin Lynch writes that, “Our senses are local, while our experience is regional” (10), a combination that suggests this regional emphasis on home-and-away-making might be a useful frame of reference (simultaneously spatiotemporal, both a visceral and encoded communication) for me to include as a crucial vector in my own life-long learning package. Regionality (as, variously, a sub-generic categorisation and an extension/concentration of nationality, as well as a recently re-emerged friend/antagonist to a global understanding) infuses my world of home with a grounded footing in country, one that is a site of an Eternal Return to the Beginning in the micro-world of the everyday. This is a point John Sallis discusses at length in his analysis of Plato’s Timaeus and its founding notion of regionality: chora. More extended absences away from home-base are of course possible but one’s return to home on most days and for most nights is a given of post/modern, maybe even of ancient everyday experience. Even for the continually shifting nomad, nightfall in some part of the country brings the rest and recreation necessary for the next day’s wanderings. This fundamental question of an Eternal Return to the Beginning arises as a crucial element of the method in Plato’s Timaeus, a seemingly “unstructured” mythic/scientific dialogue about the origins and structure of both the psychically and the physically implaced world. In the Timaeus, “incoherence is especially obvious in the way the natural sequence in which a narrative would usually unfold is interrupted by regressions, corrections, repetitions, and abrupt new beginnings” (Gadamer 160). Right in the middle of the Timaeus, in between its sections on the “Work of Reason” and the “Work of Necessity”, sits chora, both an actual spatial and bodily site where my being intersects with my becoming, and where my lived life criss-crosses the various arts necessary to articulating a recorded version of that life. Every home is a grounded chora-logical timespace harness guiding its occupant’s thoughts, feelings and actions. My own regionally implaced chora (an example of which is the diagrammatological trajectory already outlined above as my various everyday comings and goings, of me acting in and projecting myself into context) could in part be understood as a graphical realisation of the extent of my movements and stationary rests in my own particular timespace trajectory. The shorthand for this process is ‘embedded’. Gregory Ulmer writes of chora that, “While chorography as a term is close to choreography, it duplicates a term that already exists in the discipline of geography, thus establishing a valuable resonance for a rhetoric of invention concerned with the history of ‘place’ in relation to memory” (Heuretics 39, original italics). Chorography is the geographic discipline for the systematic study and analysis of regions. Chora, home, country and regionality thus form an important multi-dimensional zone of interplay in memorialising the game of everyday life. In light of these observations I might even go so far as to suggest that this diagrammatological trajectory (being both digital and GPS originated) is part of the increasingly electrate condition that guides the production of knowledge in any global/regional context. This last point is a contextual connection usefully examined in Alan J. Scott’s Regions and the World Economy: The Coming Shape of Global Production, Competition, and Political Order and Michael Storper’s The Regional World: Territorial Development in a Global Economy. Their analyses explicitly suggest that the symbiosis between globalisation and regionalisation has been gathering pace since at least the end of World War Two and the Bretton Woods agreement. Our emerging understanding of electracy also happens to be Gregory Ulmer’s part-remedy for shifting the ground under the intense debates surrounding il/literacy in the current era (see, in particular, Internet Invention). And, for Tony Bennett, Michael Emmison and John Frow’s analysis of “Australian Everyday Cultures” (“Media Culture and the Home” 57–86), it is within the home that our un.conscious understanding of electronic media is at its most intense, a pattern that emerges in the longer term through receiving telegrams, compiling photo albums, listening to the radio, home- and video-movies, watching the evening news on television, and logging onto the computer in the home-office, media-room or home-studio. These various generalisations (along with this diagrammatological view of my comings and goings to and from the built space of home), all point indiscriminately to a productive confusion surrounding the sedentary and nomadic opposition/conjunction. If natural spaces are constituted in nouns like oceans, forests, plains, grasslands, steppes, deserts, rivers, tidal interstices, farmland etc. (and each categorisation here relies on the others for its existence and demarcation) then built space is often seen as constituting its human sedentary equivalent. For Deleuze and Guatteri (in A Thousand Plateaus, “1227: Treatise on Nomadology — The War Machine”) these natural spaces help instigate a nomadic movement across localities and regions. From a nomadology perspective, these smooth spaces unsettle a scientific, numerical calculation, sometimes even aesthetic demarcation and order. If they are marked at all, it is by heterogenous and differential forces, energised through constantly oscillating intensities. A Thousand Plateaus is careful though not to elevate these smooth nomadic spaces over the more sedentary spaces of culture and power (372–373). Nonetheless, as Edward S. Casey warns, “In their insistence on becoming and movement, however, the authors of A Thousand Plateaus overlook the placial potential of settled dwelling — of […] ‘built places’” (309, original italics). Sedentary, settled dwelling centred on home country may have a crust of easy legibility and order about it but it also formats a locally/regionally specific nomadic quality, a point underscored above in the diagrammatological perspective. The sedentary tendency also emerges once again in relation to home in the architectural drafting of the domestic domicile. The Real Estate Revolution When Captain Cook planted the British flag in the sand at Botany Bay in 1770 and declared the country it spiked as Crown Land and henceforth will come under the ownership of an English sovereign, it was also the moment when white Australia’s current fascination with real estate was conceived. In the wake of this spiking came the intense anxiety over Native Title that surfaced in late twentieth century Australia when claims of Indigenous land grabs would repossess suburban homes. While easily dismissed as hyperbole, a rhetorical gesture intended to arouse this very anxiety, its emergence is nonetheless an indication of the potential for political and psychic unsettling at the heart of the ownership and control of built place, or ‘settled dwelling’ in the Australian context. And here it would be wise to include not just the gridded, architectural quality of home-building and home-making, but also the home as the site of the family romance, another source of unsettling as much as a peaceful calming. Spreading out from the boundaries of the home are the built spaces of fences, bridges, roads, railways, airport terminals (along with their interconnecting pathways), which of course brings us back to the communications infrastructure which have so often followed alongside the development of transport infrastructure. These and other elements represent this conglomerate of built space, possibly the most significant transformation of natural space that humanity has brought about. For the purposes of this meditation though it is the more personal aspect of built space — my home and regional embeddedness, along with their connections into the global electrosphere — that constitutes the primary concern here. For a sedentary, striated space to settle into an unchallenged existence though requires a repression of the highest order, primarily because of the home’s proximity to everyday life, of the latter’s now fading ability to sometimes leave its presuppositions well enough alone. In settled, regionally experienced space, repressions are more difficult to abstract away, they are lived with on a daily basis, which also helps to explain the extra intensity brought to their sometimes-unsettling quality. Inversely, and encased in this globalised electro-spherical ambience, home cannot merely be a place where one dwells within avoiding those presuppositions, I take them with me when I travel and they come back with me from afar. This is a point obliquely reflected in Pico Iyer’s comment that “Australians have so flexible a sense of home, perhaps, that they can make themselves at home anywhere” (185). While our sense of home may well be, according to J. Douglas Porteous, “the territorial core” of our being, when other arrangements of space and knowledge shift it must inevitably do so as well. In these shifts of spatial affiliation (aided and abetted by regionalisation, globalisation and electronic knowledge), the built place of home can no longer be considered exclusively under the illusion of an autonomous sanctuary wholly guaranteed by capitalist property relations, one of the key factors in its attraction. These shifts in the cultural, economic and psychic relation of home to country are important to a sense of local and regional implacement. The “feeling” of autonomy and security involved in home occupation and/or ownership designates a component of this implacement, a point leading to Eric Leed’s comment that, “By the sixteenth century, literacy had become one of the definitive signs — along with the possession of property and a permanent residence — of an independent social status” (53). Globalising and regionalising forces make this feeling of autonomy and security dynamic, shifting the ground of home, work-place practices and citizenship allegiances in the process. Gathering these wide-ranging forces impacting on psychic and built space together is the emergence of critical regionalism as a branch of architectonics, considered here as a theory of domestic architecture. Critical Regionality Critical regionalism emerged out of the collective thinking of Liane Lefaivre and Alexander Tzonis (Tropical Architecture; Critical Regionalism), and as these authors themselves acknowledge, was itself deeply influenced by the work of Lewis Mumford during the first part of the twentieth century when he was arguing against the authority of the international style in architecture, a style epitomised by the Bauhaus movement. It is Kenneth Frampton’s essay, “Towards a Critical Regionalism: Six Points for an Architecture of Resistance” that deliberately takes this question of critical regionalism and makes it a part of a domestic architectonic project. In many ways the ideas critical regionalism espouses can themselves be a microcosm of this concomitantly emerging global/regional polis. With public examples of built-form the power of the centre is on display by virtue of a building’s enormous size and frequently high-cultural aesthetic power. This is a fact restated again and again from the ancient world’s agora to Australia’s own political bunker — its Houses of Parliament in Canberra. While Frampton discusses a range of aspects dealing with the universal/implaced axis across his discussion, it is points five and six that deserve attention from a domestically implaced perspective. Under the sub-heading, “Culture Versus Nature: Topography, Context, Climate, Light and Tectonic Form” is where he writes that, Here again, one touches in concrete terms this fundamental opposition between universal civilization and autochthonous culture. The bulldozing of an irregular topography into a flat site is clearly a technocratic gesture which aspires to a condition of absolute placelessness, whereas the terracing of the same site to receive the stepped form of a building is an engagement in the act of “cultivating” the site. (26, original italics) The “totally flat datum” that the universalising tendency sometimes presupposes is, within the critical regionalist perspective, an erroneous assumption. The “cultivation” of a site for the design of a building illustrates the point that built space emerges out of an interaction between parallel phenomena as they contrast and/or converge in a particular set of timespace co-ordinates. These are phenomena that could include (but are not limited to) geomorphic data like soil and rock formations, seismic activity, inclination and declension; climatic considerations in the form of wind patterns, temperature variations, rainfall patterns, available light and dark, humidity and the like; the building context in relation to the cardinal points of north, south, east, and west, along with their intermediary positions. There are also architectural considerations in the form of available building materials and personnel to consider. The social, psychological and cultural requirements of the building’s prospective in-dwellers are intermingled with all these phenomena. This is not so much a question of where to place the air conditioning system but the actuality of the way the building itself is placed on its site, or indeed if that site should be built on at all. A critical regionalist building practice, then, is autochthonous to the degree that a full consideration of this wide range of in-situ interactions is taken into consideration in the development of its design plan. And given this autochthonous quality of the critical regionalist project, it also suggests that the architectural design plan itself (especially when it utilised in conjunction with CAD and virtual reality simulations), might be the better model for designing electrate-centred projects rather than writing or even the script. The proliferation of ‘McMansions’ across many Australian suburbs during the 1990s (generally, oversized domestic buildings designed in the abstract with little or no thought to the above mentioned elements, on bulldozed sites, with powerful air-conditioning systems, and no verandas or roof eves to speak of) demonstrates the continuing influence of a universal, centralising dogma in the realm of built place. As summer temperatures start to climb into the 40°C range all these air-conditioners start to hum in unison, which in turn raises the susceptibility of the supporting infrastructure to collapse under the weight of an overbearing electrical load. The McMansion is a clear example of a built form that is envisioned more so in a drafting room, a space where the architect is remote-sensing the locational specificities. In this envisioning (driven more by a direct line-of-sight idiom dominant in “flat datum” and economic considerations rather than architectural or experiential ones), the tactile is subordinated, which is the subject of Frampton’s sixth point: It is symptomatic of the priority given to sight that we find it necessary to remind ourselves that the tactile is an important dimension in the perception of built form. One has in mind a whole range of complementary sensory perceptions which are registered by the labile body: the intensity of light, darkness, heat and cold; the feeling of humidity; the aroma of material; the almost palpable presence of masonry as the body senses it own confinement; the momentum of an induced gait and the relative inertia of the body as it traverses the floor; the echoing resonance of our own footfall. (28) The point here is clear: in its wider recognition of, and the foregrounding of my body’s full range of sensate capacities in relation to both natural and built space, the critical regionalist approach to built form spreads its meaning-making capacities across a broader range of knowledge modalities. This tactility is further elaborated in more thoroughly personal ways by Margaret Morse in her illuminating essay, “Home: Smell, Taste, Posture, Gleam”. Paradoxically, this synaesthetic, syncretic approach to bodily meaning-making in a built place, regional milieu intensely concentrates the site-centred locus of everyday life, while simultaneously, the electronic knowledge that increasingly underpins it expands both my body’s and its region’s knowledge-making possibilities into a global gestalt, sometimes even a cosmological one. It is a paradoxical transformation that makes us look anew at social, cultural and political givens, even objective and empirical understandings, especially as they are articulated through national frames of reference. Domestic built space then is a kind of micro-version of the multi-function polis where work, pleasure, family, rest, public display and privacy intermingle. So in both this reduction and expansion in the constitution of domestic home life, one that increasingly represents the location of the production of knowledge, built place represents a concentration of energy that forces us to re-imagine border-making, order, and the dynamic interplay of nomadic movement and sedentary return, a point that echoes Nicolas Rothwell’s comment that “every exile has in it a homecoming” (80). Albeit, this is a knowledge-making milieu with an expanded range of modalities incorporated and expressed through a wide range of bodily intensities not simply cognitive ones. Much of the ambiguous discontent manifested in McMansion style domiciles across many Western countries might be traced to the fact that their occupants have had little or no say in the way those domiciles have been designed and/or constructed. In Heidegger’s terms, they have not thought deeply enough about “dwelling” in that building, although with the advent of the media room the question of whether a “building” securely borders both “dwelling” and “thinking” is now open to question. As anxieties over border-making at all scales intensifies, the complexities and un/sureties of natural and built space take ever greater hold of the psyche, sometimes through the advance of a “high level of critical self-consciousness”, a process Frampton describes as a “double mediation” of world culture and local conditions (21). Nearly all commentators warn of a nostalgic, romantic or a sentimental regionalism, the sum total of which is aimed at privileging the local/regional and is sometimes utilised as a means of excluding the global or universal, sometimes even the national (Berry 67). Critical regionalism is itself a mediating factor between these dispositions, working its methods and practices through my own psyche into the local, the regional, the national and the global, rejecting and/or accepting elements of these domains, as my own specific context, in its multiplicity, demands it. If the politico-economic and cultural dimensions of this global/regional world have tended to undermine the process of border-making across a range of scales, we can see in domestic forms of built place the intense residue of both their continuing importance and an increased dependency on this electro-mediated world. This is especially apparent in those domiciles whose media rooms (with their satellite dishes, telephone lines, computers, television sets, games consuls, and music stereos) are connecting them to it in virtuality if not in reality. Indeed, the thought emerges (once again keeping in mind Eric Leed’s remark on the literate-configured sense of autonomy that is further enhanced by a separate physical address and residence) that the intense importance attached to domestically orientated built place by globally/regionally orientated peoples will figure as possibly the most viable means via which this sense of autonomy will transfer to electronic forms of knowledge. If, however, this here domestic habitué turns his gaze away from the screen that transports me into this global/regional milieu and I focus my attention on the physicality of the building in which I dwell, I once again stand in the presence of another beginning. This other beginning is framed diagrammatologically by the building’s architectural plans (usually conceived in either an in-situ, autochthonous, or a universal manner), and is a graphical conception that anchors my body in country long after the architects and builders have packed up their tools and left. This is so regardless of whether a home is built, bought, rented or squatted in. Ihab Hassan writes that, “Home is not where one is pushed into the light, but where one gathers it into oneself to become light” (417), an aphorism that might be rephrased as follows: “Home is not where one is pushed into the country, but where one gathers it into oneself to become country.” For the in-and-out-and-around-and-about domestic dweller of the twenty-first century, then, home is where both regional and global forms of country decisively enter the soul via the conduits of the virtuality of digital flows and the reality of architectural footings. 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