Статті в журналах з теми "Lawn Hill Platform"

The Lawn Hill Platform (LHP) is a sedimentary province in north-eastern Northern Territory and north-western Queensland that hosts a significant Paleoproterozoic–Mesoproterozoic sequence, often referred to as 'the ‘Isa Superbasin’, and includes the overlying South Nicholson Group. Shale gas resources and base-metals mineralisation are known in north-west Queensland, but the larger basin is underexplored. The Australian Government’s Exploring for the Future (EFTF) 2016−2020 program aims to boost resource exploration in northern Australia. New precompetitive geochemical data obtained in this program includes source rock geochemistry, kerogen kinetics, bitumen reflectance, biomarker and δ13C n-alkanes for understanding the petroleum potential, organic geochemistry of source rocks and fluids, stratigraphic correlations and mineralogy to determine the brittleness of shales. All data and derived reports are accessible on the EFTF portal (www.eftf.ga.gov.au), providing a central location for informed decision making. The results in this study demonstrate fair to excellent source rocks in multiple supersequences that are brittle and favourable to hydraulic stimulation. A comparison to the greater McArthur Basin demonstrates, that although there are many similarities in bulk geochemistry, LHP mudstones are largely heterogeneous, reflecting local variations that may be inherited from variations in contributing biomass, microbial reworking, depositional environment, sediment input and paleoredox conditions.

The Energy component of Geoscience Australia’s Exploring for the Future (EFTF) program is aimed at improving our understanding of the petroleum resource potential of northern Australia, in partnership with the state and territory geological surveys. The sediments of the Mesoproterozoic South Nicholson Basin and the underlying Paleoproterozoic Isa Superbasin in the Northern Territory and Queensland are amongst the primary targets of the EFTF Energy program, as they are known to contain organic-rich sedimentary units with the potential to host unconventional gas plays, although their subsurface extent under the cover of the Georgina Basin is presently unknown. In order to economically produce from unconventional reservoirs, the petrophysical rock properties and in-situ stresses must be conducive to the creation of secondary permeability networks that connect a wellbore to as large a reservoir volume as possible. This study utilises data from the recently drilled Armour Energy wells Egilabria 2, Egilabria 2-DW1, and Egilabria 4 to constrain rock properties and in-situ stresses for the Isa Superbasin sequence where intersected on the Lawn Hill Platform of north-west Queensland. These results have implications for petroleum prospectivity in an area with proven gas potential, which are discussed here in the context of the rock properties and in-situ stresses desired for a viable shale gas play. In addition, these results are relevant to potential future exploration across the broader Isa Superbasin sequence.

A recently released open file study of the depth-to-basement and basement heat flow is presented, which covers the Queensland portion of the South Nicholson Basin and includes basins underlying the Lawn Hill Platform and Georgina Basin. The present-day basement heat flow model is derived from an analysis of basement composition, structure and history, with the crustal radiogenic and mantle heat flow assessed separately. Resulting from an integrated, iterative interpretation and analysis of a wide range of publicly available spatially continuous geophysical and geological datasets, the heat flow model reproduces faithfully sharp and high-amplitude variations of the published heat flow at small distances. Variations are replicated through the integration of interpreted basement composition and a geologically driven determination of heat production within the radiogenic crustal layer. The values of mantle heat flow based on lithosphere thickness derived from seismic tomography models are consistent with published stable mantle heat flow under terranes of similar age. The long-wavelength regional variations can be attributed to the change in the thickness of the lithosphere. Regionally, the highest values of heat flow are found where radiogenic crust is the thickest and the composition is interpreted to comprise radiogenic intrusives.

NDI Carrara 1 is a deep stratigraphic well completed in 2020 as part of the MinEx CRC National Drilling Initiative (NDI), in collaboration with Geoscience Australia and the Northern Territory Geological Survey. It is the first stratigraphic test of the Carrara Sub-basin, a newly discovered depocentre in the South Nicholson Region. The well intersected Proterozoic sediments with numerous hydrocarbon shows, likely to be of particular interest due to affinities with the known Proterozoic plays of the Beetaloo Sub-basin and the Lawn Hill Platform, including two organic-rich black shales and a thick sequence of interbedded black shales and silty-sandstones. Alongside an extensive suite of wireline logs, continuous core was recovered from 283.9 m to total depth at 1750.8 m, providing high-quality data to support comprehensive analysis. Presently, this includes geochronology, geochemistry, geomechanics and petrophysics. Rock-Eval pyrolysis data demonstrate the potential for several thick black shales to be a source of hydrocarbons for conventional and unconventional plays. Integration of these data with geomechanical properties highlights potential brittle zones within the fine-grained intervals where hydraulic stimulation is likely to enhance permeability, identifying prospective Carrara Sub-basin shale gas intervals. Detailed wireline log analysis further supports a high potential for unconventional shale resources. Interpretation of the L210 and L212 seismic surveys suggests that the intersected sequences are laterally extensive and continuous throughout the Carrara Sub-basin, potentially forming a significant new hydrocarbon province and continuing the Proterozoic shale play fairway across the Northern Territory and northwest Queensland.

In the context of global changes, nature-based solutions (NBSs) increasingly draw attention as a possible way to reduce disaster risk associated with extreme hydro-meteorological events while providing human well-being and biodiversity benefits at the same time. The PHUSICOS platform is dedicated to gather and analyse relevant NBSs used to reduce disaster risk associated with extreme hydro-meteorological events in mountainous and hilly lands. To design the platform, an in-depth review of 11 existing platforms has been performed. The PHUSICOS platform currently references 152 literature NBS cases and is continuously enriched through the contribution of NBS community. The platform also proposes a qualitative assessment of the NBSs collected according to 15 criteria related with five ambits: “disaster risk reduction”, “technical and economical feasibility”, “environment”, “society”, and “local economy”. This paper presents the structure of the platform and a first analysis of its content.

AbstractThe headline recommendation of Jonathan Hill's 2021 UK Listing Review was that dual-class shares structures be permitted on the London Stock Exchange's premium tier. The aspiration was to encourage more high-quality UK equity listings, particularly of high-growth tech-companies, for which dual-class shares are especially beneficial. Dual-class shares allow founders to list their companies, and retain majority-control, while holding significantly less of the cash-flow rights in the company. However, in the UK, dual-class shares are usually discussed in qualified terms, in an attempt to placate sceptical institutional shareholders. Using the UK Listing Review as a platform, this article explores the constraints commonly proposed to be attached to dual-class shares, and argues that, although it is important to protect public shareholders, constraints must not be too severe. A balance must be respected, otherwise UK initiatives to relax rules on dual-class shares could deter the very companies they are intended to attract.

Potential evapotranspiration (ET0) is an integral component of the hydrological cycle and the global energy balance, and its long-term variation is of much concern in climate change studies. The Loess Plateau is an important area of agricultural civilization and water resources research. This study analyzed the spatial and temporal evolution processes and influential parameters of ET0 at 70 stations in different topographical areas of the Chinese Loess Plateau (CLP). Using the Mann–Kendall trend, Cross wavelet transform, and the ArcGIS platform, the ET0 of each station was quantified using the Penman–Monteith equation, and the effects of climatic factors on ET0 were assessed by analyzing the correlation coefficients and contribution rates of the climatic factors. The results showed that: (1) the overall trend of the ET0 in different terrains of the Loess Plateau is consistent, however, the ET0 values differ; the hill region (HR) has the highest ET0, followed by the valley region (VR), and the mountain region (MR) has the lowest, and ET0 changes differ between seasons. (2) Spatial distribution characteristics of multiyear mean ET0 in the study are as follows: the ET0 values in mountain and hilly areas are decreasing from west to east, and the higher mean annual ET0 value in the VR is mainly concentrated in the eastern CLP. (3) In the past 58 years, the annual mean and the seasonal ET0 of the region showed increasing trends, however, differences in different terrains were obvious. (4) ET0 has significant correlations with El Niño–Southern Oscillation (ENSO), Pacific–North American teleconnection (PNA), and Atlantic Multidecadal Oscillation (AMO). The resonance period of ET0 and ENSO was 3–6 a, mainly in 1976–1985. The mean coherence phase angle was close to 360°, indicating that ET0 lags behind PNA by approximately 2–6 a; ET0 has a very strong positive correlation with AMO. (5) Relative humidity (RH) is the main influencing factor of ET0 change in the Loess Plateau. Temperature (T) variation has the highest contribution rate (42%) to the regional ET0 variation in the entire CLP. We should pay more attention to the variation of evaporation under future climate change, especially temperature change.

Limestone outcrops of the Tacipi area is an ideal carbonate platform part of Neogene East and West Sengkang Basin that are located in the south part of Sulawesi, precisely in western of Bone city. The limestones of this area, outcropping mainly on the north-south oriented hills such as Temapole, Anadara, Tamping, Lappa, etc., are the best reef example in the Tacipi area, as the reef itself, its debris and detritus can be distinguished in the field. Throughout the ridges and pinnacle in Tacipi field the limestones are predominantly homogenous boundstones on the top and detrital bioclastic packstones with local grainstones, and wackestones at the bottom. There are four major reef zonation indentified pacth reef, barrier reef, fore reef and lagoon. The extensive freshwater leaching of fossil fragments and calcareous cement give the preservation of biomouldic and vug pore spaces. Key words : limestones, reef, Tacipi Singkapan batugamping daerah Tacipi merupakan suatu paparan karbonat Neogen yang ideal di timur dan barat Cekungan Sengkan yang terletak di bagian selatan Sulawesi, tepatnya di sebelah barat kota Bone. Batugamping di daerah tersebut, terutama tersingkap berorientasi utara – selatan sejajar gunung-gunung seperti di Tempole, Anadara, Tamping, Lappa dan lain-lain, merupakan contoh terumbu terbesar di daerah Tacipi, sebagai bagian dari terumbu, sisa-sisa dan runtuhannya dapat dibedakan di daerah tersebut. Sepanjang punggungan dan puncaknya di daerah Tacipi, batugamping merupakan bagian utama dari lapisan pengikat yang homogen di bagian atas dan detrital bioklastik koral terpilah buruk dengan lokal struktur butiran secara setempat, dan struktur bioklastik laut pada bagian bawah. Ada empat zonasi utama terumbu yang telah identifikasi sebagai karang gosong, karang penghalang, karang depan dan lagun. Air tawar yang luas terlarut dari pecahan fosil dan semen mengandung zat kapur memberikan pengawetan terhadap jejak-jejak kehidupan dan pori-pori. Kata kunci : batugamping, terumbu, Tacipi

Abstract The aim of this research is to examine the hydropower development potentials and identifying major hydropower projects along the Teesta river basin that is shared by Bangladesh and India. The upstream of Teesta river basin is located mostly in hilly areas of Sikkim where India plans to produce electricity of over 6,500 MW by developing the hydropower potential of the basin. The downstream basin is densely populated, mostly flat land and has no hydropower potential. As of today, Bangladesh and India have been unable to agree on an integrated development plan for the Teesta river basin. Previous negotiations on Teesta river basin management have focused only on sharing water rather than sharing the wide range of benefits from water resources including hydropower. This paper identified the existing, ongoing and upcoming hydropower development projects. The hydropower sharing opportunity exists between the two riparian countries and this type of natural resource development could reduce economic tensions and provide a platform for sustainable agreements.

Henan Province is an important ecological barrier in the middle and lower reaches of the Yellow River. It is of great significance to study its ecosystem quality and the driving mechanisms behind this in order to realize ecological conservation and high-quality development in the Yellow River Basin. In this study, from the perspective of physical elements, socioeconomic elements, and policy adjustments, multi-source data on land use, population density, forestry engineering, and other indicators were selected to construct an index system of the driving factors of ecosystem quality in Henan Province. The characteristics of spatio-temporal change and the formation mechanism of ecosystem quality in Henan Province from 2010 to 2020 were analyzed by comprehensively using the gravity center analysis method and a geo-detector tool. The results showed the following: (1) The ecosystem quality of Henan Province in 2020 has increased by 27.7% compared with that in 2010, and the center of gravity of ecosystem quality continued to move to the northwest of Henan Province. The quality of ecosystems in the hilly region of Western Henan, Tongbai, and Nanyang was better than that in the northern Loess Platform Hilly Area and the Yellow River Plain, and it presented a spatial pattern in which the quality of the south was higher than that of the north, while the east and west were equal; (2) From 2010 to 2020, the average GDP and population density in Henan Province were the most important factors affecting the quality of its ecosystem. The effect of land-use diversity on ecosystem quality in the hilly region of Henan Province was stronger than that in the central and eastern plains; and (3) The interactions among the driving factors were mainly nonlinear enhancement and double factor enhancement, in which the interaction between socio-economic elements and natural environmental elements was the dominant interaction mode and could enhance the impact on the quality of the regional ecological environment. The results of this study indicate that attention should be paid to generating targeted industrial economy layout and land use policies in different natural domains. Moreover, forestry protection engineering policies should be further strengthened to improve the resilience of ecosystem quality to human activities.

The construction of the ecological environment in rural settlements is a very important part of the development of human settlements. Key to this construction is the coordinated and sustainable development of plant environment, geographical environment, and human activities. Therefore, it is necessary to study the characteristics of plant diversity and their driving mechanisms. The study area, ‘Shanchuan Town’, is located in the hilly area of Southeast China, Anji County, Zhejiang Province. As bamboo forests cover 62% of the total forests, it has the reputation of being the “China town of bamboo”. To interpret rural plant community features, we extracted topography data by the field survey, satellite image, and Digital Elevation Model (DEM) based on ArcGIS platform, then used Spearman’s correlation and a redundancy analysis to examine the relationships between explanatory variables (e.g., plot elevation, slope aspect and architectural height, etc.) and the distribution of plant community diversity. In this study, 227 plots were selected from 14 settlements to investigate totally 105, 88, 206, and 17 species of trees, shrubs, herbs, and vines, respectively, belonging to 147 families, 324 genera, and 416 species. Among them, there were 19 bamboo species, and 47 species of alien plants, which accounted for 11.3% of the total. The dominant trees and shrubs were mainly native species with high edible or ornamental value. The dominant bamboo species were common species for bamboo shoots in Zhejiang Province, while most of the dominant herbaceous species were alien species. Among the explanatory variables, the impact of plot elevation (PE) on plant community was significantly higher than those of other explanatory factors. The correlation analysis showed that the richness and diversity indices of different plant life layers were significantly related to PE. Among the architectural factors, the architectural orientation (AO) and layout type (AT) effect on shrubs and other herbaceous species was stronger than those on trees and bamboo. There was a high plant community richness in the study area, and both topography and architectural factors had a significant effect on plant community. Therefore, construction of the plant landscape should conform to the topography and regulate the residential construction activities properly, so as to get rid of urban planning thinking and the excessive pursuit of plant diversity, realizing the sustainable development of ecological environment in settlements.

Establishing a method for characterizing spatiotemporal changes in the quality of the ecological environment in a timely and accurate manner is of great significance for the protection and sustainable development of the ecological environment in the Yellow River Basin (YRB). In this study, the Google Earth Engine (GEE) platform was used as a basis for constructing the remote-sensing-based ecological index (RSEI), and the RSEI was used to evaluate the quality of the ecological environment in the YRB. The results indicated that the mean of the RSEI values showed two stages of rapid improvement and slow improvement during 1990–2020. From 1990 to 2000, the average growth trend was 0.005/a with a growth rate of 21.15%, with the main contributions of bad to poor (101,800 km2), poor to medium (56,900 km2), and medium to good (70,800 km2) ecological environmental quality levels. From 2000 to 2020, the average growth trend was 0.002/a with a growth rate of 2.13%, with main contributions of poor to bad (65,100 km2) and good to medium (35,200 km2) ecological environmental quality levels. From 1990 to 2020, there was a 76.38% improvement in the ecological environmental quality of the entire YRB, in which significant improvement accounted for 26.14%. The reductions in the ecological environmental quality accounted for 23.62%, of which significant reductions accounted for just 1.46%. The improvement in the ecological environmental quality of the YRB showed a trend of increasing sustainability, which is expected to continue. The distribution of the ecological environmental quality in the YRB showed obvious regional aggregation, whereby cold spots were concentrated in the northern and central regions of the YRB, which are the sandy and hilly ravine areas of the Loess Plateau. However, the areas corresponding to hot spot clusters decreased with time, and their significance also decreased. Thus, our study demonstrates that the GEE platform can be used to determine the spatiotemporal changes in the ecological environmental quality of the YRB in a timely and accurate manner.

Presented on Wednesday 18 May: Session 17 NDI Carrara 1 is a deep stratigraphic well completed in 2020 as part of the MinEx CRC National Drilling Initiative (NDI), in collaboration with Geoscience Australia and the Northern Territory Geological Survey. It is the first stratigraphic test of the Carrara Sub-basin, a newly discovered depocentre in the South Nicholson Region. The well intersected Proterozoic sediments with numerous hydrocarbon shows, likely to be of particular interest due to affinities with the known Proterozoic plays of the Beetaloo Sub-basin and the Lawn Hill Platform, including two organic-rich black shales and a thick sequence of interbedded black shales and silty-sandstones. Alongside an extensive suite of wireline logs, continuous core was recovered from 283.9 m to total depth at 1750.8 m, providing high-quality data to support comprehensive analysis. Presently, this includes geochronology, geochemistry, geomechanics and petrophysics. Rock-Eval pyrolysis data demonstrate the potential for several thick black shales to be a source of hydrocarbons for conventional and unconventional plays. Integration of these data with geomechanical properties highlights potential brittle zones within the fine-grained intervals where hydraulic stimulation is likely to enhance permeability, identifying prospective Carrara Sub-basin shale gas intervals. Detailed wireline log analysis further supports a high potential for unconventional shale resources. Interpretation of the L210 and L212 seismic surveys suggests that the intersected sequences are laterally extensive and continuous throughout the Carrara Sub-basin, potentially forming a significant new hydrocarbon province and continuing the Proterozoic shale play fairway across the Northern Territory and northwest Queensland. To access the presentation click the link on the right. To read the full paper click here

In the last decade, the cell phone’s transformation from a tool for mobile telephony into a multi-modal, computational “smart” media device has engendered a new kind of emplacement, and the ubiquity of technological mediation into the everyday settings of urban life. With it, a new kind of media literacy has become necessary for participation in the networked social publics (Ito; Jenkins et al.). Increasingly, the way we experience our physical environments, make sense of immediate events, and form impressions is through the lens of the camera and through the ear of the microphone, framed by the mediating possibilities of smartphones. Adopting these practices as a kind of new media “grammar” (Burn 29)—a multi-modal language for public and interpersonal communication—offers new perspectives for thinking about the way in which mobile computing technologies allow us to explore our environments and produce new types of cultural knowledge. Living in the Social Multiverse Many of us are concerned about new cultural practices that communication technologies bring about. In her now classic TED talk “Connected but alone?” Sherry Turkle talks about the world of instant communication as having the illusion of control through which we micromanage our immersion in mobile media and split virtual-physical presence. According to Turkle, what we fear is, on the one hand, being caught unprepared in a spontaneous event and, on the other hand, missing out or not documenting or recording events—a phenomenon that Abha Dawesar calls living in the “digital now.” There is, at the same time, a growing number of ways in which mobile computing devices connect us to new dimensions of everyday life and everyday experience: geo-locative services and augmented reality, convergent media and instantaneous participation in the social web. These technological capabilities arguably shift the nature of presence and set the stage for mobile users to communicate the flow of their everyday life through digital storytelling and media production. According to a Digital Insights survey on social media trends (Bennett), more than 500 million tweets are sent per day and 5 Vines tweeted every second; 100 hours of video are uploaded to YouTube every minute; more than 20 billion photos have been shared on Instagram to date; and close to 7 million people actively produce and publish content using social blogging platforms. There are more than 1 billion smartphones in the US alone, and most social media platforms are primarily accessed using mobile devices. The question is: how do we understand the enormity of these statistics as a coherent new media phenomenon and as a predominant form of media production and cultural participation? More importantly, how do mobile technologies re-mediate the way we see, hear, and perceive our surrounding evironment as part of the cultural circuit of capturing, sharing, and communicating with and through media artefacts? Such questions have furnished communication theory even before McLuhan’s famous tagline “the medium is the message”. Much of the discourse around communication technology and the senses has been marked by distinctions between “orality” and “literacy” understood as forms of collective consciousness engendered by technological shifts. Leveraging Jonathan Sterne’s critique of this “audio-visual litany”, an exploration of convergent multi-modal technologies allows us to focus instead on practices and techniques of use, considered as both perceptual and cultural constructs that reflect and inform social life. Here in particular, a focus on sound—or aurality—can help provide a fresh new entry point into studying technology and culture. The phenomenon of everyday photography is already well conceptualised as a cultural expression and a practice connected with identity construction and interpersonal communication (Pink, Visual). Much more rarely do we study the act of capturing information using mobile media devices as a multi-sensory practice that entails perceptual techniques as well as aesthetic considerations, and as something that in turn informs our unmediated sensory experience. Daisuke and Ito argue that—in contrast to hobbyist high-quality photographers—users of camera phones redefine the materiality of urban surroundings as “picture-worthy” (or not) and elevate the “mundane into a photographic object.” Indeed, whereas traditionally recordings and photographs hold institutional legitimacy as reliable archival references, the proliferation of portable smart technologies has transformed user-generated content into the gold standard for authentically representing the everyday. Given that visual approaches to studying these phenomena are well underway, this project takes a sound studies perspective, focusing on mediated aural practices in order to explore the way people make sense of their everyday acoustic environments using mobile media. Curation, in this sense, is a metaphor for everyday media production, illuminated by the practice of listening with mobile technology. Everyday Listening with Technology: A Case Study The present conceptualisation of curation emerged out of a participant-driven qualitative case study focused on using mobile media to make sense of urban everyday life. The study comprised 10 participants using iPod Touches (a device equivalent to an iPhone, without the phone part) to produce daily “aural postcards” of their everyday soundscapes and sonic experiences, over the course of two to four weeks. This work was further informed by, and updates, sonic ethnography approaches nascent in the World Soundscape Project, and the field of soundscape studies more broadly. Participants were asked to fill out a questionnaire about their media and technology use, in order to establish their participation in new media culture and correlate that to the documentary styles used in their aural postcards. With regard to capturing sonic material, participants were given open-ended instructions as to content and location, and encouraged to use the full capabilities of the device—that is, to record audio, video, and images, and to use any applications on the device. Specifically, I drew their attention to a recording app (Recorder) and a decibel measurement app (dB), which combines a photo with a static readout of ambient sound levels. One way most participants described the experience of capturing sound in a collection of recordings for a period of time was as making a “digital scrapbook” or a “media diary.” Even though they had recorded individual (often unrelated) soundscapes, almost everyone felt that the final product came together as a stand-alone collection—a kind of gallery of personalised everyday experiences that participants, if anything, wished to further organise, annotate, and flesh out. Examples of aural postcard formats used by participants: decibel photographs of everyday environments and a comparison audio recording of rain on a car roof with and without wipers (in the middle). Working with 139 aural postcards comprising more than 250 audio files and 150 photos and videos, the first step in the analysis was to articulate approaches to media documentation in terms of format, modality, and duration as deliberate choices in conversation with dominant media forms that participants regularly consume and are familiar with. Ambient sonic recordings (audio-only) comprised a large chunk of the data, and within this category there were two approaches: the sonic highlight, a short vignette of a given soundscape with minimal or no introduction or voice-over; and the process recording, featuring the entire duration of an unfolding soundscape or event. Live commentaries, similar to the conventions set forth by radio documentaries, represented voice-over entries at the location of the sound event, sometimes stationary and often in motion as the event unfolded. Voice memos described verbal reflections, pre- or post- sound event, with no discernable ambience—that is, participants intended them to serve as reflective devices rather than as part of the event. Finally, a number of participants also used the sound level meter app, which allowed them to generate visual records of the sonic levels of a given environment or location in the form of sound level photographs. Recording as a Way of Listening In their community soundwalking practice, Förnstrom and Taylor refer to recording sound in everyday settings as taking world experience, mediating it through one’s body and one’s memories and translating it into approximate experience. The media artefacts generated by participants as part of this study constitute precisely such ‘approximations’ of everyday life accessed through aural experience and mediated by the technological capabilities of the iPod. Thinking of aural postcards along this technological axis, the act of documenting everyday soundscapes involves participants acting as media producers, ‘framing’ urban everyday life through a mobile documentary rubric. In the process of curating these documentaries, they have to make decisions about the significance and stylistic framing of each entry and the message they wish to communicate. In order to bring the scope of these curatorial decisions into dialogue with established media forms, in this work’s analysis I combine Bill Nichols’s classification of documentary modes in cinema with Karin Bijsterveld’s concept of soundscape ‘staging’ to characterise the various approaches participants took to the multi-modal curation of their everyday (sonic) experience. In her recent book on the staging of urban soundscapes in both creative and documentary/archival media, Bijsterveld describes the representation of sound as particular ‘dramatisations’ that construct different kinds of meanings about urban space and engender different kinds of listening positions. Nichols’s articulation of cinematic documentary modes helps detail ways in which the author’s intentionality is reflected in the styling, design, and presentation of filmic narratives. Michel Chion’s discussion of cinematic listening modes further contextualises the cultural construction of listening that is a central part of both design and experience of media artefacts. The conceptual lens is especially relevant to understanding mobile curation of mediated sonic experience as a kind of mobile digital storytelling. Working across all postcards, settings, and formats, the following four themes capture some of the dominant stylistic dimensions of mobile media documentation. The exploratory approach describes a methodology for representing everyday life as a flow, predominantly through ambient recordings of unfolding processes that participants referred to in the final discussion as a ‘turn it on and forget it’ approach to recording. As a stylistic method, the exploratory approach aligns most closely with Nichols’s poetic and observational documentary modes, combining a ‘window to the world’ aesthetic with minimal narration, striving to convey the ‘inner truth’ of phenomenal experience. In terms of listening modes reflected in this approach, exploratory aural postcards most strongly engage causal listening, to use Chion’s framework of cinematic listening modes. By and large, the exploratory approach describes incidental documentaries of routine events: soundscapes that are featured as a result of greater attentiveness and investment in the sonic aspects of everyday life. The entries created using this approach reflect a process of discovering (seeing and hearing) the ordinary as extra-ordinary; re-experiencing sometimes mundane and routine places and activities with a fresh perspective; and actively exploring hidden characteristics, nuances of meaning, and significance. For instance, in the following example, one participant explores a new neighborhood while on a work errand:The narrative approach to creating aural postcards stages sound as a springboard for recollecting memories and storytelling through reflecting on associations with other soundscapes, environments, and interactions. Rather than highlighting place, routine, or sound itself, this methodology constructs sound as a window into the identity and inner life of the recordist, mobilising most strongly a semantic listening mode through association and narrative around sound’s meaning in context (Chion 28). This approach combines a subjective narrative development with a participatory aesthetic that draws the listener into the unfolding story. This approach is also performative, in that it stages sound as a deeply subjective experience and approaches the narrative from a personally significant perspective. Most often this type of sound staging was curated using voice memo narratives about a particular sonic experience in conjunction with an ambient sonic highlight, or as a live commentary. Recollections typically emerged from incidental encounters, or in the midst of other observations about sound. In the following example a participant reminisces about the sound of wind, which, interestingly, she did not record: Today I have been listening to the wind. It’s really rainy and windy outside today and it was reminding me how much I like the sound of wind. And you know when I was growing up on the wide prairies, we sure had a lot of wind and sometimes I kind of miss the sound of it… (Participant 1) The aesthetic approach describes instances where the creation of aural postcards was motivated by a reduced listening position (Chion 29)—driven primarily by the qualities and features of the soundscape itself. This curatorial practice for staging mediated aural experience combines a largely subjective approach to documenting with an absence of traditional narrative development and an affective and evocative aesthetic. Where the exploratory documentary approach seeks to represent place, routine, environment, and context through sonic characteristics, the aesthetic approach features sound first and foremost, aiming to represent and comment on sound qualities and characteristics in a more ‘authentic’ manner. The media formats most often used in conjunction with this approach were the incidental ambient sonic highlight and the live commentary. In the following example we have the sound of coffee being made as an important domestic ritual where important auditory qualities are foregrounded: That’s the sound of a stovetop percolator which I’ve been using for many years and I pretty much know exactly how long it takes to make a pot of coffee by the sound that it makes. As soon as it starts gurgling I know I have about a minute before it burns. It’s like the coffee calls and I come. (Participant 6) The analytical approach characterises entries that stage mediated aural experience as a way of systematically and inductively investigating everyday phenomena. It is a conceptual and analytical experimental methodology employed to move towards confirming or disproving a ‘hypothesis’ or forming a theory about sonic relations developed in the course of the study. As such, this approach most strongly aligns with Chion’s semantic listening mode, with the addition of the interactive element of analytical inquiry. In this context, sound is treated as a variable to be measured, compared, researched, and theorised about in an explicit attempt to form conclusions about social relationships, personal significance, place, or function. This analytical methodology combines an explicit and critical focus to the process of documenting itself (whether it be measuring decibels or systematically attending to sonic qualities) with a distinctive analytical synthesis that presents as ‘formal discovery’ or even ‘truth.’ In using this approach, participants most often mobilised the format of short sonic highlights and follow-up voice memos. While these aural postcards typically contained sound level photographs (decibel measurement values), in some cases the inquiry and subsequent conclusions were made inductively through sustained observation of a series of soundscapes. The following example is by a participant who exclusively recorded and compared various domestic spaces in terms of sound levels, comparing and contrasting them using voice memos. This is a sound level photograph of his home computer system: So I decided to record sitting next to my computer today just because my computer is loud, so I wanted to see exactly how loud it really was. But I kept the door closed just to be sort of fair, see how quiet it could possibly get. I think it peaked at 75 decibels, and that’s like, I looked up a decibel scale, and apparently a lawn mower is like 90 decibels. (Participant 2) Mediated Curation as a New Media Cultural Practice? One aspect of adopting the metaphor of ‘curation’ towards everyday media production is that it shifts the critical discourse on aesthetic expression from the realm of specialised expertise to general practice (“Everyone’s a photographer”). The act of curation is filtered through the aesthetic and technological capabilities of the smartphone, a device that has become co-constitutive of our routine sensorial encounters with the world. Revisiting McLuhan-inspired discourses on communication technologies stages the iPhone not as a device that itself shifts consciousness but as an agent in a media ecology co-constructed by the forces of use and design—a “crystallization of cultural practices” (Sterne). As such, mobile technology is continuously re-crystalised as design ‘constraints’ meet both normative and transgressive user approaches to interacting with everyday life. The concept of ‘social curation’ already exists in commercial discourse for social web marketing (O’Connell; Allton). High-traffic, wide-integration web services such as Digg and Pinterest, as well as older portals such as Reddit, all work on the principles of arranging user-generated, web-aggregated, and re-purposed content around custom themes. From a business perspective, the notion of ‘social curation’ captures, unsurprisingly, only the surface level of consumer behaviour rather than the kinds of values and meaning that this process holds for people. In the more traditional sense, art curation involves aesthetic, pragmatic, epistemological, and communication choices about the subject of (re)presentation, including considerations such as manner of display, intended audience, and affective and phenomenal impact. In his 2012 book tracing the discourse and culture of curating, Paul O’Neill proposes that over the last few decades the role of the curator has shifted from one of arts administrator to important agent in the production of cultural experiences, an influential cultural figure in her own right, independent of artistic content (88). Such discursive shifts in the formulation of ‘curatorship’ can easily be transposed from a specialised to a generalised context of cultural production, in which everyone with the technological means to capture, share, and frame the material and sensory content of everyday life is a curator of sorts. Each of us is an agent with a unique aesthetic and epistemological perspective, regardless of the content we curate. The entire communicative exchange is necessarily located within a nexus of new media practices as an activity that simultaneously frames a cultural construction of sensory experience and serves as a cultural production of the self. To return to the question of listening and a sound studies perspective into mediated cultural practices, technology has not single-handedly changed the way we listen and attend to everyday experience, but it has certainly influenced the range and manner in which we make sense of the sensory ‘everyday’. Unlike acoustic listening, mobile digital technologies prompt us to frame sonic experience in a multi-modal and multi-medial fashion—through the microphone, through the camera, and through the interactive, analytical capabilities of the device itself. Each decision for sensory capture as a curatorial act is both epistemological and aesthetic; it implies value of personal significance and an intention to communicate meaning. The occurrences that are captured constitute impressions, highlights, significant moments, emotions, reflections, experiments, and creative efforts—very different knowledge artefacts from those produced through textual means. Framing phenomenal experience—in this case, listening—in this way is, I argue, a core characteristic of a more general type of new media literacy and sensibility: that of multi-modal documenting of sensory materialities, or the curation of everyday life. 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