Plot

Over a period of 5 years, the agro-ecosystem model Opus was used to simulate soil water and nitrogen balance as well as crop growth for three experimental field plots. At these plots, different agricultural management practices were applied. The data set obtained from these plots consists of automatically recorded time series of daily volumetric soil water contents measured by TRIME-probes as well as daily pressure heads measured by tensiometer. Aboveground total biomass, yield, nitrogen-uptake by crops as well as nitrate contents in the soil were measured at 6-10 sample times per year. The objective of this study was an evaluation of the accuracy of Opus regarding the simulation of crop growth, soil water and nitrogen balance. The simulations of soil water contents and pressure heads correspond with the commonly measured trends in soil depths shallower than 60 cm. In depths deeper than 60 cm, some differences between measured and simulated soil water contents as well as pressure heads could be observed. Nitrate contents in the root zone and the aboveground total biomass were simulated satisfactorily. In contrast to that, simulated and observed yields show greater discrepancies. This indicates the need of a site specific calibration of crop growth parameters within the Opus model.

We measure the extent and location of forest parcelization activity in a heavily forested Minnesota county between 1999 and 2006 and examine both the immediate and extended relationship between parcelization and development activity. We document forest land parcelization and development activity over time utilizing readily available real estate parcel data. Despite widespread perceptions of rapidly increasing rates of parcelization, we observed no significant positive or negative trend in parcelization activity in Itasca County during the study period: an average of only 0.4% of private forest land was parcelized each year. Parcelization was more common near cities, water, and public lands. While the overall rate of parcelization observed in this study may seem meager, closer examination of specific parcels suggest that parcelization is intimately tied to development activity and that this development occurs not long after parcelization.

This software note describes an extension to the conservation planning package Marxan in which multiple solutions can be evaluated instead of only relying on the measures of best solution and irreplaceability. For this extension we coupled Marxan with the statistical software R. The pool of possible conservation plans is transferred from Marxan into R Á which returns an ordination plot, as well as a cluster dendrogram that can be used to evaluate similarity of solutions. Also, the most efficient solutions per group are flagged. We believe that identification of alternative planning options facilitates review and implementation of Marxan solutions as negotiating parties have multiple alternative starting points.

The article analyzes such a phenomenon of screen culture as
interactivity; it considers the historical prerequisites for the emergence of interactive works of art, their evolvement in literature, contemporary art (performance, action, happening), cinema, TV series and computer games. The author pays special attention to the formation of a serial narrative conditioned by the continuous interaction between the showrunners and the audience, thanks to which the viewer, sometimes without knowing it, turns into a coauthor.
Among the difficulties of developing the logics of a serial narrative
is parallel work of scriptwriters with the small and the large narrative (double formal structure). Indeed, as the viewers unravel the plot of yet another episode (the investigation of a specific crime in a detective series or the treatment of a certain patient in a medical one), they never stop complementing the cumulative narrative (which happens to the characters over several seasons). In this regard, interactive narrative forms suggest not only to significantly enhance cooperation and co-creation between product creators and recipients, but also to change the relationship between the large and small narratives within a serial. Interactive screen forms cancel (or at least veil) the dictates of the author, who offers the public one single version of the scenario. As the recipients select actions, plot twists or supporting content, they get a cinematic experience that cannot match another’s cinematic experience. Basically, everyone is watching their own movie, which cannot be copied. The author considers the formation of an interactive culture on the basis of both the latest experiments based on Internet services and streaming platforms (Imagine, Mosaic, Black Mirror), and earlier experiments
with interactive cinema (Kinoautomat: One man and his house, Videodrome, D–dag). However, in addition to the aesthetic and artistic features that interactivity carries, it is associated with an important ethical problem: the viewers are able to take responsibility for making decisions only within the interactive field, but not outside of it. Their involvement in the creation is a priori limited by the form of the game, in which any action is annullable, and possible negative consequences
(financial, legal, etc.) are borne exclusively by the content creators. This
fundamental rule of the interactivity format eliminates the possibility of genuine co-authorship, making this dialogue an imitation.

В статье проводится анализ такого феномена экранной культуры, как интерактивность; рассматриваются исторические предпосылки возникновения интерактивных произведений искусства, их становление в пространстве литературы, современного искусства (перформанс, акция, хеппенинг), кинематографа, сериала и компьютерной игры. Отдельное внимание автор уделяет формированию сериального нарратива, обусловленного непрерывным взаимодействием шоураннеров и публики, благодаря которому зритель, подчас сам того не ведая, превращается в соавтора. Одной из сложностей логичного развития сериального нарратива является работа сценаристов с малым и большим нарративами одновременно (double formal structure). Ведь по мере того, как зритель считывает сюжет каждого отдельного эпизода (расследование конкретного преступления в детективном сериале или лечение определенного пациента — в медицинском), он не перестает складывать в своем сознании некий своеобразный совокупный нарратив (что происходит с героями на протяжении нескольких сезонов).
В этой связи интерактивные повествовательные формы предлагают не только значительно усилить эффект кооперации, сотворчества между создателями продукта и реципиентами, но и изменить отношения большого и малого нарративов внутри сериального произведения. Интерактивные экранные
формы отменяют (или, по крайней мере, вуалируют) диктат автора, предлагающего публике одну единственную версию развития событий. По мере того, как реципиент выбирает действия, сюжетные повороты или вспомогательный контент, он получает киновпечатление, которое не может совпасть
с киновпечатлением другого. По сути, каждый смотрит собственное кино, не подлежащее копированию. Формирование интерактивной культуры рассматривается автором на материале как последних экспериментов на базе интернет-сервисов и стриминговых платформах (Imagine, «Мозаика», «Черное
зеркало»), так и более ранних опытов с интерактивным кино («Киноавтомат: человек и его дом», «Видеодром», «День-Д»). Впрочем, помимо эстетических и художественных особенностей, которые несет на себе интерактивность, она связана с важной этической проблемой: зритель способен брать на себя ответственность за принятие решений лишь в интерактивном поле,
но не за его пределами. Его соучастие в создании произведения априори ограничено формой игры, в которой любое действие отменимо, а возможные негативные последствия (финансовые, юридические и др.) несут исключительно создатели контента. Это основополагающее правило интерактивного формата отменяет возможность подлинного соавторства, превращая диалог в имитацию.

Este artículo saca a la luz el inédito primer proyecto de PLOT, una propuesta
no realizada para una plataforma web de diseño colaborativo en línea titulada
Information Technology and Architecture. Su estudio revela los principios teóricos
que los fundadores de esta oficina, Bjarke Ingels y Julien de Smedt, establecieron
en 2001 para una arquitectura pensada para la era de la World Wide Web, desde
el entendimiento del proyecto arquitectónico como un dispositivo relacional
hasta su condición global. Vistos en perspectiva, dichos principios parecen haber
enmarcado las intenciones y lógicas subyacentes a muchas de las obras realizadas
por ambos arquitectos después de la disolución de PLOT en el año 2006. En
particular, los planteamientos de la embrionaria plataforma web se manifiestan con
nitidez en Superkilen, un proyecto de regeneración urbana construido por BIG en
2013 y que resultó de la congregación en Copenhague de un centenar de objetos
de mobiliario urbano procedentes de todo el planeta.


This paper sheds light on PLOT’s first project: Information Technology and
Architecture, an unpublished proposal for a web-based design platform. The
study of the project brings to the fore the theoretical principles that the founders
of PLOT, Bjarke Ingels and Julien de Smedt, associated with an architecture
conceived for the age of the World Wide Web, including the definition of
design as a relational device or the acknowledgement of its global condition. In
hindsight, much of the work produced by both architects after the dissolution
of PLOT in 2006 seems to respond to such principles. In particular, the logics
of Information Technology and Architecture resonate with Superkilen, the public
park built in 2013 by BIG as a compilation in Copenhagen of a hundred objects
from all around the world.

Despite the fact that the 12 th century Azerbaijani poet Nizami Ganjavi did not portray fairytales of “Kalileh and Demneh”, pearls of the ancient Oriental literature known all over the world in detailed form in his works, he has skillfully utilized their idea and demonstrated the most beautiful
example to use the power of poetic speech to educate the spiritual-ethic values in each mankind. It is known that the familiarity of great Nizami Ganjavi with the ancient Indian monument was proved in separate moments, his direct address to “Kalileh and Demneh” is realized namely in the novel "Khosrow and Shirin". The article touched upon the issue of influence of themes related to “Kalileh  and Demneh” to Nizami Ganjavi’s works and at the same time, the originality of approach of the genius master to the sage treasury containing narrations and stories created by the Indian people having highest educative and ethical importance in his famous love saga. In some fragments, the differences between the philological translation and the scientific-critical text of the poem in the
part relating to the tales of “Kalileh and Demneh” have been demonstrated. During the research, the author has used the comparative method and hermeneutics; he has also touched upon the scientifically-critical texts and philological translations of the poem “Khosrow and Shirin”, the texts of “Kalileh and Demneh”, translated into Persian and Azerbaijani languages, as well as the scientific theoretical literature related to the textual criticism and the Oriental poetics.