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Measuring subsistence change, especially when it involves questions of resource intensification, requires special attention to issues of data quality and relevance. This is particularly so when, as in Remote Oceania, the archaeological record is of relatively short duration and the nature of subsistence change was mostly quantitative, not qualitative. Agricultural development, particularly focused on the practice of dry land fixed field cultivation, is reviewed and a method developed for chronologically ordering the development of walls and trails constructed as the main structural features in three areas of the Kohala Dry Land Field System of Hawai'i Island. At least two different pathways to agricultural development are discernable, one of which documents intensification of effort over time and the other one shows the expansion of a relatively intensive system of dry land farming but little evidence of intensification. Differences in environment, geography, and the role of chiefs in underwriting agricultural development are likely factors that produce this pattern of dry land agriculture in Hawai'i.

Mowlavi’s sonnets have been repeatedly and from different points of views analyzed by several famed literary characters. Considering the structure and features of sonnet, as a poetic form, and its evolution course, it seems that Mowlavi is offering a new version of narrative sonnet – the issue had been paying attention by Attar and Sanaie before him. ‘What measures and techniques had Mowlavi used to enrich his sonnets as the base of storytelling?’ and, ‘what kind of literary genres and features are there in his sonnets?’ are the main questions to be answered in present essay.

Leaf Area Index (LAI) is an important variable that governs canopy processes and can be monitored by satellites. The current study aims at exploring the potential and limitations of using the red-edge spectral bands of the forthcoming superspectral satellites, namely-Vegetation and Environmental New micro Spacecraft (VENμS) and Sentinel-2, for assessing LAI in field crops. The research was conducted in experimental plots of wheat and potato in the northwestern Negev, Israel. Continuous spectral data were collected by a field spectrometer and LAI data were obtained by a ceptometer. The spectral data were resampled to the superspectral VENμS and Sentinel-2 resolutions. The data were divided into seven datasets (four seasons, two crops, and one including all data). The LAI prediction abilities by Partial Least Squares (PLS) models for continuous spectra and the resampled spectra were compared and evaluated. For wheat and potato of the continuous, VENμS, and Sentinel-2 data formations, the PLS correlation coefficients (r) values were 0.93, 0.93, and 0.92, respectively. In most cases, the red-edge region was found to be the most important spectral region for the three data formations, according to the Variable Importance in Projection (VIP) analysis. Additionally, Normalized Difference Vegetation Index (NDVI) and the Red-Edge Inflection Point (REIP) were computed for the three data formations in order to observe relation to as well as prediction accuracy in retrieving LAI values. The prediction abilities of the calculated indices by the data formations were compared, peaking for wheat, with r values of 0.91 for the REIP for the three data formations. Therefore, it is concluded that VENμS and Sentinel-2 can spectrally assess LAI as good as a hyperspectral sensor. The REIP was found to be a significantly better predictor than NDVI for wheat data and therefore can potentially be implemented for future LAI monitoring applications by superspectral sensors that contain four red-edge bands.

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.

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.

In agricultural landscapes, patches of natural or semi-natural habitat are crucial for the survival of plant and animal populations, which in turn are essential to maintain ecosystem functioning. Species composition and diversity of trees and birds among woody habitat islands were compared in a Colombian rangeland to assess how habitat characteristics influence bird community composition, bird species traits and their potential ecosystem services. Bird and tree diversity was higher in gallery forest fragments compared to hedgerows and isolated tree islands within rangelands. Forest fragments shared over 50% of their bird and tree species with tree islands and hedgerows, yet communities differed markedly. Tree islands and hedgerows had relatively more endozoochorous and small-seeded tree species and hosted birds of forest, savanna and shrubland, while forest fragments had more synzoochorous and large-seeded tree species and primarily hosted forest birds. Hedges and tree islands contribute to the conservation of forest bird and tree biodiversity in rangeland, but gallery forests are essential for the conservation of less tolerant forest species. The savanna rangeland acts as an ecological filter between the gallery forests and the hedges and tree islands, which in turn facilitate the spillover of tolerant forest birds and their ecological functions, including tree seed dispersal, into the rangeland, and thus support regional forest conservation and restoration.

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.

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.