1.Landscape level planning is essential if agri-environment schemes (AESs) are to reduce the fragmentation and vulnerability of many mammal populations. But if AESs are to work at the landscape level, then some form of planning and/or targeting of participating farmers may be required.
2.We developed an integrated, landscape-scale project in the Chichester Plains, where we demonstrated that farmer participation in conservation work could be enhanced by offering greater temporal flexibility and bespoke design of projects in synergy with business needs. 3. We adapted an existing model of farmer behaviour, based on farmers' responses to attitudinal questions, and applied this to farmers in two regions of England, the Chichester Plains and the Upper Thames. The model predicted farmer uptake of AESs with 79% accuracy. 4. We postulate that the effectiveness of AESs at the landscape level could be enhanced by using ecological models to identify suitable tracts of habitat, and then by using simple behavioural models to identify the farmers in appropriate areas who are most likely to adopt the conservation schemes. Finally, in order to maximize the likelihood of farmers joining the scheme, we would recommend working with farmers on a one-to-one basis in order to tailor the details of the AES to their particular ecological and business situations.
This article examines the relationship between the practices of do-it-yourself (DIY) micro-independent record labels in the UK and wider mediated discourses surrounding the music industry. It is suggested that a heightened version of the art versus commerce dichotomy central to rock ideology provides the basis for a number of legitimizing theories through which the aesthetic and industrial conventions of these practitioners are justified and given importance. First, the article suggests that these legitimizing theories serve to narrow the scope of, and draw distinct boundaries around, small-scale cultural production. Second, through a self-conscious critique of globalized corporate media they serve as an engagement with the politics of cultural production and, ultimately, media power. Finally, using two prominent case studies relating to new technology (Arctic Monkeys and Clap Your Hands Say Yeah) the article examines the ways in which discourses relating to DIY cultural production impact upon mainstream music industry practice and discourse.
Résumé En inscrivant la perception humaine dans une perspective théorique développée à partir d’une approche écologique, cet article examine les relations qui existent entre les technologies numériques et la créativité musicale. Il retrace l’histoire des stations Audionumériques équipées d’un ordinateur ( DAW ) et fait l’hypothèse que leur émergence a exercé une influence profonde sur le traitement des informations musicales et les stratégies de création adoptées par les producteurs et les musiciens contemporains. Appliquant le concept d’« affordance » à la créativité musicale, l’article postule que le VST ( Virtual Studio Technology ) doit être envisagé dans un contexte marqué par l’informatique, son design, son ergonomie et ses applications.
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