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This paper forms part of work on options to address digital sequence information under the United Nations Convention on Biological Diversity and related instruments and processes. The paper addresses the sharing of digital sequence information in the context of the need to generate monetary benefits for investments in biodiversity and a need to invest in the sustainability of the biodiversity and life science infrastructure. The paper argues that these twin demands could be met by combining the use of open licences for genetic sequence data with revenue generation models to be implemented as part of a Distributed Global Biodiversity Fund linked to the post-2020 Global Biodiversity Framework., Funded by the European Commission under contract ENV.F.3/SER/2020/4160517

Providing access to patent datasets for the article Synthetic Biology: Mapping the Patent Landscape. https://doi.org/10.1101/483826

This project provides access to scientific literature and patent data on the Arctic created under the Biospolar Project, Research Council of Norway (RCN project number 257631/E10)

This article examines biodiversity research and innovation in Antarctica and the Southern Ocean based on a review of 150,401 scientific articles and 29,690 patent families for Antarctic species. The paper exploits the growing availability of open access databases, such as the Lens and Microsoft Academic Graph, along with taxonomic data from the Global Biodiversity Information Facility (GBIF) to explore the scientific and patent literature for the Antarctic at scale. The paper identifies the main contours of scientific research in Antarctica before exploring commercially oriented biodiversity research and development in the scientific literature and patent publications. The paper argues that biodiversity is not a free good and must be paid for. Ways forward in debates on commercial research and development in Antarctica can be found through increasing attention to the valuation of ecosystem services, new approaches to natural capital accounting and payment for ecosystem services that would bring the Antarctic, and the Antarctic Treaty System, into the wider fold of work on the economics of biodiversity. Economics based approaches can be criticised for reducing biodiversity to monetary exchange values at the expense of recognition of the wider values of biodiversity and its services. However, approaches grounded in the economics of biodiversity provide a transparent framework for approaching commercial activity in the Antarctic and introducing requirements for investments in the conservation of Antarctic biodiversity by those who seek to profit from it.

Study for the European Commission on technical aspects of digital sequence information. The report adopts a Sustainable Social Ecological Systems approach to the analysis of DSI and argues that biodiversity is not free but has to be paid for. On that basis any option on DSI should generate revenue for biodiversity. The report analyses the relationship between samples and sequence data using the US NCBI Biosamples database before turning to consideration of open licences for DSI, blockchain and the possibility of infrastructure based fees from cloud computing to generate income for biodiversity. The paper concludes by arguing for a framework approach to DSI that generates revenue for investment into biodiversity from multiple income generating options., The research was funded by the European Commission DG Environment under contract number 070202/2019/814726/PO/ENV.F.3. The content of this study does not reflect the official opinion of the European Union. Responsibility for the information and views expressed in the study lies entirely with the author.

El presente libro nos ofrece la oportunidad de conocer el avance de las ideas sobre los interrogantes más destacados de la investigación socio-antropológica y lingüística que se realiza actualmente en Venezuela y en sus espacios limítrofes, en Brasil y Colombia. El lector encontrará también ejemplos de sociedades africanas -de Benín y de Costa de Marfil- que dan materia de reflexión y de comparación. Esta obra es la expresión de la riqueza de las problemáticas cuando, ajustándose al seno del conocimiento, la antropología integra los diferentes puntos de vista al tomarse el tiempo de cruzar el camino de las disciplinas afines. A partir de programas de investigación-participación o experiencias más concentradas en la investigación fundamental sin olvidar, por lo tanto, los intereses indígenas, las diversas contribuciones dan cuenta de las principales preocupaciones contemporáneas de las ciencias sociales. Se observa particularmente una doble orientación en los estudios. Una intenta superar los modelos explicativos monofactoriales y formular análisis que consideran diversos acercamientos, la otra trata de establecer vínculos entre la teoría y la práctica social. Ambos objetivos ilustran un mismo esfuerzo para establecer relaciones entre diferentes campos del conocimiento e integrar sus aportes específicos.

El tema central de este papel se basará en los Wothïha (Piaroa), pueblo amazónico formado por 11.539 individuos que viven en 178 comunidades diseminadas en un territorio de 40.000 km2 ubicado en los estados Amazonas y Bolívar, en la parte sur de Venezuela (Mansutti-Rodríguez 1987, Ocei 1995). De los trabajos realizados a finales de los años 60 y mediados de los 70 por antropólogos como Overing, Boglar y Monod, se concluye que el pueblo woth'íha es mejor conocido dentro de la literatura antrop...

This chapter is a historiographic examination of one of Australian rock’s most important, yet oft-overlooked recordings. In addition to the original 1973 release of the Coloured Balls’ Ball Power album, space is given to crucial bonus material included on the 2006 digitally remastered reissue by Aztec Records. This consists primarily of early non-album single releases, and the seminal Sunbury1 1973 live recording of Coloured Balls’ perennial centrepiece, ‘G.O.D.’ What follows is informed by dozens of conversations between the author and Coloured Balls members Ian ‘Bobsie’2 Millar and the late Trevor Young that have occurred since 2008. This chapter could not have been written without them. The examination begins with a brief overview of the career of band leader and chief songwriter Lobby Loyde,3 with a specific eye on the through line of musical themes, innovations and styles that fed directly into the formation of the Coloured Balls. It then explores the origins of the band and some relevant key events leading to the recording of Ball Power, before offering a detailed exploration of the album’s songs. It wraps up by discussing both the band’s disintegration and the album’s legacy.

The key characteristics that eventually came to be considered to be Australian ‘heavy metal’ emerged between 1965 and 1973. These include distortion, power, intensity, extremity, loudness and aggression. This exploration of the origins of heavy metal in Australia focusses on the key acts which provided its domestic musical foundations, and investigates how the music was informed by its early, alcohol-fuelled early audiences, sites of performance, media and record shops. Melbourne-based rock guitar hero Lobby Loyde’s classical music influence and technological innovations were important catalysts in the ‘heaviness’ that would typify Australian proto-metal in the 1960s. By the early 1970s, loud and heavy rock was firmly established as a driving force of the emerging pub rock scene. Extreme volume heavy rock was taken to the masses was Billy Thorpe & The Aztecs in the early 1970s whose triumphant headline performance at the 1972 Sunbury Pop Festival then established them as the most popular band in the nation. These underpinnings were consolidated by three bands: Sydney’s primal heavy prog-rockers Buffalo (Australia’s counterpart to Britain’s Black Sabbath), Loyde’s defiant Coloured Balls and the highly influential AC/DC, who successfully crystallised heavy Australian rock in a global context. This chapter explores how the archaeological foundations for Australian metal are the product of domestic conditions and sensibilities enmeshed in overlapping global trends. In doing so, it also considers how Australian metal is entrenched in localised musical contexts which are subject to the circulation of international flows of music and ideas.

Thesis (PhD(Communication))--University of South Australia, 2016. Includes bibliographical references (pages 284-310) This phenomenological study is an examination of a uniquely Australian ‘deviant’ working-class youth culture, the Sharpies, which existed from the early 1960s until the 1980s. The rowdy suburban Sharpie culture was subject to demonising external discourse during its existence. Since its demise, this demonisation has continued, leading to it having largely disappeared from the public consciousness and to being overlooked by academia and popular culture historians. That erasure is what this thesis seeks to redress.

This chapter investigates the infiltration, reception, and impact of glam rock in Australia, assessing the ways glam music, practices, and (particularly gendered) performance were adapted and transformed to suit its specific national palate. It first outlines the reception of glam by Australian audiences, using extensive canvassing of its reportage in popular national pop-music paper Go-Set.3 Following this is an exploration of how glam aesthetics and music were picked up and interpreted by Australian acts such as Skyhooks, Sherbet, and Hush in the phenomenon’s second age from 1974 through to 1976, and how in Australia glam traits persisted after it was perceived to have “died off” in the UK, through its spectacular celebration on national color-television pop-music program Countdown and the theatrical Rocky Horror Show. A short case study examines some of the ways the glam phenomenon manifested and, to an important extent, was transformed in the consumption practices of the tough working-class youth culture known as the Sharpies. In addressing all of these matters, the chapter offers one example of the diverse ways that glam was expressed and received in specific international cultural contexts as it was transferred from the UK (and, to a lesser degree the US).