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Despite numerous studies about the housing sector, the connection between the performance of residential real estate investment trusts (REITs) investment and direct investment in the housing market is still under-researched. To help fill this gap, we used quarterly data of the Australian Securities Exchange (ASX) residential REITs index and direct housing returns of Australia and its major cities, spanning March 1983 to June 2021, and adopted a suite of econometric methods to document the following findings. First, publicly listed housing (residential REITs) and private housing markets are not separated, but both are closely related in terms of their investment performance. Second, the performance of direct investment in the housing market of Adelaide, Brisbane, Melbourne and Sydney could lead to positive investment performances for residential REITs over time, while no comparable evidence is found for Canberra, Darwin, Hobart and Perth. Third, further analyses revealed a one-way direction of performance, flowing from the housing market of Brisbane, Melbourne and Sydney to residential REITs, while no similar evidence of performance flow was found for Adelaide. Our study has provided new evidence that could contribute to the discussion on the expansion of residential properties in the portfolio of institutional investors. [ABSTRACT FROM AUTHOR]

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L’agriculture biologique (AB) représentait 10,3 % de la surface agricole française en 2021. Ce mode de production est régi par un cahier des charges européen et des principes qui, combinés à une relation privilégiée aux consommateurs, conduisent à développer des systèmes de production se distinguant généralement de ceux de l’agriculture conventionnelle. L’Agence Bio, structure de coordination nationale en charge du développement, de la promotion et de la structuration de l’AB française, gère une base de données recensant tous les opérateurs français certifiés en AB et qui alimente l’observatoire national de l’agriculture biologique (ONAB). Grâce à cette base, nous avons pu affiner la connaissance des fermes françaises entièrement engagées en AB et ayant une activité d’élevage. Après une présentation globale permettant d’identifier des grands types de fermes en fonction de leur degré de spécialisation animale et du type de production végétale associée, nous analysons huit filières de production majeures : bovins et ovins lait et viande, caprins, poules pondeuses, poulets de chair et porcs. Pour chacune, nous précisons la localisation géographique des fermes tout en tenant compte de leur dimension et de leur gradient de diversification en élevage. Cette première analyse met en évidence la forte incidence de la présence locale de filières d’élevage conventionnelles historiques ayant développé un segment AB, avec a priori des répercussions sur la dimension des ateliers et sur le niveau et le type de diversification des élevages. Ces derniers éléments semblent ainsi être en interaction avec les modes de commercialisation, en particulier de type circuit court ou circuit long.

Intrigued by geneticists’ framing of new gene names as somehow devoid of meaning, I set out to explore how patients and families make sense of naming practices in the field of genomic medicine. The aim for ever-more precise disease categorisation has resulted in names for medical conditions that are more akin to car-licence plates, such as DPF2 and G246A. Conducting fieldwork in Denmark, I followed the introduction of personalised medicine—that is the aim to tailor prevention, diagnosis, and treatment to the individual based on genomic and other data—in the field of rare diseases and diabetes. Engaging with theories of naming, spatialisation and serialisation, I suggest that it is exactly because of their unsettled meaning and presupposed lack of history that new gene names provide patients extra room for creative identity work. I argue that some patients and families use the new genetic disease labels to escape unwanted moral regimes, relocating disease aetiology from a moralised landscape to a ‘molecularised’ genetic one. I discuss how practices of serialisation enable patients to feel recognised as unique persons. In conclusion, I suggest that while the new genetic names may not stigmatise, they do change the patients’ idea of who they are in surprising ways, some of which the geneticists had not anticipated.

The traditional PV potential calculation based on PV available land only considers a single land use type and lacks a comprehensive assessment of all land types, so the PV potential has not been fully exploited. Considering southern Hebei as the study area, this study quantified the utilisation rate of land that was available for photovoltaic (PV) power by GIS and established a PV potential assessment model that considered various land types. Simultaneously, the regional power consumption was spatialised, and the electricity generation and consumption were compared to categorise areas into four types. The results show that the rooftops in southern Hebei had the largest PV potential, with a theoretical power generation capacity of 64,032 GWh, followed by water bodies, roads, and unused land. These areas had a total power generation capacity of 131,306 GWh. Furthermore, power consumption is spatialised due to its uneven spatial distribution. The spatialisation results of power consumption showed that it was relatively concentrated in cities and their surrounding areas. Therefore, rooftops and roads in urban areas are suitable for priority development. When comparing power consumption and generation, it was found that most of the central urban areas and some economically developed counties belonged to the L–H (Low power generation and high power consumption) category and should be developed first.

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This paper explores spatial strategies created through a non-linear continuity of narratives, instead of chronological ones. It employs the creation of multiple narrative possibilities by spatialisation mechanism as a new way of reading an intertextual narrative. This research explores different themes of spatial narratives based on the book Penguin Hate Stuff by Greg Stones. The study utilises the mechanism of spatial manipulation using horizontal and vertical axis towards the episodic events portrayed in the book, questioning the original intertextuality of the book's text, and opening up multiple re-interpretations. The explorations of non-linear narratives demonstrate strategies of spatialisation based on the stitched landscape, the opposition of roles, and collective multiverse possibilities. This study expands the current practice of narratives and architecture by re-reading narrative episodic events in a non-linear way, creating open-ended possibilities.

In recent years, Qatar and Abu Dhabi have experienced a proliferation of museums symbolically embedded in a trilateral dialogue between the ruling families, the population, and international audiences and partners. This proliferation brings together the local and the global, the physical and the virtual, the tangible facets of politics, economics and security, and the immaterial and ideational ambitions of identity-building and country branding. By analysing the proliferation of museums in the two Emirates from an International Relations perspective and through the lens of critical geopolitics, we show that this phenomenon is an exercise in geocultural power, as ruling families use museums to make sense of the world, to define and defend their place within it, and to transform themselves. [ABSTRACT FROM AUTHOR]

The canonical definition of time does not include the particularities of linguistic time, which is closely linked to enunciation. In the case of the Spanish language, this definition is even less operative, since it does not take into account the enormous polysemy of the term tiempo or the interferences produced between the different meanings. Moreover, the secondary nature of the perception of this magnitude means that it often involves a cognitive process in which space is generally reinterpreted. In Spanish, however, the prototypical symbolic representation of chronic time only explains the image that underlies certain phraseological units. This article aims to examine the different ways in which the idealized cognitive model “time is space” is used to create the different phraseological units.

This study reads Gary Pak's A Ricepaper Airplane (1998) as a reflection of the Korean-American diasporic imagination in Hawai'i and their turbulent experience. Through Sun Wha's recollection of his eventful past as revolutionary, activist and labourer, both in Korea and Hawai'i, Pak dramatises the rootlessness which results from inability to be attached to a particular locality. The theme of exile features prominently in Pak's spatial imagination of both Hawai'i and Korea, illustrated through Wha's continuous fight for survival from the Japanese occupiers, Hawai'ian labour plantation owners, and his ultimately futile endeavour of returning home to Korea. This paper further problematises readers' active role in constructing a mental model of simulation though the textual cues of spatialisation and narrative voice in navigating Wha's narration. Narrative voices, especially the slippage between the Standard English of the omniscient narrator and the Hawaii Creole English (HCE) of Sun Wha's recollection problematises the issue of "who sees" and "who speaks" which highlights the polyvocality of Wha's narration. To conclude, the study posits that the spatialisation and blending of narrative voices in A Ricepaper Airplane catalyses the immersion of readers into a site-specific, creolised-world mediated by polyvocal narration which come together to represent diasporic imagination of Hawai'i and Korea. [ABSTRACT FROM AUTHOR]

In 1988, Steve Reich completed Different Trains, a piece that draws in part on his own autobiography to commemorate victims of the Holocaust. Reich described Different Trains as pointing towards 'a new kind of documentary music video theatre', while Richard Taruskin laud ed the piece as one of the very few adequate responses to the Holocaust. In the same year that Reich finished Different Trains, a Jewish intellectual, Yehuda Elkana, sounded an urgent cautionary note about the continued memorialisation of the Holocaust. Taking seriously Elkana's concerns, this article is concerned with the sonic aestheticisation and spatialisation of autobiography, memory, and archival testimony within the context of Reich's own claims about the piece. Following an introductory section, it first asks how--creatively and technically--Reich treats traumatic material before addressing the question of how Different Trains articulates its own poietic present in 1988. [ABSTRACT FROM AUTHOR]

The ties between Francis Dhomont and Annette Vande Gorne, both passionate acousmatists and pedagogues, have animated the development of a new body of works and left their mark on both the Quebec and the Belgian acousmatic landscapes, especially between 1980 and the end of the 1990s. This paper traces Dhomont's and Vande Gorne's complicit path through the most significant moments of this period. It reveals a deep attachment to sound space and its variations in spatialized concerts, as well as to innovative teaching approaches. The account of their respective remarkable careers is punctuated by important, reflexive contributions that define what distinguishes and characterizes acousmatic music. Finally, the paper recounts the events and collaborations that provided the young acousmatic musicians of the day with the opportunity to perfect their art and to circulate their music in Europe and North America. [ABSTRACT FROM AUTHOR]

When sequences of digits are visually presented within a numerical keypad on a screen, memory span increases, this effect was named visuospatial bootstrapping. The aim of the first experiment was to know if this effect could emerge without presenting a keypad on the screen. For this purpose, a three-phase experiment was designed. During phase 1, the immediate serial recall of two groups of participants was compared (pre-training): the first group saw sequences of one-digit numbers displayed on a screen within a keypad (the keypad group) whereas the second group heard the (same) sequences (the auditive group). During phase 2, all participants underwent a training session to help them visualise in their mind a keypad. Finally, in the third phase, participants were tested again with an immediate serial recall task (post-training). Results showed that both groups had comparable performance in post-training indicating that the visuospatial bootstrapping could be obtained without displaying a numerical keypad. The second experiment also involved a keypad group and an auditive group and was designed to investigate their spatial representation. Results showed that both groups spatialised the digits following the keypad spatial configuration: digits 1-4-7 were associated to left, 2-5-8 to middle and 3-6-9 to right. [ABSTRACT FROM AUTHOR]

Studies investigating serial order in working memory have shown that participants from Western cultures are faster at responding to items presented at the beginning of a sequence using their left hand and faster at responding to items at the end with their right hand. This is known as the spatial positional association of response codes (SPoARC) effect. The SPoARC effect provides evidence that recently presented information is spatially organised in the cognitive system along a horizontal axis. This study investigated the flexibility of spatialisation by testing the effect that distance between items presented on a screen has on the magnitude of the SPoARC effect. It was hypothesised that by increasing the distance between items on a screen a larger SPoARC effect would be found. We used three conditions: central, narrow, and wide. In central, four random letters were presented sequentially at the centre of the screen, in narrow the letters were presented from left to right on the screen, wide was the same as narrow but the separation between the letters was larger. Participants consisted of 64 adults aged 18-55 years old. Participants were presented with four random letters, followed by single probe letter, participants had to indicate, by pressing a key on a normal keyboard, if the probe had been in the sequence. We analysed the data with multilevel modelling. We found evidence for the SPoARC effect in all three conditions. But no evidence that the effect varied between conditions.

There are few animal germplasm/gene bank collections in Brazil, and basic studies are needed to attend the future internal and external demands from international partners. The aim of this work was to validate a “proof of concept” that integrates spatial (georeferenced data) and genetic data regarding the local of origin from 3518 DNA samples from 17 different genetic groups or breeds of sheep in the Brazilian Germplasm bank. Spatialisation shows that not all genetic groups have samples in the bank, and collection is concentrated in the conservation nuclei spread nationwide. Only 21% of states with a specific breed have samples in the gene bank. The mean number of animals sampled per collection was 32, while the mean distance travelled to collect samples was 262 km from the conservation nuclei. For example, the Brazilian Somali were only collected in the conservation nucleus in Ceará State. No samples were collected to date for the Cariri breed, which is recognised by the Brazilian Ministry of Agriculture. Only two farms and one breed in the bank are from the northern region. Of the 27 states, there are samples in the gene bank of sheep from 13, so several states have no samples, requiring collection from herds outside the official system of conservation to make sure that studies using this germplasm realised are not biased. Significant genetic differences are seen above 332 km, which should guide future sampling efforts. Suggestions are given for improving the quantity, quality and diversity of samples in the gene bank. [ABSTRACT FROM AUTHOR]

Dans le cadre des travaux menés depuis 2006 sur la spatialisation des données météorologiques et suite aux événements de grêle de 2009, l'Institut français de la vigne et du vin a développé un système de suivi en temps réel de l'état sanitaire du vignoble.

This article analyses the recent plan for the audiovisual industries introduced (after some delay) by the Irish Department of Culture, Heritage and the Gaeltacht. The Audiovisual Action Plan ("the Plan") sets out the Department's approach to the audiovisual industries and is, it is contended, evidence of a marketization of culture consistent with a creative industries perspective. The analysis of the Plan in a wider policy context identifies key issues shaping audiovisual production in Ireland. Using a thematic analysis approach from Braun and Clark (2005, 2019) a number of themes are developed from analysis of the relevant policy documents, broadly conceived around the increasing instrumentalism of culture. Taking a political economy perspective allows for development of themes around the commodification of the nation-state through the provision of policies that actively encourage a certain type of audiovisual production. Building on Mosco's work on political economy (Mosco, 2009) the concept of spatialization from Lefebvre (Lefebvre, 1991) is used to interrogate the production of and commodification of space through Specifically, this article interrogates the policy norms underpinning the Audiovisual Action Plan introduced by the Department of Culture, Heritage and the Gaeltacht in Ireland in 2018 as part of Culture 2025, the national cultural policy framework. It identifies the key proposals which affect the audiovisual industries. It is concluded that the Plan (and other relevant policy documents) support a spatialized, commodified view of the audiovisual industries as primarily industrial in nature, paying scant attention to the consideration of such industries as cultural forces. [ABSTRACT FROM AUTHOR]

Given an input sound signal and a target virtual sound source, sound spatialisation algorithms manipulate the signal so that a listener perceives it as though it were emitted from the target source. There exist several established spatialisation approaches that deliver satisfactory results when loudspeakers are used to playback the manipulated signal. As headphones have a number of desirable characteristics over loudspeakers, such as portability, isolation from the surrounding environment, cost and ease of use, it is interesting to explore how a sense of acoustic space can be conveyed through them. This article first surveys traditional spatialisation approaches intended for loudspeakers, and then reviews them with regard to their adaptability to headphones. [ABSTRACT FROM AUTHOR]

Dans le cadre des travaux menés depuis 2006 sur la spatialisation des données météorologiques et suite aux événements de grêle de 2009, l’Institut français de la vigne et du vin a développé un système de suivi en temps réel de l’état sanitaire du vignoble.

Dans la poésie visuelle espagnole des années 1960-70, l’hybridité ne provient pas, d’abord, d’éléments extérieurs au texte mais de l’exploration du texte et de ses potentialités cachées. Son travail sur la page, le jeu sur les lettres, font apparaître de nouveaux modes de signifier qui interrogent les origines du langage et le sujet poétique, entre conscient et inconscient. A la fois lisible et illisible, le poème visuel met en scène une poétique du balancement : le doute, le vacillement, sont au cœur de la création poétique. La voix poétique se morcelle et semble se dissoudre, à moins qu’elle ne réapparaisse à travers une « esthétique du conflit » : l’hybridité est alors l’expression privilégiée d’un positionnement politique du poète dans un contexte (notamment linguistique) de crise.

The space and the systematic control of sound’s movements and spatial trajectories in music, seems to be one of the most distinctive aspects of the acousmatic production mode, both for the production grammars and for the listener’s experience. Those who have a relationship with this musical practice as composers assign to this production grammars a major –if not essential– role in the syntactic clarity of acousmatic music, but it seems questionable whether this approach is shared by those who act as listeners of this kind of music. With this question in mind, I designed an experiment in order to contrast the composer’s statements with the perception of listeners. From the results of this experiment, though provisional, one might infer that in the listener’s experience those spatial production grammars have a mainly psychological, and just secondarily syntactic, role. In addition, the presence of those grammars in the acousmatic work seems to be an essential part of the emotional content of the acousmatic listening experience.

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The concept of metacartography was introduced by William Bunge in his book “Theoretical Geography” (1962). For him it was an activity of setting the “boundaries” of cartography by exploring traverses from the map to the premap (i.e. “…other devices, such as photographs, pictures, graphs, language …”), and of most interest to him and fellow researchers at the time, from the map to mathematics. These traverses were performed, for example, along lines of scale, generalisation distortion, abstraction and “psychological accuracy” (premaps), alternatively topology, dimensionality, and distance (mathematics). The traverse activity quite simply started with an example that was definitely map-like, then progressively presenting other examples that had less and less of the map in them, noting when the change to premap or mathematical example occurred (e.g. for the scale traverse: Map of a city; Map of a campus in the city; Representation of a university building on the campus (premap); Representation of a nail in the building (premap)). This metacartography activity and its results were then to provide context for Bunge’s manifesto for a mathematically-led geography, a foundation of the “quantitative revolution” in the discipline that has led to the Cartographic and GI Science of today. [ABSTRACT FROM AUTHOR]

As in all literature, children's literature has a marked geographic dimension found notably in the many maps it offers. Topographic or illustrated maps give not just geographic contents but also historic contents both in the textual elements (dates etc) and in the illustrations (portraits of historic characters amongst other). This spatialisation of history adds to the writing of history through children's literature. This leads us to question the status quo and changes in the cartographic slide in relation to the fictional text.

Les corridors fluviaux constituent des trames naturelles aux multiples fonctions écologiques, mais ces espaces sensibles sont bien souvent menacés par les activités humaines. Identifier les trames fonctionnelles à préserver ou à restaurer est donc un enjeu essentiel pour mettre en place des stratégies de gestion pertinentes qui améliorent la connectivité écologique de ces milieux. Comment la construction d’indicateurs spatialisés peut-il aider à répondre à cet enjeu ? L’analyse de la recolonisation de la loutre sur le bassin versant de la Loire est un exemple des recherches et des analyses menées.

This article examines the place occupied by maps in children's picturebooks. After a brief overview of the different roles that are assigned to maps in children's books, the article considers five French picturebooks-Warja Lavater's Le petit chaperon rouge (1965), Olivier Douzou and Isabelle Simon's L'autobus numéro 33 (1996), Véronique Vernette's Cocorico poulet Piga (1999), Rebecca Dautremer and Arthur Leboeuf's Le loup de la 135 (2008) and Kochka and Fabienne Cinquin's Dans ma ville, il y a... (2011)-in order to focus on how the narrative, whether enclosed, superimposed or linked to the text in some other way, is evoked by the geographic shape of the maps. It is argued that the particular use and function of a map depends on its shape or placement in a book, distinguishing between the incorporation of maps only as a significant picture (its use) from the subject within the whole narrative (its function). Thus the article articulates what uses a map can have within a narrative. It also explores the mechanics of the iconotext, showing that a cartographic picture fulfils a precise, rather than a general, function of spatialisation. Hence three main functions of spatialisation in maps and mapping are distinguished, whereby an author could use maps to help a character discover, conquer, or organise a space. [ABSTRACT FROM AUTHOR]

How does sound in cinema evoke space? When we say sound is evoking space, what exactly is the space being referred to and where is it located? How does sound space work with the space suggested by the images? This essay proposes to explore these questions by paying close auditory attention to one of the most technically innovative films of the recent decade, Gravity (Cuarón 2013). By contextualising the film's sonic achievements in a series of kaleidoscopically historical and theoretical discussions I hope to show that the ways in which cinema immerses its audience with sound is no straightforward matter; instead it involves an intricate intertwining of sound technologies, industrial conventions, perceptual habituation and the idiosyncratic way of audiovisual presentation that cinema offers. [ABSTRACT FROM AUTHOR]