The Scratchpad Virtual Research Environment (http://scratchpads.eu/) is a flexible system for people to create their own research networks supporting natural history science. Here we describe Version 2 of the system characterised by the move to Drupal 7 as the Scratchpad core development framework and timed to coincide with the fifth year of the project’s operation in late January 2012. The development of Scratchpad 2 reflects a combination of technical enhancements that make the project more sustainable, combined with new features intended to make the system more functional and easier to use. A roadmap outlining strategic plans for development of the Scratchpad project over the next two years concludes this article.

We describe an online open repository and analysis platform, BioAcoustica (http://bio.acousti.ca), for recordings of wildlife sounds. Recordings can be annotated using a crowdsourced approach, allowing voice introductions and sections with extraneous noise to be removed from analyses. This system is based on the Scratchpads virtual research environment, the BioVeL portal and the Taverna workflow management tool, which allows for analysis of recordings using a grid computing service. At present the analyses include spectrograms, oscillograms and dominant frequency analysis. Further analyses can be integrated to meet the needs of specific researchers or projects. Researchers can upload and annotate their recordings to supplement traditional publication.Database URL: http://bio.acousti.ca

Background: Natural History science is characterised by a single immense goal (to document, describe and synthesise all facets pertaining to the diversity of life) that can only be addressed through a seemingly infinite series of smaller studies. The discipline's failure to meaningfully connect these small studies with natural history's goal has made it hard to demonstrate the value of natural history to a wider scientific community. Digital technologies provide the means to bridge this gap.Results: We describe the system architecture and template design of "Scratchpads", a datapublishing framework for groups of people to create their own social networks supporting natural history science. Scratchpads cater to the particular needs of individual research communities through a common database and system architecture. This is flexible and scalable enough to support multiple networks, each with its own choice of features, visual design, and constituent data. Our data model supports web services on standardised data elements that might be used by related initiatives such as GBIF and the Encyclopedia of Life. A Scratchpad allows users to organise data around user-defined or imported ontologies, including biological classifications. Automated semantic annotation and indexing is applied to all content, allowing users to navigate intuitively and curate diverse biological data, including content drawn from third party resources. A system of archiving citable pages allows stable referencing with unique identifiers and provides credit to contributors through normal citation processes.Conclusion: Our framework http://scratchpads.eu/ currently serves more than 1,100 registered users across 100 sites, spanning academic, amateur and citizen-science audiences. These users have generated more than 130,000 nodes of content in the first two years of use. The template of our architecture may serve as a model to other research communities developing data publishing frameworks outside biodiversity research.

The monochrome paintings of the British Op artist Bridget Riley produced between 1960 and 1965, in common with a number of experimental arts and media practices of the 1960s, were characterised by a drift away from traditional representational techniques towards what are now described as nonrepresentational practices. The dynamics of the Op Art aesthetic and the critical writings that surround it bear striking similarities to much recent work on nonrepresentational thought. Based upon an engagement with Riley's early work, and specifically with the perception and understanding of nature it engendered, an argument can be made that suggests that, despite claims to the contrary, Riley was engaged in a form of representational practice that rendered a new and fashionable understanding of cosmic nature. The multidimensional nature evoked in her aesthetic was designed to be experienced by the viewer in a precognitive, embodied fashion. In this there are strong echoes with the call made by nonrepresentational theorists who operationalise the same kind of cosmology to develop an evocative, creative account of the world. Both Op Art and nonrepresentational thought seem to build upon a shift in the representational register that occurred during the immediate postwar period, one which prompted representational practices which attempted to subjectify rather than objectify, to evoke instability and multidimensionality, and to exercise not only visual, oral, and cognitive ways of knowing, but also the precognitive and the haptic. The complex corelations between representation and nonrepresentation are apparent here, suggesting that it is problematic to emphasise one side of the duality over the other.