Bush Regeneration - Technique

Technique

The original Bradley method of bush regeneration focuses on facilitating native plant recruitment from the seedbank, rather than planting seedlings or sowing seeds, as follows:

"Weeding a little at a time from the bush towards the weeds takes the pressure off the natives under favourable conditions. Native seeds and spores are ready in the ground and the natural environment favours plants that have evolved in it. The balance is tipped back towards regeneration. Keep it that way, by always working where the strongest area of bush meets the weakest weeds"

Currently the term 'bush regeneration' includes activities other than weed removal, such as replanting and introducing species into an area where soil, water, or fire regimes have shifted the type of plant appropriate to the area (e.g. a stormwater drain).

Weed species can be important habitat for native fauna (e.g. Blackberry is important habitat for wrens and the Southern Brown Bandicoot) and this should be taken into consideration with bush regeneration, for example by not clearing invasive species until adequate habitat alternatives have been established nearby with native vegetation.

Problems can occur when insufficient follow-up is conducted as the success of bush regeneration is dependent on allowing the native vegetation to regenerate in the area where weeds have been removed.

Read more about this topic:  Bush Regeneration

Famous quotes containing the word technique:

    The mere mechanical technique of acting can be taught, but the spirit that is to give life to lifeless forms must be born in a man. No dramatic college can teach its pupils to think or to feel. It is Nature who makes our artists for us, though it may be Art who taught them their right mode of expression.
    Oscar Wilde (1854–1900)

    In love as in art, good technique helps.
    Mason Cooley (b. 1927)

    The audience is the most revered member of the theater. Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.
    Viola Spolin (b. 1911)