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• Our latest study shows that a loss of visual sensitivity can predict dementia 12 years before it is diagnosed.
• Our research was based on 8,623 healthy people in Norfolk, England, who were followed up for many years.
• By the end of the study, 537 participants had developed dementia, so we could see what factors might have preceded this diagnosis.
• People who would develop dementia were much slower to see this triangle on the screen than people who would remain without dementia.

Recognising faces

• We have some evidence which suggests that people with dementia tend to process new people’s faces inefficiently.
• In other words, they don’t follow the usual pattern of scanning the face of the person they are talking to.
• So this early issue in not recognising people you have just met could be related to ineffective eye movement for new faces, rather than being a pure memory disorder.

Can eye movement improve memory?

• Previous research on the matter is mixed, but some studies found that eye movement can improve memory.
• In other studies, eye movements from left to right and right to left done quickly (two eye movements per second) were found to improve autobiographical memory (your life story).
• Also, using deficits in eye movements as a diagnostic is not a regular feature, despite the possibilities in eye movement technology.

Eef Hogervorst receives funding from the Dunhill Medical Trust [email protected] receives funding from Road Safety Trust. He is affiliated with Applied Vision Association. Ahmet Begde does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

• Bruce Pascoe is best known for his natural history, Dark Emu, which argues that systems of pre-colonial food production and land management in Australia have been dramatically understated.
• At last count, the book had sold at least 360,000 copies of the original edition – and many more in the form of adaptations, translations, children’s and overseas editions.
• Since the publication of Dark Emu in 2014, Pascoe has had to endure extraordinary public scrutiny, as well as vehement attacks on his personal and professional reputation.

• In light of the last ten years, Black Duck: A Year at Yumburra is a healing and necessary book.
• The farm is a deliberate project designed to test, extend and materialise some of the ideas put forward in Dark Emu.
• The meaning of Yumburra, Pascoe tells us, is Black Duck, the “supreme spiritual being of Yuin country”.

Six seasons on the farm

• Through more than 60 subtitled journal entries, accompanied by numerous photographs and sketches, Pascoe charts the activities of his days.
• These include labouring chores on the farm, visits paid and received (both there and interstate), thoughts, visions and experiments with food and agriculture, and memories and reflections on relationships reaching far back into childhood.
• Pascoe describes life on the farm as solitary at times, but also active.
• Daily farm work includes clearing watercourses or fixing tools and machinery, and at these times his friendships with the nonhuman are forged in both subtle and overt ways.

• Despite their vigilance, the Spur-winged Plover loses a lot of chicks to eagles and foxes […] Their calls are ever-present on the farm.
• If the horses gallop, an eagle passes, a dingo wakes or a car arrives, you hear about it instantly.
• You can’t make friend with Birran Durran Durran because everything is a threat in its opinion.
• Despite their vigilance, the Spur-winged Plover loses a lot of chicks to eagles and foxes […] Their calls are ever-present on the farm.

• There is a sense of time moving on through the seasons.
• Yumburra, too, was affected by that event, leading one of the farm workers to rename a whole section of the farm “Apocalypse Valley” in the aftermath.
• “The unbridled pleasure I used to take in the forest, waters and shores is now tinged with sadness and dread.”

A true storyteller

• The author is respectfully light on detail on these matters, but the reader is left in no doubt about their deep importance to him.
• Pascoe’s authorial style sometimes comes across as a touch too lackadaisical and larrikin-esque, drifting as if unmoored.
• And yet, he’s a true storyteller – and no sooner have you hesitated, than he reels you in again, and has you marvelling with him at the grandchildren’s handstands and cartwheels on the paddle board on the river, or at the cunning of the dingo pair who’ve taken out a young Buru (kangaroo) by gripping him by the ears and drowning him.
• I assume it was the same animal because she made a great point of making sure I was watching her expertise.
• It might be a romantic thought or a wish for longevity of a friend but, whatever the case, I enjoy the personality.“

• Sometimes Pascoe quotes from her journal entries, discrete and beautifully rendered observations of wildlife on her own nearby property.
• But as I was reading, I found myself wondering how else Lyn contributed to the book, and on what terms.

Connection to culture and Country

• For anyone with lingering doubts about Pascoe’s commitment and connection to Country, this book will set them straight.
• It is a quiet, funny, warm and insistent call to return to and care for Country.

Julienne van Loon has been a recipient of funding from Creative Australia, Creative Victoria and ArtsWA.