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Producing Shared
Understanding for Digital
and Social Innovation
Bridging Divides with
Transdisciplinary Information Experience
Concepts and Methods
Faye Miller
Producing Shared Understanding for Digital
and Social Innovation
Faye Miller
Producing Shared
Understanding
for Digital and Social
Innovation
Bridging Divides with
Transdisciplinary Information
Experience Concepts and Methods
Faye Miller
Research and Career Development Consultancy
Human Constellation Pty Ltd
Canberra, Australia
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature
Singapore Pte Ltd. 2020
This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher,
whether the whole or part of the material is concerned, specifically the rights of translation, reprinting,
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or by similar or dissimilar methodology now known or hereafter developed.
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publication does not imply, even in the absence of a specific statement, that such names are exempt
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For Raj
For Maura
1 Prologue 1
Retrofuturistic 1
Three Big Questions 3
How Do We Future Proof Our Digital Lives? 3
How Do We Produce Shared Understanding? 4
How Do We Educate for Responsible Innovation? 5
Eight Invisible Gaps that Need Bridging 8
Making Meaningful Work Across Boundaries 8
Transdisciplinary Collaboration and Competition 9
Human Impact and Responsible Digital Social
Innovation 9
Accessibility and Public Understanding of Social
Science 9
Inclusivity in Innovation 10
Tolerance, Empathy and Polarity in Shared
Understanding 10
Platforms for Transdisciplinary Interaction 10
Moments of Shared Understanding 11
vii
viii Contents
Transdisciplinary Producing 12
Fusionist 15
Analogue Experience Guide 15
Virtual and Augmented Reality Experience Creator 16
Innovation Manager 16
Social Change Agents 17
Co-producing Transdisciplinary Knowledge 18
Shared Understanding for Digital and Social Innovation 19
References 23
Part I Concepts
3 Informational Waves 51
Waves Across a Universe 51
Signs of Life 52
Sustainable Resources 55
Approaches 58
Objects 59
Concepts 60
Social-Ecological Information Experiences 61
Life Moments 67
Contents ix
Movements 68
Self and Audience Awareness 69
Relatable Information 70
Balanced Critique 71
Holistic Approaches 72
Curated Waves 73
Embodied Waves 74
Expanding the Universe 77
Challenges for Change Agents: Understanding
and Creating Informational Waves 81
References 82
4 Transdisciplinary Resonance 85
Re-interpreting Waves 85
The Silver Lined Cloud of Resonance 86
Resonance in Cultural Shifts 87
Resonance Powers Waves 88
Informal Learning for Resonance 90
Common and Nuanced Resonance 91
Resonant Information and Learning Experiences 93
Understanding Yourself for Transdisciplinary Innovation 94
Understanding People for Transdisciplinary Innovation 97
Co-designing for Resonant Information and Learning
Experiences 100
Challenges for Change Agents: Understanding
and Developing Transdisciplinary Resonance 101
References 102
Part II Methods
6 Moments 109
Moments as a Transdisciplinary Method 109
x Contents
7 Paradoxes 117
Understanding Paradoxical Tensions 117
Paradoxes as a Transdisciplinary Method for Producing
Shared Understanding 120
Working Through Paradoxes 120
Problem: Formulating the Mess 124
Dilemma: Either/Or Thinking 125
Paradox: Discovering the Link with Both/And Thinking 126
Workable Certainty: Negotiated Understanding 127
Culturally Diverse Collaborations for Shared
Understanding 131
Understanding Social Innovation and Sustainable
Development Through Paradoxes 132
Challenges for Change Agents: Understanding
and Navigating Paradoxes 135
References 137
8 Dialogues 139
Sparking Dialogue about Dialogue Mapping 139
References 146
Epilogue 159
Acknowledgements 161
Glossary 163
Index 171
List of Figures
xiii
List of Tables
xv
1
Prologue
Retrofuturistic
The first time I ever saw a live and spinning zoetrope—a pre-cinematic
animation device—was on a visit to the Exploratorium Museum of
Science, Art and Human Perception on San Francisco’s Pier 15, in March
2017. Derived from the Greek words zoe, meaning “life”, and tropos
meaning “turning”, a zoetrope is also known as a “wheel of life”.
This was my first “live” zoetrope experience because as a child I had
seen a static zoetrope in a detailed, illustrated entry about how motion
pictures were made, in a leather-bound antique encyclopedia volume
by Arthur Mee. As Mee’s encyclopedias for children were published in
mid-twentieth-century Europe, it is likely that I am in the minority of
millennials who have ever heard of Mee’s encyclopedia. I remember being
fascinated by countless entries that naturally unified the natural sciences,
social sciences, humanities and arts, spanning across several volumes.
Most school teachers said that the information held in those books was
quite archaic, and that I should have consulted the latest Britannica CD-
ROM or even the pre-Google search engine AltaVista in the mid-1990s
wave of the World Wide Web. But browsing these newer resources felt
mechanical and limited. They were devoid of the fusing of ethical and
humanist wisdom and wonder, alongside scientific proofs.
Over knowing what we know, these classical texts inspired us to place
even higher value in being curious about what we do not know. Arthur
Mee was honest about his encyclopedia; although it was very thorough,
carefully presented and detailed, he made it clear to learning minds that it
was not the fountain of all knowledge once devoured. The real magic was
found in the unknown gaps in-between. Like the zoetrope, only through
the illuminated gaps in the wheel did the whole story come to life.
If I had been more deliberate and orderly in my early research, I might
never have randomly come across the zoetrope, as both an innovative
concept and a precursor invention which ultimately led to traditional
audiovisual motion picture and—as we know and love it today—digital
multimedia and animation, social media, GIFs, memes, live streaming
on reddit’s Public Access Network, YouTube, cat videos and Pixar.
A zoetrope is also known as a “wheel of life”. An illusion. A simulation.
Is digital life an illusion? Is reality a simulation? Is simulation a reality?
You realize the sun doesn’t go down it’s just an illusion caused by the
world spinning round—The Flaming Lips “Do You Realize?”
Also inside the Exploratorium that day, there was a sign in the Tinkering
Studio.
A quote from Swiss psychologist Jean Piaget in the early 1970s, when
transdisciplinary thinking was just taking flight:
To understand is to invent.
Quotes such as this reflect the assumptions prior to the Artificial Age—
that the social or environmental impact of any invention was a primary
consideration before unleashing it onto the universe. Now it appears to
be the opposite. The concept of the Anthropocene is driven by tech-
nocratic narratives—both utopian and dystopian—but not all of its
solutions will be technological ones. Furthermore, tech solutions to tech
problems seem paradoxical. We need to make sure that the problem is
not compounded by the “solution”.
1 Prologue 3
need now and in the future. Digital and social innovations often do not
take a holistic look at their potential impacts and outcomes across an
ecosystem (Olsson et al. 2017). We need new ways of bridging divides
between different stakeholders around a digital innovation. Decisions
and actions based on myopic views prompt a need for broader under-
standing to prepare for long-term impacts. Transdisciplinary mindsets
prompt us to think and act beyond our individual personal agendas
and be guided by a mindset that encourages less ego-centrism and
more humility to make lasting impacts for community and global goals.
There is a need for balance of individual and communal considerations
through shared understanding. We can produce or co-produce shared
understanding in complex adaptive systems, consisting of informational
waves and transdisciplinary resonance, through approaches explored in
Part II: Methods, such as navigating paradoxes, capturing moments and
mapping dialogues.
learn again from machines. In the future, people will perform tasks
alongside AI agents to learn new skills and will receive on-the-job
training to work well within AI-enhanced processes.
8. Relentless reimagining. This hybrid skill is the ability to reimagine
how things currently are—and to keep reimagining how AI can trans-
form and improve work, organizational processes, business models
and even entire industries.
A recent research report by Tytler et al. (2019) lists the 100 Jobs of
the Future based on identification of future key skills and knowledge,
emphasizing the importance of developing transdisciplinary thinking
through STEM/STEAM at all levels of education and training. This
research points to a need for more dedicated education, mentoring
and training at elementary, secondary and university or college levels,
for bridging and intermediary roles in digital and social innovation—
essential roles for the future that cannot be easily automated. My own
teaching has a strong emphasis on developing soft skills and attributes for
successful projects and work placements, along with challenging expe-
riences for learning outside of comfort zones and nurturing personal
passions, perseverance and resilience. Employers and colleagues often
demand this, but educators often focus on science and technology
knowledge and skills only. In today’s social media and attention driven
society, people spend more time working to be more engaging and influ-
ential in their communication, how to convince someone of their point
of view, rather than developing capacities which are central to activating
responsible digital and social innovations such as listening, interpreta-
tion and perception abilities. This book is all about the soft skills—or
states of mind that enable soft skills—developed in the complex, invis-
ible spaces in-between. This reflects a paradigm shift from the common
understanding of communication, from being engaging and influential
to improving how we listen, perceive and interpret informational waves
to create transdisciplinary resonance and shared understanding.
Le Hunte (2020) emphasizes the importance of transdisciplinary
education and emergent creativity: “With the current thinking on the
future of work and the predictions that today’s graduate will have to work
across many fields, transdisciplinary learning becomes more important. It
8 F. Miller
Prunus domestica
1. Pom. Mag. 2:57, Pl. 1829. 2. Lond. Hort. Soc. Cat. 144. 1831. 3.
Kenrick Am. Orch. 256. 1832. 4. Downing Fr. Trees Am. 273. 1845. 5.
Floy-Lindley Guide Orch. Gard. 295, 383. 1846. 6. Thomas Am. Fruit Cult.
332, fig. 258. 1849. 7. Mag. Hort. 15:486, 487 fig. 42. 1849. 8. Hovey Fr.
Am. 1:81. 1851. 9. Am. Pom. Soc. Cat. 54. 1852. 10. Elliott Fr. Book 410.
1854. 11. Ann. Pom. Belge 43, Pl. 1855. 12. Thompson Gard. Ass’t 515.
1859. 13. Mas Le Verger 6:29, fig. 15. 1866-73. 14. Hogg Fruit Man. 691,
729. 1884. 15. Mathieu Nom. Pom. 425. 1889. 16. Guide Prat. 155, 357.
1895. 17. Oregon Sta. Bul. 45:26 fig. 1897. 18. Colo. Sta. Bul. 50:34.
1898. 19. Am. Pom. Soc. Rpt. 211. 1899. 20. Ohio Sta. Bul. 113:158, Pl.
XV. 1899. 21. Mich. Sta. Bul. 169:242, 244. 1899. 22. Waugh Plum Cult.
104 fig. 1901. 23. Va. Sta. Bul. 134:42. 1902. 24. Ohio Sta. Bul.
162:242, 254, 255. 1905.
Bury Seedling 1, 2, 3, 4, 5, 7, 8, 10, 11, 12, 14, 15, 16. Coe 16, 21.
Coe’s 1, 2, 7, 8, 14, 15, 16. Coe Golden Drop 16, 23. Coe Golden Drop 21.
Coe’s Golden Drop Plum 1, 5, 11. Coe’s Golden Drop 5, 8, 13, 15, 16, 17,
22, 24. Coe’s Golden Drop 2, 3, 4, 6, 7, 8, 9, 10, 12, 14, 18, 20. Coe’s
Golden Drop Plum 13. Coe’s Plum 12, 13, 16. Coe (Pride) 15. Coe’s
Imperial 1, 2, 4, 5, 7, 8, 10, 11, 12, 14, 15, 16. Coe’s Rothgefleckte
Pflaume 13, 16. Coe’s Rotgefleckte Pflaume 15. Coe’s Plum 5. Cooper’s
Large 15, 16 incor. Coe’s Seedling 3. De Coe 16. Fair’s Golden 15, 16.
Fair’s Golden Drop 2, 4, 5, 7, 8, 10, 11, 14, 15, 16. Golden Drop 1, 2, 7, 8,
12, 14, 15, 16. Golden Drop Plum 16. Golden Gage 2, 4, 7, 8, 10, 11, 12,
14, 15, 16. Goutte d’Or 13. Goutte d’Or 13, 16. Goutte d’Or de Coe 15, 16.
King of Plums 8. New Golden Drop 1, 2, 4, 5, 7, 8, 10, 11, 12, 15 16.
Nouvelle Goutte d’Or 15, 16. Parmentier? 15, 16. Prune Goutte d’Or De
Coé 11. Semis de Bury 15, 16. Silver Prune 17, 19. Silver Prune 22. The
Coe’s Plum 1. Waterloo of some 7, 8,? 14, 15.
Unfortunately this fine old plum, the largest, handsomest and best
of the yellow plums, is fit only for the amateur in New York and in
the hands even of the most careful of amateurs it does not reach the
perfection in either appearance or quality that is expected of it in
Europe or on the Pacific Coast of America. In spite of special efforts
to obtain specimens for illustration which would do this variety
justice, the color-plate of Golden Drop is far from satisfactory as
regards either size or color of the fruit. In this region trees of Golden
Drop lack constitution and while hardy in tree, the fruit-buds are
often caught by the cold. From lack of vigor and from injury by
freezing, the variety is not productive. The trees, too, are slow in
growth and the fruit needs a long season to reach perfect maturity,
often failing to ripen in parts of New York where other plums mature
well. Again, the trees are subject to nearly all the ills to which plums
are heir and have a somewhat precarious existence because of
insects and diseases though the fruit is not as subject to brown-rot
as is that of the Yellow Egg with which this variety is usually
compared. Golden Drop is seemingly fit for all purposes to which
plums are put—for dessert, cooking, canning, preserving and prune-
making. For the last named purpose it is unsurpassed for a light
colored prune of large size, readily selling at a fancy price in
delicatessen stores. The fruit when carefully picked and handled
keeps for a month or more, shrivelling somewhat but retaining its
flavor and pleasing flesh-characters. A task for the plant-breeder is
to breed a plum, of which one of the parents should be Golden Drop,
which will give to this region a plum as good as the Golden Drop in
regions where it is at its best. With all of its defects in the North and
East, it is yet worth growing for the home and often for the late
market.
Jervaise Coe, a market gardener, at Bury St. Edmunds, Suffolk,
England, raised Golden Drop from a seed about 1809. Lindley
(References, 5) says, “He [the originator] informed me it was from
the stone of Green Gage, the blossom of which, he supposed, had
been fertilized by the White Magnum Bonum, the two trees of which
grew nearly in contact with each other in his garden.” From a study
of the fruit-characters this supposition is very probable. C. M. Hovey
in discussing the synonyms of this variety writes, “The French have
disseminated it considerably under the name of Waterloo; trees
received under that name have fruited in our collection this year, and
proved to be the Golden Drop.” Robert Hogg, in his Fruit Manual,
published in 1884, described Waterloo as a separate variety, found
at Waterloo, Belgium, and introduced by Dr. Van Mons; the
descriptions of the two are practically identical. The Silver Prune,
well known on the Pacific Coast, at one time supposed to be a new
variety, turned out upon investigation to be Golden Drop, though the
growers there continue to call it by the new name they have given it.
The variety under discussion came to America in 1823, when Knight,
of England, sent a tree of it to John Lowell of Massachusetts. In
1852, the American Pomological Society valued it sufficiently to place
it on the list of the fruits worthy of general cultivation.
GOLIATH
Prunus domestica
1. Prince Treat. Hort. 26. 1828. 2. Lond. Hort. Soc. Cat. 147, 153. 1831.
3. Kenrick Am. Orch. 260. 1832. 4. Mag. Hort. 9:164. 1843. 5. Downing
Fr. Trees Am. 300. 1845. 6. Floy-Lindley Guide Orch. Gard. 287, 383.
1846. 7. Thomas Am. Fruit Cult. 343. 1849. 8. McIntosh Bk. Gard. 2:531.
1855. 9. Hooper W. Fr. Book 245. 1857. 10. Cultivator 8:25 fig. 1860. 11.
Am. Pom. Soc. Cat. 86. 1862. 12. Hogg Fruit Man. 363. 1866. 13. Mas
Pom. Gen. 2:15, fig. 8. 1873. 14. Mathieu Nom. Pom. 432. 1889. 15.
Waugh Plum Cult. 105 fig. 1901.
Caledonian 1, 2, of some 5 & 8, 11, 12, 13, 14. Emperor 9. Goliath 1, 3.
Goliath 9, 13. Nectarine 1, of some 2 & 8, 11 & 14 incor. Pfirschenpflaume
14. Prune-Pêche? 14. Saint Cloud 2, 3, 4, 5, 6, 8, 12, 13, 14. Steer’s
Emperor 2. Steers’ Emperor 4, 5, 8, 12, 13, 14. Wahre Caledonian 13, 14.
Wilmot’s Late Orleans 2, 5, 8, 12, 13, 14.
This old English plum has never been popular in America and is
now scarcely known on this continent. It is a large, handsome,
purple plum, as the illustration well shows, but seldom fit for
dessert. “Seldom fit” because it is quite variable in quality in some
seasons and under some conditions. It is an excellent culinary plum
and its firm, thick, meaty flesh fits it well for shipping. On the
grounds of this Station the trees behave very well in all respects and
usually bear very full crops of plums that would tempt purchasers in
any market. It has all of the characters usually ascribed to a money-
maker variety of any fruit and why not more grown in commercial
orchards cannot be said.
Nothing is known of the origin of this plum except that it is
English. William Prince, in 1828, wrote: “This plum is of very large
size, and has attracted much notice in England; but it is only recently
introduced to this country, where it has not yet produced fruit that I
am aware of.” The Nectarine plum was confused with the Goliath in
the early part of the Nineteenth Century, but Robert Thompson,[215]
the English horticulturist, separated them so satisfactorily that they
have ever since remained distinct in plum literature. He found that
this variety had pubescent shoots and fruit-stalks, while the same
parts of the Nectarine were glabrous, and that the season of Goliath
is considerably later. The American Pomological Society placed
Goliath on its fruit list in 1862, but dropped it in 1871.
GONZALES
GOLIATH
Prunus triflora ×
1. Kerr Cat. 1899-1900. 2. Vt. Sta. Bul. 67:13. 1898. 3. Ohio Sta. Bul.
162:252. 1905. 4. Penin. Hort. Soc. Rpt. 36. 1905. 5. Stark Bros. Cat.
1906.
Gonzales 5. Red Gold 4. Red Gold 5.
GRAND DUKE
GRAND DUKE
Prunus domestica
1. Hogg Fruit Man. 703. 1884. 2. Mathieu Nom. Pom. 432, 434. 1889.
3. W. N. Y. Hort. Soc. Rpt. 39:100. 1894. 4. Can. Hort. 18:117, Pl. 1895.
5. Cornell Sta. Bul. 131:186, fig. 40 IV. 1896. 6. W. N. Y. Hort. Soc. Rpt.
42:83. 1897. 7. Am. Pom. Soc. Cat. 25. 1897. 8. Mich. Sta. Bul. 169:245.
1899. 9. Ohio Sta. Bul. 113:159, Pl. XVI. 1899. 10. Can. Exp. Farm Bul.
2nd Ser. 3:52. 1900. 11. Waugh Plum Cult. 106 fig. 1901. 12. Ohio Sta.
Bul. 162:243 fig., 244, 254, 255. 1905.
Grossherzog’s Pflaume 2. Grand-Duc 2. Grand Duke 2.
Grand Duke, now probably the favorite late shipping plum in this
region, is, as stated in the history given below, a comparatively new
plum in America. Its great popularity, gained in less than a quarter
of a century, is due to much advertising by nurserymen coupled with
such intrinsic qualities as large size, the true prune shape which
seems most pleasing in some markets, handsome plum-purple and
more than all else a firm, meaty flesh which fits the variety
excellently for shipping. The flavor, as seems most often to be the
case with these large blue plums, is not pleasant and the plum is not
more than a second rate dessert fruit though it is very good in
whatever way cooked for the table. The trees grow poorly in the
nursery and even in the orchard are seldom large and vigorous
enough to be called first class, though usually hardy. Some years
ago plum-growers were advised to top-work this and other weak-
growing plums on stronger stocks, but those who have tried such
top-working usually condemn it because it is expensive and
ineffective and because it so often gives a malformed tree. The trees
come in bearing slowly but bear regularly and abundantly and hold
the crop well, the plums being unusually free from rot and hanging
in good condition a long time. Grand Duke deserves its popularity as
a market plum and probably no better variety can be selected in
New York for the last of the season.
Grand Duke is another of the many valuable plums produced by
Thomas Rivers, of Sawbridgeworth, England. It was grown from an
Autumn Compote stone and was sent out in 1876. When it was first
introduced into America is not known, but in 1888 cions of it were
distributed by Ellwanger and Barry[216] of Rochester, New York. In
1897, the American Pomological Society added this variety to its fruit
catalog list and recommended it for this State and neighboring
regions with similar climatic conditions.
GUEII
GUEII
Prunus domestica
1. Downing Fr. Trees Am. 3rd App. 181. 1881. 2. Can. Hort. 14:293, Pl.
1891. 3. Mich. Sta. Bul. 103:34, fig. 6. 1894. 4. Cornell Sta. Bul.
131:187. 1897. 5. Ont. Fr. Exp. Sta. Rpt. 120. 1898. 6. Mich. Sta. Bul.
169:242, 245. 1899. 7. Ohio Sta. Bul. 113:159. 1899. 8. Am. Pom. Soc.
Cat. 39. 1899. 9. Waugh Plum Cult. 107. 1901. 10. Va. Sta. Bul. 134:42,
43 fig. 14. 1902.
Big Blue 1. Blue Magnum Bonum 1, 9. Bradshaw 1 incor. Geuii 3. Gueii
1. Guii 1, 6. Gweii 1.
GUTHRIE LATE
Prunus domestica
1. McIntosh Bk. Gard. 2:532. 1855. 2. Downing Fr. Trees Am. 919.
1869. 3. Hogg Fruit Man. 705. 1884. 4. Mathieu Nom. Pom. 434. 1889. 5.
Rivers Cat. 1898. 6. Am. Gard. Mag. 21:173. 1900.
Guthrie’s Minette 1. Guthrie’s Late Green 6. Guthrie Green 6. Guthrie’s
Late Green 2, 3, 4. Minette 2, 3, 4. Verte Tardive de Guthrie 4.
Guthrie Late has never attained commercial importance in the
United States, being found only in collections; but in England,
according to Hogg, it is a very fine dessert plum, rivalling the Reine
Claude in quality and ripening a month later. On the grounds of this
institution it has failed because the fruits are small, dull in color and
do not keep well. Of the several varieties produced from seed of
Reine Claude by Charles Guthrie, Taybank, Dundee, Scotland, about
the middle of the last century, Guthrie Late is the best known.
HALE
HALE
Prunus triflora
1. Burbank Cat. 19. 1893. 2. Ibid. 1894. 3. Cornell Sta. Bul. 106:52.
1896. 4. Ga. Hort. Soc. Rpt. XI. 1897. 5. Am. Pom. Soc. Cat. 41. 1899. 6.
Cornell Sta. Bul. 175:147, 148, fig. 37. 1899. 7. Am. Gard. 21:36 1900.
8. Waugh Plum Cult. 136. 1901. 9. Mich. Sta. Bul. 187:77, 79. 1901. 10.
W. N. Y. Hort. Soc. Rpt. 89. 1902. 11. Ohio. Sta. Bul. 162:254, 255. 1905.
12. Ga. Sta. Bul. 68:10, 30. 1905. 13. Mass. Sta. An. Rpt. 17:160. 1905.
J 1. J 3. Prolific 2. Prolific 3, 8, 12.
HAMMER
HAMMER
1. Cornell Sta. Bul. 38:79. 1892. 2. Ia. Hort. Soc. Rpt. 275, 448. 1893.
3. Ibid. 334. 1894. 4. Wis. Sta. Bul. 63:24, 39. 1897. 5. Colo. Sta. Bul.
50:36. 1898. 6. Ia. Sta. Bul. 46:274. 1900. 7. Waugh Plum Cult. 150.
1901. 8. Ont. Fr. Gr. Assoc. 144. 1901. 9. Ga. Sta. Bul. 67:274. 1904. 10.
S. Dak. Sta. Bul. 93:18. 1905. 11. Ohio Sta. Bul. 162:254, 255. 1905.
HAND
HAND
Prunus domestica
1. Horticulturist 2:436. 1847. 2. Ibid. 6:21 fig., 187, 294. 1851. 3. Am.
Pom. Soc. Rpt. 190, 214. 1856. 4. Downing Fr. Trees Am. 382. 1857. 5.
Hogg Fruit Man. 362. 1866. 6. Mas Pom. Gen. 2:19, fig. 10. 1873. 7. Ont.
Fr. Exp. Sta. Rpt. 120. 1896. 8. Cornell Sta. Bul. 131:185. 1897. 9.
Waugh Plum Cult. 108 fig. 1901. 10. Budd-Hansen Am. Hort. Man. 314,
315 fig. 1903. 11. Mass. Sta. An. Rpt. 17:159. 1905.
Gen. Hand 1, 2. General Hand 2, 3, 5, 6, 7, 8. Genl. Hand 4. General
Hand 9, 10. Montgomery 3 incor.
HARRIET
Prunus domestica
HAWKEYE
HAWKEYE
Prunus americana
1. Ia. Hort. Soc. Rpt. 287. 1887. 2. U. S. D. A. Rpt. 441. 1889. 3. Ia.
Hort. Soc. Rpt. 55, 85. 1890. 4. Cornell Sta. Bul. 38:38, 86. 1892. 5. Wis.
Sta. Bul. 63:40, 41. 1897. 6. Am. Pom. Soc. Cat. 24. 1897. 7. Colo. Sta.
Bul. 50:37. 1898. 8. Ia. Sta. Bul. 46:274. 1900. 9. Waugh Plum Cult. 151.
1901. 10. Ont. Fr. Gr. Assoc. 144. 1901. 11. Wis. Sta. Bul. 87:13. 1901.
12. S. Dak. Sta. Bul. 93:19. 1905. 13. Ohio Sta. Bul. 162:254, 255.
1905.
HUDSON
HUDSON
Prunus domestica
1. Mich. Hort. Soc. Rpt. 289. 1889. 2. Mich. Sta. Bul. 103:35 1894. 3.
Ohio Hort. Soc. Rpt. 30:168. 1896-97. 4. Cornell Sta. Bul. 131:181 fig. 40
III, 187. 1897. 5. Am. Pom. Soc. Cat. 25. 1897. 6. Can. Exp. Farm Bul.
2nd Ser. 3:52. 1900. 7. Waugh Plum Cult. 109. 1901.
Hudson River Purple 6. Hudson River Purple Egg 1, 3, 4. Hudson River
Purple Egg 2, 5, 7. Purple Egg 2.