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1
Healy, Chris. „When we look at pictures: Travel television and the intimacy of companion memory“. Memory Studies 6, Nr. 3 (28.06.2013): 262–72. http://dx.doi.org/10.1177/1750698013482645.
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Remembering in ‘modern’ Australia arises first and foremost through the transcultural processes of settler colonialism. This article explores some questions of memory’s cultures through a discussion of ‘travel television’. It argues that this kind of television is an example of a hybrid or non-human form of remembering that I call companion memory. I consider two examples: the 1950s television series, Australian Walkabout, and a recent television series on Australian indigenous art, Art + Soul. I conclude by considering how memory and travel might help us think about the kinds of intimacy and proximity implied by the notion of ‘memory up close’.
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Hamilton, Judy. „Influencing the Modern in Brisbane: Gertrude Langer and the Role of Newspaper Art Criticism“. Queensland Review 20, Nr. 2 (30.10.2013): 203–14. http://dx.doi.org/10.1017/qre.2013.21.
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Dr Gertrude Langer arrived quite by chance in Brisbane in 1939 as a refugee from Hitler's Europe. She was a young, elegant Austrian refugee with a PhD in art history from the University of Vienna. After arriving in Australia, Gertrude and her husband, Dr Karl Langer, had hoped to settle in Sydney, but Karl's work as an architect moved them on to Brisbane. Gertrude Langer would become an important figure in Brisbane's post-war art scene through her salon-style lectures, art criticism and work with the Australia Council. She strongly believed that the arts were an important part of a community, and for this reason became a champion for the cause of contemporary art in Brisbane.
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Layton, Robert. „Trends in the Hunter-Gatherer Rock Art of Western Europe and Australia.“ Proceedings of the Prehistoric Society 57, Nr. 01 (1991): 163–74. http://dx.doi.org/10.1017/s0079497x00004953.
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Rock art associated with modern human populations has a comparable antiquity in Western Europe and Australia (table 1). In Western Europe personal adornment, human and animal statuettes and some carved stone blocks date from the early Aurignacian. In Australia a date of 30,000 BP has been claimed for the origin of the geometric art tradition of the Olary Province of Southern Australia, a date which would make it contemporary with the modern human community at Lake Mungo 150 miles to the east, who were practising deliberate burial (Bowler and Thome 1976, 129,138). This date, however, depends on the cation ratio method, whose calibration is still open to question (Nobbs and Dorn 1988; Clarke 1989; Watchman 1989).Secure dates based on C14 measurements show that both geometric motifs and engraved animal silhouettes in northern Australia are contemporary with the flowering of European Palaeolithic art during the Magdalenian (for Dampier, see Lorblanchet 1988, 286; for Laura, see Rosenfeld 1981, 12, 53).
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Osborne, Margot. „Buying British: Sir Kenneth Clark’s Purchases of Modern British Art for the Art Gallery of South Australia“. Australian and New Zealand Journal of Art 19, Nr. 1 (02.01.2019): 70–89. http://dx.doi.org/10.1080/14434318.2019.1601321.
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Hayward, Philip. „Firing up the Anthropocene: Conflagration, Representation and Temporality in Modern Australia“. Text Matters: A Journal of Literature, Theory and Culture, Nr. 12 (24.11.2022): 143–56. http://dx.doi.org/10.18778/2083-2931.12.09.
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The European colonization of Australia introduced a new population into a continent in which Indigenous people had practiced cyclic burning as a form of ecosystem maintenance since time immemorial. The settlers’ complete disdain for Indigenous knowledge and related practices caused these customs to largely fall into disuse. One result of this was an increased vulnerability of landscapes to bush fires, a factor that has risen to the fore in the early twenty-first century. The fires that have swept across the landscape with increasing frequency and ferocity have provoked fears of a rolling, fiery apocalypse that might make living in many areas of the continent untenable. This marks a new phase of settler anxiety that has been fuelled by extensive coverage of fires on broadcast and digital media platforms. Blending discussions of Indigenous culture, 19th-21st-century European settler visual art, literature and modern communications media, this article begins by examining the nature of Anthropocene modernity and the very different worldviews and practices of Australian Indigenous peoples. Particular attention is given to senses of time and of living and working with fire. Subsequent sections open up the topic with regard to the planetary present and how we might adjust to the future.
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Sim, Lorraine. „The Linocuts of Ethel Spowers: A Vision Apart“. Modernist Cultures 15, Nr. 3 (August 2020): 354–76. http://dx.doi.org/10.3366/mod.2020.0301.
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This essay discusses the colour linocuts of the Melbourne-born artist and illustrator Ethel Spowers. Although Spowers was a key figure in modern art and design in Australia during the 1920s and 1930s, to date her linocuts have received little critical attention and are appraised only briefly and collectively as part and parcel of the Grosvenor School of Modern Art in London, where she studied for several months under the guidance of Iain Macnab and Claude Flight. This essay argues that her modernism provides an important contrast and supplement to accounts of modern everyday life offered by her British and European colleagues at the School, and canonical British and Anglo-American modernism more generally. Rejecting a view of modern life defined in terms of homogenisation, social alienation and adult experience, I discuss how Spowers's rhythmic compositions express choreographies of community and positive affect, and focus on the experience of children.
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Brady, Liam M. „Symbolic language in Torres Strait, NE Australia: images from rock art, portable objects and human scars“. Antiquity 82, Nr. 316 (01.06.2008): 336–50. http://dx.doi.org/10.1017/s0003598x00096848.
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The Torres Strait is often in the research literature – unsurprisingly since it is not only a key area for early settlement but one where ancient and modern practice resonate. Rock art is a prominent archaeological source for the region – but not the only one. In this study the author shows how rock art interconnects with imagery on portable artefacts and scarification – scarring patterns on skin – to define cultural zones of the last few centuries in territories occupied by both horticulturalists and hunter-gatherers.
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Chippindale, Christopher, Benjamin Smith und Paul S. C. Taçon. „Visions of Dynamic Power: Archaic Rock-paintings, Altered States of Consciousness and ‘Clever Men’ in Western Arnhem Lane (NT), Australia“. Cambridge Archaeological Journal 10, Nr. 1 (April 2000): 63–101. http://dx.doi.org/10.1017/s0959774300000032.
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The Dynamic figures are a distinctive component in the earlier rock-art of western Arnhem Land, north Australia. They include therianthropic (hybrid human–animal) images. Recent vision experience ethnographically known in the region, and the wider pattern of Altered States of Consciousness (ASC) in hunter-gatherer societies, are consistent with elements of the Dynamics. One key feature is the use of dots and dashes in the Dynamic images, explicable as a depiction of some intangible power, of a character comparable with that in the ‘clever men's knowledge’ of modern Arnhem Land. Tropical Australia thereby is added to the number of regions where a visionary element is identified in rock-art; the specific circumstances in Arnhem Land, permitting the use together of formal and of informed methods, provide unusually strong evidence.
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Hunt, Jane E. „The ‘intrusion of women painters’: Ethel Anderson, modern art and gendered modernities in interwar Sydney, Australia“. Women's History Review 21, Nr. 2 (April 2012): 171–88. http://dx.doi.org/10.1080/09612025.2012.657885.
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Brumm, Adam, Michelle C. Langley, Mark W. Moore, Budianto Hakim, Muhammad Ramli, Iwan Sumantri, Basran Burhan et al. „Early human symbolic behavior in the Late Pleistocene of Wallacea“. Proceedings of the National Academy of Sciences 114, Nr. 16 (03.04.2017): 4105–10. http://dx.doi.org/10.1073/pnas.1619013114.
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Wallacea, the zone of oceanic islands separating the continental regions of Southeast Asia and Australia, has yielded sparse evidence for the symbolic culture of early modern humans. Here we report evidence for symbolic activity 30,000–22,000 y ago at Leang Bulu Bettue, a cave and rock-shelter site on the Wallacean island of Sulawesi. We describe hitherto undocumented practices of personal ornamentation and portable art, alongside evidence for pigment processing and use in deposits that are the same age as dated rock art in the surrounding karst region. Previously, assemblages of multiple and diverse types of Pleistocene “symbolic” artifacts were entirely unknown from this region. The Leang Bulu Bettue assemblage provides insight into the complexity and diversification of modern human culture during a key period in the global dispersal of our species. It also shows that early inhabitants of Sulawesi fashioned ornaments from body parts of endemic animals, suggesting modern humans integrated exotic faunas and other novel resources into their symbolic world as they colonized the biogeographically unique regions southeast of continental Eurasia.
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Lydon, Jane. „Visions of Disaster in theUnlucky Voyage of the ShipBatavia, 1647“. Itinerario 42, Nr. 3 (Dezember 2018): 351–74. http://dx.doi.org/10.1017/s016511531800058x.
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This article examines the illustrated pamphletOngeluckige voyagie, van’t schipBatavia (Unlucky voyage of the shipBatavia) and its representation of a 1629 shipwreck off the coast of western Australia, followed by mutiny and the massacre of many survivors. The pamphlet was published in Amsterdam in 1647, and included fifteen (six full-page) fine copper engravings. It was very popular, helping to shape a new genre of shipwreck narrative and expressing the preoccupations of contemporary visual culture. The pamphlet’s illustrations translated new conceptualisations of space emerging from the period’s unique collaboration between cartography and art into popular form within a booming Dutch print culture. Through innovative techniques of montage and vignette these engraved images conveyed the narrative’s drama and affirmed principles of morality, honour, and order. While the era’s spectacular violence now seems very far away, these historical images effectively communicate the contemporary relish of the disaster to modern audiences. This “earliest of Australian books” is sometimes offered as an alternative Australian foundation myth, and theBataviadisaster continues to grow in cultural significance. Now as then, these illustrations provide a vivid counterpoint to its audience’s comfortable lives.
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Marks, Laura U. „Calligraphic Animation: Documenting the Invisible“. Animation 6, Nr. 3 (21.09.2011): 307–23. http://dx.doi.org/10.1177/1746847711417930.
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Calligraphic animation shifts the locus of documentation from representation to performance, from index to moving trace. Animation is an ideal playing field for the transformative and performative qualities that Arabic writing, especially in the context of Islamic art, has explored for centuries. In Islamic traditions, writing sometimes appears as a document or a manifestation of the invisible. Philosophical and theological implications of text and writing in various Islamic traditions, including mystic sciences of letters, the concept of latency associated with Shi‘a thought, and the performative or talismanic quality of writing, come to inform contemporary artworks. A historical detour shows that Arabic animation arose not directly from Islamic art but from Western-style art education and the privileging of text in Western modern art – which itself was inspired by Islamic art. A number of artists from the Muslim and Arab world, such as Mounir Fatmi (Morocco/France), Kutlug Ataman (Turkey), and Paula Abood (Australia) bring writing across the boundary from religious to secular conceptions of the invisible. Moreover, the rich Arabic and Islamic tradition of text-based art is relevant for all who practice and study text-based animation.
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Fallone, Carlo A., Naoki Chiba, Alison Buchan, Bin Su und Diane Taylor. „Two Decades ofHelicobacter pylori: A Review of the Fourth Western PacificHelicobacterCongress“. Canadian Journal of Gastroenterology 16, Nr. 8 (2002): 559–63. http://dx.doi.org/10.1155/2002/481718.
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From March 3 to 6, 2002,Helicobacterenthusiasts gathered in Perth, Australia for the Fourth Western PacificHelicobacterCongress to celebrate the 20th anniversary of the modern discovery of this organism by Barry Marshall and Robin Warren. The meeting included state-of-the-art lectures highlighting the breakthroughs that have occurred since the discovery of this bacterium. As well, advances from the forefront of currentHelicobacter pyloriresearch were presented, particularly in the realm of genomics and molecular biology. A symposium about vaccines and trends for futureH pyloriresearch completed this congress. The purpose of the present review is to summarize the highlights from this conference, emphasizing new advances.
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Prendergast, Kit S., Jair E. Garcia, Scarlett R. Howard, Zong-Xin Ren, Stuart J. McFarlane und Adrian G. Dyer. „Bee Representations in Human Art and Culture through the Ages“. Art & Perception 10, Nr. 1 (08.12.2021): 1–62. http://dx.doi.org/10.1163/22134913-bja10031.
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Abstract The field of bioaesthetics seeks to understand how modern humans may have first developed art appreciation and is informed by considering a broad range of fields including painting, sculpture, music and the built environment. In recent times there has been a diverse range of art and communication media representing bees, and such work is often linked to growing concerns about potential bee declines due to a variety of factors including natural habitat fragmentation, climate change, and pesticide use in agriculture. We take a broad view of human art representations of bees to ask if the current interest in artistic representations of bees is evidenced throughout history, and in different regions of the world prior to globalisation. We observe from the earliest records of human representations in cave art over 8,000 years old through to ancient Egyptian carvings of bees and hieroglyphics, that humans have had a long-term relationship with bees especially due to the benefits of honey, wax, and crop pollination. The relationship between humans and bees frequently links to religious and spiritual representations in different parts of the world from Australia to Europe, South America and Asia. Art mediums have frequently included the visual and musical, thus showing evidence of being deeply rooted in how different people around the world perceive and relate to bees in nature through creative practice. In modern times, artistic representations extend to installation arts, mixed-media, and the moving image. Through the examination of the diverse inclusion of bees in human culture and art, we show that there are links between the functional benefits of associating with bees, including sourcing sweet-tasting nutritious food that could have acted, we suggest, to condition positive responses in the brain, leading to the development of an aesthetic appreciation of work representing bees.
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JOHNSTON, RYAN. „MODERN TIMES: THE UNTOLD STORY OF MODERNISM IN AUSTRALIA AND MODERNISM & AUSTRALIA: DOCUMENTS ON ART, DESIGN AND ARCHITECTURE, 1917-1967 BY ANN STEPHEN ET AL. (EDS)“. Art Book 17, Nr. 1 (Februar 2010): 38–39. http://dx.doi.org/10.1111/j.1467-8357.2010.01079_3.x.
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Tingay, Steven. „Indigenous Australian artists and astrophysicists come together to communicate science and culture via art“. Journal of Science Communication 17, Nr. 04 (17.12.2018): C02. http://dx.doi.org/10.22323/2.17040302.
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During the International Year of Astronomy in 2009, we initiated a collaboration between astrophysicists in Western Australia working toward building the largest telescope on Earth, the Square Kilometre Array (SKA), and Indigenous artists living in the region where the SKA is to be built. We came together to explore deep traditions in Indigenous culture, including perspectives of the night sky, and the modern astrophysical understanding of the Universe. Over the course of the year, we travelled as a group and camped at the SKA site, we sat under the stars and shared stories about the constellations, and we talked about the telescopes we wanted to build and how they could sit on the Indigenous traditional country. We found lots of interesting points of connection in our discussions and both artists and astronomers found inspiration. The artists then produced <150 original works of art, curated as an exhibition called “Ilgarijiri — Things belonging to the Sky” in the language of the Wadjarri Yamatji people. This was exhibited in Geraldton, Perth, Canberra, South Africa, Brussels, the U.S.A., and Germany over the course of the next few years. In 2015, the concept went further, connecting with Indigenous artists from South Africa, resulting in the “Shared Sky” exhibition, which now tours the ten SKA member countries. The exhibitions communicate astrophysics and traditional Indigenous stories, as well as carry to the world Indigenous culture and art forms. The process behind the collaboration is an example of the Reconciliation process in Australia, successful through thoughtful and respectful engagements, built around common human experiences and points of contact (the night sky). This Commentary briefly describes the collaboration, its outcomes, and future work.
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De Largy Healy, Jessica. „“This is the Circle of the Art World”: Joe Gumbula and the Value of Digital Repatriation in Australia and Beyond“. Preservation, Digital Technology & Culture 47, Nr. 3-4 (19.12.2018): 149–58. http://dx.doi.org/10.1515/pdtc-2018-0025.
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AbstractThe title of this article was inspired by a filmed interview that I conducted with Joe Gumbula in France in July 2007 during one of his ARC-funded research trips in response to a sceptical European curator who wanted to know why the Yolŋu wanted to have their materials back. Was it because they had lost their culture? Drawing on Joe’s eloquent response, I outline his pioneering perspective on museum collaborations and the digital repatriation of knowledge. Rather than transfixing things on computers, repatriation processes should be seen as modern pathways that link Indigenous peoples to their past, as well as present and future visions, enabling renewed performances of culture. This article has been adapted from my closing plenary address in tribute to Joe Gumbula at the 2017 Information Technologies and Indigenous Communities Symposium in Melbourne.
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Usatenko, Galyna, und Tamara Usatenko. „UKRAINIAN-AUSTRALIAN LITERARY HORIZON: CHALLENGES OF ESTABLISHMENT“. Almanac of Ukrainian Studies, Nr. 29 (2021): 181–87. http://dx.doi.org/10.17721/2520-2626/2021.29.25.
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The article considers the role of Ukrainian literature in the preservation of native culture in Australia of immigrants from Ukraine in the first wave of settlement and the decline of interest in literature in the country of emigrants in the next waves of arrival. The increased attention of the first Ukrainian immigrants to fiction as a unique factor in preserving the mentality in the multicultural society, the formation of public identity, the development of worldview and cognitive, socio-humanitarian, sociopolitical beliefs of the community, each individual. Stages, forms, methods, approaches in the organization of mass literary education of Ukrainian settlers, the activity of literary, non-literary (cultural, sports, professional), commercial and noncommercial structures of the community in the organization of literary process is revealed: selection for reading of classical literature, financial support of writers, participation in printing literary texts, distributing, filling libraries with literature, etc. The contribution of book lovers' circles to the unity of the community, improvement of communication, personal relations, raising interest in reading Ukrainian literature, comprehension of the content of what is read is proved. The role of writers, writers' associations, organizations, literary studios, scientists, public activists in the development of cultural, artistic, literary, educational processes has been studied. The special role of Ukrainian studies centers of universities in Australia in the development of scientific foundations of education, literary studies simultaneously with the solution of economic and economic development, integration into the civil society of the state of Australia. The isolation of the factors of Ukrainian studies from the basis of Ukrainian studies is substantiated. Attention is paid to modern literary studies of the young gener ation of Ukrainian scientists born in Australia (field theory, network, art aesthetics, etc.) through the prism of postmodernist ideas of Western European culture. It is noted about the integration of the Ukrainian literary network into the Australian socio-cultural space. The connections and cooperation of Ukrainian studies centers in Australia with literary institutions of Ukraine, international scientific literary studies, Ukrainian studies centers are highlighted. The emergence of conflicts, conflicts of interest, desires, understanding of opposing views that appear in the process of communication between Ukrainian immigrants of the first wave of settlement and the representatives of the next stages, the preconditions of which are based on objective and subjective conditions. It is noted that the joint solution of inconsistencies based on cooperation and the development of constructive decisions is far from a positive clarification. Challenges, inconsistencies of the emigrant community of the first and subsequent waves of settlement, difficulties of preservation of identity, language, traditions, culture in the multicultural environment are found out.
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Cohen, Matthew Isaac. „Look at the Clouds: Migration and West Sumatran ‘Popular’ Theatre“. New Theatre Quarterly 19, Nr. 3 (August 2003): 214–29. http://dx.doi.org/10.1017/s0266464x03000125.
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The numerous interrelated ‘popular’ theatres of Indonesia provide important evidence for the study of artistic interaction and change. The West Sumatran Randai theatre emerged in a culturally hybrid space and has been a sensitive index to local, national, and international flows and conditions. Matthew Isaac Cohen traces the origins of Randai in the late-colonial period and discusses its associations with rantau – a time of temporary migration, traditionally associated with the rite of passage to adulthood, but increasingly a semi-permanent exile for many Sumatrans. He then traces how and why Randai has now become more than a local art form, having been exported out of the province of West Sumatra to be utilized as source material for modern theatre by Indonesian theatre makers in Jakarta and Australia. Matthew Isaac Cohen is a Lecturer in Theatre Studies at the University of Glasgow, a scholar of Indonesian theatre and performance, and a practising shadow puppeteer.
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Steklova, Irina A., und Olesya I. Raguzhina. „SCULPTURE PARKS OF THE XX CENTURY LAST THIRD – THE XXI CENTURY BEGINNING: TYPOLOGY EXPERIENCE“. Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, Nr. 41 (2021): 80–94. http://dx.doi.org/10.17223/22220836/41/7.
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The purpose of this article is to present sculpture parks at the modern stage of development, from the last third of the 20th century to our day. The relevance of this purpose is due to the relevance of these parks, which meets, firstly, on the challenges of culture, reproducing itself in the synthesis of landscape and monumental-decorative arts; secondly, on the demands of the population in artistically interpreted natural spaces; thirdly, on the life-building claims of modern art, which is looking for optimal ways of self-presentation. The representation of the sculpture parks is implied their systematization, which, in the course of the factual and visual material analysis, exhibits the most typical trends of formal and informative diversity and takes the form of a typology. To start building a typology, it was necessary to draw up a rather broad and spacious representative sample of objects and to select reference criteria in the trends of the manifold. Thus, a representative sample was made up of 90 Europe, Asia, Africa, Australia, and North and South America brightest objects, and following criteria were put forward: environmental involvement, authorship, the nature of specific forms and links between them. Typology showed that approximately two thirds of the sculpture parks are a product of the natural environment and one third of the architectural environment. In the natural environment, in authentic natural spaces, these are co-author full (independent and contextual) and special (by place, material, style, theme) formats, as well as mono-author formats. In an architectural environment, in integrated or interpreted natural spaces, these are, first of all, city formats that can be both co-authors and mono-authors: destinations, stops, transit zones. The implementation of the typology was facilitated by the attraction of a new material for the national art history. In the scientific circulation were introduced information about objects that were not mentioned before and unknown artists. Accounting for this information, along with known realities, allowed us to reach a higher understanding level of sculpture parks as a modern hypostasis of artistic synthesis.
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Millei, Zsuzsa, und Libby Lee. „‘Smarten up the Parents’: Whose Agendas are We Serving? Governing Parents and Children through the Smart Population Foundation Initiative in Australia“. Contemporary Issues in Early Childhood 8, Nr. 3 (September 2007): 208–21. http://dx.doi.org/10.2304/ciec.2007.8.3.208.
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This article critiques the Smart Population Foundation Initiative (SPFI), which was established to ‘bring parenting information and the science of child development to Australian parents and carers' (Smart Population Foundation, 2006) and to satisfy the need for a credible and easily accessible source of information for parents. The article draws on the notion of modern governance developed by Rose and analyses the Initiative as a deeply political project. It looks at the Initiative from a critical distance created by the context of governmentality. The authors argue that the discourses produced by the Initiative constitute a particular notion of parent as ‘smart’ (lifelong learner, responsible and informed). These discourses govern parents through ‘ethopolitics’ to take up a certain art of parenting as their supposed free choice. Through standardising and sanctioning a particular way of acting as a parent, the SPFI translates governmental objectives into parents' own values and practices. As a result, the discourse the SPFI constitutes about parenting effectively ‘shuts down’ multiple understandings of being a ‘good’ parent. Hence, parents' conscious formation of their parenting practices are inhibited and with that, the ethical debates around this contentious issue are silenced.
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Yuriy, Dyachenko. „FRENCH MUSETTE IN THE WORKS OF A. HAIDENKO“. Aspects of Historical Musicology 22, Nr. 22 (02.03.2021): 121–34. http://dx.doi.org/10.34064/khnum2-22.07.
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At the present stage of development of world music, the accordion and button accordion occupy one of the leading positions. Formation of instruments on the professional concert stage is an integral part of both world and Ukrainian musical culture, as evidenced by the composition, a large number of performing competitions and festivals that take place not only in Ukraine but also in Europe, Asia and America, and Australia. A significant phenomenon of the latest wave of development of accordion and button accordion art is the crystallization of pop and jazz in the works of composers and performers. From the second half of the twentieth century, the popularity of pop and jazz music among performers and listeners (due to its brightness and accessibility) opened new horizons, genre and stylistic searches which have largely affected the trends in the development of world accordion and button accordion art, including pop and jazz. The composer’s activity of leading performers is becoming a widespread phenomenon of modern pop-jazz accordion movement. Among them we note V. Podgorny, V. Zubytsky, V. Vlasov, A. Haidenko, O. Nazarenko, B. Myronchuk, A. Stashevsky and others. Well aware of the specifics of technical-expressive, acoustic and textural capabilities of modern accordion and button accordion, domestic composers-accordionists have created a large number of bright works of pop and jazz direction. Thus, the intensification of composer’s work and the emergence of new works of pop and jazz in the accordion and button accordion art of modern times have determined the relevance of the topic of this article. The purpose of the article is to identify the main stylistic and genre features of the French musette in the works of A. Haidenko. One of the most significant examples of this genre is the series «Paris Secrets» of five waltzes in the style of French musettes for accordion by A. Haidenko. Such a work as a «musette» has not yet been mastered by any of the domestic composers, especially in the form of a cycle. The composer rethought the basics of the French folk instrumental genre in terms of professional accordion performance. This synthesis transforms the genre of the musette, embodies the pop genre in terms of academic art. The use of professional performance capabilities distinguishes the artist’s works from other compositions of this style, with the general availability of musical material to a wide range of listeners. Typical melismatics of French musettes is organically and professionally implemented by A. Haidenko in the whole cycle. The melismatics is based on beamed ascending and descending grace notes on chord tones, “singing” grace notes on separate notes, chromatic grace notes (imitations of “transitions” to the sound), mordents. Sudden dynamic contrasts, shift of strong bars, chord introduction, virtuosity, brightness of phrases and sentences are typical for A. Haidenko’s musettes. The series of five waltzes for accordion “Paris Secrets” in the style of French musettes by A. Haidenko is a unique heritage not only of the domestic, but also of the world original repertoire.
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Black, Jane. „Beautiful Botanicals: Art from the Australian National Botanic Gardens Library and Archives“. Art Libraries Journal 44, Nr. 3 (12.06.2019): 124–31. http://dx.doi.org/10.1017/alj.2019.17.
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The Australian National Botanic Gardens plays an important role in the study and promotion of Australia's diverse range of unique plants through its living collection, scientific research activities and also through the art collection held in the institution's Library and Archives. Australia's history of formal botanical illustration began with the early voyages of discovery with its popularity then declining until the modern day revival in botanical art. The Australian National Botanic Gardens Library and Archives art collection holds works from the Endeavour voyage through to the more contemporary artists of Celia Rosser, Collin Woolcock, Gillian Scott and Aboriginal artists including Teresa Purla McKeeman as well as photographs and outdoor installations.
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BOLLEN, JONATHAN. „‘As Modern as Tomorrow’: Australian Entrepreneurs and Japanese Entertainment, 1957–1968“. Theatre Research International 43, Nr. 2 (Juli 2018): 147–64. http://dx.doi.org/10.1017/s0307883318000275.
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This article compares the efforts of two Australian entrepreneurs to import Japanese entertainments for theatres in mid-twentieth-century Australia. David N. Martin of the Tivoli Circuit and Harry Wren, an independent producer, were rivals in the business of touring variety-revue. Both travelled to Japan in 1957, the year that the governments of Australia and Japan signed a landmark trade agreement. Whereas Martin's efforts were hampered by the legacy of wartime attitudes, Wren embraced the post-war optimism for trade. Wren became the Australian promoter for the Toho Company of Japan, touring a series of Toho revues until 1968. These Toho tours have been overlooked in Australian histories of cultural exchange with Japan. Drawing on evidence from archival sources and developing insights from foreign policy of the time, this article examines why Australian entrepreneurs turned to Japan, what Toho sent on tour, and how Toho's revues played in Australia. It analyses trade in touring entertainment as a form of entrepreneurial diplomacy that sought to realize the prospects of regional integration.
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Lim, Kenneth JC, Pietro Di Ciaccio, Nada Hamad, Mark N. Polizzotto, Sam Milliken, Tara Cochrane, Zhong Goh et al. „Real-World Outcomes of Aggressive B-Cell Non-Hodgkin Lymphoma in People Living with HIV (PLWH) Treated in Australia: An Australasian Lymphoma Alliance Study“. Blood 138, Supplement 1 (05.11.2021): 1456. http://dx.doi.org/10.1182/blood-2021-144817.
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Abstract Background Modern antiretroviral therapy (ART) has reduced HIV associated morbidity and mortality, and allowed a similar treatment approach of aggressive lymphomas in PLWH to that of their HIV negative counterparts. Australia is an ethnically diverse country with a low HIV prevalence and an excellent population-wide ART coverage and adherence in PLWH. We aimed to describe the real-world Australian experience in managing PLWH diagnosed with diffuse large B cell lymphoma (DLBCL) and Burkitt lymphoma (BL), and compare our treatment approach and outcomes against international data. Methods This was a retrospective, multicenter study conducted by the Australasian Lymphoma Alliance across 6 centers in 5 states. HIV positive patients with biopsy proven BL and DLBCL, diagnosed between 1st January 2009 and 31st December 2019 were identified through each institution's database. Baseline patient and disease characteristics, treatment exposure and outcomes were extracted from hospital medical records. Descriptive statistics, and survival analyses were performed as appropriate. Results 44 patients (24 DLBCL, 20 BL) were included in the analysis. The median age was 52 years (range 32-78). The median follow-up was 1.8 years (range 0.1-13.1). 36 (82%) patients presented with advanced stage (III-IV) disease. 28 (64%) were defined as high-risk based on disease specific IPI scoring systems. The mean CD4 count was 334 cells/μL at diagnosis and 10 (23%) patients had a CD4 count of <100 cells/μL. 23 (52%) had a HIV viral load <50 copies/ml. 12 (27%) were diagnosed with HIV at the time of lymphoma diagnosis (Mean CD4 count 191 cells/μL, mean viral load 665,612 copies/ml). 41 (93%) patients received chemotherapy with curative intent and 39 (88%) received Rituximab. 37 (84%) were given concurrent ART and chemo(immuno)therapy. 11 (55%) of BL patients were treated with CODOX-M/IVAC or HyperCVAD followed by 6 (30%) with Da-EPOCH. 14 (58%) of DLBCL patients received CHOP-based therapy with 11 (45%) receiving more intensive regimens (Da-EPOCH, HyperCVAD or CODOX-M/IVAC). In the whole cohort, median number of chemotherapy cycles delivered was 6, 6, 4 and 3 for CHOP, Da-EPOCH, CODOX-M/IVAC and HyperCVAD respectively. CR rates after first-line curative intent therapy were 75% and 83% in BL and DLBCL respectively. All treatment response assessments were made by positron emission tomography. Grade 3-4 toxicity was significant higher in patients receiving intensive chemotherapy (77% vs 29%, p=0.015). Total treatment related mortality was 5% (2 died of bacterial sepsis). The 2-year OS was 77% (95% CI 61-88); 67% for BL (95% CI 46-88) and 81% for DLBCL (95% CI 53-90)]. 2-year PFS was 67% for BL (95% CI 40-83) and 77% for DLBCL (95% CI 53-89). An initial drop of mean CD4 count post treatment was observed (334 to 214 cells/μL), followed by a rise after 6 and 12 months (290 and 431 cells/μL respectively) (fig 1). At 6 months post chemotherapy, 83% of patients had a HIV viral load of <50 copies/ml with 40% and 83% achieving a CD4 count of >350 cells/μL and >200 cells/μL respectively. Conclusions A significant proportion of PLWH still present with aggressive lymphoma as an AIDS-defining event prior to HIV diagnosis, despite high levels of health education and healthcare availability. Our results appear equivalent to those for non-HIV patients with acceptable toxicity. Current Australian practice favors treating aggressive lymphomas in PLWH similarly to the HIV negative population, with the addition of concurrent ART. CD4+ T-cell-related immune reconstitution appears to recover within 6 months post-therapy. The OS of this cohort appears similar to the HIV negative population and published cohort studies (Coutinho AIDS 2013, Evens Blood 2019, Alderuccio Blood Adv 2021). Figure 1 Figure 1. Disclosures Hamad: Novartis: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau. Cheah: Beigene: Consultancy, Honoraria, Other: advisory; Celgene: Research Funding; AstraZeneca: Consultancy, Honoraria, Other: advisory; Loxo/Lilly: Consultancy, Honoraria, Other: advisory; TG Therapeutics: Consultancy, Honoraria, Other: advisory; AbbVie: Research Funding; Roche: Consultancy, Honoraria, Other: advisory and travel expenses, Research Funding; Janssen: Consultancy, Honoraria, Other: advisory; MSD: Consultancy, Honoraria, Other: advisory, Research Funding; Gilead: Consultancy, Honoraria, Other: advisory; Ascentage pharma: Consultancy, Honoraria, Other: advisory. Ku: Genor Biopharma: Consultancy; Antegene: Consultancy; Roche: Consultancy.
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Suprun, E., R. AlMeshari, T. Liu, R. A. Stewart und S. Duran. „Beyond compliance in the construction sector: Mapping the modern slavery statements through content analysis“. IOP Conference Series: Earth and Environmental Science 1101, Nr. 3 (01.11.2022): 032018. http://dx.doi.org/10.1088/1755-1315/1101/3/032018.
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Abstract Modern slavery is considered a widely recognized issue within labour-intensive markets of the construction industry. The recent introduction of the Modern Slavery Act 2018 (Cth) in Australia, has pragmatically pressured construction companies into publishing modern slavery statements that explore the methods in how they have managed to tackle and address the presence of modern slavery within their business and supply chains. This paper, as a part of an ongoing research project, conducts a content analysis to examine Australian modern slavery statements to identify common practices among Australian construction firms. For this purpose, we collected 62 modern slavery statements from construction companies that had issued such statements after the introduction of the regulatory requirement in Australia. The analysis uncovers diverse reporting practices in relation to the corporate commitment and governance, traceability and risk assessment, recruitment, purchasing practices, worker voice, remediation, and monitoring. The paper provides a baseline of understanding about the content and substance of modern slavery statements as a foundation for future research into developing an integrated framework for evaluating the performance on addressing modern slavery.
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Soroka, B. S., und V. V. Horupa. „SCIENTIFIC AND ENGINEERING PRINCIPLES OF EFFICIENT FUEL USE AND ENVIRONMENTALLY FRIENDLY GAS COMBUSTION IN STOVE PLATES. PART 1. MODERN STATE-OF-THE-ART AND DIRECTIONS FOR IMPROVEMENT THE GAS BURNING IN DOMESTIC GAS COOKERS“. Energy Technologies & Resource Saving, Nr. 3 (20.03.2017): 3–18. http://dx.doi.org/10.33070/etars.3.2017.01.
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Natural gas NG consumption in industry and energy of Ukraine, in recent years falls down as a result of the crisis in the country’s economy, to a certain extent due to the introduction of renewable energy sources along with alternative technologies, while in the utility sector the consumption of fuel gas flow rate enhancing because of an increase the number of consumers. The natural gas is mostly using by domestic purpose for heating of premises and for cooking. These items of the gas utilization in Ukraine are already exceeding the NG consumption in industry. Cooking is proceeding directly in the living quarters, those usually do not meet the requirements of the Ukrainian norms DBN for the ventilation procedures. NG use in household gas stoves is of great importance from the standpoint of controlling the emissions of harmful components of combustion products along with maintenance the satisfactory energy efficiency characteristics of NG using. The main environment pollutants when burning the natural gas in gas stoves are including the nitrogen oxides NOx (to a greater extent — highly toxic NO2 component), carbon oxide CO, formaldehyde CH2O as well as hydrocarbons (unburned UHC and polyaromatic PAH). An overview of environmental documents to control CO and NOx emissions in comparison with the proper norms by USA, EU, Russian Federation, Australia and China, has been completed. The modern designs of the burners for gas stoves are considered along with defining the main characteristics: heat power, the natural gas flow rate, diameter of gas orifice, diameter and spacing the firing openings and other parameters. The modern physical and chemical principles of gas combustion by means of atmospheric ejection burners of gas cookers have been analyzed from the standpoints of combustion process stabilization and of ensuring the stability of flares. Among the factors of the firing process destabilization within the framework of analysis above mentioned, the following forms of unstable combustion/flame unstabilities have been considered: flashback, blow out or flame lifting, and the appearance of flame yellow tips. Bibl. 37, Fig. 11, Tab. 7.
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Morse, Kate. „Shell beads from Mandu Mandu Creek rock-shelter, Cape Range peninsula, Western Australia, dated before 30,000 b.p.“ Antiquity 67, Nr. 257 (Dezember 1993): 877–83. http://dx.doi.org/10.1017/s0003598x00063894.
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Miller, Toby. „When Australia became modern“. Continuum 8, Nr. 2 (Januar 1994): 206–14. http://dx.doi.org/10.1080/10304319409365676.
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Kartika Bintarsari, Nuriyeni. „The Cultural Genocide in Australia: A Case Study of the Forced Removal of Aborigine Children from 1912-1962“. SHS Web of Conferences 54 (2018): 05002. http://dx.doi.org/10.1051/shsconf/20185405002.
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This paper will discuss the Forced Removal Policy of Aborigine children in Australia from 1912 to 1962. The Forced Removal Policy is a Government sponsored policy to forcibly removed Aborigine children from their parent’s homes and get them educated in white people households and institutions. There was a people’s movement in Sydney, Australia, and London, Englandin 1998to bring about “Sorry Books.” Australia’s “Sorry Books” was a movement initiated by the advocacy organization Australian for Native Title (ANT) to address the failure of The Australian government in making proper apologies toward the Aboriginal and Torres Strait Islander population. The objective of this paper is to examine the extent of cultural genocide imposed by the Australian government towards its Aborigine population in the past and its modern-day implication. This paper is the result of qualitative research using literature reviews of relevant materials. The effect of the study is in highlighting mainly two things. First, the debate on the genocidal intention of the policy itself is still ongoing. Secondly, to discuss the effect of past government policies in forming the shape of national identities, in this case, the relations between the Australian government and its Aborigine population.
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Anderson, Margot. „Dance Overview of the Australian Performing Arts Collection“. Dance Research 38, Nr. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Mudd, Gavin M. „The Legacy of Early Uranium Efforts in Australia, 1906 - 1945: From Radium Hill to the Atomic Bomb and Today“. Historical Records of Australian Science 16, Nr. 2 (2005): 169. http://dx.doi.org/10.1071/hr05013.
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The existence of uranium minerals has been documented in Australia since the late nineteenth century, and uranium-bearing ores were discovered near Olary ('Radium Hill') and in the Gammon Ranges (Mount Painter) in north-eastern South Australia early in the twentieth century. This occurred shortly after the discovery of radioactivity and the isolation of radium, and a mining rush for radium quickly began. At Radium Hill, ore was mined and concentrated on site before being transported to Woolwich in Sydney, where the radium and uranium were extracted and refined. At Mount Painter, the richness of the ore allowed direct export overseas. The fledgling Australian radium industry encountered many difficulties, with the scale of operations generally much smaller than at overseas counterparts. Remoteness, difficulties in treating the ore, lack of reliable water supplies and labour shortages all characterized the various attempts at exploitation over a period of about 25 years to the early 1930s. Hope in the potential of the industry, however, was eternal. When the British were working with the Americans during the Second World War to develop the atomic bomb, they secretly requested Australia to undertake urgent and extensive studies into the potential supply of uranium. This led to no exports but it did lay the groundwork for Australia's post-war uranium industry that has dominated the nation's nuclear diplomacy ever since. Some three decades later, the modest quantity of radioactive waste remaining at Woolwich was rediscovered, creating a difficult urban radioactive waste dilemma. The history of both the pre-war radium–uranium industry and Australia's involvement in the war-time exploration work is reviewed, as well as the radioactive waste problems resulting from these efforts, which, despite their relatively small scale, persist and present challenges in more modern times.
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Burgess, John, Kerry Brown, Adrian Wilkinson und Keith Townsend. „Has Australias Road to Workplace Partnership Reached a Dead End?“ International Journal of Comparative Labour Law and Industrial Relations 29, Issue 2 (01.06.2013): 239–56. http://dx.doi.org/10.54648/ijcl2013016.
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Over the last fifteen years, a number of developed countries have pursued an agenda seeking to develop more collaborative management-union arrangements often labelled as partnerships. This article reviews the Australian road to partnerships by situating it within the context of developments in the UK and New Zealand. In 2009, Australia's then Deputy Prime Minister and Minister for Workplace Relations, Julia Gillard, suggested that Australian Industrial Relations were about to undergo a shift towards a new model of workplace interaction that included more collaboration and partnerships. We argue that rather than a substantial shift, this approach can be viewed as an evolution from the Accord years, disrupted for a period by the Howard Government. However, unlike similar regulatory regimes in the United Kingdom and New Zealand, the Australian Government has done little to entrench a system of partnerships at the workplace level. This article assesses the extent to which collaboration and partnership in Australia's modern IR system provides a roadmap to a new Australian IR landscape, or whether the failure of policy-makers to act has led to a dead-end for Australian partnerships. The practical implications of this agenda for the conduct of industrial relations are considered.
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Cooper, Rae. „The ‘New’ Industrial Relations and International Economic Crisis: Australia in 2009“. Journal of Industrial Relations 52, Nr. 3 (Juni 2010): 261–74. http://dx.doi.org/10.1177/0022185610365623.
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While the sphere of industrial relations was overshadowed by the global financial crisis, 2009 was a year of immense change in the regulation of work and workplaces. Many provisions of the Rudd government’s Fair Work Act 2009, including the new collective bargaining regime, came into effect. Unions and employer organizations were preoccupied with the monumental process of award modernization throughout 2009. The AIRC has ceased to exist and it, along with a number of other regulatory bodies, has been subsumed into the new institution Fair Work Australia. The remaining key provisions of the Fair Work Act 2009, including the NES and modern awards, are effective on January 1 2010. This article analyses the early days of the operation of this ‘new’ Australian industrial relations.
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MURPHY, KATE. „‘The modern idea is to bring the country into the city’: Australian Urban Reformers and the Ideal of Rurality, 1900–1918*“. Rural History 20, Nr. 1 (April 2009): 119–36. http://dx.doi.org/10.1017/s0956793308002616.
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AbstractIn the early twentieth century, Australians strove to create a rural civilisation through state legislation to encourage rural closer settlement. The fantasy that Australia might one day support a rural population of perhaps hundreds of millions endured despite the overwhelmingly urbanised character of the nation and the harsh realities of its environment. This rural dream was present not merely in the discourse surrounding the rural settlement imperative, but also inflected the language and modes of urban reform, as planners sought to ‘ruralise’ the urban environment to reflect something distinctive about Australian life. Previous scholarship addressing the rural ideal in Australian history, as well as urban history, has failed to interrogate these links. This article illuminates the power and ideological reach of rurality in the Australian nation-building project and pushes the boundaries of ‘rural history’ by considering the ways in which reformers sought to extend a projected Australian ‘rural civilisation’ into the cities.
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Richards, Harriette. „Risk, Reporting and Responsibility: Modern Slavery, Colonial Power and Fashion’s Transparency Industry“. International Journal for Crime, Justice and Social Democracy 11, Nr. 2 (03.06.2022): 47–60. http://dx.doi.org/10.5204/ijcjsd.2378.
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This article investigates the role of the Australian Modern Slavery Act 2018 as a reporting mechanism aimed at preventing the use of forced labour in global supply chains. In the fashion industry, modern slavery legislation pursues the ambitions of activist movements that have long campaigned for increased knowledge about supply chain practices to improve the labour conditions of garment workers, especially for those in the Global South. In recent years, such campaigns against the entrenched opacity of the global fashion system have given rise to a transparency industry built on practices of auditing and supply chain management, including in relation to modern slavery legislation. This article analyses 10 modern slavery statements submitted to the online Modern Slavery Register by fashion brands operating in Australia in the 2019–2020 reporting period to explore how the Modern Slavery Act 2018 participates in colonial relations of power. It focuses on three aspects of the statements: factory reporting and third-party auditing, corporate grievance mechanisms, and risks associated with COVID-19. Finally, the article argues that while improved transparency can generate positive outcomes for workers, the reporting required by modern slavery legislation is often more concerned with providing assurances about labour standards to consumers and stakeholders in the Global North than with the needs or experiences of workers in the Global South.
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Elpatsa, Angga, San Ahdi und Defrizal Saputra. „BUSHCRAFT DALAM KARYA UKIR BATU“. Gorga : Jurnal Seni Rupa 11, Nr. 2 (24.12.2022): 497. http://dx.doi.org/10.24114/gr.v11i2.38312.
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So far, many people don't know the term Bushcraft in detail, even though we see this language very often on our social media. In a narrow sense, some of us think that bushcraft is about adventure in the wild, or there are also those who think that this is the same as the science of survival in the wild. Indeed, some of these points of view are a bit close to the notion of bushcraft itself, both are related to survival in the wild, but there are differences. Bushcraft is more about using primitive tools made by hand as a medium for survival in the wild. This is one of the author's goals in the creation of this stone carving, using primitive human knowledge as a technique for survival. The method of creating this stone carving work is by elaboration and synthesis. Elaboration is an activity carried out by the author to find and collect the required data and work carefully. Then the data is analyzed in detail in the preparation process. Synthesis is a process of combining the results of the elaboration to be realized in a form of concept work. The creation of this work is an implementation of primitive culture as a way to survive. This stone carving later developed into a work of art that has aesthetic value in today's society. Not only as a form of survival in the wild, even bushcraft scholarship can also be a medium of survival in this era of globalization.Keyword : bushcraft, carving, stone. AbstrakIstilah Bushcraft sejauh ini masih banyak yang belum mengetahui secara detail, walaupun penggunaan bahasa ini sangat sering kita lihat dalam media sosial kita. Dalam makna sempitnya sebagian kita menganggap bushcraft ialah tentang berpetualang di alam liar, atau ada juga yang menganggap hal ini sama dengan keilmuan bertahan hidup di alam liar. Memang beberapa sudut pandang tersebut sedikit berdekatan dengan pengertian bushcraft itu sendiri, sama-sama berkaitan dengan bertahan hidup di alam liar, namun ada perbedaannya. Bushcraft lebih kepada penggunaan alat-alat primitif yang dibuat oleh tangan sebagai media untuk bertahan hidup di alam liar. Inilah salah satu tujuan penulis dalam penciptaan karya ukir batu ini, menggunakan keilmuan manusia primitif tersebut sebagai teknik untuk bertahan hidup. Metode penciptaan karya ukir batu ini adalah dengan elaborasi dan sintesis. Elaborasi merupakan kegiatan yang dilakukan penulis untuk mencari dan mengumpulkan data-data yang dibutuhkan serta pengerjaan karya dengan teliti. Kemudian data-data tersebut dianalisis secara rinci dalam proses persiapan. Sedangkan Sintesis merupakan suatu proses penggabungan hasil dari elaborasi untuk diwujudkan dalam sebuah bentuk konsep karya. Penciptaan karya ini merupakan implementasi dari budaya primitif sebagai salah satu cara untuk bertahan hidup. Ukiran batu ini kemudian berkembang menjadi sebuah karya seni yang bernilai estetik di tengah kehidupan masyarakat sekarang. Bukan hanya sebagai bentuk bertahan hidup di alam liar bahkan keilmuan bushcraft ini juga bisa menjadi sebagai media bertahan hidup di era globalisasi seperti sekarang ini.Kata kunci: bushcraft, ukiran, batu. Authors:Angga Elpatsa : Universitas Ngeri PadangSan Ahdi : Universitas Ngeri PadangDefrizal Saputra : Universitas Ngeri Padang References:Adiyuwono, N. S. (2008). Survival. Teknik Bertahan Hidup Di Alam Bebas. Bandung: Angkasa.Bahari, N. (2008). Kritik Seni Wacana: Wacana Apresiasi dan Kreasi. Yogyakarta: Pustaka Pelajar.Fenton, L. (2016). Bushcraft and Indigenous Knowledge : Transformation of a Concept in the Modern World. Doctoral of Philosophy (PhD) Thesis, Inggris: University of Kent.Justin, M. R., Rohiman, R., & Darmawan, A. (2022). Desain Identitas Visual pada UMKM Ruang Keramik Studio Kota Metro Lampung. Gorga: Jurnal Seni Rupa, 11(1), 156-164. https://doi.org/10.24114/gr.v11i1.34948.Grave, R. (1984). Australian Bushcraft: A Guide To Survival & Camping. Australia: Pty Ltd.Kusrianto, A. (2009). Pengantar Desain Komunikasi Visual. Yogyakarta: Andi Offset.Kartika, D. S. (2003). Tinjauan Seni Rupa Modern. Surakarta: Departemen Pendidikan Nasional STSI Surakarta.Marah, R. (1988). Ragam Hias Minangkabau. Jakarta: Departemen Pendidikan dan Kebudayaan.Maulana, A. (2009). Kamus Ilmiah Populer. Yogyakarta: Absolut.Oxford, E. D. (1989). A New English Dictionary on Historical Principles (NED).English: Oxford University Pressamadhan, M. S., Yulianti, K. N., & Ananta, D. (2022). Inovasi Produk Fashion dengan Menerapkan Karakter Visual Chiaroscuro Menggunakan Teknik Cetak Tinggi Cukil Kayu Block Printing. Gorga: Jurnal Seni Rupa, 11(1), 192-201. https://doi.org/10.24114/gr.v11i1.33052.Susanto, M. (2012). Diksi Rupa: Kumpulan Istilah dan Gerakan Seni Rupa. Yogyakarta: DictiArt Lab & Djagad Art House.
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Jorm, Jennifer. „Antipodean Early Modern: European Art in Australian Collections ed. by Anne Dunlop“. Parergon 38, Nr. 1 (2021): 210–11. http://dx.doi.org/10.1353/pgn.2021.0027.
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Rao, Kathyayini Kathy, Roger Leonard Burritt und Katherine Christ. „Quality of voluntary modern slavery disclosures: top Australian listed companies“. Pacific Accounting Review 34, Nr. 3 (01.04.2022): 451–78. http://dx.doi.org/10.1108/par-07-2021-0117.
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Purpose There is a growing concern over the need for greater transparency of quality information by companies about modern slavery to contribute toward elimination of the practice. Hence, this paper aims to examine factors behind the quality of voluntary modern slavery disclosures and major sources of pressure on Australian company disclosures in a premodern slavery legislated environment. Design/methodology/approach Content analysis and cross- sectional regression modeling are conducted to analyze factors determining the quality of voluntary modern slavery disclosures of the top 100 firms listed on the Australian Stock Exchange and their implications for institutional pressures. Findings Results indicate that size, assurance by Big-4 firms and publication of stand-alone modern slavery statements are significant drivers of disclosure quality in the sample. Profitability, listing status and the degree of internationalization are found to be unrelated to the quality of voluntary modern slavery disclosures. Industry classification is significant but only partly supports the prediction, and further investigation is recommended. Practical implications This paper provides a foundation for regulators and companies toward improving the quality of their modern slavery risk disclosures with a particular focus on prior experience, assurance and size. In practice, contrary to suggestions in the literature, results indicate that monetary penalties are unlikely to be an effective means for improving the quality of modern slavery disclosure. Results of the study provide evidence of poor quality of disclosures and the need for improvement, prior to introduction of modern slavery legislation in Australia in 2018. It also confirms that regulation to improve transparency, through the required publication of a modern slavery statement, is significant but not enough on its own to increase disclosure quality. Originality/value To the best of the authors’ knowledge, this is the first research examining company level factors with an impact on voluntary modern slavery disclosure quality and the links to institutional pressures, prior to the introduction of the Commonwealth Modern Slavery Act 2018.
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Rawling, Michael, und Eugene Schofield-Georgeson. „Industrial legislation in Australia in 2018“. Journal of Industrial Relations 61, Nr. 3 (01.05.2019): 402–20. http://dx.doi.org/10.1177/0022185619834058.
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It has been a quiet year like last year for the passing of federal industrial legislation (due to a number of factors, including the political turmoil of the federal coalition government and their lack of an overall labour law reform agenda). This article examines key federal industrial legislative developments including the Modern Slavery Act 2018 (Cth). The article identifies that the federal Act contains much weaker compliance measures than the counterpart New South Wales legislation also passed in 2018 – the Modern Slavery Act 2018 (NSW). Also, although the Coalition government has attempted to continue to prosecute its case for further union governance measures, this agenda has been less successful than in previous years, with key government Bills not yet passed by the Parliament. The stagnation in the federal Parliament continues to motivate certain State Parliaments to address worker exploitation, and the article goes on to examine key State industrial legislation passed in 2018 including the Victorian labour hire licensing statute. In light of the continuing dominant position of the federal Labor opposition in opinion polls and an impending federal election in 2019, the article concludes by briefly considering the federal Labor opposition's agenda for industrial legislation.
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Grantham, Ross. „The Proceduralisation of Australian Corporate Law“. Federal Law Review 43, Nr. 2 (Juni 2015): 233–57. http://dx.doi.org/10.22145/flr.43.2.3.
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The central hypothesis of the paper is that bit by bit and largely unnoticed Australian corporate law has undergone a profound change. Australian corporate law, and particularly the Corporations Act 2001 (Cth), has moved from an essentially private law, substantive rights model, to one that seeks to regulate the company and those involved in its affairs through the prescription of processes and procedures by which corporate decisions may be made and by which the procedural correctness of those decisions is assured. The paper will also seek to demonstrate, by an analysis of the changes in the patterns of corporate case law, that this proceduralising trend has effected a fundamental change in the nature of corporate law and the role of the courts and may now claim to be a, if not, the principal characteristic of Australian corporate law. The paper concludes by highlighting some of the wider implications of this trend and the risk it poses to the intellectual heart of corporate law. The modern registered company owes its immediate creation to the legislature. Historically, however, the nature of the corporate form and the content of what is now known in Australia as corporate law has been very much more the work of the courts.1 It is thus the case that the decision of the House of Lords in Salomon v A Salomon & Co Ltd2 is more often cited as the foundation of modern corporate law than are the Joint Stock Companies Act 1844 (UK)3 or the Limited Liability Act 1855 (UK).4 It is also the case that the building blocks of corporate law were predominantly taken from the private law. Within the open girders of the statutory framework,5 corporate law was built out of the concepts of contract, property, and trust. It is thus not surprising that the company was, and is still, regarded as a fundamentally private legal and economic institution.6
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Arnold, Jeremy W. H. „Ancestral Modern: Australian Aboriginal Art. By Pamela McClusky et al. Seattle: Seattle Art Museum, 2012. Pp. 176; plates. $50.00.“ Religious Studies Review 39, Nr. 3 (September 2013): 162. http://dx.doi.org/10.1111/rsr.12054_3.
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Hackett, Jim. „Onboard Electronic Fraud: Piracy in the Twenty-First Century?“ Air and Space Law 36, Issue 6 (01.12.2011): 453–76. http://dx.doi.org/10.54648/aila2011042.
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Internet access is available on some international flights; this will become more commonplace in the future. Internet frauds abound. Already, most personal banking is performed using the Internet; it is easy to transfer funds from one account to another, including from a personal or trust account to that of a fraudster. For example, if a trustee who is both an Australian citizen and a Hong Kong permanent resident, on board an aircraft (Cathay Pacific, Virgin Atlantic, or Qantas) in international airspace flying from Hong Kong to Australia, uses a personal computer to access an Australia-based trust account and (while unauthorized) transfers money to a personal account, has the trustee committed any crime for which he/she may be arraigned in any jurisdiction? It will be argued that the answer may be 'no'. What if the trustee is flying Cathay Pacific? This is partly because the law of Hong Kong insists that Hong Kong has jurisdiction over acts committed by persons aboard Hong Kong-registered aircraft yet does not recognize Internet activity of the type indicated above as a crime if the perpetrator is in international airspace. Similarly, if the trustee is on Virgin Atlantic, the United Kingdom claims jurisdiction and holds that no crime has been committed unless a trust fund based in the home country has been plundered. However, the (Australian) Criminal Code 1995 (Cth) (hereinafter 'the Code') appears to forbid the type of fund transfer mentioned (whether the trustee is on Cathay Pacific, Virgin Atlantic, or Qantas); it thus seems at first blush that the trustee has committed a crime in Australia. The problem is that a Commonwealth prosecutor cannot (it is submitted) access the Code, because the Crimes (Aviation) Act 1991 (Cth) (promulgated earlier in time than the Code) effectively states that no non-violent act in which a person engages on an Australia-bound aircraft (Qantas or otherwise) in international airspace after takeoff from a foreign country is a crime. On such a flight, the Code is inapplicable. The maxim generalia specialibus non derogant is relevant. One solution is that concerned States should draft and sign a treaty that puts national law to one side to ensure that modern-day pirates (such as the errant trustee) are nowhere safe. Similar treaties are already in force to deal with high-seas pirates and aircraft hijackers; the meaning of piracy requires expansion in the twenty-first century.
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Leach, Andrew. „Review: Australia: Modern Architectures in History, by Harry Margalit“. Journal of the Society of Architectural Historians 80, Nr. 1 (01.03.2021): 118–19. http://dx.doi.org/10.1525/jsah.2021.80.1.118.
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Huppatz, D. J. „Modern Times: The Untold Story of Modernism in Australia“. Design and Culture 2, Nr. 2 (Juli 2010): 243–45. http://dx.doi.org/10.2752/175470710x12696138525866.
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Baier, Martin, Sri Kuhnt-Saptodewo, H. J. M. Claessen, Annette B. Weiner, Charles A. Coppel, Wang Gungwu, Heleen Gall et al. „Book Reviews“. Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 150, Nr. 3 (1994): 588–623. http://dx.doi.org/10.1163/22134379-90003081.
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- Martin Baier, Sri Kuhnt-Saptodewo, Zum Seelengeliet bei den Ngaju am Kahayan; Auswertung eines Sakraltextes zur Manarung-Zeremonie beim totenfest. München: Akademischer Verlag,1993 (PhD thesis, Ludwig-Maximilian-Universitiy München). - H.J.M. Claessen, Annette B. Weiner, Inalienable Possessions; The paradox of keeping-while-giving. Berkeley: University of California Press, 1992, 232 pp. Bibl. Index - Charles A. Coppel, Wang Gungwu, Community and Nation; China, Southeast Asia and Australia. Sydney: Asian studies of Australia in association with Allen & Unwin, 1992 (2nd revised edition), viii + 359 pp - Heleen Gall, W. J. Mommsen, European expansion and Law; the encounter of European and Indigenous Law in 19th- and 20th- century Africa and Asia. Oxford; Berg publishers, 1992, vi + 339 pp, J.A. de Moor (eds.) - Beatriz van der Goes, C. W. Watson, Kinship, Property and inheritance in Kerinci, Central Sumatra. Canterbury:University of Kent, Centre for Social Anthropology and computing Monographs no: 4. South-East Asian Series, 1992, ix + 255 pp - Kees Groeneboer, Tom van der Berge, Van Kenis tot kunst; Soendanese poezie in de koloniale tijd. Proefschrift Rijksuniversiteit Lieden, November 1993, 220 pp - Kees Groeneboer, J.E.A.M. Lelyveld, ‘... waarlijk geen overdaad, doch een dringende eisch..’’; Koloniaal onderwijs en onderwijsbeleid in Nederlands-Indië 1893-1942. Proefschrift Rijksuniversiteit Utrecht, 1992. - Marleen Heins, R. Anderson Sutton, Variation in Central Javanese gamelan music; Dynamics of a steady state. Northern Illinois University: Center for Southeast Asian Studies, Monograph series on Southeast Asia, (Special Report 28 ),1993. - Marleen Heins, E. Heins, Jaap Kunst, Indonesian music and dance; Traditional music and its interaction with the West. Amsterdam: Royal Tropical Institute/Tropenmuseum, University of Amsterdam, Ethnomusicology Centre `Jaap Junst’, 1994, E. den Otter, F. van Lamsweerde (eds.) - David Henley, Harold Brookfield, South-East Asia’s environmental future; The search for sustainability. Tokyo: United Nations University Press, Kuala Lumpur: Oxford University Press, 1993, xxxii + 422 pp., maps, tables, figures, index., Yvonne Byron (eds.) - Antje van der Hoek, Keebet von Benda-Beckmann, De emancipatie van Molukse vrouwen in Nederland. Utrecht: Van Arkel,1992, Francy Leatemia-Toma-tala (eds.) - Michael Hitchcock, Brita L. Miklouho-Maklai, Exposing Society’s Wounds; Some aspects of Indonesian Art since 1966. Adelaide: Flinders University Asian studies Monograph No.5, illustrations, 1991, iii + 125 pp - Nico Kaptein, Fred R. von der Mehden, Two Worlds of Islam; Interaction between Southeast Asia and the Middle East.Gainesville etc: University Press of Florida 1993, xiii + 128 pp - Nico Kaptein, Karel Steenbrink, Dutch Colonialism and Indonesian Islam; Contacts and Conflicts 1596-1950. Amsterdam-Atlanta, GA: Rodopi, 1993. - Harry A. Poeze, Rudolf Mrázek, Sjahrir; Politics and exile in Indonesia. Ithaca, N.Y.: Cornell University, Southeast Asia Program, 1994. - W.G.J. Remmelink, Takao Fusayama, A Japanese memoir of Sumatra 1945-1946; Love and hatred in the liberation war. Ithaca: Cornell University (Cornell Modern Indonesia Project Monograph series 71), 1993, 151 pp., maps, illustrations. - Ratna Saptari, Diana Wolf, Factory Daughters; Gender, Household Dynamics, and Rural Industrialization in Java. Berkeley: University of California Press, 1992. - Ignatius Supriyanto, Ward Keeler, Javanese Shadow Puppets. Singapore (etc.): Oxford University Press, 1992, vii + 72 pp.,bibl., ills. (Images of Asia). - Brian Z. Tamanaha,S.J.D., Juliana Flinn, Review of diplomas and thatch houses; Asserting tradition in a changing Micronesia. Ann Arbor: University of Michigan Press, 1992. - Gerard Termorshuizen, Dorothée Buur, Indische jeugdliteratuur; Geannoteerde bibliografie van jeugdboeken over Nederlands-Indië en Indonesië, 1825-1991. Leiden, KITLV Uitgeverij, 1992, 470 pp., - Barbara Watson Andaya, Reinout Vos, Gentle Janus, merchant prince; The VOC and the tightrope of diplomacy in the Malay world, 1740-1800. Leiden: KITLV Press, 1994, xii + 252 pp.
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Tompkins, Joanne. „Impact of the Modern: Vernacular Modernities in Australia 1870s–1960s“. Contemporary Theatre Review 19, Nr. 3 (August 2009): 372–74. http://dx.doi.org/10.1080/10486800903000151.
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Nunn, Pamela Gerrish, Jane Hylton, Deborah Hart und Joanne Drayton. „Modern Australian Women: Paintings and Prints 1925-1945“. Woman's Art Journal 24, Nr. 2 (2003): 44. http://dx.doi.org/10.2307/1358789.
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Allatson, Paul, und Andrea Connor. „Ibis and the city: bogan kitsch and the avian revisualization of Sydney“. Visual Communication 19, Nr. 3 (24.05.2020): 369–90. http://dx.doi.org/10.1177/1470357220912788.
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The Australian White Ibis (Ibis) ( Threskiornis molucca) is one of three endemic Ibis species in Australia. In a short time frame beginning in the 1970s, this species has moved from inland waterways to urban centres along the eastern and southeastern seaboards, Darwin and the Western Australian southwest. Today Ibis are at home in cities across the country, where they thrive on the food waste, water resources and nesting sites supplied by humans. In this article, the authors focus on Sydney to argue that the physical and cultural inroads of Ibis, and the birds’ urban homeliness, are resignifying urban surfaces and the multispecies ecologies in which contemporary Australians operate. They explore how the very physical and sensory presence of Ibis disrupts the assumptions of many urban Australians, and visitors from overseas, that cities are human-centric or human-dominant, non-hybrid assemblages. They also introduce to this discussion of disrupted human expectations a cultural parallel, namely, the recent rise of Ibis in popular culture as an icon-in-the-making of the nation and as a totem of the modern Australian city itself. This trend exemplifies an avian-led revisualization of urban spaces, and is notable for its visual appeals to Ibis kitsch, and to working class or ‘bogan’ sensibilities that assert their place alongside cosmopolitan visions of being Australian. Sometimes kitsch Ibis imagery erupts across the urban landscape, as occurs with many Ibis murals. At other times it infiltrates daily life on clothing, on football club, university and business logos, as tattoos on people’s skin, and as words in daily idiom, confirmed by terms such as ‘picnic pirates’, ‘tip turkeys’ and ‘bin chickens’. The article uses a visual vignette methodology to chart Ibis moves into Sydney and the realms of representation alike, and thus to reveal how new zoöpolitical entanglements are being made in the 21st century.
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Stringer, Chris. „Has Australia backdated the Human Revolution?“ Antiquity 73, Nr. 282 (Dezember 1999): 876–79. http://dx.doi.org/10.1017/s0003598x00065613.
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Australia has usually played a supporting role in the story of human evolution — regarded as a place at the edge of the inhabited world where modern humans arrived relatively late and then remained largely isolated from subsequent developments. However, new dates for a human burial at Mungo, New South Wales (Thorne et al. 1999) may not only force revision of views about the peopling of Australia, but also have a wider impact on ideas about modern human origins.