Academic literature on the topic 'Art, Australian European influences'

Late Holocene patterns of change in occupation and use of islands along the eastern coast of Queensland have long been debated in terms of various drivers, though much of this discussion relates to regions south of Cairns, with comparatively little study of the far northern Great Barrier Reef islands. The numerous middens, stone arrangements and art sites on Lizard Island suggest long-term use by Indigenous people, but recent discoveries of pottery give tantalising glimpses of a prehistoric past that may have included a prehistoric economy involving pottery. Here we review previous archaeological surveys and studies on Lizard Island and report on new archaeological and palaeoenvironmental studies from the Site 17 midden at Freshwater Beach, with an oldest date of 3815–3571 cal BP. We identify two major changes in the archaeological and palaeoenvironmental records, one associated with more recent European influences and the other at c.2000 cal BP. Pottery from the intertidal zone is as yet undated. When dates become available the relationship between the Site 17 results reported here and the use of pottery on the island may be clarified.

In this paper Rachel Fensham returns to the writings of Gaston Bachelard in order to examine the poetics of space from a non-European perspective. Spatial metaphors, such as the ‘dead heart’ that might evoke phenomenological and psychic dimensions of space in Australia, also register in historical and geographical imaginaries. However, postcolonial theories of space disturb visual metaphors and cartographic concepts in the mises en scène of theatrical performance. Here, Fensham analyzes two recent performances that radically reimagine the poetics of (Australian) space through the movement trajectories of walking and falling. Rachel Fensham is a Professor of Dance and Theatre Studies at the University of Surrey. Her book with Denise Varney, The Dolls' Revolution: Australian Theatre and Cultural Imagination (Australian Scholarly Publishing, 2005), examines the influence of women playwrights on mainstream Australian theatre, and she is currently undertaking research on transnationalism and choreographic practice.

<p>Moslem society as a part of the population of the south world, culturally, is in the influence of the hegemony of non-moslem culture, mainly, European, American, and Australian as parts of the north world population. Until the mid twentieth century, the hegemony existed in the form of military imperialism. Meanwhile, in the post mid twentieth century the hegemony changed into cultural imperialism in many areas, such as social, economic, social and even art. The countries of the south world have really done some efforts to face the neo imperialism, but have not suceeded well. Therefore, more serious effort should be done to face the neo imperialism, that is the creativity to make the European and American cultural products as materials that can be creatively rearranged and matched with the local culture. In the creative process the spiritual dimension of culture should become the basis of cultural production process at present and in the future to create a fair relation. The use of spiritual dimension of culture can create new cultural products. In turn, the cultural products of the south world will exist, and finally they can be exchanged with the products of the north world. This is what China is doing with its developing economic power to balance out the domination of Europe and America. The same hopefully appears from the Islam world although it needs more serious cultural works. According to Faisal Ismail, the awakening of Islam and its culture depend on the moslem themselves and their cultural works.</p><p> </p><p>Masyarakat Muslim sebagai bagian dari populasi dunia selatan, secara kultural, berada dalam pengaruh hegemoni budaya non-muslim, terutama Eropa, Amerika, dan Australia sebagai bagian dari populasi dunia utara. Sampai pertengahan abad ke-20, hegemoni itu ada dalam bentuk imperialisme militer. Sementara itu, pada pertengahan abad ke-20 hegemoni berubah menjadi imperialisme budaya di banyak bidang, seperti sosial, ekonomi, sosial dan bahkan kesenian. Negara-negara di dunia selatan telah benar-benar melakukan beberapa upaya untuk menghadapi imperialisme neo, namun belum berhasil dengan baik. Karena itu, usaha yang lebih serius harus dilakukan untuk menghadapi neo imperialisme, yaitu kreativitas membuat produk budaya Eropa dan Amerika sebagai bahan yang bisa ditata ulang secara kreatif dan disesuaikan dengan budaya lokal. Dalam proses kreatif dimensi spiritual budaya harus menjadi dasar proses produksi budaya saat ini dan di masa depan untuk menciptakan hubungan yang adil. Penggunaan dimensi spiritual budaya bisa menciptakan produk budaya baru. Pada gilirannya, produk budaya dunia selatan akan ada, dan akhirnya mereka bisa dipertukarkan dengan produk-produk dari dunia utara. Inilah yang dilakukan China dengan kekuatan ekonomi yang berkembang untuk mengimbangi dominasi Eropa dan Amerika. Hal yang sama semoga muncul dari dunia Islam meski membutuhkan karya budaya yang lebih serius. Menurut Faisal Ismail, kebangkitan Islam dan budayanya bergantung pada umat Islam sendiri dan karya budaya mereka.</p>

Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief moment of the artists’ working and exhibiting together also enriched their later individual work with the very idea of a common Slav cultural memory.

As the worldwide prevalence of type 2 diabetes continues to rise at an alarming rate, the search for susceptible populations likely to benefit from preventative measures becomes more important. One such population is women with a previous history of gestational diabetes mellitus (GDM). In this prospective study of 101 women who had GDM in Australia, ethnicity was a major risk factor for the development of diabetes following a diagnosis of GDM. With a mean followup of 5.5 years after GDM, South Asian women had a significantly higher risk of developing abnormal glucose tolerance (AGT) (69%) than women of all other ethnicities (P<0.05). The prevalence of diabetes and impaired glucose tolerance was also very high amongst other groups: South East and East Asian (11/27, 41%), Middle-Eastern (8/18, 44%), South European backgrounds (5/12, 42%), and Australian-born women 39% (11/28). A review of the literature supports the role of ethnicity in the development of diabetes amongst these women. These findings have implications for South Asian countries and countries such as Australia where there is a population from diverse ethnic backgrounds and where the implementation of targeted measures to stem the growing tide of diabetes is needed.

The objective of the study was to determine for Australian wild rabbits the specificity of a competitive enzyme-linked immunosorbent assay (cELISA) developed in Italy for detecting antibodies to RHDV. Analysis of 657 sera collected before the arrival of RHDV (pre-RHD) indicated that between 17 and 38% appeared to give false positive results depending on the cut-off criteria used. The finding of pre-RHD sera reacting positively in the cELISA prompted the testing of sera in a cELISA using as antigen smooth forms of RHDV (cELISA-sf) and a solid-phase ELISA (spELISA), both of which detect reactivity to an epitope shared by the lagomorph caliciviruses. Testing of a subset of the pre-RHD sera in the cELISA-sf and the spELISA revealed that 86 and 91%, respectively, were positive. Similar results were obtained for a set of sera collected pre-RHD in the Australian Capital Territory (ACT). Sera collected from wild-stock rabbits born and raised in isolation in an animal house in the ACT were all negative in the cELISA, 6% were positive in the cELISA-sf and 13% in the spELISA. It was concluded that a calicivirus related to RHDV and European brown hare syndrome virus (EBHSV) was present in the rabbit population before the arrival of RHDV, and may still be present. The potential consequences of these findings for epidemiological studies on RHD in Australia are discussed.

Abstract Runing the new century (XX) attests in Bessarabian art, the experience of several decades of professional artistic activity (the first Evening School of Drawing appears in Chisinau in 1887 and is due scholar Academy of Arts in St. Petersburg, Terinte Zubcu). Such short experience has not met any of the neighboring countries' national schools. In Bessarabia from the beginning of the twentieth century is established the main areas of professional art – painting- with remarkable portraits, landscapes, genre paintings; sculpture with respective genres; stampa as a kind of graphics. Marked by the period and by the influences of art schools, where Bessarabians have studied, it is clear that in painting and sculpture and graphics in the first round, have dominated peredvizhnik influences their color and monochrome theme. Guidelines of Bessarabian plastic artists in the development phase of modern art, is the decisive moment of establishment of the Bessarabian engraving as a kind of professional art, marked by tendencies that have appeared in European art and Russian at the limit of nineteenth and twentieth centuries, such as Expressionism in the works of Sneer Cogan, George Ceglocof and Art 1900 in the works of Theodor Kiriacoff, Elisabeth Ivanovsky or Moissey Kogan.

South African artists, d i ssatisfied with the staid environment in local circles, felt the need to travel abroad for fresh stimulation. This need allowed for a historical investigation into the results, beneficial or otherwise, of the influence of European modernism on early twentieth century South African painters. Because of the numerous practising artists in South Africa at the time, it was found necessary to give cohesion to the artists discussed and, therefore the most pertinent were grouped into artistic movements. Thus, H.Naude, R . G. Goodman and H.S. Caldecott are discussed in conjunction with Impressionism. B. Everard, R. Everard-Haden and J.H. Pierneef are compared to the post-Impressionists and finally, I.Stern and M. Laubser are equated with the Fauves and Expressionists. To ascertain the true effect of European stylistic influence, a comparative analysis of work executed before European visits and upon the artists' return was imperative. Simultaneously, as part of the analysis, reference was also made to any work executed by these artists while in Europe. European movements of the period are also reviewed, enabling precise grouping and better understanding of t he styles adopted by the chosen group of early twentieth century South African artists. Some attention is given to the impact these artists had on South African art upon their return, as this confirms the degree of European influence and facilitates the classification of styles adopted by the selected group. In conclusion, to establish the extent to which European art was influential, a brief synopsis shows the changes in local groups, once these artists had re-established themselves in South Africa.

"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."
Doctor of Philosophy

"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."
Doctor of Philosophy

This thesis explores the contribution to the cultural life of post-war Australia by migrant artists from north-eastern Europe. It researches the lives and work not only of displaced artists arriving in the mass exodus from Europe after the Second World War, but also second and third generation artists descended from original migrant families, and much later émigré artists. Art histories written to date about the post-war period provide little coverage of the contributionto the art and culture of Australia by migrant artists from north-eastern Europe. The coverage in the literature written about the visual art produced by established Australian artists is far greater than that given to the migrant artists also exhibiting at the same time. Insofar as the ‘gap’ in the literature is concerned, this research reveals a number of factors which appear to have influenced the non-recognition of migrant art—such as, poor reception of abstract art in Australia post-war and the protection of established Australian artists. The impact of European abstract expressionism that migrants introduced in the 1950s had a lasting effect on Australian modern art, together with the innovation of their contemporary sculpture, which changed the urban landscape of Australian cities. This research questions the possible long term repercussions emanating from colonial Anglocentric Australian government policies, which in turn leads to questions about the importance and location of cultural heritage, sense of identity, third space and cultural hybridity. With a focus on migrant artists from north-eastern Europe—the Baltic States and Poland—the research investigates how second and third generation artists locate their visual art in relation to their cultural environment and how they navigate between their cultural heritage and the cultural mosaic of an Australian context. The impact of war on artists from migrant families through the subjugated experience of those families is also addressed to ascertain any effect on the visual art currently being produced. Interviews were conducted with ten artists of north-east European ancestry, using an ethnographic qualitative research methodology incorporating in-depth interviews together with close analysis of artwork during interview or subsequent contact in the artists’ studios and at exhibitions of their work. Research revealed that, regarding a sense of belonging and identity, nine of the ten artists still retain a perception of living between cultures, which appears congruous with the importance of the retention of language and ‘home’ culture. Making art appears to strengthen their sense of living between cultures, and their creative praxis combines experiences passed down through the generations fused into their own Australian life-world, modified and shaped within a third space of meaning. The thesis argues that second and third generation Australian artists, whilst engaging with contemporary issues, make reference to cultural traditions interspersed with comment on contemporary conditions, resulting in a syncretic articulation which forms a third space of cultural transformation and unity. The investigation into the impact of war, particularly World War II, revealed that only five participating artists directly manifest war themes in their visual art. However, the repercussions of that war and the Cold War, which lasted for many years after the Second World War, appear to have been subconsciously imprinted on the artwork of all three categories of artist, i.e. second and third generation and émigré artists. The cultural aesthetics migrants introduced has had a long-lasting effect on Australian tastes generally and on art education in particular. This research underlines the particular contribution of migrant artists from north-east Europe, revealing the aesthetic value such cultural integration has produced. This research seeks to initiate dialogue and a growing understanding of the rich and complex history of art and culture which migration has stimulated in Australia since the 1950s.

In the final two decades of the twentieth century Australian society was preoccupied with its own history. So ubiquitous was this interest, that bookshops were crammed with popular histories and historical fictions, TV networks aired historical re-enactments and devoted whole series to its exploration and re-creation. In part, this increased awareness of history was stimulated by the 200-year anniversary of white settlement simultaneously celebrated by many non-Indigenous Australians and condemned by Indigenous protestors. Throughout the 1990s the debate over historical fact and its place within society- or the 'history wars' - took centre stage moving beyond academic circles and into political and public discourse. At the heart of this debate was what Bain Attwood called the 'new history', which incorporated the hitherto absent perspectives of Indigenous Australians. This new version of history examined discrepancies between dominant settler accounts of historical events and those provided by Indigenous people, often in the form of oral testimony. A more vocal Indigenous population also forced these new perspectives on Australian history into being, as increased calls for land rights recognition and social justice became prominent. The debate was so prominent that it permeated many areas of Australian society, the visual arts provides one such example. This thesis is concerned with how the popularisation of history was contended in the visual arts. I argue that Australian artists have used appropriation as an effective means of engaging in a discourse on colonialism; of communicating with the past, and of ensuring that that past remained a highly visible concern of the present Through its reliance on existing images, appropriation enables artists to condense the space between the quoted image and their new work. It therefore demands that the quoted image be seen as a concern of the present. This strategy was implemented by a significant number of Indigenous and non-Indigenous Australian practitioners during the last two decades of the twentieth century. Moreover, it provides an important point of intersection between the artistic practice of Indigenous and non-Indigenous artists. Rather than seeking to document the history of appropriation in Australia, this thesis is concerned with highlighting how appropriation has become the basis of a critical commentary on historical narratives of colonialism.

AbstractToday, physician-assisted suicide and/or euthanasia are legal in several European countries, Canada, several jurisdictions in the United States and Australia, and may soon become legal in many more jurisdictions. While traditional Hippocratic and religious medical ethics have long opposed these practices, contemporary culture and politics have slowly weakened opposition to physician-assisted suicide and euthanasia. Our chapter examines how assisted suicide and euthanasia have been presented in cinema, one of the most powerful influences on culture, by Nazi propagandists during the German Third Reich and by Western filmmakers since the end of World War II.Almost all contemporary films about assisted suicide and euthanasia, including six winners of Academy Awards, promote these practices as did Ich klage an (I Accuse) (1941), the best and archetypal Nazi feature film about euthanasia. The bioethical justifications of assisted suicide or euthanasia in both Ich klage an and contemporary films are strikingly similar: showing mercy; avoiding fear and/or disgust; equating loss of capability with loss of a reason to live; enabling self-determination and the right-to-die; conflating voluntary with involuntary and nonvoluntary euthanasia; and casting opposition as out-of-date traditionalism. Economics and eugenics, two powerful arguments for euthanasia during the Third Reich, are not highlighted in Ich klage an and are only obliquely mentioned in contemporary cinema. One dramatic difference in the cinema of the two periods is the prominence of medical professionals in Ich klage an and their conspicuous absence in contemporary films about assisted suicide and euthanasia. A discussion of the medical ethos of the two time periods reveals how cinema both reflects and influences the growing acceptance of assisted suicide and euthanasia.

Since European settlement of Australia began in 1788, drought has been viewed as a major natural threat. Despite warnings by scientists (e.g., Ratcliffe, 1947) and many public inquiries, government policies have, in the past, encouraged closer land settlement and intensification of cropping and grazing during wetter periods. Not surprisingly, drought forms part of the Australian psyche and has been well described in poetry, literature (e.g., Ker Conway, 1993), art, and the contemporary media (newspapers and television). Droughts have resulted in social, economic, and environmental losses. Attitudes toward drought in Australia are changing. Government policies now consider drought to be part of the natural variability of rainfall and acknowledge that drought should be better managed both by governments and by primary producers. Nonetheless, each drought serves as a reminder of the difficult challenges facing primary producers during such times. We begin this chapter with a brief overview of drought in Australia and its impacts on agricultural production, the environment, rural communities, and the national economy. We outline some of the ways governments and primary producers plan for and respond to drought and describe in detail an operational national drought alert system. Australia has mainly an arid or semiarid climate. Only 22% of the country has rainfall in excess of 600mmper annum, confined to coastal areas to the north, east, southeast, and far southwest of the country (http://www.bom.gov.au/climate/ahead/soirain.shtml). Australia also has high year-to-year and decade-to-decade variation in rainfall due, in part, to the influence of the El Niño/Southern Oscillation (ENSO) phenomenon (http://www.bom.gov.au/climate/ahead/soirain.shtml). The Interdecadal Pacific Oscillation (IPO) also contributes to the rainfall variability at annual and decadal scales and modulates ENSO impacts on rainfall (Power et al., 1999). The current geographic boundaries of agricultural production were reached in the late 19th century, and the entire agricultural region has experienced drought, in some form, over the past 100 years. Protracted dry periods occurred during the period from late 1890s to 1902 in eastern Australia, during the mid to late 1920s and 1930s over most of the continent, during the 1940s in eastern Australia, during the 1960s over central and eastern Australia, and during 1991–95 in parts of central and northeastern Australia.

‘America, Africa, and Australia’ provides highlights of garden history in North America, Central America, South America, South Africa, and Australia. North America’s earliest traditional gardens were influenced by the settlers from Spain, France, the Netherlands, and England. After independence, garden design was transformed by designers such as Frederick Law Olmsted, the Colonial Revival movement, the Prairie School, and the California Style. The most important gardens in Central America are in Mexico and, in South America, the move away from European styles was led by the Brazilian plantsman and designer Roberto Burle Marx. Australia’s most important and influential garden designers have been William Guilfoyle and Edna Walling.

This chapter is a revised version of a seminar paper given in the Australian National University in 1978, at the time when I was preparing the Childe entry for The Australian Dictionary of Biography (Allen 1979). Ann Turner, a Melbourne historian, was at the same time researching in the Australian Archives Office among First World War censorship reports compiled by the Australian Department of Defence, and had encountered a number of letters written to and by Childe, which she passed on to me. I am indebted to her for the time and trouble she took on my account. These letters are valuable for a number of reasons. They assist in reconstructing Childe’s movements and activities in Australia for the four years before he returned to Britain; they shed light on Childe’s relationship with other members of his family, and his alienation from them; they provide important insights into the Australian society of the period, with the generally left-wing contents more than balanced by the appended censorial minutes; more specifically they offer an intimate view of Childe’s political ideology and personality as a young man. Lacking these sources I had previously proposed (Allen 1967) that Childe’s Australian experience had directly influenced his later archaeological contributions. This chapter attempts to develop this theme further. The decision to write this paper has been triggered by the recent Antiquity editorial (March 1980) that reproduced a Childe letter that removes the last doubt that Childe took his own life. It is clear from this editorial that there is wide interest in Childe, his works, and their inspiration. As well, however, Childe reiterates in this letter the dissatisfaction with Australian society that he expressed elsewhere shortly before his death: ‘I like Australian society much less than European without believing I can do anything to better it; for I have lost faith with all my old ideals.’ I contend that this loss of faith can be traced to his Australian experiences between 1917 and 1921. In ‘Retrospect’, Childe’s apologia pro vita sua published in Antiquity in 1958, in the year following his death, Childe dismissed his return to Australia some forty years earlier in a single phrase as a ‘sentimental excursion into Australian politics’.

We saw in Chapters 5 and 7 that the Quaternary was a time of low extinction rates despite a succession of strong environmental changes induced ultimately by climate. This began to change from a few tens of thousands of years ago with the arrival on our planet of Homo sapiens sapiens, which can be translated from the Latin as the rather smug ‘ultrawise Man’. It is widely accepted today that the Earth is undergoing a loss of species on a scale that would certainly rank in geological terms as a catastrophe, and has indeed, been dubbed ‘the sixth mass extinction’. Although the disturbance to the biosphere being created in modern times is more or less entirely attributable to human activity, we must use the best information available from historical, archaeological, and geological records to attempt to determine just when it began. Towards the end of the last ice age, known in Europe as the Würm and in North America as the Wisconsin, the continents were much richer in large mammals than today: for example, there were mammoths, mastodonts, and giant ground sloths in the Americas; woolly mammoths, elephants, rhinos, giant deer, bison, and hippos in northern Eurasia; and giant marsupials in Australia. Outside Africa most genera of large mammals, defined as exceeding 44 kilograms adult weight, disappeared within the past 100,000 years, an increasing number becoming extinct towards the end of that period. This indicates that there was a significant extinction event near the end of the Pleistocene. This event was not simultaneous across the world, however: it took place later in the Americas than Australia, and Africa and Asia have suffered fewer extinctions than other continents. There are three reasons for citing humans as the main reason for the late Pleistocene extinctions. First, the extinctions follow the appearance of humans in various parts of the world. Very few of the megafaunal extinctions that took place in the late Pleistocene can definitely be shown to pre-date the arrival of humans. There has, on the other hand, been a sequence of extinctions following human dispersal, culminating most recently on oceanic islands. Second, it was generally only large mammals that became extinct.

Many similarities and occasional differences are evident concerning the current approaches of Australia and New Zealand towards investment treaties, including the now politically sensitive issue of investor–state dispute settlement (ISDS). This chapter considers the potential of these two closely integrated countries to influence the future design of investment treaties in the Asia Pacific region, including for the Regional Comprehensive Economic Partnership (RCEP or ‘ASEAN+6’ agreement) – the negotiations for which include China. The chapter compares key areas of existing treaties already signed by Australia and New Zealand, as well as apparent positions set out by them in a leaked draft RCEP investment chapter. Given the concerns about US–style treaty drafting displayed recently by Indonesia and India, major economies still negotiating RCEP with Australia and New Zealand (as well as bilateral agreements with the former), the chapter also considers the scope for Australia and New Zealand to promote more pro-state provisions regarding both substantive commitments and procedures such as ISDS, which characterize contemporary preferences of the European Union. The chapter concludes that a transition to a new generation of treaties is likely not only given the evolving preferences of counterparties and local politics, but also because of various policy arguments for dialing back treaty commitments to foreign investors—albeit without eschewing them altogether.

Abstract: While there is an abundance of commentary and criticism on Le Corbusier’s effect upon architecture and planning globally – in Europe, Northern Africa, the Americas and the Indian sub-continent – there is very little dealing with other contexts such as Australia. The paper will offer a first appraisal of Le Corbusier’s relationship with Australia, providing example of the significant international reach of his ideas to places he was never to set foot. It draws attention to Le Corbusier's contacts with architects who practiced in Australia and little known instances of his connections - his drawing of the City of Adelaide plan (1950) and his commission for art at Jorn Utzon's Sydney Opera House (1958). The paper also considers the ways that Le Corbusier’s work underwent translation into Australian architecture and urbanism in the mid to late 20th century through the influence his work exerted on others, identifying further possibilities for research on the topic. Keywords: Le Corbusier; post-war architecture; international modernism; Australian architecture, 20th century architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.752

In the last two decades, we have seen the rise of companies providing digital services. Big Tech firms have become all-pervasive, playing critical roles in our social interactions, in the way we access information, and in the way we consume. These firms not only strive to be dominant players in one market, but with their giant monopoly power and domination of online ecosystems, they want to become the market itself. They are gaining not just economic, but also political power. This can be illustrated by Donald Trump’s campaigns, in which he attempted to influence the sovereign will, as the sovereign power is vested in the people. The Trump campaigns' use of Facebook's advertising tools contributed to Trump's win at the 2016 presidential election. After criticism of that election, Facebook stated that it would implement a series of measures to prevent future abuse. For example, no political ads will be accepted in the week before an election. Another example of how Big Tech firms can effect the sovereign is by national legislator. For example, Australia had a dispute with digital platforms such as Facebook and Google. That was because Australia began to develop a News Media and Digital Platforms Mandatory Code. To persuade the Australian legislature to abandon the idea of this code, Facebook prevented Australian press publishers, news media and users from sharing/viewing Australian as well as international news content, including blocking information from government agencies. Such action demonstrated how large digital platforms can affect the flow of information to encourage the state and its legislature to change their position. Because of such pressure, Australia eventually made adjustments to the code in order to find a compromise with the digital platform. Also, when we are referring to political power, it should include lobbying and the European Union legislator. Tech giants are lobbying their interests to influence the European Union’s digital policy, which has the most direct effect on member states, given that the member states are bound by European Union law.

Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of the core of this cooperation post Industrial Revolution era. Therefore, the concept of nationalism, the devastating consequences of the world wars and the latest industrial and technological advancements have all transformed human life irreversibly. Consequently, during this transformation era, various significant movements of art such as Impressionism and Expressionism emerged in the 20th century and representatives of those art movements substituted such a lot of printmaking practices in their works of art. None of those mentioned above took place in other previous movements of art. They reflected their points of view that they display social movements and none of the other artists who represent other senses of art have ever exhibited such a lot of printmaking practices. Thus, various printing technologies which present a new laboratory environment to the artists. As a result of this, printing technologies have been preferred as a sort of new artistic media value and it started to take its prominent place in collections of art as well as in museums during artistic presentations. Within this context, this article aims at studying the phenomenon of art by considering how it has changed during the historical process by examining those works of art which reveal these variations. Common production and working techniques in traditional printmaking, contributions of the technological advantages to the artistic manufacture. Besides, periodical innovations will be examined and presented by introducing an updated point of view to the topic within the content of this article that contain some citations from the second part of the thesis titled “Effects of fine art printmaking on the phenomenon of contemporary art”.

Abstract The metal finishing process of electrolytic hard chrome (EHC) plating has been identified as a source of environmental pollution in most industrialized countries like Australia, Europe and USA. The key driver for the technology replacement is that the EHC plating process uses hexavalent chromium, which is a known carcinogen. Our previous research has identified that cold spray nanostructured tungsten carbide cobalt (WC-Co) coatings can be a suitable alternative to provide a functional coating in wear applications. This work explores at another similar technology- Kinetic Metallization for deposition of WC-Co coatings. In this work, the objective is to characterize the residual stress profile of these WC-Co coatings that are deposited by the latest KM systems. These coating systems are used in critical applications such as landing gear pistons and axle journals, hydraulic rods, engine shaft journals, and numerous other external surfaces that operate under high cyclic loading conditions. As such, the residual stress developed during the KM coating process has a significant influence on the fatigue properties of the components. Thus, knowledge of stresses and their linkage with other properties and production parameters is essential for the quality control of these critical structures.

The problem of the Literary Canon is stated by the Romanian theorist Virgil Nemoianu several times and from different critical perspectives of the time – each perspective is seeking to reflect an era and its influences, a certain cultural and artistic typology, the cultural projects and products of a canonical era, the spirituality and politics of the time, as well as the ideological disputes that re-establish from one century to another great canonical European literatures. Systematized thematically and through editorials published between 1967 and 2011, the Romanian professor’s concerns related to the canon are written with great precision – enlightening philological and historical details. Into the same unison with the educated voices of the great universities in Europe and America, Virgil Nemoianu will start the discussion about the phenomenology of the literary Canon by using the tools of referring to the European literary details and referring to the European cultural studies. As a framework, within his academic concerns, there is the idea of complexities and cultural continuities, which together with the ideas of aesthetic and moral emergences, both creates veritable encyclopedic studies that the Romanian theorist he dedicated to Minor European Romanticism, then to Structuralism, and finally to Postmodernism and cultural Globalism. By discussing the importance of the canonical lists, as well as by proposing provocative ideas supposed to aim at the correct understanding of the academic curriculum, Virgil Nemoianu initiates a debate that even gives us the opportunity to discuss the cultural phenomena that determine the modification of the canon. In particular, the Romanian professor gives interest to a canon in perpetual transformation – The Hospitable Canon – a hospitable canon, which involves transitions from a rigidity of the interpretation of literature – to an interpretive plurality. Therefore, these methodological filters have a catalytic role, becoming reagents that lead to a new interpretive synthesis. They also manage to lead to the theoretical core of Professor V. Nemoianu’s reflections: the canon and canonicity allow the observation of the secondary, the marginal, the interdependencies and the intertextualism within the canonical literatures – towards to redefine the social, art and spirituality.

This paper takes a starting point in the periodic division of the approximately 6000 petroglyphs made during the last 5000 years BC in a North Norwegian fjord area, the ethnography of changing the hunter-fishing- pastoral Sami population in Fennoscandia and the documentation of their traditional system of belief as documented during the 16th 18th hundreds. In addition, the study draws upon the ethnography of Siberian indigenous populations and their understanding and interaction with other than human life in the environment. The makers of the petroglyphs were hunter - fisher - gatherers. This paper focuses on the communication between humans and non-humans such as spirits, reindeer, European elk (Alces alces), bears, birds, sea mammals, halibut and boats depicted in the rock art, and the environments of which they were a part. The analysis shows distinct diachronic morphological and stylistic differences between figures as well as variation in frequencies, compositions and classes. Variations that illustrates both continuity and discontinuity in stories and beliefs within a relatively small geographic area through time. For example, compositions and morphological changes and differences in groups of figures such as animals might reflect changing beliefs, rituals and identities related to contacts with other populations through time. Likewise, some changes in boats reflect both techno-logical alterations and outside contacts. Boats facilitates coastal mobility, resources exploitations and settlement movements, and there was probably extensive social and trade networks. Sometimes influences came from afar, such as agricultural societies in southern Scandinavia, and/or from foragers further to the east in Fennoscandia, societies that might have influenced how people in the Alta fiord region understood the environment in which they lived. In essence, the paper focuses on changes and continuities in the rock art from perspectives of beliefs.

Los estudios realizados sobre la ciudad latinoamericana siempre han estado ligados a modelos teóricoconceptuales europeos dada la herencia colonial o a patrones de influencia norteamericana principalmente, el presente trabajo, defiende la idea de que la ciudad latinoamericana tiene códigos propios, si bien innegablemente se desarrolló bajo el soporte físico de la ciudad colonial y en su desarrollo tuvo diversas influencias, fue la ciudadanía quien la transformó a partir de sus usos y costumbres, de igual forma que hizo con el arte colonial, desarrolló un “sincretismo urbano”. Para entender las lógicas de la ciudad actual latinoamericana, debemos estudiar su código genético, apoyándonos en la arqueología como herramienta de trabajo para extraer las señas de identidad que se transmitieron en el tiempo desde aquellas sociedades precolombinas e ir superponiendo los diferentes periodos históricos que transformaron morfológicamente las ciudades, extrayendo elementos singulares que puestos en relación con los demás, crearon nuevas estructuras. Studies Latin American city have always been linked to theoretical and conceptual European models given the colonial legacy or patterns of American influence mainly the present study supports the idea that Latin American city has its own codes, although undeniably was developed under the physical support of the colonial city and its development had different influences, citizenship who was transformed from their customs, just as he did with the colonial art, he developed an "urban syncretism " . To understand the logic of the current Latin American city, we must study its genetic code, relying on archeology as a tool to extract the hallmarks that were transmitted in time from those pre-Columbian societies and go superimposing different historical periods morphologically transformed cities, extracting unique elements brought into relation with others, created new structures.

In recent years much has been written and exhibited regarding Lina Bo Bardi, the Italian/Brazilian architect (1914-1992). This paper aims to look at the phenomenon of cultural displacement and the dissemination of her design thinking as a major female figure in a male dominated profession. This investigation is distinguished from others in that it addresses the importance of regional and cultural influences that formed Lina’s design philosophy in her early years in Italy. Cultural displacement has long played a significant role in the creative process for artists. Often major innovators in literature are immigrants as elements of strangeness, distance, and alienation all contribute to their creativity. The premise is that critical distance is paramount for reflection as a change of context unfolds unforeseen possibilities. Displacement was a consistent element throughout the trajectory of Lina’s architectural career as she moved from Rome to Milan, from Milan to Sao Paolo from Sao Paolo to Bahia and back to Sao Paolo. Viewing this form of detachment and dislocation permits insight into her career and body of work as displacement mediates the paradoxical relationship between time and space. The paper will examine three distinct periods in her career. The first period is set in Rome, where she assimilated the city, showed artistic aptitude and spent her university years studying under Piacentiniand Giovannoni. The second period is set in Milan, where she developed impressive editorial and layout skills in publications work with Gio Ponti and BrunoZevi. and was influenced by Antonio Gramsci’s writings. The third is set in Brazil, where she builds and evolves as an architect via what she absorbed in Rome, wrote in Milan, and finally realized in Brazil. After Italy’s collapse in WWII Lina writes, draws, edits, critiques the plight of the Italians in need of better housing and circumstances. She leaves Milan with her new husband, PM Bardi (a prominent journalist, art critic) for Brazil. In Sao Paolo she absorbs the optimism and positive direction of Brazil. Her early design work in Brazil echoes European modernism, but when she travels to Bahia and becomes aware of the social conditions, she draws from her Italian experiences of and ideas of transforming lives through craft. Her architectural projects become directly responsive to the culture of Bahia and the politics of poverty. Lina’s design thinking evolves and parallels George Kubler’s study, The Shape of Time, and the history of man-made objects by bridging the divide between art and material culture.

U.S. policymakers need to understand the landscape of artificial intelligence talent and investment as AI becomes increasingly important to national and economic security. This knowledge is critical as leaders develop new alliances and work to curb China’s growing influence. As an initial effort, an earlier CSET report, “AI Hubs in the United States,” examined the domestic AI ecosystem by mapping where U.S. AI talent is produced, where it is concentrated, and where AI private equity funding goes. Given the global nature of the AI ecosystem and the importance of international talent flows, this paper looks for the centers of AI talent and investment in regions and countries that are key U.S. partners: Europe and the CANZUK countries (Canada, Australia, New Zealand, and the United Kingdom).

Overview Skin cancer prevention is a component of the new Cancer Plan 2022–27, which guides the work of the Cancer Institute NSW. To lessen the impact of skin cancer on the community, the Cancer Institute NSW works closely with the NSW Skin Cancer Prevention Advisory Committee, comprising governmental and non-governmental organisation representatives, to develop and implement the NSW Skin Cancer Prevention Strategy. Primary Health Networks and primary care providers are seen as important stakeholders in this work. To guide improvements in skin cancer prevention and inform the development of the next NSW Skin Cancer Prevention Strategy, an up-to-date review of the evidence on the effectiveness and feasibility of skin cancer prevention activities in primary care is required. A research team led by the Daffodil Centre, a joint venture between the University of Sydney and Cancer Council NSW, was contracted to undertake an Evidence Check review to address the questions below. Evidence Check questions This Evidence Check aimed to address the following questions: Question 1: What skin cancer primary prevention activities can be effectively administered in primary care settings? As part of this, identify the key components of such messages, strategies, programs or initiatives that have been effectively implemented and their feasibility in the NSW/Australian context. Question 2: What are the main barriers and enablers for primary care providers in delivering skin cancer primary prevention activities within their setting? Summary of methods The research team conducted a detailed analysis of the published and grey literature, based on a comprehensive search. We developed the search strategy in consultation with a medical librarian at the University of Sydney and the Cancer Institute NSW team, and implemented it across the databases Embase, MEDLINE, PsycInfo, Scopus, Cochrane Central and CINAHL. Results were exported and uploaded to Covidence for screening and further selection. The search strategy was designed according to the SPIDER tool for Qualitative and Mixed-Methods Evidence Synthesis, which is a systematic strategy for searching qualitative and mixed-methods research studies. The SPIDER tool facilitates rigour in research by defining key elements of non-quantitative research questions. We included peer-reviewed and grey literature that included skin cancer primary prevention strategies/ interventions/ techniques/ programs within primary care settings, e.g. involving general practitioners and primary care nurses. The literature was limited to publications since 2014, and for studies or programs conducted in Australia, the UK, New Zealand, Canada, Ireland, Western Europe and Scandinavia. We also included relevant systematic reviews and evidence syntheses based on a range of international evidence where also relevant to the Australian context. To address Question 1, about the effectiveness of skin cancer prevention activities in primary care settings, we summarised findings from the Evidence Check according to different skin cancer prevention activities. To address Question 2, about the barriers and enablers of skin cancer prevention activities in primary care settings, we summarised findings according to the Consolidated Framework for Implementation Research (CFIR). The CFIR is a framework for identifying important implementation considerations for novel interventions in healthcare settings and provides a practical guide for systematically assessing potential barriers and facilitators in preparation for implementing a new activity or program. We assessed study quality using the National Health and Medical Research Council (NHMRC) levels of evidence. Key findings We identified 25 peer-reviewed journal articles that met the eligibility criteria and we included these in the Evidence Check. Eight of the studies were conducted in Australia, six in the UK, and the others elsewhere (mainly other European countries). In addition, the grey literature search identified four relevant guidelines, 12 education/training resources, two Cancer Care pathways, two position statements, three reports and five other resources that we included in the Evidence Check. Question 1 (related to effectiveness) We categorised the studies into different types of skin cancer prevention activities: behavioural counselling (n=3); risk assessment and delivering risk-tailored information (n=10); new technologies for early detection and accompanying prevention advice (n=4); and education and training programs for general practitioners (GPs) and primary care nurses regarding skin cancer prevention (n=3). There was good evidence that behavioural counselling interventions can result in a small improvement in sun protection behaviours among adults with fair skin types (defined as ivory or pale skin, light hair and eye colour, freckles, or those who sunburn easily), which would include the majority of Australians. It was found that clinicians play an important role in counselling patients about sun-protective behaviours, and recommended tailoring messages to the age and demographics of target groups (e.g. high-risk groups) to have maximal influence on behaviours. Several web-based melanoma risk prediction tools are now available in Australia, mainly designed for health professionals to identify patients’ risk of a new or subsequent primary melanoma and guide discussions with patients about primary prevention and early detection. Intervention studies have demonstrated that use of these melanoma risk prediction tools is feasible and acceptable to participants in primary care settings, and there is some evidence, including from Australian studies, that using these risk prediction tools to tailor primary prevention and early detection messages can improve sun-related behaviours. Some studies examined novel technologies, such as apps, to support early detection through skin examinations, including a very limited focus on the provision of preventive advice. These novel technologies are still largely in the research domain rather than recommended for routine use but provide a potential future opportunity to incorporate more primary prevention tailored advice. There are a number of online short courses available for primary healthcare professionals specifically focusing on skin cancer prevention. Most education and training programs for GPs and primary care nurses in the field of skin cancer focus on treatment and early detection, though some programs have specifically incorporated primary prevention education and training. A notable example is the Dermoscopy for Victorian General Practice Program, in which 93% of participating GPs reported that they had increased preventive information provided to high-risk patients and during skin examinations. Question 2 (related to barriers and enablers) Key enablers of performing skin cancer prevention activities in primary care settings included: • Easy access and availability of guidelines and point-of-care tools and resources • A fit with existing workflows and systems, so there is minimal disruption to flow of care • Easy-to-understand patient information • Using the waiting room for collection of risk assessment information on an electronic device such as an iPad/tablet where possible • Pairing with early detection activities • Sharing of successful programs across jurisdictions. Key barriers to performing skin cancer prevention activities in primary care settings included: • Unclear requirements and lack of confidence (self-efficacy) about prevention counselling • Limited availability of GP services especially in regional and remote areas • Competing demands, low priority, lack of time • Lack of incentives.

Background Lung cancer is the number one cause of cancer death worldwide.(1) It is the fifth most commonly diagnosed cancer in Australia (12,741 cases diagnosed in 2018) and the leading cause of cancer death.(2) The number of years of potential life lost to lung cancer in Australia is estimated to be 58,450, similar to that of colorectal and breast cancer combined.(3) While tobacco control strategies are most effective for disease prevention in the general population, early detection via low dose computed tomography (LDCT) screening in high-risk populations is a viable option for detecting asymptomatic disease in current (13%) and former (24%) Australian smokers.(4) The purpose of this Evidence Check review is to identify and analyse existing and emerging evidence for LDCT lung cancer screening in high-risk individuals to guide future program and policy planning. Evidence Check questions This review aimed to address the following questions: 1. What is the evidence for the effectiveness of lung cancer screening for higher-risk individuals? 2. What is the evidence of potential harms from lung cancer screening for higher-risk individuals? 3. What are the main components of recent major lung cancer screening programs or trials? 4. What is the cost-effectiveness of lung cancer screening programs (include studies of cost–utility)? Summary of methods The authors searched the peer-reviewed literature across three databases (MEDLINE, PsycINFO and Embase) for existing systematic reviews and original studies published between 1 January 2009 and 8 August 2019. Fifteen systematic reviews (of which 8 were contemporary) and 64 original publications met the inclusion criteria set across the four questions. Key findings Question 1: What is the evidence for the effectiveness of lung cancer screening for higher-risk individuals? There is sufficient evidence from systematic reviews and meta-analyses of combined (pooled) data from screening trials (of high-risk individuals) to indicate that LDCT examination is clinically effective in reducing lung cancer mortality. In 2011, the landmark National Lung Cancer Screening Trial (NLST, a large-scale randomised controlled trial [RCT] conducted in the US) reported a 20% (95% CI 6.8% – 26.7%; P=0.004) relative reduction in mortality among long-term heavy smokers over three rounds of annual screening. High-risk eligibility criteria was defined as people aged 55–74 years with a smoking history of ≥30 pack-years (years in which a smoker has consumed 20-plus cigarettes each day) and, for former smokers, ≥30 pack-years and have quit within the past 15 years.(5) All-cause mortality was reduced by 6.7% (95% CI, 1.2% – 13.6%; P=0.02). Initial data from the second landmark RCT, the NEderlands-Leuvens Longkanker Screenings ONderzoek (known as the NELSON trial), have found an even greater reduction of 26% (95% CI, 9% – 41%) in lung cancer mortality, with full trial results yet to be published.(6, 7) Pooled analyses, including several smaller-scale European LDCT screening trials insufficiently powered in their own right, collectively demonstrate a statistically significant reduction in lung cancer mortality (RR 0.82, 95% CI 0.73–0.91).(8) Despite the reduction in all-cause mortality found in the NLST, pooled analyses of seven trials found no statistically significant difference in all-cause mortality (RR 0.95, 95% CI 0.90–1.00).(8) However, cancer-specific mortality is currently the most relevant outcome in cancer screening trials. These seven trials demonstrated a significantly greater proportion of early stage cancers in LDCT groups compared with controls (RR 2.08, 95% CI 1.43–3.03). Thus, when considering results across mortality outcomes and early stage cancers diagnosed, LDCT screening is considered to be clinically effective. Question 2: What is the evidence of potential harms from lung cancer screening for higher-risk individuals? The harms of LDCT lung cancer screening include false positive tests and the consequences of unnecessary invasive follow-up procedures for conditions that are eventually diagnosed as benign. While LDCT screening leads to an increased frequency of invasive procedures, it does not result in greater mortality soon after an invasive procedure (in trial settings when compared with the control arm).(8) Overdiagnosis, exposure to radiation, psychological distress and an impact on quality of life are other known harms. Systematic review evidence indicates the benefits of LDCT screening are likely to outweigh the harms. The potential harms are likely to be reduced as refinements are made to LDCT screening protocols through: i) the application of risk predication models (e.g. the PLCOm2012), which enable a more accurate selection of the high-risk population through the use of specific criteria (beyond age and smoking history); ii) the use of nodule management algorithms (e.g. Lung-RADS, PanCan), which assist in the diagnostic evaluation of screen-detected nodules and cancers (e.g. more precise volumetric assessment of nodules); and, iii) more judicious selection of patients for invasive procedures. Recent evidence suggests a positive LDCT result may transiently increase psychological distress but does not have long-term adverse effects on psychological distress or health-related quality of life (HRQoL). With regards to smoking cessation, there is no evidence to suggest screening participation invokes a false sense of assurance in smokers, nor a reduction in motivation to quit. The NELSON and Danish trials found no difference in smoking cessation rates between LDCT screening and control groups. Higher net cessation rates, compared with general population, suggest those who participate in screening trials may already be motivated to quit. Question 3: What are the main components of recent major lung cancer screening programs or trials? There are no systematic reviews that capture the main components of recent major lung cancer screening trials and programs. We extracted evidence from original studies and clinical guidance documents and organised this into key groups to form a concise set of components for potential implementation of a national lung cancer screening program in Australia: 1. Identifying the high-risk population: recruitment, eligibility, selection and referral 2. Educating the public, people at high risk and healthcare providers; this includes creating awareness of lung cancer, the benefits and harms of LDCT screening, and shared decision-making 3. Components necessary for health services to deliver a screening program: a. Planning phase: e.g. human resources to coordinate the program, electronic data systems that integrate medical records information and link to an established national registry b. Implementation phase: e.g. human and technological resources required to conduct LDCT examinations, interpretation of reports and communication of results to participants c. Monitoring and evaluation phase: e.g. monitoring outcomes across patients, radiological reporting, compliance with established standards and a quality assurance program 4. Data reporting and research, e.g. audit and feedback to multidisciplinary teams, reporting outcomes to enhance international research into LDCT screening 5. Incorporation of smoking cessation interventions, e.g. specific programs designed for LDCT screening or referral to existing community or hospital-based services that deliver cessation interventions. Most original studies are single-institution evaluations that contain descriptive data about the processes required to establish and implement a high-risk population-based screening program. Across all studies there is a consistent message as to the challenges and complexities of establishing LDCT screening programs to attract people at high risk who will receive the greatest benefits from participation. With regards to smoking cessation, evidence from one systematic review indicates the optimal strategy for incorporating smoking cessation interventions into a LDCT screening program is unclear. There is widespread agreement that LDCT screening attendance presents a ‘teachable moment’ for cessation advice, especially among those people who receive a positive scan result. Smoking cessation is an area of significant research investment; for instance, eight US-based clinical trials are now underway that aim to address how best to design and deliver cessation programs within large-scale LDCT screening programs.(9) Question 4: What is the cost-effectiveness of lung cancer screening programs (include studies of cost–utility)? Assessing the value or cost-effectiveness of LDCT screening involves a complex interplay of factors including data on effectiveness and costs, and institutional context. A key input is data about the effectiveness of potential and current screening programs with respect to case detection, and the likely outcomes of treating those cases sooner (in the presence of LDCT screening) as opposed to later (in the absence of LDCT screening). Evidence about the cost-effectiveness of LDCT screening programs has been summarised in two systematic reviews. We identified a further 13 studies—five modelling studies, one discrete choice experiment and seven articles—that used a variety of methods to assess cost-effectiveness. Three modelling studies indicated LDCT screening was cost-effective in the settings of the US and Europe. Two studies—one from Australia and one from New Zealand—reported LDCT screening would not be cost-effective using NLST-like protocols. We anticipate that, following the full publication of the NELSON trial, cost-effectiveness studies will likely be updated with new data that reduce uncertainty about factors that influence modelling outcomes, including the findings of indeterminate nodules. Gaps in the evidence There is a large and accessible body of evidence as to the effectiveness (Q1) and harms (Q2) of LDCT screening for lung cancer. Nevertheless, there are significant gaps in the evidence about the program components that are required to implement an effective LDCT screening program (Q3). Questions about LDCT screening acceptability and feasibility were not explicitly included in the scope. However, as the evidence is based primarily on US programs and UK pilot studies, the relevance to the local setting requires careful consideration. The Queensland Lung Cancer Screening Study provides feasibility data about clinical aspects of LDCT screening but little about program design. The International Lung Screening Trial is still in the recruitment phase and findings are not yet available for inclusion in this Evidence Check. The Australian Population Based Screening Framework was developed to “inform decision-makers on the key issues to be considered when assessing potential screening programs in Australia”.(10) As the Framework is specific to population-based, rather than high-risk, screening programs, there is a lack of clarity about transferability of criteria. However, the Framework criteria do stipulate that a screening program must be acceptable to “important subgroups such as target participants who are from culturally and linguistically diverse backgrounds, Aboriginal and Torres Strait Islander people, people from disadvantaged groups and people with a disability”.(10) An extensive search of the literature highlighted that there is very little information about the acceptability of LDCT screening to these population groups in Australia. Yet they are part of the high-risk population.(10) There are also considerable gaps in the evidence about the cost-effectiveness of LDCT screening in different settings, including Australia. The evidence base in this area is rapidly evolving and is likely to include new data from the NELSON trial and incorporate data about the costs of targeted- and immuno-therapies as these treatments become more widely available in Australia.