Journal articles on the topic 'Art metal-work Australia Technique'

This article examines artworks by three emerging Australian Indigenous artists who are revitalizing Indigenous cultural traditions. The author argues that their work is reparative in the manner described by queer theorist Eve Kosofsky Sedgwick; that is, their art addresses the damage of traumatic colonial histories while being open to pleasure, beauty and surprise. The artists are all based in Brisbane and completed a degree in Contemporary Australian Indigenous Art at Queensland College of Art – the only degree of this nature in Australia. The artists are Carol McGregor, Dale Harding and Robert Andrew. McGregor’s work draws on possum skin cloak making, Harding has incorporated the stencil technique of rock art into his practice and Andrew uses a traditional pigment ochre and Yawuru language.

The level of air pollution in smart cities plays a critical role in the community’s health and quality of life. Thus, air pollution forecasting would be beneficial and would guide citizens in avoiding exposure to dangerous emissions. The air health of a place can be diagnosed by close observation of the AQI (Air Quality Index) of that place. Moreover, the AQI of a place may have some influence on the pollutant concentration of the neighboring places. To address this issue, this work introduces a hybrid deep learning framework that is able to predict the values of a corresponding metric: AQI of smart cities. As a part of this work, two algorithms are proposed. The first one replaces the missing values in the dataset and the second one formulates the influence of the nearby places’ pollutant concentrations on the air quality of a particular place. A deep learning-based forecasting model is also proposed by combining 1D-CNN and Bi-GRU. To test the applicability of the framework, a large-scale experiment is carried out with the real-world dataset collected from New South Wales, Australia. Experimental results validate that the proposed framework provides a stable forecasting result, it confirms that the AQI of a place gets affected by the pollutant concentration of the nearby places and the comparison of forecasting result with the existing state of the art models shows that the proposed model outperforms the other models.

Purpose – Art-based research is about so much more than producing interesting, confronting, or pretty visuals: it is about the stories beneath, attached to, and elicited through the image. It is also about the experience of thinking about, capturing, and producing that visual. The purpose of this paper is to examine the use of participant-driven photo-elicitation interviews with six women working in sex work in Victoria, Australia. Design/methodology/approach – The author does this both through the women’s narratives and through a researcher autoethnography. From her current position, the author (re)writes her experiences of undertaking this research in 2009, in order to highlight the uncertainty and confusion that can accompany visual research methods. Findings – The multiple places that photos can take participants, researchers, and readers is explored including empathy and understandings of how a single phenomenon (such as sex work) intersects with all other aspects of people’s lives and cannot be explained through theory that does not take account of intersectionality. Originality/value – This paper is a unique exploration of two methods, one layered over the other. It contributes to learnings obtained through participant-driven photo-elicitation while also treating the researcher’s experience of using this interview technique as data as well.

Although Robert Honeycombe was born in Melbourne, Australia, where he received his university education and gained valuable research experience at the Council for Scientific and Industrial Research, it was in the UK that his distinguished career developed. At Sheffield he harnessed the newly emerging technique of transmission electron microscopy to the microstructural study of alloy steels. Moving to Cambridge, he built up a world-renowned team in this area. His seminal work was the characterization of interphase precipitation at the α/γboundary interface, which had a perceptible impact on the production of micro-alloyed steels throughout the world. As Goldsmiths' Professor of Metallurgy he was the longest-serving head of the department, broadening its coverage into material science to include ceramics and polymers as well as reinforcing the traditional areas of mechanical behaviour and processing. All these activities were underpinned by state-of-the-art microstructural characterization. Robert had an open and warm personality and was a natural leader of the profession within the university, in learned societies and in government and research council bodies. Above all he was a great supporter of young researchers, not only at Cambridge but also throughout the country.

Flood prediction has advanced significantly in terms of technique and capacity to achieve policymakers’ objectives of accurate forecast and identification of flood-prone and impacted areas. Flood prediction tools are critical for flood hazard and risk management. However, numerous reviews on flood modelling have focused on individual models. This study presents a state-of-the-art review of flood prediction tools with a focus on analyzing the chronological growth of the research in the field of flood prediction, the evolutionary trends in flood prediction, analysing the strengths and weaknesses of each tool, and finally identifying the significant gaps for future studies. The article conducted a review and meta-analysis of 1101 research articles indexed by the Scopus database in the last five years (2017–2022) using Biblioshiny in r. The study drew an up-to-date picture of the recent developments, emerging topical trends, and gaps for future studies. The finding shows that machine learning models are widely used in flood prediction, while Probabilistic models like Copula and Bayesian Network (B.N.) play significant roles in the uncertainty assessment of flood risk, and should be explored since these events are uncertain. It was also found that the advancement of the remote sensing, geographic information system (GIS) and cloud computing provides the best platform to integrate data and tools for flood prediction. However, more research should be conducted in Africa, South Africa and Australia, where less work is done and the potential of the probabilistic models in flood prediction should be explored.

This paper explores identity and the recursive impacts of cross-cultural colonial encounters on individuals, cultural materials, and cultural practices in 20th-century northern Australia. We focus on an assemblage of cached metal objects and associated cultural materials that embody both Aboriginal tradition and innovation. These cultural materials were wrapped in paperbark and placed within a ring of stones, a bundling practice also seen in human burials in this region. This ‘cache' is located in close proximity to rockshelters with rich, superimposed Aboriginal rock art compositions. However, the cache shelter has no visible art, despite available wall space. The site shows the utilisation of metal objects as new raw materials that use traditional techniques to manufacture a ground edge metal axe and to sharpen metal rods into spears. We contextualise these objects and their hypothesised owner(s) within narratives of invasion/contact and the ensuing pastoral history of this region. Assemblage theory affords us an appropriate theoretical lens through which to bring people, places, objects, and time into conversation.

Aluminium metal matrix composites have been shown to make significant contributions to the area of new materials and have become widely accepted in high-tech structural and functional applications such as those in the aircraft, automobile, marine, mineral, defence, transportation, thermal management, automotive, and sports and recreation fields. Metal matrix composites are manufactured using a variety of manufacturing processes. Stirring casting, powder metallurgy, squeezing casting, in situ processes, deposition techniques, and electroplating are part of the manufacturing process used in the manufacture of aluminium-metal matrix composites. Metal matrix composites that use friction stir processing have a distinct advantage over metal matrix composites that use other manufacturing techniques. FSP’s benefits include a finer grain, processing zone homogeneity, densification, and the homogenization of aluminium alloy and composite precipitates. Most metal matrix composite investigations achieve aluminium-metal matrix composite precipitate grain refinement, treated zone homogeneity, densification, and homogenization. This part of the work examines the impact of reinforcing particles, process parameters, multiple passes, and active cooling on mechanical properties during the fabrication of 5000-series aluminium-metal matrix composites using friction stir processing. This paper reports on the available literature on aluminium metal matrix composites fabricated with 5xxx series marine grade aluminium alloy using FSP.

The colonial artist Eugene von Guérard travelled extensively throughout south-eastern Australia sketching thousands of views during his three-decade-long sojourn in Australia. His field drawings are renowned for their fidelity to nature and observational accuracy, but the validity of the latter claim depends on comparing drawings with the view at the sites where he sketched. The location of the view in some artworks, such as Mount Kosciusko, seen from the Victorian Border, has eluded art historians and aficionados who have ventured into the field. This article discusses the collation of clues from historical narratives, maps and surveying techniques to limit the search area for the vantage point where he sketched the view on which he based his painting of the Kosciuszko massif. Novel use of spatial technology utilising satellite imagery, Global Positioning System (GPS) and Shuttle Radar Topography Mission (SRTM) data, particularly digital elevation models, to locate the actual site is explored, and the topographical accuracy of his sketches evaluated when compared with photographs taken from close to the site. Finally, the potential value of using spatial technology in art history field work is discussed.

In this qualitative study, we report how Supervisors of Training, educational supervisors overseeing the learning of anaesthesia trainees, experience their role in practice. Using purposive sampling, we interviewed Supervisors of Training from across Australia and New Zealand. The interviews began by asking ‘what do you see as your role as a Supervisor of Training?’ then explored the response in detail. Following the technique of thematic analysis, inductive analysis occurred as data were collected until we generated a thematic structure sufficient to address our research question after 19 interviews. In the first three of the four identified themes, Supervisors of Training perceived themselves as the fulcrum of the learning environment, ‘the something in between’. These three themes were: guiding and assessing trainees; identifying, supporting, and adjudicating trainee underperformance; and mediating trainees’ relationship with the hospital. Participants perceived themselves as a broker between trainees, their colleagues, their hospital, the Australian and New Zealand College of Anaesthetists and the community to varying degrees at different times. Negotiating these competing responsibilities required Supervisors of Training to manage multiple different relationships and entailed significant emotional work. Our fourth theme, scarcity, described the imbalance between these demands and the time and resources available. The complexity of the Supervisor of Training role and the tensions between these competing demands is underappreciated. Our findings would support strategies to mitigate the administrative load and share the decision-making burden of the role and to enhance the capability of Supervisors of Training by requiring formal training for the role.

A study of morphological variation in Ryparosa javanica (Blume) Kurz ex Koord. & Valeton sensu lato (Achariaceae; Flacourtiaceae pro parte) was undertaken after distinct differences were observed between Australian and Bornean populations. The confusing taxonomic history of R. javanica is first summarised. Phenetic techniques of agglomerative classification and ordination were used to analyse herbarium and field-collected specimens. Distinct groupings based on vegetative characters were supported by reproductive traits, plant architecture, ant–plant associations and geographical discontinuities. This work demonstrates that the current circumscription of R. javanica is a complex of at least nine species: R. javanica sensu stricto now confined to Sumatra, Java and Bali; three species that warrant reinstatement: R. amplifolia (K.Sch.) Mildbr. from New Guinea, R. kurzii King from the Andaman and Nicobar Islands and R. wrayi King from southern Myanmar and Thailand, the Malay Peninsula and northern Sumatra; and five new species described as R. maculata B.L.Webber from eastern New Guinea, R. anterides B.L.Webber from eastern Borneo, R. milleri B.L.Webber from New Guinea, R. maycockii B.L.Webber from western Borneo and R. kurrangii B.L.Webber from northern Australia. A key to the species and commonly mistaken taxa is provided.

Abstract The synthesis and application of metal and ceramic nanoparticle are significant subject in science and engineering. The metal nanoparticles such as gold, silver, and copper nanoparticles have more application in material science, nanomedicine, electronic, photonic, and art. One of the green methods for preparation of metal nanoparticles is laser ablation technique that offers a unique tool for nanofabrication of nanoparticles. In this work, gold colloids were prepared by pulsed laser ablation of high purity gold plate immersed in deionized water and 10μM NaCl solution. After ablation process, we study the change in the size distribution of nanoparticles after the ablation process for a month.

Research and application of magnetic levitation have been expanded in electric motors, generators, radar monitoring systems, car-door central locks, and metal object towing devices. In the operation, the objects do not touch each other. The use of a magnet-based system that floats objects is called a levitation system. In earlier times, fine art had been comfortable with its structure. Consequently, it is not prepared to deal with electromagnetic technology systems. Magnetic levitation technology is the process of floating objects with a gravitational force that rejects or counteracts each other in a magnetic field. This research aims to provide innovations in applying magnetic levitation in designing fine artworks in Indonesia, mainly wooden crafts. The work was designed with eco-design methods. The magnetic levitation techniques have been widely applied in woodcraft art today. The process of floating objects in the air has the property of rejecting each other's components, while the use of permanent magnets sets the object's position stable. Wood material as an object medium is formed to resemble a flying bird stabilized by magnetic levitation techniques. This wooden crafts experiment featured objects spinning and hovering when exposed to the wind.

Around the globe, heavy industry has often been associated with estuaries, which provide water for operations, waste disposal and navigation. Many of these practices leave a legacy of contamination, which accumulate in the estuaries, which act as sediment sinks. Heavy metal contaminants may remain buried, even after the industrial practices are ceased. The Connewarre Complex is a series of wetlands, within the Port Philip and Bellarine Ramsar site. Through a unique combination of techniques, including diatom assemblages, biogeochemistry (δ13C, δ15N, C/N) and heavy metal content, the major anthropogenic influences over the last 170 years and the biotic response has been determined. Key features that can be elucidated include regulation of the waterways, establishment of heavy industry and major shifts in climatic conditions. In combination, these drivers have acted to rapidly shift the condition of the wetland from early in settlement such that the perceived ‘natural ecological character’ is actually an artificial one. The legacy of contamination is common to many Ramsar-listed wetlands. The lesson from this site is that, when making plans to manage the ecological condition of a wetland, past use needs to be considered to ensure that well meaning interventions do not exacerbate risk of mobilising contaminants best left undisturbed.

The article considers the current problem of improving the education system, namely the application of the concept of STEAM as an innovative approach, which is today the subject of mass interest of both researchers and teachers-practitioners. Thanks to STEAM-education, teachers have the opportunity to develop students in several subject areas - computer science, physics, technology, engineering, art and mathematics. The necessity of introducing the concept of STEAM-education into the system of training pre-service teachers, which continues the implementation of STEM ideas, caused by the transition of society to the digital age, is substantiated. STEAM approaches in the educational process are considered. The experience of such developed countries as the USA, Finland, Australia, Great Britain, Israel, Korea, Singapore was analyzed and it was found out that they implement state programs in the field of STEAM education. In Finland, a LUMA center has been opened, in Spain teachers use STEAM-Makerspace to improve the knowledge of high school students in the field of geometry, in Australia the program STEAM Professionals in Schools has been implemented that brings together teachers with STEAM professionals to improve STEAM teaching practice and provide STEAM training at Australian schools. Possibilities of realization of three main ways of introduction of STEAM-education into the learning process, such as STEAM-project, STEAM-lesson, Maker-space are covered which can be effectively introduced into the educational process of higher education institutions. The implementation of the STEAM approach using the example of training pre-service mathematics teachers is considered. The author notes the important role of teachers who are ready to implement the ideas of STEAM-education in this process. The results of experimental work on the implementation of the concept of STEAM-education within the project activities of students using the example of the project "Ukrainian embroidery" are presented. The purpose and activity of students are revealed, the research tasks which they carried out are described. The result of the study was the development of a program that "embroiders", simulates the process of embroidery in different techniques, implementing different approaches to bypass the embroidery scheme. In addition, a set of tools was created in the GeoGebra package for research and design of various ornaments based on traditional elements of Ukrainian embroidery.

Metal halide perovskites have emerged as promising candidates for next-generation optoelectronics. However, the present understanding of their recombination processes and trap states within the devices are still limited, which is also inevitable in the state-of-the-art perovskite solar cells with multiple passivation strategies and various additives involved. Recent works have also demonstrated that metal cations incorporated perovskites could potentially reduce the non-radiative losses and improve the device performance to some extent. However, the underlying “doping” mechanism is not clear. In this work, we systematically investigated the trap-induced ultra-long carrier lifetime of the metal cation incorporated perovskites and found that some specific cations could extend the carrier lifetime up to ∼100 μs, which could be correlated with the formation of shallow trap states. In addition, such shallow trap-mediated charge dynamics could be effectively probed with light-biased time-resolved microwave conductivity technique, which provides additional information to conventional time-resolved photoluminescence.

Heavy metal (HM) pollution in waterways is a serious threat towards global water security, as high dosages of HM poisoning can significantly harm all living organisms. Researchers have developed promising methods to isolate, separate, or reduce these HMs from water bodies to overcome this. This includes techniques, such as adsorption, photocatalysis, and membrane removal. Nanomaterials play an integral role in all of these remediation techniques. Nanomaterials of different shapes have been atomically designed via various synthesis techniques, such as hydrothermal, wet chemical synthesis, and so on to develop unique nanomaterials with exceptional properties, including high surface area and porosity, modified surface charge, increment in active sites, enhanced photocatalytic efficiency, and improved HM removal selectivity. In this work, a comprehensive review on the role that nanomaterials play in removing HM from waterways. The unique characteristics of the nanomaterials, synthesis technique, and removal principles are presented. A detailed visualisation of HM removal performances and the mechanisms behind this improvement is also detailed. Finally, the future directions for the development of nanomaterials are highlighted.

Abstract. An FSSP-100 Optical Particle Counter designed to count and size particles in the micron range and a backscattersonde that measures in-situ particle optical properties such as backscatter and depolarization ratio, are part of the payload of the high altitude research aircraft M55 Geophysica. This aircraft was deployed in tropical field campaigns in Bauru, Brasil (TROCCINOX, 2004) Darwin, Australia (SCOUT-Darwin, 2005) and Ouagadougou, Burkina Faso (SCOUT-AMMA, 2006). In those occasions, measurements of particle size distributions and optical properties within cirrus cloud were performed. Scope of the present work is to assess and discuss the consistency between the particle volume backscatter coefficient observed by the backscattersonde and the same parameter retrieved by optical scattering theory applied to particle size distributions as measured by the FSSP-100. In addition, empirical relationships linking the optical properties measured in-situ by the backscattersonde, which generally can be obtained by remote sensing techniques (LIDAR), and microphysical bulk properties like total particle number, surface and volume density will be presented and discussed.

Abstract: Since the beginning of the 1990s successive Australian national governments (from both right and left of the political spectrum) have overseen a shift in the regulation of employment relations from one based on centralised arbitrated awards to one of enterprise bargaining. The ostensible purpose of this policy was to facilitate the development of workplace-focused systems of regulation which were sensitive to the need for flexible production and employment systems in the context of the global economy. The evidence suggests that whilst many of the objectives of the enterprise bargaining project have been attained (particularly the goal of greater flexibility in employment systems), the law has been less effective in protecting the interests of workers, particularly their power to influence decision-making at the place of work. The major impact of enterprise bargaining upon the workplace, the paper proposes, has been the restoration of managerial prerogative which previously had been mediated through arbitration or the power of trade unions. Finally, the paper draws conclusions on the changing role of the institutions which regulate Australian industrial relations. Historically, Australian industrial tribunals have combined the features of judicial bodies and regulatory agencies. The paper concludes that a shift is occurring in Australian labour law from a mixture of self-regulation and centralised ?command and control?, to ?enforced self-regulation?, thus signalling a systemic and profound reorientation in regulatory policy and technique in Australian labour market regulation

Challenges in the extraction and use of earth resources and spaces are encountered given a growing worldwide population, rising infrastructures development, and widespread climate change. In Australia, mining and construction are two major bases for economic growth while both being traditional hazardous and heavy industries. A nation-wide infrastructure upgrade featuring large-scale underground development is underway, the geological uncertainties and localisation difficulties of already laid infrastructure are associated with challenges not seen in building construction. A safer and competent subterranean transport solution is yet proposed in the context of sustainable developments. In light of this, geotechnical analysis as a fundamental subject for developing and maintaining safe and sustainable use of underground space has huge potential to be undertaken more intuitively considering the advancements in information management and visualisation. The PhD work examines the state-of-the-art applications, limitations and future opportunities of Building Information Modelling (BIM) and other computational techniques in the digitisation of tunnelling and underground construction. The visualisation and interoperability facilitated by data-driven processes are especially important to underground construction that engages interdisciplinary and multi-environment interaction.

AbstractThe drive to replace scarce and expensive Pt-based electrocatalysts for oxygen reduction reaction (ORR) has led to the development of a group of electrocatalysts composed of transition-metal ion centers coordinated with four nitrogen groups (M-N4). Among these, metal phthalocyanines (MPcs), due to low cost of preparation, highly conjugated structure as well as high thermal and chemical stability, have received a great interest. The catalytic activity of MPcs can be improved by employing conducting supports. Here, in this report, we have solvothermally synthesized graphene-supported zinc phthalocyanine nanostructures, and their ORR kinetics and mechanism have been investigated in neutral solution (pH = 7) by using the rotating disk electrode technique. The as-synthesized nanocomposite followed a 4e− reduction pathway. The onset potential (−0.04 V versus Ag/AgCl) found in this work can be comparable with other state-of-the-art material, demonstrating good performance in neutral solution. The fascinating performance leads the nanocomposite material toward future energy applications.

Esso Australia Pty Ltd, in Victoria, Australia has recently been involved in the preparation of over 20 safety cases to meet both offshore (Victoria and Western Australia) [Petroleum {Submerged Lands} Act] and onshore [Victorian Occupational Health and Safety Act] regulatory requirements.This paper focusses on the development of the onshore safety cases for both Longford and Long Island Point plants to meet the Victorian Occupational Health and Safety (Major Hazard Facilities) Regulations 2000. Both plants have been granted a five-year unconditional licence to operate.The objectives of the safety case development were to ensure that Esso:addressed major hazard facilities regulatory requirements; maximised benefit from the process, and to maximise benefit from existing work; was consistent with site approach to risk assessment/ safety culture; involved appropriate workforce from all areas— operations, maintenance and technical support; enhanced the effective knowledge and understanding of the workforce; and developed a communication tool to enable ease of understanding by site personnel.Esso’s approach of using qualitative risk assessment techniques (familiar to many site personnel) enabled the process to use tools that provided ease of involvement for the non-technical or safety specialists. This paper will explain this approach in greater detail, demonstrating how this successfully met the stringent requirements of the regulations whilst providing Hazard Register documentation readily understood by the key customer— our site workforce.The hazard register clearly identifies the relevant hazards and their controls, as well as highlighting the linkages to the safety management system and documented performance standards. A comprehensive training program provides all personnel working at site with an overview of the safety case, and the necessary skills and knowledge to be able to use the safety case and hazard register to its maximum advantage. The safety case resource booklet (similar to our offshore approach) is an integral part of the training program, and provides an ongoing reference source for trainees. It continues to receive recognition by both regulators and industry.

Nowadays, the optical measuring approach is widely used in the precision machining industry due to high measurement efficiency. In the industry, measuring devices play a crucial role in the field of quality assurance. In practical engineering, the green measurement approach indeed plays an important role in the industry currently. In this study, a state-of-the-art green technique for three-dimensional (3D) optical measurements without environmental pollution is demonstrated, which is an environmentally friendly optical measurement method. This method can perform precise optical measurement without matte coatings. This work dealt with the possibility of measuring four metal components that were not sprayed with anything. The differences in the optical measurement results between with and without matte coatings were investigated and analyzed. It was found that the research result has practical value in the precision machining industry because average size errors of the four measurement objects with different surface properties can be controlled at about 3 µm, 0.1 µm, 0.5 µm, and 9 µm. A technical database with industrial value was established for optical measurements of metal components with different surface properties without matte coatings, which can serve as an alternative to the conventional 3D optical measurement.

Fibre metal laminates are utilized in lightweight structures, such as aircraft fuselages, as fibre metal laminates provide outstanding fatigue and damage tolerance capabilities, together with a reduced weight compared to monolithic metallic structures. One critical feature of fuselage structures is their strength reduction that owes to riveting, i.e., a state-of-the-art joining technique in aircrafts. In the present work, the blunt notch strength of fibre-laminate panels with rivet holes is investigated under service-relevant biaxial loading conditions. To this purpose, cruciform specimens with a five-hole pattern were produced. These specimens were tested under various biaxiality ratios and fibre orientations. All tests were supported by three-dimensional digital image correlation to obtain the deformation field in the gauge area. Moreover, the displacement fields obtained during deformation were used in an elasto-plastic finite element model as boundary conditions to determine the maximum strains in the vicinity of the blunt notch holes and thus extend the application of the experimental results. The asymmetric strain fields obtained by digital image correlation reveal the interaction of the fibres with the blunt notch holes. Finally, it is shown that the biaxial loading conditions do not significantly influence the blunt notch strength.

IntroductionIn many jurisdictions, people experiencing an injury often pursue compensation to support their treatment and recovery expenses. Healthcare costs form a significant portion of payments made by compensation schemes. Compensation scheme regulators need accurate and comprehensive data on injury severity, treatment pathways and outcomes to enable scheme modelling, monitoring and forecasting. Regulators routinely rely on data provided by insurers which have limited healthcare information. Health data provide richer information and linking health data with compensation data enables the comparison of profiles, patterns, trends and outcomes of injured patients who claim and injured parties who are eligible but do not claim.Methods and analysisThis is a retrospective population-level epidemiological data linkage study of people who have sought ambulatory, emergency or hospital treatment and/or made a compensation claim in Queensland after suffering a transport or work-related injury, over the period 1 January 2011 to 31 December 2021. It will use person-linked data from nine statewide data sources: (1) Queensland Ambulance Service, (2) Emergency Department, (3) Queensland Hospital Admitted Patients, (4) Retrieval Services, (5) Hospital Costs, (6) Workers’ Compensation, (7) Compulsory Third Party Compensation, (8) National Injury Insurance Scheme and (9) Queensland Deaths Registry. Descriptive, parametric and non-parametric statistical methods and geospatial analysis techniques will be used to answer the core research questions regarding the patient’s health service use profile, costs, treatment pathways and outcomes within 2 years postincident as well as to examine the concordance and accuracy of information across health and compensation databases.Ethics and disseminationEthics approval was obtained from the Royal Brisbane and Women’s Hospital Human Research Ethics Committee, and governance approval was obtained via the Public Health Act 2005, Queensland. The findings of this study will be used to inform key stakeholders across the clinical, research and compensation regulation area, and results will be disseminated through peer-reviewed journals, conference presentations and reports/seminars with key stakeholders.

Abstrak Seni grafis teknik cukil dikenal sebagai teknik cetak yang paling populer untuk berkreasi dalam menghasilkan karya-karya seni grafis. Ada beberapa bahan yang dapat digunakan untuk dijadikan sebagai acuan cetak dalam teknik cetak cukil ini diantaranya potongan kayu, karet, dan logam. Akan tetapi bahan-bahan tersebut sudah terlalu umum digunakan di kalangan seniman cukil. Dalam penelitian ini bertujuan untuk mendapatkan alternatif bahan yang baru untuk acuan cetak teknik cukil sebagai bentuk kreatifitas dalam eksplorasi bahan dan media seni. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dengan pendekatan penciptaan seni Hawkins yang terdiri dari tahap Eksplorasi, Improvisasi, dan Pembentukan. Hasil dari penelitian ini adalah penggunaan bahan karet sol sepatu menjadi pilihan bahan baru yang memiliki beberapa keunggulan dibandingkan bahan-bahan yang lain diantaranya: bahan mudah didapatkan di pasaran, harganya murah, dapat menghasilkan detail gambar yang baik, dan juga mudah diaplikasikan pada media. Hasil penelitian ini dapat dimanfaatkan oleh para seniman grafis dan masyarakat yang tertarik pada bidang seni grafis. Kata Kunci: cetak, cukil, grafis, karet, sol sepatu AbstractPrintmaking is known as the most popular printing technique for being creative in producing works of graphic art. There are several materials that can be used as a printing reference in this cukil printing technique, including pieces of wood, rubber, and metal. However, these materials are too commonly used among artisans. In this study, the aim of this study was to obtain new alternative materials for the printing reference of the cukil technique as a form of creativity in the exploration of materials and art media. The method used in this study is a qualitative method with an art creation approach consisting of stages of exploration, design, and realization of the work. The results of this study are the use of rubber shoe soles as a new material choice which has several advantages over other materials including: the material is easy to obtain on the market, the price is cheap, can produce good image details, and is also easy to apply to the media. The results of this study are expected to be used by graphic artists and the public who are interested in the field of graphic arts. Keywords: print, cut, graphic, rubber, shoe sole

Visual Place Recognition (VPR) is a fundamental yet challenging task in Visual Simultaneous Localization and Mapping (V-SLAM) problems. The VPR works as a subsystem of the V-SLAM. VPR is the task of retrieving images upon revisiting the same place in different conditions. The problem is even more difficult for agricultural and all-terrain autonomous mobile robots that work in different scenarios and weather conditions. Over the last few years, many state-of-the-art methods have been proposed to solve the limitations of existing VPR techniques. VPR using bag-of-words obtained from local features works well for a large-scale image retrieval problem. However, the aggregation of local features arbitrarily produces a large bag-of-words vector database, limits the capability of efficient feature learning, and aggregation and querying of candidate images. Moreover, aggregating arbitrary features is inefficient as not all local features equally contribute to long-term place recognition tasks. Therefore, a novel VPR architecture is proposed suitable for efficient place recognition with semantically meaningful local features and their 3D geometrical verifications. The proposed end-to-end architecture is fueled by a deep neural network, a bag-of-words database, and 3D geometrical verification for place recognition. This method is aware of meaningful and informative features of images for better scene understanding. Later, 3D geometrical information from the corresponding meaningful features is computed and utilised for verifying correct place recognition. The proposed method is tested on four well-known public datasets, and Micro Aerial Vehicle (MAV) recorded dataset for experimental validation from Victoria Park, Adelaide, Australia. The extensive experimental results considering standard evaluation metrics for VPR show that the proposed method produces superior performance than the available state-of-the-art methods.

The development of lightweight hybrid metal–polymer structures has recently attracted interest from the transportation industry. Nevertheless, the possibility of joining metals and polymers or composites is still a great challenge. Friction Spot Joining (FSpJ) is a prize-winning friction-based joining technique for metal–polymer hybrid structures. The technology is environment-friendly and comprises very short joining cycles (2 to 8 s). In the current work, aluminum alloy 7075-T6 and carbon-fiber-reinforced polyphenylene sulfide (CF-PPS) friction spot joints were produced and evaluated for the first time in the literature. The spot joints were investigated in terms of microstructure, mechanical performance under quasi-static loading and failure mechanisms. Macro- and micro-mechanical interlocking were identified as the main bonding mechanism, along with adhesion forces as a result of the reconsolidated polymer layer. Moreover, the influence of the joining force on the mechanical performance of the joints was addressed. Ultimate lap shear forces up to 4068 ± 184 N were achieved in this study. A mixture of adhesive–cohesive failure mode was identified, while cohesive failure was dominant. Finally, a qualitative comparison with other state-of-the-art joining technologies for hybrid structures demonstrated that the friction spot joints eventually exhibit superior/similar strength than/to concurrent technologies and shorter joining times.

Glycosylation is a topic of intense current interest in the development of biopharmaceuticals because it is related to drug safety and efficacy. This work describes results of an interlaboratory study on the glycosylation of the Primary Sample (PS) of NISTmAb, a monoclonal antibody reference material. Seventy-six laboratories from industry, university, research, government, and hospital sectors in Europe, North America, Asia, and Australia submitted a total of 103 reports on glycan distributions. The principal objective of this study was to report and compare results for the full range of analytical methods presently used in the glycosylation analysis of mAbs. Therefore, participation was unrestricted, with laboratories choosing their own measurement techniques. Protein glycosylation was determined in various ways, including at the level of intact mAb, protein fragments, glycopeptides, or released glycans, using a wide variety of methods for derivatization, separation, identification, and quantification. Consequently, the diversity of results was enormous, with the number of glycan compositions identified by each laboratory ranging from 4 to 48. In total, one hundred sixteen glycan compositions were reported, of which 57 compositions could be assigned consensus abundance values. These consensus medians provide community-derived values for NISTmAb PS. Agreement with the consensus medians did not depend on the specific method or laboratory type. The study provides a view of the current state-of-the-art for biologic glycosylation measurement and suggests a clear need for harmonization of glycosylation analysis methods.

Object identification using deep learning in known environment gives a new dimension to the research area of computer vision based automation system. As it uses supervised learning technique using Convolution Neural Network (RCNN) it helps automation software tools and machines to detect and identify objects using vision based systems. One of RCNN technique known as Mask-RCNN has been applied in this proposed design and this paper presents a novel approach to object detection problem using Big Data storage for large set of features based data. Earlier work Faster Region-based CNN has led to the development of a state-of-the-art object detector termed as Mask R-CNN. Some samples of solid material objects used in refractory industry have been taken as input images. In our experiment the SIFT based features have been implemented and trained using filter and convolution operation. In addition to improved accuracy, pixel-level annotation (annotating bounding boxes is approximately an order of magnitude which is quicker to perform). The model is retrained to perform the detection of four types of metal objects, with the entire process of annotation and training for the new model per solid block. A key benefit of feature based Mask-RCNN approach is high precision (~94%) in classification and minimized feature points with SIFT key points.

ABSTRACTRoll-to-roll deposition techniques for the fabrication of chalcopyrite solar cells are of major interest and are a promising alternative to state of the art vacuum processes. However, for roll-to-roll processes the preparation of precursor materials like nanoparticle inks is a crucial point. In this work a study on the preparation technique of copper-indium intermetallic nanoparticles was conducted. The preparation of the nanoparticles is based on the chemical reduction of copper and indium cations with sodium borohydride. Different parameters are discussed regarding their influence on (1) size and shape of the nanoparticles, (2) Cu/In ratio within the synthesised nanoparticles and (3) yield of the synthesis. Results show a strong dependency of the Cu/In ratio of the nanoparticles and the yield of the synthesis on the synthesis parameters. The influence of different parameters like (a) the ratio of metal cations to BH4- anions, (b) the Cu2+/In3+ cation ratio within the precursor solution and (c) the dropping rate of the copper-indium precursor solution are discussed. The Cu/In ratio within the nanoparticles can mainly be controlled by the Cu2+/In3+ cation ratio and the dropping rate of the copper-indium precursor solution. The yield of the synthesis shows saturation behaviour depending on the ratio of metal cations to BH4- anions. Shape and size of the nanoparticles are independent of the varied parameters.

The utilization of solar energy, by far the most promising renewable energy resource, remains one of the hottest topics in the 21st century. Metal-free carbon nitride (CN) material emerged as a promising water splitting photocatalyst in 2009 due to its appropriate visible light absorption, suitable optical band gap energy (2.7 eV), and facile synthesis. Though CN is one of the leading materials for solar energy conversion, this material is limited by light absorption, rapid charge recombination, and low charge carrier mobility. Metal oxide are thus investigated for counterbalancing CN’s inherent drawbacks. Interfacial CN/metal oxide heterostructures facilitate charge transportation, resulting in improved sunlight-driven water splitting process. In this work, low-cost NiO transition-metal oxide material was applied to speed up the sluggish kinetics of the oxygen evolution reaction (OER). Typically, CN modification is achieved by traditional hydrothermal approach, while its disadvantages such as uneven coating particle size and heterogenous distribution are becoming increasingly apparent. Aiming at a conformal morphology, atomic layer deposition (ALD) is developed as the state-of-the-art technique. It has boosted the depositing accuracy by achieving precisely depositing thickness and extremely homogenous surface. In our process, a uniform CN film was deposited on FTO substrates using a dipping-drying technique with a hot saturated thiourea aqueous solution followed by a thermal treatment. Then plasma-enhanced atomic layer deposition (PEALD) was used to modify the CN film with a thin layer of NiO. PEALD controls the NiO modification on a fine-scale, allowing to with deposit a nanoscale NiO layer on the CN surface while exposing adequate CN photoreactive sites. According to our results, the modified NiO/CN heterostructure has the potential to improve photoelectrochemical water oxidation as a photoanode in alkaline solution. From the morphology side, the NiO loaded flake-like CN creates relatively high specific area for OER. Then we investigated the photo-process kinetic using a series of optical and spectroelectrochemcial techniques. Optical absorption is enhanced, showing stronger visible light absorption up to 700 nm. Fast charge separation is suggested in photoluminescence (PL) characterization. Superior (photo)electrochemical (PEC) activity is foreseen through PEC and EC measurements. To conclude, this is the first time we succeed to modify the CN film with the ALD technique for solar-driven water oxidation, and has the highly possibility of reaching the photo(electro)chemical performance new level.

In this work, we introduce lead-free organic ferroelectric perovskite N-methyl-N′-diazabicyclo[2.2.2]octonium)–ammonium triiodide (MDABCO-NH4I3) nanocrystals embedded in three different polymer fibers fabricated by the electrospinning technique, as mechanical energy harvesters. Molecular ferroelectrics offer the advantage of structural diversity and tunability, easy fabrication, and mechanical flexibility. Organic–inorganic hybrid materials are new low-symmetry emerging materials that may be used as energy harvesters because of their piezoelectric or ferroelectric properties. Among these, ferroelectric metal-free perovskites are a class of recently discovered multifunctional materials. The doped nanofibers, which are very flexible and have a high Young modulus, behave as active piezoelectric energy harvesting sources that produce a piezoelectric voltage coefficient up to geff = 3.6 VmN−1 and show a blue intense luminescence band at 325 nm. In this work, the pyroelectric coefficient is reported for the MDABCO-NH4I3 perovskite inserted in electrospun fibers. At the ferroelectric–paraelectric phase transition, the embedded nanocrystals display a pyroelectric coefficient as high as 194 × 10−6 Cm−2k−1, within the same order of magnitude as that reported for the state-of-the-art bulk ferroelectric triglycine sulfate (TGS). The perovskite nanocrystals embedded into the polymer fibers remain stable in their piezoelectric output response, and no degradation is caused by oxidation, making the piezoelectric perovskite nanofibers suitable to be used as flexible energy harvesters.

Abstract. People are becoming increasingly interested in mobile air quality sensor network applications. By eliminating the inaccuracies caused by spatial and temporal heterogeneity of pollutant distributions, this method shows great potential for atmospheric research. However, systems based on low-cost air quality sensors often suffer from sensor noise and drift. For the sensing systems to operate stably and reliably in real-world applications, those problems must be addressed. In this work, we exploit the correlation of different types of sensors caused by cross sensitivity to help identify and correct the outlier readings. By employing a Bayesian network based system, we are able to recover the erroneous readings and recalibrate the drifted sensors simultaneously. Our method improves upon the state-of-art Bayesian belief network techniques by incorporating the virtual evidence and adjusting the sensor calibration functions recursively.Specifically, we have (1) designed a system based on the Bayesian belief network to detect and recover the abnormal readings, (2) developed methods to update the sensor calibration functions infield without requirement of ground truth, and (3) extended the Bayesian network with virtual evidence for infield sensor recalibration. To validate our technique, we have tested our technique with metal oxide sensors measuring NO2, CO, and O3 in a real-world deployment. Compared with the existing Bayesian belief network techniques, results based on our experiment setup demonstrate that our system can reduce error by 34.1 % and recover 4 times more data on average.

An inlay sample with artificial defects was inspected via the pulse-compression thermography (PuCT) technique. The sample belongs to the cultural heritage field, and it was realized by a professional restorer based on his long-time experience, imitating historical art crafting styles. The tesserae composing the inlay were not treated by any protective paints, so that external thermal stimuli may cause physical/mechanical alterations of the cell walls, with consequent colour changes, cracks, and eventually damage to its surface. To avoid any alteration of the sample, the PuCT technique was used for inspecting the inlay sample as it allows the heating power to be very low, while assuring enough thermal contrast for the defects to be detected after the exploitation of the pulse-compression algorithm. Even if a maximum ΔT slightly exceeding 1 °C was detected during the PuCT test of the inlay sample, it is shown that this is enough for detecting several defects. Further, image processing based on the Hilbert transform increases defect detection and characterization. In addition, a novel normalization technique, i.e., a pixel-by-pixel data normalization with respect to the absorbance estimated by considering a characteristic value of the compression peak, is introduced here for the first time. The proposed normalization enhances the defect detection capability with respect to the standard pixel-by-pixel amplitude visualization. This has been demonstrated for two experimental setups, both exploiting the same LED chips system as heating source but different thermal camera sensors, i.e., one in the mid-infrared spectrum, the other in the far infrared one. Thus, the present work is also the first small-scale test of a future portable system that will include low-power LED chip feed in DC by metal-oxide-semiconductor field-effect transistor (MOSFET) devices, and a handy far-infrared camera.

Summary Coalbed methane (CBM) produced from subsurface coal deposits has been produced commercially for more than 30 years in North America, and relatively recently in Australia, China, and India. Historical challenges to predicting CBM-well performance and long-term production have included accurate estimation of gas in place (including quantification of in-situ sorbed gas storage); estimation of initial fluid saturations (in saturated reservoirs) and mobile water in place; estimation of the degree of undersaturation (undersaturated coals produce mainly water above desorption pressure); estimation of initial absolute permeability (system); selection of appropriate relative permeability curves; estimation of absolute-permeability changes as a function of depletion; prediction of produced-gas composition changes as a function of depletion; accounting for multilayer behavior; and accurate prediction of cavity or hydraulic-fracture properties. These challenges have primarily been a result of the unique reservoir properties of CBM. Much progress has been made in the past decade to evaluate fundamental properties of coal reservoirs, but obtaining accurate estimates of some basic reservoir and geomechanical properties remains challenging. The purpose of the current work is to review the state of the art in field-based techniques for CBM reservoir-property and stimulation-efficiency evaluation. Advances in production and pressure-transient analysis, gas-content determination, and material-balance methods made in the past 2 decades will be summarized. The impact of these new methods on the evaluation of key reservoir properties, such as absolute/relative permeability and gas content/gas in place, as well as completion/stimulation properties will be discussed. Recommendations on key surveillance data to assist with field-based evaluation of CBM, along with insight into practical usage of these data, will be provided.

Cognitive biases—unconscious errors resulting from how people’s minds work—have been observed in both laboratory and in situ examinations of petroleum personnel’s decisions, and have been demonstrated to result in significant lost value. Since 2003, the CIBP group at the Australian School of Petroleum has been conducting research into such effects, including the use of a battery of questions designed to test oil and gas personnel’s susceptibility to said biases. This paper tracks industry performance on biases across the last decade, noting changes relative to baseline results from Welsh et al (2005) and on insights since gained into the nature and operation of cognitive biases more generally. Results are discussed in light of standard findings regarding the strength of biases observed in the wider psychological literature and in direct comparison with results observed in a sample of petroleum students collected from 2005–15, providing valuable benchmarks. The central observation is that bias strength has remained stable across the period in question, according with earlier studies suggesting biases are robust and increased awareness of their existence is insufficient to reduce bias susceptibility. Given this observation, the authors look in finer detail at what can be done, discussing the benefits ongoing training regarding the nature of biases can provide, before describing debiasing techniques and changes to the elicitation methods and tools known to reduce bias, based on state-of-the-art understanding of when and how biases occur. This, the authors argue, offers significant opportunities to reduce bias and improve industry decisions and economic outcomes.

Reducing precious metal loading in the anodic catalyst layer (CL) is indispensable for lowering capital costs and enabling the widespread adoption of polymer electrolyte water electrolysis (PEWE). This work presents the first three-dimensional reconstruction of a state-of-the-art TiO2-supported IrO2 based core shell catalyst layer (3 mgIrO2/cm2), using high-resolution X-ray ptychographic tomography at a cryogenic temperature of 90 K. The ptychographic tomography was performed at the cSAXS beamline of the Swiss Light Source (PSI). The high data quality and phase sensitivity of the technique have allowed the reconstruction of all four phases namely pore space, IrO2, TiO2 support matrix and the ionomer network, the latter of which has proven to be a challenge in the past. Results show that the IrO2 forms thin nanoporous shells around the TiO2 particles and that the ionomer has a non-uniform thickness and partially covers the catalyst. The TiO2 particles do not form a percolating network while all other phases have high connectivity. The analysis of the CL ionic and electronic conductivity shows that for a dry CL, the ionic conductivity is orders of magnitudes lower than the electronic conductivity. Varying the electronic conductivity of the support phase by simulations reveals that the conductivity of the support does not have a considerable impact on the overall CL electrical conductivity. Figure 1

Targeting 3D image reconstruction and depth sensing, a desirable feature for complementary metal oxide semiconductor (CMOS) image sensors is the ability to detect local light incident angle and the light polarization. In the last years, advances in the CMOS technologies have enabled dedicated circuits to determine these parameters in an image sensor. However, due to the great number of pixels required in a cluster to enable such functionality, implementing such features in regular CMOS imagers is still not viable. The current state-of-the-art solutions require eight pixels in a cluster to detect local light intensity, incident angle and polarization. The technique to detect local incident angle is widely exploited in the literature, and the authors have shown in previous works that it is possible to perform the job with a cluster of only four pixels. In this work, the authors explore three novelties: a mean to determine three of four Stokes parameters, the new paradigm in polarization cluster-pixel design, and the extended ability to detect both the local light angle and intensity. The features of the proposed pixel cluster are demonstrated through simulation program with integrated circuit emphasis (SPICE) of the regular Quadrature Pixel Cluster and Polarization Pixel Cluster models, the results of which are compliant with experimental results presented in the literature.

The emergence of “blockchain” technology as an alternative data management technique has spawned a myriad of conceptual and logical design work across multiple industries and sectors. It is also argued to enable operationalisation of the earlier “smart contract” concept. The domain of land administration has actively investigated these opportunities, albeit also largely at the conceptual level, and usually with a whole-of-sector or “big bang” industry transformation perspective. Less reporting of applied case applications is evident, particularly those undertaken in collaboration with practicing land sector actors. That said, pilots and test cases continue to act as a basis for understanding the relative merits, drawbacks, and implementation challenges of the smart contract concept in land administration. In this vein, this paper extends upon and further refines the existing discourse on smart contracts within the land sector, by giving an updated, if not more nuanced, view of example applications, opportunities, and barriers. In contrast to the earlier works, a hybrid solution that mixes smart contract use with existing technology infrastructure—enabling preservation of the role of a land registry agency as the ultimate arbiter of valid claims—is proposed. This is hypothesised to minimise disruptions, whilst maximising the benefits. Examination of proof-of-concept work on smart contract and blockchain applications in Sweden, Australia (State of New South Wales), and Canada (Province of British Columbia) is undertaken. Comparative analysis is undertaken using several frameworks including: (i) business requirements adherence, (ii) technology readiness and maturity assessment, and (iii) strategic grid analysis. Results show that the hybrid approach enables adherence to land dealing business requirements and that the proofs-of-concept are a necessary step in the development trajectory. Furthering the uptake will likely depend on again taking a whole-of-sector perspective, and attending to remaining issues around business models, stakeholder acceptance, partnerships and trust building, and legal issues linked to data decentralisation and security.

Mobil mainan merupakan suatu benda yang biasa dimainkan oleh anak-anak. Akan tetapi berbeda halnya dengan mobil mainan jenis diecast, yakni mobil mainan yang terbuat dari logam kemudian dicetak ke dalam bentuk yang diinginkan. Mobil mainan diecast yang memiliki berbagai macam ukuran tidak hanya dimainkan oleh anak-anak karena pada perkembangannya diecast menjadi karya seni yang menarik untuk dikoleksi dan dipajang salah satunya mobil dengan ukuran skala1:24. Dengan demikian muncul keinginan untuk menampilkan mobil mainan diecast dalam bentuk karya fotografi. Alasan pemilihan ukuran skala 1:24 adalah ukurannya yang terbilang sedang dan mempunyai detail kemiripan yang cukup baik sehingga cocok digunakan untuk foto stilllife. Selain itu, ukuran mobil mainan diecastskala 1:24 juga cenderung kurang diminati oleh para kolektor shingga diharapkan penciptaan karya seni ini dapat meningkatkan minat para kolektorterhadap diecastskala 1:24. Teknik fotografi still life merupakan salah satu metode dalam fotografi yang digunakan untuk keperluan komersial. Teknik still life digunakan untuk mempermudah penataan objek yang dikombinasikan dengan diorama. Kemudian penataan cahaya dan komposisi dalam teknik ini mampu menjadikan sebuah objek menjadi lebih bernilai jual. Ditambah dengan teknik olah digital focus stacking yang membantu menguatkan detail dari sebuah produk mobil mainan. Penciptaan karya fotografi ini bertujuan untuk menampilkan sebuah mobil mainan yang menyerupai mobil sesungguhnya sehingga dapat menarik perhatian penikmat foto dan juga pencinta mobil mainan diecast khususnya yang berskala 1:24. Hasil dari penciptaan karya seni ini didapatkan bahwa mobil mainan yang semula hanya benda mati saja, melalui fotografi dapat diciptakan menjadi sebuah karya seni visual yang tampak lebih nyata. Mobil mainan diecast merek Welly ini banyak ditemukan hasil pengecatan yang kurang maksimal. Akan tetapi, penggunaan set diorama sebagai elemen pendukung sangat membantu untuk menguatkan kesan lebih nyata sehingga secara umum penciptaan karya seni ini dapat menambahkan nilai jual pada mobil mainandiecast skala 1:24.Kata kunci: mobil mainan, diecast skala 1:24, fotografi, stilllife Abstract Diecast Toycar 1:24 Scale in Still Life Photography. A toy car is an object commonly played by children. Diecast is way a different type of toycar which is made of metal and then formed into the desired shape. Diecast cars with variety of sizes not only played by children because in its development the diecast is becoming into an interesting work of art to be collected and displayed, one of them is with a scale of 1:24. Thus, it seems interesting to feature diecast toycars in the form of photography works. The reason for choosing scale of 1:24 is because this size is quite moderate and the detail similarity is good enough so that it will be suitable to be used in still life photography. In addition to that, the size of the 1: 24 scale diecast toycar also tends to be less desirable by collectors so it is expected that the creation of this artwork can increase the interest of collectors for the 1:24 scale diecast. Still life photography technique is one of the methods in photography used for commercial purposes. Still life technique is used to facilitate the arrangement of objects to be combined with diorama. Then, the arrangement of light and composition in this technique can make an object becomes more valuable. Coupled with the technique of digital focus stacking that helps strengthen the details of a toycar product. The creation of this photography work aims to showcase a toycar that resembles a real car so as to attract the attention of photo enthusiasts as well as diecast car enthusiasts especially for 1: 24 scale. The result of the creation of this artwork shows that toycars which were originally only inanimate objects, through photography can be made into a work of visual art that looks more real. The paintings in Welly diecast toyscars are found not really good enough. However, the use of diorama sets as a supporting element is helpful to reinforce a more realistic impression so that in general the creation of this work can add a commercial value to a 1:24 scale diecast toycar. Keywords: toycar, diecastscale 1:24, photography, still life

The Arctic region is expected to play an extremely prominent role in the future of the oil and gas industry as growing demand for natural resources leads to greater exploitation of a region that holds about 25% of the world’s oil and gas reserves. It has become clear that ensuring the necessary reliability of Arctic industrial structures is highly dependent on the welding processes used and the materials employed. The main challenge for welding in Arctic conditions is prevention of the formation of brittle fractures in the weld and base material. One mitigating solution to obtain sufficiently low-transition temperatures of the weld is use of a suitable welding process with properly selected parameters. This work provides a comprehensive review with experimental study of modified submerged arc welding processes used for Arctic applications, such as narrow gap welding, multi-wire welding, and welding with metal powder additions. Case studies covered in this article describe welding of Arctic steels such as X70 12.7-mm plate by multi-wire welding technique. Advanced submerged arc welding processes are compared in terms of deposition rate and welding process operational parameters, and the advantages and disadvantages of each process with respect to low-temperature environment applications are listed. This article contributes to the field by presenting a comprehensive state-of-the-art review and case studies of the most common submerged arc welding high deposition modifications. Each modification is reviewed in detail, facilitating understanding and assisting in correct selection of appropriate welding processes and process parameters.

The development of conducting polymer-based supercapacitors offers remarkable advantages, such as good ionic and electronic conductivity, ease of synthesis, low processing cost, and mechanical flexibility. 3,4-ethylenedioxythiophene (PEDOT) is a conducting polymer with robust chemical and environmental stability during storage and operation in an aqueous environment. Yet, improving its electrochemical capacitance and cycle life remains a challenge for high-performance supercapacitors exceeding the current state-of-the-art. The fabrication of PEDOT composites with carbon nanomaterials and metal oxides is the commonly used approach to enhance capacitance and stability. This work discusses a comparative study to fabricate highly stable PEDOT derivative electrodes with remarkable specific capacitance via a straightforward electrochemical polymerization technique. The hydroxymethyl PEDOT (PEDOTOH) doped with perchlorate in a dichloromethane (DCM) solvent (197 F g−1) exhibits superior performance compared to the polymer formed in an aqueous solution (124 F g−1). Furthermore, the electropolymerized PEDOTOH on flexible Au/Kapton substrates was assembled into a free-standing symmetrical supercapacitor in an agarose additive-free gel. The use of agarose gel electrolytes can offer easy handling, no leakage, moderate ionic conductivity, and flexibility for miniaturization and integration. The supercapacitor reached a specific capacitance of 36.96 F g−1 at a current density of 13.7 A g−1, an energy density of 14.96 Wh kg−1, and a power density of 22.2 kW kg−1 among the highest values reported for PEDOT-based supercapacitors. The self-standing supercapacitor achieves an industry-par capacitance retention of ∼98% after 10000 charge/discharge cycles at 10 A g−1. This study provides insights into the effect of solvents and electropolymerization modes on the polymer structure and its electrochemical properties toward high-performance supercapacitor devices.

Literary history can be viewed alternately in a perspective of continuities or discontinuities. In the former perspective, what I perversely call postmodernism is simply an extension of modernism [which is], as everyone knows, a development of symbolism, which … is itself a specialisation of romanticismand who is there to say that the romantic concept of man does not find its origin in the great European Enlightenment? Etc. In the latter perspective, however, continuities [which are] maintained on a certain level of narrative abstraction (i.e., history [or aesthetic description]) are resisted in the interests of the quiddity and discreteness of art, the space that each work or action creates around itself. – Ihab Hassan Ihab Hassan’s words, published in 1975, continue to resonate today. How should we approach art? Can an artwork ever really fully be described by its critical review, or does its description only lead to an ever multiplying succession of terms? Michel Foucault spoke of the construction of modern sexuality as being seen as the hidden, irresolvable “truth” of our subjectivity, as that secret which we must constantly speak about, and hence as an “incitement to discourse” (Foucault, History of Sexuality). Since the Romantic period, the appreciation of aesthetics has been tied to the subjectivity of the individual and to the degree an art work appeals to the individual’s sense of self: to one’s personal refinement, emotions and so on. Art might be considered part of the truth of our subjectivity which we seem to be endlessly talking about – without, however, actually ever resolving the issue of what a great art work really is (anymore than we have resolved the issue of what natural sexuality is). It is not my aim to explicate the relationship between art and sex but to re-inject a strategic understanding of discourse, as Foucault understood it, back into commonplace, contemporary aesthetic criticism. The problems in rendering into words subjective, emotional experiences and formal aesthetic criteria continue to dog criticism today. The chief hindrances to contemporary criticism remain such institutional factors as the economic function of newspapers. Given their primary function as tools for the selling of advertising space, newspapers are inherently unsuited to sustaining detailed, informed dialogue on any topic – be it international politics or aesthetics. As it is, reviews remain short, quickly written pieces squeezed into already overloaded arts pages. This does not prevent skilled, caring writers and their editorial supporters from ensuring that fine reviews are published. In the meantime, we muddle through as best we can. I argue that criticism, like art, should operate self-consciously as an incitement to discourse, to engagement, and so to further discussion, poetry, et cetera. The possibility of an endless recession of theoretical terms and subjective responses should not dissuade us. Rather, one should provisionally accept the instrumentality of aesthetic discourse provided one is able always to bear in mind the nominalism which is required to prevent the description of art from becoming an instrument of repression. This is to say, aesthetic criticism is clearly authored in order to demonstrate something: to argue a point, to make a fruitful comparison, and so on. This does not mean that criticism should be composed so as to dictate aesthetic taste to the reader. Instead, it should act as an invitation to further responses – much as the art work itself does. Foucault has described discourse – language, terminologies, metaphorical conceits and those logical and poetic structures which underpin them – as a form of technology (Foucault, Archaeology of Knowledge and History of Sexuality). Different discursive forces arise in response to different cultural needs and contexts, including, indeed, those formulated not only by artists, but also by reviewers. As Hassan intimates, what is or is not “postmodernism”, for example, depends less on the art work itself – it is less a matter of an art work’s specific “quiddity” and its internal qualities – but is, rather, fundamentally dependent upon what one is trying to say about the piece. If one is trying to describe something novel in a work, something which relates it to a series of new or unusual forms which have become dominant within society since World War Two, then the term “postmodernism” most usefully applies. This, then, would entail breaking down the “the space that each work … creates around itself” in order to emphasise horizontal “continuities”. If, on the other hand, the critic wishes to describe the work from the perspective of historical developments, so as to trace the common features of various art works across a genealogical pattern running from Romanticism to the present day, one must de-emphasise the quiddity of the work in favour of vertical continuities. In both cases, however, the identification of common themes across various art works so as to aid in the description of wider historical or aesthetic conditions requires a certain “abstraction” of the qualities of the aesthetic works in question. The “postmodernism”, or any other quality, of a single art work thus remains in the eye of the beholder. No art work is definitively “postmodern” as such. It is only “postmodern” inasmuch as this description aids one in understanding a certain aspect of the piece and its relationship to other objects of analysis. In short, the more either an art work or its critical review elides full descriptive explication, the more useful reflections which might be voiced in its wake. What then is the instrumental purpose of the arts review as a genre of writing? For liberal humanist critics such as Matthew Arnold, F.R. Leavis and Harold Bloom, the role of the critic is straight forward and authoritative. Great art is said to be imbued with the spirit of humanity; with the very essence of our common subjectivity itself. Critics in this mode seek the truth of art and once it has been found, they generally construct it as unified, cohesive and of great value to all of humanity. The authors of the various avant-garde manifestoes which arose in Europe from the fin de siècle period onwards significantly complicated this ideal of universal value by arguing that such aesthetic values were necessarily abstract and so were not immediately visible within the content of the work per se. Such values were rather often present in the art work’s form and expression. Surrealism, Futurism, Supremacism, the Bauhaus and the other movements were founded upon the contention that these avant-garde art works revealed fundamental truths about the essence of human subjectivity: the imperious power of the dream at the heart of our emotional and psychic life, the geometric principles of colour and shape which provide the language for all experience of the sublime, and so on. The critic was still obliged to identify greatness and to isolate and disseminate those pieces of art which revealed the hidden truth of our shared human experience. Few influential art movements did not, in fact, have a chief theoretician to promote their ideals to the world, be it Ezra Pound and Leavis as the explicators of the works of T.S. Eliot, Martin Esslin for Beckett, or the artist her or himself, such as choreographers Martha Graham or Merce Cunningham, both of whom described in considerable detail their own methodologies to various scribes. The great challenge presented in the writings of Foucault, Derrida, Hassan and others, however, is to abandon such a sense of universal aesthetic and philosophical value. Like their fellow travellers within the New Left and soixante huit-ièmes (the agitators and cultural critics of 1968 Paris), these critics contend that the idea of a universal human subjectivity is problematic at best, if not a discursive fiction, which has been used to justify repression, colonialism, the unequal institutional hierarchies of bourgeois democratic systems, and so on. Art does not therefore speak of universal human truths. It is rather – like aesthetic criticism itself – a discursive product whose value should be considered instrumentally. The kind of a critical relationship which I am proposing here might provisionally be classified as discursive or archaeological criticism (in the Foucauldian sense of tracing discursive relationships and their distribution within any given cross-section or strata of cultural life). The role of the critic in such a situation is not one of acknowledging great art. Rather, the critic’s function becomes highly strategic, with interpretations and opinions regarding art works acting as invitations to engagement, consideration and, hence, also to rejection. From the point of view of the audience, too, the critic’s role is one of utility. If a critical description prompts useful, interesting or pleasurable reflections in the reader, then the review has been effective. If it has not, it has no role to play. The response to criticism thus becomes as subjective as the response to the art work itself. Similarly, just as Marcel Duchamp’s act of inverting a urinal and calling it art showed that anyone could be an artist provided they adopted a suitably creative vision of the objects which surrounded them, so anyone and everyone is a legitimate critic of any art work addressed to him or her as an audience. The institutional power accorded to critics by merit of the publications to which they are attached should not obfuscate the fact that anyone has the moral right to venture a critical judgement. It is not actually logically possible to be “right” or “wrong” in attributing qualities to an art work (although I have had artists assert the contrary to me). I like noise art, for example, and find much to stimulate my intellect and my affect in the chaotic feedback characteristic of the work of Merzbow and others. Many others however simply find such sounds to constitute unpleasant noise. Neither commentator is “right”. Both views co-exist. What is important is how these ideas are expressed, what propositions are marshalled to support either position, and how internally cohesive are the arguments supplied by supporters of either proposition. The merit of any particular critical intervention is therefore strictly formal or expressive, lying in its rhetorical construction, rather than in the subjective content of the criticism itself, per se. Clearly, such discursive criticism is of little value in describing works devised according to either an unequivocally liberal humanist or modernist avant-garde perspective. Aesthetic criticism authored in this spirit will not identify the universal, timeless truths of the work, nor will it act as an authoritative barometer of aesthetic value. By the same token though, a recognition of pluralism and instrumentality does not necessarily entail the rejection of categories of value altogether. Such a technique of aesthetic analysis functions primarily in the realm of superficial discursive qualities and formal features, rather than subterranean essences. It is in this sense both anti-Romantic and anti-Platonic. Discursive analysis has its own categories of truth and evaluation. Similarities between works, influences amongst artists and generic or affective precedents become the primary objects of analysis. Such a form of criticism is, in this sense, directly in accord with a similarly self-reflexive, historicised approach to art making itself. Where artists are consciously seeking to engage with their predecessors or peers, to find ways of situating their own work through the development of ideas visible in other cultural objects and historic aesthetic works, then the creation of art becomes itself a form of practical criticism or praxis. The distinction between criticism and its object is, therefore, one of formal expression, not one of nature or essence. Both practices engage with similar materials through a process of reflection (Marshall, “Vertigo”). Having described in philosophical and critical terms what constitutes an unfettered, democratic and strategic model of discursive criticism, it is perhaps useful to close with a more pragmatic description of how I myself attempt to proceed in authoring such criticism and, so, offer at least one possible (and, by definition, subjective) model for discursive criticism. Given that discursive analysis itself developed out of linguistic theory and Saussure’s discussion of the structural nature of signification, it is no surprise that the primary methodology underlying discursive analysis remains that of semiotics: namely how systems of representation and meaning mutually reinforce and support each other, and how they fail to do so. As a critic viewing an art work, it is, therefore, always my first goal to attempt to identify what it is that the artist appears to be trying to do in mounting a production. Is the art work intended as a cultural critique, a political protest, an avant-garde statement, a work of pure escapism, or some other kind of project – and hence one which can be judged according to the generic forms and values associated with such a style in comparison with those by other artists who work in this field? Having determined or intuited this, several related but nominally distinct critical reflections follow. Firstly, how effectively is this intent underpinning the art work achieved, how internally consistent are the tools, forms and themes utilised within the production, and do the affective and historic resonances evoked by the materials employed therein cohere into a logical (or a deliberately fragmented) whole? Secondly, how valid or aesthetically interesting is such a project in the first place, irrespective of whether it was successfully achieved or not? In short, how does the artist’s work compare with its own apparent generic rules, precedents and peers, and is the idea behind the work a contextually valid one or not? The questions of value which inevitably come into these judgements must be weighed according to explicit arguments regarding context, history and genre. It is the discursive transparency of the critique which enables readers to mentally contest the author. Implicitly transcendental models of universal emotional or aesthetic responses should not be invoked. Works of art should, therefore, be judged according to their own manifest terms, and, so, according to the values which appear to govern the relationships which organise materials within the art work. They should also, however, be viewed from a position definitively outside the work, placing the overall concept and its implicit, underlying theses within the context of other precedents, cultural values, political considerations and so on. In other words, one should attempt to heed Hassan’s caution that all art works may be seen both from the perspective of historico-genealogical continuities, as well as according to their own unique, self-defining characteristics and intentions. At the same time, the critical framework of the review itself – while remaining potentially dense and complex – should be as apparent to the reader as possible. The kind of criticism which I author is, therefore, based on a combination of art-historical, generic and socio-cultural comparisons. Critics are clearly able to elaborate more parallels between various artistic and cultural activities than many of their peers in the audience simply because it is the profession of the former to be as familiar with as wide a range of art-historical, cultural and political materials as is possible. This does not, however, make the opinions of the critic “correct”, it merely makes them more potentially dense. Other audiences nevertheless make their own connections, while spectators remain free to state that the particular parallels identified by the critic were not, to their minds, as significant as the critic would contend. The quantity of knowledge from which the critic can select does not verify the accuracy of his or her observations. It rather enables the potential richness of the description. In short, it is high time critics gave up all pretensions to closing off discourse by describing aesthetic works. On the contrary, arts reviewing, like arts production itself, should be seen as an invitation to further discourse, as a gift offered to those who might want it, rather than a Leavisite or Bloom-esque bludgeon to instruct the insensitive masses as to what is supposed to subjectively enlighten and uplift them. It is this sense of engagement – between critic, artist and audience – which provides the truly poetic quality to arts criticism, allowing readers to think creatively in their own right through their own interaction with a collaborative process of rumination on aesthetics and culture. In this way, artists, audiences and critics come to occupy the same terrain, exchanging views and constructing a community of shared ideas, debate and ever-multiplying discursive forms. Ideally, written criticism would come to occupy the same level of authority as an argument between an audience member and a critic at the bar following the staging of a production. I admit myself that even my best written compositions rarely achieve the level of playful interaction which such an environment often provokes. I nevertheless continue to strive for such a form of discursive exchange and bibulous poetry. References Apollonio, Umbro, ed. Futurist Manifestos. London: Thames and Hudson, 1973. Arnold, Matthew. Essays in Criticism. London: Macmillan, 1903-27, published as 2 series. Barthes, Roland. Mythologies. Trans. by Annette Lavers. London: Vintage, 1993. Bloom, Harold. Shakespeare: The Invention of the Human. New York: Riverhead, 1998. Benjamin, Walter. Reflections: Essays, Aphorisms, Autobiographical Writings. Trans. by Edmund Jephcott. New York: Harcourt, 1978. Breton, André. Manifestoes of Surrealism. Trans. by Richard Seaver and Helen Lane. Ann Arbor: Michigan UP, 1972. Eliot, T.S. Collected Poems 1909-1962. London: Faber, 1963. Esslin, Martin. Theatre of the Absurd. Harmondsworth: Penguin, 1968. Foucault, Michel. The Archaeology of Knowledge. Trans. by A.M. Sheridan Smith. London: Tavistock, 1972. ———. The History of Sexuality: Volume I: An Introduction. Trans. by Robert Hurley. London: Penguin, 1990. Fukuyama, Francis. The End of History and the Last Man. London: Penguin, 1992. Graham, Martha. Blood Memory. New York: Doubleday, 1991. Hassan, Ihab. “Joyce, Beckett and the Postmodern Imagination.” Triquarterly 32.4 (1975): 192ff. Jameson, Fredric. “Postmodernism, or the Cultural Dominant of Late Capitalism,” New Left Review 146 (1984): 53-92. Leavis, F.R. F.R. Leavis: Essays and Documents. Eds. Ian MacKillop and Richard Storer. Sheffield: Sheffield Academic Press, 1995. Malevich, Kazimir. In Penny Guggenheim, ed. Art of This Century – Drawings – Photographs – Sculpture – Collages. New York: Art Aid, 1942. Marshall, Jonathan. “Documents in Australian Postmodern Dance: Two Interviews with Lucy Guerin,” in Adrian Kiernander, ed. Dance and Physical Theatre, special edition of Australasian Drama Studies 41 (October 2002): 102-33. ———. “Operatic Tradition and Ambivalence in Chamber Made Opera’s Recital (Chesworth, Horton, Noonan),” in Keith Gallasch and Laura Ginters, eds. Music Theatre in Australia, special edition of Australasian Drama Studies 45 (October 2004): 72-96. ———. “Vertigo: Between the Word and the Act,” Independent Performance Forums, series of essays commissioned by Not Yet It’s Difficult theatre company and published in RealTime Australia 35 (2000): 10. Merzbow. Venereology. Audio recording. USA: Relapse, 1994. Richards, Alison, Geoffrey Milne, et al., eds. Pearls before Swine: Australian Theatre Criticism, special edition of Meajin 53.3 (Spring 1994). Tzara, Tristan. Seven Dada Manifestos and Lampisteries. Trans. by Barbara Wright. London: Calder, 1992. Vaughan, David. Merce Cunningham: Fifty Years. Ed. Melissa Harris. New York: Aperture, 1997. Citation reference for this article MLA Style Marshall, Jonathan. "Inciting Reflection: A Short Manifesto for and Introduction to the Discursive Reviewing of the Arts." M/C Journal 8.5 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0510/08-marshall.php>. APA Style Marshall, J. (Oct. 2005) "Inciting Reflection: A Short Manifesto for and Introduction to the Discursive Reviewing of the Arts," M/C Journal, 8(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0510/08-marshall.php>.

Special Care NoticeThis article discusses trauma and violence inflicted upon the Indigenous peoples of Tasmania through the processes of colonisation. Content within this article may be distressing to some readers. IntroductionThis article looks briefly at the collection, consultation, and digital sharing of stories essential to the histories of the First Nations peoples of Australia. Focusing on materials held in Sydney, New South Wales two case studies—the object known as the Proclamation Board and the George Augustus Robinson Papers—explore how materials can be shared with Aboriginal peoples of the region now known as Tasmania. Specifically, the authors of this article (a Palawa man and an Australian woman of European descent) ask how can the idea of the privileging of Indigenous voices, within Eurocentric cultural collections, be transformed from rhetoric to reality? Moreover, how can we navigate this complex work, that is made even more problematic by distance, through the utilisation of knowledge networks which are geographically isolated from the collections holding stories crucial to Indigenous communities? In seeking to answer these important questions, this article looks at how cultural, emotional, and intellectual ownership can be divested from the physical ownership of a collection in a way that repatriates—appropriately and sensitively—stories of Aboriginal Australia and of colonisation. Holding Stories, Not Always Our OwnCultural institutions, including libraries, have, in recent years, been drawn into discussions centred on the notion of digital disruption and “that transformative shift which has seen the ongoing realignment of business resources, relationships, knowledge, and value both facilitating the entry of previously impossible ideas and accelerating the competitive impact of those same impossible ideas” (Franks and Ensor n.p.). As Molly Brown has noted, librarians “are faced, on a daily basis, with rapidly changing technology and the ways in which our patrons access and use information. Thus, we need to look at disruptive technologies as opportunities” (n.p.). Some innovations, including the transition from card catalogues to online catalogues and the provision of a wide range of electronic resources, are now considered to be business as usual for most institutions. So, too, the digitisation of great swathes of materials to facilitate access to collections onsite and online, with digitising primary sources seen as an intermediary between the pillars of preserving these materials and facilitating access for those who cannot, for a variety of logistical and personal reasons, travel to a particular repository where a collection is held.The result has been the development of hybrid collections: that is, collections that can be accessed in both physical and digital formats. Yet, the digitisation processes conducted by memory institutions is often selective. Limited resources, even for large-scale digitisation projects usually only realise outcomes that focus on making visually rich, key, or canonical documents, or those documents that are considered high use and at risk, available online. Such materials are extracted from the larger full body of records while other lesser-known components are often omitted. Digitisation projects therefore tend to be devised for a broader audience where contextual questions are less central to the methodology in favour of presenting notable or famous documents online only. Documents can be profiled as an exhibition separate from their complete collection and, critically, their wider context. Libraries of course are not neutral spaces and this practice of (re)enforcing the canon through digitisation is a challenge that cultural institutions, in partnerships, need to address (Franks and Ensor n.p.). Indeed, our digital collections are as affected by power relationships and the ongoing impacts of colonisation as our physical collections. These power relationships can be seen through an organisation’s “processes that support acquisitions, as purchases and as the acceptance of artefacts offered as donations. Throughout such processes decisions are continually made (consciously and unconsciously) that affect what is presented and actively promoted as the official history” (Thorpe et al. 8). While it is important to acknowledge what we do collect, it is equally important to look, too, at what we do not collect and to consider how we continually privilege and exclude stories. Especially when these stories are not always our own, but are held, often as accidents of collecting. For example, an item comes in as part of a larger suite of materials while older, city-based institutions often pre-date regional repositories. An essential point here is that cultural institutions can often become comfortable in what they collect, building on existing holdings. This, in turn, can lead to comfortable digitisation. If we are to be truly disruptive, we need to embrace feeling uncomfortable in what we do, and we need to view digitisation as an intervention opportunity; a chance to challenge what we ‘know’ about our collections. This is especially relevant in any attempts to decolonise collections.Case Study One: The Proclamation BoardThe first case study looks at an example of re-digitisation. One of the seven Proclamation Boards known to survive in a public collection is held by the Mitchell Library, State Library of New South Wales, having been purchased from Tasmanian collector and photographer John Watt Beattie (1859–1930) in May 1919 for £30 (Morris 86). Why, with so much material to digitise—working in a program of limited funds and time—would the Library return to an object that has already been privileged? Unanswered questions and advances in digitisation technologies, created a unique opportunity. For the First Peoples of Van Diemen’s Land (now known as Tasmania), colonisation by the British in 1803 was “an emotionally, intellectually, physically, and spiritually confronting series of encounters” (Franks n.p.). Violent incidents became routine and were followed by a full-scale conflict, often referred to as the Black War (Clements 1), or more recently as the Tasmanian War, fought from the 1820s until 1832. Image 1: Governor Arthur’s Proclamation to the Aborigines, ca. 1828–1830. Image Credit: Mitchell Library, State Library of New South Wales, Call No.: SAFE / R 247.Behind the British combatants were various support staff, including administrators and propagandists. One of the efforts by the belligerents, behind the front line, to win the war and bring about peace was the production of approximately 100 Proclamation Boards. These four-strip pictograms were the result of a scheme introduced by Lieutenant Governor George Arthur (1784–1854), on the advice of Surveyor General George Frankland (1800–38), to communicate that all are equal under the rule of law (Arthur 1). Frankland wrote to Arthur in early 1829 to suggest these Proclamation Boards could be produced and nailed to trees (Morris 84), as a Eurocentric adaptation of a traditional method of communication used by Indigenous peoples who left images on the trunks of trees. The overtly stated purpose of the Boards was, like the printed proclamations exhorting peace, to assert, all people—black and white—were equal. That “British Justice would protect” everyone (Morris 84). The first strip on each of these pictogram Boards presents Indigenous peoples and colonists living peacefully together. The second strip shows “a conciliatory handshake between the British governor and an Aboriginal ‘chief’, highly reminiscent of images found in North America on treaty medals and anti-slavery tokens” (Darian-Smith and Edmonds 4). The third and fourth strips depict the repercussions for committing murder (or, indeed, any significant crime), with an Indigenous man hanged for spearing a colonist and a European man hanged for shooting an Aboriginal man. Both men executed in the presence of the Lieutenant Governor. The Boards, oil on Huon pine, were painted by “convict artists incarcerated in the island penal colony” (Carroll 73).The Board at the State Library of New South Wales was digitised quite early on in the Library’s digitisation program, it has been routinely exhibited (including for the Library’s centenary in 2010) and is written about regularly. Yet, many questions about this small piece of timber remain unanswered. For example, some Boards were outlined with sketches and some were outlined with pouncing, “a technique [of the Italian Renaissance] of pricking the contours of a drawing with a pin. Charcoal was then dusted on to the drawing” (Carroll 75–76). Could such a sketch or example of pouncing be seen beneath the surface layers of paint on this particular Board? What might be revealed by examining the Board more closely and looking at this object in different ways?An important, but unexpected, discovery was that while most of the pigments in the painting correlate with those commonly available to artists in the early nineteenth century there is one outstanding anomaly. X-ray analysis revealed cadmium yellow present in several places across the painting, including the dresses of the little girls in strip one, uniform details in strip two, and the trousers worn by the settler men in strips three and four (Kahabka 2). This is an extraordinary discovery, as cadmium yellows were available “commercially as an artist pigment in England by 1846” and were shown by “Winsor & Newton at the 1851 Exhibition held at the Crystal Palace, London” (Fiedler and Bayard 68). The availability of this particular type of yellow in the early 1850s could set a new marker for the earliest possible date for the manufacture of this Board, long-assumed to be 1828–30. Further, the early manufacture of cadmium yellow saw the pigment in short supply and a very expensive option when compared with other pigments such as chrome yellow (the darker yellow, seen in the grid lines that separate the scenes in the painting). This presents a clearly uncomfortable truth in relation to an object so heavily researched and so significant to a well-regarded collection that aims to document much of Australia’s colonial history. Is it possible, for example, the Board has been subjected to overpainting at a later date? Or, was this premium paint used to produce a display Board that was sent, by the Tasmanian Government, to the 1866 Intercolonial Exhibition in Melbourne? In seeking to see the finer details of the painting through re-digitisation, the results were much richer than anticipated. The sketch outlines are clearly visible in the new high-resolution files. There are, too, details unable to be seen clearly with the naked eye, including this warrior’s headdress and ceremonial scarring on his stomach, scars that tell stories “of pain, endurance, identity, status, beauty, courage, sorrow or grief” (Australian Museum n.p.). The image of this man has been duplicated and distributed since the 1830s, an anonymous figure deployed to tell a settler-centric story of the Black, or Tasmanian, War. This man can now be seen, for the first time nine decades later, to wear his own story. We do not know his name, but he is no longer completely anonymous. This image is now, in some ways, a portrait. The State Library of New South Wales acknowledges this object is part of an important chapter in the Tasmanian story and, though two Boards are in collections in Tasmania (the Tasmanian Museum and Art Gallery, Hobart and the Queen Victoria Museum and Art Gallery, Launceston), each Board is different. The Library holds an important piece of a large and complex puzzle and has a moral obligation to make this information available beyond its metropolitan location. Digitisation, in this case re-digitisation, is allowing for the disruption of this story in sparking new questions around provenance and for the relocating of a Palawa warrior to a more prominent, perhaps even equal role, within a colonial narrative. Image 2: Detail, Governor Arthur’s Proclamation to the Aborigines, ca. 1828–1830. Image Credit: Mitchell Library, State Library of New South Wales, Call No.: SAFE / R 247.Case Study Two: The George Augustus Robinson PapersThe second case study focuses on the work being led by the Indigenous Engagement Branch at the State Library of New South Wales on the George Augustus Robinson (1791–1866) Papers. In 1829, Robinson was granted a government post in Van Diemen’s Land to ‘conciliate’ with the Palawa peoples. More accurately, Robinson’s core task was dispossession and the systematic disconnection of the Palawa peoples from their Country, community, and culture. Robinson was a habitual diarist and notetaker documenting much of his own life as well as the lives of those around him, including First Nations peoples. His extensive suite of papers represents a familiar and peculiar kind of discomfort for Aboriginal Australians, one in which they are forced to learn about themselves through the eyes and words of their oppressors. For many First Nations peoples of Tasmania, Robinson remains a violent and terrible figure, but his observations of Palawa culture and language are as vital as they are problematic. Importantly, his papers include vibrant and utterly unique descriptions of people, place, flora and fauna, and language, as well as illustrations revealing insights into the routines of daily life (even as those routines were being systematically dismantled by colonial authorities). “Robinson’s records have informed much of the revitalisation of Tasmanian Aboriginal culture in the twentieth century and continue to provide the basis for investigations of identity and deep relationships to land by Aboriginal scholars” (Lehman n.p.). These observations and snippets of lived culture are of immense value to Palawa peoples today but the act of reading between Robinson’s assumptions and beyond his entrenched colonial views is difficult work.Image 3: George Augustus Robinson Papers, 1829–34. Image Credit: Mitchell Library, State Library of New South Wales, A 7023–A 7031.The canonical reference for Robinson’s archive is Friendly Mission: The Tasmanian Journals and Papers of George Augustus Robinson, 1829–1834, edited by N.J.B. Plomley. The volume of over 1,000 pages was first published in 1966. This large-scale project is recognised “as a monumental work of Tasmanian history” (Crane ix). Yet, this standard text (relied upon by Indigenous and non-Indigenous researchers) has clearly not reproduced a significant percentage of Robinson’s Tasmanian manuscripts. Through his presumptuous truncations Plomley has not simply edited Robinson’s work but has, quite literally, written many Palawa stories out of this colonial narrative. It is this lack of agency in determining what should be left out that is most troubling, and reflects an all-too-familiar approach which libraries, including the State Library of New South Wales, are now urgently trying to rectify. Plomley’s preface and introduction does not indicate large tranches of information are missing. Indeed, Plomley specifies “that in extenso [in full] reproduction was necessary” (4) and omissions “have been kept to a minimum” (8). A 32-page supplement was published in 1971. A new edition, including the supplement, some corrections made by Plomley, and some extra material was released in 2008. But much continues to be unknown outside of academic circles, and far too few Palawa Elders and language revival workers have had access to Robinson’s original unfiltered observations. Indeed, Plomley’s text is linear and neat when compared to the often-chaotic writings of Robinson. Digitisation cannot address matters of the materiality of the archive, but such projects do offer opportunities for access to information in its original form, unedited, and unmediated.Extensive consultation with communities in Tasmania is underpinning the digitisation and re-description of a collection which has long been assumed—through partial digitisation, microfilming, and Plomley’s text—to be readily available and wholly understood. Central to this project is not just challenging the canonical status of Plomley’s work but directly challenging the idea non-Aboriginal experts can truly understand the cultural or linguistic context of the information recorded in Robinson’s journals. One of the more exciting outcomes, so far, has been working with Palawa peoples to explore the possibility of Palawa-led transcriptions and translation, and not breaking up the tasks of this work and distributing them to consultants or to non-Indigenous student groups. In this way, people are being meaningfully reunited with their own histories and, crucially, given first right to contextualise and understand these histories. Again, digitisation and disruption can be seen here as allies with the facilitation of accessibility to an archive in ways that re-distribute the traditional power relations around interpreting and telling stories held within colonial-rich collections.Image 4: Detail, George Augustus Robinson Papers, 1829–34. Image Credit: Mitchell Library, State Library of New South Wales, A 7023–A 7031.As has been so brilliantly illustrated by Bruce Pascoe’s recent work Dark Emu (2014), when Aboriginal peoples are given the opportunity to interpret their own culture from the colonial records without interference, they are able to see strength and sophistication rather than victimhood. For, to “understand how the Europeans’ assumptions selectively filtered the information brought to them by the early explorers is to see how we came to have the history of the country we accept today” (4). Far from decrying these early colonial records Aboriginal peoples understand their vital importance in connecting to a culture which was dismantled and destroyed, but importantly it is known that far too much is lost in translation when Aboriginal Australians are not the ones undertaking the translating. ConclusionFor Aboriginal Australians, culture and knowledge is no longer always anchored to Country. These histories, once so firmly connected to communities through their ancestral lands and languages, have been dispersed across the continent and around the world. Many important stories—of family history, language, and ways of life—are held in cultural institutions and understanding the role of responsibly disseminating these collections through digitisation is paramount. In transitioning from physical collections to hybrid collections of the physical and digital, the digitisation processes conducted by memory institutions can be—and due to the size of some collections is inevitably—selective. Limited resources, even for large-scale and well-resourced digitisation projects usually realise outcomes that focus on making visually rich, key, or canonical documents, or those documents considered high use or at risk, available online. Such materials are extracted from a full body of records. Digitisation projects, as noted, tend to be devised for a broader audience where contextual questions are less central to the methodology in favour of presenting notable documents online, separate from their complete collection and, critically, their context. Our institutions carry the weight of past collecting strategies and, today, the pressure of digitisation strategies as well. Contemporary librarians should not be gatekeepers, but rather key holders. In collaborating across sectors and with communities we open doors for education, research, and the repatriation of culture and knowledge. We must, always, remember to open these doors wide: the call of Aboriginal Australians of ‘nothing about us without us’ is not an invitation to collaboration but an imperative. Libraries—as well as galleries, archives, and museums—cannot tell these stories alone. Also, these two case studies highlight what we believe to be one of the biggest mistakes that not just libraries but all cultural institutions are vulnerable to making, the assumption that just because a collection is open access it is also accessible. Digitisation projects are more valuable when communicated, contextualised and—essentially—the result of community consultation. Such work can, for some, be uncomfortable while for others it offers opportunities to embrace disruption and, by extension, opportunities to decolonise collections. For First Nations peoples this work can be more powerful than any simple measurement tool can record. Through examining our past collecting, deliberate efforts to consult, and through digital sharing projects across metropolitan and regional Australia, we can make meaningful differences to the ways in which Aboriginal Australians can, again, own their histories.Acknowledgements The authors acknowledge the Palawa peoples: the traditional custodians of the lands known today as Tasmania. The authors acknowledge, too, the Gadigal people upon whose lands this article was researched and written. We are indebted to Dana Kahabka (Conservator), Joy Lai (Imaging Specialist), Richard Neville (Mitchell Librarian), and Marika Duczynski (Project Officer) at the State Library of New South Wales. Sincere thanks are also given to Jason Ensor of Western Sydney University.ReferencesArthur, George. “Proclamation.” The Hobart Town Courier 19 Apr. 1828: 1.———. Proclamation to the Aborigines. Graphic Materials. Sydney: Mitchell Library, State Library of New South Wales, SAFE R / 247, ca. 1828–1830.Australian Museum. “Aboriginal Scarification.” 2018. 11 Jan. 2019 <https://australianmuseum.net.au/about/history/exhibitions/body-art/aboriginal-scarification/>.Brown, Molly. “Disruptive Technology: A Good Thing for Our Libraries?” International Librarians Network (2016). 26 Aug. 2018 <https://interlibnet.org/2016/11/25/disruptive-technology-a-good-thing-for-our-libraries/>.Carroll, Khadija von Zinnenburg. Art in the Time of Colony: Empires and the Making of the Modern World, 1650–2000. Farnham, UK: Ashgate Publishing, 2014.Clements, Nicholas. The Black War: Fear, Sex and Resistance in Tasmania. St Lucia, U of Queensland P, 2014.Crane, Ralph. “Introduction.” Friendly Mission: The Tasmanian Journals and Papers of George Augustus Robinson, 1829-1834. 2nd ed. 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Franks, Rachel. “A True Crime Tale: Re-Imagining Governor Arthur’s Proclamation Board for the Tasmanian Aborigines.” M/C Journal 18.6 (2015). 1 Feb. 2019 <http://journal.media-culture.org.au/index.php/mcjournal/article/view/1036>.Franks, Rachel, and Jason Ensor. “Challenging the Canon: Collaboration, Digitisation and Education.” ALIA Online: A Conference of the Australian Library and Information Association, 11–15 Feb. 2019, Sydney.Kahabka, Dana. Condition Assessment [Governor Arthur’s Proclamation to the Aborigines, ca. 1828–1830, SAFE / R247]. Sydney: State Library of New South Wales, 2017.Lehman, Greg. “Pleading Robinson: Reviews of Friendly Mission: The Tasmanian Journals and Papers of George Augustus Robinson (2008) and Reading Robinson: Companion Essays to Friendly Mission (2008).” Australian Humanities Review 49 (2010). 1 May 2019 <http://press-files.anu.edu.au/downloads/press/p41961/html/review-12.xhtml?referer=1294&page=15>. Morris, John. “Notes on A Message to the Tasmanian Aborigines in 1829, popularly called ‘Governor Davey’s Proclamation to the Aborigines, 1816’.” Australiana 10.3 (1988): 84–7.Pascoe, Bruce. Dark Emu. Broome: Magabala Books, 2014/2018.Plomley, N.J.B. Friendly Mission: The Tasmanian Journals and Papers of George Augustus Robinson, 1829–1834. Hobart: Tasmanian Historical Research Association, 1966.Robinson, George Augustus. Papers. Textual Records. Sydney: Mitchell Library, State Library of NSW, A 7023–A 7031, 1829–34. Thorpe, Kirsten, Monica Galassi, and Rachel Franks. “Discovering Indigenous Australian Culture: Building Trusted Engagement in Online Environments.” Journal of Web Librarianship 10.4 (2016): 343–63.

IntroductionFood Studies is a relatively recent area of research enquiry in Australia and Magazine Studies is even newer (Le Masurier and Johinke), with the consequence that Australian culinary magazines are only just beginning to be investigated. Moreover, although many major libraries have not thought such popular magazines worthy of sustained collection (Fox and Sornil), considering these publications is important. As de Certeau argues, it can be of considerable consequence to identify and analyse everyday practices (such as producing and reading popular magazines) that seem so minor and insignificant as to be unworthy of notice, as these practices have the ability to affect our lives. It is important in this case as these publications were part of the post-war gastronomic environment in Australia in which national tastes in domestic cookery became radically internationalised (Santich). To further investigate Australian magazines, as well as suggesting how these cosmopolitan eating habits became more widely embraced, this article will survey the various ways in which the idea of “abroad” is expressed in one Australian culinary serial from the post-war period, Australian Wines & Food Quarterly magazine, which was published from 1956 to 1960. The methodological approach taken is an historically-informed content analysis (Krippendorff) of relevant material from these magazines combined with germane media data (Hodder). All issues in the serial’s print run have been considered.Australian Post-War Culinary PublishingTo date, studies of 1950s writing in Australia have largely focused on literary and popular fiction (Johnson-Wood; Webby) and literary criticism (Bird; Dixon; Lee). There have been far fewer studies of non-fiction writing of any kind, although some serial publications from this time have attracted some attention (Bell; Lindesay; Ross; Sheridan; Warner-Smith; White; White). In line with studies internationally, groundbreaking work in Australian food history has focused on cookbooks, and includes work by Supski, who notes that despite the fact that buying cookbooks was “regarded as a luxury in the 1950s” (87), such publications were an important information source in terms of “developing, consolidating and extending foodmaking knowledge” at that time (85).It is widely believed that changes to Australian foodways were brought about by significant post-war immigration and the recipes and dishes these immigrants shared with neighbours, friends, and work colleagues and more widely afield when they opened cafes and restaurants (Newton; Newton; Manfredi). Although these immigrants did bring new culinary flavours and habits with them, the overarching rhetoric guiding population policy at this time was assimilation, with migrants expected to abandon their culture, language, and habits in favour of the dominant British-influenced ways of living (Postiglione). While migrants often did retain their foodways (Risson), the relationship between such food habits and the increasingly cosmopolitan Australian food culture is much more complex than the dominant cultural narrative would have us believe. It has been pointed out, for example, that while the haute cuisine of countries such as France, Italy, and Germany was much admired in Australia and emulated in expensive dining (Brien and Vincent), migrants’ own preference for their own dishes instead of Anglo-Australian choices, was not understood (Postiglione). Duruz has added how individual diets are eclectic, “multi-layered and hybrid” (377), incorporating foods from both that person’s own background with others available for a range of reasons including availability, cost, taste, and fashion. In such an environment, popular culinary publishing, in terms of cookbooks, specialist magazines, and recipe and other food-related columns in general magazines and newspapers, can be posited to be another element contributing to this change.Australian Wines & Food QuarterlyAustralian Wines & Food Quarterly (AWFQ) is, as yet, a completely unexamined publication, and there appears to be only three complete sets of this magazine held in public collections. It is important to note that, at the time it was launched in the mid-1950s, food writing played a much less significant part in Australian popular publishing than it does today, with far fewer cookbooks released than today, and women’s magazines and the women’s pages of newspapers containing only small recipe sections. In this environment, a new specialist culinary magazine could be seen to be timely, an audacious gamble, or both.All issues of this magazine were produced and printed in, and distributed from, Melbourne, Australia. Although no sales or distribution figures are available, production was obviously a struggle, with only 15 issues published before the magazine folded at the end of 1960. The title of the magazine changed over this time, and issue release dates are erratic, as is the method in which volumes and issues are numbered. Although the number of pages varied from 32 up to 52, and then less once again, across the magazine’s life, the price was steadily reduced, ending up at less than half the original cover price. All issues were produced and edited by Donald Wallace, who also wrote much of the content, with contributions from family members, including his wife, Mollie Wallace, to write, illustrate, and produce photographs for the magazine.When considering the content of the magazine, most is quite familiar in culinary serials today, although AWFQ’s approach was radically innovative in Australia at this time when cookbooks, women’s magazines, and newspaper cookery sections focused on recipes, many of which were of cakes, biscuits, and other sweet baking (Bannerman). AWFQ not only featured many discursive essays and savory meals, it also featured much wine writing and review-style content as well as information about restaurant dining in each issue.Wine-Related ContentWine is certainly the most prominent of the content areas, with most issues of the magazine containing more wine-related content than any other. Moreover, in the early issues, most of the food content is about preparing dishes and/or meals that could be consumed alongside wines, although the proportion of food content increases as the magazine is published. This wine-related content takes a clearly international perspective on this topic. While many articles and advertisements, for example, narrate the long history of Australian wine growing—which goes back to early 19th century—these articles argue that Australia's vineyards and wineries measure up to international, and especially French, examples. In one such example, the author states that: “from the earliest times Australia’s wines have matched up to world standard” (“Wine” 25). This contest can be situated in Australia, where a leading restaurant (Caprice in Sydney) could be seen to not only “match up to” but also, indeed to, “challenge world standards” by serving Australian wines instead of imports (“Sydney” 33). So good, indeed, are Australian wines that when foreigners are surprised by their quality, this becomes newsworthy. This is evidenced in the following excerpt: “Nearly every English businessman who has come out to Australia in the last ten years … has diverted from his main discussion to comment on the high quality of Australian wine” (Seppelt, 3). In a similar nationalist vein, many articles feature overseas experts’ praise of Australian wines. Thus, visiting Italian violinist Giaconda de Vita shows a “keen appreciation of Australian wines” (“Violinist” 30), British actor Robert Speaight finds Grange Hermitage “an ideal wine” (“High Praise” 13), and the Swedish ambassador becomes their advocate (Ludbrook, “Advocate”).This competition could also be located overseas including when Australian wines are served at prestigious overseas events such as a dinner for members of the Overseas Press Club in New York (Australian Wines); sold from Seppelt’s new London cellars (Melbourne), or the equally new Australian Wine Centre in Soho (Australia Will); or, featured in exhibitions and promotions such as the Lausanne Trade Fair (Australia is Guest;“Wines at Lausanne), or the International Wine Fair in Yugoslavia (Australia Wins).Australia’s first Wine Festival was held in Melbourne in 1959 (Seppelt, “Wine Week”), the joint focus of which was the entertainment and instruction of the some 15,000 to 20,000 attendees who were expected. At its centre was a series of free wine tastings aiming to promote Australian wines to the “professional people of the community, as well as the general public and the housewife” (“Melbourne” 8), although admission had to be recommended by a wine retailer. These tastings were intended to build up the prestige of Australian wine when compared to international examples: “It is the high quality of our wines that we are proud of. That is the story to pass on—that Australian wine, at its best, is at least as good as any in the world and better than most” (“Melbourne” 8).There is also a focus on promoting wine drinking as a quotidian habit enjoyed abroad: “We have come a long way in less than twenty years […] An enormous number of husbands and wives look forward to a glass of sherry when the husband arrives home from work and before dinner, and a surprising number of ordinary people drink table wine quite un-selfconsciously” (Seppelt, “Advance” 3). However, despite an acknowledged increase in wine appreciation and drinking, there is also acknowledgement that this there was still some way to go in this aim as, for example, in the statement: “There is no reason why the enjoyment of table wines should not become an Australian custom” (Seppelt, “Advance” 4).The authority of European experts and European habits is drawn upon throughout the publication whether in philosophically-inflected treatises on wine drinking as a core part of civilised behaviour, or practically-focused articles about wine handling and serving (Keown; Seabrook; “Your Own”). Interestingly, a number of Australian experts are also quoted as stressing that these are guidelines, not strict rules: Crosby, for instance, states: “There is no ‘right wine.’ The wine to drink is the one you like, when and how you like it” (19), while the then-manager of Lindemans Wines is similarly reassuring in his guide to entertaining, stating that “strict adherence to the rules is not invariably wise” (Mackay 3). Tingey openly acknowledges that while the international-style of regularly drinking wine had “given more dignity and sophistication to the Australian way of life” (35), it should not be shrouded in snobbery.Food-Related ContentThe magazine’s cookery articles all feature international dishes, and certain foreign foods, recipes, and ways of eating and dining are clearly identified as “gourmet”. Cheese is certainly the most frequently mentioned “gourmet” food in the magazine, and is featured in every issue. These articles can be grouped into the following categories: understanding cheese (how it is made and the different varieties enjoyed internationally), how to consume cheese (in relation to other food and specific wines, and in which particular parts of a meal, again drawing on international practices), and cooking with cheese (mostly in what can be identified as “foreign” recipes).Some of this content is produced by Kraft Foods, a major advertiser in the magazine, and these articles and recipes generally focus on urging people to eat more, and varied international kinds of cheese, beyond the ubiquitous Australian cheddar. In terms of advertorials, both Kraft cheeses (as well as other advertisers) are mentioned by brand in recipes, while the companies are also profiled in adjacent articles. In the fourth issue, for instance, a full-page, infomercial-style advertisement, noting the different varieties of Kraft cheese and how to serve them, is published in the midst of a feature on cooking with various cheeses (“Cooking with Cheese”). This includes recipes for Swiss Cheese fondue and two pasta recipes: spaghetti and spicy tomato sauce, and a so-called Italian spaghetti with anchovies.Kraft’s company history states that in 1950, it was the first business in Australia to manufacture and market rindless cheese. Through these AWFQ advertisements and recipes, Kraft aggressively marketed this innovation, as well as its other new products as they were launched: mayonnaise, cheddar cheese portions, and Cracker Barrel Cheese in 1954; Philadelphia Cream Cheese, the first cream cheese to be produced commercially in Australia, in 1956; and, Coon Cheese in 1957. Not all Kraft products were seen, however, as “gourmet” enough for such a magazine. Kraft’s release of sliced Swiss Cheese in 1957, and processed cheese slices in 1959, for instance, both passed unremarked in either the magazine’s advertorial or recipes.An article by the Australian Dairy Produce Board urging consumers to “Be adventurous with Cheese” presented general consumer information including the “origin, characteristics and mode of serving” cheese accompanied by a recipe for a rich and exotic-sounding “Wine French Dressing with Blue Cheese” (Kennedy 18). This was followed in the next issue by an article discussing both now familiar and not-so familiar European cheese varieties: “Monterey, Tambo, Feta, Carraway, Samsoe, Taffel, Swiss, Edam, Mozzarella, Pecorino-Romano, Red Malling, Cacio Cavallo, Blue-Vein, Roman, Parmigiano, Kasseri, Ricotta and Pepato” (“Australia’s Natural” 23). Recipes for cheese fondues recur through the magazine, sometimes even multiple times in the same issue (see, for instance, “Cooking With Cheese”; “Cooking With Wine”; Pain). In comparison, butter, although used in many AWFQ’s recipes, was such a common local ingredient at this time that it was only granted one article over the entire run of the magazine, and this was largely about the much more unusual European-style unsalted butter (“An Expert”).Other international recipes that were repeated often include those for pasta (always spaghetti) as well as mayonnaise made with olive oil. Recurring sweets and desserts include sorbets and zabaglione from Italy, and flambéd crepes suzettes from France. While tabletop cooking is the epitome of sophistication and described as an international technique, baked Alaska (ice cream nestled on liquor-soaked cake, and baked in a meringue shell), hailing from America, is the most featured recipe in the magazine. Asian-inspired cuisine was rarely represented and even curry—long an Anglo-Australian staple—was mentioned only once in the magazine, in an article reprinted from the South African The National Hotelier, and which included a recipe alongside discussion of blending spices (“Curry”).Coffee was regularly featured in both articles and advertisements as a staple of the international gourmet kitchen (see, for example, Bancroft). Articles on the history, growing, marketing, blending, roasting, purchase, percolating and brewing, and serving of coffee were common during the magazine’s run, and are accompanied with advertisements for Bushell’s, Robert Timms’s and Masterfoods’s coffee ranges. AWFQ believed Australia’s growing coffee consumption was the result of increased participation in quality internationally-influenced dining experiences, whether in restaurants, the “scores of colourful coffee shops opening their doors to a new generation” (“Coffee” 39), or at home (Adams). Tea, traditionally the Australian hot drink of choice, is not mentioned once in the magazine (Brien).International Gourmet InnovationsAlso featured in the magazine are innovations in the Australian food world: new places to eat; new ways to cook, including a series of sometimes quite unusual appliances; and new ways to shop, with a profile of the first American-style supermarkets to open in Australia in this period. These are all seen as overseas innovations, but highly suited to Australia. The laws then controlling the service of alcohol are also much discussed, with many calls to relax the licensing laws which were seen as inhibiting civilised dining and drinking practices. The terms this was often couched in—most commonly in relation to the Olympic Games (held in Melbourne in 1956), but also in relation to tourism in general—are that these restrictive regulations were an embarrassment for Melbourne when considered in relation to international practices (see, for example, Ludbrook, “Present”). This was at a time when the nightly hotel closing time of 6.00 pm (and the performance of the notorious “six o’clock swill” in terms of drinking behaviour) was only repealed in Victoria in 1966 (Luckins).Embracing scientific approaches in the kitchen was largely seen to be an American habit. The promotion of the use of electricity in the kitchen, and the adoption of new electric appliances (Gas and Fuel; Gilbert “Striving”), was described not only as a “revolution that is being wrought in our homes”, but one that allowed increased levels of personal expression and fulfillment, in “increas[ing] the time and resources available to the housewife for the expression of her own personality in the management of her home” (Gilbert, “The Woman’s”). This mirrors the marketing of these modes of cooking and appliances in other media at this time, including in newspapers, radio, and other magazines. This included features on freezing food, however AWFQ introduced an international angle, by suggesting that recipe bases could be pre-prepared, frozen, and then defrosted to use in a range of international cookery (“Fresh”; “How to”; Kelvinator Australia). The then-new marvel of television—another American innovation—is also mentioned in the magazine ("Changing concepts"), although other nationalities are also invoked. The history of the French guild the Confrerie de la Chaine des Roitisseurs in 1248 is, for instance, used to promote an electric spit roaster that was part of a state-of-the-art gas stove (“Always”), and there are also advertisements for such appliances as the Gaggia expresso machine (“Lets”) which draw on both Italian historical antecedence and modern science.Supermarket and other forms of self-service shopping are identified as American-modern, with Australia’s first shopping mall lauded as the epitome of utopian progressiveness in terms of consumer practice. Judged to mark “a new era in Australian retailing” (“Regional” 12), the opening of Chadstone Regional Shopping Centre in suburban Melbourne on 4 October 1960, with its 83 tenants including “giant” supermarket Dickens, and free parking for 2,500 cars, was not only “one of the most up to date in the world” but “big even by American standards” (“Regional” 12, italics added), and was hailed as a step in Australia “catching up” with the United States in terms of mall shopping (“Regional” 12). This shopping centre featured international-styled dining options including Bistro Shiraz, an outdoor terrace restaurant that planned to operate as a bistro-snack bar by day and full-scale restaurant at night, and which was said to offer diners a “Persian flavor” (“Bistro”).ConclusionAustralian Wines & Food Quarterly was the first of a small number of culinary-focused Australian publications in the 1950s and 1960s which assisted in introducing a generation of readers to information about what were then seen as foreign foods and beverages only to be accessed and consumed abroad as well as a range of innovative international ideas regarding cookery and dining. For this reason, it can be posited that the magazine, although modest in the claims it made, marked a revolutionary moment in Australian culinary publishing. As yet, only slight traces can be found of its editor and publisher, Donald Wallace. The influence of AWFQ is, however, clearly evident in the two longer-lived magazines that were launched in the decade after AWFQ folded: Australian Gourmet Magazine and The Epicurean. Although these serials had a wider reach, an analysis of the 15 issues of AWFQ adds to an understanding of how ideas of foods, beverages, and culinary ideas and trends, imported from abroad were presented to an Australian readership in the 1950s, and contributed to how national foodways were beginning to change during that decade.ReferencesAdams, Jillian. “Australia’s American Coffee Culture.” Australian Journal of Popular Culture 2.1 (2012): 23–36.“Always to Roast on a Turning Spit.” The Magazine of Good Living: Australian Wines and Food 4.2 (1960): 17.“An Expert on Butter.” The Magazine of Good Living: The Australian Wine & Food 4.1 (1960): 11.“Australia Is Guest Nation at Lausanne.” The Magazine of Good Living: Australian Wines and Food 4.2 (1960): 18–19.“Australia’s Natural Cheeses.” The Magazine of Good Living: The Australian Wine & Food 4.1 (1960): 23.“Australia Will Be There.” The Magazine of Good Living: Australian Wines and Food 4.2 (1960): 14.“Australian Wines Served at New York Dinner.” Australian Wines & Food Quarterly 1.5 (1958): 16.“Australia Wins Six Gold Medals.” Australian Wines & Food: The Magazine of Good Living 2.11 (1959/1960): 3.Bancroft, P.A. “Let’s Make Some Coffee.” The Magazine of Good Living: The Australian Wine & Food 4.1 (1960): 10. 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Abstract More people are working into older age, raising questions about how many hours they can work before their health becomes compromised. This paper models work-hour tipping points for mental health and vitality among older Australian workers aged 50–70 years. We use longitudinal data from the Household, Income and Labour Dynamics in Australia (HILDA) survey, 2005–2016 (about 44,900 observations), and bootstrapping Three Stage Least Squares (3SLS) estimation techniques to adjust for reverse and reciprocal relationships between wages, work hours and health. Our approach corrects for heteroscedasticity in the system equation error terms, and we estimate models on the relatively healthy older adults who have remained employed into older age. Among these older workers we observe weekly thresholds of 39–40 hours beyond which mental health and vitality decline. This average, however, hides variability in work-hour limits linked to overall health and occupation. Thus, weekly tipping points for blue- and pink-collar jobs are 7–9 hours lower compared to white-collar jobs, and even wider gaps (11 hours) are apparent for workers with poorer physical functioning, which becomes common as people age. Our modelling reveals that age is not the biggest limiting factor for how many hours older adults can work, rather their health and the types of jobs are critical, and likely widen the gap in who ages successfully or not.

IntroductionRegional identity is a constant construction, in which landscape, human activity and cultural imaginary build a narrative of place. For the Tasmanian Midlands, the interactions between history, ecology and agriculture both define place and present problems in how to recognise, communicate and balance these interactions. In this sense, regionality is defined not so much as a relation of margin to centre, but as a specific accretion of environmental and cultural histories. According weight to more-than-human perspectives, a region can be seen as a constellation of plant, animal and human interactions and demands, where creative art and design can make space and give voice to the dynamics of exchange between the landscape and its inhabitants. Consideration of three recent art and design projects based in the Midlands reveal the potential for cross-disciplinary research, embedded in both environment and community, to create distinctive and specific forms of connectivity that articulate a regional identify.The Tasmanian Midlands have been identified as a biodiversity hotspot (Australian Government), with a long history of Aboriginal cultural management disrupted by colonial invasion. Recent archaeological work in the Midlands, including the Kerry Lodge Archaeology and Art Project, has focused on the use of convict labour during the nineteenth century in opening up the Midlands for settler agriculture and transport. Now, the Midlands are placed under increasing pressure by changing agricultural practices such as large-scale irrigation. At the same time as this intensification of agricultural activity, significant progress has been made in protecting, preserving and restoring endemic ecologies. This progress has come through non-government conservation organisations, especially Greening Australia and their program Tasmanian Island Ark, and private landowners placing land under conservation covenants. These pressures and conservation activities give rise to research opportunities in the biological sciences, but also pose challenges in communicating the value of conservation and research outcomes to a wider public. The Species Hotel project, beginning in 2016, engaged with the aims of restoration ecology through speculative design while The Marathon Project, a multi-year curatorial art project based on a single property that contains both conservation and commercially farmed zones.This article questions the role of regionality in these three interconnected projects—Kerry Lodge, Species Hotel, and Marathon—sited in the Tasmanian Midlands: the three projects share a concern with the specificities of the region through engagement with specifics sites and their histories and ecologies, while also acknowledging the forces that shape these sites as far more mobile and global in scope. It also considers the interdisciplinary nature of these projects, in the crossover of art and design with ecological, archaeological and agricultural practices of measuring and intervening in the land, where communication and interpretation may be in tension with functionality. These projects suggest ways of working that connect the ecological and the cultural spheres; importantly, they see rural locations as sites of knowledge production; they test the value of small-scale and ephemeral interventions to explore the place of art and design as intervention within colonised landscape.Regions are also defined by overlapping circles of control, interest, and authority. We test the claim that these projects, which operate through cross-disciplinary collaboration and network with a range of stakeholders and community groups, successfully benefit the region in which they are placed. We are particularly interested in the challenges of working across institutions which both claim and enact connections to the region without being centred there. These projects are initiatives resulting from, or in collaboration with, University of Tasmania, an institution that has taken a recent turn towards explicitly identifying as place-based yet the placement of the Midlands as the gap between campuses risks attenuating the institution’s claim to be of this place. Paul Carter, in his discussion of a regional, site-specific collaboration in Alice Springs, flags how processes of creative place-making—operating through mythopoetic and story-based strategies—requires a concrete rather than imagined community that actively engages a plurality of voices on the ground. We identify similar concerns in these art and design projects and argue that iterative and long-term creative projects enable a deeper grappling with the complexities of shared regional place-making. The Midlands is aptly named: as a region, it is defined by its geographical constraints and relationships to urban centres. Heading south from the northern city of Launceston, travellers on the Midland Highway see scores of farming properties networking continuously for around 175 kilometres south to the outskirts of Brighton, the last major township before the Tasmanian capital city of Hobart. The town of Ross straddles latitude 42 degrees south—a line that has historically divided Tasmania into the divisions of North and South. The region is characterised by extensive agricultural usage and small remnant patches of relatively open dry sclerophyll forest and lowland grassland enabled by its lower attitude and relatively flatter terrain. The Midlands sit between the mountainous central highlands of the Great Western Tiers and the Eastern Tiers, a continuous range of dolerite hills lying south of Ben Lomond that slope coastward to the Tasman Sea. This area stretches far beyond the view of the main highway, reaching east in the Deddington and Fingal valleys. Campbell Town is the primary stopping point for travellers, superseding the bypassed towns, which have faced problems with lowering population and resulting loss of facilities.Image 1: Southern Midland Landscape, Ross, Tasmania, 2018. Image Credit: Patrick Sutczak.Predominantly under private ownership, the Tasmanian Midlands are a contested and fractured landscape existing in a state of ecological tension that has occurred with the dominance of western agriculture. For over 200 years, farmers have continually shaped the land and carved it up into small fragments for different agricultural agendas, and this has resulted in significant endemic species decline (Mitchell et al.). The open vegetation was the product of cultural management of land by Tasmanian Aboriginal communities (Gammage), attractive to settlers during their distribution of land grants prior to the 1830s and a focus for settler violence. As documented cartographically in the Centre for 21st Century Humanities’ Colonial Frontier Massacres in Central and Eastern Australia 1788–1930, the period 1820–1835, and particularly during the Black War, saw the Midlands as central to the violent dispossession of Aboriginal landowners. Clements argues that the culture of violence during this period also reflected the brutalisation that the penal system imposed upon its subjects. The cultivation of agricultural land throughout the Midlands was enabled by the provision of unfree convict labour (Dillon). Many of the properties granted and established during the colonial period have been held in multi-generational family ownership through to the present.Within this patchwork of private ownership, the tension between visibility and privacy of the Midlands pastures and farmlands challenges the capacity for people to understand what role the Midlands plays in the greater Tasmanian ecology. Although half of Tasmania’s land areas are protected as national parks and reserves, the Midlands remains largely unprotected due to private ownership. When measured against Tasmania’s wilderness values and reputation, the dry pasturelands of the Midland region fail to capture an equivalent level of visual and experiential imagination. Jamie Kirkpatrick describes misconceptions of the Midlands when he writes of “[f]latness, dead and dying eucalypts, gorse, brown pastures, salt—environmental devastation […]—these are the common impression of those who first travel between Spring Hill and Launceston on the Midland Highway” (45). However, Kirkpatrick also emphasises the unique intimate and intricate qualities of this landscape, and its underlying resilience. In the face of the loss of paddock trees and remnants to irrigation, change in species due to pasture enrichment and introduction of new plant species, conservation initiatives that not only protect but also restore habitat are vital. The Tasmanian Midlands, then, are pastoral landscapes whose seeming monotonous continuity glosses over the radical changes experienced in the processes of colonisation and intensification of agriculture.Underlying the Present: Archaeology and Landscape in the Kerry Lodge ProjectThe major marker of the Midlands is the highway that bisects it. Running from Hobart to Launceston, the construction of a “great macadamised highway” (Department of Main Roads 10) between 1820–1850, and its ongoing maintenance, was a significant colonial project. The macadam technique, a nineteenth century innovation in road building which involved the laying of small pieces of stone to create a surface that was relatively water and frost resistant, required considerable but unskilled labour. The construction of the bridge at Kerry Lodge, in 1834–35, was simultaneous with significant bridge buildings at other major water crossings on the highway, (Department of Main Roads 16) and, as the first water crossing south of Launceston, was a pinch-point through which travel of prisoners could be monitored and controlled. Following the completion of the bridge, the site was used to house up to 60 male convicts in a road gang undergoing secondary punishment (1835–44) and then in a labour camp and hiring depot until 1847. At the time of the La Trobe report (1847), the buildings were noted as being in bad condition (Brand 142–43). After the station was disbanded, the use of the buildings reverted to the landowners for use in accommodation and agricultural storage.Archaeological research at Kerry Lodge, directed by Eleanor Casella, investigated the spatial and disciplinary structures of smaller probation and hiring depots and the living and working conditions of supervisory staff. Across three seasons (2015, 2016, 2018), the emerging themes of discipline and control and as well as labour were borne out by excavations across the site, focusing on remnants of buildings close to the bridge. This first season also piloted the co-presence of a curatorial art project, which grew across the season to include eleven practitioners in visual art, theatre and poetry, and three exhibition outcomes. As a crucial process for the curatorial art project, creative practitioners spent time on site as participants and observers, which enabled the development of responses that interrogated the research processes of archaeological fieldwork as well as making connections to the wider historical and cultural context of the site. Immersed in the mundane tasks of archaeological fieldwork, the practitioners involved became simultaneously focused on repetitive actions while contemplating the deep time contained within earth. This experience then informed the development of creative works interrogating embodied processes as a language of site.The outcome from the first fieldwork season was earthspoke, an exhibition shown at Sawtooth, an artist-run initiative in Launceston in 2015, and later re-installed in Franklin House, a National Trust property in the southern suburbs of Launceston.Images 2 and 3: earthspoke, 2015, Installation View at Sawtooth ARI (top) and Franklin House (bottom). Image Credits: Melanie de Ruyter.This recontextualisation of the work, from contemporary ARI (artist run initiative) gallery to National Trust property enabled the project to reach different audiences but also raised questions about the emphases that these exhibition contexts placed on the work. Within the white cube space of the contemporary gallery, connections to site became more abstracted while the educational and heritage functions of the National Trust property added further context and unintended connotations to the art works.Image 4: Strata, 2017, Installation View. Image Credit: Karen Hall.The two subsequent exhibitions, Lines of Site (2016) and Strata (2017), continued to test the relationship between site and gallery, through works that rematerialised the absences on site and connected embodied experiences of convict and archaeological labour. The most recent iteration of the project, Strata, part of the Ten Days on the Island art festival in 2017, involved installing works at the site, marking with their presence the traces, fragments and voids that had been reburied when the landscape returned to agricultural use following the excavations. Here, the interpretive function of the works directly addressed the layered histories of the landscape and underscored the scope of the human interventions and changes over time within the pastoral landscape. The interpretative role of the artworks formed part of a wider, multidisciplinary approach to research and communication within the project. University of Manchester archaeology staff and postgraduate students directed the excavations, using volunteers from the Launceston Historical Society. Staff from Launceston’s Queen Victorian Museum and Art Gallery brought their archival and collection-based expertise to the site rather than simply receiving stored finds as a repository, supporting immediate interpretation and contextualisation of objects. In 2018, participation from the University of Tasmania School of Education enabled a larger number of on-site educational activities than afforded by previous open days. These multi-disciplinary and multi-organisational networks, drawn together provisionally in a shared time and place, provided rich opportunities for dialogue. However, the challenges of sustaining these exchanges have meant ongoing collaborations have become more sporadic, reflecting different institutional priorities and competing demands on participants. Even within long-term projects, continued engagement with stakeholders can be a challenge: while enabling an emerging and concrete sense of community, the time span gives greater vulnerability to external pressures. Making Home: Ecological Restoration and Community Engagement in the Species Hotel ProjectImages 5 and 6: Selected Species Hotels, Ross, Tasmania, 2018. Image Credits: Patrick Sutczak. The Species Hotels stand sentinel over a river of saplings, providing shelter for animal communities within close range of a small town. At the township of Ross in the Southern Midlands, work was initiated by restoration ecologists to address the lack of substantial animal shelter belts on a number of major properties in the area. The Tasmania Island Ark is a major Greening Australia restoration ecology initiative, connecting 6000 hectares of habitat across the Midlands. Linking larger forest areas in the Eastern Tiers and Central Highlands as well as isolated patches of remnant native vegetation, the Ark project is vital to the ongoing survival of local plant and animal species under pressure from human interventions and climate change. With fragmentation of bush and native grasslands in the Midland landscape resulting in vast open plains, the ability for animals to adapt to pasturelands without shelter has resulted in significant decline as animals such as the critically endangered Eastern Barred Bandicoot struggle to feed, move, and avoid predators (Cranney). In 2014 mass plantings of native vegetation were undertaken along 16km of the serpentine Macquarie River as part of two habitat corridors designed to bring connectivity back to the region. While the plantings were being established a public art project was conceived that would merge design with practical application to assist animals in the area, and draw community and public attention to the work that was being done in re-establishing native forests. The Species Hotel project, which began in 2016, emerged from a collaboration between Greening Australia and the University of Tasmania’s School of Architecture and Design, the School of Land and Food, the Tasmanian College of the Arts and the ARC Centre for Forest Value, with funding from the Ian Potter Foundation. The initial focus of the project was the development of interventions in the landscape that could address the specific habitat needs of the insect, small mammal, and bird species that are under threat. First-year Architecture students were invited to design a series of structures with the brief that they would act as ‘Species Hotels’, and once created would be installed among the plantings as structures that could be inhabited or act as protection. After installation, the privately-owned land would be reconfigured so to allow public access and observation of the hotels, by residents and visitors alike. Early in the project’s development, a concern was raised during a Ross community communication and consultation event that the surrounding landscape and its vistas would be dramatically altered with the re-introduced forest. While momentary and resolved, a subtle yet obvious tension surfaced that questioned the re-writing of an established community’s visual landscape literacy by non-residents. Compact and picturesque, the architectural, historical and cultural qualities of Ross and its location were not only admired by residents, but established a regional identity. During the six-week intensive project, the community reach was expanded beyond the institution and involved over 100 people including landowners, artists, scientists and school children from the region (Wright), attempting to address and channel the concerns of residents about the changing landscape. The multiple timescales of this iterative project—from intensive moments of collaboration between stakeholders to the more-than-human time of tree growth—open spaces for regional identity to shift as both as place and community. Part of the design brief was the use of fully biodegradable materials: the Species Hotels are not expected to last forever. The actual installation of the Species Hotelson site took longer than planned due to weather conditions, but once on site they were weathering in, showing signs of insect and bird habitation. This animal activity created an opportunity for ongoing engagement. Further activities generated from the initial iteration of Species Hotel were the Species Hotel Day in 2017, held at the Ross Community Hall where presentations by scientists and designers provided feedback to the local community and presented opportunities for further design engagement in the production of ephemeral ‘species seed pies’ placed out in and around Ross. Architecture and Design students have gone on to develop more examples of ‘ecological furniture’ with a current focus on insect housing as well as extrapolating from the installation of the Species Hotels to generate a VR visualisation of the surrounding landscape, game design and participatory movement work that was presented as part of the Junction Arts Festival program in Launceston, 2017. The intersections of technologies and activities amplified the lived in and living qualities of the Species Hotels, not only adding to the connectivity of social and environmental actions on site and beyond, but also making a statement about the shared ownership this project enabled.Working Property: Collaboration and Dialogues in The Marathon Project The potential of iterative projects that engage with environmental concerns amid questions of access, stewardship and dialogue is also demonstrated in The Marathon Project, a collaborative art project that took place between 2015 and 2017. Situated in the Northern Midland region of Deddington alongside the banks of the Nile River the property of Marathon became the focal point for a small group of artists, ecologists and theorists to converge and engage with a pastoral landscape over time that was unfamiliar to many of them. Through a series of weekend camps and day trips, the participants were able to explore and follow their own creative and investigative agendas. The project was conceived by the landowners who share a passion for the history of the area, their land, and ideas of custodianship and ecological responsibility. The intentions of the project initially were to inspire creative work alongside access, engagement and dialogue about land, agriculture and Deddington itself. As a very small town on the Northern Midland fringe, Deddington is located toward the Eastern Tiers at the foothills of the Ben Lomond mountain ranges. Historically, Deddington is best known as the location of renowned 19th century landscape painter John Glover’s residence, Patterdale. After Glover’s death in 1849, the property steadily fell into disrepair and a recent private restoration effort of the home, studio and grounds has seen renewed interest in the cultural significance of the region. With that in mind, and with Marathon a neighbouring property, participants in the project were able to experience the area and research its past and present as a part of a network of working properties, but also encouraging conversation around the region as a contested and documented place of settlement and subsequent violence toward the Aboriginal people. Marathon is a working property, yet also a vital and fragile ecosystem. Marathon consists of 1430 hectares, of which around 300 lowland hectares are currently used for sheep grazing. The paddocks retain their productivity, function and potential to return to native grassland, while thickets of gorse are plentiful, an example of an invasive species difficult to control. The rest of the property comprises eucalypt woodlands and native grasslands that have been protected under a conservation covenant by the landowners since 2003. The Marathon creek and the Nile River mark the boundary between the functional paddocks and the uncultivated hills and are actively managed in the interface between native and introduced species of flora and fauna. This covenant aimed to preserve these landscapes, linking in with a wider pattern of organisations and landowners attempting to address significant ecological degradation and isolation of remnant bushland patches through restoration ecology. Measured against the visibility of Tasmania’s wilderness identity on the national and global stage, many of the ecological concerns affecting the Midlands go largely unnoticed. The Marathon Project was as much a project about visibility and communication as it was about art and landscape. Over the three years and with its 17 participants, The Marathon Project yielded three major exhibitions along with numerous public presentations and research outputs. The length of the project and the autonomy and perspectives of its participants allowed for connections to be formed, conversations initiated, and greater exposure to the productivity and sustainability complexities playing out on rural Midland properties. Like Kerry Lodge, the 2015 first year exhibition took place at Sawtooth ARI. The exhibition was a testing ground for artists, and a platform for audiences, to witness the cross-disciplinary outputs of work inspired by a single sheep grazing farm. The interest generated led to the rethinking of the 2016 exhibition and the need to broaden the scope of what the landowners and participants were trying to achieve. Image 7: Panel Discussion at Open Weekend, 2016. Image Credit: Ron Malor.In November 2016, The Marathon Project hosted an Open Weekend on the property encouraging audiences to visit, meet the artists, the landowners, and other invited guests from a number of restoration, conservation, and rehabilitation organisations. Titled Encounter, the event and accompanying exhibition displayed in the shearing shed, provided an opportunity for a rhizomatic effect with the public which was designed to inform and disseminate historical and contemporary perspectives of land and agriculture, access, ownership, visitation and interpretation. Concluding with a final exhibition in 2017 at the University of Tasmania’s Academy Gallery, The Marathon Project had built enough momentum to shape and inform the practice of its participants, the knowledge and imagination of the public who engaged with it, and make visible the precarity of the cultural and rural Midland identity.Image 8. Installation View of The Marathon Project Exhibition, 2017. Image Credit: Patrick Sutczak.ConclusionThe Marathon Project, Species Hotel and the Kerry Lodge Archaeology and Art Project all demonstrate the potential of site-based projects to articulate and address concerns that arise from the environmental and cultural conditions and histories of a region. Beyond the Midland fence line is a complex environment that needed to be experienced to be understood. Returning creative work to site, and opening up these intensified experiences of place to a public forms a key stage in all these projects. Beyond a commitment to site-specific practice and valuing the affective and didactic potential of on-site installation, these returns grapple with issues of access, visibility and absence that characterise the Midlands. Paul Carter describes his role in the convening of a “concretely self-realising creative community” in an initiative to construct a meeting-place in Alice Springs, a community defined and united in “its capacity to imagine change as a negotiation between past, present and future” (17). Within that regional context, storytelling, as an encounter between histories and cultures, became crucial in assembling a community that could in turn materialise story into place. In these Midlands projects, a looser assembly of participants with shared interests seek to engage with the intersections of plant, human and animal activities that constitute and negotiate the changing environment. The projects enabled moments of connection, of access, and of intervention: always informed by the complexities of belonging within regional locations.These projects also suggest the need to recognise the granularity of regionalism: the need to be attentive to the relations of site to bioregion, of private land to small town to regional centre. The numerous partnerships that allow such interconnect projects to flourish can be seen as a strength of regional areas, where proximity and scale can draw together sets of related institutions, organisations and individuals. However, the tensions and gaps within these projects reveal differing priorities, senses of ownership and even regional belonging. Questions of who will live with these project outcomes, who will access them, and on what terms, reveal inequalities of power. Negotiations of this uneven and uneasy terrain require a more nuanced account of projects that do not rely on the geographical labelling of regions to paper over the complexities and fractures within the social environment.These projects also share a commitment to the intersection of the social and natural environment. They recognise the inextricable entanglement of human and more than human agencies in shaping the landscape, and material consequences of colonialism and agricultural intensification. Through iteration and duration, the projects mobilise processes that are responsive and reflective while being anchored to the materiality of site. Warwick Mules suggests that “regions are a mixture of data and earth, historically made through the accumulation and condensation of material and informational configurations”. Cross-disciplinary exchanges enable all three projects to actively participate in data production, not interpretation or illustration afterwards. Mules’ call for ‘accumulation’ and ‘configuration’ as productive regional modes speaks directly to the practice-led methodologies employed by these projects. The Kerry Lodge and Marathon projects collect, arrange and transform material taken from each site to provisionally construct a regional material language, extended further in the dual presentation of the projects as off-site exhibitions and as interventions returning to site. The Species Hotel project shares that dual identity, where materials are chosen for their ability over time, habitation and decay to become incorporated into the site yet, through other iterations of the project, become digital presences that nonetheless invite an embodied engagement.These projects centre the Midlands as fertile ground for the production of knowledge and experiences that are distinctive and place-based, arising from the unique qualities of this place, its history and its ongoing challenges. Art and design practice enables connectivity to plant, animal and human communities, utilising cross-disciplinary collaborations to bring together further accumulations of the region’s intertwined cultural and ecological landscape.ReferencesAustralian Government Department of the Environment and Energy. Biodiversity Conservation. Canberra: Commonwealth of Australia, 2018. 1 Apr. 2019 <http://www.environment.gov.au/biodiversity/conservation>.Brand, Ian. The Convict Probation System: Van Diemen’s Land 1839–1854. Sandy Bay: Blubber Head Press, 1990.Carter, Paul. “Common Patterns: Narratives of ‘Mere Coincidence’ and the Production of Regions.” Creative Communities: Regional Inclusion & the Arts. Eds. Janet McDonald and Robert Mason. Bristol: Intellect, 2015. 13–30.Centre for 21st Century Humanities. Colonial Frontier Massacres in Central and Eastern Australia 1788–1930. Newcastle: Centre for 21st Century Humanitie, n.d. 1 Apr. 2019 <https://c21ch.newcastle.edu.au/colonialmassacres/>.Clements, Nicholas. The Black War: Fear, Sex and Resistance in Tasmania. St Lucia: U of Queensland P, 2014. Cranney, Kate. Ecological Science in the Tasmanian Midlands. Melbourne: Bush Heritage Australia, 2016. 1 Apr. 2019 <https://www.bushheritage.org.au/blog/ecological-science-in-the-tasmanian-midlands>.Davidson N. “Tasmanian Northern Midlands Restoration Project.” EMR Summaries, Journal of Ecological Management & Restoration, 2016. 10 Apr. 2019 <https://site.emrprojectsummaries.org/2016/03/07/tasmanian-northern-midlands-restoration-project/>.Department of Main Roads, Tasmania. Convicts & Carriageways: Tasmanian Road Development until 1880. Hobart: Tasmanian Government Printer, 1988.Dillon, Margaret. “Convict Labour and Colonial Society in the Campbell Town Police District: 1820–1839.” PhD Thesis. U of Tasmania, 2008. <https://eprints.utas.edu.au/7777/>.Gammage, Bill. The Biggest Estate on Earth: How Aborigines Made Australia. Crows Nest: Allen & Unwin, 2012.Greening Australia. Building Species Hotels, 2016. 1 Apr. 2019 <https://www.greeningaustralia.org.au/projects/building-species-hotels/>.Kerry Lodge Archaeology and Art Project. Kerry Lodge Convict Site. 10 Mar. 2019 <http://kerrylodge.squarespace.com/>.Kirkpatrick, James. “Natural History.” Midlands Bushweb, The Nature of the Midlands. Ed. Jo Dean. Longford: Midlands Bushweb, 2003. 45–57.Mitchell, Michael, Michael Lockwood, Susan Moore, and Sarah Clement. “Building Systems-Based Scenario Narratives for Novel Biodiversity Futures in an Agricultural Landscape.” Landscape and Urban Planning 145 (2016): 45–56.Mules, Warwick. “The Edges of the Earth: Critical Regionalism as an Aesthetics of the Singular.” Transformations 12 (2005). 1 Mar. 2019 <http://transformationsjournal.org/journal/issue_12/article_03.shtml>.The Marathon Project. <http://themarathonproject.virb.com/home>.University of Tasmania. Strategic Directions, Nov. 2018. 1 Mar. 2019 <https://www.utas.edu.au/vc/strategic-direction>.Wright L. “University of Tasmania Students Design ‘Species Hotels’ for Tasmania’s Wildlife.” Architecture AU 24 Oct. 2016. 1 Apr. 2019 <https://architectureau.com/articles/university-of-tasmania-students-design-species-hotels-for-tasmanias-wildlife/>.

Special Care Notice This paper discusses trauma and violence inflicted upon the Indigenous peoples of Tasmania through the process of colonisation. Content within this paper may be distressing to some readers. Introduction The decimation of the First Peoples of Van Diemen’s Land (now Tasmania) was systematic and swift. First Contact was an emotionally, intellectually, physically, and spiritually confronting series of encounters for the Indigenous inhabitants. There were, according to some early records, a few examples of peaceful interactions (Morris 84). Yet, the inevitable competition over resources, and the intensity with which colonists pursued their “claims” for food, land, and water, quickly transformed amicable relationships into hostile rivalries. Jennifer Gall has written that, as “European settlement expanded in the late 1820s, violent exchanges between settlers and Aboriginal people were frequent, brutal and unchecked” (58). Indeed, the near-annihilation of the original custodians of the land was, if viewed through the lens of time, a process that could be described as one that was especially efficient. As John Morris notes: in 1803, when the first settlers arrived in Van Diemen’s Land, the Aborigines had already inhabited the island for some 25,000 years and the population has been estimated at 4,000. Seventy-three years later, Truganinni, [often cited as] the last Tasmanian of full Aboriginal descent, was dead. (84) Against a backdrop of extreme violence, often referred to as the Black War (Clements 1), there were some, admittedly dubious, efforts to contain the bloodshed. One such effort, in the late 1820s, was the production, and subsequent distribution, of a set of Proclamation Boards. Approximately 100 Proclamation Boards (the Board) were introduced by the Lieutenant Governor of the day, George Arthur (after whom Port Arthur on the Tasman Peninsula is named). The purpose of these Boards was to communicate, via a four-strip pictogram, to the Indigenous peoples of the island colony that all people—black and white—were considered equal under the law. “British Justice would protect” everyone (Morris 84). This is reflected in the narrative of the Boards. The first image presents Indigenous peoples and colonists living peacefully together. The second, and central, image shows “a conciliatory handshake between the British governor and an Aboriginal ‘chief’, highly reminiscent of images found in North America on treaty medals and anti-slavery tokens” (Darian-Smith and Edmonds 4). The third and fourth images depict the repercussions for committing murder, with an Indigenous man hanged for spearing a colonist and a European man also hanged for shooting an Aborigine. Both men executed under “gubernatorial supervision” (Turnbull 53). Image 1: Governor Davey's [sic - actually Governor Arthur's] Proclamation to the Aborigines, 1816 [sic - actually c. 1828-30]. Image Credit: Mitchell Library, State Library of NSW (Call Number: SAFE / R 247). The Board is an interesting re-imagining of one of the traditional methods of communication for Indigenous peoples; the leaving of images on the bark of trees. Such trees, often referred to as scarred trees, are rare in modern-day Tasmania as “the expansion of settlements, and the impact of bush fires and other environmental factors” resulted in many of these trees being destroyed (Aboriginal Heritage Tasmania online). Similarly, only a few of the Boards, inspired by these trees, survive today. The Proclamation Board was, in the 1860s, re-imagined as the output of a different Governor: Lieutenant Governor Davey (after whom Port Davey, on the south-west coast of Tasmania is named). This re-imagining of the Board’s creator was so effective that the Board, today, is popularly known as Governor Davey’s Proclamation to the Aborigines. This paper outlines several other re-imaginings of this Board. In addition, this paper offers another, new, re-imagining of the Board, positing that this is an early “pamphlet” on crime, justice and punishment which actually presents as a pre-cursor to the modern Australian true crime tale. In doing so this work connects the Proclamation Board to the larger genre of crime fiction. One Proclamation Board: Two Governors Labelled Van Diemen’s Land and settled as a colony of New South Wales in 1803, this island state would secede from the administration of mainland Australia in 1825. Another change would follow in 1856 when Van Diemen’s Land was, in another process of re-imagining, officially re-named Tasmania. This change in nomenclature was an initiative to, symbolically at least, separate the contemporary state from a criminal and violent past (Newman online). Tasmania’s violent history was, perhaps, inevitable. The island was claimed by Philip Gidley King, the Governor of New South Wales, in the name of His Majesty, not for the purpose of building a community, but to “prevent the French from gaining a footing on the east side of that island” and also to procure “timber and other natural products, as well as to raise grain and to promote the seal industry” (Clark 36). Another rationale for this land claim was to “divide the convicts” (Clark 36) which re-fashioned the island into a gaol. It was this penal element of the British colonisation of Australia that saw the worst of the British Empire forced upon the Aboriginal peoples. As historian Clive Turnbull explains: the brutish state of England was reproduced in the English colonies, and that in many ways its brutishness was increased, for now there came to Australia not the humanitarians or the indifferent, but the men who had vested interests in the systems of restraint; among those who suffered restraint were not only a vast number who were merely unfortunate and poverty-stricken—the victims of a ‘depression’—but brutalised persons, child-slaughterers and even potential cannibals. (Turnbull 25) As noted above the Black War of Tasmania saw unprecedented aggression against the rightful occupants of the land. Yet, the Aboriginal peoples were “promised the white man’s justice, the people [were] exhorted to live in amity with them, the wrongs which they suffer [were] deplored” (Turnbull 23). The administrators purported an egalitarian society, one of integration and peace but Van Diemen’s Land was colonised as a prison and as a place of profit. So, “like many apologists whose material benefit is bound up with the systems which they defend” (Turnbull 23), assertions of care for the health and welfare of the Aboriginal peoples were made but were not supported by sufficient policies, or sufficient will, and the Black War continued. Colonel Thomas Davey (1758-1823) was the second person to serve as Lieutenant Governor of Van Diemen’s Land; a term of office that began in 1813 and concluded in 1817. The fourth Lieutenant Governor of the island was Colonel Sir George Arthur (1784-1854); his term of office, significantly longer than Davey’s, being from 1824 to 1836. The two men were very different but are connected through this intriguing artefact, the Proclamation Board. One of the efforts made to assert the principle of equality under the law in Van Diemen’s Land was an outcome of work undertaken by Surveyor General George Frankland (1800-1838). Frankland wrote to Arthur in early 1829 and suggested the Proclamation Board (Morris 84), sometimes referred to as a Picture Board or the Tasmanian Hieroglyphics, as a tool to support Arthur’s various Proclamations. The Proclamation, signed on 15 April 1828 and promulgated in the The Hobart Town Courier on 19 April 1828 (Arthur 1), was one of several notices attempting to reduce the increasing levels of violence between Indigenous peoples and colonists. The date on Frankland’s correspondence clearly situates the Proclamation Board within Arthur’s tenure as Lieutenant Governor. The Board was, however, in the 1860s, re-imagined as the output of Davey. The Clerk of the Tasmanian House of Assembly, Hugh M. Hull, asserted that the Board was the work of Davey and not Arthur. Hull’s rationale for this, despite archival evidence connecting the Board to Frankland and, by extension, to Arthur, is predominantly anecdotal. In a letter to the editor of The Hobart Mercury, published 26 November 1874, Hull wrote: this curiosity was shown by me to the late Mrs Bateman, neé Pitt, a lady who arrived here in 1804, and with whom I went to school in 1822. She at once recognised it as one of a number prepared in 1816, under Governor Davey’s orders; and said she had seen one hanging on a gum tree at Cottage Green—now Battery Point. (3) Hull went on to assert that “if any old gentleman will look at the picture and remember the style of military and civil dress of 1810-15, he will find that Mrs Bateman was right” (3). Interestingly, Hull relies upon the recollections of a deceased school friend and the dress codes depicted by the artist to date the Proclamation Board as a product of 1816, in lieu of documentary evidence dating the Board as a product of 1828-1830. Curiously, the citation of dress can serve to undermine Hull’s argument. An early 1840s watercolour by Thomas Bock, of Mathinna, an Aboriginal child of Flinders Island adopted by Lieutenant Governor John Franklin (Felton online), features the young girl wearing a brightly coloured, high-waisted dress. This dress is very similar to the dresses worn by the children on the Proclamation Board (the difference being that Mathinna wears a red dress with a contrasting waistband, the children on the Board wear plain yellow dresses) (Bock). Acknowledging the simplicity of children's clothing during the colonial era, it could still be argued that it would have been unlikely the Governor of the day would have placed a child, enjoying at that time a life of privilege, in a situation where she sat for a portrait wearing an old-fashioned garment. So effective was Hull’s re-imagining of the Board’s creator that the Board was, for many years, popularly known as Governor Davey’s Proclamation to the Aborigines with even the date modified, to 1816, to fit Davey’s term of office. Further, it is worth noting that catalogue records acknowledge the error of attribution and list both Davey and Arthur as men connected to the creation of the Proclamation Board. A Surviving Board: Mitchell Library, State Library of New South Wales One of the surviving Proclamation Boards is held by the Mitchell Library. The Boards, oil on Huon pine, were painted by “convict artists incarcerated in the island penal colony” (Carroll 73). The work was mass produced (by the standards of mass production of the day) by pouncing, “a technique [of the Italian Renaissance] of pricking the contours of a drawing with a pin. Charcoal was then dusted on to the drawing” (Carroll 75-76). The images, once outlined, were painted in oil. Of approximately 100 Boards made, several survive today. There are seven known Boards within public collections (Gall 58): five in Australia (Mitchell Library, State Library of NSW, Sydney; Museum Victoria, Melbourne; National Library of Australia, Canberra; Tasmanian Museum and Art Gallery, Hobart; and Queen Victoria Museum and Art Gallery, Launceston); and two overseas (The Peabody Museum of Archaeology and Ethnology, Harvard University and the Museum of Archaeology and Ethnology, University of Cambridge). The catalogue record, for the Board held by the Mitchell Library, offers the following details:Paintings: 1 oil painting on Huon pine board, rectangular in shape with rounded corners and hole at top centre for suspension ; 35.7 x 22.6 x 1 cm. 4 scenes are depicted:Aborigines and white settlers in European dress mingling harmoniouslyAboriginal men and women, and an Aboriginal child approach Governor Arthur to shake hands while peaceful soldiers look onA hostile Aboriginal man spears a male white settler and is hanged by the military as Governor Arthur looks onA hostile white settler shoots an Aboriginal man and is hanged by the military as Governor Arthur looks on. (SAFE / R 247) The Mitchell Library Board was purchased from J.W. Beattie in May 1919 for £30 (Morris 86), which is approximately $2,200 today. Importantly, the title of the record notes both the popular attribution of the Board and the man who actually instigated the Board’s production: “Governor Davey’s [sic – actually Governor Arthur] Proclamation to the Aborigines, 1816 [sic – actually c. 1828-30].” The date of the Board is still a cause of some speculation. The earlier date, 1828, marks the declaration of martial law (Turnbull 94) and 1830 marks the Black Line (Edmonds 215); the attempt to form a human line of white men to force many Tasmanian Aboriginals, four of the nine nations, onto the Tasman Peninsula (Ryan 3). Frankland’s suggestion for the Board was put forward on 4 February 1829, with Arthur’s official Conciliator to the Aborigines, G.A. Robinson, recording his first sighting of a Board on 24 December 1829 (Morris 84-85). Thus, the conception of the Board may have been in 1828 but the Proclamation project was not fully realised until 1830. Indeed, a news item on the Proclamation Board did appear in the popular press, but not until 5 March 1830: We are informed that the Government have given directions for the painting of a large number of pictures to be placed in the bush for the contemplation of the Aboriginal Inhabitants. […] However […] the causes of their hostility must be more deeply probed, or their taste as connoisseurs in paintings more clearly established, ere we can look for any beneficial result from this measure. (Colonial Times 2) The remark made in relation to becoming a connoisseur of painting, though intended to be derogatory, makes some sense. There was an assumption that the Indigenous peoples could easily translate a European-styled execution by hanging, as a visual metaphor for all forms of punishment. It has long been understood that Indigenous “social organisation and religious and ceremonial life were often as complex as those of the white invaders” (McCulloch 261). However, the Proclamation Board was, in every sense, Eurocentric and made no attempt to acknowledge the complexities of Aboriginal culture. It was, quite simply, never going to be an effective tool of communication, nor achieve its socio-legal aims. The Board Re-imagined: Popular Media The re-imagining of the Proclamation Board as a construct of Governor Davey, instead of Governor Arthur, is just one of many re-imaginings of this curious object. There are, of course, the various imaginings of the purpose of the Board. On the surface these images are a tool for reconciliation but as “the story of these paintings unfolds […] it becomes clear that the proclamations were in effect envoys sent back to Britain to exhibit the ingenious attempts being applied to civilise Australia” (Carroll 76). In this way the Board was re-imagined by the Administration that funded the exercise, even before the project was completed, from a mechanism to assist in the bringing about of peace into an object that would impress colonial superiors. Khadija von Zinnenburg Carroll has recently written about the Boards in the context of their “transnational circulation” and how “objects become subjects and speak of their past through the ventriloquism of contemporary art history” (75). Carroll argues the Board is an item that couples “military strategy with a fine arts propaganda campaign” (Carroll 78). Critically the Boards never achieved their advertised purpose for, as Carroll explains, there were “elaborate rituals Aboriginal Australians had for the dead” and, therefore, “the display of a dead, hanging body is unthinkable. […] being exposed to the sight of a hanged man must have been experienced as an unimaginable act of disrespect” (92). The Proclamation Board would, in sharp contrast to feelings of unimaginable disrespect, inspire feelings of pride across the colonial population. An example of this pride being revealed in the selection of the Board as an object worthy of reproduction, as a lithograph, for an Intercolonial Exhibition, held in Melbourne in 1866 (Morris 84). The lithograph, which identifies the Board as Governor Davey’s Proclamation to the Aborigines and dated 1816, was listed as item 572, of 738 items submitted by Tasmania, for the event (The Commissioners 69-85). This type of reproduction, or re-imagining, of the Board would not be an isolated event. Penelope Edmonds has described the Board as producing a “visual vernacular” through a range of derivatives including lantern slides, lithographs, and postcards. These types of tourist ephemera are in addition to efforts to produce unique re-workings of the Board as seen in Violet Mace’s Proclamation glazed earthernware, which includes a jug (1928) and a pottery cup (1934) (Edmonds online). The Board Re-imagined: A True Crime Tale The Proclamation Board offers numerous narratives. There is the story that the Board was designed and deployed to communicate. There is the story behind the Board. There is also the story of the credit for the initiative which was transferred from Governor Arthur to Governor Davey and subsequently returned to Arthur. There are, too, the provenance stories of individual Boards. There is another story the Proclamation Board offers. The story of true crime in colonial Australia. The Board, as noted, presents through a four-strip pictogram an idea that all are equal under the rule of law (Arthur 1). Advocating for a society of equals was a duplicitous practice, for while Aborigines were hanged for allegedly murdering settlers, “there is no record of whites being charged, let alone punished, for murdering Aborigines” (Morris 84). It would not be until 1838 that white men would be punished for the murder of Aboriginal people (on the mainland) in the wake of the Myall Creek Massacre, in northern New South Wales. There were other examples of attempts to bring about a greater equity under the rule of law but, as Amanda Nettelbeck explains, there was wide-spread resistance to the investigation and charging of colonists for crimes against the Indigenous population with cases regularly not going to trial, or, if making a courtroom, resulting in an acquittal (355-59). That such cases rested on “legally inadmissible Aboriginal testimony” (Reece in Nettelbeck 358) propped up a justice system that was, inherently, unjust in the nineteenth century. It is important to note that commentators at the time did allude to the crime narrative of the Board: when in the most civilized country in the world it has been found ineffective as example to hang murderers in chains, it is not to be expected a savage race will be influenced by the milder exhibition of effigy and caricature. (Colonial Times 2) It is argued here that the Board was much more than an offering of effigy and caricature. The Proclamation Board presents, in striking detail, the formula for the modern true crime tale: a peace disturbed by the act of murder; and the ensuing search for, and delivery of, justice. Reinforcing this point, are the ideas of justice seen within crime fiction, a genre that focuses on the restoration of order out of chaos (James 174), are made visible here as aspirational. The true crime tale does not, consistently, offer the reassurances found within crime fiction. In the real world, particularly one as violent as colonial Australia, we are forced to acknowledge that, below the surface of the official rhetoric on justice and crime, the guilty often go free and the innocent are sometimes hanged. Another point of note is that, if the latter date offered here, of 1830, is taken as the official date of the production of these Boards, then the significance of the Proclamation Board as a true crime tale is even more pronounced through a connection to crime fiction (both genres sharing a common literary heritage). The year 1830 marks the release of Australia’s first novel, Quintus Servinton written by convicted forger Henry Savery, a crime novel (produced in three volumes) published by Henry Melville of Hobart Town. Thus, this paper suggests, 1830 can be posited as a year that witnessed the production of two significant cultural artefacts, the Proclamation Board and the nation’s first full-length literary work, as also being the year that established the, now indomitable, traditions of true crime and crime fiction in Australia. Conclusion During the late 1820s in Van Diemen’s Land (now Tasmania) a set of approximately 100 Proclamation Boards were produced by the Lieutenant Governor of the day, George Arthur. The official purpose of these items was to communicate, to the Indigenous peoples of the island colony, that all—black and white—were equal under the law. Murderers, be they Aboriginal or colonist, would be punished. The Board is a re-imagining of one of the traditional methods of communication for Indigenous peoples; the leaving of drawings on the bark of trees. The Board was, in the 1860s, in time for an Intercolonial Exhibition, re-imagined as the output of Lieutenant Governor Davey. This re-imagining of the Board was so effective that surviving artefacts, today, are popularly known as Governor Davey’s Proclamation to the Aborigines with the date modified, to 1816, to fit the new narrative. The Proclamation Board was also reimagined, by its creators and consumers, in a variety of ways: as peace offering; military propaganda; exhibition object; tourism ephemera; and contemporary art. This paper has also, briefly, offered another re-imagining of the Board, positing that this early “pamphlet” on justice and punishment actually presents a pre-cursor to the modern Australian true crime tale. The Proclamation Board tells many stories but, at the core of this curious object, is a crime story: the story of mass murder. Acknowledgements The author acknowledges the Palawa peoples: the traditional custodians of the lands known today as Tasmania. The author acknowledges, too, the Gadigal people of the Eora nation upon whose lands this paper was researched and written. The author extends thanks to Richard Neville, Margot Riley, Kirsten Thorpe, and Justine Wilson of the State Library of New South Wales for sharing their knowledge and offering their support. The author is also grateful to the reviewers for their careful reading of the manuscript and for making valuable suggestions. ReferencesAboriginal Heritage Tasmania. “Scarred Trees.” Aboriginal Cultural Heritage, 2012. 12 Sep. 2015 ‹http://www.aboriginalheritage.tas.gov.au/aboriginal-cultural-heritage/archaeological-site-types/scarred-trees›.Arthur, George. “Proclamation.” The Hobart Town Courier 19 Apr. 1828: 1.———. Governor Davey’s [sic – actually Governor Arthur’s] Proclamation to the Aborigines, 1816 [sic – actually c. 1828-30]. Graphic Materials. Sydney: Mitchell Library, State Library of NSW, c. 1828-30.Bock, Thomas. Mathinna. Watercolour and Gouache on Paper. 23 x 19 cm (oval), c. 1840.Carroll, Khadija von Zinnenburg. 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Edmonds, Penelope. “‘Failing in Every Endeavour to Conciliate’: Governor Arthur’s Proclamation Boards to the Aborigines, Australian Conciliation Narratives and Their Transnational Connections.” Journal of Australian Studies 35.2 (2011): 201–18.———. “The Proclamation Cup: Tasmanian Potter Violet Mace and Colonial Quotations.” reCollections 5.2 (2010). 20 May 2015 ‹http://recollections.nma.gov.au/issues/vol_5_no_2/papers/the_proclamation_cup_›.Felton, Heather. “Mathinna.” Companion to Tasmanian History. Hobart: Centre for Tasmanian Historical Studies, University of Tasmania, 2006. 29 Sep. 2015 ‹http://www.utas.edu.au/library/companion_to_tasmanian_history/M/Mathinna.htm›.Gall, Jennifer. Library of Dreams: Treasures from the National Library of Australia. Canberra: National Library of Australia, 2011.Hull, Hugh M. “Tasmanian Hieroglyphics.” The Hobart Mercury 26 Nov. 1874: 3.James, P.D. Talking about Detective Fiction. New York: Alfred A. Knopf, 2009.Mace, Violet. 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Canberra: National Museum of Australia, 1934.McCulloch, Samuel Clyde. “Sir George Gipps and Eastern Australia’s Policy toward the Aborigine, 1838-46.” The Journal of Modern History 33.3 (1961): 261–69.Morris, John. “Notes on a Message to the Tasmanian Aborigines in 1829, popularly called ‘Governor Davey’s Proclamation to the Aborigines, 1816’.” Australiana 10.3 (1988): 84–7.Nettelbeck, Amanda. “‘Equals of the White Man’: Prosecution of Settlers for Violence against Aboriginal Subjects of the Crown, Colonial Western Australia.” Law and History Review 31.2 (2013): 355–90.Newman, Terry. “Tasmania, the Name.” Companion to Tasmanian History, 2006. 16 Sep. 2015 ‹http://www.utas.edu.au/library/companion_to_tasmanian_history/T/Tasmania%20name.htm›.Reece, Robert H.W., in Amanda Nettelbeck. “‘Equals of the White Man’: Prosecution of Settlers for Violence against Aboriginal Subjects of the Crown, Colonial Western Australia.” Law and History Review 31.2 (2013): 355–90.Ryan, Lyndall. “The Black Line in Van Diemen’s Land: Success or Failure?” Journal of Australian Studies 37.1 (2013): 3–18.Savery, Henry. 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A successful learning model was adopted in a middle years' school in regional Australia, where Aboriginal artists are employed to work with students in a mentoring capacity creating original artworks and imparting knowledge of cultural heritage, symbols and techniques. ePortfolio thinking through reflective narratives was added to the art making/learning process assisting students to establish a sense of possible self, both cultural and future thinking. Described here is school-based applied research where the learning model emerged as researchers collected qualitative data to measure the impact of webpages (the ePortfolio) to the art making. Data include interviews with key stakeholders, classroom observations, student art works/stories, and webpages accompanying the culminating exhibition. Results showed that student engagement improved and cultural awareness was raised. Implications for pedagogy and practice include transferring the model to music, dance, media arts.

Arkaroo Rock, an important Aboriginal art site located in the Flinders Ranges National Park, South Australia, features a range of artworks created using red and yellow ochre along with white minerals (such as kaolinite, and gypsum) and charcoal. The site is widely promoted to tourists and, during peak season, attracts more than fifty visitors each day. In mid 2007, the local indigenous community noted that the art was covered with a dust-like substance, the nature of which was unknown. It was hypothesised that the substance was the result of local soil adhering to the surface of the artwork with the morning dew. In order to preserve the site, cleaning and conservation work began in early 2008. This study presents an investigation into the source of the particulate matter covering the artworks. Prior to the conservation work commencing, samples were collected from various locations on the rock, within the protective fence surrounding the artwork, and the surrounding soil. Plant samples were also collected proximal to the artwork. A number of techniques were used to characterise and identify the origin of the particulate material from the rock surface. These techniques included optical microscopy, X-ray diffraction (XRD), thermal gravimetric analysis (TGA), colour analysis based on the ES-1000 EFI spectrophotometer (UV-Vis), and subsequent multivariate statistical analysis. Results of this study are presented here, including detailed results obtained from an emerging colour-based ES-1000 EFI spectrophotometer method along with TGA, optical microscopy and XRD. Results confirm the presence of morning dew in surface samples, and eliminate local sources as the origin of the particulate matter.