Academic literature on the topic 'Australian art history'
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Journal articles on the topic "Australian art history"
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Mason, Matthew J. "Out of the Outback, into the Art World: Dotting in Australian Aboriginal Art and the Navigation of Globalization." ARTMargins 11, no. 3 (October 1, 2022): 67–88. http://dx.doi.org/10.1162/artm_a_00326.
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Abstract In recent decades, the popularity of Australian Aboriginal dot painting overseas has exploded, with works by some of Australia's leading artists selling for millions of dollars at auction, as well as featuring in major international exhibitions like the Venice Biennale and documenta. While this carries with it the risk of Aboriginal art and culture becoming diluted or commodified, this essay explores the origins and use of the ‘dotting’ typical of much Australian Aboriginal art of the Western and Central Deserts of Australia, as well as Aboriginal dot painting's circulation internationally, to consider how Aboriginal art's entry into the global art world might also represent an act of Indigenous self-determination. By leveraging the Western fascination with the ‘secret/sacred’ content often assumed to be hidden by these dots, Aboriginal artists have been able to generate an international market for their works. While Aboriginal communities remain among the most economically disadvantaged in Australia, Aboriginal art nevertheless provides a critical means by which Indigenous communities can support themselves, and, more importantly, operates as a form of cultural preservation and a tool by which Aboriginal peoples can assert their sovereignty.
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Pardy, John. "Remembering and forgetting the arts of technical education." History of Education Review 49, no. 2 (November 12, 2020): 181–93. http://dx.doi.org/10.1108/her-02-2020-0009.
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PurposeTechnical education in the twentieth century played an important role in the cultural life of Australia in ways are that routinely overlooked or forgotten. As all education is central to the cultural life of any nation this article traces the relationship between technical education and the national social imaginary. Specifically, the article focuses on the connection between art and technical education and does so by considering changing cultural representations of Australia.Design/methodology/approachDrawing upon materials, that include school archives, an unpublished autobiography monograph, art catalogues and documentary film, the article details the lives and works of two artists, from different eras of twentieth century Australia. Utilising social memory as theorised by Connerton (1989, 2009, 2011), the article reflects on the lives of two Australian artists as examples of, and a way into appreciating, the enduring relationship between technical education and art.FindingsThe two artists, William Wallace Anderson and Carol Jerrems both products of, and teachers in, technical schools produced their own art that offered different insights into changes in Australia's national imaginary. By exploring their lives and work, the connections between technical education and art represent a social memory made material in the works of the artists and their representations of Australia's changing national imaginary.Originality/valueThis article features two artist teachers from technical schools as examples of the centrality of art to technical education. Through the teacher-artists lives and works the article highlights a shift in the Australian cultural imaginary at the same time as remembering the centrality of art to technical education. Through the twentieth century the relationship between art and technical education persisted, revealing the sensibilities of the times.
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Bennett, James. "Islamic Art at The Art Gallery of South Australia." SUHUF 2, no. 2 (November 21, 2015): 285–90. http://dx.doi.org/10.22548/shf.v2i2.93.
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OVER the past ten years, Australia has increasingly aware of Muslim cultures yet today there is still only one permanent public display dedicated to Islamic art in this country. Perhaps it is not surprising that the Art Gallery of South Australia in Adelaide made the pioneer decision in 2003 to present Islamic art as a special feature for visitors to this art museum. Adelaide has a long history of contact with Islam. Following the Art Gallery’s establishment in 1881, the oldest mosque in Australia was opened in 1888 in the city for use by Afghan cameleers who were important in assisting in the early European colonization of the harsh interior of the Australian continent
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Bojić, Zoja. "The Slav Avant-garde in Australian Art." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 37–48. http://dx.doi.org/10.14746/pss.2020.18.2.
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Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief moment of the artists’ working and exhibiting together also enriched their later individual work with the very idea of a common Slav cultural memory.
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Trinh, Huong Thu. "The Heildelberg School in forming Australianness." Science and Technology Development Journal 17, no. 4 (December 31, 2014): 62–73. http://dx.doi.org/10.32508/stdj.v17i4.1575.
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In 1788, English people settled down in Australia, cleared and cultivated the land, making a big turning point to this old continent. Australianness was still vague in these initial years of the white settlement. Heildelberg School, the first school in Australian art, which emerged in 1887, laid the foundation for Australia's visual arts history as well as forming the Autralianness with three mains characters: “strong, masculine labour”, “national myth” and “harsh land of unique nature diversity”. In this paper, the writer would like to introduce 7 masterpieces by three prominent Australian artists of the Heidelberg school: Tom Roberts, Frederic Mc.Cubbin, and Arthur Streeton.
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Nguyen, Anh. "Photo Essay: “Vietnamese Here Contemporary Art and Refections” Art Exhibition, Melbourne, Australia, May 2017." Migration, Mobility, & Displacement 4, no. 1 (June 7, 2019): 133–39. http://dx.doi.org/10.18357/mmd41201918976.
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Anh Nguyen was co-curator, with Nadia Rhook, of the “Vietnamese Here Contemporary Art and Refections” exhibition about Vietnamese migrants in Melbourne, Australia, May 4–26, 2017. Phuong Ngo’s work, the basis of this photo essay, was part of the exhibition, which featured visual art, performance art, and readings refecting on Vietnamese heritage, history, and memory in the diaspora. The exhibition was sponsored by the Australian Research Council’s Kathleen Fitzpatrick Laureate Fellowship, of which Anh Nguyen is a researcher.
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Gilmour, Joanna. "Rattling Spears: A History of Indigenous Australian Art." Australian Historical Studies 48, no. 3 (July 3, 2017): 453–55. http://dx.doi.org/10.1080/1031461x.2017.1337485.
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Black, Jane. "Beautiful Botanicals: Art from the Australian National Botanic Gardens Library and Archives." Art Libraries Journal 44, no. 3 (June 12, 2019): 124–31. http://dx.doi.org/10.1017/alj.2019.17.
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The Australian National Botanic Gardens plays an important role in the study and promotion of Australia's diverse range of unique plants through its living collection, scientific research activities and also through the art collection held in the institution's Library and Archives. Australia's history of formal botanical illustration began with the early voyages of discovery with its popularity then declining until the modern day revival in botanical art. The Australian National Botanic Gardens Library and Archives art collection holds works from the Endeavour voyage through to the more contemporary artists of Celia Rosser, Collin Woolcock, Gillian Scott and Aboriginal artists including Teresa Purla McKeeman as well as photographs and outdoor installations.
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Boaden, Sue. "Education for art librarianship in Australia." Art Libraries Journal 19, no. 2 (1994): 5–6. http://dx.doi.org/10.1017/s0307472200008725.
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The growth of art history and art practice courses in Australia has been remarkable over the last 20 years. Unfortunately training for art librarianship has not matched this growth. There are eleven universities in Australia offering graduate degrees and post-graduate diplomas in librarianship but none offer specific courses leading towards a specialisation in art librarianship. ARLIS/ANZ provides opportunities for training and education. Advances in scholarly art research and publishing in Australia, the development of Australian-related electronic art databases, the growth of specialist collections in State and public libraries, and the increased demand by the general community for art-related information, confirm the need for well-developed skills in the management and dissemination of art information.
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Rosenfeld, A., and M. A. Smith. "Rock-Art and the History of Puritjarra Rock Shelter, Cleland Hills, Central Australia." Proceedings of the Prehistoric Society 68 (2002): 103–24. http://dx.doi.org/10.1017/s0079497x00001468.
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Elaborate, religiously sanctioned relationships between people and place are one of the most distinctive features of Aboriginal Australia. In the Australian desert, rock paintings and engravings provide a tangible link to the totemic geography and allow us to examine both changes in the role of individual places and also the development of this system of relationships to land. In this paper we use rock-art to examine the changing history of Puritjarra rock shelter in western central Australia. The production of pigment art and engravings at the shelter appears to have begun by c. 13,000 BP and indicates a growing concern by people with using graphic art to record their relationship with the site. Over the last millennium changes in the surviving frieze of paintings at Puritjarra record fundamental changes in graphic vocabulary, style, and composition of the paintings. These coincide with other evidence for changes in the geographic linkages of the site. As Puritjarra's place in the social geography changed, the motifs appropriate for the site also changed. The history of this rock shelter shows that detailed site histories will be required if we are to disentangle the development of central Australian graphic systems from the temporal and spatial variability inherent in the expression of these systems.
Dissertations / Theses on the topic "Australian art history"
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Edwards, Deborah Lenore. "LUMINAL–KINETICS AUSTRALIAN MODERNISM: ARTIFICIAL LIGHT IN AUSTRALIAN ART an interpretive history." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23537.
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The work of Australian artists who have incorporated artificial light into their works, (in ‘luminal-kinetics’), is the subject of this thesis. The term does not refer to the ‘technological spaces’ of light, as elaborated in photography or electronic screen devices, but to artists who have dealt with ‘embodied light’ by incorporating artificial light (and in one instance, natural light), into artworks, under the belief that illumination and motion are central themes of modern life. And in the twenty-first century, Indigenous artist Jonathan Jones has claimed the territories of (Western) modernism and light under an Indigenous politic to re-present bi-cultural encounters and histories. This constitutes a radically under-analysed area of Australian artistic practice, with thematics that both traverse expansive terrains, and include commonalities - such as a concern with utopian ideals, with synaesthesia, and with interdisciplinarity. Nonetheless the thesis does not mount an argument for luminal-kinetics as constituting a movement, style, or credo within Australian art. The claim it does make however, is that the medium of light, as a material, energy and a concept, has been a generative agent for the artists studied: that in light they recognised intrinsic qualities or some affective agency which enabled them to move into larger artistic arenas. I will argue that this phenomenon rests on the particular capacity of light to ‘seep’ between categories, media, artforms, and between cultural and social formations. This capacity, along with light’s symbolic potency, has amplified artistic practices, and enabled Jonathan Jones to position light as a central element in his de-colonising and Indigenising of Western visualisations, in order to re-configure the relationship which has existed between modernism and colonialism. The thesis argues that luminal-kinetics is an artistic form in which concepts concerning the material and immaterial, technological and metaphysical, and static and kinetic, take precedence over modernism’s traditional binaries, and thus it calls for alternative frameworks through which to analyse and theorise Australian modernism.
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Mengler, Sarah Elizabeth. "Collecting indigenous Australian art, 1863-1922 : rethinking art historical approaches." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709014.
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Wang, Kang Ning. "Sino‐Australian Nomads: Identity Politics And The Art Of Migrants." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/15088.
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Description of my artwork My MFA creative work consists of a body of work of 14 pieces of various sized abstract paintings that will be exhibited at one of the galleries in the February Postgraduate Examination Exhibition at the Sydney College of the Arts. The entire project consists of works on paper using the medium of ink, gouache, acrylics, pencil and digital data. Entitled ‘Forms from the Twilight Zone ’ this body of work is largely an experimentation aimed at using mixed medium to project globalised features of identity arts such as oriental style painting meeting western styles; resulting in a combined style influenced by my personal circumstances. Abstract of research paper My research paper is designed to explore the issues of identity. Artists and their works mostly have their genesis in and are influenced by their cultural identities with global politics playing an additional crucial role affecting these arts. My research led to the discovery that Chinese cultural identity artists create art that, due to its political characteristics, has become known and popular in the West, and that these characteristics generate identity issues to both these Chinese artists and to the West. In the research process, theories involving modern arts form a trajectory to my approach of the art world of the 21st century while an ongoing investigation of the situation of visual arts, in both international and domestic dimensions, provides facts for synthesis of these theories. The conclusion of my research is based on the fact that a combination of styles is part of art history. The nature of this combination depends on the ideas and the beliefs that an artist is subjected to in the approach to his or her own art.
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Cirino, Gina. "American Misconceptions about Australian Aboriginal Art." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1435275397.
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Souliere, Rolande. "Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada." Phd thesis, University of Sydney, 2019. http://hdl.handle.net/2123/21193.
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The debate of Indigenous art as contemporary art in Western art discourse has been ongoing since the acceptance of Indigenous art as contemporary art in the early 1990s. This has resulted in a collision of four diverse fields; Western art history, Western art criticism, anthropology and Indigenous cultural material. The debate stems from the problematised way the term contemporary is defined by globalised Euro-Western art and its institutions. This thesis considers the value of applying the concept of the contemporary to Indigenous art practices and art, in particular as a mode for cultural self-determination in order to avoid the historical domination of Western art history, history and its discursive power arrangements. The term, concept or theory of the contemporary remains elusive, indefinable and widespread in Western art discourse. Various definitions exist and are based on notions of openness, newness or plurality. Criticism of the contemporary’s openness has led to speculation of the contemporary as a valid concept or theory and or as a field of art practice, particularly its claim to social or political engagement and its inability to historicise current art. This thesis contends that the openness of the contemporary concept provides a gateway in which to situate it in a much broader cultural analysis that embraces different historiographies and worldviews. Thereby directly contributing to the ongoing critical discourse of Indigenous art as contemporary art debate. This thesis contributes to addressing this debate by proposing a definition of the contemporary that bridges history, art history and contemporary art and explores the potential for administering a contemporary art practice within this view. It highlights the historical analysis of the journey of Indigenous art from the ethnographic to the contemporary art museum by examining Indigenous rupture and transformation through Western history and art history. The thesis examines Terry Smith’s recent contextualisation of contemporary theory, as Smith is the only art historian to include Indigenous art in the discussion on contemporary theory.[1] Richard Meyer’s theory on the contemporary is also examined as Meyer is unique in approaching contemporary theory from an artistic practice that embraces co-temporalities, art production and modes of trans-historicity. In ‘rendering the past as newly present’, this thesis proposes methods of contemporary art analysis in the examination of contemporary Indigenous artworks in the context that the socio-political and cultural use of contemporary art as a form of history production. Description of Creative Work An exhibition of one large installation took place at Sydney College of the Arts Galleries, Sydney in September 2016. Media included two- and three-dimensional artworks that were hung on the walls and placed on the floor. The installation used Indigenous forms, designs, processes and social, political, and cultural content as a result of the thesis research and demonstrated Indigenous artists are creating their Indigenous histories within the context of contemporary art. Photographic documentation is available in Appendix 3. [1] Terry Smith, What is Contemporary Art? (Chicago: University of Chicago Press, 2009), 133.
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Lowish, Susan Kathleen 1969. "Writing on "Aboriginal art" 1802-1929 : a critical and cultural analysis of the construction of a category." Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5493.
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Bell, Pamela. "Art that never was : representations of the artist in twentieth-century Australian fiction." Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.
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This thesis traces the development of the artist figure as a leading character in twentieth-century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only.
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Robertson, Kate. "The siren song: Identity, belonging and Australian artists abroad, 1890-1914." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10447.
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This thesis is concerned with the siren-call that lured Australian artists abroad between 1890 and 1914, and the considerations of both identity and belonging that this travel allowed, instigated and perhaps demanded. This moment in British-Australian historiography is especially significant in covering the years that were immediately pre- and post-federation, with this timespan inevitably informing the movement of artists between Australia and Europe and their understandings of their place in the world. Those artists who ventured abroad followed a general pattern, going first to Paris to complete their studies before moving to London seeking to establish a career. They formed communities based on a common connection to Australia whilst also interacting with the broader creative community, notably through participating in clubs and societies. Such intersections proved significant in my examination of the negotiation and fashioning of identity, with Australian artists assuming various guises, for instance: professional and bohemian, spouse and painter, local and traveller. The contribution of this thesis to current literature lies in my efforts to rethink and redefine the fixedness of the identity of Australians, revealing how through living in Paris – the centre of art – and London – the heart of the Empire – artists contemplated, manipulated and invented their very selves. It was not my intention to simply compile biographical data, though I have researched the lives of the artists who will be addressed, but rather to explore the connections between them as part of a broader juncture in British-Australian history. The thesis traverses the broad thematic concerns of bohemia, communities, Empire, imagination, place, and travel, focussing ultimately on the multifaceted conception of authenticity, belonging and identity for those artists who heeded the overwhelming urge to engage with and participate in the Old World.
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Scheib, Michael. "Painting Anzac: a history of Australia’s official war art scheme of the First World War." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13139.
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This history of Australia’s official war art scheme of the First World War examines the processes by which its part in the conflict was given pictorial form as part of an official and publicly funded project of nation-building – the project of the official representation of Anzac – which involved representing Anzac in a written history, pictures, photographs, trophies, relics, models and sculptures, and as a national war museum. Conceived during the war by Charles Bean, Australia’s official war correspondent and historian, the object of this project was to construct a story of Australia’s part in the war – the Anzac story – to be told for posterity in a national war museum erected in the nation’s capital as a monument to the AIF, ultimately the Australian War Memorial. The story he constructed told of the arrival on the world stage of a young nation through its supreme military performance and of the forging of a military tradition known as Anzac. While Bean’s involvement in creating the Anzac legend is universally acknowledged, his role in constructing the official version of it has not been recognised. This history fills that gap in knowledge. Revering Britain’s military tradition and inculcated in the forms in which it was represented, Bean resolved to represent the Anzac story identically. Its tradition was represented pictorially by battle pictures, military scenes and portraits. The official war art scheme produced pictures made at the front, large historical pictures which illustrated the Anzac story, and portraits of its principal actors. This history shows how Bean exercised control over the scheme to create an image of Anzac that reflected his conception of it; to ensure that the Anzac story was illustrated as he wished it told for posterity; to promote the idea that Anzac was a military tradition which stood alongside the great traditions of other nations; and to promote the idea that Australia’s future nationality should be defined by that tradition.
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Carroll, Rachel Art College of Fine Arts UNSW. "What kind of relationship with nature does art provide?" Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43308.
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The relationship with nature through art has been explored as a two fold bond. The first considers a relationship with nature via art and science, where the history and contemporary application of scientific illustration in art is explored; while the second explores past and present connections with nature via art and the landscape, particularly the panoramic tradition. Historically these relationships have predominately been about dominating nature, mans dominion over the land. Science was seen as the only authority, while our relationships with the land in art, positioned the viewer at a commanding distance above and over the land, as seen in the post colonial panoramic tradition. In contrast, -The Coorong Series- explores a lived history with nature rather than the historical role of dominance. -The Coorong Series" explores a relationship of knowledge, understanding, and the experience of nature; through two parts. The first combines art and science in -The Coorong Specimen Series', to explore the facts and knowledge that science has provided about certain plants, birds and marine life from the Coorong. Inspiration has been derived from 19thC scientific illustrations and the lyrical prints of the Coorong by Australian Artist John Olsen. Part two explores the immersive experience of the iconic landscape in ???The Coorong Landscape Series" providing a relationship that seeks to understand the functionality of the location and to celebrate the unique beauty of this diverse region. Inspiration has been gained from the landscapes by l8th and 19th C artists John Constable and Claude Monet, along with landscapes by contemporary artists, John Walker and Mandy Martin. Through aesthetic notions such as scientific illustration, panoramic landscape, immersive scale, the collection of work, an expressionistic use of paint, and labeling of each piece like a museum display. -The Coorong landscape series" provides an exploration of a region that immerses the viewer in an experience of the location. The series portrays a relationship with nature through art that educates the viewer about The Coorong region. Connections are made between the land, birds, plants, fish, and human interaction; which results in an ecological consideration of the Coorong. Ultimately it is the educational experience that art provides allowing the viewer to explore a plethora of relationships within nature, and to explore how these relationships have changed or continue to exist within this era.
Books on the topic "Australian art history"
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Butler, Rex. A secret history of Australian art. St Leonards, Sydney, N.S.W: Craftsman House, 2002.
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Dialogue: Writings in art history. North Sydney, NSW: Allen & Unwin, 1991.
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An intimate Australia: The landscape & recent Australian art. Sydney, NSW: Hale & Iremonger, 1985.
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Williams, Donald. In our own image: The story of Australian art. 4th ed. Sydney: McGraw-Hill, 2002.
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In our own image: The story of Australian art, 1788-1989. 2nd ed. Sydney: McGraw-Hill Book Co., 1990.
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Australia, Art Gallery of South. Australian decorative arts: 1820s-1990s : Art Gallery of South Australia. Adelaide: Art Gallery of South Australia, 1996.
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Burn, Ian. Art--critical, political. Nepean, N.S.W: University of Western Sydney, 1996.
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Behind the doors: An art history from Yuendumu. Kent Town, SA: Wakefield Press, 2014.
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Papunya School book of country and history. Crows Nest, N.S.W: Allen & Unwin, 2001.
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Kate, Darian-Smith, and Monash University ePress, eds. Seize the day: Exhibitions, Australia and the world. Clayton, Vic: Monash University ePress, 2008.
Find full textBook chapters on the topic "Australian art history"
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Russ, Vanessa. "Australian Aboriginal Art Inside/Out." In A History of Aboriginal Art in the Art Gallery of New South Wales, 146–76. Names: Russ, Vanessa, author.Title: A History of Aboriginal Art in the Art Gallery of New South Wales / Vanessa Russ.Description: New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003128014-5.
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Russ, Vanessa. "Modernism and an Australian Aboriginal Art Collection." In A History of Aboriginal Art in the Art Gallery of New South Wales, 74–110. Names: Russ, Vanessa, author.Title: A History of Aboriginal Art in the Art Gallery of New South Wales / Vanessa Russ.Description: New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003128014-3.
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Russ, Vanessa. "Curatorship in the AGNSW and Australian Aboriginal Art." In A History of Aboriginal Art in the Art Gallery of New South Wales, 111–45. Names: Russ, Vanessa, author.Title: A History of Aboriginal Art in the Art Gallery of New South Wales / Vanessa Russ.Description: New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003128014-4.
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Carter, David. "Yiwarra Kuju—One Road: Storytelling and History Making in Aboriginal Art." In Transcultural Connections: Australia and China, 219–30. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5028-4_14.
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Yates, Lyn, Peter Woelert, Victoria Millar, and Kate O’Connor. "Australian ‘History Wars’: The Contested Purpose of History in the Curriculum." In Knowledge at the Crossroads?, 95–108. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-2081-0_6.
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Tello, Verónica. "How to Appear? Writing Art History in Australia After 1973." In Performance, Resistance and Refugees, 138–54. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003142782-11.
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Veth, Peter, Sam Harper, Kane Ditchfield, Sven Ouzman, and Balanggarra Aboriginal. "The case for continuity of human occupation and rock art production in the Kimberley, Australia." In The Routledge Companion to Global Indigenous History, 194–220. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315181929-10.
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Thomson, Sue. "Australia: PISA Australia—Excellence and Equity?" In Improving a Country’s Education, 25–47. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-59031-4_2.
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AbstractAustralia’s education system reflects its history of federalism. State and territory governments are responsible for administering education within their jurisdiction and across the sector comprising government (public), Catholic systemic and other independent schooling systems. They collaborate on education policy with the federal government. Over the past two decades the federal government has taken a greater role in funding across the education sector, and as a result of this involvement and the priorities of federal governments of the day, Australia now has one of the highest rates of non-government schooling in the OECD. Funding equity across the sectors has become a prominent issue. Concerns have been compounded by evidence of declining student performance since Australia’s initial participation in PISA in 2000, and the increasing gap between our high achievers and low achievers. This chapter explores Australia’s PISA 2018 results and what they reveal about the impact of socioeconomic level on student achievement. It also considers the role of school funding and the need to direct support to those schools that are attempting to educate the greater proportion of an increasingly diverse student population including students facing multiple layers of disadvantage.
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Gurr, David, Daniela Acquaro, and Lawrie Drysdale. "The Australian Context: National, State and School-Level Efforts to Improve Schools in Australia." In Evidence-Based School Development in Changing Demographic Contexts, 133–57. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76837-9_10.
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AbstractAustralia, like many countries, has a history of colonisation and extensive controlled and humanitarian immigration, with this shifting from an Anglo-Celtic emphasis to include, in succession, an emphasis on migrants from Europe, Asia and Africa. This chapter provides several perspectives on evidence-based school development in this changing context. The first focus is on national school-wide improvement initiatives: IDEAS (Innovative Designs for Enhancing Achievements in Schools), which utilises professional learning communities to improve student outcomes; and PALL (Principals as Literacy Leaders) which provides principals with literacy and leadership knowledge to support teachers to improve student reading performance. The second perspective explores the state level through considering work at the Melbourne Graduate School of Education in terms of evidence-based teacher training through the development of a clinical teaching model, and evidence-based school improvement through the Science of Learning Schools Partnership. The final perspective is at the school level, where the development of two schools in challenging contexts are described: the first a school formed from the closure of three failing schools; the second a school that was at the point of closure when the current principal was appointed to turn-it-around.
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Nursey-Bray, Melissa, Robert Palmer, Ann Marie Chischilly, Phil Rist, and Lun Yin. "Do Not Forget the Dreaming: Communicating Climate Change and Adaptation, Insights from Australia." In Old Ways for New Days, 91–109. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-97826-6_6.
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AbstractIn this chapter, the experience of Indigenous peoples in Australia is explored, and the ways in which they have responded to the challenge of climate change. A wide range of adaptation mechanisms have been implemented which are nonetheless, as in the United States, inextricably connected to an ongoing legacy of colonial invasion. Indigenous adaptation in Australia is more than responding to climate change, but an ever-continuing adaptation to colonial history. The essential role of communications is explored.
Conference papers on the topic "Australian art history"
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Kazuro Kikuchi. "Coherent optical communications —History, state-of-the-art technologies, and challenges for the future—." In 2008 Joint Conference of the Opto-Electronics and Communications Conference (OECC) and the Australian Conference on Optical Fibre Technology (ACOFT). IEEE, 2008. http://dx.doi.org/10.1109/oeccacoft.2008.4610574.
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Corkhill, Anna, and Amit Srivastava. "Alan Gilbert and Sarah Lo in Reform Era China and Hong Kong: A NSW Architect in Asia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4015pq8jc.
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This paper is based on archival research done for a larger project looking at the impact of emergent transnational networks in Asia on the work of New South Wales architects. During the period of the Cultural Revolution in China (1966-1976), the neighbouring territories of Macau and Hong Kong served as centres of resistance, where an expatriate population interested in traditional Asian arts and culture would find growing support and patronage amongst the elite intellectual class. This brought influential international actors in the fields of journalism, filmmaking, art and architecture to the region, including a number of Australian architects. This paper traces the history of one such Australian émigré, Alan Gilbert, who arrived in Macau in 1963 just before the Cultural Revolution and continued to work as a professional filmmaker and photojournalist documenting the revolution. In 1967 he joined the influential design practice of Dale and Patricia Keller (DKA) in Hong Kong, where he met his future wife Sarah Lo. By the mid 1970s both Alan Gilbert and Sarah Lo had left to start their own design practice under Alan Gilbert and Associates (AGA) and Innerspace Design. The paper particularly explores their engagement with ‘reform-era’ China in the late 1970s and early 1980s when they secured one of the first and largest commissions awarded to a foreign design firm by the Chinese government to redesign a series of nine state- run hotels, two of which, the Minzu and Xiyuan Hotels in Beijing, are discussed here.
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Marfella, Giorgio. "Seeds of Concrete Progress: Grain Elevators and Technology Transfer between America and Australia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4000pi5hk.
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Modern concrete silos and grain elevators are a persistent source of interest and fascination for architects, industrial archaeologists, painters, photographers, and artists. The legacy of the Australian examples of the early 1900s is appreciated primarily by a popular culture that allocates value to these structures on aesthetic grounds. Several aspects of construction history associated with this early modern form of civil engineering have been less explored. In the 1920s and 1930s, concrete grain elevator stations blossomed along the railway networks of the Australian Wheat Belts, marking with their vertical presence the landscapes of many rural towns in New South Wales, Queensland, Victoria, and Western Australia. The Australian reception of this industrial building type of American origin reflects the modern nation-building aspirations of State Governments of the early 1900s. The development of fast-tracked, self-climbing methods for constructing concrete silos, a technology also imported from America, illustrates the critical role of concrete in that effort of nation-building. The rural and urban proliferation of concrete silos in Australia also helped establish a confident local concrete industry that began thriving with automatic systems of movable formwork, mastering and ultimately transferring these construction methods to multi-storey buildings after WWII. Although there is an evident link between grain elevators and the historiographical propaganda of heroic modernism, that nexus should not induce to interpret old concrete silos as a vestige of modern aesthetics. As catalysts of technical and economic development in Australia, Australian wheat silos also bear important significance due to the international technology transfer and local repercussions of their fast-tracked concrete construction methods.
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Carley, James T., and Tom Denniss. "Electrical Energy from Ocean Waves—History and State of the Art in Australia." In 27th International Conference on Coastal Engineering (ICCE). Reston, VA: American Society of Civil Engineers, 2001. http://dx.doi.org/10.1061/40549(276)272.
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Jaques, Susan. "Same Yet Different: A Comparison of Pipeline Industries in Canada and Australia." In 2000 3rd International Pipeline Conference. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/ipc2000-106.
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Canada and Australia are remarkably similar countries. Characteristics such as geography, politics, native land issues, and population are notably similar, while the climate may be considered the most obvious difference between the two countries. The pipeline industries are similar as well, but yet very different in some respects too. This presentation will explore some of the similarities and differences between the pipeline industries in both countries. The focus of the discussion will be mainly on long-distance, cross-country gas transmission pipelines. The author of this paper spent 4 years working for TransCanada PipeLines in Calgary in a pipeline design and construction capacity, and has spent 2.5 years working for an engineering consultant firm, Egis Consulting Australia, in a variety of roles on oil and gas projects in Australia. Topics to be addressed include the general pipeline industry organisation and the infrastructure in both countries. The history of the development of the pipeline industry in each country provides insight as to why each is organised the way it is today. While neither system is “better” than the other, there are certain advantages to Canada’s system (nationally regulated) over Australia’s system (currently state-regulated). The design codes of each country will be compared and contrasted. The pipeline design codes alternate in level of detail and strictness of requirements. Again, it cannot be said that one is “better” than the other, although in some cases one country’s code is much more useful than the other for pipeline designers. Construction techniques affected by the terrain and climate in each country will be explored. Typical pipeline construction activities are well known to pipeliners all over the globe: clear and grade, trench, string pipe, weld pipe, coat welds, lower in, backfill and clean up. The order of these activities may change, depending on the terrain and the season, and the methods of completing each activity will also depend on the terrain and the season, however the principles remain the same. Australia and Canada differ in aspects such as climate, terrain and watercourse type, and therefore each country has developed methods to handle these issues. Finally, some of the current and future opportunities for the 21st century for the pipeline industry in both countries will be discussed. This discussion will include items such as operations and maintenance issues, Canada’s northern development opportunities, and Australia’s national gas grid possibilities.
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Burns, Karen, and Harriet Edquist. "Women, Media, Design, and Material Culture in Australia, 1870-1920." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4017pbe75.
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Over the last forty years feminist historians have commented on the under-representation or marginalisation of women thinkers and makers in design, craft, and material culture. (Kirkham and Attfield, 1989; Attfield, 2000; Howard, 2000: Buckley, 1986; Buckley, 2020:). In response particular strategies have been developed to write women back into history. These methods expand the sites, objects and voices engaged in thinking about making and the space of the everyday world. The problem, however, is even more acute in Australia where we lack secondary histories of many design disciplines. With the notable exception of Julie Willis and Bronwyn Hanna (2001) or Burns and Edquist (1988) we have very few overview histories. This paper will examine women’s contribution to design thinking and making in Australia as a form of cultural history. It will explore the methods and challenges in developing a chronological and thematic history of women’s design making practice and design thinking in Australia from 1870 – 1920 where the subjects are not only designers but also journalists, novelists, exhibiters, and correspondents. We are interested in using media (exhibitions and print culture) as a prism: to examine how and where women spoke to design and making, what topics they addressed, and the ideas they formed to articulate the nexus between women, making and place.
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Huang, Jian, Dongling Liang, and Zhongheng Wei. "Reflection on the Training of General Medical Students in China from the Development History of General Medicine in Australia and Other Countries*." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.092.
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Lewi, Hanna, and Cameron Logan. "Campus Crisis: Materiality and the Institutional Identity of Australia’s Universities." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4019p8ixw.
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In the current century the extreme or ‘ultra’ position on the university campus has been to argue for its dissolution or abolition. University leaders and campus planners in Australia have mostly been unmoved by that position and ploughed on with expansive capital works campaigns and ambitious reformulations of existing campuses. The pandemic, however, provided ideal conditions for an unplanned but thoroughgoing experiment in operating universities without the need for a campus. Consequently, the extreme prospect of universities after the era of the modern campus now seems more likely than ever. In this paper we raise the question of the dematerialised or fully digital campus, by drawing attention to the traditional dependence of universities on material and architectural identities. We ask, what is the nature of that dependence? And consider how the current uncertainties about the status of buildings and grounds for tertiary education are driving new campus models. Using material monikers to categorise groups of universities is something of a commonplace. There is the American Ivy League, which refers to the ritualised planting of ivy at elite colleges in the late nineteenth and early twentieth centuries. The English have long referred to their “red brick” universities and to a later generation as the “plate glass” universities. In Australia, the older universities developed in the colonial era came to be known as the “sandstones” to distinguish them from the large group of new universities developed in the postwar decades. While some of the latter possess what are commonly called bush campuses. If nothing else, this tendency to categorise places of higher learning by planting and building materials indicates that the identity of institutions is bound up with their materiality. The paper is in two parts. It first sketches out the material history of the Australian university in the twentieth century, before examining an exemplary recent project that reflects some of the architectural and material uncertainties of the present moment in campus development. This prompts a series of reflections on the problem of institutional trust and brand value in a possible future without buildings.
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Grant, Angus, and Peter Raisbeck. "A Selective Digital History: Limitations within Digitisation Practices and their Implications." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4013phyct.
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The Greg Burgess Archive (GBA) is perhaps the most complete, and arguably the most valuable architectural practice archive in Australia. However, its physical size presents a problem to both visibility, and longevity, and plans are in place to digitise the collection. While in storage at Avington, Victoria, an archival team – including Burgess himself – have begun repairing the 447 models, scanning the hundreds of tubes of drawings, and extracting data from countless obsolete media. Yet how reasonable is it to assume the efficacy of a program of digitisation? What are the implications for an objective architectural historiography if the process fails? Precipitated by difficulties in accurately digitising Burgess’ intricate physical models, this piece explores both questions. Firstly, the digitisation process for the GBA acts as a case study. Then, the technical limitations encountered are placed within a wider context of archival concerns in today’s diverse, digital age. These archival concerns are recognised in the eliding of ephemeral archival material – bodies, experiences, spoken histories – all of which may elude Western archival frameworks. What is illustrated here is that the same underrepresentation may extend into digitised collections, and that what is omitted is precisely the contents of the GBA – intricate, tectonic objects which do not conform to the idiosyncrasies of the technology at hand. The subsequent discussion then proceeds to advance, and explicate, the notion of the third object. Curation, then, is surrendered to the archival process itself, and the agency to reify our material history is at risk of being left to the machines, and their preference for certain types of ethnocultural artifact. Considering this, alternative strategies are presented for both the GBA and institutions at large, yet archivists and historians must be conscious of these limitations, or risk the failings of traditional, institutional archival systems spreading throughout a growing digital landscape.
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Petrović, Emina Kristina. "Two Conceptualisations of Change in Architectural History: Towards Driving Pro-sustainable Change in Architecture." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4006pqv8s.
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At the time when it is important to act on the Climate Emergency and other pro-sustainable efforts, the key question is how to drive change. This paper examines two conceptualisations of change in architectural history in an attempt to support a better understanding of architecture-specific conceptualisations of change itself. Such understanding could offer real value in articulating how to drive pro-sustainable change in architecture. The paper identifies two conceptualisations of change which are easily found in existing writing on change in architectural history. One such conceptualisation considers architectural developments in terms of cyclical styles, or triads of early, high, and decadent stages of development of styles. Attributed to the 18th century writing of Johann Joachim Winckelmann on ancient Greek art, this conceptualisation presents one useful interpretation which links the change with natural growth. A simpler conceptualisation of two-point change is interpreted using the minor/major interpretations of change, as developed by Joan Ockman, based on the work of Gilles Deleuze and Félix Guattari. The key proposition is that the selected historical examples of conceptualisation of change reveal useful aspects of the past patterns of change in architecture. These might help understand how to drive needed change now. One critical factor in the transition which is facing us now, is that in contrast to many past transitions which were driven by technological innovation, current transition requires development of technologies capable to support the change which is scientifically proven as needed and real. Therefore, some of the historical natural ease of the past transitions in the current contexts needs active driving of change. Without an intention to propose a holistic new framework, the main value of this paper is that it identifies some of the key conceptualisations which are evident in architectural history and that could be useful in driving pro-sustainable change.
Reports on the topic "Australian art history"
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Burns-Dans, Elizabeth, Alexandra Wallis, and Deborah Gare. A History of the Architects Board of Western Australia, 1921-2021. The Architects Board of Western Australia and The University of Notre Dame Australia, 2021. http://dx.doi.org/10.32613/reports/2021.1.
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An economic and population boom in the 1890s created opportunities for architects to find work and fame in Western Australia. Architecture, therefore, became a viable profession for the first time, and the number of practicing architects in the colony (and then state) quickly grew. Associations such as the Western Australian Institute of Architects were established to organise the profession, but as the number of architects grew and Western Australian society matured, it became evident that a role for government was required to ensure practice standards and consumer protection. In 1921, therefore, the Architects Act was passed, and, in the following year, the Architects Board of Western Australia was launched. This report traces the evolution and transformation of professional architectural practice since then, and evaluates the role and impact of the Board in its first century.
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Buchanan, Riley, Daniel Elias, Darren Holden, Daniel Baldino, Martin Drum, and Richard P. Hamilton. The archive hunter: The life and work of Leslie R. Marchant. The University of Notre Dame Australia, 2021. http://dx.doi.org/10.32613/reports/2021.2.
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Professor Leslie R. Marchant was a Western Australian historian of international renown. Richly educated as a child in political philosophy and critical reason, Marchant’s understandings of western political philosophies were deepened in World War Two when serving with an international crew of the merchant navy. After the war’s end, Marchant was appointed as a Protector of Aborigines in Western Australia’s Depart of Native Affairs. His passionate belief in Enlightenment ideals, including the equality of all people, was challenged by his experiences as a Protector. Leaving that role, he commenced his studies at The University of Western Australia where, in 1952, his Honours thesis made an early case that genocide had been committed in the administration of Aboriginal people in Western Australia. In the years that followed, Marchant became an early researcher of modern China and its relationship with the West, and won respect for his archival research of French maritime history in the Asia-Pacific. This work, including the publication of France Australe in 1982, was later recognised with the award of a French knighthood, the Chevalier d’Ordre National du Mèrite, and his election as a fellow to the Royal Geographical Society. In this festschrift, scholars from The University of Notre Dame Australia appraise Marchant’s work in such areas as Aboriginal history and policy, Westminster traditions, political philosophy, Australia and China and French maritime history.
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Riley, Brad. Scaling up: Renewable energy on Aboriginal lands in north west Australia. Nulungu Research Institute, 2021. http://dx.doi.org/10.32613/nrp/2021.6.
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This paper examines renewable energy developments on Aboriginal lands in North-West Western Australia at three scales. It first examines the literature developing in relation to large scale renewable energy projects and the Native Title Act (1993)Cwlth. It then looks to the history of small community scale standalone systems. Finally, it examines locally adapted approaches to benefit sharing in remote utility owned networks. In doing so this paper foregrounds the importance of Aboriginal agency. It identifies Aboriginal decision making and economic inclusion as being key to policy and project development in the 'scaling up' of a transition to renewable energy resources in the North-West.
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Keinan, Ehud. Asian Chemists speak with one voice. AsiaChem Magazine, November 2020. http://dx.doi.org/10.51167/acm00001.
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Dear Reader, the newly born AsiaChem magazine echoes the voice of the Federation of Asian Chemical Societies (FACS). We believe that this biannual, free-access magazine will attract worldwide attention because it comprises diverse articles on cutting-edge science, history, essays, interviews, and anything that would interest the broad readership within the chemical sciences. All articles are authored by scientists who were born in Asian countries or actively working in Asia. Thus, eight FACS countries, including Australia, China, India, Israel, Jordan, South Korea, Taiwan, and Turkey, are represented in this inaugural issue.
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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.
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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
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Corriveau, L., J. F. Montreuil, O. Blein, E. Potter, M. Ansari, J. Craven, R. Enkin, et al. Metasomatic iron and alkali calcic (MIAC) system frameworks: a TGI-6 task force to help de-risk exploration for IOCG, IOA and affiliated primary critical metal deposits. Natural Resources Canada/CMSS/Information Management, 2021. http://dx.doi.org/10.4095/329093.
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Australia's and China's resources (e.g. Olympic Dam Cu-U-Au-Ag and Bayan Obo REE deposits) highlight how discovery and mining of iron oxide copper-gold (IOCG), iron oxide±apatite (IOA) and affiliated primary critical metal deposits in metasomatic iron and alkali-calcic (MIAC) mineral systems can secure a long-term supply of critical metals for Canada and its partners. In Canada, MIAC systems comprise a wide range of undeveloped primary critical metal deposits (e.g. NWT NICO Au-Co-Bi-Cu and Québec HREE-rich Josette deposits). Underexplored settings are parts of metallogenic belts that extend into Australia and the USA. Some settings, such as the Camsell River district explored by the Dene First Nations in the NWT, have infrastructures and 100s of km of historic drill cores. Yet vocabularies for mapping MIAC systems are scanty. Ability to identify metasomatic vectors to ore is fledging. Deposit models based on host rock types, structural controls or metal associations underpin the identification of MIAC-affinities, assessment of systems' full mineral potential and development of robust mineral exploration strategies. This workshop presentation reviews public geoscience research and tools developed by the Targeted Geoscience Initiative to establish the MIAC frameworks of prospective Canadian settings and global mining districts and help de-risk exploration for IOCG, IOA and affiliated primary critical metal deposits. The knowledge also supports fundamental research, environmental baseline assessment and societal decisions. It fulfills objectives of the Canadian Mineral and Metal Plan and the Critical Mineral Mapping Initiative among others. The GSC-led MIAC research team comprises members of the academic, private and public sectors from Canada, Australia, Europe, USA, China and Dene First Nations. The team's novel alteration mapping protocols, geological, mineralogical, geochemical and geophysical framework tools, and holistic mineral systems and petrophysics models mitigate and solve some of the exploration and geosciences challenges posed by the intricacies of MIAC systems. The group pioneers the use of discriminant alteration diagrams and barcodes, the assembly of a vocab for mapping and core logging, and the provision of field short courses, atlas, photo collections and system-scale field, geochemical, rock physical properties and geophysical datasets are in progress to synthesize shared signatures of Canadian settings and global MIAC mining districts. Research on a metamorphosed MIAC system and metamorphic phase equilibria modelling of alteration facies will provide a foundation for framework mapping and exploration of high-grade metamorphic terranes where surface and near surface resources are still to be discovered and mined as are those of non-metamorphosed MIAC systems.
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Rankin, Nicole, Deborah McGregor, Candice Donnelly, Bethany Van Dort, Richard De Abreu Lourenco, Anne Cust, and Emily Stone. Lung cancer screening using low-dose computed tomography for high risk populations: Investigating effectiveness and screening program implementation considerations: An Evidence Check rapid review brokered by the Sax Institute (www.saxinstitute.org.au) for the Cancer Institute NSW. The Sax Institute, October 2019. http://dx.doi.org/10.57022/clzt5093.
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Background Lung cancer is the number one cause of cancer death worldwide.(1) It is the fifth most commonly diagnosed cancer in Australia (12,741 cases diagnosed in 2018) and the leading cause of cancer death.(2) The number of years of potential life lost to lung cancer in Australia is estimated to be 58,450, similar to that of colorectal and breast cancer combined.(3) While tobacco control strategies are most effective for disease prevention in the general population, early detection via low dose computed tomography (LDCT) screening in high-risk populations is a viable option for detecting asymptomatic disease in current (13%) and former (24%) Australian smokers.(4) The purpose of this Evidence Check review is to identify and analyse existing and emerging evidence for LDCT lung cancer screening in high-risk individuals to guide future program and policy planning. Evidence Check questions This review aimed to address the following questions: 1. What is the evidence for the effectiveness of lung cancer screening for higher-risk individuals? 2. What is the evidence of potential harms from lung cancer screening for higher-risk individuals? 3. What are the main components of recent major lung cancer screening programs or trials? 4. What is the cost-effectiveness of lung cancer screening programs (include studies of cost–utility)? Summary of methods The authors searched the peer-reviewed literature across three databases (MEDLINE, PsycINFO and Embase) for existing systematic reviews and original studies published between 1 January 2009 and 8 August 2019. Fifteen systematic reviews (of which 8 were contemporary) and 64 original publications met the inclusion criteria set across the four questions. Key findings Question 1: What is the evidence for the effectiveness of lung cancer screening for higher-risk individuals? There is sufficient evidence from systematic reviews and meta-analyses of combined (pooled) data from screening trials (of high-risk individuals) to indicate that LDCT examination is clinically effective in reducing lung cancer mortality. In 2011, the landmark National Lung Cancer Screening Trial (NLST, a large-scale randomised controlled trial [RCT] conducted in the US) reported a 20% (95% CI 6.8% – 26.7%; P=0.004) relative reduction in mortality among long-term heavy smokers over three rounds of annual screening. High-risk eligibility criteria was defined as people aged 55–74 years with a smoking history of ≥30 pack-years (years in which a smoker has consumed 20-plus cigarettes each day) and, for former smokers, ≥30 pack-years and have quit within the past 15 years.(5) All-cause mortality was reduced by 6.7% (95% CI, 1.2% – 13.6%; P=0.02). Initial data from the second landmark RCT, the NEderlands-Leuvens Longkanker Screenings ONderzoek (known as the NELSON trial), have found an even greater reduction of 26% (95% CI, 9% – 41%) in lung cancer mortality, with full trial results yet to be published.(6, 7) Pooled analyses, including several smaller-scale European LDCT screening trials insufficiently powered in their own right, collectively demonstrate a statistically significant reduction in lung cancer mortality (RR 0.82, 95% CI 0.73–0.91).(8) Despite the reduction in all-cause mortality found in the NLST, pooled analyses of seven trials found no statistically significant difference in all-cause mortality (RR 0.95, 95% CI 0.90–1.00).(8) However, cancer-specific mortality is currently the most relevant outcome in cancer screening trials. These seven trials demonstrated a significantly greater proportion of early stage cancers in LDCT groups compared with controls (RR 2.08, 95% CI 1.43–3.03). Thus, when considering results across mortality outcomes and early stage cancers diagnosed, LDCT screening is considered to be clinically effective. Question 2: What is the evidence of potential harms from lung cancer screening for higher-risk individuals? The harms of LDCT lung cancer screening include false positive tests and the consequences of unnecessary invasive follow-up procedures for conditions that are eventually diagnosed as benign. While LDCT screening leads to an increased frequency of invasive procedures, it does not result in greater mortality soon after an invasive procedure (in trial settings when compared with the control arm).(8) Overdiagnosis, exposure to radiation, psychological distress and an impact on quality of life are other known harms. Systematic review evidence indicates the benefits of LDCT screening are likely to outweigh the harms. The potential harms are likely to be reduced as refinements are made to LDCT screening protocols through: i) the application of risk predication models (e.g. the PLCOm2012), which enable a more accurate selection of the high-risk population through the use of specific criteria (beyond age and smoking history); ii) the use of nodule management algorithms (e.g. Lung-RADS, PanCan), which assist in the diagnostic evaluation of screen-detected nodules and cancers (e.g. more precise volumetric assessment of nodules); and, iii) more judicious selection of patients for invasive procedures. Recent evidence suggests a positive LDCT result may transiently increase psychological distress but does not have long-term adverse effects on psychological distress or health-related quality of life (HRQoL). With regards to smoking cessation, there is no evidence to suggest screening participation invokes a false sense of assurance in smokers, nor a reduction in motivation to quit. The NELSON and Danish trials found no difference in smoking cessation rates between LDCT screening and control groups. Higher net cessation rates, compared with general population, suggest those who participate in screening trials may already be motivated to quit. Question 3: What are the main components of recent major lung cancer screening programs or trials? There are no systematic reviews that capture the main components of recent major lung cancer screening trials and programs. We extracted evidence from original studies and clinical guidance documents and organised this into key groups to form a concise set of components for potential implementation of a national lung cancer screening program in Australia: 1. Identifying the high-risk population: recruitment, eligibility, selection and referral 2. Educating the public, people at high risk and healthcare providers; this includes creating awareness of lung cancer, the benefits and harms of LDCT screening, and shared decision-making 3. Components necessary for health services to deliver a screening program: a. Planning phase: e.g. human resources to coordinate the program, electronic data systems that integrate medical records information and link to an established national registry b. Implementation phase: e.g. human and technological resources required to conduct LDCT examinations, interpretation of reports and communication of results to participants c. Monitoring and evaluation phase: e.g. monitoring outcomes across patients, radiological reporting, compliance with established standards and a quality assurance program 4. Data reporting and research, e.g. audit and feedback to multidisciplinary teams, reporting outcomes to enhance international research into LDCT screening 5. Incorporation of smoking cessation interventions, e.g. specific programs designed for LDCT screening or referral to existing community or hospital-based services that deliver cessation interventions. Most original studies are single-institution evaluations that contain descriptive data about the processes required to establish and implement a high-risk population-based screening program. Across all studies there is a consistent message as to the challenges and complexities of establishing LDCT screening programs to attract people at high risk who will receive the greatest benefits from participation. With regards to smoking cessation, evidence from one systematic review indicates the optimal strategy for incorporating smoking cessation interventions into a LDCT screening program is unclear. There is widespread agreement that LDCT screening attendance presents a ‘teachable moment’ for cessation advice, especially among those people who receive a positive scan result. Smoking cessation is an area of significant research investment; for instance, eight US-based clinical trials are now underway that aim to address how best to design and deliver cessation programs within large-scale LDCT screening programs.(9) Question 4: What is the cost-effectiveness of lung cancer screening programs (include studies of cost–utility)? Assessing the value or cost-effectiveness of LDCT screening involves a complex interplay of factors including data on effectiveness and costs, and institutional context. A key input is data about the effectiveness of potential and current screening programs with respect to case detection, and the likely outcomes of treating those cases sooner (in the presence of LDCT screening) as opposed to later (in the absence of LDCT screening). Evidence about the cost-effectiveness of LDCT screening programs has been summarised in two systematic reviews. We identified a further 13 studies—five modelling studies, one discrete choice experiment and seven articles—that used a variety of methods to assess cost-effectiveness. Three modelling studies indicated LDCT screening was cost-effective in the settings of the US and Europe. Two studies—one from Australia and one from New Zealand—reported LDCT screening would not be cost-effective using NLST-like protocols. We anticipate that, following the full publication of the NELSON trial, cost-effectiveness studies will likely be updated with new data that reduce uncertainty about factors that influence modelling outcomes, including the findings of indeterminate nodules. Gaps in the evidence There is a large and accessible body of evidence as to the effectiveness (Q1) and harms (Q2) of LDCT screening for lung cancer. Nevertheless, there are significant gaps in the evidence about the program components that are required to implement an effective LDCT screening program (Q3). Questions about LDCT screening acceptability and feasibility were not explicitly included in the scope. However, as the evidence is based primarily on US programs and UK pilot studies, the relevance to the local setting requires careful consideration. The Queensland Lung Cancer Screening Study provides feasibility data about clinical aspects of LDCT screening but little about program design. The International Lung Screening Trial is still in the recruitment phase and findings are not yet available for inclusion in this Evidence Check. The Australian Population Based Screening Framework was developed to “inform decision-makers on the key issues to be considered when assessing potential screening programs in Australia”.(10) As the Framework is specific to population-based, rather than high-risk, screening programs, there is a lack of clarity about transferability of criteria. However, the Framework criteria do stipulate that a screening program must be acceptable to “important subgroups such as target participants who are from culturally and linguistically diverse backgrounds, Aboriginal and Torres Strait Islander people, people from disadvantaged groups and people with a disability”.(10) An extensive search of the literature highlighted that there is very little information about the acceptability of LDCT screening to these population groups in Australia. Yet they are part of the high-risk population.(10) There are also considerable gaps in the evidence about the cost-effectiveness of LDCT screening in different settings, including Australia. The evidence base in this area is rapidly evolving and is likely to include new data from the NELSON trial and incorporate data about the costs of targeted- and immuno-therapies as these treatments become more widely available in Australia.
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Tyson, Paul. Sovereignty and Biosecurity: Can we prevent ius from disappearing into dominium? Mέta | Centre for Postcapitalist Civilisation, 2021. http://dx.doi.org/10.55405/mwp3en.
Full textAbstract:
Drawing on Milbank and Agamben, a politico-juridical anthropology matrix can be drawn describing the relations between ius and bios (justice and political life) on the one hand and dominium and zoe (private power and ‘bare life’) on the other hand. Mapping movements in the basic configurations of this matrix over the long sweep of Western cultural history enable us to see where we are currently situated in relation to the nexus between politico-juridical authority (sovereignty) and the emergency use of executive State powers in the context of biosecurity. The argument presented is that pre-19th century understandings of ius and bios presupposed transcendent categories of Justice and the Common Good that were not naturalistically defined. The very recent idea of a purely naturalistic naturalism has made distinctions between bios and zoe un-locatable and civic ius is now disappearing into a strangely ‘private’ total power (dominium) over the bodies of citizens, as exercised by the State. The very meaning of politico-juridical authority and the sovereignty of the State is undergoing radical change when viewed from a long perspective. This paper suggests that the ancient distinction between power and authority is becoming meaningless, and that this loss erodes the ideas of justice and political life in the Western tradition. Early modern capitalism still retained at least the theory of a Providential moral order, but since the late 19th century, morality has become fully naturalized and secularized, such that what moral categories Classical economics had have been radically instrumentalized since. In the postcapitalist neoliberal world order, no high horizon of just power –no spiritual conception of sovereignty– remains. The paper argues that the reduction of authority to power, which flows from the absence of any traditional conception of sovereignty, is happening with particular ease in Australia, and that in Australia it is only the Indigenous attempt to have their prior sovereignty –as a spiritual reality– recognized that is pushing back against the collapse of political authority into mere executive power.
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Heitman, Joshua L., Alon Ben-Gal, Thomas J. Sauer, Nurit Agam, and John Havlin. Separating Components of Evapotranspiration to Improve Efficiency in Vineyard Water Management. United States Department of Agriculture, March 2014. http://dx.doi.org/10.32747/2014.7594386.bard.
Full textAbstract:
Vineyards are found on six of seven continents, producing a crop of high economic value with much historic and cultural significance. Because of the wide range of conditions under which grapes are grown, management approaches are highly varied and must be adapted to local climatic constraints. Research has been conducted in the traditionally prominent grape growing regions of Europe, Australia, and the western USA, but far less information is available to guide production under more extreme growing conditions. The overarching goal of this project was to improve understanding of vineyard water management related to the critical inter-row zone. Experiments were conducted in moist temperate (North Carolina, USA) and arid (Negev, Israel) regions in order to address inter-row water use under high and low water availability conditions. Specific objectives were to: i) calibrate and verify a modeling technique to identify components of evapotranspiration (ET) in temperate and semiarid vineyard systems, ii) evaluate and refine strategies for excess water removal in vineyards for moist temperate regions of the Southeastern USA, and iii) evaluate and refine strategies for water conservation in vineyards for semi-arid regions of Israel. Several new measurement and modeling techniques were adapted and assessed in order to partition ET between favorable transpiration by the grapes and potentially detrimental water use within the vineyard inter-row. A micro Bowen ratio measurement system was developed to quantify ET from inter-rows. The approach was successful at the NC site, providing strong correlation with standard measurement approaches and adding capability for continuous, non-destructive measurement within a relatively small footprint. The environmental conditions in the Negev site were found to limit the applicability of the technique. Technical issues are yet to be solved to make this technique sufficiently robust. The HYDRUS 2D/3D modeling package was also adapted using data obtained in a series of intense field campaigns at the Negev site. The adapted model was able to account for spatial variation in surface boundary conditions, created by diurnal canopy shading, in order to accurately calculate the contribution of interrow evaporation (E) as a component of system ET. Experiments evaluated common practices in the southeastern USA: inter-row cover crops purported to reduce water availability and thereby favorably reduce grapevine vegetative growth; and southern Israel: drip irrigation applied to produce a high value crop with maximum water use efficiency. Results from the NC site indicated that water use by the cover crop contributed a significant portion of vineyard ET (up to 93% in May), but that with ample rainfall typical to the region, cover crop water use did little to limit water availability for the grape vines. A potential consequence, however, was elevated below canopy humidity owing to the increased inter-row evapotranspiration associated with the cover crops. This creates increased potential for fungal disease occurrence, which is a common problem in the region. Analysis from the Negev site reveals that, on average, E accounts for about10% of the total vineyard ET in an isolated dripirrigated vineyard. The proportion of ET contributed by E increased from May until just before harvest in July, which could be explained primarily by changes in weather conditions. While non-productive water loss as E is relatively small, experiments indicate that further improvements in irrigation efficiency may be possible by considering diurnal shading effects on below canopy potential ET. Overall, research provided both scientific and practical outcomes including new measurement and modeling techniques, and new insights for humid and arid vineyard systems. Research techniques developed through the project will be useful for other agricultural systems, and the successful synergistic cooperation amongst the research team offers opportunity for future collaboration.