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1
Batten, Bronwyn. "A Shared History? Presenting Australia's Post-Contact Indigenous Past." Journal of Interpretation Research 10, no. 1 (April 2005): 31–48. http://dx.doi.org/10.1177/109258720501000103.
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The colonial origins of museums have often influenced the ways in which they depict the past. In Australia, portrayals of the Indigenous past have focussed exclusively on “traditional life” or the prehistoric period of history, to the detriment of post-contact history. This paper examines ways in which museums around Australia are beginning to counter this trend. Museum exhibits that relate to Australia's shared, post-contact past are analyzed in the context of recent developments in museology. This analysis is combined with feedback generated from interviews with heritage professionals. The results suggest that in order to move towards inclusive interpretation of Australian history, multiple voices and perspectives of the past must be incorporated into interpretive programs. This paper argues that there are a variety of ways in which heritage interpreters can attempt to incorporate pluralist perspectives of the past into museum exhibits.
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Whittington, Vanessa. "Decolonising the museum?" Culture Unbound 13, no. 2 (February 8, 2022): 245–69. http://dx.doi.org/10.3384/cu.3296.
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As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation.
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Wheeler, Barbara, and Linda Young. "Antarctica in museums: the Mawson collections in Australia." Polar Record 36, no. 198 (July 2000): 193–202. http://dx.doi.org/10.1017/s0032247400016454.
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AbstractThe relics of polar exploration are treasured in the museums of a multitude of nations. In Australia, the focus of most such collections is Sir Douglas Mawson and his expeditions to Antarctica in 1911–14 and 1929–31. The nature of these collections divides into the two large categories of scientific specimens and expedition relics. The latter are spread among Australian and other museums in a distribution that speaks of fascination with the exotic and heroic aspects of the Australasian Antarctic Expedition and the geopolitical ramifications of the British, Australian and New Zealand Antarctic Research Expedition. The specimens, by contrast, have not been treated well, and although thoroughly documented, may be close to losing their integrity as scientific resources. Both types of material merit the renewed attention of their museum-keepers as resources on the history of Antarctica.
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SAN MARTÍN, GUILLERMO, PAT HUTCHINGS, and MARÍA TERESA AGUADO. "Syllinae (Polychaeta, Syllidae) from Australia. Part. 2. Genera Inermosyllis, Megasyllis n. gen., Opisthosyllis, and Trypanosyllis." Zootaxa 1840, no. 1 (August 1, 2008): 1. http://dx.doi.org/10.11646/zootaxa.1840.1.1.
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Large collections of Australian Syllidae (Polychaeta) from the Australian Museum (Sydney) have been examined and identified, together with material from the Hamburgische Zoologische Museum der Universität (Hamburg, Germany), as well as some specimens from other museums. All known Australian species of the subfamily Syllinae belonging to Inermosyllis San Martín, 2003 (1 species), Megasyllis n. gen. (3 species), Opisthosyllis Langerhans, 1879 (5 species), and Trypanosyllis Claparède, 1864 (2 species), are described and figured. The Scanning Electron Microscope was used to illustrate relevant taxonomic characters and reproduction methods in these genera. Inermosyllis pseudohaploides is described as a new species. Megasyllis is described as a new genus, including M. corruscans (Haswell, 1885) and M. heterosetosa (Hartmann-Schöder, 1991) from Australia, and M. inflata (Marenzeller, 1879) from Japan and Australia; thespecies M. multiannulata (Aguado, San Martín & Nishi, in press) from Japan is also referred to this genus. The genus Inermosyllis is reported for the first time from Australia, as well as the species Opisthosyllis longicirrata Monro, 1939 and Trypanosyllis aeolis Langerhans, 1879.
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Turnbull, Paul. "Australian Museums, Aboriginal Skeletal Remains, and the Imagining of Human Evolutionary History, c. 1860-1914." Museum and Society 13, no. 1 (January 1, 2015): 72–87. http://dx.doi.org/10.29311/mas.v13i1.318.
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Much has been written about how progress to nationhood in British colonial settler societies was imagined to depend on safeguarding the biological integrity of an evolutionarily advanced citizenry. There is also a growing body of scholarship on how the collecting and exhibition of indigenous ethnological material and bodily remains by colonial museums underscored the evolutionary distance between indigenes and settlers. This article explores in contextual detail several Australian museums between 1860 and 1914, in particular the Australian Museum in Sydney, the Queensland Museum in Brisbane, and the Victorian Museum in Melbourne, in which the collecting, interpretation and exhibition of the Aboriginal Australian bodily dead by staff and associated scientists served to imagine human evolutionary history.
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Morphy, Howard, Jason M. Gibson, and Alison K. Brown. "Special Section." Museum Worlds 10, no. 1 (July 1, 2022): 218–29. http://dx.doi.org/10.3167/armw.2022.100119.
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Anthropology, Art, and Ethnographic Collections: A Conversation with Howard MorphyJason M. Gibson (JG): In your book Museums, Infinity and the Culture of Protocols: Ethnographic Collections and Source Communities (Morphy 2020), you begin with an anecdote of visiting the Pitt Rivers Museum as a young child. Did museums play a part in sparking an interest in humanity, and its diversity, or were you fascinated by the Other?Book Review: Museums, Societies and the Creation of Value, Howard Morphy and Robyn McKenzie, eds. (London: Routledge, 2022)What does value mean within and beyond museum contexts? What are the processes through which value is manifested? How might a deeper understanding of these processes contribute to the practice of museum anthropology? These questions are explored in Museums, Societies and the Creation of Value, which looks at collaborative work in museums using ethnographic collections as a focus. Most of the chapters involve collections from Australia and the Pacific—reflecting the origins of many of them in two conferences associated with the project “The Relational Museum and Its Objects,” funded by the Australian Research Council and the Australian National University and led by Howard Morphy. Bringing together early career researchers, as well as museum-based scholars who have many years of thinking through and learning with community-based research partners, makes evident how the processual shifts in museum anthropology toward a more collaboratively grounded practice have become normalized, but crucially also highlights the value of “slow museology,” as the editors note in their introduction (3), acknowledging Raymond Silverman’s (2015) term. While the editors caution that the core values of ethnographic collections and museums are not universal, the inclusion of chapters from beyond the Australia/Pacific region highlights that the foundational underpinning values and aspirations for cross-cultural work—“the desire for understanding” and “the desire to be understood” (22) are shaping much of the innovative museum-based work currently being carried out worldwide. Examples include Gwyneira Isaac’s chapter on 3D technologies of reproduction and their value for Tlingit of Alaska, and Henrietta Lidchi and Nicole Hartwell’s examination of how materiality and memory intersect in collections associated with nineteenth-century British military campaigns.
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ALLSOPP, PETER G., and PETER J. HUDSON. "Novapus bifidus Carne, 1957, a primary homonym and synonym of Novapus bifidus Lea, 1910 (Coleoptera: Scarabaeidae: Dynastinae)." Zootaxa 4560, no. 3 (February 26, 2019): 576. http://dx.doi.org/10.11646/zootaxa.4560.3.9.
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In his landmark revision of the Australian Dynastinae (Coleoptera: Scarabaeidae) Phil Carne (1957) described Novapus bifidus Carne, 1957 from males and females collected at Cape York and Thursday Island. The type series is in the Australian National Insect Collection, Canberra, Australia (ANIC); the Natural History Museum, London, United Kingdom; the South Australian Museum, Adelaide, Australia (SAM); and the Museum of Victoria, Melbourne, Australia. He noted “In the collections of the South Australian Museum there are specimens designated as types of bifidus Lea. No description of this species has been published, and it is now described under the same specific name”. One of his paratypes is a female in SAM identified as “Lea’s unpublished ♀ type” and two other paratypes are males in SAM. Cassis & Weir (1992) noted that one of the SAM specimens has the registration number I4268, although they knew of only two paratypes (one male, one female) in that collection. The name has been attributed to Carne by most subsequent authors (Endrődi 1974, 1985; Carne & Allsopp 1987; Cassis & Weir 1992; Dechambre 2005; Atlas of Living Australia 2018.). Krajcik (2005, 2012) listed it in his scarab checklists but as “bifidus? Carne 1957”.
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Singh, Supriya, Meredith Blake, and Jonathan O'Donnell. "Digitizing Pacific Cultural Collections: The Australian Experience." International Journal of Cultural Property 20, no. 1 (February 2013): 77–107. http://dx.doi.org/10.1017/s0940739112000483.
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AbstractIn the absence of specific policies that address the digitization of Pacific cultural collections, it is important to document the practices of Australian museum professionals and cultural experts who deal with close to one-fifth of Pacific cultural objects held in museums. Interviews with 17 museum professionals and cultural experts in Australia help advance reflective practice relating to digitizing Pacific collections. Drawing on principles enshrined in international, regional, and Australian policies and protocols relating to the management of indigenous collections, they favor responsible digitization based on consultation with source and diasporic communities. In order to consult across a region with multiple languages and cultures when time and resources are limited, they begin with areas they know best and when possible, work with curators of Pacific backgrounds. Some practicalities of publishing and protecting digitized images online revolve around validating information about the artifact and going beyond copyright to respect traditional knowledge.
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SAN MARTÍN, GUILLERMO, PAT HUTCHINGS, and MARÍA TERESA AGUADO. "Syllinae (Polychaeta: Syllidae) from Australia. Part 3. Genera Alcyonosyllis, Genus A, Parahaplosyllis, and Trypanosyllis (Trypanobia)." Zootaxa 2493, no. 1 (June 3, 2010): 35. http://dx.doi.org/10.11646/zootaxa.2493.1.3.
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Large collections of Australian Syllidae (Polychaeta) from the Australian Museum (Sydney) have been examined and identified, together with material from the Hamburgische Zoologische Museum der Universität (Hamburg, Germany), as well as some specimens from other museums. All known Australian species of the subfamily Syllinae belonging to the genera Alcyonosyllis Glasby & Watson, 2001 (1 species), Genus A (1 species), Parahaplosyllis Hartmann-Schröder, 1990 (1 species), and Trypanosyllis (Trypanobia) Imajima & Hartman, 1964 (2 species), are fully described and figured, except Alcyonosyllis phili Glasby & Watson, 2001 that recently was described based on Australian material.
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Teare, Sheldon, and Danielle Measday. "Pyrite Rehousing – Recent Case Studies at Two Australian Museums." Biodiversity Information Science and Standards 2 (June 13, 2018): e26343. http://dx.doi.org/10.3897/biss.2.26343.
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Two major collecting institutions in Australia, the Australian Museum (Sydney) and Museums Victoria (Melbourne), are currently undertaking large-scale anoxic rehousing projects in their collections to control conservation issues caused by pyrite oxidation. This paper will highlight the successes and challenges of the rehousing projects at both institutions, which have collaborated on developing strategies to mitigate loss to their collections. In 2017, Museums Victoria Conservation undertook a survey with an Oxybaby M+ Gas Analyser to assess the oxygen levels in all their existing anoxic microclimates before launching a program to replace failed microclimates and expand the number of specimens housed in anoxic storage. This project included a literature review of current conservation materials and techniques associated with anoxic storage, and informed the selection of the RP System oxygen scavenger and Escal Neo barrier film from Mitsubishi Gas Chemical Company as the best-practice products to use for this application. Conservation at the Australian Museum in Sydney was notified of wide-scale pyrite decay in the Palaeontology and Mineral collections. It was noted that many of the old high-barrier film enclosures, done more than ten years ago, were showing signs of failing. None of the Palaeontology specimens had ever been placed in microclimates. After consultation with Museums Victoria and Collection staff, a similar pathway used by Museums Victoria was adopted. Because of the scale of the rehousing project, standardized custom boxes were made, making the construction of hundreds of boxes easier. It is hoped that new products, like the tube-style Escal film, will extend the life of this rehousing project. Enclosures are being tested at the Australian Museum with a digital oxygen meter. Pyrite rehousing projects highlight the loss of Collection materials and data brought about by the inherent properties of some specimens. The steps undertaken to mitigate or reduce the levels of corrosion are linked to the preservation of both the specimens and the data kept with them (paper labels). These projects benefited from the collaboration of Natural Sciences conservators in Australia with Geosciences collections staff. Natural Science is a relatively recent specialization for the Australian conservation profession and it is important to build resources and capacity for conservators to care for these collections. This applied knowledge has already been passed on to other regions in Australia.
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Bilous, Rebecca H. "Macassan/Indigenous Australian ‘sites of memory’ in the National Museum of Australia and Australian National Maritime Museum." Australian Geographer 42, no. 4 (December 2011): 371–86. http://dx.doi.org/10.1080/00049182.2012.619953.
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Kenderdine, Sarah. "Inside the Meta-Centre: A Wonder Cabinet." Media International Australia 89, no. 1 (November 1998): 63–74. http://dx.doi.org/10.1177/1329878x9808900109.
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This paper is presented in three parts. The first part examines the emerging models of the online museum to demonstrate how traditional museums are seeking to extend and recreate themselves through the Internet. This section also notes the genesis of the information metacentres as one way to encompass museum collections and processes. The second section of the paper will introduce Australian Museums On-Line (AMOL, http://amol.org.au ) as one example of the information meta-centre, an integrated resource pool of digital museum information from distributed Australian museums and galleries communities. This section will examine salient aspects of this on-line community as offering a complimentary meeting place that is both virtual and real. The third section will look to the underlying design and architecture of the AMOL Website and introduce some of the projects that will be implemented at the site as a response to its users' needs.
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Dean, David, and Peter E. Rider. "Museums, Nation and Political History in the Australian National Museum and the Canadian Museum of Civilization." Museum and Society 3, no. 1 (April 8, 2015): 35–50. http://dx.doi.org/10.29311/mas.v3i1.63.
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The role museums play in shaping the public’s understanding of the past has recently become a matter of considerable interest for historians and others. In Canada and Australia, portraits of their country’s history created by national museums have ignited considerable controversy. The Canadian Museum of Civlization’s Canada Hall was the subject of a review by four historians, chosen to examine the Hall’s portrayal of political history, while the National Museum of Australia faced a highly politicised public review of all of its exhibits soon after the museum opened. By analysing and interpreting the findings of these reviews, the authors raise questions about the ability of museums to respond to historical controversy, shifting historiographies and changing understandings of what is important in the past.
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Hilton-Smith, Simon, M. Elizabeth Weiser, Sarah Russ, Kristin Hussey, Penny Grist, Natalie Carfora, Nalani Wilson-Hokowhitu, Fei Chen, Yi Zheng, and Xiaorui Guan. "Exhibition Reviews." Museum Worlds 10, no. 1 (July 1, 2022): 257–89. http://dx.doi.org/10.3167/armw.2022.100121.
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[Re:]Entanglements: Colonial Collections in Decolonial Times, Museum of Archaeology and Anthropology, University of Cambridge (22 June 2021 to 20 April 2022)Greenwood Rising Center, Tulsa, OklahomaFirst Americans: Tribute to Indigenous Strength and Creativity, Volkenkunde, Leiden, the Netherlands (May 2020 to August 2023)Kirchner and Nolde: Up for Discussion, Statens Museum for Kunst, Copenhagen (April–August 2021)Australians & Hollywood, National Film and Sound Archive, CanberraFree/State: The 2022 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide (4 March–5 June 2022)Te Aho Tapu Hou: The New Sacred Thread, Waikato Museum Te Whare Taonga o Waikato (7 August 2021 to 9 January 2022)West Encounters East: A Cultural Conversation between Chinese and European Ceramics, Shanghai Museum (28 October 2021 to 16 January 2022)The Shanghai Jewish Refugees Museum’s Permanent Exhibition, ShanghaiThe Way of Nourishment: Health-preserving Culture in Traditional Chinese Medicine, The Chengdu Museum, Chengdu, Sichuan Province, China (29 June–31 October 2021)
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Witcomb, Andrea, and Alistair Patterson. "Collections without End." Museum Worlds 6, no. 1 (July 1, 2018): 94–111. http://dx.doi.org/10.3167/armw.2018.060108.
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The discovery of five photographs in 2018 in the State Library of Western Australia led us to the existence of a forgotten private museum housing the collection of Captain Matthew McVicker Smyth in early-twentieth-century Perth. Captain Smyth was responsible for the selling of Nobel explosives used in the agriculture and mining industries. The museum contained mineral specimens in cases alongside extensive, aesthetically organized displays of Australian Aboriginal artifacts amid a wide variety of ornaments and decorative paintings. The museum reflects a moment in the history of colonialism that reminds us today of forms of dispossession, of how Aboriginal people were categorized in Australia by Western worldviews, and of the ways that collectors operated. Our re-creation brings back into existence a significant Western Australian museum and opens up a new discussion about how such private collections came into existence and indeed, in this instance, about how they eventually end.
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BEAVER, ETHAN P., MICHAEL D. MOORE, ALEJANDRO VELASCO-CASTRILLÓN, and MARK I. STEVENS. "Three new ghost moths of the genus Oxycanus Walker, 1856 from Australia (Lepidoptera: Hepialidae)." Zootaxa 4732, no. 3 (February 13, 2020): 351–74. http://dx.doi.org/10.11646/zootaxa.4732.3.1.
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Three new species of ghost moth, Oxycanus ephemerous sp. nov., O. flavoplumosus sp. nov., and O. petalous sp. nov. are described from South Australia, New South Wales, and south-west Western Australia, respectively. We illustrate these species and compare morphological and molecular (mtDNA COI gene) characters with similar Oxycanus Walker, 1856 species from Australia. Comparative images of Oxycanus subvaria (Walker, 1856), O. byrsa (Pfitzner, 1933), and O. determinata (Walker, 1856) are figured. The type material of the three new species are held in the Australian National Insect Collection, Canberra, the Western Australian Museum, Perth, and in the South Australian Museum, Adelaide. The type specimens of Oxycanus hildae Tindale, 1964 syn. n. were also examined and the taxon is here considered synonymous with O. subvaria. Concerns are raised about the conservation status of all three new species due to few or localised distribution records.
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Mendes, Luis Fernandes, Miquel Gaju-Ricart, Rafael Molero-Baltanás, and Carmen Bach de Roca. "On the genera Allomachilis Silvestri, 1906, and Kuschelochilis Wygodzinsky, 1951 (Insecta: Microcoryphia)." Pesquisa Agropecuária Brasileira 44, no. 8 (August 2009): 984–87. http://dx.doi.org/10.1590/s0100-204x2009000800029.
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The objective of this study was to revise the nominal, and only described, species of the genera Allomachilis Silvestri, 1906, from Australia, and Kuschelochilis Wygodzinsky, 1951, from Chile (Microcoryphia: Meinertellidae). The studied specimens came from the collections deposited in the: American Museum of Natural History (USA); Instituto di Entomologia Agraria dell'Università di Portici (Italy); South Australian Museum (Australia); Carmen Bach collection of the Universidad Autónoma de Barcelona (Spain); and the entomology collection of the Instituto de Investigação Científica Tropical (Portugal). The revision of the nominal species of the genera Allomachilis and Kuschelochilis allows to consider the Neotropical genus a junior synonym of the Australian one.
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WATSON, JEANETTE E. "Some Hydroids (Cnidaria, Hydrozoa) from the Great Australian Bight in the collection of the South Australian Museum." Zootaxa 4410, no. 1 (April 16, 2018): 1. http://dx.doi.org/10.11646/zootaxa.4410.1.1.
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This report adds to knowledge of the shelf hydroid fauna of the Great Australian Bight. Hydroids were collected by the South Australian Museum and Department of Primary Industries of South Australia (PIRSA). Well known species are annotated, poorly known species are redescribed and four new species are described.
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McCarthy, Conal, and Alison K. Brown. "Editorial." Museum Worlds 10, no. 1 (July 1, 2022): vii—ix. http://dx.doi.org/10.3167/armw.2022.100101.
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Museum studies is an academic and practical field of research that is ever expanding and alive with potential, opportunity, and challenge paralleling the extraordinary growth of museums in every part of the world. Museum Worlds: Advances in Research, launched in 2012, has responded to the need for a rigorous, in-depth review of current work in museums and related industries, including galleries, libraries, archives, and cultural heritage. The inspiration for the journal came from Howard Morphy, Professor of Anthropology at the Australian National University in Canberra, along with founding editors Kylie Message, also at the ANU, and Sandra Dudley from the School of Museum Studies at the University of Leicester.
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Rix, Alan. "The Triassic insects of Denmark Hill, Ipswich, Southeast Queensland: the creation, use and dispersal of a collection." Memoirs of the Queensland Museum - Nature 62 (March 18, 2021): 217–42. http://dx.doi.org/10.17082/j.2204-1478.62.2021.2020-11.
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Type and additional fossil insects from the Late Triassic Denmark Hill locality in Southeast Queensland, Australia, are held in the collections of the Queensland Museum (Brisbane), the Australian Museum (Sydney) and the Natural History Museum of the United Kingdom (London). The history of these collections shows that they were the product of a concerted effort in the first two decades of the twentieth century to extract the fossils by Benjamin Dunstan, Queensland’s Chief Government Geologist, and to describe the fossils by Dunstan and Robin Tillyard, the foremost Australian entomologist of the time. They collaborated closely to document the late Triassic insects of Australia, at the same time as Dunstan carefully curated and organised both the official government collection of these insects for the Geological Survey of Queensland, and his own private collection. The death of the two men in the 1930s led to the sale by his widow of Dunstan’s private fossil collection (including type and type counterpart specimens) to the British Museum, and the donation of Tillyard’s by his widow to the same institution, in addition to some material that went to the Australian Museum. This paper documents the locations of all of the published specimens. The history of the Denmark Hill fossils (a site no longer accessible for collection) highlights the problems for researchers of the dispersal of holdings such as these, and in particular the separation of the part and counterpart of the same insect fossils. It also raises ethical questions arising from the ownership and disposal of private holdings of important fossil material collected in an official capacity.
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Gilchrist, Stephen, and Henry Skerritt. "Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 108–21. http://dx.doi.org/10.5195/contemp.2016.183.
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Curated by Stephen Gilchrist, Everywhen: The Eternal Present in Indigenous Art from Australia was held at Harvard Art Museums from February 5, 2016–September 18, 2016. The exhibition was a survey of contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. The exhibition included more than seventy works drawn from public and private collections in Australia and the United States, and featured many works that have never been seen outside Australia. Everywhen is Gilchrist’s second major exhibition in the United States, following Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art at the Hood Museum of Art in 2012. Conducted on April 22, 2016, this conversation considers the position of Indigenous art in the museum, and the active ways in which curators and institutions can work to “indigenize” their institutions. Gilchrist discusses the evolution of Everywhen, along with the curatorial strategies employed to change the status of object-viewer relations in the exhibition. The transcription has been edited for clarity.
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COOPER, BARRY J., and JAMES B. JAGO. "ROBERT BEDFORD (1874–1951), THE KYANCUTTA MUSEUM, AND A UNIQUE CONTRIBUTION TO INTERNATIONAL GEOLOGY." Earth Sciences History 37, no. 2 (January 1, 2018): 416–43. http://dx.doi.org/10.17704/1944-6178-37.2.416.
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Robert Bedford (1874–1951), based in the isolated community of Kyancutta in South Australia, was a unique contributor to world geology, specifically in the field of meteorites and fossil archaeocyatha. Born Robert Arthur Buddicom in Shropshire, UK, he was an Oxford graduate who worked as a scientist in Freiberg, Naples, Birmingham and Shrewsbury as well as with the Natural History Museum, Kensington and the Plymouth Museum in the United Kingdom. He was a Fellow of the Geological Society of London, 1899–1910. In 1915, Buddicom changed his surname to Bedford and relocated to South Australia. During the 1920s, Bedford expanded his geological interests with the establishment of a public museum in Kyancutta in 1929. This included material previously collected and stored in the United Kingdom before being sent to Australia. Bedford was very successful in collecting material from the distant Henbury meteorite craters in Australia's Northern Territory, during three separate trips in 1931–1933. He became an authority on meteorites with much Henbury material being sent to the British Museum in London. However, Bedford's work on, and collecting of, meteorites resulted in a serious rift with the South Australian scientific establishment. Bedford is best known amongst geologists for his five taxonomic papers on the superbly preserved lower Cambrian archaeocyath fossils from the Ajax Mine near Beltana in South Australia's Flinders Ranges with field work commencing in about 1932 and extending until World War II. This research, describing thirty new genera and ninety-nine new species, was published in the Memoirs of the Kyancutta Museum, a journal that Bedford personally established and financed in 1934. These papers are regularly referenced today in international research dealing with archaeocyaths.
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Therin, Michael, Robin Torrence, and Richard Fullagar. "Australian Museum starch reference collection." Australian Archaeology 44, no. 1 (January 1997): 52–53. http://dx.doi.org/10.1080/03122417.1997.11681589.
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Scott, Marcelle. "1988 AT THE AUSTRALIAN MUSEUM." AICCM Bulletin 15, no. 1-2 (January 1989): 10–12. http://dx.doi.org/10.1179/bac.1989.15.1-2.004.
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Carty, John. "To Imagine an Australian Museum." Anthropological Forum 29, no. 4 (October 2, 2019): 384–96. http://dx.doi.org/10.1080/00664677.2019.1706038.
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Ladas, Nancy. "Ethical and Legal Considerations for Collection Development, Exhibition and Research at Museums Victoria." Heritage 2, no. 1 (March 13, 2019): 858–67. http://dx.doi.org/10.3390/heritage2010057.
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With over 17 million collection items, Museums Victoria is the largest museum in Australia. Museums Victoria recognises the public benefit derived from lending and borrowing between collecting institutions and actively participates in the international loans network in order to complement and enhance the potential for learning and enjoyment for all audiences. Museums Victoria staff undertook an extensive review of policies and procedures in order to apply for approval for protection under the Australian Government’s Protection of Cultural Objects on Loan Scheme (PCOL Scheme), established to administer the Commonwealth Protection of Cultural Objects on Loan Act 2013 (PCOL Act). The PCOL Scheme provides (with some limits) legal protection—immunity from seizure—for Australian and foreign cultural items on loan from overseas lenders for temporary public exhibition in Australia. The Ministry for the Arts also released the Australian Best Practice Guide to Collecting Cultural Material in 2015. The Guide is not a mandatory code. It recommends principles and standards to apply when acquiring collection items and in part for inward and outward loans. In 2016–2017 Museums Victoria staff used the Act and its Regulation along with the Guide to substantially update and formalise previous formal and informal policies and practices, in order to demonstrate its commitment to due diligence endeavours to verify the accuracy of information before acquiring, deaccessioning, borrowing, or lending items. This paper outlines the steps we took and what we have learned since receiving approval as a registered borrower under the PCOL Scheme.
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Petersen, John. "Though This be Madness: Heritage Methods for Working in Culturally Diverse Communities." Public History Review 17 (December 22, 2010): 34–51. http://dx.doi.org/10.5130/phrj.v17i0.1802.
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In 1998, the NSW Migration Heritage Centre was conceived by the NSW Government as a virtual heritage centre to help ageing former migrants tell their stories. Migration museums and other organisations interested in heritage are grappling with how to identify, record, preserve and interpret the heritage legacy of migration and settlement in their communities. The distinctions between museum and environmental heritage practices have diminished during the past decade in Australia. The Centre’s methodologies are based on historic method and thematic and typology studies, better known for their application to heritage place identification and archaeological artefact studies than for their more recent use by some Australian museum curators for the survey and documentation of collections and community participation in heritage. The ‘virtual museum’ has enabled the Centre to break away from the centralised museum concept, with the associated trappings of venue management, to pioneer a decentralised and dispersed museum model that works almost entirely in collaborative community history research partnerships to document culturally significant collections, and associated migration memories, held by communities and private individuals. The work is centralised on the Centre’s website as a virtual collection of objects, places and associated memories. They are presented in online exhibitions for student research and as a destination for the mass audiences of the worldwide web.
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McLAY, COLIN L., and ANDREW M. HOSIE. "The sponge crabs of Western Australia and the Northwest Shelf with descriptions of new genera and species (Crustacea: Brachyura: Dromiidae)." Zootaxa 5129, no. 3 (April 28, 2022): 301–55. http://dx.doi.org/10.11646/zootaxa.5129.3.1.
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The Dromiidae of Western Australia are summarized primarily based on specimens from the collection of the Western Australian Museum and some additional material from the Australian Museum, Sydney. The genus Alainodromia McLay 1998, is recorded from Camden Sound, Australia, as a new species Alainodromia dambimangari sp. nov. New evidence suggests that the species of Alainodromia are very likely shell carriers that also have direct development. Five species of Cryptodromia are reported from Western Australia and a new genus, Baccadromia gen. nov., is erected for Dromia (Cryptodromia) bullifera Alcock, 1900. The genus Lamarckdromia Guinot & Tavares, 2003 is revised and now includes three species: L. beagle sp. nov., L. excavata (Stimpson, 1858) and L. globosa (Lamarck, 1818). Six species of Dromiidae are new to Australia: Baccadromia bullifera (Alcock, 1900), Cryptodromia amboinensis (De Man, 1888), C. pileifera Alcock, 1901, Epigodromia rotunda McLay, 1993, and Foredromia rostrata McLay, 2002. New records for Western Australia include: Cryptodromia hilgendorfi De Man, 1888, Epigodromia areolata (Ihle, 1913) and Lewindromia unidentata (Rüppell, 1830). A total of 31 species of dromiid crabs are now known from Western Australian coast with five species endemic to the state. There are more than 40 species of Dromiidae known from Australia of which about 40% are endemic.
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Helgen, Kristofer M., and Timothy F. Flannery. "Taxonomy and historical distribution of the wallaby genus Lagostrophus." Australian Journal of Zoology 51, no. 3 (2003): 199. http://dx.doi.org/10.1071/zo02078.
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The banded hare-wallaby (Lagostrophus fasciatus) is an endangered macropodid currently restricted to Bernier and Dorre Islands in Shark Bay, Western Australia. Historically, L. fasciatus was also recorded on the Australian mainland from far western Australia, where it became locally extinct early in the twentieth century. Here we discuss an overlooked museum specimen of L. fasciatus collected in the mid-nineteenth century near Adelaide, South Australia. This specimen considerably extends the known historical distribution of L. fasciatus, validates anecdotal reports of the species from South Australia made by early Australian naturalists, and forms the basis for our description of a new subspecies.
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Hoffman, Sheila K., Aya Tanaka, Bai Xue, Ni Na Camellia Ng, Mingyuan Jiang, Ashleigh McLarin, Sandra Kearney, Riria Hotere-Barnes, and Sumi Kim. "Exhibition Reviews." Museum Worlds 9, no. 1 (July 1, 2021): 175–207. http://dx.doi.org/10.3167/armw.2021.090114.
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Museum of Russian Icons, Clinton, Massachusetts by Sheila K. HoffmanLocal Cultures Assisting Revitalization: 10 Years Since the Great East Japan Earthquake, National Museum of Ethology (Minpaku), Osaka by Aya TanakaTianjin Museum of Finance, Tianjin by Bai XueVegetation and Universe: The Collection of Flower and Bird Paintings, Zhejiang Provincial Museum, Hangzhou by Ni Na Camellia NgThree Kingdoms: Unveiling the Story, Tokyo National Museum and Kyushu National Museum, Japan, and China Millennium Monument, Nanshan Museum, Wuzhong Museum, and Chengdu Wuhou Shrine, People’s Republic of China by Mingyuan JiangTempest, Tasmanian Museum and Art Gallery, Hobart by Ashleigh McLarinWonders from the South Australian Museum, South Australian Museum, Adelaide by Sandra KearneyBrett Graham, Tai Moana, Tai Tangata, Govett Brewster Art Gallery, New Plymouth by Riria Hotere-BarnesThe “Inbetweenness” of the Korean Gallery at the Musée Guimet, Paris by Sumi Kim
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Middleton, Craig. "Savants and Surgeons." Transfers 5, no. 2 (June 1, 2015): 135–38. http://dx.doi.org/10.3167/trans.2015.050210.
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South Australian Maritime Museum 126 Lipson Street, Port Adelaide, SA 5015, Australia http://samaritimemuseum.com.au/ Admission: AUD 10/8/5 The South Australian Maritime Museum cares for one of South Australia’s oldest cultural heritage collections.2 The core collection, inherited from the Port Adelaide Institute (one of the legion of nineteenth-century mechanics’ institutes providing learning resources to working men), began in 1872. Visiting seafarers spent time in the ins titute’s library, leaving behind crafts or souvenirs picked up in exotic ports of call as a token of thanks. In the 1930s, honorary curator Vernon Smith refi ned the collection to focus solely on nautical material and searched for artifacts to enhance it. Th e collection now comprises over twenty thousand objects.
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Webber, Monique. "Torchlight, Winckelmann and Early Australian Collections." Journal of Curatorial Studies 9, no. 1 (April 1, 2020): 114–34. http://dx.doi.org/10.1386/jcs_00013_1.
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Mid-nineteenth-century Melbourne wanted to be more than a British outpost in southern Australia. Before its second decade, in 1854, the city founded an impressive museum-library-gallery complex. As European museums developed cast collections, Redmond Barry – Melbourne’s chief patron – filled Melbourne’s halls with a considerable selection. With time, these casts were discarded. The now lost collection seldom receives more than a passing remark in scholarship. However, these early displays in (what would become) the National Gallery of Victoria reimagined European Winckelmann-inspired curatorial models. The resulting experience made viewing into a performative action of nascent civic identity. Considered within current practice, Melbourne’s casts expose the implications of curatorial ideology.
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Verhoeff, Tristan Joseph. "New records and descriptions of recent Australian brachiopods (Terebratulida, Dallinidae and Aulocothyropsidae; and Rhynchonellida, Frieleiidae)." Australian Journal of Taxonomy 11 (January 1, 2023): 1–29. http://dx.doi.org/10.54102/ajt.hplgy.
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The recent brachiopod fauna of Australia remains poorly understood with several species lacking upto-date descriptions, and with many unidentified or misidentified specimens in museum collections. A large collection of brachiopods housed at the Tasmanian Museum and Art Gallery was recently examined to allow the re-description of two Australian endemic Dallinid brachiopods, Jaffaia jaffaensis and Campages furcifera, and identify new species and species occurrences. Furthermore, the large number of specimens allowed ecological aspects to be explored. As a result, the morphology and variation of C. furcifera and J. jaffaensis were clarified and expanded, a new deep-sea Dallinid species, Dallina tasmaniaensis, sp. nov. was described, the first occurrence of this genus from Australia, and the deep-sea Aulocothyropsid species Fallax neocaledonensis and Rhynchonellid Neorhynchia strebeli were also recorded from Australia for the first time. Jaffaia was revealed to be far more alike Nipponithyris than previously appreciated. The morphometric relationships of the three Dallinid species were found to differ significantly, with the attachment substrata and epibiota particularly prominent and diverse for J. jaffaensis and C. furcifera. This research facilitates the improved identification of Australian brachiopods, significantly increases understanding of variation within local species, and highlights the underappreciated biodiversity of deep-sea brachiopods in Australian waters.
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FRAMENAU, VOLKER W., NIKOLAJ SCHARFF, and HERBERT W. LEVI. "Not from Down Under: new synonymies and combinations for orb-weaving spiders (Araneae: Araneidae) erroneously reported from Australia." Zootaxa 2073, no. 1 (April 16, 2009): 22–30. http://dx.doi.org/10.11646/zootaxa.2073.1.2.
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The examination of type material of presumed Australian orb-weaving spiders as part of a revision of the Araneidae of this country revealed that a number of species are not from Australia. The Natural History Museum, Vienna (Austria) holds the type material of three species of orb-weaving spiders that were originally described from Australia, however all of the species are undoubtedly of American, most likely southern Brazilian, origin and it is unlikely that they were collected in Australia. We propose the following synonymies and generic transfers: Acacesia tenella (L. Koch, 1871) comb. nov. (= Acacesia cornigera Petrunkevitch, 1925 new synonymy); Alpaida navicula (L. Koch, 1871) comb. nov. (= Alpaida roemeri (Strand, 1908) new synonymy); and Eustala mucronatella (Roewer, 1942) comb. nov. In addition, Novearanea queribunda (Keyserling, 1887) comb. nov. (= Araneus quaesitus (Keyserling, 1887) new synonymy; = Novaranea laevigata (Urquhart, 1891) new synonymy) is a New Zealand orb-weaving spider based on the labels that were found with the type specimens housed at the Natural History Museum, London (England). In the original description no locality data was given for N. queribunda and “Australien” was erroneously listed for A. quaesitus.
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Branagan, D. "Samuel Stutchbury and the Australian Museum." Records of the Australian Museum, Supplement 15 (October 16, 1992): 99–110. http://dx.doi.org/10.3853/j.0812-7387.15.1992.87.
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Nettelbeck, A. "The Australian Frontier in the Museum." Journal of Social History 44, no. 4 (June 1, 2011): 1115–28. http://dx.doi.org/10.1353/jsh.2011.0047.
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Bevan, A. W. R. "The Western Australian Museum meteorite collection." Geological Society, London, Special Publications 256, no. 1 (2006): 305–23. http://dx.doi.org/10.1144/gsl.sp.2006.256.01.15.
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Turner, Rowland E. "Australian Braconidae in the British Museum." Transactions of the Royal Entomological Society of London 66, no. 1-2 (April 24, 2009): 91–114. http://dx.doi.org/10.1111/j.1365-2311.1918.tb02587.x.
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Jansen, Justin J. F. J. "Towards the resolution of long-standing issues regarding birds collected during the Baudin expedition to Australia and Timor (1800–1804): specimens still present, and their importance to Australian ornithology." Journal of the National Museum (Prague), Natural History Series 186, no. 1 (December 1, 2017): 51–84. http://dx.doi.org/10.2478/jzh-2018-0003.
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Abstract This paper is a follow-up to Jansen 2014 and Jansen 2016b. There are 228 Australian bird specimens preserved in European museums today, collected in 1801–1803 during the expedition commanded by Nicolas Baudin to Australia and Timor. No less than 397 specimens accumulated during the Baudin expedition still survive. The Australian bird collection made during and preserved from the Baudin expedition was the most significant up to that time, though subsequently surpassed by the collecting activities of John Gilbert (1838–1845), John Gould (1838–1840) and Jules Verreaux (1842–1852). The Baudin Timor (Moluccas) collection is likewise notable in size, with 117 bird specimens still preserved; it was the first collecting executed by Westerners and subsequently brought back to Europe, later surpassed by the collecting activities of Salomon Müller (1828–1829), Alfred Wallace (1858–1861) and Heinrich Bernstein (1860–1864). In this article, I present data on Baudin specimens in Europe’s oldest museum collections. I also traced other birds collected in Australia from the second half of the 18th century and first decade of the 19th century. I furthermore comment on the possible sources of some material, whether the specimens are still in existence, and finally, the importance of the Baudin expedition for Australian ornithology.
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Torrence, Robin, and Susan Davies. "Theory versus practice in the duplicate selections from the British New Guinea Official collection." Memoirs of the Queensland Museum - Culture 13 (2022): 381–402. http://dx.doi.org/10.17082/j.2205-3239.13.1.2022.2022-13.
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Reconstructing the concepts and methods used to select objects from the British New Guinea Official collection at the Queensland Museum for exchange with other museums exposes intriguing differences between theory and practice that shed light on how ethnographic material was valued at this specific time and place. The large scale of the Official collection coupled with a lack of storage space had a major effect on how Charles de Vis, curator at the Queensland Museum, identified supposedly ‘duplicate’ material for distribution to the British Museum, the Queensland Museum and two additional museums in the Australian colonies. Although his relationships with curators at two of the museums probably had a minor influence on his selections, the bulk of the objects was chosen from categories with the largest number of specimens. Multiple copies of undecorated forms that de Vis had registered sequentially were also targeted, especially in cases where the original uses by the source communities were obscure to the curator. Although the concept of ‘uniqueness,’ probably influenced by concepts derived from biological taxonomy, guided how de Vis made his choices, the logistical demands of curating such a large collection had the most impact on the duplicate selection.
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LEEUWEN, MICHAEL VAN. "Simon Rood Pittard (1821–1861) Curator of the Australian Museum." Archives of Natural History 25, no. 1 (February 1998): 9–24. http://dx.doi.org/10.3366/anh.1998.25.1.9.
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Previous historians of the Australian Museum (Strahan, 1979; Whitley, 1959) have tended to regard Simon Rood Pittard's short term as Curator of the Australian Museum almost purely as a precursor to that of the most important Australian-based Curator of the nineteenth century, Gerard Krefft (1830– 1881). Without the disruption caused by Pittard's untimely death, Krefft would never have become Curator (with the responsibilities of Director), with such important consequences for the Museum. However, Pittard's work does bear scrutiny as part of the mid-century development of the Museum along more professional lines. In the short period that Pittard was active at the Museum he fulfilled many of the requirements placed upon him by the Trustees, including the propagation of the study of natural history via a series of very successful lectures; advising of the Museum's existence and activities with a series of exchange letters around the globe; and the design of a new wing of the Museum. Pittard's role in the beginnings of the evolutionary debate in the Colony is also of great interest. It will also be shown how Pittard's death led directly to the elevation of Gerard Krefft to the curatorship of the Museum.
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Krige, Anna-Sheree, Siew-May Loh, and Charlotte L. Oskam. "New host records for ticks (Acari : Ixodidae) from the echidna (Tachyglossus aculeatus) revealed in Australian museum survey." Australian Journal of Zoology 65, no. 6 (2017): 379. http://dx.doi.org/10.1071/zo18018.
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A nationwide survey was conducted for ticks (Ixodidae) removed from echidnas, Tachyglossus aculeatus (Shaw, 1792), that had been previously collected between 1928 and 2013, and archived within Australian national (Australian National Insect Collection, Australian Capital Territory) and state (Queensland, South Australia, Victoria, and Western Australia) natural history collections. A total of 850 ticks from 89 T. aculeatus hosts were morphologically identified to determine instar, sex and species. Seven larvae, 349 nymphs and 494 adults were identified; 235 were female and 259 were male. The most common tick species was Bothriocroton concolor (Neumann, 1899) (89.2%). In addition, ticks previously recorded from T. aculeatus were identified, including Amblyomma australiense Neumann, 1905 (1.8%), Amblyomma echidnae Roberts, 1953 (0.1%), Bothriocroton hydrosauri (Denny, 1843) (1.4%), Bothriocroton tachyglossi (Roberts, 1953) (1.5%) and Ixodes tasmani Neumann, 1899 (1.2%). For the first time, 22 Amblyomma fimbriatum Koch, 1844 (2.6%) and 19 Amblyomma triguttatum Koch, 1844 (2.2%) ticks were recorded from T. aculeatus. This is the first survey to utilise archived Australian tick collections for the purpose of acquiring new data on tick species that parasitise T. aculeatus.
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Zhang, Rui, and Fanke Peng. "Connection: Digitally Representing Australian Aboriginal Art through the Immersive Virtual Museum Exhibition." Arts 13, no. 1 (December 27, 2023): 9. http://dx.doi.org/10.3390/arts13010009.
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In 2022, the National Museum of Australia launched an immersive virtual exhibition of Australian Aboriginal art: Connection: Songlines from Australia’s First Peoples, which was created and produced by Grande Experiences, the same team that produced the multisensory experience Van Gogh Alive. The exhibition employs large-scale projections and cutting-edge light and sound technology to offer a mesmerizing glimpse into the intricate network of Australian Aboriginal art, which is an ancient pathway of knowledge that traverses the continent. Serving as the gateway to the Songlines universe, the exhibition invites visitors to delve into the profound spiritual connections with the earth, water, and sky, immersing them in a compellingly rich and thoroughly captivating narrative with a vivid symphony of sound, light, and color. This article examines Connection as a digital storytelling platform by exploring the Grande Experiences company’s approach to the digital replication of Australian Aboriginal art, with a focus on the connection between humans and nature in immersive exhibition spaces.
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McShane, Ian. "Productive Nation? Museums, Cultural Policy and Australia’s Productivity Narrative." Museum and Society 14, no. 1 (June 9, 2017): 131–45. http://dx.doi.org/10.29311/mas.v14i1.669.
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This article traces the emergence of productivity as a central theme in Australia’s national cultural policy, and discusses some implications of this development for the Australian museum sector. The analysis focuses on two texts – Australia’s two national cultural policies, Creative Nation (1994) and Creative Australia (2013) – to highlight changing policy rhetorics through which cultural heritage and cultural pluralism lose traction, and productivity, innovation and creativity find favour. The article argues that the government’s concern to boost sources of economic growth in twenty-first century Australia focus cultural policy on the arts and creative industries, seen as the locus of innovation and the wellspring of creative activity. The article argues against this narrow construction of productivity and its sources, showing why museums are important contributors to a productivity policy agenda in a culturally diverse and globalized society. Key words: cultural policy, Australia, creative industries, productivity, diversity
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ZHANG, JINGHUAI, and PAT HUTCHINGS. "A revision of Australian Pectinariidae (Polychaeta), with new species and new records." Zootaxa 4611, no. 1 (May 27, 2019): 1. http://dx.doi.org/10.11646/zootaxa.4611.1.1.
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Samples of Pectinariidae in the Australian Museum and Museums of Victoria, Australia were examined. Thirteen species were identified, including three additional records of previously recorded species of Amphictene and two new species, A. cercusa n. sp. and A. undulata n. sp., two species of the genus Lagis which has not previously been recorded from Australia, including a new species, L. portus n. sp., and five additional records of previously recorded species of Pectinaria and one new species, P. ningalooensis n. sp. The study revealed additional characters which are useful to identify species of pectinariids, a pair of ear-shaped lobes which are adjacent to both sides of dorsal base of cephalic veil in species of Pectinaria and Amphictene, but in Lagis they are present between the buccal cavity and lateral margin of segment 1; and a pair of ventral lappets which have not previously been described on the lateral margin of segment I in all species of pectinariids from Australia. For species where numerous individuals were available for study, we investigated how some characters, change with increasing body size. A key to all recorded species from Australia is given, but does not imply any phylogenetic relationships.
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Edwards, Matthew L., and David B. Waisel. "49 Mathoura Road." Anesthesiology 121, no. 6 (December 1, 2014): 1150–57. http://dx.doi.org/10.1097/aln.0000000000000473.
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Abstract From 1930 to 1955, Geoffrey Kaye, M.B.B.S., was one of the most influential anesthetists in Australia. In 1951, he opened a center of excellence for Australian anesthesia at 49 Mathoura Road, Toorak, Melbourne, which Kaye affectionately called “The Anaesthestists’ Castle” and “49.” “49” was designed to foster the educational, research, and administrative activities that would allow Australian anesthesia to reach the level of practice and professionalism found in Europe and America. Kaye wholly financed the venture and lived on the second floor of the building. During his world-wide travels, Kaye had developed a friendship with Paul M. Wood, M.D., the originator of the American Library-Museum now known eponymously as the Wood Library-Museum of Anesthesiology. Through the letters Kaye sent to Wood, the authors see Kaye’s perception of the events surrounding the rise and fall of “49.” Kaye’s early letters were optimistic as he discussed the procurements and provisions he made for “49.” His later letters exhibit frustration at the lack of participation by members of the Australian Society of Anaesthetists. Kaye was truly a visionary for his time. He believed that the diffusion center which “49” was to become was not only realistic and achievable but also necessary if Australian anesthesia was to gain international prominence comparable to anesthesia in Europe and North America. In the end, the failure of “49” left Kaye estranged from Australian anesthesia for many years. How this estrangement affected Australian anesthesia is unknown.
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Bekele, Mafkereseb Kassahun, Erik Champion, David A. McMeekin, and Hafizur Rahaman. "The Influence of Collaborative and Multi-Modal Mixed Reality: Cultural Learning in Virtual Heritage." Multimodal Technologies and Interaction 5, no. 12 (December 5, 2021): 79. http://dx.doi.org/10.3390/mti5120079.
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Studies in the virtual heritage (VH) domain identify collaboration (social interaction), engagement, and a contextual relationship as key elements of interaction design that influence users’ experience and cultural learning in VH applications. The purpose of this study is to validate whether collaboration (social interaction), engaging experience, and a contextual relationship enhance cultural learning in a collaborative and multi-modal mixed reality (MR) heritage environment. To this end, we have designed and implemented a cloud-based collaborative and multi-modal MR application aiming at enhancing user experience and cultural learning in museums. A conceptual model was proposed based on collaboration, engagement, and relationship in the context of MR experience. The MR application was then evaluated at the Western Australian Shipwrecks Museum by experts, archaeologists, and curators from the gallery and the Western Australian Museum. Questionnaire, semi-structured interview, and observation were used to collect data. The results suggest that integrating collaborative and multi-modal interaction methods with MR technology facilitates enhanced cultural learning in VH.
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Grincheva, Natalia. "Mapping museum ‘Soft Power’: Adding geo-visualization to the methodological framework." Digital Scholarship in the Humanities 34, no. 4 (December 24, 2018): 730–51. http://dx.doi.org/10.1093/llc/fqy072.
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Abstract The article proposes, justifies, and tests a new methodological framework to measure museum ‘soft power’ by employing geo-visualization as a new method empowered by the rapid development of digital humanities. This research not only demystifies the buzz term of ‘soft power’ that is frequently applied in relation to contemporary museums and their international cultural engagements but also develops an evaluation framework to assess museum capacities to exert global impacts. Specifically, the article draws on the academic scholarship outlining a plethora of approaches for ‘soft power’ evaluation, including Resources, Outputs, Perceptions, and Networks evaluation models. It argues for a new integrative approach that can comprehensively combine different methods to construct a more advanced tool to measure museum ‘soft power’. The article draws on preliminary results of developing a digital mapping system to assess museum soft power. It shares findings from the pilot project, Australian Center of the Moving Image (ACMI) on the Global Map, designed in collaboration with the ACMI in Melbourne.
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Jaggard, E. D. "Review of Stephen Anstey’s Howzat! Western Australians and Cricket, Western Australian Museum." History Australia 4, no. 2 (January 2007): 52.1–52.2. http://dx.doi.org/10.2104/ha070052.
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Sturma, Michael. "Review of The Western Australian Maritime Museum." History Australia 2, no. 2 (January 2005): 51–1. http://dx.doi.org/10.2104/ha050051.
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