Relevant bibliographies by topics / Glass art Australia

Academic literature on the topic 'Glass art Australia'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Glass art Australia"

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Kaino, Lorna. "The ‘Problem of Culture’: A Case Study of Some Arts Industries in Southwest Western Australia." Media International Australia 101, no. 1 (November 2001): 127–39. http://dx.doi.org/10.1177/1329878x0110100114.

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This paper presents a case study of three glass art studios situated in the southwest of Western Australia. The study is designed to provide a model for a larger study of the arts industries that will contribute to a strategic analysis of cultural policies for arts industry development. Its purpose is to offer insights into why arts policy frameworks and arts development strategies in the southwest of Western Australia appear to have had limited outcomes consistent with their arts industry objectives. It proposes that one of the reasons — difficult to formalise in policy documents but a persistent theme in informal discussions I have had with arts practitioners all over the southwest region — is a conceptual problem related to instrumentalities charged with the responsibility of implementing arts policy and development. I propose that this is a ‘problem of culture ‘. I explore this proposition in relation to cultural policy planning and development at the regional level within a wider framework at the state and federal levels in Australia and internationally.
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Ivanyshyn, Ostap. "Experiment in the art of Klaus Moje." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 265–77. http://dx.doi.org/10.37131/2524-0943-2019-39-18.

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The paper overviews a lifetime achievement of german native australian artist Klaus Moje in the field of decorative glass art. An article traces the development of his artwork in the late 1900th - early 2000th. Much attention is given to Moje`s innovative approach of traditional technique. It is made an attempt to evaluate the implementation of new methods and technics to the educational process. It is analysed a contribution of an artist in the context of the studio glass movement. The paper describes most creative periods and examines appropriate artworks. The results of collaboration between an artist and a manufacturer of coloured glass are revealed. Main articles to the theme is observed. The determination of kilnforming, as an independent medium technique is considered. The results obtained confirm the significant contribution of an outstanding artist, which allows to determine his prominent place in thу world history of art
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Shevtsova, Maria. "The Art of Stillness: Brook's ‘Impressions de Pelléas’." New Theatre Quarterly 10, no. 40 (November 1994): 358–65. http://dx.doi.org/10.1017/s0266464x00000907.

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How well Jan Kott understands that theatre is always our contemporary and must be shown to be our contemporary if it is not to become like old bones locked up in a glass case in a museum. He also explains with rare finesse that it is contemporary differently. Theatre lives in the here-and-now according to the culture making, interpreting, and appropriating it – and even reappropriating it, when it seems to have gone to belong somewhere else. Jan Kott knows, too, that reclaiming a culture means reclaiming a part of oneself. This tribute – part of research supported by the Australian Research Council Large Grants Scheme – explores a kind of reappropriation in the work of an early, professed admirer of Kott, Peter Brook.
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Elias, Ann. "Aquariums and human–animal relations at the Great Barrier Reef." Queensland Review 28, no. 2 (December 2021): 98–113. http://dx.doi.org/10.1017/qre.2022.6.

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AbstractIn the early twentieth century, great delight in the unique tropical beauty of the Great Barrier Reef, coupled with an opportunistic spirit for commercial development, inspired the commission of eye-catching posters and advertisements by Australian tourist organisations. The aim of this article is to discuss a pictorial device that developed alongside the rise of modern tourist advertising images of Great Barrier Reef – a split-level viewpoint that approximates the effect of looking at the Reef through the glass sides of an aquarium. Building on my earlier research published in 2019 on wildlife photography and the construction of the Great Barrier Reef as a modern visual spectacle, and combining art history with environmental history, this article also turns to coloured advertising lithographs. It argues that split-level visualisations separate human from non-human and elevate the idea of human superiority. With the Great Barrier Reef facing unprecedented ecological pressures, the historical images at the centre of this article are instructive for understanding the deleterious effects of anthropogenic impact, as well as early twentieth-century attitudes towards human–non-human relations.
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Lozanovska, Mirjana, and Akari Nakai Kidd. "‘Vacant Geelong’ and its lingering industrial architecture." Architectural Research Quarterly 24, no. 4 (December 2020): 353–68. http://dx.doi.org/10.1017/s1359135520000421.

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Once a prosperous manufacturing town, Geelong in Victoria, Australia is undergoing a process of deindustrialisation and, in turn, redefining its identity to better retain viability in a globalised world. For instance, the town bid to host a Guggenheim museum on its Eastern Beach shore at the turn of the millennium, and has recently become a UNESCO City of Design (2017). Like so many declining regional industrial towns, Geelong has been undercut by the new economic forces, and has sought a new identity in cultural economies. The ‘Vacant Geelong’ project, which began at Deakin University in 2015 and is ongoing, evolved as a response to vacant industrial architecture in Geelong. Major industries including Ford (vehicles), Alcoa (aluminium), timber sawmills, wool mills, Pilkington Glass, cement works, and the oil refinery once defined the town and its history as an industrial architectural landscape.1 Major industries transformed the architectural and cultural terrain. Despite these cycles of transformation and erasure, and counter to a progressive and chronological approach to change, the ‘Vacant Geelong’ project explored this vacancy of industrial operation, yet presence of industrial architecture. Through inscriptions – artworks, design projects, creative research, installations, texts – it addressed those material realities that did not leave, the industrial structures – silos, ducts, chimneys, warehouses – that give Geelong its continuing industrial architectural character.
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Blackman, Cally. "The Colour of Fashion at the Salon du Goût Français: A Virtual Exhibition of French Luxury Commodities, 1921–1923." Costume 56, no. 1 (March 2022): 51–73. http://dx.doi.org/10.3366/cost.2022.0218.

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This article investigates the use of the Autochrome, an important photographic process invented by the Lumière brothers that produced the most accurate representation of colour between 1907 and the early 1930s, in a government-backed exhibition of French luxury commodities, the Salon du Goût Français. Between 1921 and 1923 the exhibition showed in Paris and undertook two international tours, first to North America and then to Australasia, China, Vietnam, Japan and India. Thousands of objects were displayed, from automobiles to umbrellas, including couture, ready to wear, lingerie, menswear, children's wear and accessories. By reducing the objects to two dimensions on the glass Autochrome plates, the exhibition could be shown in a relatively small venue in Paris, transported to America in a trunk and voyage on a decommissioned battle cruiser to the Far East. Using the trope of Western fashion as a form of soft power mediated by the global reach afforded by the Autochromes, the article proposes that the Salon du Goût Français offered a kind of roving virtual art gallery, a vividly colourful encyclopaedic display of over 2,000 images of luxury manufacturing deployed to restore France's imperial and cultural hegemony as supreme arbiter of taste after the trauma of the First World War.
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Endersby, Jim. "The evolving museum." Public Understanding of Science 6, no. 2 (April 1997): 185–206. http://dx.doi.org/10.1088/0963-6625/6/2/005.

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This paper examines a recent exhibition on evolution at the Australian Museum, in Sydney, and contrasts it with the museum's earlier exhibitions on the same theme, looking at the images of science each presents. The differences between the most recent display and its predecessors can be broadly grouped under three themes: the use of narrative and chronology to organize the display; the use of realistic dioramas and reconstructions; and the use of glass cases to keep the visitors and the science apart. Partly through deliberate decisions and partly through other pressures—including space, time and financial considerations—the newest exhibition has resolved some of the problems exemplified by the earlier ones. Nevertheless, other difficulties remain and the conclusion sketches some possible directions which museum designers might explore in the future.
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Mejia- Mertel, Juliana, and Juan P. Rojas -Hernandez. "1707. Clinical Profile of Human T-Lymphotropic Virus Type I Infection in Pediatric Population in a Referral Hospital in Colombia." Open Forum Infectious Diseases 7, Supplement_1 (October 1, 2020): S836—S837. http://dx.doi.org/10.1093/ofid/ofaa439.1885.

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Abstract Background The Human T-lymphotropic virus type 1 (HTLV-1), affects around ten to twenty million people worldwide, predominantly in intertropical regions (Africa, Japan, Melanesia, Australia, and South America Pacific Coast). The most common disorders associated are T-cell leukemia/lymphoma (ALT) and HTLV-1-associated myelopathy (HAM). Studies have reported other clinical manifestations in HTLV-1, still studies are needed in pediatric population to improve diagnosis and treatment of infected patients. Methods Descriptive, retrospective cohort study, conducted in our referral pediatric hospital in Cali, Colombia. Included pediatric patients (1 to 18 years of age) diagnosed with HTLV-1 infection, between January 2017 to March 2020. Results Twelve patients were included, seven males and five females. Eleven patients were from and resided in the Colombian Pacific coast. Ten patients showed nutritional deficiencies. None showed clinical or laboratory signs of ALT, neither neurological symptoms or physical exam suggesting HAM. In terms of associated diseases and opportunistic infections, none had a positive HIV ELISA test, and stool tests were all negative for Strongiloydes. Four presented infective dermatitis, and two showed lesions suggesting scabies. Eight patients presented respiratory symptoms with chest CT scans showing signs of chronic inflammation, bronchiectasis, and subpleural bullae as the major findings. Additional tests were carried out in bronchoalveolar fluid, four had positive galactomannan test,suggesting pulmonary aspergillosis, two exhibited positive gene PCR testing for Mycobacterium tuberculosis. Regarding inflammatory diseases, one patient presented with symptoms of Inflammatory Bowl Disease, with biopsy confirming Crohn’s disease. Another patient presente abrupt vision loss, diagnosed with Vogt Koyanagi Hadara Syndrome after ophthalmological evaluation. Summary features HTLV-1 patients Ground-glass opacity diffusely distributed in both lungs with multiple bronchiectasis involving predominantly lung bases. Cystic images diffusely distributed in both lungs, some subpleural and other centrilobular. Conclusion It is important to consider alternative manifestations of HTLV-1 infection in the pediatric population, including pulmonary disease, opportunistic co-infections, and inflammatory disorders. It is crucial to diagnose this disease in childhood to reach a better control of this neglected infection that affects predominantly vulnerable population in low-income countries. Disclosures All Authors: No reported disclosures
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Stucky, M., B. K. Hopkins, and C. Herr. "94 CRYOPRESERVATION OF HONEY BEE SPERMATOZOA." Reproduction, Fertility and Development 20, no. 1 (2008): 127. http://dx.doi.org/10.1071/rdv20n1ab94.

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Our project investigated a new method for the cryopreservation of honey bee (Apis mellifera) sperm cells (SC). Few methods have been developed and none achieve normal sex ratios in progeny. Recently, honey bee colonies have been decimated by colony collapse disorder and infestation by varroa bee mites. A bank of preserved SC might enable the creation of a seed stock for restoration of genetic diversity through AI (Cobey 1983 Am. Bee J. 123, 389–395). We investigated two freezing rates using two diluents and their effect on post-thaw survival of the SC. The slower freezing rate was chosen from a report with the highest success to date (Harbo 1983 Ann. Entomol. Soc. Am. 76, 890–891). The rapid freezing rate was a method developed by us. We reasoned that the small volumes of ejaculate made it potentially suitable for vitrification. The SC were frozen either in 40% Harbo's DMSO diluent containing 25% DMSO, 25% egg yolk, 50% buffer (1.1% NaH2PO4�H2O (w/v) and 0.845% Na2HPO4�2H2O (w/v)), and 60% semen; or in 50% glycerol-based diluent containing 9% glycerol, 24% egg yolk, 67% buffer (5.9% Tris (w/v), 0.8% glucose (w/v), and 3.2% citric acid (w/v)), and 50% semen. Ejaculates were collected by applying bilateral pressure to the abdomens of the drones causing endophallus eversion. About 1 µL (8 � 106 SC) of ejaculate was drawn into siliconized 50-µL capillary tubes fitted to a Hamilton threaded-plunger syringe preloaded with Fluorinert (Sigma, St. Louis, MO, USA). Micro-glass cryostraws (µC) were constructed by pulling Pasteur pipettes to a 230-µm internal diameter and keeping what was the tip end of the pipette as the large end of the µC. The large end was fitted with Silastic tubing to act as a bulb for drawing and expelling fluid. Three µC per treatment were filled with 5 µL of diluted ejaculate and sealed with Critoseal. The µC were inserted into 500-µL Cassou straws (IMV Technologies, L'Aigle, France), immersed in a water bath, and cooled from 21�C to 5�C over 2 h. A Freeze Control� programmable cryochamber (CryoLogic Pty. Ltd., Mulgrave, Victoria, Australia) was used to cool samples slowly from 5�C to –40�C at 3�C min–1. At –40�C, the cryostraws were plunged into liquid N2 (LN2). Rapid freezing was done by plunging µC into a LN2 vortex, created using a magnetic stir bar. The µC were reinserted into the Cassou straws, while still under LN2, for storage in an LN2 tank. The µC were thawed by removal from the Cassou straws and immediate immersion in a 35�C H2O bath. Survival rates were evaluated using a dual fluorescent staining system (Molecular Probes, Eugene, OR, USA) and fluorescent microscopy. The largest portion of live staining cells (93.18%) were treated with DMSO diluent using the rapid freezing. The remaining treatments ranked as follows: slow freezing with DMSO (78.84%), rapid freezing with glycerol (38.9%), and slow freezing with glycerol (26%). All treatments differed significantly (P < 0.01). Other studies state that queens inseminated with greater than 50% viable SC have a good probability of producing normally throughout a season. Therefore, our technique of rapid freezing in DMSO diluent might be useful to apiculturists.
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Simpson, Elizabeth. "Yuri Kalashnik,Greek Gold from the Treasure Rooms of the Hermitage, exh. cat. Aldershot, Eng., and Burlington, Vt.: Lund Humphries in assoc. with the Hermitage Amsterdam, 2004. 127 pp., 73 color pls., bibliog. $40, £19.99.Françoise Gaultier and Catherine Metzger,Trésors antiques: Bijoux de la collection Campana, exh. cat. Paris: Musée du Louvre, 2005. 192 pp., 400 color pls., 45 b/w ills., bibliog., index. Paper, EUR 38.Electra Georgoula, ed.,Greek Treasures from the Benaki Museum in Athens, exh. cat. Sydney, Australia: Powerhouse Museum, Sydney, in assoc. with Benaki Museum, Athens, 2005. 264 pp., 161 color pls., bibliog., gloss. Paper, $40." Studies in the Decorative Arts 14, no. 2 (March 2007): 178–81. http://dx.doi.org/10.1086/652886.

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Dissertations / Theses on the topic "Glass art Australia"

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Blakeley-Carroll, Grace. "Illuminating the spiritual : the symbolic art of Christian Waller." Phd thesis, Canberra, ACT : The Australian National University, 2017. http://hdl.handle.net/1885/146396.

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Australian artist Christian Waller nee Yandell (1894-1954) created artworks that unified her aesthetic and spiritual values. The technical and expressive brilliance of her work across a range of art media - drawing, painting, illustration, printmaking, stained glass and mosaic - makes it worthy of focused scholarly attention. Important influences on her practice included Pre-Raphaelitism, Art Deco and the Celtic Revival. Her spirituality was informed by a range of orthodox and alternative systems of belief, including: Christianity, Theosophy, the Hermetic Order of the Golden Dawn and the international Peace Mission Movement. Acting as an emissary, she included personal symbols - especially the sun, the moon, stars and flowers - in her artworks to encourage spiritual contemplation. In this thesis, I argue that Waller harnessed the decorative and expressive potential of these movements - along with a commitment to Arts and Crafts values - to develop a personal set of symbols that expressed her sense of the spiritual. This encompassed the harmony of word, image and message, which underscored her work. It is for this reason that I locate Waller within the international discourse of spiritual art. Despite her remarkable talents across media and the distinctive quality of her art, Waller has always occupied a peripheral position within Australian art and art history. Even when she is included in significant books and exhibitions, most often it is in relation to her hand-printed book 'The Great Breath: A Book of Seven Designs' (1932) and her relationship with her husband, fellow artist Napier Waller. Key aims of this thesis are to highlight the breadth and depth of Waller's art practice and to demonstrate that she made important contributions to Australian art and to art that addresses the sacred.This thesis introduces a number of Waller's artworks, stories and personal ephemera into scholarship, making a comprehensive study of the artist possible for the first time. It makes a major contribution to scholarship on the artist, especially in relation to the spiritual values that underpinned her practice, as expressed in the key symbols that are identified. By extension, it contributes a more nuanced understanding of art produced between the First and Second World Wars to Australian art history and to scholarship on art that addresses the sacred.
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Larkin, Brendan, and mikewood@deakin edu au. "The weaning and growth of Anguilla australis glass eels and elvers." Deakin University. School of Ecology and Environment, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20060713.113837.

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Anguilla australis glass eels proved to be resilient and present strong aquaculture potential. General husbandry techniques, anaesthesia and prophylactic treatments were established for glass eels between 0.1 g and 2.0 g and elvers between 2.0 g and 8.0 g, caught in rivers and estuaries along the South East Coast of Victoria. The protozoan parasites Ichthyobodo and Trichodina were found to be present on arrival to the hatchery developed during different rearing treatments, and were successfully eradicated. A. australis glass eels accepted artificial food, but it was recommended first be fed a preweaning diet of minced fish flesh. A weaning regime from minced fish flesh to commercially available eel grower mash, over 15 days was established. Growth rate proved to be highly variable, both between and within groups. The highest growth rate of 2.71%/day was found when the natural diet of minced fish and Artemia was fed. The maximum growth rate when reared on an artificial diet of 1.63%/day was observed at 25°C. Growth was affected by the presence or absence of a preweaning diet, weaning diet, weaning period, temperature, but not by size or density. Once weaned, glass eels were found to perform better on commercially available grower mash than on the minced fish flesh, which was used to aid in weaning them to artificial diets. Of the water quality parameters measured stocking density was found to affect pH, Total Ammonia Nitrogen, Total Phosphorus, and Dissolved Oxygen, through not to an extent which affected growth.
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Harvey, Clare Lynette Eden, and clare harvey@flinders edu au. "Through the Looking Glass: The Politics of Advancing Nursing and the Discourses on Nurse Practitioners in Australia." Flinders University. School of Nursing and Midwifery, 2010. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20100708.110421.

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Nursing has a tradition of subservience and obedience. History provides an account of secular and religious orders of nursing shaping a view of virtuous and tireless dedication in carrying out the doctor’s orders. Nurse Practitioners were first introduced to the health care system in the 1960s as a solution to the medical shortage being experienced in United States of America at that time. They assumed clinical tasks, traditionally regarded as doctor’s work. Since then the Nurse Practitioner movement has expanded globally. Australia introduced the Nurse Practitioner role in 1998, heralding a new era in the health system of that country. Its introduction has created diverging views which are influence role implementation. This study examines social and political discourses that are affecting the development of Nurse Practitioners in Australia, using text and language to identify discursive practices. It has set out to determine whether Nurse Practitioners have the autonomy that professional nursing leaders have described in policy, or whether the introduction of the role has merely shifted nursing’s sphere of influence within a traditional health care system. Using Fairclough’s notion of power behind discourse, the language and discourses of Nurse Practitioners were explored in relation to what was happening around role development and how Nurse Practitioners positioned themselves within the environment where they worked. The use of a Critical Discourse Analysis has allowed for the various social, historical and political perspectives of nursing to be examined. Fairclough’s three levels of social organisation have been used to identify the divergent discourses between the truths of implementation of the role at individual and organisational level and comparing it to that of the rhetoric of health policy. The discourses surrounding the creation of this advanced nursing role have been the focus of analysis. This analysis has revealed how role development is controlled by powerful groups external to the nursing profession. The dominant discourses use the traditional health care divisions of labour to maintain control through a financially driven focus on health care which does not necessarily revolve around clinical need. Further complicating the position of Nurse Practitioners is the internalisation of those dominant discourses by the nurses themselves. It reinforces Fairclough’s view that the dominant power lies behind the discourse, using the system itself to maintain a status quo, rather than overtly opposing it. Nurse Practitioners, despite being held out by the nursing profession as clinical leaders, are not able to influence change in health care or in their own roles. The results have further shown that nursing managers do not have an influence over the direction that health care and nursing takes. Further research is necessary to examine the broader leadership role of nursing within health care nationally and internationally, in order to establish the real position of nursing within the decision making framework of health care service development.
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Cowie, Barbara Jane. "A study through text and artifacts of the major factors that have influenced the development of studio glassmaking in South Australia from a glassmaker's perspective : history and practice of studio glass blowing in South Australia." 2004. http://arrow.unisa.edu.au/vital/access/manager/Repository/unisa:36829.

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Although many texts discuss studio glass blowing in Australia, few focus on the South Australian situation and even fewer are written by studio glass blowers themselves. As a studio glass blower, I bring to this research experiential knowledge of practice to offer new insights into studio glass blowing. The study accesses knowledge that is implicit, embodied and tacit; knowledge derived from living and working within a particular community. In using this knowledge, I highlight the importance of both financial survival and the development of practice in creating a practitioner's perspective of studio glass blowing in South Australia. The study is designed as an ethnography. This incorporated a review of the literature and images found in published texts; interview and questionnaire data; anecdotal narratives and familiarity with the South Australian glass blowing community; and tacit knowledge of glass blowing practice, glass blowing skills and techniques. This tacit knowledge was accessed through an auto-ethnographic investigation of re-making the selected artefacts. The selection of these artefacts was based on my personal knowledge of glass blowing processes, first hand relationships with individual glassblowers, observation of artefacts and prior experience of working as a studio glass blower.
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Wang, Sunny. "Report : Chinese characters." Master's thesis, 2001. http://hdl.handle.net/1885/155757.

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Aubort, Lucette. "Report : A Spirit from the Sea." Master's thesis, 2004. http://hdl.handle.net/1885/155462.

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Horton, Ede. "Sub-thesis." Master's thesis, 2002. http://hdl.handle.net/1885/155963.

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Horton, Ede. "Report." Master's thesis, 2002. http://hdl.handle.net/1885/155966.

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Stewart, Peter. "Report." Master's thesis, 2004. http://hdl.handle.net/1885/155881.

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Kesteven, Sue. "Report." Thesis, 2006. http://hdl.handle.net/1885/156378.

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Books on the topic "Glass art Australia"

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Ebeltoft, Glasmuseum. Ausglass: An exhibition of glass art by 16 artists from Australia. Ebeltoft: Glasmuseum, 1995.

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Ioannou, Noris. Australian studio glass: The movement, its makers, and their art. Roseville East, NSW: Craftsman House, 1995.

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Gallery, Kurland/Summers. Australian kiln/formed glass: Exhibition April 13, 1989 - May 13, 1989. Los Angeles: Kurland/Summers Gallery, 1989.

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Shards of glass: Children reading and writing beyond gendered identities. Cresskill, N.J: Hampton Press, 1993.

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Davies, Bronwyn. Shards of glass: Children reading and writing beyond gendered identities. Cresskill, NJ: Hampton Press, 2002.

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Shards of glass: Children reading and writing beyond gendered identities. St. Leonards, N.S.W., Australia: Allen & Unwin, 1993.

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Wagga Wagga City Art Gallery., ed. Art glass from Australia: [exhibition. Wagga Wagga, Australia: Wagga Wagga City Art Gallery, 1990.

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Art, Canberra School of, ed. Latitudes: Bullseye glass in Australia. Canberra: Canberra School of Art, 1998.

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Ebeltoft, Glasmuseum. Ausglass: An exhibition of glass art by 16 artists from Australia. Glasmuseum, 1995.

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Links: Australian Glass and the Pacific Northwest. University of Washington Press, 2013.

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Book chapters on the topic "Glass art Australia"

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Litster, Mirani, Daryl Wesley, and Gretchen M. Stolte. "Developing approaches for understanding Indigenous Australian glass bead use during the contact period." In The Archaeology of Portable Art, 299–318. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315299112-18.

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Urwin, Chris, Lynette Russell, and Lily Yulianti Farid. "Cross-Cultural Interaction across the Arafura and Timor Seas." In The Oxford Handbook of the Archaeology of Indigenous Australia and New Guinea, C51.S1—C51.N8. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190095611.013.51.

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Abstract Prior to sustained contact with Europeans, Aboriginal people in parts of northern Australia—coastal regions of the Kimberley, Arnhem Land, and the Gulf of Carpentaria—interacted with people from South Sulawesi and other parts of eastern Indonesia, especially Makassar. The visitors (often called ‘Macassans’) arrived on Australian shores annually in sailing ships (praus) to harvest trepang (also called sea cucumber, bêche-de-mer) and to exchange things and ideas with Aboriginal people. Within Australia, evidence for these interactions can be seen in Macassan trepang processing sites (often associated with introduced tamarind trees); the inclusion of Indonesian borrow words in local Aboriginal languages; paintings of praus in Aboriginal rock art sites; and Aboriginal archaeological deposits containing Asian pottery, metal, and glass. More broadly, the histories of these interactions are found within oral traditions from either side of the Arafura and Timor Seas. Archaeology has begun to show that Aboriginal people selectively engaged in exchange with Indonesian people, using traded items to sustain customary exchange and new maritime technology to transform how they engaged with coast and sea. Macassan trepanging visits to northern Australia date from the eighteenth century to c. CE 1907, though some archaeological and oral historical evidence suggests that initial encounters occurred before CE 1664. Yet key questions remain regarding the nature of Macassan-Aboriginal interactions, and, fundamentally, the chronology of cross-cultural contact in northern Australia.
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"Peter Weir and the Piano Concerto." In Voicing the Cinema, edited by Erik Heine, 207–26. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0012.

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Australian director Peter Weir’s career has spanned five decades, working in both Hollywood and Australia. One typical trait in his films is the subject matter that typically falls outside of Hollywood spectacle, choosing to focus on characters and introspection. Another trait is the use of preexisting art music in nearly all of his films. Weir’s use of art music spans more than 400 years, drawing on a wide range of composers such as Albinoni, Bach, Mozart, Beethoven, Chopin, Vaughan Williams, Glass, and Górecki, among others. One genre, the piano concerto, is used particularly effectively in Weir’s films. The second movement of Beethoven’s Piano Concerto No. 5, “Emperor,” is used in two films, Picnic at Hanging Rock and Dead Poets Society. In The Truman Show, the second movement of Chopin’s Piano Concerto No. 1 is used, in each case sounding a “voice of innocence” to the respective characters, a wordless voice that the characters are unable to articulate themselves. This musical voice protests the repressive structures that these characters confront, and the play between soloist and orchestra in these slow movements serves as a particularly apt musical metaphor for their highly regimented lives and their dreams of escaping the control.
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"Challenges for Diadromous Fishes in a Dynamic Global Environment." In Challenges for Diadromous Fishes in a Dynamic Global Environment, edited by Donald J. Jellyman and Melissa M. Bowen. American Fisheries Society, 2009. http://dx.doi.org/10.47886/9781934874080.ch17.

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<em>Abstract</em>.-The location of the spawning grounds of the three species of <em>Anguilla </em>that occur in New Zealand and Australia, shortfin eel <em>A. australis</em>, Australian longfin eel <em>A. dieffenbachii</em>, and Australian longfin eel (also known as speckled longfin eel) <em>A. reinhardtii</em>, are unknown. No larvae of New Zealand longfin eels have been collected, and too few shortfin eel and speckled longfin eel larvae have been collected to use conventional back-tracking of progressively smaller larvae to determine likely spawning areas. The limited larval material together with results from satellite tracking pop-up tags from New Zealand longfin eels indicate that spawning of all three species will be in the tropics, and possible areas were further demarcated by developing a Lagrangian trajectory model based on surface currents derived from hydrography, satellite altimetry, and wind stress. The initial model assumed passive drift of larvae, a third of the total time spent in near-surface layers, and arrival within the larval lifetimes indicated by ages of metamorphosing glass eels. The proportion of successful trajectories enabling arrival offshore of New Zealand or Australia was substantially improved by addition to the model of directed swimming of the larvae towards a destination. The model indicated that possible spawning areas for all three species would be in the northeast of New Caledonia, perhaps within the North Fiji basin between Vanuatu and Fiji. Spawning within this region is consistent with the locations of known larvae, probable migration routes, and the distribution of adult eels in both countries.
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Sergi, Anna. "From St Kilda To Kings Cross." In Chasing the Mafia, 70–103. Policy Press, 2022. http://dx.doi.org/10.1332/policypress/9781529222432.003.0004.

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There are songs that brand entire experiences or entire periods of your life. For me, in Sydney, that song was ‘From St Kilda to Kings Cross’, by Australian songwriter Paul Kelly. One of those songs everyone seems to know in Australia. And the lyrics I can still recollect: ‘From St Kilda to Kings Cross is thirteen hours on a bus | I pressed my face against the glass And watched the white lines rushing past | And all around me felt like all inside me | And my body left me and my soul went running.’ This is the song I listened to the first time I went there. And at the moment when I realized that Sydney never quite conquered my heart. Unlike Paul Kelly, the first time I went to Sydney, it was by train and not by bus, from Canberra. It was October 2015 and I had been in Canberra for a week or so. A ‘week or so’ in Canberra equals three months. I don’t get that city. Large avenues, few cars, many shopping malls, the smallest city centre ever, hidden in between malls, no one around, everyone inside massive buildings, shops, houses. Is this how Australia is run? For three days I couldn’t even find a proper restaurant because I was living in the southern part of the city, far away from what they call the Civic Centre. You cannot properly walk in Canberra; the roads are meant for cars. It is all large white buildings immersed in their own green lawns.
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Lin, Yuqi. "Multiculturalism in Higher Education." In Handbook of Research on Practices for Advancing Diversity and Inclusion in Higher Education, 49–64. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-9628-9.ch003.

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Internationally, myriad policies and programs are designed to create a multicultural environment to encourage interactions between culturally different groups and promote international student engagement. Despite these efforts, social and cross-cultural integration remains hard to achieve, as there is a glass wall between cultural groups that prevent the progress of multiculturalism. Acknowledging that, this chapter critically reflects on the theoretical and practical development of multiculturalism with a special focus on higher education policies. Taking Australian universities as an example, it uses textual analysis to examine how the policies of prominent Australian universities address the issues of multiculturalism. It argues that while some achievements have been obtained, a more critical, inclusive mindset should be taken to further innovate the existing policies.
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"Eels at the Edge: Science, Status, and Conservation Concerns." In Eels at the Edge: Science, Status, and Conservation Concerns, edited by Don J. Jellyman. American Fisheries Society, 2009. http://dx.doi.org/10.47886/9781888569964.ch3.

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<em>Abstract.—</em>The two main species of freshwater eels in New Zealand, the shortfin <em>Anguilla australis </em>and the endemic longfinned eel <em>A. dieffenbachii</em>, are extensively commercially exploited and also support important customary fisheries. Since there are no commercial glass eel fisheries in New Zealand, other indices must be used to indicate changes in recruitment over time. While there is some anecdotal evidence of reductions in glass eel recruitment, there is evidence of poorly represented cohorts of longfins within some populations, and modeling of these data indicate a substantial reduction in recruitment over the past two decades. Growth of both species is typically slow at 2–3 cm per year, meaning that both species are susceptible to commercial capture for many years until spawning escapement. Extensive commercial fishing has resulted in more substantial changes in length-frequency distributions of longfins than in shortfins; likewise, regional reductions in catch per unit effort are more significant for longfins. Theoretical models of silver eel escapement indicate that longfin females are especially susceptible to overexploitation. Shortfins would have been more impacted than longfins by loss of wetlands, but the impact of hydro stations on upstream access for juvenile eels and downstream access for silver eels would have been more severe for longfins. Overall, there is no clear evidence that the status of shortfin eel stocks has been seriously compromised by the extensive commercial eel fishery, but there is increasing evidence that longfins are unable to sustain present levels of exploitation.
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McDonagh, Josephine. "Transported!" In Literature in a Time of Migration, 112–49. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192895752.003.0004.

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A shared interest in the practice of colonization as a form of predation and capture provides a surprising link between Edward Gibbon Wakefield’s writings about systematic colonization and Charlotte Brontë’s whimsical juvenile writings. Both present their ideas in fictional form, and their colonies as imaginative constructs. Wakefield’s theory, which was influential in shaping British colonial policy, involved transporting working-class families to Australia to establish a labour force within new settlements. To reinforce the difference between his scheme and that of chattel slavery, he emphasized the freedom of his workers. Yet his scheme entailed significant restraints of their personal liberties: their freedom of movement, association, and right to own property, as well as the requirement to marry and have children. Similar preoccupations are evident in an earlier episode in Wakefield’s biography, in which he kidnapped a young woman in order to marry her for her family’s wealth and prestige. Brontë, who was roughly the same age as Wakefield’s young victim, explores these themes explicitly in her own teenage accounts of a colony in Africa, Glass Town. Co-authored with her siblings, this intricate saga of conquest and settlement by a group of European explorers presents a juvenile commentary on contemporary colonial practices. It reveals the coercive violence within the colony, as well as the submerged erotic elements within it. It also shows the ways this same violence underpins fictional narratives, especially the marriage plots that Brontë develops in her mature works.
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"decency, compassion. Neighbours resembles the down-home, wholesome populism of a Frank Capra comedy except that its suburban protagonists are saved the trouble of traveling to and from a big city to discover their true values. 8 Differences are resolved, dissolved, or repressed The characters are “almost compulsively articulate about problems and feelings” (Tyrer 1987). Crises are solved quickly, usually amicably. Conflict is thus managed almost psychotherapeutically by and within the inner circle of family, and the outer circle of Ramsay Street. Witness the episode broadcast on April 23, 1992 in Australia: after fire destroys much of Gaby’s clothes boutique, three female neighbors remake the lost stock, while three male neighbors clear up the debris from the shop. As the theme song has it: “Neighbours should be there for one another.” Incursions of conflict from the social world beyond these charmed circles are treated tokenistically or spirited away. The program blurs or represses differences of gender politics, sexual preference, age, and ethnicity. Domestic violence and homosexuality, male or female, are unknown. Age differences are subsumed within family love and tolerance. Aboriginal characters manage a two-episode plot line at most (Craven 1989: 18), and Greeks, despite the real Melbourne being the third largest Greek city in the world, figure rarely. Neighbours-watchers could likewise be forgiven for not knowing that Melbourne has the largest Jewish community in Australia. The program elides questions of disability, alcoholism, or religious difference. It displaces drug addiction on to a friend outside immediate family circles (Cousin 1992). Unemployment as a social issue is subordinated to the humanist characterization of Brad, for instance, as dopey, happy-go-lucky surfie. Neighbours counterposes suburban escapism to the high-gloss escapism of Santa Barbara. 9 Depoliticized middle-class citizenship These “cosy parish pump narratives,” as Ian Craven calls them, depoliticize the everyday (Craven 1989: 21). Such good middle-class suburban citizenship is roundly condemned by no less than Germaine Greer: The world of Neighbours is the world of the detergent commercial; everything from the kitchen worktops to the S-bend is squeaky clean. Everyone’s hair and underwear is freshly laundered. No one is shabby or eccentric; no one is poor or any colour but white. Neighbours is the Australian version of the American dream, owner-occupied, White-Anglo-Saxon-Protestant paradise. (Greer 1989) In this blithely comfortable middle-class ethos, the characters seem never to have problems with mortgage repayments. Commenting on the opening episodes of Neighbours, a British critic underlines its property-owning values:." In To Be Continued..., 111. Routledge, 2002. http://dx.doi.org/10.4324/9780203131855-13.

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"37). Indeed, rumour had it that one of them, En cas de bonheur, was nicknamed En cas de déprogrammation (In Case of Happiness/In Case of Cutting from the Schedules) (Pélégrin 1989: 37). The third and least powerful element in this force field is the British contribution to French TV serial fiction. As the French preference for the high(er) cultural mini-series might lead one to expect, British production is represented by BBC-style middle-brow costume dramas such as The Forsyte Saga, rather than by such soaps as Coronation Street or EastEnders, neither of which had been screened in France when Neighbours opened. This triangular force field of high-gloss prime-time American soaps and high(er) cultural French and British costume and psychological dramas afforded no familiar televisual footholds for a Neighbours. It landed in a limbo, possibly ahead of its time, but certainly lost in 1989. Whereas its register of the everyday proved readily assimilable to the British aesthetic discourse of social realism exemplified by such community-based soaps as Brookside, EastEnders, and even Coronation Street, such a discourse is in France found less in soaps than in quite another genre, the policier. Simultaneously, Neighbours fails to measure up to two key expectations of French television serial fiction: its psychological characterization with psychologically oriented mise-en-scène, and its polished, articulate dialog involving word-games and verbal topping (Bianchi 1990: 100–101). The second and third factors working against Neighbours’s French success are linguistic and to do with television imports. Both the unfamiliarities of the English language and of other Australian televisual product doubtless played their part in Neighbours’s failure in France. Linguistically, France is more chauvinist than such European countries as Holland, Belgium, and Germany, where Australian and British soap operas and mini-series are much more widely screened. And apart from short runs of Young Doctors, A Country Practice, and a few oddball exports, Australian televisual material is known best through the mini-series All the Rivers Run, The Thornbirds, and Return to Eden (which was successful enough on TF1 in 1989 for La Cinq to rescreen it in 1991). This is a far cry from the legion Australian soaps which paved the way for Neighbours in Britain. All in all, the prospects for Neighbours in France were not promising. In the event, as in the USA, it secured no opportunity to build up its audience. Antenne 2 declined to discuss the brevity of its run or its (too) frequent rescheduling. Catherine Humblot, Le Monde’s television commentator, sees a “French mania for change in television scheduling” as a widespread phenomenon: “if a programme has no immediate success, then they move it” (Humblot 1992). Rolande Cousin, the passionate advocate of Neighbours who had previously sold Santa Barbara and Dallas in France, adds that Antenne 2’s lack of confidence in the Australian soap may have been exacerbated by its employment policy of the time of offering golden handshakes to its experienced management and installing young blood. This would have arisen from Antenne 2’s difficulties finding adequate advertising revenue to support its." In To Be Continued..., 127. Routledge, 2002. http://dx.doi.org/10.4324/9780203131855-29.

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Conference papers on the topic "Glass art Australia"

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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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Kohlenbach, P., S. McEvoy, W. Stein, A. Burton, K. Wong, K. Lovegrove, G. Burgess, W. Joe, and J. Coventry. "Novel Parabolic Trough Collectors Driving a Small-Scale Organic Rankine Cycle System." In ASME 2007 Energy Sustainability Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/es2007-36157.

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This paper presents component performance results of a new parabolic trough collector array driving an organic Rankine cycle (ORC) power generation system. The system has been installed in the National Solar Energy Centre at CSIRO Energy Technology in Newcastle, NSW, Australia. It consists of four rows of 18 parabolic mirrors each in a 2×2 matrix with a total aperture area of approximately 132m2. The absorber tube is a laterally aligned, 40mm copper tube coated with a semi-selective paint and enclosed in a 50mm non-evacuated glass tube to reduce convection losses. The mirror modules, which are light-weight and robust, are made from thin low iron back silvered glass bonded to a sheet steel substrate. They are supported by a box truss on semi circular hoops running on rollers for single axis tracking. The mirror design has been chosen to allow low-cost manufacturing as well as simple commissioning and operation. The ORC unit is a FP6 unit sourced from Freepower Ltd. with a net power output of 6kWel at 180°C inlet temperature and a total heat input of 70 kWth. It uses a two-stage expansion process with hydrofluoroether as the working fluid. A wet cooling tower is used to dissipate the reject heat from the ORC. The two key components of the envisioned system are the trough reflector/receiver and the ORC unit. The optical performance of the mirror elements was investigated with regard to the flux mapping onto the receiver tube. The ORC unit has been tested separately using an electrical oil heater as the heat source. This paper presents results for irradiation capture and intensity over the receiver width of a single trough mirror module. The complete system including trough collectors and ORC has not been in transient operation yet, thus experimental steady-state results of the ORC unit are presented.
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Tobin, Genevieve Mary. "The silver lining: preliminary research into gold-coloured varnishes for loss compensation in two 19th C silver gilded frames." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13498.

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Golden varnishes appear on frames, furniture, wall hangings, leatherwork, panel paintings, mural paintings, and polychromy, and were applied to white metal gilding to imitate gold and other semi-precious materials. Despite the number of examples in cultural heritage there are few publications that discuss the ethical considerations of treating coloured silver gilded surfaces. The chromatic reintegration of gold-coloured varnishes on white metal gilding present specific material and technical challenges. In 2021 the Art Gallery of New South Wales (AGNSW) treated two identical late 19th century silver gilded frames for portraits by Joseph Backler from the Australian collection. In addition, a third portrait required the fabrication of a reproduction frame identical to the others. Conservation of the frames presented an opportunity for carrying out experiments into coloured coatings for loss compensation on silver gilding exploring applications for select conservation paints, dyes, and synthetic resins as substitutes for shellac. The results of experiments demonstrate that with the right application Liquitex Soluvar Gloss Varnish, Laropal A81 and Paraloid B72, present gloss levels and visual film forming properties comparable to shellac coatings when applied to burnished gilding. Additional tests with various dye colours illustrate that Orasol ® dye mixtures in colours Yellow 2GLN, Yellow 2RL, and Brown 2GL are reliable colour imitations for traditional gold-coloured varnishes. Although this research is preliminary, it may inform the selection and application of appropriate retouching materials for compensating losses to burnished silver leaf and golden varnishes in gilding conservation.
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