Relevant bibliographies by topics / Sculpture, Australian 21st century

Academic literature on the topic 'Sculpture, Australian 21st century'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Sculpture, Australian 21st century"

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Birden, Hudson, and Sue Page. "21st century medical education." Australian Health Review 31, no. 3 (2007): 341. http://dx.doi.org/10.1071/ah070341.

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Australian universities provide good examples of how to meet the growing challenges to the training of doctors that have resulted from information overload in traditional curricula, new models of care, including multidisciplinary team dynamics, and the rigours of evidence-based practice.
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Whyte, Ann. "Positioning Australian Universities for the 21st Century." Open Learning: The Journal of Open, Distance and e-Learning 16, no. 1 (February 2001): 27–33. http://dx.doi.org/10.1080/02680510124902.

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Vanclay, J. K. "Educating Australian foresters for the 21st century." International Forestry Review 9, no. 4 (December 2007): 884–91. http://dx.doi.org/10.1505/ifor.9.4.884.

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Bishop, Paul, and Brad Pillans. "Introduction: Australian geomorphology into the 21st century." Geological Society, London, Special Publications 346, no. 1 (2010): 1–6. http://dx.doi.org/10.1144/sp346.1.

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Tennant, Marc, and John K. McGeachie. "Australian dental schools: Moving towards the 21st century." Australian Dental Journal 44, no. 4 (December 1999): 238–42. http://dx.doi.org/10.1111/j.1834-7819.1999.tb00226.x.

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Duckett, Stephen J. "Health workforce design for the 21st century." Australian Health Review 29, no. 2 (2005): 201. http://dx.doi.org/10.1071/ah050201.

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The Australian health workforce has changed dramatically over the last 4 years, growing in size and changing composition. However, more changes will be needed in the future to respond to the epidemiological and demographic transition of the Australian population. A critical issue will be whether the supply of health professionals will keep pace with demand. There are current recorded shortages of most health professionals, but this paper argues that future workforce planning should not be based on providing more of the same. Rather, the roles of health professionals will need to change and workforce planning needs to place a stronger emphasis on issues of workforce substitution, that is, a different mix of responsibilities. This will also require changes in educational preparation, in particular an increased emphasis on interprofessional work and common foundation learning.
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Alt, Gordon. "The Resurgence of the Figure and Its Importance in 21st Century Sculpture." Sculpture Review 68, no. 2 (June 2019): 9–21. http://dx.doi.org/10.1177/0747528419874021.

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Hamnett, Stephen, and Paul J. Maginn. "Australian Cities in the 21st Century: Suburbs and Beyond." Built Environment 42, no. 1 (March 1, 2016): 5–22. http://dx.doi.org/10.2148/benv.42.1.5.

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Bartholomew, Iain. "The australian minerals industry-resources for the 21st century." RESOURCES PROCESSING 42, no. 1 (1995): 44–49. http://dx.doi.org/10.4144/rpsj1986.42.44.

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WALL, T. F., A. L. SALUSINSZY, D. B. EBELING, G. R. DREWE, K. M. SULLIVAN, P. BEERAN, and G. B. SMITH. "Energy Options for the 21st Century—An Australian Perspective." Energy Sources 14, no. 3 (July 1992): 253–63. http://dx.doi.org/10.1080/00908319208908724.

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Dissertations / Theses on the topic "Sculpture, Australian 21st century"

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Robb, Charles. "The Self as Subject and Sculpture." Thesis, Monash University, 2008. https://eprints.qut.edu.au/16903/1/16903.pdf.

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This paper analyses and contextualises the artist’s exploration of self-portraiture through the sculptural bust format. Conventionally, the portrait bust epitomises an antiquated view of the human subject as fixed, finite and knowable. The classicistic allusion of the form seems the perfect embodiment of a pre-modern and hopelessly idealised view of subjectivity and its capacity to be represented. This paper will show how, despite these impressions, the portrait bust is in fact a highly volatile sculptural form in which presence and absence are brought into question. When used as a vehicle for self-portraiture the bust yields a spectrum of instability, both literal and metaphoric, that calls into question the clarity of notions of subject and object and challenges the ideas of authority and representation more broadly. By providing an historical overview of the role of the portrait bust, this paper will map the field of content inherent to the portrait bust and discuss its application in contemporary self-portraiture. As the work of Mike Parr, Janine Antoni and Marc Quinn demonstrates, the classical certainty that permeates the bust format can indeed heighten the capacity of the form to represent uncertainty: an ambiguity that makes it a highly potent form for sustained studio investigation and experimentation. This paper will provide an overview of this experimental scope and application, by discussing the author’s process of sculptural self-portraiture in relation to aspects of ‘likeness’, expression, truncation and reproduction that occur in the form.
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Collins, Julie. "Ship of Fools." University of Ballarat, 2008. http://innopac.ballarat.edu.au/record=b1508425.

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The Ship of Fools is an ancient allegory that has long been a part of Western culture in literature, art and song... It has been chosen by many to comment on contemporary issues throughout history, highlighting the foibles of that society. The ship of fools however is also about our world, as a vessel, full of passengers of humanity, full of those who have no care what they do or where they are going... It is the 21st Century and we are all sailing on a Ship of Fools. We consume beyond reason, we want, and get the latest, newest, biggest things. We complain about interest rates and petrol prices, but consume beyond reason often with purchases on credit we don't really need.
Master of Arts (Visual Arts)
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Merkley, John. "Transitions : multi-media abstract sculpture." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1305451.

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The first objective of this creative project was to create seven Non-figurative, abstract, multi-media (wood, metals, clay, concrete, glass) sculptures that attempted to express some of the feelings experienced during transitions in life. The second objective was to explore the continuum of abstract sculptural art: from art being simply aesthetically stimulating compositions to art that emphasizes meaning or purpose first, and being aesthetically pleasing or stimulating second.
Department of Art
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Tomasik, Andrew J. "Forms of honesty : tactile experiences and organic formation in ceramic sculpture." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1318939.

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The primary objective for this creative project is to develop a series of wheel-thrown and altered ceramic sculptures that reflect my intuitive formation process. Although the work was influenced by a wide variety of outside sources, much of the impetus was born of my personal reflections on the concept of physical touch. My actions during the creation process were governed by sensory information absorbed mostly through my hands on the clay, and enhanced by inherent properties of the material. These preliminary experiences eventually sparked a desire to share this discovery with the viewer in the same tactile way. I further wished to include observers in the exhibit in a more direct and physical way, offering participants opportunities to explore their own sense of touch and consider how they relate to the objects around them. This body of work is an in-depth study of my intuitive creative process, a model for exploring the relationships between process and materials, and a means of providing observers of visual art a chance to connect with a visual object in a tactile way.
Department of Art
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Peterman, Aaron L. "Judgement." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1347734.

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The objective of this creative project is the creation of sculptures and paintings that make statements concerning judgment and its subsets, fault, blame, martyrdom, self-sacrifice, and absolution. The group of pieces shown at the Thesis Exhibition explores recurring themes and iconography within a historical context, while addressing issues in a contemporary social framework. Repetitive elements and images such as self-portraits, the pointing finger, and the heart, are set in the present, but layered with the iconography and history of Saint Sebastian. The techniques used to achieve these works are metal casting and fabrication, casting using a variety of materials, woodworking, and oil painting. These techniques, along with materials such as wood, steel, plaster, wax, and branches congeal to form a body of work that is conceptually harmonious.
Department of Art
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Gorman, Stephanie R. "Simultaneous opposition." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397372.

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The intention of this creative project is to explore the ideas of individuality and community through ceramic sculpture. The ultimate goal is to allow the viewers to draw their own conclusions about the suggested meaning, instead of forcing a direct reference. To achieve this, form, surface, texture, and grouping of individual pieces was utilized. Inspiration was drawn from the artworks of Barbara Hepworth, Michele Oka Doner, Yoonchung Kim, and from the multiple appendages of the sea anemone. The artworks were hand-built using high temperature clays that were fired in reduction, soda, and wood kilns. Plaster molds were used to maintain the identical forms, allowing the viewer to focus on textural variation.
Department of Art
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van, der Walt Jonathan Petra. "Craftsmanship in contemporary art: an exposition of selected artists’ practical non-involvement." Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/21285.

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Craftsmanship in contemporary art production is the main area of focus for this visual arts based research. An exploration into the artistic production processes of selected contemporary artists’ work, reveals a tendency of physical non-involvement on the part of the artist, who takes up the role of art director. The research enquiry attempts to provide an answer as to whether credit should be given to the craftsman as well as to the artist in this artist/craftsman relationship. The use of a practice-led research strategy allows the researcher’s art-making practice to become an integral part of the cycles of research, as the development of the researcher’s practical understanding, techniques and execution are crucial in the practical component, but also conceptually as a stance in opposition to the selected artists’ lack of practical involvement. The researcher has identified and analysed the following five factors that have contributed to this current state of art production in contemporary art: Kitsch as an influence on the subject matter and content of art, Marcel Duchamp and his idea of the ‘readymade’ and issues of authorship, Andy Warhol and his ideas on art and business, the Conceptual Art movement and, the act and product of craft being perceived as being inferior to the fine arts In addition, an exploration of the production processes involved in the creation of the artworks of Jeff Koons, Damien Hirst, Maurizio Cattelan and Takashi Murakami highlights the craftspeople, fabricators and foundries that are responsible for these artists’ highly crafted aesthetics. As practice is crucial in developing a new understanding and meaning in visual-arts based research, the practical component describes the researcher’s core practical themes as being the following:the creation of naturalistic figurative small-scale sculptures in resin and bronze, placing the characters explored in the theoretical component as the subject matter.The advantages and disadvantages of the collaborative experience with Sculpture Casting Services (fine art foundry) and eNtsa (a Technology Innovation agency), especially the implementation of 3D technologies in both experiences; and the technical development and understanding in order to improve the researcher’s artistic practice Collaboration is an important underlying theme throughout this research undertaking. It is crucial in the production of most contemporary art, and assists in identifying the artist’s role within the production of his/her work. Finally, it relates to the researcher’s collaborative experience expanded upon in the practical component and its benefits as a production method. In concluding, the researcher finds that craftspeople do receive credit for the work they do in the form of money, business and marketing. They provide a service that a great number of artists generously support. Foundries and fabricators also place a mark on the work they do, much like the artist’s signature, as a symbol of pride and recognition. It is ultimately the artist’s technical abilities, workload and artist identity or brand that will determine the extent to which he or she will contribute to the collaboration, whether that be a simple idea, a sketch, a maquette or a large-scale sculpture ready for installation. However, in a rapidly advancing technological society, it is the idea of the artist as craftsman, both thinker and maker, that demands more respect.
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Godfrey, Laura. "Contemplations of connection through the notion of boundaries : installations and ideas of paradox." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1272765.

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We are accustomed to meanings, signs, language, and the constraints, categories, and concepts which make-up what I acknowledge as boundaries. These are integral for interaction with people, with other forms of life, with landscapes, and with ourselves. Without boundaries there would not be progression or understanding with that which is "the other."Boundaries are categorized into four areas within these creative projects. They are environment, language, states of being, and destination. Within the categories various projects explore what create intangible separations which denote the boundary and create a visible representation of each.Within each category projects are organized by content, objective, and outcome. Some results proved to be more successful than others by effectively conveying meaning through the various imagery and objects of the installations. Often, a viewer's preference f one project over another was due to the use of a specific medium, building method, and overall design rather than the concept or idea which inspired it.The paradoxical notion of these explorations is due to the exemplification of the connections surrounding and, perhaps, instigating each boundary. Attempts to visibly explore boundaries through their connections provide glimpses of built separation markers (environment), words and phrases which may separate or connect (language), alterations of physicality (states of being), and the ambiguous quality which denotes a place (destination) such that each becomes discernable but, more importantly, that each may be surpassed. It is through the visibility of the categories and understanding of their connections in which the boundaries go beyond manifesting themselves through the viewers' collective questioning the possibilities.
Department of Art
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Mason, Anthony, and n/a. "Australian coverage of the Fiji coups of 1987 and 2000: sources, practice and representation." University of Canberra. Communication, 2009. http://erl.canberra.edu.au./public/adt-AUC20090826.144012.

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For many Australians, Fiji is a place of holidays, coups and rugby. The extent to which we think about this near-neighbour of ours is governed, for most, by what we learn about Fiji through the media. In normal circumstances, there is not a lot to learn as Fiji rarely appears in our media. At times of crisis, such as during the 1987 and 2000 coups in Fiji, there is saturation coverage. At these times, the potential for generating understanding is great. The reporting of a crisis can encapsulate all the social, political and economic issues which are a cause or outcome of an event like a coup, elucidating for media consumers the culture, the history and the social forces involved. In particular, the kinds of sources used and the kinds of organisations these sources represent, the kinds of themes presented in the reporting, and the way the journalists go about their work, can have a significant bearing on how an event like a coup is represented. The reporting of the Fiji coups presented the opportunity to examine these factors. As such, the aim of this thesis is to understand the role of the media in building relationships between developed and developing post-colonial nations like Australia and Fiji. A content analysis of 419 articles published in three leading broadsheet newspapers, The Sydney Morning Herald, The Australian and The Canberra Times, examined the basic characteristics of the articles, with a particular focus on the sources used in these articles. This analysis revealed that the reports were dominated by elite sources, particularly representatives of governments, with a high proportion of Australian sources who provided information from Australia. While alternative sources did appear, they were limited in number. Women, Indian Fijians and representatives of non-government organisations were rarely used as sources. There were some variations between the articles from 1987 and those from 2000, primarily an increase in Indian Fijian sources, but overall the profile of the sources were similar. A thematic analysis of the same articles identified and examined the three most prevalent themes in the coverage. These indicated important aspects of the way the coups were represented: the way Fiji was represented, the way Australia's responses were represented, and the way the coup leaders were represented. This analysis found that the way in which the coups were represented reflected the nature of the relationship between Australia and Fiji. In 1987, the unexpected nature of the coup meant there was a struggle to re-define how Fiji should be understood. In 2000, Australia's increased focus on Fiji and the Pacific region was demonstrated by reports which represented the situation as more complex and uncertain, demanding more varied responses. A series of interviews with journalists who travelled to Fiji to cover the coups revealed that the working conditions for Australian media varied greatly between 1987 and 2000. The situational factors, particularly those which limited their work, had an impact on the journalists' ability to access specific kinds of sources and, ultimately, the kinds of themes which appeared in the stories. The variation between 1987 and 2000 demonstrated that under different conditions, journalists were able to access a more diverse range of sources and present more sophisticated perspectives of the coup. In a cross-cultural situation such as this, the impact of reporting dominated by elite sources is felt not just in the country being covered, but also in the country where the reporting appears. It presents a limited representation, which marginalises and downplays the often complex social, cultural and historical factors which contribute to an event like a coup. Debate and alternative ways of understanding are limited and the chance to engage more deeply with a place like Fiji is, by and large, lost.
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Lyssa, Alison. "Performing Australia's black and white history acts of danger in four Australian plays of the early 21st century /." Thesis, Electronic version, 2006. http://hdl.handle.net/1959.14/714.

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Thesis (MA)--Macquarie University (Division of Humanities, Department of English), 2006.
Submitted in fulfilment of the requirements for the degree of Masters in English in the Division of Humanities, Dept. of English, 2006. Bibliography: p. 199-210.
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Books on the topic "Sculpture, Australian 21st century"

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McDougall, Derek. Australian foreign relations: Entering the 21st century. Frenchs Forest, N.S.W: Pearson Education Australia, 2008.

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Linda, Michael, and Art Gallery of South Australia., eds. 21st century modern: 2006 Adelaide Biennial of Australian art. Adelaide, S. Aust: Art Gallery of South Australia, 2006.

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Keyes, Mary, Thomas John, and Andrew Dickinson. Australian private international law for the 21st century: Facing outwards. Oxford: Hart Publishing, 2014.

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Hanne, Hagenaars, and Mulders Wim van, eds. Maria Roosen: Monster. Amsterdam: Valiz, 2009.

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Power + colour: New painting from the Corrigan collection of 21st century Aboriginal art. Melbourne, Australia: Macmillan, 2012.

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Combet, Greg. A new Australian consensus for the 21st century: Ninth annual Hawke lecture. Adelaide, S. Aust: Bob Hawke Prime Ministerial Library, 2006.

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Sotheby, Parke-Bernet, London. 19th and 20th century sculpture: Day of sale Tuesday, 21st November, 1995 ... . London: Sotheby's, 1995.

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The body as temple: Erotica from Telugu (2nd century B.C. to 21st century A.D.). Visakhapatnam: Drusya Kala Deepika, 2007.

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Śrīnivās, Śiṣṭlā. The body as temple: Erotica from Telugu (2nd century B.C. to 21st century A.D.). Visakhapatnam: Drusya Kala Deepika, 2007.

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Hornby, Frank. Australian local government and community development: From colonial times to the 21st century. North Melbourne, Vic: Arcadia, 2012.

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Book chapters on the topic "Sculpture, Australian 21st century"

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Sunderland, Graham, and Ian Stewart. "Police leadership in the 21st century." In Australian Policing, 39–54. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003028918-5.

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Birch, Philip, Michael Kennedy, and Erin Kruger. "Examining Australian policing in the 21st century." In Australian Policing, 1–4. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003028918-1.

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Prenzler, Tim, and Rick Sarre. "Community safety, crime prevention, and 21st century policing." In Australian Policing, 283–98. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003028918-21.

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Koul, Rekha B., Rachel Sheffield, and Leonie McIlvenny. "STEM, TVCs, and Makerspaces in the Australian Curricula." In Teaching 21st Century Skills, 171–88. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-4361-3_10.

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Brick, Jo. "Manoeuvre in the 21st century." In Australian Perspectives on Global Air and Space Power, 160–69. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003230656-19.

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Thomas, Stuart D. M. "Public health and its interface with police practice in the 21st century." In Australian Policing, 253–66. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003028918-19.

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Walsh, Michael. "The Rise and Rise of Australian Languages." In Endangered Languages in the 21st Century, 9–20. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003260288-3.

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Nash, David. "A Note on an Australian Homophone Loanshift." In Endangered Languages in the 21st Century, 258–71. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003260288-20.

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David Walton. "China and Japan in Australian Foreign Policy." In China-Japan Relations in the 21st Century, 355–75. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4373-4_15.

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Summers, Jane, and Melissa Johnson. "Segmentation of the Australian Sport Market." In Global Perspectives in Marketing for the 21st Century, 481–86. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-17356-6_147.

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Conference papers on the topic "Sculpture, Australian 21st century"

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Shields, Rebecca, and Ritesh Chugh. "Preparing Australian High School Learners with 21st Century Skills." In 2018 IEEE International Conference on Teaching, Assessment, and Learning for Engineering (TALE). IEEE, 2018. http://dx.doi.org/10.1109/tale.2018.8615207.

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Wallace, Patrick T., and Steve Lee. "Gear error corrections on the Anglo-Australian Telescope." In 1994 Symposium on Astronomical Telescopes & Instrumentation for the 21st Century, edited by Larry M. Stepp. SPIE, 1994. http://dx.doi.org/10.1117/12.176174.

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von der Heidt, Tania, Patrick Gillett, Michael B. Charles, and Neal Ryan. "Contractual arrangements and their implications for the provision of an Australian HSR system." In 2009 Second International Conference on Infrastructure Systems and Services: Developing 21st Century Infrastructure Networks (INFRA). IEEE, 2009. http://dx.doi.org/10.1109/infra.2009.5397867.

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Smith, Warren F., Troy M. Anforth, and Andrew M. Crane. "A Survey of Concurrent Engineering Design Practice in the Australian Automotive and Maritime Industries." In ASME 2000 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/detc2000/dtm-14575.

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Abstract It is our contention that engineering design in the 21st century requires a holistic systems approach that is flexible, adaptable and able to cope with change. Such an approach would draw on integrative design philosophies such as concurrent engineering. This paper presents a review of current design practice within two major Australian engineering sectors in an effort to benchmark the “state of practice” and allow for some assessment of the paradigm shift perceived to be required to take it to the “state of research” with respect to concurrent engineering.
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Carter, Nanette. "The Sleepout." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3999pm4i5.

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Going to bed each night in a sleepout—a converted verandah, balcony or small free-standing structure was, for most of the 20th century, an everyday Australian experience, since homes across the nation whether urban, suburban, or rural, commonly included a space of this kind. The sleepout was a liminal space that was rarely a formal part of a home’s interior, although it was often used as a semi-permanent sleeping quarter. Initially a response to the discomfort experienced during hot weather in 19th century bedrooms and encouraged by the early 20th century enthusiasm for the perceived benefits of sleeping in fresh air, the sleepout became a convenient cover for the inadequate supply of housing in Australian cities and towns and provided a face-saving measure for struggling rural families. Acceptance of this solution to over-crowding was so deep and so widespread that the Commonwealth Government built freestanding sleepouts in the gardens of suburban homes across Australia during the crisis of World War II to house essential war workers. Rather than disappearing at the war’s end, these were sold to homeowners and occupied throughout the acute post-war housing shortage of the 1940s and 1950s, then used into the 1970s as a space for children to play and teenagers to gain some privacy. This paper explores this common feature of Australian 20th century homes, a regional tradition which has not, until recently, been the subject of academic study. Exploring the attitudes, values and policies that led to the sleepout’s introduction, proliferation and disappearance, it explains that despite its ubiquity in the first three-quarters of the 20th century, the sleepout slipped from Australia’s national consciousness during a relatively brief period of housing surplus beginning in the 1970s. As the supply of affordable housing has declined in the 21st century, the free-standing sleepout or studio has re-emerged, housing teenagers of low-income families.
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Collins, Pauline Therese. "The Benefits of an action reflective assessment using role-plays in teaching mediation." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9192.

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Introducing action reflection learning into a law course to instil life-long learner skills and enable students to adapt to a new style of lawyering is essential if 21st Century lawyer needs are to be met. The paper describes the assessment, and the use of active reflective learning in a mediation course taught in an Australian law school. The benefits of such learning are described with specific attention to law teaching. Student reflections indicate the notable difference this teaching method had for their learning and development of a conflict resolution advocacy style.
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Howley, Peter, Ayse Bilgin, and Elena Prieto. "Engaging students and teachers through statistics towards greater connection and social responsibility." In Teaching Statistics in a Data Rich World. International Association for Statistical Education, 2017. http://dx.doi.org/10.52041/srap.17308.

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Arresting statistical anxiety and connecting students with statistics is critical in the big data age and for future generations to be socially responsible citizens. This paper outlines a national project-based learning activity, which facilitates interdisciplinary projects, engages students from varied backgrounds with varying areas of interest, and develops key communication, research and statistical skills aligned with national school curriculum outcomes. Allowing students to take the lead, determine the context and self-diagnose are powerful motivators. A mentoring model connecting industry, primary, secondary and tertiary educators has been invaluable to the project’s success. Australian school teachers are saying “21st Century learning at its best”, “motivates and engages students”. Mentors are saying “I was inspired by their keenness”, “provides students a unique opportunity”. Students are saying “engaging, educational and enjoyable”. Over 1000 students engaged with the competition in 2016.
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Benter, Markus M., Ian G. Bywater, and Ken E. Scott. "Low Ash Fuel and Chemicals From the Convertech Process." In ASME 1998 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/98-gt-351.

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A new, efficient process for reducing the ash content, drying and fractionating raw lignocellulosic materials into chemicals and a dry solid end product, eminently suitable as a fuel for conventional boilers or for milling to a fine powder for gas turbine firing, shows strong potential for renewable power generation. The dry, low ash solids, termed “Cellulig™”, will also be suitable for gasification and to drive gas turbines. Sustainable liquid and gaseous fuels will become increasingly necessary in the 21st century to reduce dependence on imported fuels, to replace dwindling supplies of oil and natural gas and to avoid environmental damage from green house gases. Convertech Group Ltd. has built a demonstration biomass processing plant at Burnham, Canterbury, New Zealand, with investment from the energy industry and the Australian Energy Research and Development Council. The essential chemical and process engineering elements are described and the current and future development opportunities outlined.
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Reports on the topic "Sculpture, Australian 21st century"

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Kholoshyn, I., T. Nazarenko, O. Bondarenko, O. Hanchuk, and I. Varfolomyeyeva. The application of geographic information systems in schools around the world: a retrospective analysis. IOP Publishing, March 2021. http://dx.doi.org/10.31812/123456789/4560.

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The article is devoted to the problem of incorporation geographic information systems (GIS) in world school practice. The authors single out the stages of GIS application in school geographical education based on the retrospective analysis of the scientific literature. The first stage (late 70 s – early 90s of the 20th century) is the beginning of the first educational GIS programs and partnership agreements between schools and universities. The second stage (mid-90s of the 20th century – the beginning of the 21st century) comprises the distribution of GIS-educational programs in European and Australian schools with the involvement of leading developers of GIS-packages (ESRI, Intergraph, MapInfo Corp., etc.). The third stage (2005–2012) marks the spread of the GIS school education in Eastern Europe, Asia, Africa and Latin America; on the fourth stage (from 2012 to the present) geographic information systems emerge in school curricula in most countries. The characteristics of the GIS-technologies development stages are given considering the GIS didactic possibilities for the study of school geography, as well as highlighting their advantages and disadvantages.
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