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1
Meakins, Felicity, and Carmel O’Shannessy. "Typological constraints on verb integration in two Australian mixed languages,." Journal of Language Contact 5, no. 2 (2012): 216–46. http://dx.doi.org/10.1163/19552629-006001001.
Повний текст джерелаАнотація:
Abstract Gurindji Kriol and Light Warlpiri are two mixed languages spoken in northern Australia by Gurindji and Warlpiri people, respectively. Both languages are the outcome of the fusion of a contact variety of English (Kriol/Aboriginal English) with a traditional Australian Aboriginal language (Gurindji or Warlpiri). The end result is two languages which show remarkable structural similarity. In both mixed languages, pronouns, TMA auxiliaries and word order are derived from Kriol/Aboriginal English, and case-marking and other nominal morphology come from Gurindji or Warlpiri. These structural similarities are not surprising given that the mixed languages are derived from typologically similar languages, Gurindji and Warlpiri (Ngumpin-Yapa, Pama-Nyungan), and share the Kriol/Aboriginal English component. Nonetheless, one of the more striking differences between the languages is the source of verbs. One third of the verbs in Gurindji Kriol is derived from Gurindji, whereas only seven verbs in Light Warlpiri are of Warlpiri origin. Additionally verbs of Gurindji origin in Gurindji Kriol are derived from coverbs, whereas the Warlpiri verbs in Light Warlpiri come from inflecting verbs. In this paper we claim that this difference is due to differences in the complex verb structure of Gurindji and Warlpiri, and the manner in which these complex verbs have interacted with the verb structure of Kriol/English in the formation of the mixed languages.
2
Curran, Georgia. "Desert Dreamers: With the Warlpiri People of Australia, by Barbara Glowczewski." Anthropological Forum 27, no. 3 (June 27, 2017): 281–83. http://dx.doi.org/10.1080/00664677.2017.1345454.
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3
Shaw, Margaret. "AARTI: Australian Art Index." Art Libraries Journal 11, no. 1 (1986): 17–20. http://dx.doi.org/10.1017/s0307472200004454.
Повний текст джерелаАнотація:
The Australian Art Index, AARTI, is one of a group of data bases within the Ausinet network which will, between them, cover contemporary Australian art and architecture on a national basis. National coverage is possible because of the small size of the Australian population, the existence of people prepared to take on the task with managements to back them and the availability of a network with the flexibility to take data in a wide range of formats. AARTI contains records of four types: monographs, journal articles, exhibitions and artists’ profiles. By April 1985 it contained some 9,500 records available online with a microfiche alternative for non-Ausinet members.
4
Beudel, Saskia, and Margo Daly. "Gallant Desert Flora: Olive Pink’s Australian Arid Regions Flora Reserve." Historical Records of Australian Science 25, no. 2 (2014): 227. http://dx.doi.org/10.1071/hr14016.
Повний текст джерелаАнотація:
In the mid-1950s Olive Pink campaigned to have an area of land in Alice Springs set aside as a flora reserve. In 1956 the area was gazetted as the Australian Arid Regions Flora Reserve, with Pink appointed as honorary curator. Although Pink was not a professional horticulturalist or botanist, she established a garden that marked itself out from contemporary gardens, such as Maranoa Gardens and the Australian National Botanic Gardens, which were similarly committed to showcasing indigenous Australian plants. Pink's approach was pioneering in that she aimed to create a collection of plants selected by a delineated ‘climatic zone' and geographic area rather than drawn from all parts of the continent. This article argues that Pink developed a distinctive form of horticultural work informed by her passion for and close artistic observation of desert flora; her long experience establishing and maintaining gardens under central Australian ecological conditions; along with her anthropological insight into Indigenous knowledge of flora gained through her studies with Arrernte and Warlpiri people. Today we might recognize the principles that informed Pink's garden through the concepts of ‘water-wise gardens' and environmental sustainability practices.
5
Wilczyńska, Elżbieta. "The Return of the Silenced: Aboriginal Art as a Flagship of New Australian Identity." Australia, no. 28/3 (January 15, 2019): 71–84. http://dx.doi.org/10.7311/0860-5734.28.3.07.
Повний текст джерелаАнотація:
The paper examines the presence of Aboriginal art, its contact with colonial and federation Australian art to prove that silencing of this art from the official identity narrative and art histories also served elimination of Aboriginal people from national and identity discourse. It posits then that the recently observed acceptance and popularity as well as incorporation of Aboriginal art into the national Australian art and art histories of Australian art may be interpreted as a sign of indigenizing state nationalism and multicultural national identity of Australia in compliance with the definition of identity according to Anthony B. Smith.
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Butler, Sally. "Inalienable Signs and Invited Guests: Australian Indigenous Art and Cultural Tourism." Arts 8, no. 4 (December 6, 2019): 161. http://dx.doi.org/10.3390/arts8040161.
Повний текст джерелаАнотація:
Australian Indigenous people promote their culture and country in the context of tourism in a variety of ways but the specific impact of Indigenous fine art in tourism is seldom examined. Indigenous people in Australia run tourism businesses, act as cultural guides, and publish literature that help disseminate Indigenous perspectives of place, homeland, and cultural knowledge. Governments and public and private arts organisations support these perspectives through exposure of Indigenous fine art events and activities. This exposure simultaneously advances Australia’s international cultural diplomacy, trade, and tourism interests. The quantitative impact of Indigenous fine arts (or any art) on tourism is difficult to assess beyond exhibition attendance and arts sales figures. Tourism surveys on the impact of fine arts are rare and often necessarily limited in scope. It is nevertheless useful to consider how the quite pervasive visual presence of Australian Indigenous art provides a framework of ideas for visitors about relationships between Australian Indigenous people and place. This research adopts a theoretical model of ‘performing cultural landscapes’ to examine how Australian Indigenous art might condition tourists towards Indigenous perspectives of people and place. This is quite different to traditional art historical hermeneutics that considers the meaning of artwork. I argue instead that in the context of cultural tourism, Australian Indigenous art does not convey specific meaning so much as it presents a relational model of cultural landscape that helps condition tourists towards a public realm of understanding Indigenous peoples’ relationship to place. This relational mode of seeing involves a complex psychological and semiotic framework of inalienable signification, visual storytelling, and reconciliation politics that situates tourists as ‘invited guests’. Particular contexts of seeing under discussion include the visibility of reconciliation politics, the remote art centre network, and Australia’s urban galleries.
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Daley, Linda. "This Photograph, These People and the Invention of Australian Indigenous Art." Third Text 24, no. 6 (October 29, 2010): 665–79. http://dx.doi.org/10.1080/09528822.2010.517915.
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HARRIS, AMANDA. "Representing Australia to the Commonwealth in 1965: Aborigiana and Indigenous Performance." Twentieth-Century Music 17, no. 1 (October 24, 2019): 3–22. http://dx.doi.org/10.1017/s1478572219000331.
Повний текст джерелаАнотація:
AbstractIn 1965, the Australian government and Australian Elizabethan Theatre Trust (AETT) debated which performing arts ensembles should represent Australia at the London Commonwealth Arts Festival. The AETT proposed the newly formed Aboriginal Theatre, comprising songmakers, musicians, and dancers from the Tiwi Islands, northeast Arnhem Land and the Daly River. The government declined, and instead sent the Sydney Symphony Orchestra performing works by John Antill and Peter Sculthorpe. In examining the historical context for these negotiations, I demonstrate the direct relationship between the historical promotion of ‘Australianist’ art music composition that claimed to represent Aboriginal culture, and the denial of the right of representation to Aboriginal performers as owners of their musical traditions. Within the framing of Wolfe's settler colonial theory and ‘logic of elimination’, I suggest that appropriative Australian art music has directly sought to replace performances of Aboriginal culture by Aboriginal people, even while Aboriginal people have resisted replacement.
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Cox, Anna, and Victoria Clydesdale. "Re-engaging disenfranchised Australian youth with education through explorations of self-identity, experiences and expression in Art." Polish Journal of Educational Studies 71, no. 1 (December 1, 2018): 171–84. http://dx.doi.org/10.2478/poljes-2018-0014.
Повний текст джерелаАнотація:
AbstractThis small scale research project undertaken in Australia investigates how an art-based approach can re-engage disenfranchised young people into education. The project was undertaken as part of Postgraduate Certificate in Education programme by the main researcher in Australia, at an educational setting for disenfranchised young people. The collection and analysis of qualitative data demonstrates how art stimulates students’ interest and provides support in self-expression and communication. Methodological strategies involved visual art activities that promote self-confidence and self-esteem, which enhance well-being and supportive teaching relationships. Using self-reflexivity through visual creativity was found to help participants in developing more positive self-image and enhanced their self-confidence as learners.
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Goldstein, Ilana Seltzer. "Visible art, invisible artists? the incorporation of aboriginal objects and knowledge in Australian museums." Vibrant: Virtual Brazilian Anthropology 10, no. 1 (June 2013): 469–93. http://dx.doi.org/10.1590/s1809-43412013000100019.
Повний текст джерелаАнотація:
The creative power and the economic valorization of Indigenous Australian arts tend to surprise outsiders who come into contact with it. Since the 1970s Australia has seen the development of a system connecting artist cooperatives, support policies and commercial galleries. This article focuses on one particular aspect of this system: the gradual incorporation of Aboriginal objects and knowledge by the country's museums. Based on the available bibliography and my own fieldwork in 2010, I present some concrete examples and discuss the paradox of the omnipresence of Aboriginal art in Australian public space. After all this is a country that as late as the nineteenth century allowed any Aborigine close to a white residence to be shot, and which until the 1970s removed Indigenous children from their families for them to be raised by nuns or adopted by white people. Even today the same public enchanted by the indigenous paintings held in the art galleries of Sydney or Melbourne has little actual contact with people of Indigenous descent.
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Tran, Ngoc Cao Boi. "RESEARCH ON THE ORIGINAL IDENTITIES OF SOME TRADITIONAL PAINTINGS AND ROCK ENGRAVINGS OF AUSTRALIAN ABORIGINAL COMMUNITIES." Science and Technology Development Journal 13, no. 3 (September 30, 2010): 43–57. http://dx.doi.org/10.32508/stdj.v13i3.2160.
Повний текст джерелаАнотація:
Different from many other communities, Australian aboriginal communities had lived separately from the rest of the world without any contact with great civilizations for tens of thousands of years before English men’s invasion of Australian continent. Hence, their socio-economic development standards was backward, which can be clearly seen in their economic activities, material culture, mental culture, social institutions, mode of life, etc. However, in the course of history, Australian aborigines created a grandiose cultural heritage of originality with unique identities of their own in particular, of Australia in general. Despite the then wild life, Aboriginal Art covers a wide medium including painting on leaves, wood carving, rock carving, sculpture, sandpainting and ceremonial clothing, as well as artistic decorations found on weaponry and also tools. They created an enormous variety of art styles, original and deeply rich in a common viewpoint towards their background – Dreamtime and Dreaming. This philosophy of arts is reflected in each of rock engravings and rock paintings, bark paintings, cave paintings, etc. with the help of natural materials. Although it can be said that most Aboriginal communities’ way of life, belief system are somewhat similar, each Australian aboriginal community has its own language, territory, legend, customs and practices, and unique ceremonies. Due to the limit of a paper, the author focuses only on some traditional art forms typical of Australian aboriginal communities. These works were simply created but distinctively original, of earthly world but associated with sacred and spiritual life deeply flavored by a mysterious touch. Reflected by legendary stories and art works, the history of Australian Aboriginal people leaves to the next generations a marvelous heritage of mental culture.
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Gillieatt, Sue J., and Simon A. Mallal. "Uptake of HIV Testing and Treatment in an Isolated Population with Access to Free and Universal Healthcare." International Journal of STD & AIDS 11, no. 5 (May 2000): 303–12. http://dx.doi.org/10.1177/095646240001100506.
Повний текст джерелаАнотація:
This Western Australian study analysed clinical information from 344 people with AIDS, and experiential data from a sample of 36 people with AIDS to investigate 2 relevant issues: the timing of HIV testing and uptake and experiences of HIV drug treatment. We found that the proportion of people presenting with AIDS before being diagnosed with HIV infection (‘AIDS-presenters’) fell from 47% in 1985–1987 to 20% in 1991–1993. Since antiretroviral therapy (ART) became available in 1987, two-thirds of Western Australian people with AIDS who knew of their HIV infection prior to the development of AIDS have consistently elected to take recommended HIV treatment. Four phases of the treatment experience were identified. It is concluded that ‘AIDS-presentation’ is unlikely to reduce further and that the timing of testing and issues of treatment acceptance are only understood when the experiences of people with illness are examined using a patient-centred approach.
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Rosenfeld, A., and M. A. Smith. "Rock-Art and the History of Puritjarra Rock Shelter, Cleland Hills, Central Australia." Proceedings of the Prehistoric Society 68 (2002): 103–24. http://dx.doi.org/10.1017/s0079497x00001468.
Повний текст джерелаАнотація:
Elaborate, religiously sanctioned relationships between people and place are one of the most distinctive features of Aboriginal Australia. In the Australian desert, rock paintings and engravings provide a tangible link to the totemic geography and allow us to examine both changes in the role of individual places and also the development of this system of relationships to land. In this paper we use rock-art to examine the changing history of Puritjarra rock shelter in western central Australia. The production of pigment art and engravings at the shelter appears to have begun by c. 13,000 BP and indicates a growing concern by people with using graphic art to record their relationship with the site. Over the last millennium changes in the surviving frieze of paintings at Puritjarra record fundamental changes in graphic vocabulary, style, and composition of the paintings. These coincide with other evidence for changes in the geographic linkages of the site. As Puritjarra's place in the social geography changed, the motifs appropriate for the site also changed. The history of this rock shelter shows that detailed site histories will be required if we are to disentangle the development of central Australian graphic systems from the temporal and spatial variability inherent in the expression of these systems.
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Lee, Dooyeon, Eric P. F. Chow, Ivette Aguirre, Christopher K. Fairley, and Jason J. Ong. "Access to HIV Antiretroviral Therapy among People Living with HIV in Melbourne during the COVID-19 Pandemic." International Journal of Environmental Research and Public Health 18, no. 23 (December 3, 2021): 12765. http://dx.doi.org/10.3390/ijerph182312765.
Повний текст джерелаАнотація:
The social measures taken to control the COVID-19 pandemic can potentially disrupt the management of HIV. The objective of this study was to examine the impact of the Australian COVID-19 lockdown restrictions on access to antiretroviral therapy (ART) for people living with HIV in Melbourne. Using data from the Melbourne Sexual Health Centre (MSHC), we assessed the changes in rates of ART postal delivery, controlled viral load, and ART dispensing from 2018 to 2020. The percentage of ART delivered by postage from the MSHC pharmacy was calculated weekly. The percentage of people living with HIV with a controlled viral load (≤200 copies/mL) was calculated monthly. We calculated a yearly Medication Possession Ratio (MPR). The average percentage of HIV ART dispensed through postage for the years 2018, 2019, and 2020 was 3.7% (371/10,023), 3.6% (380/10,685), and 14% (1478/10,765), respectively (Ptrend < 0.0001). Of the 3115 people living with HIV, the average MPR for 2018, 2019, and 2020 was 1.05, 1.06, and 1.14, respectively (Ptrend = 0.28). The average percentage of people with an HIV viral load of <200 copies/mL for the years 2018, 2019, and 2020 was 97.6% (2271/2327), 98.0% (2390/2438), and 99.2% (2048/2064), respectively (Ptrend < 0.0001). This study found that the proportion of controlled viral load and access to ART of people living with HIV in Melbourne was largely unaffected by the COVID-19 lockdown restrictions. This suggests that some of the services provided by the MSHC during the pandemic, such as HIV ART postal delivery, may assist long-term HIV management.
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Szulakowska, Urszula. "The Avant-garde and its Patrons: the Development of Experimental Art in Brisbane c.1980 – 1988." Queensland Review 4, no. 1 (April 1997): 18–30. http://dx.doi.org/10.1017/s1321816600001288.
Повний текст джерелаАнотація:
Brisbane in the 1980s provides a case study of how a small, but intensely self-conscious experimental art-scene could be created by a very few people marginalised within a conservative culture. This was a uniquely Australian phenomenon, possible only in a country of densely-populated, capital cities, isolated from each other by great distances.
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Marchetti, Elena, and Debbie Bargallie. "Life as an Australian Aboriginal and Torres Strait Islander Male Prisoner: Poems of Grief, Trauma, Hope, and Resistance." Canadian Journal of Law and Society / Revue Canadienne Droit et Société 35, no. 3 (December 2020): 499–519. http://dx.doi.org/10.1017/cls.2020.25.
Повний текст джерелаАнотація:
AbstractFor Australia’s Aboriginal and Torres Strait Islander people, writing is predominantly about articulating their cultural belonging and identity. Published creative writing, which is a relatively new art form among Aboriginal and Torres Strait Islander prisoners, has not been used as an outlet to the same extent as other forms of art. This is, however, changing as more Aboriginal and Torres Strait Islander rappers and story-writers emerge, and as creative writing is used as a way to express Aboriginal and Torres Strait Islander empowerment and resistance against discriminatory and oppressive government policies. This article explores the use of poetry and stories written by Aboriginal and Torres Strait Islander male prisoners in a correctional facility located in southern New South Wales, Australia, to understand how justice is perceived by people who are (and have been) surrounded by hardships, discrimination, racism, and grief over the loss of their culture, families, and freedom.
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Cole, Noelene A., and Lynley A. Wallis. "Indigenous Rock Art Tourism in Australia: Contexts, Trajectories, and Multifaceted Realities." Arts 8, no. 4 (December 6, 2019): 162. http://dx.doi.org/10.3390/arts8040162.
Повний текст джерелаАнотація:
This paper focuses on Australian Indigenous rock art tourism, a field that has received limited research attention. Our aim is to identify aspects which are invisible in tourism promotions. We note trends in rock art tourism and related research, survey the Australian situation, and employ a case study approach to outline the development of Indigenous rock art tourism in Kakadu National Park (KNP) and parts of the Quinkan (Laura Cooktown) region. In both regions, Aboriginal communities inherited legacies of top down decision-making and bureaucratic methods. Although the Laura people transitioned to a community-based system and a successful ranger program, they face challenges in achieving their aspirations for sustainable rock art tourism. KNP communities, subsumed into an unwieldy joint management arrangement for the World Heritage listed National Park, are faced with competing values and perspectives of the dominant government system. A centerpiece of the Balnggarrawarra tourism initiative is the ranger/tour guide system of the type which operated for some years at Laura and was introduced briefly at KNP. The model incorporates key elements of sustainable Indigenous tourism–traditional owner control and jobs, land care, conservation, cultural preservation, partnerships, and public education. Notwithstanding contemporary challenges and realities, a unifying theme is caring for rock art.
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Trinh, Huong Thu. "The Heildelberg School in forming Australianness." Science and Technology Development Journal 17, no. 4 (December 31, 2014): 62–73. http://dx.doi.org/10.32508/stdj.v17i4.1575.
Повний текст джерелаАнотація:
In 1788, English people settled down in Australia, cleared and cultivated the land, making a big turning point to this old continent. Australianness was still vague in these initial years of the white settlement. Heildelberg School, the first school in Australian art, which emerged in 1887, laid the foundation for Australia's visual arts history as well as forming the Autralianness with three mains characters: “strong, masculine labour”, “national myth” and “harsh land of unique nature diversity”. In this paper, the writer would like to introduce 7 masterpieces by three prominent Australian artists of the Heidelberg school: Tom Roberts, Frederic Mc.Cubbin, and Arthur Streeton.
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Curran, Georgia. "Amanda Harris. Representing Australian Aboriginal Music and Dance, 1930–1970." Context, no. 47 (January 31, 2022): 85–87. http://dx.doi.org/10.46580/cx80760.
Повний текст джерелаАнотація:
In Representing Australian Aboriginal Music and Dance 1930–1970, Amanda Harris sets out a history of Aboriginal music and dance performances in south-east Australia during the four-decade-long period defined as the Australian assimilation era. During this era, and pushing its boundaries, harsh government policies under the guise of ‘protection’ and ‘welfare’ were designed forcibly to assimilate Aboriginal people into the mainstream population. It is striking while reading this book how few of these stories are widely known, particularly given the heavy influence that Harris uncovers it having on the Australian art music scene of today. As such, the book makes an important contribution to the ‘truth telling’ of Australian history while also showing that—despite the severe policies during this era, including the banning of speaking in Indigenous languages and restricting the performance of ceremony—Aboriginal people have remained active agents in driving their own engagements and asserting their own culturally distinct modes of music and dance performance. This resilience against significant odds has been aptly described by one of the book’s contributors, Yorta Yorta and Dja Dja Warrung cultural leader, visual and performance artist, curator and opera singer Tiriki Onus, as ‘hiding in plain sight,’ referring to the ways in which Aboriginal people ensured the continued practice and performance of their culture by doing so in public, the only place they were allowed to…
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Michael and Anne Eastham. "Palaeolithic Parietal Art and its Topographical Context." Proceedings of the Prehistoric Society 57, no. 01 (1991): 115–28. http://dx.doi.org/10.1017/s0079497x00004928.
Повний текст джерелаАнотація:
Our purpose is to examine the hypothesis that Palaeolithic parietal image sites in south-west Europe model or map a specific area of the terrain around them in so far as that terrain was useful to the people who made the images. So far as we are aware the hypothesis has not received wide attention (Eastham 1979; Kehoe 1990). Maps were made by some hunter-gatherer peoples. There are Amerindian maps (Brody 1981; Leacock 1969), and maps have been used as an explanation of some Australian parietal figures (Mountford 1956; 1961). There has been, however, little systematic application of the hypothesis to Palaeolithic images.The images under discussion are the recognizable representations of animals painted, engraved or carved on the walls, floors and roofs of caves and rock shelters during the last glaciation. They are recognizable because the marks of which they are composed make redundant reference to known species. They may be accompanied by others which can be interpreted as representations of human beings and ambiguous configurations of animals.
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Palmer, Daniel. "Icons of colonial injustice: From photographs to public art." Art & the Public Sphere 8, no. 2 (December 1, 2019): 201–15. http://dx.doi.org/10.1386/aps_00021_1.
Повний текст джерелаАнотація:
In the archive of Australian photography, few images point to the gross injustices experienced by Indigenous Australians more forcefully than a 1906 photograph depicting a group of Aboriginal people in neck chains. More recently, few images point to Indigenous self-empowerment more powerfully than a 1993 press photograph of footballer Nicky Winmar lifting his jumper to point proudly to his dark skin. This article explores the extraordinary legacy of these two images and specifically their translation into prominent contemporary public artworks ‐ respectively, a street mural in inner Melbourne and a statue located outside a major football stadium in Perth. I argue that by drawing on, but also extending, the original content of the images, these public translations of the photographs, and the story of their coming into being, become another chapter in the lives of the images. Moreover, in the shift from print to pavement, they transform public spaces into sites of public pedagogy.
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Gregory, Jenny. "Stand Up for the Burrup: Saving the Largest Aboriginal Rock Art Precinct in Australia." Public History Review 16 (December 27, 2009): 92–116. http://dx.doi.org/10.5130/phrj.v16i0.1234.
Повний текст джерелаАнотація:
The Dampier Rock Art Precinct contains the largest and most ancient collection of Aboriginal rock art in Australia. The cultural landscape created by generations of Aboriginal people includes images of long-extinct fauna and demonstrates the response of peoples to a changing climate over thousands of years as well as the continuity of lived experience.
Despite Australian national heritage listing in 2007, this cultural landscape continues to be threatened by industrial development. Rock art on the eastern side of the archipelago, on the Burrup Peninsula, was relocated following the discovery of adjacent off-shore gas reserves so that a major gas plant could be constructed. Work has now begun on the construction of a second major gas plant nearby.
This article describes the rock art of the Dampier Archipelago and the troubled history of European-Aboriginal contact history, before examining the impact of industry on the region and its environment. The destruction of Aboriginal rock art to meet the needs of industry is an example of continuing indifference to Aboriginal culture. While the complex struggle to protect the cultural landscape of the Burrup, in particular, involving Indigenous people, archaeologists, historians, state and federal politicians, government bureaucrats and multi-national companies, eventually led to national heritage listing, it is not clear that the battle to save the Burrup has been won.
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Denton, Derek. "Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 1 (2007): 97. http://dx.doi.org/10.1071/hr07005.
Повний текст джерелаАнотація:
Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.
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Denton, Derek. "Erratum to: Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 2 (2007): 305. http://dx.doi.org/10.1071/hr07005_er.
Повний текст джерелаАнотація:
Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.
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Tingay, Steven. "Indigenous Australian artists and astrophysicists come together to communicate science and culture via art." Journal of Science Communication 17, no. 04 (December 17, 2018): C02. http://dx.doi.org/10.22323/2.17040302.
Повний текст джерелаАнотація:
During the International Year of Astronomy in 2009, we initiated a collaboration between astrophysicists in Western Australia working toward building the largest telescope on Earth, the Square Kilometre Array (SKA), and Indigenous artists living in the region where the SKA is to be built. We came together to explore deep traditions in Indigenous culture, including perspectives of the night sky, and the modern astrophysical understanding of the Universe. Over the course of the year, we travelled as a group and camped at the SKA site, we sat under the stars and shared stories about the constellations, and we talked about the telescopes we wanted to build and how they could sit on the Indigenous traditional country. We found lots of interesting points of connection in our discussions and both artists and astronomers found inspiration. The artists then produced <150 original works of art, curated as an exhibition called “Ilgarijiri — Things belonging to the Sky” in the language of the Wadjarri Yamatji people. This was exhibited in Geraldton, Perth, Canberra, South Africa, Brussels, the U.S.A., and Germany over the course of the next few years. In 2015, the concept went further, connecting with Indigenous artists from South Africa, resulting in the “Shared Sky” exhibition, which now tours the ten SKA member countries. The exhibitions communicate astrophysics and traditional Indigenous stories, as well as carry to the world Indigenous culture and art forms. The process behind the collaboration is an example of the Reconciliation process in Australia, successful through thoughtful and respectful engagements, built around common human experiences and points of contact (the night sky). This Commentary briefly describes the collaboration, its outcomes, and future work.
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Jasiński, Artur, and Anna Jasińska. "THREE MUSEUMS OF THE ART OF THE PACIFIC AND THE FAR EAST – POSTCOLONIAL, MULTICULTURAL AND PROSOCIAL." Muzealnictwo 60 (March 4, 2019): 16–32. http://dx.doi.org/10.5604/01.3001.0013.0764.
Повний текст джерелаАнотація:
Three museums of the art of the Pacific and the Far East are described in the paper: Singapore National Gallery, Australian Art Gallery of South Wales in Sydney, and New Zealand’s Auckland Art Gallery Toi o Tāmaki. The institutions have a lot in common: they are all housed in Neo-Classical buildings, raised in the colonial times, and have recently been extended, modernized, as well as adjusted to fulfill new tasks. Apart from displaying Western art, each of them focuses on promoting the art of the native peoples: the Malay, Aborigines, and the Maori. Having been created already in the colonial period as a branch of British culture, they have been transformed into open multicultural institutions which combine the main trends in international museology: infrastructure modernization, collection digitizing, putting up big temporary exhibitions, opening to young people and different social groups, featuring local phenomena, characteristic of the Pacific Region. The museums’ political and social functions cannot be overestimated; their ambition is to become culturally active institutions on a global scale, as well as tools serving to establish a new type of regional identity of postcolonial multicultural character.
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Garnsey, Eliza. "The Right(s) to Remain: Art, Asylum and Political Representation in Australia." Pólemos 16, no. 2 (August 8, 2022): 205–27. http://dx.doi.org/10.1515/pol-2022-2014.
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Abstract Thinking about artistic representation as a form of political representation enables a better understanding of what can be seen and said, who has the ability to see it and say it, and how it is possible to know and do politics in different ways. In the case of Australia’s immigration system, this understanding is critical. Australia’s treatment of people seeking asylum and refugees is widely criticised by the international community as violating international human rights and humanitarian laws and norms. The legal and bureaucratic frameworks surrounding refugees in Australia not only render their stories largely invisible but continue to perpetrate harm and suffering which goes unaddressed. In the absence of state protection, artistic representation becomes an important intervention into the practices and narratives surrounding Australia’s treatment of people seeking asylum and refugees. In this article, I explore Hoda Afshar’s video and photographic artwork Remain (2018) which documents the experiences and struggles of a group of stateless men who were left to languish on Manus Island, Papua New Guinea, in the aftermath of the Australian government closing its Manus Regional Processing Centre. Remain is one of the only available avenues open to the men to share their stories and to communicate the harm caused by national policy and practices. I argue that the artistic representation of Remain becomes a crucial form of political representation in this aftermath; political representation which would not otherwise be possible.
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Grenet, Frantz. "Was Zoroastrian Art Invented in Chorasmia?" Ancient Civilizations from Scythia to Siberia 24, no. 1-2 (November 5, 2018): 68–86. http://dx.doi.org/10.1163/15700577-12341327.
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AbstractBefore the recent discoveries of the Karakalpak-Australian Expedition to Ancient Chorasmia (KAE) evidence for Zoroastrianism in Chorasmia was scant, coming only from the official use of the Zoroastrian calendar, the onomastics, and the archaeologically documented funerary practices of the region, while the interpretation of remains of temples or fire chapels is subject to discussion.During the last seasons of work on the material of the KAE excavations at Akchakhan-kala, the royal seat of Chorasmia in the 2nd century BC – 2nd century AD, substantial fragments of wall paintings from the rear wall of the main columned hall of the “Ceremonial Complex” were cleaned and reassembled. It appeared at once that they belong to oversized standing figures, most probably deities. The best preserved image has been identified as Srōsh, god of prayer and protector of the soul after death. The second figure is probably to be identified as a personification of the group of the Fravashis, pre-created souls of the ancestors and protectors of “Aryan people” in battles, also worshipped as deities. A third figure, very partly preserved, perhaps represents Zam-Spandarmad, goddess of the Earth. If these identifications are valid, these deities appear to have been chosen because of their association with the turn of the year. This would be consistent with the possibility that the already known “portrait gallery” of Akchakhan-kala was related to the commemoration of royal and clanic ancestors at the end of the year.Notwithstanding much still needs to be elucidated, it appears already certain that these paintings, dating about the beginning of the 1st century AD, are the earliest documented attempt to create a Zoroastrian art directly inspired by the Avesta. The identification of some figures in the Toprak-kala “High Palace” (2nd-3rd centuries AD) can perhaps be reconsidered in the light of this new evidence.
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Kelamor, Ulyantraja. "IMPLEMENTATION OF THE INDONESIAN CULTURE DIPLOMACY TOWARD AUSTRALIA THROUGH INDOFEST PERIOD 2012-2016 (CASE STUDY: ADELAIDE AND CANBERRA)." Sociae Polites 19, no. 1 (June 20, 2018): 33–52. http://dx.doi.org/10.33541/sp.v19i1.1642.
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This journal discusses IndoFest activities which are conducted by Indonesia to Australia in 2012 to 2016 in Adelaide and Canberra. IndoFest was born in 2008, aims to introduce Indonesian culture in the international world. With the presence of IndoFest, it is also seen that cultural diplomacy continues to be done by Indonesia not only for improving good relations in both countries but also to introduce Indonesian art, culture, and exceptional food for more to the Australian people, in order to visit Indonesia. This journal also discusses Indonesia's cultural diplomacy towards Australia through IndoFest, as well as various activities in IndoFest to attract Australian tourists to come to Indonesia. As the research method, the qualitative method is used in this journal by library study, which is collecting the data from the literature related to the issue discussed. The results of the study stated that Indonesia successfully carried out its cultural diplomacy to Australia through IndoFest.
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Glowczewski, Barbara. "Lines and Criss-Crossings: Hyperlinks in Australian Indigenous Narratives." Media International Australia 116, no. 1 (August 2005): 24–35. http://dx.doi.org/10.1177/1329878x0511600105.
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The issue of an ethical approach to pleasure does not imply a religious or moral order, but a constant re-evaluation of how each image or representation of any contemporary culture (Indigenous, musical, professional, digital, etc.) impacts on social justice, equity, tolerance and freedom. Two attempts of anthropological restitution developed with Aboriginal peoples for a mixed audience are presented here. The first is a CD-ROM ( Dream Trackers: Yapa Art and Knowledge of the Australian Desert), focused on one Central Australian community (Lajamanu in the Northern Territory), while the second is an interactive DVD ( Quest in Aboriginal Land) based on films by Indigenous filmmaker Wayne Barker, juxtaposing four regions of Australia. Both projects aim to explore and enhance the cultural foundations of the reticular way in which many Indigenous people in Australia map their knowledge and experience of the world in a geographical virtual web of narratives, images and performances. The relevance of games for anthropological insights is also discussed in the paper. Nonlinear or reticular thinking mostly stresses the fact that there is no centrality to the whole but a multipolar view from each recomposed network within each singularity, a person, a place (a Dreaming in the case of Aboriginal cultures), allowing the emergence of meanings and performances, encounters, creations as new original autonomous flows. Reticular or network thinking, I argue, is a very ancient Indigenous practice but it gains today a striking actuality thanks to the fact that our so called scientific perception of cognition, virtuality and social performance has changed through the use of new technologies.
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De Jong, Ursula, and Flavia Marcello. "Stewardship and renewal of catholic places of worship in Australia." Actas de Arquitectura Religiosa Contemporánea 6 (April 3, 2020): 156–71. http://dx.doi.org/10.17979/aarc.2019.6.0.6236.
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The National Liturgical Architecture and Art Council (NLAAC) is an advisory body to the Bishops’ Commission for Liturgy of the Australian Catholic Bishops Conference, mandated to provide advice in the areas of liturgical architecture, art and heritage. The Council has prepared guidelines for use throughout the Catholic Church in Australia. The most recent of these documents, Fit for Sacred Use: Stewardship and Renewal of Places of Worship (2018) focusses on existing church buildings with particular reference to cultural heritage, and is the subject of this paper. Vatican II sought the full and active liturgical participation of all the people and so existing churches were reordered to foster inclusion. It is timely to consider questions around what constitutes our heritage and how it is valued. Fit for Sacred Use sets out the liturgical and heritage principles which are fundamental to conserving, renovating and reordering a church building. Its holistic approach considers how we renew our churches while honouring our heritage.
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Waitt, Gordon, and Lesley Head. "Postcards and Frontier Mythologies: Sustaining Views of the Kimberley as Timeless." Environment and Planning D: Society and Space 20, no. 3 (June 2002): 319–44. http://dx.doi.org/10.1068/d269t.
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In this paper we examine the role of postcards in disseminating and circulating Australian frontier myths. Cultural geographers have generally overlooked this mode of tourist communication. Yet, the postcard is an example par excellence of both a genre of popular art and an ephemeral cultural artefact. The ritual practice of selecting, writing, and sending a postcard is explored within the themes of souvenir, testimony, and anticipation. A report is provided of methods designed to reveal how individual tourists interpret these postcards as semiotic texts. Results suggest that postcards seem to perpetuate, almost unchallenged, experiences associated with Australian frontier mythologies. The Kimberley is experienced as a remnant of a former pristine environment and a place uninhabited or, at best, inhabited by ‘primitive’ people. This version of the Kimberley relies upon many of the categorical binaries between society and nature; human and animal; civilised and wild. The silences and priorities created by such textual imagery in the public geographical imaginary are argued to be far from trivial in a place subject to native land claims and proposed extensions to irrigation schemes.
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Smith, Geraldine, and Anna Halafoff. "Multifaith Third Spaces: Digital Activism, Netpeace, and the Australian Religious Response to Climate Change." Religions 11, no. 3 (February 26, 2020): 105. http://dx.doi.org/10.3390/rel11030105.
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Multifaith spaces typically imply sites where people of diverse faith traditions gather to participate in shared activities or practices, such as multifaith prayer rooms, multifaith art exhibitions, or multifaith festivals. Yet, there is a lack of literature that discusses online multifaith spaces. This paper focuses on the website of an Australian multifaith organisation, the Australian Religious Response to Climate Change (ARRCC), which we argue is a third space of digital activism. We begin by outlining the main aims of the multifaith movement and how it responds to global risks. We then review religion and geography literature on space, politics and poetics, and on material religion and embodiment. Next, we discuss third spaces and digital activism, and then present a thematic and aesthetic analysis on the ARRCC website drawing on these theories. We conclude with a summary of our main findings, arguing that mastery of the online realm through digital third spaces and activism, combined with a willingness to partake in “real-world”, embodied activism, can assist multifaith networks and social networks more generally to develop Netpeace and counter the risks of climate change collaboratively.
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Spiers, Amy. "#MirandaMustGo: Contesting a settler colonial obsession with lost-in-the-bush myths through public and socially engaged art." Art & the Public Sphere 8, no. 2 (December 1, 2019): 217–34. http://dx.doi.org/10.1386/aps_00022_1.
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In January 2017, settler Australian artist, Amy Spiers, launched a creative campaign to contest habitual associations at the site of Hanging Rock in Central Victoria with a white vanishing myth. Entitled #MirandaMustGo, the campaign’s objective was to provoke thought and unease about why the missing white schoolgirls of Joan Lindsay’s fictional novel, Picnic at Hanging Rock, prompted more attention and feeling in the general public than the actual losses of lives, land and culture experienced by Indigenous people in the region as a consequence of rapid and violent colonial occupation. The campaign incited significant media attention, substantial public debate and some reconsideration of the stories told at Hanging Rock. In this article, Spiers will describe how she conceptualized the artwork/campaign as a propositional counter-memorial action that attempted to conceive ways in which non-Indigenous Australians can acknowledge, and take responsibility for, the denial of colonization’s impact on Indigenous people. She will do so by discussing the critical methodology that underpinned this socially engaged artwork and continue by analysing the public reception and dissensus the campaign provoked. She will conclude in presenting some thoughts about what #MirandaMustGo produced: a rupture of the public secret of Australia’s violent colonial past, a marked shift to the discourse concerning Hanging Rock and an ongoing, unresolved agitation stimulated by Picnic at Hanging Rock’s persistent reproducibility.
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Lumby, Catharine. "Reshaping Public Intellectual Life: Frank Moorhouse and His Milieu." Media International Australia 156, no. 1 (August 2015): 133–41. http://dx.doi.org/10.1177/1329878x1515600115.
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This article uses Frank Moorhouse as a study of the formation of a public intellectual in the 1960s and 1970s. Moorhouse was a key figure in the Sydney Push, a loose Libertarian-anarchist network of artists, writers, intellectuals and party people who rejected the dominant moral values of the 1950s and 1960s. A journalist, Moorhouse later became a well-known fiction writer who was part of a similarly bohemian and activist milieu centred in Sydney's Balmain. Taking Frank Moorhouse as a case study, I will argue that there is something particular about the way public intellectuals have historically been formed and given voice in Australian life, which is characterised by a permeability between art and writing practices and between academic and activist milieux.
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Macken, Sophia, Sally Nathan, Michelle Jersky, Katherine M. Boydell, and Alexandra Gibson. "Body Mapping in a Drug and Alcohol Treatment Program: Eliciting New Identity and Experience." International Journal of Environmental Research and Public Health 18, no. 9 (May 6, 2021): 4942. http://dx.doi.org/10.3390/ijerph18094942.
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Arts-based approaches have not been widely used in the drug and alcohol treatment sector. In this study, we examined the utility of the arts-based method of Body Mapping in an Australian residential treatment centre. Two workshops were held to explore young people’s strengths and support networks in order to improve understandings of young people’s lives, identities and experiences of treatment. Semi-structured follow-up interviews were conducted and triangulated with observational notes and staff interviews. We identified four major themes: engaging through art; removing the mask; revealing strengths; and a sense of achievement. Overall, this study highlighted the value of Body Mapping as an approach to engage with young people, providing rich in-depth data about their lived experiences, including in the alcohol and other drug (AOD) treatment context.
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WOYNARSKI, LISA, ADELINA ONG, TANJA BEER, STEPHANIE BEAUPARK, JONAH WINN-LENETSKY, RULAN TANGEN, and MICHELLE NICHOLSON-SANZ. "Dossier: Climate Change and the Decolonized Future of Theatre." Theatre Research International 45, no. 2 (June 24, 2020): 179–208. http://dx.doi.org/10.1017/s0307883320000085.
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This dossier opens up a set of questions about what theatre and performance can do and be in a climate-changed future. Through a series of practice snapshots the authors suggest a diversity of responses to decolonizing and environmental justice issues in and through theatre and performance. These practices include the climate-fiction film The Wandering Earth, which prompts questions about what decolonizing means for China and the impact of climate chaos on the mental well-being of young people; The Living Pavilion, an Australian Indigenous-led project that created a biodiverse event space showcasing Indigenous art making; Dancing Earth Indigenous dance company who use dance as a way to engage Indigenous ecological thinking and Indigenous futurity; water rituals in the Andes of Peru that problematize water policy and ethnic boundaries.
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Thorner, Sabra G. "The photograph as archive: Crafting contemporary Koorie culture." Journal of Material Culture 24, no. 1 (July 9, 2018): 22–47. http://dx.doi.org/10.1177/1359183518782716.
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In 2008, an Aboriginal Australian artist based in Melbourne, Australia, created a kangaroo-teeth necklace, revivifying an art/cultural practice for the first time in over a century. She was inspired to do so after viewing an 1880 photograph of an ancestor wearing such adornment. In this article, I bring the necklace and the photograph into the same analytical frame, arguing for the photograph as an archive itself. I consider the trajectories through which the 19th-century image has been replicated and circulated in various productions of knowledge about Aboriginal people, and how a 21st-century artist is mobilizing it not just as a repository of visual information, but also as an impetus to creative production. She produces objects of value and is making culture anew, in a context in which Aboriginality has long/often been presumed absent, extinct or elsewhere.
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Nugent, Maria. "Sites of segregation/sites of memory: Remembrance and ‘race’ in Australia." Memory Studies 6, no. 3 (June 28, 2013): 299–309. http://dx.doi.org/10.1177/1750698013482863.
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This article considers the interplay between Aboriginal people’s remembrances about race relations in rural mid-twentieth-century Australia and the frames of remembrance provided by the American Civil rights movement. It takes as its focus two key Australian sites of racial segregation – country town cinemas and public swimming pools – to explore the ways in which since, and in no small part due to, the desegregationist politics of the 1960s they have become prominent sites of public memory. Drawing on three examples from a range of media – art, film and published memoirs – the article traces the ways in which different ways of narrating and remembering these ‘twisted spaces’ contributes to and makes possible alternative and at times unsettling interpretations of experiences and histories of relations between Aboriginal and non-Aboriginal people during what is commonly referred to as the ‘assimilation era’.
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van Oldenborgh, Geert Jan, Folmer Krikken, Sophie Lewis, Nicholas J. Leach, Flavio Lehner, Kate R. Saunders, Michiel van Weele, et al. "Attribution of the Australian bushfire risk to anthropogenic climate change." Natural Hazards and Earth System Sciences 21, no. 3 (March 11, 2021): 941–60. http://dx.doi.org/10.5194/nhess-21-941-2021.
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Abstract. Disastrous bushfires during the last months of 2019 and January 2020 affected Australia, raising the question to what extent the risk of these fires was exacerbated by anthropogenic climate change. To answer the question for southeastern Australia, where fires were particularly severe, affecting people and ecosystems, we use a physically based index of fire weather, the Fire Weather Index; long-term observations of heat and drought; and 11 large ensembles of state-of-the-art climate models. We find large trends in the Fire Weather Index in the fifth-generation European Centre for Medium-Range Weather Forecasts (ECMWF) Atmospheric Reanalysis (ERA5) since 1979 and a smaller but significant increase by at least 30 % in the models. Therefore, we find that climate change has induced a higher weather-induced risk of such an extreme fire season. This trend is mainly driven by the increase of temperature extremes. In agreement with previous analyses we find that heat extremes have become more likely by at least a factor of 2 due to the long-term warming trend. However, current climate models overestimate variability and tend to underestimate the long-term trend in these extremes, so the true change in the likelihood of extreme heat could be larger, suggesting that the attribution of the increased fire weather risk is a conservative estimate. We do not find an attributable trend in either extreme annual drought or the driest month of the fire season, September–February. The observations, however, show a weak drying trend in the annual mean. For the 2019/20 season more than half of the July–December drought was driven by record excursions of the Indian Ocean Dipole and Southern Annular Mode, factors which are included in the analysis here. The study reveals the complexity of the 2019/20 bushfire event, with some but not all drivers showing an imprint of anthropogenic climate change. Finally, the study concludes with a qualitative review of various vulnerability and exposure factors that each play a role, along with the hazard in increasing or decreasing the overall impact of the bushfires.
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Lim, Kenneth JC, Pietro Di Ciaccio, Nada Hamad, Mark N. Polizzotto, Sam Milliken, Tara Cochrane, Zhong Goh, et al. "Real-World Outcomes of Aggressive B-Cell Non-Hodgkin Lymphoma in People Living with HIV (PLWH) Treated in Australia: An Australasian Lymphoma Alliance Study." Blood 138, Supplement 1 (November 5, 2021): 1456. http://dx.doi.org/10.1182/blood-2021-144817.
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Abstract Background Modern antiretroviral therapy (ART) has reduced HIV associated morbidity and mortality, and allowed a similar treatment approach of aggressive lymphomas in PLWH to that of their HIV negative counterparts. Australia is an ethnically diverse country with a low HIV prevalence and an excellent population-wide ART coverage and adherence in PLWH. We aimed to describe the real-world Australian experience in managing PLWH diagnosed with diffuse large B cell lymphoma (DLBCL) and Burkitt lymphoma (BL), and compare our treatment approach and outcomes against international data. Methods This was a retrospective, multicenter study conducted by the Australasian Lymphoma Alliance across 6 centers in 5 states. HIV positive patients with biopsy proven BL and DLBCL, diagnosed between 1st January 2009 and 31st December 2019 were identified through each institution's database. Baseline patient and disease characteristics, treatment exposure and outcomes were extracted from hospital medical records. Descriptive statistics, and survival analyses were performed as appropriate. Results 44 patients (24 DLBCL, 20 BL) were included in the analysis. The median age was 52 years (range 32-78). The median follow-up was 1.8 years (range 0.1-13.1). 36 (82%) patients presented with advanced stage (III-IV) disease. 28 (64%) were defined as high-risk based on disease specific IPI scoring systems. The mean CD4 count was 334 cells/μL at diagnosis and 10 (23%) patients had a CD4 count of <100 cells/μL. 23 (52%) had a HIV viral load <50 copies/ml. 12 (27%) were diagnosed with HIV at the time of lymphoma diagnosis (Mean CD4 count 191 cells/μL, mean viral load 665,612 copies/ml). 41 (93%) patients received chemotherapy with curative intent and 39 (88%) received Rituximab. 37 (84%) were given concurrent ART and chemo(immuno)therapy. 11 (55%) of BL patients were treated with CODOX-M/IVAC or HyperCVAD followed by 6 (30%) with Da-EPOCH. 14 (58%) of DLBCL patients received CHOP-based therapy with 11 (45%) receiving more intensive regimens (Da-EPOCH, HyperCVAD or CODOX-M/IVAC). In the whole cohort, median number of chemotherapy cycles delivered was 6, 6, 4 and 3 for CHOP, Da-EPOCH, CODOX-M/IVAC and HyperCVAD respectively. CR rates after first-line curative intent therapy were 75% and 83% in BL and DLBCL respectively. All treatment response assessments were made by positron emission tomography. Grade 3-4 toxicity was significant higher in patients receiving intensive chemotherapy (77% vs 29%, p=0.015). Total treatment related mortality was 5% (2 died of bacterial sepsis). The 2-year OS was 77% (95% CI 61-88); 67% for BL (95% CI 46-88) and 81% for DLBCL (95% CI 53-90)]. 2-year PFS was 67% for BL (95% CI 40-83) and 77% for DLBCL (95% CI 53-89). An initial drop of mean CD4 count post treatment was observed (334 to 214 cells/μL), followed by a rise after 6 and 12 months (290 and 431 cells/μL respectively) (fig 1). At 6 months post chemotherapy, 83% of patients had a HIV viral load of <50 copies/ml with 40% and 83% achieving a CD4 count of >350 cells/μL and >200 cells/μL respectively. Conclusions A significant proportion of PLWH still present with aggressive lymphoma as an AIDS-defining event prior to HIV diagnosis, despite high levels of health education and healthcare availability. Our results appear equivalent to those for non-HIV patients with acceptable toxicity. Current Australian practice favors treating aggressive lymphomas in PLWH similarly to the HIV negative population, with the addition of concurrent ART. CD4+ T-cell-related immune reconstitution appears to recover within 6 months post-therapy. The OS of this cohort appears similar to the HIV negative population and published cohort studies (Coutinho AIDS 2013, Evens Blood 2019, Alderuccio Blood Adv 2021). Figure 1 Figure 1. Disclosures Hamad: Novartis: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau. Cheah: Beigene: Consultancy, Honoraria, Other: advisory; Celgene: Research Funding; AstraZeneca: Consultancy, Honoraria, Other: advisory; Loxo/Lilly: Consultancy, Honoraria, Other: advisory; TG Therapeutics: Consultancy, Honoraria, Other: advisory; AbbVie: Research Funding; Roche: Consultancy, Honoraria, Other: advisory and travel expenses, Research Funding; Janssen: Consultancy, Honoraria, Other: advisory; MSD: Consultancy, Honoraria, Other: advisory, Research Funding; Gilead: Consultancy, Honoraria, Other: advisory; Ascentage pharma: Consultancy, Honoraria, Other: advisory. Ku: Genor Biopharma: Consultancy; Antegene: Consultancy; Roche: Consultancy.
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Jarldorn, Michele. "Picturing creative approaches to social work research: Using photography to promote social change." Aotearoa New Zealand Social Work 28, no. 4 (December 23, 2016): 5–16. http://dx.doi.org/10.11157/anzswj-vol28iss4id293.
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INTRODUCTION: This article argues for the benefits of employing the arts-based method known as photovoice. Drawn from a social work PhD project with 12 South Australian exprisoners, this research aimed to better understand the post-release experiences within the context of a rising prison population and high recidivism rates.METHODS: Participants were given a single-use camera and the research question if you had 15 minutes with a policy maker or politician, what would you want to tell them about your experience? Later, the participants’ narratives were combined with the photographs and used to create an art exhibition with the rationale that images are more likely to resonate with people than words alone.FINDINGS: Using photovoice in this way has the potential to create new knowledge through the process of participants constructing and retelling accounts of their experiences via the medium of photography.CONCLUSION: I propose that the process of turning research into praxis through participatory action-based methods such as photovoice can be a positive, empowering experience for the participants and researchers.
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Perram, Jacinta, Stephanie Anderson, Stephen Matthews, Melly Gou, and P. Joy Ho. "Assisted Reproductive Technology Required to Achieve High Conception Rates, Despite a Low Incidence of Hypogonadotrophic Hypogonadism in Thalassemia and Sickle Cell Disease Patients." Blood 138, Supplement 1 (November 5, 2021): 4989. http://dx.doi.org/10.1182/blood-2021-147102.
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Abstract Background Early and effective iron chelation has improved life expectancy and decreased disease complications for people with transfusion dependent thalassemia (TDT) and Sickle Cell Disease (SCD). Fertility challenges and pregnancy complications have historically limited reproductive options in this group, however improved disease management has made subfertility a chronic disease complication requiring attention. Despite this, there are very few reports on rates of conception and pregnancy outcomes in this population. Methods A 20 year retrospective analysis (1997 - 2017) was performed to evaluate fertility outcomes in women with TDT and SCD at an Australian referral centre. Patients with TDT and SCD who tried to conceive during the study period were included. Use of assisted reproductive technologies (ART), as well as pregnancy outcomes and neonatal and maternal complications were assessed. Results Eleven women with TDT and 3 with SCD tried to conceive during the study period. Median age at conception was 28 years (range 21-35). A total of 28 pregnancies and 25 live births were reported, including 2 spontaneous early pregnancy losses, a termination for anencephaly and a reduction of triplets. There was 1 multiple gestation in the cohort. At least 1 live birth occurred in 13 of the 14 women (93%). Spontaneous conception was reported in 9 women, of whom 8 had at least one resulting live birth, with a total of 15 live births from spontaneous conception. Of 5 women who were unable to conceive spontaneously, four had a diagnosis of hypogonadotrophic hypogonadism (HH) - two conceived following ovarian stimulation (OS), one required in vitro fertilization (IVF), and one did not pursue IVF following unsuccessful OS. The cause of subfertility was unknown in one patient, who conceived with IVF following failed OS. Three women who had an initial spontaneous conception required assisted reproductive technology (ART) for subsequent pregnancies, with no cause for subfertility identified. Mean ferritin at conception was 2911 mmol/L (range 164 to 8697mmol/L), and there was no association between ferritin at conception and need for ART. A trend was observed between increasing age and use of ART. Nine of the thirteen (69%) women who achieved pregnancy underwent Cesarean section for their first delivery. Prematurity (birth prior to 37 weeks' gestation) occurred in 5 (20%) of live births. Intrauterine growth restriction (IUGR) evidenced by birth weight <10 th centile for gestational age at birth was observed in 7 of 25 births (28%). This included one very low birth weight neonate delivered following induction for suspected IUGR. Respiratory distress syndrome occurred in two neonates in the setting of prematurity (delivered at 31 and 33 weeks gestation), both from women with TDT. Post partum hemorrhage (PPH) occurred after four deliveries in three women with TDT. There were no neonatal or maternal deaths. Conclusions Our data is the first analysis of fertility and pregnancy outcomes in Australian patients with TDT or SCD. Publications in this area are limited, and primarily report on pregnancy outcomes without capturing failure to conceive. Our findings are encouraging, with high conception rates achieved, with the use of ART where needed. Ferritin level did not predict difficulty with spontaneous conception and few of the women (29%) had HH, despite many having significant hyperferritinemia. Overall, 48% of live births resulted from ART, despite 58% of these patients not having a diagnosis of HH. This indicates that pituitary iron deposition with resultant HH alone does not adequately explain subfertility in this population. Our data also highlight the importance of affordable ART access for this patient population despite the clinical gains achieved with effective chelation therapy. Pregnancies were largely uncomplicated with excellent maternal and foetal outcomes. A high rate of IUGR was observed, supporting classification of pregnancy in this population as high risk. Rates of Cesarean section for first delivery were more than double the Australian average, likely in part due to high IUGR rates. Neonatal complications and PPH occurred at general population rates. Guidelines around pregnancy management in this population abound, however large prospective studies are needed to identify those at risk of sub- and infertility, even in the era of effective chelation. Disclosures No relevant conflicts of interest to declare.
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KITLV, Redactie. "Book reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 168, no. 2-3 (2012): 337–75. http://dx.doi.org/10.1163/22134379-90003565.
Повний текст джерелаАнотація:
Andrea Acri, Helen Creese, and Arlo Griffiths (eds), From Laṅkā Eastwards: The Rāmāyaṇa in the literature and visual arts of Indonesia (Dick van der Meij) Michael Arthur Aung-Thwin and Kenneth R. Hall (eds), New perspectives on the history and historiography of Southeast Asia: Continuing explorations (David Henley) Steven Farram, A short-lived enthusiasm: The Australian consulate in Portuguese Timor (Hans Hägerdal) R. Michael Feener, Patrick Daly and Anthony Reid (eds), Mapping the Acehnese past (William Bradley Horton) Geoffrey C. Gunn, History without borders: The making of an Asian world region, 1000-1800 (Craig A. Lockard) Andrew Hardy, Mauro Cucarzi and Patrizia Zolese, (eds), Champa and the archaeology of Mỹ Sơn (Vietnam) (William A. Southworth) Jac. Hoogerbrugge, Asmat: Arts, crafts and people; A photographic diary, 1969-1974 (Karen Jacobs) Felicia Katz-Harris, Inside the puppet box: A performance of wayang kulit at the Museum of international folk art (Sadiah Boonstra) Douglas Lewis, The Stranger-Kings of Sikka (Keng We Koh) Jennifer Lindsay and Maya H.T. Liem (eds), Heirs to world culture: Being Indonesian 1950-1965 (Manneke Budiman) Trần Kỳ Phương and Bruce M. Lockhart, The Cham of Vietnam: History, society and art (Arlo Griffiths) Krishna Sen and David T. Hill (eds), Politics and the media in twenty-first century Indonesia: Decade of democracy (E.P. Wieringa) Andrew N. Weintraub (ed.), Islam and popular culture in Indonesia and Malaysia (Andy Fuller) Meredith L. Weiss, Student activism in Malaysia: Crucible, mirror, sideshow (Richard Baxstrom) Widjojo Nitisastro, The Indonesian development experience: A collection of writings and speeches of Widjojo Nitisastro (J. Thomas Lindblad)
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Kuppers, Petra. "Moving Bodily Fantasies: Medical Performances and Modes of Communication." Dance Research Journal 37, no. 2 (2005): 73–88. http://dx.doi.org/10.1017/s0149767700008573.
Повний текст джерелаАнотація:
This article investigates the relationship between movement, communication, and medical presentation in three contemporary dance performances. In particular, I wish to present three instances of collaborative work: of work where boundaries between specialists and “lay people,” between different kinds of expertise, and different kinds of knowledges become questioned, dismantled, and (re)erected through performance. My argument hinges on the ongoing creative work involved in the translations between embodiment, phenomenological experience, narratives of self, medical stories, and cultural context. Living as a body in the world means a constant readjustment of these frames, a productive and often painful emergence of life through tensions. What it means to be a (gendered) specialist or a lay person, a patient, or a spectator, emerges in the call-and-response of everyday life, as roles are taken on, re-created, changed, and discarded.A celebrated U.K. dance performance (winner of the Critic's Circle National Dance Award 2004), a U.K. exploratory sci-art experiment by medical experts, writers, and performers, and an Australian music theater piece are at the heart of this analysis: the article explores alignments between semiotic and phenomenological knowledges in these performances. In all of these performances, women are center stage, sometimes as informers, sometimes as playwrights and visual artists, sometimes as main performers.
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Hayward, Philip. "Firing up the Anthropocene: Conflagration, Representation and Temporality in Modern Australia." Text Matters: A Journal of Literature, Theory and Culture, no. 12 (November 24, 2022): 143–56. http://dx.doi.org/10.18778/2083-2931.12.09.
Повний текст джерелаАнотація:
The European colonization of Australia introduced a new population into a continent in which Indigenous people had practiced cyclic burning as a form of ecosystem maintenance since time immemorial. The settlers’ complete disdain for Indigenous knowledge and related practices caused these customs to largely fall into disuse. One result of this was an increased vulnerability of landscapes to bush fires, a factor that has risen to the fore in the early twenty-first century. The fires that have swept across the landscape with increasing frequency and ferocity have provoked fears of a rolling, fiery apocalypse that might make living in many areas of the continent untenable. This marks a new phase of settler anxiety that has been fuelled by extensive coverage of fires on broadcast and digital media platforms. Blending discussions of Indigenous culture, 19th-21st-century European settler visual art, literature and modern communications media, this article begins by examining the nature of Anthropocene modernity and the very different worldviews and practices of Australian Indigenous peoples. Particular attention is given to senses of time and of living and working with fire. Subsequent sections open up the topic with regard to the planetary present and how we might adjust to the future.
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Zemlianska, A. V. "The Theme of Inclusion in Alan Marshall's story "I can jump puddles"." Bulletin of Luhansk Taras Shevchenko National University, no. 7 (345) (2021): 96–106. http://dx.doi.org/10.12958/2227-2844-2021-7(345)-96-106.
Повний текст джерелаАнотація:
The article highlights the peculiarities of revealing the theme of inclusion in the story of the Australian writer. It is emphasized that inclusive literature is becoming a popular trend in the art of speech, aimed at revealing the image of a person with disabilities and acquainting the readership with the peculiarities of socialization and adaptation and the problems of self-realization. And from the middle of the twentieth century there was a tendency to choose the main character, and not a secondary or episodic character, as one that have special needs. It is emphasized that such works often focus on the personality of the protagonist, rather than his disability. It was found that A. Marshall's book is autobiographical and reveals the formation of a disabled child, the process of realizing his otherness and denying any restrictions due to illness. It is determined that the author avoids sentimentality and tragic pathos, does not put the character in the «limit situation», but rather emphasizes that everything is complicated for his main hero by adults who do not understand his inner state and do not seek to break their own stereotypes about people with special needs and their existence. Thus, the writer draws a contrast between the adult and children's perception of the disability. It is emphasized that for this reason all stages of formation of the protagonist of the story «I can jump puddles», starting from the moment of returning from hospital after operation, occur in contrary, and not thanks to support of adults. It is determined that the study of inclusive literature is a promising area of literary researcher, as it provides a comprehensive view of the problems faced by people with special needs, their relatives and friends.
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Abdul Gani Jamora Nasution, Alfiah Khairani, Alliyah Putri, Muliana Fitri Lingga, and Salsabila Saragih. "MENGENAL KEADAAN ALAM, KEADAAN SOSIAL, DAN KEBUDAYAAN MASYARAKAT ARAB SEBELUM ISLAM DI BUKU SKI DI MI." JOURNAL OF ADMINISTRATIVE AND SOCIAL SCIENCE 4, no. 1 (January 8, 2023): 172–82. http://dx.doi.org/10.55606/jass.v4i1.138.
Повний текст джерелаАнотація:
Arab society before Islam was a society that lived in the Jahiliyah era. Jahiliyyah which means ignorance and in Islamic law Jahiliyyah means "ignorance of divine guidance" or "condition of ignorance of God's guidance". This paper aims to get to know the natural conditions, social conditions and culture of Arab society before Islam. The results of the study: The Arabian Peninsula is a desert region located in the southwestern part of Asia. The Arabian Peninsula was a strategic area on ancient world maps, when the Australian and American continents were unknown to people, because it was located at the meeting point of three continents, namely Asia, Europe and Africa. The northern region challenges Arabia with the Syrian desert valley, the east is bordered by the Persian plateau, while the west is bordered by the Red Sea. The Arab region consists of deserts where the air is very hot and windy, this area is the Tihamah area, while the area that is in the form of valleys in the mountains is the Hijaz area. The social condition of Pre-Islamic Arab society was based on ethnicities that continued to maintain the teachings of their ancestors, by continuing to maintain traditions such as humiliation, killing female babies, worshiping idols, gambling, stealing, drinking intoxicants, robbing and justifying any means to make wishes come true. The most prominent pre-Islamic Arab cultural community is the field of Arabic literature, especially Arabic poetry. The country of Yemen is a very important cultural growth place that once developed in the Arabian Peninsula before Islam came. The Arab nation is a nation that has a high sense of art.
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Alston, Bruce. "Towards supported decision-making: Article 12 of the convention on the rights of persons with disabilities and guardianship law reform." Law in Context. A Socio-legal Journal 35, no. 2 (December 1, 2017): 21–43. http://dx.doi.org/10.26826/law-in-context.v35i2.10.
Повний текст джерелаАнотація:
In 2014, a set of National Decision-Making Principles (the Principles) was recommended by theAustralian Law Reform Commission as a legal policy guide for reform of Commonwealth, State and Territory laws. The Principles were aimed to encourage supported decision-making; make the appointment of representatives only a last resort; and to ensure that the will, preferences and rights of individuals direct decisions affecting their lives. This article discusses the sources of the Principles and their relationship to Art 12 of the Convention on the Rights of Persons with Disabilities. The article then examines the steps that are needed to give the Principles full effect in Australian laws to regulate decision-making by individuals who require support. A major focus in implementing a paradigm shift towards supported decision-making is reform of State and Territory guardianship and administration laws. The article examines how guardianship laws should be reformed consistently with the Principles - to ensure that guardianship is invoked only as a last resort and after considering the availability of support to assist people in decision-making. Further, guardianship should be as confined in scope and duration as is reasonably possible; subject to accessible mechanisms for review; and decision-making should respect the will, preferences and rights of the individual. At Commonwealth level, the National Disability Insurance Scheme legislation incorporates some elements of supported decision-making. However, these should also be augmented by providing legal recognition for supporters, and associated safeguards. The author suggests that the Principles can be a catalyst for facilitating important law reform over following decades. The article examines how the Principles may be used by communities, policy-makers and governments to promote world-leading legal changes to ensure that individuals with disability have an equal right to make decisions for themselves.
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Laughren, Mary. "From Linguistic Research Findings to Useful Products for Australian Aboriginal Communities." eTropic: electronic journal of studies in the tropics 12, no. 1 (August 2, 2016). http://dx.doi.org/10.25120/etropic.12.1.2013.3395.
Повний текст джерелаАнотація:
As a linguist investigating the Warlpiri language of central Australia since 1975 and the Waanyi language of the Gulf of Carpentaria region since 2000, my research has always had dual goals. One is to gain a better understanding of the nature of human language generally through detailed documentation and deep analysis of particular human languages, such as Warlpiri and Waanyi, and comparison with other languages; the other goal has been to produce materials of direct relevance and utility to the communities of these language speakers. This paper addresses the second goal. Firstly I briefly describe ways in which linguistic research findings have been 'converted' into pedagogic materials to support the<br />bilingual education programs in the Warlpiri community schools (Lajamanu, Nyirrpi, Willowra and Yuendumu) from the mid 1970s to the present, a period which has seen dramatic technical innovations that we have been able to exploit to create a wide range of products accessible to the public which have their genesis in serious linguistic research. Secondly I discuss some aspects of the interdisciplinary (linguistics and anthropology)<br />“Warlpiri Songlines” project (2005-9) for which over 100 hours of traditional Warlpiri songs were recorded and documented; older analogue recordings were digitised and ceremonial performances were video recorded. Thirdly, I touch upon the ongoing development of a Waanyi dictionary and language learning materials in collaboration with Waanyi people living at Doomadgee in north west Queensland who want to extend knowledge of their ancestral language within their community, since this language is no longer used as a primary language of communication. Finally, I cite some of the many recent innovative examples of ways in which linguists and anthropologists are drawing on contemporary technology to transmit their research findings to both the general public and to the communities in which their research is carried out.