In 1980, the original week long session of planned activities to celebrate White Cane Day was jettisoned for displays and presentations in the new City Square. These included films, Swish demonstrations, children’s tactile artwork and photographs. It was a lovely sunny day, with crowds enjoying a performance by the Victorian Police Brass Band and their well known equine Gendarme, as well as the Lightfooters square dancing. The Minister of Health, Bill Borthwick, officially opened the program of activities.10 B/W photographs of White Cane Day celebrationswhite cane day, janene sadhu, bill borthwick, john cook, john wilson, lindsay mcmillan, phyllis gration, bryan sitlington

Given its sturdy construction, this cane was primarily used as a support device and demonstrates how initially canes which were painted white, retained their existing colour on the crook. Not everyone could afford to have a smooth cane and on this example you can see and feel where branches were stripped off from the main section. These would have also provided a tactile way to identify one cane from another.Short wooden support cane with rubber tipassistive devices, white cane

This tactile map of Europe was created in 1939, and brailled by the Queensland Braille Map and Model Club. Cut and mounted by G. Vann with geographical inforamtion provided by Miss E Southern. The Queensland Braille Map and Model Club was a volunteer organisation which produced tactile maps from the 1920s to the late 1940s. These were sent as presents to schools, organisations and missions for people who were blind or vision impaired around Australia, New Zealand, Syria, India, Canada, Papua New Guinea and Africa. Due to free postage of Braille obtained by Tilly Aston and her compatriots, the maps were transported gratis within Australia and at a cheap rate overseas. When this map was made, East Prussia, Danzig and the Levant States were all separate countries. Some information about each country (name, area in sq miles and population) is written on a small door on the right hand side, which can be opened to reveal the same information in Braille. At the base is a braille and handwritten note "Information about maps gratis from Miss E Southern "Kingsley" George St, Brisbane. "For lending to the Blind" is written at the base of the wooden frame.1 paper attached to wooden mount with metal labels, on the right hand side a small door with country information on the front and opens to reveal the same in Braille. queensland braille map and model club, r.f. tunley

Neville FRENCH (1955- ) Born Maryborough, Victoria In 1977 Neville French graduated from Ballarat College of Advanced Education after studying a Diploma in Fine Art (Ceramics) between 1974 and 1976, and was a tutor there for six months in 1978. He holds a Master of Arts, Research (Ceramics) from RMIT Universiy, and was awarded the Vitrify Alcorso National Ceramics Award in 2012. Neville has an international reputation as a ceramics artists and educator. From 1982 to 2012 Neville French was teach and coordinator of the Ceramics department at the Ballarat School of Mines and University of Ballarat (now Federation University). From 1982 to 2012 Neville French taught Ceramics at the Ballarat School of Mines TAFE, which later merged with the University of Ballarat (now Federation University Australia). He completed a Graduate Diploma of Education at Hawthorn State College in 1980, a Certificate of Stoneware Glazes from Brisbane College of Advanced Education in 1983 and a Master of Arts Fine Art (Ceramics) at RMIT University in 2000. Between 2010 and 2012 Neville French taught post graduate honours and masters Ceramics students. During his time as a student at Ballarat Neville Bunning would collect clay from the Enfield clay pit. He described following white tyre tracks to find the location. He described the clay as silky smooth and and fired to a beautiful grey colour at stoneware tempreture. When blended with terracotta clay from Nerrina or fireclay from Bacchus Marsh a wide range of different bodies could be created. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Two vessels made as a sculptural pair. Statement: "My work involves an exploration of elemental vessels - extending porcelain to develop taut contours and spatial dynamics. I seek to distill an essence of purity to evoke notions of quietude and transendence through the expressive use of glaze and its relationship to form, tactility, weight and light. Forms are wheel-thrown, altered and slowly scraped to develip a soft line and solidity. Coloured matt glazes are layered and fused to the porcelain body through multiple firings to give expression and luminosity to the surface,. The iodosyncratice nature of glaze stimulates the imagination. It evokes associations with the natural environement and alludes to a meditative infinity."Signed on base 'f.'art, artwork, neville french, french, ceramics, porcelain, wheelthrown, thrown and altered, alumni

An overview of activities and achievements during the past financial year. Articles in annual report include: opening two new offices in Coffs Harbour and Canberra, merging library services with RVIB and VAF, development of the "Do It Yourself" package with the University of Sydney and launched by Benita Collings, Behind the Budget luncheon with H.G. Nelson, Wendy Harmer and Peter Berner, a tactile art exhibition with the Sydney's Object Gallery, building a new volunteer Speakers Network and profiles of volunteers Clarys Churchill and Ian Carswell, and clients Emily McNeil, Tess Herbert, Nelson Rufatt, Jonathan Mondy, Fiona Williams, James Pittar, Rita Lucas, Noni Guthrie, Alexandra Sugis and Elizabeth Ford.1 printed volume of information about the RBS during the financial yearroyal blind society of nsw, annual reports, lauren rapley, emily mcneil, graeme innes, pearl stapleton, dick smith, clarys churchill, tess herbert, benita collings, erica chiandotto, nelson rufatt, natalie kaine, jonathan mondy, annette hayes, fiona williams, james pittar, rita lucas, cem oztan, noni guthrie, alexandra sugis, elizabeth ford, paula-jane robinson, ian carswell, andrew daddo, wendy matthews, tayla fitten, dion milton, peter berner, wendy harmer, h.g. nelson, marie bashir, walter bolin, victoria maggs, katherine purcell, michael simpson, john landau, denis lister, carol ireland, stephanie peebles, barry chapman, christopher cullen, charles cowper, frank martin, ivan cribb, keith barton, michael brown, john mumford, owen van der wall, roslyn lambert, tony miller

The Feelix library was developed to help children who were blind or have low vision experience the connection with books via tactile objects. Each print book was hand selected, a clear Braille overlay placed on the pages, and items relating to the story were made or purchased and added to the kit. The kit (book and objects) was held inside a cardboard suitcase and sent through the mail in a bright orange, zippered plastic padded pouch with a carry strap. On May 22, 2007 Sigrid Thornton visited the Feelix library at the RVIB Burwood School for a special story time with Kate, William, Seth, Claudia, Amelia, Liam, Dominic, Anna and others.66 digital images of Sigrid Thornton's visit to the Feelix libraryroyal victorian institute for the blind, feelix, rvib burwood school, sigrid thornton, trish anderson, robyn sainsbury-vale

The Feelix library was developed to help children who were blind or have low vision experience the connection with books via tactile objects. Each print book was hand selected, a clear Braille overlay placed on the pages, and items relating to the story were made or purchased and added to the kit. The kit (book and objects) was held inside a cardboard suitcase and sent through the mail in a bright orange, zippered plastic padded pouch with a carry strap. Launched at the Melbourne Zoo on 11 February 2003, these images were taken of the families who attended, including Zoos Victoria CEO Laura Mumaw, Minister for Community Services Sherryl Garbut and RVIB CEO Doug Kent, and the Feelix kits displayed on the day.37 digital photographs of families and official guests at launch of Feelix libraryroyal victorian institute for the blind, feelix, sigrid thornton, sherryl garbut, laura mumaw, doug kent, louise curtin

The Feelix library was developed to help children who were blind or have low vision experience the connection with books via tactile objects. Each print book was hand selected, a clear Braille overlay placed on the pages, and items relating to the story were made or purchased and added to the kit. The kit (book and objects) was held inside a cardboard suitcase and sent through the mail in a bright orange, zippered plastic padded pouch with a carry strap. Launched at the Melbourne Zoo on 11 February 2003, ambassador Sigrid Thornton read 'Owl Babies' by Martin Waddell to the crowd. These images were taken of the families who attended, including Zoos Victoria CEO Laura Mumaw, Minister for Community Services Sherryl Garbut and RVIB CEO Doug Kent.36 digital photographs of families and official guests at launch of Feelix libraryroyal victorian institute for the blind, feelix, sigrid thornton, sherryl garbut, laura mumaw, doug kent, louise curtin

Articles in the annual report include: the building of a new library section at Enfield, transfer of Mitchell Manufacturing to Australian Foundation for Disabled, establishment of Orana regional office in Dubbo, talking local newspaper project launched with Talking Daily Liberal (Dubbo) and Talking Wentworth Courier (Sydney) piloted, four graduates of Rehabilitation Teachers course were funded by the Florence Cecily Singer Trust, one studio equipped with second generation voice indexer in conjunction with Canadian inventor, from 1990 all Braille production will be done in-house, tactile Christmas cards produced for the first time in 1989, financial decision made to consolidate accommodation services (Roselands Nursing Home and Burgess House) on the one site, two new donors clubs established (Cassette Club and Talking Book Club), and formation of Junior Black & White Committee.1 volume of text and imagesroyal blind society of new south wales, corporation records

The Feelix library was developed to help children who were blind or have low vision experience the connection with books via tactile objects. Each print book was hand selected, a clear Braille overlay placed on the pages, and items relating to the story were made or purchased and added to the kit. The kit (book and objects) was held inside a cardboard suitcase and sent through the mail in a bright orange, zippered plastic padded pouch with a carry strap. On August 22, 2007 Feelix staff organised an activity to supplement the book "We're going on a bear hunt" by Michael Rosen. First the book was read, then the young children (and their parents) replicated the actions of the book's characters in their search for a Bear who followed them home for morning tea. Later that day, Burwood School children also joined in on their own Bear Hunt.70 digital images of staff and children during the Bear Huntroyal victorian institute for the blind, feelix, rvib burwood school, louise curtin, ed gamble

Six photographs set into a white, wooden frame, each with their own description at the base of the picture. Image 1 is of two girls, one with a doll in a pram and the other holding a doll. Image 2 has four children with a large doll dressed as a sailor. The caption runs under both pictures: "They love their dolls." Image 3 is of a girl in a pinafore washing doll's clothes in a bucket on a table which also contains a miniature clothesline, iron and washing basket, the caption reads "Washing day for the dolls". Image 4 shows children touching the tactile picture of Prince Charming and Snow White on a horse, with the caption "They follow by touch the story of the seven dwarves." Image 5 is of a baby in a chair with a cushion and a blanket "The Institute's youngest blind boy". Image 6 shows Matron holding two babies, with the caption "The Institute offers them it's care from 'the cradle to the grave".6 black and white photographs ; in white frame Descriptions below each photographroyal victorian institute for the blind, rvib nursery

The Jot a Dot Pocket Brailler is a portable, manual Braille writer designed for use by individuals who are blind or have low vision. This small, lightweight brailler has six keys for Braille entry. The keys have high contrast colors for identification by users with low vision. Braille is written from the left hand side of the page to the right, with 20 cells of braille per line. The user can read Braille as it is written by turning the unit over. A built-in reading stand keeps the unit stable when resting on hard surfaces. Tactile line and cell indicators show the current location on the page. The line indicator shows which line is being Brailled, and the cell indicator shows the position of the embossing head on the line. By turning the device over, the user can read the Braille as they write it. This Brailler uses standard photocopy paper in A5 and A6 paper sizes. The unit is constructed in one piece, so there are no parts that can be lost. 1 rectangular blue Braille unit with 6 bright green keys Yellow sticker LN017a on front. On back Jot a Dot F07077 sponsored by Guide Dogs. braille equipment, assistive devices

These meetings were held at the Kooyong office and the minutes include Present, Chair, Apologies, Minutes, Matter arising from minutes, Correspondence, Life governors, Election of members, Nominations, Reports from Regional Blind Members groups. Some highlights include: 27/10/1986 it was reported that tactile maps of the Melbourne Metropolitan Railway network are now available. 6/2/1987 as special meeting had been called to discuss in detail what action should be taken regarding the proposed $2 coin. John Cook advised that BMC had been invited to send a representative to Canberra to meet with other Blind consumers and representatives from the Mint and Treasury. The BMC agreed the coins needed further testing. 29/2/1988 The Treasury received further letters regarding the $2.00 coin. It was agreed this matter could not be pursued any further. 26/11/1990 it was reported that the commissioned by BMC of the Association's founder Miss Tilly Aston, was officially unveiled by Mrs Jean Ross and Mrs Diana Jones at the 95th Birthday Celebration Concert. The portrait was then hung in the foyer of the Vision Resource Centre. Suitably framed photographs of the founder's portrait to be circulated to all branches. The visits to primary schools by BMC members continued as part of the School's program as did the BMC radio program on 3RPH. Minute book for Blind Members Councilassociation for the blind, blind members council

Phenyle has been used for decades as a cleaner and disinfectant. It is well know for its use for cleaning outdoor toilets and easily identified by its strong odour. The brown glass bottle is immediately recognised as containing a poison. We've all seen them in a hundred different mystery movie scenes. The medicine cabinet opens and there, sitting on a shelf, is the incriminating object -- the ominous dark bottle with the skull and crossbones on the label. In off-screen reality, however, poison bottles have quite a different identity -- they are distinctive, varied, colorful -- and definitely collectible. Obviously, the one thing that sets the poison bottle apart from all other bottles is the need for prominent and immediate identification as a receptacle for toxic material, and this was achieved in a number of ways, including shape, color, embossing and labeling. Poisons were commonly found in the home for the purpose of controlling rodents and other pests, and were sold by grocers and druggists. For consumer protection, as far back as 1829, New York State made mandatory the marking of the bottles with the word "poison" in large letters. Then, in the middle of the 19th century, the American Pharmaceutical Association recommended legislation regarding identification of all poison bottles. In 1872 the American Medical Association also made recommendations -- namely that poison bottles be made of colored glass, and also have a rough surface on one side -- making them identifiable even in the dark -- and the word "poison" visible on the other (the skull and crossbones wasn't quite as ubiquitous as those movies led us to believe). However, passing these laws was not easy, and the manufacturers were essentially left to do as they wished. For collectors, the high point of poison bottle manufacturing was the period ranging roughly from the 1870s to the 1930s. At that time some, of the bottles were distinguished by particularly bright colors, such as cobalt blue (the most common) and emerald green. Others, particularly rare and collectible, had unusual -- and appropriate -- shapes, including skulls, leg bones and coffins. In order to better identify these lethal vessels by feel (not forgetting that there were many people in this period who could not read) when groping for them in the dark, they had such elaborate tactile patterns as quilted diamonds, lattices, hobnails and prominent vertical or horizontal ribbing, as well as spiky knobs and ridges. In addition, many had sharp points on top for the same precautionary purpose. Further efforts to distinguish poison bottles from others included uncommon multisided and triangular shapes, and unusual, hard-to-open tops, the predecessors of the modern child-proof openings. https://www.southcoasttoday.com/story/lifestyle/2001/08/19/poison-bottles-steeped-in-history/50352280007/The recognition and awareness of bottles containing poisonpous substances is extremely important for safety reasons.Bottle, brown glass, diamond shaped. "Bright Star" phenyle. Paper label attached, but peeling off and badly damaged. Corked with contents. Text moulded into glass, some with a border of stars. Poisonous contents, not to be taken. Registered Number 2140. Volume is 20 fluid ounces. Printed label "Bright Star". Text is moulded in the glass in raised lettering: "PHENYLE" outlined and decorated with star border. "POISONOUS", "NOT TO BE TAKEN" "V / DM / A" within oval, "REGD NO. 2140" (D and O are smaller and underlined) . Base is marked "F190".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bright star, phenyl, cleaning and disinfecting chemical, poison, bottles

non-fictionTraces three periods of Hanrahan's practice: early development; first major period of printmaking 1963 to 1967 and her second since 1967. Focuses on major themes and motifs and contains a small proportion of images made since 1960, many exploring her family and womens' lives. These themes and the tactile quality of her practice are woven into her 9 published novels, and text often appears in the prints. Includes list of solo exhibitions, a bibliography and biographical details.printmaking, lithography, etching, linocut, screenprinting, wood engraving, writing, sexuality, family, identity, drypoint, popular culture, body, motherhood, ageing, gender

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Lipton tea) from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Purina 'fancy feast') from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Lipton 'Green Tea') from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters

Ill, maps, p.224.non-fictionThis book surveys over 150 years of miniature railways in the Australian amusement industry ... The trains presented herein provided tactile mechanical devices onto which the passengers could project their own imaginations to create the thrills of travelling by train through their own imagined spacesminiature railways - australia - history, miniature railways - australia - pictorial works