A light blue coloured cardboard cover with black information of the front. Below the Australian Army Insignia are the details of the manual. There are two metal staples down the spine of the manual. australia - armed forces - service manuals, infantry training, infantry platoon weapons, sub-machine gun 9mm f1, b coy, 43 rsar

A blue coloured cardboard cover with black information on the front. Under the Australian Army Insigna are the details of the booklet. There are two punch holes on the left hand side of the booklet.australian army, training, information bulletin, minefield

A blue coloured cardboard cover with black information on the front. Under the Australian Army Insigna are the details of the booklet. There are two punch holes on the left hand side of the booklet.australian army, training, information bulletin, minefield

A heavy duty burgandy cardboard cover with gold print on the front. Under they Australian Military Forces insignia are the details of the manual. The manual is held together by a metal slideaustralia - armed forces - service manuals, manual, equipment instructions, australian military forces

A grey spectacled cardboard cover with a dark blue binding. Under the Australian Military Forces Insigna are the details of the booklet. The booklet has dark material down the spine.booklet, australian military forces, patrolling and tracking

A grey spectacled cardboard cover with a dark blue binding. Under the Australian Military Forces Insigna are the details of the booklet. The booklet has dark material down the spine.booklet, australian military forces, ambush, counter ambush

Glossy postcard with edges raised above the photograph itself of Collins St. Melbourne looking east along Collins St towards the NE corner of the intersection with Elizabeth St. Cable trams in distance with many horse drawn vehicles on both sides of street and pole lines with wires. B.H.Alston building features. Some motor cars in photo. On base of card is title & in bottom RH corner is 'No. 10'. On rear are areas for Address and Correspondence. Title is 'Collins St. 'The Block' Melbourne'. On rear as well is publisher details with Melbourne mis-spelt. Rear of card is finished off white , while front has a light pink finish. Photo printed using photographic paper. Printed in Great Britain. trams, tramways, melbourne, collins st., cable trams

Radio Transcript or script, 7 foolscap typed pages, double spaced titled "Wireless Talk -- Mr. J. D. Barton Staff Officer MMTB - Melbourne Street Transport No. 2". Report looks at the history of horse bus routes in Melbourne, building of the cable trams, the Parliamentary Bills for the cable trams, constructing the lines, Mr. G. Duncan, Mr. Clapp, construction difficulties, the Melbourne Tramway Trust, MTOC, drainage issues, bridges, alterations to the Act, Patent issues with a London company, opening dates and comments about wire rope. Could be a few pages missing given the way it ends, no thank you or formal ending. Item noted dated, presumed late 1920's.Has pencil notation in top left hand corner "6 copies"trams, tramways, public transport, radio stations, horse buses, mto co, melbourne, cable trams, mtt

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

Hardcover w/ Dust JacketAustralian Dictionary of Biography Subscription card and corrigenda insidebiography, dictionary, australian biography, walsh st library

Hardcover w/ Dust JacketAustralian Dictionary of Biography Subscription card and corrigenda insidebiography, dictionary, australian biography, walsh st library

Hardcover w/ Dust JacketAustralian Dictionary of Biography Subscription card and corrigenda insidebiography, dictionary, australian biography, walsh st library

A yellow plastic cover with a window in the front. At the top right hand corner reads AAP 7484.013-3M which is written in black texta, Near the top of the cover there is the Royal Australian Air Force Insignia with Royal Australian Air force and Engineering Publication. Through the window is the title of the Manual. Inside a plastic sleeve on yellow cardboard are the full details of the manual. The manual is held together with a large metal slide.royal australian airforce - manuals, firewire elements, engineering

This is a booklet of 47 pages. It has a grey cover with green linen binding and metal staples with black printing on the front cover. It has a postal stamp on the back. The pages contain black typed printingnon-fictionThis document contains the minutes of the 1946 Australian Primary Producers Union first conference .australian farmers' union, 1946 australian primary producers union, warrnambool.

A yellowish coloured cardboard cover with black information on the cover. Under the Australian Army Insignia are the details of the boollet. At the top of the booklet writeen in ink is the name Maj A.W. Sween major aw sweeney, promotion to captain and major, written examinations, briefing materials, royal australian army medical corps, staff college, australian army

A brown coloured cardboard cover with black information on the front. Under the Australian Coat of Arms are the details of the booklet. The booklet is bound with a black material on the left hand side of the booklet.australian military forces, patrolling and tracking

A blu coloured cardboard cover with black information on the front. Under the Australian Coat of Arms are the details of the booklet. The booklet is bound with a black material on the left hand side of the booklet.australian military forces, patrolling and tracking

A blu coloured cardboard cover with black information on the front. Under the Australian Coat of Arms are the details of the booklet. The booklet is bound with a black material on the left hand side of the booklet.australian military forces, patrolling and tracking

A blu coloured cardboard cover with black information on the front. Under the Australian Coat of Arms are the details of the booklet. The booklet is bound with a black material on the left hand side of the booklet.australian military forces, patrolling and tracking

A blue coloured cardboard cover with black information on the front. Under the Australian Army Insignai is the description of the booklet. There are two punch holes down the left hand side of the booklet.australian army, training, information bulletin, map folding

A blue coloured cardboard cover with black information on the front. Under the Australian Army Insignia is the description of the booklet. There are two punch holes down the left hand side of the book.australian army, training, information bulletin

A double sided official original page Agreement between the Melbourne and Metropolitan Board of Works at Spencer Street Melbourne and Maxwell Hay Proctor for the supply of water to the Queens Road Wandin property on the Second day of July 1951.A double sided official original page Agreement between the Melbourne and Metropolitan Board of Works at Spencer Street Melbourne and Maxwell Hay Proctor for the supply of water to the Queens Road Wandin property on the Second day of July 1951. It has The Common Seal of the Melbourne and Metropolitan Board of Works affixed in the presence of the Chairman, Member and Acting Secretary. It is signed Sealed and Delivered by the said Maxwell Hay Proctor in the presence of the witnesses D. Campbell and J.D.It has 'The Common Seal of the Melbourne and Metropolitan Board of Works affixed in the presence of the Chairman, Member and Acting Secretary. It is hand signed Sealed and Delivered by the said Maxwell Hay Proctor in the presence of the witnesses D. Campbell and J.D.'administrative records, documents, land agreements, melbourne metropolitan board of works

Colour photograph of the Melbourne Arts Centre and buildings lit during White Night. A number of photographs of luminations from White Night Melbourne.melbourne, melbourne art centre, white night, spire

A yellow coloured cardboard cover with black information on the front. Top right hand corner reads Australian Air Publication 7551.054-2. Above the RAAF insignia reads Royal Australian Air Force and beside the insignea there is a stamp which reads R.A.A.F. Library Copy No: 2: Base Squadron Amberly. There are three punch holes and tow metal staples down the left hand side. There are two amendments inside the manual.royal australian airforce - manuals, australian air publication, oxygen valves

Proforma document of Australian Army : Final Statement of Account Discharged Member issued to PTE 3 Swainston, NE detailing monies to be paid at final discharge on 20/10/1972.payment, discharge, swainston collection

A brown coloured cardboard cover with black information on the front. Top right hand corner reads 7610-66-015-3985. Under the Australian Coat of Arms is the description of the manual.australia - armed forces - service manuals, infantry training, infantry platoon weapons, m 60 machine gun 7.62

A speckled blue coloured cardboard cover with black information on the front. Under the Australian Coat of Arms reads Infantry Training. The booklet is held togeher with two metal screws on the inside.australian army, infantry training, the battalion