The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button.These were the first behind the ear hearing aids manufactured by the National Acoustic Laboraties (NAL) in Australia Single behind-the-ear hearing aid.

The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. Silver metal case with side clips and hearing aid attached. Has battery compartment for AA batteries. Volume control is the top left hand corner. "C OF A/CALAID/36778" on back of case deaf children australia, hearing aid, calaid

The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. Silver metal case with side clips and hearing aid attached. Has battery compartment for AA batteries. Volume control is the top left hand corner. Comes with its black case "C OF A/CALAID/101862" on back of case. "ANGUS & COOTE/Acoustics/HEARING AIDS" on inside cover of case

The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. Square, silver metal hearing aid with electronics and AA battery compartments. Has an ear piece and ear mould attached by wire, with a volume adjustment. A body level type, probably a CALAID T manufacture from 1955 to the 70's. On front "C OF A/CALAID/108499" deaf children australia, hearing aid, calaid, commonwealth of australia

William Thomson described a new "Marine Azimuth Mirror" at the 1877 meeting of the British Association for the Advancement of Science, and patented the design in Britain and the U.S. This instrument is an example of the improved design, with a reflecting prism in place of the original mirror. Thomson introduced this form in the early 1880s. The signature indicates that it was made during the period 1900-1913. A child prodigy, William Thomson went to university at the age of eleven. At twenty-two he was appointed Professor of Natural Philosophy in Glasgow where he set up the first physics laboratory in Great Britain and proved an inspiring teacher. He primarily researched thermodynamics and electricity. On the practical side he was involved in the laying of the Atlantic telegraph cable. He was also the partner of a Glasgow firm that made measuring instruments from his own patents.An instrument of significant importance which made marine navigation easier and more accurate in the early twentieth century.An Azimuth mirror with wooden box.Kelvin & Hughs Ltd Serial No - illegible Made in Great Britainazimuth mirror, william thompson, lord kelvin, naviagtion, marine instruments

“A silver-grey robe, denoting a powerful official. The Netleader, or Netmaster, as he is sometimes called is head of one of the many craft guilds on Nrat-Tuan. Fishers Guilds are not only vital economic groups for Nrat-Tuan, but also for the whole Imperium, since the water planet is the major source of foodstuffs for Irusaqu, who cannot produce enough crops on what Is a relatively barren, planet. The various fishing crafts are most responsible occupations, entailing great care for the environment and the food chains. Fishing is carried out by means of either mirrors or nets, both being about equally popular. Mirror-faceted fabrics have always been used by Nrati-Tuan fishermen to dazzle and bemuse the creatures they are trying to catch, (the mirror may also have some predictive power). Research indicates that this odd technique is surprisingly effective. And the harvests are unfailingly good. Contact with the humans of Irusag, when the Imperium was first founded, brought the technique of netting to Nrat-Tuan. The Netleader heads the Netter Guild, which does not limit itself to the merely traditional fishing net, but works with a complex and sophisticated membrane technology, which has, in recent years, revolutionised the whole netting industry. The Master controls the experimental membrane laboratories, which deal with the extraction of metals from sea water, as well as with tools for the fishing industry.” -Inga Hunter

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

Collection of digitised photographs taken in preparation for the Class of 1973 Reunion in 2014. Garden views and buildings. Donated by Joanne Morris, former student, in June 2014. See Digitised photos- Garden Views folder- Visit to Burnley April 2014. (1) Luffmann Ponds. (2) Administration Building. (3) Emily Gibson Beds and Ginkgo biloba. (4) Looking towards Native Garden. (5) Oak tree. (6) Looking towards Rose Garden. (7) Looking towards Stream Garden and Fern Garden. (8) Looking towards Rose Garden. (9) Plaque at entrance to Field Station. (10) New gates at entrance to Field Station donated by the Friends of Burnley Gardens. (11, 12) Field Station. (13) Plaque in Herb Garden commemorating Enid Carberry. (14) Fountain in Herb Garden commemorating Enid Carberry. (15) Forestry Building. (16-18) Inside Forestry Building. (19) Sugar Gum Table Setting donated by the Friends of Burnley Gardens. (20) Plaque on Sugar Gum Table commemorating Geoff Olive. (21, 22) View of Luffmann Ponds and Summer House. (23) Plaque at Luffmann Ponds. (24) Luffmann Ponds. (25) View of former Egg-Curator's Residence from Nursery. (26) Back of Nursery. (27,28) The Burnley entry for the Melbourne International Flower and Garden Show 2014. (29) Back of Administration Building. (30) Plant Science Laboratories. (31) Student Amenities Building. (32-34) Plant Science Laboratories. (35) Citriodora Court. (36) Eucalyptus maculata at entrance to Native Garden. (37) Native Garden, James Hitchmough Grasslands. (38) Garden view. (39) Inside the Hall. (40,41) Roof Garden. (42,43) Library. (44-50) Views of the Quad and classrooms. (51) Dairy. (52) Building 904,(Centre for Urban Horticulture) now Waterway Ecosystem Research Group. (53) Yarra Boulevard entrance.class 1973, class reunion, garden views, buildings, joanne morris, students, luffmann ponds, administration building, emily gibson beds, ginkgo biloba, native garden, oak tree, rose garden, stream garden, fern garden, field station, friends of burnley gardens, plaques, herb garden, enid carberry, fountain, forestry building, sugar gum table, geoff olive, summer house, egg-curator, residence, nursery, melbourne international flower and garden show, 2014, plant science laboratories, student amenities building, citriodora court, eucalyptus, james hitchmough grasslands, roof garden, library, quad, classrooms, dairy, centre for urban horticulture, waterway ecosystem research group, yarra boulevard entrance

Garden views, newly planted Melaleuca styphelioides, Garden view "BHC". "Spear Thistle Flowers". "Orchard Weed Control Terbacil?" "Feeding Hay to Merino X" "Baleo? Lucerne." 1. "Glasshouse Display." 2. Fitzroy Gardens excursion? 3. "Rose Pruning Day." 4. "Cut Flowers" growing in the Orchard. "B.H.C. Gardens" Jan 8? 5. Sequoia sempervirens & Jacaranda. 7. Student spraying in the Orchard. 8. Poly tunnel. 6, 10. Inside a greenhouse. 9. Sign "Plant Science Laboratory Lecture Room 5 ‎‎‎→". Poly tunnel Jan? 11. Student Representative Council? 12. an unreadable sign near the Plant Research Institute. 13. Plant Research Institutue. 14. Students in Class.15. "Citrus Burnley Orchard. 16. " Student being taught how to lay irrigation pipe (Burnley?) Students in class . 17, 18..Students in Science Laboratory. 19, 20. a student on a ride-on-mower in the Gardens "Burnley" 21. Tap in the ground - irrigation?garden views, bhc, weed control, merino, lucerne, glasshouses, displays, fitzroy gardens, flowers, jacaranda, nurseries, equipment, spraying, poly tunnel, plant science laboratory, plant research institute, irrigation pipe, mower, melaleuca styphelioides, spear thistle, orchard, greenhouse, rose pruning day, greenhouses, students in class, students working outside

Note attached, "Possibly a thermogradient cabinet for seed germination (possibly Joan Mullet) see John Delpratt," and by Peter May, "I'm not certain on either count. A friend of mine worked at seed testing in the early 70's and knew Joan M. Would you mind if I sent the photo to him to have look at?"Black and white photograph. Woman working in seed testing, Unable to definitely identify.seed testing, thermogradient cabinet, seed germination, joan mullet, plant research laboratory/institute

Article in "The Age" February 16, 1949 about students: Heather Hill (1949), Shirley Stewart-Foster, L.M. Moore, Margot Bignall (1949) and Evelyn Nicholls (1949).the age, students, female students, heather hill, shirley stewart-foster, l.m. moore, margot bignall, evelyn nicholls, power lawnmower, dahlias, pears, plant research laboratory, students working outside

Photograph in the "Sun" 14.09.1929 of Mr. H.A. Mullett, Superintendent, planting a tree outside the Plant Research Institute with a group of male onlookers, one of whom looks like A.W. Jessep, Principal, Burnley College.the sun, h.a. mullett, superintendant, plant research institute, a.w. jessep, principals, tree planting, plant research laboratory