This pamphlet was published by the Army Survey Regiment as an overview of the Royal Australian Survey Corps (RASvy), its role and unit structure circa 1991, prior to RASvy’s disbandment in 1996. The pamphlet comprehensively detailed the eight steps of topographic map production: Establish Survey Control, Aerial Photography, Aerotriangulation, Stereoplotting, Field Verification, Cartography, Printing and Storage/Map Distribution. Leading technologies used by RA Svy in 1991 included GPS control surveys, 5 colour printing on the Speedmaster offset press and bulk map packaging using the Map Handling Station (with guillotine). Digital map production was operating on the AUTOMAP 2 system, before the “Newheart” system upgrade two years later. Printed on the pamphlet cover was a portion of the plane tabled “four inches to a mile” map of Newcastle. This was compiled and surveyed in 1910 by LCPL A. Barrett, a member of the RAE Detachment, as part of the first major topographic mapping effort of Australia.This is a Royal Australian Survey Corp pamphlet with a historical map printed in colour on cardboard on both sides of the cover. There are 16 pages printed in colour on gloss paper, with photos, diagrams and descriptions. The pamphlet is bounded by two staples on its spine. Each of the 17 images were scanned at 300 dpi in JPEG (.jpg) format and stored on the attached 16 Gb USB memory stick. The images have been converted into MPEG-4 (.mp4) video format, 4Mb in size and runs for 2:16 minutes and is also stored on the memory stick.royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

Melbourne and Metropolitan Board of Works. Yarra 2500 [base map]. 12-22, Parishes of Keelbundora 2856, Municipalities of Whittlesea 239 and Diamond Valley 257. Shows street names, easement sizes, lot numbers, lodged plan numbers, names of prominent features, contour values, creek or river names. Watsonia Railway Station and environs. Prominent streets: Edmund Rice Parade and Macorna Street. Includes Christian Brothers Edmund Rice College and Janefield Special School sites and "proposed future freeway" (now Metropolitan Ring Road).MMBW Map in 1:2500 [scale] series. Cream parchment with green tape reinforcing on edges and punched holes on left edge.mmbw, melbourne and metropolitan board of works, shire of diamond valley, watsonia - maps, bundoora - maps

Map showing residential allotments numbered 1, 2, 3 and 4, on Wilson Street and Braeside Avenue, Ringwood East, Victoria.Signed and dated 1/12/1961. Rubber stamped Kirkpatrick & Webber, Licensed Surveyors, Civil Engineers & Town Planners, 225 Maroondah Highway, Ringwood, Telephone 870-0321. Ref 3438C. "Note: Lot 4 is to be transferred to the Registered Proprietor of Lot 2 on Lodged Plan 23477 and is to be consolidated therewith." Map also includes handwritten Estate Agent notations.

Program and guide map of city of Melbourne. Map of Melbourne and suburbs. Map of N.S.W. and Victoria.XVIth Olympiad Olympic Guide, Melbourne 1956.documents, programmes

Pamphlet - four fold - special size - full colour titled "Catching the Met? - This is your first stop." giving the list of Metcard shops in central and suburban Melbourne, along with maps of the tram and train systems. The maps show both Yarra and Swanston trams with route numbers along with Bayside and Hillside trains and the various ticket zones at the time. The number of car parking spots at each station also shown. On the rear is general information about Metcard with ticket machines, and validators. List dated effective from April 1999.trams, tramways, maps, metcard, yarra trams, swanston trams, hillside trains, bayside trains, tickets

Yields information about the extent and cities that had street tramway systems in Australia and New Zealand and in particular Ballarat.Book - hard cover, 9 sewn sections, full paper bound front covers, 120 pages, gloss paper printed in full colour titled "An Illustrated Tramway Atlas of Australia and New Zealand" with a table of contents by Hugh Ballment and Carl Segnit published by Transit Australia, 2018. Has a preface and acknowledgements, lists 23 Australian and 9 New Zealand cities that had public street tramway systems. Gives maps of the Tramway Museums at the time, trams on public displays and tramway museums that have closed. The Map for the Ballarat Tramway Museum line in Wendouree Parade is not correctly shown.trams, tramways, atlas, australian tramways, ballarat, maps, geelong, bendigo

Morgan's street directories lack dates. Donor's parents, who lived in Blackburn, used this street directory .Small soft covered book of official street directory of Melbourne and suburbs.Morgans Official Street Directory Melbourne and Suburbs 6/6maps

Wal Jack had an extensive range of correspondents throughout Australia and the world who often provided him with detailed drawings and notes on various tramway systems. This set of notes on the Wanganui tram system and a list of the rolling stock dated Dec. 1946. The typed foolscap sheet listing the trams or rolling stock gives details on each tram. May have been used to prepare Wal's list. Map and the handwritten list of trams, based on the handwriting, prepared by Wal Jack himself. The typed list may have been prepared by others. Yields information about Wal Jack's extensive recording and research work.Drawing - black, red and blue ink or colour pencil, one hand written sheet and one double sided typed carbon copy foolscap sheet with ink notes over poor sections of type.tramways, wal jack, drawings, maps, tramcars, wanganui

Blueprint copy of Survey Map detailing original Selectors' names and property locations. List of Parish map references including property bearings, distances in Links, and markings on trees. Descriptive remarks include areas marked "Farmer's Common", "Poor soil thickly/moderately timbered with stringy bark", and location of water and firewood reserves."Surveyed and plotted by N.M. Bickford, Superintendant of Mr. Hodgkinson's Field Party". "The land comprised in this survey is of inferior quality, moderately undulating, and thickly wooded. It is watered by Dandenong Creek and Deep Creek." Inset map showing location of (*proposed) cemetery on southern corner of Lillydale Road from Melbourne and Sawmill Road, later Mount Dandenong Road. (*Cemetery did not eventuate.)

Pamphlet - two fold DL full colour printed on semi gloss paper, titled ""Tram and Bus connections just got smarter", introducing Smart Bus route 903 from Mordialloc to Altona connecting with 9 different bus routes. Gives details of the smart bus system, its route, timetable information and has a map of the route on the rear. Dated 2008.trams, tramways, smart bus, buses, public transport, maps

A Bush Fire Control map is a valuable tool used by emergency services and communities to respond to respond to bushfires.Cream coloured parchment map showing roads, railway lines, telephone lines, rivers, creeks and water courses. Also marked are houses, Post Offices, Police stations, bush fire brigades, water channels, swamps, marshes, dense, medium and scattered timber, aqueducts and reservoirs. Villages, districts and Towns are clearly marked. Printed in red, green, black and blue. Very clear and easy to read. Undated.bush fires, bendigo area map

Suitcase issued to aircraft captains or crew by RAAF during World War II. The contents of M D Frecker's suitcase include World War II medals awarded to the owner, photographs, maps, pilots' handbooks, language dictionaries (Malay, Pidgin, Japanese), propaganda leaflets dropped by Japanese.Has historical and social significance, also research significance. Provenance known, owner piloted B-24 Liberator bombers and General Blamey's personal aircraft; item was donated by son. Great interpretive potential.Worn dark suitcase belonging to Mason Day Frekker, strong cardboard covered with 'leatherette', metal fasteners on front, with carry handle. Suitcase contains Flying Log Book RAAF, Wedding Photo, National Archives Record Search Mason Day Frecker, Distinguished Flying Medal Register WW2 x 3, Papers on Medals and Victorian Ground Crew Numbers, Files 1 - 2 - 3 - Photographs, Leaflets, Pilots' Notes, Maps - Germany (28 maps), Buttons and badges and other medals."RAAF/402653/Frecker/M.D." on top surface, "M.D.F." on front surface under handle.b24 liberator bomber, world war ii, raaf pilot, world war ii aerial photographs, a22.00

Catalogue card reads, 'Map of Ringwood East'.

Hardcover w/ Dust Jacket(Apart from the map that was already part of the book)walsh st library

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

A manual for participatory development.maps, b&w illustrations, tables, chartscommunity development, rural development

The Little Red Yellow Black Book is an accessible and highly illustrated pocket-sized guide. It's an invaluable introduction to Australia's rich Aboriginal and Torres Strait Islander histories and culture. It takes a non-chronological approach and is written from an Indigenous viewpoint. The themes that emerge are the importance of identity, and adaptation and continuity. If you want to read stories the media don't tell you, mini-essays on famous as well as everyday individuals and organisations will provide insights into a range of Australian Indigenous experiences.maps, b&w photographs, colour photographsindigenous history, culture, art, sport, health, education, employment, reconciliation, resistance, governance

Tells of the Aboriginal Protectorate System in Colonial Victoria during the period 1838 to 1852. The system was designed to be a buffer between the original inhabitants and the influx of white squatters. That the system failed is of little wonder. This story traces the times of Edward Stone Parker, Assistant Aboriginal Protector in the Loddon region of Victoria.maps, b&w photograph, colour photographs

Early (1852) biography of William Buckley, with introduction and notes by Roland Schicht (1996).maps, b&w illustrations, colour illustrationsport phillip bay, yarra river, william buckley

word lists, maps, public records listslatje latje, ladji ladji, wadi wadi, yapagulk, wemba wemba, baraparap, dja dja wurrung

The story of Kaurna man Uncle Lewis O'Brien and his family, beginning with his great, great grandmother Kudnarto - the first Aboriginal woman to marry a white man in South Australia. Contents: 1: Padniadlu wadu: Let's walk together in harmony 2: Kudnarto of Skillogalee Creek 3: Who was Tom Adam senior? 4: Tom and Tim Adams of Poonindie 5: The Adams Family of Point Pearce mission 6: Treasured memories and lessons from the mission 7: My difficult childhood 8: Leaving school and doing an apprenticeship 9: Joining the Merchant Navy 10: Becoming a 'land-lover' and settling down 11: Reflections on working in schools and university 12: Sharing our space 13: Achievements and celebrations.colour photographs, maps, b&w photographskaurna, south australia, political activism

Comprehensive book with coloured photos of the Kombumerri people and their traditional life in Queensland?s Gold Coast. Tells of white settlement, historic sites, flora and fauna, customs and myths, repression and land.colour photographs, b&w photographs, mapskombumerri, gold coast, queensland

A history of Aboriginal experiences in 'South Australia' since 1836.maps, b&w photographs, document reproductionssouth australia, nunga, goonya, colonisation

This book is devoted to the contact history of a hunting and gathering people where they themselves tell the stories in their own languages. Presented as transcriptions of the original stories in Language in facsimile with introductions, gloss and translations by the transcribers. Contains stories by B. Kerwin, R. Moses, H.P. Kulambunt. B. Roberts, M.M. Irinjili D. Harris, J.S. Karntin, C.G. Wurramarrba, Barrengwa, B. Murray, W. Clegg, S. Day, T. Ejai, A. Baranga, I. Joshua, B. Clarmont and C. Omeenyo, H. Goetz, A. Coulthard, J. Boxer; (Lalarin), B.A. Sommer, J. Jack, E. Kennedy, L.J. Kyngayari, V. Lingiari, J.C. Maliwanga and J. Flinders, separately annotated.maps, b&w photographs, word listsyandruwandha, innamicka, nicholson river, djaru, wawarl, western dialect, murinypata, alawa, mission, wangganguru, ngiyambaa, cobar, cape keerweer, wik-ngatharra, macassar, anindilyakwa, dhirari, afghan, chinaman, wagaya, wemba wemba, bilikin brothers, bardi, ngarinjin, massacres, hodgson downs, warndarang, mindiri, wangganguru, old paddy, umpila, native police, gugu-badhun, boninb, atynyamatana, constable mcleay, bowman, oykangand, kukatj, roper creole, paradise, dhirari, fanny brown, wave hill strike, gurindji, vincent lingiari, mainoru station, rembarrnga, land rights, flinders island

Maps, colour photographs, word lists, CDkaurna, kaurna plains school