Front cover is a photo of The Shamrock Hotel. 52 paged booklet - ''Report to Residents - City of Greater Bendigo, October 1995''. Table of Contents; Commissioners; Chief Executive Officer; Council meetings; Office location and hours; ''One Telephone Number''; Committees; Ward boundaries; Elections; Customer services; Rural services; Economic development; Bendigo Tourism Board; Bendigo Trust; Events Bendigo; Capital works 1995/96; Major projects; Discovery; Bendigo Regional Arts Centre; local laws; Fire prevention; Aged and disability services; Children and family services; Environmental health; Recreation and leisure; Parks and gardens; Planning and building; Waste management; Library services; Bendigo Leisureland; Rates; Budget for 1995/96; Index. Contains some photographs and map of proposed 7 internal Wards for the City of Greater Bendigo.Richard Cambridge Printers Bendigo.bendigo, council, report, maxine crouch, maurie sharkey, perer ross-edwards, peter seamer, hadley sides, richard morriss, bernard smith, annie galvin child care centre, bendigo regional art centre, rosalind park, budget 1995/96. bendigo health care services.

Information from these notes is entered into 1931.03, temporary Honor Roll, but not into the larger (.01) Roll of Honor Book - apparently an unfinished project. This material was hidden within the large wooden Honor Board now in the foyer of Port Melbourne Town Hall.Nott Street Old Boys Honour (Honor) Roll: Several dozen notes handwritten on various slips of paper and sent by families of boys who served in WWI, to the school for inclusion into 1931.01 and .03. Some give details of medals, deaths etc. Among these are .05 - a letter from Miss HOPKINS and tickets for .06- State School benefit and .07 - "A Picture Show" and a scribbled order of service.war - world war i, education - primary schools, nott street state school, eleanor hopkins

non-fictionAn illustrated survey of public mural projects during the 1970's and 1980's in metropolitan and regional communities including feminist, Trade Union, and Indigenous projects.murals, trade unions, women's murals, indigenous, urban art, political art, community arts, community arts network, eve glen, carol ruff, sarah macnamarra, barbary o'brien, community arts board, geoff hogg, ann newmarch, merilyn fairskye, catriona moore

Eppalock. Construction. Eppalock Project Main Bank. Lake consists of clay fill, Gravel Filter, Rock Filter, Basalt Filter, Stabilizing Fill. Full Supply Level RL637. Crest Length 2000 Feet, Maximum Height 150 Feet, Quantity Clay Fill 550 000 Ton, Quantity Gravel Filler 120000 Ton, Quantity Rock Filler 60 000 Ton, Quantity Basalt Rock Fill 250 000 Ton, Quantity Stabilizing Fill 150 000 Ton, Total Fill 1630 000 Ton. Markings: Eppalock Dam Observation Point Board.Agfacolorcivil engineering, water supply, eppalock

The O'Shannassy Weir was a small Weir created in 1911 and completed in 1913, and was the originating point of outflow into the Aqueduct. In 1928, it was replaced by the much larger O'Shannassy Reservoir. The Weir had water moving along the Aqueduct to the Surrey Hills Reservoir. Many structures at the Weir precinct have survived and remain in-situ.The O'shannassy Weir and Aqueduct contains a wide range of intact and diverse features. This demonstrates the way in which the Board constructed and managed the water supply that flowed through farmland and forest areas subject to timber milling. The caretakers residences that are located along the aqueduct were utilised by caretakers who were responsible for maintaining one of their four sections of the channel. This transparency is significant for its historic association to the establishment of the weir and to those who worked on the project, and at the quarters. weir, o'shannassy, aqueduct, reservoir, melbourne water, mmbw, staff

The original Honour Board for the Castlemaine branch of the Manchester Unity Independent Order of Oddfellows was hanging in the Castlemaine Market Building in 2013.Colour photograph of a timber honour board for the Provincial Grand Masters of the Castlemaine Branch of the Manchester Unity Independent order of Oddfellows. The Provincial Grand Masters are: 1859 Wal Smith 1861 George Farroll 1862 William Bird 1863 G.J. Fawkner 1864 Joseph Davie 1865 J. Collings 1866 J.D. Hatch 1867 S.H. Clark 1868 John Tate 1869 J. Mackenzie 1870 J.H. Dickinson 1871 F. Emery 1872 H. London 1873 C.F. Randal 1874 H.S. Hilton 1875 Edgar Slee 1876 Francis Rotanzi 1877 J. Desmond 1878 Charles Slee 1879 J.S. Unklater 1880 William Field 1881 W. Broughall 1882 George H. Page 1883 J.S. Horner 1884 R. Mitchell 1885 John Reid 1886 C.C Servante 1888 A. Belcher 1889 G.W. Halford 1890 Stephen Box 1891 W.A. Reid 1892 W.J. Wood 1893 H. Paterson 1894 E. Trenchard 1895 Robert Maddin 1896 D.H. McDonach 1897 C.W. Armstrong 1898 M. O'Loughlan 1899 J. Crawford 1900 R. Hutton 1901 John Oke 1902 D.J. Duggan 1903 john Lean 1904 W.E. Goodwin 1905 S.S. graves 1906 J.H. Liscombe 1907 R.H. Laird 1908 R. Leanmanchester unity independent order of oddfellows, muioof, castlemaine,

A timber board with gold names of Presidents, secretaries and treasurers.murchison, lions club

This honor roll is held by the Bacchus Marsh RSLThe names on the honour board are: W. Blake; F.G. Blake; A.K. Cumming; A.V. Chapple; W.J. Cocherill; A.P. Cecil; C.R. Edwards; W.B. Edwards; R.W. Edwards; T. Hawkins; R.J. Lindsay; D.S. Lindsay; C.D. Cumming; N.H. Cumming; T.L. Cocherill; W.F. Hehir; N. McLachlan; J. McLachlan; S. Osborne; E.A. Smith; A. Ladhams; T. Phillips; J.A. Sweetman; R.H. Serjeant; W.T. Serjeant; T. Shannon; P. Triggs; C.M. Todd; M. Whelan; R. Watson; W. Watson.parwan, parwan state school, world war, world war 1, honour board, honor board, blake, cumming, chapple, cocherill, cecil, edwards, hawkins, lindsay, hehr, mclachlan, osborne, smith, ladhams, philips, sweetman, serjeant, shannon, triggs, todd, whelan, watson, bacchus marsh rsl, mmm

Photograph of a timber honour boardworld war one, world war, mt pleasant state school, honour board, barnett, mcgregor, gribble, pollock, ross, jolly, sargeant, eggington, jerram, frank, hind, lingham, king, may, renfree, chandler, wight, zilles, matthews, slater, rowsell, hallett, peice, simpson, webb, coffet, tobert, buchanan, burrows, brazenor, cochrane, macdonald, ottaway, smith, o'bern, ware, treloar, saxton, wilson, stark, greenwood, orr, nankervis, burge, rooney, hoskin, bell, dunstan, craig, pattie, carroll, moon, bieske, page, richards, lockett, collett, frampton, williams, symonds, mcdonald, hicks, selmon, britton, martell, bolton, westcott, simper, cowdell, doepel, commons, hooley, gates, campbell, martin, neville, aikins, price, jeffree, rogers, murrie, fraser, cunningham, gedling, zazzard, malcolm, thomas, spears, hyland, pascoe, davis, peters, martnell, hill, reynolds, parkin, dobson, pope, stratford, scott, preston, adamson, lucas, bailey, jones, wrigley, morrell, gullan, provis, semmens, whittle, falla, gluyas, barrett, berryman, carincross, twaits, porter, heard, edwards, hand, robb, grant, bishop, dean, graham, mcallester

ballarat east loco men, honour board, j.g. allen, a. bellisini, k.d. duncan, h. hicks, j. lord, t. cockerall, w.v. bottt, h.g. williams, l. upton, g.r. bowers, c.f. bowers, c.f. morris, r. o'shannessy, r.j. splatt, t.h.v. cook, l. coward, w. d'angri, r. buckingham, p. minifie, l. sells, r. borradale, r. horgan, j.r. wood, j. parkin, w.j. bruhn, t. bourke, j. harney, a. heathcote, j. quinn, w.j. cadzow

Access Denied was a joint advocacy campaign between the City of Whittlesea and the local community in the lead up to the 2014 Victorian State Election. The campaign called on all political parties to commit to extending the railway line from South Morang to Mernda and building access ramps on the Hume Freeway at O’Herns Road in Epping North. The campaign was a success and secured almost $650 million in promises from the incoming Labor Government to build these projects. Badge, metal back with pin, white plastic printed front, black and red textConnect O'Herns Road / Access Denied / Get on Board / www.accessdenied.net.au / Build Mernda Railbadges, campaign badges, south morang railway, mernda railway

Locomotive Head Board - Emerald Tourist Railway Board 1977 - 2017 40 Years Historic - Puffing Billy Railway Locomotive Head Board used in the Celebration of Emerald Tourist Railway Board 1977 - 2017 40 Years EMERALD TOURIST RAILWAY BOARD 1st October 1977 - 1st October 2017 Today marks the 40th anniversary of when the Emerald Tourist Railway Board took over the ownership of Puffing Billy from the Victorian Railways. Since then Puffing Billy has gone from strength to strength with the last few years seeing a huge increase in passenger numbers. A major investment over the next ten years will see a number of infrastructure projects being completed. A new (restored) locomotive and extra carriages will come into play and hopefully soon, the reopening of Puffing Billy's museum at Menzies Creek. Puffing Billy has been around since 1900. With a minor hiccup in the 1950s and the rebuilding of the railway from Belgrave from the late 1950s to the early 1960s and onwards, the preserved heritage steam railway will hopefully continue to operate for many generations to come. This photo was taken early this morning. The required loco's for the day were still being prepared and all shunting movements had been completed. The first of many passengers were just starting to arrive. Photo & Info : Robert Smith : Past 2 Present A gleaming NA locomotive 14A had the honour of hauling the first E.T.R.B. train while 7A had the last train by the Victorian Railways, both on the 1st October 1977. 7A left Belgrave at 11.10am for Lakeside and 14A left Belgrave at 2.10pm.This train also to Lakeside included the ex Mt Lyell carriage NBL1 for the conveyance of the official party. Both loco's are still operating today. Photo: John E. Thompson (NG #67) Historic - Puffing Billy Railway Locomotive Head Board used in the Celebration of Emerald Tourist Railway Board 1977 - 2017 40 YearsLocomotive Head Board - Emerald Tourist Railway Board 1977 - 2017 40 Years Circular steel sheet with vinyl stickers.Emerald Tourist Railway Board 1977 - 2017 40 Yearspuffing billy, head board, emerald tourist railway board, emerald, 40 years

Jenny Pitts (student - Form 4, 1972) chose body painting for her 1970's art project..Copy of black and white photograph mounted on board.williamstown high school, arts program, body painting, jenny pitts, 1970's, 1972

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