Electric staff - Electric staff instruments The staff and ticket system was still too inflexible for busy lines, as it did not allow for the situation where the train intended to carry the actual token was cancelled or running very late. To provide for this, the electric train token system was developed. Each single-line section is provided with a pair of token instruments, one at the signal box at each end. A supply of identical tokens is stored in the instruments, which are connected by telegraph lines. A Staff can be removed from one instrument only if both signalmen co-operate in agreeing to the release. Once a Staff has been removed, another cannot be removed until the token which is "out" is replaced in either instrument. (There are variations on this sequence of events.) By this means, it can be ensured that at any one time, only one token is available to be issued to a driver. Staff belonging to adjacent sections have different configurations to prevent them being inserted into the wrong instrument. Nevertheless, in the Abermule train collision in 1921 and lax working procedures allowed the safeguards provided by the electric Staff system to be circumvented; a driver was handed a Staff for the wrong section, and without reading the information listed on the staff, proceeded on the mistaken belief that the Staff was correct. To prevent this, it became a requirement in the UK for the signals controlling entry to the single line section (starting or section signals) to be locked at danger unless a token has been released from the relevant Staff instrument. Historic - Victorian Railways Electric Staff Instrument Electric Staff Instrument made of Iron , Brass and Glasspuffing billy, electric staff instrument, victorian railways

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

The Axminster Carpet Loom has been set up as a focal point in the centre of the National Wool Museum. The loom was originally built by Brintons in England around 1910 and was initially operating in Geelong in 1960. Brintons designed and built most of their own looms and ancillary equipment. When superseded in 1975 the loom was donated to the Melbourne College of Textiles for weaving training. The College has now donated the loom to the National Wool Museum and Brintons engineering staff has restored it to full working condition. This loom is known as an Axminster gripper loom. The gripper system was invented by Brintons in 1890 and operates using a gripper shaped like a birds beak. This grips the yarn, the yarn is then cut and the gripper swings down to place the tuft into the woven backing. This particular loom also uses a jacquard system for weaving colours. In jacquard weaving, punched cards are used to instruct the loom as to which colour to use. The system was invented by Joseph Jacquard, a silk weaver from Lyon, and was introduced in 1804. It revolutionised pattern weaving as it had the capacity to create intricate patterns through the use of the cards. By 1833 there were approximately 100,000 power-looms used in Great Britain that had been influenced by Jacquards invention. Joseph Jacquard died in 1834. Charles Babbage was later to adapt Jacquards punch-card system to produce a calculator that was the forerunner of todays methods of computer programmingAxminster carpet loom featuring over 1000 Jacquard punch cards and over 100 bobbins of different colours of wool.loom carpet wool, geelong woolbrokers' association, geelong, auction

Mould for making flower pots (terra cotta). Made of steel framing with a 'pedal' operated moulding shaft for forming pots of various sizes. The 'pedal' operates a chain and pulley system.ceramics, terracotta

The Boyds purchased their record player and sound system from Thomas’s in Melbourne. Patricia Boyd (later Davies) was very interested in opera and was later appointed to the Board of the Australian Opera.Operatic Highlights Die Fledermaus (Johan Strauss). LP 33RPM vinyl, Catalogue Number: LXT 2576, Record cover, no sleeve, 1 vinyl disk. Cover notes, no author listed. Johan Strauss, Conductor: Clemens Krauss, Vienna State Opera and Choruslp, sound recording, opera

The Boyds purchased their record player and sound system from Thomas’s in Melbourne. Patricia Boyd (later Davies) was very interested in opera and was later appointed to the Board of the Australian Opera.Operatic arias. LP 33RPM vinyl, Catalogue Number: SXLA2159, Record cover, Plastic sleeve, 1 vinyl disk. Cover notes, Gordon Stewart. Joan Sutherland. Conductor: Nello Santi. Paris Conservatoire Orchestra.57/6lp, sound recording, opera

The Boyds purchased their record player and sound system from Thomas’s in Melbourne. Patricia Boyd (later Davies) was very interested in opera and was later appointed to the Board of the Australian Opera.Joan Sutherland Luciano Pavarotti Operatic Duets. LP 33RPM vinyl, Catalogue Number: SXL 6828, Record cover, Plastic sleeve, 1 vinyl disk. Cover notes, Jon Perrin Cover photo: Christian Steiner. Joan Sutherland, Luciano Pavarotti. Conductor: Richard Bonynge, National Philharmonic Orchestra, London Opera Chorus (Chorus master Terry Edwards), Jacquelyn Fugelle, soprano; Elizabeth Cornell, mezzo-soprano.lp, sound recording, opera

Yields information about the impacts of the closure of the Geelong system to provide "speaking notes" for Ballarat and Bendigo Managers., Yields information about the impacts of the closure of the Geelong system to provide "speaking notes" for Ballarat and Bendigo Managers.Memorandum, from Engineer and Manager to Acting Manager Ballarat dated 31/5/1957, titled "Tramways" report in an article in "The Transport Journal" April 1957 issue reporting on the replacement of the SEC Operated Geelong trams by private buses, costs, new buses by each operators and the additional taxes earned by Government as a result - eg seat taxes and registration fees.trams, tramways, geelong, buses, closure, regulations

Yields information about the tram services in Ballarat operated by the SEC and the BTM or BTPS in relation to celebrating the 50 years of closure of the SEC system.E-mail dated 22-9-2021, from John Phillips containing eight digital images titled "No. 569 Wednesday Photos Ballarat Trams 50 years since closure" with personally recollections. 1 - seven page e-mail when printed - last page blank Photos 2 - 12 and 21 in Lydiard St North - see btm5383i 3 - 40 in Lydiard St North - see btm 4133i 4 - 28 in Bridge St - see btm 3219i 5 - 33 at Cemetery gates - see btm8193i2 6 - line up of trams tailed by tram 21 in Sturt St West - see btm8193i3 7 - BTM 27 and 33 cross at Gardens Loop - see btm8193i4 8 - BTM 27in Wendouree Parade - see btm8193i5 9 - 27 and 38 - the base for a postcard photo - see btm1781i1 trams, tramways, closure, lydiard st north, bridge st, btm, cemetery, sturt st west, wendouree parade

Set of 7 photographs taken during a tram tour using Birney's 30 and 28. Possibly 1971 or early 1972 prior to closure. 1 - High St Eaglehawk with Primary School hall behind. 2 - Tram 28 from another tram's window - note no driver. 3 - trams 28 and 30 in McCrae St with the Bendigo Technical College building in the background. 4 - Tour trams turning from Bernard St into View St with the Five Lions Hotel in the background with a Fosters Lager advertisement. This hotel has since been demolished. 5 - Tram 30 on the single-track extension at Eaglehawk. 6 - Tram 6 and another single trucker at Charing Cross - note the sag on the second tram - a spring possibly has failed. 7 - Tram 19 running out the depot lead into McCrae St with an SEC Cooking roof and a Briquettes dash canopy advertisements.Yields information about Bendigo tram tours prior to the closure of the SEC operated system.Black and White photographs on Ilford Paper - undated - set of 7trams, tramways, sec, bendigo, tram 28, tram 30, high st, eaglehawk, tram 6, mccrae st, view st, five lions hotel, tram 19, tours, birney tramcars

Yields information about the view of The Courier, and locals about the mooted closure of the tramway system and reporting on the proposal in particular local views and the setting up of the Save the Tramway Committee.Foolscap sheet of plain paper, with rounded corners, with 4 newspaper cuttings, concerning the mooted closure of the Ballarat Tram system March 1962. All from The Courier, unless noted otherwise. 1 - "Tram Protests" - 4 letters - 10/3/62 - aged people, lack of a car, Council operated, buses not as good, alternatives 2 - "Tram Enquiry Likely"- Editorial - 12/3/1962 - reporting - government supporting an enquiry, alternatives, Geelong residents, bus operators and private enterprise. 3 - "Tram Questions" - 13-3-62 - set of 2 longer letters - one from an ex Tramwaymen - gives alternative control / operator system and one about political control. 4 - "Tram Fares" - 14/3/62 - would bus operators support the current fare system, pensioners etc - at the time it was an expense to the SEC.closure, letter to the editor, editorial, sec, parliament, fares

Yields information about the views of various letter writers, views of the Courier, union views, rehabilitation costs Geelong, public meetings, finances and protest action.Set of three Foolscap sheet of plain paper, with rounded corners, with 8 newspaper cuttings, concerning the mooted closure of the Ballarat Tram system 6 Feb to 9 Feb 1962. All from The Courier, unless noted otherwise. 1 - "Tram Men to ask for Transport Inquiry" - 6-2-62 - about the local Trades Hall supporting a enquiry into the trams - Secretary Mr. A C Williams, re public operated transport as well. 2 - "Bendigo Move" - 6-2-62 - notes that Bendigo Trades Hall people will be meeting with Mr. Bolte when he visits Bendigo. 3 - "Trolley Buses" - 7-2-62 - W J Parsons, re use of Trolley buses and Fare Boxes 4 - "Sister Cities" - 7-2-62 - work with Bendigo and notes Bolte visit to Bendigo 5 - "Costly Routes" - 8-2-62 - notes a DLP meeting and the better routes needed. 6 - "Sebastopol Delegate for Conference on Trams" - 9-2-62 - Mayor of Sebastopol, Cr F Wilson, to represent the Borough on trams. 7 - "Bolte Guarded" - 9-2-62 - could not receive the deputation while in Bendigo, talk to the Minister. 8 - "Tram v Bus" - 9-2-62 - reporting on the lack of buses in Geelong, not worth running services following a visit.closure, letter to the editor, editorial, sec, fares, geelong, atmoea, meetings, unions, trolley buses

Demonstrates the preparation of tramcar history and specifications to go with a photographic report.List - typed foolscap sheet titled SECV/Ballarat Branch ""To accompany photographic record of types of cars that have operated on the Ballarat Tramways system subsequent to horse-drawn trams." Lists car number, purchase date, truck type, body builder, seating capacity, HP and Make, Weight, miles in service in Ballarat, Truck builder and type and remarks. Lists cars 17, 19, 21, 22, 23, 26, 29, 30, 36, 40, old car 21, 23, 18 and 2. Not a complete list or of the cars in service.. Produced c1953?, as lists ex Adelaide 23 being retired in 1953 and for photograph captions. ballarat, tramcars, lists, secv, motors

Yields information about the Ballarat tramway staff at the time of closure of the SEC operated system. Demonstrate framing of photographs.Framed Black and white photograph, mounted (partly loose) onto heavy card of the SEC Ballarat tram crews shortly before the closure of the tramway system in front of the depot building with three tramcars behind. Has a printed list of all employees or staff underneath. Titled "Ballarat Tramways Employees 1971". Frame - wooden, red stained wood with a painted gold coloured frame, glazed, with a cut cardboard piece on stippled paper. Rear backing sheet - brown leather type printed finish with a fold out section stapled to the rear to enable the photograph to be stood upright. Backing piece has been nailed to the frame. See Reg Item 1861 for further details of the photograph and list of employees.trams, tramways, ballarat, sec crews, personnel, staff photo, closure

Yields information about the special tram and the people involved at the time of the formation of the BTPS prior to closure of the SEC operated system.Set of three digital images of tram 36 advertising the Lake Tramway Preservation Meeting at the Town Hall 31/5/1971 by Chris Phillips. .1 - tram at Gardens loop with the motorman L Bird pulling the pole down - similar photo to that of The Age Newspaper, see Reg Item 2487. .2 - tram turning from Sturt St into Lydiard St North with the Post Office and the Mining Exchange buildings in the background. .3 - tram at the City stop, south side of Sturt St with the Town Hall and Myers in the background. Also has the tram stop signs in the photograph. See also Reg Item 1064 for the newspaper clipping, 2487 for a print of The Age photograph. See 7033i4 for notes on the tram and who made the banner - thought to be Tom Clark. Imagebtm7033i2bw - black and white version of the slide use in the Long Gallery imagebtm7033i2co - colour hi res scan.trams, tramways, lake wendouree, charters, museum establishment, btps, sturt st, gardens, lydiard st north

Yields information about the intersection of Sturt and Grenville St prior to closure of the SEC operated system.Digital image of No. 26 at the corner of Sturt and Grenville St. Tram about to cross Grenville St into Bridge St, has destination of Mt. Pleasant. In the background is the Woolworths Big W store and the Dickins Supermarket. Also in the view is a letter box and the tramway shelter. Photo c1970.trams, tramways, grenville st, sturt st, shelters, bridge st, tram 26

Yields information about the tram operations in Wendouree Parade and photographers near the close of the tramway system operated by the SEC.Digital image of No. 27 travelling north in Wendouree Parade near Carlton St. Windmill Drive south is in the background. Tram has the destination of City and a Twin Lake dash canopy advert. Has another person taking a photograph or photographer in the view.trams, tramways, wendouree parade, carlton st, tram 27

Yields information and has a strong association with the people in the photograph, possibly at the time of closure of the SEC operated system.Glass negative mounted in a three side metal holder - seven drivers/conductors and a young lady in the fashion for the time standing in front of tram 43, possibly at the City Loop, 1971, probably just prior to closure. Cap Numbers: 41 13 59? 24 38 Photo by Harvey Studios. Photo from the collection of Lilian Butler.trams, tramways, personnel, sturt st

Yields information and has a strong association about the view from the central median strip of Sturt St possibly at the time of the closure of the SEC operated system.Glass negative mounted in a three side metal holder - three bogie trams at the City terminus, Sturt St north side with the ANZ bank and the Post Office in the background. tram 34 at rear. Photo by Harvey Studios, possibly on the last day or one of the closures given the number of people in the photograph with cameras - September 1971 Photo from the collection of Lilian Butler.trams, tramways, sturt st, city

Yields information and has a strong association about the view the City Loop in Sturt St possibly at the time of the closure of the SEC operated system from an elevated position.Glass negative mounted in a three side metal holder - three bogie trams parked at the city loop, led by tram 39 with the Grenville St intersection behind them. Also has the tram shelter. Photo taken from an elevated position. Photo by Harvey Studios, possibly on the last day or one of the closures given the information that bogie trams were parked in the loop on the last day of operations 19 September 1971 Photo from the collection of Lilian Butler.trams, tramways, sturt st, city loop, closure, grenville st, shelters

Yields information and has a strong association about the view the City Loop in Sturt St possibly at the time of the closure of the SEC operated system.Glass negative mounted in a three side metal holder - four bogie trams parked at the city loop with No. 40 being the last tram. Evening photograph. Photo by Harvey Studios, possibly on the last day or one of the closures given the information that bogie trams were parked in the loop on the last day of operations 19 September 1971 Photo from the collection of Lilian Butler.trams, tramways, sturt st, city loop, closure

Yields information about the accident between a tram and truck, just prior to the closure of the SEC Operated Ballarat Tram system.Newspaper Clipping or cutting titled "The end for tram 31", from The Courier, 3/9/1971, containing a report on the collision of tram 31 with a fruit truck in Sturt St near Lydiard St. Gives time as 445, truck driver Nicholas Marios, tram driver D. Powell. Included in the item is a photo of the tram and the two vehicle drivers involved. Tram has a Twin Lakes sign. See Reg Item 547 for a print of the photograph.accidents, twin lakes, collision, sturt st

Yields information about the disposal of tramcars following closure of the SEC operated Ballarat tram system.Newspaper clipping from the Courier, titled "Back to Adelaide", reporting that tram 34 was returning to Adelaide where built. Has a photo of 34 loaded onto a truck. Second copy dated 23 September 1971. "September 1971" written in ink along the top of the cutting.tramcars, adelaide, aetm, closure, bogie trams, tram 34