The CHIRP (Confidential Human Factors Incident Reporting Programme) Charitable Trust chirp, seafarers welfare

A man is learning to use a Hoover long cane with the assistance of a woman wearing a white coat.B/W photographMobility training - the long cane or Hoover cane Newly blind man aged 45 (light perception) learning to use correct grasp of Hoover long canewhite cane day, royal blind society of new south wales

Language is power. It is used to describe and direct events fictional and true. This book describes how historians have manufactured a flattering Australian race relations history. Conned! challenges established perceptions of Indigenous Australians.maps, b&w illustrations, b&w photographs, chartsaboriginal languages association, atsic, education, electoral system, moravian

T. Klabbers and N. Kadaoui of the University of Ballarat presented a paper at the conference titled 'Country Students Perception of Engineering'.484 page book of proceedings of the Australasian Association for Engineering Education held at the University of Melbourne in 1995. The theme of the conference was the Internatinalisation of Engineering Education.university of ballarat, engineering

Discusses how the architect has broadened the visual perception of environment - from loud and gimmicky (as copied from America) to acceptance and recognition of how to incorporate environmental design into architectural plans.Original manuscript a lecture given at a seminar on the environment conducted in July 1970 by the Institute of Business Administration and the Victorian Employers Federation. The lecture was condensed into two articles published in "The Age" as 'Spoilers of our environment'. The manuscript appears to be Part 1 titled 'Legal vandalism', published in "The Age" on 09.07,1970. Part 2 was titled ' The more optimistic view of the future', published in "The Age" on 10.07.1970 as 'Digger-cult curse'. Typewritten, quarto, 15 pagesenvironment, visual environment, architect, australia, visual pollution, urban ugliness, robin boyd, manuscript

Inkjet print 5 edition number 11/40Signed and dated lower right corner. Edition 11/40 in lower left corner.clouds, text, perception, weather, environment, climate

Golden Square Primary School No. 1189 Policy & Curriculum. Light blue/grey cover with black printing and black picture of the school. Part A. Subjects covered are: Organization and Procedures; Visual Perception - Preparatory Year; Word Structure; Preparatory Written Expression; Writing; Reading Program; Art/Craft Program; Science, and Social Studies; Bound copy of 63 pages.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - golden square primary school no 1189 policy & curriculum

Jason Sims is an Australian artist whose practice embodies a fresh perspective on light-based, multi-media artworks. Sims graduated with a Bachelor of Visual Arts (Honours) from the University of South Australia in 2006 and has since exhibited across Australia as well as in Hong Kong, the UK and the USA. Jason Sims primarily makes freestanding sculptures, wall-based works and large-scale installations. Interested in art’s capacity to challenge and extend viewers’ perception, he uses mirror, reflective glass and coloured lights to create three-dimensional works with kaleidoscopic interiors that appear to extend into infinity. He has said of his practice that he is ‘interested in creating work that serves as a vehicle to re-imagine the space encountered – to deconstruct perceived physical limitations – and facilitate a kind of meditative response allowing viewers to interpret the illusion of space created as reality.’ stonnington contemporary art collection, space, infinity, perception, illusion, sculpture, jason sims

The Back In Your Own Backyard exhibition was a series of pieces from several groups and individuals who live and work in the Western Suburbs. The exhibition did not claim to be an "Art" exhibition although it may look something like it, but perhaps it could be called an exhibition of "Perceptions".Back In Your Own Backyard remarkable insights from an ordinary world A special exhibition, organised by the Living Museum of the West featuring works from Melbourne's Western suburbs October 1988living museum of the west, peter haffenden, bernard smith, peter somerville, a.r.c., keilor cake decorating group, fred pase, west side detailing, frank beattie, jack myers, ronald guy, newport senior citizens, tony hicks, john williams, deer park high school, essendon choral society, 1st melton brownie pack

White folder containing a map of the Distribution of EGMs and Venues in City of Greater Bendigo, a News Release 23/2/1995, Third Survey - Community Gambling Patterns 2/2/1996, Victorian Casino and Gaming Authority announces a New Program of Gambling Research 6/6/1996, Release of Research Report-Positive and Negative Perceptions of Gambling 3/9/1996, Media Release 13/9/1996 and a Research Program.organisation, women, national council of women, national council of women of victoria bendigo branch collection, victorian casino and gaming authority, city of greater bendigo

''It's dangerous to allow yourself to be loved'' This Theatrical adaptation of the ''Song of Solomon'' will challenge your perception of love. Cost at the door: $19.90 Full / $17 Friends and $12 Concession. Directed by Robert Draffin Designed by Lloyd James Cast : Mary Sitarenos , Paul English , Kerry Armstrong , Margaret Mills , Deidre Rubenstien. Musician : Chris Young .Music by Tyrone Landau and Chris YoungIt was played as a limited three week performance. It was sponsored by the Sidney Myer Fund, SBS 1224, Arts Victoria and Australian Council for the Arts.coloured flyersong of songs, athenaeum theatre, kerry armstrong

West Of Eden is the result of an artistic residency at the Western Treatment Plant that took place over three months in 2015. The residency set out to open the minds of the broader community and challenge some of its perceptions to the Plant. This work highlights the natural beauty of the Plant while embracing the fact that, in many ways, this land is not natural at all. Bindi Cole Chocka is a Wadawurrung woman and the Western Treatment Plant is on Wadawurrung land.western treatment plant, residency, photography, wadawurrung, first nations

The page seems to be the opening paragraphs of an article describing the young apprentice seamen experience and system and attempting to defuse misconceptions and perceptions of rollicking but also vulnerable young "Jacks ashore" with money in their pockets. A long standing practice of 'crimping' a sailor's earnings, targeted by the Missions throughout the 19th and early 20th Century they campaigned to stamp this practice out. The title " we all love Jack" drawn from a popular song of the time.A useful rare visual reference for the Heritage archive at MtSV as it depicts Apprentices in a typical half deck quarters of the early 20th C. with newspapers and books, some of which may have been provided by an MtS.Page from a Mission newsletter, Heading: The Missions to Seamen with which is incorporated the Thames Church Mission. "We All Love Jack" / By a Cornishwoman / a Flying Angel flag of the Missions to Seamen heads the first paragraph. A black and white photograph of six "Apprentices in the half deck" is positioned after the 2nd paragraph. apprentices, jacks ashore

Two people wait in a line to board to double-decker bus in Sydney, holding their white cane and feeling the side of the bus. A female in a white coat looks on from the side of the bus near the person about to board. A man (possibly Wally Urgacz) and a woman use their canes to alight from the bus, with the guidance of a woman in a white coat. 4 B/W photographs of two people boarding a bus1967 - Mobility - historical - Bus orientation Bus orientation, locating doorways, safe ways of mounting steps, RBS V NB: Inefficiency of short collapsible cane in descending bus steps. Women aged 67 with some peripheral vision. RBS IV Learning bus orientation with long cane. Man aged 65 (light perception only) RBS VI Mobility training for doorways and seating arrangement in bus. Annual report 1968 Royal Blind Society of New South Wales royal blind society of nsw, white cane day, orientation and mobility, wally urgacz

Tilly Aston was the founder of the Association for the Advancement of the Blind, which became the Association for the Blind, Vision Foundation and later Vision Australia. Her work in expanding the options available to blind and vision impaired Victorians triggered the push for similar conditions inter-state, and she was a pioneer force in challenging perceptions of both the sighted and less-sighted communities. This bust of Tilly Aston was donated by Malcolm and Beverley Daubney and unveiled at the 1997 Annual General Meeting for the Association for the Blind (now Vision Australia) on the 19th September 1997.Bronze relief of Tilly AstonMatilda (Tilly) Aston 1873-1947 Founder of the Association for the Blind Generously donated by Malcolm & Beverley Daubney September 1997tilly aston, association for the blind, malcolm daubney

Alexis BECKETT (1953- _ Born Melbourne Alexis Beckett completed a Diploma of art, Graphic Design; Bachelor of Arts (Fine Arts) with distinction; and a Master of Arts (Fine Arts) by Project all at RMIT. Since 1980 Alexis Beckett has illustrated wildlife for publications produced by government departments and educational publishers, as well as making her own work about human perception and understanding of nature. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition print with embossing. art, artwork, alexis beckett, beckett, available, printmaking, embossing, australian print council

The Masons patent of Nov 30th, 1858 phrase was originally embossed on countless glass fruit jars and canning jars, most ranging in age from circa 1858 to the mid-1910s. John Landis Mason was awarded patent No 22186, issued on November 30, 1858, by the U.S. Patent & Trademark Office it was termed an "Improvement in screw-neck bottles", for his invention concerning the process of creating a threaded screw-type closure on bottles and jars. Similar screw-threading had been done before on some bottles, but the process of forming the upper lip area of the container so that it was smooth, even, and sturdy enough for a lid of standard size to be screwed thereon was difficult and expensive to do properly, often with unsatisfactory results. His improvement revolutionized home canning in the United States and many other countries. In any case, throughout the next 60-odd years, production of jars with the Nov. 30, 1858 embossing continued at a high rate, with untold tens of millions being produced. The phrase was soon considered an important marketing device, adding to the perception of quality and reliability of the container to the average consumer. This perception continued to at least 1879 21 years after the patent was issued, nearly every glass bottle factory was likely producing their version. The 1880s and 1890s likely saw the peak of popularity of these jars. A considerable percentage have a mold number or letter on the base, a means of identifying the particular mold in use at the factory.An early item used in most kitchens by women who preserved fruit and vegetables before the arrival of refrigeration giving a snapshot into the domestic lives of families during the late 19th to early 20th century's and how they preserved food for later use without refrigeration. Preserving jar, glass, with metal screw top lid. Glass has side seams, impurities and slightly concave base. It has been hand blown into a mould. Inscription is moulded into glass. Moulded into glass: MASON'S / PATENT / NOV 30TH / 1838"warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, food preserving, mason jar, john landis mason, domestic container, glass jar, fruit & vegetable jar, domestic jar, food preparation, handmade glass, blown glass

The Masons patent of Nov 30th, 1858 phrase was originally embossed on countless glass fruit jars and canning jars, most ranging in age from circa 1858 to the mid-1910s. John Landis Mason was awarded patent No 22186, issued on November 30, 1858, by the U.S. Patent & Trademark Office it was termed an "Improvement in screw-neck bottles", for his invention concerning the process of creating a threaded screw-type closure on bottles and jars. Similar screw-threading had been done before on some bottles, but the process of forming the upper lip area of the container so that it was smooth, even, and sturdy enough for a lid of standard size to be screwed thereon was difficult and expensive to do properly, often with unsatisfactory results. His improvement revolutionized home canning in the United States and many other countries. In any case, throughout the next 60-odd years, production of jars with the Nov. 30, 1858 embossing continued at a high rate, with untold tens of millions being produced. The phrase was soon considered an important marketing device, adding to the perception of quality and reliability of the container to the average consumer. This perception continued to at least 1879 21 years after the patent was issued, nearly every glass bottle factory was likely producing their version. The 1880s and 1890s likely saw the peak of popularity of these jars. A considerable percentage have a mold number or letter on the base, a means of identifying the particular mold in use at the factory.An early item used in most kitchens by women who preserved fruit and vegetables before the arrival of refrigeration giving a snapshot into the domestic lives of families during the late 19th to early 20th century's and how they preserved food for later use without refrigeration. Preserving glass jar. Glass lip with metal screw top lid. Inscription pressed into glass."Mason's Patent Nov 30th 1858"warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, food preserving, mason jar, john landis mason, domestic container, glass jar, fruit & vegetable jar, food storage, preserving jar

Stereo-graphs were popular 1850 - 1930 Most stereoscopic methods present two offset images separately to the left and right eye of the viewer. Stereo-graphs feature two photographs or printed images positioned side by side about two and half inches apart, one for the left eye and one for the right. When a viewer uses a stereoscope, a device for viewing stereo-graphs, the two-dimensional images are combined by the brain to give the perception of 3D depth. The London Stereoscopic Company quickly developed technologies for mass - producing stereo-graphs; and between 1854 and 1856 the company sold over half a million stereo-graphs. Small, hand-held metal and timber steroeographic view-finder. The metal goggles are engraved with a free-flowing design. The rim of the goggles are covered in red velvet. A timber handle is attached with a metal hinge to the timber extension that has a wire frame to hold the stereo photographs. The streographic photos comprise 2 identical black and white photos mounted, side by side on brown card.Photocards 'ROSE'stereographs, stereoscopes, photographs, view-finder, wheatstone charles, london, moorabbin, melbourne, bentleigh, early settlers, market gardeners, entertainment, stereograph cards

After WWII, Japan became an export centre for many items, mostly under heavy US investment. They provided the market with an extensive range of mass-produced and affordable pieces. Pieces are typically unmarked, or else simply say 'Japan' in a fine red ink. These items were designed to replicate German-made porcelain trinkets, export of which was halted due to the war's impact of people's perception of Germany as a country at that time. Commonalities are a white glossy surface, hand-painted details and gold highlights. The Japanese pieces differ in that their casting is not as crisp, and there is often roughly-textured decorative spots of applied grit or extrusions. Small porcelain 'tree trunk' vase, white gloss glaze with a figural squirrel and 2 birds. Flowers dotted about, hand-painted. Unmarked, likely made in Japan circa 1940s 1950s. Condition note: broken on back.none

A number of images for this journal were supplied by the University of Ballarat Historical Collection,Brown and Black soft covered book of 200 pages. Chapters include and introduction (Geoffrey Blainey); Eureka: gathering the 'Oppresed of all Nations (Anne Beggs-Sunter); The 'Southern Cross': a radical legacy (Drew Cottle); Ballarat of Eureka (Keith McKenry); 'Men of Colour' John Joseph and the Eureka Treason trials (Jeffrey Atkinson); 'Blood, Sweat and Tears': Women of Eureka (Dorothy Wickham); 'Why should they pay money to the Queen?: Aboriginal Miners and Land Claim (Fred Cahir); Raffaello Carboni's Perception of Australia (Gaetano Rando); Democracy, Political Rhetoric and the Conservative Response to manhood Suffrage in Colonial New South Wales (Gregory Melleuish); 'Foreign to their feelings as freemen': Liberal politics in a goldfields community, Bendigo 1853-1883.ballarat, bendigo, eureka, aborigines, southern cross, women, charles hotham, australian democracy, agitation

These nine photographs of contractors felling a sequoia Californian redwood tree was taken at the Army Survey Regiment, Fortuna, Bendigo on the 16th of September 1994. Although 23 photos were taken at the time, 14 were not scanned due to their similarity to the nine featured photos. Two sequoia Californian redwood trees were planted at the front entrance of Fortuna Villa in the early days of gold mining magnate George Lansell’s occupation in the 1870’s. They were of immense proportion and much admired during the Lansell era and RA Svy’s occupation from 1942 to 1996. In these early days of Army occupation, the trees were lopped due to concerns of their size and proximity to the Villa. The felling of the tree in 1994 was considered unsafe due to perceptions of disease. These perceptions were upsetting to staff, as some believed that although there were a few dead branches, the tree was OK. As the tree had a noticeable lean, measurements were taken indicating the tree was stable. A sequoia sapling was eventually planted as a replacement to the diseased tree. It was decided to mill and store the timber of the felled tree on-site due to its historical significance. Although future uses were not determined at the time, the timber was eventually used to construct display cabinets and souvenir pens. When Defence decided to relocate geospatial production to a new facility in Junortoun an outer suburb of Bendigo in 2008, the sequoia timber was used as a beautiful feature in the front foyer as well as several feature walls within the building, providing a historical connection Fortuna Villa.This is a set of nine photographs of contractors felling a Sequoia (Californian redwood) tree at the Army Survey Regiment, Fortuna, Bendigo on the 16th of September 1994. The colour photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, colour, 1994, Felling of sequoia Californian redwood tree. .2) - Photo, colour, 1994, Felling of sequoia Californian redwood tree. Neil Morgan (ground maintenance) is hugging the tree. .3) - Photo, colour, 1994, Felling of sequoia Californian redwood tree. .4) to .8) - Photo, colour, 1994, Felling of sequoia Californian redwood tree. .9) - Photo, colour, 1994, background on left - WO2 Bob Garritty, foreground L to R: Geoff (ground maintenance), unidentified, Neil Morgan (ground maintenance)..1P to .9P – No personnel are identified.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

In 1985, amidst a backdrop of limited expectations for people who are blind or have low vision, PENI (People for Equality Not Institutionalisation) was formed. Frustrated by the lack of support from the agencies that were designed to help them and community attitudes, the group sought to increase representation at agencies management, employment opportunities, accessible information, participation in decisions and change perception of how they should live their lives. In these recordings, Ramona Mandy reads the PENI Newsletter number 3 and a radio show covers the formation of PENI and the reaction of RVIB management and the BWU (Blind Workers Union) to this. The final recording is a telephone conversation between Jeff Kennett and Andrew Peacock, which has been transcribed elsewhere and does not appear to relate to anything related to PENI.1 CD with 3 sound filespeni, ramona mandy, david blyth, martin stewart, debbie antonovich, bruce upton, stephanie mackie, steven howell, terry spencer, australian council for the advancement of blind people, royal victorian institute for the blind, blind workers association, blind workers union, employment, national federation of blind citizens, jeff kennett, andrew peacock

Manicure items date back to Egyptian times, but manicure sets were almost completely reserved for the upper class until the early 19th century. A doctor of King Louis XV created what was recognised as the first manicure set. In the 1920s popularity of the manicure set increased. This was due to the changing role and perception of women as a result of World War I and also the wider availability of items such as coloured nail polish. It was influenced by the “flapper” era. The trends set by actresses such as Greta Garbo and Rita Hayworth in the latest technicolour movies inspired the popularity of the manicure amongst the woman of the “Roaring Twenties” This manicure is an example of the home and travel manicures sets which gained prominence at the time. They have continued to be a popular person item until the present day. This item is significant because it is an excellent example of a popular personal item from the 1920s until the present day.A manicure set in a semi-circular wooden box. It is lined with velvet and silk. It has a mirror attached to the inside of the lid. Items are held in place with elasticised loops. Implements include scissors, nail files, tweezers, and alligator clip and two small square metal containers for cosmetics or skin cream. Handles of some items are made of faux tortoiseshell. vintage manicure set, manicure implements

This little bag of "whitener" additive for the washing of white clothes was manufactured in Hull in the United Kingdom mid and later 1900's. The Manufacturer, Ricketts, was one of the first manufacturers to employ women in equal proportions with males (a rarity before 1914). This product was used to improve the appearance of white fabrics. This ability to use a product that would "whiten" clothes chemically rather than the "hard boiling" of clothes was a time saver and a lot easier on the fabrics. This is a boon to rural families where time was of the essence (boiling took time). The blue coloring was introduced because the white colour perception is enhanced by the blue (fadeable and not permanent). The "washing machine industry" of the late 1900's emphasised "whitening" agents that were not so haphazard in producing blue stains, and allowed a "gentle" washing action. This item is very significant in detailing the early 1900's rural household domestic "chore" of washing white clothes to a "social" standard of cleanliness. White shirts were the mark cleanliness that those outside of the family judged the family unit by. The best clothes were worn to church on Sundays. Hard and mostly rural activities/work in the Kiewa Valley encompassing farming, crop cultivation, cattle/sheep and "field work" to do with the SEC Vic Hydro Scheme involved provided a stain prone environment. As appearances, of clothing, was on the whole not significant it was a different scenario at social and religious scenes. The ability to attain "brilliant" white shirts, dresses and bonnets by a less drastic method to that of "boiling" of clothes in vats, was a boon of that "era". The anti establishment revolt came later in the 1950's onward took longer to migrate from the cities and larger rural townships to eventually sneak into the Kiewa valley.This "blue bag" is a whitening agent wrapped in flannel or muslin, or sold ready bagged (1 ounce).It was used in the final rinse to "whiten white coloured clothes" The string was used to facilitate finger grip onto the "bag" after the wash had finished for easy removal to stop the hand and other surfaces from being stained by the blue colour residue drips.domestic and commercial laundries, starch and whitening additive, washing brightener