DL colour pamphlet on gloss paper - 7 fold - titled "The Met - Getting around Melbourne on trams, trains or buses." Explains the 3 zone ticket system, including weekly tickets, commuter pass, short trips, costs, 60 plus, including the tourist oriented Met Pass. Has maps of the train and tram systems and the three zones. Includes a table of the cost of the tickets. Effective August 1989. Two copies held. See also Reg Item 619 for an August 1988 version with the neighbourhood zones.trams, tramways, the met, tickets, zone system, melbourne

Ticket for Sunday travel in all three Melbourne zones from December 1991 to August 1992. Has The Met logo on the front with the radio station Triple M on top. Notes both parties on the rear. Demonstrates a Zone ticket issued for Sunday travel partly sponsored by Tripple M a Melbourne radio station.Ticket - on light white card - yellow boxes with blue printing.public transport, tickets, zone system, tripple m

Document titled "Notice to Ticket Sellers - MetTicket - the new ticketing system" dated 27/11/1989 about the introduction of scratch tickets sold from shops commencing 1/12 and from railway stations commencing 1/1/1990. Details which existing tickets to be retained, new zonal tickets, short trip tickets, tram operations for both Modern and W class trams, bus, and rail. Has notes about invalid tickets, and provides a fare schedule. Has two pages of sample tickets. Signed by J Demetrious, acting manager product development.Yields information about the introduction The Met Zone system and scratch tickets which turned out to enhance the culture of fare evasion in Melbourne.Document - 6 A4 sheets stapled in top left hand corner.trams, tramways, tickets, the met, zone system, fares, scratch tickets

Pocket size - folded - public transport map of Melbourne, printed in colour on paper, showing public transport services in greater Melbourne, including ticketing information, travelcards and an index of localities. The Central zone area shown in detail. On the rear, route numbers and line maps of tram routes and train lines or services and fare zones. The first map with the new three zone system of fares. Includes private bus routes. Printed 1982 by Government Printer. Issue No. 12.On inside, a circle route around Flinders, Queen, Little Collins and Swanston St in blue felt pen and arrow in blue ink. On the rear, a sketch map showing the location Charles St, Mantell St and William Road, and a circle around Upfield station.trams, tramways, melbourne, map, routes

Fold out pamphlet - 8 sections, titled "The new Train, Tram and Bus Ticket system made Simple (Almost)", explaining the new fare zone system - Central, Zones 1 to 3, with maps, explanations how it works, and the various travel cards issued by the Tramways Board and private buses and Vic Rail. Provides fare details of Travelcards, with pictures of them, rail singles, tram concessions, and rail weekly. Dated for introduction on 4/10, does not provide a year - see Reg Item 1645 for year - 1981. 2nd copy added 16-6-2015.trams, tramways, map, mmtb, vicrail, tickets, fares

Melbourne transport map - dated August 1989 - zone ticket system, has a photo of the front of B2 2004, includes a map of the ticket zones, and The Met contact details.Yields information about Melbourne public transport services in August 1989.Fold out map (36 sections 9 across x 4 deep), "Public Transport Map of Melbourne", coloured of Melbourne's Tram and Bus routes, route numbers, rail lines, detailed for the central part of Melbourne and the outer Metropolitan services.tramways, melbourne, tram services, bus services, railways, maps, zones

DL colour pamphlet on gloss paper - 7 fold - titled "The Met - Getting around Melbourne on trams, trains or buses." Explains the 3 zone ticket system, including weekly tickets, scratch tickets, commuter pass, short trips, costs, including the tourist oriented Met Pass. Has maps of the train and tram systems and the Neighbourhood area. Effective 1/12/1989. Two copies held.trams, tramways, the met, tickets, scratch tickets, melbourne

Pamphlet - DL size, 2 fold, titled "Travelcard goes weekly with free family travel on Sundays" - gives details of the travel card, to apply from Friday February 5 (but no year - possibly 1988) - three zones post neighbourhood system, with cost of tickets. Notes can be used on trams and buses and where they can be purchased from.trams, tramways, tickets, travel cards, weekly tickets

Full colour poster printed, A3 size, on laminated sheet - titled "Melbourne Tram Network. Shows a diagrammatic layout of the Melbourne tram system, shows zones (2 zones), CBD, tram terminuses including the City Saver boundary. Has the Yarra Trams and Metlink logos. Dated Effective November 2005trams, tramways, yarra trams, metlink, maps, metcard, tickets, city section

Two Newspaper clippings from The Age Newspaper Jan. 1990 - featuring public transport. There were two other feature articles written by John Masanauskas - subtitled "Public Transport Going Nowhere" .1 - 16/1/1990 - part 3 - page 11, titled "The rot set in the Fifties" about the problems on Melbourne public transport, staff, graffiti, costs, lack of use, The Met, problems with the private bus operators, Met Plan. .2 - 17/1/1990 - part 4 - page 11 titled "Scratch-it and save $24m a year "considering a report from the Toronto Transit Commission and the introduction of a new three zone ticket system using scratch or honour tickets and the use of off line ticket sellers. Has a map of the zonal system, fares, the phasing out of conductors except on W class trams.trams, tramways, tickets, fares, scratch tickets, public transport, buses, metplan

Full colour poster printed on a vinyl plasticized based sheet titled "Melbourne Tram Network. Shows a diagrammatic layout of the Melbourne tram system, shows zones, CBD, tram terminuses, train station and hospitals. Has the Yarra Trams and Metlink logos. Provides contact information including a website. Dated Effective April 2011. See also Reg item 721 for Jan. 2014 version. 2 copies held.trams, tramways, yarra trams, metlink, maps

Full colour poster printed, A3 size, on laminated sheet - titled "Melbourne Tram Network. Shows a diagrammatic layout of the Melbourne tram system, shows zones (2 zones), CBD, tram terminuses. Has the Yarra Trams and Metlink logos. Provides contact information including a website. Dated Effective September 2006. Second copy added 8/5/2019 from donation of Colin Withington of 10/10/2009.trams, tramways, yarra trams, metlink, maps, metcard

Full colour poster printed on a vinyl plasticized based sheet titled "Melbourne Tram Network. Shows a diagrammatic layout of the Melbourne tram system, shows zones, CBD, tram terminuses, train stations, low floor tram priority routes and hospitals. Has the Yarra Trams logos. Provides contact information (PTV) including a website. Dated Effective - January 2014. See also Reg item 718 for the April 2011 version.trams, tramways, yarra trams, metlink, maps, ptv

Diagrammatic poster or map of "The Met / tram system" showing a plan with route numbers, zones and peak system route numbers with an enlarged central Melbourne area. Date of map 1988c, shows the St. Kilda and Port Melbourne light rail, Bundoora and the "The Met" logo. Printed on art paper. Has a telephone number for further information. Stored rolled. St. Kilda and Port Melbourne light rail opened late 1987. The Met replaced by the Public Transport Corporation 1/7/1989 - See reference. Two copies held. See Time-line history of Melbourne's Government Cable and Electric Trams and Buses.trams, tramways, melbourne, map, the met, tram routes

Full colour poster, A3 size, printed on laminated sheet - titled "Melbourne Tram Network. Shows a diagrammatic layout of the Melbourne tram system, shows zones (3 zones), CBD, tram terminuses, train station, park and ride locations. Has the Yarra Trams and Metlink logos. Provides contact information including a website. Notes where Metcards are available. Two copies held. Vertical format of Reg Item 719. Dated Effective September 2006. 720.2 - dated Jan. 2005 - shows the Vermont South extension under construction - see image i2. Item added 11-8-2016. 720.3 - undated - prior to Vermont South opened in 2005 - has route 112 and docklands tram line - c2004. Does not have a Yarra Trams logo.trams, tramways, yarra trams, metlink, maps, metcard, vermont south

Named in 1845 by Wilhelm Karl von Haidinger cerussite takes its name from the Latin cerussa, meaning 'white lead'. When viewed under certain lighting conditions cerussite gives of fire and rainbow-like colours (due to its high dispersion) and it is quite sought after by geological collectors for this very reason. Cerussite is usually found in the oxidised zone of lead ore deposits. It is a very common weathering product of galena and other lead ore minerals. It is a secondary mineral, meaning it forms as a result of the alteration of pre-existing minerals in the Earth’s crust. The presence of lead in cerussite makes it potentially toxic. Historically, it has been an important source of lead, which has numerous industrial applications, including in batteries, construction materials, and radiation shielding. Cerussite has a crystal structure that belongs to the orthorhombic crystal system. Its crystal structure is characterized by a three-dimensional arrangement of atoms in a repeating pattern. The crystal lattice of cerussite consists of interconnected lead (Pb) and carbonate (CO3) ions. This crystal structure is visible in the specimen. This specimen was found in Dundas (formerly Mount Dundas), a historical mining locality, mineral field and railway located on the western foothills of the West Coast Range in Western Tasmania. During the 1890s Dundas swelled in numbers however it is now lost in a temperate rainforest and its population is now 2. The present Dundas Extended mine, about 1.5 km east of Dundas is presently worked for specimen material.Faceted cerussite gems are considered rare and valuable, given the softness of the mineral. This item is not a faceted gem however its historical and scientific research potential give it significance; mined in an Australian township, this cerussite could shed light on the now lost history of Dundas and the mining that occurred there. Additionally, the uses of this mineral in historical industrial processes give it scientific significance. Such knowledge can add to understandings of the geographical and geological nature of Western Tasmania and allow for further study of Australian geological specimens. A small lead carbonite mineral with shades of cream, white and brown throughout, flaky shards of white at base. CERUSSITE / (lead carbonite) / Locality: Dundas, W. Tasmaniadundas, tasmania, cerussite, lead, orthorhombic, geology, minerals, mining

The sport had its origins during the Depression of the 1930s when teams were formed to keep young women fit and healthy. The sport became more organised during the 1940s with a system of scoring developed to ensure teams could compete against one another. Points were deducted for lack of precisions, dressing, movement and length of pace. At its peak marching competitions drew large crowds of spectators. Teams marched not only in competitions but also frequently appeared in parades and social occasions. Jim Trewin trained Orbost's Marching Girls' team, the Waratahs, and served as vice president of the East Gippsland Marching Girls' zone. His wife, Doris, acted as chaperon Together with a trophy, a chaperone's blazer and photos this uniform forms part of the history of the Orbost Marching Girls group.An Orbost Marching Girls' uniform It has a white pleated skirt, a long-sleeved white blouse and a red velvet vest with 6 gold buttons. There is a badge on the left shoulder. A red ribbon is attached to the blouse as a bow tie. On the vest shoulders are white tabs with gold buttons. The skirt and blouse are made of cotton. A pair of short white gloves are included.On badge- Victorian Girls Marching Associationuniform marching-girls leisure clubs recreation

During the 1950’s, the growing threat from Submarines, led the Royal Australian Navy to consider a quick reaction, long range ASW torpedo delivery system as an alternative to the USN’s ASROC and the RN’s Match. Full scale research and development began in 1960 using the Turana target drone as the basis for the delivery platform. Shipboard tests began in 1963 and the Government Aircraft Factory (GAF) began production of three variants M3, M4 and M5 in 1965. The M4 variant had a guidance system designed to interface to a full tactical data handling system while the M3 and M5 variants used a simpler system with a dedicated fire control system. The IKARA is an unmanned miniature aircraft with clip on upper and lower stabilizers and wings. The upper stabilizer (SVU) housed and electronic package that transmitted flight data back to the launch platform and received updated target acquisition data during flight. Flight maneuverability was provided by elevons fitted into the trailing edge of each wing, these were operated by an actuator system that received flight correction data transmitted to the autopilot from the fire control system. The payload, either the Mk44 or Mk46 lightweight torpedo was suspended to the underside of the airframe and faired into the body to provide and aerodynamic shape. The forward section of the body housed the autopilot and the thermal battery unit. Propulsion was provided by the MURAWA steel cased, solid propellant rocket motor with a combined boost and sustainer stage. IKARA was capable of engaging a target to the maximum range of the ships sonar, regardless of weather conditions. Target information is fed into the fire control system, which calculated to drop zone for the torpedo taking into account speed and direction of launch platform and target, win speed etc, then tracking the missile to the drop zone where command signals initiate torpedo release. The IKARA is an unmanned miniature aircraft with clip on upper and lower stabilizers and wings. navy, torpedo, rocket, submarine, missile

N. J. Tillings Timber Factory was part of the Brougham Street, Light industrial area, Eltham. This is one of 7 B/W 8x10 inch photos with notes on obverse by Dick Crichton. Accompanying letter from Florence Chrichton 2013 : "Originally sent to Shire of Eltham Engineer, Mr. McDonald. [These photographs were part of their campaign to the Shire of Eltham in 1975] claiming that the zoning regulations were being breached by the occupants of various factories in the nearby light industrial zone [Brougham Street, Eltham] - to the detriment of those living in adjoining residential zones, and that, despite .. earlier objections and complaints, nothing was done about it." Wire gate and fencing in foreground of photo displays signs relating to timber products and Dulux Paints. "The Tilling Group was established in November 1963 and began as a small factory in Eltham Victoria. The company now has large, modern offices and warehouses in most major cities across Australia" - http://www.tilling.com.au/about-us1 black and white photograph printed with white borderInscribed on back: "Front entrance to N,J. Tillings timber yard showing part of extractor fan system installed to facilitate milling operations. Sound intensified due to position of mill in valley. Valley acts as a natural sound bowl. Eltham Council were warned of this some years ago." Includes diagram of residences in relation to mill and statement that tooter blast at least ten times per day. "#Note Residences in close proximity to sound source. Pen marks on front of photograph indicating points of interest.industrial estate, brougham street, eltham, 1975, bolton street, dick crichton, n.j. tillings, timber factory, shire of eltham, milling, fan

Green cloth hardcovered book of 384 pages. Includes photographic and line illustrations.signed inside cover "K.H. Wilkie 1935"geography, k.h. wilkie, marie bentivoglio, f.f. fiederich, solar system, atmosphere, barometer, wind, rainfall, temperature, climate, climatic zones, rivers, glaciers, plains and plateau, mountains, volcanoes, deserts, oodnadatta, campel transport, lakes, lake frome, shorelines, oceans, tides, latitude and longtitude

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

Yields information about the construction of the tramcars for the Geelong tramway system and the way they were assembled in the depot.Black and White Photograph of a closure scene of the Geelong tramway system Sunday 26/3/1956, taken by Keith Kings, photograph from the Geelong Heritage Centre, copied and reproduced on ink jet paper. See worksheet 4398 for supplementary information. 33 as the fourth "last" tram at intersection with Ryrie St, car in Moorabool St at the safety zone. Destination blind altered to Football, instead of Depot, seemingly by passengers. Keith Kings photograph T(G)(5) See also Reg Item 5999i2 for the same photograph in the Wal Jack Album.In hand writing on the rear " (49) " In bottom left hand corner - 26.3.1956 Geelong Keith Kings, last night of the tramways. Geelong Heritage Centre.trams, tramways, geelong, moorabool st, ryrie st, closure, last tram, tram 33

Newspaper item with photograph of Council workers changing car parking signs in Bridge St following the closure of the two tram routes using the streets. Notes the confusion over parking in bus stop zones.Yields information about the closure of the SEC operated tram system and changed car parking.Newspaper cutting from The Courier 8/9/1971.tramways, closure, ballarat, bridge st, car parking, bus stops

Shows Ballarat Tramway (SEC) Fares, Charges, and Section Map. Also gives charges for the various sections, transfers, luggage of parcels, age of children. All fares in pence. In particular note the 1d fares for Sebastopol Post Office and the City Zone. See item 8025 for a the printed explanation of the new fare system introduced by the SEC in Ballarat from Sunday 3/10/1937,Demonstrates the work the SEC undertook to provide information on the new ticket system of 1937 and yields information about the system.Poster - printed on manila card in black ink.Numerous pencil and red colour pencil markings.tramways, sec, fares, sections, tickets

Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection. A black and white photograph of Engineers checking out enemy bunkers and tunnels prior to setting explosives and cs crystals to destroy and impregnate the system of tunnelsphotograph, tunnel rats, gibbons collection catalogue, engineers, denis gibbons

Used by The Metropolitan Transport Authority (The Met) to provide a system of weekly tickets across all Melbourne travel zones, used in the early 1980s. These could be used on all transport forms - trains, trams, and buses. Would be date stamped on the left hand side to show validity. Conditions of use printed on rear. Show one of many types of Travelcards used in Melbourne when the metropolitan ticketing system was brought under one body - The Met.Set of three light card printed tickets - Ticket - Travel Card - Weekly Zone1 Nos. 287144 and 145 Zones 1 and 2 - Nos. - 878511 and 512 Zones 1, 2 and 3 - Nos. - 769646 and 647public transport, tickets, travel cards, the met, zones, weekly tickets, travelcard

These tickets were a replacement for the MetroCard Off Peaks introduced in 1980. However, the times of availability were now altered to being valid from 9am weekdays, but more importantly, could be used for return rail travel anytime that day. Like the MetroCards, they also allowed unlimited MMTB tram and bus travel within the Flinders, Spencer, Latrobe, William, Victoria and Spring Streets grid. No conditions were printed on the rear of these tickets. (Extracted from reference.)Demonstrates the development of Melbourne ticketing system that allowed travel in the CBD grid using trams.Edmondson size ticket, printed on pasteboard, and printed in blue ink on a green background. Has been date stamped 6 Oct. 1983. Purchased from Seaford Railway Station. Ticket No. 16478. Blank plain coloured rear.public transport, tickets, trams, tramways, railways, off peak, the met, melbourne