"Every different clan group has stories about their beginnings. Stories are like our archives, detailing how Creator Beings from under the earth arose to shape the land and to create the landscape. There are myriad variations of the story, but the theme stays the same.
The whole surface of the earth was like a moonscape, no features, no flora and fauna, just bare open plain. But there were Creator Beings sleeping in a state of potentiality just under the surface. At a certain time they were disturbed, whereupon their potentiality transformed into actuality and they arose out of the ground. When they finally emerged, they were very big and tall. These beings were spirit ancestors of many of the varieties of flora and fauna, especially large animals, in Australia. When this emergence was completed, the spirit ancestors started to interact with one another, fighting, dancing, running about, making love, killing. All of this activity shaped the Australian landscape as we know it today.
Throughout this period humans remained asleep in various embryonic forms, in a state like a kind of proto-humanity. They were awakened by all the activity above; the Creator Beings helped these proto-humans to become fully human, teaching them the Laws of custodianship of land, the Laws of kinship, of marriage, of correct ceremonies-they gave them every kind of knowledge they needed to look after the land and to have a stable society.
When this work was finished, the Creator Beings went back into the land, where they all still remain in the same eternal sleep from which they awakened at the beginning of time. The locations to which they returned have always been and are still today regarded as very important sacred sites.
Wherever the Creator Beings travelled, they left tracks or some kind of evidence of themselves. These traces determined the identity of the people. In other words, every Aboriginal person has a part of the essence of one of the original creative spirits who formed the Australian landscape. Therefore each person has a charter of custodianship empowering them and making them responsible for renewing that part of the flora and its fauna. The details of this metaphysics varied widely across the land with the physical environment, but the spiritual basis-the understanding that what separates humans from animals is the fact that each human bears a creative and spiritual identity which still resides in land itself-provided and still provides in many places the religious, social, political and economic force throughout Aboriginal Australia."
(Mary Graham, 2008)
Australian Humanities Review 45 (November 2008): "Mary Graham: Philosophical Underpinnings of Aboriginal Worldviews". This essay was originally published in Worldviews: Environment, Culture, Religion 3 (1999): 105-118.
"An extension of the UK skinhead movement, the roots of sharp lie in the influx of European immigrants in Australia in the early 1960s. By the late 1960s the Sharpie subculture had evolved and existed in the mainly working class and migrant inner city suburbs such as Richmond, Fitzroy, Collingwood and Brunswick where Greeks, Italians, Yogoslavs and English immigrants all lived side by side. But as street corners gradually changed to shopping centres, by the early 1970s, the Sharpie movement started to spread to the outer suburbs of Melbourne where a 'rough as guts' working class ethos existed.
The name 'Sharpie' originated from the fashion. It was all about the clothes and looking sharp, and flash. The first wave of Sharpies from 1966 – 1969 were strongly influenced by UK Mod fashions, the 1964 Rockers and the style of certain Italian migrants. Demeanor was tough, hair was short back and sides and clothing was custom made by European tailors, thus allowing for a blend of neo–thirties suave combined with a contemporary larrikin attitude. Dances were also a big part of the Sharpies social fabric, with bands such as Billy Thorpe & the Aztecs, Wild Cherries, Ray Brown & the Whispers, and Max Merritt & the Meteors being popular choices.
From 1970–1980, the second wave of Sharpies were following hard, tough rock'n'roll bands like Lobby Loyde and the Coloured Balls, Buster Brown, Rose Tattoo, The Angels and ACDC. Sharpies were now often congregating in large numbers, regularly attending live band concerts at town hall and high school dances as well as early discos. But due to their sheer numbers, Sharpies were often perceived as being untouchable by the police and were often associated with excessive violence, regularly taking part in fights."
(Melynda von Wayward)
Fig.1 "My Strange Addiction: I'm a Living Doll", TLC, Season 5 (2014), original air date 1 January 2014.
"Becky Cooper, a 24–year–old cartographer and writer... asked New Yorkers–and visitors–to map their own versions of Manhattan. She took to the streets, distributing 3,000 copies of a hand–printed outline of the island and encouraged participants to "map who you are or where you are; the invisible or the obvious". All copies were self–addressed and stamped so they could be mailed back to her.
Cooper says around 10% of the maps were mailed back and Mapping Manhattan features 75 of the best contributions. Some are heartbreaking (one person mapped key places in his life, from the first apartment he shared with his wife to where she later died); many invoke humour (a map of lost gloves, pictured above); some are confessions (a student who shows how she funded her studies with work at various strip joints). Some are handscrawled in biro, others are collages, and a few use watercolours."
(Vicky Baker, 15 May 2013, The Guardian)
International Conference, Workshops and Exhibition University at Buffalo, The State University of New York
3–5 May 2013 Call for Paper Abstracts DEADLINE: 12 November 2012
"What new lines of inquiry and emergent relations between urbanity and digital media are found in non–Western cities, in post–Capitalist cities, in cities hosting civic turbulence or crossing international boundaries? What urban–medial relations are taking shape differently in urban milieux that may have been heretofore overlooked? These cities are deserving of more attention than ever before, as sites of population growth, of new cultural and social formations, of new entanglements between urban life and contemporary media, communications and information technologies, and more. MediaCities promises to expand our understanding of both media and the city today, and to articulate new sites of practice and working methods for an expanding field. ...
Areas of interest may fall broadly into several themes, with the assumption that others will appear in the process of proposals and discussion leading up to the event, always expanding our lexicon and mental maps of MediaCities globally. These themes are: Other Urbans, Uncommons, Zero Growth Cities, Media Geographies and Bordervilles."
Fig.1 Reuters/Sheng Li (2011), "ethnic Dong minority woman uses her mobile phone to take a picture of herself after a Kam Grand Choir gathering in Tongguan village of Liping county, Guizhou province". [http://pixtale.net/2011/10/21st–century–china/#img33]