Not Signed-In
Which clippings match 'Flora' keyword pg.1 of 1
01 NOVEMBER 2015

Brett Leavy: The Virtual Meanjin Project

"Brett Leavy is an immersive heritage specialist, virtual historian and artist. His innovative idea to recreate the real environment for mapping Indigenous culture and heritage stems from his passion to educate the community about Indigenous history."

(ABC Open)

1
2
3

TAGS

ABC Open • arts and cultural practices • Australian Indigenous communities • Brett Leavycultural heritagecultural identitycultural spacesculture and customs • culture and heritage • First Nationsfloraflora and faunafood gathering activities • guesstimation • historical recreation • Human Ventures • immersive gaming • immersive heritage • immersive heritage experienceIndigenous AustraliansIndigenous communitiesIndigenous cultural knowledge • Indigenous culture • Indigenous heritageindigenous history • Indigenous stories • interactive immersive simulation experience • Jagera people • social enterprise • Turrabull people • virtual environmentvirtual heritage • virtual heritage environments • virtual historian • Virtual Meanjin • virtual recreationvirtual time machineVirtual Warrane ll

CONTRIBUTOR

Simon Perkins
02 MAY 2015

Aboriginal People's Relationship to Land

"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.

1

2

TAGS

Aboriginal Australia • Aboriginal mythology • Aboriginal worldviews • ancestral beings • Association for the Study of Australian Literature (ASAL) • Australian Humanities Review (AHR) • Australian landscape • beginnings • belonging • charter of custodianship • clan • clan group • creation narrative • creative and spiritual identity • Creator Beings • custodianship • customs • embryonic forms • eternal sleep • fauna • florafolkloreIndigenous Australians • Juanita Bailey • Kombu-merri person • landland custodianshiplandmarkslandscape • Lilla Watson • Lin Morrow • Mary Grahammetaphysics • open plain • origin mythphysical environment • potentiality • proto-human • proto-humanity • sacred sites • spirit ancestors • symbolic placetimeless time • under the earth • under the surface • worldview

CONTRIBUTOR

Simon Perkins
16 JUNE 2013

Marianne North: pioneering botanical artist

"Victorian artist Marianne North, one of the only women of her time to travel to places like the Seychelles Islands, Australia, and Chile, and who left behind a trail of impressive art and writing about her botanical discoveries, is not a household name. ...

In 1871, when a 40–year–old North set out after the death of her father to travel around the world and to paint as many of world's flora in oils as possible, she unwittingly found herself both ahead of and behind her times. In the art world, she was definitely not part of the avant–garde; in France, Claude Monet and Pierre–Auguste Renoir had already started their Impressionist paintings, creating works that were worlds away from the status quo of a polished depiction of nature.

North went around the world twice, in fifteen years, traveling by train, boat, mule, and on foot, to every continent, except for Antarctica. In Brazil, where she spent 13 months, North painted lush landscapes and tropical flowers with tight brushstrokes and clean lines – a style that would soon be left behind with the revolutionary style of the Impressionists. North didn't perceive or paint her subjects in a particularly unique way, but she relayed every minute detail of a plant, flower, or landscape with breathtaking precision. Her paintings give you a straight, dispassionate look at an unfamiliar world."

(Alexia Nader, Garden Design)

Fig.1 Marianne North, New Zealand Flowers and Fruit, Date painted: early 1880s, Oil on board, 50.9 x 35.4 cm, Collection: Royal Botanic Gardens, Kew.

1

TAGS

187119th centuryaccuracyAotearoa New ZealandartistAustraliabiodiversity • botanical artist • botanical record • BrazilCaliforniaCharles DarwinChiledepiction • dispassionate look • Edward Lear • fidelityfloragarden design • George Eliot • IndiaJapanKew Gardens • Marianne North • natural history • natural landscape • nature • non-European species • Origin of Speciespainting • painting nature • phytotomypioneering womenplant anatomyplantsscientific illustrationscientific illustrator • Seychelles • Seychelles Islands • travel • travel writing • travelogue • tropical plants • UK • unfamiliar world • Victorian art

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.