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22 JUNE 2013

The NFSA Life In Australia Series

Fig.1 James Jeffrey (1966). "Life In Australia: Adelaide": 20.25 Minutes. Made by The Commonwealth Film Unit / Department of Immigration 1966. Directed by James Jeffrey. A picture of life in the South Australian capital of Adelaide in the mid 1960s, social, commercial and recreational.
Fig.2 "Life In Australia: Brisbane", Fig.3 "Guide To Canberra", Fig.4 "Darwin – Doorway To Australia", Fig.5 "Life In Australia: Hobart", Fig.6 "Life In Australia: Melbourne", Fig.7 "Life In Australia: Perth", Fig.8 "Life In Australia: Sydney".

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TAGS

1960s1966Adelaideadvertising imagesaudio and visual heritageaudiovisual archiveAustralia • Australian capital cities • Australian culture • Australian Department of Immigration • Australian ScreenBrisbaneCanberracommercial sector • Commonwealth Film Unit • cultural life • Darwin • Eric Thompson • European Australianseveryday cultureGreat Britain • Hobart • idylidyllic imageimmigrantimmigration • James Jeffrey • life in Australia • Life in Australia Series • lifestyleMelbourneNational Archives of AustraliaNational Film and Sound ArchivenewsreelNFSAPerthportrait of everyday liferecreational activitiessocial sectorSouth AustraliaSydney • ten pound pom • ten pound tourist • UK • welcoming immigrants • white Australia policy

CONTRIBUTOR

Simon Perkins
05 DECEMBER 2009

The Visible Archive: visualising, mapping, archiving

"This proposal is to research and develop techniques for visualising, or mapping, archival collections in a way that supports their management, administration and use. The specific aim is to develop techniques for revealing context: the patterns, high–level structures and connections between items in a collection.

The practical outcomes of the project will be prototype interactive, browsable maps of the National Archives collection that apply these techniques at different structural levels:

1. A map of the whole collection, at Series level, will show the 'big picture': the size, scope and historical distribution of different series, the relations between series, and their corresponding Agencies and functions.

2. A more detailed map will focus, as a test case, on a single series (A1), accumulating data from individual records to reveal the distinctive 'shape' of that series.

The issue of navigating large digital collections is current and significant; interestingly some prominent American researchers have recently announced a broadly related project. This project is highly innovative; by supporting it, the Archives would take a leading position in the field. The project would be extensively documented and well disseminated, drawing an international audience."

(Mitchell Whitelaw, 30 July 2008)

Fig.1 Visible Archive Series Browser

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TAGS

archival datasets • archiveAustralasiaAustraliabrowseCanberrachartcollectiondatadatasetdesigninformation aestheticsmapMitchell WhitelawNational Archives of Australianotationprototype • University of Canberra • visual depictionvisualisation

CONTRIBUTOR

Simon Perkins
24 MAY 2008

Kevin Rudd says sorry (to the stolen generations)

"Australia has formally apologised to the stolen generations with Prime Minister Kevin Rudd reading a speech in Federal Parliament this morning.
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Both Mr Rudd and Indigenous Affairs Minister Jenny Macklin received a standing ovation as they entered the Great Hall before the Prime Minister delivered the speech.
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Former prime ministers Paul Keating, Bob Hawke, Gough Whitlam and Malcolm Fraser and Sir William Deane were all seated on the floor of the Parliament as well as 17 people representing the stolen generation.
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Redfern [inner city suburb]
Mr Rudd''s speech received a standing ovation at the Redfern Community Centre, where hundreds gathered.

Residents, workers, families, students and Sydney''s Lord Mayor Clover Moore braved the rain to watch the speech via a large outdoor screen.

David Page, composer with the indigenous dance group Bangarra Dance Theatre, said he liked the fact that Mr Rudd made a personal apology.

''It was very moving to see a prime minister with a bit of heart. I loved it when he said he was sorry. There was just something personal about it. It''s very hard for a prime minister to be personal,'' he said.

Enid Williams, 72, who was brought up on a mission in north Queensland after her father was forcibly removed from his family, said she was happy with Mr Rudd''s speech, but said it was now important to look to the future.

''I''m 72. The main thing is the young people, to give them a better future.''

Martin Place
At Martin Place in [central] Sydney, hundreds of Sydneysiders from all walks of life gathered to watch the Sorry Day celebrations holding Australian, Aboriginal and Torres Strait Islander flags.

Men and women in business suits, schoolchildren and other passers–by of all different backgrounds cried, smiled and stood in respect as they listened to Mr Rudd apologise."
(Dylan Welch, The Sydney Morning Herald, 2008)

[This has been a long time coming – and is something that was clearly beyond the capacity of the previous Australian Liberal Party administration!]

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TAGS

AboriginalapologyAustraliaAustralian Labor Party • Bangarra Dance Theatre • Bob Hawke • CanberraGough WhitlamIndigenousKevin RuddMalcolm Fraser • Paul Keating • Prime Minister • Redfern • Sir William Deane • speechstolen generationsSydney • Sydneysider • Torres Strait Islander

CONTRIBUTOR

Simon Perkins
29 AUGUST 2005

Rosalie Gascoigne: Bricoleur

"Claude Levi Strauss once described the artist as a bricoleur, the one who, when the rest of the nomadic tribe has moved on, remains among the discards of little value, the bric–a–brac which has been left behind by his/her more pragmatic kinsmen, those scraps of bright fabric, Pointed firesticks, a cracked cooking pot, chicken skulls. From these disparate objects the bricoleur creates a work of art something which pleases the eye, gives them a good 'read', as Rosalie Gascoigne described the way she looked and looked and looked again at her work in process. Nobody had a better eye than she for creating wonders from the 'inorganic refuse' of humanity and discards of nature: old faded Schweppes boxes, swan feathers, great grey sheets of corrugated iron abandoned in tips or tossed aside in the sun–burnt scrubby country around Canberra which she grew to love. She hated the word 'junk'. It was an insult to the treasures she found or begged, and lugged home to transform into works of subtle mystery, strong contrasts of textures, shapes and colours; beauty where one did not expect to find it. She says somewhere, (and incidentally I have never known an artist speak about their work with such endearing clarity) that she never used anything that had not been 'open to the weather'."
(Barbara Anderson)

O'Brien, G., D. Thomas, et al. (2004). Rosalie Gascoigne: Plain Air. Wellington, Aotearoa New Zealand, City Gallery Wellington in association with Victoria University Press.

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TAGS

Aotearoa New ZealandartistAustralia • bric-a-brac • bricoleurCanberraClaude Levi-Strauss • Daniel Thomas • discarded • Gregory O'Brien • inorganic refuseNew Zealand artist • Rosalie Gascoigne • signagestreet sign
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