Saturday, 27 April 2019

CULTURE, SHORTEN, 2019 ELECTION

Federal election 2019: Opposition leader Bill Shorten pledges $120m to boost tourism in Tasmania, with $50m to ‘secure Mona’s future’ JACK PAYNTER, Mercury April 27, 2019 12:00am

https://www.themercury.com.au/news/politics/federal-election-2019-opposition-leader-bill-shorten-pledges-120m-to-boost-tourism-in-tasmania-with-50m-to-secure-monas-future/news-story/41e9ddde23e2041be88ba2288d375a6d?utm_source=The%20Mercury&utm_medium=email&utm_campaign=editorial

 THE new Mona hotel is in line for a huge funding boost under a Labor government as part of a $120 million investment in Tasmanian tourism. ........................ Opposition leader Bill Shorten will stop in Hobart on the campaign trail today to pledge $50 million to help build public facilities at Tasmania’s number one private tourist attraction, if Labor wins power at next month’s federal poll. ........................ WHAT BROUGHT CHLOE SHORTEN TO TEARS SHORTEN ACCUSED OF AVOIDING PRIME-TIME SCRUTINY ........................ Public spaces in Mona’s development include a convention centre, theatre, library, auditorium and playgrounds. ........................ Mona has submitted a development application for a $400 million, five-star, 176-room hotel to be built on the Berriedale peninsula, which includes a 1075-seat theatre, an outdoor stage and a conference centre for up to 1600 people. Picture: SUPPLIED Opposition tourism spokesman Anthony Albanese and federal Franklin MP Julie Collins will join the Labor leader at Mona this morning to announce the funding package, which also includes $5 million to repair the Tahune Airwalk and infrastructure upgrades at Hastings Cave. ........................ Mr Shorten said the hotel would deliver jobs growth. ........................ An artist’s impression of the foyer of Mona’s new hotel. Picture: SUPPLIED “The proposed development will create over 450 full-time construction jobs, including significant opportunities for apprenticeships, and an additional 120 jobs during the operational phase,” Mr Shorten said. ........................ “Labor’s investment will secure Mona’s future as one of Tasmania’s main employers, educator and facilitator of progressive community building.” ........................ An artist’s impression of the outdoor stage planned for Mona. Picture: SUPPLIED Other projects included in Labor’s funding pledge are: ........................ $10 MILLION for infrastructure projects at Freycinet National Park, which matches the Coalition’s commitment and includes an extra $2.8 million for an additional walkway to the Wineglass Bay lookout. ........................ $5 MILLION for car park, visitor centre, road and facility improvements at Mt Field Nat-ional Park, and help to manage visitor growth. v $3 MILLION to upgrade community amenities and enhance the appeal of Beauty Point foreshore on the Tamar River. ........................ $2.8 MILLION to help deliver stage three of the Agritas agricultural and forestry heritage museum in Smithton. ........................ $300,000 for tourism trails across northern Tasmania. ........................ $280,000 for the Dial Range Strategic Mountain Bike Plan in the North-West. ........................ RELATED CONTENT Launceston RSL sub-branch president Lt Col Graeme Barnett RFD addresses the Anzac Day service. Picture: CHRISTOPHER TESTA Veteran ‘fired up and angry’ after dawn service no-show Veteran ‘fired up and angry’ after dawn service no-show Pious Jews join prayers from a terrace, with a general view of the Old City of Jerusalem see in the background, during the Passover (Pesach) holiday at the Western Wall in the holy city on April 22, 2019. - Thousands of Jews make the pilgrimage to Jerusalem during the eight-day Pesach holiday, which commemorates the Israelites' exodus from slavery in Egypt some 3,500 years ago and they remember their plight by refraining from eating leavened food products. (Photo by THOMAS COEX / AFP) Facts about Israel sometimes lost in Middle East commentary Facts about Israel sometimes lost in Middle East commentary ........................ $80,000 to upgrade Launceston’s Junction Arts Festival’s Little Devil Tent. ........................ Before today’s announcement Labor had already committed $30 million for Cradle Mountain, $8.8 million for the completion of the 110km North-West Coastal Pathway and $4.4 million for the George Town Mountain Bike Trail. ........................ “Tourism underpins the Tasmanian economy, injecting more than $3 billion each year and supporting more than 40,000 jobs,” Mr Shorten said. ........................ “Greater investment in tourism infrastructure is required . . . to meet the expectations of visitors.” ........................ jack.paynter@news.com.au
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Thursday, 25 April 2019

LOW TECHNOLOGY BATTERY


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Tuesday, 13 November 2018

The arts have hijacked culture and left many people out: Tasmanian of the Year, Scott Rankin

On Mornings with Sarah Gillman
The arts have hijacked culture and left many people out, says Tasmanian of the Year and Big Hart’s Creative Director, Scott Rankin, in a platform paper for Currency House. He says the arts need to be more inclusive and diverse in its thinking about what art is and move away from the “fine dining” model that exists in Australia. His paper, titled Cultural Justice and The Right to Thrive, argues cultural rights are as essential as education and health, an issue of justice to allow all Australians to add their voice to our national story.
 Duration: 17min 20sec
Broadcast: Thu 1 Nov 2018, 8:30am

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Friday, 9 November 2018

THE BIG YAWN

A PROPOSAL FOR A CULTURAL FESTIVAL PROGRAM

https://www.artspace.com/magazine/art_101/book_report/what-was-fluxus-54032

https://www.tate.org.uk/art/art-terms/f/fluxus

http://www.historygraphicdesign.com/the-age-of-information/national-visions-within-a-global-dialogue/512-fluxus

https://www.nj.com/entertainment/arts/index.ssf/2011/10/fluxus_movement_returns_to_its.html

COME TO LONNIE FOR A BIG YAWN BUT WAIT UNTIL
SOMEONE GETS AN ACT TOGETHER WORTH
YAWNIN AT ... WATCH THIS SPACE

Acknowledgement: Franz Xaver Messerschmidt


http://worldsillyweekzone.blogspot.com/


http://www.visual-arts-cork.com/famous-artists/joseph-beuys.htm

HIS IMAGES GOOGLED CLICK HERE


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Monday, 22 October 2018

reality hacking


CLICK ON IMAGE TO ENLARGE

• http://www.realityhacking.com/project.php?id=96






REALITYhack7250

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COMMUNITY OF OWNERSHIP AND INTEREST NOTES


Communities of people have many things in which they share a sense of ownership - for example roads, schools, a health service, even a landscape. Those with such an interest form the Community of Ownership and Interest – its COI – for those things.

All too often a COI's shared ownerships and interests are down played and may even be belittled or denied –particularly when contentious or complex issues are involved. However, recognising the layerings of ownerships and interests, and the social cum cultural dynamics involved, can offer a way forward in dispute resolution plus better, and more inclusive, understandings of 'place'.
If we listed 'the things' that had a COI we would include items and locations that were owned by the public – public places and spaces – such as a park, or a river, a monument and/or memorial; an institution and/or a heritage building; a museum; a water supply and/or a forest; a festival and/or a ritual; clearly the list is as endless as the kinds of attachments people have for places, things and events. And the there is the issue of 'cultural property' and 'cultural knowledge' where there are subliminal layers of 'cognitive ownerships' that increasingly come into play with the changing ways Indigenous cultural material – Australian & other – is currently being understood.

Indeed, individuals within a place’s/event's/space's/knowledge system's COI will almost certainly have multiple layers of ownership and interest in it. The ‘truth’ in the ownership and interest here is ‘cognitive,’ a matter of ‘lore’ rather than ‘law’ – that which is taught; hence to do with wisdom; concerning cultural knowledge, traditions and beliefs. It pertains to cognition, the process of knowing, being aware, the acts of thinking, learning and judging. If we take a museum as an exemplar, museums are to do with cognition – musing; the contemplative; the meditative. If we look at courts, then they are to do with power over conduct; enforcement and authority; control and regulation, guilt and innocence – none of which have a place in musing places, nor much to do with musing.

Furthermore, members of the COI should be understood as having both rites and obligations commensurate with their claimed ownership, expressed interest and their relationship to the institution and its overall enterprise.

A member of the COI may also be referred to as a “stakeholder” but stakeholdership in its current usage has generally come to mean a person, group, business or organisation that has some kind vested or pecuniary interest in something or a place.
Typically, 'stakeholders' assert their rights when there is a contentious decision to be made. However, 'stakeholders' are rarely called upon to meet or acknowledge an obligation. Conversely, members of a COI will have innate understandings of the obligations that are expected of them and the rights they expect to enjoy – indeed, there are likely to be stakeholders in the COI mix.

It is just the case that for an institution say, the COI mix, when assessed from outside, is intentionally, functionally and socially more inclusive. That is more inclusive than say a list of stakeholders drawn up in respect to a development project that governments – Local, State & Federal – typically make decisions about.

Stakeholder groups and Communities of Ownership and Interest are concepts with kindred sensibilities – law and lore, the former reinforcing the latter. Nonetheless, they engage with different community sensibilities; with different expectations and different relationships – even if sometimes many of the same people have a ‘stake’ in something as well as other relationships as a member of a COI.

At the 2002 QVMAG Search Conference governance and marketing were identified as the two issues for the museum that were most in need of urgent attention. For a myriad of reasons, not the least the machinations of Local Government politics, neither have received the kind of attention flagged as being needed at the conference.


Given that marketing is the process by which organisations generate audience interest, and here, engage communities with their services, it is something that a museum's management is obliged to address in the 21st Century. It is the management strategy that underlies the operation's development and legitimises it. It is an integrated process through which organisations build strong community relationships and creates value for their Communities of Ownership and Interest (COI).

THE OWNERSHIP ISSUE

Interestingly, at a 'Search Conference' – a three day affair in 2002 – attended by people interested in the the Queen Victoria Museum & Art Gallery (QVMAG) the issue of 'ownership' was contested. The attendees, all of whom were self selected, were clearly members of the institution's COI and they clearly understood themselves in that way. That they did so, and collectively, and that they identified themselves as a COI, the issue of 'ownership' in 'lore and law' is not insignificant. it is all the more so in regard to local governance where 'the governors' typically rank themselves at the top of a pyramidal hierarchy in contests of authority. 

At the time, Launceston's non-residents were being charged a $10 entry fee to the QVMAG. Attendances were falling and the recurrent costs of the institution were rising – and have done since albeit stabilised in the last decade. Despite the outcomes of this conference and the Chamberlain Report that was commissioned by Council following the conference, and that advocated change for the QVMAG, the institution is in essence currently still trying to address the same set of issues as before 2002 – albeit stimulated by a different set of circumstances. In essence, Council's 'operational wing'has rejected the 'COI concept' in favour of maintaining the 'imagination of the institution's ranked stakeholdership'

There is a very good case to contest this 'understanding' that owes its foundation to 'hierarchical managerialism'. the operational manifestation of this phenomena in recent years has worked assiduously to eclipse Council – the elected representatives – in its policy setting and strategy determination.

Arguably, the City of Launceston – and somewhat perversely – has allowed management to blur the governance and management roles and functions of not only the QVMAG but across the entire 'local governance operation' in the City of Launceston. Moreover, there is a very good case to be put that all this has been, and is being, to the detriment of the city and the Communities of Ownership and Interest across the full spectrum of the city's cultural realities.

Clearly this history played out in the QVMAG has inhibited the effectiveness of the QVMAG's marketing as much as as it has other components of Launceston's cultural landscape and social networks – indeed the city as a whole. It turns out that the QVMAG is the fraction that mirrors the whole and that this is informative.

The 2002 Search Conference was in fact an early demonstration of the levels of the diversity of and the passionately asserted ownerships of and interests people had invested in the QVMAG as institution.

It was also a pointer to the unrealised outcomes and the missed opportunities the museum's governance, and consequently its marketing needs that are yet to be addressed as comprehensively in 2018 as it was identified that it needed to be in 2002.

Ultimately, all this is a 'failure of governance' and there is no other way to dress up the circumstance in order to soften the realisations of faltering outcomes and the diminishment of opportunities.


DEFINITION: Community of Ownership and Interest: (compound noun/proposition) an all-inclusive collective/community of people, individuals and groups, who in any way have multi layered relationships with a place or cultural landscape and/or the operation of an institution, organisation or establishment – typically a network. 
Usage and context: cultural geography; civic and environmental planning; and community administration REFERENCE: Dr Bill Boyd, SCU et al
CONTEXT NOTE: Used in opposition to ‘stakeholder’: one who has a legitimate interest, stake and/or pecuniary interest in an enterprise, endeavor or entity. Also used to demonstrate inclusivity as opposed to the exclusive implications attached to ’stakeholder’.

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TASMASNIAN TIGERS LAUNCESTON MALL










Thylacinus cynocephalus - brizmaulus

• EXAMINER  ... City of Launceston formally endorse Brisbane Street mall redevelopment design | Video
• EXAMINER ... Click here Brisbane Street Mall officially opens after redevelopment
• MEET THE MAKERS ... https://www.kittenhammer.com.au/ ... https://www.kittenhammer.com.au/dan/
• CLICK HERE VIDEO LINK

9 Lesser Known Facts About Thylacine A.k.a Tasmanian Wolf Two of the Thylacines were displayed on the Tasmanian Coat of Arms. You can notice red lion’s holding a shovel as a tribute to Tasmania’s miners. Kevin Green CLICK HERE FOR SOURCE WITH IMAGES

The thylacine, or commonly known as the Tasmanian wolf or Tasmanian Tiger is believed to become extinct in the 20th century. Almost 80 years ago, the last thylacine died at the Beaumaris Zoo in Hobart. 

1) How did it get name – Thylacine Tiger It got a name because it behaves and acts like two animals. They were nearly related to canines and felines. The thylacine was neither a completely wolf nor a tiger but a marsupial related to the Tasmanian devil. 

 2) Thylacine Tasmanian Wolf Size Thylacines were the world’s largest pouched carnivore. They measured 100-140cm;s long and the tail added 60-65cm to its length. Tasmanian Tigers weighed 30-35 kg's. They looked like dogs with yellow fur with black strips all the body and had the rodent-like tail. 

3) Thylacine Tasmanian Wolf Diet They were meat eaters. They were noted hunting sheep, kangaroos as their food. The lesser-known fact about these Tigers was that they could open their mouth up to 90 -120 degrees but they were unable to kill large prey because of their weak jaws. 

4) They can hop on Two Legs Just like other animals Thylacine walks, run, but some footage showed up that they could hop on two legs. They were seen bouncing for quite a short period of time. 

5) Thylacine Tasmanian was Found Carved In Rock Art Some 40,000years ago, an artist left his painting on a rock in northern Australia. The site also involved different figures of human, fish and Kangaroos. 

6) Physical Appearance Of Thylacine The female thylacine had a pouch but unlike other marsupials, this pouch opened to the rear portion. Males had a scrotal pouch in which they could withdraw their scrotal sac. Sometimes they were also referred to as the yellow-brown coat with unique stripes on the back and because of that thin tail, it got its nickname as the tiger. 

7) Thylacine Tasmanian Wolf Off Springs A female Thylacine could carry 3-4 hairless babies, as they grow up the pouches expanded to accommodate them. As they became some mature, the female Tasmanian would leave the young ones in a lair such as cave and leave for hunting. 

8) Tasmania’s Government Started Protecting Them Just 2 Months Before the Last One Died The last Thylacine was the male tiger. He was noted one cold September night, he succumbed to the cold temperature and died without any whisper. Just a couple of months before he died, Tasmania declared the Thylacines as the protected species. (1.2)

9) Thylacines Footprints Were Unlike other native animals like cats, wombats, these Thylacines had a large rear pap and 4 pads arranged in almost of the straight line. Their claws were non-retractable. 
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Monday, 12 December 2016

EXAMINER: The Tasmanian Aboriginal Centre says they weren't consulted on the TWWHA.

The Examiner


Tasmanian Aboriginal Centre slams TWWHA



The Tasmanian Aboriginal Centre says they weren't consulted on the TWWHA.
The Tasmanian Aboriginal Centre says they weren't consulted on the TWWHA.
The Indigenous community has not been consulted on the government’s wilderness world heritage plan, and current legislation poses a threat to their cultural land, a leading Indigenous group believes. 
On Saturday, the state government officially released its Tasmanian Wilderness World Heritage Area (TWWHA) Management Plan, which provided a framework for protecting natural and cultural values for up to seven years.
Environment Minister Matthew Groom said this was the first time the TWWHA management plan recognised the Aboriginal heritage of the land, but the Tasmanian Aboriginal Centre (TAC) said they weren’t consulted in the process.
The organisation’s chief executive Heather Sculthorpe said the government had not undertaken a cultural assessment of the land before producing the final draft, ignoring calls from the United Nations Educational, Scientific and Cultural Organisation. 
“They have not involved the Aboriginal community in the study, and they’ve appointed white consultants to engage the community,” she said. 
However, Environment Minister Matthew Groom said there was no expectation by UNESCO that the cultural assessment would be completed before finalising the plan, and he understood the assessment’s tender was close to finalisation.
He said the cultural assessment of the TWWHA was being managed through the Aboriginal Heritage Council, and the TAC had declined a spot on the council. 
Ms Sculthorpe said the government had postponed amendments to the Aboriginal Relics Act 1975, which would introduce legislation that would safeguard the protection of Aboriginal heritage. 
“There’s art all over the South Coast Track, and the whole emphasis has been making it easier for tourists.”
Mr Groom said the government was moving forward on amendments to the Aboriginal Relics Act, with the Draft Aboriginal Relics Amendment Act released for public comment. 

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ABC: Macquarie Point: Questions over waterfront plans as Mona unveils Hobart Aboriginal art park vision

Macquarie Point: Questions over waterfront plans as Mona unveils Hobart Aboriginal art park vision

BY RHIANNON SHINE
Mona plan for Hobart waterfront
PHOTO 
A light installation celebrating Aboriginal history is part of Mona's waterfront vision.
SUPPLIED: FENDER KATSALIDIS ARCHITECTS RUSH\WRIGHT ASSOCIATES
The Tasmanian Government has been accused of sending mixed messages over its vision for Hobart's Macquarie Point.
Hobart's Museum of Old and New Art (Mona) has announced plans to transform the industrial site into a cultural precinct celebrating Tasmania's Aboriginal history.
The plan includes an art park, a major fire and light installation dedicated to celebrating 40,000 years of continuous culture in Tasmania, and a Tasmanian Aboriginal history centre.
But it has already raised concerns in parts of the Aboriginal community and the Greens have questioned whether it can coexist with a forestry exports terminal.
Greens MP Rosalie Woodruff welcomed the Mona proposal but said she doubted they could coexist.
"Timber exports and cultural precinct — they just don't work," she said.
"Tourists don't want to walk past an 8-metre high pile of logs and woodchips.
"This shows the Government's warped priorities. They can't have it both ways. They have to pick and everyone in Tasmania would be wanting them to pick the MONA cultural precinct."
State Growth Minister Matthew Groom said there would be no woodchip pile.
"It's about exporting logs, and that's a five-year arrangement," he said.
"We believe we can support forestry and also undertake a world-class redevelopment of the Macquarie Point site in collaboration."

'A catalyst for change'

Tasmanian Aboriginal writer Greg Lehman initiated the approach and is working with Mona on the development.
"To continually focus on wars we fought overseas, while ignoring the campaigns that were waged in our own backyards prevents us having an honest relationship with our own history," he said in a statement.
"Tasmania is where colonial conflict was most intense, where attempts were made to exterminate Aborigines completely.
"It is therefore the most important place to begin a process of national healing. This will require acknowledgement, mourning and forgiveness.
"By providing a public space that honours and respects Aboriginal people and their culture, we can create a catalyst for change."

Fears of sidelining

Tasmanian Aboriginal Centre (TAC) chief executive Heather Sculthorpe said she was surprised the TAC had not been consulted on the plan.
"We've been urging MONA for years to include Tasmanian Aboriginal culture and heritage in their museum, because after all MONA itself is built on an Aboriginal midden," she said.
"We have also been urging for years that there needs to be a truth and reconciliation commission, but we haven't heard anything from MONA about this proposal."
Ms Sculthorpe said she would welcome the proposal provided the entire Aboriginal community was involved.
"If they are going to put Aboriginal people on the sidelines, then it is not going to work," she said.

Macquarie Point 'perfect place': Walsh

In a statement, Mona said its proposal would acknowledge the "need for truth and reconciliation in the wake of colonial warfare".
Mona founder David Walsh said Tasmania had "done nothing for far too long".
"Macquarie Point is the perfect time and place for a national memorial to begin to make amends for an unspeakable past," he said in a statement.
"We aren't doing this to pacify or mollify. We are doing it because we believe in it, and we are trying to find a way through.
"If it isn't good enough, don't walk away, work with us to make it better.

Chief executive Liz Jack departs

The new plan has coincided with the departure of Macquarie Point Corporation boss, Liz Jack.
The Government has confirmed Ms Jack has taken up a new position with the Education Department and a new chief executive will be announced soon.
The corporation has been criticised with perceptions the process for developing the waterfront site was biased and weighed down by bureaucracy.
In June, it was revealed British entrepreneur Sir Tim Smit, the co-founder of Britain's Eden project, was prepared to spend up to $50 million on a major complex showcasing the Antarctic.
It promoted criticism from other developers who had already spent money during the site's expression of interest process.

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