The new Golden Legend: Patrick Nicholas's secular saints

The work of Italian-based photo-artist Patrick Nicholas is analysed to show how his re-workings of classic ‘old-master’ paintings can be seen as the art of ‘redaction,’ shedding new light on the relationship between originality and copying. I argue that redactional creativity is both highly productive of new meanings and a reinvention of the role of the medieval Golden Legend. (Lives of the Saints).

Same old 'other' mother: Neil Gaiman's Coraline

Central to Coraline’s experiences in the fantasy world beyond the walls of her flat is the ‘other’ mother, who is initially constructed as an idealised image of maternal care whose only concern is for the welfare and comfort of her child. But as the story unfolds, this belle dame rapidly transforms into the ‘beldam sans merci’, an old crone, a she-devil whose real interest lies in the power she can draw from possessing the souls of children such as Coraline. This paper explores the Gaiman’s use of archetypes and cultural stereotypes of the mother figure that feminisms have been intent on expunging, interrogating, or appropriating in positive ways.

Join the party : networking for wallflowers

The LIS profession in Australia is a small world where connections are vital for career success and developing resilience. So what about those of us who feel like wallflowers at the party, always on the margins? It can be difficult for quieter souls to step up, get involved and build relationships. A major hurdle for many people, both introverts and extroverts, is figuring out how to proclaim their awesomeness to the world but in a way that is unique to them. The aim of this session is to inspire and challenge students, new grads and anyone who has a fear of networking to take risks and explore a different more social side of themselves without changing their personalities. This is a deeply personal topic with plenty of fear and self-image issues at stake. As well, most of us have had very few opportunities to find role models or a chance to practice in a comfortable environment. Therefore the authors will present strategies for success based on their personal experiences. We will demonstrate the actual benefits we have attained through our networking and volunteer activities. We hope that attendees will come away with some realistic strategies and goals to create lasting relationships with present and future colleagues such as we have enjoyed. Our networking tips may not transform you into the belle of the ball but you will have more confidence to get out on the dance floor and dance to your own beat.

Normanton2020

Normanton2020 This exhibition showcases the work of 3rd -4th year undergraduate landscape architecture, architecture, Interior Design, Environmental Engineering, Civil Engineering students in response to issues of sustainability in the Gulf of Carpentaria town of Normanton. 16 students and four staff set off on a 2488km journey to undertake the second half of the Carpentaria Project (following Linking Karumba: Creating Sustainable Connections 2008), in the other Carpentaria Shire town of Normanton. This project, Get EnGulfed: Normanton 2020, looked back and forwards to propose strategies strengthening local and regional identities. Our project partners recognised the need for a strategic approach to developing future visions for Normanton’s growth as a socially, culturally, economically and ecologically sustainable town in the decade to 2020. They proposed: Project aims to foster: • Enhanced liveability; • A strengthened expression of town identity; • Expanded sustainable tourism. Primary challenges & opportunities: • Remoteness; • Two seasons: wet & dry; • Local economy; • Society and Cultural Heritage. The Exhibition Four groups of four students produced four strategic planning and design options toward this future: Mud Maps of Normanton: Rhys Belnap, AJ Humphries, Amos Shirreff, Haiku Van Keuk Normanton: Stay Another Day: Belle Dalton, Tom Jordan, Josh Nielsen, Carla Ramsland The Sweet Spot on the Savannah Way: Daniel Lapham, Yvonne Phillips, Patrick Poon, Dan Young Resilience Through Diversity: Jillian Kenny, Tania Metcher, Stephen Orr, Evan Thompson

Get EnGulfed: Normanton2020

Get EnGulfed: Normanton2020 This exhibition showcases the work of 3rd -4th year undergraduate landscape architecture, architecture, Interior Design, Environmental Engineering, Civil Engineering students in response to issues of sustainability in the Gulf of Carpentaria town of Normanton. It presented the work to QUT staff from across the university, as well as industry partners and invited guests. 16 students and four staff set off on a 2488km journey to undertake the second half of the Carpentaria Project (following Linking Karumba: Creating Sustainable Connections 2008), in the other Carpentaria Shire town of Normanton. This project, Get EnGulfed: Normanton 2020, looked back and forwards to propose strategies strengthening local and regional identities. Our project partners recognised the need for a strategic approach to developing future visions for Normanton’s growth as a socially, culturally, economically and ecologically sustainable town in the decade to 2020. They proposed: Project aims to foster: • Enhanced liveability; • A strengthened expression of town identity; • Expanded sustainable tourism. • Primary challenges & opportunities: • Remoteness; • Two seasons: wet & dry; • Local economy; • Society and Cultural Heritage. The Exhibition Four groups of four students produced four strategic planning and design options toward this future: Mud Maps of Normanton: Rhys Belnap, AJ Humphries, Amos Shirreff, Haiku Van Keuk Normanton: Stay Another Day: Belle Dalton, Tom Jordan, Josh Nielsen, Carla Ramsland The Sweet Spot on the Savannah Way: Daniel Lapham, Yvonne Phillips, Patrick Poon, Dan Young Resilience Through Diversity: Jillian Kenny, Tania Metcher, Stephen Orr, Evan Thompson

Two cycles of voluminous pyroclastic volcanism and sedimentation related to episodic granite emplacement during the late Archean : Eastern Yilgarn Craton, Western Australia

The thick piles of late-Archean volcaniclastic sedimentary successions that overlie the voluminous greenstone units of the eastern Yilgarn Craton, Western Australia, record the important transition from the cessation in mafic-ultramafic volcanism to cratonisation between about 2690 and 2655 Ma. Unfortunately, an inability to clearly subdivide the superficially similar sedimentary successions and correlate them between the various geological terranes and domains of the eastern Yilgarn Craton has led to uncertainty about the timing and nature of the region's palaeogeographic and palaeotectonic evolution. Here, we present the results of some 2025 U–Pb laser-ablation-ICP-MS analyses and 323 Sensitive High-Resolution Ion Microprobe (SHRIMP) analyses of detrital zircons from 14 late-Archean felsic clastic successions of the eastern Yilgarn Craton, which have enabled correlation of clastic successions. The results of our data, together with those compiled from previous studies, show that the post-greenstone sedimentary successions include two major cycles that both commenced with voluminous pyroclastic volcanism and ended with widespread exhumation and erosion associated with granite emplacement. Cycle One commences with an influx of rapidly reworked feldspar-rich pyroclastic debris. These units, here-named the Early Black Flag Group, are dominated by a single population of detrital zircons with an average age of 2690–2680 Ma. Thick (up to 2 km) dolerite bodies, such as the Golden Mile Dolerite, intrude the upper parts of the Early Black Flag Group at about 2680 Ma. Incipient development of large granite domes during Cycle One created extensional basins predominantly near their southeastern and northwestern margins (e.g., St Ives, Wallaby, Kanowna Belle and Agnew), into which the Early Black Flag Group and overlying coarse mafic conglomerate facies of the Late Black Flag Group were deposited. The clast compositions and detrital-zircon ages of the late Black Flag Group detritus match closely the nearby and/or stratigraphically underlying successions, thus suggesting relatively local provenance. Cycle Two involved a similar progression to that observed in Cycle One, but the age and composition of the detritus were notably different. Deposition of rapidly reworked quartz-rich pyroclastic deposits dominated by a single detrital-zircon age population of 2670–2660 Ma heralded the beginning of Cycle Two. These coarse-grained quartz-rich units, are name here the Early Merougil Group. The mean ages of the detrital zircons from the Early Merougil Group match closely the age of the peak in high-Ca (quartz-rich) granite magmatism in the Yilgarn Craton and thus probably represent the surface expression of the same event. Successions of the Late Merougil Group are dominated by coarse felsic conglomerate with abundant volcanic quartz. Although the detrital zircons in these successions have a broad spread of age, the principal sub-populations have ages of about 2665 Ma and thus match closely those of the Early Merougil Group. These successions occur most commonly at the northwestern and southeastern margins of the granite batholiths and thus are interpreted to represent resedimented units dominted by the stratigraphically underlying packages of the Early Merougil Group. The Kurrawang Group is the youngest sedimentary units identified in this study and is dominated by polymictic conglomerate with clasts of banded iron formation (BIF), granite and quartzite near the base and quartz-rich sandstone units containing detrital zircons aged up to 3500 Ma near the top. These units record provenance from deeper and/or more-distal sources. We suggest here that the principal driver for the major episodes of volcanism, sedimentation and deformation associated with basin development was the progressive emplacement of large granite batholiths. This interpretation has important implication for palaeogeographic and palaeotectonic evolution of all late-Archean terranes around the world.