Demonstrators and Semper press car during Moratorium in Brisbane 1970

Demonstrators in Brisbane, Australia with banners and flags during Moratorium march 1970. Semper press car (Volkswagon Kombi) can be seen. Protestors are outside the Presbyterian Church of Queensland (now Uniting Church) in Ann Street, Brisbane. In the background, scaffolding can be seen at the construction site of the Crest Hotel. Semper Floreat is the student newspaper of the University of Queensland.

Demonstrators with banner and loud hailer during Moratorium in Brisbane 1970

Demonstrators in Brisbane, Australia with banners and flags during Moratorium march 1970.

Women and men during the 1963 Peace March, Brisbane, Australia

Women and men during Peace march in Brisbane, Australia 1963. Car can be seen in the background. Two men one with drum follow the women, one of which has a banner Women strike for peace say U.A.W. The Union of Australian Women is a national organisation that was formed in 1950. Its aim is to work for the status and wellbeing of women across the world. It has been involved in a wide variety of campaigns that concern women. The Union of Australian Women networks with other women's community and union groups on such issues.

Simon and others during Aldermaston Peace march, Ipswich to Brisbane 1964

Simon and others during Aldermaston Peace march, Sunday April 5, 1964. The march covered the distance between Ipswich and Brisbane, Australia, walked in relays covering approximately two miles each. Most relay sections were sponsored by one or more individual organisations.

Simon and other participants during Aldermaston Peace march, Ipswich to Brisbane 1964

Simon and other participants during Aldermaston Peace march, Sunday April 5, 1964. The march covered the distance between Ipswich and Brisbane, Australia, walked in relays covering approximately two miles each. Most relay sections were sponsored by one or more individual organisations.

The politics and ethics of relocated art

At the end of Word War II, Soviet occupation forces removed countless art objects from German soil. Some of them were returned during the 1950s, but most either disappeared for good or were stored away secretly in cellars of Soviet museums. The Cold War then covered the issue with silence. After the collapse of the Soviet Union, museums in St Petersburg and Moscow started to exhibit some of the relocated art for the first time in half a century. The unusual quality of the paintings-mostly impressionist masterpieces-not only attracted the attention of the international art community, but also triggered a diplomatic row between Russia and Germany. Both governments advanced moral and legal claims to ownership. To make things even more complicated, many of the paintings once belonged to private collectors, some of whom were Jews. Their descendants also entered the dispute. The basic premise of this article is that the political and ethical dimensions of relocated art can be understood most adequately by eschewing a single authorial standpoint. Various positions, sometimes incommensurable ones, are thus explored in an attempt to outline possibilities for an ethics of representation and a dialogical solution to the international problem that relocated art has become.

Separating politics and scientific research on heroin prescription - In reply [Letter]

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