Report of trustees for year ended 30th June .

Title from caption.

Transactions of the Royal Society of South Australia

Mode of access: Internet.

Publications

Mode of access: Internet.

The fuzzy frontier

THE STORY OF HOW FEATHERS EVOLVED IS FAR FROM OVER. IN 1868, THOMAS HUXLEY declared that dinosaurs gave rise to birds. He based his claim on Compsognathus, a 150-million-year-old dinosaur fossil from Solnhofen, Germany, whose delicate hind legs were remarkably similar to those of table fowl. The discovery seven years earlier of Archaeopteryx, a fossil bird with a long bony tail, toothed jaws and clawed fingers, had convinced many people that birds were somehow related to reptiles. But Compsognathus was the fossil that placed dinosaurs firmly in the middle of this complex evolutionary equation. Wings, claimed Huxley, must have grown out of rudimentary forelimbs. And feathers? Whether Compsognathus had them, Huxley could only guess. Nevertheless, his theory clearly required that scales had somehow transformed into feathers. The question was not just how, but why?

Trade and culture history across the Vitiaz Strait, Papua New Guinea: The emerging post-Lapita coastal sequence

This paper, focusing principally on post-Lapita times, outlines the course and outcomes of work undertaken over the last two decades in the West New Britain-Vitiaz Strait-north New Guinea coastal region. It presents two principal arguments. The first is that major periods of movement and abandonment documented in the archaeological sequences of this region from about 3,500 years ago coincide with the record of volcanism in the Talasea-Cape Hoskins area. The second is that the post-Lapita sequences of this region differ significantly from the post-Lapita sequences emerging in the island arc reaching from Manus via New Ireland to southern and eastern island Melanesia, which show continuous occupation and pottery production.

Book Review of: The Prehistoric Archaeology of Norfolk Island, Southwest Pacific

Records of the Australian Museum Supplement [extra title information]

The medical zoologist - Ronald Vernon Southcott

Dr Ronald Vernon Southcott (1918–1998) was amongst the greatest of the Australian doctor-naturalists. His toxinological contributions included the description and naming of the box-jellyfish, Chironex fleckeri, the first definitive study (1950–1957) of the toxinology, taxonomy and biology of Australian scorpions; and the first observations in Australia of the introduced fiddleback spider, Loxosceles. His research into the medical effects of toxic fungi, poisonous plants and Australian insects was extensive. He was a founding member of the International Society on Toxinology and served on the Toxicon Editorial Board for more than 30 years. He also made extensive contributions to acarology, and to the taxonomy of mites, specifically the sub-families and genera of the Erythraeoidea. This prodigious output was achieved by one who, with the exception of war service (1942–1946), almost never travelled outside South Australia, was almost entirely self-funded and worked from his home laboratory. With Dr. P.D. Scott and C.J. Glover, he was also the authority on the fish of South Australia. Dr. Southcott was also a medical epidemiologist and senior medical administrator (1949–1978) with the Australian Commonwealth Department of Veterans’ Affairs. He served for 30 years as an Honorary Consultant in Toxicology to the Adelaide Children's Hospital. As a zoologist and botanist of astounding breadth, he worked indefatigably in a voluntary capacity for the South Australian Museum, of which he was Museum Board Chairman from 1974 to 1982. In the pantheon of the great doctor-naturalists who have worked in Australia, he stands with Robert Brown and Thomas Lane Bancroft.

What is this thing called Historical Archaeology?

Historical archaeology, in its narrow temporal sense -as an archaeology of the emergence and subsequent evolution of the Modern world- is steadily taking pace in Spanish academia. This paper aims at provoking a more robust debate through understanding how Spanish historical archaeology is placed in the international scene and some of its more relevant particularities. In so doing, the paper also stresses the strong links that have united historical and prehistorical archaeology since its inception, both in relation to the ontological, epistemological and methodological definition of the first as to the influence of socio-political issues in the latter. Such reflection is partly a situated reflection from prehistory as one of the paper’s authors has been a prehistorian for most of her professional life.

Project alliancing Vs project partnering : a case study of the Australian National Museum project

Significant differences between project partnering and project alliancing occur in the selection process, management structure of the organisations undertaking the project and nature of risk and reward incentives. This paper helps clarify the nature of project alliancing and how alliance member organisations were selected for this case study. A core issue that differentiates between the two approaches is that in partnering, partners may reap rewards at the expense of other partners. In alliancing each alliance member places their profit margin and reward structure ÁÁat riskÂÂ. Thus in alliancing, the entire alliance entity either benefits together or not all. This fundamentally changes the motivation and dynamics of the relationship between alliance members.

The vernacular terrain : Songzhang Art Museum, Beijing, China

The field was the curation of cross-cultural new media/ digital media practices within large-scale exhibition practices in China. The context was improved understandings of the intertwining of the natural and the artificial with respect to landscape and culture, and their consequent effect on our contemporary globalised society. The research highlighted new languages of media art with respect to landscape and their particular underpinning dialects. The methodology was principally practice-led. --------- The research brought together over 60 practitioners from both local and diasporic Asian, European and Australian cultures for the first time within a Chinese exhibition context. Through pursuing a strong response to both cultural displacement and re-identification the research forged and documented an enduring commonality within difference – an agenda further concentrated through sensitivities surrounding that year’s Beijing’s Olympics. In contrast to the severe threats posed to the local dialects of many of the world’s spoken and written languages the ‘Vernacular Terrain’ project evidenced that many local creative ‘dialects’ of the environment-media art continuum had indeed survived and flourished. --------- The project was co-funded by the Beijing Film Academy, QUT Precincts, IDAProjects and Platform China Art Institute. A broad range of peer-reviewed grants was won including from the Australia China Council and the Australian Embassy in China. Through invitations from external curators much of the work then traveled to other venues including the Block Gallery at QUT and the outdoor screens at Federation Square, Melbourne. The Vernacular Terrain catalogue featured a comprehensive history of the IDA project from 2000 to 2008 alongside several major essays. Due to the reputation IDA Projects had established, the team were invited to curate a major exhibition showcasing fifty new media artists: The Vernacular Terrain, at the prestigious Songzhang Art Museum, Beijing in Dec 07-Jan 2008. The exhibition was designed for an extensive, newly opened gallery owned by one of China's most important art historians Li Xian Ting. This exhibition was not only this gallery’s inaugural non-Chinese curated show but also the Gallery’s first new media exhibition. It included important works by artists such as Peter Greenway, Michael Roulier, Maleonn and Cui Xuiwen. --------- Each artist was chosen both for a focus upon their own local environmental concerns as well as their specific forms of practice - that included virtual world design, interactive design, video art, real time and manipulated multiplayer gaming platforms and web 2.0 practices. This exhibition examined the interconnectivities of cultural dialogue on both a micro and macro scale; incorporating the local and the global, through display methods and design approaches that stitched these diverse practices into a spatial map of meanings and conversations. By examining the contexts of each artist’s practice in relationship to the specificity of their own local place and prevailing global contexts the exhibition sought to uncover a global vernacular. Through pursuing this concentrated anthropological direction the research identified key themes and concerns of a contextual language that was clearly underpinned by distinctive local ‘dialects’ thereby contributing to a profound sense of cross-cultural association. Through augmentation of existing discourse the exhibition confirmed the enduring relevance and influence of both localized and globalised languages of the landscape-technology continuum.

Case study of the National Museum (Action Peninsula) project

The Acton Peninsula project alliance is the first project alliance in building construction in the world. The project alliance is set out to achieve the best possible outcome for the project with all participants in the alliance sharing both risks and rewards. The construction of the National Museum of Australia and the Australian Institute of Aboriginal and Torres Strait Islander Studies, on Acton Peninsula in Canberra, will be a significant Australian architectural and construction achievement. The design and construction project team is committed to achieve outstanding results in all aspects of the design, construction and delivery of this significant national project. Innovation and creativity are valued, and outstanding performance will be rewarded.