The intention to notice : the collection, the tour and ordinary landscapes

The Intention to Notice: the collection, the tour and ordinary landscapes is concerned with how ordinary landscapes and places are enabled and conserved through making itineraries that are framed around the ephemera encountered by chance, and the practices that make possible the endurance of these material traces. Through observing and then examining the material and temporal aspects of a variety of sites/places, the museum and the expanded garden are identified as spaces where the expression of contemporary political, ecological and social attitudes to cultural landscapes can be realised through a curatorial approach to design, to effect minimal intervention. Three notions are proposed to encourage investigation into contemporary cultural landscapes: To traverse slowly to allow space for speculations framed by the topographies and artefacts encountered; to [re]make/[re]write cultural landscapes as discursive landscapes that provoke the intention to notice; and to reveal and conserve the fabric of everyday places. A series of walking, recording and making projects undertaken across a variety of cultural landscapes in remote South Australia, Melbourne, Sydney, London, Los Angeles, Chandigarh, Padova and Istanbul, investigate how communities of practice are facilitated through the invitation to notice and intervene in ordinary landscapes, informed by the theory and practice of postproduction and the reticent auteur. This community of practice approach draws upon chance encounters and it seeks to encourage creative investigation into places. The Intention to Notice is a practice of facilitating that also leads to recording traces and events; large and small, material and immaterial, that encourages both conjecture and archive. Most importantly, there is an open-ended invitation to commit and exchange through design interaction.

UCPR r243 - notice of non-party disclosure - obligation to state allegation to which documents sought are directly relevant

In Deppro Pty Ltd v Hannah [2008] QSC 193 one of the matters considered by the court related to the requirement in r 243 of the Uniform Civil Procedure Rules 1999 (Qld) that a notice of non-party disclosure must “state the allegation in issue in the pleadings about which the document sought is directly relevant.”The approach adopted by the issuing party in this case of asserting that documents sought by a notice of non-party disclosure are relevant to allegations in numbered paragraphs in pleadings, and serving copies of the pleadings with the notice, is not uncommon in practice. This decision makes it clear that this practice is fraught with danger. In circumstances where it is not apparent that the non-party has been fully apprised of the relevant issues the decision suggests an applicant for non-party disclosure who has not complied with the requirements of s 243 might be required to issue a fresh, fully compliant notice, and to suffer associated costs consequences.

A multi-touch notice board fostering social interaction

We report on an alternative OCGM interface for a bulletin board, where a user can pin a note or a drawing, and actually shares contents. Exploiting direct and continuous manipulations, opposite to discrete gestures, to explore containers, the proposed interface supports a more natural and immediate interaction. It manages also the presence of different simultaneous users, allowing for the creation of local multimedia contents, the connection to social networks, providing a suitable working environment for cooperative and collaborative tasks in a multi-touch setup, such as touch-tables, interactive walls or multimedia boards

Motor Accident Insurance Act 1994 - reasonable excuse for delay in giving notice under s37

The decisions in Perdis v The Nominal Defendant [2003] QCA 555, Miller v the Nominal Defendant [2003] QCA 558 and Piper v the Nominal Defendant [2003] QCA 557 were handed down contemporaneously by the Queensland Court of Appeal on December 15 2003. They consider important issues as to the construction of key provisions of the Motor Accident Insurance Act 1994 (Qld)

Submission to Communications Alliance Industry Code: Copyright Notice Scheme

In making this submission, we suggest that Australia learn from the experiences of other jurisdictions, and avoid some of the mistakes that have been made. In particular, this involves: * Ensuring that adequate information is available to evaluate the success of the scheme * Ensuring that notices sent to consumers provide full and accurate information that helps them understand their rights and options * Limiting the potential abuse of the system, and particularly attempts to intimidate consumers into paying unfair penalties through ‘speculative invoicing’ * Avoiding the potential for actual or perceived bias in the scheme’s oversight body

Notice on the formation of a committee for Mount Sinai Hospital

Notice on Formation of a committee for Mount Sinai Hospital. Form letter. Printed in black ink on white paper.

Form of election notice for trustees in time of Gershom Seixas

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Notice to change constitution of K. K. S. I.

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Notice of election of Benjamin Nathan

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Notice of election of B. Nathan and S. Lazarus

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Notice concerning shochet

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Notice to K. K. S. I. regarding subscription for Lincoln monument

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Drawn to the Sea: Charles Bradford Hudson (1865-1939), Artist, Author, Army Officer, with Special Notice of His Work for the United States Fish Commission and Bureau of Fisheries

The biography of Charles Bradford Hudson that follows this preface had its seeds about 1965 when I (VGS) was casually examining the extensive files of original illustrations of fishes stored in the Division of Fishes, National Museum of Natural History, Smithsonian Institution. I happened upon the unpublished illustration of a rainbow trout by Hudson and was greatly impressed with its quality. The thought occurred to me then that the artist must have gone on to do more than just illustrate fishes. During the next 20 years I occasionally pawed through those files, which contained the work of numerous artists, who had worked from 1838 to the present. In 1985, I happened to discuss the files with my supervisor, who urged me to produce a museum exhibit of original fish illustrations. This I did, selecting 200 of the illustrations representing 21 artists, including, of course, Hudson. As part of the text for the exhibit, Drawn from the Sea, Art in the Service of Ichthyology, I prepared short biographies of each of the artists. The exhibit, with an available poster, was shown in the Museum for six months, and a reduced version was exhibited in U.S. and Canadian museums during the next 3 years.