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my desk is out of space for financial statement, and so is my mind.....i had a nightmare in the early morning.....Charts keep my mind busy when dreaming
Preparing young Queenslanders for life in the 1990s, we saw personal computers make their way into schools during the 80s with a strong focus on health, regional education and the arts by Queensland Education.
The photographic unit at the Premier’s Department, Office of State Affairs, captured a snapshot of various events, programmes and initiatives for school children throughout Queensland. This collection contains several arts, music and drama as well as students participating in computer usage.
In the early 1980s, several different computer manufacturers were vying for a foothold in the education market, Apple, Tandy, Atari, Sinclair, Amstrad, Microbee and many others. By 1985 Apple Macintosh was considered a standard system (alongside several others) for all states except Western Australia which adopted the BBC Model B and Microbee computer systems as a standard.
These photos are part are the photographic records held at Queensland State Archives, www.archivessearch.qld.gov.au/series/S189
1985
The discussion paper, Education 2000: Issues and options for the future of Education in Queensland was released.
The use of technology to enhance distance education, work in schools and educational administration was supported.
Approval was given for schools to alter the placement of the three pupil free days.
The Department of Education developed a policy on the education of gifted children.
The Special Education Resource Centres were formed as state-wide services, as part of the Division of Special Education.
Early special education officially commenced.
1986
The age of first attendance at primary school increased. Children had to turn five years by 31 January to be eligible for enrolment in Year 1.
There was an expansion of the curriculum in secondary schools and TAFE colleges evident in the further development of co-operative secondary-TAFE programs.
The Advisory Committee which reviewed submissions made in response to Education 2000 reported to the Minister.
The distance education trial began through the Mt Isa School of the Air.
A Preschool to Year 10 (P–10) Syllabus Framework was developed.
Endeavour Foundation schools transferred to Department of Education.
Policy Statement 15 Integration: Mainstreaming of Students with Special Needs introduced.
1987
Children had to turn 5 years by 31 December to be eligible for enrolment in Year 1 in the following year.
The Department of Education launched a series of documents entitled Meeting the Challenge which highlighted a corporate style of management.
The Department reshaped its central administration by strengthening the role of the Policy Committee, appointing a Chief Inspector and adopting comprehensive strategic planning processes.
In regions, initiatives were built on the commitment to decentralisation, while further devolution of responsibility occurred in the operational management of educational programs.
Two new education regions were formed (South Coast and Sunshine Coast regional offices).
The P–10 Curriculum Framework was developed and curriculum documents revised.
The Roma Middle School opened and catered for students in Years 4–10.
A post-compulsory college, the Alexandra Hills Senior College opened.
Two new centres of distance education opened at Longreach and Charters Towers.
1988
The Inspectorate was regionalised.
There was continued development of an integrated P–10 curriculum.
The senior secondary curriculum was broadened to cater for all learners.
Cooperative programs between secondary schools and TAFE colleges were conducted.
The use of computers and information technology in schools was given a high priority.
The Special Education Resource and Development Centres were formed as a consequence of the reorganisation of the Division of Special Education.
Individual education plans for students with disabilities were introduced as part of the new policy Policy Statement 16: Policy and Practice for Special Education Services.
The report National Overview of Educational Services for Isolated Severely Handicapped Children resulted from a Project of National Significance undertaken as a joint project of the Commonwealth Department of Employment Education and Training and the Department of Education Division of Special Services.
The Queensland School for the Deaf closes, as a consequence of decentralisation of services to students with hearing impairments during the 1980's. Programs for students with vision impairment were also decentralised during this period.
1989
A new Education Act 1989 was enacted.
The Department of Education's first strategic plan was adopted.
Decisions about school budgets were devolved to the school level.
There was an amalgamation of correspondence schools which became the School of Distance Education — Brisbane Centre P–12.
The first high school built to a new design opened at Bribie Island.
New prototype buildings for preschool, primary and special education units were assessed.
1989–1990
A comprehensive internal review of the Department of Education commenced through the consultation process, Education Have Your Say.
Professor Nancy Viviani reviewed Tertiary Entrance and produced the report, A Review of Tertiary Entrance in Queensland.
The Offices of Higher Education and Non-State Schooling were established.
The Department developed The Corporate Vision for Senior Schooling in Queensland to accommodate the diverse needs of students in Years 11 and 12.
The first entire primary school based on the new building model opened to students.
1990–1991
The report, Focus on Schools was released. A major restructure of the Department of Education followed.
The Public Sector Management Commission (PSMC) reviewed the Department of Education including its role, operations, responsibilities and management.
Greater responsibilities were devolved to 11 regions for resource, financial administration and human resource management.
A new English Language Arts Syllabus was introduced.
Priority was given to expanding languages other than English (LOTE).
The Viviani Report recommended the establishment of the Tertiary Entrance Procedures Authority (TEPA).
Consultants were engaged to assist in the development of an Equal Employment Opportunity (EEO) management plan.
The Equity Directorate (Workforce and Studies) was established. A social justice strategy was developed.
The PSMC developed guidelines for recruitment and selection based on merit and equity principles.
The inspectorate ended.
The report Focus on Schools recommended that a strategy for managing the integration policy in Queensland schools be developed as a matter of urgency, and that a state-wide support centre for students with low incidence disabilities be established. A restructure of the Department of Education followed.
Occupational therapists and physiotherapists were employed by the Department of Education to work in schools with students with disabilities. (These services were transferred from the Department of Families).
Policy Statement — Management of Support Teaching: Learning Difficulties (P–7) was introduced.
education.qld.gov.au/about-us/history/chronology-of-educa...
View of a church, featuring a bell tower. Houses are visible behind and to the left
of the church. The postcard appears to be mislabeled. The church is a Presbyterian
church, according to Raleigh Rutherford Haynes : a history of his life and achievements
by Ina Fortune Haynes. See p. 41
Digital Collection:
North Carolina Postcards
Location:
Cliffside (N.C.); Rutherford County (N.C.);
Collection in Repository
North Carolina Postcard Collection (P052); collection guide available online at www.lib.unc.edu/ncc/pcoll/52postc.html
From my nighttime expedition to the Turk St. hoard for long exposure images (for my fellow amateur photographers who like cars, I've discovered that the best images are nighttime ones with timed exposures--try it). Since my first trip here two weeks ago, I've learned that the owner is a gentleman called Nick who evidently works as a cab driver, and who owns at least 15 cars. One of these days I hope to meet him. I went out of my way to be conspicuous while shooting these, but no one came to the window.
As to what we have here, in the foreground is the beautiful 58 Buick Century, now parked on the street with its 'Deluxe Fashionaire' grill visible for all to see, and in the background, along with appropriate period architecture, a fellow 1958 GM offering: the Oldsmobile 88.
The sun shone down on Manchester today, 25 August 2018, as the annual Manchester Pride Parade made its way through the city.
Record numbers of police officers, staff and volunteers from across country and beyond marched in this year’s event.
To find out more about Greater Manchester Police please visit www.gmp.police.uk
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
Made in Lland (Artist’s Statement)
My mind (Reason) says no, my Imagination screams “..and yes I said yes I will Yes."
Thus, I adopt the most famous utterance generated by my own race, the final words from James Joyce’s 'Ulysses', and pillage the masters of my adopted host (Vermeer, Van Gogh, and Rembrandt), hopefully combining Lyricism and Pragmatism, and generating an idea, and a plan, to reinvigorate the Silk Route between the City State of LLand and the People’s Republic of Ina.
By insinuating a note, written to himself in 1914, the Artist/Chess-master Marcel Duchamp, in a self-admonition, even - spawned a philosophy proffering the possibility of the Universal Equality of All Matter and Anti-Matter.
I am taken to a land of limitless possibilities and imaginative leaps, kaleidoscoping time and place, and choosing to ignore all boundaries. The note said simply:
“To use a Rembrandt as an ironing board”.
This pithy statement could lead to nihilistic despair or it could lead in the other direction entirely. I choose the latter.
"..perhaps it will be the task of an artist as detached from aesthetic preoccupations and as intent on the energetic as Marcel Duchamp, to reconcile art and the people."
Guillaume Apollinaire , Les Peintre Cubistes (published 1913).
This exhibition is the beginning of a foray into that realm, the notion of, through the prism of Duchamp’s statement, initially introducing that most impressive manifestation of the collective consciousness, China, to three of the most venerated Individuals of the Western (Dutch) Canon, through the commonplace vehicle of Duchamp’s ironing board.
‘Maid in Lland’ represents the first phase of this endeavour; the journey of developing Pragma and the Rembrandt board itself. The show collapses time and visualises the painting of the boards in Dafen, a township on the Chinese mainland totally devoted to the copying of European masterpieces.
The second and third phases, the Vermeer and Van Gogh boards, have already been developed over six years, in 4,000 images on the Internet. This body of work presented here has been drawn from that same source.
The ‘story’ is interwoven with personal details, of self-love recovered after a history of abuse; these chart an individuation process which has proceeded to the point where I can say, with confidence, that anything is possible.
If a pinch of spice or a tulip bulb could generate a ‘Golden Age’, then anything can - even a Duchamp ironing board. It is simply a matter of determined people, who believe this is possible, coming together and focussing on pushing it through - with some humour and beauty.
All of these ideas and works generated are copyright free, so that anyone can use any of it, without fear of litigation. I would be more than pleased, indebted even, if anyone can take any of these ideas further.
---------------
Royal Irish Academy
Ireland’s Academy for the Sciences and Humanities
Catherine Marshall
5 Saint Kevin’s Road
Portobello
Dublin 8
Reference: Billy Quinn
23 June 2009
To Whom It May Concern
I came to know the artist Billy Quinn and his work in 1995/6 when he returned from New York to do a residency at the Irish Museum of Modern Art where I was Head of Collections. I was impressed then, both by his work and by his commitment to social engagement through his art practice. I was equally impressed, as were my colleagues, by his knowledge of art history, literature and philosophy, which, along with his social commitment, provides a deep well of sources from which the conceptual underpinnings of his work derive. Later I had the pleasure of working with him more closely when the Museum purchased some of his work, and several exhibitions in Ireland, the United States and Finland included it.
Quinn is an Irish artist but his vision has never been limited by the constraints of life on a small island. He has chosen to work in New York, London, Berlin and Amsterdam, but his gaze encompasses artistic, political and religious events as far away as China and Afghanistan. Much of his work in the past decade has been digital and is disseminated through the internet, using this contemporary medium to comment on outmoded traditions of art making and the artmarket, on connoisseurship and elitism. He has a particular preference for Flickr because it is an egalitarian platform, which excludes nobody. Appropriation is seminal to his practice, and so it is entirely consistent that he now wants the opportunity to make artwork based on his own digital work, which in turn references Rembrandt, Vermeer, Van Gogh and Marcel Duchamp. His new project refers also to the work of Jeff Koons and Andy Warhol, as he searches for a painter to paint an ‘original’ Quinn/Rembrandt painting. He intends to travel to Dafen in China, where paintings are mass-produced, tantalisingly hand painted but entirely devoid of the aura traditionally associated with the hand of the artist. The project questions authorship, connoisseurship and notions of the elite art collector, since the painting and multiple hand-painted reproductions of it will be offered for sale as mass produced objects for consumption in key tourist locations in Amsterdam. The universality and circularity of this process is reminiscent also of the Dutch history of trade with the east, while the hand-painted reproductive process derives, similarly, from good 17th century practice.
The value of this new body of work lies in its scale and ambition. It transcends time and place and breaks down divisions between east and west, between fine art and popular culture. It questions the privileged position of the traditional collector and empowers those previously excluded. Above all it acknowledges the continuity of time and space, hero and follower, matter and idea and does so in a way that is accessible without diminishing its complexity. Like Baudrillard’s simulacrum it obliges the viewer to commit to a position in relation to the ‘reality’ of the work on every level.
From my previous knowledge of his career, as a working artist and as a successful doctoral candidate in Fine Art Practice, I have had reason to respect Billy Quinn’s professionalism and to admire the courage and perseverance with which he tackles his self-imposed tasks. He is not motivated by financial reward but would like to present his art in a very democratic public arena. He holds all ideas to be universal property and does not copyright his work focussing instead on notions of universal equality in a manner that is both beautiful and humourous. I very much hope that this project, his most exciting and ambitious to date, will meet with the support, financial and artistic, that it deserves.
Catherine Marshall
Co-Editor Vol V
Art and Architecture of Ireland
Royal Irish Academy
On secondment from the Irish Museum of Modern Art
----------------
Billy Quinn
william.quinn11@btinternet.com
Mobile Phone: 06 2734 6635
Education
1997-2000Professional Doctorate in Studio Practice, University of East London.
1980-82 B.A. Hons. Fine Art (Film), University of East London.
1973-74National College of Art and Design, Dublin. Foundation Course.
Solo Exhibitions
October 2007 Artist in Residence Studio Exhibition at M4 Gastatelier, Amsterdam
2002 March/April
Postcards From the Wedge (The Thick End),
The Fridge Gallery, London.
2000 More Life : Minor Wounds, The East London Gallery, London E13.
1999 Work in Progress, The East London Gallery, London E 13.
1998The Diet of Worms, The East London Gallery, London.13.
1998 Denial of Burial and Other External Crosses, Ko Raw Gallery, London
1998 Quinn's Da, The Temple Bar Gallery, Dublin.
1997 Traditional Family Values, Goldstrom Gallery, New York City.
1997The Icon Series, WWW.plexus.org/quinn/plague.
1996Traditional Family Values The Temple Bar Gallery, Dublin.
1994Traditional Family Values , Mindy Oh Gallery, Chicago IL
1994A Show of Hands, Andre Zarre Gallery, New York City.
1993A Plague of Angels, Mindy Oh Gallery, Chicago IL.
Group Exhibitions
Feb 2010 Bittersweet- Expressions of Love and Hate,
The Doswell gallery, West Cork
June30
-Aug 25, 06 Selfportraitr A Virtual show of images from Flickr.com
The Pace/MacGill Gallery, NYC
June 2005 Incantations. Nun’s Chapel, Douglas Street, Cork
June 2004 Mediators. Fordham Gallery, Princlet Street, London
Sept 2002-May 2003
Something Else. Touring group show, opening in Turku travelling
To Helsinki, Oulu, and Joensuu in Finland
April 2002-May 2002
Ierse Kunst Uit de Collectie van het Museum of Modern Art te Dublin
Stedelijk Museum, Aalst, Belgium
Nov 14 –April 2002.
Irish art Now: From the Poetic to the Political.
Touring show of American Institutions from The Irish Museum of
Modern Art (I.M.M.A.), curated by Declan Mc Gonagle.
Irish Museum of Modern Art, Dublin.
July 14-Sept 23, 2001.
Irish art Now , Chicago Cultural Centre, Chicago.
May 6-June 25, 2000.
Irish art Now, Pittsburg Centre for the Arts, Pittsburg.
Jan 3 - April 9, 2000.
Irish art Now , Art Gallery of Newfoundland and Labrador, St Johns.
Oct 3- Dec 12, 1999
Irish art Now , The Mc Mullan Museum of Art, Boston.
1999 4 Irish Artists, The Irish Club, Eaton Square, London.
1998Künstler für die Insel IV, Frankfurt am Main, Germany.
1998 Documenta USA, The Museum of Contemporary Art, Pontiac,
Michigan.
1997Recent Acquisitions: work in Focus, I.M.M.A., Dublin.
1997Juno Moneta: For Your Eyes Only, Mindy OH Gallery, New York City.
1996Out Art, City Arts Centre, Dublin.
1995Summer Group Show, Foster Goldstrom Gallery, New York City.
1994 Cultured Pearl, Mindy Oh Gallery, Chicago, IL.
1994 The Annex Show, Mindy Oh Gallery, The Chicago Art Fair, IL.
1994Animal, Mineral, Vegetable, Andre Zarre Gallery, New York City.
1994Homage to Camus, Mindy Oh Gallery, Chicago IL.
1994 Healing Before Art, Mary Ryan Gallery, New York City
1993 Saints and Survivors in a Time of Plague, Three person show Lowinsky
Gallery, New York City.
1992New Acquisitions Show, Lightworks, Syracuse, New York City.
Related Work
2000-2003Lecturing in Dublin, Cork and Galway (Ireland) and Turku (Finland) and Winchester College of Art on the PhD course.
1999-2000 Extensive lecturing on development of work practice relative to Doctoral
research.
Guest lecturer at Goldsmiths, Leeds, Exeter, Central St. Martins,
The Royal Academy of Stockholm, and Winchester College of Art
1998Part-time lecturer in Fine Art at the University of East London.
1996CURSAI, R.T.E. Irish national television programme.
Guest lecturer, University of Belfast.
1995 Black Box, R.T.E. Television arts programme.
Guest lecturer, National College of Art and Design, Dublin.
Guest lecturer, The Dublin Institute of Technology.
1993Guest lecturer, The Illinois Institute of Technology and The Art Institute
of Chicago.
Selected publications
Eroticism and Art. Alyce Mahon, Lecturer in the History of Art at the University of Cambridge and Fellow of Trinity College. Oxford University Press 2005
The Irish Museum of Modern Art: The Permanent Collection. Catherine Marshall 2005
Something Else: Irish Contemporary Art. Valerie Connor, Maija Koskinen and Declan Mc Gonagle, Turku Art Museum 2002
Irish Art Now: From the Poetic to the Political.. Declan Mc Gonagle, Fintan O’ Toole and Kim Levin, Merrell Holberton Publishers.
The Art of Aids, Robert Barker, Continuum Publishing, New York City.
CIRCA. The Magazine of the Irish Arts. An 8 page insert "work in progress" with Catherine Harper. The Spring issue 1997.
Residencies
November 2007- January 2008: Artist Residency at Foundation B.A.D. Rotterdam
August - October 2007: Artist Residency at M4 Gastatelier, Amsterdam
1997 Helsinki International Artist’s Project (HIAP), Finland
2 month residency Nov-Dec.
1995-96 Artist's Work Programme. Irish Museum Of Modern Art.
1992Lightwork, Artist-in-Residence program, Syracuse, New York State.
Grants
New Work Award 2006. The Irish Arts Council: €35,000
Collections
Irish Museum of Modern Art, Dublin.
The Jonathan Stiles Collection, Helsinki.
Steven F Foster Collection, London.
Peter Kabcenell Collection, New York City.
Mindy Oh Collection, Chicago.
Monique Goldstrom Collection, New York City.
Tim Peterson and Richard Gerrig Collection, New York City.
Carl Miller Collection, Boston.
City of Galveston Collection, Texas.
Lightwork Collection, Syracuse.
Bela Majoros Collection, Budapest.
Chantal Boisgontier Collection, Paris.
John McBratney Collection, Dublin.
Alexander Tinti Collection, Vienna.
Low resolution clip taken from very old video footage.
In 1983, Port Parham, in South Australia, faced a turning point.
Between the proposed Department of defence extension and the proposed airport at Two Wells, Port Parham and it's residents were about to become extinct.
A battle begun that ran for almost 4 years. 6 elderly residents passed away during the battle and in the last year, it looked like the future of the area for public use, was clouded.
The Army had created the "Department of defence, Proposed extension of the proof and experimental establishment, Pt , Draft environmental impact statement"
The Department of defence needed to test larger guns. The current area was the army firing range, Gun testing range and munitions testing area.
They needed to expand to test the new (At the time) 155 mm Howitzer. They needed to test it up to 6 times a year and needed 30 kms extra area (The range is 40 kms).
The Army faced three options.
Option 1 was to acquire land all the way up to Pt Prime (All the way from Sandy Point). This included Port Parham (Inhabited), Webb Beach(Inhabited) and Thompson Beach
(Uninhabited). Pt Prime being a previous shelling range and not a very nice beach). That leaves no real beaches north of Adelaide.
They did consider relocating all buildings and people to Pt Prime/Thompson's beach. Thompson's beach had no houses or infrastructure yet.
This plan would have been end to private land development planned at Thompson's.
This plan would include $5.5 million to acquire 5000 ha of land.
Option 2, move the firing range further north and fire into the existing area.
Option 3, close and relocate the firing range.
The preferred option for the Army was option 1. This meant they would compulsory acquire the land, lease it back for 10 years and close the beach. You cold see the beach but not
access it for the rolled up security barbed wire and armed men on hovercrafts. This was deemed to be in the national interest and a matter of "National Security. It was highlighted that
the Pt Wakefield range was the only lace in Australia where they can test the ammunition like this.
The army had been testing munitions in the mud flats since 1929 and it is littered with dangerous unexploded ammunition. They also test destroyer 5" navel shells and it is impossible
to recover all the shells. The Army has had access to the sea and airspace North of Pt Prime since the 2nd world war. (For all types of Weapons testing).
The army fired at high tide and retrieved munitions at low tide and then inspected them.
The area of Pt Parham was allocated to the army in 1937 for defence purposes. From 1978 government allowed freehold land and local council had been approving building permits.
The area North was not considered to have any restrictions except a building height restriction of 15 feet. The army approved many dwellings over this height since 1978.
The current proof range has been in use since about 1944. It is currently Sandy point to about 2 Kms north of Pt Parham. It is looked after by the Keswick Barracks which is a barracks
of the Australian Army in Keswick
As option 1 was pushed into the public space, it lead to all kinds of protests. During these, the gun on Pt Wakefield road was turned into a tent, defaced and graffiti.
This started the fight for land and homes. This plan would kill Pt Parham. Some of the current residents had been there since the depression. Some of them had settled in the area to
retire. There were 100's of full time residents and thousands of shack owners and other visitors that frequented the area.
The residents don't want to have the Army contaminate Pt Parham for all time, like they have where they are at the moment. They have already admitted that they will never be able to
clear the current mudflats of dangerous unexploded material. The residents also feared nuclear testing.
In July 1983 a document was released that outlined the process to compulsory acquire land. This is when the battled heated up. There were many meetings in the old social club (Grain
store - Webbs Carbonate of lime), at Collins Corner and beside the old shade house on the esplanade. There was a 13 point protest plan developed and issues were found in the
environmental impact study. Many people from Pt Parham and Webb beach attended the meetings, as did many holiday makers from across Australia.
People started to paint their fences and roof's with slogans.
"Army go home"
"P*ss off Army"
"Use a pond"
"Move the gun"
"St Kilda Next?"
"Sorry My Beazly, not for sale"
"We have enough shells"
"Only Beach north of Adelaide"
"People before Guns"
"I don't trust them"
"Not for Sale"
Hat's, stickers, shirts and beer cools came out with the slogans
"Save the crabbers and the gulf"
"Save the crabbers from the army shells"
I still have my yellow hat somewhere with the "Save the crabbers and the gulf" on the front. It is likely a rarity these days.
ABC, Channel 7 and 10 frequented the beach to have interviews with the residents and fly over the site in their helicopters.
Kevin Collins (member of Action Committee), Ian Featherstone (Chairman - Parham Action committee) and Leon Broster (Chairman Mallala council) appeared regularly on the news to
show that they were against the plans.
Local member John Meyer(?) and Lands minister Mr Abbot were against it but it was a federal issue and they could do nothing.
Len Web was interviewed. He had lived at Port Parham all his life and ran the shell grit plant. Shell grit is not widely available and sought after for poultry.
Col. Phillip Cooper and Major Andrew (Andy) Renolds came to Port Parham meetings to try and explain why this needed to happen. Barry Tompson of the
"Pt Wakefield friends of the proof range" wanted it to go ahead as he did not want Port Wakefield to die. He did not want the proof range to move.
Kim Beazley, the Federal defence minister, wanted to wait on the environmental study before making a decision. Premier John Bannon was against this.
After the battle, Kim Beazley compromised. In the end 2900 ha was acquired including 16 farms and 2 houses inland.
Pt Parham gave up 2 kms of land and coast (It was the army's anyway) and Port Parham has thrived ever since.
I still have access to the old footage.
What happend to the gun ? It was defaced, painted ... later ripped out.
www.abc.net.au/sa/stories/s1706022.htm
Friday, 4 August 2006
Reporter: Annette Marner (with Andrew Male)
The Port Wakefield gun is under threat.(Photo:Andrew Mason)
Sydney is about to “steal” one of South Australia’s most famous landmarks. A decommissioned naval cannon, which has stood near Port Wakefield for more than 40 years, is now firmly in the sights of the curators of a Sydney military museum.
The spiked cannon was moved to its position on the National Highway in 1964, when it was mounted in concrete at the junction of a road leading to a nearby military base.
With later improvements to the highway and a massive increase in traffic, the gun has become synonymous with Port Wakefield, three kilometres north.
Department of Defence bureaucrats say the heavy gun - officially described as a breach loading (wire) six inch M K 11 – is a piece too rare to be left standing on the side of a road.
The weapon was originally mounted on the HMAS Melbourne, where it stayed from 1913 to 1929.
For the moment it stands alone within sight of the hills of Yorke Peninsula, its grey barrel pointing towards the Barossa Valley.
Thousands of cars pass through the old weapon’s unguided sights every day.
It is still unclear how the old gun came to be there. One suggestion is that it may have been used at the nearby Proof Range, which has been a testing range for Australian military ordnance since World War II. When it became redundant, the theory goes, the old gun became something of a base trophy.
So what is Sydney’s claim to Port Wakefield’s M K 11?
Historians claim it is the same make and model of cannons used as to defend the harbour, but none of those original guns avoided being scuttled or scrapped. So the Department of Defence has decided to relocate the Port Wakefield gun to Sydney to show museum visitors what used to be there.
Port Wakefield historian, Wendy Garvie, is campaigning with other local people to keep the M K 11. She believes many are unhappy about the gun’s removal, and questions the validity of Sydney’s case for taking it.
Others agree.
Phil Barry, Chief Executive Officer of the Wakefield Regional Council, describes the planned removal of the cannon as a “state issue” involving a roadside landmark of “iconic status”.
He says the old cannon has been in the area for decades and has no genuine ties with Sydney.
Mr Barry claimed the council had not been formally approached by Defence Department officials about the gun’s removal, despite what he described as a very good partnership with the department.
News of the decision to relocate the weapon had come “as a very great surprise”, with council members finding out through reports in the media.
Local council had contacted local and state members of parliament asking them for support. A petition to the Federal Parliament is being circulated in the Port Wakefield region in an effort to keep the gun in it present location.
Type of Gun: BL 6 inch Mark XI on P Mark 6A Mount
Location: Georges Heights, Mosman, NSW
GPS Location: 33° 50’ 12.24" S - 151° 15’ 33.30” E
Serial Number: 2305
Date of Manufacture: 1912
Manufacturer:
Calibre: 6 inch
Weight of Projectile:
Range: 16,400 yards
Historical Specifics: The Chatham class were ordered under the 1911 Programme and commissioned between 1912-1916. Three ships, HMAS Sydney, Melbourne and Brisbane, were built to the same design for the new Royal Australian Navy, where they were known as the Sydney class. Each ship had amongst its armament eight 6 inch guns in single turrets. The MELBOURNE served on the North America and West Indies Stations from 1914 to 1916 before joining the Grand Fleet in the North Sea, where she remained for the remainder of the war.
The three ships were laid up between 1928 and 1936. Records indicate the last shoot in naval service for the guns of HMAS Melbourne took place on 7 June 1927. Melbourne was laid up in 1928 and the guns placed in store at the Army Ordnance Store. During World War II batteries consisting of two 6 inch Mark XI guns were established at Darwin (East, Waugite and Emery Point), Brisbane (Cowan and Bribie), Sydney (Signal Hill and Malabar), Port Kembla (Illowra and Breakwater), Rottnest Island Fremantle (Bickley), Port Moresby New Guinea (Paga) and Torres Strait (Goods).
This gun eventually ended up at the Proof and Experimental Establishment at Port Wakefield, South Australia where eventually it was placed at the entrance near the main road. In 2007 the gun was moved to Georges Heights. The gun is on loan to the Sydney Harbour Federation Trust from the National Artillery Museum.
This statement bib necklace features rose pink, fuchsia and salmon pinked colored multi-faceted acrylic beads set in a fan shape held together by rose gold tone facets. The lower right hand corner features a hand enameled bumble bee with fuchsia crystals.
Buy from:
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Premier David Eby; Adrian Dix, Minister of Health; and Jennifer Whiteside, Minister of Mental Health and Addictions, issued a statement about the bilateral agreement in principle with the Government of Canada.
Learn more: news.gov.bc.ca/28298
2nd Lt. Beau Benton of O’Fallon, Ill., assigned to 709th Military Police Battalion, 18th MP Brigade prepares a counseling statement during the Counseling Lane of U.S. Army Europe’s Best Junior Officer Competition at Grafenwoehr Training Area, Germany August 19, 2013. The Best Junior Officer Competition, unique to U.S. Army Europe, is a weeklong training event highlighting the best lieutenants and captains in Army units across Europe. These officers represent the best in their units and exemplify the USAREUR imperatives of teamwork, comprehensive fitness, leader development, training, discipline and standards. Competitors for the title of Best Junior Officer prove themselves in events testing physical stamina, leadership and technical knowledge. (U.S. Army photo by Sgt. Jermaine Baker)
New York: After years of relentless campaigning to ensure States negotiate a strong global treaty to regulate the arms trade, civil society groups have been denied participation in key discussions. As Member States have started negotiations this week at the UN Headquarters in New York, Chair Ambassador Roberto Garcia Moritan of Argentina, announced late on Wednesday (July 14) that civil society groups would no longer be allowed to be present during crucial discussions.
Ambassador Moritan is chairing the preparatory talks that are running until next week. The decision to close the meeting came as a surprise as numerous Member States had made earlier statements on the importance of openness and transparency in the process.
“Some States want to hide behind closed doors because they don’t want people to see how much they are prepared to protect trading interests at the expense of protecting the people that bear the brunt of illicit arms deals. This is a major let down during the first week of negotiations,” said Denis Mizne, Director at Sou da Paz in Brazil.
Mizne continued: “As soon as the negotiations turned to the content of the treaty, the doors have been slammed shut. This is giving in to demands from some states that want to strip the treaty of key provisions such as those on human rights and international humanitarian law.”
Civil society has initiated this process along with key governments and has been a constant voice to ensure that key provisions on development, human rights and international humanitarian law will be part of a future deal. Civil society groups are now urging Ambassador Moritan to reconsider and let them join a more transparent process.
“This is very disappointing and worrying. Without the experience and expertise of civil society, it will make it harder to get a strong treaty that reduces suffering and saves lives. This is pandering to a small number of states that want to undermine the treaty,” said Baffour Amoa, Director at WANSA in Ghana.
Civil society has been part of previous international negotiations such as for the Convention of Rights of Persons with Disability (CRPD) and during global climate change negotiations.
“Hundreds of civil society organisations around the world have been advocating to ensure that a future arms trade treaty would be truly effective in preventing the transfer of arms that fuel conflict, human rights abuses, corruption, crime, gender-based violence, terrorism and poverty.” said Helena Koumi, Programme Officer at Swefor.
Negotiations have finally started four years after the UN General Assembly decided by an overwhelming majority to negotiate an Arms Trade Treaty. The future treaty would establish international rules and standards to better regulate the arms trade and close current loopholes. The final negotiating conference is set to take place in 2012.
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Chancellor of the Exchequer, George Osborne leaves HM Treasury with Chief Secretary to the Treasury, Danny Alexander on 05 December 2012.
High Commissioner for Human Rights Navi Pillay, HRC President Laura Dupuy Lasserre and members of the HRC / OHCHR secretariat at the opening of the Human Rights Council urgent debate on Syria.
Esther Brimmer, U.S. Assistant Secretary of State for International Organization Affairs, addressed the Human Rights Council Urgent Debate on Syria February 28.
The text of Secretary Brimmer’s statement can be found here: geneva.usmission.gov/2012/02/28/urgent-debate/
U.S. Mission Photo by Eric Bridiers
redesign of a drawing i did a few years ago
www.flickr.com/photos/vanessarivera/3439980897/in/set-721...