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Tuesday, August 11, 2026

MUSINGPLACES

 

Given that candidates for the upcoming Local Govt elections in Launceston are now talking about the ‘annual loss’ the Queen Victoria Museum and Art Gallery (QVMAG) makes. There are a number of ways to look at museums and art galleries and it is time that something was said about musingplaces  and their purposefulness. Generally, the ‘purpose’ of musingplaces – museums and art galleries –  is poorly understood and sadly that is as true in the wider community as it is within the institutions themselves. 

Given that AI source date form mulitiple platforms it useful to ask AI about musingplaces purpose. AI says A museum’s core purpose is to serve society by collecting, preserving, researching, and exhibiting tangible and intangible heritage. According to the International Council of Museums, these non-profit institutions foster education, community participation, diversity, and sustainable knowledge sharing for the public. 

Key Goals of Museums
  • Preservation: Safeguard cultural artifacts, historical items, and scientific specimens so they survive for future generations.
  • Education: Teach people of all ages about history, science, art, and the natural world through exhibits and programs.
  • Research: Provide scholars with authentic raw materials and data to study human history and environmental changes.
  • Inclusion: Act as accessible, open community spaces that promote diverse perspectives and social unity."

To argue with that in one sense would be a bit like arguing that motherhood’s purpose was something different to our own relationship with our mother. That said, there is more that could and should be said and especially so currently as the political economic rationalists are contesting the cost of maintaining musingplaces in cultural landscapes.

In any event opening up a subject like this is ever likely to be likened to opening a can of worms. It is what it is.
                                                                                                                                                        Nonetheless I think that it’s useful to say something about Prof. Brian Schmidt's contextualisation of universities and ‘knowledge' since the 1980s – musingplaces by extension. Prof Schmidt spoke of a time around about the time when many of our young academics today were born. It is also useful to consider that the first website was created in 1990, and launched to the public on August 6, ( Hiroshima Day) 1991. Prof Schmidt has advocated universities being:
  • The defenders of ‘truth' (not THEtruth) in that he emphasised that universities are essentially tasked to purposefully defend truthfulness against populism, misinformation and premeditated ignorance; and they are
  • Now in a position where universities' focus is no longer being exclusively to do with being the storehouses of facts – which are now easily searchable online. By extension this means that 'modern universities' must act as guides to help society to gather, interpret and use knowledge effectively; and thus they are
  • Tasked to be engaged with society rather than operate in insulated isolation – AKA the Ivory Tower Syndrome. He stresses that institutions like a university (arguably musingplaces too by extension) need to push ideas out into the community and industry rather than hoarding research outcomes internally or by extension like operations that arguably included museinplaces; and
  • By extension, being about disrupting the paradigm that suggests that ‘knowledge’ can be ’siloed’ in privileged hierarchical edifices wherever and however they manifest themselves in deference to rhizomatic structures as advocated by Gilles Deleuze and Felix Guattari in the mid 1970s.
So, in an attempt to keep it simple, ‘musingplaces’ are a kind of secular KNOWINGplace in a CULTURALlandscape. Rather than ‘adherents/followers’ they have, from where I sit, Communities of Ownership and Interest.(COI)- reference AI here. SO, to know what I’m meaning about ‘musingplace’ I suggest that AI tells it better than I can in TELEGRAMform in the space – reference AI here…. Also, https://garlandmag.com/article/wickery-and-place/ https://thenudgelbahinstitute.blogspot.com/p/ray-norman.html. I can only say that the QVMAG as a ‘musingplace with a COI has been resisted at every opportunity’ by CoL management and in deference the elected representatives for whatever reason comply. In leu of what else remains a mystery to me except that a series of GMs/CEOs have been my detractors for almost 20 years now for whatever reason I cannot say. It is what it is.
There are well over 2,500 public museums, art galleries, and cultural institutions across Australia. Very few operate as museums and art galleries as a single entity with the TMAG and the QVMAG being standout exemplars. Thus, what applies elsewhere is not always the case in Tasmania given its histories and ’placedness’.
As an institution the QVMAG exists in a place with rich geographies and histories that are at once idiosyncratic and universal in a postcolonial context. There is room to be audacious in the embrace of placedness to serve visitors and Tasmanians alike and here we might well think about The Museum of Old and New Art in Hobart (MONA). 
MONA is an audacious operation that arguably sets out to contest contestable ideas and facilitate new understandings to do with being in the world. Arguably, that was The Museum Wormianum purpose when the now famous 17th-century cabinet of curiosities in Copenhagen was created by Danish physician and natural philosopher Ole Worm. Though the original collection was dispersed after his death in 1654, a permanent three-dimensional physical recreation of the room can be visited today at the Natural History Museum of Denmark (specifically housed at its Geological Museum branch in Copenhagen).Musing places  
Musingplaces like the QVMAG should be purposeful and strategically oriented towards contesting contestable ideas and facilitating new understandings in a local context. Otherwise, museums simply become theme parks or circuses that exist to placate the masses along with the playing of football in gladiatorial stadiums. Here the Roman satirical poet Juvenal resonates when he reportedly said around 100 CE …  "Two things only the people anxiously desire — bread and circuses". The popular expansion "Give them bread and circuses and they will never revolt" is a modern paraphrase. 
All this may well be worthy of the QVMAG’s Community of Ownership and Interests deeper consideration.
So, having said something instead of nothing while waiting for everything to be resolved one needs to stand back and see if people think that imagining a musingplace as a circus for the entertainment of, cum placation of, the masses is on the money or it is otherwise an outrageous affront to people’s cultural sensibilities. 

Friday, June 26, 2026

tears IDEAS

tearsIDEAS LARDER

Tears in a Bottle ... Gleaned here

How do you handle the difficulties of this life? 

Tears in a BottleWhen I fly down to MD Anderson, I will use Uber to get to where I am staying or if I need to travel in the city while there. I have found those trips to be an interesting opportunity to speak of Christ to the drivers. One of them shared with me that his son was shot and killed while playing a pick-up basketball game. I asked him how he handled the pain. That led to a conversation that dealt with faith. ....................... While I have experienced the death of close family members, I have not experienced the murder of a child. You may have. The reality of our lives here is that we are living in a broken world that is groaning under the effects of sin, our sin. Not as categorized by those who champion causes in order to attempt to have man do the “right” thing for the environment or humanitarian issues. No, it is the result of categorically rejecting the One who created this world and those of us who populate it. ....................... In the midst of this broken reality, by His grace, some have come to trust Him. However, all who trust Him are still resident in the reality of this sin ravaged world. ....................... As a result, there is still struggle, suffering, persecution, illness, strife… ....................... How do we handle that? ....................... Psalm 56:8Open in Logos Bible Software (if available) (here @ Bible Gateway), may help. Reading through this psalm this morning I was stopped by the words David penned. Consider the import of what he shares there. The Lord knows my wanderings, he puts my tears in a bottle and categorizes them. ....................... Think of that. In the midst of both the suffering that we endure because we live in a broken world, and the consequences of our bad choices, our Creator collects our tears and categorizes them. He is intimately engaged in our suffering. He knows specifically what has caused that pain. ....................... This aligns perfectly with several other passages of Scripture, but two stand out. Psalm 139:3Open in Logos Bible Software (if available) (here @ Bible Gateway) tells us that He knows the details of our lives. 1 John 4:7 – 11Open in Logos Bible Software (if available) (here @ Bible Gateway), reminds us that He loves us so much that He died for us. He died to relieve the suffering He is cataloging. ....................... When we hurt. When we are in deep despair. We can know that our Lord not only knows, but is intimately familiar with what is causing that pain, and further has already acted to relieve it.

...............

... Tears come from the heart and not from the brain. ... Leonardo da Vinci

... The bitterest tears shed over graves are for words left unsaid and deeds left undone. ... Harriet Beecher Stowe

...  I have nothing to offer but blood, toil, tears and sweat. ... Winston Churchill

...  If you have tears, prepare to shed them now. ... William Shakespeare

...  Tears shed for self are tears of weakness, but tears shed for others are a sign of strength. ...Billy Graham
...  There are in woman's eyes two sorts of tears,--the one of grief, the other of deceit. ...Pythagoras
...  The Incas believed silver was the literal "tears of the moon". This concept was tied to their Moon Goddess, Mama Quilla. Silver was seen as her sacred essence and tears, shedding onto the Earth to be mined. 

Tuesday, March 17, 2026

Monday, February 9, 2026

Fanny Cochrane Smith






In 1899, a 65-year-old woman stood before a strange device—a wax-cylinder phonograph—and spoke into its metal horn:
“I’m Fanny Smith. I was born on Flinders Island. I’m the last of the Tasmanians.”
Then she began to sing in a language no one else alive could speak.
Fanny Cochrane Smith was born in 1834 at Wybalenna on Flinders Island—not into freedom, but into what the British called an “Aboriginal Establishment.” In reality, it was a concentration camp.
Her mother, Tanganutura, belonged to the Cape Portland people of northeastern Tasmania. Before European invasion in 1803, between two and eight thousand Palawa people lived across the island. By the 1830s, disease, shootings, forced removals, and systematic violence—now known as the Black War—had reduced that population to roughly two hundred survivors.
In 1833, George Augustus Robinson persuaded those survivors to surrender, promising safety. Instead, they were exiled to Wybalenna—a windswept island settlement where people died in shocking numbers from illness, hunger, despair, and neglect.
Into this place, Fanny was born. She was the first child born at Wybalenna. That gave her a tragic distinction: as a child, she learned songs, words, and stories from survivors of many Tasmanian language groups—the last people who still remembered them.
She was gathering fragments of a disappearing world before she could understand what loss meant.
At five years old, Fanny was taken from her parents and placed in the care of Robert Clark, the settlement’s catechist. His wife gave her the surname “Cochrane,” as though renaming her could erase her origins.
What followed was cruelty. A later inquiry found that Clark had “on several occasions chained and flogged Fanny Cochrane.” She was a child. The man tasked with her spiritual instruction was torturing her.
Another Aboriginal girl, Mathinna, suffered similar abuse under Clark until Lady Jane Franklin removed her by adoption. Mathinna’s life ended young as well—another victim of colonial destruction.
Wybalenna closed in 1847. Survivors were transferred to Oyster Cove, south of Hobart. Two years later, Fanny’s father, Nicermenic, died there. She was fifteen.
By twenty, Fanny married William Smith, an English transportee convicted of theft who worked as a sawyer. From then on, she was known as Fanny Cochrane Smith.
Together, they built an outwardly ordinary life. They ran a boarding house in Hobart, then moved to Nicholls Rivulet near Oyster Cove. The government granted Fanny land—first 100 acres, later expanded to 300 in 1889—as compensation for her Aboriginal status.
They raised eleven children. Fanny split roofing shingles by hand. She carried them herself. She walked fifty kilometers to Hobart for supplies. She grew food, fed others, and became known for generosity, hospitality, and a powerful singing voice.
She remained closely connected to other Aboriginal survivors, including Truganini—often wrongly called “the last Tasmanian.” Truganini taught her bush skills. Together they fished, hunted, and gathered traditional foods and medicines.
Fanny converted to Methodism and, in a gesture both remarkable and heartbreaking, donated part of her land for a Methodist church that opened in 1901. An Aboriginal woman giving land for a settler church, on a continent stolen from her people.
After Truganini died in 1876, Fanny was officially recognized by the Tasmanian government as “the last full-blooded Tasmanian Aboriginal.”
That declaration triggered a grotesque debate. Scientists measured her skull. Scrutinized her hair. Argued over whether she was “full-blood” or “half-caste.” Racist pseudo-science could not accept that a capable, articulate woman could be fully Aboriginal.
Witness testimony, family accounts, and Fanny’s own words all confirmed her father was Nicermenic—not a European sealer. But prejudice refused to listen.
As she aged, Fanny understood something devastating: when she died, the songs and languages she carried would die with her. Not one language—but fragments of many, gathered from survivors she’d known as a child.
So she chose to preserve what she could.
She performed across Tasmania. In 1899, Horace Watson attended one of her concerts and recognized its historical importance. He arranged for her to record her voice using Thomas Edison’s wax-cylinder phonograph.
On August 5, 1899, at 65 years old, Fanny stood before the machine at the Royal Society of Tasmania and sang. She recorded again in 1903. Eight cylinders in total.
She spoke her name. She sang in English. She sang in Tasmanian Aboriginal languages no one else remembered. Melodies carried across thousands of years.
When she heard the playback, she wept.
“My poor race,” she said. “What have I done?”
Some accounts say she believed she was hearing her mother’s voice—her ancestors speaking back through the machine.
Fanny Cochrane Smith died on February 24, 1905, near Oyster Cove. She was seventy-one. Over four hundred people attended her funeral. She was buried secretly, to prevent the grave-robbing inflicted on so many Aboriginal remains.
Her recordings survived.
Those eight fragile cylinders became the only audio recordings of any Tasmanian Aboriginal language. The sole surviving sounds of cultures nearly erased.
For more than a century, linguists, historians, and her descendants safeguarded them. In 2017, they were added to the UNESCO Australian Memory of the World Register.
More importantly, they became the foundation for palawa kani—a revived Tasmanian Aboriginal language reconstructed using Fanny’s voice and early records.
Her descendants are now learning words she sang into a machine 125 years ago.
The language was not lost.
It was waiting.
Fanny’s declaration—“I’m the last of the Tasmanians”—turned out to be wrong.
She was not the end.
She was the bridge.
Many Tasmanian Aboriginal people today descend directly from her eleven children. The church built on her land is now a museum in her honor.
She was beaten for being Aboriginal. Questioned for being too accomplished. Told she represented extinction.
Instead, she ensured survival.
At 65, she sang into a machine and carried her people forward in sound.

Her voice remains—faint, crackling, undeniable—proving that even when colonization tries to erase a civilization, one woman’s courage to sing can preserve an entire world. 

Wednesday, December 31, 2025

Kulata Tjuta 1000 SPEARS

'The spear is our culture … we live by the spear. We are teaching our young people with spears to look after lore and culture. The spears can protect Country, like they have always been protecting Country for our grandfathers and our ancestors.'] ... Mumu Mike Williams

Kulata Tjuta is an ongoing cultural maintenance project that shares the skills of carving and making the punu kulata (wooden spear) across generations. It started as a project involving a small group of men in Amata and has grown to include over 100 Aṉangu men across the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Lands.

Kulata Tjuta: Tirkilpa is the largest and most significant installation of the culturally important and visually spectacular Kulata Tjuta (Many Spears) Project. Like others in the series, it is rooted in age-old traditions, knowledge and skills that are designed around keeping Country and culture strong.

The Kulata Tjuta Project was formally established in 2010 at Tjala Arts in the Community of Amata, when Pitjantjatjara artists Mick Wikilyiri, Frank Young, Barney Wangin (1939–2011), Tiger Palpatja (c.1920–2012), Hector Burton (c.1937–2017) and Ray Ken (c.1940–2018) formally conceived of the project under the direction of Willy Kaika Burton (1941–2020).

The artistic outcomes take the form of large-scale, multi-disciplinary installations which incorporate film, sound, live performance and other artistic collaborations.


LINKS  [ 1 ] - [ 2 ] - [ 3 ] - [ 4 ] - [ 5 ]  - [ 6 ] - [ 7 ]


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