"While Einstien was studying the Theory of Relativity in 1930, he believed, "The universe behaves in a certian predictiable way." This is not religion, it's science. The Quantum Theory is science. Einstein believed that some forces in the universe happen on a "maybe." If there is enough energy and the proper forces are present, then most reactions happen."--Back cover.
Lindsay, an Aboriginal elder, and Rob, a young white traveller meet in the Outback and make discoveries that may re-write Australia's history. Based on facts this story takes the reader on a journey through inner, personal landscapes and traditional Aboriginal country. Lindsay's challenge is to locate three sacred objects (tjurunga) that are needed to revive important ceremonies. They disappeared decades earlier and could be anywhere in the world. Through personal contacts, a website, and the help of Australia's Prime Minister he begins his journey. Why are the sacred objects so significant? Will he be able to bring them home? Rob's challenge is to find the first boomerang that came in the Dreamtime. He is inspired by Aboriginal Legends, 'cosmic timing' and reliable intuition that enables him to interpret signs which guide his search. Will he make the unprecedented discovery? Does the ancient artefact hold messages for Humanity? Time to enter the world of the First Boomerang.
"... containing the names and the disposition made of more than 20,000 pictures, from ... May 15th, 1915, up to the end of the year 1917. This list will be supplemented by further lists presented at the end of each half yearly period."--Pennsylvania. State Board of Censors of Moving Pictures. Report, 1918, p. 7.
Seeking an escape from an obsessed boyfriend-turned-stalker, photographer Destiny Chandler seeks refuge with an old friend in Atlanta, where she encounters successful singer Xavier Allgood, a powerful and sensual man whose own world had been shattered by a failed relationship. Original.
Current: Contemporary Art From Australia and New Zealand is the first comprehensive survey of all that is cutting edge in Australian and New Zealand contemporary practice. In a landmark publication, the book features eighty artists, carefully chosen to best reflect the vibrancy of art of the moment. While Current could be seen as a hot list of contemporary taste in the tradition of Taschen's Art Now, inclusivity is the book's abiding theme. Current is also underpinned by scholarship with commissioned essays by the region's leading writers and curators. Current's beautifully designed pages are filled with many names familiar to followers of contemporary art - including Paddy Bedford, Simryn Gill, Ah Xian, Tracey Moffatt, Shaun Gladwell and Del Kathryn Barton - along with some of the region's freshest new talents, such as Benjamin Armstrong, Monica Tichacek, Rohan Wealleans, Francis Upritchard and Sean Cordeiro & Claire Healy, whose photograph of the contents of a German apartment wrapped in orange twine graces the book's front cover. Current captures the unique essence of contemporary practice in Australia and New Zealand, charged with the dynamic between Indigenous, western and Asian cultures. The eighty selected artists encompass a diversity of culture and subject and employ every available medium, from painting, photography and performance to installation and video art. Current's contextual essays are written by leading authorities in their fields, including Robert Leonard, Victoria Lynn, Justin Paton, Rachel Kent, Nick Waterlow and Brenda L. Croft, who has convened an important roundtable of Indigenous curators to explore the question of the contemporary within Aboriginal art.
This book provides a critical reappraisal of Barbara Creed’s ground-breaking work of feminist psychoanalytic film scholarship, The Monstrous-Feminine, which was first published in 1993. The Monstrous-Feminine married psychoanalytic thinking with film analysis in radically new ways to provide an invaluable corrective to conventional approaches to the study of women in horror films, with their narrow emphasis on woman’s victimhood. This volume, which will mark 25 years since the publication of The Monstrous-Feminine, brings together essays by international scholars working across a variety of disciplines who take up Creed’s ideas in new ways and fresh contexts or, more broadly, explore possible futures for feminist and/or psychoanalytically informed art history and film theory.
A Suitcase Full of Boomerangs is essentially a romp around the Republic of Ireland. Tiny boomerangs are bequeathed to colourful characters encountered throughout the three-week round trip. Narrated in the first person, the protagonist and two of her sisters manage to have a ball as they traverse the width and breadth of Ireland in a big black jeep filled with suitcases full of boomerangs. This book of travel laughs, mishaps and adventures is a light-hearted, feel-good read, intended to whisk the armchair traveller far away to another time and place – the magic that will always be Ireland.
‘ No matter what, Juliet ‘ Having you, my Juliet and though drama is hanging in the air. How many times we danced in the open air sweetly in arms. How many times our kisses brought us into glamorous palaces of love. How many times our minds were no longer deserts but oasis of loving hearts. Even though our constellation is far from the starry one I love you with all my heart. No matter what shall happen no one and nothing shall separate us. We are the lovers of all times larger than life you and me, Romeo and Juliet.
