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Victorian Support for Carers Program Providers
Victorian Support for Carers Program providers Information on local respite services for carers Contact information Respite services and other support is available for carers across Victoria through the Support for Carers Program. To find out more about respite in your area call 1800 514 845 or contact your local provider from the list below. List of Victorian Support for Carers Program providers by area Service provider Local government area Web address Phone Alfred Health Carer Services Bayside, Cardinia, Casey, Frankston, Glen Eira, Greater Alfred Health Carer Services 1800 51 21 21 Dandenong, Kingston, Mornington Peninsula, Port Phillip and <www.carersouth.org.au> Stonnington annecto Phone service in Grampians area: Ararat, Ballarat, Moorabool annecto 03 9687 7066 and Horsham <www.annecto.org.au> Ballarat Health Services Carer Ballarat, Golden Plains, Hepburn and Moorabool Ballarat Health Services Carer Respite and 03 5333 7104 Respite and Support Services Support Services <www.bhs.org.au> Banyule City Council Banyule Banyule City Council 03 9457-9837 <www.banyule.vic.gov.au> Baptcare Southaven Bayside, Glen Eira, Kingston, Monash and Stonnington Baptcare Southaven 03 9576 6600 <www.baptcare.org.au> Barwon Health Carer Support Colac-Otway, Greater Geelong, Queenscliff and Surf Coast Barwon Health Carer Support Barwon: <www.respitebarwonsouthwest.org.au> 03 4215 7600 South West: 03 5564 6054 Service provider Local government area Web address Phone Bass Coast Shire Council Bass Coast Bass Coast Shire Council 1300 226 278 <www.basscoast.vic.gov.au> -
CITY of MELBOURNE CREATIVE STRATEGY 2018–2028 Acknowledgement of Traditional Owners
CITY OF MELBOURNE CREATIVE STRATEGY 2018–2028 Acknowledgement of Traditional Owners The City of Melbourne respectfully acknowledges the Traditional Owners of the land, the Boon Wurrung and Woiwurrung (Wurundjeri) people of the Kulin Nation and pays respect to their Elders, past and present. For the Kulin Nation, Melbourne has always been an important meeting place for events of social, educational, sporting and cultural significance. Today we are proud to say that Melbourne is a significant gathering place for all Aboriginal and Torres Strait Islander peoples. melbourne.vic.gov.au CONTENTS Foreword 04 Context 05 Melbourne, a city that can’t stand still 05 How to thrive in a world of change 05 Our roadmap to a bold, inspirational future 05 Why creativity? Work, wandering and wellbeing 06 Case Studies 07 Düsseldorf Metro, Germany, 2016 09 Te Oro, New Zealand, 2015 11 Neighbour Doorknob Hanger 13 The Strategy 14 Appendices 16 Measuring creativity 17 How Melburnians contributed to this strategy 18 Melbourne’s Creative Strategy on a page 19 September 2018 Cover Image: SIBLING, Over Obelisk, part of Biennial Lab 2016. Photo by Bryony Jackson Image on left: Image: Circle by Naretha Williams performed at YIRRAMBOI Festival 2017. Photo Bryony Jackson Disclaimer This report is provided for information and it does not purport to be complete. While care has been taken to ensure the content in the report is accurate, we cannot guarantee is without flaw of any kind. There may be errors and omissions or it may not be wholly appropriate for your particular purposes. In addition, the publication is a snapshot in time based on historic information which is liable to change. -
Feature Article} {Profile}
{PROFILE} {PROFILE} {FEATURE ARTICLE} {PROFILE} 28 {OUTLINE} ISSUE 4, 2013 Photo Credit: Sharon Givoni {FEATURE ARTICLE} Street Art: Another Brick in the Copyright Wall “A visual conversation between many voices”, street art is “colourful, raw, witty” 1 and thought-provoking... however perhaps most importantly, a potential new source of income for illustrators. Here, Melbourne-based copyright lawyer, Sharon Givoni, considers how the laws relating to street art may be relevant to illustrators. She tries to make you “street smart” in an environment where increasingly such creations are not only tolerated, but even celebrated. 1 Street Art Melbourne, Lou Chamberlin, Explore Australia Publishing Pty Ltd, 2013, Comments made on the back cover. It canvasses: 1. copyright issues; 2. moral rights laws; and 3. the conflict between intellectual property and real property. Why this topic? One only needs to drive down the streets of Melbourne to realise that urban art is so ubiquitous that the city has been unofficially dubbed the stencil graffiti capital. Street art has rapidly gained momentum as an art form in its own right. So much so that Melbourne-based street artist Luke Cornish (aka E.L.K.) was an Archibald finalist in 2012 with his street art inspired stencilled portrait.1 The work, according to Bonham’s Auction House, was recently sold at auction for AUD $34,160.00.2 Stencil seen in the London suburb of Shoreditch. Photo Credit: Chris Scott Artist: Unknown It is therefore becoming increasingly important that illustra- tors working within the street art scene understand how the law (particularly copyright law) may apply. -
Investigation Into Review of Parking Fines by the City of Melbourne
Investigation into review of parking fines by the City of Melbourne September 2020 Ordered to be published Victorian government printer Session 2018-20 P.P. No. 166 Accessibility If you would like to receive this publication in an alternative format, please call 9613 6222, using the National Relay Service on 133 677 if required, or email [email protected]. The Victorian Ombudsman pays respect to First Nations custodians of Country throughout Victoria. This respect is extended to their Elders past, present and emerging. We acknowledge their sovereignty was never ceded. Letter to the Legislative Council and the Legislative Assembly To The Honourable the President of the Legislative Council and The Honourable the Speaker of the Legislative Assembly Pursuant to sections 25 and 25AA of the Ombudsman Act 1973 (Vic), I present to Parliament my Investigation into review of parking fines by the City of Melbourne. Deborah Glass OBE Ombudsman 16 September 2020 2 www.ombudsman.vic.gov.au Contents Foreword 5 What motivated Council’s approach? 56 Alleged revenue raising – the evidence 56 Background 6 Poor understanding of administrative The protected disclosure complaint 6 law principles 59 Jurisdiction 6 Inflexible policies and lack of discretion 60 Methodology 6 Culture and resistance to feedback 62 Scope 7 What motivated these decisions? 63 Procedural fairness 7 Council’s response 63 City of Melbourne 8 Conclusions 65 The Branch 9 The conduct of individuals 65 Relevant staff 10 Final comment 65 Conduct standards for Council officers 10 -
Proposed Determination of Allowances for Mayors, Deputy Mayors and Councillors
Proposed Determination of allowances for Mayors, Deputy Mayors and Councillors Consultation paper July 2021 1 Contents Contents ................................................................................................................................... 2 Abbreviations and glossary ........................................................................................................ 3 1 Introduction ...................................................................................................................... 5 2 Call for submissions ........................................................................................................... 7 3 Scope of the Determination ............................................................................................... 9 4 The Tribunal’s proposed approach ................................................................................... 10 5 Overview of roles of Councils and Council members......................................................... 11 Role and responsibilities of Mayors ..................................................................................... 13 Role and responsibilities of Deputy Mayors ........................................................................ 15 Role and responsibilities of Councillors ............................................................................... 15 Time commitment of Council role ....................................................................................... 16 Other impacts of Council role ............................................................................................. -
Diorama, Vera Cortês Art Agency, 2012
Opening— Friday, June 1, 10 pm Diorama Alexandre Farto AKA Vhils Av. 24 de Julho, 54 -1ºE 1200-868 Lisboa, PT June 2 – September 8, 2012 The gallery will be closed from T/F +351 213 950 177 Tuesday to Saturday July 28 to September 4 for www.veracortes.com From 2pm to 7pm Summer holidays ALEXANDRE FARTO Na arquitectura actual habita um certo deslumbramento pelo tempo e pelo Como em quase todas as suas obras, o mais interessante da série Diorama DIORAMA espaço, em que tudo parece acontecer em todo o lado, quase em simultâ- encontra-se na habilidade manobrar os tempos de recepção do espectador. neo. O efémero e transitório ergue-se como protagonista do estado fluido de O primeiro momento, muito visível, mas vinculado à técnica, ao método. Texto por David Barro uma vida que muda constantemente de pele na ânsia pelo novo. Nada parece O seguinte, mais subtil, tem mais a ver com o processo e com o tempo, com vincular-se a um lugar concreto e há muito que as cidades deixaram de ser um a desconstrução destrutiva daquilo que flui como resto de um modo natural. lugar estável ou de ter uma forma claramente determinada. E muito menos um É, por isso, uma interrupção da realidade em si, do seu tempo e do seu espaço. movimento coerente. Crescemos mal e rápido demais. O suburbano transbor- Mas o jogo de ancas não é necessariamente uma ruptura da sua continuidade. dou e a cidade desapareceu enquanto unidade. Como na arte, uma realidade Seria mais uma elipse ou essa necessidade contemporânea de acidentar, de substitui outra, ocultando coisas, deixando de mostrar alguns fragmentos. -
Application of Connectivity Modelling to Fragmented Landscapes at Local Scales
Application of connectivity modelling to fragmented landscapes at local scales Austin J. O Malley1 & Alex M. Lechner2 1 Eco Logical Australia – A Tetra Tech Company, 436 Johnston Street, Abbotsford, VIC 3067 E: [email protected] 2 School of Environmental and Geographical Sciences, University of Nottingham Malaysia Campus, 43500 Semenyih, Selangor, Malaysia E: [email protected] Multispecies connectivity modelling for conservation planning • Understanding habitat connectivity an essential requirement for effective conservation of wildlife populations • Used by planners and wildlife managers to address complex questions relating to the movement of wildlife • “What is the most effective design of a wildlife connectivity network for a particular species or suite of species”? • Important consideration in the management of road networks to avoid barriers between wildlife populations and reduce collisions • Estimating ecological connectivity at landscape scales is a complex task aided by the application of ecological models • Relatively underutilised in Australia, however, commonly used internationally in both planning and academia Connectivity Modelling and GAP CLoSR • Connectivity modelling has advanced rapidly in the last decade with improved computing power and more mainstream take-up of modelling tools in planning • Suite of modelling tools available to answer different questions (Circuitscape, Graphab, Linkage Mapper) • Recently integrated into a single decision-framework and software interface called GAP-CloSR1 • -
Victoria Harbour Docklands Conservation Management
VICTORIA HARBOUR DOCKLANDS CONSERVATION MANAGEMENT PLAN VICTORIA HARBOUR DOCKLANDS Conservation Management Plan Prepared for Places Victoria & City of Melbourne June 2012 TABLE OF CONTENTS LIST OF FIGURES v ACKNOWLEDGEMENTS xi PROJECT TEAM xii 1.0 INTRODUCTION 1 1.1 Background and brief 1 1.2 Melbourne Docklands 1 1.3 Master planning & development 2 1.4 Heritage status 2 1.5 Location 2 1.6 Methodology 2 1.7 Report content 4 1.7.1 Management and development 4 1.7.2 Background and contextual history 4 1.7.3 Physical survey and analysis 4 1.7.4 Heritage significance 4 1.7.5 Conservation policy and strategy 5 1.8 Sources 5 1.9 Historic images and documents 5 2.0 MANAGEMENT 7 2.1 Introduction 7 2.2 Management responsibilities 7 2.2.1 Management history 7 2.2.2 Current management arrangements 7 2.3 Heritage controls 10 2.3.1 Victorian Heritage Register 10 2.3.2 Victorian Heritage Inventory 10 2.3.3 Melbourne Planning Scheme 12 2.3.4 National Trust of Australia (Victoria) 12 2.4 Heritage approvals & statutory obligations 12 2.4.1 Where permits are required 12 2.4.2 Permit exemptions and minor works 12 2.4.3 Heritage Victoria permit process and requirements 13 2.4.4 Heritage impacts 14 2.4.5 Project planning and timing 14 2.4.6 Appeals 15 LOVELL CHEN i 3.0 HISTORY 17 3.1 Introduction 17 3.2 Pre-contact history 17 3.3 Early European occupation 17 3.4 Early Melbourne shipping and port activity 18 3.5 Railways development and expansion 20 3.6 Victoria Dock 21 3.6.1 Planning the dock 21 3.6.2 Constructing the dock 22 3.6.3 West Melbourne Dock opens -
Annual Report 2010–11
ANNUAL REPORT 2010–11 ANNUAL REPORT 2010–11 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Thapich Gloria Fletcher Dhaynagwidh (Thaynakwith) people The vision of the National Gallery of Australia is the Eran 2010 cultural enrichment of all Australians through access aluminium to their national art gallery, the quality of the national 270 cm (diam) collection, the exceptional displays, exhibitions and National Gallery of Australia, Canberra programs, and the professionalism of Gallery staff. acquired through the Founding Donors 2010 Fund, 2010 Photograph: John Gollings The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, (back cover) corporate governance, administration and financial and Hans Heysen business management. Morning light 1913 oil on canvas In 2010–11, the National Gallery of Australia received 118.6 x 102 cm an appropriation from the Australian Government National Gallery of Australia, Canberra totalling $50.373 million (including an equity injection purchased with funds from the Ruth Robertson Bequest Fund, 2011 of $15.775 million for development of the national in memory of Edwin Clive and Leila Jeanne Robertson collection and $2 million for the Stage 1 South Entrance and Australian Indigenous Galleries project), raised $27.421 million, and employed 262 full‑time equivalent staff. © National Gallery of Australia 2011 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. -
RMIT Gallery Exhibition Program 2011 97
RMIT Gallery Exhibition Program 2011 97 1 21 January — 12 March 108 2 September — 5 November China and Revolution: Space invaders: australian . street . History, Parody and Memory in Contemporary Art stencils . posters . paste-ups . zines . stickers The exhibition re-evaluates the Cultural Revolution through propaganda poster art Drawn entirely from the collection of the National Gallery of Australia, the produced in the 1960s and ’70s, as well as through oral histories collected by the first Australian institution to have collected this type of work, this exhibition curators in 2008–2009. It opens dialogue between the past and present with work surveys the past 10 years of Australian street art. Featuring 150 works by over from artists with first hand experience, as well as through the display of original 40 Australian artists, the exhibition celebrates the energy of street-based political posters carrying political and social messages to the Chinese masses. creativity, recognising street stencils, posters, paste-ups, zines and stickers Curator Professor Stephanie Hemelryk Donald, Dean of the School of Media and as comprising a recent chapter in the development of Australian prints and Communication at RMIT University, and Professor Harriet Evans, Coordinator of drawings. Curator Jaklyn Babington, Assistant Curator, International Prints, Asian Studies Research at the University of Westminster. Artists Liu Dahong, Xu Drawings and Illustrated Books, National Gallery of Australia Artists Aeon, Weixin, Li Gongming, Shen Jiawei. Public Program -
Street Art Rising Marshall Soules—[email protected]
Vol 1 No 2 (Autumn 2020) Online: jps.library.utoronto.ca/index.php/nexj Visit our WebBlog: newexplorations.net Street Art Rising Marshall Soules—[email protected] This illustrated article discusses the various manifestations of street art—graffiti, posters, stencils, social murals—and the impact of street art on urban environments. Continuing perceptions of street art as vandalism contributing to urban decay neglects to account for street art’s full spectrum of effects. As freedom of expression protected by law, as news from under-privileged classes, as images of social uplift and consciousness-raising, and as beautification of urban milieux, street art has social benefits requiring re-assessment. Street art has become a significant global art movement. Detailed contextual history includes the photographer Brassai's interest in Parisian graffiti between the world wars; Cézanne’s use of passage; Walter Benjamin's assemblage of fragments in The Arcades Project; the practice of dérive (passage through diverse ambiances, drifting) and détournement (rerouting, hijacking) as social and political intervention advocated by Guy Debord and the Situationist International; Dada and Surrealist montage and collage; and the art of Quebec Automatists and French Nouveaux réalistes. Present street art engages dynamically with 20th C. art history. The article explores McLuhan’s ideas about the power of mosaic style to subvert the received order, opening spaces for new discourse to emerge, new patterns to be discovered. The author compares street art to advertising, and raises questions about appropriation, authenticity, and style. How does street art survive when it leaves the streets for galleries, design shops, and museums? Street art continues to challenge communication strategies of the privileged classes and elected officials, and increasingly plays a reconstructive role in modulating the emotional tenor of urban spaces. -
VICTORIA Royal Botanic Gardens, Melbourne Royal
VICTORIA Royal Botanic Gardens, Melbourne Royal WHERE SHOULD ALL THE TREES GO? STATE BY STATE VIC WHAT’S HAPPENING? There has been an In VIC, 44% of urban LGAs have overall increase of undergone a significant loss of tree canopy, Average canopy cover for urban VIC is 3% in hard with only 8% having had a significant surfaces, which is increase in shrubbery. 18.83% exactly the same down 2.06% from rate of increase as NSW, but overall 20.89% VIC has around in 2013. 5% less hard surfaces than NSW. THERE HAVE BEEN QUITE A FEW SIGNIFICANT CANOPY LOSSES. – Notably in the City of Ballarat (5%), Banyule City Council (4.6%), Cardinia Shire Council (5.9%), Nillumbik Shire Council (12.8%), Maroondah City Council (4.7%), Mornington Peninsula Shire (4.7%) and Eira City Council (4.8%). WHERE SHOULD ALL THE TREES GO? VICTORIA VIC THE MOST & LEAST VULNERABLE 2.5 Rating Glen Eira City Council, Kingston City 3.0 Rating Council, City of Stonnington 2.0 Rating City of Port Phillip, Maroondah City Council, Moonee Valley City Council, Whittlesea City of Casey, Banyule City Council Council, Wyndham City Council 3.5 Rating 1.5 Rating City of Boroondara, City of Monash, Mornington Peninsula Shire, Frankston City Council, City of Greater Bendigo, City of Greater Dandenong, Cardinia Shire Council, City of Melbourne City of Greater Geelong, Hobsons Bay City Council, City of Melton 1.0 Rating 4.0 Rating City of Brimbank, Maribyrnong City Council, Yarra City Council, City of Whitehorse, Manningham City Council Moreland City Council 4.5 Rating Yarra Ranges Council,