Podcasts about melville island

My interest in science is quite poetic. The things that I find the most interesting about science are when it can be woven into a story that makes sense and I think that's kind of artistic in a way: you take the scientific knowledge and make it into a more abstract kind of poetic thing.Note: I'll be back during the winter of 2025 with season 6 on the theme of 'art and culture in times of crisis and collapse'. Also, this episode was published on October 23, 2024 : our daughter Clara Schryer's 23rd birthday. Bonne fête chère Clara!*(arctic soundscapes: Clara and Noa Caspi talking about drones + daily check in with Resolute + candle ice breaking + plane arriving)This is the final episode of the fifth season of the conscient podcast.(arctic soundscapes: Clara trying to imitate Claude's style of simplesoundscapes recording while searching for candle ice)This season began on February 21, 2024 with e154 featuring my son Riel's research on ethics in science:I don't think there's going to be any serious response to the climate crisis until real catastrophes start happening. That tends to be how it works. And once you start seeing that, then you'll start seeing very serious action being put in place. Although, we'll see at that point, if it's too late or not.(arctic soundscapes: Clara and Noa talking about recording technology)This last episode features field recordings that Noa Caspi and Clara recorded during a 2-month field research project at the Cape Bounty Arctic Watershed Observatory on Melville Island in Nunavut during the summer of 2024. You'll hear Clara talk about some of her favorite sounds, including the unique vibrations of ‘candle ice': I get to the field in early June, and on the lake, there's two to 3 meters of ice and that only melts. Like, the lake is ice free for like, maybe a couple weeks max, sometimes not even at all, depending on the year and how much ice there was and the temperature and stuff. But this really thick ice as it melts, and I don't know exactly how, but it forms into these kinds of candles.(arctic soundscapes : Clara and Noa talking about candle ice + Clara walking around in moss)In between soundscapes from the arctic, you'll hear Clara talk about the rapid changes in the Arctic and some of the challenges of envisioning a new future and how art might help us imagine possibilities amidst uncertainty.(arctic soundscapes : bird song, wind)Northerners are facing a new world a lot faster than the rest of us are and I'm not sure what to say other than figuring out how to... What's the wording: creating the conditions for the new world… (for other… other possible worlds to emerge – Claude) Imagining what that new possible world could look like is tricky. (And that's what art does - Claude). That's what art does.(arctic soundscapes : Clara and Noa talking about recording in the field)My conversation with Clara reminded me that scientific knowledge can be transformed into poetic narratives and that we benefit from both scientific and artistic creative work. One might even speculate that they are more or less the same thing. (arctic soundscapes : walking on the tundra)And at any rate.All of this requires a lot of listening.*Sections of the episode (generated by AI and reviewed by Claude Schryer)WelcomeIn this introductory chapter, Clara joins Claude marking the season finale. They discuss the unique perspective of younger generations on pressing issues and the intersection of art and science.A Scientist's JourneyClara shares her background, detailing her journey from Ottawa to studying earth system science at McGill. She highlights her passion for the outdoors and how her academic pursuits led her to a master's program at Queens.The Young Person's DilemmaReflecting on a pivotal conversation from Clara's past, they discuss the challenges young people face when choosing careers that can address climate change. Clara reveals her evolving mindset about making a difference in the world.Eco-Anxiety and Climate ChangeClara talks about her feelings about eco-anxiety and the complexities of climate change. She emphasizes the importance of focusing on local solutions and the challenges of balancing personal and global concerns.Fieldwork in NunavutThe conversation shifts to Clara's fieldwork at the Cape Bounty Arctic Watershed Observatory in Nunavut. She explains the project's focus on hydrology, soil, and greenhouse gas fluxes, contributing to a better understanding of the global carbon cycle.Journey to the ArcticClara describes the logistical challenges of reaching her field site, detailing the multiple flights and stops along the way. She shares insights about the isolation and unique experiences of conducting research in such a remote location.Soundscapes of NunavutClara introduces her recordings from Nunavut, highlighting her experiences doing field recording. She shares her favorite sounds, including the unique ‘candle ice' and the soothing ambiance of the tundra.Artistic Moments in the ArcticThe discussion turns to the artistic expressions Clara and her team engaged in during their time in Nunavut. From sketching to singing, they explore how creativity flourished amidst the challenges of fieldwork.Navigating Inuit TerritoryClara reflects on the complexities of conducting research in Inuit territory as a southern researcher. She discusses the importance of understanding the historical context and the need for meaningful community engagement.Imagining New WorldsAs they explore the theme of preparing for the end of the world, Clara shares her thoughts on the rapid changes in the Arctic and the challenges of envisioning a new future. They discuss the role of art in imagining possibilities amidst uncertainty.The Poetic Side of ScienceClara discusses the intersection of art and science, emphasizing how scientific knowledge can be transformed into poetic narratives. She reflects on the importance of creative thinking for scientists and the value of storytelling in conveying complex ideas.Hope Amidst DespairThe conversation shifts to the often bleak outlook on climate change. Claude highlights the potential for regeneration and adaptation in the face of environmental challenges.Candle Ice: A Metaphor for ChangeClara shares a poetic metaphor about ‘candle ice' as a representation of climate cycles, illustrating how dramatic changes can be part of a natural process. This discussion leads to a deeper exploration of destruction and renewal in ecological systems.The Jaded ScientistClara talks about the challenges and joys of working in earth science, expressing feelings of futility in the face of the complexity of earth science research. She discusses the importance of transparency in scientific communication and the limitations of research methods.Shifting Focus: From Global to LocalClara reflects on her evolving interests within the scientific field, expressing a desire to focus on local environmental issues rather than global ones. This shift highlights the interconnectedness of local and global processes in understanding climate change. *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

A traditional healing ceremony has been held in Darwin for the families of three US Marines who died during a training exercise over the Tiwi Islands in the Northern Territory. Around two dozen personnel were on board an Osprey aircraft when it crashed on the remote Melville Island, north of Darwin, in August last year.

Mokuhanga has the ability to take the artist or craftsperson anywhere they would like to be. From the subject matter in their studio to physical movement around the world, teaching, exploring, and discovering. Wonder and beauty is what makes mokuhanga so special.   In this episode of The Unfinished Print, I speak with printmaker Jacqueline Gribbin, who has spent years honing her craft in mokuhanga and other printmaking techniques across Japan, Southeast Asia, and Australia. We discuss her deep connection with Indigenous communities, collaborating with the late Ralph Kiggell, and exploring the nuances of water-based and oil-based mokuhanga. Jaqueline explains her experiences traveling to isolated communities, conducting workshops, and sharing her passion for printmaking. We'll explore her teaching methods, the importance of community in her work, and how she balances creating and selling her prints.   Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Jacqueline Gribbin - website  Shifting Tides (2022) Nagasawa Art Park (MI Lab) Awaji City - Nagasawa Art Park was an artist-in-residence program located in Awaji City, Hyōgo Prefecture, Japan. It was open for 12 years before evolving into MI Lab in 2012. More info, here.    Keiko Kadota (1942-2017) - was the director of Nagasawa Art Park at Awaji City from 1997-2011, and then of MI Lab at Lake Kawaguchi from 2011 until her passing.   Toru Ueba - was a print instructor at Nagasawa Art Park, and was one of Yoonmi's instructors in 2004.   Ralph Kiggell (1960-2022) -  was one of the most important mokuhanga practitioners. Originally from England, Ralph lived and worked in Thailand. Ralph pushed the boundaries of mokuhanga with extremely large pieces, jigsaw carving, and by using fantastic colour. He also worked with the International Mokuhanga Conference to promote mokuhanga around the world. He will be greatly missed. Ralph's work can be found, here. His obituary in The Guardian can be found, here. His interview with The Unfinished Print can be found, here.     Orange Flower On Blue    Hiroki Satake - is a mokuhanga printmaker, and instructor based in Japan. He has taught at MI Lab, as well as given demonstrations regarding tool sharpening, around the world. Instagram   赤絵（アンドレ・マルティ「狼よ！」より) (2022) 34.7cm×28.4cm   registration - there are several registration methods in mokuhanga. The traditional method is called the kentō registration, where you carve two notches, straight another an "L." There is also a "floating kentō," which is where the notches are cut in a piece of "L" shaped wood and not on the wood where you are cutting your image, hence "floating." Lastly, there are removable "pins," such as ones made by Ternes Burton.    bokashi - is a mokuhanga technique, where the pigment fades from a heavy colour to a softer, broad colour. Made famous by prints designed by Hokusai and Hiroshige, this technique is, for me, the most popular technique utilized by  mokuhanga printmakers. There are various types: Ichimoji-bokashi or straight line graduation, used in the above mentioned Hiroshige and Hokusai prints. Ichimoji-mura-bokashi or straight line gradation with uneven edge. Ō-bokashi or wide gradation, Ate-nashi-bokashi or gradation without definition. Futa-iro-bokashi or two tone gradation, and ita-bokashi or softer-edge gradation, where the block is cut in a specific way to achieve this style of gradation. All of these styles of bokashi technique take practice and skill but are very much doable. Below is a fine example of bokashi by Paul Binnie:     The Torii Gate at Miyajima (2009) 37.5 x 26cm sizing paper - at times mokuhanga printmakers will size their paper. Size is made from water, animal glue (rabbit, horse), and alum. What the size does is keep the pigments the artist uses from “bleeding” into the outer edges of the paper. There are many recipes of size, here is one that artist Walter J. Phillips used.   intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.     serigraphy - is another word for the art of silk screen printing. Silk screen printing can be in on various materials, silk, canvas, paper.    lithography: A printing process where images are transferred onto a surface using a flat plate or stone.   Yoshitaka Amano (b. 1952) - is a character designer for the Final Fantasy video game series. He uses ukiyo-e and Japanese woodblock prints as insirpation for some of his work.    Takashi Murakami (b. 1962) is a contemporary artist best known for his fine art works and contributions to the commercial market. His works are heavily influenced by manga and anime, characterized by their bright colors and distinctive style. Multicolour Superflat Flowers - archival pigment print, silkscreen, 45 cm x 17.7cm   Margaret Thatcher 1925-2013) -  was the Prime Minister of the United Kingdom from 1979 to 1990. She was the first woman to hold the office and remains one of the most influential figures in British political history. Leading the Conservative Party, Thatcher implemented a series of economic policies known as "Thatcherism," which emphasized deregulation, privatization of state-owned industries, and reducing the power and influence of trade unions. Her tenure was marked by significant economic transformation, as well as controversial measures that sparked widespread debate and protest.    Tamarind Institute - was originally founded in Los Angeles in 1960 by June Wayne, and is a world renowned center for fine art lithography. Established to revive and sustain the art of lithography, which was in decline in the United States, Tamarind quickly became a leader in the education and promotion of lithographic techniques. In 1970, the institute moved to the University of New Mexico in Albuquerque, where it continues to thrive as a key institution in the printmaking world. Dedicated to advancing the lithographic arts through rigorous education, collaborative projects, and the production of high-quality prints, the Tamarind Institute's influence extends globally, contributing significantly to the development and appreciation of lithography as a vibrant art form. More info, here.    STPI Creative Workshop & Gallery - which stands for Singapore Thailand Print Institute is an educational gallery and workshop, based in Singapore. More info, here.    International Mokuhanga Conference, 2011 - was the first international conference on mokuhanga which was separated in two parts, Kyoto and the Awaji Islands in Japan.    MI Lab - is a mokuhanga artists residency located in Kawaguchi-ko, near Mount Fuji. More info can be found, here.    Hiroki Morinoue - is a mokuhanga printmaker and artist living in Holualoa, Big Island, Hawai'i. He is a co-founding member of the Holualoa Foundation For Arts & Culture, the establishment of the Donkey Mill Art Center and Studio 7 Fine Arts. Hiroki's interview with The Unfinished Print can be found, here.    Incoming Tide 30.5 x 30.5cm   Keiko Hara - is an artist and Professor of Art Emerita at Whitman College in Walla Walla, Washington. She is a painter, and printmaker in various relief mediums, such as mokuhanga. Keiko also leads the Mokuhanga Project Space based in Walla Walla, Washington. More info on Keiko's work can be found, here. More info regarding the Mokuhanga Project Space, here.   Verse Space M-1, lithography and stencil, 55.8 cm x 76.2 cm   Yamanashi Prefecture - (山梨県, Yamanashi-ken) is located in the Chūbu region of Honshu, Japan, and borders Saitama Prefecture to the northeast, Nagano Prefecture to the northwest, Shizuoka Prefecture to the southwest, Kanagawa Prefecture to the southeast, and Tokyo to the east. The capital and largest city is Kōfu. Yamanashi is one of only eight landlocked prefectures in Japan, with most of the population residing in the central Kōfu Basin, surrounded by the Akaishi Mountains. 27% of its land area is designated as Natural Parks, and it is home to many of Japan's highest mountains, including Mount Fuji, the country's tallest peak and a significant cultural icon, which is partially located on the border with Shizuoka Prefecture.   Tiwi Islands - which means "two islands," are part of the Northern Territory, Australia, located 80 km (50 mi) north of Darwin. They comprise Melville Island, Bathurst Island, and nine smaller uninhabited islands, with a combined area of 8,320 square kilometers (3,212 sq mi). The islands have been inhabited by the Tiwi, an Aboriginal Australian people, since before European settlement, with a population of 2,348 recorded in the 2021 census. The Tiwi Land Council, one of four land councils in the Northern Territory, serves as a representative body with statutory authority under the Aboriginal Land Rights (Northern Territory) Act 1976 and holds responsibilities under the Native Title Act 1993 and the Pastoral Land Act 1992.   Charles Darwin University - was established in 2003 in the Northern Territory of Australia, and resulted from the merger of Northern Territory University, Centralian College, and the Menzies School of Health Research. Named after naturalist Charles Darwin, CDU focuses on research and education tailored to the unique challenges of the region, with strong emphasis on Indigenous education and partnerships. The university offers a broad range of programs across disciplines like health, education, engineering, business, and environmental science, and is recognized for its research in desert knowledge, Indigenous systems, tropical health, and sustainable development. With campuses in Darwin, Alice Springs, Katherine, and Nhulunbuy, CDU plays a crucial role in the educational, economic, and social development of the Northern Territory. The More Than Human World: North Australian Ecologies was the exhibit which Jacqueline speaks on in her episode. The exhibit catalogue can be found, here.    Balgo - also known as Wirrimanu, is a remote Aboriginal community in the Kimberley region of Western Australia. Home to the Kukatja people and other desert groups like the Ngarti and Warlpiri, Balgo is renowned for its vibrant art scene, particularly through the Warlayirti Artists art center, which produces art reflecting the rich cultural heritage of the local people. The community, accessible mainly via local roads and air, provides essential services such as a health clinic, school and plays a vital role in preserving and promoting Indigenous culture and traditions. A description of Wirrimaru can be found, here via Deutscher and Hackett.    Printmaking Today - is a magazine published by Cello Press in England, and is published quarterly. The magazine focuses on printmaking themes and artists. More info, here.   Arnhem Land - is located in the northeastern Northern Territory of Australia, and is a vast and culturally rich region covering approximately 97,000 square kilometers. Bordered by the Arafura Sea, the Gulf of Carpentaria, and Kakadu National Park, it is one of the largest Aboriginal reserves in Australia, home to around 16,000 Indigenous people, primarily the Yolngu. Known for its stunning natural landscapes, including rugged coastlines, rainforests, and wetlands, Arnhem Land is also a cultural treasure, famous for Indigenous art, music, and traditions. Access is restricted to protect its heritage, and the region plays a crucial role in Indigenous land rights movements and the preservation of Aboriginal culture.   Foundry Vineyards - based in Walla Walla, Washington is a vineyard and art space. It has been hosting artists from all types of media such as painting and printmaking since 2010. It has exhibited The Mokuhanga Project Space, printmaker Mike Lyon,  and the International Mokuhanga Print Exhibit. More info about this space and the good it does for the art community at large can be found, here.    Ozu Washi - is a paper store located in the Nihonbashi district of Tokyo. website, Instagram   Wood Like Matsumura - is an online and brick and mortar store, for woodblock printmaking, located in Nerima City, Tōkyō.   uwa senka long - is a Thai kozo machine made paper which can be used for mokuhanga.    The Japanese Paper Place- is a Toronto based Japanese paper store servicing the Mokuhanga community for many years.  Interview with the Nancy Jacobi of the JPP can be found, here.   gouache: is a water-based paint known for its opaque and vibrant colours. Made from pigment, water, and gum arabic as a binder, it offers artists versatility in creating both translucent washes and opaque layers. Gouache can be reactivated with water and comes in a range of colors, making it a popular choice for various painting techniques.   The Adelaide River - is a significant waterway in the Northern Territory of Australia, extending approximately 180 km from its source in the Litchfield National Park to its mouth at the Timor Sea. The river flows through  lush wetlands, dense mangroves, and open floodplains, providing a rich habitat for diverse wildlife. It is particularly renowned for its large population of saltwater crocodiles.    © Popular Wheat Productions opening and closing credit - Stardust by Lester Young, Oscar Peterson Trio. (1956) © UMG Recordings logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                                                

A recovery operation is underway after a military crash on Melville Island, north of Darwin, that's killed three US marines. Authorities say the outcome could have been much worse.

Three of the 20 marines who survived a fatal military aircraft crash on Melville Island north of Darwin remain in hospital, as the recovery of the three marines killed in the crash continues.

See omnystudio.com/listener for privacy information.

Historian Solomon Stanton shares his research on his ancestor John Matthew Richardson. John was a convict who was sentenced to 7 years transportation and had an incredible life as a gardener and botanical collector for the colony. Solomon describes some of the highlights of John's life which include his time working in the Sydney Botanic Gardens, his stint on Melville Island, various expeditions both in and out of Australia, and the discovery of new plants. Two plants were named after John - the Hibiscus Richardsonii and Alyxia Richardsonii. FURTHER READING 'Richardson, John Matthew (1797–1882)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, https://adb.anu.edu.au/biography/richardson-john-matthew-2588/text3549, published first in hardcopy 1967. 'Richardson, John Matthew (c.1797–1882)', Global Plants, JSTOR, https://plants.jstor.org/stable/10.5555/al.ap.person.bm000391636 ‘Newsletter, No. 112 September 2002', Australian Systematic Botany Society, https://asbs.org.au/newsletter/pdf/02-sept-112.pdf, page 3. ‘Flora of Australia, Volume 1, Introduction 2ndEdition', Australian Biological Resources Study, CSIRO Publishing, https://www.agriculture.gov.au/sites/default/files/env/pages/5822457a-1744-4aaa-a5e0-74dc485f825d/files/flora-australia-01-introduction-second-edition-2.pdf, page 66. ‘The British in North Australia 1824-29 : Fort Dundas' by Derek Pugh, Published by Derek Pugh 2017, https://www.booktopia.com.au/fort-dundas-derek-pugh/book/9780992355869.html?source=pla&gclid=Cj0KCQjw8uOWBhDXARIsAOxKJ2EAYmo5lKChSbwJWPm5XWxCCcElEoclB0ltLE9rGnpsVidZ6ZjpkCQaAoL1EALw_wcB ‘Three Expeditions into the Interior of Eastern Australia; with descriptions of the recently explored region of Australia Felix and the present colony of New South Wales', by Major T.L. Mitchell, F.G.S and M.R.G.S. Surveyor General, Second Edition, Volume 2, London, T. and W.Boone, New Bond Street, https://gutenberg.net.au/ebooks/e00036.html LINKS Grab a copy of 'Convict Sydney, the real-life stories of 32 prisoners': www.jennifer-twemlow.com Support Convict Australia and receive goodies such as the Convict Australia Newsletter: https://www.patreon.com/ConvictAustralia Join the conversation on our Facebook & Instagram pages: https://www.facebook.com/groups/173850624015866 https://www.instagram.com/convict_australia/?hl=en Start your search for your convict ancestors: https://prf.hn/click/camref:1100ldych https://www.tkqlhce.com/click-100396961-13671424 THANK YOU Special thanks to Solomon Staunton. Music by Ahjay Stelino

 On Adelaide's southern doorstep, the Fleurieu Peninsula offers a mellow Mediterranean ambiance. You'll find dozens of white sand beaches, undulating vineyards and farmland, pretty coastal towns near the entrance to Australia's longest river, and world renowned wetlands. We also nip over to Kangaroo Island,  Australia's third-largest island, after Tasmania and Melville Island. It lies in the state of South Australia, 112 km (70 mi) southwest of Adelaide. There are plenty of opportunities to see kangaroos and local birdlife as well as dolphins, seals, pelicans, sea lions and whales. What a sensational place to visit.  Yes, you can speak to us to feature this show on your community radio station, or website, we would love to talk with you.  If you would like to reach out and help us with this fiercely Australian and independent podcast with sponsorship or product support, please contact us.We love your feedback and comments, and if you have something that you think we should feature, review, visit or discuss, then please drop us an email at  phatcat@iinet.net.au Like us on FacebookFollow us on InstagramSupport us on PatreonListen on SpotifyListen on AppleListen on GoogleListen on iHeartRadioListen on SoundcloudThank you for supporting us    Support the show (https://www.patreon.com/user?u=27844421) Hosted on Acast. See acast.com/privacy for more information.

In which we cover the early life of famous Nova Scotian Joseph Howe; from his publishing endeavors that encouraged local talents to his 1835 libel trial that changed the game for free speech in Canada. All texts discussed are found below! --- Major Sources & Further Reading: Beck, J. Murray. “Howe, Joseph.” The Oxford Companion to Canadian History, Oxford University Press, 2004. Beck, Murray. Joseph Howe, Conservative Reformer 1804-1848, McGill-Queen's University Press, 1984. Bentley, D. “Joseph Howe's Acadia”, Mimic Fires: Accounts of Early Long Poems on Canada, McGill-Queen's University Press, 1994. Howe's Accusation of the Magistrates (January 1, 1835): https://nslegislature.ca/about/history/joe-howe/howepaper Howe, Joseph. ‘Acadia', 1873. http://canadianpoetry.org/longPoems/Howe_Joseph/Acadia/acadia.html Howe's Libel Defence (March 2, 1835): https://nslegislature.ca/about/history/joe-howe/howedefense Howe, Joseph. ‘Melville Island', Other Poems and Essays, 1874. http://canadianpoetry.org/longPoems/Howe_Joseph/other_poems/melville_island.html Howe, Joseph. ‘My Father', Weekly Chronicle, 1861. http://canadianpoetry.org/longPoems/Howe_Joseph/other_poems/my_father.html Vincent, Tom. “Howe, Joseph.” The Oxford Companion to Canadian Literature, Oxford University Press, 2006. Zenchick, S.G. “A Reading of Joseph Howe's Acadia”, Canadian Poetry, Vol. 9, Summer 1981. http://canadianpoetry.org/volumes/vol9/zenchuk.html --- Reach the show with any questions, comments and concerns at historiacanadiana@gmail.com, Twitter (@CanLitHistory) & Facebook (https://www.facebook.com/CanLitHistory). --- Support: Patreon (https://www.patreon.com/historiacanadiana) & Paypal (https://www.paypal.com/paypalme/historiacanadiana). Check out the recommended reading page (https://historiacanadiana.wordpress.com/books/) and our apparel (http://tee.pub/lic/Ges5M2WpsBw)!

“Welcome to Melville Island, Doctor.” “Thank you, Agent. Is it a heartbeat? That’s the last I heard. But that was hours ago.”   On an uninhabited Arctic island, something is stirring beneath the permafrost… Genre: Horror, Mystery, Science Fiction   Tags: Arctic, envoy, Ivar, Melville Island, report, sleeping, Straw   CREDITS:Story: “Age Upon Age of Frozen Sleep” Copyright © 2016 by Nila L. Patel Episode Art: “Arctic Sand” Copyright © 2016 by Sanjay Patel Narration and Editing:  Nila L. Patel   Music: “Trip-Hop Lounge Abstract Background” by Digital Emotions (Intro/Outro)   Music by Nctrnm “Escapade” “Parade”   Music by Lee Rosevere “Tech Toys” “Universe Calling” “Thoughtful”   Music by Kai Engel “Snowmen”   Music by Rafael Archangel “So Cold”   Music by Lee Rosevere, Kai Engel, and Nctrnm is licensed under CC BY 4.0 Music by Rafael Archangel licensed under CC0 1.0 Universal License   Find more music by Digital_Emotions at audiojungle.net Find more music by Nctrnm, Kai Engel, Lee Rosevere, and Rafael Archangel at freemusicarchive.org and bandcamp.com Find more stories by Nila at storyfeather.com   Instagram: @storyfeather Email: nila@storyfeather.com

Show Notes This week, we recap, review, and analyze Mobile Suit Gundam episodes 22 and 23 (21 and 22 in the US), "The Trap of M'Quve" and "Matilda's Rescue," discuss our first impressions, and provide commentary and research on: Japanese sentō (public bathhouses), all-plastic wristwatches, bauxite mining, gallium, the bombing of Darwin, a famous POW-camp escape-attempt, plastic explosives, Lt. Matilda's voice actress, and smoke bombs.- An overview of Japanese sentō.- Additional articles about the history of sentō (these include some great artwork and photographs).- a brief history of the Japanese "system-bath" - baths in private homes that for many people replaced regular use of the local sentō.- For the connotations of nudity in Japanese media, we consulted this paper:"Nudity in Japanese visual media: A cross-cultural observation." Downs, J.F. Arch Sex Behav (1990) 19: 583. https://doi.org/10.1007/BF01542467- And our source on the prevalence of indoor plumbing in the US as of 1940 is:Lutz, James D. “Lest We Forget, a Short History of Housing in the United States.” American Council for an Energy-Efficient Economy, Lawrence Berkeley National Laboratory, 2004, aceee.org/files/proceedings/2004/data/papers/SS04Panel1Paper17.pdf.- the story of the ahead-of-its-time, "all-plastic" Tissot IDEA 2001 and its competition from Japan.- general information on the history, types, and uses of plastic explosives.- A map of Bauxite mining operations around the world.- Video of the gallium-spoon trick.- Overview of the Bombing of Darwin, and additional detail specifically about the Allies' strategy in the South Pacific.- The story of Matthias Ulungura, who captured Japanese Zero-pilot Toyoshima Haijame.- A photo of Aboriginal dancers at the ceremony to unveil the cairn to commemorate Matthias Ulungura. Plaque reads: "This memorial was erected by the Northern Territory Government in recognition of Matthias Ulungura 1921-1980 Who, unarmed, on 19th Feb. 1942 on Melville Island captured the first Japanese prisoner of war (a zero pilot) to be taken on Australian soil."- More about the Cowra Breakout, a Japanese-POW escape-attempt, which Thom parallels to Cozun's attempted escape from the White Base.- The history of smoke screens and an example of their use in a specific battle in the Mediterranean during WWII.- Toda Keiko (Lt. Matilda's voice actor), performing as Ayu Akemi - this is her first Enka single.You can subscribe to the Mobile Suit Breakdown for free! on fine Podcast services everywhere and on YouTube, follow us on twitter @gundampodcast, check us out at gundampodcast.com, email your questions, comments, and complaints to gundampodcast@gmail.com.Mobile Suit Breakdown wouldn't exist without the support of our fans and Patrons! You can join our Patreon to support the podcast and enjoy bonus episodes, extra out-takes, behind-the-scenes photo and video, MSB gear, and much more!The intro music is WASP by Misha Dioxin, and the outro is Long Way Home by Spinning Ratio, both licensed under Creative Commons CC BY 4.0 license. Both have been edited for length. Mobile Suit Breakdown provides critical commentary and is protected by the Fair Use clause of the United States Copyright law. All Gundam content is copyright and/or trademark of Sunrise Inc., Bandai, or its original creator. Mobile Suit Breakdown is in no way affiliated with or endorsed by Sunrise Inc. or Bandai or any of its subsidiaries, employees, or associates and makes no claim to own Gundam or any of the copyrights or trademarks related to it. Copyrighted content used in Mobile Suit Breakdown is used in accordance with the Fair Use clause of the United States Copyright law. Any queries should be directed to gundampodcast@gmail.comFind out more at http://gundampodcast.com

When you come from a place like the Tiwi Islands where the only cross city traffic is a wandering water buffalo, and, the commuter pressure revolves around catching the morning tide, Sydney Harbour, on a Sunday morning, must be enough to make your head spin, but Tiwi Islander Anthony Guy, has taken it all in his stride.

Pedro Wonaeamirri (Gurrumaiyuwa) was raised by his grandmother, Jacinta Wonaeamirri, at Pirlangimpi (Garden Point) on Melville Island; she taught him the traditional cultural practices of his grandfather. Wonaeamirri's artistic career began when he made his first ceremonial tutini or funerary pukumani pole for his father-in-law. Like many Tiwi artists, Wonaeamirri is an accomplished singer and dancer – key forms of expression in Tiwi culture. He maintained his art and dance practice during his secondary and tertiary education in Darwin, leading dance troupes and studying visual arts. In 1991 Wonaeamirri, aged 17, began working at Jilamara Arts and Crafts at Milikapiti on Melville Island both as an artist and in the leadership roles of president and vice-president. He worked alongside other noted Tiwi artists, such as Kutuwulumi Purawarrumpatu and Taracarijimo Freda Warlapinni. Wonaeamirri is one of the few Tiwi people of his generation who speaks old or classic Tiwi. In his art practice, Wonaeamirri works within the strong Tiwi tradition of using pwoja (body designs), describing his works as an extension of the pukumani ceremonial body designs. His works are graphic expressions of dance and song that capture the essence of performance. Wonaeamirri has mastered the traditional techniques of painting in natural ochres collected from his country, rendered with kayimwagakimi (the traditional Tiwi ironwood comb), and refined the process into his own unique style. Strong fields of colour are illuminated with geometric 'dot' patterns painted on canvas, paper, barks and ironwood sculptures. Wonaeamirri has travelled and exhibited nationally and internationally, and his work is represented in Australian state galleries and museums. In 1999 he was commissioned by the Art Gallery of New South Wales, Sydney, to create six ironwood pukumani poles from ochres, feathers and beeswax. These works were inspired by a visit to the Gallery in 1998, when Wonaeamirri studied the group of 17 tutini that were commissioned by Dr Stuart Scougall, for the Art Gallery of New South Wales in 1959. This monumental group of sculptures was the first Aboriginal work to be accessioned as 'art' in a public gallery and, at the time they entered the Gallery's collection, their inclusion was regarded as controversial. Acting as a counterpoint to these, Wonaeamirri's tutini exemplify the connection of the contemporary artistic practices of Milikapiti with an illustrious past. Jonathan Jones in 'Tradition today: Indigenous art in Australia', Art Gallery of New South Wales, Sydney, 2004 © Art Gallery of New South Wales

Pedro Wonaeamirri (Gurrumaiyuwa) was raised by his grandmother, Jacinta Wonaeamirri, at Pirlangimpi (Garden Point) on Melville Island; she taught him the traditional cultural practices of his grandfather. Wonaeamirri's artistic career began when he made his first ceremonial tutini or funerary pukumani pole for his father-in-law. Like many Tiwi artists, Wonaeamirri is an accomplished singer and dancer – key forms of expression in Tiwi culture. He maintained his art and dance practice during his secondary and tertiary education in Darwin, leading dance troupes and studying visual arts. In 1991 Wonaeamirri, aged 17, began working at Jilamara Arts and Crafts at Milikapiti on Melville Island both as an artist and in the leadership roles of president and vice-president. He worked alongside other noted Tiwi artists, such as Kutuwulumi Purawarrumpatu and Taracarijimo Freda Warlapinni. Wonaeamirri is one of the few Tiwi people of his generation who speaks old or classic Tiwi. In his art practice, Wonaeamirri works within the strong Tiwi tradition of using pwoja (body designs), describing his works as an extension of the pukumani ceremonial body designs. His works are graphic expressions of dance and song that capture the essence of performance. Wonaeamirri has mastered the traditional techniques of painting in natural ochres collected from his country, rendered with kayimwagakimi (the traditional Tiwi ironwood comb), and refined the process into his own unique style. Strong fields of colour are illuminated with geometric 'dot' patterns painted on canvas, paper, barks and ironwood sculptures. Wonaeamirri has travelled and exhibited nationally and internationally, and his work is represented in Australian state galleries and museums. In 1999 he was commissioned by the Art Gallery of New South Wales, Sydney, to create six ironwood pukumani poles from ochres, feathers and beeswax. These works were inspired by a visit to the Gallery in 1998, when Wonaeamirri studied the group of 17 tutini that were commissioned by Dr Stuart Scougall, for the Art Gallery of New South Wales in 1959. This monumental group of sculptures was the first Aboriginal work to be accessioned as 'art' in a public gallery and, at the time they entered the Gallery's collection, their inclusion was regarded as controversial. Acting as a counterpoint to these, Wonaeamirri's tutini exemplify the connection of the contemporary artistic practices of Milikapiti with an illustrious past. Jonathan Jones in 'Tradition today: Indigenous art in Australia', Art Gallery of New South Wales, Sydney, 2004 © Art Gallery of New South Wales