About Robin

Occasional painter. Golfer. Fascinated by humanity. Passionate about beautiful stuff, the people who create it and its narrative.

Aboriginal rock paintings in Brisbane

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It is hot and humid. I am in a natural reserve near the heart of Brisbane, Queensland. I walk up to the J.C. Slaughter waterfalls. There are only rocks. The river is dry. A sign indicates “Aboriginal Art”. A small plaque tells me that these rock paintings from 1993 celebrate the International Year of the World’s Indigenous People and that the aboriginal artists are Laurie Nilsen, Marshall Bell, Laurie Graham and Mark Garlett.

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Blow-painting – with dyes spat from the mouth – was a prominent feature of aboriginal painting. Hands and hunting boomerangs were frequently used as stencils. Here, the paintings include, in white, macropod (e.g. kangaroo) tracks. The works have an instant and earthy appeal. I find them beautiful. They take me closer to an ancient culture born of a harsh environment.

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A fabulous serpentine form uncoils itself from under the over-hanging rock. I guess snakes feature so prominently in aboriginal folklore because, even today, they represent the greatest danger for anyone who goes walkabout.

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A few metres away is a human figure. It is as though the painters wanted to represent the future observer of their beautiful stuff. Is it therefore me?!! Maybe it is J.C. Slaughter himself, the civic-minded administrator who expanded the public amenities of 1960s Brisbane? (I can find no link between him and the falls; he certainly wasn’t their European “discoverer”!)

Despite the fact that these paintings are only twenty-two years old, I accept that they are “aboriginal.” They represent creative impulses of people who were the owners and custodians of this parched land for thousands of years before Captain Cook sailed into Botany Bay and the painters are, I assume, descended from these people. As I walk back down the dusty track, a young woman jogs past; she wears Nike shoes, a pink lycra top and an iPhone strapped to her left upper arm. I reflect on the dual and incomparable stories of humanity’s existence on this huge dry continent. A kookaburra cackles its laugh at me. I have a feeling that the bird is ridiculing my attempt to understand what these paintings really mean for aborigine people. But then, maybe it is just telling me to go away.

Urban explosions? Brilliant young scientists are on the case!

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Believe me….. This is beautiful stuff! It may not have great aesthetic appeal. It may not represent your idea of “art.” It may not be what you expect to find on talkingbeautifulstuff.com but this is the output of the creative thinking of some brilliant young scientists. It will, without doubt, prove to be a world-changer. A feel-good story, albeit about awful stuff, and you first read about it here!

This is the prototype of a system whereby explosions and other extreme energy events (e3e) can be detected in real-time and geo-located. The “R” and “L” black dots on the board are microphones that detect the position of any explosion or gunshot within 2-3 km. The sound signals are analysed for the unique “acoustic signature” of the explosion, triangulated with those picked up by other detectors and ultimately fed onto a publicly accessible, web-based map.

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The detectors are made from commercially available materials and – with it’s own battery pack – can be fitted into something not much bigger than a brick.

The raison d’etre…… The use of explosives especially in urban areas defined the history of the last century. Will this century be free of the extraordinary human propensity to blow up places where other humans live and work? The daily news is not encouraging. In terms of the nature and extent of the destruction, the reporting of such events still remains in the domain of eye witness accounts and official statements. The e3e detector system would permit monitoring – on an entirely objective basis – of explosions and other extreme energy events in a given context. The watching world would have rapid alert and hard, scientific evidence to compare with verbal reports, claims and counter-claims. Consider this: A town is caught up in conflict. The e3e detectors are in place and ready to transmit data to the website. There is an explosion at a hospital. The system would immediately indicate the time, precise location and the likely weapon. Importantly, it would also indicate whether or not there were shots being fired from the hospital beforehand as is so often claimed.

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Here are just some of the scientists who are applying their considerable brain power to the technological aspects of monitoring explosions and other extreme events. (Yes, that is an old London Transport double-decker bus in the background.)

CERN (the European Centre for Nuclear Research) is a huge international scientific collaboration straddling the French-Swiss border. It is best known for its research based on the Large Hadron Collider. Not so well known is that research in other fields at CERN gave us wonderful things such as the world-wide web, touchscreens and the means to capture solar energy. A number of scientists there want to continue this tradition of pursuing technologies that will positively impact human lives in decades to come. Enter THE Port. This month saw THE Port’s second hackathon in CERN’s Idea Square (in which an old London Transport double-decker bus serves as just one of the interesting discussion spaces.) This event brought together young scientists from all over the world for three days of challenge-based innovation. One of the chosen challenges was to build the e3e prototype and demonstrate its real-time link to a website. They did it! Take a look at the final video presentation.

These guys do not lack forward thinking. They imagine a global network of detectors that can be deployed by any interested party. The detectors could even be assembled by anyone anywhere with the right instructions and access to the materials; hence the importance of using commercially available parts. They also foresee automated monitoring of Twitter activity within a certain distance of and triggered by an explosive event. This would serve to verify the event and give more information regarding the evolution of the context especially the human impact. Just digest the implications!

It’s time for the crunch questions: Who would the end-users be? How would e3e Monitor bring about change? Here are the answers from the team:

  • Peace-keeping / enforcing bodies could reliably monitor conflicts and cease-fire agreements.
  • Humanitarian / relief organisations would be able to use the information to assess damage, their own operational security and the needs of affected civilians.
  • The media would have a more accurate and non-biased picture of events relying less on “reports.”
  • An affected population would have access to better information about what is happening and where and so be able to make their own security decisions if, for example, they are moving from one town to another.
  • Airlines would be able to verify areas of active conflict and so change flight schedules, flight paths and assess security of airports.
  • Lawyers would be able to use the information as “evidence“ in the pursuit of prosecuting war crimes.
  • Academic organisations including those orientated around conflict and peace-building could use the information for a wide variety of research projects.
  • With a view to the long term, e3e Monitor technology and networks should become part of the essential infrastructure of any urban environment.

E3E 4The team has even designed a logo. I love the subliminals: scientific detection and monitoring of a spectrum of explosions and extreme energy events together with black box data storage. If explosions in populated areas is your concern, this is a logo you’ll be seeing in the future.

The Jean-Pierre Saint-Ours exhibition at MAH

Jean-Pierre Saint-Ours 1I meet Philippa Kundig at Geneva’s Museum of Art and History. She is the designer of the current exhibition featuring one of this town’s most famous painters: the eighteenth-century neo-classicist, Jean-Pierre Saint-Ours (1752-1809.) And what a monumental, beautiful exhibition it is! If you like to feast on representation of the classics, the team at MAH serves up Saint-Ours’s full menu of Homer, Olympic games (the original!), Spartans, Cupid and Psyche along with dozens of his meticulous portraits.

Such an important exhibition occupies Philippa and the two curators, Anne de Herdt and Lurence Madeline for more than six months. The works have to be sourced, borrowed and transported. Historical research, deciding on sub-themes, writing the panels and brochures, designing the display, building partitions, printing the materials, lighting the space and finally hanging the pictures are all requisite steps towards what confronts me today.

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The resulting presentation of the works is stunning. Here, by incorporating a vertical break in one of the rich, plum-coloured partitions, Philippa draws the visitor’s eye into the next space, across a rare Saint-Ours sculpture of two naked men wrestling and then on to an Olympian scene where a victorious wrestler is supporting his vanquished foe before the tribune.

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The life and work of Saint-Ours is squarely placed in the Enlightenment. He was profoundly influenced by Geneva’s foremost philosopher of the day, Jean Jacques Rousseau. The painter’s father is said to have possessed a collection of Rousseau’s publications. In one side-room, Philippa shows me a unique, academic and complete body of work. It comprises small oil paintings of scenes from Rousseau’s “The Levite of Ephraim” paired with corresponding ink sketches. Each pair merits minute examination. Tempus fugit!

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“Le Tremblment de terre: version monumentale” 1783 – 1799. Oil on canvas.

The signature painting of the exhibition is a large-scale version of “The Earthquake.” (Saint-Ours painted four smaller versions.) The motivation for this imposing work came with news of a massive earthquake in Messina, Italy in 1783. A family flees the destruction of their home. They look to the heavens as if expecting to find a reason for this punishment. The woman with her terribly vulnerable – possibly dead – baby are centre-stage. Powerful stuff!

Indeed, these were turbulent times. France was in political upheaval and Geneva had its own revolution in 1792. Saint-Ours maintained a fascination for people caught up in cataclysmic and violent events as evidenced by his sketch-book from around that time. My mind automatically makes a link to the paintings of Tahar M’Guedmini depicting the moment when catastrophe hits…… “when time faints.”

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Sketch for “Le Tremblement de terre.”

Needless to say, some of Saint-Ours’s exquisite sketches on this theme are positioned near the final work. This part of the exhibition seems so compelling. Is this because it resonates with current events? I guess that if Saint-Ours was painting today, this is how he would portray heart-rending scenes from the current migrant crisis in Europe. Were subliminal influences from daily news playing on the minds of the curators when conceiving this show and deciding on the signature work?

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Study for “Choix des enfants de Sparte” 1789. Oil on canvas.

Saint-Ours trained at the Royal Academy of Painting and Sculpture in Paris. For all the splendour of this exhibition, let’s not lose sight of the fact that he was a true master of his chosen medium. I find myself riveted by the sobre concentration on these men’s faces. And this painting was just a study for a bigger, harrowing canvas of the Spartan elders choosing which children would live to be good citizens and which would be left to die.

So…. Bravo MAH! And…. Brava, Philippa!  Many thanks for the private tour of your work-place. I take my leave and enjoy a breath of fresh air. Right in front of MAH, welcoming me back to the crisp October daylight, is my favourite public sculpture in Geneva – Henry Moore’s “Reclining Figure: Arch Leg.” I run my hand over the super-smooth bronze and can’t help wondering how a MAH exhibition designer would display Moore’s work in 200 years.

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Henry Moore “Reclining Figure: Arch Leg.” Bronze 1969.