Thursday, January 18, 2018

Willows in City Park & Cultural Landscaping



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REFERENCE PROVIDED BY
Lionel Morrell _ Heritage Protection Society (Tas)


THE HORTICULTURAL SOCIETY'S GARDENS, LAUNCESTON. The Gardens of the Launceston Horticultural Society, which are situated at the lower part of Cameron-street, cover an area of nine acres, and have the principal entrance from Cameron-street. passing through the entrance gates the visitor finds himself -in a very pretty shrubbery terminated by a fountain which in the summer season sends forth a shower of sparkling water. From this point walks branch off to the right and left. Taking the path to the right we find that it leads to a portion of the gardens laid out in thei Italian style, consisting of terraced walks and banks covered with flowers and shrubs. One of these walks known as "the Rose Walk," is peculiarly attractive; bordered on each side by a high hedge of China roses, which are in full bloom from early spring till 'autumn and which exhale a delicious, fragrance, this constitutes of a summer evening a delight ful promenade. In this part of the garden, in some secluded spots amongst the shrubs are a few rustic bowers which afford a grateful shade and rest to the tired visitor. Here also from various points good views of the remainder of the gardens which are laid out in the English landscape style are to be observed. The surrounding scenery is also very beautiful; comprising' the valley of the Tamar, the banks of which are dotted here .and there with snug homesteads and cultivated spots; and the lovely valley of the North Esk which is greatly attractive, as possessing a close resemblance to th scenery of some parts of Old England,. Descending from the terraces we come to lawns of, considerable extent bordered with trees and shrubs, -amongst which are placed, a owt se.ata for the accommodation of visitors to' the Gardens. Iero once a year the children belonging to the various Sabbath Schools in the town come to hold their annual festival; and then their laughter as they engage in various sports ringrlight merrily through the summer air, ,and ever and anon a hymn sung by soma hundreds of childish voices, adds the incense of human praise'to the incense which ascends to. the Great Creator from His dther: worki.' In the centro of this lawq Is a:onDseriatory, heated by gas; the gift tif Alexnlder McNaughtan, Esq., and which contains a respectable collection of tropical plants. ' The' conservatory Is surrounded by a small garden in the Dutch style. Keeping to the left the pavillion is reached. This is a rustic building of considerable extent, and is built in the form of a cross, and covered with flowering creepers. It is fitted up for horticultural exhibitions, and is provided with an orchestra for musicians. The Gardens contain productions from almost every quarter of the world, and so genial is the climate of Tasmania that often some gorgeous plant of the tropics literally glowing with beauty may be found surrounded by the less showy yet not less lovely plants of Europe; we have said aot lens' lovely For an are exquisite.. and evsy ptlant Points to the ml.tlly had that formed it. The collection of English trees is rather large, and the trees themselves are very Judicoiualy placed-the delicate foliage of the elm and ash contrasting finely with the masses of 'leaves of the oak and the sombre hues of the holly and yew; and these are again relieved by the vivid green of some weeping willows which droop gracefully at various parts of tile Gardens. There is also a vinery containing upwards of thirty varieties of choice grapes which ripen well in a favorable season. Europe is represented' by the following trees--Ash, oak, elm, sycamore, poplar, laurel, holly, yew, juniper, cypress, ivy, laburnum, pinus, &c. America by agave, gleditechia, magnolia, pinus, rlus, ribes, robinfa, yucca. China and Japan-Ailan. thus, 'ancuba, cydonia, eoonymus, hy. dranges, thuja, wistaria. Capo of Good Hope - Aloe, melianthus, polygalan, podalyria, asophorw, ntherlandla, virgilia, protes. Amongst the products of the Australian Colonies will be found acacia, aroncarla, indigofera, callistemon, pimnele, swainsonta, pultenaea, sterculia, melia; and there are also the following indigenous to Tasmania:-Acacia, banksin, bhellairdura, bursers, casuarina, clematis, croton, eucalyptus, euribla, grevillen, hakes, borve, pomaderris, prostranthera, solaium. New Zealand has the following :--Clian thus, phormlum, veronica, podocarpus. Members of the Society with their families are entitled to admission tothe gardens at all times, parties not members are admitted on the payment of sixpence; and in consideration 'of an annual grant from the Government, the gardens are at the comlIencement of next year to be thrown open gratuitously'to the public for one day in each week. The gardens are under the superintendence of LMr. Wade, who, to a thorough knowledge of his beautiful art, adds the somewhat. rare quality of courtesy to his numerous visitors.

Sunday, January 14, 2018

WICKERY AND PLACE



As ‘plastics’ continually get a bad press communities all over the world are looking around them and trying to figure out what can be done and how it came about that all this contention got to be so difficult – and so full of angst. Commentators very often look back to try and make sense of it all to provide coordinates for a way forward with or without this now ‘ubiquitous material’ in our cultural landscapes. Somehow the multiple narratives layered upon each other and the speed in which they have evolved to make our cultural memories less and less reliable and our aspirations perhaps more and more elusive. 

Somehow, the trust that was once invested in communities' ‘placedness’ has become less secure. Somehow, communities’ cultural realities are being challenged. Somehow, communities’ ‘placedness’ seems less and less tangible as ‘place’ becomes more elastic than ‘our valley’, ‘our street’, our ‘neighbourhood’, our this or that. Yet, unavoidably we find ourselves belonging to, and in,  places – and there are always consequences. In so many ways ‘plastics’ challenge our trust in the things we take from, and bring into, places. We want to trust them to return gently to the earth – one way or another

In the end plastics in all their machinations seem to invoke 'global imperatives' and there is more than a little irony to be found in the plastic flotsam and jetsam that is finding its way into enormous ‘rubbish rafts’ far out to sea almost out of sight and almost out of mind. 

Currently, as ‘a material’, plastics seems to touch all of us all the time and all at once – and in ways we can hardly comprehend. Typically, plastics comes to us from far away and rarely if ever by our own hand. The stuff it replaces, and has replaced, and even yet promises to replace, so very often came from very close to hand – from our places, our own cultural landscapes, the places we understand as 'home'

The stuff here is the 'nonplastics', the nonminerals, the organic living stuff from which our tools, our clothing, our shelters and ‘furnishings’ can be made – the stuff of wickery

‘Wickery’ in its various cultural contexts is an idea loaded with interwoven layer upon layer of narratives, most of which are to do with belonging and ‘placedness’. The wickery that evolves from our  'home places' speaks loudly of them and the cultural imperatives that shape home places – oftentimes subliminally. Ultimately, wickery has become an expansive idea given that in its colonial contexts it carries with it a cargo of ‘elsewhereness’. Simultaneously, it is absorbed into colonised places whilst soaking up local sensibilities and adapting to ‘elsewhere’.

Histories, and the storytelling that go with them, all too often lose their vitality and potency with the passing of time and our preoccupations with newness. As well, wickery has much to say about the here and now albeit that ‘its time’ is most often understood as having past. When examined in some detail the practice of ‘wickery’ and its relativity to place and ‘placedness’ holds lessons worth relearning.  With all this comes the possibility of opening up new social, cultural and technical frontiers.

Ray Norman Jan 2018

Thursday, January 11, 2018

WILLOWweavers QR CODES


Watch out for these QR Codes that are likely to appear in all kinds of places and contexts. They will link you to various aspects of 'the project' as it unfolds over time.

Sunday, January 7, 2018

PLANTS OF KINDRED USEFULNESS

Mike + Doug Starn  Among other things these guys work with bamboo at a somewhat extreme end of the spectrum ... https://www.designboom.com/art/mike-doug-starn-big-bambu/
Since the 1980s, Mike and Doug Starn’s conceptual approach to photography, and use of unorthodox techniques, has broadened notions of what is accepted as a photograph. In a signature manipulation of materials and form, the twin brothers apply innovative printing techniques, and a vast array of materials including transparency film, plexiglass, layered fused glass panels, gilded colored carbon prints, scotch tape, wax and pushpins, to create, and intensify, their metaphorical landscapes. With the theme of light as a central component of their work, the brothers explore the physical and philosophical interconnections between subjects such as leaves, trees, snowflakes, and religious icons, with human memory, perception and thought. Working collaboratively in photography since the age of thirteen, their innovative techniques, and unique combination of sculpture, painting, and video, have defied categorization, and earned them a position of eminence within the history of art.
Born in New Jersey, 1961, Mike and Doug Starn attended The School of The Museum of Fine Arts in Boston. Their work has been widely exhibited throughout the world, and represented in the collections of the Baltimore Museum of Art, Art Institute of Chicago, High Museum of Art, Atlanta, the Los Angeles County Museum of Art, Metropolitan Museum of Art, New York, and the Whitney Museum of American Art, New York, among many others. They live and work in Brooklyn, New York.
LINKS


Enset, the 'false banana'
Tuesday, 03 June 2014
Enset (Ensete ventricosum) is a member of the same botanical family as the banana, but unlike its cousin it’s not grown for its fruit. The main edible parts of the enset plant are the starchy rhizome and pseudostem. Even though the 'false banana' is native to the highlands of eastern and southern Africa, the domesticated types are virtually unknown outside Ethiopia, where it is a staple for nearly 15 million people in the southwestern part of the country. Earlier this year, a team of British and Ethiopian scientists published a draft genome sequence for enset by using the reference sequence for Musa acuminata as a template onto which they aligned their fragments of DNA, an approach similar to the one used to produce a draft genome sequence for Musa balbisiana. For more information on the crop, browse the Musalit records on Ensete ventricosum and downpload the PDF of The "Tree against hunger". 

Banana is amongst those plants considered 'most useful' but largely ignored by the 'the developed world'.



LINKS

Monday, January 1, 2018

WILLOW BARK & BASKETS

 
  



Jonathan Ridgeon  Some people NEED this connection in their lives, Jon is one of them. Jon grew up in rural England, adventuring in woodland and working on his bushcraft skills. In 2015 he moved to Norway, seeking out more freedom and to live a simple off-grid self-sufficient lifestyle among the forest and mountains. For the most part, Jon gets what he needs from the land, but he also makes his living as a writer and is the author of three books on the subject of willow weaving. LINK

Processing Willow Bark for Cordage: "Surely one of the best cordage materials; Willow bark is both abundant and relatively easy to process. This article will describe how to strip the bark (in Summer or Winter) and turn it into supple fibre strands ideal for cordage making. There is an accompanying tutorial which shows the techniques you'll need to transform these fibres into cordage or rope. Firstly you need to find and cut down a living shoot/ branch of Willow between 4cm and 10cm thick. Look out for tall relatively straight 'poles' of willow that have as few side branches as possible. Willow will tolerate many growing conditions, but it prefers damp/wet places, so lake sides and river banks are good places to look. A coppiced woodland is a good place to find the straightest wood with few side branches. There are many varieties of Willow, Goat Willow and Crack willow are likely the most common. I have never tried processing Weeping Willow, although this would probably work too." LINK



Sunday, December 31, 2017

WILLOW SAWFLY

Biostatus and Distribution
This adventive sawfly from the Northern Hemisphere was first found in New Zealand, in Auckland in February 1997. It is now present in the North and South islands. It feeds on most species of willow. Some trees may be defoliated. It is one of three species of willow feeding sawflies in New Zealand.
Conservation status: Widespread, a minor pest of some species of willow. It can weaken willow trees used to protect river banks. Biostatus and Distribution
This adventive sawfly from the Northern Hemisphere was first found in New Zealand, in Auckland in February 1997. It is now present in the North and South islands. It feeds on most species of willow. Some trees may be defoliated. It is one of three species of willow feeding sawflies in New Zealand.
Conservation status: Widespread, a minor pest of some species of willow. It can weaken willow trees used to protect river banks.




Sunday, December 17, 2017

A Toxic Love Story. What exactly is plastic?


TRANSCRIPT

Keri Phillips: Hello this is Rear Vision with Keri Phillips. Today, the story of plastic. 

TV commercial [archival]: When you look at plastic, you know how it helps things stay fresh and safe and light and unbreakable and strong and easy to carry, but take another look. Plastic also saves energy because it helps make cars lighter to save gas, and plastic insulation helps save energy at home. Even these strong plastic bags help save energy because they take less energy to make than other grocery bags. To learn more, call this number for a free booklet, and take another look at plastic. 

Keri Phillips: A hundred years ago, almost everything in our daily lives would have been made of natural materials.[much of it as basketry] Our clothes would have been wool or cotton, our furniture wood and so on. Today, many of these natural products have been replaced by plastic and now you'll find plastic in just about everything we use. It's so ubiquitous we don't even really notice it. 

Susan Freinkel is the author of Plastic: A Toxic Love Story. What exactly is plastic? 

Susan Freinkel: Plastic is kind of a misnomer. Plastic isn't a single thing. Actually there are tens of thousands of plastics, and what they all ........CLICK HERE TO READ ON


 





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Posted By The Coordinator to  Tasmanian Ratepayers at 12/18/2017 10:58:00 AM

Saturday, December 2, 2017

Mother Brown Again


Click here to link to the GOOGLEbook

 From: Bron Fionnachd-Fein Date: Saturday, 2 December 2017 
Subject: ...and another bit of info ......... ...and here’s another bit of info about Mrs Brown and her pegs (this time from http://fsgbookkeeping.com/excerpt-housewife-superstar/ which is about Marjorie Bligh): “One of the more colourful characters was Mrs ‘One-eye’ Brown, who had ‘one eye and a hole where the other one should have been’. She came with a cart piled high with wares, and a mangy horse and several dogs. As well as selling her goods, which included handmade willow clothes pegs, she would beg meat for her dogs, gather firewood in backyards and request old clothing. If given a hat, she would put it on top of the one she was wearing. According to Marjorie, Mrs Brown was bad-tempered when crossed, and once threw a bucket of water over the butcher when he refused her free meat. She also gave Marjorie and her younger sister, Beatrice, a pair of hearty smacks across the face when she caught them peeping at her through a shop window. Mrs Brown would approach houses loudly singing ‘My Blue Heaven’, and Emma would gather her daughters inside and lock the door when she heard her coming. Mrs Brown ‘knocked at the door; no answer, so she banged hard and sang out, “I know you’re in there, Mother Pearsall, so now I’ll let your kangaroo rat out!” and she did just that, and my goodness, it was hard to catch again.’ 

 It was rumoured that Mrs ‘One-eye’ Brown was in fact a wealthy woman from Hobart who dressed as a tramp to go out profiteering. Whether or not this unlikely story was true, she remained a character in the midlands for some time, and turned up peddling her wares at Marjorie’s own door after Marjorie was married.”


Also a  friend today was telling me about ‘Granny One-Eye Brown’, apparently of Romany stock who used to travel around Tassie with her horse and dray, and slept in a hammock under the dray and who made and sold willow clothes pegs for a living. My friend’s grandmother had some of her pegs, which were simply made dolly pegs, bits of willow bound with wire. 

I googled her and found this reference on p. 117 of a UTAS thesis (at https://eprints.utas.edu.au/9997/2/Alexander_1989_part1%5B1%5D.pdf: 

"Also well-known was Mrs 'One-Eye' Brown who made and sold willow pegs. She terrified local children and could turn nasty if her pegs were not bought" (A. Alexander, Glenorchy 1804-1964, Glenorchy City Council, 1986, p. 21)

Click here to go to source



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