1. A searchable thumbnail index at FOD0240.html
2. A hyperlinked sequence at FOD0360.html
3. An automatically hyperlinked slide series at FOD0475.html

Regards Simon Pockley

Joanna

>who you consult with should be a community decision

Of course, and this is why I have been trying to find people with whom to consult with for 3 years. Let's go back a few steps and question this process of `consultation' which I am beginning to think is another word for `this is too difficult - let's just wash our hands and shift all responsibility on to someone else'.

Keep in mind that the identity of the diverse groups of aboriginal people depicted in 'The Flight of Ducks' is generally not known - or the exact locations of where the pictures were taken. Also, that the population of the country between Hermannsburg and Mount Liebig has changed dramatically since 1933 so descendants (if any) are difficult to find.

>1. As an outsider, how do I find out who I should be consulting with ?

AIATSIS = no help - try CLC.
CLC = no help - a wall of self interested anthropologists.
ATSIC = no help - no interest.
Warlpiri = 'not our mob'.
Mount Liebig = 'only been here 13 years - not our mob - we're from out west'.
Haasts Bluff = no way of making contact without the help of CLC who won't help.
Marcia Langton = no reply.
Gary Foley = not my mob.
NLA = 'we have some token contacts but we'll watch you try'.
A few descendants from Hermannsburg = "these photographs are so old - do what you like - we don't care. Be interesting to see what you come up with - but don't tell anyone I said that to you."

>2. It would be interesting to get the reasons WHY the site should be removed
from those requesting it.

Yes, wouldn't it - but I can't get any reasons (directly) or, at this stage, even requests to me to remove anything (see last email). You might say " well, what's the problem?" The problem is that this so called process of 'consultation' that is being thrown back at people like me - by institutions or political interest groups, is unworkable. I don't mean difficult (that's not a problem - I have been trying for years and I'm in for the long haul) - I mean unworkable.

>3. See where I am coming from on this?

I think so - but maybe I'm still missing something. I understand the nature of authority, but I think it has different meanings in different cultural contexts. My problem seems to be that I am reacting to someone making demands who does not have the authority to make those demands but claims that he does by virtue of his position withing the AFC. In consulting with Americans (not Renato) over the implementation of PICS, I am simply trying to arrive at a model for an on-line solution to what is an on-line problem and in doing so, at least try to come up with something useful and positive.

4. Marcia Langton calls for more `intercultural dialogue' which I think is a positive goal.

At this stage it is a monologue for me which consists of trying to find someone/group with whom to discuss some of these issues calmly and not in a state of crisis.

Most of these points I try to articulate in 'Blinding the Duck'.

Do you know of any projects like `The Flight of Ducks' which have emerged from a process of consultation with community interests ? I only know of projects that have been censored at the last minute or pulpled or have been abandoned. Remember, I'm not attempting to tell a story about Aborigines - but about my father. Aborigines were there in 1933, as they are now, but 'they' are not my focus at all.

>Do keep in touch ...

I don't want to bore you but I do need someone to talk to about all this. I appreciate the time you are taking to reply and give me guidance.

What about the warning mesages ? How can I improve them ?

Regards Simon

Simon

The issue of who you consult with should be a community decision with minimal choice effected by _us_. Therefore I would recommend that you contact the appropriate community in situ - ie the Warlpiri if it is their community depicted. If they chose not to be party to the consultation process, you do have to check that the appropriate people within that community were party to the decision - yes there is politics, but it is no different to our world, only that it operates in different ways.

It would be interesting to get the reasons WHY the site should be removed from those requesting it. So often, there are such demands which seem to stem from a basis which is hard in fact to document so reason, negotitation and compromise is hard. Equally, does the person requesting the removal have the authority to speak on behalf of the community? See where I am coming from on this?

Do keep in touch ...

Joanna

Joanna

The paper `Blinding the Duck' is evolving - so it will probably change as you are reading it (there is a date at the top). For all my faults I work live and on-line.

>it sounds like both the CLC and the WMA are not being easy - but consultation is never easy

last night I heard (from a journalist) that the the WMA and CLC are no longer interested but that Wal Saunders of the AFC wants me to remove the site (he hasn't said anything to me).

>I note that you mention the NLA

The NLA (PANDORA) are using `The Flight of Ducks' as one of six on-line projects to investigate issues of digital preservation (my other interest). They are looking over my shoulder on this one to see what happens. (see `Killing the Duck to Keep the Quack': FOD0055.html

>it may be a couple of weeks.

I'm consulting with Renato Ianella, Phillip DesAutels and Jim Miller (PICS) to see if we can come up with a PICS implementation so that I can at least offer as a possible solution to future problems. The spanner in the works, at this stage, is that we need some aboriginal input (more than token). Do you know of anyone who might be interested?

Until then...

Regards Simon

Simon

The issue sounds quite a complex one - not knowing much about Centralian history, I hadn't realised that you are the son of the photographer. Maybe there are issues which went on when your father was there that are now being used in some way that you dont know. Equally what we all read into photographs is different, both visually and culturally.

But the issue is difficult - and in some ways about control - you of your property and therefore willing to share, and the subjects who, because they are not in control are reacting to your the access you have afforded. The law makes no judgement about subjects of photographs having rights of any sort, except that they dont have any, but it sounds like both the CLC and the WMA are not being easy - but consultation is never easy, takes time and can really only be done face to face - the other issue is, as you have discovered, is who is the appropriate body or individuals to consult with.

You may want to read Roslyn Poignants latest book entitled Encounter at Ngalarrama (may be the wrong spelling) published by the National Library of Australia. I note that you mention the NLA in your paper which I will read thoroughly when I can print it out - what is their response to all of this.

I dont see anyone as Hansonesque demons - the issues are difficult, complex and require a lot of time to solve. It is hard enough dealing with institutional collections, but when it is your family property then it is at a different level again.

I'll be in touch when I have had a read of the paper - bear with me it may be a couple of weeks.

Cheers Joanna (jsassoon@cyllene.uwa.edu.au)

Joanna

Many thanks for your reply.

>A bit more context and we could thrash a few ideas

>What do you mean by corrupt?

This was a term applied to my warning screens by The Warlpiri Media Association. They also use the words 'ineffective' and 'irresponsible'.

Here is some of my reply

>>"restricted" aspect is corrupt.

>In my email to you of June 5th I did respond to this. This is what I said: I thought I was doing the right thing in providing warnings. It is not like a book where you could just open it at sorry places. What would you like me to do/say ? Would you like me to use Warlpiri Language ? If you send me what you want it to say I will change it. In other words I need to know what you want me to say. What do you mean by the "restricted " aspect is corrupt? How is it corrupt? Is it wrong to issue warnings? Please give me some guidance in this...

They will not reply to me.

>why have things gone wrong with the CLC

When I first contacted them (1995 at the suggestion of AIATSIS) I was put on to an American who described himself as the 'thought police'. He asked me to send copies of the photographs - which I did (at great expense). He then vanished and so did the photographs. No one there seems interested in what happened or why. My calls and letters are not responded to either, although I have had one letter of reply from an anthopologist (Lee Sackett) with some photocopies of the CLC policies and a request that all material be handed over to them.

>Who is defining the photographs as sensitive?

Walter Saunders from the AFC has been in Alice Springs bad mouthing 'The Flight of Ducks' on the radio and to various communities, but he will not talk to me. I know this because an ABC journalist rang me and wanted me to comment 'on air' about the controversy (I did not - of course). I sent a number of emails to Walter Saunders and he sent one email back saying he would send a letter soon (June 2). He has not done so.

>They are difficult issues which few institutions are prepared to tackle.

Too right they are and I am attempting to meet them head on because I think they are important. I am writing a paper at the moment called 'Blinding the Duck' in which I am trying to articulate some of these issues and at least offer some solutions.

I would be grateful for your comments if you have time. The paper can be found at:

http://www.duckdigital.net/FOD/FOD0781.html

You probably think I am some sort of Hansonesque demon but I assure you I have done my best to be deferential here. As time passes I think I am hardening. It is interesting isn't it?

Regards Simon

Simon

This came via Alex and ntu

I manage the collections at the state library in Perth and am interested in these issues, independant of the policies of my employer.

What do you mean by corrupt?

The issue of consultation is difficult - why have things gone wrong with the CLC, indeed are they the appropriate group to consult with.

Who is defining the photographs as sensitive?

They are difficult issues which few institutions are prepared to tackle.

A bit more context and we could thrash a few ideas

Cheers Joanna Sassoon (jsassoon@cyllene.uwa.edu.au)

Simon

My apologies for the delay in coming back to you. I am not able to answer all the questions you put to me. I do know a couple of Aboriginal people who might be willing to help you. I am in touch with a father-son combination who originate from Queensland, tropical rain forest Aboriginals from the area around Tully. The father is a man called Ernest Grant who has just presented a Cultural Awareness Workshop to NLA staff members. His son is Brian Grant who is actually a computer programmer with the ABC in Sydney and is himself strongly interested in the representation of Aboriginal issues on the Internet. I will get contacts for these people for you.

I am not well versed in PICS metadata syntax but I have passed your enquiry on to other coleagues here.

I do not know of any protocols for the handling of Aboriginal material on-line but I am very interested in joining with you and others to develop an appropriate protocol. This issue is of direct relevance to me since we intend to mount the NLA guide to indigenous materials on to the NLA Web Site. Have you looked at the ATSI protocols published by the Australian Library and Information Association? A useful starting point I think, if you don't already know them..

The NLA's position on culturally sensitive material is not defined by an absolute policy position. But we recognise that much material we hold is sensitive and that such sensitivities should be respected by the imposition of appropriate access arrangements. In some cases already we have consulted with relevant communities and have established specific access conditions for some items. On advice, we have also restricted access to some collections of photographic materials which deal with secret and sacred rituals and ceremonies. We anticipate that further restrictions may need to be negotiated but intend to proceed on a case by case basis. We have no intention of imposing blanket restrictions and are concerned that the proponents of the ALIA protocols may be tempted to advocate more draconian conditions than are really justified.

Having said this, we are interested in using warning messages to indicate that the content of materials may cause distress or give offence to Aboriginal persons. I envisage that such warnings might be applied to some of the entries which I prepare for the NLA's Guide.

On the question of 'returning' material to Aboriginal custody, our position is essentially conservative. Since in most cases, none of the material we hold has originated in any ATSI communities we do not see that repatriation as such is an option. However we recognise that some of the materials we hold relate to identifiable communities and we have an open mind about supplying copies of records to these communities. No such demands have yet been made. We see that our Guide may serve as the means to stimulate Indigenous interest in our holdings and that demands may follow. We propose at this stage dealing with enquiries on a case by case basis but on a broad philosophical position which acknowledges that communities may wish to have access to relevant materials held here.

We are begiining to feel our way on community consultations. We are currently in the late stages of preparing a major travelling exhibition on the Aboriginal people who were taken into custody by circuses and presented to the world as curiosities.. This has involved a major round of consultations with descendants of a particular group affected by these practices. The consultation has been very useful indeed and has resulted in major changes to our approach. More information on this can be provided to you by our Exhibitions Curator Michael Richards. We have also worked with Aboriginal advisers in developing aspects of our oral history programs. And we established useful contacts with many ATSI communities in our efforts to acquire printed materials for retention in the NLA's collections.

Hope this goes some of the way in answering your questions. Let me know if you need more information or clarification.

John (jthompso@nla.gov.au)

http://www.duckdigital.net/FOD/FOD0541.html

The Hermannsburg part of the journal begins at:

http://www.duckdigital.net/FOD/FOD0312.html

Today Hermannsburg is a sorry place.

http://www.duckdigital.net/FOD/FOD0662.html

Some of Namatjira's prints are on exibit in Albrecht's old house which is now a tea room. If your daughter wants to use some of the 1933 photographs of Hermannsburg as background she is welcome.

Let me know where you are.

Simon Pockley

Simon

It seems to me that you have taken reasonable steps to flag concerns. I am glad to see a sensitive approach.

I don't know any Aboriginal people who could help with PICS but will copy this to Heather Moorcroft who may be able to help.

Best wishes Alex

PS I find your black backgrounds overpowering on my PC!

Alex

This email form is from your `protocol.html'

I am looking for some guidelines or protocols about the on-line treatment of several hundred digital representations of photographs taken during an expedition to Mount Liebig in central Australia in 1933.

(The Flight of Ducks) http://www.duckdigital.net/FOD/

I use warning messages in front of any that I consider might be sensitive. But I am told these are `corrupt'. What do you think?

Are there any guides as to what to do ?

I have tried 'consultation' with the Central Land Council over the last 3 years but have got nowhere. I am currently trying to develop a protocol which implements PICS. Do you know of any aboriginal people that might be interested in providing advice ?

Regards Simon Pockley

Dear Simon

To your questions about how to deal with material that may be sensitive to aboriginal people:

Firstly some background. The Library is taking this matter seriously. We have a senior member of the Library staff engaged in compiling a guide to the Library's collections of original materials relating to Australia's indigenous peoples. He is still exploring the range of issues posed by cultural sensitivities and does not expect to finalise this before the end of next year. At that time he expects that we will be in a position to enter into a more formal consultative process with indigenous communities. His name is John Thompson and he would be happy to hear from you if you would like to discuss this with him. His email address is jthompso@nla.gov.au

The Library has also taken on an Aboriginal cadet who is away studying most of the time, but the idea is that she will take up employment with us and we look forward to having her on hand to advice us about these issues.

We are aware of and take into account the ATSILRN protocols for libraries and archives.

There seem to two different sorts of information which may be a problem and each requires a different mode of approach.

The first type is the book or article which describes Aborigines or their culture in an erroneous or offensive way (eg Pauline Hanson's book that claims they ate each other or graphic descriptions of massacres). There is probably quite a lot of this kind of material in the Library. We have already had in relation to printed materials, requests from people of Aboriginal descent to remove items that they find offensive from the collection. While we acknowledge the offensive nature of it, we are not willing to remove the material from the collection. (However, we are looking at labelling the material in some way to warn potential users that it may give offence or be upsetting, in the same way that you have issued a warning on your site) . We believe that it is important that this information continues to be freely available . Removing it from the collection would in effect be colluding with those in the community who like to deny that this dark side of our history ever happened. We can not assume a censorship role.

The second type is a different matter. This might include, for example, the papers of an archaeologist describing men's business or women's business that the culture demands should not be seen by certain groups or categories of people. Although procedures for this are not fully in place, we would want to respect these protocols as much as we can. Our pictorial collection, particularly, contains material that probably infringes these guidelines, and Pictorial staff are taking some steps to manage the situation.

It's a while since I have had an in depth look at your site, Simon, so I'm not sure which category your sensitive material fits in to. But yes, we are interested in working with you on solutions to these problems. In fact, as a result of your questions, we have now altered our Business Process Model to include cultural sensitivies as one of the scenarios which would require some sort of mediated access.

In relation to the meta tagging, there seems to be no suitable tag in Dublin Core. What would you be trying to achieve by tagging - enabling a search of sensitive titles or files? Debbie seemed to think it would be more a PICs issue but apparently the standard is not yet available.

I hope this helps

Cheers Margaret.

Walter

A radio journalist from Alice Springs rang me on Friday night and said you were very unhappy about `The Flight of Ducks'.

As I said to you in my previous email, I think there are important and complex issues to be discussed here. From my point of view they are too important to be reduced to simplistic sound bites on the radio or to be used to stir up controversy.

What I cannot understand is why you will not discuss these issues with me if you have concerns about the site ?

Intercultural dialogue is very important here. The Warlpari Media Association have said they don't have time to talk to me at this stage. Perhaps you might be able to suggest who I can talk to ?

At least let me know what your concerns are.

Regards Simon Pockley

Marcia Langton

Apologies for this cold email. My name is Simon Pockley I am in Melbourne and I am writing to ask if I might seek your advice.

Recently I read your `excellent essay `Well, I heard it on the radio and I saw it on the television'. It has profoundly altered my way of seeing. I suspect that I still have a long way to go before my eyes are fully open.

Over the last six years I have been a building a web site called `The Flight of Ducks'. At its core is a collection of journals, photographs and objects relating to camel expedition from Hermannsburg to Mount Liebig that my father undertook in 1933. His companions were Hezekiel an Aboriginal guide, artist - Arthur Murch, animal and skull collector - Stanley Larnach and for a few days T.G.H. Strehlow.

The Flight of Ducks tells a very personal story. It has been as much a journey into the use of a new medium as a journey for me around my father. It can be found at

http://www.duckdigital.net/FOD/

Because so many of the photographs have Aboriginal subjects and so much of the journals are about meeting native groups, the issues of representation that you raise in your essay are very important. However many of the areas for consideration with which you conclude your essay simply do not apply to a medium such as the World Wide Web.

`The Flight of Ducks' is a very large site. But it is not `product' like film. It is an ongoing story which will never be finished. It does not involve money, distribution, employment, or land use. Nor is it just my story or my view of a story. It is more like a campfire around which people tell stories. It is in a medium which can allow all stories to co-exist. The implications are that Aboriginal interests can write over the text and images and use them to tell their stories. This raises all sorts of difficult issues which I believe are as important as the issues you have raised in your essay.

>From the outset I tried to involve Aboriginal interests. But I have to say that the process of consultation sounds great in theory but in practice, only good will and persistence keep me trying. These are early days in the use of this medium.

If you have the time one day, I would be very interested to hear your views on this site.

In the meantime, do you mind if I ask you some more specific questions ?

Regards Simon Pockley

http://www.duckdigital.net/FOD/FOD0232.html

I suggest you try the Australian Institute for Aboriginal and Torres Strait Island Studies at

http://www.aiatsis.gov.au/

let me know how you go.

Regards Simon

See: http://www.duckdigital.net/FOD/FOD0533.html

The most complete version is the hypertext one at:

http://www.duckdigital.net/FOD/FOD0023.html

The original journal can be found at but the scans are high resolution so they are big files and may take a while to download.

See: http://www.duckdigital.net/FOD/FOD0080.html

There are references to places in some parts but precise locations are not always given. The trip was from Hermannsburg out to Mount Liebig and back again through Glen Helen.

>In reference to your letter to Wal Saunders - the CLC isnt the only place, AITSIS not the only experts. "disinterest" seems subjective. Please explain.

Yes it is subjective and is related to the frustration that comes when you spend over $200.00 laser photocopying, only to have the photographs disappear at the CLC. It comes from ringing 5 or 6 times - leaving messages and getting no reply. It comes from writing letters and getting no reply. It comes from sending emails and getting no reply. It comes from getting replies that say 'too busy' for this. It comes from having 'white' intermediaries standing between me and aboriginal people who might know who I could talk to. Does this explain why I use subjective words. I am not objective - this is not an objective project. It is a very personal story in which I feel entitled to be subjective. I repeat - I am am individual with good intentions but little money. I am not some government institution with funds to spend and a pay cheque each month.

>You could have consulted us and and other community groups. Please explain.

I was quoting from your message.

>we are a community with many concerns and different cultural values, perhaps
our time isn't avialable right now -

I recognise that you have different cultural values. If you do not have time to talk to me about this project - that's fine - I just thought that your message sounded urgent - so I responded immediately. I am completely flexible and, as I said before to you, am happy to respond to your wishes. If I know what they are. If you won't tell me then I can't know.

>this may be an indication that you have been inflexible in your timeline for
publishing.

I think web publishing is quite different to other sorts of publishing. It is very flexible. This is because nothing is fixed and the work is in a state of constant change. As I said to you before. Just let me know if you want to write over the material in any way or if you want me to include Warlpiri perspectives and I will. The `Flight of Ducks' has been on-line since 1995 but I keep updating the screens.

>Also you have as yet not responded to our suggestion that the publication's
"restricted" aspect is corrupt.

In my email to you of June 5th I did respond to this. This is what I said:

>I thought I was doing the right thing in providing warnings. It is not like a book where you could just open it at sorry places. What would you like me to do/say ? Would you like me to use Warlpiri Language ? If you send me what you want it to say I will change it.

In other words I need to know what you want me to say. What do you mean by the "restricted " aspect is corrupt? How is it corrupt? Is it wrong to issue warnings? Please give me some guidance in this...

Now I want to ask you a question:

Your first email really shook me because I thought I was doing the right thing. Since then I have been looking at the photographs and realising that there was probably some cultural bias in the way they were presented. So I have been rethinking the presentation of these images. I have been collecting my thoughts on this if you are interested at:

http://www.duckdigital.net/FOD/FOD0781.html

For remote communities technological limitations and telephone charge rates have made access to the web, a city based phenomenon. This form of urbanity is not just about living in the city. It is about access to a very private place which, on the one hand, offers connection to a networked community, but on the other, is a place where isolated individuals can access the very personal space of the computer screen.

I suspect that this form of space does not fit the social, cultural and hierachical use of media in remote aboriginal communities. In this respect the World Wide Web may turn out to be a culturally biased medium.

The power of this medium resides in its ability to shape personal space. Yet at the same time this space is culturally colonised because we are looking at our datascapes through American (Netscape - Microsoft - IBM) eyes.

The question I want to ask is: do you think the web has a cultural bias ?

Obviously you have a connection - but on what type of equipment ? How slow is it ? Do you have to wait for ages for images to come down ? Do you have to pay long distance call charges ? Do you use a lot of email ?

I am still not sure about which person I am talking to:

Is it Tom, Robin, Sara, someone else or everybody ?

Regards to you all

Simon Pockley

http://www.duckdigital.net/FOD/FOD0565.html

If you tell me which images you want me to protect I will. I need your guidance here. If you would like to tell these stories from an aboriginal perspective ? I can include them so that, in time, all stories can be told. I hope that our children will be adding their own stories to this site. Please let me know of your concerns so that we can work out long term solutions at this early stage.

Regards Simon Pockley

Sylvia

Thank you for your reply.

>Do you intend to produce a hard copy of your thesis which I would be able to
access

Another can of worms I'm afraid. The main work `The Flight of Ducks' is an on-line digital work which is constantly changing. I am passionate about this medium. It allows work/thought to evolve.

Parts of it are designed to printed out - particularly the academic papers which, in the end, will add up to a `thesis' based on `The Flight of Ducks'. The papers themselves provide an example of the fluidity of this medium:

One (about digital preservation) is called `Killing the Duck to Keep the Quack'.

http://www.duckdigital.net/FOD/FOD0055.html

It has been on-line now for nearly a year as part of the site. It is also published by Stanford University on-line. Because it invites comment - suggestions and corrections arrive. These not only alter the `paper' but encrust it in such a way that you can read not only the updated 'paper' but the comments and my replies to the comments and so on. Printing them out gives an idea of what they are about but most of the depth behind the hypertext links is missing. They therefore exist on two levels: A paper based level which is easy to read and digest; and a hypertext level which allows you to move straight into examples, deeper explanations and other people's work.

>The problem you confront is very difficult:

Yes it is, but I like a difficult challenge and the nature of the material puts me in a rare position.

>you don't want to jeopardise your project by becoming involved in acrimonious debate.

In many ways these are issues that need to be faced. Not ignored. I think it is true that the Web is a form of cultural imperialism. I don't like being forced to use American spelling. I draw parallels in 'The Flight of Ducks' to the advent of the telegraph followed by the train. Daisy Bates wrote:

With the railway began the extermination of the Central native groups. Each group through whose territory the track was passing saw its waters used up, the trees and bushes were destroyed for firewood and fence posts, the whole country turned to strange uses. They thought that the train and its people would go away, and leave them the things to play with. They were mesmerised by the trains, the trains became their life, the rhythm of their days. This might happen again.

>I would also contact Aboriginal Studies at the Museum of Victoria.

Yes it is a long process. I went there in 1995 and watched someone hiding the photographs from the Spencer and Gillen collection. Alarming.

>Eric Michaels " A Primer of Restrictions on Picture Taking in Traditional Areas >of Aboriginal Australia,"

Thank you I will seek it out.

So much to talk about but do not want to make this email too long.

Kind regards Simon Pockley

Dear Simon,

Thanks for making contact and please pass on my regards to Alan. Your project sounds most interesting and I am certainly be very keen to keep in touch with you and find out more about the nature of your fathers involvement in the Centre. Do you intend to produce a hard copy of your thesis which I would be able to access or purchase?

Re your queries. The problem you confront is very difficult: If I understand your project clearly in one sense you are dealing with biographical material relating to your father-and of course you really are free to use this material in whatever way you wish - however his historical experiences and interaction with Aboriginal people in the Desert region raises other far more complex issues and given you are working on the Web,I think you're very wise to be cautious as you don't want to jeopardise your project by becoming involved in acrimonious debate.

There isn't one single Aboriginal position that I can discuss: rather its better to see the whole arena of cross cultural interaction as complicated and contentious. Perhaps Aboriginal communities in the centre appear to have given the impression they're irritated or, at the very least, uninterested, in your project. This is entirely understandable given the history of race relations in Australia. However this doesn't necessarily mean that your free to do with the images of Aboriginal people whatever you want. Indeed some of the main concerns voiced by Aboriginal people centre around the issues raised by representation and control of cultural heritage and more importantly for you, these debates have occured at the national level, led by key Aboriginal scholars and community leaders. In particular I should warn you that the trend toward digitised publishing of films and photographs of Aboriginal people on the Web is viewed by many as a form of cultural imperialism.

In the first instance, one primary reference would Eric Michaels " A Primer of Restrictions on Picture Taking in Traditional Areas of Aboriginal Australia," in Bad Aboriginal Art (ed.). Dick Hebdidge. Sydney Allen & Unwin St Leonards 1994, pp. 1-20. He is of course dealing with the contemporary scene not historical images.

I would also contact Aboriginal Studies at the Museum of Victoria.(Director Gaye Sculthorpe) You'll find them difficult to access but in the long run they could prove very useful so just open up negotiations and patiently work through the bureaucracy (ie a week's notice by letter for appointments is usual).The have a strong indigenous representation, they liaise with local and outback communities, and they are confronting the copyright problems raised by historical images.

Do keep in touch and good luck. Regards Sylvia Kleinert.

Dr. Sylvia Kleinert

Apologies for this cold email which I am sending to an administrative address.

I have been given your name by Alan Koeninger who is now working on his Masters at RMIT.

My name is Simon Pockley. I am completing at PhD at RMIT based on an archival website entitled `The Flight of Ducks'.

http://www.duckdigital.net/FOD/ It is a large site which grew out of my father's expedition to Central Australia in 1933 and contains journals, artefacts and photographs. Alan tells me that you would be the best person to ask about the photographs, half (70) of which depict Aboriginal people.

Over the last 2 years my attempts to contact possible descendants of these people have failed. Indeed, my efforts have been treated with contempt by organisations such as the Central Land Council.

Can you advise me about the best way to proceed. The World Wide Web is a powerful medium and I am anxious not to offend?

Perhaps you could also point me to references/papers which might deal with the ways these kinds of images might be read?

I am based in Melbourne and can be reached by email at simonpockley@gmail.com or by phone at (03) 96511510 or by mail at Cinemedia 17 St Andrews Place Melbourne 3002.

Regards Simon Pockley