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From: Simon Pockley
To: Adam Meigs
Email:
Sent: Thursday, 18 September 2003 2:48 PM
Subject: searching for the iliad read aloud in homeric greek...

http://www.duckdigital.net/FOD/FOD0482.html

Kind Regards
Simon Pockley

From: Simon Pockley
To: Katherine
Email: black_kat@hotmail.com
Sent: Tuesday, 16 September 2003 9:21 AM
Subject: hello

Kat

I recall vividly the huge crowd supporting Aboriginal land rights and waving banners at the opening of the opera house. This was in the 70s. I'll try to think on what might be available for the 80s. Nothing much coming to mind at the moment. But you could search on Pat O'Shea who was very active around this period.

Kind Regards
Simon Pockley

From: Simon Pockley
To: Bronte Somerset
Email: bronte.somerset@mq.edu.au
Sent: Thursday, 28 August 2003 11:41 AM
Subject: Flight of Ducks

Dear Bronte

Many thanks for your encouragement. Over the years the Flight of Ducks has grown into all sorts of spaces and attracted a range of responses which have largely determined its growth. Would you have the time to let me know what areas you enjoyed?

Kind Regards
Simon Pockley

continue thread

From: Simon Pockley
To: Mark Shanks
Email: MShanks@anteon.com
Sent: Monday, August 18, 2003 6:58 PM
Subject: concentric circles and holograms

Mark

This is very interesting. Off the top of my head I can think of plenty of concentric circle works - but not overlapping.

http://www.duckdigital.net/FOD/Gifimages/ebay/ebay-churinga0001.jpg
http://www.duckdigital.net/FOD/FOD0820.html
http://www.duckdigital.net/FOD/FOD0821.html
http://www.duckdigital.net/FOD/FOD0705.html
http://www.duckdigital.net/FOD/Gifimages/ebay/ebay-bullroarer0005b.jpg

I'll fossick around. It reminds me of a similar quest to find broken concentric circles that form the maze design found in very early churches in Europe. Thanks for asking, I'm intrigued.

Kind Regards
Simon Pockley

From: Simon Pockley
To: Shane Murphy
Email: cassandra.murphy@bigpond.com
Sent: 15th May 2003 8:14 PM
Subject: benefits paid the aborigines

Dear (I'm a little unclear if this should go to Shane or Cassandra) I'm sorry you've had trouble getting through. It often feels as though the servers are more down than up. I'm also sorry that I really can't help you with any information about social servce payments. Who gets paid what and why. I don't know anything about it.

I was in Instanbul a few years ago where I met an American couple who had been working for the Peace Corps in the Ukraine. They'd gone there as idealists about six months before. They had become extremely angry and cynical about the Ukrainians who they had come to hate. But they were sensitive people, and when pressed about what had happened to their ideals about making a difference to the wprld, they began to talk about their realisation that aid as really an instrument of oppression.

They were angry that they and their desire to do good works had become a part of this oppression. Somehow it had turned into a dislike of the Ukrainians. I gues this is because we often find the faults in others that we see in ourselves. I do it all the time. I'm sure you've heard the term 'sit down money' used by Aboriginal people in central Australia. There's been some intelligent writing about the days when it was easier for Aboriginal people (in central Australia) to secure the dignity of work as stockmen. Even in down town Melbourne, it is obvious that welfare saps the dignity, the self respect and the life from those that receive it.

But what's the alternative?

We're currently living in a market economy not a wise and civil society. I wish I could say something insightful here but I can't. Good luck in your search. Call me naive, but I don't really think there are many really bad people out there. Most people try to do the best they can. Sometimes they're misunderstood. Arn't we all?

Kind Regards
Simon Pockley

From: Simon Pockley
To: Peter Pohlner
Email: sampeter@tpg.com.au
Sent: 14th May 2003 8:53 AM
Subject: Jilkata

Peter

My (very limited) experience of the Red Ochre Men suggested that they were a divisive influence. However, I'll do some research and forward this to a man at AIATSIS who has far more knowledge about these matters than me and may be able to help you.

Kind Regards
Simon Pockley

From: Simon Pockley
To: UQP Mailorders
Email: mailorders@bookshop.uq.edu.au
Sent: 6th May 2003 10:45 AM
Subject: Power Knowledge and Aborigines

Vanessa

I have the book but I'm not a bookshop. Does someone want to buy my copy?

You must have found me through the Flight of Ducks:

Kind Regards
Simon Pockley

From: Simon Pockley
To: Saltner, Vernon Robert - SALVR001
Email: SALVR001@students.unisa.edu.au
Sent: 30th April 2003 2:27 PM
Subject: coward springs

Vernon

I'm not sure why you are contacting me - can you provide more details?

Kind Regards
Simon Pockley

30th April 2003 5:37 PM

From: Simon Pockley
To: Suppressed
Email: Suppressed
Sent: 29th April 2003 9:51 PM
Subject: copyright

Dear Name Suppressed

You are right to chastise me for my lack of common courtesy. Sometimes we all slip up and I'm not seeking to assuage my obvious guilt at this slight. If I have offended you, when in your previous role, then I sincerely apologise.

There are however, several sentiments in your email that I would question (please understand that I do this with respect not spite). The first (and foremost) is your perception of the notion of copyright and your emphatic statement that 'copyright doesn't require too much challenge or exploration'.

If you haven't come across it yet, the Digital Commons project is exploring the copyright issue.

http://www.democraticmedia.org/billofrights.html

I guess I'd start to ask questions by citing Marshall Macluan and his prescient notion that 'new media makes old media content'.

The patronage evident in the attachment of logos to certain electronic resources such as the Horseshoe Creek material actually harks back to the status of the author when manuscripts were mass-produced by copyists. Prior to the 16th century an author could only gain recompense for his efforts by including in his work, letters or laudatory verses to a powerful patron. His rights were not defined or protected.

The profession of author grew out of the communications revolution that was born with the invention of the printing press. But it took several hundred years before a system of royalty payment could evolve. Publishers began looking for fresh material when the supply of ancient texts started to dry up. Authors found themselves in a stronger position and it became common practice in the 17th century for the publisher to buy a manuscript outright. But, as the printing industry expanded there was widespread dissatisfaction with this arrangement amongst authors all over Europe. Eventually, a French decree in 1778 recognised a form of perpetual copyright whereby an author had the right to sell and distribute his work and to assign this right in whole or in part - even for a period after death.

Advocates for this form of copyright protection have argued that such a system provides incentive for creative work. Copyright confers a time-limited form of monopoly or control over the supply of a resource. Western capitalist societies are wedded to the notion of property because the value of property (in the market of an analogue world), is largely derived from scarcity. The market control that a monopoly implies means that value can be generated by restricting supply.

Over the last fifty years the broader global concept of `intellectual property' has been applied to many forms of the expressions of ideas. However, in Australia (and other countries), piecemeal applications of this wider protection have led to inconsistencies and significant barriers to the free flow of information and ideas and to the distribution of creative work.

The widespread adoption of communications technology has led to the growth of an information economy dependent on the free flow of data. In the context of a society's `total information system' the restrictive practices inherent in existing forms of copyright control are now being questioned because (in practice) they impede the effective distribution and expression of innovative ideas.

The earliest forms of electronic communications technology opened the doors to a new notion of value in which significant streams of revenue could be derived from resources that were ubiquitous or had proliferated. For example, a telephone or a means of sending email only has value because other people have access to it too. A single telephone has no value. Value is added by increasing supply.

As various electronic communications infrastructures have evolved, so has the form of the material they carry. The shift from analogue to digital is having profound implications on how this material can be accessed, managed and used. A digital expression of idea is unlike an analogue expression because:

  • It requires the action of mediation by machine(s) in order to be accessible.
  • A copy can be identical to an original.
  • It can be transmitted or reproduced without degradation.
  • It is easy to manipulate, transform or recombine. (significant in a culture of fragmentation).
  • Its preservation is dependent on long-term accessibility.
  • It may also be a system that generates other expressions.

These qualities have led to the development of a networked transmission infrastructure (Internet) that is rapidly absorbing the expressions of human thought and endeavour and makes almost every analogue management (including copyright) and preservation strategy - obsolete.

Your advocacy for the enforcement of existing copyright laws to cover the distribution of digital material is an really an argument for a royalty payment system, born of concern that creators will be exploited and will be reluctant to make their work available. In fact, content creators, especially early adopters of digital technologies, are showing no such reluctance. Instead, (perhaps because of the absence of enforceable restrictions) we are rapidly plunging into a networked mediation of business, knowledge and culture. The mutable character of digital material has now expanded the consumption of knowledge beyond the notion of stable encoded objects into a more fluid environment where the expression of ideas is often a live, mutating stream of content. In this networked world it is necessary to abandon ideas about the original or the finished work and redefine concepts of the published work.

The Internet has become a proliferating medium of rapid, if not instant, global dissemination and transaction. Commercially valuable data can flow in both directions (from both sender and receiver). Unlike the closed media of books, newspapers, PDF, film, video or CD-ROM, people (and machines) can and do talk back to content. This electronic conversation or interaction (see Flight of Ducks) can control, generate, trade, inform, amuse, transform, and even corrupt material.

The provision of both short and long-term access to resources, generated as a consequence of this interaction, will be compromised if we do not move away from the restrictive practices that surround ‘the expression of an idea' as fenced off property. One has only look at the information economy around us today (notwithstanding the merchandising of analogue material), to see that it is already access and use, rather than ownership, that we are prepared to pay for (if we pay at all).

One place to look for manifestations of this shift in perception is in the medium itself where the distinction between creator and consumer is often so blurred that outcomes are more service than product. Examples are:

  • Open architecture software in which the source code is subject to improvement by the collective mind of its users (Netscape, Linux).
  • Real time 2D and 3D image and sound environments generated on the fly (Live cams, Streaming audio & 3D text mapping).
  • Machine to machine transactions (cookies, stats gathering).
  • Participatory environments (Chat rooms, email list servers, web sites).
  • Calls for pay for use due to to market weariness with having to pay for continuing software upgrade (Microsoft).

Another place to look for evidence of real world change is the music industry. Every day, music is promoted, distributed, played and sold on the Internet. This is despite complex and largely unresolved licensing issues that such on-line activities raise. In making music available through a networked medium, song writers, publishers and record companies have reached formal and informal compromises with regard to on-line licensing problems.

One current compromise is that the holder of the copyright of the underlying composition (and also of a sound recording) may allow limited down-loads without incurring a mechanical licensing obligation to the holder of the copyright, if the down-loads promote the sale of the recording.

This compromise is more observed in the breach. As a result the uses of streaming and down-loadable audio files on-line, dismissed as experimental or promotional, are now threatening to overwhelm a mature music distribution system. MPEG layer 3 software is freely available and is proliferating at such a rate that it is causing music creators to bypass traditional distributors and offer up their work free - in the hope that they will gain loyalty and market share. Calls for the enforcement of copyright protection are at odds with the vitality and growth of this new distribution system.

Digital technology has facilitated the production of new forms of sound collage (Hip Hop, Gabba, Skratch or Turntable music), built almost entirely of 1970s music samples. These forms are beginning to generate significant revenue through the merchandising of analogue material. Ironically they often make use of the more advanced production and distribution technologies which, when discovered by the traditional industry, may compromise their sources if existing copyright restrictions are enforced.

Similarly, a generation raised on film and TV is now using samples of sound and image from video to forge a new genre of iconographic digital film making. The reuse, re-purposing and re-presentation of moving image sequences, sounds and individual frames is of considerable cultural significance. There is an obvious tension between legacy copyright and distribution restrictions and this form of cultural expression. Nevertheless, Strehlow himself would surely have recognised the more organic nature of story telling, and keeping, in such and environment and been quick to embrace these notions.

Your suggestion that I should have provided a simple link to the SRC site and the JTHB story on the SRC site as a more appropriate way to behave is (I believe) also flawed. Putting aside the fact that there actually was a simple link in the source element of the metadata for each screen (I sent you a sample), one of the major themes of the Flight of Ducks is the transitory nature of digital material. The work is evidence of how a strategy of proliferation can be the foundation of long-term access.

It is (no doubt) ironic that the Horseshoe Bend material has now been removed from the SRC site except as a down-loadable PDF file due to Aboriginal cultural sensitivity (another theme of the Flight of Ducks). In my opinion, proprietary formats such as PDF will not survive in the long term except through proliferation. The Flight of Ducks is unashamed of its acquisitive strategy when it comes to opportunities to provide long-term access to contextual material. The removal of contaminating markup is another issue that I won't go into here. Searches reveal that the work is regularly archived and cached across the world on more servers and hard drives than I am usually aware of. The million and a half individuals a year often take pieces of the site away with them for their own purposes.

I realise that this is quite an opposite approach taken by 'serious' organisations such as AIATSIS. Actually, academic visitors to the Flight of Ducks often express frustration at the proprietary stance taken by your institution. They complain that AIATSIS often appears to claim ownership of the cultural memory in its custody and denies access to bona fide researchers. I often refer inquisitive children to the AIATSIS site but I'm uneasy about their treatment.

When you say to me that 'you're doing yourself a disservice rather than enhancing your site's reputation' I'm slightly puzzled. In its conception, the Flight of Ducks was never intended to cater to an audience. It was built simply a repository that exists solely for my own use, not others - not yours. You could call it my personal laboratory - a private space within a public space, like a house in a suburb. I have no interest in reputation or in what anyone thinks about what I'm doing in this space although I include all contact content.

If you want to knock on my door then I'll let you in and give you all the respect and consideration that I would extend to any guest. But please don't complain about the state of my housekeeping. The Flight of Ducks is a work of passionate commitment. It is not funded and it has no revenue whatsoever.

At this point I should probably also mention generosity of spirit. This is something that I believe has been the motive force behind the development of the networked communities that exist on the web. It is certainly a key part of my academic mentorship. I always give freely of my work, my time and my thoughts to all comers regardless of how offensive their behavior.

I'm struggling to find evidence or understanding of generosity of spirit in your email. To be honest, I find it hard to see how you can direct research without such an attitude. Surely it must close doors rather than open them and act to limit your breadth of vision.

Now that I've probably caused you more offence, I should also say that I will always defer to the sensitivities of people worthy of respect, but I will never defer to those who seek to control our cultural memory with a meanness of spirit.

Apologies for such a lengthy reply.

Kind Regards
Simon Pockley

From: Simon Pockley
To: Shane Hersey
Email: Shane.Hersey@nt.gov.au
Sent: 29th April 2003 2:47 PM
Subject: Journey to Horseshoe Bend

Shane

While some people have trouble seeing it I'm extremely respectful of cultural sensitivity. I only draw a hard line where I see these sensitivities being manipulated for political or personal gain.

You'll hear from me again when I've put together something on Hesekial.

Kind Regards
Simon Pockley

Continue thread

From: Simon Pockley
To: Shane Hersey
Email: Shane.Hersey@nt.gov.au
Sent: 29th April 2003 1:46 PM
Subject: Journey to Horseshoe Bend

Shane

I think I've removed all direct access to the Horseshoe bend texts now [screens FOD1019.html - FOD1031.html]. Including the index and the news screens. Please check and confirm that you're OK with this?

I'll attempt to answer Suppressed email later.

Kind Regards
Simon Pockley

Continue thread

From: Simon Pockley
To: Shane Hersey
Email: Shane.Hersey@nt.gov.au
Sent: 28th April 2003 10:52 PM
Subject: Journey to Horseshoe Bend

Shane

Thanks for this fascinating information. I'll take your lead and remove access to the text as soon as I can. I no longer have direct access to the server so I'll let you know when this is done (it should be within 24 hours). I would like to make a note about Hesekial. But I'll check with you first before I put it on-line. If you hear of anything else in the Flight of Ducks that is causing distress or offence please let me know so that I can take action.

I'm currently documenting the trading of tjurunga on e-bay and I suspect that this might be considered particularly sensitive by some people. Many of the objects look like fakes to me. I believe there was a small industry in manufactured tjurunga at Hermannsburg quite a while ago. Nevertheless it's interesting to observe the phenomenon.

Kind Regards
Simon Pockley

Continue thread

From: Simon Pockley
To: Steve Bahn
Email: SteveBahn@web.de
Sent: 27th April 2003 8:15 PM
Subject: Pictures Aborigines

Greetings Steve

Many thanks for your request. I like the sound of your project. The screen you refer to contains one of a series of photographs taken by my father in 1933. See: [http://www.duckdigital.net/FOD/FOD0142.html]. The rights associated with the use of these images are clealy spelt out in the metadata for this screen see [http://www.duckdigital.net/FOD/FOD0310.html] which includes my direct telephone number. I draw your attention to the Aboriginal protocols mentioned in the screen above. Images depicting aboriginal people can be problematic - see [http://www.duckdigital.net/FOD/FOD0781.html

While the adult, Ntjikitjikurrpa, is portrayed as a gentle man of dignity and stature beyond any ideas of 'primitive' or 'other', the image of the malnourished children points to the grim reality of Central Australian Aboriginal life in 1933. The photograph is both a portrait and a clinical study. The children are being held for display. Is Ntjikitjikurrpa the father of the child and demonstrating his concern by holding the child for the camera? Is he aware of the malnutrition? Is he acting as an assistant by holding the children for inspection and photographic record?

How old are the children in your class? Where are you?

Kind Regards
Simon Pockley

Continue thread

From: Simon Pockley
To: Suppressed
Email: Suppressed
Sent: 27th April 2003 12:20 PM
Subject: copyright

Greetings Suppressed

There's no secret of the source of this material - see the source metadata:

<meta name="DC.Source" scheme="DCTERMS.URI" content=" http://www.strehlow.com.au/cdsca/strehlow/day1.shtml">

It's probably important to understand that the Flight of Ducks is not a commercial site but an academic and documentary work that seeks to challenge and explore important questions about notions of information 'ownership' and durability in a networked environment. The Flight of Ducks is a dynamic work that is constantly appropriating both on-line and off-line material relating to it's thematic content.

Needless to say, I'm quite happy to remove access to the Horseshoe Bend material if you feel that it compromises the interests of the SRC. The SRC's version had a number of markup errors in it - which I've corrected. But I'm more than happy for you to take back my corrected version (with associated metadata) if it would save you some time. It has contextual value in The Flight of Ducks not just because of the Strehlow story but because of the cross linkage it gives to the character of Hesekiel who acted as my father's guide in 1933.

http://www.duckdigital.net/FOD/FOD0546.html

Please don't hesitate to contact me should you or Shane have concerns. I've always been quite happy to comply with any requests and certainly would be loathe to cause ill feeling.

Kind Regards
Simon Pockley

Continue thread

From: Simon Pockley
To: Eric Scott
Email: eric@acwa.asn.au
Sent: 14th April 2003 9:109M
Subject: seeking photographs for publication

Dear Eric

>We are seeking photographs for publication and the ones at www.acmi.net.au/FOD/FOD0190.html

Sorry for the delay, but you chose the long way to get to me. The Flight of Ducks has an email link on every screen. The screen you refer to in a photographic index. The rights associated with the use of these images are clealy spelt out in the metadata for this screen see [www.acmi.net.au/FOD/FOD0310.html ] which includes my direct telephone number. I draw your attention to the Aboriginal protocols mentioned. in the screen above and request that you let me know the purpose for which any content from this site is to be used.

Images depicting aboriginal people can be problematic - see www.acmi.net.au/FOD/FOD0781.html

Kind Regards
Simon Pockley

Continue thread

From: Simon Pockley
To: Robert Ross
Email: bullion49@hotmail.com
Sent: 1st April 2003 9:109M
Subject: LASSETERIA

Robert

You've done some great work here. Quite understated by richly rewarding. The link is fine by me as long as you give it the full URL [http://www.duckdigital.net/FOD/FOD0683.html].

I'll certainly pass on the numerous enquiries that I get from the many people who continue to project their needs into this part of the country. I'll also update the note http://www.duckdigital.net/FOD/FOD0499.html with a link to Lassereria for more authoritative information.

Where are you based?

Kind Regards
Simon Pockley

Continue thread

From: Simon Pockley
To: Joel Gluis
Email: jgluis@hotmail.com
Sent: 19th March 2003 9:33AM
Subject: tasmanian aboriginies

Hi Joel

The Flight of Ducks is more focussed on cultural intersections in Central Australia than Tasmania. However, you'll find plenty of current thinking that arises from discussion about the writings of Keith Windshuttle 'The Myth of Frontier Massacres in Australian History'. I can't point to authoritative links. A rapid search in google shows up:

http://www.nswrecon.com/indigenous_legal_issues/

You'll find that there is a bi-polar argument between Henry Reynolds and Windshuttle on what constitutes truth in history. My impression (and it has no real rigour) is that Windshuttle is uncomfortably right in his criticisms of Reynolds distortions of historical fact. However, this is not a popular view and I will be damned as reactionary racist for voicing it - (grimace).

Anyway, see what you can find. Books by both Reynolds and Windshuttle are readily available.

Kind Regards
Simon Pockley

From: Simon Pockley
To: Chad Wittkop
Email: wittk004@tc.umn.edu
Sent: 21st February 2003 8:24 AM
Subject: hello

Hello Chad

'The Flight of Ducks' has been growing on-lne since 1995 and has a consitent annual audience of about 1.5 million people. It's different things to different people and I'm always interested to know what people find intersting in it. It wasn't built for an audience. It was built for me. There is a description at:

http://www.duckdigital.net/FOD/FOD0292.html

not sure what you mean by '...are you from brown?'. I live and work in Melbourne, Australia. My home is a 1000 miles north:

http://www.duckdigital.net/FOD/FOD0890.html

Kind Regards
Simon Pockley

From: Simon Pockley
To: Bill Skinner
Email: sup1cof@hotmail.com
Sent: 12th February 2003 11:49 PM
Subject: POCKLEY

Dear Bill

I won't bore you with background details about the Flight of Ducks as they are all there for you to discover at your leisure. But you are right to deduce that this was indeed a journey of the son around the father - at least at first [see FOD0002.html].

It has now (after 8 years) become something quite different and manifold. One of the great pleasures is to hear from people from all over the world who have found something of interest. The extraordinary thing is that there is a kind of entropy (bad word) that often results in an actual meeting.

I've set it up so that the site just grows in its own way through other people's contibutions (stories and responses). The files are structured to mirror the physical landscape.

People leave parts of themselves behind. One of my interests is how the physical landscape of Australia contains stories and imaginings. In my father's case, his layered journey became quite imaginary in old age through a process of extrapolation and imagination. I've come to realise that it's been like that since the beginning in Australia, we've all projected our own needs on to the country itself and the country reflects these back.

This is what our best writers and film makers speak to us about through their works.

The pictures were all taken with the camera shown (used as a button). Most of them are the size of postage stamps. Unfortunately, my fathers 16mm films were all destroyed in a bush fire in 1942.

Thank you for your thoughts, if you have time, I'd be very intersted to hear about you, where you live, what you do, some of your own desert stories.

Kind Regards
Simon Pockley

Continue thread

From: Simon Pockley
To: >Bill Skinner
Email: sup1cof@hotmail.com
Sent: 12th February 2003 2:15 PM
Subject: POCKLEY

Bill

Many thanks for your kind remarks. It sure makes a difference when I'm looking for reasons to keep the site live. It's such a large site now that I'd be very interested to know exactly what you found interesting (which photos etc). In short, tell me more...

Kind Regards
Simon Pockley

Continue thread

From: Simon Pockley
To: Kurt Zint
Email: bahama@chariot.net.au
Sent: Tuesday, 28 January 2003 5:52 PM
Subject: website links

Kurt

Within the Flight of Ducks the threads of our conversation create both the description and the linkages. I work over these linkages constantly so that they act as threads through the site. I thought that your reply generated an excellent description.

http://www.duckdigital.net/FOD/FOD1033.html#Zint3

Not having a good day, it's now looking like the image of Bluey has a bad file path - I'll fix this up directly.

Kind Regards
Simon Pockley

Tuesday, 28 January 2003 5:04 PM

From: Simon Pockley
To: Kurt Zint
Email: bahama@chariot.net.au
Sent: Tuesday, 28 January 2003 9:28 AM
Subject: website links

Hi Kurt

Thanks for reminding me. The link is there as part of the response/conversation area:

http://www.duckdigital.net/FOD/FOD1033.html#Zint1

However, you may like to suggest another spot. I've discovered that the rest of our conversation is not working. I'll fix this up this evening.

Kind Regards
Simon Pockley

From: Simon Pockley
To: Dallas Dellinger
Sent: 23rd January 2003 10:27 PM
Subject: not mere contentment

Dear Dallas

It's rare to find someone with an interest in poetry and the ability to discern such corrresponding sentiments.

The author of the sonnet that you refer to was my father, John Pockley. It is one of a sequence of 22 sonnets written in the desert over a lifetime.

http://www.duckdigital.net/FOD/FOD0002.html

The introductory sonnet on this screen is mine (a son's sonnet). When he was alive, my father and I communicated through these structured texts). Overall they form part of a much larger story about memory and time called 'The Flight of Ducks.'

http://www.duckdigital.net/FOD/FOD0292.html

The key to navigation is to press the duck. It will always take you to indexes.

I don't know anything about kugell. What makes you think he doesn't exist?

Kind Regards
Simon Pockley

From: Simon Pockley
To: Kurt Zint
Email: bahama@chariot.net.au
Sent: Tuesday, 31 December 2002 9:45 AM
Subject: website links

Sorry Kurt

I got your message but had to think about how to reply as I'm not nearly as sensitive about this stuff as you seem to think. Definitely no hard feelings. I wish you well in your various enterprises. The way I approach this is with rigorous transparency. I'll let you know when things are updated from my end.

Kind Regards
Simon Pockley

Continue thread

From: Simon Pockley
To: Kurt Zint
Email: bahama@chariot.net.au
Sent: 25th December 2002 9:27 AM
Subject: website links

Kurt

The Flight of Ducks is more a space for historical and cultural discontents than a commercial venue. Some would say that the kind of pan-aboriginal aggregations you present to support the merchandising of indigenous culture is an offence to the intelligence of most people, but I appreciate your kind words. The Flight of Ducks gets over 2 million visitors a year. I'll include your message and your URL if you like.

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

Kind Regards
Simon Pockley

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From: Simon Pockley
To: Wieslaw Czajkowski
Sent: 17th December 2002 9:51 AM
Subject: FLIGHT OF DUCKS vs EPIC MOVIE, IS NOT??

Wieslaw

I have no contact with ATSIC at all. However, I can publicise this in 'The Flight of Ducks'. What would you say are the most important capacities of the Epic Movie?

Kind Regards
Simon Pockley

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From: Simon Pockley
To: Wieslaw Czajkowski
Sent: 15th December 2002 9:22 PM
Subject: FLIGHT OF DUCKS vs EPIC MOVIE, IS NOT??

John

I'm not sure what you are asking of me. Can you be more specific?

Kind Regards
Simon Pockley

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