Cirrus@Austlit

'This volume represents a brilliant fusion of Traditional Knowledge, origin narratives, Western science and contemporary art. It is based on ‘deep-time’ complex human–landscape relationships from a highly significant lake system known as Paruku in the south-east Kimberley region. Known on cartographic charts as Lake Gregory, it is the only co-ordinated drainage system that flows from the east Kimberley into the expansive linear dune fields of the Great Sandy Desert. The lake was once a mega-lake, many times its current size, reflecting massive monsoonal rains more akin to central Indonesia than the present Kimberley desert edge. It hosted an enhanced aquatic and avian fauna and was likely a highly attractive lake for early settlers — being surrounded by savannah woodlands and grasses with grazing terrestrial fauna. Indeed, it was at such major water bodies that peoples transitioned into the desert hunter gatherer adaptations we think of today as the ethnographic norm. They persisted in an increasingly arid landscape — with lakes as a chain of connection to previous pluvial states.' (Introduction)

'Cultural expression is a major topic of research interest for AIATSIS and has been since its inception. Research of Aboriginal and Torres Strait Islander visual arts are, in turn, a significant component of that work. This volume consolidates the work of several AIATSIS research grantees, staff and visitors who are working on projects that explore different aspects of Indigenous art production and how this production relates to the creation of personal and group identity. Some of the projects were presented at an AIATSIS seminar series held in the second semester of 2006 and organised by Luke Taylor and Peter Veth with the support of Patrick Sullivan.' (Editorial introduction)

'During the last days of March 2003 the tragic news of Dr Patricia Vinnicombe’s death circulated throughout the Australian archaeological community. Pat’s extensive networks of friends and colleagues both in Australia and overseas were immediately in touch with each other, trying to make sense of what was to many an inexplicable and untimely loss. As details of the circumstances of her death filtered through from her family it became clear that she had been involved in doing what she had passionately pursued for many decades: the study and protection of indigenous culture and rock-art in all its myriad forms. Having just completed a walking inspection of rock-engravings on the spectacular Burrup Peninsula during the last weekend of March, Pat was involved in a meeting of specialists being held at Karratha and concerned with the future management and monitoring of Aboriginal cultural heritage on the peninsula. Pat died from a heart attack during that meeting, with her son Gavin in near-attendance.'  (Introduction)