Thesis (M.A.) - Carleton University, 2007. / Includes bibliographical references (p. 204-215). Also available in electronic format on the Internet.

Appendix 4 and 5 in pocket on back cover. Bibliography: p. 123-130. The isotopic data indicates the Harts Range Metamorphic Complex formed within a previously unrecognized intracratonic tectonic province in Central Australia

Three folded maps (1 col.) in pocket. Bibliography: leaves 81-94.

Bibliography: p.127-141.

Typescript (Photocopy) Copies of 4 published papers co-authored by author, and 7 maps, in back cover pocket. Bibliography: leaves 203-218.

Pastoralism is the major economic activity in the Victoria River District (VRD), and is dependent on sustainable pasture use. Analysing grazing practices for sustainability requires knowledge of annual pasture production, but little quantitative data is available. A study was undertaken to develop the capacity for predicting native pasture growth in the VRD using systems modelling. Twenty one field sites were studied for two years using a standard methodology, and the Grass Production (GRASP) model was calibrated using this field data. End of growing season total standing dry matter (TSDM) was well predicted (mean = 2513kg/ha, r2(1:1) = 0.966, RMSE = 132kg/ha, and 98% of predictions within measurement variance). Developing generic parameters for common soil and pasture types allowed extrapolation of the model. Predictive skill declined when using generic parameters (r2(1:1) = -0.265, RMSE = 807kg/ha and 64% of predictions within measurement variance). However, observation and prediction means were very similar, indicating that generic parameters are suitable for broad scale applications, but site-specific parameters are necessary if a high degree of accuracy is required. Parameters controlling plant water uptake largely determine pasture growth in low rainfall years, while nitrogen uptake and dilution parameters limit growth in high rainfall years. Pasture growth is constrained by nitrogen supply in 91% of seasons in the northern VRD, and in 25% of seasons in the drier south. Example applications of the model were demonstrated. Current and expected future levels of pasture utilisation in the district were calculated, showing a current average of 16%, rising to an expected 20% in the next decade. These levels are within the safe utilisation rates recommended for the region. Economic analysis shows positive returns ($4.54 million per year) from pasture augmentation with introduced legumes if past problems with establishment and persistence can be overcome. Model performance would be improved by accounting for simultaneous wetting of the entire profile in cracking clay soils, calculating growth of perennial and annual pasture species separately, and simulating variation in nitrogen uptake and dilution between years. Incorporation of these processes must be balanced against the increased complexity of the model and the additional data required for calibration. / Thesis(PhD)-- School of Agriculture, Food and Wine, 2006

Bibliography: p.127-141. / xv, 210 p. : ill. (some col.), maps (some col.) ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Geology, 2001?

Pastoralism is the major economic activity in the Victoria River District (VRD), and is dependent on sustainable pasture use. Analysing grazing practices for sustainability requires knowledge of annual pasture production, but little quantitative data is available. A study was undertaken to develop the capacity for predicting native pasture growth in the VRD using systems modelling. Twenty one field sites were studied for two years using a standard methodology, and the Grass Production (GRASP) model was calibrated using this field data. End of growing season total standing dry matter (TSDM) was well predicted (mean = 2513kg/ha, r2(1:1) = 0.966, RMSE = 132kg/ha, and 98% of predictions within measurement variance). Developing generic parameters for common soil and pasture types allowed extrapolation of the model. Predictive skill declined when using generic parameters (r2(1:1) = -0.265, RMSE = 807kg/ha and 64% of predictions within measurement variance). However, observation and prediction means were very similar, indicating that generic parameters are suitable for broad scale applications, but site-specific parameters are necessary if a high degree of accuracy is required. Parameters controlling plant water uptake largely determine pasture growth in low rainfall years, while nitrogen uptake and dilution parameters limit growth in high rainfall years. Pasture growth is constrained by nitrogen supply in 91% of seasons in the northern VRD, and in 25% of seasons in the drier south. Example applications of the model were demonstrated. Current and expected future levels of pasture utilisation in the district were calculated, showing a current average of 16%, rising to an expected 20% in the next decade. These levels are within the safe utilisation rates recommended for the region. Economic analysis shows positive returns ($4.54 million per year) from pasture augmentation with introduced legumes if past problems with establishment and persistence can be overcome. Model performance would be improved by accounting for simultaneous wetting of the entire profile in cracking clay soils, calculating growth of perennial and annual pasture species separately, and simulating variation in nitrogen uptake and dilution between years. Incorporation of these processes must be balanced against the increased complexity of the model and the additional data required for calibration. / Thesis(PhD)-- School of Agriculture, Food and Wine, 2006

Thesis (MA)--Macquarie University, Institute of Early Childhood. / Includes bibliographical references. / Introduction -- Literature review -- A brief history of Utopia's art production; its place in the indigenous art movement -- The role of the wholesaler -- The retail sector -- Report on survey of the buyers of indigenous art -- Emily Kame Kngwarreye -- Authenticity -- Conclusion. / Summary: The thesis focuses on marketing art from the Aboriginal community, Utopia, where the majority of artists, and the best known artists, are women. It documents methods by which the art moves from the community to retail art outlets; it includes detailed documentation of marketing in the retail sector and also includes research into the buying of indigenous art by private buyers. -- Emily Kame Kngwarreye is the best known of the Utopia painters. The study proposes reasons for her success and points to further questions beyond the scope of this study. Problems inherent in criticism and editing of her work are raised and interpreted in the context of the marketplace. -- The original thesis plan did not include detailed discussion about authorship. However, in 1997 the media reported controversy about authorship of a prize-winning work. As such controversy must affect marketing, this topic (as it relates to this artist), was included. -- Although possibilities for improvement in marketing methods have become apparent as a result of this research, areas where further research would be beneficial have also become apparent. / Mode of access: World Wide Web. / 265, [48] p

Since the 1970s there has been a growing interest in Indigenous cultures globally. In Australia, the recognition that Aboriginal art and culture represents a distinct component of Australian identity has resulted in increased promotion of Aboriginal cultures and heritage sites as unique tourist attractions, mainly since the 1990s. Research indicates that there is a significant international interest in Australian Indigenous cultures. In particular, it has been suggested that tourists want to experience ‘real’ Aboriginal culture and that they desire ‘authentic and genuine’ Aboriginal cultural experiences. Despite the fact that the concept of authenticity remains important to the different stakeholder groups of Aboriginal tourism, including tourists, tour operators and promoters as well as State/Territorial Governments, limited understanding exists as to what ‘authentic’ Aboriginal culture and, in particular, ‘authentic’ Aboriginal tourism experiences constitute in the minds of these stakeholders. Whilst an abundance of research exists that has addressed the issue of authenticity in different tourism settings, the majority of studies have treated the concept of authenticity as something given and have used quantitative tools to analyse the authentic-inauthentic binary. However, research utilising such methods has failed to uncover the different perspectives and meanings respondents may hold of the notion of authenticity. Notably, the perceptions of authenticity in Indigenous tourism have received little attention. The few existing studies on authenticity in Indigenous tourism settings have given emphasis to differing agendas, and have therefore provided only a piecemeal understanding of how authenticity is perceived and interpreted by the different stakeholders of Indigenous tourism. More importantly, research on Aboriginal hosts’ perceptions of authenticity is virtually non-existent. Yet, clarification of how tourists and hosts perceive authenticity in Aboriginal tourism is essential when addressing issues of accreditation and branding as well as key marketing objectives that aim to promote ‘authentic’ Aboriginal tourism experiences. This study seeks to address the gaps within the tourism literature surrounding authenticity in Aboriginal tourism. The aim is to understand the concept of authenticity in Aboriginal tourism from a stakeholder perspective. The study is guided by two main research questions: What are the perceptions of authenticity of tourists as well as tour providers and their employees? and Are theoretical perspectives of the notion of authenticity shared by those stakeholders? More specifically, this study investigated five important issues: 1) tourists’ perceptions of authenticity at three different Aboriginal cultural tours; 2) the perceptions of three Aboriginal cultural tour operators and their employees in regard to authenticity; 3) whether there were any discrepancies and/or similarities between the perceptions of tour operators/employees and tourists about what constitutes an authentic Aboriginal tourism experience; 4) whether any of the different theoretical perspectives of authenticity were shared by tourists and tour operators/employees; and 5) whether a conceptual framework could be developed that provides an overview of salient elements explaining the formation of perceptions of authenticity within Aboriginal cultural tourism experiences. In order to examine the research questions a qualitative research methodology grounded in the constructivist paradigm was adopted. This paradigm was chosen as it reflects the exploratory nature of the research and allows for flexibility throughout the research process. This study utilised qualitative in-depth semi-structured interviews as the primary data collection method together with participant observation. Data was collected from 92 interviews, consisting of 72 tourists and 20 employees, within three Aboriginal cultural tour companies in the Northern Territory. The three different Aboriginal cultural tours chosen for the purpose of this study were: Tiwi Tours at Bathurst Island, Manyallaluk Aboriginal Cultural Tours near Katherine and Anangu Tours at the Uluru-Kata-Tjuta National Park. The results of this research revealed that respondents hold multiple constructions of the notion of authenticity. In general, however, most respondents associated an authentic Aboriginal cultural tour experience with a genuine experience which does not feel contrived, staged or ‘plastic’. In particular, the study found that respondents’ perceptions of authenticity can be grouped into four elements. The first element consisted of the background and role of the Aboriginal tour guide, which was found to be a major factor influencing respondents’ perceptions on whether the tour was offering an authentic experience. The second element is characterised by the tourists’ search for ‘real’ and ‘genuine’ Aboriginal people. Here, respondents equated authenticity with the opportunity to visit a ‘real’ Aboriginal working community and to be able to experience Aboriginal people in an everyday setting. Respondents were found to hold preconceived notions and images in their minds as to who ‘real’ Aboriginal people are and what their ‘authentic’ lifestyle should involve. In addition, the majority of respondents defined authentic Aboriginal culture as the contemporary culture of Aboriginal people. Consequently, an authentic Aboriginal cultural tour experience was conceived in terms of gaining an insight into the contemporary lifestyle of Aboriginal people. The third element that contributed to the experience of authenticity is associated with having the opportunity to see and/or purchase authentic Aboriginal arts and crafts. Respondents perceived a product as authentic if it conformed to specific criteria, such as reflecting uniqueness and originality and being handmade by a local artist. Verification of authenticity was also generated by the shopping experience itself, for example meeting the artist and watching how the craft is produced. Finally, the fourth element in the construction of authenticity is related to tourists’ perceptions of the dance performance. Some respondents recognised this as a contrived experience that lacked ‘traditional’ authenticity, while some respondents wanted to see an authentically contrived or staged cultural performance as this was regarded as an occasion for entertainment and enjoyment. Furthermore, the findings of this study suggested that respondents generally referred to the authenticity of toured objects (object authenticity) when describing their perceptions of an authentic experience. The majority of tourists and employees employed a constructivist approach within their conceptualisation of the notion of authenticity. Only a small number of tourists appeared to hold attitudes similar to the objectivist and postmodern perspectives. / Doctor of Philosophy (PhD)