Australian Botanical Liaison Officer

Australian Botanical Liaison Officer was a secondment position, held for up to twelve months by an Australian botanist (or expert in Australian botany) at the Royal Botanic Gardens in Kew, London, England in the United Kingdom. The position was created in 1937, and the first ABLO was Charles Gardner. Travel and living costs for the position were funded by the Australian government, with the appointee's salary continuing to be paid by their current employing institution.

The position was advertised by the Australian Biological Resources Study (ABRS), part of the Australian government's Department of the Environment and Heritage. Assessment and selection of candidates is undertaken by the Council of Heads of Australian Herbaria (CHAH), who advised the Australian Biological Resources Study Advisory Committee (ABRSAC) to recommend the Minister approve the appointment.

In 2009, a review was conducted by ABRS, CHAH and the Advisory Committee which determined that there was no strong need for the ABLO position due to advances in digital technology which gave detailed access to herbarium specimen data over the internet, and the position was discontinued. A research grants system replaced the program, which aimed to fund overseas placements as botanical institutions other than Kew Gardens.

Raw

Raw, raw, or RAW may refer to:

Technology

Entertainment and literature

People

Music

Tin Man (miniseries)

Tin Man is a 2007 four and a half hour miniseries co-produced by RHI Entertainment and Sci Fi Channel original pictures that was broadcast in the United States on the Sci Fi Channel in three parts. The first part aired on December 2, and the remaining two parts airing on the following nights. It was released to DVD on March 11, 2008; the same year it was rebroadcast in the United Kingdom, Australia, and New Zealand. Starring Zooey Deschanel, Neal McDonough, Alan Cumming, Raoul Trujillo, Kathleen Robertson, and Richard Dreyfuss, the miniseries is a continuation of the classic story The Wonderful Wizard of Oz, with science fiction and additional fantasy elements added. It focuses on the adventures of a small-town waitress named DG who is pulled into a magical realm called the O.Z., ruled by the tyrannical sorceress Azkadellia. Together with her companions Glitch, Raw, and Cain, DG journeys to uncover her lost memories, find her true parents, and foil Azkadellia's plot to trap the O.Z. in eternal darkness.

Raw (magazine)

Raw was a comics anthology edited by Art Spiegelman and Françoise Mouly and published by Mouly from 1980 to 1991. It was a flagship publication of the 1980s alternative comics movement, serving as a more intellectual counterpoint to Robert Crumb's visceral Weirdo, which followed squarely in the underground tradition of Zap and Arcade. Along with the more genre-oriented Heavy Metal it was also one of the main venues for European comics in the United States in its day.

Origin

Spiegelman has often described the reasoning and process that led Mouly to start the magazine: after the demise of Arcade, the '70s underground comics anthology he co-edited with Bill Griffith, and the general waning of the underground scene, Spiegelman was despairing that comics for adults might fade away for good, but he had sworn not to work on another magazine where he would be editing his peers because of the tension and jealousies involved; however, Mouly had her own reasons for wanting to do just that. Having set up her small publishing company, Raw Books & Graphics, in 1977, she saw a magazine encompassing the range of her graphic and literary interests as a more attractive prospect than publishing a series of books. At the time, large-format, graphic punk and New Wave design magazines like Wet were distributed in independent bookstores. Mouly had earlier installed a printing press in their fourth floor walk-up Soho loft and experimented with different bindings and printing techniques. She and Spiegelman eventually settled on a very bold, large-scale and upscale package. Calling Raw a "graphix magazine", they hoped their unprecedented approach would bypass readers' prejudices against comics and force them to look at the work with new eyes.