Paul Carter

How is emotional meaning found in places? How can creating new urban spaces be a vehicle for less adversarial forms of political coexistence, as well as new customs of social innovation? Places Made After Their Stories shows how the emotional geographies we carry inside us and the ecstatic desire at the heart of democratic community-making can come together to inform contemporary landscape and urban design. Using Australian case studies of public space design from Alice Springs to Perth and Melbourne, in which author Paul Carter forged for himself the novel role of designer/dramaturg, he describes a new approach to place-making in which topography and choreography fuse. He counters the symbolic neglect of functionalist design with a brilliant account of poetic and graphic techniques developed to materialize ambience. Bringing together and further transforming insights from such earlier publications, such as Material Thinking (2004) and Meeting Place (2013), Carter describes a practice of sense-making and form-making that embodies fundamental gestures of welcome, arrangement, and exchange in the built setting. This is a book of characteristic eloquence, generously gathering philosophical and poetic evidence to illuminate a new way of place-making. It will be a practical guide for artists wanting to work in the public realm and a key reference for planning authorities, governments, and communities keen to reconnect place making to human creativity and affect. *** Librarians: ebook available on ProQuest and EBSCO (Series: UWAP Scholarly) Subject: Urban Planning, Public Art, Architectural Design, Cultural Theory]

ATTEMPTING 300KPH on an untested experimental motorcycle could be considered a perfect way to kill yourself, but Paul Carter is still, well, PAUL CARTER and danger at high speed is his second name. Whether discovering that being dyslexic means delivering your lines to camera back to front in the midst of filming a TV series, or starting a new business and travelling the world, or dealing with life's more sober moments like the birth of a son or the loss of a father, Paul Carter is still the funniest man in the bar and the nicest 'alpha male' you'll ever meet as he risks all for the sake of a cracking yarn. SO STRAP YOURSELF IN and HOLD ON TIGHT for his FOURTH BOOK - we just have to hope that he won't be institutionalised before completing his fifth!

In this remarkable and often dazzling book, Paul Carter explores the conditions for sociability in a globalized future. He argues that we make many assumptions about communication but overlook barriers to understanding between strangers as well as the importance of improvisation in overcoming these obstacles to meeting. While disciplines such as sociology, legal studies, psychology, political theory, and even urban planning treat meeting as a good in its own right, they fail to provide a model of what makes meeting possible and worth pursuing: a yearning for encounter. The volume’s central narrative-between Northern cultural philosophers and Australian societies-traverses the troubled history of misinterpretation that is characteristic of colonial cross-cultural encounter. As he brings the literature of Indigenous and non-Indigenous anthropological research into dialogue with Western approaches of conceptualizing sociability, Carter makes a startling discovery: that meeting may not be desirable and, if it is, its primary objective may be to negotiate a future of non-meeting. To explain the phenomenon of encounter, Carter performs it in differing scales, spaces, languages, tropes, and forms of knowledge, staging in the very language of the book what he calls “passages.” In widely varying contexts, these passages posit the disjunction of Greco-Roman and Indigenous languages, codes, theatrics of power, social systems, and visions of community. In an era of new forms of technosocialization, Carter offers novel ways of presenting the philosophical dimensions of waiting, meeting, and non-meeting.

The outrageous sequel to Don't Tell Mum I Work on the Rigs (She Thinks I'm a Piano Player in a Whorehouse) brings more great stories from the far side of civilization - hilarious, full of humour, colourful characters and dramatic action! Just another glorious day in the oilfield for Paul Carter! He's stuck in the middle of the Russian sea on a rig staffed by a crew from Azerbaijan. The choppers are older than him and can only fly by line of sight, turning back regularly due to the weather which gets particuarly interesting when they are past the point of no return with half there fuel gone and they are committed to finding the rig in a fog that's thicker than a Big Brother housemate. The closest thing to a hotel for miles around is the Asylum, a former soviet mental institution that now houses offshore personnel en-route to the rig, where his room mates are Vodka Bob - who drinks Guinness for breakfast when he's not on the rig - Sick Boy, who snores like a pit bull being hot-waxed and Sealbasher. In his inimitable style Paul Carter regales us with his colourful adventures from the front line of thee oil industry and the far side of civilization!

The Road to Botany Bay, first published in 1987 and considered a classic in the field of cultural and historical geography, examines the poetic constitution of colonial society. Through a far-reaching exploration of Australia's mapping, narrative description, early urbanism, and bush mythology, Paul Carter exposes the mythopoetic mechanisms of empire. A powerfully written account of the ways in which language, history, and geography influenced the territorial theater of nineteenth-century imperialism, the book is also a call to think, write, and live differently.

We do not see empty figures and outlines; we do not move in straight lines. Everywhere we are surrounded by dapple; the geometry of our embodied lives is curviform, meandering, bi-pedal. Our personal worlds are timed, inter-positional, and contingent. But nowhere in the language of cartography and design do these ordinary experiences appear. This, ""Dark Writing"" argues, is a serious omission because they are designs on the world: architects and colonizers use their lines to construct the places where we will live. How can we explain the omission of bodies from maps and plans?

We do not see empty figures and outlines; we do not move in straight lines. Everywhere we are surrounded by dapple; the geometry of our embodied lives is curviform, meandering, bi-pedal. Our personal worlds are timed, inter-positional, and contingent. But nowhere in the language of cartography and design do these ordinary experiences appear. This, ""Dark Writing"" argues, is a serious omission because they are designs on the world: architects and colonizers use their lines to construct the places where we will live. How can we explain the omission of bodies from maps and plans?

Many people interested in the history of their town or village want to undertake research into its past, and most need to use primary sources sooner or later. Nothing quite equates with the thrill of reading first-hand a letter, diary, set of accounts or other records written in the past. Some sources, such as parish registers and census returns, are well known, but others are undiscovered treasures. This new book introduces the reader to the enormous range of documents available. The authors convey their own enthusiasm for the material and explain the information it can reveal. Their unique background – working for The National Archives and for local record offices – gives them an unrivalled knowledge of archival sources, and both of them have used much of this material in their own research. The chapters deal with subjects such as the land, the people, poverty, health, crime and family life. An essential guide for the local or family historian needing to consult original documents.

A take-no-prisoners approach to life has seen Paul Carter heading to some of the world's most remote, wild and dangerous places as a contractor in the oil business. Amazingly, he's survived (so far) to tell these stories from the edge of civilization. He has been shot at, hijacked and held hostage; almost died of dysentery in Asia and toothache in Russia; watched a Texan lose his mind in the jungles of Asia; lost a lot of money backing a scorpion against a mouse in a fight to the death, and been served cocktails by an orangutan on an ocean freighter. And that's just his day job. Taking postings in some of the world's wildest and most remote regions, not to mention some of the roughest rigs on the planet, Paul has worked, got into trouble, and been given serious talkings to, in locations as far-flung as the North Sea, Middle East, Borneo and Tunisia, as exotic as Sumatra, Vietnam and Thailand, and as flat-out dangerous as Columbia, Nigeria and Russia, with some of the maddest, baddest and strangest people you could ever hope not to meet.

He's back on the rigs and back in trouble. Picking up right where he left off, Paul Carter pulls out more tall tales of a mad, bad, and dangerous life in the international oil trade. Starting with action and mayhem galore This Is Not A Drill sets an unrelenting pace that just doesn't let up, as Paul almost drowns when the Russian rig he's working on begins to capsize; is reunited with his Dadanother adrenaline junkie; gets married; hangs out with his rig pig buddies in exotic locations; gets hammered on vodka in Sakhalin; and spends a couple of interesting weeks in Afghanistan with some mates who run an outfit that just happens to contract out mercenaries for hire. This is the next fast, furious, and very funny book from Paul Carter."

Study & Master Mathematics Grade 9 is an exciting new course that covers and integrates the Learning Outcomes for Mathematics stated in the National Curriculum Statement. The material is presented in a user-friendly way that will boost learners' confidence, and show them how to enjoy Mathematics.

Study & Master Mathematics Grade 9 is an exciting new course that covers and integrates all the Learning Outcomes for Mathematics stated in the National Curriculum Statement. The material is presented in a user-friendly way that will not only boost learners' confidence, but will also show them how to enjoy Mathematics.

Highly illustrated, with images drawn from a wide range of cultures, historical periods and media, Paul Carter’s Parrot is a roller-coaster ride through parrots in literature, jokes, folklore, mythology, film, TV and children’s stories worldwide, as well as an examination of parrot conservation, talking bird experiments and parrot portraiture. Parrot is a fascinating natural and cultural history. The book covers three broad areas: ‘Parrotics’ - the historical, cultural and scientific classifications of parrots; ‘Parroternalia’ - the association of parrots with the different languages, ages, tastes and dreams of society; and ‘Parrotology' - the mimicry of parrots and what that can tell us about our own systems of communication. This book differs from previous histories, which have treated parrots as subjects of curiosity and a pretext for elegy. A new kind of animal history, Parrot is philosophical and poetic: it takes seriously the critical and ironic mirror that parrots hold up to human society. Humorously written and wide-ranging in scope, Parrot will have broad appeal, and will be of interest to parrot enthusiasts and specialists, as well as a general readership.