Come along and join us at 6.00 for 6.30 pm in the Friends Lounge of the National Library. We start with a little good fellowship over a glass of something and some nibbles. Then our speaker, and generally a chance to go on for dinner together afterwards.
The need for organisational change is only too obvious - high-profile publications with mistakes, staff who believe that knowing where a full stop should go equates to editing, and a fear of publishing. In their day-to-day work, many editors encounter the underlying malaise: the client's ignorance of the publication processes. Often the editor has to try to overcome this by educating the client.
Are you prepared to do this? Who now educates editors, given the decline of publications sections and the lack of formal training opportunities outside the big cities? As a profession facing accreditation we need a better mentor than trial and error.
This presentation will give an insight into the experience of two respected Canberra editors who have worked successfully in this environment, particularly with government clients. For more about the presenters, visit our website notice board at <www.editorscanberra.org>.
It should be an interesting and provocative meeting - come along and contribute.
Ed•Ex 2006 confirmed for 17 June at Old Parliament House!
Mark your diary now - watch this space and our web notice board <www.editorscanberra.org/notices.htm > for news and updates.
- Next meeting: Effecting organisational change
- From the President
- IPEd notes
- The end-of-year dinner
- Our October talk - editing museum labels
- My grab bag: 'First language interference'
- Track changers with Anne Reed
- Thinking about words
- New members
- Copyright and deadlines
Overcoming the double whammy of the heatwave and the holiday season, your hard-working committee met in January to make plans for the coming few months. The focus of the meeting was on our upcoming one-day conference, Ed•Ex, which now has a venue and a date (Old Parliament House, 17 June).
With great reluctance, our training (and Ed•Ex) coordinator Shirley Dyson has had to withdraw from this position due to overwhelming and unforeseen work commitments. I'd like to thank Shirley for her contribution to date and wish her well as she tackles what sounds like a daunting task. Many thanks also to Kerie Newell for agreeing to take on this role for the remainder of the year.
The group planning Ed•Ex met late last year to discuss preliminary ideas, but now we need your ideas - and active participation - to make this an exciting and productive event for everyone who comes. Please contact Kerie if you have any suggestions or would like to be a presenter. This is your chance to help shape the event.
On another topic, how did you get started as an editor? Last week I received an email from Rosemary Noble, of the SA Society of Editors, a member of the IPEd working group for education, training and mentoring. Rosemary writes:
I am gathering information on any mentoring models either used by your society or that you know of as being used in related professions. We would like a brief description of how any such models operate, as well as comments on their success, problems, costs etc.
If you can help Rosemary in any way, please contact her directly at <rosemary.noble@deakin.edu.au>.
The enthusiasm that accompanied the official launch of IPEd continues (see Janet Mackenzie's report in this issue), with all the working groups making progress. The interim council had a teleconference in December, with another scheduled for 12 February. Items of interest from December include the possibility of a national discussion list to facilitate IPEd communications, accreditation, and standards revision.
Do visit the new website <www.iped-editors.org>; kudos to Ed Highley for setting it up - and in general for his indefatigable work in his new role as IPEd Secretary.
I hope that you've all returned from the holiday break invigorated and that 2006 brings you success and professional fulfilment. And that one of your new year resolutions was to attend more society meetings - remember, you have the chance to receive a lucky door prize at every single one. See you there.
Virginia Wilton
IPEd delegates have maintained momentum despite the national torpor that sets in over summer. The Interim Council has taken an important step for IPEd's future by seeking funds from the Copyright Agency Limited. If the submission is successful the grant will make substantial contribution to our costs over the next three years.
CAL is an Australian copyright management company which links creators and users of copyright material, balancing fair payment to copyright owners with community access to information. Through its Cultural Fund it distributes a small percentage of licence fees to support research, education and cultural development projects that improve conditions for copyright creators and benefit the Australian cultural community.
We believe that IPEd's plans to set up a national organisation and accreditation scheme for editors fit the guidelines of CAL's Cultural Fund, and you'll be hearing more about this submission if it succeeds. Our thanks to Shelley Kenigsberg (NSW), Susan Rintoul (SA) and Katya Johanson (Vic.) for their hard work on this.
The Accreditation Board has also been busy preparing its program of workshops to be held in each state and territory. The workshops have the twin aims of informing members about accreditation and identifying their concerns. Although the basic structure of the accreditation scheme has been agreed, the details are still being explored. Assessors, administrators and potential candidates need to work together on this, so go along to your local workshop and have a say on these plans that are crucial for the profession.
Janet Mackenzie, IPEd Liaison Officer
Did you go to the society's dinner last November? If not,
you missed a treat. If you did, you enjoyed a most
entertaining after-dinner speech from Robin Wallace-Crabbe
that defies any attempt at summary. What it lacked in
structure it richly made up for in content, even if at the
end you would have hesitated to say what that content had
been. Question time risked becoming a little more serious at
one point, but an astute observation from our genial guest
was enough to bring the evening back on track - his own
track, sometimes wickedly tortuous but always
delightful. The photo says it all, but a thousand words from Mr
Wallace-Crabbe would have been worth far more. The slightly
apprehensive gent at his side is our own Ted Briggs. Photo
by Elizabeth Murphy. And, in the words of the song, 'The
vittles we et was good, you bet, the company was the
same'.
up to Contents
Dr Robert Nichols is Senior Editor, Military History Section, at the Australian War Memorial. He last spoke to us more than two years ago, in August 2003, on a very different topic: the moral dimension of writing and editing. Editing, he said then, is essentially presumptive - no-one would dare to finish a painting for an artist or a sonata for a composer. On this new visit he looked at the mechanics of writing and editing museum labels, and once again also at some of the more philosophical issues that arise.
The War Memorial has three sizes of label with a strict limit on the number of words that can go into each, but authors (usually curators or historians) and designers seem blind to this limit. The former can never see any justification for omitting even the dullest and most obscure detail (in one instance proposing 850 words for a 50-word label!); the latter will always sacrifice words to graphic style. Hence the 'contest' for the available space
Robert showed an example of very unfriendly label-style writing:
Lady Macbeth's over-riding concern was that her husband should kill Duncan, and supplant him in his position as monarch of the realm. At her instigation, he undertook to act in such a manner as to bring about the outcome she desired, the result being that he succeeded beyond his wildest dreams.
And suggested this might become simply:
Urged on by his wife, Macbeth murdered Duncan and became king in his place.
The first question for the editor in such cases is, what do visitors to an exhibition need (or want) to know? What are the most significant messages a label should convey? What sorts of information should a label be given over to? Robert gave a wonderful example of this in relation to a helmet dug up on an old battlefield in France. The original label read:
Helmet, Steel, Pattern A5
Introduced as a consequence of the vast increase in heavy ordinance present on the battlefield, in 1916, the Helmet, Steel, Pattern A5 (this may be an A6) was worn by units of the British Commonwealth in World War One. This example was worn in Pozieres, where it's owner was killed and found on the 21st July 1986 in a farm near Pozeries.
Robert found no fewer than 17 faults with this label (can you?), and in the end it was completely re written as:
Steel helmet from Pozières
Steel helmets were introduced by most armies in 1916 to protect men's heads from steel fragments scattered by exploding artillery shells. This particular helmet was found near Pozières, on the Somme, exactly seventy years after the bloody battle of 1916 in which 23,000 Australians were killed or wounded over just six weeks.
Pozières is a place name that comes up frequently in the War Memorial, and those two mis-spellings were nothing unusual - Robert has collected a couple of dozen: Pozièrés, Poisères, Pozeries, Posièries, Posières, Poziéres, Posiéres, Poseires, Pozirees, Pozierés, Poszères, Posièrés, Posèires, Pozières, Pozèiries, Posierés, Poseries, Poziéries, Pozèries, Pozeires, Pozeirés, Poiséres, Posieres.
Occasionally a mis-spelling or misunderstanding can be serious, for example when the word 'Shikker' (drunk) on the base of a sculpture of soldiers unwinding after a battle came out on the label as 'Shirker'. But that may have been the result of writing a label for an object you haven't yet seen, a common if unfortunate experience.
A different kind of contest arises when curators feel the need to give the detailed technical specifications and provenance of a painting or photograph when the viewer may just want the story. A compromise that currently works is to give photos that are used graphically the old style label, while photos that are shown primarily for their artistic merit get the new art style captions.
Behind all this is the need for the editor to do what they should always do to ensure that the author's message comes across (in the words of Quintilian, a writer and literary critic from the 1st century AD) 'in such a way not just that your reader understands you but such that they cannot misunderstand you'.
Peter Judge
A big thank you to Dr Nichols for making his notes and slides available.
Hi - I'm back again, and this year my topics are going to vary from strictly editing, through aspects of grammar, to comments on the notices I see on the highways that I travel - and anything else that comes to mind. Hence the 'grab bag'.
This month I've dug out of the grab bag a few points on editing the work of writers whose first language is not English. I hope they are useful.
I take my hat off to people from other cultures who not only master spoken English but manage to write business letters, scientific reports, doctoral dissertations, or anything else in remarkably good English.
In my work I see a lot of English written by people whose first language is Japanese, Chinese, Russian, Polish, German - you name it. When people from another language base write English, their first language grammar can 'interfere' with their writing in English grammar. It's called 'first language interference'. The writer uses English words and phrases plus whatever English grammar they have absorbed, but there are still gaps in understanding the grammar of the second language, so we get a bunch of English words structured in the style of the first language.
The problems I encounter most frequently with writers from Asian cultures are these:
- • lack of or misuse of articles
- • wrong tenses of verbs and wrong choice of verb in the first place
- • misuse of prepositions
- • misplacement of adverbs
- • lack of plural marker on nouns
There are other problems, such as phonetic spelling (usually by writers from Russia or Poland) and sentences structured in the German way with the verb at the end. But I'll stick to the Asian writing hiccups here, with an example or two of each* and a suggestion about helping the writer to see the error, fix it and learn from the experience.
The female death rate was higher than [the] male rate and most of [the] deaths happen to the people aged over 60 years. I need to explain that nouns and noun phrases in English have an article (a/an or the) in front of them when we are being specific and not generalising. It would be possible to argue for no article before 'deaths' but only if we remove 'of', and then I would advise writing 'people' and not 'the people'.
The proportion of older people rented private dwelling has been increased, while the proportion of older people lived in public housing has been decreased. There are several problems here: 'rented' should be either 'renting' or 'who rented' and 'lived' should be either 'living' or 'who lived'. 'Rented' and 'lived' can't be used as simple past tense verbs because their subjects are not 'people'. The two verb phrases 'has been increased' and 'has been decreased' are wrong because, although I can't show you the whole context, the intention was to show an increase and a decrease in the proportions that just happened - not that was made to happen. We'll return to 'dwelling' without an 's' later.
I have wrote the email about your suggestions …
… six visitors who flied all the way from Bangkok.
These are two examples of non-understanding of the way past tenses and past participles are formed in English. The second, 'flied', is probably the result of applying logic - if you can have 'try/tried' why not 'fly/flied'? Irregular formations like 'flew' and 'written' (which defy logic) are particularly tricky for writers with a non-English background.
What departs Mr X and his colleagues from the other members is … The writer is clearly thinking about 'sets Mr X apart' or 'Mr X departs in principle from his colleagues', but the verb required here is 'differentiates'. The writer needs help in understanding the links between words and the various meanings that they can have, depending on context.
… give the poor opportunities of getting out of poverty … English idiom is very hard to keep up with. There! Fifty years ago, I might have been chastised for ending a sentence with a preposition. And now we can write 'different from' and 'different than' with impunity, though 'different to' is still not recognised. Same here: idiom has it that we write 'opportunities for getting out' or 'opportunities to get out' but not 'opportunities of getting out', though we can write 'chances of getting out'.
. . . the people conform to their religious laws strictly. Here 'strictly' is misplaced; it belongs with the verb 'conform' because it tells more about the verb - placing it further from the verb only weakens its effect. Better is: 'conform strictly to . . .' In some cases, shifting adverbs can alter the meaning - try shifting 'only' to every possible position in a sentence like 'She only bought bread at the shop yesterday' and see how many different meanings you give to the sentence.
. . . some people cannot afford to live in area where they can easily access facilities and from the first example above: . . . rented private dwelling . . . lived in public housing . . . In the first sentence it should be 'areas' ('an area' would have been wrong in the context, as it happens). In the second extract the writer has apparently inferred from the correct 'housing' that 'dwelling' is correct, but it should be 'dwellings' because these are seen as individual residential units. I do not have a recent example, but one of the most common errors made by Asian writers of English is to omit the plural marker because there is no need for it in their first language. We go to a shop and buy one book or two books, whereas a Japanese or Chinese person buys 'one book' or 'two book', the numerator being quite enough to show plurality. How sensible.
We certainly need to be on the lookout for all these types of errors, but more than this, I think we need to do what we can to help such writers to develop their English writing skills by explaining the corrections we make and expanding on them as necessary and if we have time. For example, an error may be 'he bought green jacket at store'; we may correct this to 'he bought a green jacket at the store'. The writer won't learn from this correction unless there is an explanation: 'We use the indefinite article "a" before a noun or noun phrase (adjective + noun here) and the definite article "the" before "store" to show that we mean a particular store'. If you have time to enlarge on that to explain when you would use 'an' instead of 'a', so much the better. One detailed explanation of a particular type of error correction in a document is enough - the writer will appreciate the help and may avoid the same mistake next time. There is no need to repeat the explanation throughout the document - blunt instruments don't usually work!
Stephen Krashen (1982) says that 'drill' will only, at best, produce short-term learning. Real language acquisition 'can happen only when the acquirer obtains comprehensible input'. It's a long-term process.
* The examples are all real - I have altered them slightly to ensure anonymity.
© Elizabeth Manning Murphy (2006)
Krashen, Stephen D (1982) Principles and practice in second language acquisition, Pergamon Press, Oxford, UK
I was a high school teacher for the New South Wales
Department of Education before I moved to Canberra in 1981
with my then husband, who had joined the Tax Office. At the
time there was a glut of teachers, particularly in my
subjects, which were Latin and English, so I could only get
relief teaching. This was okay because I had my fourth and
fifth babies in the first two years after I got here. While I was relief teaching I did a term - not in the
classroom but in the Schools Authority's Research and
Planning Section - helping the staff finish their projects
for the year. That was the last term of 1988. One of their
hypotheses was that teachers suffer burnout at age forty -
'so let's not employ anyone over age thirty-five if we can
help it'. I was already in my early forties so I thought,
'Better sit the Public Service exam before they get the same
idea'. I did, and went in as an Administrative Service
Officer 1 - the bottom of the ladder - at ComSuper, which
was called AGRBO at the time. My work involved photocopying,
faxing and breaking shredders.
Two months into my public service career, the man waiting
behind me at the photocopier asked about my background. When he found
out it was in English teaching he went to see his boss, who came and
encouraged me to apply for an ASO 5 position in his section. I sat up
till three o'clock in the morning writing my first job application
ever. I got the position, which involved editing annual reports -
ComSuper had about seven of them. That started my editing career.
Seven annual reports; that's quite a challenge.
I only had three of them and was lucky because the man at the photocopier was a fantastic supervisor. I'd never touched a computer and within three months I had published an annual report, thanks to having a supervisor who was also a great teacher.
What first attracted you to English and Latin studies?
Latin and English were my favourite subjects at St George Girls High School, Sydney, which was a government selective school - very academic. I had a love of literature until I started teaching it, and realised that instead of majoring in English literature I should have majored in English language. I've subsequently done a graduate diploma in linguistics. That followed my degree in sociology, during which I became interested in the philosophy of language.
What happened after your annual report editing for ComSuper?
The publishing section at ComSuper expanded to include brochures and newsletters, which was good. But after they did the restructure thing that was the rage in the mid-90s, staff morale fell. So I started reading the Gazette and applied for an editing position in the Defence Intelligence Organisation. There were four of us - one editor for each branch. I loved the work and was heartbroken when the editors were made redundant in 2001.
Over the next three and a half years I edited in environments that I had not experienced before - first, private enterprise and then home business. In December 2004 I went back to the public sector, editing for the Australian Federal Police.
You obviously enjoy editing?
I like editing because you're helping someone and you're making something better. The only reservation I have is sometimes I feel like a parasite because I'm editing somebody else's writing and I really should be writing something myself. When I was in high school I declared I wanted to be a writer! Instead I became an editor of other people's writing.
Obviously your Latin and linguistics have been great assets to you as an editor?
I think studying Latin assists you in the same way as studying, say, mathematics. It's just very good brain exercise. The written Latin language, which is of course no longer constantly changing, is highly logical and unravelling a piece feels just like solving a maths problem. I love Latin because it has a beautiful pattern - not like a living language, where the pattern's a bit awry at times.
Studying linguistics was a similar cognitive experience.
As far as relevance to editing's concerned, the education I got back in the fifties and sixties, where English language was actually taught in schools, has been an advantage. Teaching grammar started up again in schools recently but it's being taught by people who were not taught themselves at a young and therefore more receptive age.
What do you think of editing as a profession and its future?
Up until now people have not said 'I want to be an editor' when they're leaving school or university and thinking of their vocation. But I think accreditation will make it a better known profession.
Instead of something that they stumble into?
Yes, the way I fell into editing because I happened to be at a photocopying machine at the right time, and not showing much talent for photocopying.
You mentioned that you're interested in the structure of language, which indicates to me that you've got a logical mind and penchant for those things. So what do you do in your spare time? Crosswords?
What spare time? For the last sixteen years I've been a sole parent of five kids, full time worker and part-time student.
My hobby is studying. Until 2004 I did that at university. Now I am studying astrology by correspondence. I am interested in theoretical issues - such as whether there are hereditary patterns in the natal charts of family members - not in providing a chart-reading service.
I also enjoy spending time with my granddaughter, who has just turned one.
So what's in Anne Reed's future?
I'm nearly fifty-eight but have no wish to retire and am happy where I am - editing full-time for the AFP. Freelance editing gave me an education in quotes, invoices and business tax returns but I'd rather someone else looked after the dollars and cents side of things.
Louise Forster and Anne Reed
- The Hag is astride
- This night for to ride,
- The devil and shee together.
(from 'The Hag', by Robert Herrick, 1591-1674)
Last year, while enjoying a brief stay in the pretty little Normandy town of Etretat, we visited the home of Maurice Leblanc (1864-1941), the author of more than 60 novels and short stories featuring Arsène Lupin, gentleman-thief. Leblanc is almost the French equivalent of Arthur Conan Doyle, and indeed 'Herlock Sholmès' turns up as Lupin's adversary in several of the stories. The guide mentioned Leblanc's own favourite books among his writings and later, in the souvenir shop that seems to be the almost inevitable conclusion to any tour, I couldn't resist buying a couple of them. In one, La Comtesse de Cagliostro, the hero is intrigued by a distinction drawn by one of the villains between sorcière and ensorceleuse ('witch' and 'enchantress'), and this started me thinking about similar distinctions that we make in English.
After all, it's much more polite to tell a lady that she is enchanting or bewitching than to say outright that she's a witch. Just as it is kinder to tell her that when you look at her time stands still, rather than saying her face would stop a clock. It's all in the choice of words. And when introduced to someone in France, your response is almost invariably 'Enchanté'. However, at a less whimsical level, Lupin's musing prompted some thoughts about the language of magic more generally.
Our English word 'sorcerer' comes from the Old French sorcier, in turn derived from a Latin word sortiarius, a soothsayer, someone who draws lots or reads your fate or the future (sors, sortis is Latin for 'lot' or 'fate', as is modern French sort). In 1925 Maurice Ravel wrote an opera to a libretto by Colette, L'enfant et les sortilèges, 'The child and the magic spells'. The last syllable of that word sortilège comes from the Latin legere, 'to read' - someone has read your fate and is probably performing some kind of magical nastiness on you in consequence.
What about 'witch'? Defined as 'a female magician, a sorceress, supposed to have dealings with the devil or evil spirits and by their cooperation to perform supernatural acts', the word comes from the Old English wicce, feminine of wicca, a 'wizard'. 'Hag', in the opening quotation, can be an evil spirit in female form, or a witch, or an 'ugly repulsive old woman', coming from an OE word haegtesse. By analogy, you might think that 'hagiology' is the study of ugly old women, but the analogy is false - hagiology is the study of the lives of the saints, from the Greek agios, 'holy'. However there is also a link between 'hag' and 'hex' - the German for a witch is Hexe, and if you feel hexed you may indeed feel that you are under some malign influence or spell.
'Wizard' is a male witch. The first syllable relates to 'wise', but the ending -ard has a strongly pejorative implication, as it does in words like bastard, coward, drunkard, sluggard, braggart and the like. So a wizard's wisdom is doubtful at best and probably misdirected. Another word for a male witch is 'warlock', coming from an old Scottish word for 'oath-breaker', 'traitor', 'deceiver', but also having the sense of one in league with the Devil. The -lock syllable here is from leoghan (modern German lügen), meaning 'to lie' or 'deny'. It is NOT the same as the lock on a prison door - that comes from OE loc, a fastening - nor the -lock in 'wedlock', from OE lác, which denotes the act of wedding. The 'shackles of wedlock' are a fiction based on wordplay, not on etymology! Spouses please note.
The term 'Wicca' (the OED pronounces it 'wikka', but in Britannica it is 'witcha') is still in current usage for the pagan religion - if that isn't an oxymoron! - of modern witches. It is either the world's oldest extant religion or one of the newest. It was founded by the British civil servant Gerald Gardner in the late 1940s (he spelt it Wica), based on the symbols, practices and beliefs of ancient Celtic society, with its roots going back to around 800 BCE. A little Masonic ritual and other more recent elements were thrown in for good measure. Gardner didn't know all that much about ancient pagan rites, so he based his ritual on the practices of the infamous 19th century Satanist Aleister Crowley.
Wiccans do not worship Satan, but different covens believe and practise different things. Many Wiccans worship a single supreme being, sometimes called 'The All' or 'The One', and they view The Goddess and The God as the female and male aspects of this one deity. But others see the God and Goddess as two different entities, and others again worship a whole pantheon of gods, including Pan, Diana, Dionysius and Faunus. The number of its adherents is steeped in mystery, but a figure of 80,000 in the USA has been quoted and there are many in Europe - and also in Australia (I googled 'wicca Australia' and got 85,100 hits!). Incidentally, that word coven originally meant just an 'assembly', not necessarily of witches, It has the same root as 'convene', and one unlikely relation is 'convent'.
An Australian Wiccan writes: 'I do not eat babies, my sacrifices are limited to giving up bad habits, junk food, or my time, to work at the Reiki Centre. My magick is confined to spells for healing, protection, prosperity, fertility, and exorcisms. The medicine bag that I always carry holds sacred grain (corn) as an offering, if I ever take a crystal or feather from the earth.' That word Reiki is a bit of old Celtic, related to the German word Reich and referring here to the 'realm' of Wicca.
A surprising number of websites offer Wiccan paraphernalia for sale. One example lists: 'Incense, Herbs, Fragrance and Magickal Oils, Goddess Statues, Plaques, Athames, Cauldrons, Altar Supplies, Robes, Tarot Decks, Divination tools, Books, Jewelry and more, all at affordable prices.' (An Athame is a ceremonial knife used 'to direct energy', introduced by Gardner as a central part of his ritual.)
 |
The five-pointed star or pentagram is a highly important symbol, whether worn as a protective charm, displayed as a wall hanging or drawn on the floor to define a magical area. Placed in a circle it is a pentacle: the top point is said to represent 'spirit', and the other points air, earth, fire and water. Readers of my earlier columns may remember that the word Grimoire, 'book of spells', is related both to grammar and glamour - your glamour may indeed be spell-binding. |
Magic apart, my wish for you, in this first issue of The Canberra Editor in 2006, is for health, happiness and success in the months to come. Hopefully, if you achieve these and keep all your New Year resolutions you should have no difficulty in staying safely on the Right-hand Path!
Peter Judge
Sources: As always, Encyclopaedia Britannica 2006 Ultimate Reference Suite on DVD and the Oxford English Dictionary on CD-ROM. Maurice Leblanc, La Comtesse de Cagliostro, Livre de Poche, 1964. Wikipedia, 'the free encyclopedia', at <http://en.wikipedia.org/wiki/Wicca>. The Australian Wiccan's site was at <www.ozwicca.com>, and the Wiccan shop at <www.wicca.com>.
The society welcomes new full members Dr Malini Devadas (formerly associate), Ms Katrina Lamb, Ms Narelle Moody, Ms Karen Pearce, Ms Carol Taylor, and associates Ms Jo Lamont, Mrs Ronna MacNiven, Ms Lucy Potts and Mr Colin Wales.
is published by Canberra Society of Editors,
PO Box 3222, Manuka ACT 2603.
© Canberra Society of Editors 2005. ISSN 1039-3358
- The next newsletter will appear in March 2006 and the copy deadline for this issue is 24 February.
- The editor welcomes contributions by email to <peter.judge@alianet.alia.org.au>, using Word for Windows, for PC or Mac.
- If by snail mail, then please send it on a floppy disk with accompanying hard copy to Peter Judge at:
- 10 Glyde Place, Kambah ACT 2902.