Australian landscape is a place of competing mythologies, and histories. It has been constructed through speculative fictions that 'model' its history for us in literature, painting, film, theatre, and in history writing itself. 'The Antipodes' was framed as a place of nameless dread; the bleached bone terrors of an arid, inhospitable inland desert.In Fusion #10, the co-curated issue examined these conflicted histories of 'land'. Riding parallel to this shadowed psyche of 'land' were the suppressed histories of indigenous relationship to country and place. Our colonial culture, tea-stained by anglophilia, pursued unsustainable farming and mining practices that led to degradation of the land itself. Slag heaps, tailings and toxic waterways are left as if inevitable scars of 'progress'. Out of 'land dialogues' emerged all manner of reflection on ecology, climate change, sustainability, viable future resources... but also on poetry of place, on the purposes of art made within and about land, regionalism, habitat, exploration... tyrannies of both distance and displacement, and of human and non-human co-existence... of the veracity of indigenous peoples' relationship to land and how that permeates through the whole society... to social justice issues regarding how and where we live that can be pursued by communication and 'creative industries'. fusion is an international, online scholarly journal for the communication, creative industries and media arts disciplines. Co-founded by the Faculty of Arts, Charles Sturt University (Australia) and the College of Arts, University of Lincoln (UK), fusion publishes refereed articles, creative works and other practice-led forms of output.