Progressive culture since 1954
The Memorial redevelopment completes the transformation of the Anzac myth from one earlier generations would have recognised –a muted, reflective phenomenon, for all its ahistoricism – into the triumphalist spectacle it has become today.
‘Well, it’s just that no-one has ever wanted to come here,’ my cuñada tells me.
If the main purpose of my work was to educate white people, I would have seen it as a failure after being rejected twice by white art institutions. I would have seen it as a failure after the predominantly white attendees of the music and arts night drew penises and wrote jokes on my work.
It was a long summer. We saw unsettling things in the news, and we felt them at home – the unrelenting temperatures, steeped nights, no rain. That now-infamous global heat map showing Australia like a blistering boil of weeping red. The bloated fish after algal blooms.
On this tenth anniversary, it feels like a line has been drawn in the sand. It tells me that cycles don’t have to repeat in an endless loop. Life has stopped fragmenting and there’s a celebration of regrowth even as we carefully remember the past. Today, ten feels like a full circle.
I’m devastated about Agnès Varda’s death, not only because the world has lost a great light but because she was still making art, and we’ve lost what she still had left to give us.
After a century of Royal Commissions and interstate agreements we are arguably closer than ever before to destroying our largest river system.
John Batman the mass murderer has become a Jesus Christ figure. By blaming him, White Australia absolves itself of the sins of the past. Perhaps he’s the saviour we deserve.
By partnering with Ramsay, Australian universities are lending their names to an institution that promotes a self-identified sympathiser of the far-right.
By highlighting the movement’s role in actively constructing neoliberal society, Humphrys points to a future in which labour can unmake neoliberal society. If the complicity of the working-class was required to make Australia what it is today, then those same agents of history can withdraw their consent.
I fear for Hassan and Vivien and all the villagers and farmers who have worked so hard to maintain Battir’s terraces as a community-based enterprise of which they are rightly proud. The events of Christmas Eve also touch that place in me that fears for the survival of Palestine and my mother’s homeland.
When I first met Andrew, in the mid-1990s, he had already won the Vogel award for Praise and had written a play, Bait. Working alongside David Berthold, Bait was the result of Andrew’s time as a resident writer at the Queensland Theatre Company. As fate would have it, the company passed on producing it. Andrew’s time at the company was also over, and so that may well have been it for Andrew’s involvement in the theatre.
University students have a right to know the scale of sexual misconduct as an issue on their campus that pertains to their mental and physical wellbeing. Prospective students, as well as current ones, should be able to fully and easily inform themselves of the track record of the institutions where they will spend a significant portion of their time studying, and in some cases working or living.
I have no reason to doubt Corbyn’s sincerity in rejecting antisemitism. The problem is that the rhetorical framing of his critique in moral terms of the defence of the economic wellbeing of the nation against ravaging international capital tends, unwittingly, to resonate with noxious forms of ideology and ressentiment.
What makes DotaPlus interesting isn’t that it represents a new stage in the ongoing platformisation of videogames, but rather – I would suggest – that it reflects an economic and infrastructural model reliant on the quasi-autonomous capture, sorting, and presenting of user data. This model has transformative implications for the players’ experience of gaming.