Published in Overland Issue 211 Winter 2013 Writing / Teaser Peregrinus Requiescat Warwick Newnham Peregrinus Requiescat [A stranger may repose] Top of Form “Like the fly pest in summer time, it simply had to come…” – FLGOFF (later FLTLT) John Harvey ‘Jack’ Newnham, RAAF WOP/AG No 418163. b. 26 Feb 22, Wangaratta,Vic. 454 Sqn – 24 Jun 44 -– 1 May 45. Warwick Newnham Warwick Newnham was born in Melbourne in 1965 and whisked away from his mother as part of the white stolen generation, when unwed mothers were stripped of their children. He has travelled extensively in Asia, the Americas and Japan and speaks market-place Indonesian with some fluency. He lives in Brisbane with his partner and two blue heelers. More by Warwick Newnham Overland is a not-for-profit magazine with a proud history of supporting writers, and publishing ideas and voices often excluded from other places. If you like this piece, or support Overland’s work in general, please subscribe or donate. Related articles & Essays First published in Overland Issue 228 23 February 202324 February 2023 Technology From work to text, and back again: ChatGPT and the (new) death of the author Rob Horning Generative models extinguish the dream that Barthes’s Death of the Author articulates by fulfilling it. Their ‘tissue of signs’ seems less like revolution and more like the fear that AI will create a recursive postmodern nightmare world of perpetual sameness that we will all accept because we no longer remember otherwise or how to create an alternative. 1 First published in Overland Issue 228 9 February 202310 February 2023 Writing Please like, follow and subscribe: the pathos of Patreon Scott Robinson Every Substack page contains a glowing white box just waiting for your email address. This becomes, unavoidably, part of the work being produced. What began as a way to fund work and bring existing ideas into fruition is funnelled by hungry platforms towards an engine of content production that demands we churn out words in structurally-required scripturience. None of this is to denigrate the work of writers, artists and creators supported by such platforms. My point is that we should try and understand the effect these platforms have on the work they claim to enable.