UniLife Magazine 1705

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MAGAZINE

September / October 2009

UNILIFE MAGAZINE . ISSUE 1705 . Sep. – Oct. 2009 . UniLife Magazine is a rebranded version of Entropy Magazine.

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September / October 2009

Executive / Creative Director: Gjoko Muratovski Editorial Committee: Kelly L. Graham-Sutton, Matthew J. Harbinson, Kristine Thomson, Riki Owens-Bennett Graphic Design Consultant: Stuart Gluth Illustration Consultant: David Blaiklock Photography and Artwork Contributors: Greenpeace, University of South Australia, The Wilderness Society, Finlay Maclay, Sam Dickson, Ahmetshina Yana, Marco Eychenne, Adrian Perez, Spencer Harrison, Shannon Baka, Denis Popenkov, Matthew Commons, Claire Andrew, Natalie Mammarella, Eduardo Tavares, Bec Todd, Ghulam Ali Hussaini Cover: Marco Eychenne (Greenpeace Design Awards Finalist) Published By: UniLife Inc. Brokered via: UniSA Document Services

THE MAGAZINE IS PRINTED WITH ENVIRONMENTAL CREDENTIALS AND IS DISTRIBUTED FREE OF CHARGE ON SELECTED LOCATIONS. We are always excited to hear what you have to say. Email us on unilifemagazine@unisa.edu.au to do so. For marketing enquiries, use the same address. View UniLife Magazine in digital form or download a PDF, from the UniLife website: www.UniLife.edu.au Disclaimer: UniLife Magazine recognizes the wide and diverse range of viewpoints and beliefs on religious, political, social and moral issues. Equally, however, we feel that the notion that we need tiptoe around these beliefs for fear of offending is in short, ridiculous. Nevertheless, we warn that reader discretion is advised.

Contents:

HELLO

by Gjoko Muratovski CATCHING UP WITH IRAN

by Liam Mannix GLOBAL DAY OF ACTION

by Firuzeh Mahmoudi and Hadi Ghaemi REMEMBERING EAST TIMOR

by Clea Woods TARANTINO’S BASTARDS

by Ekaterina Loy AFRO SAMURAI

by Zleverton THE CHURCH

by Gjoko Muratovski HP666

by Arnold Jago IS HELL EXOTHERMIC?

by Thomas Carnwell GREENPEACE DESIGN AWARDS

by Chris Washington-Sare (Greenpeace) THE FINALISTS: SELECTION

by Greenpeace Design Awards 2009

6 8 10 12 14 16 20 24 26 28 32

44 MARINE PARKS

by Shen Dycer (The Wilderness Society) 48 HOW ABOUT A TRIP TO ANTARCTICA

by Tim Bradshaw 50 HOW TO LAND THAT JOB

by Craig Pickering 54 GILLES STREET MARKETS

by Terry Holbright 56 MOS DEF

by Tim Novak 68 MASKED BALL BY LAVAZZA

by Finlay Maclay 68 GREEN IS THE NEW BLACK

by Adrian Marshall 70 TREE PLANTING... AGAIN!

by Kristine Thomson 72 THE SHARKS

by Tim Nolan 74 KEEPING TO THE CODE

by Michelle Kavanagh 76 TURNING JAPANESE

by Leanne Cotter 78 MASQUERADE

by Riki Owens-Bennett

September / October 2009

written by Gjoko Muratovski

Hello And welcome to the 1705 issue of UniLife Magazine.

DEAR READER, The Greenpeace Design Awards 2009 have been a great international success and we would like to present you with an overview of what was going on. This was a particularly important event for us, as this competition was sponsored and hosted by our big brother – UniLife Inc (in collaboration with UniSA and Greenpeace Australia Pacific). Therefore, we would like to show you some of the finalists that took part in the Awards.

Also, we are organising another major event soon, and that is our annual (Masked) Ball at the Hilton Hotel. Ok... it is Masked Ball this year. For two years in a row we had a regular Black Tie event, and we wanted to spice it up this time. But don’t worry, we are bringing the HUMMER limo again, but this time is going to be pink in colour (you can thank the ladies organising this gig for that).

What else... Ah yes, we also had a successful tree planting festival at the Kangaroo Island (it’s kind of a tradition for us).

Enough of what was going or, or will be going on. Now, sit back, relax, and start browsing your magazine.

Cheers!

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Artwork by Gjoko Muratovski.

Greenpeace Design Awards January2009 / February 2009

Written by liam mannix

Catching up with iran As the eye of the world media turns slowly back to Iran, we’re finding out that the status quo is beginning to reassert itself.

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THE IRANIAN PRESIDENTIAL ELECTIONS, held on the 12th of June, returned incumbent, President Mahmoud Ahmadinejad with an overwhelming majority of the vote – a majority so overwhelming it soon became dubious.

For days before the elections, civil unrest had been growing – and, upon the announcement of the result, that unrest turned to anger, and then rage, and then inevitably, violence. Ordinary Iranians, united by a feeling that the wool was being pulled over their eyes, began to fill the streets, clashing with police and militia forces. Ahmadinejad, and the countries’ supreme leader, Ayatollah Khamenei, appeared indecisive and hesitant – unsure of whether to maintain the ruse or break out the nightsticks.

In the West, academics drew comparisons with the Tiananmen square massacare. And the similarities were there – a popular uprising, an uncertain government. For China, Tiananmen represented a cultural and political turning point, in which a snap decision was taken that would decide the direction of the country for the next 20 years. Iran seemed to be playing out the same way – all the pieces poised, waiting for some key event, a catalyst to set the whole board in motion.

But then... Michael Jackson died... and that was much more important.

After a solid half-month of eulogies and woe-betide-us-the-King-is-dead weeping, the media have finally caught their breath, and are now turning back to the issue du jour – Iran. But it’s not the Iran of a month ago. The Iranians have had their partial recount, as mandated by the Ahmadinejad-supporting Guardian Council. As expected, it reconfirmed Ahmadinejad as the winner. Apparently buoyed by confirmation that his people had elected him leader, Ahmadinejad has finally let his security forces off the leash – giving them free rein to beat any lasting revolutionary spirit out of the masses.

Mir-Hossein Mousavi, the reformist candidate challenging Ahmadinejad, and the demagogue at the head of many of the early rallies, has had his freedom of movement limited by the Iranian Security Forces, and makes few public appearances. Deprived of its focal point, much of the revolutionary energy and zeal has been lost.

The BBC’s Jeremy Bowen makes the very good point (tinyurl.com/ne94o4) that the elections, and their aftermath, have already changed the country. The Supreme Leader, Khamenei, has been criticised publicly – unthinkable pre-election – and the people have lost faith in his and in Ahmadinejad’s leadership. But they’ve held onto power, if only tenuously. And that gives them the ability to gradually reintroduce the old status quo.

So, for Iran, no Tiananmen-esque catalyst. Instead, the game’s gonna be played over the long term.

September / October 2009

written by Firuzeh Mahmoudi and Hadi Ghaemi

Global day of action The world witnessed a remarkable show of solidarity for Iranian’s civil and human rights on Saturday, July 25th, Global Day of Action. The role of new technology and social networking galvanized citizens around the world to effectively and swiftly rally for justice for the Iranian people.

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IN THE POST ELECTION turmoil sweeping Iran, almost instantaneous cell phone images of protestors being bludgeoned and murdered quickly went “viral,” resulting in global outrage.

In response to these atrocities and in less than three weeks, United4Iran mobilized tens of thousands of citizens in 100 cities worldwide joined by Nobel Peace Laureates, Dariush and U2 for a Global Day of Action, July 25th. United4Iran received statements of support from a wide range of advocates and organization.

Videos and messages by Noble Peace Laureates were taped by Skype or simple consumer cameras and transmitted electronically to the organizers. In Dublin, U2 performed “Sunday Bloody Sunday,” while projecting a solidarity video for Iran, and Iranian singer and cultural icon Dariush performed at our rally in Washington, DC. The rally in San Francisco was transmitted live over the Internet for the world and the people of Iran to see.

When the San Francisco rally organizers announced the rally was being broadcasted live in Iran, the participants screamed and cheered to make it clear to the Iranians who were watching them that this day was for them. While used widely by people of all ages, social networking is particularly favoured among youth, who participated in a significant way in United4Iran rallies. Seventy percent of Iran’s population is under thirty so their savvy use of new technology promises innovative ways to demand basic human rights and freedom, in ways never before seen in Iran and around the world. A video made by the organizers of the Amsterdam rally had 27,000 hits within two days on YouTube. New technology also gives a voice to women in Iran and abroad, who have been at the forefront of this movement, but are now participating in historic numbers.

In addition to over 90 rallies in Europe and North America, rallies took place in cities on nearly every continent, including Caracas, Bogota, Melbourne, Dubai, Bishkek, and Ouagadougou, Burkina Faso. Nearly 10,000 people demonstrated in both Paris and San Francisco, and in other cities, such as Stockholm, Berlin, Washington, and Los Angeles, nearly five thousand people participated.

Visit the United4Iran website for full documentation of Saturday’s rallies in over 100 cities at: www.united4iran.org

September / October 2009

Written by Clea Woods

remembering east timor East Timor, 1975. As Indonesia prepares to invade the tiny nation of East Timor, five Australian based journalists go missing. This is the story of the new Australian/ East Timor film - Balibo.

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BALIBO is the true story of five Australian journalists murdered in East Timor in 1975, during the lead up to the invasion by Indonesia. Juliana Da Costa was nine years old when Indonesia invaded Dili. For the first time since that tragic day, she returns to Dili to give evidence to the Timor-Leste Commission For Truth and Reconciliation. The revelations of her testimony frame Balibo as Juliana describes the day of the invasion and the massacre that unfolded on the Dili Wharf.

In November 1975, four weeks after the five journalists are reported missing, veteran foreign correspondent Roger East is approached by twenty-five year old José Ramos-Horta who attempts to lure him to East Timor to run the East Timor News Agency. East agrees to join Horta in East Timor, but only if he is first given complete access to the nation to find out the fate of “The Balibo Five” journalists – Channel Seven’s Greg Shackleton, Gary Cunningham and Tony Stewart, and from Channel Nine, Brian Peters and Malcolm Rennie. All five had last been seen filming news reports in the small town of Balibo.

East does not accept the official story that the men were killed in crossfire. As his determination to uncover the truth intensifies he and Horta undertake the perilous journey through the rough country from Dili to Balibo, terrain now occupied by day by Indonesian forces. Inter-cut with their journey is the story of how the journalists, four weeks earlier, made their way to Balibo determined to film the imminent Indonesian invasion. On the morning of October 16 all five men are executed in cold blood by the invading Indonesian troops, after clearly identifying themselves as Australian journalists. Their bodies are then burnt.

Without any official Australian Government protest the Indonesian army continues to secure the border area and advance on Dili. After uncovering the awful truth East returns to Dili with a renewed determination to tell the story of the country he has come to care about. On his return, Horta informs East that he has been chosen by his colleagues in the East Timorese Government to leave East Timor to represent the country in exile at the United Nations. He is unable to convince East to join him on a flight to safety from the impending invasion, leaving East the only remaining foreign correspondent in East Timor. With US President Ford and Henry Kissinger safely in the air after approving the invasion in secret meetings in Jakarta, Indonesian paratroopers and commandos attack Dili and immediately capture East who is reporting the invasion.

Defiant to the end, East is executed on the Dili wharf by an Indonesian execution squad, together with hundreds of East Timorese. The young Juliana witnesses the tragic massacre of her people, and the murder of Roger East, her friend. After these tragic events, José Ramos-Horta went on to represent his country in exile for 24 years, receiving the Nobel Peace Prize in 1996, and returning to an independent East Timor in 1999. He is currently the elected President of the Democratic Republic of Timor-Leste.

National release date of BALIBO is the 13th of August 2009.

September / October 2009

WRITTEN By Ekaterina Loy

tarantino’s bastards Somehow Quentin Tarantino leaves an impression of a guy, whose closest associations with Germany and France would be a hamburger and French fries.

NEVERTHELESS, the latest Tarantino’s movie, Inglourious Basterds (yes, that’s how you spell it), happens to narrate about a group of Jewish American soldiers who were sent to Germany while WWII to exterminate as many Nazis as possible. In the midst of their unstoppable mission they stumbled on a French female partisan, whose plan was sort of the same, not counting some personal sentiments. Now, history students, put your bricks back – Tarantino on several occasions admitted that the characters of the movie never really existed. What did really exist though is a movie which was released in the States in 1981 under the name The Inglorious Bastards. The movie, originally called in 1978 Quel maledetto treno blindato (literally translated as That damned armored train), is claimed to be an inspiration for Tarantino’s feature title and partial premise.

Right, inspiration, is that how they call it now? Quel maledetto treno blindato is about the group of American soldiers who might not be scalping Nazis, but pretty much sprinting around Europe in collaboration with the French Underground. There is nothing new in these Tarantino’s partial premise inspirations, however QT prefers to portray his tarnished creativity as an eternal homage to genres of spaghetti western and blaxploitation.

As you would expect from the setting, people in this movie look totally fierce. Take, for example, Brad Pitt’s character with his throat cut and sawn back. Resourceful Tarantino says he was writing Lt. Aldo Raine having Pitt in mind. Believe Quentin or not, but you have to credit it to Pitt: the man is challenging his type of roles. Last year saw him acting unconventionally absorbing characters in Burn After Reading and The Curious Case of Benjamin Button. What should you credit to the rest of the cast I have no idea, since most of them, in Tarantino’s best traditions, were dug out of obscurity and oblivion. There is some definite doom in the choice of Mike Myers for the role of a British general, or for any other role for that matter. Sadly, Myers reached the point of no return with his 2008 feature Love Guru.

Having said all that, I should admit that Inglourious Basterds is still worth watching. That’s the thing with Tarantino’s movies – you like them not because of something, you like them despite anything.

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September / October 2009

Written by Zleverton

afro samurai Afro Samurai is anime produced by and starring Samuel L. Jackson, as well as high end voice talent like Phil LaMarr of Samurai Jack fame, and Ron Perlman, the man who is and will always be Hellboy.

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March / April 2009

LIKE THE GREAT WORKS of Shinichiro Watanabe, this work heavily employs the influence of western culture, specifically black western culture, which I suppose makes sense considering our stoic protagonist. Now when I say black western culture, I’m not just talking about hip-hop music, I’m talking about Blaxploitation as well.

For those of you who don’t know, Blaxploitation was a sub-genre of the 70’s Exploitation films that dominated the drive-in scene during that period of American cinema history. the most famous and accessible Blaxploitation films these days are probably the Dolemite series of films, the Shaft series, or the classic Sweet Sweetback’s Badass Song. These films were, for the most part terrible, but they influenced a generation of post-civil rights urban youth struggling to find an identity into action. They were stylish, fun, and gave an overall message of standing up for yourself and being proud of whom you are, despite their inherent sexism, these films were the Noir flicks of their day with a gritty, edgy and bleeding style. Theatres in the 70’s that would carry Exploitation and Blaxploitation films also carried many Kung Fu and Samurai films, so when 70’s funk culture evolved into hip hop culture, it wasn’t so shocking that the children who idolized Sweet Sweetback were also influenced by Yojimbo and Zoatichi. In fact, one of those children of influence even did the score for Afro Samurai - The RZA of The Wu Tang Clan, a seminal rap group and not only incorporated samurai and kung fu films into their lyrics, but into the music itself as well.

Okay, history lesson over. The reason I wanted to make you read all that is so you have a better idea of where Afro Samurai is coming from, it is, for all intents and purposes, the coming together of cultures that are not, and have never been so far apart as you may think. Many people are calling Afro-Samurai a child of the spaghetti western genre, which I suppose is true, but it must

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also be understood, the spaghetti western was heavily influenced by samurai films before them.

Sergio Leone probably wouldn’t even have a career if it wasn’t for Akira Kurosowa’s films.

Now, onto the show itself. Afro Samurai is incredibly simple, but I say that in the most endearing way possible. Being convoluted is not a prerequisite of having substance or being artistic.

Samurai Jack, a long running and long praised show has proved this time and again. Great stories like the Hellboy series of comics or the popular Battlestar Galactica show are great because they manage to turn schlocky cheese into high art, by giving it a modern overhaul. Afro Samurai takes it one step further, to the point where the schlock IS the art. Anime is very much like our version of the Exploitation genre of yesteryear, it’s very underground, but still holds popularity and knowledge in the mainstream. It’s filled with shitty crap, but the good stuff is worth watching and has its own very unique style that has influenced generations of artists who’ve been exposed to it.

The story of Afro Samurai is very very basic, it’s a revenge story because it needn’t be anything else. Its intent isn’t to change your life or make you weep for its tragic hero, its intent is to make your eyes melt and your heart pump, and maybe throw in a laugh or two. There’s a saying: You Don’t watch Kill Bill the same way you watch Shindler’s List. That applies here.

Shows like Afro Samurai and the vampire miniseries Hellsing are fantastic because they take from the well of culture not everybody likes to admit is there, and shows you something that takes it one step further; shows you what those film makers of yesteryear could have done with the technology at our disposal today. They work on a storytelling level because the stories are simple and have been told many times. They are human stories.

The idea of Afro Samurai, I can say with some confidence, was never to get you thinking about our society like Ghost in the Shell or Neon Genesis. This is nothing like that. Afro Samurai is meant to appeal to something deeper than your ego or your intellect, it appeals to your instinct. That’s why it’s so stylish. Its pleasure is purely aesthetic, and that is not at all a bad thing. Anime has a long history of taking from western culture and vice-versa. I like to think of Afro Samurai less as a corny bloodbath, and more a celebration of the corny bloodbaths we all know and love: Western stories like Fist Full o’ Dollars, The Good, The Bad, and The Ugly, and eastern stories like Ninja Scroll and Yojimbo. The standard for art these days is too narrow and too pretentious considering our history. I love Afro Samurai because it’s not trying to deny all the things we hate to love: blood, gore, revenge, and I’m not saying that to be nihilistic or cynical. I’m saying that because it’s true.

It’s simply easier to justify revenge, blood and gore when we can come up with some overconvoluted plot to fit it into. Well screw that.

The 2009 Afro Samurai comeback titled Resurrection (starring Lucy Liu) is up and running.

Enjoy.

September / October 2009

written by gjoko muratovski

the church According to Èmile Durkheim—the founder of the French school of sociology, a religion is always centred on a particular group. Such a group can be identified as a society whose members are united, as they share the same beliefs in the same way. When such society translates the representations of their beliefs into matching practices, then they can be defined as a ‘Church’. If seen in contemporary terms, ‘Church’ as an organisation can even be described as a members’ club, a corporation, or even, on some level, as a semi-commercial entity where like-minded individuals use religious services and practise their beliefs.

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March / April 2009

ALTHOUGH PEOPLE IN GENERAL associate corporate identity solely with business organisations and see symbols as logos, but as Jung pointed out, one of the most intricate, complex and ritualised types of corporate identity symbolism can be found within the realm of religion. Therefore, it is not surprising that as a part of its strategy, the Church has paid the closest possible attention to its corporate identity. Since its early days, both in western and eastern Christianity, the Church has developed rituals, introduced special clothing, used complex and impressive titles within a carefully ordered naming structure, and used rich, complex and mysterious rituals within vast, technologically advanced buildings—such as the cathedrals. Such buildings were erected with considerable sophistication and have contained many symbols—all of which were ‘collectively designed’ to make a massive impact on particular audiences.

In this regard, Jung has also elaborated on the ‘collective’ nature and origin of the religious symbols. He asserts that while worshipers assume these symbols are of divine origin, sceptics note that the religious symbols have been invented. According to him, they are both wrong.

Although it is true—as the sceptics note—that religious symbols and concepts have for centuries been the object of careful and quite conscious elaboration, it is equally true—as the worshipers imply—that their origins are buried so deeply within the mystery of the past that it sometimes seems these symbols might not have a human source. In any case, Jung argues that symbols are in fact ‘collective representations’ emanating from primeval dreams and creative fantasies, and as such they are ‘involuntary spontaneous manifestations’ and not of actual intentional invention.

During the historical development and use of the concept of symbolisation, a variety of categories and relationships have been developed. While some symbols, such as those of religion, have been, and still are used to convey concepts concerned with people’s relationship to the sacred or holy (for example, the cross in the Christianity) and also to the social and material world (such as, the dharma-cakra, or the wheel of the law of Buddhism), other nonreligious types of symbols have achieved increasing significance as well. In the nineteenth and twentieth century, symbols dealing with people’s relationship to the material world and its conceptualisation (such as scientific-technical symbols) have assumed ever-increasing importance in modern science and technology. These types of ‘secularised’ symbols are also

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rooted, to a degree, in the realm of religious symbolism. They function in a similar manner to religious symbols by associating particular meanings to particular signs. There are number of tropes and manners of signification that can operate with the concept of the religious symbol: allegory, personifications, figures, analogies, metaphors, parables, pictures (as in pictorial representations of ideas), signs, emblems, and individually conceived artificial symbols with added verbal meaning, as well as attributes used as a mark to distinguish certain individuals. They are all formal, historical, literary and artificial categories of the symbolic. Perhaps to best describe the revealing and at the same time concealing aspects of religious symbolism, one could use the terms ‘meaning pictures’ or ‘meaning signs’, as suggested by The New Encyclopaedia Britannica.

Whether it is religious or not, the symbol is intended primarily for the circle of the initiated and involves the acknowledgment of the experience it expresses. Therefore, the meaning of the symbol is not to be kept hidden; in fact, it should have a revelatory character. The symbol indicates the need for communication, but it conceals the details and the innermost aspects of its contents For example, the key symbol of Christianity—the cross—(which, if observed in modern and commercial terms, some might even call a logo) is fully integrated within the whole process of worship. It appears on Christian buildings, in paintings, in books, on vestments, jewellery, and at different stages in the service, as part of the ritual. With an intimate and all-embracing hand movement, the cross is even made by individuals—both priests and worshippers. In addition, the Church has introduced a range of symbols such as the use of titles, uniforms and elaborate rituals taking place within impressive cathedral buildings, which in the past had often made her attractive to intelligent youth and gave it an aura of authority in the eyes of the common people.

If we look beyond the story, the Church—as an institution offering religious services—can be observed as an organisation that encompasses and uses all of the elements of corporate identity common to multinational corporations. If one penetrates its facade, the Church practically represents a textbook model of a corporation. Even from marketing and branding perspective the Church fits the profile of a multinational corporation with its ‘branch offices’ throughout the world, and universal symbols and stories, applicable to many nations and different cultures.

Furthermore, if for (commercial) corporate brands, the greater the story behind the brand, the better the brand sells, then, the Church promotes the ultimate story—the idea of life after death; and this is not just the case with Christianity, other religions provide a similar story in one form or another. The success of religions lies in the idea they give people a sense of belonging (since all humans have a genuine need to belong) and by so doing, they fulfil the very role of a brand— they serve as a promise of something going beyond the generic product—in their case, beyond life itself.

Besides the Church, another highly institutionalised society that extensively uses symbolism, which can also be seen in its special clothing, ways of speech, body movements, buildings, vehicles, food and way of life—is the military. There has been one societal group that managed to combine elements of both the Church and the military to produce one of the most dramatic and horrific examples of symbolic corporate identity in modern history—the Third Reich.

September / October 2009

written by Arnold Jago

HP 666 The new Harry Potter film is now positioned as the third biggest opening day for any movie in Australian cinema history following first and second place films Lord of the Rings - Return of the King and Lord of the Rings - The Two Towers respectively. However, Arnold Jago gives us another perspective into the Harry Potter phenomenon.

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THE SIXTH Harry Potter movie, “Harry Potter and the Half-Blood Prince”, made over $20 million dollars on its first US special screenings night. Now it’s spreading around the world and is said to be a hit with 12-year olds, despite being rated “M”. But the Harry Potter globalised moneymaking machine has important critics. The Pope’s semi-official newspaper, L’Osservatore Romano, criticises “The Half-Blood Prince” for containing “no reference to the transcendent” (i.e. to God). It did, however, half-heartedly praise the movie’s “right balance” in the portrayal of certain teenage characters. Twelve months before becoming pope, Cardinal Ratzinger himself described Harry Potter as “a potentially corrupting influence”.

Bishop Wagner, of Linz, in Austria, recently promoted by Pope Benedict, is on record as accusing the Harry Potter books of “spreading Satanism”. Father Gabriel Amorth, the Pope’s official exorcist, having spent a lifetime observing the effects of devil-possession has no time for Rowling’s books and films. He told the London Daily Mail that “behind Harry Potter hides the signature of the king of the darkness, the devil.” (Father Amorth has also said he believes Joseph Stalin and Adolf Hitler were possessed by Satan.) Another Catholic exorcist, quoted on the internet regarding a young girl he exorcised who was into Harry Potter and Pokemon, says he has exorcised “many children who have become possessed through involvement in these”. Others, including some Catholics, disagree, “Don’t let’s get paranoid about Harry Potter books. How marvelous to see young people reading.”

No. Some things are good to read. Some are bad. If your child got into cannibalism, would you say, “How marvelous to see young Willie eating better these days”? Many people would suggest that all cases of “demonic possession” are really cases of medical ailments such as schizophrenia, epilepsy, or Tourette Syndrome. Although demonic possession may be rare, it seems irrational to brush aside every case. External phenomena occurring around the possessed, e.g. moving objects in the house, voices not coming from the person, responses the Name of God, to Holy Water and the Crucifix – are all witnessing such things deluded and/or liars?

Some victims may suffer both mental illness and demon possession. It might be argued that these categories are two segments of the one spectrum of human nature’s unending battle with evil. The reality of demon-possession and its dangers to the possessed and to those who undertake exorcisms are described in the book, “Hostage to the Devil” by Malachi Martin.

Australia’s first “saint”, Blessed Mary MacKillop, firmly believed in the dangers threatened by the devil. She took his existence seriously.

One time she wrote to the Sisters in her Josephite Order, “The Enemy of your own souls will do all he can to make you tepid and unfaithful. Oh guard against his snares, beware of them . . . go to the Sacred Heart of Jesus, your Spouse . . . .”

More about Mary MacKillop, including a new book about her life and ideas, can be accessed online at www.therealmarymackillop.com

September / October 2009

Written by Thomas Carnwell

Is hell exothermic?

The following is a question given on a University of Washington Chemistry exam.

BONUS QUESTION: Is Hell exothermic (gives off heat) or endothermic (absorbs heat)?

And the answer….

First, we need to know how the mass of Hell is changing in time. We need to determine the rate at which souls are moving into Hell and the rate at which they are leaving. I think that we can safely assume that once a soul gets to Hell, it will not leave. Therefore, no souls are leaving. As for how many souls are entering Hell, let’s look at the different Religions existing in the world today.

Most of these religions state that if you are not a member of their religion, you will go to Hell.

Since there is more than one of these religions and since people do not belong to more than one religion, we can project that all souls go to Hell. With birth and death rates as they are, we can expect the number of souls in Hell to increase exponentially. Now, we look at the rate of change of the volume in Hell because Boyle’s Law states that in order for the temperature and pressure in Hell to stay the same, the volume of Hell has to expand proportionately as souls are added. This gives two possibilities: 1. If Hell is expanding at a slower rate than the rate at which souls enter Hell, then the temperature and pressure in Hell will increase until all Hell breaks loose.

2. If Hell is expanding at a rate faster than the increase of souls in Hell, then the temperature and pressure will drop until Hell freezes over.

So which is it? If we accept the postulate given to me by Teresa during my Freshman year that, “it will be a cold day in Hell before I sleep with you, and take into account the fact that I slept with her last night, then number 2 must be true, and thus I am sure that Hell is exothermic and has already frozen over. The corollary of this theory is that since Hell has frozen over, it follows that it is not accepting any more souls and is therefore, extinct...leaving only Heaven thereby proving the existence of a divine being which explains why, last night, Teresa kept shouting “Oh my God.”

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September / October 2009

written by Chris Washington-Sare (greenpeace)

Greenpeace design awards Greenpeace Design Awards 2009, a competition hosted by Greenpeace Australia Pacific, UniLife Inc (with collaboration with the University of South Australia) attracted the participation of 1500 creatives from 77 countries - a world class event, by any standards.

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The winning entry by sam dickson

WE CAN’T ALWAYS RELY ON SOMEONE ELSE TO SAVE THE WORLD.

HISTORICALLY posters have been inextricably linked with cause-related campaigns. Visually striking, often iconic and frequently iconoclastic, posters grab the attention like no other medium. They effectively help spread a succinct message and in doing so shift attitudes and contributes to significant changes within society.

The brief was to design a poster that delivers the message ‘Be a Part of the Action’ – this does not necessarily have to be expressed in words. The poster could bear witness to catastrophic environmental damage and in doing so, cause outrage. Alternatively the poster could actively encourage peaceful protest to expose an environmental problem. Above all, the poster needs to raise awareness of environmental issues and inspire action.

The winning design will be used in upcoming Greenpeace campaigns in a variety of media which may include posters, t-shirts, banners, flyers or newsletters.

Entrants were asked to consider the target audience carefully when designing your entry. Greenpeace usually has four target groups: • Powerbrokers: People in positions of authority in industry and government who have the power and responsibility to make large-scale change happen.

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• Supporters: People who work with us to achieve positive change. Our supporters help us win our campaigns and they inspire others.

• Allies: People and organisations who share our aims and objectives. We cannot achieve our goals in isolation. Greenpeace builds alliances to help stop environmental destruction.

• Power Constituencies: People who can bring about pressure for change by changing behaviour en masse – such as consumers of a specific brand, voters or shareholders.

Greenpeace is an independent campaigning organisation that uses non-violent direct action to expose global environmental problems and to force solutions that are essential to a green and peaceful future.

Greenpeace Australia Pacific campaigns focus on the following issues: • Catalysing an energy revolution to address the number one threat facing our planet – climate change • Defending our oceans by challenging wasteful and destructive fishing and creating a global network of marine reserves • Protecting the world’s ancient forests and the animals, plants and people that depend on them • Campaigning for sustainable agriculture by rejecting genetically engineered organisms, protecting biodiversity and encouraging socially responsible farming The following values guide all Greenpeace campaigns: • Non-violence: Core to our roots is the principle of peaceful action. We avoid violence even when our acts are seen as provocative. It must be stressed that Greenpeace believes that violence in any form is morally wrong and accomplishes nothing. Posters advocating violent actions will not be accepted.

• Independence: By not accepting funds from political parties, governments or corporations we can maintain our independence.

• Confrontation: By challenging ideas and behaviour we believe we can move people and organisations • The power of acting together: The future of the environment rests with the millions of people who share our beliefs. Together we can tackle environmental problems and promote solutions.

The Greenpeace Design Awards attracted 1500 designers from 77 countries, and the organisers would like to express sincere thanks to all the entrants who have taken the time to submit such inspiring artworks.

You can learn more about Greenpeace at www.greenpeace.org.au.

To view the finalists, visit www.GreenpeaceDesignAwards.org.au.

September / October 2009

the finalists: selection

by The Greenpeace Design Awards 2009

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artwork by marco Eychenne

September / October 2009

artwork by Ahmetshina Yana

Artwork by adrian perez

artwork by spencer harrison

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artwork by Shannon Baka

Our appetite for fish is far exceeding the oceans’ ecological limits with devastating effects.

September / October 2009

artwork by denis popenkov

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artwork by Matthew commons

play again?

September / October 2009

artwork by Claire Andrew

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artwork by natalie mammarella

September / October 2009

artwork by eduardo tavares

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artwork by Bec Todd

September / October 2009

Written by Shen Dycer (The Wilderness Society)

marine parks If marine protection is your thing, then 2009 got off to a good start.

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March / April 2009

IN JANUARY, the State Government released the proposed outer boundaries for a network of 19 marine parks within State waters. Then in May come more good news, as the Commonwealth Government released maps outlining large ‘areas of interest’ for marine parks in Commonwealth waters off south west Australia, including an extension to the existing Great Australian Bight Marine Park. These will be the two most significant conservation initiatives this State has ever seen.

For us at the Wilderness Society, this is a once-in-a-lifetime opportunity to help secure a network of large marine sanctuaries (“no-take reserves”) in both State and Commonwealth waters off South Australia. These recent announcements show we are really starting to get somewhere, but we don’t go counting our fish before they spawn either. The campaign to secure a healthy future for South Australia’s marine environment is far from over.

South Australia’s coasts and oceans currently have almost no protection. Hard to believe given south western Australia is home to a far greater level of unique marine life than the Great Barrier Reef – up to 90% of the species found here are found nowhere else.

We all enjoy summers by the sea, seafood barbecues and fishing with friends; more than 90% of South Australians live near the coast. But as the State’s population grows, so will the pressures on our oceans - from increased coastal development, to massive aquaculture expansion, to BHP’s proposed desalination plant near Whyalla. And despite being recognised as a world leader in sustainable fisheries management, a significant proportion of South Australia’s marine fisheries are classified as overfished.

In the face of climate change and other human impacts, networks of large marine sanctuaries like those being proposed are the best way to conserve our unique marine life. Research from

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hundreds of marine parks around world shows that on average, animals become 28% bigger within sanctuaries, species diversity increases 21% and the total biomass of plants and animals grows by a huge 446%.

Marine parks in both State and Commonwealth waters will be “multiple-use”. Zones within each park will allow for a range of commercial and recreational activities whilst offering varying levels of protection for the marine environment. Only within these sanctuaries will activities which harm or remove marine plants and animals be completely prohibited. Outside of sanctuaries, marine parks will remain open to extractive activities such as aquaculture, commercial fishing and mining exploration.

Crucially, the State and Commonwealth Governments have not yet made any commitments about how big sanctuaries within these new marine parks will be. The Wilderness Society is working closely with other international, national and local conservation groups to ensure both initiatives deliver real and effective protection for our coasts and oceans, not pretend parks with insignificant sanctuary zones.

HOW YOU CAN HELP:

Do you want our coasts and oceans protected for future generations? Right now the South Australian and Commonwealth Governments are deciding the fate of our unique marine life.

Express your support for a network of large marine sanctuaries: - Contact SA Premier Mike Rann or Prime Minister Kevin Rudd - Write to your local newspaper or call talkback radio - Join our email list for regular campaign updates - Volunteer with The Wilderness Society (SA) Inc For more information or to get involved, please contact The Wilderness Society SA’s Marine Campaigner, drop in to the Campaign Centre or visit the website:

Level 7, 118 King William Street ADELAIDE, SA, 5000 Phone: (08) 8231 6586 Fax: (08) 8231 1068 Email: sa@wilderness.org.au www.wilderness.org.au/sa

September / October 2009

Written by Tim Bradshaw

How about a trip to antarctica Do you like photography? If you do, then this is something for you.

WORLDNOMADS.COM in conjunction with National Geographic Channel and Gap Adventures is offering the chance to visit Antarctica with on-assignment National Geographic photographer Jason Edwards. The scholarship recipient will photograph the world’s most remote wilderness and have their photographs published on the National Geographic Channel website.

The winner of the scholarship will be flown to Argentina from their country of residence where they will join an 11 day Antarctic Expedition with Gap Adventures. They will gain invaluable mentoring and hands-on experience in everything from shot set up, technique and composition through to insights into Jason’s many years of diverse experience as an award winning photographer.

Applicants for the scholarship must shoot a series of photos (no more than 5) that tell a story about a place they have visited. Photos should be uploaded to the scholarship group on Flickr (www.flickr.com/groups/worldnomadsscholarship09), and they will also be asked to provide 200 words or less on why they should be awarded the World Nomads 2009 Travel Photography Scholarship.

All interested students should visit the WorldNomads.com Scholarship page for more information. The deadline for entrants is October 4, 2009.

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September / October 2009

Written by Craig Pickering

how to land that job So, you want a job after you graduate? Welcome to the crowd! You are one of hundreds, all looking for their dream job and expecting to find it.

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March / April 2009

HOW DO YOU give yourself the best chance possible? How do you stand out from the crowd of worthy, and sometimes superior, competitors?

What to do?

First of all, determine what type of job you really want. Sounds simple, but this can be the hardest choice to make. If you are unsure, and have very little work experience to judge by, then seek out someone you trust for their advice.

Ideally the person you speak to should have experience in the area or industry you want to work in, and are prepared to give you a “warts and all” account of what their job was like. If you do not know anyone with experience in your area of interest, then look for a recruitment company that advertises jobs in the area you want to work in and make contact with them.

Recruitment companies Once you have identified a recruitment company and have a contact name (their names are always on the advertisements) give them a call and ask to make a short appointment so you can ‘benefit from their experience’. By the way, you can also use a similar approach when directly approaching a company you want to work for.

Prior to the appointment make sure you research their company thoroughly, and make a list of the jobs they have recently advertised that interest you the most. These positions will most likely be much higher up the food chain than you can hope for right now, but they give the recruitment consultant a very good idea of what you are looking for.

Ask as many questions as you like, for example:

“Are you aware of any companies in this area that regularly employ graduates?”

“Can you recommend an industry I should target for this kind of position?”

“If you were me, what would be the next step you would take from here?”

Job interview Whether through a recruitment company or from your own efforts, when you are asked for an interview for a specific position there are four golden rules; research, attire, punctuality and personality.

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Research Research the company thoroughly including their history, recent news articles, the industry they are in, how that industry is performing, and who their key people are. You can even research the person you are having the interview with as they are most likely on their company website, or can be found on one of the many social online networks.

Attire Dress to impress. Guys wear a suit, and if you do not have one then borrow one. Shine those shoes, iron that shirt and tie your tie properly. Ladies, wear either a suit or what you would expect a senior executive to wear. Act like you are already successful and you soon will be.

Punctuality DO NOT BE LATE! If you are running late call and apologise and hope to make another time, but you have probably already blown it. Would you hire someone who could not even be on time for their own interview?

Ask questions, and not just any questions. Ask questions from your research, ask questions about their future plans, possible expansion activity, who would you be reporting to directly, do they offer further training and so on.

Personality Be open and friendly. The more personable you are the better, so be talkative and smile a lot. Maintain eye contact with the interviewer when they are speaking and nod sagely at their comments.

At the end of the interview, ask (if you have not been told already) what the next step in their selection process is, and make sure it is very clear that you are keenly interested in the role.

Finally, if after having the role described to you in depth you are not interested, use the rest of the interview as practice. With the pressure off, you will probably perform much better and will gain in confidence for the next interview. The above hints will put you ahead of the rest, but only if you use them!

Good luck!

Craig Pickering, the Managing Director of 3C’s Consulting, has over twenty years experience in sales and senior management, mostly in facilitating change, successfully implementing business plans and building productive teams. Craig can be contacted at craigp@3csconsulting.com.au or on 0438 030 008.

September / October 2009

Written By terry holbright

gilles street markets Adelaide’s own vintage mecca, otherwise known as the Gilles Street Markets has come a long way since its founder, Jennifer Centenera, launched the concept in SA one year ago.

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PICTURE CHIC FASHION accessory market stalls, and an army of fashion savvy shoppers browsing the wares... you have the Gilles Street Markets. From what has grown from 48 stalls in March 2008, the market now houses close to 100 stalls featuring some of Adelaide’s best designer pieces, vintage finds, unique accessories and children clothes, not to mention boutiques clearing excess stock.

After returning to Adelaide from Sydney where she worked for iconic brands including King Gee, Levi’s and Absolute Vodka, Jennifer Centenera missed the experience of frequenting the likes of the Paddington , Bondi and Kirribilli markets in Sydney, and Camberwell markets in Melbourne.

As there was nothing similar in Adelaide and she was in need of downsizing her wardrobe, thus her brainchild was born.

The Gilles Street Primary School acts as the perfect backdrop for the regular stylish outdoor event, “Although we have almost outgrown our space, the lovely grounds of the Gilles Street Primary School are a very crucial reason contributing to the markets success, due to its location size and functionability,” says Centenera. Each market attracts from 3,000 to 5,000 people and shows the rising phenomenon of vintage fashion and re-worked vintage fashion, to fit current trends, taking a predominant place in our wardrobes.

The Gilles Street Market also acts as a launch pad for fashionistas with a business head on their shoulders. Some notable success stories include Azadeh Afzali of label Azalia open her own vintage store at Queen Street, Croydon after running stall at the markets, Holly Whillas from Mint Vintage searching EBAY for limited vintage finds to sell at the markets, and many local designers coming to the market and buying up on vintage fabrics to use as inspiration for their upcoming ranges.

Our Lord Mayor Michael Harbison deemed the markets, “a great addition to Adelaide’s event calendar,” proving to be a fantastic acknowledgement and milestone for all involved in the event.

So whether it be clearing your pre-loved clothing after each season, a chance to check out young Adelaide designers latest wares, finding a bargain from retail stores like L.A.X., Karibu, or Moodswinger boutiques, or to sample local produce and listen to the DJ’s spinning tracks, the Gilles Street Markets is a local fashion sensation.

Gilles Street Markets – Gilles Street Primary School – Third Sunday of each month – 10am – 4pm. www.gillesstreetmarket.com.au

September / October 2009

written by Tim Novak

mos def Regarded as one of the most important hip-hop artists of his generation, Brooklyn’s Mos Def presents his highly-anticipated new album, ‘The Ecstatic’ – featuring guest appearances from Slick Rick and Talib Kweli, as well as production from J. Dilla, Madlib, Chad Hugo (N.E.R.D), and Oh No

HAVING CONQUERED the hip-hop underground scene by the mid-90s – turning heads with an thoughtful, articulate style, reminiscent of Golden Age legends A Tribe Called Quest and De La Soul – Mos Def’s talent became apparent to the masses with the release of his, now undisputably classic, 1998 collaborative album with Talib Kweli, ‘Black Star’.

Mos’ success continued the following year with the release of his equally-pivotal solo debut, ‘Black On Both Sides’, which was certified gold and credited by critics as bringing hip-hop back to its soapbox roots. He would also go on to collect Grammy nominations for his 2004, hip-hop/ rock/blues-fusing album ‘The New Danger’, and his 2006 follow up, ‘True Magic’.

On top of his enormous achievements as a musician, Mos Def has spent the last decade rapidly expanding his artistic reportoire – building a celebrated body of work across different performance genres. This includes a series of film roles, including 2001’s ‘Monster’s Ball’ (also starring Halle Berry), 2003’s ‘The Italian Job’ (also starring Mark Wahlberg), 2005’s ‘Hitchhiker’s Guide To The Galaxy’ (developed from Douglas Adams’ cult novel), and 2008’s ‘Be Kind Rewind’ (directed

by Michael Gondry, and also starring Jack Black). His 2004 HBO movie, ‘Something The Lord Made’, garnered him nominations for both Golden Globe and Emmy Awards, and he made his broadway debut in 2002, with the Tony nominated, Pulitzer Prize winning ‘Topdog/Underdog’.

Newly signed to the trendsetting New York label, Downtown Records (Santigold, Spank Rock, Kid Sister and Major Lazer), Mos Def is set to make his triumphant return to the musical arena, with his most authentic and uncompromising album this decade. Several years in the making, ‘The Ecstatic’ is exactly the record he wanted to make – an insightful, intelligent and inventive documentation of this moment in hip-hop, featuring contributions from the world’s premiere emcees and producers.

Mos Def’s ‘The Ecstatic’ is out on Downtown through Inertia.

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July / August 2009

masked ball by lavazza Photography by Finlay Maclay

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September / October 2009

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September / October 2009

Written by Adrian Marshall

Green is the new black?

The planet doesn’t need us, it has already seen the rise and fall of five great biological empires, and it’s been through ice ages, meteor showers, volcanoes and earthquakes. It is ourselves who we need to save... and the truth is that we have the answers. They are the choices we make every day.

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IT IS NO SURPRISE that the challenge of the 21st century is the race to sustainability.

Commercial and political world leaders accept the ‘business as usual’ approach is no longer adequate to meet the future needs of humanity without exceeding nature’s capacity for replenishment.

To be human now appears to be a bad thing. We can’t exist without consuming resources and creating waste. The sustainability dilemma can be depressing if one focuses too long on the human population growth trajectory and the impact humans have had on the planet so far, but to ignore it is to be part of the problem. To believe that poorly designed, destructive systems are the best humans can do is the ultimate failure of the “be less bad” approach: a failure of the imagination.

I agree that as long as human consumption patterns are destructive, zero is a good goal, but to be “less bad” is to accept things as they are. The strive to be more efficient and to consume less while maintaining the status quo, falls short of our potential and falls short of the change that is needed on a world scale.

If it’s all we do, being more efficient will slow the rate of environmental damage and will achieve the opposite of the intention; it will let industry finish off everything, quietly, persistently, and completely while we buy its products and services. The current state of the recycling industry is a prime example. Recycled plastics are mixed with other plastics to produce a lower quality hybrid, which is then moulded into something cheap like a vineyard post or a speed bump. I’m certain something more elegant could be done with such a remarkable resource.

Industry is only just starting to grapple with clean technology, closed loop lifecycles and ecoefficiency, but the free market can’t deliver sustainability unassisted. Intervention is necessary to correct market failure and set a new trajectory. The hard pill to swallow is that addressing the sustainability imperative means a radical shakeup in which includes lifestyle changes and higher costs for carbon intensive resources including clean water.

Ultimately as consumers we are responsible for the messages we send to industry through spending our dollars. Sustainability requires responsible and ethical choices everywhere in everyday life. Don’t choose the sustainable option because it’s trendy. Choose it because you’re part of the solution and that it just makes good sense.

September / October 2009

Written By Kristine Thomson

tree planting... again!

I was so excited to once again become part of this unique experience Kangaroo Island Tree Planting Festival. This time I was going as the team leader which meant I would be responsible for fifty students. Cool!

THERE WERE students lining up already waiting to get onto the bus. Fifty one of us off on an adventure of a lifetime! We drove down from Adelaide to Cape Jervis approximately an hour and half drive, then to board the ferry which is quite exciting in itself. With all students accounted for, we were told its going to be quite a trip for those who suffer sea sickness. We have a 45 minute crossing and half if not more students are quite sick. Luckily we have seasickness bags! Once back, we transfer to the bus and have dinner at American River such a fantastic meal. Back on the bus and off to the accommodation, we are staying at the other end of the Island at Flinders Chase Farm.

The next day is the Tree planting Festival, up early and off to the other part of the Island again.

When we arrived at the site it was drizzling although that didn’t get in the way of our tree planting. The group that I was in planted three sections, before morning tea. We get up to the tent and the food was fantastic - ask anyone that went they will tell you the same. Tea, coffee, sausage roll, muffin, fruit... wow, what a morning tea! We planted 3500 trees by morning tea. Most of us felt as though we had to work harder as we had eaten sooo… much. By lunchtime we had planted 8500 trees. Later on, during a ‘speed tree planting competition’ we planted 800 plants in 8 minutes. Wow! The Day finished with us planting 17000 trees. I really felt proud that we had done so much, just think of what that meant for the environment.

Dinner was at Vivienne Bay and then back to our accommodation which was fantastic. Shower and then out to the bonfire and I had remembered to bring the marshmallows. Just a fantastic day! The next day we had a tour of the Island starting with the remarkable Kangaroo Island rocks.

Curiously, as we were rounding one of the bends in the road there were kangaroo’s fighting on the road. What a trip! I am so looking forward to doing it all again next year.

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September / October 2009

Written by Tim Nollan

the sharks UniSA civil engineering students set an impressive benchmark with their emphatic win in this year’s Concrete Canoe Race at West Lakes.

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THE 2009 ‘SHARKS’ canoe achieved the highest score in the history of the race held each year between engineering students from UniSA and the University of Adelaide. UniSA Associate Professor and Program Director in Civil Engineering Julie Mills said the Sharks achieved a total score of 59.5 out of 60, after winning two sprint and two endurance races, in addition to scoring well in design and flotation judging. The University of Adelaide canoe only scored 33.5 out of 60.

The ‘Sharks’ canoe – designed, built and paddled by only three students Karzan Aryan, Ghulam Ali Hussaini, and Pyrros Radimissis, with extra paddling support from Paul Koufalakis – is the lightest concrete canoe ever built by UniSA students. “The Sharks boat is definitely the best concrete canoe in the history of the race,” Prof Mills said. “The difference in weight from other year’s entries was really quite amazing; the final weight was about 107kg only.

“The students worked really hard over the summer on this boat and their success is well deserved. They also received excellent support from technical staff in the civil engineering laboratories. Another factor was the paddling instruction they received.” Water and cement are the basic materials used to make concrete, as well as sand, gravel or stone, reinforced with steel bars. To get a lightweight concrete that can float, students experimented with replacing stone with materials such as foam, and steel with fiberglass or synthetic fiber.

Associate Professor Mills said being involved in the race was beneficial to the students’ studies and personal development. “Besides finding out more about concrete, the students liaise with industry, build teamwork skills, gain project management experience and of course they actually learn how to paddle a canoe,” she said. “They also gain six of the 12 weeks’ industrial experience required as part of their degree.”

The South Australian Branch of the Concrete Institute of Australia supports this event.

September / October 2009

Article by Michelle Kavanagh

Keeping to the Code Rights come with responsibilities. Of course, as a UniSA student there are things you’re entitled to expect from us, but it’s also important to remember what’s expected of you. That’s why we’ve developed the Code of Good Practice: Student Behaviour. All members of the UniSA community have rights. So what are they? And how can you be sure you’re keeping to the Code?

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photo by university of south australia

AS A UNISA STUDENT, you have the right to an equal opportunity to learn, timely and fair issue resolution, clearly defined avenues for complaint, and privacy and confidentiality. In return, we expect you to treat all staff and students courteously, express your personal views with consideration for the feelings of others, attempt to resolve issues through discussion before taking formal action, and familiarise yourself with the University’s procedures for grievance resolution before proceeding.

Respect for the University environment is also a key component of the Code of Good Practice: Student Behaviour, and as a UniSA student you have the right to a safe environment. But all students need to contribute to achieving that. University facilities and equipment should be treated appropriately and occupational health, safety and welfare guidelines should be followed.

With regard to assessment, referring to the Code of Good Practice: Student Behaviour may help you clarify what you can rightfully expect from the University, and also what is expected of you in this important component of your University career. You should be aware that as a UniSA student you have the right to accurate and up-to-date information about assessments; fair, constructive and impartial feedback; assessments that provide the opportunity to demonstrate your learning; and, opportunities to provide feedback to teaching staff without fear of reprisal.

However, these rights also come with responsibilities. It is expected you will attend information sessions and classes as required and prepare for them as necessary; access required information online; constructively use feedback provided to you regularly check the UniSA Student Portal and your student email account; and, not disrupt the learning of others. In addition, it is important to note that while you have the right to individual consultation times with staff, you also need to understand the rights of staff to manage their time and balance competing responsibilities.

Ultimately, UniSA seeks to provide a safe teaching and learning environment for the University community, with the Code aiming to facilitate a cooperative and productive relationship between staff and students, as well as among students. And while the above information is just a snap-shot of the Code of Good Practice: Student Behaviour, full details about your rights as a UniSA student, and what we expect from you in return can be viewed at: www.unisa.edu.au/ policies/codes/goodprac/studentbehav.asp Alternatively, further information is accessible from Campus Central. If you have any questions, drop into the Campus Central office on your campus and chat to one of our friendly Student Service Advisors. As always, they’re there to help.

September / October 2009

written by leanne cotter

TURNING JAPANESE I am ‘Cheza the Flower Maiden’ who is destined to lead the wolves to Paradise, opening it with the Lunar Flower key. This means I need to buy white boots, a purple wig, a red cloak, white jumpsuit and gold necklace and bangles, …Doushiyou~ (what am I to do?) I am new to the anime scene but I am intrigued. You too? Read on…

“What am I talking about?” I hear you ask; well I am getting ready for the anime cosplay as part of this year’s biggest Australian festival celebrating Anime and Manga – the Animania Festival being held in Adelaide for the first time at the Adelaide Festival Centre on 10 October, in partnership with the OzAsia Festival.

Anime and manga often are able to tell stories in a way that real live action cannot. They can have very complex story lines and in-depth character development as well as brilliant artwork that can be beautiful, shocking, or just plain cool. Its fantastical animated form offers something unique and different that can appeal to all types of fans, from children to academics.

Animania is wonderfully different in that there are such visually spectacular activities (such as cosplay where fans in their costumes are admired and respected). By the Animania Festival Weekend we will know the results of the 2009 World Cosplay Summit, where our first ever Australian team has been sent to compete, so there is definitely a lot of excitement.

I am definitely excited to be a part of the unique OzAsia Festival (3 – 17 Oct) and Animania Festival (10 Oct) action, ending on a high with the cool anime film ‘The Sky Crawlers’ at Mercury Cinemas decked out in my Cheza outfit! To complete my new Asian experiences journey I am going to join Adelaide Festival Centre’s GreenRoom to access cheap tickets to the amazing OzAsia Festival shows and activities, and to brush up on my Japanese drumming skills in the free GreenRoom TaikOz drumming workshop, can’t wait! There is so much more interesting OzAsia Festival shows to see and GreenRoom workshops to get involved in, but will Cheza have time? Well being the destined leader to Paradise, I am sure she will be able to manage something! But where to find that white jumpsuit?

Visit thegreenroom@adelaidefestivalcentre.com.au for more GreenRoom info or visit ozasiafestival.com.au to see all the cool stuff happening in October.

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March / April 2009

Written by Riki Owens- Bennett

masquerade When the word ‘masquerade’ is mentioned, what images does your mind conjure? Masks… Phantom of the Opera… Venice… Eyes Wide Shut… Brightly coloured costumes… If you thought any of these then you would be right.

THE MASQUERADE BALL originated in the 15th century and was used in medieval times for weddings and other important events. Such balls gained popularity in Venice and became part of the traditional Venetian carnival celebrations until the end of the 18th century when it eventually died out, but at the same time, became popular within the European culture. Sadly, these events were more deadly than their Venetian counterparts, with numerous accidental deaths occurring. Fortunately, this has not deterred many from hosting masquerade balls and the tradition has continued, gaining popularity yet again in the late 1990s.

The original purpose of wearing a mask at the ball was for a fun game of anonymity. For anyone who has watched Eyes Wide Shut with Tom Cruise and Nicole Kidman, you will know the advantages or perhaps disadvantages of wearing a mask to party. Having a mask on your face, in theory, hides your identity leaving you to participate in whatever pleases or tantalises the soul.

This has both positives and negatives… For those who have ever been to a costume party know the freedom that comes with taking on a different persona, however, with this comes the risk of committing acts which are not so… savoury.

For those artistically inclined would know movies and operas such as Phantom of the Opera and Romeo & Juliet have displayed fantastic examples of a masquerade ball, with dazzling costumes, but usually linked to tragedy. Fortunately, the Masked Ball presented by UniLife at the Hilton hotel on the Friday 28th August will have none of these tragic associations, but only the ones of wanting to have a load of fun and dance the night away. You will be wined and dined in one of the finest five star hotels in Adelaide, while getting your groove on to some wicked music or even strutting your stuff down the catwalk to receive a free ride in the Pink Hummer available all night. Purchase your tickets early and go into the draw for an extravagant night in the Hilton hotel itself! You need to get in quick before all the tickets sell out… so grab your mask, dress up in your finest frock or suit and we will see you there!!!

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artwork by Bryce Hammond

September / October 2009

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September / October 2009

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Prevent more than unwanted puppies by desexing your dog.

Š Photo Disc/Getty Images

Get your f***ing dog desexed.

September / October 2009

UNILIFE CLUBS SPORT CLUBS: Adelaide Harriers-UniSA Contingent Australian Football for Southern Uni Games July 2009 Badminton Club Ballroom Dance Club Canoe Club City to Bay Club Cricket Club Fencing Club Freestyle Futsal Club - The Union Hockey Uni Games 2009 Indoor Volley Ball Inline Hockey Club Judo - City East Judo Club Karate Club Lacrosse Club Lawn Bowls for Southern Uni Games Melb July 2009 Lawn Bowls for Uni Games 2009 Mixed Netball Southern and AUS Gold Coast Games 2009 Pilates club Rockclimbing Club Shodokan Aikido Snow Ski Trip 09 Taekwondo Club Tennis for Southern Uni Games Melb July 2009 The Boardriders Touch Football Touch for Southern Uni Games Melb July 2009 Ultimate Frisbee Club UniSA Adelaide Phoenix’s Tournament - Men’s Soccer.

UniSA Basketball Unisa Cycle UniSA Kendo Club UniSA Lions Hockey Club UniSA Magill Karate Club UniSA Motorsport UniSA Rowing Club UniSA Social Futsal Club UniSA Table Tennis UniSA Tennis Club UniSA Womens Soccer Club- Infernos University Games 2009 University Games Beach Volleyball 09 - Gold Coast Waterpolo for Southern Uni Games Melb July 2009 Waterski Club Womens Nettball for Southern Uni Games Melb July 2009

SOCIAL CLUBS: 1 S.O.M.E Society Of Mechanical Engineers ACES Adelaide Festival Centre - GreenRoom Adelaide Flash Mob UniSA Group Adelaide Japanese Animation Society AIESEC BanglaSA BEEST BOSS Chinese Student Association - UniSA Chapture Co - workers in Christ Drama Club Economics and Commerce Students Association EMU - Environmental Management Unit Evangelical Students Eventful - Unisa Events Association Indonesia Students Association - PPIA UniSA International students association iPhone Club Italian Language and culture Club Laboratory Medicine Students Association Malaysian Students Association Mawson Student Network MED RADical Club Media Arts and Associates Metro On Campus Mt Gambier UniSA Students Social Club Music and Fashion Association. UniSA Chapter OOPS Overseas Christian Fellowship UniSA OXYGEN PakSA Pi Club ROUSTAH RuShi Buddhist Youth Group Student Exchange Society Student Screen Association Taylor’s University College Business School The University Journalism and Photography Association Uni SA Writers’ Club UniLife Magazine Contributors Club UniLife Socal Events UniSA Gamers Association UniSA Labor Club UniSA Law Students Association UniSA Pilots Club UniSA Travel Club UniSA United Nations University of South Australia Hellenic Association Whyalla Activities Club Whyalla Social Work Club Yearbook Club Young Achievement Australia Network

kickstart your carEer in JournalIsm! Are you a journalist student that wants to get published? You think you are pretty good, but no one wants’ to give you a chance? How would you like to be published in a youth culture magazine with 170,000 readers worldwide and over 40,000 readers in Australia? Yes. You got this right. We would like to give you that chance. Join UniLife Magazine’s “Step 2010” experiential learning initiative now!

Contact us with your expression of interest at unilifemagazine@unisa.edu.au

UniLife Magazine is a university based publication under the domain of UniLife Inc and CityLife and it is distributed at selected locations in hard copy, and is also available online. The “Step 2010” experiential learning initiative is supported by the University of South Australia.

September / October 2009

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