2016 Volume 1 Trailblazers by UTS Vertigo

VOLUME ONE | TRAILBLAZERS

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Vol um e 1 C ON T R I B UT ORS WRITING

VISUAL Lucy Allen

Sarah Asquith

Enoch Mailangi

Isha Bassi

Danah Pantano

Andrew Barclay

Isabella Puentes

Kimberley Bezuidenhout

Genevieve Rogan

David Burley

Amber Ralph

Andrew Blunt

Beth Shea

Janette Chen

Kieran Smith

Tanith Chippendale

Lara Sonnenschien

Jason Corbett

Nima Sotoudeh

Olivia Costa

Jack Stanton

Harry Easton

Aleks Todorovic

Darjan Gudelj

Helen Tran

Cameron Hart

Zalehah Turner

Jess Hay

Ruby Wawn

Carrie Hou

James Wilson

Sue Kang

Sarah Yahya

Tiffany Nguyen

Michelle Bae Lauren Fitzpatrick Rosie Gearside Miranda Huang Susan Keighery Jenny Kim Matthew Leung Joy Li

Vanessa Papastavros Lily Partridge Bryce Thomas Lucy Virgona Andrew Vuong Morgan Wood Sylvia Zheng

Eden Lim Jessica Lin Rachel Macpherson Lucy McConnell Ryley Miller Josh Moy Keely Mulligan

Zoe Knowles Ninah Kopel Cameron McCormack Alex McInnis

CREDITS Cover Morgan Wood

ENQUIRIES Advertising Stephanie King

Opening Page Jordan Evans (Typography) Ling McGregor (Words and Illustration)

Please email us at editorial@utsver tigo.com.au

WELCOME TO COUNTRY

PUBLISHING

UTS acknowledges and recognises the Gadigal people of the Eora nation as the Traditional Owners and holders of knowledge for these places where our UTS campuses now stand at Broadway and Market City. UTS also acknowledges Elders past, present and future, including the contribution that Australia’s Indigenous people make to the academic and cultural life of the university.

Vertigo is published by the UTS students’ association, and printed by SOS printing, Alexandria.

- Aunty Joan Tranter, Inaugural Elder in Residence, University of Technology, Sydney.

DISCLAIMER The contents of Vertigo do not necessarily reflect the opinion f the Editors or the UTS Students’ Association.

COPYRIGHT Vertigo and its entire contents are protected by copyright. Vertigo will retain reprint rights. Contributors retain all other rights for resale and republication. No material may be reproduced without the prior consent of written copyright holders.

CONTENTS TRAILBLAZERS

/ Illustration

/ Features

POLiTICS

SHOWCASE 49 / Photography

/ News / Ideologies / Campaigns / Immigration

/ Fashion / Experimental Fiction / Creative Non-Fiction / Poetry

off broadway

THE SOCIAL ENVIRONME NT 22

/ Stupol

/ Trending

/ Faculty Feature

/ Pop-Culture / Local

/ Society Feature / Join the Club

/ Indigenous / Profil

LIFESTYLE & INNOVATION

/ Media

/ Subcultures

CULTURE 32

/ Arts and Craft / Food

/ Tribute: Bowie

/ Science

/ Music

/ Health

/ Interview: Montaigne

/ Drugs

/ Soapbox

/ Tech

/ Live

/ Body

/ Film

/ Sex

/ Art: Ai Weiwei and Warhol

/ Environment

/ Theatre

/ Books

rear window

/ Maps

/ Horoscopes

E D I T OR I AL

OFF THE VOL UME : THE TRAIL BL AZERS PL A Y L I ST

A MESSAGE FROM THE TEAM

HELEN TRAN & MARTYN REYES

Our earliest and greatest design aspiration was to have a binding that was thick enough to include text - and here we are. Welcome to 2016: the year of The Monkey and balanced semesters. Shorter semesters means more holidays and fewer volumes, but that doesn’t mean less Vertigo. Your student magazine has grown into a thing both beautiful and immense: six 100-page volumes. Here is the very first

Head to our website, utsvertigo.com.au, to listen along

Trailblazers is about movement: migration, pushing boundaries, and making change. It’s about putting the familiar at the back of the cupboard and experimenting with a whole new jam. We are extremely excited to share the works of writers and artists who do exactly this.

‘Between The Pages’ by Ryan Egan

‘New Map’ by M83

‘Soldier On’ by The Temper Trap

‘The World at Large’ by Modest Mouse

We have travel stories from Cuba, Easter Island, and a toilet in Belgium. Zoe Knowles’ prose ‘Swollen’ is tidal and moving, while Jack Stanton delivers a beautifully packaged experimental piece: ‘If I could love one thing it would be myself, because the combination of being in love and alone is better than an oblivion where a thousand tiny versions of yourself are screaming all at once’. The showcase section is bigger than any incarnation of Vertigo before, and features bold prints in fashion from Lucy Virgona, and photography from Bondi to Kenya. We were fortunate enough to have worked with the extraordinarily talented travel photographer, Morgan Wood, who chats to us about journeying through Namibian dunes and snapping up our cover photo.

while you flip through the pages of Volume One. 1/

‘1-5-9’ by Koi Child

‘LIFE’ by HEALTH

‘Chasing Shadows’ by Santigold

‘Your Hand In Mine’ by Explosions in the Sky

‘Arrival’ by Japanese Wallpaper

THANK YOUS / Lazy Sundays / Extended uni break / Clean workspaces / Jimmy Fallon re-runs / Post-midnight kebabs

FUCK YOUS / Lock-out laws

In this volume, we pay tribute to David Bowie, interview Montaigne, and uncover Sydney’s subculture of urban exploration. We review old and new music, and hear from Nima Sotoudeh about the inimitable Quentin Tarantino. At the tail end of the culture section lies a meticulously illustrated map of UTS’s surrounding areas courtesy of Kimberley Luo, one half of our creative direction duo. The other half is the Tay-Swift-and-typesetting-obsessed Wendy San, whose eye for layout is transcendent.

/ Marriage inequality

We are really proud of Trailblazers. Thank you so much to every single person who contributed or helped us to edit, cleaned our office, or delivered us wine. 85 people were involved in our fi t volume. That’s insane. You’re all wonderful. Happy reading, UTS.

/ Weather-appropriate outfit

Love from,

/ The avocado shortage / Sydney traffi / The hole in the ozone layer

SHRUGS / Adulthood / Morning runs

E D I T OR S B I OS : MOST LI K E LY T O... RAVEENA GROVER

BE BIGGER ON THE INSIDE

RUN AWAY FROM HIS PROBLEMS

always be in fancy dress

Become a fairy dog-mother.

KIMBERLY LUO

SRISHA SRITHARAN

WENDY SAN

LING MCGREGOR

ZAC BLUE

KIEN LE BOARD

JESSICA WANG

FREAK OUT ABOUT ‘MOST LIKELY’ QUESTIONS

Drunk text at a Renaissance Fair

SURABI ALAUDDIN

LAUREN MEOLA

die alone at 87, with her corpse found rotting, nibbled by her loving cats

Reject immortality for a hipster beard and a man bun.

EDITORS Surabi Alauddin Zac Blue Kien Le Board Ante Bruning Raveena Grover Ling McGregor

Pilot a sock apocalypse.

JENNIFER WORGAN

Wear an inappropriate amount of sequins to jury duty.

SUB-EDITORS

BECOME BESTIES WITH T-SWIZZLE

ANTE BRUNING

Run away with a skulk of foxes.

CREATIVE DIRECTORS

Lauren Meola

Beatrice Cabral

Zoe Knowles

Kimberly Luo

Srisha Sritharan

Ben Chapple

Enoch Mailangi

Wendy San

Jessica Wang

Janette Chen

Brittany Smith

Jennifer Worgan

Tanith Chippendale

Zalehah Turner

Olivia Costa

Helen Tran

Cameron Hart

DESIGNERS Jordan Evans Rekha Dhanaram Megan Wong

TRAILBLAZERS : FEATURES

INTO THE BATHROOM A STORY OF SURVIVAL CARRIE HOU

I went on exchange to “find myself”. And like most privileged generation Y Australian children, born and bred into the type of post-modern confusion that was founded on globalisation, middle-class privilege and constructing a personal image with Instagram filters, the only way I could do this was by goin to Europe.

It was in my third month that I had started noticing that the door handle of the bathroom was partially broken. So, like any socially responsible citizen of a student building, I pestered my landlord to fix it. I did this because I knew, just knew, that t some point the handle would finally snap off, leaving the perso who was just attending the toilet completely stuck inside.

I specifically lived in Ghent, a small town located in Belgium forty minutes and out of Brussels, and known for being the “up and coming” tourist town of Europe. This is a label given to any place with more than two organic vegan restaurants opening consecutively.

On the Friday of that same week, after two solitary glasses of wine, I went upstairs to break the seal. As I finished up an reached out to open the door, the handle snapped. Snapped right the fuck off. It fell to the ground. Limp. Motionless. I looked to the fallen door handle, back to the doorhandless door, back to its fallen comrade. And that’s when the panic began to set in.

In Ghent, I found a private student room to live in. The firs floor of a narrow building was rife with the usual problem of student buildings: dirty stairwells, mouldy walls and a really incompetent landlord. The room I rented did not have a bathroom. Instead, the bathroom was on level two, shared between three students. This meant that any time I had to pee, poo, or make excuses to leave a boring conversation, had to pop up a flight of stairs

See, this was the sort of door that opened from the inside. If the handle broke, there was essentially no way out of the bathroom. Someone from the outside had to open the door for you. Also, this was no ordinary bathroom. It barely passed.

It would be more accurately described as a tiny space assigned for individuals to take socially acceptable shits. It was about two by four metres wide with nothing but a toilet. It rarely got cleaned and smelt worse than a melting horse. The window was also barricaded by the toilet, so there was no way to climb out or, even more importantly, get any fresh air. I was stuck and my only form of escape was contacting the outside world. The solution would have been simple if I had brought my phone with me. Only, as luck would have it, I hadn’t brought my phone with me. So, I started trying to see if anyone was in my building. I started yelling what I now realise to be the saddest series of words in the English language: “HELLO? IS ANYONE THERE? I’M STUCK IN THE BATHROOM AND I NEED HELP!” I was met with nothing but the hissing void. Always the optimist, I thought I would be okay. It would be fine to wait in this smelly, cramped up, dingy, cold bathroo wearing nothing but a sweater and shorts. This was the sort of whimsical character-building situation that people found themselves in overseas. How bad could it be? This was only the first hour of what turned into a nine-hou odyssey of a fucking wait. To start, I was still naively hopeful. I played games; I married the plunger to the toilet lid and relished in the thought of the amount of likes I would get on Facebook after making a status about it. The sad, superficial, empty mode of 21st century soci l approval kept my spirits up. It was when the third hour hit that my positivity waned. Two things dawned on me: it was Friday night, and I was living with students in a country where beer is cheaper than water. When the fourth hour passed, all hope had evaporated. Nobody was coming. Nobody could hear me. My future became uncertain. I started pounding on the walls. I threw tissue papers out of slits in the window hoping they would make a HELP ME sign. Reality set in. I was a sitting duck. Robinson Crusoe on an Island. James Franco stuck between a cliff. Matt fucking Damon on Mars trying to build my ship back to Earth, only Mars was a toilet bowl and the only tools I had to work with were some bobby pins and cleaning detergent. I tried running at the door. (Side note: doors are hard to break down, shoulders are easy to crack).

I started getting resentful. Angry. This was my landlord’s fault for not fixing the door, my building mate’s fault for staying o t so late, my university’s fault for sending me to Belgium. My parent’s fault for conceiving me, knowing full well that they were bearing children into a dangerous world of broken bathroom door handles. And that’s when I hit rock bottom. In between the desperation and anger, I realised I was completely small and insignificant inside the vacuous space of seeping jaundice-coloured wallpaper and smelly toilet brushes. I was no better than theywere. In life, I think we transcend the universe’s natural laws, and we compensate with skyscrapers, environment-destroying technology, reality TV, and Starbucks. All it takes is one measly door handle to fall off to completely debilitate a person, and leave them vulnerable and alone, reminding us that when all the chips fall, human beings are nothing but meat, skin, and bone in the perilous unforgiving wilderness. It was with that thought that I was humbled. I realised that I was arrogant to think that I could beat the bathroom. I couldn’t escape it. I had to become the bathroom. I had to become the moist floors. I had to become the poo-flecked toilet plunger. I had to become the cyclic spinning of the water flush I was the toilet and the universe was unloading one huge stone-hard shit into me. It was only when I accepted – when I embraced - that the door was abruptly seized open. There stood a drunken Belgian man shrouded in golden light. He frowned in disgust when he saw me hunched in a fetal squat in the corner. I was wrapped in a toilet paper coat I had personally skinned to keep me warm in the winter night. But he hadn’t been there. He didn’t know what I went through. “What time is it?” I wheezed out. “It’s 5am,” he said, “Were you in here all night?” I collapsed at his feet. It’s been a few months since that experience, and the scars of being stuck in the bathroom for nine hours still haven’t healed. Some may cry at my tragedy, but I feel blessed. I wept. I learnt. I healed. My heartbreaking story is being told to teach you that whatever life throws at you, whatever may come your way, never ever forget to take your phone with you to the bathroom.

Artwork: REKHA DHANARAM

TRAILBLAZERS : FEATURES

LIVING THE CUBAN DREAM

GENEVIEVE ROGAN Trying to get your bearings in La Habana, Cuba is like entering your house in a dream, realising half of your possessions have been removed, and that your doorframe is on backwards.

After a year of living in Colombia I have become accustomed to the bombardment of noises, colours, and outright randomness that greets you in Latin America. Cuba, however, had a subtler welcoming. Playing tricks on you at every corner, she lulls you into a sense of near-familiarity, and then swiftly swipes it from under you, leaving you looking stupidly dazed and obviously foreign. By the end of Day One I had already decided what the dirty word for Cuba was: familiarity. Not because it was a rude way to describe her, just because it was so damn inappropriate.

obvious that the invisible cord holding them together was the Internet. A short man, his fingers laden with gold rings, hande me a flyer for a restaurant. He leant close to my ear and asked if I was looking for Internet. For three pesos he would sell me an Internet card for an hour. He shifted uncomfortably as he pulled the card from his pocket and wheeled me over to the inconspicuous street corner. I felt like I was meeting a dealer. This slightly comical and slightly illegal exchange provided a window into Cuban life.

The euphemism for Colombia would be complicado, and that’s where I had just arrived from – my quirky, random, Latina life in complicated Bogota. So it was a surprise that the first thin to really hit me about Cuba was its Latino-ness. Everyone and everything seemed to perform their Latino identities in the most dazzling way; the twelve-year-old girls with too much attitude, the barely comprehensible, rapid Spanish, the gold bling, the too-tight jeans, the warm smiles and the oozing kindness of the people. Sabor was practically dripping from Cuba. I was intrigued.

A man with emerald green eyes and two lip piercings sat with me and told me about his life in Habana. He must have been about my age, or at least younger than 25, but he was quick to point out a fundamental difference between the two of us. While I spent $600 on my ticket to Cuba, the average wage for a Cuban was $20 a month. He made a little more selling the internet cards illegally on the streets, but because he was ‘robbing the state’ in the eyes of the government, he was liable for a fine of $150. He had never left the country and saw n possibility of doing so. Despite slight changes in law, the reality was still highly unlikely. Facebook access opened up four months ago, so most people still don’t have it. Because of censorship in media and communications, hardly anyone knew about the Paris attacks. Opportunities to make your own business are slim regardless of the new laws. Yet despite all of this he told me how beautiful Cuba was, and that he was happy in his country. And despite all that he had just said, I believed him.

Weaving my way through the humid streets of Habana, it became apparent that to break the movie-scene-like haze, I had to look for what was missing. In an attempt to figure out why I felt s completely alien, I made a list.

WHAT’S NOT IN CUBA Homeless people. One point to Fidel on that one; I did not actually see homeless people – a dramatic change from the street life of Bogota. Street performers; a point to Colombia. In Habana, contrary to my idyllic preconception, there was no dancing on the streets, no salsa ruedas, and no street performers at all. Street art: one. Pets: one. Bakeries: zero. Places to eat breakfast: one. Shopping centres: after some consideration, half. Cat calls: too many. Advertising: none. Political propaganda: ample. Che Guevara’s face: everywhere. Branding: scarce. Starbucks: never. There were zero chain businesses or restaurants of any kind, millions of Chevys, zero other cars, and wi-fi? Nope. Well, not easily It was during my gringo search for wi-fi that I got my fir insight into the invisible chains that dictate Cuba. A conspicuous amount of people had congregated on a random corner on the sidewalk, all plugged into some kind of electronic device, which for Cuba was highly unusual. In this case, it was blatantly

Hours later, after being randomly swept up by a Cuban lady named Yadira, I found myself in the middle of a recyclable art project created by the Afro-Cuban community to showcase their rich spiritual and artistic culture. A rare gem of freedom and creativity, the project was privately owned, and was 25 years in the making. The hypnotic beats of Cuban salsa played as we sipped on some artistic interpretation of a mojito. Yadira, still sporting her short blue pyjamas at midday, grabbed my hand and tested my salsa skills. As I spun around the makeshift bar, with car tyres for seats and a puffer fish for a light, I aited for somebody to call ‘cut’. I decided I would simply have to go with the flow of crazy, slow, impractical, dazzling, fabulou , complicated, Cuba.

Artwork: REKHA DHANARAM

TRAILBLAZERS : features

ON EASTER ISLAND

ISABELLA PUENTES It has been eighteen years since I last visited the tropical Polynesian island, my fatherâ&#x20AC;&#x2122;s homeland, and the place that has defined a la ge part of who I am.

Easter Island, or Rapa Nui in the native’s language, is the farthest inhabited island in the world. The lost island of the Pacifi Ocean, approximately 3600km from the closet point of South America, is home to 4500 people, including the entirety of my father’s family. Although Rapa Nui is governed by Chile, the island possesses a unique and independent cultural identity, acknowledging the traditional owners of the land. Renowned Chilean author, Isabel Allende, captured the essence of Rapa Nui, in which the ‘residue of a tribal mentality lingers on’ – a perfect encapsulation of this peaceful island and its people. The Rapa Nui people have an invaluable respect for their traditions and their culture. I was overcome with emotion watching my cousins perform their traditional dancing for tourists with such passion and pride. Each movement was performed with a respect so deeply rooted, no foreigner would ever be able to perfect it. All members of the community continue to participate in traditional activities such as carving, spear shing, costume making and banana tree trunk racing. I’ve been fortunate enough to visit during the time of the Tapati Festival – a showcase of the Rapa Nui culture. The days and nights are full of life, a celebration of the resilient Rapa Nui tradition. Rapa Nui is rich in resources and fragrance, which enhance the beauty and life of its landscape. Its coastline is breathtaking, clouds always skimming the horizon. The distinct dryness of the island’s grass, the smoky BBQs that burn along the streets after nightfall, the frangipanis that consume the front of my Tia’s house, and of course, the strong and lingering smell of the ocean. Each morning I hear my Tio return from fishing, bringin with him wet gumboots and the scent of tobacco. Stray dogs occupy many of the streets on the island, continuously in search of scraps. They have become a part of the community and are often offered a spot under a shop cover to shelter from the afternoon rain. To my surprise, horses are still a form of commonly used transport. Children ride bareback alongside cars and scooters, and to me the sight is priceless. Although the children are small, they look heroic riding across the island’s coastline.

Now that I am here, amongst the life of Rapa Nui, I think I can say that I understand now. The island has some kind of magic – I’m not talking about paranormal activity or miracle healers, but there is something, and admittedly, it frightens me a little. Perhaps it’s the Moai, the large monumental statues of volcanic rock that scatter the island, or the endless sky of stars. Perhaps it’s being surrounded by a limitless sea. Or maybe Mana simply is indescribable and can never be expressed, only ever experienced. Being with my family offers an entirely new layer of discovery and ultimately, a deeper understanding of Rapa Nui. Watching the sunset at Tahai, an ancient space of ancestral significance is a favourite amongst the locals. My aunt, Tia Ale, breathes a heavy sigh of admiration at even the thought of it, it has this way of recharging your body, the ultimate spiritual experience. As you watch the sun set behind the Moais, the day drawing to its end in front of you, there is an inexpressible feeling of peace. Mahina, my middle name, means ‘moon’ or ‘moon queen’ in Rapa Nui. My Abuela always says, ‘When you look at the sun and the moon, think that no matter where you are in the world we will be looking together.’ I see myself reflected i many members of my family and I’m still in wonderment that an entire side of my identity has been left untouched until now. My eyes and nose are the exact clone of my Tia Betty, my bad habit of laughing at inappropriate times is just like Tia Ale’s. Despite my limited Spanish and their equally limited English, we communicate fluently - Tia Betty and I catching each other’ eyes across the table to laugh at Abuela mistaking salt for sugar. My family, as well as the wider community of Rapa Nui, have opened their arms and welcomed me. “You are Rapa Nui”, my cousin says as we look out to the boundless ocean at Hanga Roa; and for the first time, I wholeheartedly agree

On numerous occasions Dad has tried to explain the term, ‘Mana’, a power or presence that he believes exists on the Rapa Nui. I’ve never truly understood it, and Dad often ends his attempt with something along the lines of: “You’ll get it one day.”

Artwork: REKHA DHANARAM

POLITICS : NEWS

A ROUn D TH E WO RLD IN 80 SE CO N DS GL OBAL P OLI TI CS S NAPS HOT SURABI ALAUDDIN

THE MIDDLE EAST Sudan Continued brutal attacks against civilians by extremist group Boko Haram have highlighted the weakness of the Nigerian military. At least 86 people were killed in the hail of bullets, re bombs, and suicide bombings that engulfed the village of Dalori on January 30th 2016. Syria The world powers at the International Syria Support Group in Munich have agreed to work with Syrian parties to implement a nationwide cessation of hostilities and to accelerate and expand the delivery of humanitarian aid. AFRICA Ivory Coast’s Laurent Gbagbo has become the first former hea of state to go on trial before the International Criminal Court, accused of crimes against humanity in the aftermath of the nation’s 2010 presidential elections. ASIA Taiwan has elected its rst female Prime Minister, lawyer Tsai Ing-wen, of the centre-left Democratic Progressive Party, who promises to prioritise domestic concerns over the ongoing issue of reuni cation with China. OCEANIA Barnaby Joyce has become Australia’s new Deputy Prime Minister following the resignation of Warren Truss. The contrast between Prime Minister Turnbull (urbane and popular with middle-Australia) and Deputy Joyce (a happy-go-lucky larrikin who is regarded as an authentic representative of regional Australia) is stark.

ARTWORK : LING MCGREGOR

THE AMERICAS Argentina Argentina’s new right-wing president, Mauricio Macri, has begun making sweeping economic and foreign policy reforms. This presents a serious break from the South American nation’s 12 years of leftist populism at the hands of former president Cristina Fernandez de Kirchner and her predecessor and late husband, Nestor Kirchner. Mexico A battle between the feared Zetas drug cartel and rivals has killed 49 in a prison in the north-eastern Mexican city of Monterrey, days ahead of a planned visit by Pope Francis to another jail in Mexico’s far north. The United States of America The American presidential race is underway. The Democratic race is between the pragmatic Hillary Clinton and self-avowed socialist, Bernie Sanders. Republicans Ted Cruz, Donald Trump, and Marco Rubio will battle for the Republican nomination. Voting ends in July - stay tuned for the next potential leader of the ‘free world’. EUROPE Following the November terrorist attacks, the French parliament has considered passing controversial laws to strip convicted terrorists with dual-citizenship of their French nationality. This has been criticised for its potential to single out French citizens of Arab or North African descent.

POETRY : EXPERIMENTAL

POLITICS : IMMIGRATION

T HE C A USE O F SO UTH AFRI CA’S X E N O P HO B IA: FE AR OR POMPOS I TY? TANITH CHIPPENDALE As my home, South Africa has always had a space in my heart as a warm haven, seeped in an array of diverse cultures and hospitable people. Certainly, for many, South Africa is renowned for its revolutionary shift from the racial vilification of apartheid t the rise of black president Nelson Mandela in 1994, representing a radical change to the social, political and geographical environment.

and employment opportunities. This fear is augmented by the fact that the social and economic climate of South Africa is precarious. At the end of October 2015, 25.5% of South Africans were unemployed. While living standards are improving, 25% of children are still unable to attend school because of high fees, and only 45% of households have piped water.

Despite this transformation, South Africa today is almost as much a breeding ground for racial violence as it was then. Recently, in April and October of 2015, there were major incidents of violence against non-South Africans. Many are attributing it to South African residents using foreigners as a scapegoat for the economic and social hardships they continue to experience. The enmity towards foreigners reflected through these events have left people concerned about whether it will lead to another violent upheaval.

Bronwyn Harris, Former Project Manager at the Centre for the Study of Violence and Reconciliation, says that after apartheid, people had high hopes, and have since been disappointed by a lack of delivery: “People are more conscious of deprivation than they ever were before.” As such, this disappointment and resentment is hypothesised as the cause of xenophobic sentiment.

The April attacks left seven people dead, 5000 homeless, and many without a source of income due to the widespread looting of foreign owned businesses. In October, 500 people suffered violent attacks in Grahamstown, a city in the Eastern Cape of South Africa. Grahamstown has a racial makeup of over 70% black Africans, many of whom are foreigners from other parts of Africa. Many feared that there would be no protection for victims from authorities. These fears were not unfounded, as Jacob Zuma’s government took no positive steps to address the attacks. Immigration laws were tightened and victims were routinely referred to by the government as ‘illegal immigrants’. It is critical to examine what is at the heart of these attacks, and then determine what can be done to stop them. Dr. Clarence Tshitereke, South African researcher and previous Ministerial Advisor for the Ministry of Defence, says xenophobic sentiments derive from a ‘fear of losing resources’ such as housing, education

These attacks have consistently targeted foreigners – not the hundreds of Europeans that migrate each year, but specificall those from other African countries. It seems that South Africans with xenophobic sentiments identify South Africa as separate to the rest of Africa. Their attitudes reflect a perception of an African hierarchy, with South Africa at its apex. This can be taken from the words of Zuma himself, who identified Africa foreigners as ‘illegals’ or ‘illegal immigrants’ in his freedom speech on April 27th 2015, and from the ANC-led government’s ‘themversus-us’ attitude. Whatever the reason may be, xenophobia is continuing to tarnish post-apartheid South Africa and destroy lives. It’s time we recognise that South Africa has a long way to go to become truly egalitarian and free from racial conflict. What we can do is discourage a mentality that separates foreigners from the rest of South Africa, and encourage a global environment that is accepting of change.

ARTWORK : TIFFANY NGUYEN

POLITICS : CAMPAIGNS

T he b e r n fac t o r Darjan Gudel j One year ago, as the American presidential nomination race was just beginning, it was widely assumed among political pundits and Democratic circles that Hillary Clinton would inevitably win the 2016 Democratic presidential nomination. This would no doubt mark a momentous event in American politics as Clinton would be the first female in history to contest the top job, and poss bly become the first female US president. With enormous suppor from the Democratic Party establishment, millions of dollars of campaign contributions, a wealth of experience, and no credible challenger in sight, her victory was perceived to be all but assured. Today, we see a completely different story. A challenger has emerged from out of left field, seriously contesting Clinton’s ascent t the Democratic nomination. That challenger is Bernie Sanders. Bernie Sanders is a Democratic Senator representing the state of Vermont, who before joining the Democrats in 2015 was the longest serving Independent Senator in congressional history. Sanders has a long history of campaigning for civil rights, queer rights, income equality, accessible education, universal healthcare and environmental sustainability, which has gained him a reputation as a leading progressive voice in American politics. He even committed the cardinal sin of American politics by describing himself as a Democratic Socialist, convincing many that he was too explicitly left wing to become the Democratic nominee. At 74 years of age, the white-haired, hoarse-voiced socialist is an unlikely presidential candidate, yet he draws huge numbers of people at his rallies and his approval ratings have surged. This is because Sanders’ message of change has tapped into the large well of frustration ordinary American people have with the political system, feeling that it does not represent them. Despite the decades that Sanders has spent in Washington, he is still seen as an outsider to the political establishment, someone who does not play Washington politics but is rather a solely issuebased candidate. Part of Sanders’ appeal is his campaigning style. He is not a negative campaigner, and does not engage in personal attacks or character assassinations, instead arguing on the merit of his opponent’s agenda.

Sanders argues that his policies are not half measures or Band-Aid solutions for the problems that are facing America. He claims that the economy is rigged against the working class and that the richest Americans have immense control of the political system. Sanders attributes this to the Supreme Court decision of Citizens United, which allowed corporations to donate unlimited sums of money as an expression of free speech. His big policy ideas have attracted criticism of being too idealistic, and detractors have claimed that a divided congress and Senate will never pass a single payer health system, free college education or revolutionary tax reform and would subsequently lead to an impasse that would halt any progress. However, the Sanders campaign message argues that the policies are not a far left fantasy, reasoning that most of the developed world have already adopted many of these ideas, like single payer healthcare and universal access to tertiary education. There has been a huge groundswell of support from ordinary people for this message, although within Democratic circles there has been some worry that such an explicitly progressive agenda will prevent Sanders from winning the presidential election if he becomes the Democratic candidate. This would make a Republican win more likely. With a warm, approachable, genuine and idealistic persona, the Sanders campaign comes across as the most enthusiastic of all the Democratic candidates. In comparison, Hillary Clinton’s campaign comes across as manufactured and stage-managed. She is often surrounded by security at her public appearances. However, Clinton’s more centrist approach appeals to the centre-left pragmatists of the Democratic Party, who argue Clinton will be more likely to perform against a Republican opponent. A major factor that makes the Sanders campaign stand out is the grassroots movement he has inspired by calling on ordinary people to become part of a ‘political revolution’, emphasising that not even the president can govern alone.

The Sanders Campaign is different from recent presidential races. Frequently, a candidate will raise the millions of dollars needed to fund their campaign by asking wealthy donors for donations. Sanders’ campaign has refused to take money from the wealthy. Instead, Sanders has relied on small donations from working people, averaging out 27 dollars per donation, raising millions for his campaign. The Times reported on December 21st that Sanders’ campaign had broken the record for the highest amount of individual campaign contributions, reaching 2.3 million individuals. This record was previously held by Obama’s 2008 campaign which received 2.2 million contributions. This has sparked a debate over the role of money in politics, and whether donations truly represent an interest in free speech, or an attempt to garner influenc with politicians. Sanders has long argued for campaign financ reform, believing that money should not be involved in politics. His detractors have argued that donating money to political candidates represents support of free speech and is thus protected by the First amendment. Whether or not Sanders wins the Democratic nomination or not is, in some ways, irrelevant. It is significant in itself hat a candidate campaigning on unconventional issues and with an explicitly left wing agenda has made it this far in the presidential race through a grassroots movement. The voting population of America will soon decide if they want to continue on the path they have been on for the last 60 years with establishment presidents, or to forge a new path for themselves. Win or lose, Bernie Sanders has changed the state of this presidential race.

ARTWORK : EDEN LIM

POLITICS : IDEOLOGIES

A s p e c t r e i s h a u n t i n g E u r o p E –

T HE RIS E O F TH E RI G HT Lara Sonnenschein

It’s a depressing map. The war in Syria has unleashed the biggest refugee crisis since World War II. President Bashar alAssad’s bombs, along with the the Islamic State’s atrocities, have forced hundreds of thousands of Syrians to risk death through perilous migration attempts in pursuit of life. It is blood-curdling enough that ISIL claimed so many gruesome global terror acts: in Paris, killing 129 people; in Ankara, killing more than 100; in Beirut, taking 41 lives; at a Tunisian beach resort, killing 37; and the downing of a Russian plane over Egypt, killing 224. European reaction to the state of affairs has been to become ultra-nationalist, ethno-purist, and extremely hostile to refugees. There has been a dramatic spike in support for far-right parties across the continent.

THE MIGRANT CRISIS In France, there is the National Front, which surged in the fir t round of the country’s recent regional elections. In Austria, the far-right Freedom Party secured 30% of the vote in local elections in September 2015. In Denmark, after winning 20% of the vote and coming second in June’s 2015 general election, the far-right Danish People’s Party is part of the government coalition. In Hungary, 20% of the population supported the ultra-far-right Jobbik party in April’s general election. From Switzerland to Scandinavian countries, the far right has been quietly making serious gains. This surge in popularity of far-right political groups has been pegged to the refugee crisis. Analysts depict a Europe in fear of an influx of refugees, mostly from Syria, that shows no sig of abating. The UN High Commission for refugees saw at least 700,000 claims in Europe in 2015, while the population within the European Union is about 494 million people. You can probably guess where the fear over (mostly Muslim) refugees comes from. The deluge of denigrating myths and panic stirred by media and politicians alike, present Muslims as ‘other’, or as communities of terrorist sleeper cells within Europe – even though, often, Muslim refugees are actually fleeing terror, a inflicted by ISIL in Iraq and Syria A far more understandable concern, though, is over access to jobs and resources, which harsh austerity measures in Europe have exacerbated, reducing job security and forcing people to work longer hours with less pay, while the costs of living keep rising. That’s the part that connects Europe’s financial crisis with migration and the rise of far-right.

t h e s p ec t r e o f fa s c i s m .

AUSTERITY BREEDS EXTREMISM

SEEKING ALTERNATIVES

Daphne Halikiopoulou, Professor in Comparative Politics at the UK’s University of Reading, argued that austerity breeds right-wing extremism because of the work insecurity experienced by the middle classes. The Huffington Post reports

These progressive parties are focussed not just on the Europewide obsession with avoidable, counter-productive cuts (these have prolonged the financial crisis), but over the nature of th European Union itself. If the current version of the EU, with its unelected powerful European Central Bank and European Commission, is all about preserving and extending neo-liberalism through deregulated financial markets and race-to-the-botto work conditions, then the emerging progressive parties aim to provide alternatives.

“When a crisis hits, those who have a job fear that they will lose it. Those who don’t have a job (or those who do lose it) fear that they will have no safety net or alternative means of subsistence”. They then added, the greater the insecurity experienced, the more likely this will result in support for far-right politics. That is where the progressive left comes in, the kinder side of Europe’s political map. It’s the opposing political force that surged across Europe last year, and one that wants to tackle the issue of squeezed resources in a different way – beginning by halting the savage, ideologically-driven cuts of austerity. Last year began with a resounding win for Greece’s anti-austerity Syriza party and ended with left-wing populist Podemos Party in Spain, a party that came into being only two years ago, breaking a decades long two-party monopoly in elections in December. Sandwiched between those two events was the anti-austerity Scottish Nationalist Party winning all but three seats in Scotland in the UK’s 2015 May election, and the anti-austerity socialist, Jeremy Corbyn, unexpectedly taking the helm of Britain’s Labour party in a landslide leadership victory a few months later.

By constantly referring to grassroots support bases, these movements want stronger employee rights, fairer taxes, and a welcoming approach to migrants, who are seen as contributing to, rather than taking from domestic economies. That progressive politics fared so well in polling booths in 2015 speaks to a growing appetite for alternatives to the welfare-stateshrinking, elite-serving politics that have been the prevailing force across Europe’s major countries for so long. It’s the counter to the troubling surge in support of the xenophobic far-right. It’s the politics of hope – and for the first time in a long time, it’s uite possible that it might just triumph over the politics of fear. At least I hope so.

ARTWORK : RACHEL MACPHERSON

POLITICS : IMMIGRATION

T HEY ’RE ON O UR DO O RSTE P — W HY ? JESS HAY

The policy issues associated with asylum seekers continue to be complex and contentious in Australia and internationally. Last year, the plights of asylum seekers were brought to the fore as the image of a drowned Syrian-Kurdish child on a Turkish beach stirred responses of sympathy and outrage worldwide.

some improvement in circumstances for Hazaras, they continue to face discrimination. Significantly, since the withdrawal of oreign troops in 2014, violence at the hands of Taliban insurgents has been on the rise. 3 / TAMILS FROM SRI LANKA

More recently, refugees have come to the public’s attention again as the Australian High Court ruled offshore detention and processing to be constitutional and legally valid, leaving asylum seekers, refugees and human rights activists dismayed. According to Dr Graham Thom, Amnesty International Australia’s Refugee Coordinator, “The Nauru processing centre puts vulnerable people at risk and operates with an unacceptable lack of transparency.” “Our experience from listening to our clients, and from reviewing their medical records tells us that offshore processing currently is causing irreparable harm to people,” says Katie Wrigley, the principal solicitor at the Refugee Advice and Casework Service in Sydney. “It tells us that Nauru is not a place where people can be safe. RACS opposes offshore detention and resettlement of refugees in Papua New Guinea or Nauru. To use these locations of detention for people for any length of time is a cruel and unnecessarily punitive way to treat people.” But who are the people currently seeking asylum in Australia, and what is causing them to flee from their homes? While refugee services are seeing clients from a wide range of countries, the most common groups seeking asylum in Australia are the following: 1 / IRAQIS FLEEING CONFLICT The current conflict taking place in Iraq is mainly betwee the Islamic State of Iraq and the Levant (ISIL), and the Iraqi government. The harm done by ISIL has been brutal and extreme, including abductions, sexual violence, murders, executions and the destruction of property. The conflict in Iraq had led to at least 44,136 civilian casualties (including 4,947 deaths) and 2,834,676 internal displacements, including 1.3 million children, between 1 January 2014 and the end of April 2014. 2 / HAZARAS REPRESSED BY THE TALIBAN IN AFGHANISTAN Hazaras are a group of ethnic minorities who make up 9% of the population in Afghanistan, with some communities living in Pakistan and Iran. Most are Shia, as opposed to Sunni Muslims (the majority of Afghans). The Hazaras have long been persecuted in Afghanistan, with thousands having been killed through the 1990s by the Sunni Taliban and Al-Qaeda militants. More recently, Hazaras have been faced with kidnappings, beheadings and murders. In September last year, unidentified gunmen stopped a bus in the Zabul rovince and kidnapped several passengers – the vast majority of them Hazaras. While the overthrow of the Taliban in 2001 lead to

For years, conflict has raged between the Sinhalese majority an Tamil minority in Sri Lanka. Between the civil war, which spanned from the 1980s to 2009, 100,000 civilians were killed and more people disappeared through the practice of ‘white vanning’, so called because the victims would disappear in a white van used by security forces. The defeat of the Liberation Tigers of Tamil Eelam (or ‘Tamil Tigers’) has not lead to peace for Tamil civilians. There continue to be reports of abductions, torture, and sexual abuse by security forces. Discrimination is still an issue, but the danger is even more severe for those perceived to have been in association with the LTTE through the years of civil conflict. The future f r Tamil citizens may become more secure, with the change of government and the recent singing of the Sri Lankan national anthem in Tamil as well as Sinhalese during official independence day celebrations, indicative of a changing sentiment. 4 / CHRISTIANS AND THOSE WITH ANTIGOVERNMENT VIEWS IN IRAN While religious minorities such as Christians, Jews and Zoroastrians are recognised under the Iranian Constitution, they are widely discriminated against due to the Sharia law operating in Iran. The situation is even more dangerous for those who have converted from Islam to Christianity as they are considered apostates, a crime punishable under Iranian law. A UK report on Christians in Iran found that “Christian converts face physical attacks, harassment, surveillance, arrest, detention, as well as torture and ill-treatment in detention.” Christians in Iran who proselytize or wear a visible symbol of their beliefs, like a crucifix, face similar dangers Another group at risk of harm in Iran are anti-government activists. Reports have shown that the Iranian government will actively seek to impede criticisms, even arresting, detaining and torturing individuals who speak out. 5 / SHIA MUSLIMS IN PAKISTAN Shia Muslims in Pakistan face harm from sectarian violence and targeting by militants. While anti-Shia groups have been banned by the Pakistani government, they still continue to target and kill Shia Muslims, and in particular Hazaras, using various methods including suicide bombs.

ARTWORK : LUCY McCONNELL

POLITICS : IMMIGRATION

6 / STATELESS GROUPS Statelessness has been described by the UN as an issue which leaves people “excluded from cradle to grave – being denied a legal identity… Many pass on the curse of statelessness to their children, who then pass it on to the next generation.” Rohingya Of Myanmar In June 2012, religious and ethnic tensions in Myanmar between the majority Buddhist population and the minority Muslim Rohingya came to a head culminating in violent conflict and th displacement of Muslim communities in the Rakhine (formerly Arakan) state in west Myanmar. According to the Human Rights Watch, in the months preceding the rising conflict, “Buddhis monks, political party operatives, and government officials organised themselves to permanently change the ethnic demographic of the State.” In October 2012, a string of atrocities were committed against Muslim communities in Burma, including killings and the burning down of entire Muslim neighbourhoods. In 2012, an estimated 140,000 people had been internally displaced in Burma, with 86,000 making the journey to neighbouring countries. The conflict between the Rohingya Muslims and Rakhine Buddhists has existed for years and the Burmese government has been criticised for failing to take action and instead facilitating, or even taking part in the violence. The issue of statelessness has plagued Rohingyan Muslims, with around a million people being denied citizenship by the Burmese government. A result of the ongoing conflict and lack of support from government officials has been the internal displacement of tens of thousan s of Rohingyans. With the denial of humanitarian aid, they are dying in squalid displacement camps. Palestinians Palestinians refugees have fallen into statelessness at various points in time, many seeking refuge in neighbouring Arab countries such as Iraq, Lebanon and Syria. They have fled in waves as ear y as 1948, when the Deir Yasin massacre took place and Zionist paramilitary groups attacked a village near Jerusalem. In 1957, more Palestinians fled during the occupation of the West Ban

and Gaza Strip. A third wave entered Iraq in the aftermath of the Gulf War when most Palestinians were expelled from Kuwait. In some of the countries where Palestinians fled, they were nev r formally recognised as being refugees by their new governments. This meant that while being afforded government protection statelessness and the associated problems have continued to plague Palestinian refugees. REFUGEE LAW IN AUSTRALIA Australia’s current asylum and refugee policies have remained one of the most contentious areas of migration law, changing with great frequency over the years. Australia’s international obligations are not always enforced. Undoubtedly, violation of international human rights laws are taking place, particularly as a result of the more drastic changes to Australian policies in 2013. In that year, the Abbott government brought in Operation Sovereign Borders (OSB), a ‘military-led border security operation’ which aims to ‘combat people smuggling and protect Australia’s borders’. This has resulted in, amongst other things, the conducting of asylum seeker processing offshore in Papua New Guinea and Nauru, and ‘the interception and turning back of vessels where it is safe to do so’. With the recent case of Plaintiff SM68/2015 v Minister for Immigration and Border Protection & Others (M68/2015) having decided in favour of offshore processing and resettlement, it seems likely that Australia will continue to uphold domestic laws in spite of any conflict with international law obligation . International bodies and human rights activists continue to try to seek justice for those fleeing conflict. It remains a longhe hope that the national outlook on asylum seekers and refugees may change so that we can finally hold our governmen accountable to their obligations under international law.

** This article is intended to provide only a distilled summary of the conflicts that bring refugees to Australia. There will be asylum seekers and refugees from other backgrounds who have not been covered within the scope of this article.

THE SOCIAL ENVIRONMENT : TRENDING

February Crisis for Asylum Seekers R a ve e na Grov er ‘I can’t believe we even need to protest the torture of kids’ These were the words written on a sign held outside the Department of Immigration in Sydney early in February, to protest the possible deportation of 267 asylum seekers who were brought to Australia to receive urgent medical care after suffering horrific illnesses while in hellish detention conditions on Nauru. These included 91 children, 37 of them infants. Following the High Cour t’s validation of Australia’s recent offshore processing regime, facing deportation was a likelihood. In February, snap rallies were held by GetUp! in all major cities and regional areas across Australia. Rally-goers urged Prime Minister Malcolm Turnbull against the deportation of these asylum seekers, and many offered their homes and business locations as temporary places of refuge. Professionals such as the doctors at Lady Cilento Hospital in Brisbane used affi mative action by refusing to discharge an asylum seeking infant until refuge was guaranteed. Students sat in Immigration Officer Peter Dutton’s office holding signs pleading to let them st y. This is, and has been the mindset of Australian politics since its colonial conception. Our laws and political regimes have

continued to pro t off the mistreatment of ‘boat people’ in order to protect Australia’s borders, whatever that means. It is astonishing that despite the wealth our nation offers and our “boundless plains to share”, those in power fail to act decently regarding human rights issues. It is not our borders, our land, or our jobs which are at risk; it is the people our government is fighting tooth and nail to prevent from entering Australia who are in danger - not just of injuries that can be cured medically, but of rape, murder, and sexual assault. Many of these victims are minors. At what point will we be able to stop protesting against the likes of these politicians and begin to take direct action to ensure those in barbaric conditions are granted their rights? Even medical staff cannot veto the discharge of patients under Australian immigration law. Sending not just children but any person back into an environment where their safety is uncertain is an act of barbaric cruelty, only possible by our representatives – the Australian government. I can’t believe we even need to protest the torture of kids.

‘ H e N a m e d M e M a l a l a’ : F a c t a n d F a n ta s y Sarah Yahya The story of Malala Yousafzai is internationally known: a Pakistani teenager who, at the age of 15, was shot by the Taliban for advocating for the right of education for girls. Since then, she has become the youngest ever Nobel Peace Prize winner, making her one of the most profound advocates of international human rights. ‘He Named Me Malala’, the award-winning documentary directed by Davis Guggenheim pays tribute to the story and work of Malala. In my eyes, and in the eyes of many, she is an incredible inspiration - it is hard to imagine how a film could do justice to her achievements. The question I kept asking myself before watching the award winning-documentary was whether Guggenheim could show us who Malala is - the girl behind the international figur .

The documentary was sincere in its intent to highlight the issue of rights to education for girls and women globally. It was even labeled as a piece of ‘advocacy journalism’. Using a figure such as Malala, Guggenheim’s work marketed the idea of equal education for girls throughout the world. The cause itself is more than worthy. However, the documentary appeared more like a fairytale, in great contrast to the real-life horrors Malala experienced only a few years ago. The use of animation was particularly misguided. It turned recent history into an instant fable, and the storytelling was unstructured. I had questions about the physical and psychological trauma Malala suffered as a result of the attack by the Taliban. I wanted to see the personal journey she went through from that point until

T H E S O C I A L E N V I R O N M E N T : p o p - c u lt u r e

the documentary’s conception. Though Malala has chosen not to speak publicly about the attack, saying she feels no resentment towards the Taliban, the film left a huge gap for viewers. Ultimately, questions remain: how long are we going to keep turning real-life horrors into palatable, dreamlike stories? When are they going to be given the raw attention they deserve without being made into Hollywood blockbusters?

Conversely, it is understandable that Malala’s mother struggled greatly to assimilate to life in England due its numerous challenges. One line really caught my attention, “She’s not independent or free because she is not educated.” For Malala, this becomes one of the reasons why she’s determined to be different than her mother - to be passionate and invested in education. Malala views education as freedom and hope, something her mother never had.

The documentary has beautiful elements. The title is the fi st that comes to mind. Malala’s father, Ziauddin Yousafzai, named Malala after an Afghan folk hero who rallied the Afghan army to victory against the British, before being killed on the battlefield Malala became the fi st female to have her name entered in the clan’s family tree which is a privilege commonly reserved for male members of the family line. In this way, it holds a great deal of symbolic meaning. Malala’s father is conceivably her biggest supporter; he is a very influential figure in her l e, and the documentary captures this well.

Overall, I was left with little information about Malala, and what it is like for her to be an international figur . There were sparse details revealed about her father, even though they share such incredible passion. I can’t help but think that Malala seems to be fulfilling some of her father’s dreams. With that being said, my biggest concern is the manner in which the fi m uses Malala and her youth, as a conduit to romanticise ideologically charged violence.

Artwork : LING mcgregor

THE SOCIAL ENVIRONMENT : LOCAL

The Unapologetic Western Sydney-Sider Ta nith C hippe nda l e Crime, poverty and disorder are commonly associated with Western Sydney. However, there is more to Western Sydney than that, writes Tanith Chippendale. Western Sydney is: diversity, culture, and colour â&#x20AC;&#x201C; and most of all, it is community

I’m sure most of us are familiar with the stigma attributed to Western Sydney. Many people who have never lived in Western Sydney will have you think any claim of a stigma is merely imagined; that there is no class system in Sydney based on the area you reside.

The beauty of Western Sydney is multidimensional, and if I were to go through an exhaustive list of what I found beautiful about Western Sydney, you would have to spend days reading this article. Instead, I will focus on what I find most rema kable, and that is its diversity.

I could spend much of my time explaining the falsehood of these perceptions based on sociology and science, but I feel I will express it most authentically anecdotally.

From its beautiful restaurants and festivals to its beautiful religious and cultural landmarks, Western Sydney is a melting pot of culture and diversity. In Wentworthville, our neighbourhood was like a family. My Indian neighbours would invite us over to celebrate Diwali with them every year, showering us with delicious sweets. My Lebanese neighbours would invite us over for barbeques every now and then and grace us with a massive bowl of tabouli, hummus and garlic sauces to take home for the family. In return, every Christmas, we would make a few containers of koeksisters, a South African dessert, for our neighbours to enjoy.

Throughout high school, I was grilled to ‘aim high’ when studying so I could get into a ‘good university’. It was always a given that going to a ‘good’ university meant going to USYD, UNSW, UTS, Macquarie or in other words, any university other than Western Sydney University. Despite this, I spent my fi st year of university at Western Sydney, aiming to get high distinctions to transfer and get into a university with a ‘better reputation’. About eight of my other friends from my fi st year at WSU did the same. Some attribute it to the merit of the university itself, but I can attest to the high calibre of teaching and support - not so different to what UTS offers. There is no doubt the characterisation of ‘Western Sydney’ plays a big part of its poor status. My first year at WSU was actually one of the best years o my life. The level of support, camaraderie and cordiality was unrivalled to any institution I had ever studied at. I thrived academically, socially and emotionally, so much so that I doubted whether I really wanted to transfer universities. Eventually, I opted to transfer purely based on the fact that UTS had a brilliant reputation for journalism. The stigma of being from Western Sydney is not just ingrained in Western-Sydney siders, but is potently manifested in those that reside outside of this region. This has never been more evident to me than in my fi st few classes of journalism at UTS. The sheer look of condescension, as I introduced myself as from ‘Blacktown’, sometimes left me hesitating to mention it again. My retreats from lectures were sometimes prompted by my chagrin at students equating Western Sydney with ‘getting shot’ while talking about having to report there, or joking about how anarchic it is.

From Penrith to Campbelltown, Western Sydney is vibrant with centres that encourage people to pursue their interests in art and music. Every year, there is a harmony festival in Blacktown where youths showcase their talents in music and performing arts. Moreover, each year a Fijian festival, Uruguayan festival and African festival take place among many others, allowing people to rejoice in their own cultures and share them with the rest of the community. Last year, an African festival took place in Lidcombe, involving music, food, and performing arts. Nigerian, Zimbabwean, Ghanaian, South African, Libyan, Somalian groups as well as many more African communities were represented. Many were speaking Afrikaans and Zulu, asking me to join in on traditional dances, and singing along to well-known African songs with people who they had never met. It was an overwhelming experience; I felt a strong rush of nostalgia for when I lived in South Africa and also a titillating sense of belonging that was previously unfamiliar to me. Home to most of Sydney’s population and the highest portion of migrants and ethnic minorities, Western Sydney should be renowned for its rich diversity, its lively and innovative culture and above all, its reflection of communal love, support and acceptance. From now on, I plan to glare disdainfully at anyone who dares to decry my Western Sydney identity.

Artwork : ANDREW VUONG

The Social environment : indigenous

E no c h Ma il a ngi At the beginning of last year, I attended a tutorial which left a sour taste in my mouth. I was subject to an all-too-familiar game that most ‘ethnically ambiguous’ and people from mixed heritages face: “So what’s your background? Oh wait, let me guess…” The usual internal eye rolls take over. I feel like I am taking part in a high school frog dissection, only this time I am the frog. The list of many cultural identities are guessed, and it goes on for what feels like hours of interrogation. This isn’t even the most uncomfortable part of this examination. When the game crescendos because no one has guessed right, people give up and for the big reveal, excitement gleams on their faces when I reveal my mixed heritage - Indigenous and Polynesian. Heaves of shock and gasps of doubt now fill the air as if I had ans ered the question wrong. “You don’t look Aboriginal!” “I can sort of see it…” “Don’t you get free housing?” “Are you just claiming?” Yes, these are all questions I have been faced with in the classroom and yes, these are questions I have been asked at the University of Technology, Sydney. I have compiled a list of things that nonIndigenous students can adopt to ensure that Indigenous students don’t feel like they have to leave their culture at the door before entering the classroom.

1. When an Indigenous person is speaking about Indigenous issues in class, listen. Indigenous people know about Indigenous issues because they have experienced them fi st-hand. I’m not suggesting that you shouldn’t partake in classroom discussions on Indigenous issues. This is a crucial part of social change. With that said, it can be a humbling experience to hear opinions from an Indigenous student and is not a time to speculate, take things personally, or get defensive. You don’t need to level with Indigenous students; “I was the only queer student in my high school, I totally understand” can be a tiresome response for us. Being Indigenous is not the same as being queer, a wom*n, or trans. An Indigenous student can also be all those things, as it’s an intersectional form of oppression, however, I can assure you that these experiences are not directly comparable. While it is true that not all white people are racist, usually dealing with white sensitivities in class is inherently a form of racism. The systematic and subtle racism Indigenous people face is usually from white people. When an Indigenous person is talking about their experiences, instead of taking it personally and interpreting it as an attack, understand that all of the experiences of discrimination we have faced have been from white people and have stemmed from a history of colonialism. In these circumstances, be an ally and comfort; sharing these personal accounts in class may be hard for a lot of Indigenous people, so support us without making it about you.

Labelling someone half-caste or quarter-caste is ridiculous and offensive. It is this same “scientific language that was used to justify assimilation, and that still affects Indigenous Australians today. What non-Indigenous students need to realise is that they do not define if e are Indigenous or not. It is us who decide.

3. Inclusive language within your academic writing is just as important. Always capitalise ‘Indigenous’ or “Aboriginal” when referring to Indigenous Australians. “Indigenous Australians”, “Aboriginal Australians”, “Aboriginal people” or “First Australians” are all perfectly fine identifi s in essays. Always spell out “Torres Strait Islanders” in full. If you know the group of Indigenous Australians you are referring to, such as “Koori” and “Nyoongar,” use them, but don’t assume that this is interchangeable for “Indigenous”. There is a fine distinction and this should b respected. Don’t use acronyms such as “ATSI” (Aboriginal and Torres Straight Islanders), just spell it out. Becoming fairer in treating one of Australia’s most marginalised groups is the right thing to do. We are amongst some of the best minds in Australia - let’s start having these needed conversations. Let’s work together to star t chipping down at ideas and improving the treatment of Indigenous students at UTS.

2. Indigenous Australians come in all shapes, colours, and sizes. Be aware that some Aboriginal people have been displaced and may not know their cultural and language group. The colour of your skin is generally used as a racial signifie . However, this identification is rooted in colonialism and can be incredibly hurtful. It is important for non-Indigenous students to realise that this becomes even more complex in Indigenous Australian cultures. The Australian government, from early colonial times, until as recently as 1975, implemented regimes to “breed out” Indigenous genetics. This is why so many of us are displaced, and so many are disconnected. My tanned skin is not necessarily a privilege, as some students have and will suggest, but evidence of what my people have suffered. With this said, many Indigenous people are light - skinned, and this does not equal a deficiency of Aboriginality. This is why “What percentage are you?” can be an extremely uncomfortable question for us. You might as well be asking us to “prove it”. Artwork: Susan Keighery

the social environment : media

Under Pressure ha r ry e a s to n So you’ve had a shit day at work and copped a few bumps and bruises along the way. You’re about to arrive home exhausted, with only sleep on your mind. Instead, you’re being dragged in front of dozens of people with microphones and notepads, cameras fl shing in your eyes. You are asked countless questions, your patience is waning, and you feel like you’ll explode at the next person to ask you about your performances. No, this is not the daily life of a Federal politician in Canberra. It’s a professional sports press conference. After her shock fi st round loss at the Australian Open, veteran of the tennis circuit Venus Williams skipped a post-match press conference. For this, she was fined $5000, all because she chose not to discuss her bad day at the offic . Professional coaches and athletes are not in the business of spin and debate as politicians are. Simply put, their job is to win.

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Yet no matter if their day results in a win or a loss, whether they are about to start a game or start training, they are always required to spend a few agonising minutes answering the same questions every time. In the days leading up to The Super Bowl, quarterback Cam Newton attended dozens of press conferences and asked the reporters his own question, “How can I reword questions I’ve been asked so many times before?”

Artwork : lucy allen

On top of having to respond to these questions, athletes and coaches are often still pumping with adrenaline and emotion after an intense performance in which their careers are sometimes quite literally on the line. To quote Weird Al Yankovic, in a parody of your typical sports press conference: “The coaches coached, the players played, and there are a lot of repressed emotions on stage right now.” This is why the Internet is currently flooded with outbursts from athletes and coaches. In many instances, those few minutes of released anger can result in a fin , with the person who lost their cool being remembered not as a coach or athlete, but as a meme or YouTube sensation. They are either punished for not showing up, or humiliated for blowing off steam. These poor souls have no escape – or do they? American football player Marshawn Lynch was fined countless times for refusing to speak to media. Eventually, he attended a press conference and answered 25 different questions with, “I’m just here so I won’t get fi ed”, an ingenious solution that quickly went viral. In December 2015, Lynch placed a trademark on the phrase, and now potentially stands to make a profit from his quote in that press conference. Here’s hoping 2016’s athletes and coaches take a similar path forged by the great man. After all, sport should simply be good ol’ fun and games.

c u lt u r e : t r i b u t e

artwork : Josh moy

bowie Alex McInnis

Rippling chameleons hewn from mirror and sponge soak rhythm in their lungs, gather sound and vision to steep and brew, they roam and quake and rouse

the strangeness we’ve

muzzled with manner and diction, and stutter to recall – our shunned fancies and lilting vowels, our offbeat revelries. Lifting its lids our strangeness wakes, gives a nod of recognition – unties our tongues and clears our throats, drums its finge s on our chest. Surprised to be dressed in such dull drag we readjust our sight to distance and form and

the surging forth

of shimmying delight. We straighten our shoulders, throw back our chins, we laugh at boredom’s farce. See the sham it was to trudge well-worn grooves while we’re gathered here in space.

c u lt u r e : m u s i c

spotlight international / the munich chamber orchestra Münchener Kammerorchester, or the Munich Chamber Orchestra (MKO), has been a vivacious beacon of German orchestral music for over 60 years. Founded in 1950 by Christoph Stepp during the post-war period, the orchestra has since developed a charm for the revival of classical pieces through a number of performance seasons and recorded albums. Each season is carefully constructed, with students selected through the Orpheum Foundation for the Advancement of Young Soloists to act as part of an internationally recognised ensemble, conducted by Howard Griffith The latest album release pays a gracious tribute to the never-before-recorded concerto works of Moravian brothers Anton and Paul Wranitzky, and features the ingenuities of 18-year-old violinist Veriko Tchumburidze and 22-year-old cellist Chiara Enderle. Each concerto is treated with a sort of lustrous austerity, from the lively shrill of the violin, to the darker, sustaining call of the cello. Griffith conducts an orchestr that easily transitions from a performance into a recording space, and then into an album that glides softly against ears: graceful in its delivery, but intricate at its core. The album is more than a treasure, but also a testament to the orchestra’s institutional focus on preserving the relationship between orchestral music and contemporary society. Their engagement and development in this program, giving opportunities to young students, makes them truly unique. The MKO is a gift to the world of classical music today. Hele n Tr an

spotlight local / koi child

For one night only in Fremantle, hip-hop group Child’s Play teamed up with Kashikoi - a jazztronica-based quartet, for an experimental performance. Together, they made Koi Child. Tame Impala frontman, Kevin Parker, heard the show, and helped shape their unique sound. Due out in March, Koi Child’s self-titled debut album is already generating a lot of buzz. The first-taste release was ‘Black Panda’, a song that im ediately captures the band’s unique sound with an addictive, warped, psychedelic bass-line that spurs on the vocals of Cruz Patterson. This, combined with a jazzy call and response between the trombone and saxes, makes for an epic jam. For a change of speed, the band’s firs song, ‘Slow One’, also entices, accentuating their wind instrumentalists, with a solo from the keyboardist showing off his improv skills. With just three songs, Koi Child have demonstrated a huge range of diversity, touching on multiple styles of jazz, hip-hop and psych-rock. As such a big and energetic group, Koi Child is definitely a band to watch Album Release Date: 18th March Check out the full review on utsvertigo.com.au Da vid Bur le y

rewind / ‘Can’t Buy me Love’ - the beatles The Beatles. The name enlivens your senses in five ways One: that musky smell of a dark bar made of wooden everything, permeated with cigarette smoke. Two: the icy feel of a frozen door handle being pulled backwards again and again. Three: hazy figures clattering towards you, milky white teeth a d wrinkled fat smiles. Four: a really, really, cold beer. Five: the sound of ‘Can’t Buy Me Love’ hitting radio stations across the world for the first time on March 16th, 1964 Fifty-two years ago, The Beatles continued their reign as chart toppers with this rousing rock number. Whether it’s those husky voices, the smooth vibrations of the guitar picking, or Paul McCartney’s electric scream mid-song, there’s something none of us can deny. Whether it’s 1964 or 2016, The Beatles are as relevant as ever, and ‘Can’t Buy Me Love’ is a sweet and lively tune to fit any mood Hele n Tr an

album review / ‘Not to disappear’ - daughter Three years after their first appearance, Daughter’s new albu has fans stuck once again in a gloriously dark and bleak place. ‘Not To Disappear’ may sound like a quiet plea of hope within despair, but this resplendent album is a catacomb of pain: numbing, despondent, hollowing - but completely mesmerising. This album will get under your skin and start a small blue fire beneath th surface, then plunge you into the deep end of an icy lake. ‘Not to Disappear’ continues this three - part English band’s expansive emotional gorge their 2013 album ‘If You Leave’ was noted for. This album adds another layer to the experience. From the experimentation with more synthesized beats and complex rhythms to prose-like lyrics, the album is something like the love child of Daughter’s previous work, Keaton Henson, and The xx. The album is brimming with hints of the psychedelic, alternative rock, dream-pop, and even hymnal tones at some points (‘Doing The Right Thing’). It’s not afraid to experiment with contrasting and layering sounds (‘No Care’), nor with the absence of sound (‘Alone’ / ‘With You’). Elena Tonra’s voice is as poignant and delicate as ever, but with a control that is sultrier, and powerful as she sings: “But I nd it soothing / When I am confined”. There are dark hints of sensuality, loss, and despair. She’s not holding back this time: her words are powerful and blatant, ripping open a can of worms and stretching them all out one by one. Remi Aguilella’s drumming is something not to be missed.

The fourth track, ‘How’, has a numbing transcendent quality as Aguilella’s percussion skills drift languidly between simple, steady, hard bass beats, to moments of a muted high intensity. But if there’s something new to take notice of, it’s guitarist Igor Haefeli especially in tracks ‘No Care’ and ‘To Belong’, for their dark and brooding intensity. From gloomy to distressed guitar riffs, he’s a combination of Foals’ earlier tracks and Bloc Party - with the added lulling qualities that Daughter are known for. Stand out songs from this album include: ‘Mothers’, for its delicateness but slow ascension into a suffocating yet expansive soundscape; and ‘To Belong’. But the absolute winner of this album would be ‘Doing the Right Thing’; told from the perspective of an Alzheimer’s patient (Tonra’s grandmother). She sings: “Let the pictures soak / Out of televisions / Float across the room / Whisper into one ear / And out the other one”. It’s hard to not be affected. There’s an emotional bleakness and sombreness to it. There’s a sense of reverence juxtaposed and cut, meshed together with distorted synths, aggressive guitar riffs, and a slow moving backbeat. ‘Not To Disappear’ ends with the line “You’ll find love kid, i exists” (‘Made Of Stone’). That single glimpse of hope within despair floating into the air as the album draws to a close, an we, as listeners, are left viciously aware of life’s toils. He le n Tr an Artwork: LAUREN FITZPATRICK

c u lt u r e : i n t e r v i e w

vertigo chats with

Montaigne R ave e na Gr ove r Twenty-year-old Jessica Cerro, better known as Montaigne, began her music career at the age of four in her parentsâ&#x20AC;&#x2122; Canberra house. She has since become one of Triple J Unearthedâ&#x20AC;&#x2122;s youngest finalists at 16 toured nationally, and played alongside the likes of Washington, Boy and Bear, and Japanese Wallpaper. Entering the music industry through the Unearthed competition was not an active choice, but nevertheless something she knew she wanted to spend the rest of her life doing. Montaigne is a bright and energetic young woman who one of our editors, Raveena Grover, had the pleasure of chatting to earlier last month.

You can follow Montaigne on Facebook and Instagram at @actualmontaigne, and her personal vegan Instagram at @nomtaigne.

Grover : Who is Montaigne and what made you choose the stage name? Cerro: Montaigne was an accidental philosopher from the 16th century. He wasn’t afraid to talk about things in the public eye like other people were, at least in writing. And he was very much about being open about yourself. I’m a performer with a hope that I’ll be able to change the world for the better in some way.

Grover : What made you choose to pursue music instead of a “traditional” student path at such a young age? Cerro: I suppose the opportunity was right there - it was just a matter of taking it. I thought, “I can’t not do this now,” because I had the chance - and I had to take it.

Grover : Being young and in the arts industry, financia independence can often be a tricky issue. What tips could you give to others pursuing a similar path to yours? Cerro: There’s so little time to work when you’re trying to pursue a career as a musician. There’s not a lot of time to have a casual job. You’re either touring, or recording, or writing, or doing interviews or meeting someone. Or doing some sort of photoshoot or recording a music video. I get shit done because I am mentally ready to do it. I’m quite a healthy person and that’s a priority for me, and I want to see people around me healthy and well.

Grover : That leads me to my next question: how long have you been vegan for and how has that affected your professional life? Cerro: I’ve been vegan for roughly three years. On tour, it’s more difficult ou

in the regional areas. But even now, veganism is a growing movement and more and more cities and places have at least one vegan option somewhere. I try to avoid being forceful with my fans - ultimately Montaigne’s a business, and the business is music, and I don’t want to lose fans due to that. But I think that when I have more of a voice I will be able to.

Grover : That’s so great to hear. What have been some stand-out moments in your career so far? Cerro: I’m on the Boy and Bear tour right now, and our Perth show was pretty amazing. I played at Red Hill Auditorium which is a massive amphitheater and it was really beautiful. It’s probably the best performance I’ve ever given. I could see the faces of the people watching and I just love watching people react to the performance.

Grover: What are your career goals for the future? Cerro: I want to play sold out Madison Square Gardens. I want to play a festival in Iceland. I want to meet Björk, David Byrne, Brian May, Palace, the Arcade Fire dude. I want to be able to pay for my parents’ debts and bills and stuff like that, and try to take care of them and my sister as well. And I want to write with David Byrne, which would be sick. Artwork : Jenny Kim

c u lt u r e : s o a p b ox

Trending in Australia? sue kang - NAH

yA H - b e t h s h e a

For the uninitiated, Kpop music can be generally summed down to: pop songs with a catchy hook ( “gee, gee, gee, gee, baby, baby”), recognisable dance sequence to go with that chorus (the horse dance from Gangnam Style) and cookie-cutter members. Idiosyncrasies are hard to find in Kpop girl / boy groups: all prefer the skinny, pale-skinned and big-eyed look. And, as the Boyfriend and JJCC members filed in or their interview with the Australian media, I couldn’t help but wonder if their carefully Kohl-lined eyes and skinny limbs would make the Australian public scream in ecstasy. Visual identity is incredibly important in Korea, but it doesn’t seem to translate to English.

If you are a Kpop fan, especially one of a non-Asian heritage, chances are you will have experienced the same three reactions to the discovery of your “little hobby”, and will have developed a set of appropriate responses: 1. “ Kpop?! Why would you like that? It’s so manufactured!” (Have you even seen Lady Gaga?) 2. “ But you can’t even understand what they’re saying!” (I can’t understand what Ariana Grande is saying but it doesn’t mean I can’t imitate her parrot impersonations). 3. “ But you’re white!” (Oh my god Karen, you cannot just tell people that they’re white).

Another case in point: recently, JYP’s banger of a song ‘Who’s Your Mama’ got all the lols from the overseas media. The lyrics convey the story of a man who just cannot handle a nice big booty. However, the women featured in the music video look like the antitheses to Nicki Minaj. Bit of a contrast for those who have been over-exposed to Jenny from the Block and Jen Selter.

Barely four years ago you would have received quizzical looks and at least one of the aforementioned questions at the mention of the concept of “Kpop”. A lengthy explanation would follow. Now, Kpop brings on the instant response, “Oh yeah, I know about that. Gangnam Style, right?” It’s hard to explain that there’s more to it than a strange dance and a man with sunglasses. Thankfully, since the phenomenon of Gangnam Style blasted into the speakers of homes around the western world, the Korean pop industry has latched onto its new-found popularity with great success.

So, it seems when Kpop is mentioned, the overwhelming reaction is confusion at how it’s presented: “Why do the boys wear eyeliner?” “I can’t tell the members apart,” “ I don’t understand why the guy is singing about a big ass when all the women are size zeros.” Kpop seems like a fleeting trend to those aised on a diet of Kim Kardashian tans and Victoria’s Secret butt workouts. This is a shame - we’re letting ourselves be overwhelmed by the aesthetics when we could all be enjoying Kpop bangers, and their pre-approved choreography.

Artwork : matthew leung

In Australia, over the past three years alone, Kpop groups such as B.A.P, BTS, the global award winner Big Bang, and most recently, Boyfriend and JJCC, have made the long trip to Australia to perform in front of thousands of screaming fans. In October 2015 tickets for Big Bang sold out in just minutes, resulting in a second concert. As a fan whose idea of seeing a Kpop concert used to be staying up to all hours of the morning watching a blurry livestream, actually seeing these groups perform in front of me was a Bohemian Rhapsody moment - is this the real life, or is this just fantasy? Whatever it was that Gangnam Style did to our society, I have to send out a heartfelt thank you for making this Australian fangirl’s dreams come true. Kpop is 100% trending in Australia.

c u lt u r e : e v e n t s

Meatstock Festival Meatstock came to Sydney for a weekend packed with meat, more meat, and animal meat. Vertigo sent one meat-lover and one vegetarian to the festival.

Jason Corbett - Meat-lover

Vegetarian - Jennifer Worgan

There was no better way to spend Valentine’s Day than at a meat festival in the company of one of my girlfriend’s best friends (and vegetarians), minus the girlfriend. Was I brave continuing the day with an unknown status on my relationship? Maybe. But with chicken, pork, and miscellaneous carcasses calling, it was a risk willingly taken.

My parents were thrilled when they heard I was attending a meat festival. “I’ve been worried about your iron levels,” said my mother. “Maybe you’ll meet a nice young butcher,” said my father, his excitement at the prospect of free pork ribs causing him to forget that I have a boyfriend.

Walking towards Meatstock (guided only by the smell of joy), a number of questions arose. Firstly, would I be allowed to enter in my monochrome v-neck, shorts, and boat shoes, or would I ruin the clearly flannel muscle, and denim theme? Secondly, was my bare chin offensive? Thirdly, was I about to experience heaven?

I was similarly excited to go along, mostly because I wanted to indulge in my two main passions – judging things, and not joining in. However, as soon as I entered I realised that I would not be spending the day in a corner thinking about how morally superior I was. Meatstock is about much more than just meat. Meatstock is a lifestyle.

I saw rows of food trucks spilling more beef, beer, and bourbon than one could ever imagine. In one tent, burly men sold barbeques with features I had never dreamt possible. In another, barbers offered their sharpest shave to those whose gargantuan beards were preventing them from gorging. The atmosphere was polished by a folk band championing exactly the kind of music your mind was already playing. Even the hungry vegetarian said the vibe was perfect. A wall of turkey legs took my fi st dollar. I tried Texan buffalo wings, Argentinian pork bites, and Brazilian chicken burgers. But of all the things I ate that day, nothing quite compared to the love I found in a jumbo beef rib that was both delectably marbled and crisply seasoned. Meatstock was a day of beauty which left me sweating hot sauce by the end. I can only hope that one day we will meet* again.

Despite not being able to try any of the actual food, I have sampled a culture. A culture where chilli sauce, motorcycling, and banjos are honoured. A culture where shaving and cutlery are for the weak. Before Meatstock, I never knew that so many references to Texas could legally exist in a place that is not Texas. The people were friendly, and the meat vendors were remarkably sympathetic to my search for vegetarian options. One truck even offered a veggie burger, although when I tried to order it the saleswoman was confused. “A cheeseburger?” she asked. “No,” I said. “With vegetables.” She stared at me blankly for a second. “No. There are no vegetables here,” she said. But in that moment, with the dulcet tones of The Beards playing behind me, and the sight of a man dressed completely in Harley Davidson paraphernalia in front of me, I didn’t need vegetables. Meatstock has not raised my iron levels, but it has raised my level of appreciation for meat culture, and because of that, it has definite y made the cut*.

*Pun intended.

Artwork : eden lim

c u lt u r e : f i l m

Tarantino’s Trail Through Cinema Ni m a So to u d e h Known for his postmodern, unpredictable, and magnetic films Quentin Tarantino fi st earned widespread recognition for 1994’s ‘Pulp Fiction’, before going on to become one of the most iconic filmma ers in modern cinema. His movies are a combination of popcorn entertainment and cinematic craftsmanship, earning him a die-hard cult following. Love or hate him, he is an inimitable auteur, carefully constructing art that just happens to be very, very entertaining.

Tarantino has a true love for cinema, and his taste is sometimes surprising; he doesn’t necessarily respect the ‘critically acclaimed art-house fil ’ variety. He is a big fan of exploitation cinema, B-grade movies, the spaghetti western, and martial arts films Most of his projects are intended to honour a favourite genre; elevating B-grade movies to an art form while simultaneously injecting them into the mainstream. Every Tarantino film is a series of emulations of the movies he loves, mixed with touches that feel fresh and familiar at the same time. ‘Death Proof ’ (2007), goes back to old-school Grindhouse cinema, but by adding modern dialogue, it also stands on its own. The desire to return to those genres has given him a well-known style. He exploits the clichés, and is able to play around with what works and what doesn’t. He never shies away from playing things loud and over-the-top, resulting in movies filled with stylised violenc , dark humour and eccentric characters. In ‘Django Unchained’ (2013), 21st century rap music provides the soundtrack for a movie that takes place in the 19th century. An exceedingly bloody action scene is preempted by a Rick Ross track that screams, “I need a hundred black coffins or a hundred bad men.” Tarantino’s choice of music often borrows from other movies or artists that he respects. ‘The Hateful Eight’ (2015), will be Tarantino’s fi st film to use a y original music. It can be said that by doing so, Tarantino has created his own genre, and his own universe. One which is interconnected in more ways than one; character names recur as if they are somehow related, and even the names of made-up brands such as Big Kahuna fast food and Big Apple cigarettes reappear. This singularity also exists in his content; most characters talk with similar cadences, and the films often feature classic scenarios like arguments over a big bag of money or a revenge plot. Another insight into Tarantino’s cinema is his writing - in particular, the dialogue. On his frequent collaborations with Tarantino veterans Christoph Waltz and Samuel L. Jackson, he has said, “It’s actually hard not to write for them because they sing my dialogue, they turn it into the music that it’s supposed to be.” Sometimes the dialogue may feel excessive and unnecessarily long, but it almost always moves the narrative forward, even if the audience doesn’t realise it straight away. The opening conversation about tipping in ‘Reservoir Dogs’, to Vega’s explanation of a pilot TV show to Jules in ‘Pulp Fiction’, to Calvin Candie’s show-and-tell explanation of race in ‘Django Unchained’ - it is scenes like these that have led to some of Tarantino’s most artistic, entertaining, and quotable moments. Mia: Don’t you hate that? Vincent: Hate what? Mia: Uncomfortable silences. Why do we feel it’s necessary to yak about bullshit in order to be comfortable?

Vincent: I don’t know. That’s a good question. Mia: That’s when you know you’ve found somebody special. When you can just shut the fuck up for a minute and comfortably enjoy the silence. - ‘Pulp Fiction’ (1994) Tarantino plays around with filmic na rative structure. In ‘Pulp Fiction’, the narrative is non-linear for no apparent reason, except to give the film a unique style and enhance its cinematic qualit . What other director has the audacity to kill off the main character Vince Vega (John Travolta), only to resurrect him as the protagonist in the third act? Would anyone else have the imagination to make a heist film and fail to sh w the robbery? The credibility of ‘Pulp Fiction’ aside, Tarantino’s biggest exercise in cinematic structure to date is ‘Kill Bill’ (2003/2004). With its fl shbacks, colour schemes, chapter titles, and animated sequences, it is uneven, it is blood-soaked, and it is an experiment in ‘cinematic cool’ rather than a film of authentic emotion. Tarantino blends a story’s purity and emotional substance with over-the-top campiness. Choices like these add to the sheer enjoyment of watching a Tarantino movie - not knowing what to expect next.   It would be easy to label Tarantino’s films as odd and superfluou as they are never concerned with being too realistic. The violence in these lms is excessive to the point of humour – rarely upsetting and simply ridiculous. Tarantino himself has spoken to this excess, describing the violence in his movies as “fun.” In spite of this insistence, it is undeniable that his films create discussions about very real issues. ‘Django Unchained’ goes back to the brutal days of slavery, and Tarantino carefully showcases the cruelty against African Americans with a touch of realism. But when the violence switches towards the slave owners, bodies explode in a cartoon-like fashion and blood splatters everywhere. Likewise, in ‘Inglorious Basterds’ (2009), the Nazis are treated with a spectacular level of comical disdain. It begs the question, is Tarantino trying to degrade the power of these horrible institutions on purpose? It can be argued that the excess and the violence lessen the perpetrator’s mystique and reduce the terror surrounding them. Even if it is just “fun,” as a viewer, we are left with our own interpretations. That is what makes Tarantino’s films stand out. They may seem like pure entertainment but that isn’t the case at all: they start conversations. Memorable movies don’t simply end inside the movie theatre. They surface as topics of debate time and time again. For fans of cinema, Tarantino’s unique vision as a filmma er is undeniably a favorite topic to talk about, and this is where his strength as a filmma er lies.

Artwork : WENDY SAN

c u lt u r e : a r t

This is Art: Andy Warhol and Ai Weiwei at the National Gallery of Victoria J E S S IC A WA NG At its most basic level, the Andy Warhol | Ai Weiwei exhibition at the National Gallery of Victoria (NGV) presents a visually stimulating conversation that blends society, politics, and artistic expression, creating a powerful voice that captivates art enthusiasts and the art-curious alike, Jessica Wang writes. Possibly one of the most recognised artists of all time, Andy Warhol (1928 - 87) was able to capture the rampant, American capitalist culture of his time with unabashed honesty. Conversely, Ai Weiwei (1952 - present) combines art with social activism, creating critical works that challenge contemporary Chinese society and government on issues of censorship and corruption. Despite the fact that the two artists have never met in real life, Warhol’s exploration of what was aptly titled ‘the American Century’, provides the perfect canvas for Ai’s critique of what is recognised as ‘the Chinese Century’. In many ways, Warhol’s homages to Campbell’s Soup and various celebrities seem apathetic and empty when paired with Ai’s pieces, which at times he literally bled for. Yet what makes Warhol’s work so captivating, and to a point, terrifying, is how easily one can make comparisons to our society today. There’s an innate sense of playful irony that dominated his pop art pieces that no longer seem ironic. Is there much difference between constructing a silk-screen canvas of a popular soup brand and actively wearing clothing or bags emblazoned with brand logos? Warhol’s voyeuristic Polaroids of his celebrity friends - Liza Minelli, Lou Reed, and Jeri Hall (among many others), were in many ways just a precursor to celebrity-dominant Instagram feeds. While Warhol was obsessed with the idea of the celebrity both as a material product and person, Ai’s work focusses on the representation of the individual against the state. In a newly commissioned piece for the NGV, Ai’s support of Australian activists like Rosie Batty, Peter Greste and Julian Assange in ‘Let Go Room’ (2015) shines through in a celebration of independent voice and rebellion. The brightly coloured, mock-Lego pieces spell out quotes about grass-roots action, and the fact that Lego refused to supply Ai (he had to buy ‘knock-off ’ Lego) provides a beautiful contrast between community and institution. Similarly to Warhol, although in an arguably less passive state, Ai places himself at the centre of his works. Widely known as being controversial and disruptive, Ai effortlessly mixes high and low

culture, embracing social media as a way to broadcast his works. His passion for social activism extends beyond artistic practice, and towards a personal commitment for justice. Take for example, ‘Illumination’ (2014) – a selfie ta en while Ai was being arrested by the Chinese police, and his tongue-in-cheek piece, ‘With Flowers’ (2013 -15) – in which Ai places a fresh arrangement of fl wers in a bicycle basket every day, documenting his surveillance by CCTV cameras. It was a peaceful protest that led to the return of his passport in July of 2015. If the concept of art is to elicit a reaction, then this exhibition does so by targeting all the senses in a rich, organic way that feels neither forced nor labored. There are definite moments of contemplation; both artists deal with historical, political, and social issues that are poignant and easy to relate to. Ai’s ‘Blossom’ (2015), a carpet of intricately sculpted ceramic fl wers, is breathtaking while contrasting physically immersive and interactive pieces make the exhibition fun and tactile – a practice unfortunately rare in most galleries. Although they exist in separate cultural contexts, the similarities between Warhol and Ai are evident. Both artists rose to critical acclaim by subverting norms and created pieces of work that captured the zeitgeist of their times. Warhol unabashedly admitted the lucrative nature of his screen-paintings and lived as a product of the ‘American Dream’, while Ai’s ability to create change, even at the expense of his own personal freedom, makes him an inspiration. Ai once said that “your own acts tell the world who you are and what kind of society you think it should be”, and this quote captures the sentiment of the exhibition. The works exhibited extend beyond the canvas and remind us that art exists to inform our actions and movements today. The Andy Warhol | Ai Weiwei exhibition will be showing at the National Gallery of Victoria until the 26th of April. Get inspired, take a picture (we took many), and upload it to Instagram. Warhol and Ai would have approved.

Artwork : megan wong

C U LT U R E : t h e at r e

‘A r c a d i a’ : a P l ay o n W o r d s, Time, Knowledge, Literature, Science, and Death. zal ehah t u rne r One of the finest contemporary playwrights of the 20th century, Tom Stoppard (‘Rosencrantz and Guildenstern are Dead’, ‘Travesties’) never manages to disappoint. The Sydney Theatre Company’s production of the utterly clever and thoroughly enjoyable ‘Arcadia’, directed by Richard Cottrell (‘Travesties’ 2009) is sure to amuse, confuse, enlighten, and delight with a cast that includes Ryan Corr (‘Packed to the Rafters’), as the dashing Septimus Hodge, Georgia Flood (‘ANZAC Girls’) as Thomasina, and Andrea Demetriades (‘Pygmalion’) as historian, Hannah Jarvis. Clever and amusing, ‘Arcadia’ is littered with references to the passage of time, chaos theory, the iterated method, the second law of thermodynamics, topological mixing, Romanticism, and the Enlightenment. The continuous playful, pertinent, or downright ridiculous repartee between all involved, and the constant play on words, keeps the science light and amusing. Under Richard Cottrell’s direction, all but a few of the cast manage to shine, delivering the lines with wit, flai , and intrigue. The past and present intertwine in ‘Arcadia’, through two parallel stories each set almost two centuries apart in the same stately English manor, Sidley Park. The play opens in 1809, with precocious Thomasina Cloverley, clever beyond her years and time, and her witty tutor Septimus Hodge seated on either sides of a very long table engaged in an amusing repartee covering a wide range of topics from carnal embrace, poetry, Fermat’s Last Theorem, and theoretically, topological mixing. However, the present intrudes into the period narrative, blatantly ignoring the passage of time when a popular historian, Hannah Jarvis and a pompous English Don, Bernard Nightingale (Josh McConville) come to Sidley Park. Both are in search of a connection between the estate’s past and a topic deemed worthy of academic research and publication.

Thomasina and Septimus remain close to the audience’s heart. The play opens, constantly returns to, and closes with them. The parallel story in the present intertwines itself around their actions, making the audience’s insight into their future all the more painful. Under the direction of Richard Cottrell once again, set designer, Michael Scott-Mitchell, and costume designer, Julie Lynch, deftly design the unthinkable. Deliberately self-conscious, the set of ‘Arcadia’ draws the audience’s attention to the temporal reality of the actual play, rather than the dramas that unfold upon its stage. The table dominates the set, both in the past and the present. At fi st glance, it appears simple, with an understated elegance. Yet as with every line in the play, it has a complex dual purpose. It gathers props from the past and the present, continually left from one scene to the next, until the two stories, centuries apart, intertwine, with the characters literally dancing in time. As for the costumes, they enable us to at fi st separate, and then join the parallel stories with the period costumes of the early 19th century characters final y side by side those of the present day in dress up. Once again, Tom Stoppard has crafted a play that is too clever for words. The initial title of the play was ‘Et in Arcadia, ego’, a direct reference to the painting by Nicolas Poussin and thereby, an allusion to the presence of death even in a paradise. While the reference is lost in the shorter crowd-pleasing title, ‘Arcadia’, the line remains in the play, accompanied by a poignant acknowledgement of its true meaning. Moreover, the audience must learn about the final tragedy woven into this very well crafted comedy heartbreakingly early, from Hannah’s discoveries into Sidley Park’s past. The Sydney Theatre Company presents ‘Arcadia’ by Tom Stoppard Drama Theatre, Sydney Opera House From 8 February to 2 April www.sydneytheatre.com.au

c u lt u r e : b o o ks / r e v i e w s

‘In Other Words’ BY Jhumpa Lahiri $29.99, published by Bloomsbury

j anet t e c hen Having published four works of fiction and received a swag of literary awards, including a Pulitzer Prize, one gets the sense that being a literary success was getting a bit too easy for Jhumpa Lahiri. Which would help explain why she gave up the English language altogether to read and write solely in Italian. ‘In Other Words’ is Lahiri’s debut in both non -fiction and in Italian, a language she has loved and courted for many years. Our most unexpected, delightful, frustrating, and studious moments in language-learning are encountered when communicating with other people in everyday life. But ‘In Other Words’ is not an autobiographical account of these curiosities in language and culture. Instead, Lahiri presents an emotional diary of sorts, turning inwards to examine her personal relationship with the Italian language and what this means to her as a writer. Writing in Italian causes her to be faced with imperfection at every turn, and for her, “imperfection inspires invention, imagination, creativity - it stimulates.”

In the most powerful chapter of the book, ‘The Wall’, Lahiri examines the relationship between language, identity, and the colour of one’s skin; the nature of language as tied to identity and creativity. As a speaker of Italian, English, and Bengali, Lahiri belongs neither here nor there. As an Indian American, Lahiri will continue to be addressed in English by strangers, while her husband Alberto will continue to be mistaken for an Italian local. Lahiri’s relationship with language is analogised as a love affair, maternity, a lake to swim across, and perhaps most strikingly, as a form of exile. ‘In Other Words’ is presented in a dual-language format with the original Italian on the left page and the English translation by Ann Goldstein on the right. Opting not to translate the work herself, Lahiri offers a more honest depiction of her Italian – a passion, a process, and a new creative avenue in a much-loved language she is yet to master.

‘Career Game’ by Louise Mensch $19.99, published by headline review

Danah Pantan o Louise Mensch’s ‘Career Game’ is an entertaining insight into the high flying lives of powerful women, and those who try - and fail - to dethrone them. By no means does it portray them as invulnerable to difficulties, whether they be personal or professional. Rather, in this sequel to ‘Career Girls’ (1995), protagonists Rowena Krebs and Topaz Rossi have reached the supposed peak of their careers. Inevitably, that’s when the trouble starts.

The complications of human relationships and its consequences are faced with an unflinching matu ity that reveals the strengths of these characters; a strength which is borne through trust and experience. ‘Career Game’ is all about being ambitious and unapologetic. It’s about not being afraid of your potential and, instead, revelling in it.

Artwork : LING MCGREGOR

VANESSA PAPASTAVROS Initially I work fast, generally producing a piece every day. I use ink and watercolour on paper for drawing figures which requires me to move quickly so that nothing dries before I’m finished with it Ink can be an unforgiving medium, as it cannot be diluted or deleted once it hits paper. Watercolours, although slightly more flexi le, tend to supplement the darker, thicker washes, and the lines I lay down fi st. I enjoy the fast-paced nature of this process. Often, I’ll work digitally in Photoshop afterwards to collage my work, and create graphic designs that complement the pieces. If I choose to work across mediums, I try to strike a happy balance.

Here are three mythical women: the siren, the sprite and the harpy. The siren, known for her seductive lure. The sprite, known for her mischief and playfulness. The harpy, known for her ruthlessness. All three of these figures have led mortals t their deaths. Their personas inspire me to be a woman who is a bit more magical, a bit more monstrous, a bit more mythical.

SHOWCASE : photography

M O R GAN W O O D CHAT WITH OUR COVER ARTIST

I spent two months in Africa during 2014 working on a lion conservation project situated in Zambia, before journeying on a safari route from Livingstone to Cape Town, and passing through Namibia and Botswana. I had always dreamt of Africa: the wildlife, the culture, the landscapes are irresistible. There really is magic there. There is no such thing as a ‘normal day’ where you don’t get charged by a herd of buffalo or find baboons on the couch. Th cover image was taken in Deadvlei, which lies in the heart of the Namibian Desert. Breathless, and with my shoes filled with sand I finally got my picture from the dune’s peak. From this point ou could sit and watch the dunes change before your eyes, in tune with the strength of the wind and sun. It was an unforgettable vision. My images largely revolve around documenting the places I travel to, natural phenomena, and road trips with friends. It sounds like a cheesy tagline, but photography is truly a lifestyle, and one that I love. The best images are always taken in moments that you cannot orchestrate - they just happen. What goes on behind the image is definitely what makes it fun, be it taking a wrong turn and ending up somewhere incredible, or simply capturing the candid times-in-between. I switch between using a Nikon F3 35mm film camera and Canon 5D – which one I use is completely situational, as the style of shooting is vasty different. Each camera has advantages and limitations, so it is important to know what you want from each shot. Photojournalism is my greatest passion. Personally, the story behind the photo is the most fascinating aspect. I’m inspired by the work of Brian Skerry, Steve McCurry, and Lynsey Addario – photojournalists who capture everything, from war to the deepest corners of the ocean. I hope to embark on a similar career path, continuing to travel and explore cultures across the world. Creating that relationship between the audience and the subject, be it creature or place, is essential to inspire change.

www.morganwoodphoto.com

SHOWCASE : FASHION

LUCY VIRGONA Lucy Virgona’s graduating collection, Raw Naïveté, is inspired by the youthful, playful, and intuitive. It is a collection of organic lines, stylised imagery, thick brush strokes, and billowing silhouettes.

Lucy was initially drawn to the simplified and expressi e forms of naïve art and modern folk art. Her collection started as a series of abstract rural landscapes. Painted on various fabrics and papers, the works were then draped over the body, following the organic patterns and relaxed form of her designs. Lucy then explored ways in which the garments could be worn naively, and developed a knotting technique which allows the wearer to approach dressing in a playful way, by interchanging and manipulating the pieces. The aesthetic of naïve art rests on rich historical traditions, on the passing on of cultural craftsmanship, and on established technical preparation. Lucy’s work is grounded in local industry and Australian produce, and this collection is made from a combination of Australian Merino wool and hemp. Lucy’s family have been involved in sheep breeding since 1907. While growing up on paddocks of the New England Tablelands, she constantly examined wool in its raw stages, and later witnessed its processing into luxurious fabrics through spinners and weavers in northern Italy. Lucy is focused on promoting the use of wool as a staple in fashion, describing it as “a fibre with versatility, body and intelligence. It works with the body; not against it.” For her use of the fibr , she won the Supreme Award at the Australian Wool Awards in 2015. Lucy received a Digital Print Scholarship from Think Positive, an Australian company that specialises in the use of natural fibre and vibrant inks. Through this company, her abstract paintings evolved into a large array of bold fabric prints. The combination of wools and hemps with modern printing techniques has given her works an Australian vibe that is at once traditional and contemporary. Her collection holds an undercurrent of established practice, but is also dramatic, unmissable, and distinctly new.

Photographer : Adam Yip Model : Amelia Roberts Makeup : Clare Galluzzo

LUCY-VIRGONA.SQUARESPACE.COM

SHOWCASE : FASHION

RAW NAĂŻVETĂŠ This collection incorporates a combination of techniques. Lucy started by painting abstract Australian landscapes, then draping them over mannequins to find shapes on the bod that complimented the paintings. She then developed the works into prints, before creating more shapes in the fabric through knotting. This is her thought process:

@LUCY_VIRGONA

SHOWCASE : photography

BRYCE THOMAS When he’s not liaising with Ver tigo, Bryce can be found chatting to lesser known publications like The Sydney Morning Herald about his book ‘WAKE’, or to Yen Magazine about his latest collection of travel photography.

The process of putting together ‘WAKE’ went roughly like this: 1.

Wake up at 5am, pull gear together.

Organise transport for over 30kg: cab drivers refuse, gear doesn’t fit into an Ube .

Lug sandbags, a light-stand, and a giant foam-core backdrop to the beach.

Set up equipment and human backdrop (Elliot, anamazing mate).

Fight the natural elements.

Approach surfers as they come out of the surf, covered in salty water and with bloodshot eyes. They’re sort of exposed – it’s immediate and visceral.

Go home with jut as much difficult , and sometimes broken gear.

Get ready for the next day.

The result is a collection of over 150 beautifully crafted portraits, including black and white close-ups, and full-length shots in colour. WAKE was released in late January at Kit & Ace in Bondi Junction, and can be found in their two Bondi stores or online at www.wakethebook.com.

I n s ta g r a m : @ b r y c e t h o m a s p h o t o g r a p h y i @ f r i e n d ly p e r v e r t

“I was lucky enough to receive a grant from UTS for my flights o Uganda to film and make a short documentary for the Manjeri Sch ol Project. Uganda was totally different from any other experience I’ve had, and I’d never really travelled before it. The trip was only for nine days, so the whole thing just felt like it flew by. veryday we were up at dawn and doing everything from filming and interviewing to m eting the town mayor and plumbing at the school.”

w w w . b r y c e t h o m a s p h o t o g r a p h y. c o m i f r i e n d ly p e r v e r t. c o m

FICTION : EXPERIMENTAL

Jac k C ameron Sta n to n

She hasn’t looked at me for a long time. I don’t know why. She is checking her Facebook newsfeed inside the restaurant and that makes me nervous. Her thumb is working overtime. I think: A Clockwork Orange. I think: maybe something really important is happening and I am the one missing out, not her. Okay I mean obviously important things are always happening but you’d be crazy to try and keep tabs on them at every waking moment. Right? No, I think: what she’s looking at is important enough to justify making me feel like shit, like nothing at all. And so I say something like, So What’s Going On? She looks up and says Oh Nothing Really. Then keeps scrolling.

And people are looking at us now. Totally aware of what’s going on. We ordered Thai food like fifteen minutes ago but I don’t care f it ever arrives. It would be nice if the food arrived and she didn’t take a photo of it but I’m not sure what’s going to happen that far in the future. I mean, I don’t even know what’s going on now. The couple beside us are terrible at whispering and I catch on that they are spectators of our failing date. Their eyes are eager. I hear the phrase Useless Generation drift above the white noise of the restaurant and when I swivel around, arranging my face into a disapprovingbut-also-I’m-kind-of-hurt expression, I see nobody to accuse. Just blurs of strangers. The elderly couple next to us still have menus in front of them and have just been kicking back and drinking through a bottle of red wine. There is a second bottle next to the first The man . . . he looks like my father. It could be Dad. Right here. With me. Together. We are here. I want to ask him for advice and have him put a hand on my shoulder and look at me with those confident emerald eyes and say something ike: mate, if it ain’t on, it ain’t on. Actually he is not Dad, I can see that now. He is looking at me, though. And I think: he is making a bet with his wife. They are maybe betting how long it takes until I start weeping or confessing how alone I am. I perspire and flush really intensely and suddenly I want to hide my face. I grab her beer (mine is already finished) and wipe it along my forehead. Then I pull out my iPhone and start scrolling, all the while thinking about what she can see that I can’t. I keep scrolling, convinced something extraordinary has captured her attention, convinced I’ll find it as long as I keep scrolling down (Not that I’m alone, by the way). 59

FICTION : EXPERIMENTAL

Basically nothing about life makes me sad. It sounds good in my head. Basically Nothing About Life Makes Me Sad, I say. Not Even This Date? she replies, not looking up. Yeah, That’s Right Baby. She looks up at me when I use the word baby. I think: at last, I’ve got her. But I’m wrong. Her eyes descend once again to the smartphone. My grin vanishes. The couple beside us chuckle. The sound of their high-five slaps me like a punch to the head Now I’m focussing on zooming through Facebook. It feels good. Like I’m accomplishing something. There’s progress. A paper trail. And I’m kind of victorious when I find what she is looking at, ort of shuddering from its obviousness. I’m so mesmerised that when the waitress slides the wrong orders in front of us I don’t even look up. My ears are muted to the cork popping out of that second bottle of wine, and the repetition of a thousand voices yelling at once atlines, fades into oblivion, because I’ve found it. And it isn’t vacuous or hollow or any of those mean and depressing things you call it, because I realise now that the whole time what she’s been looking at is

fiction : prose

SWOLLEN ZO E KNO WL E S

They often went there. To that spot at the far end. She liked that it was close to where the waves clapped against the rocks. She liked it because she felt like she was at the edge of something. She could spend all day down at the beach, letting her shoulders turn pink. She would hop as quickly as she could around the rock pools and around the ragged oyster shells. Squatting down to watch how the sea anemones recoiled from the pieces of driftwood she poked at them with. He could spend all day watching her jump about the rocks as he smoked, sunk into the grass at the edge of the sand thinking about nothing but the swell. The sky that night was torn with mauve clouds and swollen hot air. It was overripe with rain. The tide was out so far that you could count hundreds of hermit crabs tumbling in the swell on the shore. They lay there with the water catching at their feet. The sand like suede beneath them. His car keys were sticking into the sand from where heâ&#x20AC;&#x2122;d dug them out of his pocket and thrown them. The hot sweaty salty smell of battered fish and lemon clung to their fing s. The oil-stained newspaper the food had been wrapped in was to their right, weighed down by her shorts. To their left, the butt of a joint and a condom packet, unopened. Barnacles gulped in breaths as the water spun over the rocks and urchins dug their spines in the pools for grip. Waves fell across the shore, crests forming, breaking, foaming. The tide reversed and began to rise again, slipping higher up their legs. A sea salt coat on their skin. They could hear the low washing sound of the wind crossing the water mixed with their own short breaths. Itâ&#x20AC;&#x2122;s the same sound that hides in cowrie shells. He moved with the swell. Churning. The clouds bulged and the air was so thick and damp you could smell the storm coming. She took a deep breath. A seagull cleared its throat and cawed. They lay there together, listening. Still no rain. They spent the whole of that summer down at the beach but it took them a while to notice that I was there too: tendons tight like kelp, a body bent like a prawn and the sound of her heartbeat in my ears. She sat high up on the edge of the rocks with her back to him. He stood with one foot brushing the grass, the other in the sand. They both watched as the purple sky broke overhead.

Artwork: jordan evans

creative non-fiction

Delmar Terblanche English Christmas Eves often seem to glow with warmth. It is as if no-one tells the day about the weather it’s been allocated. But in Camborne, a little town in the West of England, once virtually indistinguishable from Hobbiton, the evening brought with it a different kind of warmth. A strange, miraculous kind, advancing through biting wind and across omnipresent snow, blasting out huge breaths of smoke and carrying a curiously mobile fire This was the ‘Puffing Devil’, the brainchild of the proud an brilliant Richard Trevithick, an English engineer who had just invented the steam engine, and was piloting his device along some shoddily laid tracks from the village of Camborne to the village of Beacon, and then back again (there are lots of villages in the West of England). So proud, and so brilliant was Richard Trevithick that upon his return to Camborne, he and his passengers celebrated the birth of the machine age through an ancient scientific traditio : getting absolutely slaughtered at the pub. They did not realise that they had left the Puffing Devil’s fire, er, puffing when t stored it in a nearby barn. The crashing sound of magnificent forgetfulness rouse Trevithick and his crew from their watering hole, presenting them with an explosive fire which had destroyed the engineer’ magnum opus, and several dozen hay bales with it.

“Not to worry,” slurred Trevithick, much to the astonishment of his appalled passengers, and the more than mildly irritated barn owner. “The concept is sound – this was merely operator error.” Operator error would plague the rest of Trevithick’s life. Despite many more engineering triumphs, he died forgotten and impoverished, with more debts than inventions to his name – even the ‘Puffing Devil’ would be popularly credite to George Stephenson, consigning Trevithick to the long, sad history of trailblazing individuals who had been forgotten. But, even here, Trevithick is not the first steam pioneer. Her of Alexandria, a Greco-Roman inventor, created the first stea engine in 50AD. His “aeopile” was a brass wheel, sporting two small spouts on the side – these allowed steam to escape and create motion. The design’s acceptance would have shot human history forward nearly 2000 years, but upon presentation to the governor of Alexandria, Hero faced an urgent question: “Well, it’s all very interesting Hero, this… engine business. But tell me, you said earlier that it could one day power ships. But what are we going to do with all the slaves?” And so the greedy impulses of short term thinking did what they always do – convinced that change would be too hard, and suffocated by the comfort of the familiar, they trampled on genius and sentenced Hero to popular oblivion, right alongside Alan Trevithick. But as we’ve already established, even oblivion contains its trailblazers. Consider Sojourner Truth, the chosen name of a woman born around 1797 as Isabella Baumfree. Her exact date of birth is unrecorded, as Truth was born a slave. At nine years old she was separated from her family, sold to a man named John Neely, who took pride in his unique whip design – a monstrosity of multiple rods, heated in fire befor their bloody use. For nineteen years, she endured unspeakable cruelty, while being routinely promised then denied her eventual freedom.

saving her son from slavery through the courts (the first case won by a black woman against a white man and delWivering a famous speech for women’s rights in 1851, still highly regarded in the halls of American oratory. Yet there has been no film made of her life. Nor Her of Alexander, nor Jonathan Trevithick. Their names are venerated within the circles they once inhabited, but the chance for legacy beyond the immediate has, in many ways, passed. We enjoy describing human history as progressive - every moment a new apex. This is a vast oversimplification, and yet, it is true that the miracle of mod rn life is the direct result of those who blazed the way ahead of us. We acknowledge this, for the most part, and hold services, rituals, and remembrances for those struggles long past. We gaze at the stars and thank the heroes we worship now for the heroism they practiced then. But countless heroes are not worshipped, they are unknown – and not for lack of trying. Each of them slogged their way, slowly, painfully, to a better world, a world not for them, but for those who came next. They practised monumental bravery of which no song has been sung; possessed staggering intellects on which no treatises have been written; and displayed overwhelming kindness for which no thanks has been offered. And so, in the spirit of trailblazing, let us not forget that each of us is the beneficiary of a thousand unacknowledged deed – we are those who came next. And maybe if we take a moment to marvel at the brilliance of our modern world, the efforts of those forgotten trailblazers will become clear. Then, perhaps, we may call them gone – but not forgotten.

Eventually, having borne four children, one of whom had died and two of whom had been sold off, Isabella Baumfree took her youngest, Sofia, and marched through the night into her freedom Taking the name Sojourner Truth, she became an active participant in the Suffragette and Abolitionist movements,

Artwork: REKHA DHANARAM

showcase : poetry

Kimberley Bezuidenhout M at c h e s We bought fire orks with pocket money we didn’t have, shoved them in a plastic bag ran all the way to the park and tumbled into the grass with cheeks the colour of the sinking sun. Soon the moon rose in a rush, and brushed the sky full of stars. You held us steady (I held my breath) lit the match and ran. As the stars exploded you grinned and said: “look back, look up, feel the ashes on your clothes. This here is history in motion: grab these seconds, make them immortal, scratch them into tree trunks and get drunk off this moment. Stumble home with stained eyelids and when your mother asks where you’ve been just smile and don’t tell her a thing.”

S upe r nova A star just died: it imploded, exploded, combusted, into a million years. Only death could be beautiful in a place so quiet. Only light could measure distance in darkness so vast.

T haw Last October, the fl wers awoke in bloom, and the air was heavy with daisy fumes. Our finge s and our toes thawed; grey became green, and the earth shook off her monochrome tones. We smiled and sighed, warm to our bones. Winter fled no th left a trail of leaves, and you mourned the excuse to hide as you pleased. So shake off the dust, get out of bed â&#x20AC;&#x201C; stop waiting for winter and chase it instead.

Mir r o r , Mir r o r Comparison comes like a thief in the night, stealing my joy as he laughs with delight. Look at them, look at her, How fantastic she is. Now look at you, look away Isnâ&#x20AC;&#x2122;t ignorance bliss? Yes I love you, I love you, But what about me? I cut myself with my tongue and I cry in my sleep. But I keep it inside (for most of the time) I give you the kindness that will never be mine.

Artwork : joy li

showcase : poetry

OLIVIA COSTA so m e e ye s I only like my eyes when they’re looking at you. I like – I think what I like, is that when I look in your eyes, I can see myself looking back and that through your eyes I really like myself because it’s a bit blurry and it’s only a tiny circle of inky blackness. I like that.

a little shiver of electricity. One that zip zaps through

I can feel a smile spread from the spot of scalp

a puddle of tears and zings into the back of my neck

in the middle of my hair down to my heels and it

where your hand is waiting gently and warming to collect

tingles on its way down. I like that tingle. I like it’s

it back up and to run back into you

when and where and that I can’t steer it – it’s like

and then my eyes fin yours and I am scared to blink because when I open my eyes again I might not fin that tiny black circle and then, again, I will have to find someon else to look at myself through.

Do you only like your eyes when they’re looking in mine? I want to tell you a secret but I think my words are too bubbly and clunky and can’t say what I’m saying. I wish – I wish when I am six again I can look into someone’s eyes and see a colour painted on that beautiful circle instead of just black black black I want to like you for you and me for me do you know what I mean? I’m sorry if you don’t because my words won’t come I tried to buy them a bus ticket but they wouldn’t come. I am going to kiss you now with my lips of the one before. Don’t worry – one day, one day I will kiss someone with yours, when, again, I will have to find someone els to look at myself through.

Artwork : michelle bae

showcase : poetry

cameron hart O n ce w e w e r e g o d s The sacred places we built in our image now slumber, their stones half-buried in sand. The feast and harvest days are crossed off our sun-dial calendars, and your name (posthumous) always goes unspoken. My mouth is desecrated; a temple awaiting your return, its torches unlit and emptied of worshipers.

Tr is titia m e t me tus Shells shelter sounds of the sea, blood roaring through arteries; truly, there is a fury in the continued defiance of death We wash salt and iron from our hands, pretend it is not someone elseâ&#x20AC;&#x2122;s blood, pretend we do not tremble. Outside, the shoreline waits then crashes against itself, and takes the whole world with it.

A r t w o r k : k i m b e r ly l u o

OFF-BROADWAY : STUDENT POLITICS

IS STUPOL A JOKE? NINA H KO P E L Campaign season is a challenging time. Getting to class becomes an exercise in stealth - dodging pamphlet-wielding campaigners trying to spirit you away to the closest voting booth. But last year something strange happened: a direct variation from student political (stupol) tradition. There were no neon t-shirts, lectures went considerably un-bashed, and sticks of chalk were saved from the fate of scrawled political messages. It was election time, so where was the campaign?

As competition between Vertigo tickets heated up in October of last year, most of the future Student Representative Council (SRC) was already celebrating a victory. Their election had been fought out in classrooms, bars, coffee shops or wherever else it is that wannabe student politicians go about their business. The Ignite ticket, a collection of UTS’s ALP, Labor and Liberal groups, cut a deal and went to election almost entirely uncontested. They didn’t need to campaign. They had already won.

“We didn’t run on the same ticket by coincidence,” he answered. He wouldn’t specify what those agreements were, but said that while he ran with other parties, he wouldn’t necessarily vote with them.

It is easy to assume that this lack of political competition is a symptom of the oft-mentioned apathy that has been attributed to Gen Y by our elders. Some say the sprawling, urban campus of UTS just isn’t conducive to a rich political culture. However, the statistics show that more students are showing up to vote than ever before. In 2014, 2659 votes were cast in the election for president, a 51% increase from 2006. So if interest in voting is on the rise, why aren’t our voting options growing too?

Last year The UTS Students’ Association, which is governed by the SRC, received $1.3 Million dollars in SSAF funding. This money comes from the $145 you pay every semester (or $72.50 for part time students) in Student Services Amenities Fees, and it funds things like the second hand book shop, the Bluebird Brekkie bar and Ver tigo (yes, you paid for this magazine). This money also goes towards UTS’ membership to the National Union of Students (NUS).

“That really shouldn’t happen in the name of democracy,” said Victoria Zerbst, editor at Honi Soit, the University of Sydney’s student publication, when told about the largely uncontested election. The University of Sydney (USYD) is the home of stupol in Australia, the training ground for the big guys like Tony Abbott and Joe Hockey. The tradition of student media at USYD is also strong, and the Honi team is a wealth of stupol knowledge. Zerbst said an uncontested election isn’t as simple as lack of student engagement. “What is scary is what was used as leverage in the deal to make [the ticket] in the fi st place,” she said. “What kind of compromises did people make for that to be a thing?” Mohamed Rumman, this year’s treasurer for The Students’ Association is, to quote the UTS Liberal Facebook Page, “the fi st Liberal office bearer in recent memo y.”

I asked Rumman, also President of the UTS Liberal Club, if he had made agreements with the other major parties, to win a spot on the Ignite ticket.

I asked James Wilson, an editor of Vertigo last year, to speculate about the agreements that could have been made in the formation of Ignite. He suggested that the Liberal Club might have promised not to run a disaffiliation campaign from th NUS, with UTS Liberals historically arguing that money could be spent better on local student issues. I asked Rumman if he would fight for disaffiliation, and he answered, “I will always argue for student funds to be prioritised for student services.” I asked what that would look like. “A better paid and well staffed association which can actively campaign for students rights on campus without funneling money outside the university.” Does that mean disaffiliation is in or out? President of the Students’ Association, Sammy Howes, isn’t concerned.

“I believe there will be a debate,” she said, “But I believe that most members on council see the importance of the national union and will continue to re-affiliate and p ioritise their interests.” The president position also went uncontested in the election. While Howes doesn’t see this as unusual (there is precedent over with our neighbours at USYD), she says she regrets that students didn’t have more options.   “I think I was a little bit disappointed that there wasn’t an alternative, I mean we all love running campaigns. It’s one of the things that we do best. Any student would have been welcome to run against the ticket that we put together,” she said. It should be noted that there were two contested positions for this years’ SRC. One was for the Postgraduate officer (which was won by the Ignite candidate), and one was for an SRC councillor position. The opposing ticket, Yoloswag 4 SRC, consisted of one person, Andy Zephyr, who took out the seat. Along with the rise of the uncontested election, has come this era of the ‘joke’ ticket - a not so funny effort from individuals to reclaim some of the competition in an election. “I’ve been involved in the SRC non-official y since 2012, but official y in an elected capacity since 2013 and I’ve realised that the organisation needs transition of knowledge to function at a higher rate than it has recently,” said Zephyr. “So I decided to nominate myself as tribute, hoping to install some type of precedent in people sticking around.” I asked Zephyr if she had concerns that any back door deals that were made could interfere with decision making this year: “Just because someone’s made a deal, doesn’t mean they are going to follow it. That’s the world of politics right? People don’t play by the rules,” she said. “I don’t know about UTS but there is a huge culture for joke tickets at Sydney,” said Zerbst. She hit the nail on the head. Both universities at the moment are seeing a trend of dominant, and often uncontested tickets being opposed by one individual with a ‘witty’ campaign name. But more often than not, the humour ends there. Last year the president position at USYD was uncontested when Cameron Caccamo stepped up on a ‘joke’ ticket. On Facebook he said he was running, “because the sweetheart deal deprived students of a real choice in who runs their SRC, so I might as well give them one. That’s not to say my candidacy is much of a joke - with experience on the SRC, as an NUS delegate, sitting on Academic Board and Faculty committees, as

well as being on three or more executives consistently for several years, I have the know-how to actually be a fantastic President.” It didn’t come as a surprise to anyone that he lost the presidential election. He himself had said he had neither the financial resources nor the people p wer to win, but he did get a seat on the SRC. Howes said the rise of the ‘joke’ ticket was a symptom of apathy: “I think that people are disengaged with student politics and so if they go to a voting booth they’d rather just pick the option that seems less serious, and people have cottoned on to that,” she said. “But then how do you reconcile that idea of apathy with the fact that voting numbers are up?” I asked. “Perhaps, they don’t want to vote for who in their minds is the serious ticket. Maybe they would prefer to vote for the joke ticket because it’s funny to them.” Voting numbers are up, voting options are down, but possibly the biggest change to stupol this year at UTS is this article. The UTS Students’ Association has a system in place to screen Vertigo magazines, to ensure they are not liable for any legal action due to content. There are even Director of Student Publication (DSP) positions within the SRC, whose job it is to assess content. But there have been allegations that last year this process moved beyond screening. “They took it upon themselves to censor things they didn’t like such as things that made their faction look bad,” said Wilson, Vertigo editor from last year. “It shows that the President of an organization that is intended to support student welfare believes in the censorship of free media.” Howes couldn’t confi m that this censorship went on last year, but did say the DSP process should only focus on legal concerns: “I think that it’s completely irresponsible for The Students’ Association to censor any kind of material, even if it is, I don’t know, not in our best interest to have it published,” she said. “I believe that not only should we expect the press to be independent, we should demand it.” UTS is entering a new stupol era. Far from the apathy we are accused of, more of us are turning up to vote, and our student politicians are making deals to rival our neighbours up the road. But perhaps most importantly, you have read to the bottom of this article about student politics. So, who’s apathetic now?

Artwork: MEGAN WONG

O F F - B R O A D WA Y : FA C U LT Y F E A T U R E

FASS: Communications C a me r o n Mc C o r ma c k In this day and age it seems everybody wants something from you. They want you to buy their product. They want you to vote for them. They want you to turn your music down because they’re post-graduate pharmacy students, and it’s 3am on a Sunday night. They want you to join their society. - Ode to ActivateUTS

Ever wondered what the heck your faculty was up to apart from all of the sweet, sweet learning? Ever wondered where it is you get the cheap drinks and the good company on campus? Your answer: clubs and societies. In this volume’s edition of our Faculty Feature, Cameron McCormack caught up with Katherine O’Donoghue, President of the UTS Society of Communications, to get the 411 on what’s the goods with Comms. Kat, I don’t know anyone in my course, and I’m keen to get to know some people - what events do UTSoC run? Last year we had a plethora of really successful events and this year looks to be even bigger. One event I’m looking forward to is our First Year Camp in April. It’s a couple of fun days away, and is a great way for new students to meet each other. We also have our start of semester drinks at the Loft, and our infamous Scavenger Hunt. I love to write. Do you guys publish student work and where would I be able to see my articles published? UTSoC has a blog through our website, where students can showcase their work, and express their views and university experience. We are also in the final stretch of releasing ou first UTSoC publication: ‘The Yearbook: Phoenix Edition’. I will be full of thought pieces and creative writing from our UTS student body over the past year. Think of it as just a little, tangible piece of UTSoC that you can take home and hug at night. Without selling you anything too hard, we’ve been working hard on it over the past few months, so it’s all very exciting and we’d love for you to pick it up.

My job experience = 0 hours. Time till end of my degree = (almost) 0 hours... UTSoC, can you get me job ready? Our careers events for the coming year are all going to be targeted at different aspects of the communications industry, so students are able to see a whole spectrum of career pathways. The line-up of speakers, while not finalised, is really impressive. It is going to be a grea chance for students to hear from, and question, people on the cutting edge of the communications industry. Our networking session afterwards also provides a great environment for students to build up their professional contacts and practice networking. I’ve heard that UTSoC has a social justice committee. What’s that about? Yes, this is a new position we have begun for 2016. Our main aim with this social justice initiative is to connect communication students with the Sydney community and the great programs and services that are already available. We are going to be working closely with other societies and UTS departments, developing initiatives to create a more inclusive university environment. How do I keep up with all the latest UTSoC goss, secrets, memes, and life hacks? As a society we are really active across all our social media platforms. Our feed is really relevant to UTS students; including posts about our upcoming events,

A DAY IN THE LIFE OF A COMMS STUDENT things happening on and around campus, as well as important information and advice for students (see ‘A Cheapskate’s Guide to Uni’). Find us here: www.utsoc.com.au /utsoc

/utsoc

@utsoc

To sign up to UTSOC, you can go online to activateuts. com.au and sign up through the website. If you’ve missed us and our free goodies on O’Day, don’t hesitate to contact our Facebook page directly if you run into difficulty online or just want to chat about Comms. You can also contact us via email at hello@utsoc.com.au

9am | Still snoozing. 10am | Will typically engage in an hour of floundering around in bed 11am | Rush out of the door; already late for afternoon lecture. 12pm | Miss the lecture that you had scheduled for the afternoon on purpose. You’re already annoyed because of the two hour wait between lecture and tute. This is your fault because you left enrolling too late. Never admit this. 1pm | Overpriced lunch (actually breakfast, let’s be real). 2pm | Lazily skim your readings which are invariably about ‘convergence’. 3pm | Tutorial. Buzzfeed. Research paid internships. Give up immediately. Research unpaid internships.

Next Up for UTSoC

Welcome Back Drinks (March 30th @ The Loft)

O-Camp (April 15th - 17th)

(Welcome back to uni kids, did you miss us?)

(New to UTS Communications? Meet your new best friends)

5pm | Walk to Central. Buy 1 x sushi roll and/ or Lord of the Fries. It’s always the latter and it’s always a regret. 6pm-3am | Literally nothing. Maybe wash your hair. Write a sad poem and post it on tumblr and then delete it. Artwork: MEGAN WONG

OFF-BROADWAY : INTERNATIONAL STUDENTS/UTSINSEARCH

U TS N epa lese Society Lauren Meola Vertigo editor, Lauren Meola chatted with Bijay Sapkota, President of the UTS Nepalese Society (UNS), about pushing multi-culturalism to the forefront of the UTS consciousness through an open door policy and a collaborative approach. In regards to clubs and societies at UTS, the levels of engagement from the perspective of both the club and the student can sometimes be lacklustre. When I spoke with Bijay, I was pleased to have this opinion challenged. The level of growth the society has achieved in the past year alone is astounding. The club has emerged with an executive team of 16 people, a membership straddling the 200 mark, and an overflowing events calenda before semester has even kicked off. The most exciting development so far has been their emphasis on a renewed vision for the society. Bijay shared with me the key areas UNS will be focussing on this year, and in the future. The society aims to unify cultural ambitions with social objectives to enhance the level of multi-cultural engagement within UTS and the community at large. When asked about membership demographics, Bijay notes that not only is there sizeable Nepali representation in the society but also a strong presence from various other cultures. The society aims to move forward, and to “look at the bigger picture”. They wish to branch out from Nepalese communities and to foster an environment of cross-cultural collaboration, and ultimately, friendship. Bijay speaks to that goal proudly, saying, “We believe in collaboration and we believe that collaboration creates opportunities.”

Such earnest ambition is impressive; however, what is more remarkable is the slew of events lined up for the coming year, which speaks to these aims. With the support of ActivateUTS, UNS hopes to host a number of multicultural programs, social events, and sporting events for its members as well as other UTS students and community members. Their first cross-cultural event ill be the Nepalese and Sri Lankan New Year Festival, held on the 9th of April in the UTS Guthrie Theatre. This is only the start of an incredibly exciting year for the society. In addition to UNS-run events, the society has been heavily involved in the marketing and organisation of two key charity campaigns. The first of which is an event called Trekking4Nepal, which is aimed at raising emergency funds in response to the devastating earthquakes that hit Nepal in 2015. The second is an ongoing campaign called Walk for Welfare organised by the Non-Resident Nepali Association (NRNA). The walk is a fundraising mechanism intended to support Nepalese students living in Australia. The combination of a deep concern for global affairs as well as a more local effort to support the welfare of students is truly noteworthy for a UTS society. The opportunities for international students are expanding and this is in no small part due to the efforts of societies like UNS. It will be exciting to see how the society continues to grow this year and beyond. Follow UNS Twitter: @utsnepsoc Instagram: utsnepalese

SCHEDUL E OF EVENTS Nepalese and Sri-Lankan New Year Festival April 9 Guthrie Theatre

Blood Drive May 9

Dashain Festival October 8 Guthrie Theatre

Multi-Cultural Night (Niren) December 9 Great Hall

OFF-BROADWAY : CLUBS & SOCIETIES

J OI N THE CLU B : This volume, we sent Vertigo’s resident nerd-in-chief, Kiên Lê Board, to ‘join the club’ and see what was up with the UTS Electronic Gamer’s Guild (EGG). It was 6pm on a Tuesday night when I braved the corridors of Level 3, Building 1 (around the corner from the Activate desk), in my quest to join a club. What a sight was laid before me as I reached my destination – eight people sitting at long, stretched out tables, eyes glued to computer screens, chatting raucously. My entrance didn’t go unnoticed, with these sentinels glancing toward me before swivelling back to the online bloodshed, mayhem and RNG. Keeping my eyes low, not wanting to disturb any stutterstepping or sequencing, I addressed the bricks at the back of the room with a nervous yet polite, “This is the EGG society right?” After a brief explanation, now satisfied I was in the ight place, I pulled up a stool and began chatting with former secretary Rachel Keeys and current president Nathan “Woody” Woods about EGG’s direction for 2016. The Harry Heath Room, known to muggles as “that room where all the gamers go”, is quite something. Cupboards full of board games, spare monitors, cables strewn across the desk. There’s an independent Wi-Fi router with more reliable Internet than UTS’s, and microphones and recording equipment also allow Woody to stream. I was informed that EGG hosts online tournaments, trivia, and anime nights. There was even a fridge full of soft drink.

I’ll admit that I was a little anxious. Despite my natural online swagger and bravado, I guess meeting new people for the purpose of playing games: online, tabletop, or trading card, remains a complex and nerve-wracking experience. It reminded me of trying to join in on the game of tips at primary school, when all the cool kids have already started counting 44 homes. You’re afraid that they’re too cool for you, or that mean Katie will claim that they already have enough people and since she made the game you can’t play. Don’t be afraid. With the passage of time and hours I’m sure you’ve spent honing your quickscoping, I guarantee you’ll be running round the virtual playground in no time. Also, if you join EGG you will have paid a membership fee and they’ll want new people there. Whilst there are nominally over 600 members of EGG, chatting with people is a breeze, and I found myself in a divisive discussion about the merits of Hearthstone’s new standard format as well as Blizzard’s bizarre money-making policy. As someone who spends too much time playing computer games for too little reward, I found EGG to be a charming and fun society. If gaming is your thing in any of its forms, or you think it could be, join the club.

SCORE: PlayStation 5 out of 5 FB LINK TO EGG: www.facebook.com/egg.uts/?fref=ts

ARTWORK : MEGAN WONG

OFF-BROADWAY : REPORTS

President’s Report

E d u cat ion Vice President’s Report

S am my How es

Ma d e l e ine Tr e acy- Mac l e a n

Howdy! Happy first Vertigo edition! To begin with my name is Sammy Howes and I’m the UTS Students’ Association’s (UTSSA) President. My job, in a nutshell, is to be a spokesperson for UTS students. I oversee all of the ins and outs of our Association, campaign on behalf of students, promote student welfare, run meetings, and liaise with the university.

The UTSSA does everything from providing free breakfast at the BlueBird Brekkie bar to fighting government deregulation o universities. As Education Vice-President (EVP), my role is centred around running campaigns decided by the National Union of Students (NUS) and those specific to UTS

It’s been a busy start to 2016 for the Students’ Association! We have already faced some serious challenges and big wins. Organising O-Week has been one of the most rewarding and challenging times of the year, and I’m glad to have been able to add something to the first day of University for whole bunch of students. I only hope that your first O-Da was as special as I know mine was. I organised our own UTSSA induction day for councillors, collectives and office bearers, to help our organisation fin its feet. We have already held a number of meetings this year and moved several important motions, including the payment of the 2015 Vertigo editorial team, which I was excited to support. This year will include a number of firsts for all of us It’s the first time any UTS student will study under th balanced teaching period system, and the first time th UTSSA has worked within this new academic calendar. Personally, it is the first and last time I will be President of this organisation. If you are reading this and you love student activism, want to get involved, want to know more, or just want to talk, I encourage you to join our Students’ Association! One of my goals this year is to help foster a growth of student involvement and collectivism that will contribute in a positive way to our campus culture. All students are welcome to sign up to one of our campaigns, or swing by the offices (on the right of the food court in the basement of the Tower building) and say hi! We are here to support you, represent you, and hear what you have to say. It’s your Students’ Association, your university experience, and your voice, so please don’t be shy!

This year we are running a ‘Student life, Student run’ campaign, aimed at ensuring more of the Student Services and Amenities Fee (SSAF) is given to student organisations. SSAF is the $280 (or $140 for part-time students) per year that you contribute outside of your degree - the payment that is required in order for you to receive your results for the semester. That money should go directly into providing caseworkers to be student advocates (for those tricky situations), and our student legal services, yet sometimes it doesn’t. Other organisations at UTS get a percentage of your SSAF, such as ActivateUTS, which is our union. In WA there is legislation that says that universities need to provide 50% of SSAF to the student organisation. That’s what we are aiming for! Hopefully the university will get on board with this. More specifically at UTS we are moving into balanced teaching periods. This means that from this year on students will be attending 11 weeks of classes and fact-to-face contact instead of 14 weeks. In the remaining three weeks, students will be expected to complete different activities, depending on their degree. These weeks will be called introductory weeks, and there will be no formal teaching or assessments in accordance with university guidelines. No specific information has been provided about the nature of these introductory weeks, except that students should make sure to pay attention as there will be important information and activities. My biggest concern is that there could be plans in the pipeline to make the summer trimester compulsory. I hope that UTS can give students a more concrete commitment soon. Please send me an email at education@utsstudentsassociation.org, or drop into the UTSSA’s office. I am always keen for a chat

A ss i s ta n t S e c r e ta r y ’ s Report L ac hl an Barke r So far as Assistant Secretary, I’ve been assisting the Secretary! I’ve been checking SRC and Executive minutes before submission, clearing meeting dates with some SRC members, and helping to ensure meetings are attended and documented. After clearing out the Students’ Association’s desk spaces (and labelling folders to allow for more efficient filing), have created a tidier, more accessible space for Collective Officers and th Secretary team. As part of my role as the State Queer Officer, I’ve been discussing the possibility of running consent campaigns in collaboration with the UTS Wom*n’s Collective. This campaign is intended to springboard from the campus screening of ‘The Hunting Ground’. I have also attended the most recent meeting for the ‘Save Our Medicare’ campaign in advance of the ‘These Cuts Are Killing Us’ protest, that was held on February 20th. It would be fantastic to see more students at these meetings, and I’m also looking for opportunities to involve UTS in the campaign. If you’re unsure of how to get involved, either have a chat to me at the SA, or send me an email at assistantsecretary@utsstudentsassociation.org.

Treasurer’s Report M oham ed Ru m m a n Heya! The Students’ Association is back for 2016 and we’ve hit the ground running! I’m happy to report the SA is well into its negotiations with the university for SSAF funding. Once all the nitty gritty is finished I’ll be able to report back with a budget for 2016. In January, the UTSSA met with the editors of 2015 Vertigo and were able to successfully negotiate an end to the drama of Ver tigo editors’ pay. The SA is currently in the process of ensuring this year’s Ver tigo team will not have to endure the same hardship as the last. I am currently in the process of organising a revamp of the SA’s website which has been inoperable for some time. The website should be up and running in the next couple of months, with a new look and regular updates. O’Day preparation is underway with an order for more

of your favourite keep cups! Make sure to come around the UTSSA’s stall to grab your goodie bag and talk to some of our councillors and exec to discuss the amazing work we have planned for this year. Hope you all enjoyed the break, and here’s to a productive 2016!

S e c r e t a r y ’s R e p o r t Ga b by B r ac ke nb ury- S o l d e nho ff Glad to see you here! My name is Gabby, and I’m the Secretary of the UTS Students Association for 2016. My role is to make sure communication is effective and that the minutes are accurate and filed For the past couple of months, I’ve been learning the ropes of the job - getting to know the staff and understanding the constitution back to front. My aims for this year are to encourage collectives, and to make sure that the SA is running smoothly. I want to ensure that everyone feels welcome to engage and participate in the UTSSA. The year has had an exciting start and I’m looking forward to what comes next. This year is an extremely important one for both staff and students. With SSAF campaigns occurring and balanced teaching periods coming into place, it is more important than ever that the Students’ Association is there for you and able to support you in every way we can. If you would like to know more about the Students’ Association, how we work, the SSAF campaign, and possibly to get your hands on some free ice cream (free = my favourite word in existence as a student) we will have a stall at O’Day, so come and meet us! If you would like to see how an SRC meeting is run and further witness what the Students Association is doing for you, SRC Meetings usually occur on the last Monday of every month at 6pm within the Activist Space of the Students’ Association. You are also more than welcome to shoot me through an email at secretary@ utsstudentsassociation.org.

ARTWORK : MEGAN WONG

volume ONE | trailblazers

L I F E S T Y L E A N D I N N O VA T I O N : S U B C U LT U R E S

URBAN EXPLORING IN SYDNEY

SURABI ALAUDDIN

You’ve probably passed an abandoned building before without thinking much of it. Surabi Alauddin uncovers a group of Sydneysiders who frequent discarded and deteriorating urban sites.

Abandoned man-made structures litter the Sydney landscape: houses, mansions, schools, factories, power stations, churches. A dedicated community, known as urban explorers, zealously in ltrate and photographically document these structures. The Sydney urban exploring community thrives online, with social media providing an avenue for explorers to connect with each other and showcase their photography. Photography is fundamental in the subculture; aside from showcasing the adventures and talent of individual explorers, it also functions as historical documentation of the ever-changing urban landscapes, preserving the result of man-made structures left to nature. Urban exploring is a culture of constant change. Nothing stays the same for long. Abandoned structures often have a short lifespan before they are demolished, developed, or renovated. Even structures which remain abandoned are constantly evolving through the effects of deterioration, weather, nature, graf ti and vandalism.

The legality of urban exploring is tenuous. Unsurprisingly, a vein of secrecy runs through the community. Explorers are careful not to reveal the exact location of sites on social media from fear of places becoming well known, as this may lead to vandalism or demolishment. The ethos of the community is to “take nothing but photographs, and leave nothing but footprints”. The allure of urban exploring varies. For many it is a creative outlet, and a space to practice art such as graf ti which is generally frowned upon. For most, the appeal is appreciating the eerie, ethereal, and other-worldly beauty of abandoned man-made structures that have been left to the effects of nature. It can be an almost spiritual and psychological experience, a peaceful escape from the mediocrity and boredom of their daily lives. In our modern risk-averse, surveillance society, urban exploring essentially sticks up a collective middle nger to The Man, and to an increasingly restrictive city environment. Urban explorers perform a valuable service in reminding us that cities should belong to their citizens, and should be mostly accessible to them.

POETRY : EXPERIMENTAL

A N D R O S

SYDNEY BASED EXPLORER

Vertigo interviews Sydney based explorer, Andros, who shares how he came to discover the beauty of abandoned buildings.

How did you get into the urban exploring scene?

What are your favourite types of places to explore?

I was going through a hard time a few years ago and to cope I would just leave the house and walk for hours, to wherever my feet took me. I came across abandoned locations and started exploring them. I went online where I connected with other urban explorers and started posting my pictures.

Industrial locations, because you don’t see these locations unless you work in that type of environment, it’s always behind closed doors. Industrial factories can be huge and have lots of little hidden passages, and it can feel like a maze to explore. There are also hidden dangers like holes in the oors and other elements which you have to look out for, too. The adrenaline rush is exhilarating.

What is the appeal of urban exploring for you? A love of exploring and intrigue about the unknown; the “what is behind those doors?” factor. You never know what to expect or if anyone is going to be around, and sometimes you’ll bump into someone who is also exploring or living in these spaces. The incredible beauty as well; when a place is abandoned, nature takes over – the space grows plants, mold, and animals make it their homes. It allows me to escape from the daily struggle of the outside world to a quiet place where I can just relax and nd myself one with the environment. Different places have different energies and bring out different emotions in me. Some places can be scary or sad but most for me are happy and enjoyable places. It is a hobby that I want to stick with me for life.

How do you see the future of Urban Exploring? There’s an abandoned power station in Geelong that has been turned into a street art museum. I see this as a way for the future – instead of just knocking down historical buildings, creating something interesting out of them for people to see. Explore with Andros exploringwithandros androsonev

PHOTOGRAPHY : ANDROS

LIFESTYLE & INNOVATION : ARTS AND CRAFT

10 M IN UT E S W IT H M AT T B R AN AGAN O F W O R K -S HO P Jessica WANG Super-duo Matt Branagan and Chester Garcia are making waves (and terrariums, kombucha, and taxidermy animals). Located in Redfern, 10 minutes away from UTS, their hands-on and class-based business, WorkShop, has become Sydney’s go-to for crafty and unique workshops you can’t nd anywhere else. Jessica Wang chats to co-founder Matt Branagan about how Work-Shop came to be.

WANG: What inspired you and Chester to start Work-Shop? BRANAGAN: I think we were both motivated by Sydney’s lack of stuff: lack of connection, lack of community, and lack of an accessible art scene. Our goal was to create a platform for artists to spread their skills and work around, and we sort of just sat down over a beer one day and started throwing around some ideas. WANG: Did you come to the concept of a ‘workshop’ immediately or did you have to cycle through a few ideas rst? BRANAGAN: We originally wanted an open-air market that featured food vendors and arts and crafts, which evolved into a work shop-y kind of thing. We were like, where do you go to learn these skills? We put together a dream list of all the classes we could possibly want, the crazier the better. Things you might want to learn but couldn’t nd anywhere else. It’s just about having fun, helping people discover a new talent, or just giving them a creative break from their daily lives. WANG: At what point were you like, “Yes! This is working, people are becoming really receptive to this.” BRANAGAN: We started quite small, and gained momentum as people started hearing about us and seeing us on Broadway [editor’s note: this was Work-Shop’s rst location; they have since moved]. We got some good press, and we were lucky enough to get invited to pitch our idea at Ted X.

INSTAGRAM: @WORKSHOPAUS

WANG: Personally, I think it’s great that Work-Shop has a focus on featuring local business in the community. Was that an active decision on your part? BRANAGAN: De nitely, and that’s what we’re here for, to give people a leg up. Not only is it about learning from these people, but it’s also about allowing the artists to further their career... We also love being a part of the many great little businesses in Redfern, like the guys at Cake Wines, and Studio Neon. WANG: Any favourite projects or classes that you’ve been involved in? BRANAGAN: So many to think through! It’s been great to launch heaps of things like Retrosweat, and Speech Therapy – our spoken word night with rappers. They’ve been really cool. We also love working with amazing street artists – having visible street art says so much about a city. It says that there’s more of a voice, and that people are willing to speak out for what they believe in. We’ve even got a project with Ben Lee coming up. He’s been really great to work with. For more information be sure to head to work-shop.com.au. To see the classes in action check them out at:

workshopaus

LIFESTYLE & INNOVATION : FOOD

K A L E B L A Z E R S SUE KANG Woe betide those trying to do good for the world when you’re low on cash. @suekang_ gives us the rundown on how to be vegan on a student budget.

Sleep deprived, running to your lecture, and you just want a non-dairy cappuccino? That will probably set you back around $5. Will they have almond milk? Will it be free? Forget about it, you hipster. Settle for some soy milk for an extra 50c. Trying to be healthy and animal-product free with a budget is almost impossible. You could try being Instagram famous and getting sponsored to eat for free at cool vegan places - are you listening Sadhana? But if selling your body on social media just isn’t your thing, here are four ways to satisfy your vegan munchies for around $10. 1 / About Life - 285a Crown Street, Surry Hills If you actually have a decent social media presence, download the INTO app. If you are deemed to be a cool enough blogger or social media personality, you’ll get access to free meals, and deals as well as my personal vegan favourite, free smoothies and juices from About Life. 2 / SuperFood Sushi - 66-77 King Street, Newtown Are you even a uni student if you don’t hang out in Newtown? At SuperFood Sushi, you can get vegan sushi rolls like the Sweet Kiwi Nut (black rice, sweet potato, walnuts, rocket, avocado, kiwifruit, and mayo) for only $10. You should add on Miso soup for $2.50 extra. Why? Because the miso soup here is some of the best I’ve tried in Sydney – and there are FREE re lls.

3 / Make your own #foodporn There are tons of vegan uni students who have amazing Instagrams lled with their creations, and some of them share easy-to-follow recipes on their blog. @Funkyforestfood always includes cost-effective, alternative ingredients for the poor, hungry students browsing through their website. Try making the Choc Banana Baked Snacks, and then eat them loudly in your lecture. (Recipe at http://funkyforestfood.blogspot.com.au/) 4 / Lord of the Fries – Central Station/Railway Square Probably more of a ‘treat day’ snack for those of you that are more health conscious. Don’t forget to check out the allergens chart before you order to make sure it’s vegan. The Guru Burger is deliciously animal by-product free and a mini version only costs $4.95. Frankly, I need two lunches to even stay awake during the day and this is the perfect second lunch (with sweet potato fries). 5 / Bonus ridiculous option – Crane Bar Restaurant, 32 Bayswater Road, Potts Point Enter a (vegetarian) dumpling eating contest - if you can beat the record you EAT FOR FREE. The current record stands at 100 for males and 68 for females. Godspeed.

INSTAGRAM : @aboutlifenm / @superfoodsushi

LIFESTYLE & INNOVATION : sCIENCE

Playing God? Genome-Editing and the Future of DNA Aleks Todorovic For Aleks Todorovic, Vice-President of the UTS Science Society, 2015 was not just the year Kim Kardashian West broke the internet, but also the year the University of California triumphed, developing a genome-editing technology capable of manipulating DNA at will.

Science has been brewing intensely over the last year. So much so that we here at the Science Society would like to tell you all about the most recent and developing breakthroughs. A surgeon is stepping up to the plate and preparing to do the world’s first total head transplant. Scientists have found they an use something called “graphene” to repair neurons without harming the brain. Physicists have landed a satellite on a comet hurling through space. There are so many advances in the varying fields of science, all tremendous and notable. However, there i one that stands to take the proverbial cake. The Clustered Regularly Interspaced Short Palindromic Repeats (CRISPR) genome-editing technology has recently been awarded 2015 Breakthrough of the Year by the industry journal ‘Science’. Developed at the University of California, Berkeley, and used by Massachusetts Institute of Technology (MIT), a war has broken out over who owns the patent. Simply put, this genome-editing technology allows us to copy, paste, and delete anything we want in DNA while being incredibly cheap, accurate, and precise. You might be wondering what’s so special about that. Well, CRISPR opens the door to so many possibilities, both foreseeable and unimaginable. Genome-editing has been around for a long time, primarily in the form of selective breeding. The problem rests in the time it takes for something to develop desired traits. For example, apples weren’t always big and juicy. After a long period of selective

breeding, we transitioned from small sour apples, to big sweet apples. Only now do we have the ability to forcibly implement the desired trait in the genetic coding of whatever we want. Students studying or starting Molecular Biology should understand that this is what the bleeding edge of the scientific forefront look like right now. There are monumental ethical dilemmas standing before us. While there are wonderful things we could do with this newfound discovery, there is an equally adverse risk. The possibilities truly seem endless. We could start to make crops that can endure harsher climates. We could choose the colour of our children’s hair. Theoretically, we could make humankind immune to infections like HIV (currently, in a lab somewhere in the depths of MIT, scientists are trying to master a technique called “gene drive”; this involves implementing a certain piece of genetic coding that will kill off that particular species within a few generations). So in a world of test tube babies and god-like control of the world around us, we have to ask: where do we draw the line? It will be up to us, later in life, to address how to implement this powerful tool. We don’t yet know if changing one simple trait now could spell the demise for all of mankind. Practically and ethically, this technology will remain in the scientific limeli ht for quite some time to come.

To find out the array of events that UTS Science Society has pl nned for this year, visit their Facebook page: https://www.facebook.com/UtsScienceSociety/

ARTWORK : JESS LIN

L I F E S T Y L E & I N N O VA T I O N : H E A LT H

Zik a v irus, a re w e t o bl a me? AMber RALPH Have you been traveling the world or just the web? Either way there is no doubt you have heard of the Zika virus.

The Zika virus belongs to the Flaviviridae family. It is a single strain RNA virus which attaches to the outside of the host cell, then enters through the membrane, and is replicated within the cell. After replication it is excreted into the intracellular space, and goes on to infect new host cells. Three forms of transmission have been identi ed; it is primarily insect borne, and can also be passed on sexually and in utero. The Aedes genus mosquito, also know as the tiger mosquito, is the main carrier of the disease. Most adult patients do not experience any symptoms of Zika virus, and most cases go undetected. Some may experience mild symptoms such as a slight fever, conjunctivitis, joint pain, and a skin rash. However, the catastrophic consequences of the virus are evidenced by the incredibly damaging effect that it may have on foetuses. It has been linked to birth defects and neurological disorders. The most concerning of these is microcephaly, a birth defect that results in a smaller skull. The reduced head size leads to a smaller brain, learning dif culties, vision and hearing problems, and a variety of other conditions. Are humans to blame? Humans have cleared, and continue to clear thousands of kilometers of plant life. Plants aid soil drainage and minimize erosion. Mass land clearing in conjunction with global warming has lead to an increased number of warm, damp areas, with still water. Warmth and water create the perfect breeding grounds for mosquitos - the water is needed for egg laying, and the heat speeds up growth time of the larva. More mosquitos amount to an increased spread of mosquito borne disease.

Travel is another accelerant of the Zika virus. In 1947, the virus was rst discovered in Ugandan forests among rhesus monkeys, which share a similar genome sequence to humans. The rst human case was discovered in Nigeria in 1954. Over the next 50 years, a small number of cases were diagnosed within Africa and South East Asia. In 2007, the rst epidemic broke out in Micronesia. Since then, there have been outbreaks across the globe, with epidemics in tropical regions such as Polynesia, New Caledonia, Vanuatu, Cook Islands, Solomon Islands, Easter Islands, and Brazil. The strain of Zika virus found in Brazil is linked to the Paci c Island strain which originated in South East Asia. Its believed that the introduction may be attributed to the Vaâ&#x20AC;&#x2122;a World Sprint Championship Canoe Race in Rio De Janeiro 2014, which representatives from four of the infected Paci c countries attended. Brazil has been affected more than any other country, mostly due to tourism, the warm climate, and deforestation. Since 2014, the rates of microcephaly in Brazil have risen from 0.07 to 1-2%. The virus has continued to spread throughout South America and Central America; it is present in 26 countries in the region so far, and its rapid spread has been linked to frequent travel between these areas in particular. There is no cure or treatment for Zika virus. Currently, the only method of control is prevention: eliminating mosquitos, vigilantly avoiding bites and not traveling to affected areas, when possible. If symptoms arise, seek medical attention to ensure you do not infect others. These words are not mere travel advice; we need to take responsibility for our impact on the entire planet.

ARTWORK : JORDAN EVANS

LIFESTYLE & INNOVATION : DRUGS

ANDREW BARCLAY In Australia, it appears the legalisation of medical marijuana is a question of when, not if. However, campaigners are worried that big business will take over to the detriment of consumers, writes Andrew Barclay.

Once a month, Dean* opens his laptop to place an order. Scrolling through, he peruses a variety of products including oil, lollipops, gummy bears, and even cookies. Yet, there is something different about this site, as all of this merchandise comes with the prefix ‘medical cannabis’ This may sound like a transaction taking place in Los Angeles or Denver. In reality, it’s behind a screen in New South Wales. You see, Dean isn’t your usual patient — or stoner for that matter. The father of two lives in a farmstead three hours north of Sydney, and once maintained a career as a lawyer before a motorcycle accident left him unable to work due to chronic back pain. After three years of taking pain killers, and with no end to the pain in sight, he started looking into alternative treatments. Twenty-four months later, Dean claims to be pain-free and is no longer relying on painkillers. The Australian government, by definition, considers Dean a criminal. In reality, Dean represe ts the changing face of medical cannabis in Australia - a gambit more and more Australians are willing to take.

For years, the Australian medical cannabis scene has had to live in the shadows, with a patchwork of rules and regulations governing the drug’s use in different states and territories. But this may be about to change, as federal Health Minister Sussan Ley said a medical cannabis industry could “flourish” in Australia, and ecently approved the legalised growing of the substance. Her decision followed a flurry of activity from the states, including the pr mier of Tasmania pushing for cannabis to be cultivated in his state. The ongoing challenge for patients like Dean is that the proposed legislation licences growers, but does nothing to ensure people who need medicinal cannabis can access it. Until a national scheme is introduced, patients are forced to procure the product by illegal means. It appears Dean isn’t alone, at least in terms of his attitude to medical cannabis. While the number of users of medical cannabis in Australia is comparatively low — likely due to access and legal issues, support for legalisation is high. A 2010 survey found 69% of respondents supported medicinal cannabis use, and 74% supported having clinical trials. While politicians continue to

“

This is a health issue, not a criminal one.

debate early-stage trials, the medical community is very clear. “Australia has no reason to disallow medical cannabis use,” Alex Womak, Emeritus consultant at St Vincent’s Hospital in Darlinghurst, recently said. “The debate about the medical use of cannabis in Australia has become confused with the proposal for a formal clinical trial instead of proceeding to legislation.”

Yet, seeing the reality in front of them, private companies see a regulated cannabis industry on the horizon and are lining up to cash in on the pot stock boom. A spokesperson for an Australian medical cannabis manufacturer recently told The Australian Financial Review that the goal of these large pharmaceutical players is “farm to pharma.”

The reasons are complex, but some campaigners believe cannabis has been unfairly demonised. Emeritus professor at the University of Melbourne, David Penington, has written that many oppose medical cannabis on irrational grounds, preferring to see any cannabis use as immoral, and having no interest looking into medical research or evidence.

“The perception that you are going to go down to the pharmacy to get a bud of marijuana and smoke it is the exact opposite of where the industry is headed,” he said – and that has smaller players worried. Several who spoke to Vertigo said legislation that allows only a limited number of larger players to corner the market runs the risk that medical cannabis will become just another pharmaceutical product, driven by profit, not patien care.

“As cannabis has been illegal, there has been a shortage of pharmaceutical evidence of the kind usually accompanying the introduction of new treatments,” he said. The journey to this point hasn’t been a simple one. Michael Balderstone, President of the Australian Help End Marijuana Prohibition (HEMP) Party, said that California’s experience of medical cannabis has been instrumental in driving change in Australia. “It’s proven to the world the sky won’t fall in,” he told Vertigo. “This is a health issue, not a criminal one.” Several campaigners who spoke to Vertigo said the opposition to medical cannabis is little different to the “reefer madness” campaigns of the 1960s. They cite the National Cannabis Prevention and Information Centre, a leading body to prevent marijuana usage, which continues to argue there isn’t enough evidence to vouch for its effectiveness. “To date there is not enough evidence to confirm or deny th potential medical uses of cannabis or its components,” they said in a statement.

According to Balderstone from the HEMP Party, Australia should pursue a cottage marijuana industry, similar to that in California. “Hemp-ployment is what I call it,” he said. “We should develop a dispensary cottage industry model and keep big pharma people right away.” Until Australia catches up with other countries, Dean will continue buying his treatment in the shadows, hoping one day he will be able to purchase it legally. “It’s ridiculous that simply buying a treatment that works for so many people is considered illegal,” he said. “The law is wrong and causing people to suffer.”

*Name has been changed to protect identity.

Artwork: WENDY SAN

LIFESTYLE & INNOVATION : TECH

A Digital Takeover of the Literary Realm: Youtube 2.0 Isha Bassi

Published 21 March 2016

Ten years ago this was YouTube: a simple space designed to share, a platform that helped create, and a tool used to express streams of ordinary consciousness. Since then, the novelty of individuals choosing to broadcast themselves has turned into something much, much bigger. To define YouTube in its current state is impossible. Wha Google has created, since acquiring their website in 2006, is nothing short of an entirely new subculture in which the platform, medium, format, and talent have blended into a single entity. It is a platform so ubiquitous that it cannot be limited to a single definition or label. Without a doubt, thi extends to the aptly named YouTubers, who have been staging their digital takeover of the virtual world for a while now.

By developing personal brands, curating global audiences, and creating content that is successfully geared towards their demographic, YouTubers have become global superstars in their own right. No longer contained by the niche bubble that once reigned over YouTube, these individuals are now commanding comparable audiences to traditional, premium content. For instance, the most-watched Game of Thrones episode ever (the season five finale) drew a staggering 8. million viewers. Big numbers, right? Think again, because Pewdiepie, YouTubeâ&#x20AC;&#x2122;s most subscribed individual, draws almost 90 million views each week.

POETRY : EXPERIMENTAL

THEY ARE MODER N T R A I L BL A Z E R S, A ND I T S E E M S A S I F THEY’ VE GAINED A M O NS T R O U S A P P E T I T E , D E VO U R I NG THE OFFLI NE WO L R D I N A S I M I L A R FA S H I O N

It is no surprise that YouTubers have been lauded as the voice of a digital generation. They are entrepreneurs who are influencin millions by way of their critical guise of normality, authenticity, and relatability. They are modern trailblazers, and it seems as if they’ve gained a monstrous appetite, devouring the offlin world in a similar fashion. A growing trend in the YouTuber phenomenon has seen the extension of their virtual influence into the literary realm. I may seem like an unusual move given their demographics’ preference for the immediacy and interactivity of the Internet but from a marketing perspective YouTubers are a perfect investment for publishers. This is owing to the fact that a YouTuber has the power to influence an extremely loyal audience. Anything the market is an almost guaranteed commercial success. It is this very dichotomy between the written and the virtual that makes the YouTuber book alluring to the everyday fan. You see, while the Internet has long provided us with the opportunity to inch closer to one another, we ultimately remain separated in an environment cluttered with endless hashtags, selfies, and media trolls. Books, on the other hand are appreciated for their high-quality content and capacity to distance both writers and readers from the babble of voices online. Like watching a vlog, reading a YouTuber’s book becomes yet another private, but personal insight into their experiences and thoughts. This time, however, the subscriber is able to preserve this experience by way of the solid nature of print, thus making the connection between viewer and creator more ‘physical’, and therefore ‘real’. It is no wonder that books by Zoe Sugg (or Zoella as she’s more commonly known) and Connor Franta have become instant successes. Sugg’s novel, ‘Girl Online’, sold more than 78,000 copies in the fi st seven days, beating the fi st week sales figures of bestselling authors such as J.K. Rowling and E L. James. Franta’s memoir, ‘A Work in Progress’, sold over 200,000

copies, and spent 16 weeks on the New York Times Best Seller list. But while no one doubts the success of these books, and other books released by YouTubers, there has been growing resentment among those who question the transition of vloggers into writers. This stems from the fact that the majority of YouTubers are writing books to gain fans and publicity, and to further their business and brand. It is arguable that very few do it for the right reasons, such as the love of writing or a passion for telling stories. Despite this, publishers such as Keywords Press, an imprint developed solely to publish books by Internet entertainers, continue to distribute lacklustre YouTuberauthored content. As a result, they dominate an already crowded market, and overshadow other talented, aspiring writers who may not get the chance to tell their story. On the other hand, there are books written by YouTubers who have something legitimate and powerful to say, who are using their success and substantial audience to inspire the next generation of young entrepreneurs. The majority of YouTubers are under the age of 25, and have the talent, commitment, and perseverance to manage multi-million-dollar brands that they have built themselves. It is hard to argue that books by YouTubers are inherently plaguing both the print and publishing industries if they have the ability to reach out to digital-dependent teens who might otherwise avoid their local bookstore. The publishing industry isn’t doomed because a YouTuber got a book deal. Novels around the world aren’t going to spontaneously combust either, and other printed publications may unfortunately continue to flounder. Whether you lov them or hate them, it looks like YouTubers are here to stay a while longer because, at the end of the day, these individuals do what they do best – they sustain communities that give many young people a sense of inclusion.

Artwork: MIRANDA HUANG

LIFESTYLE & INNOVATION : BODY

P IX EL P ER FECT LUCIE BERTOLDO

On November the 11th Paper magazine New York launched their winter cover featuring all-star, pop royalty, Kim Kardashian West, with the aim of ‘breaking the internet’. While they may have succeeded, it got me thinking. Every day on my newsfeed, whether on Facebook, Twitter, or Instagram, what’s trending? What’s breaking my newsfeed today? Just like Kim, it’s mostly a celebrity, a trending tness model, or someone ‘Insta-Famous’ with more body to show. We’re not only framing a generation, we’re beginning to change a generation’s frames. I have recently turned 20 and I’ve had an account on social media since I was a twelvie. In eight years online, I have never broken the internet. At 15 I star ted to really struggle with my body image, and it still affects me today. By social media’s standards I have been: chubby, thin, too thin, too muscular, and on the odd occasion, healthy. And it does not get any easier. We’ve become so obsessed with our skin and bones that we forget what is truly beautiful. The digital world has warped our sense of what is deemed the ideal body. We are constantly bombarded with images of incredible weight loss: magical skinny pills, donuts, fad diets, celebrity ‘diets’, more donuts, skinny models, adver tisements, Kim Kardashian’s butt, and donuts on top of Nutella thickshakes. We want more, and we are not satis ed with what we have. Since social media enveloped society, and myself as a young teen, we live by the standards that we will never be enough. In October 2015 Mamamia wrote about Sjana and Sam Earp, following Sam’s journey recreating his sister’s Instagram famous modelling images. I thought the story was hilarious, a cheeky, light ar ticle with some sibling banter. Just a scroll away on Facebook’s link to the article, I was shocked by the comments, A r t w o r k : L I LY P A T R I D G E

focussing not on the story itself, but rather Sjana’s body. Some described: “she’s too skinny”, “she needs help”, or “she’s anorexic.” If you move to the opposite end of the scale, people online label larger bodies to the extent of calling them “disgusting” or “unlovable”. As content providers, we shouldn’t be setting the standards on social media. There should be no body standards set, digital users come from all over the world, in different shapes and sizes. We are all different. We are all unique. It is not just the digital age that has to answer for this. The Internet was not designed to dictate body standards, or to become the home of false expectations and body shaming. We have become a society that lives behind a screen. Things we would never say in person we feel able to say online. Over the past month I have read ar ticles stating there has been a “fourfold” increase in hospital admissions and 10% increase in outpatients at Westmead’s Children’s Hospital Eating Disorder Service over the last 10 years. We are creating a toxic culture in this digital age; the increased access our children and young people have to this media platform, the more problematic these images become. I don’t think this can change unless there is a distinct awareness. But it starts with us. We have to work together to change societal norms. What can we do to help? As content creators, it’s on us to be weary of the standards we set. The truth is that we use social media as a veri cation of our self-worth. So, be mindful of what you post, of what you comment, be mindful of what you share - because for some of us, it actually changes our perception of reality.

POETRY : EXPERIMENTAL

F L IR T ING IN T HE DIGI TA L AGE : # C UN T V ERGENCE

AUNTY AGNES THE AGONY AUNT Aunt Agnes, our resident agony aunt, discusses irting through a palm-sized screen, and some of the concerns you might have about the whole thing.

Hi, I’m Aunt Agnes. Before I get stuck into the new set of dating expectations that surround our behaviour online, I’ll start by asking you a question. What’s the big jam? Sometimes, this sort of stuff just isn’t that big of a deal. Here is a Venn diagram shaped like two breasts to explain my point: A BIG D EA L

NO T A BIG DE A L

Clim a te cha nge D onal d Trump m a y be be coming pre s ide nt The re fugee c ris is A l ot of othe r thing s in this wor ld

W he t he r o r no t t he re ’s an ap p ro p riat e le ngt h o f t ime t o wait t o like t he p r o f ile p ic t ur e up dat e o f yo ur c rus h.

Hey Agnes, I am very concerned. I have been messaging a person I met on Tinder for a few weeks now. Recently we exchanged snapchat handles. Last week, they sent me an alarming dick-pic. It was alarming in the sense that I was not expecting to open my snapchat and encounter a screen full of genitals. We had never discussed this before. Is this the normal progression of our threeweek flirtation? Am I overreacting? - Snapscare 77.

Agnes, last night I was scrolling through my crush’s insta feed and I saw that they had uploaded a photo featuring a bit of skin. In my attempt to zoom in, I liked the photo. The photo was from 47 weeks ago and now they know I’ve been stalking them online. What should I do? - oopsyzoomsy112.

Thank you for your question. Let me first start by outlining some facts. It is a truth universally acknowledged that if you are at home, you are not wearing pants. Flirting online is the same as flirting in real life except you don’t necessarily need to have pants on. That being said, a person should never impose their pantslessness upon their intended flirtee unless specifically invited to do so. Likewise, person should never demand that the pantslessness of their flirting partner be shared with them. Communication is the bedrock of happy pantslessness. Consent is always a big deal, and it doesn’t matter whether you’re behind a screen or not. So the answer is no, you weren’t overreacting, that is not okay.

Thank you for writing in. I will try to move beyond the fact that your zoom-turned-accidental-like is a classic #parent move and you really should have known better. My advice to you is plain and simple, and it applies to us all: relax. We are all one and the same in this crazy world of endless scrolling. Try meditative chanting of universal truths to help you to feel better and less alone: ‘I stalk, therefore I am, I stalk, therefore I am.’

To submit topic suggestions or questions for the next edition of Great Sexpectations, please email submissions@utsvertigo.com.au. LIFESTYLE & INNOVATION : SEX

LIFESTYLE & INNOVATION : ENVIRONMENT

LIV IN ’ L A P UR A V IDA RUBY WAWN

For Ticans, the people of the small Central American nation Costa Rica, ‘pura vida’ – meaning pure life – is a simple phrase used to convey that everything is going ne and dandy. Now Ticans are livin’ la pura vida more literally. Having already disbanded their armed forces in 1949 and taking out the number one spot in the 2014 Happy Planet Index, Costa Rica is once again becoming a game changer with 2015 recording 285 days being powered by 100% renewable energy. Being one of the sunniest countries in the world, Costa Rica’s landscape is ripe with opportunities for renewable initiatives with most regions of the country receiving up to 100 inches of rain per year. Unsurprisingly, Costa Rica’s renewable energy is sourced mostly from hydroelectric plants (production of electrical power through the gravitational force of falling or owing water) with some geothermal energy (thermal energy stored in the Earth) fueled by the nations abundance of volcanoes and a small amount of wind and solar power. Consistently ranked in the top ve eco-countries of the world, Costa Rica is making leaps and bounds towards achieving its goal of carbon neutrality by 2021. Ticans are incredibly proud of their renewable energy initiatives, unlike certain Australian politicians (read: Joe Hockey) who have described wind turbines as “utterly offensive”. One of the reasons for this pride is because renewable energy infrastructure is seen as a symbol of modernization. Ticans are still dependent on fossil fuel for transport with pollution from cars, buses and trains accounting for almost 70% of the country’s carbon emissions in 2014. While Australia has refused to sign onto the international pledge to phase out fossil fuel subsidies at the 21st Conference of the Parties (COP21) of the United Nations Climate Change Conference in Paris, Costa Rica is keen to phase out fossil fuel reliance for transport. With a relatively small number of hybrid cars on the road (an estimated 200) the nation is currently debating a bill to offer consumer subsidies in order to make electric cars more affordable and has also pledged to integrate electric trains with public buses.

Renewable energy, however, is not without problems. Hydroelectricity, Costa Rica’s largest source of renewable energy, is reliant on consistent rainfall patterns. It seems to be somewhat of a catch-22 as unpredictable rain patterns and persistent drought are one of the major impacts of climate change and global warming. A further pickle is created by the environmental risks posed by new renewable energy initiatives. Expanding hydroelectricity projects to mitigate the effects of climate change and irregular rainfall may fur ther damage the unique and extremely biodiverse local environment as accessible renewable locations have already been utilised. At the Paris COP21 conference in December 2015, one of the key negotiating factors for big players like the United States was the ability to implement “differentiated responsibilities” based on nation states’ individualized geography, capabilities and contexts. While some critics have pointed out “differentiated responsibilities” may be used by fossil fuel-reliant countries to shirk responsibility for combating climate change, Costa Rica is embracing the individualized response with renewable energy initiatives that are tailored to its unique landscape. However, that doesn’t mean Costa Rica’s kick-ass renewable energy initiatives are a one-size- ts-all solution to climate change. With a tiny population of under 5 million people and no major manufacturing industry, Costa Rica uses far less power than most developed nations. Couple that with a geography and climate ripe for harvesting natural energy and it’s no wonder Costa Rica is emerging as a game changer on fossil fuel reliance. In contrast, the future of renewable energy in Australia is hampered by the fossil fuel industry. As Amanda McKenzie, CEO of Climate Council, has pointed out, the mythologizing of the mining industry as the backbone of our economy is making Australia “one of the only countries to go backwards on renewables”. Ultimately, change relies on our collective political will, and unfortunately the Tican renewable energy utopia seems like a far off mirage for Australia.

* Rear Window is Vertigoâ&#x20AC;&#x2122;s satire section, and is not intended to be taken as seriously as other medications.

rear window

HOUT S R U O S ’ T I : A L COCA CO K IER AN SM ITH

Following the success of their temperature-sensitive colour change labels, soft-drink manufacturer Coca-Cola announced yesterday that their next consumer breakthrough will be a bottle that screams obscenities when it is at the perfect drinking temperature. Marketing Manager for Coca-Cola Australia, Lauren Smith, announced the move yesterday at a special unveiling. “We got a great response from customers when we came out with the cold change labels,” she stated. “While they were very popular, some people said that it was difficult t tell if the label was more blue than white, or that they really couldn’t be bothered checking when they were half cut on spirits at four in the morning.” The solution, the Hola-Cola, means that bottles will now scream, “DRINK ME NOW YOU FUCK!” or, “DRINK ME, DRINK ME, FUCKING DRINK ME!” when they reach the perfect temperature. This will continue at increasing volumes until the beverage is consumed. While Smith did accept that this was likely to create a lot of noise, she insisted that much of the sound would be muffled by fridge doors and did no believe a sudden burst of screaming would be triggering to PTSD sufferers. Artwork: WENDY SAN

When contacted for comment today, consumer group Choice slammed the move. “This is clearly a marketing ploy by Coke to try and shift some of its unhealthy soft drinks on the Australian public,” a spokesperson stated, before being caught off the record muttering, “Why the fuck isn’t there a Diet Coke option? This is discrimination.” Smith took pains to point out that Coca-Cola was not resting on its laurels and had begun looking at methods of letting consumers know when its beverages were too warm to be consumed. “We’re currently in development of a bottle that screams, “GET AWAY FROM ME YOU BITCH!” when it’s too warm. We’re really hoping that Sigourney Weaver will reprise her role from Aliens to do the voice work but we’ll settle for one of the Wiggles if she’s unavailable.” In response to Coke’s unveiling, Pepsi announced plans to create a bottle that played music when its contents were at the perfect temperature. It later cancelled those plans when it was revealed the only song that they had secured the rights to work with the bottles was Boom Boom Boom Boom (I Want You In My Room) by the Vengaboys.

REAR WINDOW

A NNIE MC D O NA L D

Science students are listing TigerAir above UTS Science Faculty’s new Superlab as their preferred airline, after describing security as ‘lax’. Superlab aimed to gain its competitive advantage through cutting edge technology in the form of demonstrator call buttons, touchscreen inflight entertainment, and complimentary headphones. Unfortunately, students recounted that it would take an average of three hours for a demon-strator to notice and respond to the glowing help button, which corresponded to the exact amount of time the student would take to gure out how the overhead reading light worked anyway. Many students also noted that bags cannot be stored under one’s feet, but instead must be stored in over-westside lockers, next to Physical Modelling Students, who are reportedly as honest as their experimental integrity. The airline has already had to deal with negative publicity after a first year bio-med student suffered a fit after being forc to watch the safety induction video four times within his firs week of university. After the incident, Superlab pilot Captain

Davidson promised to upgrade the animation and make the background music “less irritating and condescending”. Thankfully, many first years have inadvertently avoide their own demise by misinterpreting their ticket timetables and missing their first week practicals The largest amount of complaints came from chemistry students who were appalled that they were not allowed to have open flames - including bunsen burners and bongs. One student stated, “both of these are critical to my academic development at university.” Despite the negative feedback, Davidson remains optimistic that Superlab Airline will do its job of propelling as many HECS-paying students as it can through the lower atmosphere that is their degree. “It’s not who you fly with, or how well you fly, it’s h fast you can get there,” the Captain has said. This, coincidentally, is the same slogan used to promote the new trimester system.

ARTWORK : MEGAN WONG

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B E TW E E N T H E LOF T A N D A H ARD PL ACE J AM ES W I L S ON Sydney may be in the grip of growing ‘hysteria’ over lockout laws, but as James Wilson discovers, the Loft and Underground have been on the cutting edge for years.

“Last Drinks!” It’s the call that frequently sends hordes of drunken people to the bar to get that last thirst quencher before they head off. It’s 10:30pm here at the Loft, and as the clarion call goes out, there is no mad rush; no panicked push for a Pina Colada. “Look at that. Mike Baird has nothing on us!” A woman dressed in black, who runs the local drinking holes, is reclining in the newly renovated, who runs the local drinking holes, is reclining in the newly renovated Loft courtyard, quietly sipping on her Fire Engine as a group of students wander in. “Sorry guys, bar’s shut!” They shuffle off dejectedly, while a frenzied determination appears across Brett’s face. “I ordered three hours ago,” she mutters repeatedly. “It will come. This pizza will come”. Taking out my rollies and filters, I prepar to have a smoke. “No smoking in this courtyard. We had to choose between food or cigarettes. Our core demographic, of course, is students, who are in their late teens or early 20s, as well as failed students in their 30s, and

of course disgruntled lecturers and tutors who are paid less for more work under the trimester model. We have realised that these people are incredibly unlikely to smoke and drink at the same time, even if it does set off the same pleasure receptors in our brains, and even if having an alcoholic beverage often means we want to also light up. But no, we chose food. And also, who doesn’t like pizza?!” “When was the last pizza delivered?” Brett appears manic. “47 years ago.” Wahrier See, Pepsi Max lover and enthusiast, doesn’t see what the concern is. “As a UTS student, I have frequented the Loft and Underground bars. I don’t see the issue. Yes, they shut early; yes their

Artwork: ROSIE GEARSIDE (above), ryley miller (right)

drinks are more expensive than Bar Broadway; yes, their bands are usually rubbish; and yes, the spaces aren’t utilised well at all. “But none of this matters, since I always smuggle in a goon bag.” The Premier’s Office released statement to Vertigo stating, “Who do you think we based our laws on? UTS bars have been successfully driving people away for years. We can only hope that the entire city of Sydney becomes as culturally desolate and disappointing. As a Sydney University alumnus, it pains me to say that UTS has done something successfully, but there you go.”

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PLASTIC: NOW COMES IN ALL SHAPES AND SIZES VA NE S S A PA PA S TAVR O S

Time Magazine’s January cover declared “curvy” Barbie the modern “American Beauty”, promoting the exact ideals that Barbie has always promoted. Recently, Mattel decided to give Barbie three new shapes: tall, petite and curvy, subsequently landing the iconic doll on the cover of TIME magazine. In 1997, Lisa Jervis described Barbie in Mother Jones magazine as “one of the most popular women in America”, even though extensive analysis has confirmed that Barbie i in fact a doll. This is not Barbie’s first stint as a high profile cover-girl. 2004, she was on the iconic annual Swimsuit Issue of Sports Illustrated, proving that a non-sentient piece of plastic could replace women’s derisory role as a sexual object. Mattel’s desire to diversify Barbie through skin tone, hair colour and texture, and body size has rebranded the doll as a progressive plaything. The iconic doll is now an appealing option for Millennium mums and a body-positive toy that challenges an Anglocentric version of womanhood. This is a big step for Mattel, who only recently realised that the commodification of difference was the most profitabl method of peddling commercialised beauty to the masses. Now, young girls with different body types and ethnicities can be reassured that the most important aspects of their character are their physical beauty and their ability to dress for their figure

Artwork: SYLVIA ZHENG

With this new and improved Barbie, accurate representation is key. Not only does Barbie come in tall, petite and curvy shapes, she also comes with a new range of personas and subcultures to appeal to young girls from all over the world. Top Selling favourites include Hipster Barbie, whose body type only fits vintage Barbie clothes sourced from Vinnies’ toy bins, as well as Manic Pixie Dream Girl Barbie, with accessories such as a miniature moped and ukulele to appease her corresponding brooding Ken doll (each sold separately). Less popular is Sweatshop Barbie, initially designed to represent the 4,500 female workers in Bangkok’s Barbie factory. Young girls from Western countries did not relate to the doll, which comes with missing fingers from faulty machinery and a facemask to protect her from lead poisoning (accessories sold separately). The doll did not receive much reception in Thailand, either, as the sweatshop workers making these dolls could not afford to buy them on their salary of $4 a day. Due to their lack of popularity, Mattel is considering a recall.

COFFEE SHOP ‘PA USA’ ENTICES ALL THE SENSES, THOUGH A DM I T T E D LY I MAY H AV E B E E N POISONED

BY R E M Y DA N OY, C O NC E R NE D MO THE R O F TWO Located near the intersection of Broadway and Harris St, local coffee shop Pausa breaks all the rules (and perhaps some laws) as burning cyanide closes my trachea shut. In a typical inner-city location, Pausa trades design and overwrought aesthetic for pragmatism and comfort. However, taken over by the feeling of helplessness, layers of flesh atop my oesophagus popped audibly in a scene so horrific I could only select a Cronenberg fi for comparison. Brewed expertly by the comfortably pleasant barista Harry, my cappuccino was a perfect mixture of rich oak notes, subtle smooth textures, and extreme heat in my epiglottis. Perhaps I could have been more attentive to the lack of sparkle in Harry’s eyes or perhaps to the residual white sediment at the bottom of my takeaway cup. It was the commanding location and liveliness of the city streets that proved too hard to ignore. While the coffee was a hit, the food left a bad taste in my mouth. The brownie, bland and flavourless faile to impress. However, that may have been due to the almost immediate corrosion of my tastebuds, and eventually, my entirely dissolved tongue. Pausa is a quintessential university café with a twist. The twist may or may not be sodium cyanide. Would recommend.

A r t w o r k : K E E LY M U L L I G A N

100

REAR WINDOW : THE FUTURE

S A GITTA R IUS

ARIES Look up at the night sky and focus on Venus (you will eventually need glasses). The ways of the heart are fickle, so be wary of obstructing yourself - if you happen to fall in love with your optometrist and move to a small Caribbean island, do not resist.

LEO Jupiter is quivering with energy and it is time to be determined and decisive. A giant inflatable flaming will bring you luck; do not miss the opportunity to caress it.

VIR GO TAU R U S The Autumn Trimester is a time of great prosperity for Taurus, so if you act as though you are entitled to a free set of steak knives – a new set of steak knives will come to you. A tall woman will bring you things from high shelves.

A smart way to look at yourself is to see what happens when you hang up your ‘Do Not Disturb’ sign. What is going on in your private universe? More importantly, why are you in a hotel? Do you remember how you got here? Do you need to contact the authorities? Do not accept easy answers.

L IB R A G E M IN I Just as it is important to celebrate the special people in your life, it is important to celebrate your own fertility. Do this by rubbing yourself all over with oak leaves by a stream at twilight.

C ANC ER When you act with generosity, it will be shown to you in return. Give a stranger a small porcelain figurine, and you might find th a porcelain figurine of your ow appears in your life. Artwork: MEGAN WONG

You are wanted by the police for tax evasion, so this is the perfect time to book a long holiday to the Cayman Islands. A little foreign culture may be what you need to spice up your life. Put those funds to good use while you still can.

How’s your career going? Not to be rude, but you have been spending a lot of time sitting on the couch eating Pringles recently. Fun, excitement, thrills, and spills are on the agenda for Wednesday. Prepare yourself for either a near-death experience or a big game of family Uno. The future is in your cards.

C A P R IC O R N Nothing is off limits for Capricorn when romance is involved this trimester! Wear your heart on your sleeve, or play out a secret fantasy with your lover - just make sure that it’s not that weird one involving lemons. I know you know which one I’m talking about.

AQUA R IUS With the New Moon in your sign, it’s time for a completely fresh start. Change your name and get your facial features altered through extensive plastic surgery. Be proactive about making connections online, but ignore everyone in person.

P IS C E S

S C O R P IO You will find that your sense of duty an need for solid goals are key elements for getting to where you need to be in life, as well as a valid drivers’ licence. Watch out for the magical connection Mars will make with the North Node. This won’t affect you but will be lovely for the two of them.

While operating in the physical realm, it is best to keep your head inside a paper bag with a breathing hole cut into it at all times. This way, you can devote the best of your energy into more personal creative and spiritual pursuits. Just be sure to cross the road with an escort by your side.

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