Volume Two: Surrender to Soil

Volume Two — Surrender to Soil

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DAILY REVIEW

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THE DOG / THE CAT 13 APRIL – 7 MAY The Dog by Brendan Cowell The Cat by Lally Katz Directed by Ralph Myers

Redirected by Anthea Williams With Sheridan Harbridge, Benedict Hardie and Xavier Samuel

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Photograph by Brett Boardman

The Bloom Volume

A. C.

B.

D.

A. Stem — We branch out into inky darkness, find the light, let the softness of our bodies toughen.

Along us, something grows. Along us, life.

C. Bud — There is freshness and hope and so we open ourselves up to the world; we let our light spill out, we seek expansion into things unknown — we are becoming.

B. Leaf — Sometimes the wind blows into our skeletons; we rattle, we are shaken but we remain. Sun-drenched and dripping with it. Our renewal is growth.

D. Roots — We sink: deeper into the fertility of soil. Rich and thick and dark, we breathe it in. We flood with water and nourishment. Grounded and strong — from us: life.

Art — Isabella Brown | @bissy

Welcome to Country

UTS acknowledges and recognises the Gadigal people of the Eora Nation and the Boorooberongal people of the Dharug Nation as the traditional owners and holders of knowledge where our UTS campuses now stand.

UTS also pays respect to Elders past, present and future for sharing their knowledge and the significant contribution that Australia’s first peoples make to the academic and cultural life of our university.

– Maree Graham, Coordinator of Indigenous Outreach, Jumbunna Indigenous House of Learning, University of Technology, Sydney

Art — Christy Chan

Contents 4 5

Editorial Contributors

Arts & Lifestyle 7 19 23 25 31 49 55 56

Gardening for a Tiny Kitchen – Rebecca Cushway Flex Mami: On Self-love & Vibrancy – Akshaya Bhutkar On Gigging Alone – Jaimee Cachia Meditation – Andrew Chen Ren in Peace – Amy Tong Meet: Gina Karlikoff a.k.a. Kimchi Princi – Amy Tong Gardening: A Withering Pastime – Kaitlyn Hudson-O’Farrell Dinner with Dian – Dian Aria

Business & Science 21 34 65

Petal Print – Vanessa Papastavros Renewables: Not Just Plug & Play – Dilhan Wicks Seeds of Doomsday – Elliot Vella

Creative Writing 6 12 33 68 79

Requires Sunlight – Georgia Roach Seaweed – Evie Hilliar Being – Srisha Sritharan Fabric – Andrea Kovacic Love & Sweet Waters – Mariela PT

Showcase 15 41 57 71 80

Addo Gustaf Ariana Patawaran Shanni Sun Janey Li Mia Tran

Socio-Cultural 10 13 27 39 47 69 75

82 86 88

Sugar & Spice – Navira Trimansyah Breaking the Straightjacket – Matthew Hodges The Monk, the Godfather, the Artist & the Suit – Sam Bitonti No Straight Lines – Bryce Craig Cultural Appropriation from an Indigeneous Design Perspective – Kezia Aria I Did Not Want the Tea It’s OK! – Ella Cutler & Ali Chalmers Braithewaite

Students’ Association Reports Submissions Guideline Horoscopes

4 — Editorial

Editorial A Message From the Team Editor-in-Chief Louisa Luong

Managing Editor

Vertigo has stretched up and out and dug down deep for our coming-of-age issue. Rooted in self-improvement, development, coming out, and overcoming the adversity that life throws at you — we invited our contributors to ‘bloom’. We’ve turned over a new leaf, and we hope you have too. For us, that means some fresh glossy pages for you to get your mitts on. For you, it could mean that the irksome tutorial-question-asker has become your new best bud. Who knows?

Michael Zacharatos

Editors Kezia Aria Akshaya Bhutkar Rebecca Cushway Mariela PT Aaron Taylor Elliot Vella Sophie Waddington

The beginning of the uni year is full of new life, with hopeful new shoots emerging from mundane soil. So to keep pushing you through the humdrum cycle of lectures, tutorials, and fighting for a power point in the library, 45 of our very own seedlings have sprouted to help you on your way.

Sub-editors

To start our journey, Georgia Roach nourishes our roots with a fresh perspective in Requires Sunlight. Think twice before you stop and smell the roses as Vanessa Papastavros unearths the ugly side of the flower industry in Petal Print. Snap a snippet of Ella Cutler’s stories of LBPQ women from her project, It’s OK! Then settle in as we chat to Kimchi Princi about growing up, branching out, and flourishing as a young artist in Sydney. For when your eyes are tired, droopy at your desk, we’ve got some cuttings that are easy on the eyes. We take a sleepy step into Xi’an, China with Shanni Sun’s photo essay exploring the comforts of her hometown with nothing but a film camera and new-found appreciation. We get a glimpse of Berlin through Ariana Patawaran’s travel journal documenting overheard conversations, found notes, and colourful inspirations. Back home, Mia Tran discovers the beauty in edible plants in light of her sister’s new-found vegetarianism.

Liam Fairgrieve Samuel Fraser Davina Jeganathan Maddison Smith Amy Tong

Volume Two has been cultivated to be absorbed in order, piece by piece, through to blooming. An accompaniment to your uni stresses and successes; here to encourage you to stretch your limbs further, aerate your soil, and flower in whichever way you wish. Feel the paper against your skin, the weight of the stories within it, and smell the faint scent of fresh, turned earth as you flip through the pages.

Art Director

This is our changing season, our testing limits, and the realisation that sometimes you need to pick up and re-pot yourself in order to propagate. Don’t let your leaves wilt. Get comfy and find a position with your preferred amount of sunlight because, after all, every plant has different needs. Water and fertilise to your heart’s content; let us help you sink in, spread out, and Surrender to Soil.

Creative Director Kim Phan

Isabella Brown

Designers Eden Payne Lizzie Smith Mia Tran

Thank Yous

Fuck Yous

Shrugs

#Pray4MuslimBand ASAHD Khaled ‘Touch’ by Little Mix

#Pray4MuslimBan Building 3 lifts Penalty rate cuts

Uni meme rivalries Powerhouse lectures ‘More Life’

enquiries – editorial@utsvertigo.com.au | submissions – submissions@utsvertigo.com.au

Contributors — 5

Thank You Our Volume Two Contributors

Written

Visual

Dian Aria Lachlan Barker Sam Bitonti Jaimee Cachia Jenny Cao Luke Chapman Andrew Chen Bryce Craig Ella Cutler Evie Hilliar Matthew Hodges Kaitlyn Hudson-O’Farrell Norma Jean Andrea Kovacic Vanessa Papastavros Leya Reid Georgia Roach Reagan Ruppel

Srisha Sritharan Beatrice Tan Navira Trimansyah Amy Tong Dilhan Wicks James Wilson Lachlan Wykes

Sagar Aardash Isabella Brown Geraldine Buzzo Ali Chalmers Braithewaite Christy Chan Andrew Chen Addo Gustaf Romy Lester Janey Li Rebecca Lourey Ryley Miller Emily Nunell Vanessa Papastavros Ariana Patawaran Oscar Phillips Georgette Stefoulis Shanni Sun Mia Tran

Cover Art

Opening Page

Advertising

Rebecca Lourey

Mariela PT

For all advertising enquiries please contact: Stephanie.King-1@uts.edu.au

Vertigo is published by the UTS Students’ Association (UTSSA), and proudly printed by SOS Printing, Alexandria.

The contents of Vertigo do not necessarily reflect the opinion of the editors, printers, or the UTSSA.

Vertigo and its entire contents are protected by copyright. Vertigo will retain the right to republish in any format. Contributors retain all other rights for resale and republication. No material may be reproduced without the prior written consent of the copyright holders.

utsvertigo.com.au | facebook.com/utsvertigo | instagram.com/utsvertigo | twitter.com/vertigomagazine

6 — Creative Writing

Requires Sunlight Georgia Roach

I was happy where I sat, on that crowded little table with my siblings. Gathered together, we watched daylight flutter through sails overhead. We were spoilt. We felt dappled warmth nourish our growth. Fresh water soaked through our limbs, rich ground bolstered our spirits.

Together we shone.

I hardly stopped to think what happened to my family as we flourished. I’d noticed my older siblings fade and shift to the outskirts of our home, but as the gaps they left filled with smaller, more delicate relatives, my attention faded with them. We’d jostle about as space became tight, shuffled amongst ourselves until we could all breathe again. Until we could all feel the warmth. I never imagined this shuffling wasn’t our doing.

The day I realised wasn’t a sad one. It was the day I met you.

Space was running low again. Pressed against my kin, my limbs were beginning to tingle. The smell of rot whispered at the edge of my senses, and sunlight seemed to slip from view. I’d known my home to be cosy, to be close, but never like this. Trying to wriggle my extremities, I felt them interlocked, made rigid as they twisted together. We fought for the water beneath us, the sun above us. Fought until something gave.

Gently at first, it began as no more than a familiar jostle.

I felt the tangle we’d become start to uncoil, heard the rustle of relief as we unfurled. A collective sigh. Airflow returned to us, sunlight bathed us. We shone once again.

But for me, the separation continued.

As I snapped and unravelled, my limbs sprung free.

There was more to me than I thought: reach and strength I hadn’t realised I possessed. Among my siblings I had been safe and healthy, but as I began to lift above them, feeling these new parts of myself for the first time, I truly came alive.

An unusual wind grew beneath me. As I continued to lift, it rushed to fill the space drawn below. The closer I drew to the sails overhead, the quieter the familiar hum of my family became, the stronger I felt sun and water pulse through my limbs.

I didn’t get the chance to say goodbye. Distracted by these sensations, both bizarre and welcome. The last I recall of that crowded little table was the smell of fresh, turned earth.

Then, there you were.

You picked me up, dazed as I was, and turned me about in your hands. I didn’t see your face at first. The taste of unchecked sunlight had fractured my senses so you were nothing more than a shadow. But I remember your voice.

You spoke in an unfamiliar tongue, rolling sounds over me until my vision returned. Your lilt was as nourishing as air and water combined. Familiar as the soil, strengthening as the rain. And it seems you felt something in me too.

Together we travelled further than I knew possible. I remember the smell of stale air as you lifted me in to the belly of a metal beast, the gentle way it vibrated as it carried us away. I remember how careful you were as you plucked me from it and introduced me to our new home.

So here I stand, no longer knitted with the branches of my family, or jostling for space on a crowded table. The soil tastes a little different here, and the water comes less frequently, but whenever I begin to miss that cosy forest far away, I wait for your voice. I wait for you to walk past and fill the room with your strange, musical tongue. I feel it flow through my leaves, soak through my roots, and together, you and me; we shine.

Arts & Lifestyle — 7

Gardening for A Tiny Kitchen Rebecca Cushway

Eating healthy isn’t cheap, and when you finally get the cash for veggies, a lot of wasted scraps go straight in the bin. Instead of chucking them out, chuck them in some soil and start growing your own!

DIY Planters

There are planters you can find around your house.

Remember every plant in soil will need drainage holes, otherwise they could drown, or grow mould. You can use: – Old plastic bowls, with a hole pierced through the base.

– Cardboard boxes (particularly good for lettuce and potatoes).

– Coffee cup trays (good for basil and tomato).

– Canvas supermarket bags, in milk crates, or boxes.

Basil

1.

2.

3.

Use stems that have been stripped ¾ of their leaves.

Place stems in a jar of water, remaining leaves at the top, in a sunny area, changing water every day.

Once roots reach 6cm, transfer to soil.

Celery

1.

2.

3.

Use the base of the celery in a bowl, covered in warm water.

Leave in the sun for 5-7 days, changing water every second day.

When leaves start to turn green, transfer to soil, covering everything but the new leaves.

Art — Emily Nunell | @emdrawsthings

8 — Arts & Lifestyle

Garlic

1.

2.

3.

Use one clove that has sprouted green shoots.

Plant in soil, shoots uncovered, in a sunny spot.

Once shoots grow to 3cm, cut them down; the garlic bulb will continue to grow.

Lettuce/Bok Choy/Cabbage

1.

2.

3.

Onions

1.

2.

3.

Use an off-cut of the onion with roots.

Place in soil (onion out, roots in) in a sunny spot.

Once roots begin to grow, remove old onion top and the plant will continue growing underground.

Potatoes

1.

2.

3.

Sweet Potatoes

1.

2.

3.

Use a thick slice of sweet potato, suspended in water with toothpicks.

After two days, roots should begin to show.

When roots reach 3cm, transfer to soil, covering only the roots. Should propagate within a week.

Art — Emily Nunell | @emdrawsthings

Use the base of the vegetable with no leaves.

Cover with water, changing water daily, for one week in a sunny area.

When growth starts to show, transfer to soil, covering everything but the new growth.

Use peelings or off-cuts with at least two eyes on them.

Leave to dry overnight. Plant 5cm deep in soil, with the eyes facing up.

Potatoes can be harvested for up to eight months.

Tomatoes

1.

2.

3.

Use the seeds from inside the tomato, rinsed, and dried overnight.

Plant in pot with soil (indoors).

Once sprouts reach 2cm, transfer to direct sunlight.

10 — Socio-Cultural

Sugar & Spice Navira Trimansyah

CW: transphobia

... and everything nice. Together, these vital ingredients created a cartoon that was pivotal in introducing the concept of feminism to young minds all over the world throughout the 1990s and early 2000s. Blossom, Bubbles, and Buttercup were icons — flaunting more than just their explosive cute factor and unbelievably

Art — Sagar Aardash

badass kicks. These three heroines defied many depictions of young girls in pop culture at the time; they weren’t sexualised, they didn’t compete with one another, they didn’t pine after uninspiring boys, and they didn’t agonise over acne. Instead, these cute and seemingly perfect little girls subverted gender norms

Socio-Cultural — 11

with their short-tempers and affinity for violence. On air from 1998–2005, with a total of 78 episodes in six seasons, The Powerpuff Girls were proof that you can love pink, be strong-willed, and freeze someone to death with a single puff.

The girls weren’t the only ones routinely subverting gender roles. Their father figure, Professor Utonium, is essentially a single parent often shown performing more ‘feminine’ chores around the house. While Bubbles is mowing the lawn and cleaning the car, and Buttercup is busy playing with action figures, the Professor dons an apron and gloves to cook, do the laundry, and clean the house. He is caring, nurturing, and plays an integral part in raising his girls — the original stay-at-home dad.

The Powerpuff Girls was unafraid to call out and challenge mainstream perceptions of feminism.

In the iconic episode, ‘Equal Rights’, the villainous Femme Fatale, persuades the girls that feminism is about ridding the world of men and the patriarchy.

Consequently, our favourite heroines engage in a man-hating mission and cause rampage throughout the town. This episode aimed to highlight the common misconception that feminism is synonymous with misandry. Resolved when the girls deconstruct Femme Fatale’s propaganda with the help of Mrs. Bellum (Deputy Mayor, cool, calm, and equal parts sexy and smart), who explains that society needs to acknowledge and empower women to the point where they are viewed as equal, and treated accordingly. It quashed the false idea that if you were a feminist, you were tasked with the duty of hating and destroying all men. You could be a feminist without needing a pitchfork. Solidarity, sister; not sayonara, mister!

While the show was progressive in exploring feminism at a time when ‘feminist’ was a dirty word, it was not without its faults. Much like mainstream media at the time (and arguably, at present), it failed to incorporate ethnic diversity. While the show does exude feminism as one of its central themes, it is very white-centric; instilling the idea that feminism is primarily accessible to the white, suburban middle-class. This fails to live up to the tenets of third-wave feminism that acknowledge

different levels of privilege and recognise different oppressions that emphasise the importance of an intersectional approach to feminism. Ironically, Mojo Jojo, the main antagonist, sets out to solve this problem by creating his own “wonderfully diverse and multiethnic team of superheroes”, which includes Asian, Black, and disabled children. Disappointingly, they are ultimately defeated, and apologise to the girls for having powers; further re-iterating the notion that the powers are a privilege only the (white, able-bodied) Powerpuff Girls can possess. In short, great message to young women, but not so much if you happen to be a woman of colour.

The Powerpuff Girls’ progressive agenda was also flawed in its casual transphobia. The recent reboot in 2016 received negative backlash when Donny, a horse who desires to become a unicorn, becomes the subject of bullying. Their personality is made the butt of every joke: naive, dramatic, and demanding. Donny’s journey to becoming a unicorn is eerily reminiscent of the experiences of many transgender people: a long list of “medical risks”, the surgery labelled an “experiment”, and medical and social stigma. Transgender individuals are depicted as “monsters”, as Donny’s transition turns them into a mutated creature, feared by all. This was a plot point that should not have been conceptualised, let alone allowed to materialise, especially in 2016, when awareness of media abuse and mockery of marginalised groups and individuals is increasingly prominent.

The Powerpuff Girls paved the way for young feminists who grew up watching this cartoon. The strength and confidence of Blossom, Bubbles, and Buttercup have ensured that a whole generation will feel the urge to unite and fight for equality. As much of an impact that the cartoon may have had in its role of providing a foundation for feminist values, its blatant transphobia and lack of diversity is just another example of the erasure of marginalised communities. Perhaps the new reboot will act as a more inclusive platform to represent the ever-expanding audience.

12 — Creative Writing

Seaweed Evie Hilliar

the ocean wore a halo of a storm, and we watched the light show from a distance. thunder was rendered a silent audience watching, too, as the waves paraded their fireworks carrying the perfume of seaweed. salt spray filled my wine glass, and i got drunk off the notion that maybe some seeds can summon sprouts from salt-charred earth and sand. my heart-shaped sponge, swollen and heavy from saltwater kisses contracted under new fingers so the ache spilled out, and, although bruised and tender, it took a breath of fresh air. i have tended gardens in all the wrong places but if seaweed can grow in the sea then something can grow out of me.

Socio-Cultural — 13

Breaking the Straightjacket Matthew Hodges

Each time I catch a whiff of locker room Lynx or see my Facebook posts from 2010, I need a #triggerwarning because like most of us, this takes me back to a time I just want to forget. As early teens, we figure out what we like and what we’re like, and if any of this is “abnormal”, we’re mostly too insecure and immature to face it. So, I tried to do as the boys do.

As the master of positive self-talk, I spent years telling myself: don’t talk in that tone, quit the hand gestures, stop walking like that. Please run to the ball, not away from it.

These words of empowerment didn’t come from me, I caught them from those around me. As one of the unfortunate few to attend a private boys’ school that ostracises anyone not fitting the straight, masculine, sporty mould, I was mocked to feel like my manner and personality was annoying, dainty, and laughable. Being taught — and I quote the year 8 religion syllabus — that “homosexuals are broken people”, I was stuck in a very conservative straightjacket (misspelling intended).

But when you sulk for long enough, something clicks, and you’ll do almost anything to break free from what suppresses you. The walls come down, confidence breaks through, and you make the change you never thought you could. Just like the metaphor: the winter storm hits, then passes, and you’re ready to bloom come spring.

For me, this meant a new school and the cliche dream: from a toxic hyper-masculine culture, “I was embraced,” “I found my crowd,” and “I could be me.” Unbelievably (so it felt), I found friends I love, and I embraced my own voice through writing and drama. But it wasn’t a happy ending or the magic fix to my every insecurity; I still struggled with my sexuality and femininity. I tried playing straight and masculine, onstage and off, neither of which I’ll be winning any awards for.

Coming out didn’t fix everything either. Speaking those two words for the first time was amazing; I could finally talk about those guys I’ve been into since I was seven (@chadmichaelmurray), be the boy-obsessed thirteenyear-old I never was, and strut down Oxford St on the first Saturday of March. The lip-gloss I wore that night wasn’t mine, but some Maybelline freebee I threw away.

I later deleted the Instagram of me wearing it. Still, a barrier was stopping me from embracing my feminine side. One big socially-erected barrier.

Yes, the tides are turning, but there’s still a such a hurtful mentality that I’m weaker because I’m sensitive; and this warrants being patronised and laughed at. That it’s bad parenting to let your son ‘be girly’ and whoever the hell they are.

This is what oppresses women and other femme people, and stops some men from expressing themselves, often leading to tragic consequences. They confuse articulacy with femininity, and femininity with weakness. Gay guys profess they’re masculine and “straight-acting”, but you know they’re the first to get down to Britney at Arq on a Saturday night. I’ve yet to see a Grindr profile that says “I’m femme and f*cking fabulous!” I might pioneer that one.

But once again I found the strength to get over the wall, or just ignore it altogether. I’ve started unapologetically owning the way I dress, speak, act, and live my life. I’ll wear my women’s FCUK t-shirt and the makeup I now own, and people’s opinions are irrelevant; only because I fought to this point.

And this isn’t a happy ending either; they don’t exist. I’m still filled with doubts, but each season I tackle a new one and I grow, I bloom. We all do, and that’s the thing.

Showcase — 15

Addo Gustaf @edgoostf My art represents an exploration of self, shared, and lived experience. It is a journey of experimentation and growth, signifying what it feels like to live freely as your true self. I use my practice to challenge ideas of nudity, femininity, and queer culture.

Addo Gustaf | @edgoostf

Arts & Lifestyle — 19

Flex Mami: On Self-love & Vibrancy Akshaya Bhutkar

A curator of important looks, tunes, and one-liners, Lillian Ahen is Flex Mami. Best known for her impeccable selfexpression and vivid internet presence that preaches nothing but self-love, she is a Sydney-based DJ, radio presenter, digital content creator, writer, and personality.

VERTIGO: To start off, as a self-proclaimed ambassador of self-love, what are your views on happiness?

FLEX MAMI: Everything in excess. Positivity, love, friendship, good food, feeling — all of it. I’m an extreme person by nature so I require excess and abundance to put anything into perspective.

V: Can the journey to self-love ever end?

FM: Never, ever, ever. As long as you grow, your thought process, rationale and understanding of yourself and the world around you will continue to change. While this is happening, it no doubt has an effect on your perception versus reality, causing you to question anything you’ve thought you’d known previously. Of course this includes ways in which to love yourself unapologetically.

V: What would you say is your formula for self-love and vibrancy?

FM: An echo chamber of positivity and positive affirmation.

A good understanding of who you are and why you are that way.

Self-reflection and improvement.

An inflated sense of self-worth.

Undertaking daily gratitude.

Manifesting.

Optimism.

Integrate daily for the best results.

Photograph — Chloe Noud

20 — Arts & Lifestyle

V: Why do you think there’s such an aura of being narcissistic and obnoxious when you do choose to love, accept, and express yourself? Why is it cool to not like yourself?

FM: Some of the most prevalent misconceptions about self-love are a result of how excessively people overcompensate for their lack of it. Meaning there are too many people who have taken the get-rich-quick scheme, feigning understanding to distract from the obvious lack of time taken to truly love their being.

Also, quite obviously it’s easier to bond over common hate or disdain than love. It evokes a stronger emotion, spear tackling through pre-existing social barriers. A very effective short-term tool to extinguish perceived awkward social situations, but a very poor strategy for long-term knowledge.

V: Your personal style is bright, vibrant, and playful.

How important is your expression of fashion and its connection to your identity?

FM: It’s a visual resume! As a stereotypical extrovert with textbook introverted qualities, it’s an easy way to superficially show the masses what I’m “about” without having to speak. It’s an effective and powerful tool, and I take it very seriously. I don’t see my style as a separate extension of me that’s thought about on the off occasion — it’s truly integral to understanding myself.

V: Do you see your role as a DJ as a means of spreading your energy and good vibes to the world?

FM: Not actively, but it has, which I’m hype about.

V: How big of a role does the internet play in curating one’s identity and self-confidence?

FM: It’s VITAL, for me anyway. Similar to how style is a visual resume, the internet is the next chapter to superficially communicating who you are. I’m of the opinion that the way a person chooses to curate their online persona is really telling as to how they see themselves. I believe it’s extremely telling.

V: Do you think the growth of social media has impacted the authenticity and truth of one’s personality, as everything is carefully curated and controlled?

FM: Authenticity and truth are extremely vague concepts as they rely on the theory that your personal perception and that of someone else’s needs to align before it’s deemed “truth”... which is very untrue.

As mentioned before, how someone consciously chooses to present themselves should be more important than an uninformed opinion.

V: What would you say to those who have not yet found themselves and bloomed?

FM: Always tread the fine line between perception and reality; your outlook on a situation is just as important, if not more, as the “truth”. Live for a learning experience.

If anything sparks a positive response from you internally — explore it. It’s important you give yourself a chance to be, grow, and figure yourself out. Manifest and read The Law of Attraction (Esther Hicks). That’s the major key.

Interview transcript has been edited for length and clarity.

Business & Science — 21

Petal Print Vanessa Papastavros

Flowers have become an endemic display of love, sympathy, or festivity. Consider the occasions where flowers frequent — birthdays, funerals, weddings, Mother’s Day, or an offer for your Valentine. From boutique florists to servos, flower markets to Woolies; their ubiquity permeates. Yet, we rarely stop to think about the cost of our precious petals.

THE HUMAN COST — According to ABS data, only around 10% of the flowers sold in Australia are imported.

This is a respectable number compared to the US, where a whopping 78% of cut-flowers are imported from South America. Floriculture was originally designed for cooler European climates, but it has now shifted to tropical countries such as Colombia, Ecuador, Mexico, Kenya, India, and China, where the labour is cheap and ethical laws are lax.

The floriculture industry in these countries, where Aussie florists import from, predominantly comprises of children and female labourers. Our prices for local and imported flowers are relatively similar because the production costs are pushed down the supply chain. These underpaid and unprotected workers breathe in hundreds of agrochemicals each day, suffering everything from respiratory distress to neurological impairment as a result of exposure. Acute pesticide poisoning can also cause cancer and birth defects, effecting entire generations.

THE FINANCIAL COST — Cut-flowers and capitalism; we don’t usually put the two together. Once we inject some consumerism into our love for blooms, we’re left footing a $40 billion worldwide industry bill. The flower industry in Australia is worth about $175 billion annually. That’s a lot of money spent on a gift that will wilt within a week.

THE ENVIRONMENTAL COST — The environmental impact is just as thorny. The cut-flower industry is a short-cycle production process and the agrochemicals that sustain flower lifecycles aren’t exactly eco-friendly.

According to The Australian Pesticides and Veterinary

Medicine Authority, there are about 100 pesticide active ingredients circulating in our floriculture industry. This list includes highly toxic insecticides like chlorpyrifos, diazinon, and endosulfan — the latter banned in over 60 countries after causing reproductive and development defects, and even death in humans. Now that you know flowers are laced in toxic chemicals, maybe think twice before stopping to smell the roses.

The Australian Bureau of Statistics reports that the floriculture industry also guzzles a lot of liquid — only 7% of their total water consumption is reused water. Factoring in the chilled warehouses, refrigerated delivery trucks, and unrecyclable cellophane paper; our carbon footprint skyrockets.

GREEN ALTERNATIVES — But what if, like me, you love receiving and giving flowers to brighten up someone’s day? Well, don’t fear! There are plenty of greener, cleaner, and kinder alternatives: Buy Local — Sourcing your flowers from Australian markets and florists will give you a guilt-free vase of blossoms. If you order online, check where the flowers are coming from. Avoid buying bunches from supermarkets like Coles and Woolworths — their flowers are imported from Kenya, China, and Cambodia, where cheap labour and poor ethics run rampant.

Succulents — A succulent arrangement can last months without being taken care of. Even then, with minimal care, you can extend the life of the arrangement for much longer. The lifecycle of a succulent arrangement is a lot gentler on the environment, plus they’re trendy.

Potted Plants — Potted plants are the gift that keep on giving. Watch your little bud bloom before your eyes.

Indoor plants purify the air and do well with shade. They require some tender loving care but at least they won’t end up on the compost heap within a week. Plus, funky ceramic pots!

Arts & Lifestyle — 23

On Gigging Alone Jaimee Cachia

As chilly May draws to a close, the sails of Sydney’s architectural crown jewel bow gracefully in technicolour to those who arrive in their masses to catch a glimpse.

Bennelong Point receives the clamour brought on by Vivid without resistance.

Meanwhile, tucked away in the echo chamber in the heart of the Opera House, Justin Vernon and his company assemble in cultic formation around a microphone.

You’d half expect to see your own breath in the chill Bon Iver managed to fabricate in the Concert Hall, a shimmering fringe of cotton wool strands suspended above the stage like icicles. In a set awash with the ghostly harmonies and organic instrumentation to which he owes his fame, it seems fitting that the poster-boy for a generation of shut-ins would transform the room into a cabin in the woods and render the outside world non-existent in the minds of the audience.

The Sydney Opera House booked Bon Iver across four consecutive nights, each show selling out within minutes. Scalpers flogged tickets on eBay for hugely inflated prices, and I watched for three months as acquaintances were scammed out of hundreds of dollars. The single ticket I was fortunate enough to acquire the night before, courtesy of a generous friend-of-a-friend, was worth its weight in gold.

Vernon occupies the stool beneath a wafer-thin tractor beam in the centre of an otherwise blackened stage, bracing himself to perform Skinny Love. I thank my lucky stars for last night’s realisation that the prospect of solitude would be a pitiful reason to miss an artist whose music has seen me through a significant portion of my life. Aside from the spotlight and the lugubrious chime of Vernon’s guitar beneath it, the space is so black and so quiet I forgive myself for thinking he and I are the only people in the room.

Given the desperate state of the local live music scene, you would think we’d be doing all we can to keep venues alive by attending as many shows as possible, with or without somebody to shuffle beside in a mosh pit. Yet the spectre of attending a concert on one’s own seems so repellent that we often begrudgingly elect to stay at home watching Seinfeld re-runs with our housemates rather than venturing out solo.

When the newly reunited indie rock band Neutral Milk Hotel announced a string of Australian shows in 2013, their cult fanbase rejoiced. Fifteen years of anticipation since the onset of their hiatus was surely enough to surmount any anxiety attached to the prospect of going alone, but purchasing a ticket felt easier said than done.

There isn’t much in this world that could cause such a large number of adults to weep publicly in unison, but Neutral Milk Hotel saw this very scene unfold between

Art — Geraldine Buzzo | @omgeraldine

24 — Arts & Lifestyle

shouted choruses under the Art Deco ceilings of the Enmore Theatre. Frontman Jeff Mangum’s request that all recording devices be kept away spawned a sight unheard of by millennial concertgoers: a sea of heads, sans blinding white rectangles peppered in between. No tangible record of the show therefore exists — only collective memory.

The night brought me to a conclusion not unlike a menacing tagline in an antismoking ad: that going alone is hard, but not going is harder. Ever since, friends have said that they admire my courage, as if I had been forced to cross oceans during my friendless pilgrimages to the back wall of live venues, carried by my lifeboat of a smartphone with enough charge to get me through the support act and half-hour interval.

This is the paradox of millennials’ allergy to solitude. We tell ourselves that interdependence is weak and individualism is to be celebrated, and yet it seems no amount of self-empowerment can quash our fear of being the phone-gazing loser standing alone at the shoegaze gig.

Of course, there are obvious benefits to having company at concerts — the joint feeling of delight you share during songs you bonded over, or that of weary disdain as you trip together over crushed plastic cups on your way out. But when you’re watching an artist you care deeply about, nothing pangs quite like noticing the vacant expression on the face of your apathetic companion.

Concerts are considered to be a social experience, and yet, with the exception of dance genres, listening to music is not. The type of music to which we form deep personal connections — Bon Iver and Neutral Milk Hotel, for example — needn’t require a travelling companion.

Being afraid to see your favourite band because your friends won’t come arguably points to a bigger problem — namely our generation’s inability to be alone. Only when we begin to view concerts first and foremost as musical experiences rather than social ones can we then overcome these anxieties. Mine melted away with the cold glow of the Opera House stage lights as they dimmed to greet their guest: the company I paid cold, hard cash for. The only company I needed.

Arts & Lifestyle — 25

Meditation Andrew Chen

We often spend our days rushing; trying to do so many different things at the same time. We’ve become expert ‘do-ers’. In this world of constant motion, we get caught up in the haze of past events and worry about the distant future. We live in a perpetual state of survival, constantly stressing about deadlines and procrastinating assignments. Many of us are, in essence, ‘human-doings’ — not human beings. Our overload of thoughts and tasks create a never-ending cycle of anxiety, pressure and stress, and that constant pull of tension never leaves. When was the last time you truly lived in the present?

Meditation is an escape: a conscious state of mind, an introspective awareness that absorbs you into the present moment. As human beings, we suppress certain feelings and emotions. Meditation enables you to let them flow through without judgement. It allows you to surrender and reach an ultimate state of letting go. By surrendering, you can reach full acceptance. By letting go, you can access your true, authentic self.

There are also numerous health benefits of meditation: decreased blood pressure, decreased anxiety/stress/ panic attacks, reduced symptoms of depression, and increased immune function. Meditating helps you get through the day by increasing your attention span, creativity, and natural happiness. There is no past, there is no future. There is only this moment. When you surrender you will come to realise that everything else is superfluous.

While there are many forms of meditation, take the first step of your spiritual journey with Zen meditation (Zazen), and achieve a state of pure awareness.

Reconnect with your spirit and absorb yourself in the moment.

We should become mindful of everything around us.

Experience it as it is. Once you look past the illusion and see the oneness of everything, ego dissolves and only unity will remain.

26 — Arts & Lifestyle

Here are some steps to aid your journey to achieving total awareness. It can be done almost anywhere, needing only a quiet place and your concentration.

1.

Find a cushion and a quiet place where you can be alone — a place of peace and solitude.

2.

Take a few deep breaths. Using your stomach, inhale through your nose for four seconds, hold for four seconds, and exhale through your mouth for four seconds. Follow this with a breathing pattern of inhaling for three seconds through your nose, hold for two seconds and then exhale through your nose for three seconds.

4.

Let your mind flow freely in this vast emptiness of being a part of the universal cosmic awareness. You will feel like a branch of the universe, a conscious awareness of existence.

Use the cushion and assume a lotus position (or crossed legs). Sit with good posture and a straight back. Find your centre of balance and relax your gaze.

3.

Begin to empty your mind. As you attempt this, you must not label thoughts as good or bad, as it is our judgement towards thought that resists a state of total awareness.

Socio-Cultural — 27

The Monk, the Godfather, the Artist & the Suit Sam Bitonti

CW: mentions of suicide

The crisis of modern masculinity was never something I properly understood. My news feed was, and still is, peppered with articles about how I’m supposed to be feeling lost, directionless, and unable to cope with the societal pressures of the evolving world. Sometimes I wonder if I’m too young to be thinking about this — I’m only in my early twenties, after all. The only problem with this line of thought is that age clearly hasn’t prevented young men from buckling under pressure. I know this, because last year 38% of deaths for males in my age group (20-24) were a result of suicide. Not skin cancer, not heart disease. Suicide.

Clearly, there is something wrong with modern masculinity. Is it in crisis? Yeah, looks like it.

But what if I am looking at it the wrong way? Around the barbecue the most recent Italian family Christmas, stood my four male role models. As they all squabbled, voices intensifying as tongs were snatched from hand to hand, I had my little ‘eureka’ moment. I realised why I was completely oblivious to the crisis that was supposed to be gripping me: wittingly or unwittingly, these men had imparted wisdoms and values that would point me to one steadfast truth. . . .

The Father Think of a Buddhist monk with a goatee. This bloke lived in a Venetian monastery from the age of five, after my grandparents reluctantly sent the pious young lad to live with the brothers of San Francesco del Deserto. He lived and studied with these monks for years until it all came crashing down.

“Father Massimo, The Bible says nothing about Jesus’

life between the ages of 13 and 27. What did he do all that time?” He asked the devoted man.

“Nothing of your concern. Why question the Holy Word?” The Brother retorted.

My father wasn’t satisfied with that response. He wrote a letter to his parents that night, and was on his way back to Beirut within the week. Needless to say, there was great value placed on the words “how” and “why” while I was growing up. A wise and patient teetotaller, my father never once raised his hand to reprimand me, but instead taught me the value of self-control, discipline, and scepticism. A kind and gentle mediator, I don’t think I could have asked for a better father.

The Grandfather If my father is an apple, then my mother’s father is an orange: a blood orange. A proud Italian man, he trained as a commando in the Italian armed forces before moving to Australia.

That fountain in Darling Harbour you used to play in as a kid? His work. He commanded respect from his colleagues through mastery of his craft, but beyond the walls of the worksite, he did so through fear. He had no choice but to strive for perfection every day, working with marble and granite.

“An Aussie’s worth two dagos mate”, his first boss would repeat like a mantra.

One afternoon, my uncle returned home to tell him that a kid two years above had promised to “bash his wog ass” after school. He threw on his jacket and hat, and strolled down the road. He arrived on their porch, and their father answered the door. Unfortunately for

Socio-Cultural — 29

you, I don’t think I can say exactly what was said that afternoon.

But the following day at school, my uncle found a letter of apology in his locker, a cake was sent to my grandmother, and the boy never so much as looked at my uncle again. I should at this point admit that the man was all talk. He is absolutely harmless. But he had a good poker face, and no one ever seemed to call his bluff.

That fountain in Darling Harbour is now gone, and while his fire has mellowed with age, the men who worked under him all those years still address him as they did until the day he retired: “Padrino”.

Intelligent and ambitious, and armed with a PhD in econometrics, he lectured at UNSW (don’t hold that against him) before relocating to London. There, he soaked up the freedom of two-hour flights to mainland Europe, enjoying independent travelling and living, before returning to Sydney to settle down on the eve of his 40th birthday.

An example of what hard work and dedication can bring a hungry young man, I used to sit in the corner of his econometric tutorials as a five-year-old, wondering if I’d ever go to uni myself. I suppose it’s his footsteps that I’m following, even though he often remarks, “You’re studying at UTS. Does your degree even count?” — The snob. . . .

Uncle #1 The free-living graphic designer, unapologetically renting in Balmain in his early fifties, is free from the shackles of having children of his own.

Defying the will of his father, he graduated from art school after spending his high school years gigging all over Sydney. He and his band even opened for INXS back in the day. He plays the guitar (properly), paints, and is more like a best mate than an uncle.

The guy gave me my first CD when I was 10. I remember being unimpressed with the album cover and name: ‘Electric Ladyland… is this Usher?’ His smile turned to a grimace as he felt Jimi turning in his grave.

He’s been the uncredited creative director for every assignment I’ve ever submitted. It’s his couch I crash on after big nights out.

Uncle #2 The metrosexual fund manager, this man is as selfmade as you can get.

So there I was, looking at four men who could not be any more different, and it hit me why questions of masculinity flew over my head. Had the four men standing around that barbecue all been from the same mould of the archetypal Western male, it wouldn’t be easy to talk so freely. Because of them, I was never imprisoned by a dangerously narrow definition of masculinity. I could work with a pen or chisel, in a suit or flannel; it never mattered. I could be stoic and quiet, holding back tears at a funeral, or I could be fiery and loud, choosing instead to sob uncontrollably. Neither would add or subtract from any idea of manliness.

Masculinity was whatever the hell I wanted it to be.

For the first time in history, men don’t have to conform to a concrete set of ideals and principles. You might not have grown up at the knees of a monk, an artist, a suit, or a Godfather, but your news feeds and TV screens are now flooded with countless depictions of the modern man. Freedom can be scary; I get it. But maybe this isn’t a crisis, but an opportunity — an opportunity to define it yourself.

And for what it’s worth, those steaks were overcooked.

At 15 years old, knowing the opportunities that would be afforded, he asked his father if could leave his Cabramatta high school and enrol at Sydney Grammar. Receiving a noncommittal answer, he filled out the paperwork, and went along for the interview all on his own.

If you or someone you know is struggling with mental health, please consider speaking to your local GP, a healthcare professional, or calling one of the numbers below.

Lifeline — 13 11 14

MensLine — 1300 78 99 78 Art — Oscar Phillips | @oscar_norbit

Arts & Lifestyle — 31

Ren in Peace Amy Tong

CW: mentions of suicide

I was endlessly scrolling through Instagram’s explore feed to pass the time on a sleepless night. Amongst the collage of shibas, babes, and brunches was an image of two women wearing nothing but red lipstick, lying precariously on a rooftop overlooking Beijing’s skyline. Sprawled out like starfish and joined at the hands, I almost mistook the photo as a trick of reflection.

It was exhilarating to see bodies composed this way: a surreal, offbeat celebration of brazen exposure. This image was the catalyst for a night fueled by obsession and curiosity as I delved into the beautiful, dark world of Ren Hang.

Stark naked men and women stood against a white backdrop, their limbs intertwined with one another. Hands layered over breasts, lean backsides arched to resemble mountain ranges, a limp penis draped over a watermelon. Every single image celebrated sensuality and embraced the naked beauty of life.

Alongside his awe-inspiring photographs was his bleak and haunting poetry. Through writing, Hang extensively documented his battle with depression. Below is a poem written in 2014: Life is really one Precious gift But sometimes I feel that It has been given to the wrong person Ren Hang took his own life on 24th February 2017. He was just shy of turning 30.

The photographer was born in the north-east of China in a province called Jilin in 1987.

At the age of 20, he began studying advertising, but often found himself restless with the mundanities of life. He sought solace photographing his friends with a point-andshoot film camera, mainly his housemates in the nude.

Hang quickly moved away from the stark white walls of his apartment, shooting his naked subjects among tufts of tall grass, fields of yellow wildflowers, and ponds filled with lily pads. The extensive use of nature within his work created a free, alternate world where time stood still. It was as if he blended the surreal with the provocative to capture the magic between humanity and nature. Ren Hang’s work does not seek to offer criticism on contemporary Chinese society or youth, but it captures men and women in their most natural state: the nude within nature.

Art — Romy Lester | @romaji_draws

32 — Arts & Lifestyle

It is important to note that Hang continued to create these images despite facing constant censorship from the Chinese government. His works were often defaced when displayed and he was arrested several times for public vulgarity. And although controversy was never his intent, it was guaranteed to be a consequence of his extraordinary output.

“My pictures’ politics have nothing to do with China. It’s Chinese politics that want to interfere with my art.” He said in an interview with Dazed Magazine.

In Hang’s case, self-expression was a political act in itself. From the social context surrounding his work, it was convenient to label his work as political and to compare him to the likes of Ai Weiwei and Zhang Huan — two prominent Chinese artists challenging the status quo. And while people have attempted to tease this commentary out of him, he repeatedly insisted that his works were apolitical. In a monograph of his work published by Taschen, Hang said to photoeditor, Dian Hanson: “I don’t really view my work as taboo, because I don’t think so much in a social or political context. I don’t push boundaries, I just do what I do.”

The photographer’s strong stance on the issue has led to an increased interest in his works from the past decade, as China’s mores become increasingly evident to the global community. In the last few years of his life, he held solo shows in high-end galleries, such as Foam Photography Museum in Amsterdam, and secured commissions to shoot for GQ, Gucci, and top fashion magazines. His earlier self-published photo books are slowly becoming collector’s items. In essence, Hang’s works were — and still are — paradoxically celebrated and censored in equal measure.

Hang’s impact and talent will live on through generations to come. Mirjam Kooiman, curator of Foam in Amsterdam, said: “There’s no hierarchy between the male and female model in his work. It’s very telling about these tendencies of sexuality and queerness in Chinese society and how his generation is dealing with it.” Alongside Ren Hang’s cover for Aperture Magazine’s ‘Queer’ issue, his work epitomised a freedom from gender and sexuality. His photography not only celebrated queerness, but challenged the stigma attached to sexuality in a conservative society that would not address it.

“Gender isn’t important when I’m taking pictures,” he stated bluntly. “It only matters to me when I’m having sex.” He created in a context that wasn’t open, so his photographs will be inextricably linked to ideas freedom and sexual liberation. Hang’s body of work is essentially visual poetry without limits.

Despite his confrontations with censorship, he never changed, and continued to flourish under his political circumstances. The artist’s reasons for creating were purely for the love of art and nothing else. It was truly inspiring to follow Ren Hang’s journey and it is a tragedy that it ended so soon. May he forever rest in peace.

If you or someone you know is struggling with mental health, please consider speaking to your local GP, a healthcare professional, or calling one of the numbers below.

BeyondBlue — 1300 22 4636 | headspace — 1800 650 890 | Lifeline — 13 11 14

Creative Writing — 33

Being

Limbs outstretched, floating on the end of a thread.

Starfish, legs splayed, breaststroke.

Lone touch tethered to cobweb, a single strand deceptively resilient.

You long to cave inwards; foetal.

Yet — believing is knowing, and your knowledge spans along your thread, burning for balance between your well rehearsed Ego and the self. self’s anti-gravitational pull sees you — sees your flawed creations, sees your vulnerability, maybe you’d better release.

They longed for a reason, spun riveting truths to guide your strokes — outwards, ever outwards.

Perhaps you feel comfort in their caressing fables, amen.

Perhaps solidarity, amen.

Perhaps guidance, a-fucking-men.

Generosity breeds contentment but I feed Ego with my bare hands.

Raw and aching; I am longing to know how I can show what I know now but My hands cannot speak as well as My mind does to Me.

Srisha Sritharan

34 — Business & Science

Renewables: Not Just Plug & Play Dilhan Wicks

In the late 1880s, Thomas Edison and George Westinghouse battled for their technology to power the developing electric grids of the United States. Edison’s DC current technology was inferior at the time, and his underhand scare campaign led to Westinghouse’s AC Transmission system prevailing. Since then, the commercial demand for electricity has only grown, and with it so too has our quality of life.

The effect electricity has on our lives is profound.

Ignoring that it lets us browse memes into the early hours of the morning, searching for that hit of dopamine we so badly need, it’s hard to imagine a world without lights, refrigeration, and instant communication.

Electricity is one of the foundations for a high quality of life, where something as simple as a light bulb can extend the productive time you have in a day by hours.

Across the Timor Sea, Australia’s largest neighbour has made an astounding effort to bring their electrification ratio (the percentage of households connected to electricity) to 84%. In the last ten years, power has been connected to 78 million people, which is no small feat considering Indonesia has a population of over 257 million people spread over 17,000 islands. The Indonesian government was able to accomplish this by utilising available Hydro and Geothermal resources, giving weight to their intention of hitting their renewable energy target of 23% by 2025.

Meanwhile, Australia, a wealthy country that has had a 100% electrification ratio for decades, pushes forward a political agenda supporting fossil fuels, blaming blackouts in South Australia on the state’s high use of renewable energy.

Breakdown of Australia’s Electricity Source

Wind Fossil Fuels

Solar

Bioenergy

Hydropower

Business & Science — 35

A key problem with renewable energies is the fact that their supply can be unreliable. To understand why this is, we first need a general understanding of the different categories of power plants.

A power grid experiences demand when electricity is used. In order to push power into the grid, the net supply of electricity should always be in surplus. Ideally, a supply should closely follow the demand line so the demand can be met without wasting resources.

An Ideal Supply/Demand Curve Supply

Power (Megawatts)

Demand

Demand versus Supply from Baseload Demand

Baseload

Power (Megawatts)

This is not sustainable. The government is currently promoting ‘Clean Coal’, which produces 700kg of CO2 per megawatt/hour rather than the standard 820kg.

This pathetic solution guarantees Australia’s already watered-down renewable energy target won’t be met.

Time

PEAK Peak power plants can easily adjust their electricity output to meet changes in consumer demand. For example, an operator at a gas turbine power plant can produce more power by pushing a throttle to increase the amount of gas burnt, and consequently the spinning speed of the turbine. Similarly, a hydroelectric dam operator may simply open the gates and let more water through to produce more electricity.

Demand versus Supply from a Peaker Demand

Baseload Supply

Supply from a Peaker

Time

Base load power plants provide continuous, steady electricity over long periods of time. These plants are usually characterised by steam turbines, which accelerate to a high operating speed and maintain it for months until they are due for service. Examples of base load power generation sources include coal, nuclear, geothermal, and hydroelectric. Such plants produce power at a lower cost per kilo-Watt-hour, and are desirable because they are so reliable at producing consistent power. We would like these types of power plants to produce the energy to cover this part of the demand graph.

Power (Megawatts)

BASE LOAD

Time

Art — Mia Tran

36 — Business & Science

technology for storing electricity is limited.

INTERMITTENT Intermittent energy providers are problematic for a nation’s electricity grid, as their supply is not always readily available. Renewable energies often fall into this category; wind power is only available when it’s windy, and Solar Photovoltaic (what you see on rooftops) is only available during the daytime in good conditions. As these are two popular forms of renewable energy, this poses an issue. Their impact on the supply curve would look like this:

Demand/Supply (Megawatts logscale)

NSW Energy Demand versus Wind Supply on 13 August 2016

Time

Therefore, the goal is to try and harness wind and solar energy when it is available and store it for later use, effectively turning an intermittent source into a base or peak power supplier. However this is quite difficult as

Currently, hydroelectric dams utilise pump storage, which is the most common method of storing energy produced by an intermittent source. These take advantage of spikes in power supply or drops in demand to pump water from a lower elevation reservoir into an upper elevation reservoir to create what is essentially a large battery. The stored water can later be dropped through gates to generate electricity, reducing the amount of fossil fuels that need to be burnt.

Similarly, there are promising innovations utilising lithium batteries; the same electricity storage found in our phones and laptops. The Tesla Solar roof plus Powerwall combo is a beautifully integrated system that generates electricity using solar panels on the roof of your home, and stores it in a wall mounted battery. This allows the owner to power their house or charge their electric car whenever they want. This same concept is being used in solar farms with larger, grid-scale batteries. Previously, the challenge was the cost and efficiency of the lithium batteries, however the recent boom in the electric car industry has led to economies of scale forming, making these batteries cheaper to produce. Tesla’s pioneering system empowers the people by giving us greater control of how we choose to use

Hydroelectric dam in operation

Business & Science — 37

Solar power tower

electricity, allowing for a smoother transition towards complete reliance on renewable energy.

Concentrated solar power is a surprisingly basic technology, making it all the more surprising that it hasn’t taken off in Australia. A promising branch of this technology, involves using a vast field of mirrors to direct the sun’s light to a point in a central tower. The top of the tower is filled with molten salt that heats to about 550 degrees before being sent to a heat exchanger. The heat from the molten salt is either used to evaporate water and turn a steam turbine to generate power, or stored in an insulated tank. This tank of molten salt is the most important part of the process as it is effectively a huge battery, storing enough heat energy to operate a plant at full capacity for 15 hours. This means you can heat the salt during the day and run the plant at night. This essentially turns solar energy into a base load provider, making it more reliable, and further diminishing the need for fossil fuels.

These towers have been constructed in countries such as Spain, the United States, and Morocco. The main requirements are lots of flat space, heaps of mirrors, and mostly sunny conditions. Australia undoubtedly meets these requirements, and the benefits are boundless: clean electricity, job creation, and a cheap, long-term source of power.

The takeaway from all this is straightforward.

Engineering innovations mean that harnessing and storing renewable energies is not only technologically feasible, but also an economic opportunity. Australia is not capitalising on this, and most of us know what the dire long-term consequences may be. While Edison and Westinghouse sought to power the United States’ electricity grids with fossil fuels, it’s unlikely they imagined we’d still be using similar, polluting methods close to 150 years later.

Art — Mia Tran

Socio-Cultural — 39

No Straight Lines Bryce Craig

It was a fateful night in my Chippendale shoebox room when I made the most courageous decision a questioning straight boy in 2016 could dare make: changing his Tinder preferences. With a nervous swipe of the thumb I was now interested ‘in both’. For a while I enjoyed the best (read: algorithmically selected) men that a 5km radius could offer until, frightened by the idea of bumping into someone I knew, I quickly switched back to straight boy Tinder and went to bed. While my account switched back, I never did.

In the days that followed I stopped kidding myself and began to search just for guys — I was hooked. I’m talking adolescent level, immature, giddy, glued-to-my-phone hooked. The panic I had about being ‘caught’ was soon overshadowed by this obsession and a growing sense of ‘fuck-it, too late’. Even though I was playing in a virtual environment at this point (a pretty tame one I’ll add) something about it just felt so right.

There was still part of me however that was scared of what this could mean. Maybe I didn’t want to lose the privilege that heterosexuality afforded me as an already societally advantaged middle-class white man in Sydney.

Listening to the vitriol spat from the mouths Bernadi and Christianson in the height of the plebiscite debate confronted me with a pre-emptive taste of what it could feel like just a smidge to the left of privilege. I was clawing on to 19 years of being ‘straight’.

You see, I never felt ‘in-the-closet’. Clearly I wasn’t straight, but I wasn’t trapped either. My childhood and adolescence was spent happily chasing girls and enjoying the revelry of being young, dumb, and doing it For Da Boiz. From the fabled friends with benefits to girlfriends and young romance, all signs pointed to the picketed fences of heterosexuality. That said, I can’t say there weren’t signs.

If I’m being honest, my 24-month subscription to Men’s

Health probably had more to do with the eye-candy than the fitness tips — and part of me has always vibed on that. The side of me whose eyes lingered too long on packets of Bonds undies at Woolworths; the part of me who’d find TV spirit animals in the Maxxies of Skins and Justins of Ugly Betty.

Even though I had the physical attraction for as long as I can remember, it was easy to watch from the sidelines.

Looking is private; window-shopping is safe. I told myself I was only an admirer — objectively curious and envious of their physique. After all, you can be straight and still appreciate an attractive guy, right? Right.

But mere appreciation doesn’t enamour, immobilise, widen eyes, and rip at your chest. Appreciation doesn’t turn to daydreamt images of sharing beers and nights together. Appreciation was my homemade confection for what was always a primal attraction.

So as time edged me closer to greeting these innate desires, my ‘straightness’ started dying along the way.

In line with our generations’ obsession with numerated content, Kubler-Ross’ ‘Five Stages of Grief’ could track this process. Denial of an idea proposed to me years earlier by a close friend. Anger that bashed brick and took skin from my knuckles during drunken wrestles with reality.

Bargaining my way through that guise of appreciation and a short-lived period of porqué no los dos. A black dog who incessantly told me that I was destined to experience loveless companionship since I wasn’t capable of passion.

Thankfully, my arrival at acceptance was also a welcome arrival at clarification. My loss was my gain.

While still harbouring my secret, I began wading the waters. A nervous bus-ride took me to a first date at the Glenmore where I wore this new skin for the first time. Waiting at the bar, I was thirteen again with giddy anticipation, about to share drinks with a fleeting crush.

Being surrounded by loud music and strangers gave me

Art — Georgette Stefoulis | @georgettestef

40 — Socio-Cultural

— a still very much closeted guy — a chance to open up in anonymity. The novelty I met on arrival gave way to familiarity by the end of the night.

The 2016 SRC elections conveniently coincided with a busy week in my date game. Beer-bellied hangovers and an uneasy stomach from crab burgers made harassing reluctant student voters and debating what ‘actual diversity’ meant a bit more painful, yet didn’t stop me from charging on the next night.

Persistence paid off in what I can truly describe as first love. In a zero-to-one-hundred twist, I met my boyfriend and best friend. I could dedicate an entire, poorly-worded anthology of poems detailing how he makes me feel, how his smile makes my heart hurt, and how his green eyes see into me as no one else has. I’ll spare you the happy sap though and just say this: He’s changed my life.

These experiences gave me the affirmation I needed to finally come out to the person I respect most: Mum. Sharing fish and chips in grim weather down the coast, I uttered the ominous line, “I need to tell you something.”

I spent what felt like hours laughing nervously, untiI just said it: “I’ve started dating men.” In response, immediate, relentless and unceasing love and support, liberating conversation, and tears. She would later tell me that in those minutes of hesitation she prepared to hear of a surprise pregnancy. I guess she won’t have to worry about that now.

Over the next few months came the thrilling yet piecemeal process of coming out. For the most part, the perception of my friends and family was that I was exclusively hetero. So instead of confirming a widely held suspicion, I was introducing change. Early this year I sat on a Cambodian beach, scrawling on notepaper a list of the people I would speak with when ready. Having kept things largely private meant that I was always the deliverer of this news, which gifted me some beautiful moments with those I love.

But then I was back to square one with my pre-outing anxiety, since I’m one of few people I know who can say his best mate is a Mormon. And while I know his faith is far more modern and welcoming than its portrayals on

South Park, it is an unquestionably conservative Church with long-held views on marriage and sexual ethics.

The potential for a rift in our relationship filled me with genuine dread and saw me put it off for months. I had a pretty routine catch up and come out approach for my straight male friends by this point, but this one felt different. There was weight and finality.

When our catching up came to its natural conclusion, I turned to him and let him know why we were sitting in my car 11:48 p.m. on a Wednesday. No dramatic pause filled the gap between my words and his. No furrowed brows or wavering eyes. Instantly I was met with a cheeky smile and the epitome of young male expression: “That’s cool, man.” His support was natural, unaffected by creed. We talked for a while, I answered his questions, we laughed about it, and I dropped him home. All he wanted to know was my boyfriend’s name.

After checking off the final name, I no longer had to hide any aspect of my life or love. I am finally liberated, clarified, and myself. At times my experience has felt too good to be true, and because of this I’ve accumulated a degree of guilt. As you can see, this is not a tale of immense struggle. I acknowledge that I have enjoyed a smooth, fortunate process that can be painful, stagnate, and even deadly for others. I bleed for those whose closet has been (or remains) a dark chamber, whose coming out has been a trauma, and whose pride has been met with rejection. No one deserves ignorance and prejudice for being true to themselves.

One year ago from the time of writing this, I had just come out of my last heterosexual relationship. I finish these lines now by a dim desk lamp in my boyfriend’s room. He’s falling asleep behind me, and tomorrow I’m going to wake up next to someone I love.

There’s part of me that never expected to deviate from straight lines. There’s part of me that always knew I’d have to give this a try.

If I’m being honest, it’s taken me 20 years to be honest.

Showcase — 41

Ariana Patawaran | @arianapatawaran

Ariana Patawaran | @arianapatawaran

STORYBOARD: CULTURAL MISAPPROPRIATION Possible opening sequence (with character)*

Socio-Cultural — 47

Cultural Appropriation from an Indigenous Design Perspective Kezia Aria

At the end of 2016, Koori Design commissioned Jodie Austin and Christine Nguyen to create two videos about cultural appropriation and a designer’s responsibility from an Indigenous perspective. Vertigo chats with the two UTS Design in Animation students about their project, practice, and being more mindful with culture.

VERTIGO: Can you introduce us to your project and talk about how it came about?

JODIE AUSTIN: The project was commissioned to us by Koori Design via contacts from Jumbunna. I started the project in November. Closer to December, I suggested that another animator, Christine, come in to help — because it’s such a big job.

CHRISTINE NGUYEN: It’s an educational video to help students understand how they can properly, respectfully, and mindfully approach Aboriginal design and art that they see, and incorporate aspects of it into their own design work.

V: What is the Indigenous perspective on design practice and the process that should be followed when using Indigenous art?

JA: I think it’s pretty much acknowledging that there are practices that have been in use long before current art and design; acknowledging not only the land, but the people creating the art. People often don’t understand that some of the artwork they come across on the internet or through forums are actually someone’s work. They separate the work from the artist and don’t acknowledge the artist or the culture and history behind it because they assume it was made a long time ago. You need to get permission from the community, just like any other artist and their intellectual property, but I feel like there’s some stigma. People don’t really understand that it’s an issue we want to be acknowledged, and that it should be. This isn’t just our artwork, it’s also our tradition.

CN: It isn’t a single, standalone thing that exists within a vacuum, it’s entrenched in this history. The storytelling that happens is a part of their community, it’s part of something bigger.

V: Have either of you had any personal experiences with cultural appropriation?

JA: I actually do have a story. We had an assignment where we had to document a journey from one point in Australia to another, and a lot of people assumed they could use Indigenous artworks because it was an Australia-based assignment. So they started using a lot of these works without reference. Most of the tutors got annoyed and made them change their work, because the students didn’t have that understanding beforehand: it was artwork that was being appropriated. Now, with this video, students can go into their courses with the understanding that there is a proper way to go about this, rather than just assuming everything is okay.

CN: As a non-Indigenous woman of colour, I can understand where it’s coming from, although personally I’ve never had to experience my peers participating in blatant cultural appropriation. I think sometimes I [separate artist from artwork] as well, where you see someone’s artwork but you don’t see the artist in person, and you don’t see the community.

Because of that, you use the work stripped of its context, or without truly understanding there’s a person and a whole story behind it.

V: What are some things you’ve learnt from working on this project?

Art — Jodie Austin and Christine Nguyen

48 — Socio-Cultural

JA: That things don’t always go the way you think they will. There’s a lot you have to change and compromise.

I don’t know about [Christine] but this is the first project I’ve done outside of work for university, and to put your everything into an actual piece of work…

It’s so easy to get caught up in the planning. It’s all about just doing it and getting it out there. In class, it’s completely different — you don’t realise how much free time you’re given to have a bit of fun and experiment with your projects.

CN: In regards to the cultural aspect, we’ve had several conversations with our employer, Danièle from Koori Design, about how we can organise education differently. She talked to us about how university is structured: the way people learn, or are taught, is quite linear. Whereas, in Aboriginal methods of education, storytelling is a very big part of how they learn. So, incorporating a circular type of learning would be quite interesting — in a beneficial way.

We were talking about how Aboriginal people learn differently…

JA: Yeah! When I was growing up, I found it very difficult to concentrate in class. It took me a lot longer to actually pick up on things. Everyone would be putting their hands up, understanding, and I’d be like, “What’s going on?” Even in university, everything is very by the book and it’s a very specific way of learning, whereas a lot of Indigenous people are brought up by stories; a way of learning done through genuine and personalised connections — and that takes a bit more time. I think that’s what Danièle and Koori [Design] are trying to bring into university.

that way. I gained an understanding of how things could potentially be different, or organised differently — that’s what I’ve learnt from actually speaking to someone of Aboriginal heritage, speaking as someone who’s outside of that. In terms of the creative and designing aspect: just learning how to manage my time! [Laughs] V: The main message that we take away from your project is that responsible designers need to have a mindfulness regarding culture. What would you recommend as respectful ways to approach using Indigenous art?

JA: The main tip I can provide is: do your research!

Research a lot more and find where your sources come from.

CN: Yeah, do the referencing. The responsibility is on you. If you watch the video, [Danièle] does mention how you can respectfully appropriate the works — by asking permission from the community or person who made the art.

JA: There are a lot of Indigenous states, probably more than a hundred, within New South Wales alone.

Usually, if you look the artwork up, it will source back to the community and where that is. They suggest either finding an elder or anyone involved within the community. If, for some reason, you can’t find a source, just acknowledge that by saying it’s “unrecorded”. Even if you can’t source the work it’s not like you can’t use it, you just have to acknowledge that it did come from somewhere, and indicate that you have tried.

Interview transcript has been edited for length and clarity.

CN: I think what’s meant by ‘circular’ learning is that stories that are repeated all the time.

JA: Yeah, at different ages or stages of your life you interpret things differently, so even if it’s repeated you pick up and learn different things each time.

CN: Whereas at uni you go through something once then you move on to the next topic, so it’s linear in

Koori Design is a social media platform created to uplift and discuss the work done with the UTS School of Design in relation to working with Indigenous peoples, curricula Indigenisation and decolonisation.

To view Jodie and Christine’s two videos, head over to facebook.com/utsvertigo

Arts & Lifestyle — 49

Photo — Arnad PhotoHajdic — ???

50 — Arts & Lifestyle

Meet: Gina Karlikoff a.k.a. Kimchi Princi Amy Tong

Kimchi Princi has been described as a rapper, DJ, and an “internet artist”, but she is more than your typical musician. Collaborating closely with her sister, Danielle, Gina combines poetry, fashion, and satire to create a thrilling visual and aural experience for her audience. Using music as an avenue to explore what it means to be a millennial, Kimchi Princi is one of Australia’s most relevant artists. It’s difficult to imagine Sydney’s club scene without her.

Vertigo met up with Gina to talk about everything from her creative process, to her upbringing in Australia, and even managed to get a tip-off about UTS’ ‘secret bathroom’.

VERTIGO:

KIMCHI PRINCI:

V:

KP:

You’re frequently described as an “internet artist” who makes “internet pop”. What the fuck does this even mean? Do you feel like this label is dismissive of your work that is an honest reflection of the millennial experience?

I don’t find it dismissive at all because I understand where that label is coming from. I find that the internet is so inherent in what all of us millennials do, so of course I’m going to be talking about it a lot in my music. A lot of my work has been put out through the internet; my first major social interactions were via the internet, so I understand the label. Also with the aesthetic, all the videos I’ve created with my sister are DIY. We don’t have a huge budget or expensive cameras, so I think that makes the ‘internet look’ come about; some of our videos feature screenshots or chat screen recordings. We’re just soaking up the world around us and reflecting it in what we create.

A lot of articles have also implied that you represent millennials in your music and you’re perceived as sort of a role model. Do you feel pressured that you’re seen in this perspective at all?

Not really, I feel like it’s something that I’d love to be! It feels really good when people hit me up and say that they enjoy my work and find it so relatable. In my lyrics, I usually talk about the millennial experience, or what it’s like to be a cross-cultural Australian — or speak out to marginalised people. When that response kind of happens, it’s really flattering. It’s a sign I’m creating something meaningful and I want to create more. I’ve received a lot of support from young girls out there as well, which means a lot to me.

Arts & Lifestyle — 51

V:

In previous interviews, you’ve spoken about not being very attached to your parents, especially your mother who comes from a very conservative part of Korea. She featured in your video, Shine 4 Me, where you’re both wearing hanbok. Can you give us a bit of a rundown of that song and the process that went into creating the video?

KP:

Yeah, definitely! Well, the song was about seeing boys. I wrote it in about 10 minutes because it was so obvious to me. Our mum is really conservative, as you said, so lyrically that’s where the song came from. Every time we mentioned a guy friend, she would ask, “Are you pregnant?!” It makes sense to her but no sense to us, so I have to dodge that a lot when I’m on a night out. She’s always saying to my sister and I, “make sure you find rich husbands,” as well, so that’s how that song came about.

V: KP:

V:

How does she feel about the Kimchi Princi persona?

I mean, she doesn’t really know. But now that I’m doing shows quite often, it’s becoming more evident to her. I think she’s really proud because she just wants me to be successful in life, and I’m getting paid and people are paying attention. To be honest, she doesn’t know much about Kimchi Princi, and she’s freaked out that I’ve dropped out of uni for a bit. Now, though, I feel like I’ve come to understand a lot more about my parents and how we come from a completely different place to them.

I totally get what you mean!

KP:

Yeah, like, my mum moved to Australia from Korea when she was 36 years old. As a nun in a convent, she could only come to Australia by working really hard. Unlike her, we grew up in a society where you can have whatever you want; people can be whatever they want to be, you can just be yourself. I feel like my mum’s life was spent just trying to almost deny that way of thinking in order to be successful in the workplace.

V:

Have you been back to visit where your mother came from in Korea?

KP:

We’ve been back several times and it’s incredible and powerful. She comes from a rural part of Korea — time moves slowly and nothing really changes. As kids, we used to hate going in the summer holidays.

My sister and I would always be like, “Why aren’t we at the beach with our friends? What is this foreign place? Our cousins don’t speak English. This is the worst.” And now, I’m so regretful for that because

Photo — Arnad Hajdic

Arts & Lifestyle — 53

I’m old enough to understand how growing up in a privileged society has made me feel that way. Like growing up here, did you ever feel like you wanted to be ‘white’ and erase your ‘Asian-ness’?

V: KP: V: KP:

V:

KP:

Yeah definitely, like all the time.

Yeah, same here. I think that ideology kind of seeps into that attitude.

So then, how did this affect you growing up?

It affected me a lot, in almost every aspect of my life. You just want to erase your Asian-ness because it’s pointed out, especially amongst young kids. As a kid, you don’t want to feel foreign. I remember feeling embarrassed when my mum spoke to me in Korean, or feeling insecure about how small my eyes were and my physicality. I think I used to feel this way because you don’t see much Asian representation, or any minority for that matter. Yeah, I didn’t really enjoy being a kid that much.

If there was one thing that you could say to your younger self, what would it be?

Embrace it! Learn your mother’s language! Nowadays, I feel regretful because I didn’t understand how hard it’d be for my mum to move here, not speak the language, and raise us as kids who refused to speak Korean. So it hurts me a lot and it’s really heartbreaking. It’s hard for her to express herself in English — so when she gets angry or frustrated, I can see it but she can’t voice it.

V:

I totally understand what you’re getting at. I imagine that you’d be close with your sister, and you mentioned earlier that you collaborate together quite often. Can you tell me what that process is like?

KP:

It’s so fluid and easy. It’s probably like a dream situation, and I’m so lucky! She speaks so well visually and I speak through poetry and music, so when those two combine it’s very honest and we’re brutal with each other. She gets what I see and I get what she sees, so it’s very quick and natural most of the time.

V:

Your sister helped you shoot your music video, Internet Friend. Was the bathroom in Internet Friend, the secret bathroom at UTS?

KP:

Yes! Oh my god, it’s so good! Shout-out to UTS: Thank you — probably the most useful part of my degree thus far. We went in the holidays and

54 — Arts & Lifestyle

put a sign on the door saying, “filming for student project”, and a few teachers came in and were like, “Oh my god, so glad someone’s using this bathroom finally! It’s the best.”

V: KP:

Can you describe your experience of studying at UTS in three words.

Oh wow... Uneventful. Lacklustre. Menya Mappen. I feel like with uni, I could’ve made it the most insightful time of my life, but I just didn’t feel that way and I wasn’t inspired to do so.

V:

You’ve deferred for a while to focus on Kimchi Princi. What originally fostered your love for music?

KP:

Well, I played classical piano for my whole life until I finished high school. At the same time, I was writing a lot. I used to write poems as a kid. In music class, I would try and put poems to soft soundtracks, or get people to read poems and make little cut-ups of it. So, that fused those two together. It just came naturally. Music means a lot to me.

V: KP:

V:

KP:

V: KP:

What are the sorts of challenges you face in the music industry?

Everyone faces challenges if you’re building your act up from the ground, especially if you don’t have guidance with a manager or a booking agent. Getting deeper into the industry, you definitely face the obstacles that people usually talk about; the cut-throat nature or how people make promises that fall through.

But I guess by not having an agent or a manager, you learn how to do things for yourself and you become a stronger person, right?

Absolutely ­— so true! I also realised that if I did have someone telling me what to do, I would immediately not want that. I don’t want to take my agency for granted or anything, but autonomy is the best.

One final question, who is Gina and who is Kimchi Princi?

Oh god, that’s hard. They’re definitely one and the same. I don’t know what to say because I feel it’s all the same to me. There aren’t any limitations. I can’t think of a situation where I’ve been like, “Oh, that’s Gina!” or, “Oh, that’s Kimchi!” This is the first time where I’ve done stuff publicly in terms of work and life, and I’m working really hard as Kimchi Princi. I’ve been pushed around a lot as Kimchi — it’s made me more cynical, but I’ve learnt a lot and have become a stronger person.

Interview transcript has been edited for length and clarity.

Arts & Lifestyle — 55

Gardening: A Withering Pastime Kaitlyn Hudson-O’Farrell

A well-manicured lawn, not a blade of grass out of place.

Rows of brightly coloured flowers, carefully cultivated petals drawing envious glances from whatshername down the road. Such is the historic picture of suburban bliss partnered with the white-picket fence, 2.5 children, and a dog named Rover.

Gardening has long been a part of our lifestyle — like a Bunnings sausage sizzle or backyard cricket. It’s Australian, and the typical weekend consisted of digging lawnmowers, hedge-trimmers, and secateurs out of the spider-infested garden shed. But now blocks of land are smaller, work hours are longer, and the cost of living higher — garden tools spend more time serving as hiding places for eight-legged terrors.

It’s a real shame we’ve let things get overgrown.

Gardening has an array of mental and physical health benefits that are just waiting to be reaped. Feeling a little stressed out? A sprout of gardening might just do the trick. A Dutch study conducted for the Journal of Health Psychology in 2011 revealed that gardening for 30 minutes can help lower anxiety and combat depression. After completing a stressful task, two separate groups taking part in the study about stress and gardening were split, with one group reading indoors while the other gardened. Those who gardened proved to have significantly lower levels of cortisol than their counterparts. Cortisol, also known as ‘the stress hormone’, is linked to a variety of health issues including heart disease, obesity, and slow metabolism. The gardening group also had substantially higher feelings of satisfaction and overall better mood. So planting that Baby’s Breath might help you breathe just a little easier.

There really is something in the soil. A ‘friendly’ bacteria, Mycobacterium Vaccae, naturally found in dirt has been scientifically proven to fight depression. The bacteria increases serotonin levels within the brain, acting similarly to antidepressants. Vaccae also helps

with the release of dopamine, a feel-good hormone, leaving gardeners with nothing but sunshiny vibes.

Exposure to all that dirt and green stuff can naturally boost your immune system too; backyards are bursting with harmless microbes that we inhale and touch. By gardening, your body can become more biodiverse, strengthening your immunity further. Now that’s worth a (green) thumbs up.

Gardening is also an excellent form of exercise, letting you sweat it out as you plant some sweet peas. Tasks in the garden take muscle strength and burn calories, and all your major muscle groups — the legs, butt, arms, shoulders, neck and abs — are worked. Things like raking, lifting bags of mulch, and shovelling provide good resistance, while bending down or stretching up to prune plants can be exerting, without the jarring or stress caused by conventional exercise. Just three hours of gardening can equal one at the gym. Gardening is also known to decrease blood pressure and cholesterol levels, strengthen joints, and increase flexibility, as well as lower the risk of diabetes and osteoporosis. Cultivating that veggie patch means you’re actually more conscious of sticking to a healthy diet, when the fruits of your gardening success are so easy to come by!

Some plants themselves can also have their own unique health benefits. Lavender can help to calm anxiety and soothe itchy skin. Tea tree oil treats infections and head lice, while dandelions stimulate healthy kidney function.

Herbs and spices such as sage, fennel, basil and thyme also have various healing properties. You can tend to your garden, and your garden can tend to you.

So turn over a new leaf. Bust out the gardening gloves. Buy a pot plant for your balcony. Go prune the bedraggled looking Agapanthus near the fence, or get involved in a community garden. One thing’s for sure with gardening: the mental and physical benefits you reap are worth what you sow.

56 — Arts & Lifestyle

Dinner with Dian: Bala Bala Serves 4 | Preparation time – 30 minutes

Dian Aria is the mother of Kezia Aria, our Vertigo meme queen and Socio-Cultural Editor. If VertigoTV had a talk show, Dian would be our Oprah.

Ingredients: - 200g flour - 100g rice flour - 100g cabbage leaves — finely sliced - 100g carrot — finely sliced - 100g beansprouts - 1 egg - Water - Cooking oil Seasoning: - 4 red onions — ground - 2 cloves of garlic — ground - ½ tablespoon salt - ½ teaspoon pepper - ½ teaspoon chicken bouillon powder OR vegetarian stock powder (Vegeta) - ½ teaspoon baking soda - ½ teaspoon coriander powder How to: - Mix all ingredients and seasoning (except water and cooking oil).

- Add water incrementally, if needed, until mixture is thick (think the consistency of bread dough).

- Heat oil in a pan and shallow fry approximately one tablespoon of mixture.

- Season to your liking.

- Serve warm.

- Serving suggestions: Serve with sweet chilli sauce, chilli sauce or fresh chilli.

Mix it up: - Meat-lovers — Add prawn or chicken in first step.

Art — Vanessa Papastavros | vanscribbles.tumblr.com

Showcase — 57

Xi’an | 西安 Shanni Sun | @shannisun It had been six years since my last visit to my hometown in Xi’an, China. My grandma’s small flat and limited internet connection ushered me outdoors — to explore and observe the lives that were passing by. Armed with an analogue film camera and (some) sense of adulthood, I discovered a newfound appreciation for the quiet comforts of this humble city.

Behind the tourist attractions of the Terracotta Warriors and busy city department stores existed a hidden mundanity of local life; perpetual days of smog, $1 tofu puddings, pick-up trucks selling produce, and homemade dumplings. Each photo is a tiny branch of this map in my head; a memory, a location, a story of a place that has shaped my identity.

Business & Science — 65

Seeds of Doomsday Elliot Vella

CW: reference to gambling

With humanity doing its utmost to cannonball every life form on earth into the sea of extinction, there are a few groups preparing for “the worst”; the moment where millions of people die from starvation, the moment where countless others are displaced and forced to move across the world to survive, the moment where the people of the North Shore question why the veggies at their local Woolies aren’t on special like they normally are. You know — “the worst”.

While many are trying desperately to stop the boulder of climate change as it rolls down an ever-steepening hill, some have shrugged their shoulders, checked the odds at the local TAB, and buckled down for the apocalypse.

One such group is Crop Trust. Founded in 2004, Crop Trust is dedicated to preserving the varieties of seeds still existing before disease, pesticides, selective breeding, and unforgiving weather patterns wipe them out for good. Their fears aren’t groundless — in 1903 there were more than 500 varieties of cabbage, 400 of peas, and 285 of cucumbers; by 1983, there were only 28 varieties of cabbage, 25 of peas, and 16 of cucumbers. Like anything with a genetic makeup, each type has its own strengths, weaknesses, and immunities when it comes to pathogens, so the less varieties there are, the greater chance a single genetic weakness could have devastating effects. Crop Trust, unlike most people, took this information very seriously and built something just as serious to match: a huge concrete bunker that delves 120 metres into the side of a mountain, on a desolate, freezing island, in the middle of the Arctic. Evidently, they’re not here to fuck spiders.

Averagely titled the ‘Svalbard Global Seed Vault’ (or nicknamed ‘The Doomsday Vault’ by the media, which is a lot more exciting), the structure is a testament to modern technology, architecture, and ingenuity. The ominous Arctic location has a few reasons behind it. Firstly, low tectonic activity ensures that earthquakes and tremors won’t collapse the vault. Secondly, on the likely chance the ice caps melt, the seeds will remain dry, as they are safely 130 metres above sea level. Lastly, and perhaps most importantly, the local permafrost aids in persevering the seeds in the event of a power outage, as the natural temperature will keep the seeds cooled long enough for the issue to be resolved.

Architecturally, it is simple but effective. A lone tunnel leads down a long hallway and connects to three different offshoots, each of these capable of storing hundreds of millions of seeds, with a total vault capacity of 2.25 billion. While there are

66 — Business & Science

many other seed vaults in the world, Svalbard takes the gold, silver, bronze, and participation award for size. Only half of one of its three offshoots needs to be filled to hold the world’s largest collection of seeds.

Undeniably, Crop Trust are well on their way to filling up all the chambers, however a recent and unexpected withdrawal from the vault dropped the seed count for the first time in its history. This wasn’t because of some doomsday scare like the media insinuated — it was a result of the war in Syria. Several scientists were forced to leave their laboratory, where they were performing tests on wheat in the area, and relocate to Lebanon and Morocco where seeds from the vault were used. These seeds enabled the scientists to continue their research on strains of drought and heat resistance wheat, with the goal to learn more about their development in order to potentially share this gene with other species. This was the first true test the vault has undergone since opening in 2008, and by all accounts it seems to have been successful. It is however, still yet to prove itself against other equally likely apocalyptic scenarios, such as the rapture, zombies, or Dev Patel’s sheer radiance becoming too much for the world.

Even still, the scenario in Syria has proven the effectiveness of the Svalbard Vault, where scientific processes can now reliably relocate entire seed species in the wake of catastrophes. It also provides a bit of comfort in a world filled with fear mongering, denial, and extinction, and hints that maybe, just maybe, humanity can get its shit together, pull a Hail Mary, and get out of this ever-looming environmental meltdown that’s just around the corner. Probably not, though.

Art — Mia Tran

UTS STUDENTS’ ASSOCIATION’S

Brekkie Bar s t n e d u t S r o F e i k k e r B ree

F

Tuesdays, 8:30 - 11:00 AM Haymarkets Moot Courtyard Wednesdays, 8:30 - 11:00 AM Tower Building Foyer

utsstudentsassociation.org.au

68 — Creative Writing

Fabric Andrea Kovacic

Not far from the motion-sick sea that quakes heavily at night. Atop the curling breeze that carries acacia and grass gems… here:

You can spread the blanket out. Place the juice on her gingham gown. Open up a tin-can crown, spilling violet beetroot now. Mix the moment with a smile. You say, ‘Small cuts hurt awhile.’ Watch the coastals ride the foam, slowing like a metronome. You can float, your hair out wide. Follow the ebb of the struggling tide. Take us all the way to Kakadu. (anything you want to do) Cause all of the gulls to break. Catch their feathers like it’s fate. Ride a carriage to the fete. Butterflies and face paint. Open up your chrysalis. We cross that off your bucket list. But this set is hit and miss; the stereos are fried. Why, I can be your thoughtless tune. (anything you want to do) We can fall down the wishing well. Collect coins from the eighties. Speak the stories you’d never tell. Check into the Grand Hotel. March the floors and ring the bells. Have a party in the backstreet. Leave before the doorman sees.

We can hike every avenue. (anything you want to do) Runaway from city blocks. Catch the 343 to Snake Rocks.

Wild flowers in your locks. Careful, with your feet so bare. Here’s a cave that we can share. Water pooling everywhere. Look, like loons, for sinking stars. Try to see past the lightning blooms. You talk about an unending day, painted the colours of Rosé. Buy another round of Sane. Walk with blisters back again. If you want, we can find another moon. (anything you want to do)

You can steal a slide trombone. Play it through the twilight zones. I can be your confidant. Leave a note with no alarms. Fit the chorus with a dance. Take a curtsy, make demands. Chat with strangers in the dark; Bohemians with little luck. Enter into the mild skies.

Make daisy chains before goodbyes. Follow the bees before the sunlight’s Lune. (anything you want to do) We can buy a birthday cake. Eat it in the rain. You can doze in the passenger seat on the way to the rodeo. Swing to the piano beat. Lilacs ‘round the twilight fleet. You can whistle with the birds. Fake a sudden earthquake. Laugh into the twilight haze. Go seek the cliché maze. Right or left down leafy lanes. You can play till the afternoon.

(anything you want to do) You can be a daytime ghost. Haunt the forest of blue oaks. Never wake from your daydreams. Blushing clouds and lotus springs. Sit under the Bodhi tree. Whisper secrets to the sea. We can open the windowpanes; let all of the petals in. Watch the canary croon in cartoons. You can play this on a loop. (anything you want to do) We can create new land maps. I can hold up the telescope. Take me where you want to go. Find the beauty in the wastes; cactus buds and silent grace. We can take a real slow pace; pick gold lilies next to the lake. You can ride a brumby pony, if he’s willing to participate. I can lead both of you home through the gloom. (anything you want to do) You can stretch the bed sheet out. Tomb your head in pillow-down. Cast away in the wash of night. Have a vision of a greenhouse room; vines overgrown into a temple just for you. Castles rooted in the earth; swim within the beds of Cosmos. And we can rendezvous, on the wooden platoon with the lakeside view. (anytime you want me to, anything you want to do)

Socio-Cultural — 69

I Did Not Want the Tea CW: r*pe

You wouldn’t force someone who doesn’t want tea to drink the tea.

Not even if it’s your significant other.

It took me six months to wake up to it. Don’t get me wrong, I knew the concept back to front. My best friends and I even laughed at the tea video that went viral on Facebook.

“How could anyone not understand that?” We would casually ask each other, shrugging it off as an extreme case of ignorance.

In fact, I’m sitting here drinking a cup of tea — chamomile, it’s good for relaxation. It would be ludicrous if I took this hot tea to my neighbour, cornered them, and said they couldn’t leave their room until they drank the tea. I’d be the obsessive eccentric tea lady!

But what if I told you that it happened to me? Not with tea, but with sex.

Growing up, I had always associated rape with some dimly lit back alley and a drunken girl being taken advantage of by a total stranger. It was a scary thought, yet so far removed from my world: the safe Sydney bubble of socially aware, university-educated peers. I was convinced I, myself, would never be raped.

In 2012, the ABS stated that 1 in 6 Australian women experience physical or sexual violence from their current or former partner.

My perpetrator was someone extremely close to me. He was my long-term boyfriend of two years, and my best friend — someone I trusted with my life. But I’m not here to flesh out exactly what happened, or to paint my now ex-boyfriend as a violent person. I want to unfold how I felt in the aftermath — the most confusing time of my life.

After it happened, I didn’t walk out in a rage and throw wine in his face — nothing like the dramatics of a soap opera. We were at a house party, and just like every other house party, we both kicked on to the afters and then went home together in the darkest hours of the morning. Exactly like we’ve always done.

I was upset and angry, of course, and we talked about it the next day. He tried to explain, even push some of the blame onto me; because I was always such a tease, because we had sex often. But in this instance, I was going to the bathroom to pee (something so unsexy), he followed me in, and then…

Even if I have tea every day, it’s totally okay to not want to drink it one particular night.

He apologised, promised to never do it again, and I sulked for a couple of weeks, but

70 — Socio-Cultural

that was it. We didn’t break up. We were both stuck in this dream-state, unable (read: unwilling) to wake up to what really happened, and the significant, irrepressible emotional consequences.

The confusing part is, I knew exactly what rape was. Being a curious journalist in constant engagement with the news, social media, and the world around me — I’ve heard it all. “No one is entitled to your body” … “No means no” … “Active consent”, and all that good stuff.

But why was I unable to apply these principles to my own life? For the next six months, he was the loving boyfriend I always knew — he wasn’t violent, and in arguments I was always the one to raise my voice.

So, I found myself stuck and bewildered. The fact that someone so close to me could be capable of causing me so much pain meant that, as a result of that confusion, I began to resent our relationship. Not because he had changed as a person, but because I had changed my perspective on ‘us’.

Being just ‘my boyfriend’ wasn’t sufficient anymore; he had to go above and beyond. I wanted grand gestures; “I’m sorry” flowers sent to my door, skywriting dedicated to me, spontaneous road trips. The balance of effort and expectations between us had tipped.

I felt he owed me the world, and yet nothing he could do to make it up to me would be enough. In reality, these hopeless romantic gestures didn’t happen, and I questioned his ability to make me happy and content within our relationship.

In an attempt to amend my growing resentment, my New Year’s resolution for 2017 was “appreciation over expectation”. During arguments, I would replay our happy memories in my head, listing all his good virtues, and at the start that seemed enough. However, time went by, I started losing trust in him and my little mantra disappeared with it. I didn’t trust him around alcohol. I hated it when he was drunk, and hated being around him when he was in that state.

Our relationship began to rot, from the inside out. It was a slow and agonising realisation: that all the crucial pillars of a successful relationship were crumbling faster than we — or I — could control. Six months later, I was no longer stuck in the purgatory of dreaming. In fact, both of us startled awake, as he realised the complexity and seriousness of the issue. We went through an amicable break up, and although I hate that the incident happened, I’m not broken by it.

I never fit the ‘rape victim’ character trope that dominates pop culture and crime shows; cowering in the corner of a room, watching rain slip down windows, and crying myself to sleep. In fact, at the time of writing, I’m on exchange halfway around the world and loving life. I’m taking back my sexual control after learning the hard way. I will have sex with whoever I want, whenever I want. And take it from me, it is so liberating to do everything on your own terms. Just make sure you understand consent — perhaps the tea video isn’t such a silly idea after all.

If you or someone you know is experiencing, or has experienced sexual abuse, you can call or refer the person to the following confidential hotlines.

General — 1800 737 732 | Counselling — 1800 211 028 | Crisis Centre — 1800 424 017

Showcase — 71

Janey Li

Janey Li | @jane.ey

Janey Li | @jane.ey

Socio-Cultural — 75

A collaboration between Ella Cutler & Ali Chalmers Braithewaite

This project started with a question: How different would I have been as a young LBPQ identifying woman if I had adequate positive representation? (LBPQ stands for Lesbian, Bisexual, Pansexual, Queer, and the term is used as a transgender and cisgender inclusive term to identify women who love women.)

My answer was astoundingly moving; my childhood and my relationships with other girls would have been completely different.

What resulted was ‘It’s OK’, a generative archive of young women’s stories, advice, and recollections relating to their experiences as a LBPQ identifying person. Each story is unique, talking about experiences like coming out, representation, and navigating sexual attraction when you have no one else to help you. All these stories are important, they can help shift the way young LBPQ women navigate and understand their experiences, and empower them to help others through sharing their own.

While I would love to feature every single one of the stories from the anthology, I have chosen only two, as both poignantly demonstrate how difficult finding representation and navigating same gender attraction can be.

76 — Socio-Cultural

I say narrative because a single image isn’t enough. for a long time my ideal relationship was one picture. … I can’t base an entire life around a single image.

I wish someone had shown me what a healthy relationship between two women looked like when I was growing up. With a guy I can go off TV — the script every girl has been practically force fed since birth. (At least until it starts getting serious anyway.) With a girl I’m acting without a script from day one. I freeze up, I panic, I back away. I go hot and cold. I don’t know what’s expected of me.

It feels stupid because it seems like it should be so obvious — just do what everyone else does, the rest will come naturally. But somehow it doesn’t. I take a risk and suddenly I’m flailing in open water, literally no idea what to do. Turns out relationships are actually something you have to learn. Something you have to actually be able to picture yourself in, to have something to work towards.

I am trying to create for myself a narrative of a healthy relationship between two women. Sometimes I have flashes of inspiration: I can see it, I can see myself, there in the lounge room with my girlfriend and I know what I’m doing, I know how to act. Even better — I’m not acting, I’m just being.

I say narrative because a single image isn’t enough. For a long time my ideal relationship was one picture. I saw it on Tumblr: two girls lying fully clothed but obviously intimately, lovingly, in the sun. I can’t base an entire life around a single image.

Art — Ali Chalmers Braithewaite | @resculpted

78 — Socio-Cultural

To feel the same desire for other girls was the opposite: abnormal, unhealthy, a sign of perversion.

The first time I felt the tingling feeling of desire for another person, that person was a female classmate, Z. I was eight years old and I felt it churning in my stomach like shame. I could only stare at my own feet.

The next time I felt that feeling, it was for a boy, A. I was nine years old, and this seemed more right. I felt lightheaded, dizzy. It was pointed out to me that he looked a lot like Z. The dizziness disappeared. I had a headache.

Every boy from school that I felt that feeling for across the next 10 years made my blood rush, made my heart flutter, made my mind spark. Every one of them looked like Z, and every time it was drawn to my attention, my blood felt uncomfortably hot, my heart became heavy, my mind went dark.

When I was 17, I started having dreams about other women. I would awake in a panicked sweat, short of breath, feeling too big for my bed.

Everything I saw in the world told me that to feel desire for boys was normal, healthy, and a sign of my development.

I should feel good about this. To feel the same desire for other girls was the opposite: abnormal, unhealthy, a sign of perversion. I should feel bad about this. The thing is, I really did. I felt it in my body.

I couldn’t begin to accept or understand that these feelings were mine, that they meant something to my identity,

until I was almost 21 years old. More than 10 years had passed in confusion and pain every time that desire arose.

It isn’t a coincidence that I developed problems with food in the months that followed. I punished my body for this feeling, amongst others.

Desire, like hunger, is a bodily feeling. Where sexuality is concerned, it is focused on other bodies. If society treated queerness like it does straightness, a queer kid like me wouldn’t learn to resent their own body and the feelings inside it. The statistics show that I am not unique to have spent so much time punishing my body for every queer transgression. Conversely, every opposite-sex feeling I have ever had was a bodily pleasure, reinforced by social sexualisation and mainstream media. I am now 24, and I have only begun to feel a like pleasure in my desire for women over the last few years as I have begun to accept and love my queerness. If I shouldn’t be punished for nurturing my body with food, I shouldn’t be punished for nurturing my body with love. I wish I had known it sooner.

...

This project doesn’t begin and end in this article. It is an ongoing and living thing that I hope to grow and make available to others.

As a result, submissions to the project are always welcome and all writing is published anonymously as your safety is of the utmost importance to us.

You can submit online through the site: itsokproject.tumblr.com/ Or view the rest of the project here: cargocollective.com/itsok/

Creative Writing — 79

Love & Sweet Waters Mariela PT

In a world where I would have more time for my hydrangeas; where my mind didn’t always spin so far out of control. In a world where I could wake up every morning next to her, sunlight flipping through the pale yellow curtains. Where we could own a house together: a villa in the south of Italy or of Spain or somewhere in suburbia — a place that knew our names and respected our softness. Getting up early to put the bread in the oven, feed the chickens, collect the honey, go for a run, wash outside in the cool morning air, and fold myself back under the warm cream blanket and in between her brown limbs. Somewhere I can kiss her in the morning while making her breakfast and where I can kiss her outside in the middle of a gravel track, in the middle of the village centre. We don’t have to be ashamed.

The fresh bread sits hot on the table; summer stone fruit hangs lush and ripe on the trees in our orchard. We’re holding hands, picking them together, making jam to sell, to lick off our fingers, to spread on our bread. This is a world where our hydrangeas never die because in this world we never forget to water them. Every patch of dirt a different acidity and all our hydrangeas are different hues: the blue of my eyes on her body, the pink of her lips at midnight — stained with wine, the purple of the sprig of lavender I tuck behind her ear before it loses itself in the bubbly ocean of her hair.

We pick figs for our neighbours and use the ones close to rotting as the stickiest, sweetest lube. I love her with her fingers in my mouth and I love her when she’s pulling up the weeds. In a world where her voice with mine is the most tender sound of heaven. We are safe and we are soft. In a world where our cathedral is the grove of trees behind our house and our god is of the earth and of the sky and our saints are holy and caring, we are not objects of sin and our love is not a lie nor blasphemous, We are pure.

We are loved.

We are light.

80 — Showcase

Herbivore Mia Tran

My sister and I are best friends. We share parents, similar interests, an apartment, and most importantly, the same undying love for fried chicken. At least, we used to.

See, my sister’s older, with a full-time job and proper adult responsibilities. And I’m a uni student. Even though we live together, we may as well be in different countries; operating in different time zones, overlapping briefly in the morning as we both get ready to face our respective worlds.

Food was meat; burgers, steaks, Korean BBQ, Hot Star, Halal Snack Packs — you name it, we ate it. But it was also more than something we half chewed in front of a buffering icon on the screen. Food was a promise to sit down and hang out with each other. A pocket of time where we synchronised our watches. And then one day, she hiked up a mountain, meditated, and became a vegetarian.

Showcase — 81

She told me over hot pot as a raw piece of beef hung lazily out of my ladle. I laughed so hard I dropped it and watched the swirling soup swallow it whole. But this was no joke. At first I was shocked, confused. This came out of nowhere! I mean, I had noticed that she was busier and more stressed than usual but I still had so many questions: What exactly did she learn during meditation? Did she really find peace? A way to release her stress? And how does this have anything to do with being a vegetarian?

I couldn’t help but feel betrayed. Gone were the days of us hunched over a bucket of chicken wings with greasy fingers. It felt like our promise had been broken.

As time passed, my confusion turned into curiosity. I still don’t really get it but as long as it makes her happy, I’m nothing but a supportive sibling. Because who knows? There could be many delicious pretty plants out there waiting for me. Each one a shiny new promise.

Art — Mia Tran

82 — Students’ Association Reports

Students’ Association Reports

President’s Report — Beatrice Tan Since Volume One, it’s been non-stop. There are times where I’ve wanted to erase myself from the narrative, but then I remember I’m the president and there’s a million things I haven’t done.

Like flowers in the spring, the campus has once again blossomed with life. Since the last volume, the Students’ Association (SA) has overseen O’Day, a few SRC meetings, as well as the training for members of the association.

I want to congratulate the association on a successful O’Day. People enjoyed the slushies, the photo booth, and our various giveaways. I would especially like to thank Norma (Education Vice President) and Chrissy (General Councilor) for going above and beyond in helping me get the bags ready. Let’s raise a glass to freedom because there’s only Re-O’Day left. I’d like to raise a glass to the three of us; hopefully next time there’ll be more to help out.

We gave away movie vouchers (thank you to Stephanie, the UTSSA Marketing Director, for arranging this), bottles, jelly beans, Keep Cups, USBs, safe sex kits, fans, and stress balls, in addition to the 2017 UTS Students’ Association Handbook in our bags. They proved extremely popular, with students specifically seeking them out. I would again like to congratulate Norma for a job brilliantly done with the handbooks; it was not only aesthetically pleasing, but also offered plenty of information about the university that hadn’t been featured in previous years. I would also like to thank the 2016 Vertigo team for their help in editing the handbooks. They have flown off the shelves and we are in the process of ordering some more.

In addition to O’Day, we’ve had a few SRC meetings of the general and executive council. I am glad to announce

that they are not as explosive as the cabinet battles between Thomas Jefferson and Alexander Hamilton, though they are no less dramatic. It’s been great to be in the room where it happens and where the decisions are made. We are planning on introducing the Night Owl Noodle Bar to the Haymarket Campus, and are working in conjunction with a few societies to get the Textbook Equity Loan Scheme up and running.

A major priority for the association is the training up of the team. Last month we had first aid training. So, if there’s no doctor on site, it’s all right — the Collective Convenors and some councilors are qualified first-aiders.

I have organised UTS Emergency Procedures training with UTS security and am in the process of organising Sex and Ethics Training, as well as Mental Health First Aid Training with Equity and Diversity.

I’d like to dedicate this to the union and the hope that we provide. To UTS students, I promise we’ll fight until the war is won and the war’s not done. I’m dedicating every day to you; we’ll bleed and fight for you, we’ll make it right for you.

Your obedient servant, B. Tan Contact: president@utsstudentsassociation.org

Treasurer’s Report — Lachlan Barker The semester is starting to come into bloom — with people returning from overseas and the office now able to be traversed in the wake of O’Day, I’m excited for the academic year and our plans to properly take off.

O’Day was a great success and we powered through handing out the kits. A few take-aways from where I was standing:

Students’ Association Reports — 83

– The SA tote bags were packed in plenty of time for O’Day itself, so a big thank you to the exec team and co is deserved. Even into the afternoon, people were keen to grab the kits and all they had inside.

– More hands on deck! Thank you to everyone who participated and obviously it’s understandable that O’Day is a day of juggling commitments, but some collectives were strapped for people. That being said, we had a fantastic sign-up rate compared to past years, so to see us growing so successfully from last year’s seedlings is exciting.

– Good, rostered coordination. Having an established roster for when people are planning to take breaks and setting out everyone’s roles before the day could allow for smoother transfer of materials to and from the office.

I’ll be compiling the list of internal payments that have been processed by the SRC for the next council meeting. A shift in the way petty payments are processed has meant my superficial roles have lessened, but I’m looking forward to negotiating further with the constitutional reform team on how to better divvy up responsibilities.

young people. The only way to effectively fight these attacks on workers and students is to join your union and encourage your friends and co-workers to do the same. To find out which union represents your workplace go to: australianunions.org.au/join.

Unions are most effective when we all join together to protect our wages and conditions. In the meantime, the UTSSA office on level three of Building 1 can help connect you with services that provide financial assistance. If you need extra cash, UTS offers interest-free loans up to $500 through the UTS short-term loan scheme. The UTSSA also provides free breakfast at the Bluebird Brekkie Bar on Tuesday and Wednesday mornings, and free dinner on Thursday nights from 7:30 p.m. Our offices can also help you access equipment required for your degree.

The UTSSA also has Centrelink forms and provides free confidential legal advice. Details for all our services can be found at utsstudentsassociation.org.au. If you no longer wish to continue with subjects you have enrolled in, the date to withdraw without financial or academic penalty is 10 April. Lastly, the next meeting of the UTSSA SRC will be announced on our Facebook page, and all students are welcome to attend and support the work of the SA on campus.

Contact: treasurer@utsstudentsassociation.org

Contact: secretary@utsstudentsassociation.org

Secretary’s Report — Luke Chapman This is an expensive time for many students with the cost of textbooks and course materials being added to the already high costs of living. For students who work in retail, hospitality, and fast-food, covering these costs will become harder after the Fair Work Commission announced cuts to penalty rates for Sunday workers. As someone who has relied on weekend retail work to cover my study costs, I am dismayed as such cuts will disproportionately impact

Assistant Secretary’s Report — James Wilson O’Day has just happened and you’re no doubt champing at the bit to get into your class and do something that will help build your future career.

FUN WORK! EXCITING ASSIGNMENTS! DEADLINES! WOOT! Yeah, no. But university is a prime opportunity to shed the skin of your previous life and become something new — to re-create and reshape your persona into

84 — Students’ Association Reports

something new and different. To bloom, as it were.

But university can sometimes be a rocky road; filled with nuts, nougat, and marshmallow, and while that may sound tasty, the reality can often prove otherwise. The UTS Students’ Association is dedicated to ensuring that your potential bloom doesn’t become gloom. Or evolve into Vileplume.

Your time at university should be one of joy, wonderment, and deferred HECS fees (or if you’re really lucky, upfront full-fees, a trimester’s worth being comparable to one week’s rent in Sydney). So why not take advantage of the one time in your life when you are free to pursue those hopes and dreams that will be slowly crushed out of you upon leaving university.

Seriously — try something new. Join a club or get stupidly drunk. Write office bearer reports laden with oddish jokes. University should be about helping you grow, but if the gloom does set in, just remember the UTS Students’ Association is here to pick you back up and help you Bellossom.

If you would like to remind me of any terrible puns I may have missed, please do so.

Contact: assistantsecretary@utsstudentsassociation.org

Education Vice President’s Report — Norma Jean *Vertigo highly recommends reading to the tune of ‘Work’ by Iggy Azalea Walk a mile in these Windsor Smiths But they don’t wear this stuff where I’m from I’m not hating, I’m just telling you I’m tryna let you know what the hell O’Day put me through Two feet in the UTS dirt, SA shirt Activate cafes, back lanes Four jobs, took years to save But I got a Opal on that train People got a lot to say

But don’t know any about where I was made Or how many bags that we had to pack Just to make it past all the slack No money, no family Nineteen in the middle of Sydney [x 3] I’ve been up all night, tryna finish these bags I’ve been pack pack pack pack packing all these freebies Ran for the SRC once, gotta get it how I live I’ve been pack pack pack pack packing all these freebies Now take this bag, now take this bag Now take this bag, now take this bag O-Day was pretty lit Pledge allegiance to the struggle Ain’t been easy But cheers to Bea and Chrissy for the weeks we lived out of the SA Bags is all we had Do anything for you President, I love you One day I’ll pay you back for the sacrifice That ya managed to muscle Twenty, you made the EVP so All aboard the tower lift to level three Turn first at the light that’s in front of me Cause every night I’mma do it like it’s my last This dream is all that I need Cause its all that I ever had Now take this bag, now take this bag [x 2] O-Day was pretty lit

Welfare Officer’s Report — Lachlan Wykes The UTSSA Welfare Department has been welcoming students to the start of another year. A Welfare Collective stall was held during UTS O’Day and we were out and about letting new students know about the services the UTS Students’ Association offers, as well as handing out a whole bunch of great goodies for students

Students’ Association Reports — 85

to enjoy. It was fantastic to see such an enthusiastic response from students, a number of whom were keen to help those facing welfare issues.

In these past few months we’ve seen consistent threats to students’ welfare coming from policies endeavoured by the current government. In response, it was great to be visited by the National Union of Students Welfare Officer, Jill Molloy. The SA joined Jill in speaking with students impacted by issues with Centrelink and cuts to penalty rates.

It is the position of the Welfare Department that the cuts to penalty rates announced by the Fair Work Commission and supported by the Liberal Government are a detriment to students. Students at UTS who may be affected by these changes and are in need of financial support are encouraged to contact the UTSSA for assistance. The UTSSA Welfare Department will continue working with NUS to fight back against these savage cuts.

A current plan by the UTSSA Welfare Department is to create ‘emergency packs’ for students experiencing financial, housing, or other difficulties. These would include food, sanitary products, and other assistance. I will update on this initiative in the next report.

Contact: welfare@utsstudentsassociation.org

Women’s Officer’s Report — Leya Reid There is plenty on the news agenda to make just about any woman despair. The government has announced 30% cuts by June to community legal centres, undoubtedly robbing vulnerable women in violent relationships access to legal assistance. And recently, hundreds were attracted to the pro-life rally initiated by Christian lobby group ‘Family Life Australia’, demanding continued criminalisation of abortion and a strip back of women’s rights. The world seemingly watches on silently as the government responds to gender

inequality by rolling back funding and turning its back on the most vulnerable.

But not the women of UTS. As the first semester springs into action, the women at UTS rendezvous on the Alumni Green and in the Women’s Collective room to confront gender blockades and engage in meaningful discussion of solutions. With an unanticipated number of enthusiastic headstrong women in attendance at the first meeting, WoCo began to shape up ideas for their 2017 agenda.

There was also a proud attendance of UTS students at the counter-rally to the anti-abortion, anti-choice ‘Day of the Unborn Child’ rally. Overlooking a somewhat uncomfortable clash with right-wing Christian lobbyists, the group was joined by a strong community dedicated to preventing attacks on women’s health and reproductive rights. In light of the recent decision of the Northern Territory to decriminalise abortion, the appeal to the NSW government to adopt a similar policy is within our grasp.

The official launch of FemFest was emblematic of how the rest of the year will blossom. The performing musicians and poets stunned the audience with their eloquence, rhythm, and deliberate content. It was a space of love, allegiance, and a desire to change the status quo.

FemFest 2017 is committed to celebrating the diversity and talents of every woman and non-binary student in a yearlong festival with events ranging from panels, film screenings, and student-teacher debates.

Want to get involved? Join our group on Facebook ‘UTSSA Women’s Collective’ and follow our page ‘UTS Women’s Collective’.

Contact: Chloe — utswomenscollective@gmail.com Leya — womens@utsstudentsassociation.org

86 — Submissions Guide

Submit to Vertigo Vertigo is always on the lookout for pitches and submissions of creative fiction and nonfiction writing, visual art, feature articles, news, and reviews in the following sections: Arts & Lifestyle Business & Science Creative Writing

Sow your ideas in the submissions inbox.

Pitches Have an idea for a piece that isn’t complete? Briefly answer the following questions: What is the title of your work?

What do you want to write about? (Content and/or Section) How do you want to write it? (Structure, Style, Tone) How long is your piece going to be?

While this is not necessary, if you have any examples of previous work please attach them to your email.

Politics Socio-Cultural Visual Arts

Nourished under the right conditions by you and a Vertigo editor.

Cold Submissions Already have a completed piece in mind to submit?

Send your work straight to submissions@utsvertigo. com.au with a brief summary of the content and relevant themes.

As a general rule of thumb: themed work is good, wellwritten work is better, and well-written themed work is best.

Submissions Guide — 87

How to Contact Us Email all your pitches, submissions, and nominations to submissions@utsvertigo. com.au and a friendly editor will get in touch with you shortly.

Check out our Facebook page for the most recent callout for themed contributions at facebook.com/utsvertigo/ or just send us a message to say hello.

Your seedling blossoms to new life.

Bloom through our new volume.

Nominations

Format Guidelines

Know someone at UTS who might be shy but whose work would be perfect for Vertigo? Please answer the following questions:

Please send written work in a Word document with 12pt font and 1.5 paragraph spacing.

Please send visual work in PDF format.

What is their full name?

What kind of work do they do?

Why do you think their work is suitable for Vertigo?

You can attach a link to their website/Instagram/ portfolio and we’ll take it from there.

Art — Isabella Brown | @bissy

88 — Horoscopes

Horoscopes Jenny Cao Aries — Mars in Saturn this month may enable you to restore and rebuild broken relationships. Forgive those that may have hurt you in the past. It’s the only way to move on. But, just like an elephant — never forget.

You must never forget.

Taurus — Personal reflection is a huge part of your agenda this month. Revisit and develop old skills, maybe even find time to discover new talents. You could learn to code, and hack into the CIA’s mainframe, revealing thousands of secrets — even if you’ve never had the courage to!

Gemini — As Venus is in retrograde you may be tempted to revert back to your life of crime and danger. Fight this urge by putting down some roots. Settle down, get married, buy an unreasonably-priced house in Sydney, raise ungrateful children, and live the life you know you deserve!

Cancer — You’ve had so much on your plate these past couple of weeks, it’s important to take a step back and reprioritise. You’ve been making plenty of sacrifices in order to please other people and it’s time you realise that you are numero uno. No one is better than you.

Leo — Hey, all you lions! It’s time to show everyone what you’re made of. No one said it would be easy to bop your way to the top.

You can’t succeed without clashing horns and getting out those claws. Even though lions don’t have horns. Also, violence is never the answer!

Virgo — As Mercury joins Neptune later this month, it is a great time turn over a new leaf! #RebrandYourselfBaby! If Yves Saint Laurent can drop the Yves, you can definitely drop that bad attitude.

Art — Ryley Miller | alifeofryley.tumblr.com

Libra — Your financial situation is looking dim this month. (Maybe you’ve realised money doesn’t grow on trees?) It’s the perfect time to get creative about your income: 1) Gather a ragtag group of friends who specialise in different areas. 2) Execute a complex heist and pretend to rob a casino by imitating a SWAT team. 3) Yes, this is the plot of Ocean’s Eleven.

Scorpio — With a new moon well on its way, it may be wise to keep a low profile to avoid trouble. Change your name, avoid sunlight, and always travel alone. This may seem drastic, but who are you kidding? You’ve always had a flare for the dramatics.

Sagittarius — Your soul feels refreshed from the energy of the cosmos this month. You may feel invincible, incredibly powerful and allknowing. Don’t let this get the better of you, it’s good to stay grounded. Pick a spot in the park and observe the elderly to remind yourself of your own mortality and the inevitability of death.

Capricorn — Express your contempt for fate this month by doing whatever the hell you want! You want to drive in the bus lane? Why not! You want full cream milk instead of skim?

No one is stopping you! You want to invest all your money in an offshore company that produces juice capsules? Sounds like a great idea! You’ve got to risk it to get the biscuit.

Aquarius — You may find yourself in a creative slump this week wondering where your artistic flame has gone. Don’t panic. Retrace your steps to remember where you last had it. Have you checked the fridge? Sometimes your phone is in there (it’s actually super common). Good luck!

Pisces — The light of the full moon will be able to guide you through your darkest lows this month. This may not be enough support for you, as it is forecasted to rain and there do seem to be some dark clouds forming. Better use a torch, or even your iPhone flashlight, to lead the way.

THE SOURCE autosportsgroup.com.au

VEHICLES ONLINE

ALFA ROMEO

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CMYK

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