Pelican: Contemporary. vol. 93 - issue 6. 2022

CAMILA TORIAL

Last print of 2022! How fast the year has gone by. It feels like it was just yesterday when I first entered the Pelican office, excited and hella scared for what awaited us. Now, that our term is almost over, I must say that I committed many mistakes. I didn’t do as much as I would have liked. I could go on and on about my errors and the hurdles we experienced, but Pelican is larger than that and, of course, more important than me. As it is the theme of this edition, I have decided to live in the now and embrace the unexpected. The now is that Pelican Magazine, although some students may not know who we are, is a powerful being. This small student publication is a refuge, a place to develop professionally, learn, and, arguably most importantly, one of the most important entities to keep those in power in check (that doesn’t exclude the editors or subeditor, though. You, dear reader, keeps us in check).

So, what is happening now? Life. My last message to you is to keep reading, writing, researching, finding out the truth, keeping people in check, and uncovering unspoken knowledge. Sharing what you know can be the most powerful tool for change.

Bye for now (hopefully, not forever).

-Camila Egusquiza Santa Cruz, 93rd Pelican editor.

EMMA TORIAL PRESI TORIAL

Here we are, the final print of 2022! What a year it has been, in terms of legacy this will definitely be a one for this history books! What a time to be alive!

Contemporary is the last instalment in our series of historical eras throughout time, and a fitting end that allows us to take a moment to reflect on everything that has happened in the past, relish in the present, and look to the future. Our present historical era has seen cultural phenomena’s, a breakthrough in art, wars, endemics, and inventions like the internet and social media that has significantly shaped our world, for the better or for the worse is still in debate. An ongoing shift is occurring and one that we get to be a part of which I for one, am thrilled about. I hope this print aids and inspires you to reflect in your past, reshape your present, and look towards the future without dread, but with anticipation. If you’d told me at the start of the year that we would’ve survived 6 prints whilst accomplishing everything I set out to do, I probably would’ve laughed in your face! But here we are. Thank you everyone for all your support, whether you have edited, contributed, attended our events, or even read these prints you have all been a part of the Pelican family this year. Hopefully we have inspired you to start or keep going with your path through writing.

Goodbye for now, and hopefully see you soon!

-Emma Maria Forsyth, 93rd Pelican Editor

Dear Readers,

In the wise words of stormzy, heavy is the head that wears the crown. As my term comes to an end, I'm tired and world weary. Spending a whole year of your life solely focusing on the Guild is not a task for the faint hearted. Indeed it has been a year of ups and downs, of many late nights alone in the office wondering whether I am but another cog in the machine. But as I look to the future of the Guild, I am filled with hope. My contemporaries have the excitement and drive to fight the good fight, and I can sleep easy knowing that the work I've done will not be in vain.

But now is also a time to reflect. The Guild that I leave is in a better place than the one I found. It is contemporary, agile and FINALLY an activist body. But there remains work to be done. I hope that Pelican continues to hold our leaders accountable, and that the journalistic integrity of this organisation remains a beacon in times that become more divisive.

UWA should be a home to us all, and it cannot be that without Pelican. I look forward to continuing to read Pelican, and in enjoying my retirement in peace, fading into anonymity like DJ Khaled on a jetski.

GOD DID

-JEGANATHAN 109th Guild President

ARTS

ANATOMY OF LOVERS: THE PERFORMANCE ART OF MARINA ABRAMOVIĆ AND ULAY

By Emma Horak

CAMPUS AFFAIRS

Brighter Futures

COMEDY

Issues

Winton

DIVERSITY

Kiu

Izzy

of Migration

AND FINANCE

of Energy

SCIENCE

with

ANATOMY OF LOVERSTHE PERFORMANCE ART OF MARINA ABRAMOVIC AND ULAY

Emma Horak

This is a love story.

Amidst the ceaseless waves of innovation compounded in the seventies creative sphere, a new artist was making her mark on the world, a mark that would land her the title of ‘grandmother of performance art’. At just twenty-seven years old, Serbian-born and New York-based Marina Abramović combined art, body, and audience with powerful, dynamic, and even spine-chilling results. With jawdropping displays of the human condition such as Rhythm 0 already under her belt (a performance in which she invited onlookers to choose from seventy-two objects on a table to use upon her without resistance, and one which quickly moved from innocent play to torturous acts, such as piercing her skin with rose thorns and knives, and even one incident where a loaded gun was placed against her head, leading her to finally halt the piece), Abramović was already on track to becoming a household name. And yet, there would be one chance encounter in 1976 that would project her into an immortal spot in the contemporary hall of fame, one which would also establish her as a party to one of the most documented and iconic love stories in art history.

During a one-off occasion in Amsterdam, Abramović would meet Ulay (a German performance artist carving out his own respective career in the performance world), and over the course of over a decade, the two would come to share an intimate connection reflected over several pieces performed together.

Modern psychology has identified five distinct stages within a relationship cycle, and such themes are heavily entrenched in the pair’s art, exhibiting love in all its faults, all its intimacy, and above all, all its strength.

Dissolve

In the early stages of a relationship, in which trust and adoration from both parties combine into a powerful ‘honeymoon phase’, lovers often find themselves inseparable, tethered by a joint connection. In 1980, Abramović and Ulay performed Rest Energy, a piece which shows the pair plain clothed and facing each other with a bow and arrow between them. Abramović, holding the riser of the bow, tilts back, and Ulay replies in kind, holding the arrow in its nocking point until the two reach a stasis. With the arrow pointed below Abramovic’s jugular and their arms taut with exertion, the two remain suspended, tied only by the bow and accompanied by a heavy silence that engulfs the scene. This piece, as powerful as it is simple, demonstrates the first great leap of trust in a relationship.

Delay

As the relationship blooms and love becomes unified, naturally, follows a sense of doubt within each individual lover at their joining follows - will their own sense of individualism survive such a pairing? Ulay and Abramović skilfully play with such themes in their piece Relation in Time, which positions the two facing away from each other, bound together only by their hair, which is braided into one dark bunch. Even as the lovers dissolve into each other, there remains a fierce desire to continue carving their own individual life paths. Over countless hours, screenshots of the performance capture the gradual unravelling of their hair as each looks stoically towards their own horizon.

Displeasure

In the third stage, where insecurity over individuality arises, displeasure and animosity soon fester, and trapped in their own wars of

independence, the two may lash out. This is often seen as an emblematic ending to the honeymoon period, whereby lovers may begin to grow irritated with even the subtlest of each other’s quips. Relation in Space explores this difficult stage beautifully, with Ulay and Abramović entering a plain room, naked, from opposite ends before walking past each other over repeated cycles. As their pace grows in intensity and speed, so too do their collisions until, maintaining the same stubborn trajectory, they find themselves ploughing into each other again and again. Relationship in Space, therefore, demonstrates the sometimes combative and destructive moments seen within a relationship.

Decision

Having fared with emotions of both intense love and irritation for one another, the ‘Decision’ stage often sees the partners at a crossroads: either to end or continue their romance. After over a decade of living and working together, Abramović and Ulay decided to tackle perhaps one of the toughest challenges in both their careers and their relationship - walking the Great Wall of China from opposite sides, before meeting each other in the middle to make in their eyes the greatest commitment of all: marriage. However, this piece saw its fair share of setbacks, including a five-year’s wait for permission from Chinese authorities. Simultaneously, their expectations and career goals had undergone a great evolution over this time, placing strain on their relationship. When their visas were finally approved, the two decided that their pilgrimage along the Great Wall should end in another decision: for the two to separate for good. In 1986, following a ninety-day journey, the two embraced at the edge of a mountain, a symbolic closure to one of the most powerful love stories in the art world. It would be twenty-two years before the two would see or speak with each other again.

Devotion

The final stage is characterised as a period of true introspection within a relationship and is seen, perhaps, as the most vigorous of all the stages, a moment where a lover finds true harmony in the identities both within and outside the relationship. After decades of noncontact, Abramović’s solo piece The Artist is Present is perhaps one of the most iconic - and emotional - exhibitions of love in art. In this 2010 piece, immortalised on film, Abramović sits on one side of a long table and invites onlookers to sit across from her and gaze into her eyes. However, on the opening night, Ulay is revealed to be one of the first viewers, and upon their meeting, the sense of emotion and healing is immediately palpable to the viewer. The two smile warmly, and tears swell in their eyes. This is a moment whereby the lovers have healed from any transgressions of their relationship to make way for a sense of peace. Their gaze is one of history, powerful enough to move one to tears.

As contemporary artists, Marina Abramović and Ulay have remained among the most celebrated and iconic artists of their generation, combining love and art into a truly beautiful spectacle that has survived decades. Though an imperfect relationship, the two persist as a fierce symbol of contemporary art and a beautiful answer to the question of whether it is better to have loved and lost than to have never loved at all.

MarinaAbramovicandUlay haveremainedamongthe mostcelebratedandiconic artistsoftheirgeneration

Here he is, coming and going. Between brick-laden buildings, a following of futures knowing his mind, glorifying and gilding.

Here she is, freely and flowing, trapped in a cage of undoing, the feeling of pressure, owing the world for its gift of skewing.

He and She meet. A quick glance and nod. They take their seat, taking notes for any clod.

Sandshoes squeak, shed a tear, and life goes on.

will come to be?

If we sit back and relax, as they do as they please.

normal people

Patrick Eastough

Vantablack, Pinkest Pink, and Anish Kapoor

Abigail is wondering how many naps is the normal amount of naps.

“You can’t use that colour anymore!”

This is the story of a pigment war and everyone's apparent favourite artist, Anish Kapoor.

Not only did Anish Kapoor create the iconic ‘bean’ that sits forefront in the Chicago City skyline (it’s actually called Cloud Gate, but for the sake of humour and ease, I will be calling it ‘The Bean’), but he is also the antagonist in a saga that has resulted in an ongoing paint-pigment war stretching across continents. While ‘The Bean’ is an iconic and fairly benign installation with a mercurial-sheen and great potential for photographs, its creator is not nearly as serene.

Keen to stir a fuss in the art world, British company NanoSystems created a carbonnanotube-based pigment that absorbs almost all visual light named Vantablack. Appearing as an apparent void, black hole-like spot when it’s used, the paint was designed for military camouflage – until Kapoor took it upon himself to buy the rights to the pigment and told the rest of the art world that it was just tough luck. This outraged many, intrigued a few, but inspired one James Semple to bite back (artistically of course).

Semple’s Pinkest Pink is a vibrant pigment that makes more of a statement with its ideals, as it comes with a distinctive label that states it can only be purchased on the condition that “paint will not make its way into the hands of Anish

Kapoor.” If one artist can own a colour, then another can ban him from using another.

Before buying some of this luminous bubblegum pink pigment, you must tick the box stating: "you are not Anish Kapoor, you are in no way affiliated to Anish Kapoor, you are not purchasing this item on behalf of Anish Kapoor or an associate of Anish Kapoor."

Did this stop Kapoor on his crusade to make the art community a little ticked off? Absolutely not.

On his Instagram, Kapoor posted a charming photo of his middle finger, raised to the sky, coated in Semple’s Pinkest Pink. To the tune of “Up yours, #PINK”, the Vantablack-hoarding artistic menace was once again in the spotlight in this pigment war. Semple retaliated by creating the ‘greenest green’, ‘glitteriest glitter’ and ‘yellowest yellow’, and begged people not to share them with Kapoor and his associates. People came out in droves and demanded that Kapoor #sharetheblack – but to no avail. Semple poked a little fun by writing lines, schoolboy-style: “I will be good… I will share my colours.”

Maybe one day, we’ll all have a little Vantablack in our paintings. But for now, we can just sit back, and watch grown men make the ‘colour-est colour’, because when was art ever (Vanta) black and white?

BRING THEM BACK!!

Perry is so so tired and kinda drunk

Artwork by Pauline Wong

It is simply a travesty that we have let some of these glorious trends die. Alike mourning over a crispy desiccated houseplant, I believe you must make peace with history to move onwards and upwards. Whip out your Ouija boards and grab a shovel; we’re about to resurrect a few damned souls lost to time.

Parachute pants ♥

A frilled neck lizard puffs out its chest and displays a glorious gummy mane to scare away predators. Poison dart frogs and nudibranchs dazzle us with saturated colours as a weirdly delicious-looking poison warning. So too does the 80’s subject, in an assertion of dominance and as a method of protection. One could ponder the myriad of uses for this sophisticated and stylish office attire. One could not imagine how many useful documents you could store within those soft flowing folds. Alike Alice falling down the rabbit hole, pockets included could be used like a kangaroo’s pouch. Reagan, a divisive figure of the time, could at least attribute his confidence and undeniable charisma to his expansive personal collection that he liked to wear around the White House. In a nod to the globalised environmental movement at the time, these pants were able to harness wind, propelling those on their roller skates commuting to work.

Jeans

The jun shines lovingly on the beautiful jearth. The jirds hum, and the jees buzz and bumble about. Janimals frollock playfully in the jields as the jiver’s cooling and refreshing jawter nourishes the fertile jands. The jarmer is awoken at the crack of jawn by the jooster and is excited by the work ahead. The jarmer revs up the jeep and ventures off to inspect the flourishing crops.

“Ah,” he excitedly ponders to himself. The denim harvest will be bountiful this year.

Wiping his brow with a coarse piece of denim after a hard day of work, he returns home to his loving jamily. His kids return from juul, ready for jinner after a hard day of studies. They take off their jeakers and jocks before they run into the jouse. His beautiful jife rings the jell.

“Jinners ready! Honey, could you please set up the jutlery?”

Jaghetti and jeatballs, the jamily favourite. Soggy strips of denim soaked in the finest sauce tantalise the jastebuds. The jarmer retires to the jedroom with a smile on his face, thankful that he gets to live out such a blessed life.

A halo from the heavenly kingdom Bedazzling in almost sacrilegious bewilderment, this crown adorns only the worthiest and regal of God’s soldiers. Thousands of years of human engineering have allowed us to progress to a point where we can shape our environment, minds, and destiny. But do we wish to play God? The enlightenment and renaissance reimagined thinking. Science and religion were unified. The more we understood our surroundings, the closer we believed we would come to God. But what would we say if we ever met him? Were the fantastical colours we created truly within his vision? Did he truly expect the effects hairspray would have on our various societies going forward? Philosophers over millennia have pondered these such questions. But as a collective globalised society (and if a form of heaven existed), only those most adored shall wear the hair of the angels themselves.

Is an artist’s purpose to perform? By this, I don’t mean that an artist’s purpose is to do what they love (i.e., to perform the songs they write). What I mean is - is an artist only worth what they do for us, the audience? We are who they must please, after all. You walk down the Hay Street mall and see those buskers – performing because it’s what they dream of, and they do it all for your praise. For the few coins you can scrape out of your pocket, which means more to them than anything because it’s more than money. It’s validation. It’s proof that they’re good enough, that they have performed correctly because instead of your money, sidling itself up against your wallet’s lint, it now rests in their palm – a gold medal with One Pound Jimmy looking at them.

When we look at the current state of the Perth music scene, this is obvious. The artist is destined to struggle, I suppose. But it’s gone too far. Artists perform because it’s what they love, but it’s competitive – gritting your teeth kind of pain. Grin and bear it. Get harassed, and don’t bring it up because it makes you an outcast. The Other. No one will work with you. It’s Perth, and you can’t risk it. The importance remains on the audience, not the artist, because the artist requires us – our support, the support of the venues – to do what they love. So, when bad things happen, it’s better to bite your tongue – right?

But what about those artists who do speak up? We think of Body Horrors, a Perth synthpunk band assaulted at a gig performed at Freo Social. When does the performance stop? When are we allowed to speak up without fear to stop the performance? Perhaps now is the time. Body Horrors saw waves of support after their assault at Freo Social. Their foundations of support, inclusivity, and accessibility remained strong and helped enact change. This is just the beginning for bands taking back their autonomy.

Importantly, music has been our way of connection, but it is also another medium to speak up, to spark a flame. Thus, personability, more than ever, is how songs are conceived. I hear ‘I Hate My Mom’ by GRLWood – a song so personal to the self but still has reach. It draws attention to issues that aren’t spoken about. Old music – your grandma’s tattered Beatles records – focused on shared feelings, ones anyone could relate to because that is what sells. So, they wrote about girls with no discernible features, making us believe we were that girl – who else could it be? Now, however, we sing about what we care about and relate to. These issues need music to connect us to them, as music voices our concerns without being a direct attack. Music stimulates the conversation. When we grit our teeth from injustice, instead of swallowing the pieces we spit them back out, we point to them and say, “right there, that’s how this all began.”

Bright Minds, Brighter Futures

Matthew Little

Artwork by Pauline Wong

U npopular opinion, but I love group projects. I love the unique ideas and perspectives everyone brings to the table. The thought of living in a world where everyone thinks the same way terrifies me. Would things change nearly as quickly if we all thought the same? Probably not.

Diversity is education’s best friend, and I have learnt this from the rich knowledge, stories, and experiences I have listened to from friends, foes, family, strangers, experts, and beginners. Every person you meet is an opportunity to broaden your horizon and learn something new, and I have never had my horizon broadened so wide and quickly since I started studying at UWA.

I’m open-minded to a fault. I’ll think I have my mind made up, and then I’ll listen to other points of view that both challenge and support my own perspective until I wind up sitting on the fence. Indecision and unreliability are receptiveness’ ugly stepsisters. But then, what use is a mind if you can’t change it? I owe it to my incredibly bright peers in my classes and club committees for their part in changing my mind more times than I change my clothes. Not only did they

challenge, change, or expand upon my opinions and existing knowledge, but also helped me grow as a student and friend. Whether it’s giving me constructive feedback that got me that HD, changing the angle of our latest Amnesty UWA campaign to highlight an issue I completely missed, or politely calling me up when I step out of line, these people teach me to be a better person.

I’ve never been more inspired to study and pursue academic excellence than when I hear the stories of my peers. I never would have learned how to be as considerate as I am if it weren’t for the people I surround myself with. Coming from all walks of life (especially my international friends) they teach me how to respect any and everyone, no matter our differences. I carry bits of them with me everywhere I go, and I’m a firm believer that we are reflections of the people we love and care about. So, surround yourself in a rich and blooming garden of humans from all colours of the rainbow. They’ll teach you something every day, and light up a path you never knew was there.

Generations of Migration

Qingru Kiu is a ‘top fan’ on UWA Confessions and UWALL.

I was born and raised in Singapore. I moved to Perth in July 2019, and my mum accompanied me for two weeks before O-Week. I remember sending her off at the airport, and the moment she disappeared behind the departure gate, I burst into tears. I didn’t know a single person in Western Australia. I didn’t even know how to take the bus back to college from the airport. I signed a bunch of important documents during O-Week as I got my university life in order, and whenever the inevitable question of ‘emergency contact’ came up, I had no idea what to fill in.

I hoped that living on College Row would make it easier to find friends, but when I moved in, no one looked or sounded like me. I tried making friends, but I couldn’t shake the insecurity that people were tolerating and not accepting me.

When I came back in 2020 after the summer break, I thought things were looking better for me. Then the pandemic hit us like a train, and my family summoned me back to Singapore. My boyfriend back then, whom I had met in college, dumped me over FaceTime, and my childhood

friends I grew up with were elsewhere around the world. All alone once again, even Singapore didn’t quite feel like home anymore. It may be where I grew up, but it wasn’t where I was supposed to be. I struggled with feeling like I didn't have a home anymore.

I finally made it back to Perth in 2022, but the few friends I made before the pandemic had all graduated. I no longer recognised the place I thought I knew and was back to square one. For two years, I thought I would be happy once I made it back to Perth, but the reality began sinking in that maybe nowhere will really feel complete.

It can feel like I’m caught in a perpetual identity crisis. I graduate at the end of this semester, and looking back at my time in college, things have changed so much since I first moved in. I’m still finding my place here. Finding my people. Finding my sense of belonging. The friendships I have forged and the experiences I have had are a testament to that, and it has been an absolute rollercoaster of a journey. But the journey is

still an ongoing one. I am still trying. I have to keep trying, even if it’s hard, especially when it’s hard. I recognise my privilege in being able to migrate to Perth. I am only here because of the generations of migrants who came before me and the struggles they overcame.

My dad was a migrant – he moved from Hong Kong to Singapore for our family and a career. Before him, my late grandparents were migrants too – my grandfather left China during World War II for Hong Kong, which was still a British crown colony then. My grandmother was a prisoner of war and joined him in Hong Kong later on. She was the strongest woman I’ve ever known, and although she was never the kind to shower us with loving words, in every dish she cooked for us, we could almost taste the history she carried with her all these years.

I can’t imagine what migration was like for my parents’ and grandparents’ generations. Even with all the technological advancements of today, nothing makes up for the painful yearning I have constantly for my folks back in Singapore

and, likewise, for my friends in Perth when I’m in Singapore. The distance must have been so much bigger for my parents, who kept in touch through snail mail, and my grandparents, who simply lost touch with their roots. They made those sacrifices in the hopes of a better future for their future generations. For me.

In the years ahead, I know most of my friends in Perth will try to move over east. We can never seem to stay in one place. Perhaps being on the move is just part of our human nature. Moving from a hectic city like Singapore to a suburbia like Perth has really given me pause. I have a beautiful room in college now that gives me a picturesque view of Matilda Bay. Whenever I manage to catch the sunrise, I’m reminded of how beautiful the city is. One day my kids might think this is the most boring and mundane sight. They might even yearn desperately for a change of scenery and go on to find greener pastures elsewhere. No matter how difficult, lonely, or even existential this chapter of my life has been, the sun will rise again, and I will keep going.

What a Contemporary ‘Carpe Diem’ Looks Like

Mae Joy

‘Carpe Diem’ – the idea of making the most of the present by not thinking about the future – was conceived by the Roman poet Horace and translated from Latin into the contemporary ‘seize the day’. How can we translate this concept from twenty-three BCE into something applicable for a presentday audience? Very easily, let me assure you. I’ll give you a demo using some of the horrible conversations I’ve had –

“How’s your five-year plan going? All sorted, I hope. Otherwise, you’re in for a long ride.”

“Have you finished everything for the day? You’ve got that dream you’re working towards, right?”

“Have you put down all those family events on your calendar? Your mum will be very angry with you if you miss them.”

Do you know what I say to the above scenarios…? Something definitely not appropriate for a Pelican article!

I was once devoted to the future, as I’m sure many of you are (sounds funny, right?). I’m not saying it’s a bad thing, but as you can infer from my opening lines, it’s just plain stressful! How are we supposed to keep track of everything we need to do within the next few days, months, and years, all at once, whilst also experiencing youth? How many times have your parents told you: “You’re only at university once, so you better enjoy it”, but then you have five tests and three assignments due within the span of a week, and they expect HDs from you? Doesn’t leave much time for having fun. Unless you like sitting at a desk for sixteen hours (go you if that’s the case. I’m jealous). Like whaaa. Do they want us to actually enjoy the Uni experience? Or just be fuelled enough by the fantasy of it to finish those big assignments on time?

I’m taking INDG1160 (Introduction to Indigenous Heritage and Knowledge) at the moment, and one thing I’ve learned is that Western culture really doesn’t like the present (as in ‘the now’). For those of us who inhabit a space heavily influenced by these Eurocentric values, we seem to like talking about what happened yesterday, last week, or fifty years ago, and we

like to talk about what will happen tomorrow, next week, and fifty years from now. But how often do we truly just stop our whirling brains and appreciate the moment? Not very often – in my experience.

The future seems to be the be-all-and-endall, especially as Uni students, and that’s understandable, considering Uni is literally the stepping-stone towards a career. But how many times have people asked what you want to do with your degree before they ask, if you’re enjoying it or about the Uni experience?

We are so indoctrinated to fear the unknown and that which we can’t control – the very defining feature of the future. Preparing for the future is like preparing a safety net before a trapeze act; there is nothing wrong with thinking like this, but it may start to affect your present state of being for fear of failure. It is my opinion that those of us living within the Western world need to learn to prioritise the present over the future. As daunting as that sounds! It might sound a bit kooky, but I’ve come to preach living for your wellbeing rather than a stupid five-year plan, and it is truly a different kind of freedom not having the constant stress of the future on your shoulders. Take it from me, who had a detailed five-year plan on my wall at the start of the year!

If this has interested you so far, but you are unsure how to start living in the moment, may I suggest journaling as a hobby? A journal can be anything you want it to be, but I use mine to collect my thoughts, express how I’m feeling at that moment, identify how I once felt, and how I expect myself to feel. Journaling is a therapeutic way to connect your past, present, and future without getting stuck within one mindset. It’s all about balance. You can write about your CONTEMPORARY life and emotions, write down poetry, sketch and whatever else draws you out from the rut of constant deadlines and ‘things-to-do’. I hate to say it, but life is full of deadlines and time limits that never stop. The next time the stress and dread start washing over you thanks to encroaching deadlines, just remember carpe diem. Learn to risk falling off the trapeze because that’s what life is all about, and as contemporary readers in a busy and dynamic world, it's something we need to welcome instead of fear. ☺

‘Con-grad-ulations’

From one student to another

Erika Ng

So, there I was, at the end of my university degree, pulling all-nighters at Reid. I’d kept my nose buried in the books for hours on end, doing everything I possibly could to prepare myself for the ‘real world’. Looking up after graduation, I discovered that in fact, the hard work was yet to come.

The hours I’d spent studying were nothing compared with the hours I would spend trawling through employment websites in despair, reading through job descriptions, and feeling increasingly unqualified in the face of each. Even so, I still applied for these jobs. So why was I surprised to receive the inevitable rejection letter – or most often – no response at all. After weeks of living in this tormenting cycle, I learnt a few things I wanted to share with you all.

1. You are not worthless. Remember this, through every job application and job rejection you get. Your worth is not measured by how ‘hireable’ employers think you are.

2. Hold on to your hobbies and passions. Life isn’t just about you starting your career. Develop your passions and learn something new. You now have time to start doing something you’ve always wanted to try (mine was knitting).

3. Keep in contact with your lecturers and tutors.

They’ve supported you through your studies and are invested in your success. Reach out to them for advice. After reaching out to a valued tutor of

mine, not only did I feel more motivated, but they also shared some very valuable insight about the industry and how to make industry connections.

4. There’s no deadline. Going through university, we are all so used to working towards a deadline, but there’s no pressure to start working immediately after graduation. Everyone has their own journey and timeline, so don’t worry about what other people are doing.

5. Unpaid work. If you were an arts major you’ve probably already come to terms with the fact that to build your portfolio you may have to do some volunteer work. Whilst this isn’t always ideal, you can build a network and expand your CV.

6. When one door closes, another door opens. Super cliché, I know, but it is true. For every job you don’t get, you will have another opportunity to apply for.

7. Don’t lower your standards. You may start feeling desperate to find a job and apply for jobs that you aren’t interested in or are vaguely adjacent to your degree. Consider that if you do land this job, you might not feel fulfilled or motivated to work.

For those readers near the end of their studies, a huge congratulations for everything you have achieved and will achieve. For readers who still have a few semesters left to go, don’t forget to look up from the books every once in a while.

Contemporary Issues

Amanda Winton

I’ve straightened my hair to the point that it deserves a twenty-minute lecture from my hairdresser on the importance of heat protectant, curled it to the point where it looks like a Victorian child’s porcelain doll, and then brushed out the curls to the point where it looks beachy and effortless. It only took two hours too.

For make-up, I’ve gone with a golden glam goddess look, slightly turned down, cos, after all, it is only the second date. Whilst I stood in my dressing gown tossing up between falsies or just shit loads of mascara, my phone pings.

D: Was our date tonight? - Dave ☺

My stomach drops. How could he forget? A day that was circled repeatedly in my calendar is merely an afterthought to him? What if he doesn’t even want to go tonight? AND THE SMILEY FACE???? He’s literally friend-zoning me and looking for an out. What have I done? Was it too soon to tell him, on the first date, the names on my baby name list?

My freshly manicured nails type back;

A: haha, yeah, lol I think it was tonight. Still keen?

I sound cool, calm, and collected. Not like someone who had done nothing else the night before but fake tan in anticipation.

D: Yeah, sure if you are

EXCUSE ME? He sounds like he’d rather be doing anything else! I can’t seem like I’m keener than him. Not that he sounds keen at all. I can’t give off desperate vibes.

A: We don’t have to if u don’t want to

D: Nah, keen. Have you picked a place?

Have I picked a place? He asked me on this date, not the other way around. Has he put zero thought into this? I refuse to invest any more effort into this man in regard to decisions.

A: Do you want to choose?

D: ok, the surf club, mb? Can we make it at 7 pm, not 6 pm?

The surf club? As in the local surf club littered with old people addicted to pokies and screaming children? Do I look like I enjoy beer and greasy fish and chips? What kind of vibes does he think I’m putting off? And he clearly has forgotten about our date if he’s changing the time. My curls would’ve fallen out by then. No, no, no. I’m taking my selfrespect and getting myself out of here. This is one too many red flags for me; thanks very much.

A: You know, I’m tired and have an early morning.

Another time xx

D: Easy as, sleep well. ***

Ughhhhh. I woke up this afternoon feeling very groggy from last night. One too many beers with the boys, I think. I stood in the kitchen of our six people-shared house and ate some cold leftovers from Red Rooster that one of the other boys had left behind.

I stand there, in my undies, admiring the giant poster on the wall that reads ‘Saturday is for the Boys’. Hmm, is today Saturday? Nah, it’s definitely Friday cos I got my weekly Thursday kebab last night. Did I have something on tonight? Friday rings a bell in my mind. Oh, dear. I was gonna take Amber out for dinner.

D: Was our date tonight? - Dave ☺

Gotta check to see if she hasn’t forgotten too.

A: haha, yeah, lol I think it was tonight. Still keen?

Whilst I would rather stay home and play Rainbow Six Siege with the boys, it’s well overdue for me to get a little action on the side. A side quest, if you will.

D: Yeah, sure if you are

A: We don’t have to if u don’t want to

Oh, hey, maybe she doesn’t want to go. No problem by me.

D: Nah, keen. Have you picked a place?

A: Do you want to choose?

I suddenly could smell something wafting up my nose that made me shudder. After making sure it wasn’t the Red Rooster but rather my own BO that I had been marinating in, I realised I definitely would need a solid shower before trying to impress the ladies tonight.

D: ok, the surf club, mb? Can we make it at 7 pm, not 6 pm?

A: You know, I’m tired and have an early morning. Another time xx

Oh, shame. She had a solid rack. Bit of a yap yap yapper, though.

D: Easy as, sleep well.

D: Hey Tayla, wud tn?

Contemporary NUDES

Nickname:

"is that your seventh coffee today?"

What do you study?

Master of Strategic Communication (but I've graduated - don't tell!)

Favourite place to be nude: While taking a REALLY long bath to avoid responsibilities

Favourite historical period: Ancient Egypt (because it's so cool, and also loads of cats to befriend)

Favourite contemporary nude piece of art: Maybe one of the Blue Nudes by Matisse, they're cool.

What would you ask ScoMo if you met him?

Tips on how to take a holiday regardless of if the world is ending (asking for a friend)

What has Pelican taught you in 2022?

Being the Arts Subeditor means you'll see some incredible performances and art, but also make some fantastic friends who are happy to go and see wacky plays, read your crazy stories, and just have a great time.

Abigail

Nickname:The Hog

What book/film/album would you burn?

Burning art?! But if I was on a deserted island, I'd burn the Twilight Saga to stay warm. The books can go but the memes can remain.

What Do You Study? Bachelor of Arts, majoring in English and Literary Studies and Law and Society.

Favourite Pelican Edition This Year: 'Neolithic'.

Favourite Place to Be Nude: The beach.

Favourite Historical Period: The Middle Ages.

Favourite Contemporary Nude Piece of Art: The Velvet Underground's Peel Slowly and See album cover.

What Would You Ask ScoMo if You Met Him? How many eagle sightings does it take to win an election?

What Has Pelican Taught You in 2022: The Blue Room Theatre always delivers.

emmA H.

What Book/Film/Album Would You Burn? Jane Eyre by Charlotte Brontë - just to roast Mr Rochester one last time.

Where Do You See Yourself in 2023: Hopefully tackling the tower of books that I have acquired through years of impulse buying (and which to this day still remain unread).

jelena

Nickname: ‘Janela’

What do you study? Political Science and International Relations; Law and Society

Favourite Pelican edition this year: Neolithic. My fresher’s guide is true to my experiences and reflects everything I wish I had known in my first year of uni.

Favourite place to be nude: The Guild Council meeting room (100% true).

Favourite historical period: I’d have to say the 20th century. The introduction of film, the books produced during this time and the political movements make the past 100 years super interesting.

Favourite contemporary nude piece of art: So, the Guardian shared some of Spencer Tunick’s photos recently… The Melbourne 2018 one reminded me of Froot Loops (oh boy, I just dehumanised these people in a sickening way).

What would you ask ScoMo if you met him?

Among many things: Why do you need a wife and daughters to teach you how to treat women? The bar for a decent leader is so [if permitted,f******] low.

What has Pelican taught you in 2022?

I love the Pelican team. During Guild elections it got pretty intense, and I treated my role like a real job. I’ve also learnt to adapt pretty quickly when the deadline is approaching and not feel bad when my friends tell me for the 75th time that they don’t have the “creative potential” to write that I’ve ascribed to them.

What book/ film/ album would you burn?

I read The Catcher in the Rye in Year 11 and to this day I believe it is the most pointless piece of work ever created. I don’t see a message and its overall very dismal.

Where do you see yourself in 2023?

Continuing to read great books, meet great people and maintain my ambition.

Nickname: jus, the juice

What do you study? My academic arsenal is a mixed bag of English literature, media/comms and politics.

Favourite place to be nude: In bed with the electric blankets on.

Favourite historical period: the Victorian eraeveryone's so moody.

Favourite contemporary nude piece of art: Robert Patrick as T-1000 in Terminator 2, pre-cop uniform.

What would you ask ScoMo if you met him? How he sleeps at night.

What has Pelican taught you in 2022? How truly absurd the student politics world is. And that Tony Goodman has the patience of a saint.

What book/ film/ album would you burn? Probably the Titanic. F**k open water man.

What do you study? Master of Architecture

Favourite place to be nude: A bed

Favourite historical period: Age of Enlightenment Favourite contemporary nude piece of art: The Vitruvian Man (Leo lives on as a turtle…)

What would you ask ScoMo if you met him? How to perfect my tackles in soccer.

What has Pelican taught you in 2022? That I don’t understand the stars.

What book/ film/ album would you burn?

None of them. It’s not the book/film/album’s fault their creator was stupid, save them and go straight to the source.

HOLLY

Nickname: Davo

What do you study? Biochemistry and Molecular Biology & Economics

Favourite place to be nude: Reid Library

Favourite historical period: 1960s or 1970s, Hippie era tingz

Favourite contemporary nude piece of art: Painting of Sir Sean Connery in his prime

What would you ask ScoMo if you met him? Something that would lead to an arrest –specifically mine.

What has Pelican taught you in 2022? The animal in question has given me much enlightenment into the simplicities of life, but if we’re speaking of the magazine, I love the people involved and the community around it.

What book/ film/ album would you burn? Burn This Book by Toni Morrison, don’t get me wrong, great book, the title just got me thinking

CHRISTINA

Nickname: Papi xoxo

What do you study: Political Science and Business Law

Favourite place to be nude: Reid Library

Favourite historical period: 2008

Favourite contemporary nude piece of art: Ur Mom

What would you ask ScoMo if you met him? I would ask him for a gentle kiss :)

What has Pelican taught you in 2022? How to create masterpieces in a singular hour

What book/ film/ album would you burn? My masterpieces I created in a singular hour

Nickname: Chris

What do you study? Real estate and all things fashion

Favourite place to be nude: In your mums sheets x (jk unless…)

Favourite historical period: Regency for sure (love love the boning and corsets)

Favourite contemporary nude piece of art: Kim K’a Controversial ‘Paper Magazine’ champagne photoshoot

What would you ask ScoMo if you met him? Please please can you tell me what happened in that Engadine maccas I beg.

What has Pelican taught you in 2022? How to hustle for content- we got deadlines people!!!

What book/ film/ album would you burn? Book- “After”/ Film- Noah/ Album- anything by Amy Shark (I am NOT a fan)

CLEO

Nickname: Cle

What do you study? French and English

Favourite place to be nude: A forest clearing during the full moon

Favourite historical period: Jurassic

Favourite contemporary nude piece of art: Kneeling Girl, Resting on Both Elbows, by Egon Schiele

What would you ask ScoMo if you met him? I don’t ever want to be in the same room as that man

What has Pelican taught you in 2022? Creating art and content with friends is the best thing ever

What book/film/album would you burn? Don’t Worry Darling

Where do you see yourself in 2023? Done with uni!

LUOYANG

What do you study? Master of Social Work

Favourite Pelican edition this year: Renaissance

Favourite place to be nude: My bed

Favourite historical period: Maybe Tang Dynasty in ancient China?

Favourite contemporary nude piece of art: The book cover of Bhanu Kapil’s “Ban en Banlieue”

What would you ask ScoMo if you met him? Meh

What has Pelican taught you in 2022? Passion. A radiant rotation of recognition & acceptance.

What book/ film/ album would you burn? I probably wouldn’t burn it but “Milk and Honey”

Where do you see yourself in 2023? “Grant me a founding” — Anders Villani

Nicknames: Dolly//Tofu//Tof

MARY

What do you study? Bachelor of Psychology.

Favourite Pelican edition this year: Rebellion.

Favourite place to be nude: In the shower.

Favourite historical period: Victorian era.

Favourite contemporary nude piece of art: The Broken Column by Frida Kahlo.

What would you ask ScoMo if you met him?

For an all-expenses paid trip to Hawaii.

What has Pelican taught you in 2022? To not be afraid of sharing my thoughts and passions.

What book/film/album would you burn? The Twilight Saga (no I’m not sorry).

Where do you see yourself in 2023? Spending more money at Utopia.

Nickname: Maz

What do you study? Zoology and conservation

Favourite place to be nude: outside

Favourite historical period: Ancient Rome wanna share the toilet with my homies

Favourite contemporary nude piece of art: me

What would you ask ScoMo if you met him? Why

What has Pelican taught you in 2022? Hacks are something else man

What book/ film/ album would you burn? All I’m dyslexic

ALYSSA

angela

Nickname: My Mamanjoon calls me Baranjoon.

What do you study? The JD.

Favourite Pelican edition this year: Well, I’m in this one so take a wild guess.

Favourite place to be nude: The 18th seat on the left hand side of the 3rd carriage of the Mandurah line during rush hour.

Favourite historical period: Something tells me the 2030’s will have it going on.

Favourite contemporary nude piece of art: Current favorites are The Unfortunate Man by Duane Michals and La Vénus Endormie 1944 by Paul Delvaux.

What would you ask ScoMo if you met him? I wouldn’t.

What has Pelican taught you in 2022? No assignment is un-recyclable.

What book/film/ album would you burn? One example of something that gave me Delusional White Saviour Complex vibes is To the Islands by Randolph Stow but I wouldn’t burn it I’m not Bear Grylls.

Where do you see yourself in 2023? Don’t worry I’ll be around.

Nickname: Whatever you want to call me!

What do you study? English Literary Studies

Favourite place to be nude: Anywhere outside, where the mosquitos can’t get me. I kinda wrote an article about it lol... you may have read it?

Favourite historical period: I’m interested in learning more about this continent before British invasion, specifically the way First Nations people lived in harmony with the land.

Favourite contemporary nude piece of art: I wish I knew more about visual art… I do think it’s really cool though when you visit someone’s house, and they have nude art up – big green flag.

What would you ask ScoMo if you met him? I’m just not that interested in talking to him tbh, unless I was interviewing him formally and it would be of some use to the broader community.

What has Pelican taught you in 2022? So much! It’s really immersed me in UWA culture in a way I wasn’t aware existed before. And I met some pretty cool people.

What book/ film/ album would you burn? Hmmmm… well, I mean, this isn’t Nazi Germany! Free speech. On second thought, all advertisements can go.

BARAN

pauline

Nickname: Paul

What do you study? Dentistry

Favourite Pelican edition this year: Edition 4, because I did the cover illustration!

Favourite place to be nude: In a nice hot bath

Favourite historical period: Age of Enlightenment especially the advancements of Science and Medicine

Favourite contemporary nude piece of art: Eh, they’re all good!

What would you ask ScoMo if you met him? Can I get a photo with you? (Nothing profound, realistically this would be the first thing that comes to mind if I met him)

What has Pelican taught you in 2022? How important drawing is in keeping me sane throughout my degree. Also, to improve my drawing skills

What book/ film/ album would you burn? None

Where do you see yourself in 2023? Working as a dentist

savannah

Nickname: Swaglord

What do you study? Unfortunately, architecture.

Favourite place to be nude: On top.

Favourite historical period: I like the Ancient Egyptian period, the fashion and worshipping looked sick.

Favourite contemporary nude piece of art: Probs my own fucked drawings.

What would you ask ScoMo if you met him? Can I draw on your arm?

What has Pelican taught you in 2022? That art can be used everywhere.

What book/ film/ album would you burn? Any horror film, literally fuck that shit. Like I purposely want to be scared bro.

Nickname: Emzy

What do you study? Master of Strategic Communication

Favourite Pelican edition this year: Enlightenment - loved bringing a Bridgerton cover to Pelican! Renaissance is a close second though!

Favourite place to be nude: A bath with a LUSH Bath bomb

Favourite historical period: England in the 1400’s (especially during war of the roses)

Favourite contemporary nude piece of art: Ok, I like it Picasso!

What would you ask ScoMo if you met him?

How’s Jenny?

What has Pelican taught you in 2022? How to edit, run a team, multi-task, deal with Camila, and look good doing it!

What book/ film/ album would you burn? Frozen

Where do you see yourself in 2023?

Graduated Masters and hopefully employed… somewhere :/

camila

Nickname: Cami

What do you study? Politics and communications

Favourite place to be nude: Pelican office (don’t tell Emma, soz)

Favourite historical period: Anything before colonialism

Favourite contemporary nude piece of art: Cécile Hoodie does some really cool female gaze nudes

emma

What would you ask ScoMo if you met him? Was Hawaii fun?

What has Pelican taught you in 2022? That I hate my life (jks, I just hate my life a little). But, seriously, Pelican has taught me how important information is to the public.

What book/film/ album would you burn? I think cancel culture depends on the context, but if I had to pick, it would be The Haunting of Sharon Tate

The Contemporary Art of Men

Mary Rose Macdonald

As each day passes a new trend promoting female body positivity is running across social media and putting companies on blast to have better representation of women. But I ask, what about men?

The ideas generated by mainstream media and women seem to be that these men need to hit a few markers to be deemed attractive. Some of the most common ones include having biceps, washboard abs, and a muscular back. With this idea so present and the rise of the gym junkie lifestyle, I wanted to see how men were affected by this representation. I asked a group of men who train for a variety of reasons and different numbers of times a week.

For the majority, this pressure was less seen by the media but more internal insecurity shared within friend groups. As each man projected their insecurity onto the next.

This insecurity then led to the gym junkie lifestyle for most. They found comfort in the endorphins they were getting, but soon the harsh reality of constantly over exercising was unattainable, and they became stressed, down, and even depressed in some cases when unable to go to the gym. The sense of control that was needed led to calorie counting and fewer days to rest to ensure that this internal battle stayed internal. It didn’t matter if these men worked out for social or health reasons. They all maintained the constant need for control around their body. Someone who participated in bodybuilding competitions would have breakdowns about consuming too much or not being able to hit the gym at their maximum effort.

The gym culture left most in tatters, as they would go to the gym to achieve this goal but were met with harsh comments or sexualisation for their “hobby”. It became okay to ask to see their butt, abs, or biceps because they gymmed. Something

Artwork by Anya Constantine

they had worked so hard for was written off and, for most, caused major injuries- these injuries stemmed from ego lifting ( when someone attempts to max at a weight that they have never done before, and it’s not close to their current PR). All men interviewed had participated in ego lifting. Some did it to impress a girl, others for their own self-worth, and a few to show off to their mates.

But what about the men that already fit the attractive bracket? Most of them seem unaffected and unbothered by the pressure and find themselves in a relatively healthy relationship with gymming. But these “attractive” men had one thing in common, they had a sports science degree and were working as trainers. Does this knowledge of how your body works and how to achieve these goals stop them from falling down the pitfall traps, perhaps? Or maybe it also helped that these men didn’t consider themselves to be suffering from any mental health issues. So, the obsession with this lifestyle never came to fruition. (Maybe something about not being ready to look in within the self - as I was a stranger)

However, with gymming culture becoming more mainstream, there have been quite a few positive changes. As the stereotypes of who gyms have left behind the fake tan and misogynistic attitude and embraced the “everybody starts somewhere”, a more inclusive lifestyle has been embraced, and we even see people being honest with steroid use when achieving a body type (a note that most interviewees wish they knew was a more common practice when starting their gym journey). A refreshingly honest approach tohow long it took to achieve the goal. Then finally, less gatekeeping on how to do an exercise and more of a teaching environment than judgement.

The world is forever changing and growing, and I hope that within a few years, these men see their beauty when standing in front of the mirror. They continue to share information and find comfort in the notion that not one single body type fits all. They all deserved to be seen and represented across mainstream media. I hope this article reaches the people in need, and they continue this conversation with their friends to continue support.

*Insert Label*

Izzy Pietropaolo (They/Them)

Iknow this edition is supposed to be about the contemporary, but I’m going to tell you how much I hate that. The word ‘contemporary’ is a label that we’ve assigned to the time period we live in, and it’s something we use to describe those who work or live at the same time as someone else. Now, I know this might come as a surprise, but I hate labels!

To an extent, labels are beneficial to us. They provide us with comfort, support and a home base from which we can jump. They are our saviours and a guiding light towards our identity, as they give us something real and explicable to hold onto.

This all might seem great – and it can be – but this seemingly heroic notion of labels can become over-relied on and dangerous, leaving people stranded and lost while surrounded by people asking them to define themselves.

These days people are always asking us to label ourselves. Are you a geek, a jock, an artist, or gay? Sometimes people just don’t know who they are, and asking them to fit themselves into a narrow box isn’t helpful for their growth and journey. Our society has become so obsessed with putting everyone in boxes and slapping a label on them, dividing under the guise of unifying. We tell ourselves that what we’re doing is for the best because we’re giving everyone a community and people. We spend so much time focusing on what our differences are that we forget the one defining feature that makes us.

When exploring and coming to terms with my sexuality and my gender identity, I had so many people ask me: “What are you?”, “Who are you?”, and “What do I call you?” I don’t know if you’ve ever been asked: “what are you?” But it

is a bit of a shock. It’s confronting and feels like being interrogated under an intense spotlight. At times I didn’t have a solid, confident identity, and my identity has never been fixed. It continues to change as I grow, but I’d like to answer that question now with the only label I feel confident assigning myself: I am human.

To go by labels, I would be a non-binary, bisexual, mentally ill Capricorn, but none of those things really say anything about me, nor do they feel like me. If you didn’t know me, would these labels really mean anything to you and tell you anything about me? Would you know what I like or how I respond to different situations? Would you know my favourite colour or my sense of humour? No. Yet, you still rely on them to tell you something about me and let it dictate whether or not I’m worthy of your time.

Although labels are still useful to discover and identify parts of ourselves, they have the potential to become distorted and turn into stereotypes that hold no actual truth about an individual’s identity. Our current dependence on labels makes it difficult for people outside of mainstream identities to feel

comfortable discovering themselves as they feel that to be valid and alive is equal to how they refer to themselves using a few narrow labels. We make them feel isolated and like outsiders, giving them no one to turn to because they don’t know who they are just yet. We all get ‘lost’ sometimes, and there is nothing wrong with remaining that way forever. ‘Finding yourself’ is a nice way of saying ‘you’ll assimilate soon enough’, but I refused to do so.

I am not bound by the words of others. I do not exist to make others comfortable. And, I will not fall prey to the suffocating nature of contemporary labels.

So, to bring it back to you – reader of whatever gender, race, sexuality, religion, or other identities – I ask you to stop what you’re doing, stop what you’re thinking and say hello to a fellow person whose struggles may be just as burdensome as your own. Reach out and offer a hand, and brighten someone’s day by focusing on what connects you to everyone else on this planet: the fact that we are all alive and we are all human.

Promises from the Future

Iloved reading science fiction novels growing up. From the disturbing classics of Ray Bradbury and George Orwell to the universezooming adventures in The Hitchhiker’s Guide to the Galaxy and The Expanse, it was difficult not to become lost in alternative worlds filled with awe-inspiring technologies used in both positive and dystopian ways. Often, I would be left pondering whether the authors’ visions were premonitions of a world yet to come.

It is inherent to the speculative nature of science fiction to make predictions. While fantasy

works appeal to our sense of wonder, grounded in the suspension of disbelief, Sci-Fi speaks of possible futures. It contends with “the reaction of human beings to changes in science and technology”, as celebrated writer Isaac Asimov argues. Strictly defining the genre has always been a contentious issue among its devotees, often because the lines between what is plausible speculation and absurd make-believe are difficult to delineate in real-time. However, an ever-present assumption of the genre is in the name – that some trend of ‘science’ has led us, implausibly, to an unexpected future.

Ahmed Suliman

In some works, this unexpected future lay far in the distance. Classic novels such as Frank Herbert’s Dune and The Time Machine by H.G. Wells deal with futures that are tens of thousands, or even millions of years, beyond the point in which they were produced. However, some take a bigger risk by making predictions regarding timespans only decades ahead. The Back to the Future franchise fits into this subgenre of near-future science fiction, as do novels like the Islands in the Net. Luckily, unlike the former type, these works not only give us the chance to practice our 20/20 hindsight on their predictions but also examine why technological and societal development took another course.

The first technology that likely came to your mind is flying cars. From Ian Fleming to Bill Finger, Sci-fi writers have used flying cars as a byword for technological development in the early 21st century. However, the last time I checked, the 950 bus on Stirling Highway has its tyres firmly planted on the asphalt. While significant innovations have occurred in the safety, reliability, and efficiency of cars, the past few decades have failed to live up to the airborne dream of Blade Runner-like vehicles. There have been two major factors that have held us back. The first is the complexity of designing a machine that is both sturdy and heavy enough to handle road travel but sufficiently aerodynamic to fly. The second is the mammoth requirement to rethink and rebuild

our infrastructure to accommodate millions of mini-planes buzzing across major cities. That said, extensive research and development are ongoing in this area by companies like Joby Aviation and Airbus, so those issues may be solved in our lifetime.

On the flying theme, widely accessible space travel was another common promise of nearfuture Sci-Fi. The 1968 epic 2001: A Space Odyssey expected the turn of the millennium to feature commercial space stations and military bases on the moon. Despite Stanley Kubrick’s laudable emphasis on authenticity throughout the film’s production, this would not happen in 2001 nor twenty-one years later. While the International Space Station (ISS) is impressive, cosmically speaking, it is still barely out the front door. Total investments in space travel have substantially declined since the peak of the space race in the 1960s, despite growth in private initiatives such as SpaceX and Blue Origin. Of course, there is still extensive work being done on solutions like reusable rockets, and we will likely get there eventually, but that summer holiday to Bali will not be replaced by Mars any time soon.

While flying cars and accessible space travel may still be ahead of us, time travel is…a little less likely. An inextricable trope of the genre, time travel stories are hard to write, but the well-written ones are simply wonderful. The

Whileflyingcarsandaccessiblespacetravel maystillbeaheadofus,timetravelis. .. alittlelesslikely.

utopian appeal of extraordinary machines that allow protagonists to traverse the eras and rewrite history is irresistible. Could it happen? Well, Einstein’s theory of general relativity technically allows it in special circumstances. However, the primary requirement is virtually insurmountable: travelling faster than light. Theoretical spacetime oddities like wormholes and cosmic strings have been proposed as facilitators for such speeds, but there is no evidence that they exist, let alone that humans could harness them. This led the late Stephen Hawking to formulate the Chronology protection conjecture, arguing there are (yet undiscovered) laws of physics beyond general relativity that prevent space travel.

This is before one has to grapple with the philosophical quandaries, like the Grandfather Paradox, in which time travel would allow you to kill your grandfather, which would cause you

to cease existing, which makes it impossible to kill your grandfather. Furthermore, if time travel gets invented in the future, where are all the time travellers? For these mind-bending reasons and more, the Terminator franchise is unlikely to be moved to the documentary section of your preferred streaming service.

Science fiction is often over-ambitious that much is clear. However, that ambition is not too different from the type that drives scientists and engineers to push the frontiers of what is possible. Outside the realm of fiction, professional futurists analyse the social, technological, and economic trends of the present to help policymakers and businesses conceptualise what comes next. It never hurts to have creative people thinking deeply about the universe and our place in it. No one can build the future without imagining it first.

The BotanistWalking with Ghosts.

Iwalk past ghosts, white like the pages of a story that won’t be written. The world is in them, drawn from the earth and the sky to meet in a place of living.

But they are ghosts still.

I walk, steel-cap booted, steps too heavy for this place. This place meant to tread softly, a bare footfall on a land old enough to deserve its rest and quiet.

A warm breeze makes the ghosts shiver.

I walk. Will I be the last? It seems I might. What right have I to be the end of this story, the last line, even a footnote. Sadness is when anger is overwhelmed by the enormity of time.

The ghosts aren’t holding their breath for me. They breathe slowly.

I walk, and the gentlest beauty of colour walks with me. Entirely here, this is their moment. Entirely filled with their joyful purpose, I feel joyful sadness. All that they are is given to a moment of hope. Do they know what’s coming?

The ghosts wave sadly. They can’t tell me.

I walk, tracing along a scar raised from the earth like the land was smiling when it rusted in place.

Dark tooth gaps are inviting. A safe place, a home may be for so many, for so long. It will crumble soon.

The ghosts look on. They’re already gone, or soon will be.

Owen Cumming: The piece was originally called “Em’s story”. She walks with ghosts.

Statement of Intent:

There are laws to protect the unique species that live in Western Australia. Anyone wishing to clear the land (say, for a mine) must first ensure their activities will cause “no undue harm”.

Some harm, of course, is performed in the name of profit.

Clad with high vis and science degrees, ecological consultants (botanists, zoologists, and taxonomists) are sent out across the land, determining what may or may not be torn up for the bounty beneath through surveys. All too often, the task is performed with the knowledge that even with a miraculous apparition of a critically endangered species, the area will be mined regardless.

These surveys, like all science surveys, are intended to be cold calculations of facts. Impassive, objective, and emotionless. But the people performing them are not.

The intent of this piece of writing is a reminder that science is done by people. Science does not grieve for what might be lost, but a person might. Science does not consider the tragedy of a doomed beauty, but a person will feel its joy and sadness. Science does not hear the white-barked ghosts, but a person may listen closely.

Looking back to move forward.

Pituri is a tobacco with narcotic properties, processed from a range of sub-species dispersed through the outback. Contrary to what some historians believe, these plant species were not ‘discovered’ by colonial settlers. Rather, these settlers noticed that First Nations people had a ‘peculiar’ custom of chewing the leaves of a small native tree. Those living in the harshest conditions had long ago discovered that doing this helped them forget their thirst and hunger and made them happier.

In a process known as ‘freebasing’, Pituri can be created through chewing a strain of the plant together with, for example, the ash of the Umbrella bush or Pukati wattle. This helps to release the alkaloids from Pituri and allows the freeform of the drug to be more easily absorbed into the bloodstream, making it more useful in relieving aches and pains.

Past and present in conflict.

The ways in which First Nations people and Western scientists sought knowledge are drastically different. First Nations people’s understanding of their environment relies upon ancient and experiential knowledge, passed down orally through generations. In their research of Pituri, Western scientists dismissed this existing knowledge acquired over thousands of years in favour of scattergun testing.

Looking to discover ‘new science’, Western scientists found that the range of variation in Pituri’s extensive genomic resources made the strains a highly suitable option for studying plant evolution. However, the fragile nature of specimens, combined with the variability of plants, means that they produce different adaptations depending on the season and conditions. Unfamiliarity with this natural variety proved to be a major barrier, and it is estimated that, unfortunately, at least 50% of herbarium specimens of Nicotiana remain incorrectly labelled.

We can draw a link between the sheer enormity of the level of error and the absence of Pituri-related products in pharmaceuticals today. Ignoring the depth and complexity of the technologies First Nations people had in place contributed to a failure to fully utilise this ancient knowledge. If colonial settlers had instead initiated a relationship of respectful collaboration with First Nations people rather than one based on violence, perhaps we would see Pituri strains being used in natural pesticides, nicotine patches, or alternative pain relief medications today.

Contemporary science and knowledge are everchanging. But that doesn’t mean it should discount the ancient wisdom that exists in the oldest living culture in the world.

Baran Rostamian is not a science student.

References

Chase, M., M. Christenhusz, J. Conran, S. Dodsworth, F. Medeiros de Assis, L. Felix, and M. Fay. “Unexpected Diversity of Australian Tobacco Species (Nicotiana section Suaveolentes, Solanaceae).” Curtis’s Botanical Magazine, no. 35 (2018): 212-227. https://doi.org/10.1111/curt.12241.

Hansen, Vivienne. and John Horsfall. Noongar Bush Medicine: Medicinal Plants of the South-west of Western Australia. Crawley, WA: UWA Publishing, 2016.

Kerwin, Dale. “Aboriginal Dreaming Tracks or Trading Paths: The Common Ways”. Ph.D., Griffith University, 2006.

Olmstead, R., J. Sweere, R. Spangler, L. Bohs, and J. Palmer. “Phylogeny and provisional classification of the Solanaceae based on chloroplast DNA.” In: Nee, M., Symon, D.E., Lester, R.N. & Jessop, J.P. (eds). Solanaceae IV: Advances in Biology and Utilization. Royal Botanic Gardens, Kew (1999): 111–137.

Soltis, Douglas., C. Visger, D. Marchant, and P. Soltis. “Polyploidy: pitfalls and paths to a paradigm.” American Journal of Botany no. 103 (2016): 1146–1166.

Talalaj, Joseph J., Stanislaw Talalaj, and Daniela Talalaj. The Strangest Plants in the World. Australia: Hill of Content, 1991.

Thomas, Abbie. “Survival of the Druggies: Taking Narcotics May Be Part of Our Evolutionary I Inheritance.” New Scientist (1971), vol. 173, no. 2336 (2002): 11.

The Future of Energy

piece

Nathan Cuthbertson

Germanycanbedescribedasinanenergycrisis.

The National Electricity Market (NEM) was suspended by the Australian Energy Market Operator (AEMO) in June for nine days due to concerns of security and reliability for energy to consumers. Citing a multitude of factors, including the rising cost of commodities. This was the first time this has ever been done in the history of the NEM. But it won’t be the last. This will be the future of energy in Australia.

Power Generation (on the East Coast in particular) is a product of private companies that sell energy to the national market. Usually this works quite efficiently. They generate electricity, someone buys it, everyone wins. However, a price cap exists. A $300/megawatt-hour limit on the cost of sale is in place. When the price of inputs such as gas, oil, or coal rises (as a result of the Ukraine invasion), the price of production rises above the price cap. As a result, electricity supply falls below the electricity demand. Expect this to continue.

In the meanwhile, energy prices have been soaring worldwide especially in Europe. Germany can be described as in an energy crisis. In August, the price per megawatt hour reached 995 Euros (as of the time of writing), which is approximately $1500/megawatt hour, three times what the cap is in Australia. This is a rise of 70% compared to prices this time last year. This price is hurting everyone, compounding on inflation. Industry is forced to shut down as production becomes too expensive, workers are laid off, and costs blow out, all to be passed onto consumers. These are industries crucial to the global economy.

This is all despite Germany’s world leading renewables transition. Renewable energy accounted for almost half of all energy consumed in the first half of 2022. Germany has tried everything to prevent this rise in prices, from adding floating LNG terminals for importing gas, preventing the shutdown of nuclear reactors due to be decommissioned, and even going so far as to prolong the lifespan of its coal base load generation. Simply everything short of rationing energy has been done.

The switch to renewables as a major source of energy, has simply not replaced the role of fossil fuels in the energy generation, even in Germany, an arguable world leader in adopting these technologies. Having spent $180 billion on its transition to renewables in the last five years alone, the government is scaling its transition as fast as possible and promising a further $200 billion in new projects in the light of the current scenario.

So, what is the cause of all the trouble in the world energy market? Why hasn’t renewable energy helped keep cost pressure down? Primarily it is the world natural gas market. Russia has historically supplied most of the natural gas that Europe consumes, with countries like Germany previously importing 55% of its gas from Russia. Yet, the price of gas has risen ten times the tenyear average since the war in Ukraine.

On top of this, in preparation for the coming winter, Germany has begun filling its gas storage, recently achieving 90% of total storage capacity.

Typically, in a price spike selling is advised, but the opposite is being undertaken. The German government is keeping the price of gas higher than what it needs to be, by filling vast salt caverns, tanks, and all manner of facilities with gas and thus stimulating demand. The result is the ongoing high gas prices consumers are seeing in their energy bills.

Redrawing our focus back to Australia, what can we learn from the German experience? Fundamentally, you cannot be too reliant on a single source of energy. Australia leads the world in voluntary adoption of solar panels, which is great, but our energy transmission system: ‘The Grid’ is not designed for two-way power transmission. Historically, electricity flowed from high to low voltage and was not built to accommodate twoway energy flow. In peak times, the over surge of energy (from rooftop solar panels in particular) causes too much electricity in the grid. This means that the central base-load generator must shut down production temporarily, and then, once turned back on, demand starts to increase in the peak period when supply likewise falls. This is a very inefficient method of generation, and, if done incorrectly, can subject us to brownouts. From this, several policies should be adopted to ensure our nation’s future energy needs are met.

Firstly, rooftop solar must be met with a battery. Batteries should be mandatory for every personal solar system. This would prevent the oversupply of energy during the day and prevent the demand surge in the evening by drawing on supply.

Australians enjoy some of the world’s highest sunshine hours, perfect for capturing this energy. It is only natural to store it for later use.

Secondly, nuclear energy must be adopted. It is one of the most reliable and secure forms of energy generation, and vital if we are to meet our 43% reduction in CO2 emissions. The best time to build a nuclear reactor was twenty years ago. The second-best time is today.

Finally, let markets work. New electricity meters can feature price discrimination, charging higher prices in peak times and lower prices in off periods. Abolishing the cap on the price of electricity generation to allow producers and supply to re-enter the market would prevent shortfalls of electricity, ensuring that brownouts do not occur. Competition can be encouraged, leading to more cost-effective generation and efficient technology. Distorting markets through increasing purchases to create stockpiles in times of high prices only furthers the problem, leading to more shortages. Price signals allocate goods to where they are needed most, so let them work.

Our country has the capacity for cheap and reliable energy production with low carbon emissions, but it must take it seriously. Renewable energy, for its own sake, will be unreliable and unproductive. It must be coupled with battery storage and nuclear energy for stability. Without a stable base load capability, high prices, and shortages like those of Germany, will be the normal.

Ourcountryhasthecapacityforcheapand reliableenergyproductionwithlowcarbon emissions,butitmusttakeitseriously.

‘Elevated Horror’ Grandiose or gratuitous?

Horror is a movie genre that is constantly evolving, decade by decade. Think back to the innovatory shared universe of movie monsters, like Dracula, Frankenstein, and The Wolfman, from the 30s and 40s, or the stream of gory slashers popularised in the 80s, when Michael, Jason, and Freddy reigned supreme. The 90s saw the rise of self-aware, comedic ‘meta-horror’, such as Wes Craven’s iconic Scream, and The Blair Witch Project was the spark that lit a forest fire. So, what does the genre look like today?

Two words: Elevated horror.

Elevated horror, or arthouse horror, is a term popularized over the last ten years and typically associated with ‘auteur’ horror directors such as Ari Aster, Robert Eggers, Jordan Peele, Mike Flannagan, and Tai West. The title refers to a specific type of scary movie, less focused on the shock value of blood, guts, screams, and scares. Instead, elevated horror takes on the BIG ideas. One might argue the genre is devoted to exploring

Rachel Denham-White

the psychological elements of horror, using metaphoric language, subtext, and imagery to explore significant ideas of human existence. These are movies intended to make us THINK and jump out of our skin.

Why does it feel so relevant now?

Well, when you think about it, what is the very basis of horror? It’s to make us confront what we fear.

Elevated horror feels like a dark mirror placed in front of humanity because of the present world we’re living in. We know full well that the horror surrounding us isn’t out on display. It’s hidden and insidious. In the wake of economic collapses, widespread climate disasters, technology taking over our lives, and increasingly invasive laws regulating our bodily rights, there is so much to be scared of that we don’t even want to acknowledge. Who are the ‘villains’ in our society? They’re lawmakers, tech giants, multi-millionaire businessmen - individuals with so much power that we (the plebs) can’t even think of attaching meaning to them. So, we have to be scared of the little BIG things. The struggle to exist on a minimum wage. The lack of societal protection in our everyday lives. The injustice of not feeling accepted or represented. The feeling that we no longer own our own bodies. The fear of the future.

In a way, it makes sense that horror would stop focusing so overtly on monsters and start addressing the things that ACTUALLY scare us. The monsters have become metaphorical.

But elevated horror is still a contentious subject. Take its brazenly elitist name. Horror has always been thought of as a ‘lesser’ genre due to its pulpy, campy, and shock-and-awe reputation. The term elevated suggests that today’s horror is being deliberately pretentious and that it’s trying to separate itself from its lowbrow forbears to strive for acclaim as Oscar bait.

But declaring that horror has to be ‘elevated’ before it can be treated as a ‘serious’ movie or deserve any critical recognition feels a bit narrowminded to me. Elevated shouldn’t mean that the content is more significant or prestigious than the pulpy schlock of your standard gore-fest. Some horror movies can be fun for the sake of being fun, and that doesn’t make them any less important. And does the term elevated horror cheapen the game-changers that have come before? Why don’t we apply the same signifier to a film like The Texas Chainsaw Massacre, a disgusting, obscene, bloody mess but also one of the most influential movies ever made? Does Night of the Living Dead lose its relevance because it was made at a time when the horror genre was still treated as ‘second-rate’ material?

Elevated horror has issues, but it’s still fundamentally important (for all the wrong reasons).

Unfortunately, I think it has the potential to show the many pitfalls of modern movie criticism. Elevated horror always has a lot to say because it’s marketing itself as a very specific type of film. These stories are inundated with “Show. Don’t

Tell”, using intangible but still relatable ideas to invoke fear. I like to be challenged when I watch a scary movie. I like to question the horror of the ‘What if.’ But it feels like elevated horror is suffering in the wake of internet discourse, as more often than not, the audience will interpret mystery as a plot hole. Think of all the internet trolls and reviewers who will critique a movie for “not making sense” or “not telling them certain elements of the story” and watch them get their hands on a film like The Green Knight or The Babadook. It isn’t pretty.

Logan Paul tweeted that NOPE was “one of the worst movies he’d seen in a long time”, stating that the plot and characters were left vague and nothing was explained or consolidated. I admit he’s allowed to have this opinion. But his tweets

go out to a massive demographic, who might not even see NOPE because of his “taking everything at face-value” interpretation. The “EVERYTHING in a movie has to be spelled out, or else” type of criticism is hurting elevated horror. It’s not like horror movies are a dying genre, but it does sometimes feel like anything remotely original is destined to struggle in obscurity while Halloween gets its 20th sequel. There are only so many times I can watch the same thing.

Elevated horror might be challenging. It might be pretentious. It might be downright WEIRD!

But at least these directors, artists, and creatives are not afraid to try something new. What more can a gore-loving girl ask for?

Parasite Review

Ben Marshall

Parasite is an enthralling cinematographic work from director Bong Joon-ho that is able to involve a suite of captivating and vibrant characters within a mercurial thematic narrative that seems outlandish and, at times, grotesque. In my estimation, the film’s capacity to bewitch the viewer originates from Bong Joon-ho’s ability to expand Parasite’s scope and progress its story in a deliberate, controlled, and crisp fashion that lends the film a vast unpredictability whilst simultaneously engendering a tight, sharp plot that culminates in a cinematographically, if not emotionally, satisfying ending. Throughout the film’s course, I was amazed by its ability to shift narrative and tonal gears to access surprising and provoking new landscapes.

When first introduced to the Kim family, the film showcases their destitution and, through their characterisation, suggests the story will revolve around their search for prosperity. Subsequently, the Kims ingeniously plant each member of the family in a different service role for a wealthy household. The film depicts the family as cunning, meticulous, and audacious in their calculations, lulling the viewer into a comedic mood through their wit and preposterousness of their antics. Clear protagonist: the Kims, and quasi-

antagonist: the home-owning family with their financial complacency, are established. At the time, I thought the film would centre around the Kims’ escalating high jinks and envisaged a happy ending in which they lived their days as an affluent and tightly knit family.

When the family’s celebrations are interrupted by the recently deposed housemaid, they find that the maid has been running a similar game to the Kims through an underground bunker. Whilst this was a very interesting plot development, I felt, as a viewer, that this comedic mood was just being extended. What I did not anticipate, and something the film achieved so brilliantly, is the subtle shift towards a graver and more profound tone. During the escalation of escapades, this maid is killed, and the Kims, although managing to escape the home before the owner’s return, find their own home flooded and destroyed. Moreover, further aspects of the class divide are bitingly illustrated by the homeowner’s comments on Kim Ki-taek’s smell, a smell representative of the inescapability of his lowly status.

The sombre then turns to the sanguine when, during the owners’ children’s party, Ki-woo’s skull is bludgeoned, Ki-jung is mortally stabbed

by the maid’s avenging partner, and Kim Ki-taek murders the house owner after seeing him again repulsed by the smell of poverty. This disarray is elongated, as if Joon-ho were pressing down upon the viewer’s recently inflicted emotional wounds. Ki-woo’s brain damage is so severe that he can only laugh at his deceased sister’s ashes whilst his father is hunted. The film is so disorderly transformed into a melancholic ending that the tone breaks into the realms of comedic darkness.

What is most powerful about this tonal inversion, wherein the sense of good and bad in characters is entirely disordered, and the finely architected plan evaporates into utter madness, is how it is cogently and sparingly delivered. The film’s third act feels like a controlled explosion in which the limits of believability established earlier in the film are tested to their breaking point; however, they never

do break. Whilst there are comic and random elements, such as Ki-woo inexplicably dropping the scholar’s stone down the bunker’s stairs, the film itself never seems frivolous or unintelligent. Instead, these aspects appear calculated to deliver maximum audience effect. Furthermore, although the endpoint is ludicrously bloody and dispiriting, it never untethered itself from the narrative’s thrust nor appears ridiculous for ridiculousness’ sake. This restraint makes the brutality all the more shocking and impactful. Consequently, the film shatters the viewers’ comfort and produces a lasting impact on the audience. Whilst there may be many more layers of Parasite to peel, such as the non-metaphorical metaphoricalness of the scholar’s stone, overall, what I have described is, to me, why this film is so differentiable as a cinematic experience.

Political ins and outs - marking the (near) end of 2022

Izzy Hamer

To celebrate the end of Politics for the Pelican in 2022, we’re highlighting some of the triumphs (and flops) from across the world this year.

UWA de-investment in fossil fuels

In the 2023 Guild elections, UWA students voted Yes in a referendum for UWA to take action on climate change through de-investment in fossil fuels. Paired with other initiatives, this is a stride towards supporting a carbon-neutral UWA.

The Australian national and state Government have committed to begin treaty processes with Indigenous and Torres Strait Island people.

This year, Prime Minister Albanese has committed to a referendum to propose to Australia an Indigenous Voice in Parliament and in the constitution – as embraced by key figures in the Uluru Statement from the Heart campaign. At state levels in August this year, the Victorian State Government passed landmark legislation to create Australia’s first independent body to oversee Indigenous treaty negotiations between traditional landowners and the state Government. This also will be influenced by the Victorian Yoorrook Justice Commissions truth inquiry, as enacted based upon the Uluru Statement from the Heart. Comparatively, this year the Queensland state Government also has confirmed its undertaking of a three-year truth-telling inquiry as part of the state’s treaty negotiation process with Indigenous people in Queensland.

Ten nations established the Great conservation network to fight climate change and ensure the critical protection of 30% of the world’s marine ecosystems.

Ten states of the Western-Indian Ocean commuted to the Great Blue Wall initiative – a marine conservation network that aims to work towards protecting 30% of the oceans from climate and degradation factors by 2030. This was solidified at the UNFCCC COP26 at the end of 2021. The network also aims to produce a net gain to critical

marine ecosystems – including corals, seagrasses, and mangroves that have been affected by coral bleaching, rising salinity and temperature –creating millions of jobs throughout participating states, including Kenya, Mozambique, and Tanzania.

Guild elections are over! [no comment]

The UN COVAX global vaccination program reached the milestone of its 1 billionth COVID-19 vaccines to nations in the Global South in January and has surpassed 1.4 billion.

The UN and the WHO backed vaccine sharing initiative COVAX in January, providing 1 billion doses of COVID-19 vaccines, and have since surpassed this figure. The program is part of the ACT Accelerator initiative from the WHO, European Commissions, and the French Government, with the goal of reducing inequalities due to COVID by providing access to tests, vaccines, and medical treatments. This comes after the WHO delivered its most optimistic COVID-19 outlook in early September, with the COVID-19 mortality rate at the lowest it has ever been since the beginning of the pandemic. Although COVID is still an “acute global emergency”, with millions of lives greatly affected and long-lasting gaps in equity, the WHO’s Director-General, Dr Tedros Adhanom Ghebreyesus, has declared “the end in sight.”

Free period products will be rolled out across public high schools in WA, starting in October. The WA state Government announced the introduction of free pads and tampons across WA public high schools, an education policy now in line with the rest of Australia. This will be provided to more than 220 public schools and aims to ensure equitable access and barriers to engagement in school.

Ins: what good has come out of an otherwise questionable… year?

The world is increasing its climate change initiatives as we hit a milestone for surpassing one terawatt of installed solar energy capacity worldwide. In 2022 the world collectively achieved the goal of being able to meet the entirety of the continent of Europe’s electricity demands through solar energy alone – with the accumulated generation of one terawatt of solar energy worldwide. Renewables have also seen greater integration in their technology across the globe. In Germany, the world’s first 100% hydrogen energy powered train was launched – with the fleet now increased to five; a renewable energy source that has potential through blue hydrogen to ease fossil to renewable energy transition. Comparatively, the UK has opened the world’s largest offshore wind farm that alone could generate 5% of the UK’s energy demand. Strives have also been made within the sphere of fashion, with the UK’s department store, Selfridges, instituting the goal of having 45% of its products made from recycled materials or through services like resale, repair or refills.

Indonesia passes legislation to codify sexual violence after six years of negotiations. The Indonesian Government passed landmark legislation after six years of negotiations to finally protect victims of sexual violence by establishing a legal framework for victims to get justice. Prior to the law, various core human rights principles regarding sexual abuse and justice were not part of the Indonesian constitution. In response to widespread reports of injustice handled by the state’s legal system and police – it is now enshrined that they must participate in specialised gender training and are legally held responsible for human rights principles, utilising a victim-centred approach (Article 21 a and b). The passing of the law was majorly spearheaded by multiple women’s groups, activists, and service providers within an increasingly fragmented political environment, who were accommodated by the DPR for consultation in drafting the legislation.

Tasmania for the win! - Becoming carbon negative and raising the minimum age of detention in 2022.

Whilst the rest of Australia might forget about Tassie, globally they’ve become one of the first parts of the entire world to become carbon negative. Professor Mackay from Griffith University mainly attributed this to their massive reduction in native forest logging, due to forest management, to reduce substantial amounts of C02 emissions. Furthermore, as part of their reform to the Youth Justice system, they have raised the minimum age of detention from ten to fourteen years old, while other states in Australia still have the age of incarceration as young as ten, disproportionality affecting Indigenous Youth. The minister for Education, Children and Youth, Roger Jaensch, affirms that the traumatic effects of early incarceration and perpetuation of cycles of disadvantage will ease as Tasmania gears towards prevention, early intervention strategies, community-based sentencing options, and increased therapeutic and restorative interventions of high-risk young offenders. Through restorative justice reforms, the Government aims to have detention for youth in Tasmania as a last resort.

Outs: What do we need to hold the world more accountable for?

International silence – Iran protests, floods in Pakistan, persecution in Tigray, the political consequences of rising inflation, and much more…

Last week in Iran, thousands of women took to the streets to protest the death of Mahsa Amini, who was beaten to death in custody by the Iranian morality police. Mahsa Amini’s death led to mass protests in more than eighty Iranian cities. At least twenty-one civilians were killed by the unrest, and internet access has been restricted within the country. Some states, such as the US, imposed sanctions on the Iranian morality police; however, many other states and media across the globe,

compared to other severe human rights crises in 2022, have remained silent about the issue.

In late August, Pakistan experienced the most severe flooding in recent history - with one-third of the country underwater and 33 million people affected. The floods have been attributed as a climate disaster, catalysed by heavier monsoon rains and melting glaciers, pre-empted by a severe heat wave. The estimated loss due to the flooding has been estimated at $40 billion USD, and the country’s development has been catastrophically affected, with more than 1,500 people dying because of the floods.

In Ethiopia, a largely invisible campaign of persecution and ethnic cleansing continues between the Government and the Tigray People’s Liberation Front (TPLF) since 2020. Thousands of people have been forced out of their hometowns into overcrowded detention centres, where many have died due to torture, diseases, and starvation, with rampant accounts of sexual violence and other inhumane acts. Many of these crimes and human rights abuses have been hidden from the international community. The severance of telecommunication and even banking services has prevented the verification of what is currently happening in Ethiopia.

The effects of rising inflation have been felt in every economy; however, this had destabilising effects on various countries that have spiralled into political conflict and instability. Developing countries have been disproportionately affected by inflation – with rising prices leaving millions across the globe extremely food insecure. In Sri Lanka, rising inflation to over 50% drove the current economic and political crisis that has driven millions into poverty. Large-scale protests began following corruption, human rights abuses, and economic mismanagement, leading to the resignation of President Gotabaya Rajapaksa. However, the subsequent Government has continued its repression of protestors instead of overcoming the desperate need for food security. In Sudan, inflation has skyrocketed to 382.8% with the threat of the suspension of debt relief. Comparatively, in Lebanon, following the effects of the 2019 financial crisis, this year’s inflation has skyrocketed to 178% in 2022.

Across the globe, hundreds more crises are currently occurring, and action has been limited. However, at a grassroots level across the globe, we have seen an amount of support. In Perth, hundreds gathered to condemn the death of Mahsa Amini, with thousands protesting across Australia and the world.

Misfortune never comes alone

Jadenipit Tamjarion

Snowflakes fall and glimmer through the morning sky. The orange intertwines with the darkness of dawn; clouds now emerge from their once-dark camouflage to take the form of white and scattered sunlight.

Winter’s breeze flows through my rotten rags. My grey uniform interweaves itself with my wounds; death’s brush painting the canvas red. Hunger; food I desire, though blood and chapped lips are all my tongue tastes.

A puppet to my brain my body is, joints aching as needles pierce into each of them. Strings pulled, legs contorted, and steadily, I lurch from the rooftop to witness Leningrad in ruins.

Sandbags are implemented for protection. Weapons pebbled as pedestrian paths. Though like its concrete counterparts, serve minimal sanctuary. Blankets of snow cover the fallen, both animate and inanimate.

To the stars, I seek for answers but hidden, I must endure from enemy planes. To the moon, I search for a distant land; however, at home, I must stay. Despite hiding under rubble at times, it seems as though bodies provide the best defence.

Either concealed or walking, the moonlight never fails to be so hypnotic. Regardless of whether bullets fly around, I pause to admire such beauty. Before marching onwards into the massacres once more, I look to the sky and pray for my family. In God’s hands, I place them, and for him to forgive their sins, I ask to suffer in place of them. To war, I know I would travel, though combat at home, I did not expect. Although I’m far from them, at times, I can feel their heartbeats.

This wooden plank, coated with metal, I raise again to fixate on a lone enemy from below. His body dangles from side to side as he wanders with heavy footsteps, dodging and staggering over the rubble beneath me.

A dead man, walking in purgatory.

As his foot attempts to tread once more, he pauses for a moment, stumbling over a deceased ally and kicks his rotting corpse. With this brief halt, crosshairs position perfectly on his head. I hold my breath as he breathes his last. My finger now grasps the trigger.

In war, no man is innocent.

OCTOBER Horoscopes

Holly Carter- Turner Illustrations by Sally Thomas

Aries (Ram)

(March 21 – April 19)

This month encourages you to look at what you have and to hold on tight to what is good. This could mean appreciating an old friend, making the most of your favourite coffee shop, or just stopping and “smelling the roses”. If you’re feeling like your tank is full, consider if you need to flush out any of the bad to accommodate for more of the good.

Gemini (Twins)

(May 21 – June 21)

Geminis are notorious for overthinking and can often end up feeling paralysed as they try to plan for every outcome before they’ve even taken the first step. In an effort to protect themselves, they often give more weight to the negative outcomes because they think things are less painful if they’ve at least seen them coming. This month encourages you to kick that negativity in the face, and get cracking.

Taurus (Bull)

(April 20 – May 20)

Many things in life can be scary but “fortune favours the brave”. This isn’t to say you must be reckless and leap without looking, but instead to reassure you that even if something goes wrong, there are benefits to trying. Taurus can be very self-critical, so this is also to remind you that failing doesn’t make you a failure. You may be more ready than you realise, it is time to take the jump.

Cancer (Crab)

(June 22 – July 22)

Shhh, be quiet and keep watch. Trouble is on the horizon, but it might not catch you. If something has been bothering you, this month provides an escape. It might not come easily, but you will start to see the light at the end of the tunnel and realise you will be ok in the end. It can be scary; it can bring discomfort but keep your chin up.

Leo (Lion)

(July 23 – August 22)

Leos, like lions, have a reputation for being proud and intimidating which can work for and against them in social settings. While it means they might have the confidence to hold their own in a space, it can also mean others may be too intimidated to approach them. You are equipped with many tools for protecting yourself, but it may be time to retract your claws and let new people into your life.

Libra (Balance)

(September 23 – October 23)

Sometimes you meet people, and something about them just feels magical. They could make your heart skip a beat or fill you with a sense of comfort. This month encourages you to look out for these special people and learn from them to see how they can guide you.

Virgo (Virgin)

(August 23 – September 22)

Keep your eyes peeled as new opportunities creep into view. Something is brewing, and while it may not make itself clear, it will be lurking in the shadows waiting for you. Be ready to catch what is thrown at you, but remember your net has a max capacity and breaking it could mean losing it all. Be selective and keep the things that are the best for your time and energy.

Scorpio (Scorpion)

(October 24 – November 21)

Wealth is on the horizon, and not just in the shape of money. It could be a new peer with a wealth of knowledge, a new job that provides a wealth of opportunities, orr a new hobby with a wealth of joy and entertainment. Make sure you aren’t too greedy and are sharing its benefits with others that deserve it.

Sagitarius (Archer)

(November 21 – December 21)

Sagittarians are an optimistic lot, always dreaming of bigger and better things for their lives. While sometimes it can feel like these dreams are stuck in the clouds, this month will help you to make these dreams come true. They may not turn out perfect, but sometimes imperfections are a lot more fun than the pristine and planned happily ever after.

Aquarius (Water Bearer)

(January 20 – February 18)

The formation of a deep lifelong connection is said to be on your horizon. It may be to a person, animal, or passion. There isn’t a guarantee that the experience will be positive, but it will be formative, influencing your attitudes and thoughts. Aquarians can be stubborn to new ways of being, but for this connection, you may benefit from loosening your reins and letting this experience guide you instead of resisting it.

Capricorn (Goat)

(December 22 – January 19)

As the old saying goes: “You can’t make an omelette without breaking a few eggs.” While this statement acknowledges that there are sacrifices to success, it doesn’t clarify whose sacrifices they are. When gunning for the finishing line, we can often forget to notice who we are impacting along the way. Make sure the eggs you are breaking come from your own basket and that you aren’t scrambling other people’s chances to succeed.

Pisces (Fish)

(February 19 – March 20)

Is your head full of questions? Do they remain incomplete because you truly do not know their answer? Or is it because you do not want to accept the truth? This month encourages you to think about these lingering thoughts and trust your gut when coming up with solutions. An overly explored theory can become muddy. Simplifying your worries into parts and addressing each of the pieces can help you tackle the full situation.

“imma let you finish”