Journal articles: 'Real wage repression' – Grafiati (2024)

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After comparing the predictions of Marxist, moral economy, and rational-choice theories concerning collective actions by workers in Egypt in the period since the 1952 Free Officers coup, this article concludes that a moral economy perspective is best able to explain the nature and frequency of these protests. The supporting evidence is the correlation between labor protest and violations of workers' feelings of entitlement, as manifest in declining real wages or disruptions to established patterns of wage differentials. The targeting of state institutions, combined with the fact that workers have eschewed actual production stoppages in favor of symbolic protests, indicates a view of reciprocal rights and obligations between themselves and the state. The latter reinforces the moral economy by combining significant concessions with its repressive response to labor protests. Marxism proves unable to explain the largely defensive and reactive nature of labor protest, while rational-choice theory is reduced to efforts to quantify workers' reactions to this repression.

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In the wake of the recent European debt crisis, there have emerged serious payments imbalances between the core/surplus countries and the peripheral/deficit countries, which threaten the internal cohesion of the eurozone. In the absence of political union or fiscal federalism, these centrifugal dynamics appear to be irreversible. This article examines the role performed by the TARGET2 (Trans-European Automated Real Time Gross Settlement Express Transfer System) payments system and the very real possibility of default by the indebted, peripheral countries as a result of the imposition of austerity policies by the European Central Bank (ECB)/European Union (EU)/International Monetary Fund (IMF) (Troika). It is proposed that the current, neoliberal path toward austerity and wage repression (or internal devaluation) is ultimately unsustainable and, indeed, self-defeating. JEL Classification: B5, B14, B16, B23

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Tom Ginsburg's thought-provoking Authoritarian International Law? invites us to reflect on the potential changes to the international legal order that might flow from the global decline of liberal democracy and the corresponding rise of illiberal authoritarian regimes. Given that Ginsburg's cautionary tale is predicated on the central interest of authoritarians in the survival of their regimes and their concerns about internal security, it is not surprising that many of the implications he identifies— which involve the expansion of norms that facilitate internal repression, enable repressive regulation of online expression, and dilute international democracy promotion—concern international law's regulation of states’ internal affairs. If Ginsburg's predictions about expanding authoritarianism are correct, however, we should also consider the implications for the evolution of international law in the external security realm, and in particular, for the legal regime governing the use of force and intervention in the affairs of other states. In this essay, I suggest that the expansion of authoritarianism is likely to diminish legal accountability of outside states that support repression by such regimes; to entrench the legal status of existing authoritarian regimes confronting domestic political violence; and to weaken the legal basis for Security Council interventions rooted in the “responsibility to protect” principle. When authoritarian states do wage wars, particularly when they intervene in civil wars, we should expect that their compliance with international humanitarian law (IHL) will be weak.

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Vietnam in 2017 continued rapid economic growth and consolidated its role in APEC. US withdrawal from the TPP harmed growth prospects, but Vietnam and other trading partners pushed ahead with other agreements. Industrial production continued to boom, and real wages rose substantially. The ruling party consolidated its hold on national politics and stepped up repression of activists.

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Abstract The coexistence of DNA replication and transcription during S-phase requires their tight coordination to prevent harmful conflicts. While extensive research revealed important mechanisms for minimizing these conflicts and their consequences, little is known regarding how the replication and transcription machinery are coordinated in real-time. Here, we developed a live-cell imaging approach for the real-time monitoring of replisome progression and transcription dynamics during a transcription-replication encounter. We found a wave of partial transcriptional repression ahead of the moving replication fork, which may contribute to efficient fork progression through the transcribed gene. Real-time detection of conflicts revealed their negative impact on both processes, leading to fork stalling or slowdown as well as lower transcription levels during gene replication, with different trade-offs observed in defined subpopulations of cells. Our real-time measurements of transcription-replication encounters demonstrate how these processes can proceed simultaneously while maintaining genomic stability, and how conflicts can arise when coordination is impaired.

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With the advent of the first pandemic wave of Severe Acute Respiratory Syndrome Coronavirus-2 (SARS-CoV-2), the question arises as to whether the spread of the virus will be controlled by the application of preventive measures or will follow a different course, regardless of the pattern of spread already recorded. These conditions caused by the unprecedented pandemic have highlighted the importance of reliable data from official sources, their complete recording and analysis, and accurate investigation of epidemiological indicators in almost real time. There is an ongoing research demand for reliable and effective modeling of the disease but also the formulation of substantiated views to make optimal decisions for the design of preventive or repressive measures by those responsible for the implementation of policy in favor of the protection of public health. The main objective of the study is to present an innovative data-analysis system of COVID-19 disease progression in Greece and her border countries by real-time statistics about the epidemiological indicators. This system utilizes visualized data produced by an automated information system developed during the study, which is based on the analysis of large pandemic-related datasets, making extensive use of advanced machine learning methods. Finally, the aim is to support with up-to-date technological means optimal decisions in almost real time as well as the development of medium-term forecast of disease progression, thus assisting the competent bodies in taking appropriate measures for the effective management of the available health resources.

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The article examines patterns of work and employment in urban households of the inter-war Soviet Union. Drawing on population censuses and time-budget surveys, it analyses trends in labour participation and gainful employment for men, women and different age-groups from the mid-1920s to the late 1930s. Particular attention is devoted to the division of labour within the household. The single most important change over this period was a substantial increase in labour participation rates, in particular among women. This was a direct result of the state-led industrialization drive of the 1930s, which simultaneously caused a booming demand for labour and a rapid decline of real wages. Households reacted to this challenge by increasing the number of working members per household. Self-employment, targeted by state repression from the late 1920s, practically disappeared, leaving paid employment as the only viable form of gainful employment. Within the household, the increase in female labour participation rates put a heavy strain on women, who came to face a double burden of employment and household duties, including child-care. In three-generation extended households, which were the norm at the time, this resulted in a division of labour between the generations, with the household members of working age concentrating on paid employment and the elderly members of the household on child-care and subsidiary agriculture.

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The article explores the religious ideas of the Saami. Since ancient times the Saami have been considered the most powerful and skilled sorcerers in Europe. The researchers note the special richness and complexity of Sami paganism. Under the pressure from Scandinavian Germanic tribes and Slavs, this small and peaceful people was gradually pushed back to the northern part of Scandinavia and the Kola Peninsula. In the 14th – 15th centuries, the Saami were subjected to Christian missionary work by the Swedes, the Norwegians and the Russians. Some of the Saami adopted Christianity, while the pagan ideas of the others were influenced by Christianity. Under Soviet rule, the Saami were subjected to mass migrations, political repression and forced atheization. Positive changes in the life of the Saami occurred during perestroika, in the late 1980s and 90s. At that time, there was a rise in national and civil consciousness. Perestroika in Russia coincided with the rise of the national Saami movement in the Scandinavian countries. At last, the Nordic countries went for the organization of Saami elected bodies – parliaments, democratically defending Saami interests. These "parliaments" actually have only consultative rights and no real political powers. Perestroika opened up state borders and the Kola Saami began to receive not only humanitarian aid from neighbouring countries, but also their enthusiasm for national revival. Public activists, scientists, journalists and artists came from Norway, Finland and Sweden. On this national wave there is also a religious revival of pagan beliefs. The leader of the Saami Parliament, Valentina Sovkina, plays a leading role in the national movement and in the revival of paganism. The Saami movement has found itself in a confrontation with the Murmansk provincial authorities, but with the beginning of the Governorate of Andrei Chibis, a tendency towards constructive interaction has been outlined.

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The article analyzes the issue of socially fair system of calculating fines as a criminal penalty, and substantiates the proposal on the feasibility of revising the monetary equivalent in which the fine is calculated, as in Ukraine there is a real need for critical analysis of the latter/ The author proved that the current monetary equivalent, which calculates the fine in the sanctions of the articles of the Special Part of the Criminal Code of Ukraine, does not meet modern society requirements, introduces a significant imbalance in determining the amount of damage and liability for a criminal offense and does not take into account property (financial and economic) the condition of the perpetrator. It is proposed to take as a basis for a socially just system of calculating the fine the average monthly income of the perpetrator. The average monthly income of the perpetrator should include the amount of wages, pensions or scholarships, cash income from business or other legal activities, income in the form of interest on bank deposits, income from securities, land, real estate and other movable property. Therefore, the amount of the fine for the committed criminal offense will depend on the total income of the offender, will be real and justified given the economic (property) condition of the offender. And, most importantly, given the different wealth and income of individuals in Ukraine, the fine will really correspond to the criminal law content of the principle of justice. It is determined that the fine applied to the guilty person must be both tangible on the one hand, and feasible and fair on the other. The fine should have a preventive value in its general and special aspects, rather than repressive and punitive effects. Therefore, to determine its preventive role, it is advisable to establish at the regulatory level an adequate equivalent for its calculation and an amount commensurate with the financial situation of the perpetrator and the criminal offense committed by him. This fair equivalent should be the average monthly income of the perpetrator, the latter is widely used in progressive foreign countries to calculate the fine as a criminal punishment.

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ABSTRACT The Arab Spring wave in the beginning of 2011 that hit Middle Eastern countries, started from Tunisia, Egypt, Libya, Yemen, and Syria, which still continue to this day, is a symbol of the fall of authoritarian and repressive Arab regimes, as well as a symbol of the struggle of Arabian people who want great changes in various fields such as economic, social, and democratic political system. After eight years, the Arab Spring still has many problems, Middle Eastern countries still trapped in conflict and civil war. The transition of democracy that hoped is not going well, trapped in sectarian interests: tribes, religions, streams (madzhab), and political groups. Sectarianism has become one of the causes of instability and colored the politic dynamics in the region. In fact, it socially and historically has multiple roots over a long period of time in the Middle East. This paper seeks to read the history and dynamics of sectarian conflict, as well as the process of democratic transition: between opportunities and challenges, and the realization of democracy in the region after the Arab Spring. Keywords: Sectarianism, Democracy, Arab Spring, Middle East. ABSTRAK Gelombang Arab Spring pada awal 2011 yang melanda negara-negara Timur Tengah, dimulai dari Tunisia, Mesir, Libya, Yaman, dan Suriah yang masih berlanjut hingga kini, adalah sebuah simbol jatuhnya rezim-rezim Arab yang otoriter dan represif, dan juga sebagai simbol perjuangan rakyat Arab yang menginginkan adanya perubahan besar dalam berbagai bidang, ekonomi, sosial, sistem politik terbuka dan demokratis. Setelah delapan tahun sem*njak bergulirnya, Arab Spring masih menyisakan banyak problem, negara-negara Timur Tengah masih terpuruk, terjebak dalam konflik dan perang saudara. Transisi demokrasi yang dicita-citakan tidak berjalan dengan baik, tersandera oleh kepentingan-kepentingan sektarian: suku, agama, mazhab dan kelompok politik. Sektarianisme menjadi salah satu penyabab instabilitas dan telah mewarnai dinamika politik di kawasan Timur Tengah. secara sosio-historis sektarianisme di Timur Tengah memiliki akar yang berlapis-lapis dalam kurun waktu yang panjang. Tulisan ini berusaha untuk membaca sejarah dan dinamika konflik sektarisnisme, proses transisi demokrasi: antara peluang dan tantangan, dan realisasi demokrasi di Timur Tengah pasca Arab Spring. Kata Kunci: Sektarianisme, Demokrasi, Arab Spring, Timur Tengah.

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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (1992 [17]), H. Botunova (2007 [9]), H. Botunova in collaboration with I. Lobanova (2017 [8]) and with I. Lobanova and Yu. Kovalenko (2012 [6]). Taking into account the reference and informational nature of these writings, the question of the methodology of teaching specialized disciplines, in particular, theatrical criticism, practically is not considered. The aim of this study is to analyze the process of formation of theater studies education within the boundaries of Kharkiv theatrical school, to determine the main methodological principles of theater criticism teaching in the context of the theatrical process development in general and the theatrical critical thought in particular, and also to consider the objective and subjective factors that were influenced on the schooling process in theatrical criticism area. Results. The development of theatrical criticism is directly related to the development of theatrical art. The active theatrical movement of the 1920’s has produced a great wave of theatrical criticism that was unprecedented in Ukrainian journalism. Among the factors that influenced the formation of the institute of theater criticism is the development of theater education in Kharkiv of the same period. And the most important thing is that authoritative theorists and practitioners have been involved in the organization and functioning of these educational institutions, teaching historical and theoretical disciplines: I. Turkeltaub, A. Bielecki, Ya. Mamontov, I. Shevchenko, M. Voronyi. It would seem that the logic of the theatrical process and theater education and the level of theatrical-critical thought should one way or another lead to the creation of the theatrical faculty (department) in one of Kharkiv’s higher educational institutions. However, the devastating defeat of the Ukrainian theater during the theatrical disputes of the late 1920’s and the further physical elimination of both theatrical artists and the chroniclers of their work, did not leave a trace of the rise and diversity of critical thought. The repressive processes also did not walked past and the sphere of theater education. In 1934, the Musical-Theater Institute in Kharkiv was closed. The rapid stage of development of all areas of theatrical art, which could lead to the establishment of a vocational school, was artificially torn and slowed down the process of establishing Theater Studies education on a certain time. A new stage in the history of Kharkiv’s theatrical criticism, which ultimately led to the establishment of vocational education, began after the liberation of the city in 1944, when the faculty of Theater Studies was opened at the Kharkiv Theater Institute due to initiative of S. Ignatov and A. Pletniov. Historical and theoretical disciplines were dominated in the theatre theorist’ education. Also there were a few subjects provides skills and ability to analyze drama, performance, directing and acting, the modern theatrical process: “Introduction to Theater Studies”, “Theatrical Criticism Workshop”, “Theory of Literature and Drama”. However, their teaching was extremely unsystematic. In search of the “Criticism” teacher the institute appealed to one of the most experienced theatrical reviewers V. Morsky, who had more than 20 years of experience in journalism at that time. This discipline did not have a clear developed program, work plan, methodological development, there was not even a well-known name, and it appears as “Reviewer Practicum”, “Theater Criticism”, “Theatrical Criticism Workshop”. V. Morsky was an active journalist and his method of teaching was based primarily on personal experience and everyday practice. The most important thing that was instilled to students is the need to write and publish. At the classes, students discussed and analyzed Kharkiv theaters’ performances, write reviews and read them directly in class. If there were not enough theatrical events, the lector chose music concerts and new movies to analyze. Active and gifted students were attracted to the review work in the newspaper “Krasnoye Znamya”, where he headed the Department of Culture, and they were beginning be published from a student’s times. He taught his students to analyze first the aesthetic and artistic qualities of artistic works, and not ideological and sociological components. An equally important factor in the young critics’ formation was the newspaper theatrical journalism, which was at a high professional level in Kharkiv in the late 1940’s. The theater life in the city was regularly covered in newspapers by V. Morsky, G. Gelfandbein, L. Zhadanov (L. Livsh*ts) and B. Milyavsky. The prime of theatrical and generally artistic life, the rise of local journalism did not last long. The new repressive campaign in the USSR in 1946–1949 held in the field of science, literature, culture and the art. During these campaigns, a pleiad of highly talented teachers was fired from the institute or they quitted. It destroyed major of Kharkiv journalism in the 1940’s, including the first teacher of theatrical critique V. Morsky that was arrested and soon died in exile. Theatrical criticism as a profession for many years has lost its position of influence on the artistic process and disappeared from the Institute schedule in the function of classroom discipline for some time. Significantly decreased the amount of wishing to restock the ranks of “rootless cosmopolitans” (so they were reviled by official propaganda); the competition for Theater Studies department was virtually non-existent. Conclusions. Formation of the Theater Studies Department, developing teaching methods of one of the core subjects – theater criticism – at the Kharkiv Theater Institute took place against a background of difficult conditions of historical reality saturated ideological and political repression. This fact has not contributed to the development of theater criticism. National Theater Studies must go a long way to recreate an objective picture of the development of Ukrainian theatrical criticism, to define its stages and trends, fill in the lacunae in the biographies of scientists and formulate the originality of the methodology each of them.

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Introduction It used to be the case that for the mass of workers, work was something that was done in order to get by. A working class was simply the sum total of all those workers and their dependents whose wages paid for the necessities of life, providing the bare minimum for family reproduction, to secure a place and a lineage within the social order. However, work has now become something else. Work has become the privileged sign of a new kind of class, whose existence is guaranteed not so much by work, but by the very fact of holding a job. Society no longer divides itself between a ruling elite and a subordinated working class, but between a job-holding, job-aspiring class, and those excluded from holding a job; those unable, by virtue of age, infirmity, education, gender, race or demographics, to participate in the rewards of work. Today, these rewards are not only a regular salary and job satisfaction (the traditional consolations of the working class), but also a certain capacity to plan ahead, to gain control of one's destiny through saving and investment, and to enjoy the pleasures of consumption through the fulfilment of self-images. What has happened to transform the worker from a subsistence labourer to an affluent consumer? In what way has the old working class now become part of the consumer society, once the privileged domain of the rich? And what effects has this transformation had on capitalism and its desire for profit? These questions take on an immediacy when we consider that, in the recent Federal election held in Australia (November 11, 2001), voters in the traditional working class areas of western Sydney deserted the Labour Party (the party of the worker) and instead voted Liberal/conservative (the party of capital and small business). The fibro worker cottage valleys of Parramatta are apparently no more, replaced by the gentrified mansions of an aspiring worker formation, in pursuit of the wealth and independence once the privilege of the educated bourgeoisie. In this brief essay, I will outline an understanding of work in terms of its changing relation to capital. My aim is to show how the terrain of work has shifted so that it no longer operates in strict subordination to capital, and has instead become an investment in capital. The worker no longer works to subsist, but does so as an investment in the future. My argument is situated in the rich theoretical field set out by Karl Marx in his critique of capitalism, which described the labour/capital relation in terms of a repressive, extractive force (the power of capital over labour) and which has since been redefined by various poststructuralist theorists including Michel Foucault and Gilles Deleuze (Anti-Oedipus) in terms of the forces of productive desire. What follows then, is not a Marxist reading of work, but a reading of the way Marx sets forth work in relation to capital, and how this can be re-read through poststructuralism, in terms of the transformation of work from subordination to capital, to investment in capital; from work as the consequence of repression, to work as the fulfilment of desire. The Discipline of Work In his major work Capital Marx sets out a theory of labour in which the task of the worker is to produce surplus value: "Capitalist production is not merely the production of commodities, it is, by its very essence, the production of surplus-value. The worker produces not for himself, but for capital. It is no longer sufficient, therefore, for him simply to produce. He must produce surplus-value." (644) For Marx, surplus-value is generated when commodities are sold in the market for a price greater than the price paid to the worker for producing it: "this increment or excess over the original value I call surplus-value" (251). In order to create surplus value, the time spent by the worker in making a commodity must be strictly controlled, so that the worker produces more than required to fulfil his subsistence needs: ". . . since it is just this excess labour that supplies [the capitalist] with the surplus value" (1011). In other words, capital production is created through a separation between labour and capital: "a division between the product of labour and labour itself, between the objective conditions of labour and the subjective labour-power, was . . . the real foundation and the starting point of the process of capital production" (716). As Michael Ryan has argued, this separation was forced , through an allegiance between capital and the state, to guarantee the conditions for capital renewal by controlling the payment of labour in the form of a wage (84). Marx's analysis of industrialised capital in Capital thus outlines the way in which human labour is transformed into a form of surplus value, by the forced extraction of labour time: "the capitalist forces the worker where possible to exceed the normal rate of intensity [of work] and he forces him as best he can to extend the process of labour beyond the time necessary to replace the amount laid out in wages" (987). For Marx, capitalism is not a voluntary system; workers are not free to enter into and out of their relation with capital, since capital itself cannot survive without the constant supply of labour from which to extract surplus value. Needs and wants can only be satisfied within the labour/capital relation which hom*ogenises labour into exchange value in terms of a wage, pegged to subsistence levels: "the capital earmarked for wages . . . belongs to the worker as soon as it has assumed its true shape of the means of subsistence destined to be consumed by him" (984). The "true shape" of wages, and hence the single, univocal truth of the wage labourer, is that he is condemned to subsistence consumption, because his capacity to share in the surplus value extracted from his own labour is circ*mscribed by the alliance between capital and the state, where wages are fixed and controlled according to wage market regulations. Marx's account of the labour/capital relation is imposing in its description of the dilemma of labour under the power of capital. Capitalism appears as a thermodynamic system fuelled by labour power, where, in order to make the system hom*ogeneous, to produce exchange value, resistance is reduced: "Because it is capital, the automatic mechanism is endowed, in the person of the capitalist, with consciousness and a will. As capital, therefore, it is animated by the drive to reduce to a minimum the resistance offered by man, that obstinate yet elastic natural barrier." (527) In the capitalist system resistance takes the form of a living residue within the system itself, acting as an "elastic natural barrier" to the extractive force of capital. Marx names this living residue "man". In offering resistance, that is, in being subjected to the force of capital, the figure of man persists as the incommensurable presence of a resistive force composed by a refusal to assimilate. (Lyotard 102) This ambivalent position (the place of many truths) which places man within/outside capital, is not fully recognised by Marx at this stage of his analysis. It suggests the presence of an immanent force, coming from the outside, yet already present in the figure of man (man as "offering" resistance). This force, the counter-force operating through man as the residue of labour, is necessarily active in its effects on the system. That is to say, resistance in the system is not resistance to the system, but the resistance which carries the system elsewhere, to another place, to another time. Unlike the force of capital which works on labour to preserve the system, the resistive force figured in man works its way through the system, transforming it as it goes, with the elusive power to refuse. The separation of labour and capital necessary to create the conditions for capitalism to flourish is achieved by the action of a force operating on labour. This force manifests itself in the strict surveillance of work, through supervisory practices: "the capitalist's ability to supervise and enforce discipline is vital" (Marx 986). Marx's formulation of supervision here and elsewhere, assumes a direct power relation between the supervisor and the supervised: a coercive power in the form of 'the person of the capitalist, with consciousness and a will'. Surplus value can only be extracted at the maximum rate when workers are entirely subjected to physical surveillance. As Foucault has shown, surveillance practices in the nineteenth century involved a panoptic principle as a form of surveillance: "Power has its principle not so much in a person as in a certain concerted distribution of bodies, surfaces, lights, gazes; an arrangement whose internal mechanisms produce the relation in which individuals get caught up." (202) Power is not power over, but a productive power involving the commingling of forces, in which the resistive force of the body does not oppose, but complies with an authoritative force: "there is not a single moment of life from which one cannot extract forces, providing one knows how to differentiate it and combine it with others" (165). This commingling of dominant and resistive forces is distributive and proliferating, allowing the spread of institutions across social terrains, producing both "docile" and "delinquent" bodies at the same time: "this production of delinquency and its investment by the penal apparatus ..." (285, emphasis added). Foucault allows us to think through the dilemma posed by Marx, where labour appears entirely subject to the power of capital, reducing the worker to subsistence levels of existence. Indeed, Foucault's work allows us to see the figure of man, briefly adumbrated in quote from Marx above as "that obstinate yet elastic natural barrier", but refigured as an active, investing, transformative force, operating within the capitalist system, yet sending it on its way to somewhere else. In Foucauldian terms, self-surveillance takes on a normative function during the nineteenth century, producing a set of disciplinary values around the concepts of duty and respectability (Childers 409). These values were not only imposed from above, through education and the state, but enacted and maintained by the workers themselves, through the myriad threads of social conformity operating in daily life, whereby people made themselves suitable to each other for membership of the imagined community of disciplined worker-citizens. In this case, the wellbeing of workers gravitated to self-awareness and self-improvement, seen for instance in the magazines circulating at the time addressed to a worker readership (e.g. The Penny Magazine published in Britain from 1832-1845; see Sinnema 15). Instead of the satisfaction of needs in subsistence consumption, the worker was possessed by a desire for self-improvement, taking place in his spare time which was in turn, consolidated into the ego-ideal of the bourgeois self as the perfected model of civilised, educated man. Here desire takes the form of a repression (Freud 355), where the resistive force of the worker is channelled into maintaining the separation between labour and capital, and where the worker is encouraged to become a little bourgeois himself. The desire for self-improvement by the worker did not lead to a shift into the capitalist classes, but was satisfied in coming to know one's place, in being satisfied with fulfilling one's duty and in living a respectable life; that is in being individuated with respect to the social domain. Figure 1 - "The British Beehive", George Cruickshank's image of the hierarchy of labour in Victorian England (1840, modified 1867). Each profession is assigned an individualised place in the social order. A time must come however, in the accumulation of surplus-value, in the vast accelerating machine of capitalism, when the separation between labour and capital begins to dissolve. This point is reached when the residue left by capital in extracting surplus value is sufficient for the worker to begin consuming for its own sake, to engage in "unproductive expenditure" (Bataille 117) where desire is released as an active force. At this point, workers begin to abandon the repressive disciplines of duty and respectability, and turn instead to the control mechanisms of self-transformation or the "inventing of a self as if from scratch" (Massumi 18). In advanced capitalism, where the accrued wealth has concentrated not only profit but wages as well (a rise in the "standard of living"), workers cease to behave as subordinated to the system, and through their increased spending power re-enter the system as property owners, shareholders, superannuants and debtees with the capacity to access money held in banks and other financial institutions. As investment guru Peter Drucker has pointed out, the accumulated wealth of worker-owned superannuation or "pension" funds, is the most significant driving force of global capital today (Drucker 76-8). In the superannuation fund, workers' labour is not fully expended in the production of surplus value, but re-enters the system as investment on the workers' behalf, indirectly fuelling their capacity to fulfil desires through a rapidly accelerating circulation of money. As a consequence, new consumer industries begin to emerge based on the management of investment, where money becomes a product, subject to consumer choice. The lifestyles of the old capitalist class, itself a simulacra of aristocracy which it replaced, are now reproduced by the new worker-capitalist, but in ersatz forms, proliferating as the sign of wealth and abundance (copies of palatial homes replace real palaces, look-alike Rolex watches become available at cheap prices, medium priced family sedans take on the look and feel of expensive imports, and so forth). Unable to extract the surplus value necessary to feed this new desire for money from its own workforce (which has, in effect, become the main consumer of wealth), capital moves 'offshore' in search of a new labour pool, and repeats what it did to the labour pools in the older social formations in its relentless quest to maximise surplus value. Work and Control We are now witnessing a second kind of labour taking shape out of the deformations of the disciplinary society, where surplus value is not extracted, but incorporated into the labour force itself (Mules). This takes place when the separation between labour and capital dissolves, releasing quantities of "reserve time" (the time set aside from work in order to consume), which then becomes part of the capitalising process itself. In this case workers become "investors in their own lives (conceived of as capital) concerned with obtaining a profitable behaviour through information (conceived of as a production factor) sold to them." (Alliez and Feher 347). Gilles Deleuze has identified this shift in terms of what he calls a "control society" where the individuation of workers guaranteed by the disciplinary society gives way to a cybernetic modulation of "dividuals" or cypher values regulated according to a code (180). For dividualised workers, the resource incorporated into capital is their own lived time, no longer divided between work and leisure, but entirely "consummated" in capital (Alliez and Fehrer 350). A dividualised worker will thus work in order to produce leisure, and conversely enjoy leisure as a form of work. Here we have what appears to be a complete breakdown of the separation of labour and capital instigated by the disciplinary society; a sweeping away of the grounds on which labour once stood as a mass of individuals, conscious of their rivalry with capital over the spoils of surplus value. Here we have a situation where labour itself has become a form of capital (not just a commodity exchangeable on the market), incorporated into the temporalised body of the worker, contributing to the extraction of its own surplus value. Under the disciplinary society, the body of the worker became subject to panoptic surveillance, where "time and motion" studies enabled a more efficient control of work through the application of mathematical models. In the control society there is no need for this kind of panoptic control, since the embodiment of the panoptic principle, anticipated by Foucault and responsible for the individuation of the subject in disciplinary societies, has itself become a resource for extracting surplus value. In effect, dividualised workers survey themselves, not as a form of self-discipline, but as an investment for capitalisation. Dividuals are not motivated by guilt, conscience, duty or devotion to one's self, but by a transubjective desire for the other, the figure of a self projected into the future, and realised through their own bodily becoming. Unlike individuals who watch themselves as an already constituted self in the shadow of a super-ego, dividuals watch themselves in the image of a becoming-other. We might like to think of dividuals as self-correctors operating in teams and groups (franchises) whose "in-ness" as in-dividuals, is derived not from self-reflection, but from directiveness. Directiveness is the disposition of a habitus to find its way within programs designed to maximise performance across a territory. Following Gregory Bateson, we might say that directiveness is the pathway forged between a map and its territory (Bateson 454). A billiard ball sitting on a billiard table needs to be struck in such a way to simultaneously reduce the risk of a rival scoring from it, and maximise the score available, for instance by potting it into a pocket. The actual trajectory of the ball is governed by a logic of "restraint" (399) which sets up a number of virtual pathways, all but one of which is eliminated when the map (the rules and strategies of the game) is applied to the territory of the billiard table. If surveillance was the modus operandi of the old form of capitalism which required a strict control over labour, then directiveness is the new force of capital which wants to eliminate work in the older sense of the word, and replace it with the self-managed flow of capitalising labour. Marx's labour theory of value has led us, via a detour through Foucault and Deleuze, to the edge of the labour/capital divide, where the figure of man reappears, not as a worker subject to capital, but in some kind of partnership with it. This seems to spell the end of the old form of work, which required a strict delineation between labour and capital, where workers became rivals with capital for a share in surplus value. In the new formation of work, workers are themselves little capitalists, whose labour time is produced through their own investments back into the system. Yet, the worker is also subject to the extraction of her labour time in the necessity to submit to capital through the wage relation. This creates a reflexive snarl, embedded in the worker's own self-image, where work appears as leisure and leisure appears as work, causing labour to drift over capital and vice versa, for capital to drift over labour. This drifting, mobile relation between labour and capital cannot be secured through appeals to older forms of worker awareness (duty, responsibility, attentiveness, self-surveillance) since this would require a repression of the desire for self-transformation, and hence a fatal dampening of the dynamics of the market (anathema to the spirit of capitalism). Rather it can only be directed through control mechanisms involving a kind of forced partnership between capital and labour, where both parties recognise their mutual destinies in being "thrown" into the system. In the end, work remains subsumed under capital, but not in its alienated, disciplinary state. Rather work has become a form of capital itself, one's investment in the future, and hence as valuable now as it was before. It's just a little more difficult to see how it can be protected as a 'right' of the worker, since workers are themselves investors of their own labour, and not right-bearing individuals whose position in society has been fixed by the separation of labour from capital. References Alliez, Eric and Michel Feher. "The Luster of Capital." Zone1/2 (1987): 314-359. Bataille, Georges. 'The Notion of Expenditure'. Visions of Excess: Selected Writings, 1927-1939, Trans. and Ed. Alan Stoekl. Minneapolis: Minnesota UP, 1985. 116-29. Bateson, Gregory. Steps to an Ecology of Mind. New York: Ballantine Books, 1972. Childers, Joseph W. "Observation and Representation: Mr. Chadwick Writes the Poor." Victorian Studies37.3 (1994): 405-31. Deleuze, Gilles. Anti-Oedipus: Capitalism and Schizophrenia. Minneapolis: U of Minnesota P, 1983. --. Negotiations, 1972-1990. Trans. Martin Joughin. New York: Columbia UP, 1995. Drucker, Peter F. Post-Capitalist Society. New York: Harper, 1993. Foucault, Michel. Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. Harmondsworth: Penguin, 1977. Freud, Sigmund. "The Ego and the Id". On Metapsychology: The Theory of Psychoanalysis. The Pelican Freud Library, Vol 11. Harmondsworth: Penguin, 1984. 339-407. Lyotard, Jean-Francois. Libidinal Economy. Trans. Iain Hamilton Grant,. Bloomington: Indiana UP, 1993. Marx, Karl. Capital, Vol. I. Trans. Ben Fowkes. Harmondsworth: Penguin, 1976. Massumi, Brian. "Everywhere You Wanted to Be: Introduction to Fear." The Politics of Everyday Fear. Ed. Brian Massumi. Minneapolis: U of Minnesota P, 1993. 3-37. Mules, Warwick. "A Remarkable Disappearing Act: Immanence and the Creation of Modern Things." M/C: A Journal of Media and Culture 4.4 (2001). 15 Nov. 2001 <http://www.media-culture.org.au/0108/disappear.php>. Ryan, Michael. Marxism and Deconstruction: A Critical Introduction. Baltimore: John Hopkins Press, 1982. Sinnema, Peter W. Dynamics of the Printed Page: Representing the Nation in the Illustrated London News. Aldershot: Ashgate Press, 1998. Links http://csf.colorado.edu/psn/marx/Archive/1867-C1/ http://www.media-culture.org.au/0108/Disappear.html http://acnet.pratt.edu/~arch543p/help/Foucault.html http://acnet.pratt.edu/~arch543p/help/Deleuze.html Citation reference for this article MLA Style Mules, Warwick. "That Obstinate Yet Elastic Natural Barrier" M/C: A Journal of Media and Culture 4.5 (2001). [your date of access] < http://www.media-culture.org.au/0111/Mules.xml >. Chicago Style Mules, Warwick, "That Obstinate Yet Elastic Natural Barrier" M/C: A Journal of Media and Culture 4, no. 5 (2001), < http://www.media-culture.org.au/0111/Mules.xml > ([your date of access]). APA Style Mules, Warwick. (2001) That Obstinate Yet Elastic Natural Barrier. M/C: A Journal of Media and Culture 4(5). < http://www.media-culture.org.au/0111/Mules.xml > ([your date of access]).

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Abstract This article provides a reinterpretation of Stalinism through the lens of Marx's concept of primitive accumulation. It connects a series of defining events that are usually viewed separately – the debates and oppositional movements of the 1920s, industrialization, collectivization, and the “Great Terror” – to the state's need to accumulate capital for development. Using the idea of “primitive socialist accumulation”, first introduced by the Soviet theorist and left oppositionist Evgeny Preobrazhensky, it examines the challenges of building socialism in an underdeveloped, overwhelmingly peasant country. It argues that the emergence of the left and right oppositions in the 1920s and the grain crisis in 1927–1928 resulted from the state's struggle to create a stable balance between rural and urban exchange. The hastily implemented move to collectivize resulted in a cascade of unintended consequences, including a disastrous famine, decrease in food supplies, and a precipitous fall in real wages that impelled record numbers of women into the labor force. Against a background of social instability and discontent, the Kirov murder proved a fearful trigger, igniting fears among Party leaders that ultimately resulted in mass political and social repression. The article is part of a dossier, comprising an introduction and three articles, which offers a new approach to our understanding of socialism in the Soviet Union, China, and Romania.

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The main focus of the article are the reasons and circ*mstances behind the desecration of the graves of the Christians in Nicomedia in the year 303, as presented in Eusebius’s account. A short time before that, another wave of persecutions directed at Christians had begun there on the order of Emperor Diocletian. When a fire broke out in the imperial palace, Christians were named as responsible for setting the fire (incendium). After they had been sentences to the death penalty, they were executed by beheading with a sword (decapitatio), burning alive (crematio, vivicomburium) or drowning. However, as we can read in the Ecclesiastical History, the repression did not end there, as it was decided that the bodies of the convicts were to be exhumed and thrown into the sea. The current article aims at analyzing the above events from the perspective of regulations and customs observed by the Romans with reference to convicts and their bodies. Moreover, while rejecting Eusebius’s claim that the desecration of the graves was dictated by the fear that the burial ground of the martyrs might lead to the development of their cult, the article analyzes the possible motives for attempting to eradicate all the traces of the executed Christians on the side of the Roman authorities. With the aid of Lactantius’s account, the article discusses, among others, the concept of treating Christians as enemies (hostes).

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In the middle of the nineteenth century, Marcus Clarke famously described the Australian outback as displaying a “Weird Melancholy” (qtd. in Gelder 116). The strange sights, sounds, and experiences of Australia’s rural locations made them ripe for the development of the European genre of the Gothic in a new location, a mutation which has continued over the past two centuries. But what does it mean for Australia’s Gothic landscapes to be associated with the affective qualities of the melancholy? And more particularly, how and why does this Gothic effect (and affect) appear in the most accessible Gothic media of the twenty-first century, the television series? Two recent Australian television adaptations, Wake in Fright (2017, dir. Kriv Stenders) and Mystery Road (2018, dir. Rachel Perkins) provoke us to ask the question: how does their pictorial representation of the Australian outback and its inhabitants overtly express rage and its close ties to melancholia, shame and violence? More particularly, I argue that in both series this rage is turned inwards rather than outwards; rage is turned into melancholy and thus to self-destruction – which constructs an allegory for the malaise of our contemporary nation. However, here the two series differ. While Wake in Fright posits this as a never-ending narrative, in a true Freudian model of melancholics who fail to resolve or attend to their trauma, Mystery Road is more positive in its positioning, allowing the themes of apology and recognition to appear, both necessary for reparation and forward movement.Steven Bruhm has argued that a psychoanalytic model of trauma has become the “best [way to] understand the contemporary Gothic and why we crave it” (268), because the repressions and repetitions of trauma offer a means of playing out the anxieties of our contemporary nation, its fraught histories, its conceptualisations of identity, and its fears for the future. Indeed, as Bruhm states, it is precisely because of the way in which “the Gothic continually confronts us with real, historical traumas that we in the west have created” that they “also continue to control how we think about ourselves as a nation” (271). Jerrold E. Hogle agrees, noting that “Gothic fiction has always begun with trauma” (72). But it is not only that Gothic narratives are best understood as traumatic narratives; rather, Hogle posits that the Gothic is uniquely situated as a genre for dealing with the trauma of our personal and national histories because it enables us to approach the contradictions and conflicts of traumatic experience:I find that the best of the post-9/11 uses of Gothic in fiction achieve that purpose for attentive readers by using the conflicted un-naturalness basic to the Gothic itself to help us concurrently grasp and conceal how profoundly conflicted we are about the most immediate and pervasive cultural “woundings” of our western world as it has come to be. (75)Hogle’s point is critical for its attention to the different ways trauma can be dealt with in texts and by readers, returning in part to Sigmund Freud’s distinction between mourning and melancholia: where mourning is the ‘healthy’ process of working through or narrativising trauma. However, melancholia coalesces into a denial or repression of the traumatic event, and thus, as Freud suggests, its unresolved status reappears during nightmares and flashbacks, for example (Rall 171). Hogle’s praise for the Gothic, however, lies in its ability to move away from that binary, to “concurrently grasp and conceal” trauma: in other words, to respond simultaneously with mourning and with melancholy.Hogle adds to this classic perspective of melancholia through careful attention to the way in which rage inflects these affective responses. Under a psychoanalytic model, rage can be seen “as an infantile response to separation and loss” (Kahane 127). The emotional free-rein of rage, Claire Kahane points out, “disempowers us as subjects, making us subject to its regressive vicissitudes” (127; original emphasis). In Bodies That Matter, Judith Butler explicates this in more detail, making clear that this disempowerment, this inability to clearly express oneself, is what leads to melancholia. Melancholia, then, can be seen as a loss or repression of the identifiable cause of the original rage: this overwhelming emotion has masked its original target. “Insofar as grief remains unspeakable”, Butler posits, “the rage over the loss can redouble by virtue of remaining unavowed. And if that very rage over loss is publicly proscribed, the melancholic effects of such a proscription can achieve suicidal proportions” (212). The only way to “survive” rage in this mutated form of melancholia is to create what Butler terms “collective institutions for grieving”; these enablethe reassembling of community, the reworking of kinship, the reweaving of sustaining relations. And insofar as they involve the publicisation and dramatisation of death, they call to be read as life-affirming rejoinders to the dire psychic consequences of a grieving process culturally thwarted and proscribed. (212-13)Butler’s reading thus aligns with Hogle’s, suggesting that it is in our careful attendance to the horrific experience of grief (however difficult) that we could navigate towards something like resolution – not a simplified narrative of working through, to be sure, but a more ethical recognition of the trauma which diverts it from its repressive impossibilities. To further the argument, it is only by transforming melancholic rage into outrage, to respond with an affect that puts shame to work, that rage will become politically effective. So, outrage is “a socialised and mediated form of rage … directed toward identifiable and bounded others in the external world” (Kahane 127-28). Melancholia and shame might then be seen to be directly opposed to one another: the former a failure of rage, the latter its socially productive incarnation.The Australian Gothic and its repetition of a “Weird Melancholy” exhibit this affective model. Ken Gelder has emphasised the historical coincidences: since Australia was colonised around the same time as the emergence of the Gothic as a genre (115), it has always been infused with what he terms a “colonial melancholia” (119). In contemporary Gothic narratives, this is presented through the repetition of the trauma of loss and injustice, so that the colonial “history of brutal violence and exploitation” (121) is played out, over and over again, desperate for resolution. Indeed, Gelder goes so far as to claim that this is the primary fuel for the Gothic as it manifests in Australian literature and film, arguing that since it is “built upon its dispossession and killings of Aboriginal people and its foundational systems of punishment and incarceration, the colonial scene … continues to shadow Australian cultural production and helps to keep the Australian Gothic very much alive” (121).That these two recent television series depict the ways in which rage and outrage appear in a primal ‘colonial scene’ which fixes the Australian Gothic within a political narrative. Both Wake in Fright and Mystery Road are television adaptations of earlier works. Wake in Fright is adapted from Kenneth Cook’s novel of the same name (1961), and its film adaptation (1971, dir. Ted Kotcheff). Mystery Road is a continuation of the film narrative of the same name (2013, dir. Ivan Sen), and its sequel, Goldstone (2016, dir. Ivan Sen). Both narratives illustrate the shift – where the films were first viewed by a high-culture audience attracted to arthouse cinema and modernist fiction – to the re-makes that are viewed in the domestic space of the television screen and/or other devices. Likewise, the television productions were not seen as single episodes, but also linked to each network’s online on-demand streaming viewers, significantly broadening the audience for both works. In this respect, these series both domesticate and democratise the Gothic. The televised series become situated publicly, recalling the broad scale popularity of the Gothic genre, what Helen Wheatley terms “the most domestic of genres on the most domestic of media” (25). In fact, Deborah Cartmell argues that “adaptation is, indeed, the art form of democracy … a ‘freeing’ of a text from the confined territory of its author and of its readers” (8; emphasis added). Likewise, André Bazin echoes this notion that the adaptation is a kind of “digest” of the original work, “a literature that has been made more accessible through cinematic adaptation” (26; emphasis added). In this way, adaptations serve to ‘democratise’ their concerns, focussing these narratives and their themes as more publically accessible, and thus provoking the potential for a broader cultural discussion. Wake in FrightWake in Fright describes the depraved long weekend of schoolteacher John Grant, who is stuck in the rural town of Bundinyabba (“The Yabba”) after he loses all of his money in an ill-advised game of “Two Up.” Modernising the concerns of the original film, in this adaptation John is further endangered by a debt to local loan sharks, and troubled by his frequent flashbacks to his lost lover. The narrative does display drug- and alcohol-induced rage in its infamous pig-shooting (originally roo-shooting) scene, as well as the cold and threatening rage of the loan shark who suspects she will not be paid, both of which are depicted as a specifically white aggression. Overall, its primary depiction of rage is directed inward, rather than outward, and in this way becomes narrowed down to emphasise a more individual, traumatic shame. That is, John’s petulant rage after his girlfriend’s rejection of his marriage proposal manifests in his determination to stolidly drink alone while she swims in the ocean. When she drowns while he is drunk and incapable to rescue her, his inaction becomes the primary source of his shame and exacerbates his self-focused, but repressed rage. The subsequent cycles of drinking (residents of The Yabba only drink beer, and plenty of it) and gambling (as he loses over and over at Two-Up) constitute a repetition of his original trauma over her drowning, and trigger the release of his repressed rage. While accompanying some locals during their drunken pig-shooting expedition, his rage finds an outlet, resulting in the death of his new acquaintance, Doc Tydon. Like John, Doc is the victim of a self-focused rage and shame at the death of his young child and the abdication of his responsibilities as the town’s doctor. Both John and Doc depict the collapse of authority and social order in the “Weird Melancholy” of the outback (Rayner 27), but this “subversion of the stereotype of capable, confident Australian masculinity” (37) and the decay of community and social structure remains static. However, the series does not push forward towards a moral outcome or a suggestion of better actions to inspire the viewer. Even his desperate suicide attempt, what he envisions as the only ‘ethical’ way out of his nightmare, ends in failure and is covered up by the local police. The narrative becomes circular: for John is returned to The Yabba every time he tries to leave, and even in the final scene he is back in Tiboonda, returned to where he started, standing at the front of his classroom. But importantly, this cycle mimics John’s cycle of unresolved shame, suggests an inability to ‘wake’ from this nightmare of repetition, with no acknowledgement of his individual history and his complicity in the traumatic events. Although John has outlived his suicide attempt, this does not validate his survival as a rebirth. Rather, John’s refusal of responsibility and the accompanying complicity of local authorities suggests the inevitability of further self-damaging rage, shame, and violence. Outback NoirBoth Wake in Fright and Mystery Road have been described as “outback noir” (Dolgopolov 12), combining characteristics of the Gothic, the Western, and film noir in their depictions of suffering and the realisation (or abdication) of justice. Greg Dolgopolov explains that while traditional “film noir explores the moral trauma of crime on its protagonists, who are often escaping personal suffering or harrowing incidents from their pasts” (12), these examples of Australian (outback) noir are primarily concerned with “ancestral trauma – that of both Indigenous and settler. Outback noir challenges official versions of events that glide over historical massacres and current injustices” (12-13).Wake in Fright’s focus on John’s personal suffering even as his crimes could become allegories for national trauma, aligns this story with traditional film noir. Mystery Road is caught up with a more collectivised form of trauma, and with the ‘colonialism’ of outback noir means this adaptation is more effective in locating self-rage and melancholia as integral to social and cultural dilemmas of contemporary Australia. Each series takes a different path to the treatment of race relations in Australia within a small and isolated rural context. Wake in Fright chooses to ignore this historical context, setting up the cycle of John’s repression of trauma as an individual fate, and he is trapped to repeat it. On the other hand, Mystery Road, just like its cinematic precursors (Mystery Road and Goldstone), deals with race as a specific theme. Mystery Road’s nod to the noir and the Western is emphasised by the character of Detective Jay Swan: “a lone gunslinger attempting to uphold law and order” (Ward 111), he swaggers around the small township in his cowboy hat, jeans, and boots, stoically searching for clues to the disappearance of two local teenagers. Since Swan is himself Aboriginal, this transforms the representation of authority and its failures depicted in Wake in Fright. While the police in Wake in Fright uphold the law only when convenient to their own goals, and further, to undertake criminal activities themselves, in Mystery Road the authority figures – Jay himself, and his counterpart, Senior Sergeant Emma James, are prominent in the community and dedicated to the pursuit of justice. It is highly significant that this sense of justice reaches beyond the present situation. Emma’s family, the Ballantynes, have been prominent landowners and farmers in the region for over one hundred years, and have always prided themselves on their benevolence towards the local Indigenous population. However, when Emma discovers that her great-grandfather was responsible for the massacre of several young Aboriginal men at the local waterhole, she is overcome by shame. In her horrified tears we see how the legacy of trauma, ever present for the Aboriginal population, is brought home to Emma herself. As the figurehead for justice in the town, Emma is determined to label the murders accurately as a “crime” which must “be answered.” In this acknowledgement and her subsequent apology to Dot, she finds some release from this ancient shame.The only Aboriginal characters in Wake in Fright are marginal to the narrative – taxi drivers who remain peripheral to the traumas within the small town, and thus remain positioned as innocent bystanders to its depravity. However, Mystery Road is careful to avoid such reductionist binaries. Just as Emma discovers the truth about her own family’s violence, Uncle Keith, the current Aboriginal patriarch, is exposed as a sexual predator. In both cases the men, leaders in the past and the present, consider themselves as ‘righteous’ in order to mask their enraged and violent behaviour. The moral issue here is more than a simplistic exposition on race, rather it demonstrates that complexity surrounds those who achieve power. When Dot ultimately ‘inherits’ responsibility for the Aboriginal Land Rights Commission this indicates that Mystery Road concludes with two female figures of authority, both looking out for the welfare of the community as a whole. Likewise, they are involved in seeking the young woman, Shevorne, who becomes the focus of abuse and grief, and her daughter. Although Jay is ultimately responsible for solving the crime at the heart of the series, Mystery Road strives to position futurity and responsibility in the hands of its female characters and their shared sense of community.In conclusion, both television adaptations of classic movies located in Australian outback noir have problematised rage within two vastly different contexts. The adaptations Wake in Fright and Mystery Road do share similar themes and concerns in their responses to past traumas and how that shapes Gothic representation of the outback in present day Australia. However, it is in their treatment of rage, shame, and violence that they diverge. Wake in Fright’s failure to convert rage beyond melancholia means that it fails to offer any hope of resolution, only an ongoing cycle of shame and violence. But rage, as a driver for injustice, can evolve into something more positive. In Mystery Road, the anger of both individuals and the community as a whole moves beyond good/bad and black/white stereotypes of outrage towards a more productive form of shame. In doing so, rage itself can elicit a new model for a more responsible contemporary Australian Gothic narrative.References Bazin, André. “Adaptation, or the Cinema as Digest.” Film Adaptation. 1948. Ed. James Naremore. New Brunswick, NJ: Rutgers, 2000. 19-27.Bruhm, Steven. “The Contemporary Gothic: Why We Need It.” The Cambridge Companion to Gothic Fiction. Ed. Jerrold E. Hogle. Cambridge: Cambridge UP, 2002. 259-76.Butler, Judith. Bodies That Matter: On the Discursive Limits of “Sex.” London: Routledge, 1993.Cartmell, Deborah. “100+ Years of Adaptations, or, Adaptation as the Art Form of Democracy.” A Companion to Literature, Film, and Adaptation. Ed. Deborah Cartmell. Chichester: Blackwell, 2012. 1-13.Dolgopolov, Greg. “Balancing Acts: Ivan Sen’s Goldstone and ‘Outback Noir.’” Metro 190 (2016): 8-13.Gelder, Ken. “Australian Gothic.” The Routledge Companion to Gothic. Eds. Catherine Spooner and Emma McEvoy. London: Routledge, 2007. 115-23.Hogle, Jerrold E. “History, Trauma and the Gothic in Contemporary Western Fictions.” The Gothic World. Eds. Glennis Byron and Dale Townshend. London: Routledge, 2014. 72-81.Kahane, Claire. “The Aesthetic Politics of Rage.” States of Rage: Emotional Eruption, Violence, and Social Change. Eds. Renée R. Curry and Terry L. Allison. New York: New York UP, 1996. 126-45.Perkins, Rachel, dir. Mystery Road. ABC, 2018.Rall, Denise N. “‘Shock and Awe’ and Memory: The Evocation(s) of Trauma in post-9/11 Artworks.” Memory and the Wars on Terror: Australian and British Perspectives. Eds. Jessica Gildersleeve and Richard Gehrmann. Houndmills: Palgrave Macmillan, 2017. 163-82.Rayner, Jonathan. Contemporary Australian Cinema: An Introduction. Manchester: Manchester UP, 2000.Stenders, Kriv, dir. Wake in Fright. Roadshow Entertainment, 2017.Ward, Sarah. “Shadows of a Sunburnt Country: Mystery Road, the Western and the Conflicts of Contemporary Australia.” Screen Education 81 (2016): 110-15.Wheatley, Helen. “Haunted Houses, Hidden Rooms: Women, Domesticity and the Gothic Adaptation on Television.” Popular Television Drama: Critical Perspectives. Eds. Jonathan Bignell and Stephen Lacey. Manchester: Manchester UP, 2005. 149-65.

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Australian suburbia, historically and culturally, has been viewed as a feminised domain, associated with the domestic and family, routine and order. Where “the city is coded as a masculine and disorderly space… suburbia, as a realm of domesticity and the family, is coded as a feminine and disciplinary space” (Wilson 46). This article argues how the treatment of suburbia in fiction as “feminine” has impacted not only on the representation and development of the character of the “suburban female”, but also on the shape and form of her narrative journeys. Suburbia’s subordination as domestic and everyday, a restrictive realm of housework and child rearing, refers to the anti-suburban critique and establishes the dichotomy of suburbia/feminine/domesticity in contrast to bush or city/masculine/freedom as first observed by Marilyn Lake in her analysis of 1890s Australia. Despite the fact that suburbia necessarily contains the “masculine” as well as the “feminine”, the “feminine” dominates to such an extent that positive masculine traits are threatened there. In social commentary and also literature, the former is viewed negatively as a state from which to escape. As Tim Rowse suggests, “women, domesticity = spiritual starvation. (Men, wide open spaces, achievement = heroism of the Australian spirit)” (208). In twentieth-century Australian fiction, this is especially the case for male characters, the preservation of whose masculinity often depends on a flight from the suburbs to elsewhere—the bush, the city, or overseas. In Patrick White’s The Tree Of Man (1955), for example, During identifies the recurrent male character of the “tear-away” who “flee(s) domesticity and family life” (96). Novelist George Johnston also establishes a satirical depiction of suburbia as both suffocatingly feminine and as a place to escape at any cost. For example, in My Brother Jack (1964), David Meredith “craves escape from the ‘shabby suburban squalor’ into which he was born” (Gerster 566). Suburbia functions as a departure point for the male protagonist who must discard any remnants of femininity, imposed on him by his suburban childhood, before embarking upon narratives of adventure and maturation as far away from the suburbs as possible. Thus, flight becomes essential to the development of male protagonist and proliferates as a narrative trajectory in Australian fiction. Andrew McCann suggests that its prevalence establishes a fictional “struggle with and escape from the suburb as a condition of something like a fully developed personality” (Decomposing 56-57). In this case, any literary attempt to transform the “suburban female”, a character inscribed by her gender and her locale, without recourse to flight appears futile. However, McCann’s assertion rests on a literary tradition of male flight from suburbia, not female. A narrative of female flight is a relatively recent phenomenon, influenced by the second wave feminism of the 1970s and 1980s. For most of the twentieth century, the suburban female typically remained in suburbia, a figure of neglect, satire, and exploitation. A reading of twentieth-century Australian fiction until the 1970s implies that flight from suburbia was not a plausible option for the average “suburban female”. Rather, it is the exceptional heroine, such as Teresa in Christina Stead’s For Love Alone (1945), who is brave, ambitious, or foolish enough to leave, and when she does there were often negative consequences. For most however, suburbia was a setting where she belonged despite its negative attributes. These attributes of conformity and boredom, repetition, and philistinism, as presented by proponents of anti-suburbanism, are mainly depicted as problematic to male characters, not female. Excluded from narratives of flight, for most of the twentieth-century the suburban female typically remained in suburbia, a figure of neglect, satire, and even exploitation, her stories mostly untold. The character of the suburban female emerges out of the suburban/feminine/domestic dichotomy as a recurrent, albeit negative, character in Australian fiction. As Rowse states, the negative image of suburbia is transferred to an equally negative image of women (208). At best, the suburban female is a figure of mild satire; at worst, a menacing threat to masculine values. Male writers George Johnston, Patrick White and, later, David Ireland, portrayed the suburban female as a negative figure, or at least an object of satire, in the life of a male protagonist attempting to escape suburbia and all it stood for. In his satirical novels and plays, for example, Patrick White makes “the unspoken assumption… that suburbia is an essentially female domain” (Gerster 567), exemplifying narrow female stereotypes who “are dumb and age badly, ending up in mindless, usually dissatisfied, maternity and domesticity” (During 95). Feminist Anne Summers condemns White for his portrayal of women which she interprets as a “means of evading having to cope with women as unique and diverse individuals, reducing them instead to a sexist conglomerate”, and for his use of women to “represent suburban stultification” (88). Typically “wife” or “mother”, the suburban female is often used as a convenient device of oppositional resistance to a male lead, while being denied her own voice or story. In Johnston’s My Brother Jack (1964), for example, protagonist David Meredith contrasts “the subdued vigour of fulfillment tempered by a powerful and deeply-lodged serenity” (215) of motherhood displayed by Jack’s wife Shelia with the “smart and mannish” (213) Helen, but nothing deeper is revealed about the inner lives of these female characters. Feminist scholars identify a failure to depict the suburban female as more than a useful stereotype, partially attributing the cause of this failure to a surfeit of patriarchal stories featuring adventuresome male heroes and set in the outback or on foreign battlefields. Summers states how “more written words have been devoted to creating, and then analysing and extolling… [the] Australian male than to any other single facet of Australian life” (82-83). Where she is more active, the suburban female is a malignant force, threatening to undermine masculine goals of self-realisation or achievement, or at her worst, to wholly emasculate the male protagonist such that he is incapable of escape. Even here the motivations behind her actions are not revealed and she appears two-dimensional, viewed only in relation to her destructive effect on the weakened male protagonist. In her criticism of David Ireland’s The Glass Canoe (1976), Joan Kirkby observes how “the suburbs are populated with real women who are represented in the text as angry mothers and wives or simply as the embodiment of voraciously feral sexuality” (5). In those few instances where the suburban female features as more than an accessory to the male narrative, she lacks the courage and inner strength to embark upon her own journey out of suburbia. Instead, she is depicted as a victim, misunderstood and miserable, entrapped by the suburban milieu to which she is meant to belong but, for some unexplored reason, does not. The inference is that this particular suburban female is atypical, potentially flawed in her inability to find contentment within a region strongly designated her own. The unhappy suburban female is therefore tragic, or at least pitiable, languishing in a suburban environment that she loathes, often satirised for her futile resistance to the status quo. Rarely is she permitted the masculine recourse of flight. In those exceptional instances where she does leave, however, she is unlikely to find what she is looking for. A subsequent return to the place of childhood, most often situated in suburbia, is a recurrent narrative in many stories of Australian female protagonist, but less so the male protagonist. Although this mistreatment of the suburban female is most prevalent in fiction by male writers, female writers were also criticised for failing to give a true and authentic voice to her character, regardless of the broader question of whether writers should be truthful in their characterisations. For example, Summers criticises Henry Handel Richardson as “responsible for, if not creating, then at least providing a powerful reinforcement to the idea that women as wives are impediments to male self-realisation” with characters who “reappear, with the monotonous regularity of the weekly wash, as stereotyped and passive suburban housewives” (87-88). All this changed, however, with the arrival of second wave feminism leading to a proliferation of stories of female exodus from the suburbs. A considered portrait of the life of the suburban female in suburbia was neglected in favour of a narrative journey; a trend attributable in part to a feminist polemic that granted her freedom, adventure, and a story so long as she did not dare choose to stay. During the second wave feminism of the 1970s and 1980s, women were urged by leading figures such as Betty Friedan and Germaine Greer to abandon ascribed roles of housewife and mother, led typically in the suburbs, in pursuit of new freedoms and adventures. As Lesley Johnson and Justine Lloyd note, “in exhorting women to ‘leave home’ and find their fulfillment in the world of work, early second wave feminists provided a life story through which women could understand themselves as modern individuals” (154) and it is this “life story” which recurs in women’s fiction of the time. Women writers, many of whom identified as feminist, mirrored these trajectories of flight from suburbia in their novels, transplanting the suburban female from her suburban setting to embark upon “new” narratives of self-discovery. The impact of second wave feminism upon the literary output of Australian women writers during the 1970s and 1980s has been firmly established by feminist scholars Johnson, Lloyd, Lake, and Susan Sheridan, who were also active participants in the movement. Sheridan argues that there has been a strong “relationship of women’s cultural production to feminist ideas and politics” (Faultlines xi) and Johnson identifies a “history of feminism as an awakening” at the heart of these “life stories” (11). Citing Mary Morris, feminist Janet Woolf remarks flight as a means by which a feminine history of stagnation is remedied: “from Penelope to the present, women have waited… If we grow weary of waiting, we can go on a journey” (xxii). The appeal of these narratives may lie in attempts by their female protagonists to find new ways of being outside the traditional limits of a domestic, commonly suburban, existence. Flight, or movement, features as a recurrent narrative mode by which these alternative realities are configured, either by mimicking or subverting traditional narrative forms. Indeed, selection of the appropriate narrative form for these emancipatory journeys differed between writers and became the subject of vigorous, feminist and literary debate. For some feminists, the linear narrative was the only true path to freedom for the female protagonist. Following the work of Carolyn G. Heilbrun and Elaine Showalter, Joy Hooton observes how some feminist critics privileged “the integrated ego and the linear destiny, regarding women’s difference in self-realization as a failure or deprivation” (90). Women writers such as Barbara Hanrahan adopted the traditional linear trajectory, previously reserved for the male protagonist as bushman or soldier, explorer or drifter, to liberate the “suburban female”. These stories feature the female protagonist trading a stultifying life in the suburbs for the city, overseas or, less typically, the outback. During these geographical journeys, she is transformed from her narrow suburban self to a more actualised, worldly self in the mode of a traditional, linear Bildungsroman. For example, Hanrahan’s semi-autobiographical debut The Scent of Eucalyptus (1973) is a story of escape from oppressive suburbia, “concentrating on that favourite Australian theme, the voyage overseas” (Gelder and Salzman, Diversity 63). Similarly, Sea-green (1974) features a “rejection of domestic drabness in favour of experience in London” (Goodwin 252) and Kewpie Doll (1984) is another narrative of flight from the suburbs, this time via pursuit of “an artistic life” (253). In these and other novels, the act of relocation to a specific destination is necessary to transformation, with the inference that the protagonist could not have become what she is at the end of the story without first leaving the suburbs. However, use of this linear narrative, which is also coincidentally anti-suburban, was criticised by Summers (86) for being “masculinist”. To be truly free, she argued, the female protagonist needed to forge her own unique paths to liberation, rather than relying on established masculine lines. Evidence of a “new” non-linear narrative in novels by women writers was interpreted by feminist and literary scholars Gillian Whitlock, Margaret Henderson, Ann Oakley, Sheridan, Johnson, and Summers, as an attempt to capture the female experience more convincingly than the linear form that had been used to recount stories of the journeying male as far back as Homer. Typifying the link between the second wave feminism and fiction, Helen Garner’s Monkey Grip features Nora’s nomadic, non-linear “flights” back and forth across Melbourne’s inner suburbs. Nora’s promiscuity belies her addiction to romantic love that compromises her, even as she struggles to become independent and free. In this way, Nora’s quest for freedom­—fragmented, cyclical, repetitive, impeded by men— mirrors Garner’s “attempt to capture certain areas of female experience” (Gelder and Salzman, Diversity 55), not accessible via a linear narrative. Later, in Honour and Other People’s Children (1980) and The Children’s Bach (1984), the protagonists’ struggles to achieve self-actualisation within a more domesticated, family setting perhaps cast doubt on the efficacy of the feminist call to abandon family, motherhood, and all things domestic in preference for the masculinist tradition of emancipatory flight. Pam Gilbert, for instance, reads The Children’s Bach as “an extremely perceptive analysis of a woman caught within spheres of domesticity, nurturing, loneliness, and sexuality” (18) via the character of “protected suburban mum, Athena” (19). The complexity of this characterisation of a suburban female belies the anti-suburban critique by not resorting to satire or stereotype, but by engaging deeply with a woman’s life inside suburbia. It also allows that flight from suburbia is not always possible, or even desired. Also seeming to contradict the plausibility of linear flight, Jessica Anderson’s Tirra Lirra by the River (1978), features (another) Nora returning to her childhood Brisbane after a lifetime of flight; first from her suburban upbringing and then from a repressive marriage to the relative freedoms of London. The poignancy of the novel, set towards the end of the protagonist’s life, rests in Nora’s inability to find a true sense of belonging, despite her migrations. She “has spent most of her life waiting, confined to houses or places that restrict her, places she feels she does not belong to, including her family home, the city of Brisbane, her husband’s house, Australia itself” (Gleeson-White 184). Thus, although Nora’s life can be read as “the story of a very slow emergence from a doomed attempt to lead a conventional, married life… into an independent existence in London” (Gelder and Salzman, Diversity 65), the novel suggests that the search for belonging—at least for Australian women—is problematic. Moreover, any narrative of female escape from suburbia is potentially problematic due to the gendering of suburban experience as feminine. The suburban female who leaves suburbia necessarily rejects not only her “natural” place of belonging, but domesticity as a way of being and, to some extent, even her sex. In her work on memoir, Hooton identifies a stark difference between the shape of female and male biography to argue that women’s experience of life is innately non-linear. However, the use of non-linear narrative by feminist fiction writers of the second wave was arguably more conscious, even political in seeking a new, untainted form through which to explore the female condition. It was a powerful notion, arguably contributing to a golden age of women’s writing by novelists Helen Garner, Barbara Hanrahan, Jessica Anderson, and others. It also exerted a marked effect on fiction by Kate Grenville, Amanda Lohrey, and Janette Turner Hospital, as well as grunge novelists, well into the 1990s. By contrast, other canonical, albeit older, women writers of the time, Thea Astley and Elizabeth Jolley, neither of whom identified as feminist (Fringe 341; Neuter 196), do not seek to “rescue” the suburban female from her milieu. Like Patrick White, Astley seems, at least superficially, to perpetuate narrow stereotypes of the suburban female as “mindless consumers of fashion” and/or “signifiers of sexual disorder” (Sheridan, Satirist 262). Although flight is permitted those female characters who “need to ‘vanish’ if they are to find some alternative to narrow-mindedness and social oppression” (Gelder and Salzman, Celebration 186), it has little to do with feminism. As Brian Matthews attests of Astley’s work, “nothing could be further from the world-view of the second wave feminist writers of the 1980s” (76) and indeed her female characters are generally less sympathetic than those inhabiting novels by the “feminist” writers. Jolley also leaves the female protagonist to fend for herself, with a more optimistic, forceful vision of “female characters who, in their sheer eccentricity, shed any social expectations” to inhabit “a realm empowered by the imagination” (Gelder and Salzman, Celebration 194). If Jolley’s suburban females desire escape then they must earn it, not by direct or shifting relocations, but via other, more extreme and often creative, modes of transformation. These two writers however, were exceptional in their resistance to the influence of second wave feminism. Thus, three narrative categories emerge in which the suburban female may be transformed: linear flight from suburbia, non-linear flight from suburbia, or non-flight whereby the protagonist remains inside suburbia throughout the entire novel. Evidence of a rejection of the flight narrative by contemporary Australian women writers may signal a re-examination of the suburban female within, not outside, her suburban setting. It may also reveal a weakening of the influence of both second wave feminism and anti-suburban critiques on this much maligned character of Australian fiction, and on suburbia as a fictional setting. References Anderson, Jessica. Tirra Lirra by the River. Melbourne: Macmillan, 1978. Astley, Thea. “Writing as a Neuter: Extracts from Interview by Candida Baker.” Eight Voices of the Eighties: Stories, Journalism and Criticism by Australian Women Writers. Ed. Gillian Whitlock. St Lucia, Qld: U of Queensland P, 1989. 195-6. Durez, Jean. “Laminex Dreams: Women, Suburban Comfort and the Negation of Meanings.” Meanjin 53.1 (1994): 99-110. During, Simon. Patrick White. Melbourne: Oxford UP, 1996. Friedan, Betty. The Feminine Mystique. Harmondsworth, Middlesex: Penguin, 1965. Garner, Helen. Honour and Other People’s Children. Ringwood, Vic.: Penguin, 1982. ———. The Children’s Bach. Melbourne: McPhee Gribble, 1984. ———. Monkey Grip. Camberwell, Vic.: Penguin, 2009. Gelder, Ken, and Paul Salzman. The New Diversity. Melbourne: McPhee Gribble, 1989. ———. After the Celebration. Melbourne: UP, 2009. Gerster, Robin. “Gerrymander: The Place of Suburbia in Australian Fiction.” Meanjin 49.3 (1990): 565-75. Gilbert, Pam. Coming Out from Under: Contemporary Australian Women Writers. London: Pandora Press, 1988. Gleeson-White, Jane. Australian Classics: 50 Great Writers and Their Celebrated Works. Sydney: Allen & Unwin, 2007. Goodwin, Ken. A History of Australian Literature. Basingstoke: Macmillan Education, 1986. Greer, Germain. The Female Eunuch. London: Granada, 1970. Hanrahan, Barbara. The Scent of Eucalyptus. St Lucia, Qld: U of Queensland P, 1973. ———. Sea-Green. London: Chatto & Windus, 1974. ———. Kewpie Doll. London: Hogarth Press, 1989. Hooton, Joy. Stories of Herself When Young: Autobiographies of Childhood by Australian Women Writers. Melbourne: Oxford UP, 1990. Ireland, David. The Glass Canoe. Melbourne: Macmillan, 1976. Johnson, Lesley. The Modern Girl: Girlhood and Growing Up. Sydney: Allen & Unwin, 1993. ———, and Justine Lloyd. Sentenced to Everyday Life: Feminism and the Housewife. New York: Berg, 2004. Johnston, George. My Brother Jack. London: Collins/Fontana, 1967. Jolley, Elizabeth. “Fringe Dwellers: Extracts from Interview by Jennifer Ellison.” Eight Voices of the Eighties: Stories, Journalism and Criticism by Australian Women Writers. Ed. Gillian Whitlock. St Lucia, Qld: U of Queensland P, 1989. 334-44. Kirkby, Joan. “The Pursuit of Oblivion: In Flight from Suburbia.” Australian Literary Studies 18.4 (1998): 1-19. Lake, Marilyn. Getting Equal: The History of Australian Feminism. St Leonards, NSW: Allen & Unwin, 1999. McCann, Andrew. “Decomposing Suburbia: Patrick White’s Perversity.” Australian Literary Studies 18.4 (1998): 56-71. Matthews, Brian. “Before Feminism… After Feminism.” Thea Astley’s Fictional Worlds. Eds. Susan Sheridan and Paul Genoni. Newcastle: Cambridge Scholars Press, 2006. 72-6. Rowse, Tim. Australian Liberalism and National Character. Melbourne: Kibble Books, 1978. Saegert, Susan. “Masculine Cities and Feminine Suburbs: Polarized Ideas, Contradictory Realities.” Signs 5.3 (1990): 96-111. Sheridan, Susan. Along the Faultlines: Sex, Race and Nation in Australian Women’s Writing 1880s–1930s. St Leonards, NSW: Allen & Unwin, 1995. ———. “Reading the Women’s Weekly: Feminism, Femininity and Popular Culture.” Transitions: New Australian Feminisms. Eds. Barbara Caine and Rosemary Pringle. St Leonards, NSW: Allen & Unwin, 1995. ———. "Thea Astley: A Woman among the Satirists of Post-War Modernity." Australian Feminist Studies 18.42 (2003): 261-71. Sowden, Tim. “Streets of Discontent: Artists and Suburbia in the 1950s.” Beasts of Suburbia: Reinterpreting Cultures in Australian Suburbs. Eds. Sarah Ferber, Chris Healy, and Chris McAuliffe. Melbourne: Melbourne UP, 1994. 76-93. Stead, Christina. For Love Alone. Sydney: Collins/Angus and Robertson, 1990. Summers, Anne. Damned whor*s and God’s Police. Melbourne: Penguin, 2002. White, Patrick. The Tree of Man. London: Eyre & Spottiswoode, 1956. ———. A Fringe of Leaves. Harmondsworth: Penguin Books, 1977. Wolff, Janet. Resident Alien: Feminist Cultural Criticism. Cambridge: Polity Press, 1995.

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Abstract:

IntroductionThis paper explores the different meanings that individuals from diverse ethnic backgrounds associate with being authentic. It builds on previous research (Menendez 11) that found quantitative differences in terms of the meanings individuals from Eastern and Western backgrounds tend to associate with being authentic. Using qualitative analysis, it describes in more detail how individuals from these two backgrounds construct their different meanings of authenticity.Authenticity has become an overriding moral principle in contemporary Western societies and has only recently started to be contested (Feldman). From cultural products to individuals’ discourses, authenticity pervades Western culture (Lindholm; Potter; Vannini and Williams). On an individual level, the ideal of authenticity is reflected in the maxim “be true to yourself.” The social value of authenticity has a relatively recent history in the Western world of approximately 200 years (Trilling). It started to develop alongside the notion of individuality during modernity (Taylor, Sources; Trilling). The Romantic movement consolidated its cultural influence (Taylor, Sources). In the 1960s, the Hippy movement revived authenticity as a countercultural discourse, although it has progressively become mainstream through consumer culture and therapeutic discourses (Binkley).Most of the studies in the literature on authenticity as a cultural phenomenon are theoretical, conducted from a philosophical perspective (Ferrara; Guignon; Taylor, Ethics), but few of them are empirical, mostly from sociology (Erickson; Franzese, Thine; Turner, Quest; Vannini, Authenticity). Part of this dearth of empirical research on authenticity is due to the difficulties that researchers encounter in attempting to define what it means to be authentic (Franzese, Authenticity 87). Sociologists study the phenomenological experience of being true to oneself, but are less attentive to the metaphysical notion of being a “true self” (Vannini, Dead 236–37). Trying to preserve this open approach, without judging individuals on how “authentic” they are, is what makes defining authenticity difficult. For this reason, sociologists have defined being authentic in a broad sense as “an individual’s subjective sense that their behaviour, appearance, self, reflects their sense of core being. One’s sense of core being is composed of their values, beliefs, feelings, identities, self-meanings, etc.” (Franzese, Authenticity 87); this is the definition of authenticity that I use here. Besides being scarce, the sociological empirical studies on authenticity have been conducted with individuals from Western backgrounds and, thus, have privileged authenticity as a Western cultural construct. This paper tries to contribute to this field of research by: (1) contributing more empirical investigation and (2) providing cross-cultural comparison between individuals from Eastern and Western backgrounds.The literature on cross-cultural values associates Eastern societies with collective (Hofstede, Hofstede and Mirkov 95–97; 112–17) and material or survival (Inglehart and Welzel 51–57; 61–65) values, while Western societies tend to be linked to the opposite kind of values: individual, post-material or self-expression (WVS). For example, societies that score high in survival values are likely to be African (e.g., Zimbabwe) Middle Eastern (e.g., Morocco and Jordan) or Asian (e.g., Bangladesh) countries, while societies that score high in self-expression values tend to be European (e.g., Sweden) or English speaking (e.g., Australia) countries. Nevertheless, there are some exceptions, the case of Japan, for example, which tends to score high in self-expression values despite being an “Eastern” society (WVS). These differences also tend to be reflected among Eastern minorities living in Western countries (Chua and Rubenfeld). Collective values emphasise harmony in relations and prioritise the needs of the group over the individual; on the other hand, individual values emphasise self-expression. Material or survival values accentuate the satisfaction of “basic” needs, in Abraham Maslow’s terms (21), such as physiological or security needs, and imply practising thrift and delaying immediate gratification; by contrast, post-material or self-expression values stress the satisfaction of “higher” needs, such as freedom of speech, equality, or aesthetic needs.The sociologist Ralph Turner (Real) created a theoretical framework to organize individuals’ discourses around authenticity: the “impulsive” and “institutional” categories. One of Turner’s assumptions is particularly important in understanding the differences between these two categories: individuals tend to consider the self as an objective entity that, despite only existing in their minds, feels “real” to them. This can have consequences for the meanings they ascribe to certain internal subjective states, such as cognitions or emotions, which can be interpreted as indicators of their authentic selves (990–91).The institutional and impulsive categories are two different ways of understanding authenticity that present several differences (991–95). Two among them are most relevant to understand the differences that I discuss in this paper. The first one has to do with the individual’s locus of the self, whether the self is conceptualized as located “outside” or “inside” the individual. Impulsive interpretations of authenticity have an internal sense of authenticity as “being,” while institutional conceptualizations have an external sense of authenticity as “becoming.” For “impulsives,” the authentic self is something that must be searched for. Impulsives look within to discover their “true self,” which is often in opposition to society’s roles and its expectations of the individual. On the other hand, for “institutionals” authentic is achieved through external effort (Turner, Quest 155); it is something that individuals achieve through regular practice, often aligned with society’s roles and their expectations of the individual (Turner, Real 992).The second difference has to do with the management of emotions. For an institutional understanding of authenticity, individuals are true to their own authentic selves when they are in full control of their capacities and emotions. By contrast, from an impulsive point of view, individuals are true to themselves when they are spontaneous, accepting and freely expressing their emotions, often by breaking the internal or external controls that society imposes on them (Turner, Real 993).Although individuals can experience both types of authenticity, previous research on this topic (Menendez) has shown that institutional experiences tend to happen more frequently among Easterners, and impulsive experiences tend to occur more frequently among Westerners. In this paper, I show how Easterners and Westerners construct institutional and impulsive meanings of authenticity respectively; what kind of authenticity work individuals from these two backgrounds do when they conceptualize their authentic selves; how they interpret internal subjective states as expressions of who they are; and what stories they tell themselves about who they are.I suggest that these stories, although they may look purely individual, can also be social. Individuals from Western backgrounds tend to interpret impulsive experiences of authenticity as expressing their authentic selves, as they are informed by the individual and post-material values of Western societies. In contrast, individuals from Eastern backgrounds tend to interpret institutional experiences of authenticity as expressing their authentic selves, as they have been socialized in the more collective and material values of Eastern societies.Finally, and before I proceed to the analysis, I would like to acknowledge a limitation of this study. The dichotomies that I use to explain my argument, such as the Western and Eastern or the impulsive and institutional categories, can constitute a limitation for this paper because they cannot reflect nuances. They can be easily contested. For example, the division between Eastern and Western societies is often seen as ideological and Turner’s distinction between institutional and impulsive experiences of authenticity can create artificial separations between the notions of self and society or reason and passion (Solomon 173). However, these concepts have not been used for ideological or simplifying purposes, but to help explain distinguishable cultural orientations towards authenticity in the data.MethodologyI completed 20 interviews (from 50 minutes to 2 hours in length) with 20 students at La Trobe University (Australia), between September 2012 and April 2013. The 20 interviewees (9 females and 11 males), ranged from 18 to 58 years old (the median age was 24 years old). The sample was theoretically designed to cover as many diverse cultural backgrounds as possible. I asked the interviewees questions about: moments they had experienced that felt either authentic and inauthentic, what constitutes a life worth-living, and the impact their cultural backgrounds might have had on their conceptions of their true selves.The 20 interviewees were born in 13 different countries. According to the extensive dataset on cultural values, the World Values Survey (WVS), these 13 countries have different percentages of post-materialists—individuals who choose post-material instead of material values (Inglehart and Welzel 54–56). Table 1 shows the percentages of post-materialists in each of the interviewees’ countries of birth. Table 1: Percentages of post-materialists in the interviewees’ countries of birth Country % of post-materialists WVS Wave United Kingdom 22.8 2005 – 2009 Australia 20.5 2010 – 2014 United States 16.7 2010 – 2014 Israel 11.6 2000 – 2004 Finland 11.3 2005 – 2009 Greece (Turkey) 10.7 2010 – 2014 South Africa 7.7 2005 – 2009 Malaysia 5.6 2010 – 2014 Ghana 4.2 2010 – 2014 India 4 2005 – 2009 China 2.5 2010 – 2014 Egypt 1.1 2010 – 2014 Note: These data are based on the 4-item post-materialism index question (Y002) of World Values Survey (WVS). I use three different waves of data (2000–2004, 2005–2009, and 2010–2014). Greece did not have any data in World Values Survey, so its data have been estimated considering the results from Turkey, which is the most similar country in geographical and cultural terms that had data available.In my model, I consider “Western” societies as those that have more than 10% post-materialists, while “Eastern” societies have less than 10% post-materialists. As shown in Table 1 and mentioned earlier, Western countries (English speaking or European) tend to have higher percentages of post-materialists than Eastern societies (African, Asian and Middle Eastern).Thus, as Table 2 shows, the interviewees who were born in a Western society are ascribed to one group, while individuals born in an Eastern society are ascribed to another group. Although many overseas-born interviewees have lived in Australia for periods that range from 6 months to 10 years, they were ascribed to the “East” and “West” groups solely based on their country of birth. Even though these individuals may have had experiences of socialization in Australia, I assume that they have been primarily socialized in the values of their ethnic backgrounds and the countries where they were born, via their parents’ educational values or through direct experience, during the time that they lived in their countries of birth. According to my definition of authenticity, individuals’ values inform their understanding of authenticity, therefore, the values from their ethnic backgrounds can also influence their understanding of authenticity.In the first phase of the analysis, I used Grounded Theory (Charmaz), with categories directly emerging from the data, to analyse my interviewees’ stories. In the second stage, I reviewed these categories in combination with Turner’s categories of impulsive and institutional, applying them to classify the stories.Table 2: Distribution of participants between “East” and “West” West (n=11) East (n=9) Australia (n=5) China (n=2) United Kingdom (n=2) India (n=2) United States (n=1) South Korea (n=1) Greece (n=1) South Africa (n=1) Finland (n=1) Egypt (n=1) Israel (n=1) Ghana (n=1) Malaysia (n=1) ResultsAlthough I interviewed 20 participants, due to space-constraints, I illustrate my argument with only 4 interview extracts from 4 of the interviewees: 2 interviewees from Western backgrounds and 2 from Eastern backgrounds. However, these stories are representative of the trends found for the whole sample. I show how Easterners and Westerners construct their authentic selves in institutional and impulsive senses respectively through the two key characteristics that I presented in the introduction: locus of the self and management of emotions.In the first instance, Rachel (from Australia, 24 years old), a Western respondent, shows an impulsive locus of the self as “being.” Authenticity is discovered through self-acceptance of an uncomfortable emotion, like a “bad mood:”I think the times when I want to say, ‘oh, I wasn’t myself’, I usually was. My bad moods are more ‘me’. My bad moods are almost always the ‘real me’. [So you consider that your authentic self is something that is there, inside you, that you have to discover, or it is something outside yourself, that you can achieve?] I think it is something that you have to discover for yourself. I think it is different for everyone. [But would you say that it is something that is there already or it is something that you become?] No, I think it is something that is there already.On the other hand, Rani (from China, 24 years old), an Eastern respondent, interprets authenticity as “becoming;” authenticity does not pre-exist—as in the case of Rachel—but is something “external” to her idea of self. Rani becomes herself by convincing herself that she conforms to society’s ideals of physical beauty. Unlike the process of self-acceptance that Rachel described, Rani develops authentic selfhood by “lying” to herself or, as she says, “through some lies”:I have heard this sentence, like ‘you have to be yourself to others’, but I think it is really hard to do this. I think people still need some ‘acting’ things in their life. You need to act, not to say to act as another person, but sometimes like let’s say to be polite or make other people like you, you need acting. And sometimes if you are doing the ‘acting things’ a lot, you are going to believe this is true (she laughs). [Like others will believe that you are something that you are not?] I think at the beginning, maybe that’s not, but… because some people wake up every morning and say to the mirror, ‘you are very beautiful, you are the most beautiful girl in the world’, then, you will be happy and you will actually become beautiful. I think it is not like lie to yourself, but it is just being confident. Maybe at the beginning you are not going to believe that you are beautiful… like, what is this sentence? ‘Being true to yourself’, but actually doing this everyday, then that’s true, you will become, you will be confident. [So that means you can be yourself also through…] Through some lies. [So you don’t think that there is something inside you that you have to kind of discover?] No.Eastern and Western respondents also tend to interpret emotions differently. Westerners are more likely to interpret them in more impulsive terms than Easterners, who interpret them in a more institutional light. As we can see in the following extract, Sean, a Western respondent (born in Australia, but raised in England, 41 years old), feels inauthentic because he could not express his dislike of a co-worker he did not get along with:In a six months job I had before I came to Australia, I was an occupational therapist in a community. There was a girl in the administration department who was so rude. I wanted to say: ‘look darling you are so rude. It is really unpleasant talking to you. Can you just be nice? It would be just so much better and you will get more done and you will get more from me’. That’s what I should have said, but I didn’t say it. I didn’t, why? Maybe it is that sort of culture of not saying things or maybe it is me not being assertive enough. I don’t think I was being myself. Because my real self wanted to say: ‘look darling, you are not helping matters by being a complete bitch’. But I didn’t say that. I wasn’t assertive enough.In a similar type of incident, Ben, an Eastern respondent (from Ghana, 32 years old), describes an outburst he had with a co-worker who was annoying him. Unlike Sean, Ben expressed his anger to the co-worker, but he does not consider this to be a manifestation of his authentic self. For Ben, to act authentically one must control their emotions and try help others:I don’t know if that is myself or if that is not myself, but sometimes I get angry, I get upset, and I am the open type. I am the type that I can’t keep something in me, so sometimes when you make me annoyed, I just response. There is this time about this woman, in a class, that I was in Ghana. She was an older woman, a respected woman, she kept annoying me and there was one day that I couldn’t take it any longer, so I just burst up and I just… I don’t know what I said, I just… said a lot of bad things to her. The woman, she was shocked. I also felt shocked because I thought I could control myself, so that’s me… I don’t want to hide my feelings, I just want to come out with what I think when you make me annoyed, but those times, when I come out, I don’t like them, because I think it contradicts who I really am, someone who is supposed to help or care. I don’t like that aspect. You know somebody could be bossy, so he or she enjoys shouting everybody. I don’t enjoy that, but sometimes it is something that I cannot even control. Someone pushes me to the limit, and I just can’t keep that anger, and it comes out. I won’t say that is ‘me,’ I wouldn’t say that that is me. I don’t think that is a ‘true me’. [Why?] Because the true me would enjoy that experience the way I enjoy helping people instead.Unlike the two accounts from Rachel and Rani, these two last passages from Sean and Ben describe experiences of inauthenticity, where the authentic self cannot be expressed. What is important in these two passages is not their behaviour, but how they attribute their own emotions to their sense of authentic selfhood. Sean identifies his authentic self with the “impulsive” self who expresses his emotions, while Ben identifies his authentic self with the “institutional” self who is in control of his emotions. Sean feels inauthentic because he could not express his angry feelings to the co-worker, whereas Ben feels inauthentic because he could not control his outburst. Ben still hesitates about which side of himself can be attributed to his authentic self, for example, he says that he is “the open type” or that he does not want to “hide [his] feelings”, but he eventually identifies his authentic self with his institutional self.The choices that Sean and Ben make about the emotions that they attribute to their authentic selves could be motivated by their respective ethnic backgrounds. Like Rachel, Sean identifies his authentic self with a socially unacceptable emotion: anger. Consistent with his Western background, Sean’s sense of authenticity emphasizes the needs of the individual over the group and sees suppression of emotions as repressive. On the other hand, Ben reasons that since he does not enjoy being angry as much as he enjoys helping others, expressing anger is not a manifestation of authenticity. His authentic self is linked to his institutional self. Ben’s values are infused with altruism, which reflects the collective values that tend to be associated with his Eastern background. For him, suppression of emotions might not mean repression, but can foster authenticity instead.DiscussionBoth ways of interpreting authenticity, impulsive and institutional, look for self-consistency and the need to tell a coherent story to ourselves about who we are. The results section of this paper showed how Easterners and Westerners conceptualize authenticity. Easterners understand authenticity differently to Western discourses of the authentic. These alternative understandings offer viable solutions to the self-consistency problem. They present external, rather than internal, ways of conceiving the authentic self, and regulative, rather than expressive, approaches to emotions. As I mentioned earlier, Eastern societies are associated with collective and material values, while Western ones are related to individual and post-material values. These divisions in terms of values are reflected in individuals’ self-constructs. Individuals in Western societies tend to have a more independent idea of the self, whereas individuals in Eastern societies are more likely to have an interdependent one (Kitayama). An interdependent idea of the self values connectedness and conceptualizes the self in relation to others, so it can generate an institutional approach to authenticity, where the idea of the authentic self is not something that individuals search for inside themselves, but something that individuals become through their participation in social roles. This was evident in the example of Rani, whose idea of being authentic as “becoming” seemed to be an extension of her more interdependent self-construct and the need to fit in society.A regulative approach to emotions has also been associated with Easterners (Cheung and Park), on the basis of their collective values and interdependent self-constructs. For individuals from a Western background, with a more independent sense of self, as in the case of Sean, suppressing emotions tends to be seen negatively as being inauthentic, a form of repression. However, for individuals with interdependent self-constructs, this can be not only less harmful (feeling less inauthentic), but can even be beneficial because they tend to prioritize the needs of others (Le and Impett). This is evident in the example of Ben, for whom suppressing aanger does not make him feel inauthentic because he identifies his authentic self with the self that is in control of his emotions and helps others. This understanding of authenticity is aligned with the collective values of his ethnic background.In sum, ideas of authenticity seem to vary culturally according to the repertoires and values systems that inform them. Thus, even what we think might be our most intimate or individual experiences, like our experiences of authenticity and ideas of who we are, can also be socially constructed. This paper has tried to demonstrate the importance of sociology for the study of authenticity as a cultural phenomenon.ReferencesBinkley, Sam. Getting Loose: Lifestyle Consumption in the 1970s. Durham: Duke UP, 2007.Charmaz, Kathy. Constructing Grounded Theory. London: Sage, 2013.Cheung, Rebecca and Irene Park. “Anger Supression, Interdependent Self-Construal, and Depression among Asian American and European American College Students”. Cultural Diversity and Ethnic Minority Psychology 16.4 (2010): 517–25.Chua, Amy, and Jed Rubenfeld. The Triple Package: How Three Unlikely Traits Explain the Rise and Fall of Cultural Groups in America. New York: The Penguin P, 2014.Erickson, Rebecca J. When Emotion Is the Product: Self, Society, and (In)Authenticity in a Postmodern World. Ph.D. Thesis, Washington: Whasington State U, 1991.Feldman, Simon. Against Authenticity: Why You Shouldn't Be Yourself. Kentucky: Lexington Books, 2014.Ferrara, Alessandro. Reflective Authenticity Rethinking the Project of Modernity. London: Routledge, 2002.Franzese, Alexis D. To Thine Own Self Be True? An Exploration of Authenticity. Ph.D. Thesis, Durham: Duke University, 2007.———. “Authenticity: Perspectives and Experiences.” Authenticity in Culture, Self, and Society. Eds. Phillip Vannini and J. Patrick Williams. Farnham: Ashgate, 2009. 87–101.Guignon, Charles B. On Being Authentic. London: Routledge, 2004.Hofstede, Geert, and Michael Minkov. Cultures and Organizations: Software of the Mind. USA: McGraw Hill, 2010.Inglehart, Ronald, and Christian Welzel. Modernization, Cultural Change and Democracy: The Human Development Sequence. New York: Cambridge UP, 2005.Kitayama, Shinobu, and Hazel R. Markus. “Culture and the Self: Implications for Cognition, Emotion, and Motivation.” Psychological Review 98.2 (1991): 224–53.Le, Bonnie M., and Emily A. Impett. “When Holding Back Helps: Supressing Negative Emotions during Sacrifice Feels Authentic and Is Beneficial for Highly Interdependent People”. Pscyhological Science 24.9 (2013): 1809–15.Lindholm, Charles. Culture and Authenticity. Malden: Blackwell, 2008.Maslow, Abraham H. Toward a Psychology of Being. Princeton: Van Nostrand, 1968.Menendez, Ramon. “The Culture of Authenticity: An Empirical Study of La Trobe University Students from Diverse Cultural Backgrounds.” Proceedings of The Australian Sociological Association (TASA) Conference, 25-28 November. Melbourne: Monash U, 2013.Potter, Andrew. The Authenticity Hoax How We Get Lost Finding Ourselves. Carlton North: Scribe, 2010.Solomon, Robert C. “Notes on Emotion, ‘East and West.’” Philosophy East and West 45.2 (1995): 171–202.Taylor, Charles. Sources of the Self: The Making of the Modern Identity. Cambridge: Cambridge UP, 1989.———. The Ethics of Authenticity. Cambridge: Harvard UP, 1991.Trilling, Lionel. Sincerity and Authenticity. Cambridge: Harvard UP, 1972.Turner, Ralph. “Is There a Quest for Identity?” The Sociological Quarterly 16.2 (1975): 148–61.———. “The Real Self: From Institution to Impulse.” The American Journal of Sociology 81.5 (1976): 989–1016.Vannini, Phillip. Authenticity and Power in the Academic Profession. Ph.D. Thesis, Whasington: Whashington State U, 2004.———. “Dead Poet’s Society: Teaching, Publish-or-Perish, and Professors’ Experiences of Authenticity.” Symbolic Interaction 29.2 (2006): 235–57.———, and J. Patrick Williams. Authenticity in Culture, Self, and Society. Farnham: Ashgate, 2009.WVS. World Values Survey. World Values Survey Association. 18 Feb. 2015 ‹http://www.worldvaluessurvey.org/wvs.jsp›.

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The western world has an enthusiasm for blondes that amounts to a cultural fetish. As a signifier the blonde is loaded: blondes have more fun, blondes are dumb, blondes are more sexually available, blondes are less capable, less serious, less complicated. The blonde is, in modern day patriarchy, often portrayed as the ideal woman. The Oxford Dictionary defines a Goddess as a female deity or a woman who is adored for her beauty. The Blonde Goddess then is the ultimate contemporary female, worshipped for her appearance, erotically idolised. She may be a Playboy bunny, the hot girl on the beach or the larger than life billboard, but everywhere her image haunts mere mortals: the men who can’t have her and the women who can’t be her. During the second wave of feminism the Blonde Goddess was vilified as an unrealistic illusion and exploitive fantasy and our enthusiasm for her was roundly challenged. She was a stereotype, feminists cried, a site of oppression, a phoney construct. Men were judged harshly for desiring her and women were discouraged from being her. Well beyond hair colour and its power as signifier the very notion of Goddessness, of being adored for one’s beauty, was considered repressive. Women were called upon to refuse participation in blondeness (in its signifying sense) and Goddessness (in the sense of being revered for attractiveness) and men were chastised for being superficial and chauvinistic.Nevertheless, decades later, many men continue to lust after her, women (and increasingly younger girls) work ever harder at being her — bleaching, shaving, breast augmenting and botoxing — and the media promotes endless representations of her. If the second wave thought the Blonde Goddess would give up the ghost easily it was mistaken but what their enthusiastic critique did enable is the birth of a new type of Blonde Goddess, one generally considered to be stronger, more empowered and a better role model for the 21st century Miss. Though the likes of Mae West hinted at this type of Blonde Goddess well before Madonna it was not until Madonna’s generation that she went mainstream. There have been many Blonde Goddess “It girls” — Jean Harlow, Jayne Mansfield and Debbie Harry (singer of the band Blondie) to name a few, but two in particular stand out as the embodiment of these types; their bodies and identities going beyond the image-making machinery to become a kind of Blonde Goddess performance art. They are Marilyn Monroe and Madonna. The enthusiasm for blondeness and Goddessness routinely gives rise to faddish cultural enthusasisms. In Monroe’s day her curvaceous figure was upheld as the model female form. After Madonna appeared with her bangles and layered tops girls all across America and around the world dressed like her. Drawing on Angela Carter’s feminist readings of De Sade in The Sadeian Woman and envisioning Monroe and Madonna, two of the most fêted examples of Blonde Goddessness in history, as De Sade’s Justine and Juliette reveals their erotic currency as both couched in patriarchal gender relations and binding us to it. Considering Monroe and Madonna with the Marquis De Sade characters Justine and Juliette in mind illustrates that Goddessness as I’m defining it here — the enthusiasm which with women rely on beauty for affirmation and men’s enthusiastic feeding of that dependence — amounts to a feminine masquerade that disempowers women from a real experience of femaleness, emancipation and eroticism. When feminists in the 60s and 70s critiqued the Blonde Goddess as the poster-child for good old-fashioned sexism it was women like Monroe they had in mind. What feminists argued for they largely got — access to life beyond the domestic domain, financial autonomy, self-determination — but, as a De Sadian viewing of Madonna will show, we’re still compromised. While many feminists, most notably Andrea Dworkin, rejected the Marquis De Sade, notorious libertine and writer, as a dishonourable p*rnographer, others, such as Luce Irigaray and Angela Carter, felt he accurately reflected the social structures and relations of western civilisation and was therefore fertile ground for the exploration of what it is to be a woman in our culture. Justine and Juliette are erotic novels that recount the very different fortunes of two dissimilar sisters. They are beautiful (of course) and as such they are Goddesses, even while being defiled and defiling. Monroe and Madonna are metaphorical sisters in a man's world (and it was an infamous touch of video genius when Madonna acknowledged as much by doing Monroe in the video for “Material Girl” early on in her career). Yet one is a survivor and one isn't. One is living and one is long dead. Monroe is the Blonde Goddess as victim; Madonna is the Blonde Goddess as Villain. Monroe cast a shadow; Madonna has danced with the shadow. Both Marilyn and Madonna assumed a feminine masquerade so successful, so omnipotent, that they became not just Goddesses, desired by men, admired by women, and emulated by girls, but the most iconic and celebrated Blonde Goddesses of their age. It was, and in Madonna’s case still is, a highly sexualised masquerade that utilises and promotes itself as a commodity. Both women milked this masquerade to achieve notoriety and wealth in a world where women are disadvantaged in the public sphere. Some read this kind of exploitation of erotic desire as a mark of subjugation while others see it as a feminist act: a knowing usage of means toward a self-possessed end, but as Carter will help demonstrate, masquerade is, either way, an artificial construct and our enthusiasm for trading in it comes at a high price. Monroe, the sexy, fragile child-woman, was the firstborn of the sisters. Her star rose in the moralistic fifties, and by all accounts she spent most of her time in the limelight frustrated by her career and by the studio’s control of it. She was “owned”, and she rebelled against it, fleeing to New York City to study acting at the renowned Actors Studio. She became a devoted student of method acting, a technique that encourages actors to plumb their emotional depths and experiences, though her own psychological instability threatened her career. She was scandalously difficult to work with: chronically late, forgetful, and self-indulgent; and she died alone, intoxicated and naked. Conspiracy theories aside, it seems likely that a co*cktail of mental disturbance, man trouble, and substance addiction led to her premature death by overdose in 1962. Monroe’s traditional take on blondeness and Goddessness embodied the purely feminine masquerade and translated to the classic Justine trajectory.Madonna can be thought of as Monroe’s post-modern younger sister, the next generation of Blonde Goddessness. Known for her self-determination, business savvy and self-control Madonna’s self-parody and decades long survival and triumph in a male dominated industry is remarkable. Perhaps this is where the sisters differ most: Madonna challenges the dominant semiotic code of traditional gender roles in that she combines her feminine masquerade with masculinity, witness the pointy cone bra worn with pinstripe trousers and monocle on the “Blonde Ambition” tour. Madonna is the new blonde — shrewder, more forceful, more man-like. She plays girly in her feminine masquerade, but she does so self-consciously, with a wink, as the second sister who has observed and learned the lesson of the first. In Carter’s exploration of the characters of Justine and Juliette she notes that when the orphaned girls are turned out of the convent to fend for themselves, Justine, the sister whose goodness and innocence is constantly met with the brutality and betrayal of men, "embarks on a dolorous pilgrimage in which each preferred sanctuary turns out to be a new prison and all the human relations offered her are a form of servitude" (39). During Monroe’s pilgrimage from foster care, to young wife, to teen model, to star she found herself trapped in an abusive studio system that could not nurture her and instead raped her over and over again in the sense that it thwarted her personal aspirations as an actor and her desire for creative autonomy by overpowering her with its demands. Monroe did not own her own life and sexuality so much as function as a site of objectification, a possession of the Tinsel Town suits. In her personal life she was endowed with the “feminine” trait of feeling; she was, like Justine, "the broken heart, the stabbed dove, the violated sepulcher, the persecuted maiden whose virginity is perpetually refreshed by rape” (Carter 49).In real life and in most of her characters Monroe was kind hearted, generous, caring and compassionate. It is this heart that Justine values most; whatever happens to the body, no matter how impure it becomes, the heart remains sacred. The victim with heart is morally superior to her masters. In a suffering that becomes second nature, "Justine marks the start of a kind of self-regarding female masochism, a woman with no place in the world, no status, the core of whose resistance has been eaten away by self-pity” (57).Conspiracy theories and rumors of Monroe's suffering and possible murder at the hands of the Kennedys (cast as evil Sadian masters) abound. Suicide attempts, drug dependency, and nervous breakdowns were the order of the day in her final years. The continuing fascination with Monroe lies in the fact that she was the archetypal sullied virgin. Feminine virtue and goodness require sexual innocence and purity. If Monroe’s innocence (a feature of films like Some Like it Hot) was too often confused with stupidity she made the most of it by cornering the market on bimbo roles (Gentleman Prefer Blondes is her ultimate dumb blonde performance). But even those who thought she couldn’t act realised that her appeal was potent because her innocence was infused with the potentiality of an uncontainable libidinous energy. Like Justine, Juliette was a woman born into a man's world, but in her corruption Juliette decided beat men at their own game, to transcend her destiny as woman at any cost. Carter says of Juliette: She is rationality personified and leaves no single cell of her brain unused. She will never obey the fallacious promptings of her heart. Her mind functions like a computer programmed to produce two results for herself — financial profit and libidinal gratification. (79)Indeed, it could be said that it is financial profit and libidinal gratification that most defines Madonna in the public’s eye. She is obscenely rich and often cited for her calculated re-inventions and assertive sexuality (which peaked in the early nineties with the album Erotica and the graphic Sex book). Madonna, like Juliette, is a story-teller. Even if she isn’t always the author of her songs she creates narrative interplay using song, fashion, and video. Like Juliette Madonna takes control of her destiny. She heads her own production company and is intimately involved with the details of her multi-faceted career. Like Monroe Madonna is said to have slept around strategically in her pre-stardom years, but unlike Monroe she was not passed around. The men in Madonna’s life early in her career were critical to advancing it. From Dan Gilroy, who helped form her first rock band, the Breakfast Club to DJ John "Jellybean" Benitez, who remixed tracks on her debut album Madonna took every step up the ladder of success guided by a precision instinct for self-preservation and promotion. She was not used up as she used others. Her trail leaves no sign of weakness, just one envelope-pushing accomplishment after another, with a few failures along the way, most notably in film. Though very different central to both Monroe and Madonna’s lives and careers is a mega-watt erotic appeal, an appeal that has everything to do with their respective differential repetitions of being blonde.In Eroticism Georges Bataille defines eroticism as the fusion of separate objects involving the play of discontinuity and continuity. In Bataille’s work these words have a specific and unconventional meaning. Discontinuity describes our individuality, our separateness from each other, a separateness that reigns in our social and work-a-day lives. Continuity refers to dissolution of separateness that is most associated with death but which is also experienced by way of exalted living through a taste of transcendence. Bataille posits three types of eroticism: physical, emotional and religious and he claims that they all “substitute for the individual isolated discontinuity a feeling of profound continuity” (15).Here Bataille meets De Sade. In the Introduction to Eroticism Bataille speaks of De Sade’s assertion that we come closest to death (continuity) through the “licentious image.” Further, Bataille declares that eroticism is not just an enthusiasm; it is the enthusiasm of humankind. “It seems to be assumed that man has his being independently of his passions,” he says. “I affirm, on the other hand, that we must never imagine existence except in terms of these passions” (12). He goes on to state that our enthusiasm/eroticism is not just an aspect of our being, but its driving force: “We are discontinuous beings, individuals who perish in isolation in the midst of an incomprehensible adventure, but we yearn for our lost continuity. We find the state of affairs that binds us to our random and ephemeral individuality hard to bear.” (15).Human beauty is, Bataille suggests, measured by its distance from the animal — the more ethereal (light and unearthly) the female shape and texture, and the less clear its relation to animal reality, the more beautiful — the erotic moment lies in profaning that beauty, reducing it to its animal essence. Perhaps this is another reason why blondeness matters and signifies sex, conferring as it does a halo, an ethereal “light” which evokes the sacredness of continuity while denying the animal (the hairy and base reality of the body). This is the invitation The Blonde Goddess makes to defilement, her begging to be reduced to her private parts. Juliette/Madonna subverts her blonde invitation to be profaned by actively taking part in the profanation. Madonna has openly embraced gay culture, S & M, exhibitionism, fetishism, role-play and religious symbolism placing herself centre stage at all times. Justine/Monroe attracted erotic victimisation while Juliette/Madonna refused it by sleight of hand, and here again De Sade can help make sense of this. The works that illustrate this difference between Justine/Monroe and Juliette/Madonna most clearly are The Misfits and Truth or Dare. The Misfits is a beautiful and delicate film, written by Monroe’s then husband, Arthur Miller. The role of Roslyn is rumored to be based on Monroe's own character and her relationship with its three metaphorically dying cowboys reveals an enchanting and pale Justine broken by the dysfunctional and dominating masculinity around her. In contrast, Truth or Dare is a self styled documentary of Madonna’s “Blonde Ambition” tour. It portrays Madonna striking a pose as the tough-talking Queen of the castle, calling the shots, with a bevy of play-thing pawns scuttling beneath her. But, opposite as these characterisations are, some sameness emanates from the two women in these works. Something haunts the screen and it is this: the sisters’ unavoidable cultural roots as women. Even as Madonna sucks on a bottle in faux fellati*, even as she simulates masturbation on stage or scolds her messy young dancers there is something melancholic about her, a vague relationship to Monroe. And here Carter helps solve the mystery: "She [Juliette] is just as her sister is, a description of a type of female behavior rather than a model of female behavior and her triumph is just as ambivalent as is Justine's disaster. Justine is the thesis, Juliette the antithesis” (79).In other words, in Carters’ view Justine/Monroe as heart personified maintains the traditional role of woman as body, as one belonging to the private sphere who pays dearly for entering public life, while Juliette/Madonna as reason personified infiltrates the male dominated territory of culture. Unlike Monroe, Madonna gets away with being a public figure, flourishes even, but as Carter’s Juliette, this victory has required her to betray herself in some way. It is “ambivalent” and Madonna doesn’t quite get off scot free. Madonna has been progressive in that she moved away from the traditional feminine role of body in a forbidding industry, but even though her lucrative maneuvering is more sophisticated than Monroe’s careening, she walks a fine line. In De Sade the sexuality of a libertine is a male identified desire in which women are objectified and exploited. Madonna’s trick is to manifest in feminine masquerade then take an ironic turn in objectifying and exploiting herself in what amounts to a split persona, half woman, half man. In other words she seduces herself under our gaze, and she dares to enjoy it. Ultimately, neither sister can escape the social structure into which she was born. Monroe, who was unable to live as a real woman, lives on as a legend, a Blonde Goddess in the eternal feminine masquerade. Madonna is reborn every time she re-invents herself but it’s hard to tell, with all the costume changing, who the real Madonna is. It was the unactualised real woman that the second wave tried to free by daring to suggest that she existed and was valuable beyond signification and Goddessness and that she had a right to her own experience of enthusiasm/eroticism rather than being relegated to the role of being the “licentious image” for the male gaze. The attack on the Blonde Goddess underestimated the deeply rooted psychic/emotional conditioning at play on both sides of the Blonde Goddess game. Here we are in a new millennium in which the ‘p*rnified’ Blonde Goddess is everywhere but even if she’s more unfettered and sexually active that deeply rooted conditioning remains. For Carter neither Justine nor Juliette is a worthy role model for the women of today and it would seem to follow that neither are Monroe nor Madonna. However, Carter does speak of “a future in which might lie the possibility of a synthesis of their modes of being, neither submissive nor aggressive, capable of both thought and feeling” (79). Blondeness as a signifier and Goddessness as a function inhibit an experience of shared enthusiasm and eroticism between men and women. When Bataille speaks of nakedness he means eroticism as the destruction of the self-contained character that gives rise to an experience of continuity. This kind of absolute nakedness is impossible for those trapped in the cycle of signification and functional relations. I suggest that the liberation project of the second wave of feminism stalled when in our desire to not be Justines we simply became more akin to Juliette. Blondeness as a signifier is still problematic, and Goddessness of the kind I have spoken of here — women’s attachment to using beauty to garner adoration in place of an innate sense of self and worth and men’s willingness to patronise it — is still rampant and both the Justine and Juliette feminine masquerades produce a false economy of enthusiasm and eroticism that denies the experience of authenticity and the true potential of relationship. The challenge now is one that most needs to be met not in the spotlight but in the privacy of our own beings and the forum of our lives as the struggle for synthesis continues in those of us, female and male, blonde, brunette, redhead, black or grey-haired, who long for an experience of ourselves and each other that transcends masquerade. ReferencesCarter, Angela. The Sadeian Woman. London: Virago Press, 1979.Bataille, Georges. Eroticism. London: Marion Boyars Publishers, 1987.Madonna. Erotica. Warner Bros, 1992.———. “Material Girl.” Like a Virgin. WEA/Warner Bros, 1984.——— and Steven Meisel. Sex. Warner Bros, 1992. The Misfits. Dir. John Huston.. MGM, 1961. Some Like It Hot. Dir. Billy Wilder, Billy. MGM, 1959. Truth or Dare. Dir. Alek Keshishian. Live/Artisan, 1991.

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In a light-speed economy of communication, the only thing that moves faster than information is imagination. And in a time when, more than ever before, information is the currency of global politics, economics, conflict, and conquest what better way to critique and crinkle the global-social than to combine the two - information and imagination - into an hilarious mockery of, and a brief incursion into the vistas of the globalitarian order. This is precisely the reflexive and rhetorical pot-pourri that the group 'the Yes Men' (www.theyesmen.org) have formed. Beginning in 2000, the Yes Men describe themselves as a "network of impostors". Basically, the Yes Men (no they're not all men) fool organisations into believing they are representatives of the WTO (World Trade Organisation) and in-turn receive, and accept, invitations to speak (as WTO representatives) at conferences, meetings, seminars, and all manner and locale of corporate pow-wows. At these meetings, the Yes Men deliver their own very special brand of WTO public address. Let's walk through a hypothetical situation. Ashley is organising a conference for a multinational adult entertainment company, at which the management might discuss ways in which it could cut costs from its dild* manufacturing sector by moving production to Indonesia where labour is cheap and tax non-existent (for some), rubber is in abundance, and where the workers hands are slender enough so as to make even the "slimline-tickler" range appear gushingly large in annual report photographs. Ashley decides that a presentation from Supachai Panitchpakdi - head of the WTO body - on the virtues of unrestrained capitalism would be a great way to start the conference, and to build esprit de corps among participants - to summon some good vibrations, if you will. So Ashley jumps on the net. After the obligatory four hours of trying to close the myriad p*rn site pop-ups that plague internet users of the adult entertainment industry, Ashley comes across the WTO site - or at least what looks like the WTO site - and, via the email link, goes about inviting Supachai Panitchpakdi to speak at the conference. What Ashley doesn't realise is that the site is a mirror site of the actual WTO site. This is not, however, grounds for Ashley's termination because it is only after careful and timely scrutiny that you can tell the difference - and in a hypercapitalist economy who has got time to carefully scrutinize? You see, the Yes Men own the domain name www.gatt.org (GATT [General Agreement on Tariffs and Trade]being the former, not so formalised and globally sanctioned incarnation of the WTO), so in the higgledy-piggeldy cross-referencing infosphere of the internet, and its economy of keywords, unsuspecting WTO fans often find themselves perusing the Yes Men site. The Yes Men are sirens in both senses of the word. They raise alarm to rampant corporatism; and they sing the tunes of corporatism to lure their victims – they signal and seduce. The Yes Men are pull marketers, as opposed to the push tactics of logo based activism, and this is what takes them beyond logoism and its focus on the brand bullies. During the few years the Yes Men have been operating their ingenious rhetorical realignment of the WTO, they have pulled off some of the most golden moments in tactical media’s short history. In May 2002, after accepting an email invitation from conference organisers, the Yes Men hit an accountancy conference in Sydney. In his keynote speech, yes man Andy Bichlbaum announced that as of that day the WTO had decided to "effect a cessation of all operations, to be accomplished over a period of four months, culminating in September". He announced that "the WTO will reintegrate as a new trade body whose charter will be to ensure that trade benefits the poor" (ref). The shocking news hit a surprisingly receptive audience and even sparked debate in the floor of the Canadian Parliament where questions were asked by MP John Duncan about "what impact this will have on our appeals on lumber, agriculture, and other ongoing trade disputes". The Certified Practicing Accountants (CPA) Australia reported that [t]he changes come in response to recent studies which indicate strongly that the current free trade rules and policies have increased poverty, pollution, and inequality, and have eroded democratic principles, with a disproportionatly large negative effect on the poorest countries (CPA: 2002) In another Yes Men assault, this time at a Finnish textiles conference, yes man Hank Hardy Unruh gave a speech (in stead of the then WTO head Mike Moore) arguing that the U.S. civil war (in which slavery became illegal) was a useless waste of time because the system of imported labour (slavery) has been supplanted now by a system of remote labour (sweatshops)- instead of bringing the "labour" to the dild*s via ships from Africa, now we can take the dild*s to the "labour", or more precisely, the idea of a dild* - or in biblical terms - take the mount'em to Mohammed, Mhemmet, or Ming. Unruh meandered through his speech to the usual complicit audience, happy to accept his bold assertions in the coma-like stride of a conference delegate, that is, until he ripped off his business suit (with help from an accomplice) to reveal a full-body golden leotard replete with a giant golden phallus which he proceeded to inflate with the aid of a small gas canister. He went on to describe to the audience that the suit, dubbed "the management leisure suit", was a new innovation in the remote labour control field. He informed the textiles delegates that located in the end of the phallus was a small video interface through which one could view workers in the Third World and administer, by remote control, electric shocks to those employees not working hard enough. Apparently after the speech only one objection was forwarded and that was from a woman who complained that the phallus device was not appropriate because not only men can oppress workers in the third world. It is from the complicity of their audiences that the Yes Men derive their most virulent critique. They point out that the "aim is to get people to think more seriously about the sort of bullsh*t they are prepared to swallow, if and when the information comes from a suitably respected authority. By appearing, for example, in the name of the WTO, one could even make out a case for justifying homicide, irrespective of the target audience's training and intellect" (Yes men) Unruh says. And this is the real statement that the Yes Men make, their real-life, real-time theatre hollows-out the signifer of the WTO and injects its own signified to highlight the predominant role of language - rhetoric - in the globalising of the ideas of neo-liberalism. In speaking sh*t and having people, nay, experts, swallow it comfortably, the Yes Men punctuate that globalisation is as much a movement of ideas across societies as it is a movement of things through societies. It is a movement of ideals - a movement of meanings. Organisations like the WTO propagate these meanings, and propagandise a situation where there is no alternative to initiatives like free trade and the top-down, repressive regime espoused buy neoliberal triumphalists. The Yes Men highlight that the seemingly immutable and inevitable charge of neoliberalism, is in fact simply the dominance of a single way of structuring social life - one dictated by the market. Through their unique brand of semiotic puppetry, the Yes Men show that the project of unelected treaty organisations like the WTO and their push toward the globalisation of neoliberalism is not inevitable, it is not a fait accompli, but rather, that their claims of an inexorable movement toward a neo-liberal capitalism are simply more rhetorical than real. By using the spin and speak of the WTO to suggest ideas like forcing the world's poor to recycle hamburgers to cure world hunger, the Yes Men demonstrate that the power of the WTO lies on the tip of their tongue, and their ability to convince people the world over of the unquestionable legitimacy of that tongue-tip teetering power. But it is that same power that has threatened the future of the Yes Men. In November 2001, the owners of the gatt.org website received a call from the host of its webpage, Verio. The WTO had contacted Verio and asked them to shut down the gatt.org site for copyright violations. But the Yes Men came up with their own response - they developed software that is freely available and which allows the user to mirror any site on the internet easily. Called "Reamweaver", the software allows the user to instantly "funhouse-mirror" anyone's website, copying the real-time "look and feel" but letting the user change any words, images, etc. that they choose. The thought of anyone being able to mimic any site on the internet is perhaps a little scary - especially in terms of e-commerce - imagine that "lizard-tongue belly button tickler" never arriving! Or thinking you had invited a bunch of swingers over to your house via a swingers website, only to find that you'd been duped by a rogue gang of fifteen tax accountants who had come to your house to give you a lecture on the issues associated with the inclusion of pro-forma information in preliminary announcements in East Europe 1955-1958. But seriously, I'm yet to critique the work of the Yes Men. Their brand of protest has come under fire most predictably from the WTO, and least surprisingly from their duped victims. But, really, in an era where the neo-liberal conservative right dominate the high-end operations of sociality, I am reticent to say a bad word about the Yes Men's light, creative, and refreshing style of dissent. I can hear the "free speech" cry coming from those who'd charge the Yes Men with denying their victims the right to freely express their ideas - and I suppose they are correct. But can supra-national institutions like the WTO and their ilk really complain about the Yes Men’s infringement on their rights to a fair communicative playing field when daily they ride rough-shod over the rights of people and the people-defined "rights" of all else with which we share this planet? This is a hazardous junction for the dissent of the Yes Men because it is a point at which personal actions collide head-on with social ethics. The Yes Men’s brand of dissent is a form of direct action, and like direct action, the emphasis is on putting physical bodies between the oppressor and the oppressed – in this case between the subaltern and the supra-national. The Yes Men put their bodies between and within bodies – they penetrate the veneer of the brand to crawl around inside and mess with the mind of the host company body. Messing with anybody’s body is going to be bothersome. But while corporations enjoy the “rights” of embodied citizens, they are spared from the consequences citizens must endure. Take Worldcom’s fraudulent accounting (the biggest in US history) for instance, surely such a monumental deception necessitates more than a USD500 million fine. When will “capital punishment” be introduced to apply to corporations? As in “killing off” the corporation and all its articles of association? Such inconsistencies in the citizenry praxis of corporations paint a pedestrian crossing at the junction where “body” activism meets the ethic (right?) of unequivocal free-speech for all – and when we factor-in crippling policies like structural adjustment, the ethically hazardous junction becomes shadowed by a glorious pedestrian overpass! Where logocentric activism literally concentrates on the apparel – the branded surface - the focus of groups like the Yes Men is on the body beneath – both corporate and corporeal. But are the tactics of the Yes Men enough? Does this step beyond logocentric focused activism wade into the territory of substantive change? Of course the answer is a resounding no. The Yes Men are culture jammers - and culture jamming exists in the realm of ephemera. It asks a question, for a fleeting moment in the grand scheme of struggle, and then fades away. Fetishising the tactics of the Yes Men risks steering dissent into a form of entertainment - much like the entertainmentised politics it opposes. What the Yes Men do is creative and skilful, but it does not express the depth of commitment displayed by those activists working tirelessly on myriad - less-glamorous - campaigns such as the free West Papua movement, and other broader issues of social activism like indigenous rights. If politics is entertainment, then the politics of the Yes Men celebrates the actor while ignoring the hard work of the production team. But having said that, I believe the Yes Men serve an important function in the complex mechanics of dissent. They are but one tactic - they cannot be expected to work with history, they exist in the moment, a transitory trance of reason. And provided the Yes Men continue to use their staged opportunities as platforms to suggest BETTER IDEAS, while also acknowledging the depth and complexity of the subject matter with which they deal, then their brand of protest is valid and effective. The Yes Men ride the cusp of a new style of contemporary social protest, and the more people who likewise use imagination to counter the globalitarian regime and its commodity logic, the better. Through intelligent satire and deft use of communication technologies, the Yes Men lay bare the internal illogic (in terms of human and ecological wellbeing) of the fetishistic charge to cut costs at all costs. Thank-Gatt for the Yes Men, the chastisers of the global eco-social pimps. Works Cited CPA. (2002). World Trade Organisation to Redefine Charter. http://theyesmen.org/tro/cpa.html Yes Men: http://theyesmen.org/ * And thanks to Phil Graham for the “capital punishment” idea. Links http://theyesmen.org/ http://theyesmen.org/tro/cpa.html http://www.gatt.org http://www.theyesmen.org/ Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Pace, John. "The Yes Men" M/C: A Journal of Media and Culture< http://www.media-culture.org.au/0306/05-yesmen.php>. APA Style Pace, J. (2003, Jun 19). The Yes Men. M/C: A Journal of Media and Culture, 6,< http://www.media-culture.org.au/0306/05-yesmen.php>

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Blaise Pascal once offered the following advice to those perennially worried about knowing fact from fiction: “how few things can be demonstrated! Proofs only convince the mind; custom provides the strongest and most firmly held proofs” (148). The concern about whether or not God existed was for Pascal an unnecessary anxiety: the question couldn’t be answered by human knowledge, and so ultimately one just had to “wager” on whatever stood to be most beneficial, act as if this chosen answer was true, and the mind would eventually fall into line. For Pascal, if one stood to gain from believing in the truth of an idea then the great problems of epistemology could be reduced to a relatively simple and pragmatic calculation of benefit. Doubt, suspicion, and all the attendant epistemological worries would only count as wasted time.It might at first seem surprising that this somewhat antiquated idea of Pascal’s, conceived in seventeenth-century France, appears at the core of a novel by a writer considered to be the quintessential “modern” author, David Foster Wallace. But consider the following advice offered to a recovering drug addict in Wallace’s 1996 novelInfinite Jest. To reap the benefits of the AA program, Don Gately, one of the central characters of the novel, is told by resident counsellor Gene M to imagine he is holding a box of Betty Crocker Cake Mix. The box of cake mix represents Boston AA. Gately is advised that the “box came with directions on the side any eight-year-old could read”: Gene M. said all Gately had to do was for f*ck’s sake give himself a break and relax and for once shut up and just follow the directions on the side of the f*cking box. It didn’t matter one f*ckola whether Gately like believed a cake would result, or whether he understood the like f*cking baking-chemistry of howa cake would result: if he just followed the motherf*cking directions, and had sense enough to get help from slightly more experienced bakers to keep from f*cking the directions up if he got confused somehow, but basically the point was if he just followed the childish directions, a cake would result. He’d have his cake. (467) This advice indeed seems lifted from Pascal almost verbatim (plus or minus a few turns of phrase, of course):Learn from those who have been bound like you, and who now wager all they have. They are people who know the road you want to follow and have been cured of the affliction of which you want to be cured. Follow the way by which they began ... (Pascal 156).While the Pascalian influence on Wallace’s work is perhaps interesting in its own right, and there are certainly more extensive and capable analyses of it to be done than mine, I invoke it here to highlight a particular emphasis in Wallace’s work that I think exceeds the framework through which it is usually understood. Wallace’s fiction is commonly considered an attack on irony, being supposedly at the vanguard of a movement in recent American literature that Adam Kelly, in an illuminating analysis, has called the “New Sincerity” (131). But before anything else irony is a particular trope of understanding, a way of situating oneself in regards to an object of knowledge, and so Wallace’s work needs not only to be understood in terms of what a culture considers unhip, trite, and sentimental, but how it comes to decide upon those things at all, how it chooses to understand its reality. Inspired by the Pascalian influence apparent in Wallace’s portrayal of the Alcoholics Anonymous program, I intend to shift the focus away from issues of irony and sincerity and instead consider the importance of the epistemological tropes of suspicion and trust in reading Infinite Jest. More than anything else Wallace’s depiction of the AA program tells us he is interested, like Pascal, in the existential implications of suspicion, in what might be lost in following doubt to its most “radical” conclusions. I SuspicionIt is fruitful to view Western intellectual practice as exhibiting suspicious tendencies. From Descartes’s “hyperbolic doubt,” the “hermeneutics of suspicion” that Ricœur and Foucault see coming out of the legacy of Marx, Nietzsche, and Freud, to the endless “paranoia of the postmodern” that typifies recent academic trends (Bywater 79), the refusal to trust the veracity of surfaces has been a driving force in post-Enlightenment thought, becoming largely inextricable from how we understand the world. As a mode of critique, suspicion has a particular anxiety about the way fiction masquerades as truth. When a suspicious mind reads a given object, be it an advertisem*nt, a novel, a film, a supermarket, or an egg carton, it most often proceeds by first separating the text into what Paul Ricœur calls an “architecture of meaning” (18), defining those elements it considers fictive and those it considers truer, more essential, in order to locate what it considers “the intentional structure of double meaning” (Ricœur 9). Beneath the fictive surface of a novel, for example, it might find hidden the “truer” forces of social repression and patriarchy. Behind the innocence of a bedtime tale it might discern the truth of the placating purpose of story, or the tyranny of naïve narrative closure, the fantasies of teleology and final consonance. And behind Pascal’s wager it might find a weak submission to ideological fictions, a confirmation of the processes of social conditioning.Over the years suspicion has doubtless proved itself a crucial resource for various politics of resistance, for challenging ossified structures of knowledge, and for exposing heinous fictions that definitely needed exposing. But some contend that these once fruitful intellectual practices have become so deeply entrenched that they are now the things to be suspiciously overcome. Rather than being a subversive tactic of liberation, the “routinisation” of suspicion can stand to mark a hermeneutic stasis. It can even, as Bruno Latour argues, mire important social and ecological issues in counterproductive doubt, the most obvious example being the tiresome “debates” about global warming:the danger would no longer be coming from an excessive confidence in ideological arguments posturing as matters of fact—as we have learned to combat so efficiently in the past—but from an excessive distrust of good matters of fact disguised as bad ideological biases! (Latour 227) The work of David Foster Wallace can be considered another example of such a discourse, one that definitely admits suspicion’s hermeneutic force, but is a little uneasy with its predominance. While Wallace’s work is most commonly understood in relation to irony, irony itself, as I have suggested, can in turn be understood as related to a subtending culture of suspicion and cynicism. In his 1993 essay “E Unibus Pluram: Television and U.S. Fiction,” Wallace notes a complex interaction between knowledge, suspicion, art, and televisual culture, in which a particular rendering of irony—a mistrust in clichéd sentiment and all those words we now so confidently put between “shudder” quotes—is commoditised and exploited in order to constantly provide the psychological payoffs of knowingness, those feelings of superiority, safety, and power that come from suspiciously seeing through to the “truth” of things. In Wallace’s reading, ostensibly postmodern advertisem*nts draw attention to their fictive layers to make viewers feel attuned to the supposed truth of their intent. But this access to the “truth” is itself just another fiction aimed to mislead them into commercial pliancy:[TV can] ease that painful tension between Joe’s need to transcend the crowd and his status as Audience member. For to the extent that TV can flatter Joe about “seeing through” the pretentiousness and hypocrisy of outdated values, it can induce in him precisely the feeling of canny superiority it’s taught him to crave, and can keep him dependent on the cynical TV-watching that alone affords this feeling. (Wallace 180) The ironic viewer who would stand above these deliberately naive appeals would then also, and perhaps before anything else, be a suspicious reader, someone predisposed to seeing through the “surface” of a text. Irony, in these examples, would even be alike to the effect gained from “successful” suspicion, something like its reward, rather than an epistemological mode in itself. While in his essay Wallace ultimately intends that his critique of such tendencies will highlight the way much contemporary fiction struggles to subvert this culture, and thus we cannot help but look to his own work to see how it supposedly “attacks” irony, it is also just as crucial to consider its embedded critique of suspicious hermeneutics.II Trust In Infinite Jest’s portrayal of Boston’s Alcoholics and Narcotics Anonymous programs, Wallace attempts to propose a kind of neo-Pascalian “wager.” And like Pascal’s, Wallace’s is based on the willed performance of that most critically maligned of concepts, trust: that is, a willingness to become, like Pascal, blasé with truth as long as it stands to be beneficial. Within the novel the fictitious Ennet Drug and Alcohol House, along with the adjacent Enfield Tennis Academy, is staged as a school of personal (re)development, dramatising approaches to self-help in the damaged landscape of the Year of the Depend Adult Undergarment’s Boston. And it is here where Don Gately, the novel’s unlikely hero, has ended up on his quest to escape the “spider” of addiction. As it openly admits, Alcoholics Anonymous is an easy target for a suspicious mode of thought bent on locating fictions because it “literally makes no sense” (368). But like Pascal, Wallace’s AA submits the problem of truth and error to a more primary consideration of benefit, and celebrates the power of language and custom to create realities, rather than being suspicious of this process of linguistic mediation. So it is a system, like signification itself, that functions on “the carrot-and-donkey aspect of trudging to Meetings only to be told to trudge to still more Meetings” (1001); like any transcendental signifier, the revelations it hints at can never truly arrive. It is also based on assertions that “do not make anything resembling rational sense” (1002). For example, Joelle van Dyne battles with the AA precept “I’m Here But For the Grace of God.” She finds the phrase is literally senseless, and regardless of whether she hears it or not it’s meaningless, and that the foamy enthusiasm with which these folks can say what in fact means nothing at all makes her want to put her head in a Radarange. (366) But perhaps the strongest reason Joelle feels uncomfortable with the present example is that she senses in its obvious untruth the potential truth of all meaning’s fictitiousness, how all sense might just be made up of nonsense of one form or another. Within the AA program these words are a means to an end, rather than something to be resisted or deconstructed.To exist within Infinite Jest’s AA program is thus to be uncomfortably close to the linguistic production of reality, to work at meaning’s coalface, exposed to the flames of its fictitiousness, but all the while being forced to deny this very vista. So while AA is a process firmly against the mechanisms of denial (one of its favourite slogans is “Denial is not a river in Egypt” [272]), it is also based on a paradoxical imperative to deny the status of meaning as a production, as well as the denial of the significance of this paradox: For me, the slogan [Analysis-Paralysis] means there’s no set way to argue intellectual-type stuff about the Program [...] You can’t think about it like an intellectual thing [...] You can analyse it til you’re breaking tables with your forehead and find a cause to walk away, back Out There, where the Disease is. Or you can stay and hang in and do the best you can. (1002) Although it is common knowledge that its precepts are full of logical contradiction and impasse, that it is a blatantly fictitious enterprise, the difficulty which Wallace’s portrayal poses, both for his characters and for his readers schooled in suspicious hermeneutics, is that as a process of healing the AA program somehow seems to work with great efficacy. Enter the redemption of Don Gately.Despite his initial reluctance to embrace the program’s undertakings, much to his surprise Gately finds it having a definite effect: he “all of a sudden realised that quite a few days had gone by since he’d even thought about Demerol or Talwin or even weed” (467). The bracketing of the desire to know and interpret, and the willed trust in the efficacy of a process that one cannot know by necessity, initially frustrates him, and even makes him suspicious: “He couldn’t believe it. He wasn’t Grateful so much as kind of suspicious about it, the Removal [of his addiction]” (468). And all this can definitely be intellectually uncomfortable for a reader well-versed in suspicious hermeneutics, let alone the somewhat unintellectual Gately:It did, yes, tentatively seem maybe actually to be working, but Gately couldn’t for the life of him figure out how just sitting on haemorrhoid-hostile folding chairs every night looking at nose-pores and listening to clichés could work. Nobody’s ever been able to figure AA out, is another binding commonality. (349)Ultimately the AA program presents the novel’s hero and its readers with an impasse, a block to what one knows and can critique, refuting the basic assumption that links narrative progression and change with the acquisition of knowledge. While others in AA seek to understand and debunk it, they also significantly fail to achieve the kind of recovery experienced by Gately. As Elizabeth Freudenthal suggests, “despite the problems one may have with AA as a vehicle for healthy living, Gately’s mode of fighting addiction is the only one in the novel that actually works” (191). And while Freudenthal suggests that Gately’s success comes through a ritual “anti-interiority,” a “mode of identity founded in the material world of both objects and biological bodies and divested from an essentialist notion of inner emotional, psychological, and spiritual life” (192), to me it seems that were Gately unable to resist the pleasures of the suspicious mind then little of his “abiding” in the exterior world would be possible. Ultimately, what Gately achieves comes through a kind of epistemological “trust.”III Reading TrustfullyBy occupying such a central place in the narrative, this neo-Pascalian wager around which the novel’s AA program is built is obviously intended to bear not only on its characters, but on how the novel is read. So how might we also “learn” from such Pascalian gambits? How might we read the novel without suspicion? What might we gain by becoming Don Gately? What, on the other hand, might we lose? While this essay is far too short to conduct this kind of investigation in full, a few points might still be raised in lieu of a proper conclusion.By openly submitting to his ignorance of what his actions mean, Gately is able to approach success, conclusion, and fulfillment. What the novel’s ending has in store for him is another question altogether, but Freudenthal views Gately’s closing scenes as the apotheosis of his “anti-intellectual endeavor” (206). Gately’s narrative thus also presents a challenge to readers thoroughly led by suspicious hermeneutics, and encourages us, if we are to accept this notion that is key to Infinite Jest (but we can, of course, refuse not to), to place ourselves in the position of the AA attendee, as a subject of the text’s discourse, not in possession of knowledge through which to critique it and scale that “architecture of meaning.” Many aspects of the novel of course impel us to read suspiciously, to gather clues like detectives, to interrogate the veracity of claims. Consider, for example, the compounded conflicting accounts of whether Joelle van Dyne has been horribly disfigured by acid, or is sublimely beautiful (compare, for instance, the explanation given on 538 with that on 795). Yet ultimately, recalling the AA ethos, the narrative makes it difficult for us to successfully execute these suspicious reading practices. Similar to a text like Thomas Pynchon’s Gravity’s Rainbow, that for Brian McHale ultimately resists any attempt to answer the many questions it poses (90-91), Infinite Jest frequently invokes a logic of what we might call epistemological equivocation. Either the veil-wearing Joelle van Dyne is hideously and improbably deformed or is superlatively beautiful; either AA is a vapid institution of brainwashing or is the key to recovery from substance abuse; either the novel’s matriarch, Avril Incandenza, is a sinister “black widow” or a superlatively caring mother. The list goes on.To some extent, the plethora of conflicting accounts simply engages an “innocent” readerly curiosity. But regardless of the precise nature of this hermeneutic desire stimulated by the text, one cannot help but feel, as Marshall Boswell suggests, that “Wallace’s point seems to be that these issues are not the issue” (175). If we read the novel attempting to harmonise these elements, interrogating the reliability of the given textual evidence, we will be sorely disappointed, if not doomed to the “analysis paralysis” that is much feared in the novel’s AA program. While one of the pleasures Wallace’s novel offers readers is the encouragement to participate actively in the text, it is also something it is wary of. And this is where the rub of the book lies. Just like in AA, we can potentially keep analysing its ambiguities forever; it is indeed designed to be pleasurable in just this way. But it is also intended, at least so Wallace tells us, to resist the addictive nature of pure entertainment:The original title was A Failed Entertainment. The idea is that the book is structured as an entertainment that doesn’t work [...]. And the tension of the book is to try to make it at once extremely entertaining—and also sort of warped, and to sort of shake the reader awake about some of the things that are sinister in entertainment. (Wallace in Lipsky 79)If we consider what it might mean to view the book as a “Failed Entertainment,” and consider what it is we love to do when reading suspiciously, we can then see that it is perhaps intended to steer us away from trying to decode it, especially when it is constantly suggested to us that it is this effort of analysis that tends to move one out of the immediacy of a given moment. The fact that “nobody’s ever been able to figure AA out” (349), yet it still indubitably works, seems to suggests how we are to approach the novel.But what are we offered instead of these pleasures of suspicious reading? Perhaps, like the AA attendee, the novel wants us to learn to listen to what is already in front of us: for the AA member it is all those stories offered up at the “podium”; for us it is all the pain and joy written in the text. In place of a conclusive ending that gives us all that we want to know, that shows us everything that “happens,” in its final scene the novel instead tells the story of a man finding his “bottom,” his lowest ebb, waking up “flat on his back on the beach in the freezing sand” (981). This man, of course, is Don Gately. If we see this final moment only as a frustration of narrative desire, as a turning away from full understanding, from a revelation of the “truth” the narrative has been withholding, then we perhaps fail the task Wallace’s text, like AA, constantly asks of us: to listen, to accept, to trust.ReferencesBoswell, Marshall. Understanding David Foster Wallace. Columbia, SC: U of South Carolina P, 2003.Bywater, William. “The Paranoia of Postmodernism.” Philosophy and Literature 14.1 (1990): 79–84. Foucault, Michel. “Nietzsche, Freud, Marx.” Aesthetics, Method, and Epistemology: Essential Works of Foucault 1954–84, Volume 2. Ed. James Faubion. Trans. Robert Hurley et al. London: Penguin, 2000. 269–78. Freudenthal, Elizabeth. “Anti-Interiority: Compulsiveness, Objectification, and Identity in Infinite Jest.” New Literary History 41.1 (2010): 191–211. Kelly, Adam. “David Foster Wallace and the New Sincerity in American Fiction.” Consider David Foster Wallace: Critical Essays. Los Angeles: Sideshow Media Group Press, 2010. 131–46.Latour, Bruno. “Why Has Critique Run Out of Steam? From Matters of Fact to Matters of Concern.” Critical Inquiry 30.2 (2004): 225–48.Lipsky, David. Although of Course You End Up Becoming Yourself: A Road Trip With David Foster Wallace. New York: Broadway Books, 2010.McHale, Brian. “Modernist Reading, Post-Modern Text: The Case of Gravity's Rainbow.” Poetics Today 1.1 (1979): 85–110.Pascal, Blaise. Pensées and Other Writings. Trans. Honor Levi. Ed.Anthony Levi. New York: Oxford UP, 1995.Ricœur, Paul. Freud and Philosophy: An Essay on Interpretation. Trans. Denis Savage. New Haven: Yale UP, 1970.Wallace, David Foster. “E Unibus Pluram: Television and U.S. Fiction.” Review of Contemporary Fiction 13.2 (1993): 151–94. ---. Infinite Jest. New York: Back Bay Books, 1996.

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IntroductionThe wandering narrator is a familiar figure in contemporary literature. This narrator is often searching for something abstract or ill-defined connected to the past and the traces it leaves behind. The works of the German writer W.G. Sebald inspired a number of theories on the various ways a writer might intersect place, memory, and representation through seemingly aimless wandering. This article expands on the scholarship around Sebald’s themes to identify two modes of investigative wandering: (1) wandering “in place”, through a city where a past trauma has occurred, and (2) wandering “out of place”, which occurs when a wanderer encounters a city that is a holding place of traumas experienced elsewhere.Sebald’s narrators mostly conduct wandering “in place” because they are actively immersed in, and wandering through, locations that trigger both memory and thought. In this article, after exploring both Sebald’s work and theories of place in literature, I analyse another example of wandering in place, in the Paris of Patrick Modiano’s novel, The Search Warrant (2014). I conclude by discussing how I encountered this mode of wandering myself when in Moscow and St Petersburg researching my first novel, The Memory Artist (2016). In contrasting these two modes of wandering, my aim is to contribute further nuance to the interpretation of conceptions of place in literature. By articulating the concept of wandering “out of place”, I identify a category of wanderer and writer who, like myself, finds connection with places and their stories without having a direct encounter with that place. Theories of Place and Wandering in W.G. Sebald’s WorkIn this section, I introduce Sebald as a literary wanderer. Born in the south of Germany in 1944, Sebald is perhaps best known for his four “prose fictions”— Austerlitz published in 2001, The Emigrants published in 1996, The Rings of Saturn published in 1998, and Vertigo published in 2000—all of which blend historiography and fiction in mostly plot-less narratives. These works follow a closely autobiographical narrator as he traverses Europe, visiting people and places connected to Europe’s turbulent twentieth century. He muses on the difficulty of preserving the truths of history and speaking of others’ traumas. Sebald describes how “places do seem to me to have some kind of memory, in that they activate memory in those who look at them” (Sebald quoted in Jaggi). Sebald left his native Germany in 1966 and moved to England, where he lived until his untimely death in a car accident in 2001 (Gussow). His four prose fictions feature the same autobiographical narrator: a middle-aged German man who lives in northern England. The narrator traverses Europe with a compulsion to research, ponder, and ultimately, represent historical catastrophes and traumas that haunt him. Anna MacDonald describes how Sebald’s texts “move freely between history and memory, biography, autobiography and fiction, travel writing and art criticism, scientific observation and dreams, photographic and other textual images” (115). The Holocaust and human displacement are simultaneously at the forefront of the narrator’s preoccupations but rarely referenced directly. This singular approach has caused many commentators to remark that Sebald’s works are “haunted” by these traumatic events (Baumgarten 272).Sebald’s narrators are almost constantly on the move, obsessively documenting the locations, buildings, and people they encounter or the history of that place. As such, it is helpful to consider Sebald’s wandering narrator through theories of landscape and its representation in art. Heike Polster describes the development of landscape from a Western European conception and notes how “the landscape idea in art and the techniques of linear perspective appear simultaneously” (88). Landscape is distinguished from raw physical environment by the role of the human mind: “landscape was perceived and constructed by a disembodied outsider” (88). As such, landscape is something created by our perceptions of place. Ulrich Baer makes a similar observation: “to look at a landscape as we do today manifests a specifically modern sense of self-understanding, which may be described as the individual’s ability to view herself within a larger, and possibly historical, context” (43).These conceptions of landscape suggest a desire for narrative. The attempt to fix our understanding of a place according to what we know about it, its past, and our own relationship to it, makes landscape inextricable from representation. To represent a landscape is to offer a representation of subjective perception. This understanding charges the landscapes of literature with meaning: the perceptions of a narrator who wanders and encounters place can be studied for their subjective properties.As I will highlight through the works of Sebald and Modiano, the wandering narrator draws on a number of sources in their representations of both place and memory, including their perceptions as they walk in place, the books they read, the people they encounter, as well as their subjective and affective responses. This multi-dimensional process aligns with Polster’s contention that “landscape is as much the external world as it is a visual and philosophical principle, a principle synthesizing the visual experience of material and geographical surroundings with our knowledge of the structures, characteristics, and histories of these surroundings” (70). The narrators in the works of Sebald and Modiano undertake this synthesised process as they traverse their respective locations. As noted, although their objectives are often vague, part of their process of drawing together experience and knowledge is a deep desire to connect with the pasts of those places. The particular kind of wanderer “in place” who I consider here is preoccupied with the past. In his study of Sebald’s work, Christian Moser describes how “the task of the literary walker is to uncover and decipher the hidden track, which, more often than not, is buried in the landscape like an invisible wound” (47-48). Pierre Nora describes places of memory, lieux de memoire, as locations “where memory crystallizes and secretes itself”. Interest in such sites arises when “consciousness of a break with the past is bound up with a sense that memory has been torn—but torn in such a way as to pose the problem of the embodiment of memory in certain sites where a sense of historical continuity persists” (Nora 7).Encountering and contemplating sites of memory, while wandering in place, can operate simultaneously as encounters with traumatic stories. According to Tim Ingold, “the landscape is constituted as an enduring record of—and testimony to—the lives and works of past generations who have dwelt within it, and in doing so, have left something of themselves […] landscape tells – or rather is – a story” (153). Such occurrences can be traced in the narratives of Sebald and Modiano, as their narrators participate both in the act of reading the story of landscape, through their wandering and their research about a place, but also in contributing to the telling of those stories, by inserting their own layer of subjective experience. In this way, the synthesised process of landscape put forward by Polster takes place.To perceive the landscape in this way is to “carry out an act of remembrance” (Ingold 152). The many ways that a person experiences and represents the stories that make up a landscape are varied and suited to a wandering methodology. MacDonald, for example, characterises Sebald’s methodology of “representation-via-digressive association”, which enables “writer, narrator, and reader alike to draw connections in, and through, space between temporally distant historical events and the monstrous geographies they have left in their wake” (MacDonald 116).Moser observes that Sebald’s narrative practice suggests an opposition between the pilgrimage, “devoted to worship, asceticism, and repentance”, and tourism, aimed at “entertainment and diversion” (Moser 37). If the pilgrim contemplates the objects, monuments, and relics they encounter, and the tourist is “given to fugitive consumption of commercialized sights”, Sebald’s walker is a kind of post-traumatic wanderer who “searches for the traces of a silent catastrophe that constitutes the obverse of modernity and its history of progress” (Moser 37). Thus, wandering tends to “cultivate a certain mode of perception”, one that is highly attuned to the history of a place, that looks for traces rather than common sites of consumption (Moser 37).It is worth exploring the motivations of a wandering narrator. Sebald’s narrator in The Rings of Saturn (2002) provides us with a vague impetus for his wandering: “in the hope of dispelling the emptiness that had taken hold of me after the completion of a long stint of work” (3). In Vertigo (2002), Sebald’s narrator walks with seemingly little purpose, resulting in a sense of confusion or nausea alluded to in the book’s title: “so what else could I do … but wander aimlessly around until well into the night”. On the next page, he refers again to his “aimlessly wandering about the city”, which he continues until he realises that his shoes have fallen apart (35-37). What becomes apparent from such comments is that the process of wandering is driven by mostly subconscious compulsions. The restlessness of Sebald’s wandering narrators represents their unease about our capacity to forget the history of a place, and thereby lose something intangible yet vital that comes from recognising traumatic pasts.In Sebald’s work, if there is any logic to the wanderer’s movement, it is mostly hidden from them while wandering. The narrator of Vertigo, after days of wandering through northern Italian cities, remarks that “if the paths I had followed had been inked in, it would have seemed as though a man had kept trying out new tracks and connections over and over, only to be thwarted each time by the limitations of his reason, imagination or willpower” (Sebald, Vertigo 34). Moser writes how “the hidden order that lies behind the peripatetic movement becomes visible retroactively – only after the walker has consulted a map. It is the map that allows Sebald to decode the ‘writing’ of his steps” (48). Wandering in place enables digressions and preoccupations, which then constitute the landscape ultimately represented. Wandering and reading the map of one’s steps afterwards form part of the same process: the attempt to piece together—to create a landscape—that uncovers lost or hidden histories. Sebald’s Vertigo, divided into four parts, layers the narrator’s personal wandering through Italy, Austria, and Germany, with the stories of those who were there before him, including the writers Stendhal, Kafka, and Casanova. An opposing factor to memory is a landscape’s capacity to forget; or rather, since landscape conceived here is a construction of our own minds, to reflect our own amnesia. Lewis observes that Sebald’s narrator in Vertigo “is disturbed by the suppression of history evident even in the landscape”. Sebald’s narrator describes Henri Beyle (the writer Stendhal) and his experience visiting the location of the Battle of Marengo as such:The difference between the images of the battle which he had in his head and what he now saw before him as evidence that the battle had in fact taken place occasioned in him a vertiginous sense of confusion […] In its shabbiness, it fitted neither with his conception of the turbulence of the Battle of Marengo nor the vast field of the dead on which he was now standing, alone with himself, like one meeting his doom. (17-18)The “vertiginous sense of confusion” signals a preoccupation with attempting to interpret sites of memory and, importantly, what Nora calls a “consciousness of a break with the past” (Nora 7) that characterises an interest in lieux de memoire. The confusion and feeling of unknowing is, I suggest, a characteristic of a wandering narrator. They do not quite know what they are looking for, nor what would constitute a finished wandering experience. This lack of resolution is a hallmark of the wandering narrative. A parallel can be drawn here with trauma fiction theory, which categorises a particular kind of literature that aims to recognise and represent the ethical and psychological impediments to representing trauma (Whitehead). Baumgarten describes the affective response to Sebald’s works:Here there are neither answers nor questions but a haunted presence. Unresolved, fragmented, incomplete, relying on shards for evidence, the narrator insists on the inconclusiveness of his experience: rather than arriving at a conclusion, narrator and reader are left disturbed. (272)Sebald’s narrators are illustrative literary wanderers. They demonstrate a conception of landscape that theorists such as Polster, Baer, and Ingold articulate: landscapes tell stories for those who investigate them, and are constituted by a synthesis of personal experience, the historical record, and the present condition of a place. This way of encountering a place is necessarily fragmented and can be informed by the tenets of trauma fiction, which seeks ways of representing traumatic histories by resisting linear narratives and conclusive resolutions. Modiano: Wandering in Place in ParisModiano’s The Search Warrant is another literary example of wandering in place. This autobiographical novel similarly illustrates the notion of landscape as a construction of a narrator who wanders through cities and forms landscape through an amalgamation of perception, knowledge, and memory.Although Modiano’s wandering narrator appears to be searching the Paris of the 1990s for traces of a Jewish girl, missing since the Second World War, he is also conducting an “aimless” wandering in search of traces of his own past in Paris. The novel opens with the narrator reading an old newspaper article, dated 1942, and reporting a missing fourteen-year-old girl in Paris. The narrator becomes consumed with a need to learn the fate of the girl. The search also becomes a search for his own past, as the streets of Paris from which Dora Bruder disappeared are also the streets his father worked among during the Nazi Occupation of Paris. They are also the same streets along which the narrator walked as an angst-ridden youth in the 1960s.Throughout the novel, the narrator uses a combination of facts uncovered by research, documentary evidence, and imagination, which combine with his own memories of walking in Paris. Although the fragmentation of sources creates a sense of uncertainty, together there is an affective weight, akin to Sebald’s “haunted presence”, in the layers Modiano’s narrator compiles. One chapter opens with an entry from the Clignancourt police station logbook, which records the disappearance of Dora Bruder:27 December 1941. Bruder, Dora, born Paris.12, 25/2/26, living at 41 Boulevard Ornano.Interview with Bruder, Ernest, age 42, father. (Modiano 69)However, the written record is ambiguous. “The following figures”, the narrator continues, “are written in the margin, but I have no idea what they stand for: 7029 21/12” (Modiano 69). Moreover, the physical record of the interview with Dora’s father is missing from the police archives. All he knows is that Dora’s father waited thirteen days before reporting her disappearance, likely wary of drawing attention to her: a Jewish girl in Occupied Paris. Confronted by uncertainty, the narrator recalls his own experience of running away as a youth in Paris: “I remember the intensity of my feelings while I was on the run in January 1960 – an intensity such as I have seldom known. It was the intoxication of cutting all ties at a stroke […] Running away – it seems – is a call for help and occasionally a form of suicide” (Modiano 71). The narrator’s construction of landscape is multi-layered: his past, Dora’s past, his present. Overhanging this is the history of Nazi-occupied Paris and the cultural memory of France’s collaboration with Nazi Germany.With the aid of other police documents, the narrator traces Dora’s return home, and then her arrest and detainment in the Tourelles barracks in Paris. From Tourelles, detainees were deported to Drancy concentration camp. However, the narrator cannot confirm whether Dora was deported to Drancy. In the absence of evidence, the narrator supplies other documents: profiles of those known to be deported, in an attempt to construct a story.Hena: I shall call her by her forename. She was nineteen … What I know about Hena amounts to almost nothing: she was born on 11 December 1922 at Pruszkow in Poland, and she lived at no. 42 Rue Oberkampf, the steeply sloping street I have so often climbed. (111)Unable to make conclusions about Dora’s story, the narrator is drawn back to a physical location: the Tourelles barracks. He describes a walk he took there in 1996: “Rue des Archives, Rue de Bretagne, Rue des-Filles-du-Calvaire. Then the uphill slope of the Rue Oberkampf, where Hena had lived” (Modiano 124). The narrator combines what he experiences in the city with the documentary evidence left behind, to create a landscape. He reaches the Tourelles barracks: “the boulevard was empty, lost in a silence so deep I could hear the rustling of the planes”. When he sees a sign that says “MILITARY ZONE. FILMING OR PHOTOGRAPHY PROHIBITED”, the cumulative effect of his solitary and uncertain wandering results in despair at the difficulty of preserving the past: “I told myself that nobody remembers anything anymore. A no-man’s-land lay beyond that wall, a zone of emptiness and oblivion” (Modiano 124). The wandering process here, including the narrator’s layering of his own experience with Hena’s life, the lack of resolution, and the wandering narrator’s disbelief at the seemingly incongruous appearance of a place today in relation to its past, mirrors the feeling of Sebald’s narrator at the site of the Battle of Marengo, quoted above.Earlier in the novel, after frustrated attempts to find information about Dora’s mother and father, the narrator reflects that “they are the sort of people who leave few traces. Virtually anonymous” (Modiano 23). He remarks that Dora’s parents are “inseparable from those Paris streets, those suburban landscapes where, by chance, I discovered they had lived” (Modiano 23). There is a disjunction between knowledge and something deeper, the undefined impetus that drives the narrator to walk, to search, and therefore to write: “often, what I know about them amounts to no more than a simple address. And such topographical precision contrasts with what we shall never know about their life—this blank, this mute block of the unknown” (Modiano 23). This contrast of topographical precision and the “unknown” echoes the feeling of Sebald’s narrator when contemplating sites of memory. One may wander “in place” yet still feel a sense of confusion and gaps in knowledge: this is, I suggest, an intended aesthetic effect by both authors. Reader and narrator alike feel a sense of yearning and melancholy as a result of the narrator’s wandering. Wandering out of Place in Moscow and St PetersburgWhen I travelled to Russia in 2015, I sought to document, with a Sebaldian wandering methodology, processes of finding memory both in and out of place. Like Sebald and Modiano, I was invested in hidden histories and the relationship between the physical environment and memory. Yet unlike those authors, I focused my wandering mostly on places that reflected or referenced events that occurred elsewhere rather than events that happened in that specific place. As such, I was wandering out of place.The importance of memory, both in and out of place, is a central concept in my novel The Memory Artist. The narrator, Pasha, reflects the concerns of current and past members of Russia’s civic organisation named Memorial, which seeks to document and preserve the memory of victims of Communism. Contemporary activists lament that in modern Russia the traumas of the Gulag labour camps, collectivisation, and the “Terror” of executions under Joseph Stalin, are inadequately commemorated. In a 2012 interview, Irina Flige, co-founder of the civic body Memorial Society in St Petersburg, encapsulated activists’ disappointment at seeing burial sites of Terror victims fall into oblivion:By the beginning of 2000s these newly-found sites of mass burials had been lost. Even those that had been marked by signs were lost for a second time! Just imagine: a place was found [...] people came and held vigils in memory of those who were buried there. But then this generation passed on and a new generation forgot the way to these sites – both literally and metaphorically. (Flige quoted in Karp)A shift in generation, and a culture of secrecy or inaction surrounding efforts to preserve the locations of graves or former labour camps, perpetuate a “structural deficit of knowledge”, whereby knowledge of the physical locations of memory is lost (Anstett 2). This, in turn, affects the way people and societies construct their memories. When sites of past trauma are not documented or acknowledged as such, it is more difficult to construct a narrative about those places, particularly those that confront and document a violent past. Physical absence in the landscape permits a deficit of storytelling.This “structural deficit of knowledge” is exacerbated when sites of memory are located in distant locations. The former Soviet labour camps and locations of some mass graves are scattered across vast locations far from Russia’s main cities. Yet for some, those cities now act as holding environments for the memory of lost camp locations, mass graves, and histories. For example, a monument in Moscow may commemorate victims of an overseas labour camp. Lieux de memoire shift from being “in place” to existing “out of place”, in monuments and memorials. As I walked through Moscow and St Petersburg, I had the sensation I was wandering both in and out of place, as I encountered the histories of memories physically close but also geographically distant.For example, I arrived early one morning at the Lubyanka building in central Moscow, a pre-revolutionary building with yellow walls and terracotta borders, the longstanding headquarters of the Soviet and now Russian secret police (image 1). Many victims of the worst repressive years under Stalin were either shot here or awaited deportation to Gulag camps in Siberia and other remote areas. The place is both a site of memory and one that gestures to traumatic pasts inflicted elsewhere.Image 1: The Lubyanka, in Central MoscowA monument to victims of political repression was erected near the Lubyanka Building in 1990. The monument takes the form of a stone taken from the Solovetsky Islands, an archipelago in the far north, on the White Sea, and the location of the Solovetsky Monastery that Lenin turned into a prison camp in 1921 (image 2). The Solovetsky Stone rests in view of the Lubyanka. In the 1980s, the stone was taken by boat to Arkhangelsk and then by train to Moscow. The wanderer encounters memory in place, in the stone and building, and also out of place, in the signified trauma that occurred elsewhere. Wandering out of place thus has the potential to connect a wanderer, and a reader, to geographically remote histories, not unlike war memorials that commemorate overseas battles. This has important implications for the preservation of stories. The narrator of The Memory Artist reflects that “the act of taking a stone all the way from Solovetsky to Moscow … was surely a sign that we give things and objects and matter a little of our own minds … in a way I understood that [the stone’s] presence would be a kind of return for those who did not, that somehow the stone had already been there, in Moscow” (Brabon 177).Image 2: The Monument to Victims of Political Repression, Near the LubyankaIn some ways, wandering out of place is similar to the examples of wandering in place considered here: in both instances the person wandering constructs a landscape that is a synthesis of their present perception, their individual history, and their knowledge of the history of a place. Yet wandering out of place offers a nuanced understanding of wandering by revealing the ways one can encounter the history, trauma, and memory that occur in distant places, highlighting the importance of symbols, memorials, and preserved knowledge. Image 3: Reflectons of the LubyankaConclusionThe ways a writer encounters and represents the stories that constitute a landscape, including traumatic histories that took place there, are varied and well-suited to a wandering methodology. There are notable traits of a wandering narrator: the digressive, associative form of thinking and writing, the unmapped journeys that are, despite themselves, full of compulsive purpose, and the lack of finality or answers inherent in a wanderer’s narrative. Wandering permits an encounter with memory out of place. The Solovetsky Islands remain a place I have never been, yet my encounter with the symbolic stone at the Lubyanka in Moscow lingers as a historical reminder. This sense of never arriving, of not reaching answers, echoes the narrators of Sebald and Modiano. Continued narrative uncertainty generates a sense of perpetual wandering, symbolic of the writer’s shadowy task of representing the past.ReferencesAnstett, Elisabeth. “Memory of Political Repression in Post-Soviet Russia: The Example of the Gulag.” Online Encyclopedia of Mass Violence, 13 Sep. 2011. 2 Aug. 2019 <https://www.sciencespo.fr/mass-violence-war-massacre-resistance/en/document/memory-political-repression-post-soviet-russia-example-gulag>.Baer, Ulrich. “To Give Memory a Place: Holocaust Photography and the Landscape Tradition.” Representations 69 (2000): 38–62.Baumgarten, Murray. “‘Not Knowing What I Should Think:’ The Landscape of Postmemory in W.G. Sebald’s The Emigrants.” Partial Answers: Journal of Literature and the History of Ideas 5.2 (2007): 267–87.Brabon, Katherine. The Memory Artist. Crows Nest: Allen and Unwin, 2016.Gussow, Mel. “W.G. Sebald, Elegiac German Novelist, Is Dead at 57.” The New York Times 15 Dec. 2001. 2 Aug. 2019 <https://www.nytimes.com/2001/12/15/books/w-g-sebald-elegiac-german-novelist-is-dead-at-57.html>.Ingold, Tim. “The Temporality of the Landscape.” World Archaeology 25.2 (1993): 152–174.Jaggi, Maya. “The Last Word: An Interview with WG Sebald.” The Guardian 22 Sep. 2001. 2 Aug. 2019 <www.theguardian.com/books/2001/sep/22/artsandhumanities.highereducation>.Karp, Masha. “An Interview with Irina Flige.” RightsinRussia.com 11 Apr. 2012. 2 Aug. 2019 <http://www.rightsinrussia.info/archive/interviews-1/irina-flige/masha-karp>.Lewis, Tess. “WG Sebald: The Past Is Another Country.” New Criterion 20 (2001).MacDonald, Anna. “‘Pictures in a Rebus’: Puzzling Out W.G. Sebald’s Monstrous Geographies.” In Monstrous Spaces: The Other Frontier. Eds. Niculae Liviu Gheran and Ken Monteith. Oxford: Interdisciplinary Press, 2013. 115–25.Modiano, Patrick. The Search Warrant. Trans. Joanna Kilmartin. London: Harvill Secker, 2014.Moser, Christian. “Peripatetic Liminality: Sebald and the Tradition of the Literary Walk.” In The Undiscover’d Country: W.G. Sebald and the Poetics of Travel. Ed. Markus Zisselsberger. Rochester New York: Camden House, 2010. 37–62. Nora, Pierre. “Between Memory and History: Les Lieux de Memoire.” Representations 26: (Spring 1989): 7–24.Polster, Heike. The Aesthetics of Passage: The Imag(in)ed Experience of Time in Thomas Lehr, W.G. Sebald, and Peter Handke. Würzburg: Königshausen and Neumann, 2009.Sebald, W.G. The Rings of Saturn. Trans. Michael Hulse. London: Vintage, 2002. ———. Vertigo. Trans. Michael Hulse. London: Vintage, 2002.Whitehead, Anne. Trauma Fiction. Edinburgh: Edinburgh University Press, 2004.

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There is a disparity between expectations that the members of a community will work together for the common good — and the stark reality that human beings form into groups, or parties, to engage in conflict with each other. This is particularly the case in so-called popular governments that include some wider political involvement by the people. In ancient Greece stasis, or endemic conflict between the democratic and oligarchic elements of a city was very common. Likewise, the late Roman Republic maintained a division between the populares and the optimates. In both cases there was violence as both sides battled for dominance. For example, in late republican Rome street gangs formed that employed intimidation and violence for political ends.In seventeenth century England there was conflict between those who favoured royal authority and those who wished to see more power devolved to parliament, which led to Civil War in the 1640s. Yet the English ideal, as expressed by The Book of Common Prayer (1549; and other editions) was that the country be quietly governed. It seemed perverse that the members of the body politic should be in conflict with each other. By the late seventeenth century England was still riven by conflict between two groups which became designated as the Whigs and the Tories. The divisions were both political and religious. Most importantly, these divisions were expressed at the local level, in such things as the struggle for the control of local corporations. They were not just political but could also be personal and often turned nasty as families contended for local control. The mid seventeenth century had been a time of considerable violence and warfare, not only in Europe and England but across Eurasia, including the fall of the Ming dynasty in China (Parker). This violence occurred in the wake of a cooler climate change, bringing in its wake crop failure followed by scarcity, hunger, disease and vicious warfare. Millions of people died.Conditions improved in the second half of the seventeenth century and countries slowly found their way to a new relative stability. The Qing created a new imperial order in China. In France, Louis XIV survived the Fronde and his answer to the rage and divisions of that time was the imposition of an autocratic and despotic state that simply prohibited the existence of divisions. Censorship and the inquisition flourished in Catholic Europe ensuring that dissidence would not evolve into violence fuelled by rage. In 1685, Louis expelled large numbers of Protestants from France.Divisions did not disappear in England at the end of the Civil War and the Restoration of Charles II. Initially, it appears that Charles sought to go down the French route. There was a regulation of ideas as new laws meant that the state licensed all printed works. There was an attempt to impose a bureaucratic authoritarian state, culminating in the short reign of James II (Pincus, Ertman). But its major effect, since the heightened fear of James’ Catholicism in Protestant England, was to stoke the ‘rage of party’ between those who supported this hierarchical model of social order and those who wanted political power less concentrated (Knights Representation, Plumb).The issue was presumed to be settled in 1688 when James was chased from the throne, and replaced by the Dutchman William and his wife Mary. In the official language of the day, liberty had triumphed over despotism and the ‘ancient constitution’ of the English had been restored to guarantee that liberty.However, three major developments were going on in England by the late seventeenth century: The first is the creation of a more bureaucratic centralised state along the lines of the France of Louis XIV. This state apparatus was needed to collect the taxes required to finance and administer the English war machine (Pincus). The second is the creation of a genuinely popular form of government in the wake of the expulsion of James and his replacement by William of Orange (Ertman). This means regular parliaments that are elected every three years, and also a free press to scrutinise political activities. The third is the development of financial institutions to enable the war to be conducted against France, which only comes to an end in 1713 (Pincus). Here, England followed the example of the Netherlands. There is the establishment of the bank of England in 1694 and the creation of a national debt. This meant that those involved in finance could make big profits out of financing a war, so a new moneyed class developed. England's TransformationIn the 1690s as England is transformed politically, religiously and economically, this develops a new type of society that unifies strong government with new financial institutions and arrangements. In this new political configuration, the big winners are the new financial elites and the large (usually Whig) aristocratic landlords, who had the financial resources to benefit from it. The losers were the smaller landed gentry who were taxed to pay for the war. They increasingly support the Tories (Plumb) who opposed both the war and the new financial elites it helped to create; leading to the 1710 election that overwhelmingly elected a Tory government led by Harley and Bolingbroke. This government then negotiated the Treaty of Utrecht in 1713, with the Whigs retaining a small minority.History indicates that the post-1688 developments do not so much quell the ‘rage of party’ as encourage it and fan the fires of conflict and discontent. Parliamentary elections were held every three years and could involve costly, and potentially financially ruinous, contests between families competing for parliamentary representation. As these elections involved open voting and attempts to buy votes through such means as wining and dining, they could be occasions for riotous behaviour. Regular electoral contests, held in an electorate that was much larger than it would be one hundred years later, greatly heightened the conflicts and kept the political temperature at a high.Fig. 1: "To Him Pudel, Bite Him Peper"Moreover, there was much to fuel this conflict and to ‘maintain the rage’: First, the remodelling of the English financial system combined with the high level of taxation imposed largely on the gentry fuelled a rage amongst this group. This new world of financial investments was not part of their world. They were extremely suspicious of wealth not derived from landed property and sought to limit the power of those who held such wealth. Secondly, the events of 1688 split the Anglican Church in two (Pincus). The opponents of the new finance regimes tended also to be traditional High Church Anglicans who feared the newer, more tolerant government policy towards religion. Finally, the lapsing of the Licensing Act in 1695 meant that the English state was no longer willing to control the flow of information to the public (Kemp). The end result was that England in the 1690s became something akin to a modern public culture in which there was a relatively free flow of political information, constant elections held with a limited, but often substantial franchise, that was operating out of a very new commercial and financial environment. These political divisions were now deeply entrenched and very real passion animated each side of the political divide (Knights Devil).Under these circ*mstances, it was not possible simply to stamp out ‘the rage’ by the government repressing the voices of dissent. The authoritarian model for creating public conformity was not an option. A mechanism for lowering the political and religious temperature needed to arise in this new society where power and knowledge were diffused rather than centrally concentrated. Also, the English were aided by the return to a more benign physical environment. In economic terms it led to what Fischer terms the equilibrium of the Enlightenment. The wars of Louis XIV were a hangover from the earlier more desperate age; they prolonged the crisis of that age. Nevertheless, the misery of the earlier seventeenth century had passed. The grim visions of Calvinism (and Jansenism) had lost their plausibility. So the excessive violence of the 1640s was replaced by a more tepid form of political resistance, developing into the first modern expression of populism. So, the English achieved what Plumb calls ‘political stability’ were complex (1976), but relied on two things. The first was limiting the opportunity for political activity and the second was labelling political passion as a form of irrational behaviour – as an unsatisfactory or improper way of conducting oneself in the world. Emotions became an indulgence of the ignorant, the superstitious and the fanatical. This new species of humanity was the gentleman, who behaved in a reasonable and measured way, would express a person commensurate with the Enlightenment.This view would find its classic expression over a century later in Macaulay’s History of England, where the pre-1688 English squires are now portrayed in all their semi-civilised glory, “his ignorance and uncouthness, his low tastes and gross phrases, would, in our time, be considered as indicating a nature and a breeding thoroughly plebeian” (Macaulay 244). While the Revolution of 1688 is usually portrayed as a triumph of liberty, as stated, recent scholarship (Pincus, Ertman) emphasises how the attempts by both Charles and James to build a more bureaucratic state were crucial to the development of eighteenth century England. England was not really a land of liberty that kept state growth in check, but the English state development took a different path to statehood from countries such as France, because it involved popular institutions and managed to eliminate many of the corrupt practices endemic to a patrimonial regime.The English were as interested in ‘good police’, meaning the regulation of moral behaviour, as any state on the European continent, but their method of achievement was different. In the place of bureaucratic regulation, the English followed another route, later be termed in the 1760s as ‘civilisation’ (Melleuish). So, the Whigs became the party of rationality and reasonableness, and the Whig regime was Low Church, which was latitudinarian and amenable to rationalist Christianity. Also, the addition of the virtue and value of politeness and gentlemanly behaviour became the antidote to the “rage of party’”(Knights Devil 163—4) . The Whigs were also the party of science and therefore, followed Lockean philosophy. They viewed themselves as ‘reasonable men’ in opposition to their more fanatically inclined opponents. It is noted that any oligarchy, can attempt to justify itself as an ‘aristocracy’, in the sense of representing the ‘morally’ best people. The Whig aristocracy was more cosmopolitan, because its aristocrats had often served the rulers of countries other than England. In fact, the values of the Whig elite were the first expression of the liberal cosmopolitan values which are now central to the ideology of contemporary elites. One dimension of the Whig/Tory split is that while the Whig aristocracy had a cosmopolitan outlook as more proto-globalist, the Tories remained proto-nationalists. The Whigs became simultaneously the party of liberty, Enlightenment, cosmopolitanism, commerce and civilised behaviour. This is why liberty, the desire for peace and ‘sweet commerce’ came to be identified together. The Tories, on the other hand, were the party of real property (that is to say land) so their national interest could easily be construed by their opponents as the party of obscurantism and rage. One major incident illustrates how this evolved.The Trial of the High Church Divine Henry Sacheverell In 1709, the High Church Divine Henry Sacheverell preached a fiery sermon attacking the Whig revolutionary principles of resistance, and advocated obedience and unlimited submission to authority. Afterwards, for his trouble he was impeached before the House of Lords by the Whigs for high crimes and misdemeanours (Tryal 1710). As Mark Knights (6) has put it, one of his major failings was his breaching of the “Whig culture of politeness and moderation”. The Whigs also disliked Sacheverell for his charismatic appeal to women (Nicholson). He was found guilty and his sermons ordered to be burned by the hangman. But Sacheverell became simultaneously a martyr and a political celebrity leading to a mass outpouring of printed material (Knights Devil 166—186). Riots broke out in London in the wake of the trial’s verdict. For the Whigs, this stood as proof of the ‘rage’ that lurked in the irrational world of Toryism. However, as Geoffrey Holmes has demonstrated, these riots were not aimless acts of mob violence but were directed towards specific targets, in particular the meeting houses of Dissenters. History reveals that the Sacheverell riots were the last major riots in England for almost seventy years until the Lord Gordon anti-Catholic riots of 1780. In the short term they led to an overwhelming Tory victory at the 1710 elections, but that victory was pyrrhic. With the death of Queen Anne, followed by the accession of the Hanoverians to the throne, the Whigs became the party of government. Some Tories, such as Bolingbroke, panicked, and fled to France and the Court of the Pretender. The other key factor was the Treaty of Utrecht, brokered on England’s behalf by the Tory government of Harley and Bolingbroke that brought the Civil war to an end in 1713. England now entered an era of peace; there remained no longer the need to raise funds to conduct a war. The war had forced the English state to both to consolidate and to innovate.This can be viewed as the victory of the party of ‘politeness and moderation’ and the Enlightenment and hence the effective end of the ‘rage of party’. Threats did remain by the Pretender’s (James III) attempt to retake the English throne, as happened in 1715 and 1745, when was backed by the barbaric Scots.The Whig ascendancy, the ascendancy of a minority, was to last for decades but remnants of the Tory Party remained, and England became a “one-and one-half” party regime (Ertman 222). Once in power, however, the Whigs utilised a number of mechanisms to ensure that the age of the ‘rage of party’ had come to an end and would be replaced by one of politeness and moderation. As Plumb states, they gained control of the “means of patronage” (Plumb 161—88), while maintaining the ongoing trend, from the 1680s of restricting those eligible to vote in local corporations, and the Whigs supported the “narrowing of the franchise” (Plumb 102—3). Finally, the Septennial Act of 1717 changed the time between elections from three years to seven years.This lowered the political temperature but it did not eliminate the Tories or complaints about the political, social and economic path that England had taken. Rage may have declined but there was still a lot of dissent in the newspapers, in particular in the late 1720s in the Craftsman paper controlled by Viscount Bolingbroke. The Craftsman denounced the corrupt practices of the government of Sir Robert Walpole, the ‘robinocracy’, and played to the prejudices of the landed gentry. Further, the Bolingbroke circle contained some major literary figures of the age; but not a group of violent revolutionaries (Kramnick). It was true populism, from ideals of the Enlightenment and a more benign environment.The new ideal of ‘politeness and moderation’ had conquered English political culture in an era of Whig dominance. This is exemplified in the philosophy of David Hume and his disparagement of enthusiasm and superstition, and the English elite were also not fond of emotional Methodists, and Charles Wesley’s father had been a Sacheverell supporter (Cowan 43). A moderate man is rational and measured; the hoi polloi is emotional, faintly disgusting, and prone to rage.In the End: A Reduction of Rage Nevertheless, one of the great achievements of this new ideal of civility was to tame the conflict between political parties by recognising political division as a natural part of the political process, one that did not involve ‘rage’. This was the great achievement of Edmund Burke who, arguing against Bolingbroke’s position that 1688 had restored a unified political order, and hence abolished political divisions, legitimated such party divisions as an element of a civilised political process involving gentlemen (Mansfield 3). The lower orders, lacking the capacity to live up to this ideal, were prone to accede to forces other than reason, and needed to be kept in their place. This was achieved through a draconian legal code that punished crimes against property very severely (Hoppit). If ‘progress’ as later described by Macaulay leads to a polite and cultivated elite who are capable of conquering their rage – so the lower orders need to be repressed because they are still essentially barbarians. This was echoed in Macaulay’s contemporary, John Stuart Mill (192) who promulgated Orientals similarly “lacked the virtues” of an educated Briton.In contrast, the French attempt to impose order and stability through an authoritarian state fared no better in the long run. After 1789 it was the ‘rage’ of the ‘mob’ that helped to bring down the French Monarchy. At least, that is how the new cadre of the ‘polite and moderate’ came to view things.ReferencesBolingbroke, Lord. Contributions to the Craftsman. Ed. Simon Varney. Oxford: Oxford UP, 1982.Cowan, Brian. “The Spin Doctor: Sacheverell’s Trial Speech and Political Performance in the Divided Society.” Faction Displayed: Reconsidering the Impeachment of Dr Henry Sacheverell. Ed. Mark Knights. Chichester: Wiley-Blackwell, 2012. 28-46.Ertman, Thomas. Birth of the Leviathan: Building States and Regimes in Medieval and Early Modern Europe. Cambridge: Cambridge UP, 1997.Fischer, David Hackett. The Great Wave: Price Revolutions and the Rhythm of History, New York: Oxford UP, 1996.Holmes, Geoffrey. “The Sacheverell Riots: The Crowd and the Church in Early Eighteenth-Century London.” Past and Present 72 (Aug. 1976): 55-85.Hume, David. “Of Superstition and Enthusiasm.” Essays, Moral, Political, and Literary. Indianapolis: Liberty Fund, 1985. 73-9. Hoppit, Julian. A Land of Liberty? England 1689—1727, Oxford: Oxford UP, 2000.Kemp, Geoff. “The ‘End of Censorship’ and the Politics of Toleration, from Locke to Sacheverell.” Faction Displayed: Reconsidering the Impeachment of Dr Henry Sacheverell. Ed. Mark Knights. Chichester: Wiley-Blackwell, 2012. 47-68.Knights, Mark. Representation and Misrepresentation in Later Stuart Britain. Oxford: Oxford UP, 2005.———. The Devil in Disguise: Deception, Delusion, and Fanaticism in the Early English Enlightenment. Oxford: Oxford UP, 2011.———. “Introduction: The View from 1710.” Faction Displayed: Reconsidering the Impeachment of Dr Henry Sacheverell. Ed. Mark Knights. Chichester: Wiley-Blackwell, 2012. 1-15.Kramnick, Isaac. Bolingbroke & His Circle: The Politics of Nostalgia in the Age of Walpole. Ithaca: Cornell UP, 1992.Macaulay, Thomas Babington. The History of England from the Accession of James II. London: Folio Society, 2009.Mansfield, Harvey. Statesmanship and Party Government: A Study of Burke and Bolingbroke. Chicago: U of Chicago P, 1965.Melleuish, Greg. “Civilisation, Culture and Police.” Arts 20 (1998): 7-25.Mill, John Stuart. On Liberty, Representative Government, the Subjection of Women. London: Oxford UP, 1971.Nicholson, Eirwen. “Sacheverell’s Harlot’s: Non-Resistance on Paper and in Practice.” Faction Displayed: Reconsidering the Impeachment of Dr Henry Sacheverell. Ed. Mark Knights. Chichester: Wiley-Blackwell, 2012. 69-79.Parker, Geoffrey. Global Crisis: War, Climate Change & Catastrophe in the Seventeenth Century. New Haven: Yale UP, 2013.Pincus, Steve. 1688: The First Modern Revolution. New Haven: Yale UP, 2009.Plumb, John H. The Growth of Political Stability in England 1675–1725. Harmondsworth: Penguin, 1973.The Tryal of Dr Henry Sacheverell before the House of Peers, 1st edition. London: Jacob Tonson, 1710.

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The computer game is perhaps the fastest growing and most quickly evolving cultural leisure technology in the western world. Invented as a form just under 40 years ago with the creation of Space War at MIT, computer and video games collectively account for hundreds of billions of dollars in sales across the world. And yet critical analysis of this cultural form is still in its infancy. Perhaps the sheer speed of the development of games may account for this. Thirty years ago, strategy games were screens of text instructions and a prompt where you could type a weather forecast. Today pretty much all games are flawlessly shaded and rendered polygons. The technology of film has barely changed at all in the same period. In any case, the critical study of games began in the eighties. The focus initially was on the psychology of the gamer. Most game players were children and teenagers during this period, and the focussing of their leisure time on this new and strange computer technology became a source of extreme moral panic for educators, parents and researchers alike. Later, research into the cultures of gaming would become more nuanced, and begin to detail the semiotics and narrative structures of games. It is in that kind of frame that this article is positioned. I want to look closely at a particular strategy game series, The Settlers. Firstly, however, a description of the strategy game genre. Strategy games put the player into a simulated inhabited environment and give the player almost total control over that environment and its simulated inhabitants. The strategy game has many genres, including the simulation game and the god game, but the sub-genre I will focus on in this paper is the real-time strategy game. The game requires the player to develop a functioning economy, geared around the production of weapons and armies, which are sent out to combat neighbouring tribes or armies. Real-time games typically give greater tactical control of the armies to the player, and slightly less detailed economic control. The aim is basically to amass as much gold or whatever as possible to buy as many troops as possible. However, the game I am about to discuss is, in addition to being a simple game of war, a very interesting simulation of economic and logistical constraints. The Settlers is series of fantasy computer strategy games developed by the German game design firm Blue Byte. The three extant Settlers games can be considered an evolution of game design rather than a continuing narrative, so, given the time constraints, for the purposes of this paper I will address only one game in the series, the most recently released title, The Settlers 3. The Settlers 3 tells the story of three expansionist empires, the Romans, the Egyptians, and the Asians, who have been thrust onto an uninhabited continent by the gods of their peoples to determine who is the fittest to survive. In other words, the game is founded from the beginning on a socio-Darwinian premise. In each level of the game, the settlers of each tribe must, under their player's direction, build an efficient and well maintained colony with a fully operating economy in order to achieve a set objective, which is usually to wipe out the opposing tribes by building up a large army, though it may be also to amass a predetermined level of a particular resource. Each level begins with about twenty settlers, a small guard hut to define the limits of the borders and a barely adequate supply of wooden planks, stone slabs and tools with which to begin to construct the economy. The player chooses building types from a menu and places them on the screen. Immediately the appropriate number of settlers walk across the landscape, leaving visible tracks in their wake, to pick up tools and supplies in order to construct the building. Typically, the player will order the construction of a woodcutter's hut, a sawmill, a stone cutter and a forester to ensure the steady flow of the basic construction materials to the rest of the colony. From this point more guard huts and towers are constructed to expand into new territory, and farms are built to feed the miners. Once constructed, the mine produce coal, gold and ore, which is sent down to the smelters to make iron bars (to make swords and tools) and gold bars (to pay the troops). Luxuries such as beer and wine are produced as a sacrifice to the gods. This results in rewards such as magical spells and promotion of the soldiers. Occasionally, incursions of enemy troops must be dealt with -- if they take a guard tower in battle, the borders, represented by lines of coloured flags, shrink, leading to the collapse and destruction of any building outside the boundaries. Finally, sufficient swords, bows and spears are produced, the soldiers are promoted, and they set off to pillage and destroy their neighbours' territory. If the previously mentioned enemy incursions were frequent enough, the final conflict where the player's warriors brutally annihilate the enemy is tremendously satisfying. The problematics of that particular game construct are left as an exercise for the audience. When territory is taken, the villages of the enemy go up in smoke and their resources are left lying on the ground, for the settlers to pick up and use for the benefit of the player. One of the things that make the game so fascinating to play is the complexity of the simulation. It must be said right away that the game employs many abstractions to make it playable and not utterly boring. For instance, only the miners out of all the settlers actually need food, and the mechanism by which new settlers are actually created is a bit vague (you construct a building called a "residence", and when it's completed, new setters simply troop out. And there only seem to be male settlers, unless you play the Amazons). Nonetheless, the game still quite explicitly details things most games of its type gloss right over. Unlike most games, pulling out all the stops in production just leads to bottlenecks where the transportation infrastructure can't get the goods to their destinations. Production levels have to be carefully monitored and throttled back where necessary to ensure the smooth flow of resources from A to B, C and D. Resources themselves -- coal lumps, gold bricks, fish, loaves of bread, swords --are modelled individually: you can actually track the process whereby an individual sheaf of wheat is harvested, picked up by a settler, carried off to the mill, turned into flour, sent to the bakery, made into a loaf of bread, and delivered to the coal miner for consumption. With its attention to the gritty detail of getting stuff from one place to the next, The Settlers is one of the very few truly logistically precise strategy games. Before I begin the analysis proper, I want to introduce some key terms that I'll be using a bit idiosyncratically in this paper. I'll be talking about gameplay quite a bit. Gameplay is a bit of a sliding signifier in the discourse of gaming theory -- loosely speaking it's that indefinable something that gets a player heated up about a game and keeps them playing for days on end. But here I want to be more precise. I'll offer a strategic definition. Gameplay is a way of quantifying the operations of a kind of economy of desire that operates between the player and the game itself. This economy has, as its constitutive elements, such factors as attention span, pleasure, ratio of novelty to repetition. These elements are in constant circulation in a game and the resulting economy is responsible for a good deal of the dynamism of the experience: in other words, the gameplay. What I want to focus on in this paper is what comes from the precise moment where two, quite central impulses of gameplay are in perfect balance, just before the first surrenders its grasp and the second takes over. The first impulse of play consists of two elements -- the visual presentation of the game, i.e. the pretty pictures that draw you in, and the narrative pretext of the story, the thing that gives what you are doing some kind of sense. It is on these two elements that classical ideological analysis of gameplay is typically founded. For instance, the archetypal platform game where all the female characters are helpless maidens who only exist as a way of getting the masculine protagonist into the action. The second impulse of gameplay is what might be called the "process", the somewhat under-theorised state where the visual trappings of the game and the motivating story line have slipped into the background, leaving only the sense of seamless integration of the player into the game's cybernetic feedback loop. The visual presentation and narrative pretext of The Settlers draws the player into a familiar fantasy of pre-modern existence. Presented to the player is a beautifully rendered virgin wilderness, filled with rolling hills, magnificent mountain ranges and vast forests, resounding with the sounds of the stream and brook, and the rustling of the wildlife. Into this wilderness the player must project an empire. That empire will consist of an elaborately detailed network (and I use the term deliberately) of cottage industries, labourers, paths, commodities, resources, defensive structures and places of worship. Real-world economic activities are consummately simulated as complex flows of information. The simulation is always fascinating to watch. Each node in this network, be it a fisherman's hut, a bakery, or a smelter, is exquisitely rendered, and full of picturesque, yet highly functional, animation. For instance, the process of a fisherman leaving his hut, going to a stream, setting his line, and catching a fish is visually expressive and lively, but it also is a specific bottleneck in the production process -- it takes a finite time, during which the carrier settlers stand around waiting for produce to deliver. This, then, is the game's crucial dialectic. What is depicted is a visually sumptuous, idyllic existence, but on closer inspection is a model of constant, uninterrupted, backbreaking labour. There are not even demarcations of day and night in the game -- life is perpetually midday and the working day will last forever. To put it less simply, perhaps, the game purposefully reifies the human social condition as being a reflexively structured mechanism of economic production under the guise of an ideologically idyllic pastoral paradise. It positions the player as not merely complicit in this mechanism but the fundamental point of determination within it. The balancing moment then is the point where the player begins to ignore or take for granted the visual lushness of the game's graphics and to focus instead on the underlying system, to internalise the lessons of the game -- the particular ideological and discursive assumptions about how economic and political systems successfully operate -- and to apply these lessons to the correct playing of the game, almost like a transition between REM dream-state sleep and deep sleep. And the analogy to sleep is not entirely specious -- critics and players alike have noted the way time stops when you play a game, with whole nights and days seemingly swallowed up in seconds of game time. The type of focus I am describing is not an interpretative one -- players are not expected to gain new insights of meaning from the act of playing at this new level of intensity, instead they are simply to blend their thoughts, actions and reactions with the dynamic processes of the game system. In a sense, a computer game is less a textual form than it is a kind of tool: in the same way proficient word processor users becomes so fluent in the operations of their software that the trappings -- toolbars, menus, mouse -- become secondary to the smooth continuous process of churning out words. Such a relationship does not exactly inspire thoughtful contemplation about the repressive qualities of Microsoft's hegemonic domination of office software, and the similar relationship with the computer game makes any kind of reflexivity about the gameplay's cultural referents seem simply counterproductive. It's an interesting dilemma for the theorist of gaming -- the point at which the underlying structure comes most clearly into focus during the state of play/analysis is also the moment when one is most resistant to the need to draw the wider connections. In this paper, I've tried to take a suggestive approach, to point out some of the ways that ideological assumptions about culture and production can be actualised in a simulated environment. And hopefully, I've also pointed out some of the pitfalls in a purely ideological analysis of games. Games are never just about the ideology. A nuanced analysis from a cultural studies point of view must also take into account the quite complex ways games not only articulate certain ideologies but they also complicate them. Beyond that, analysis must take into account the ways that games go beyond the paradigm of textuality and begin to take on the aspect of being whole systems of symbolic manipulation and transmission. It is only at this point that any kind of comprehensive and theoretically precise engagement with games as cultural texts and processes can be seriously begun. References Crawford, Chris. The Art of Computer Game Design. Berkeley, California: Osborne / McGraw-Hill, 1984. Csikszentmihalyi, Mihaly. Flow: The Psychology of Optimal Experience. New York: HarperCollins, 1990. Fleming, Dan. Powerplay: Toys as Popular Culture. Manchester and New York: Manchester UP, 1996. Freidman, Ted. "Making Sense of Software: Computer Games and Interactive Textuality." CyberSociety: Computer-Mediated Communication and Community. Ed. Steven G. Jones. Thousand Oaks: Sage, 1995. 73-89. Virilio, Paul. War and Cinema: The Logistics of Perception. Trans. Patrick Camiller. London and New York: Verso, 1989. Citation reference for this article MLA style: Nick Caldwell. "Settler Stories: Representational Ideologies in Computer Strategy Gaming." M/C: A Journal of Media and Culture 3.5 (2000). [your date of access] <http://www.api-network.com/mc/0010/settlers.php>. Chicago style: Nick Caldwell, "Settler Stories: Representational Ideologies in Computer Strategy Gaming," M/C: A Journal of Media and Culture 3, no. 5 (2000), <http://www.api-network.com/mc/0010/settlers.php> ([your date of access]). APA style: Nick Caldwell. (2000) Settler Stories: Representational Ideologies in Computer Strategy Gaming. M/C: A Journal of Media and Culture 3(5). <http://www.api-network.com/mc/0010/settlers.php> ([your date of access]).

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Introduction The counterculture that arose during the 1960s and 1970s left lasting social and political reverberations in developed nations. This was a time of increasing affluence and liberalisation which opened up remarkable political opportunities for social change. Within this context, an array of new social movements were a vital ingredient of the ferment that saw existing norms challenged and the establishment of new rights for many oppressed groups. An expanding arena of concerns included the environmental damage caused by 200 years of industrial capitalism. This article examines one aspect of a current environment movement in Australia, the anti-Coal Seam Gas (CSG) movement, and the part played by participants. In particular, the focus is upon one action that emerged during the recent Bentley Blockade, which was a regional mobilisation against proposed unconventional gas mining (UGM) near Lismore, NSW. Over the course of the blockade, the conventional ritual of waving at passers-by was transformed into a mechanism for garnering broad community support. Arguably, this was a crucial factor in the eventual outcome. In this case, we contend that the wave, rather than a countercultural artefact being appropriated by the mainstream, represents an everyday behaviour that builds social solidarity, which is subverted to become an effective part of the repertoire of the movement. At a more general level, this article examines how counterculture and mainstream interact via the subversion of “ordinary” citizens and the role of certain cultural understandings for that purpose. We will begin by examining the nature of the counterculture and its relationship to social movements before discussing the character of the anti-CSG movement in general and the Bentley Blockade in particular, using the personal experience of one of the writers. We will then be able to explore our thesis in detail and make some concluding remarks. The Counterculture and Social Movements In this article, we follow Cox’s understanding of the counterculture as a kind of meta-movement within which specific social movements are situated. For Cox (105), the counterculture that flourished during the 1960s and 1970s was an overarching movement in which existing social relations—in particular the family—were rejected by a younger generation, who succeeded in effectively fusing previously separate political and cultural spheres of dissent into one. Cox (103-04) points out that the precondition for such a phenomenon is “free space”—conditions under which counter-hegemonic activity can occur—for example, being liberated from the constraints of working to subsist, something which the unprecedented prosperity of the post WWII years allowed. Hence, in the 1960s and 1970s, as the counterculture emerged, a wave of activism arose in the western world which later came to be referred to as new social movements. These included the civil rights movement, women’s liberation, pacifism and the anti-nuclear and environment movements. The new movements rejected established power and organisational structures and tended, some scholars argued, to cross class lines, basing their claims on non-material issues. Della Porta and Diani claim this wave of movements is characterised by: a critical ideology in relation to modernism and progress; decentralized and participatory organizational structures; defense of interpersonal solidarity against the great bureaucracies; and the reclamation of autonomous spaces, rather than material advantages. (9) This depiction clearly announces the countercultural nature of the new social movements. As Carter (91) avers, these movements attempted to bypass the state and instead mobilise civil society, employing a range of innovative tactics and strategies—the repertoire of action—which may involve breaking laws. It should be noted that over time, some of these movements did shift towards accommodation of existing power structures and became more reformist in nature, to the point of forming political parties in the case of the Greens. However, inasmuch as the counterculture represented a merging of distinctively non-mainstream ways of life with the practice of actively challenging social arrangements at a political level (Cox 18–19; Grossberg 15–18;), the tactic of mobilising civil society to join social movements demonstrates in fact a reverse direction: large numbers of people are transfigured in radical ways by their involvement in social movements. One important principle underlying much of the repertoire of action of these new movements was non-violence. Again, this signals countercultural norms of the period. As Sharp (583–86) wrote at the time, non-violence is crucial in that it denies the aggressor their rationale for violent repression. This principle is founded on the liberal notion, whose legacy goes back to Locke, that the legitimacy of the government rests upon the consent of the governed—that is, the people can withdraw their consent (Locke in Ball & Dagger 92). Ghandi also relied upon this idea when formulating his non-violent approach to conflict, satyagraha (Sharp 83–84). Thus an idea that upholds the modern state is adopted by the counterculture in order to undermine it (the state), again demonstrating an instance of counterflow from the mainstream. Non-violence does not mean non-resistance. In fact, it usually involves non-compliance with a government or other authority and when practised in large numbers, can be very effective, as Ghandi and those in the civil rights movement showed. The result will be either that the government enters into negotiation with the protestors, or they can engage in violence to suppress them, which generally alienates the wider population, leading to a loss of support (Finley & Soifer 104–105). Tarrow (88) makes the important point that the less threatening an action, the harder it is to repress. As a result, democratic states have generally modified their response towards the “strategic weapon of nonviolent protest and even moved towards accommodation and recognition of this tactic as legitimate” (Tarrow 172). Nevertheless, the potential for state violence remains, and the freedom to protest is proscribed by various laws. One of the key figures to emerge from the new social movements that formed an integral part of the counterculture was Bill Moyer, who, in conjunction with colleagues produced a seminal text for theorising and organising social movements (Moyer et al.). Many contemporary social movements have been significantly influenced by Moyer’s Movement Action Plan (MAP), which describes not only key theoretical concepts but is also a practical guide to movement building and achieving aims. Moyer’s model was utilised in training the Northern Rivers community in the anti-CSG movement in conjunction with the non-violent direct action (NVDA) model developed by the North-East Forest Alliance (NEFA) that resisted logging in the forests of north-eastern NSW during the late 1980s and 1990s (Ricketts 138–40). Indeed, the Northern Rivers region of NSW—dubbed the Rainbow Region—is celebrated, as a “‘meeting place’ of countercultures and for the articulation of social and environmental ideals that challenge mainstream practice” (Ward and van Vuuren 63). As Bible (6–7) outlines, the Northern Rivers’ place in countercultural history is cemented by the holding of the Aquarius Festival in Nimbin in 1973 and the consequent decision of many attendees to stay on and settle in the region. They formed new kinds of communities based on an alternative ethics that eschewed a consumerist, individualist agenda in favour of modes of existence that emphasised living in harmony with the environment. The Terania Creek campaign of the late 1970s made the region famous for its environmental activism, when the new settlers resisted the logging of Nightcap National Park using nonviolent methods (Bible 5). It was also instrumental in developing an array of ingenious actions that were used in subsequent campaigns such as the Franklin Dam blockade in Tasmania in the early 1980s (Kelly 116). Indeed, many of these earlier activists were key figures in the anti-CSG movement that has developed in the Rainbow Region over the last few years. The Anti-CSG Movement Despite opposition to other forms of UGM, such as tight sands and shale oil extraction techniques, the term anti-CSG is used here, as it still seems to attract wide recognition. Unconventional gas extraction usually involves a process called fracking, which is the injection at high pressure of water, sand and a number of highly toxic chemicals underground to release the gas that is trapped in rock formations. Among the risks attributed to fracking are contamination of aquifers, air pollution from fugitive emissions and exposure to radioactive particles with resultant threats to human and animal health, as well as an increased risk of earthquakes (Ellsworth; Hand 13; Sovacool 254–260). Additionally, the vast amount of water that is extracted in the fracking process is saline and may contain residues of the fracking chemicals, heavy metals and radioactive matter. This produced water must either be stored or treated (Howarth 273–73; Sovacool 255). Further, there is potential for accidents and incidents and there are many reports—particularly in the United States where the practice is well established—of adverse events such as compressors exploding, leaks and spills, and water from taps catching fire (Sovacool 255–257). Despite an abundance of anecdotal evidence, until recently authorities and academics believed there was not enough “rigorous evidence” to make a definitive judgment of harm to animal and human health as a result of fracking (Mitka 2135). For example, in Australia, the Queensland Government was unable to find a clear link between fracking and health complaints in the Tara gasfield (Thompson 56), even though it is known that there are fugitive emissions from these gasfields (Tait et al. 3099-103). It is within this context that grassroots opposition to UGM began in Australia. The largest and most sustained challenge has come from the Northern Rivers of New South Wales, where a company called Metgasco has been attempting to engage in UGM for a number of years. Stiff community opposition has developed over this time, with activists training, co-ordinating and organising using the principles of Moyer’s MAP and NEFA’s NVDA. Numerous community and affinity groups opposing UGM sprang up including the Lock the Gate Alliance (LTG), a grassroots organisation opposing coal and gas mining, which formed in 2010 (Lock the Gate Alliance online). The movement put up sustained resistance to Metgasco’s attempts to establish wells at Glenugie, near Grafton and Doubtful Creek, near Kyogle in 2012 and 2013, despite the use of a substantial police presence at both locations. In the event, neither site was used for production despite exploratory wells being sunk (ABC News; Dobney). Metgasco announced it would be withdrawing its operations following new Federal and State government regulations at the time of the Doubtful Creek blockade. However it returned to the fray with a formal announcement in February 2014 (Metgasco), that it would drill at Bentley, 12 kilometres west of Lismore. It was widely believed this would occur with a view to production on an industrial scale should initial exploration prove fruitful. The Bentley Blockade It was known well before the formal announcement that Metgasco planned to drill at Bentley and community actions such as flash mobs, media releases and planning meetings were part of the build-up to direct action at the site. One of the authors of this article was actively involved in the movement and participated in a variety of these actions. By the end of January 2014 it was decided to hold an ongoing vigil at the site, which was still entirely undeveloped. Participants, including one author, volunteered for four-hour shifts which began at 5 a.m. each day and before long, were lasting into the night. The purpose of a vigil is to bear witness, maintain a presence and express a point of view. It thus accords well with the principle of non-violence. Eventually the site mushroomed into a tent village with three gates being blockaded. The main gate, Gate A, sprouted a variety of poles, tripods and other installations together with colourful tents and shelters, peopled by protesters on a 24-hour basis. The vigils persisted on all three gates for the duration of the blockade. As the number of blockaders swelled, popular support grew, lending weight to the notion that countercultural ideas and practices were spreading throughout the community. In response, Metgasco called on the State Government to provide police to coincide with the arrival of equipment. It was rumoured that 200 police would be drafted to defend the site in late April. When alerts were sent out to the community warning of imminent police action, an estimated crowd of 2000 people attended in the early hours of the morning and the police called off their operation (Feliu). As the weeks wore on, training was stepped up, attendees were educated in non-violent resistance and protestors willing to act as police liaison persons were placed on a rotating roster. In May, the State Government was preparing to send up to 800 police and the Riot Squad to break the blockade (NSW Hansard in Buckingham). Local farmers (now a part of the movement) and activist leaders had gone to Sydney in an effort to find a political solution in order to avoid what threatened to be a clash that would involve police violence. A confluence of events, such as: the sudden resignation of the Premier; revelations via the Independent Commission against Corruption about nefarious dealings and undue influence of the coal industry upon the government; a radio interview with locals by a popular broadcaster in Sydney; and the reputed hesitation of the police themselves in engaging with a group of possibly 7,000 to 10,000 protestors, resulted in the Office for Coal Seam Gas suspending Metgasco’s drilling licence on 15 May (NSW Department of Resources & Energy). The grounds were that the company had not adequately fulfilled its obligations to consult with the community. At the date of writing, the suspension still holds. The Wave The repertoire of contention at the Bentley Blockade was expansive, comprising most of the standard actions and strategies developed in earlier environmental struggles. These included direct blocking tactics in addition to the use of more carnivalesque actions like music and theatre, as well as the use of various media to reach a broader public. Non-violence was at the core of all actions, but we would tentatively suggest that Bentley may have provided a novel addition to the repertoire, stemming originally from the vigil, which brought the first protestors to the site. At the beginning of the vigil, which was initially held near the entrance to the proposed drilling site atop a cutting, occupants of passing vehicles below would demonstrate their support by sounding their horns and/or waving to the vigil-keepers, who at first were few in number. There was a precedent for this behaviour in the campaign leading up to the blockade. Activist groups such as the Knitting Nannas against Gas had encouraged vehicles to show support by sounding their horns. So when the motorists tooted spontaneously at Bentley, we waved back. Occupants of other vehicles would show disapproval by means of rude gestures and/or yelling and we would wave to them as well. After some weeks, as a presence began to be established at the site, it became routine for vigil keepers to smile and wave at all passing vehicles. This often elicited a positive response. After the first mass call-out discussed above, a number of us migrated to another gate, where numbers were much sparser and there was a perceived need for a greater presence. At this point, the participating writer had begun to act as a police liaison person, but the practice of waving routinely was continued. Those protecting this gate usually included protestors ready to block access, the police liaison person, a legal observer, vigil-keepers and a passing parade of visitors. Because this location was directly on the road, it was possible to see the drivers of vehicles and make eye contact more easily. Certain vehicles became familiar, passing at regular times, on the way to work or school, for example. As time passed, most of those protecting the gate also joined the waving ritual to the point where it became like a game to try to prise a signal of acknowledgement from the passing motorists, or even to win over a disapprover. Police vehicles, some of which passed at set intervals, were included in this game. Mostly they waved cheerfully. There were some we never managed to win over, but waving and making direct eye contact with regular motorists over time created a sense of community and an acknowledgement of the work we were doing, as they increasingly responded in kind. Motorists could hardly feel threatened when they encountered smiling, waving protestors. By including the disapprovers, we acted inclusively and our determined good humour seemed to de-escalate demonstrated hostility. Locals who did not want drilling to go ahead but who were nevertheless unwilling to join a direct action were thus able to participate in the resistance in a way that may have felt safe for them. Some of them even stopped and visited the site, voicing their support. Standing on the side of the road and waving to passers-by may seem peripheral to the “real” action, even trivial. But we would argue it is a valuable adjunct to a blockade (which is situated near a road) when one of the strategies of the overall campaign is to win popular backing. Hence waving, whilst not a completely new part of the repertoire, constitutes what Tilly (41–45) would call innovation at the margins, something he asserts is necessary to maintain the effectiveness and vitality of contentious action. In this case, it is arguable that the sheer size of community support probably helped to concentrate the minds of the state government politicians in Sydney, particularly as they contemplated initiating a massive, taxpayer-funded police action against the people for the benefit of a commercial operation. Waving is a symbolic gesture indicating acknowledgement and goodwill. It fits well within a repertoire based on the principle of non-violence. Moreover, it is a conventional social norm and everyday behaviour that is so innocuous that it is difficult to see how it could be suppressed by police or other authorities. Therein lies its subversiveness. For in communicating our common humanity in a spirit of friendliness, we drew attention to the fact that we were without rancour and tacitly invited others to join us and to explore our concerns. In this way, the counterculture drew upon a mainstream custom to develop and extend upon a new form of dissent. This constitutes a reversal of the more usual phenomenon of countercultural artefacts—such as “hippie clothing”—being appropriated or co-opted by the prevailing culture (see Reading). But it also fits with the more general phenomenon that we have argued was occurring; that of enticing ordinary residents into joining together in countercultural activity, via the pathway of a social movement. Conclusion The anti-CSG movement in the Northern Rivers was developed and organised by countercultural participants of previous contentious challenges. It was highly effective in building popular support whilst at the same time forging a loose coalition of various activist groups. We have surveyed one practice—the wave—that evolved out of mainstream culture over the course of the Bentley Blockade and suggested it may come to be seen as part of the repertoire of actions that can be beneficially employed under suitable conditions. Waving to passers-by invites them to become part of the movement in a non-threatening and inclusive way. It thus envelops supporters and non-supporters alike, and its very innocuousness makes it difficult to suppress. We have argued that this instance can be referenced to a similar reverse movement at a broader level—that of co-opting liberal notions and involving the general populace in new practices and activities that undermine the status quo. The ability of the counterculture in general and environment movements in particular to innovate in the quest to challenge and change what it perceives as damaging or unethical practices demonstrates its ingenuity and spirit. This movement is testament to its dynamic nature. References ABC News. Metgasco Has No CSG Extraction Plans for Glenugie. 2013. 30 July 2014 ‹http://www.abc.net.au/news/2013-01-22/metgasco-says-no-csg-extraction-planned-for-glenugie/4477652›. Bible, Vanessa. Aquarius Rising: Terania Creek and the Australian Forest Protest Movement. Bachelor of Arts (Honours) Thesis, University of New England, 2010. 4 Nov. 2014 ‹http://www.rainforestinfo.org.au/terania/Vanessa%27s%20Terania%20Thesis2.pdf›. Buckingham, Jeremy. Hansard of Bentley Blockade Motion 15/05/2014. 16 May 2014. 30 July 2014 ‹http://jeremybuckingham.org/2014/05/16/hansard-of-bentley-blockade-motion-moved-by-david-shoebridge-15052014/›. Carter, Neil. The Politics of the Environment: Ideas, Activism, Policy. 2nd ed. New York: Cambridge UP, 2007. Cox, Laurence. Building Counter Culture: The Radical Praxis of Social Movement Milieu. Helsinki: Into-ebooks 2011. 23 July 2014 ‹http://www.into-ebooks.com/book/building_counter_culture/›. Della Porta, Donatella, and Mario Diani. Social Movements: An Introduction. 2nd ed. Oxford: Blackwell Publishing, 2006. Dobney, Chris. “Drill Rig Heads to Doubtful Creek.” Echo Netdaily Feb. 2013. 30 July 2014 ‹http://www.echo.net.au/2013/02/drill-rig-heads-to-doubtful-creek/›. Ellsworth, William. “Injection-Induced Earthquakes”. Science 341.6142 (2013). DOI: 10.1126/science.1225942. 10 July 2014 ‹http://www.sciencemag.org.ezproxy.scu.edu.au/content/341/6142/1225942.full?sid=b4679ca5-0992-4ad3-aa3e-1ac6356f10da›. Feliu, Luis. “Battle for Bentley: 2,000 Protectors on Site.” Echo Netdaily Mar. 2013. 4 Aug. 2014 ‹http://www.echo.net.au/2014/03/battle-bentley-2000-protectors-site/›. Finley, Mary Lou, and Steven Soifer. “Social Movement Theories and Map.” Doing Democracy: The MAP Model for Organizing Social Movements. Eds. Bill Moyer, Johann McAllister, Mary Lou Finley, and Steven Soifer. Gabriola Island, Canada: New Society Publishers, 2001. Grossberg, Lawrence. “Some Preliminary Conjunctural Thoughts on Countercultures”. Journal of Gender and Power 1.1 (2014). Hand, Eric. “Injection Wells Blamed in Oklahoma Earthquakes.” Science 345.6192 (2014): 13–14. Howarth, Terry. “Should Fracking Stop?” Nature 477 (2011): 271–73. Kelly, Russell. “The Mediated Forest: Who Speaks for the Trees?” Belonging in the Rainbow Region: Cultural Perspectives on the NSW North Coast. Ed. Helen Wilson. Lismore: Southern Cross UP, 2003. 101–20. Lock the Gate Alliance. 2014. 15 July 2014 ‹http://www.lockthegate.org.au/history›. Locke, John. “Toleration and Government.” Ideals and Ideologies: A Reader. Eds. Terence Ball & Richard Dagger. New York: Pearson Longman, 2004 (1823). 79–93. Metgasco. Rosella E01 Environment Approval Received 2104. 4 Aug. 2014 ‹http://www.metgasco.com.au/asx-announcements/rosella-e01-environment-approval-received›. Mitka, Mike. “Rigorous Evidence Slim for Determining Health Risks from Natural Gas Fracking.” The Journal of the American Medical Association 307.20 (2012): 2135–36. Moyer, Bill. “The Movement Action Plan.” Doing Democracy: The MAP Model for Organizing Social Movements. Eds. Bill Moyer, Johann McAllister, Mary Lou Finley, and Steven Soifer. Gabriola Island, Canada: New Society Publishers, 2001. NSW Department of Resources & Energy. “Metgasco Drilling Approval Suspended.” Media Release, 15 May 2014. 30 July 2014 ‹http://www.resourcesandenergy.nsw.gov.au/__data/assets/pdf_file/0005/516749/Metgasco-Drilling-Approval-Suspended.pdf›. Reading, Tracey. “Hip versus Square: 1960s Advertising and Clothing Industries and the Counterculture”. Research Papers 2013. 15 July 2014 ‹http://opensuic.lib.siu.edu/gs_rp/396›. Ricketts, Aiden. “The North East Forest Alliance’s Old-Growth Forest Campaign.” Belonging in the Rainbow Region: Cultural Perspectives on the NSW North Coast. Ed. Helen Wilson. Lismore: Southern Cross UP. 2003. 121–148. Sharp, Gene. The Politics of Nonviolent Action: Power and Struggle. Boston, Mass.: Porter Sargent, 1973. Sovacool, Benjamin K. “Cornucopia or Curse? Reviewing the Costs and Benefits of Shale Gas Hydraulic Fracturing (Fracking).” Renewable and Sustainable Energy Reviews (2014): 249–64. Tait, Douglas, Isaac Santos, Damien Maher, Tyler Cyronak, and Rachael Davis. “Enrichment of Radon and Carbon Dioxide in the Open Atmosphere of an Australian Coal Seam Gas Field.” Environmental Science & Technology 47 (2013): 3099–3104. Tarrow, Sidney. Power in Movement: Social Movements and Contentious Politics. 3rd ed. New York: Cambridge UP, 2011. Thompson, Chuck. “The Fracking Feud.” Medicus 53.8 (2013): 56–57. Tilly, Charles. Regimes and Repertoires. Chicago: UCP, 2006. Ward, Susan, and Kitty van Vuuren. “Belonging to the Rainbow Region: Place, Local Media, and the Construction of Civil and Moral Identities Strategic to Climate Change Adaptability.” Environmental Communication 7.1 (2013): 63–79.

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This article proposes that the growing popularity of reality television in the southernmost state of India, Kerala – disseminated locally and throughout the Indian diaspora – is not the product of an innocuous nostalgia for a fast-disappearing regional identity but rather a spectacular example of an emergent ideology that displaces cultural memory, collective identity, and secular nationalism with new, globalised forms of public sentiment. Further, it is arguable that this g/local media culture also displaces hard-won secular feminist constructions of gender and the contemporary modern “Indian woman.” Shows like Idea Star Singer (hereafter ISS) (Malayalam [the language spoken in Kerala] television’s most popular reality television series), based closely on American Idol, is broadcast worldwide to dozens of nations including the US, the UK, China, Russia, Sri Lanka, and several nations in the Middle East and the discussion that follows attempts both to account for this g/local phenomenon and to problematise it. ISS concentrates on staging the diversity and talent of Malayalee youth and, in particular, their ability to sing ‘pitch-perfect’, by inviting them to perform the vast catalogue of traditional Malayalam songs. However, inasmuch as it is aimed at both a regional and diasporic audience, ISS also allows for a diversity of singing styles displayed through the inclusion of a variety of other songs: some sung in Tamil, some Hindi, and some even English. This leads us to ask a number of questions: in what ways are performers who subscribe to regional or global models of televisual style rewarded or punished? In what ways are performers who exemplify differences in terms of gender, sexuality, religion, class, or ability punished? Further, it is arguable that this show—packaged as the “must-see” spectacle for the Indian diaspora—re-imagines a traditional past and translates it (under the rubric of “reality” television) into a vulgar commodification of both “classical” and “folk” India: an India excised of radical reform, feminists, activists, and any voices of multiplicity clamouring for change. Indeed, it is my contention that, although such shows claim to promote women’s liberation by encouraging women to realise their talents and ambitions, the commodification of the “stars” as televisual celebrities points rather to an anti-feminist imperial agenda of control and domination. Normalising Art: Presenting the Juridical as Natural Following Foucault, we can, indeed, read ISS as an apparatus of “normalisation.” While ISS purports to be “about” music, celebration, and art—an encouragement of art for art’s sake—it nevertheless advocates the practice of teaching as critiqued by Foucault: “the acquisition and knowledge by the very practice of the pedagogical activity and a reciprocal, hierarchised observation” (176), so that self-surveillance is built into the process. What appears on the screen is, in effect, the presentation of a juridically governed body as natural: the capitalist production of art through intense practice, performance, and corrective measures that valorise discipline and, at the end, produce ‘good’ and ‘bad’ subjects. The Foucauldian isomorphism of punishment with obligation, exercise with repetition, and enactment of the law is magnified in the traditional practice of music, especially Carnatic, or the occasional Hindustani refrain that separates those who come out of years of training in the Gury–Shishya mode (teacher–student mode, primarily Hindu and privileged) from those who do not (Muslims, working-class, and perhaps disabled students). In the context of a reality television show sponsored by Idea Cellular Ltd (a phone company with global outposts), the systems of discipline are strictly in line with the capitalist economy. Since this show depends upon the vast back-catalogue of film songs sung by playback singers from the era of big studio film-making, it may be seen to advocate a mimetic rigidity that ossifies artistic production, rather than offering encouragement to a new generation of artists who might wish to take the songs and make them their own. ISS, indeed, compares and differentiates the participants’ talents through an “opaque” system of evaluations which the show presents as transparent, merit-based and “fair”: as Foucault observes, “the perpetual penalty that traverses all points and supervises every instant in the disciplinary institutions compares, differentiates, hierarchizes, hom*ogenizes, excludes. In short, it normalizes” (183). On ISS, this evaluation process (a panel of judges who are renowned singers and composers, along with a rotating guest star, such as an actor) may be seen as a scopophilic institution where training and knowledge are brought together, transforming “the economy of visibility into the exercise of power” (187). The contestants, largely insignificant as individuals but seen together, at times, upon the stage, dancing and singing and performing practised routines, represent a socius constituting the body politic. The judges, enthroned on prominent and lush seats above the young contestants, the studio audience and, in effect, the show’s televised transnational audience, deliver judgements that “normalise” these artists into submissive subjectivity. In fact, despite the incoherence of the average judgement, audiences are so engrossed in the narrative of “marks” (a clear vestige of the education and civilising mission of the colonial subject under British rule) that, even in the glamorous setting of vibrating music, artificial lights, and corporate capital, Indians can still be found disciplining themselves according to the values of the West. Enacting Keraleeyatham for Malayalee Diaspora Ritty Lukose’s study on youth and gender in Kerala frames identity formations under colonialism, nationalism, and capitalism as she teases out ideas of resistance and agency by addressing the complex mediations of consumption or consumptive practices. Lukose reads “consumer culture as a complex site of female participation and constraint, enjoyment and objectification” (917), and finds the young, westernised female as a particular site of consumer agency. According to this theory, the performers on ISS and the show’s MC, Renjini Haridas, embody this body politic. The young performers all dress in the garb of “authentic identity”, sporting saris, pawaadu-blouse, mundum-neertha, salwaar-kameez, lehenga-choli, skirts, pants, and so on. This sartorial diversity is deeply gendered and discursively rich; the men have one of two options: kurta-mundu or some such variation and the pant–shirt combination. The women, especially Renjini (educated at St Theresa’s College in Kochi and former winner of Ms Kerala beauty contest) evoke the MTV DJs of the mid-1990s and affect a pidgin-Malayalam spliced with English: Renjini’s cool “touching” of the contestants and airy gestures remove her from the regional masses; and yet, for Onam (festival of Kerala), she dresses in the traditional cream and gold sari; for Id (high holy day for Muslims), she dresses in some glittery salwaar-kameez with a wrap on her head; and for Christmas, she wears a long dress. This is clearly meant to show her ability to embody different socio-religious spheres simultaneously. Yet, both she and all the young female contestants speak proudly about their authentic Kerala identity. Ritty Lukose spells this out as “Keraleeyatham.” In the vein of beauty pageants, and the first-world practice of indoctrinating all bodies into one model of beauty, the youngsters engage in exuberant performances yet, once their act is over, revert back to the coy, submissive docility that is the face of the student in the traditional educational apparatus. Both left-wing feminists and BJP activists write their ballads on the surface of women’s bodies; however, in enacting the chethu or, to be more accurate, “ash-push” (colloquialism akin to “hip”) lifestyle advocated by the show (interrupted at least half a dozen times by lengthy sequences of commercials for jewellery, clothing, toilet cleaners, nutritious chocolate bars, hair oil, and home products), the participants in this show become the unwitting sites of a large number of competing ideologies. Lukose observes the remarkable development from the peasant labor-centered Kerala of the 1970s to today’s simulacrum: “Keraleeyatham.” When discussing the beauty contests staged in Kerala in the 1990s, she discovers (through analysis of the dress and Sanskrit-centred questions) that: “Miss Kerala must be a naden pennu [a girl of the native/rural land] in her dress, comportment, and knowledge. Written onto the female bodies of a proliferation of Miss Keralas, the nadu, locality itself, becomes transportable and transposable” (929). Lukose observes that these women have room to enact their passions and artistry only within the metadiegetic space of the “song and dance” spectacle; once they leave it, they return to a modest, Kerala-gendered space in which the young female performers are quiet to the point of inarticulate, stuttering silence (930). However, while Lukose’s term, Keraleeyatham, is useful as a sociological compass, I contend that it has even more complex connotations. Its ethos of “Nair-ism” (Nayar was the dominant caste identity in Kerala), which could have been a site of resistance and identity formation, instead becomes a site of nationalist, regional linguistic supremacy arising out of Hindu imaginary. Second, this ideology could not have been developed in the era of pre-globalised state-run television but now, in the wake of globalisation and satellite television, we see this spectacle of “discipline and punish” enacted on the world stage. Thus, although I do see a possibility for a more positive Keraleeyatham that is organic, inclusive, and radical, for the moment we have a hegemonic, exclusive, and hierarchical statist approach to regional identity that needs to be re-evaluated. Articulating the Authentic via the Simulacrum Welcome to the Malayalee matrix. Jean Baudrillard’s simulacrum is our entry point into visualising the code of reality television. In a state noted for its distinctly left-leaning politics and Communist Party history which underwent radical reversal in the 1990s, the political front in Kerala is still dominated by the LDF (Left Democratic Front), and resistance to the state is an institutionalised and satirised daily event, as marked by the marchers who gather and stop traffic at Palayam in the capital city daily at noon. Issues of poverty and corporate disenfranchisem*nt plague the farming and fishing communities while people suffer transportation tragedies, failures of road development and ferry upkeep on a daily basis. Writers and activists rail against imminent aerial bombing of Maoists insurgent groups, reading in such statist violence repression of the Adivasi (indigenous) peoples scattered across many states of eastern and southern India. Alongside energy and ration supply issues, politics light up the average Keralaite, and yet the most popular “reality” television show reflects none of it. Other than paying faux multicultural tribute to all the festivals that come and go (such as Id, Diwaali, Christmas, and Kerala Piravi [Kerala Day on 1 November]), mainly through Renjini’s dress and chatter, ISS does all it can to remove itself from the turmoil of the everyday. Much in the same way that Bollywood cinema has allowed the masses to escape the oppressions of “the everyday,” reality television promises speculative pleasure produced on the backs of young performers who do not even have to be paid for their labour. Unlike Malayalam cinema’s penchant for hard-hitting politics and narratives of unaccounted for, everyday lives in neo-realist style, today’s reality television—with its excessive sound and light effects, glittering stages and bejewelled participants, repeat zooms, frontal shots, and artificial enhancements—exploits the paradox of hyper-authenticity (Rose and Wood 295). In her useful account of America’s top reality show, American Idol, Katherine Meizel investigates the fascination with the show’s winners and the losers, and the drama of an American “ideal” of diligence and ambition that is seen to be at the heart of the show. She writes, “It is about selling the Dream—regardless of whether it results in success or failure—and about the enactment of ideology that hovers at the edges of any discourse about American morality. It is the potential of great ambition, rather than of great talent, that drives these hopefuls and inspires their fans” (486). In enacting the global via the site of the local (Malayalam and Tamil songs primarily), ISS assumes the mantle of Americanism through the plain-spoken, direct commentaries of the singers who, like their US counterparts, routinely tell us how all of it has changed their lives. In other words, this retrospective meta-narrative becomes more important than the show itself. True to Baudrillard’s theory, ISS blurs the line between actual need and the “need” fabricated by the media and multinational corporations like Idea Cellular and Confident Group (which builds luxury homes, primarily for the new bourgeoisie and nostalgic “returnees” from the diaspora). The “New Kerala” is marked, for the locals, by extravagant (mostly unoccupied) constructions of photogenic homes in garish colours, located in the middle of chaos: the traditional nattumparathu (countryside) wooden homes, and traffic congestion. The homes, promised at the end of these shows, have a “value” based on the hyper-real economy of the show rather than an actual utility value. Yet those who move from the “old” world to the “new” do not always fare well. In local papers, the young artists are often criticised for their new-found haughtiness and disinclination to visit ill relatives in hospital: a veritable sin in a culture that places the nadu and kin above all narratives of progress. In other words, nothing quite adds up: the language and ideologies of the show, espoused most succinctly by its inarticulate host, is a language that obscures its distance from reality. ISS maps onto its audience the emblematic difference between “citizen” and “population”. Through the chaotic, state-sanctioned paralegal devices that allow the slum-dwellers and other property-less people to dwell in the cities, the voices of the labourers (such as the unions) have been silenced. It is a nation ever more geographically divided between the middle-classes which retreat into their gated neighbourhoods, and the shanty-town denizens who are represented by the rising class of religio-fundamentalist leaders. While the poor vote in the Hindu hegemony, the middle classes text in their votes to reality shows like ISS. Partha Chatterjee speaks of the “new segregated and exclusive spaces for the managerial and technocratic elite” (143) which is obsessed by media images, international travel, suburbanisation, and high technology. I wish to add to this list the artificially created community of ISS performers and stars; these are, indeed, the virtual and global extension of Chatterjee’s exclusive, elite communities, decrying the new bourgeois order of Indian urbanity, repackaged as Malayalee, moneyed, and Nayar. Meanwhile, the Hindu Right flexes its muscle under the show’s glittery surface: neither menacing nor fundamentalist, it is now “hip” to be Hindu. Thus while, on the surface, ISS operates according to the cliché, musicinu mathamilla (“music has no religion”), I would contend that it perpetuates a colonising space of Hindu-nationalist hegemony which standardises music appreciation, flattens music performance into an “art” developed solely to serve commercial cinema, and produces a dialectic of Keraleeyatham that erases the multiplicities of its “real.” This ideology, meanwhile, colonises from within. The public performance plays out in the private sphere where the show is consumed; at the same time, the private is inserted into the public with SMS calls that ultimately help seal the juridicality of the show and give the impression of “democracy.” Like the many networks that bring the sentiments of melody and melancholy to our dinner table, I would like to offer you this alternative account of ISS as part of a bid for a more vociferous, and critical, engagement with reality television and its modes of production. Somehow we need to find a way to savour, once again, the non-mimetic aspects of art and to salvage our darkness from the glitter of the “normalising” popular media. References Baudrillard, Jean. The Mirror of Production. Trans. Mark Poster. New York: Telos, 1975. ———. Selected Writings. Ed. Mark Poster. California: Stanford UP, 1988. Chatterjee, Partha. The Politics of the Governed: Reflections on Popular Politics in Most of the World. Delhi: Permanent Black, 2004. Foucault, Michel. Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. New York: Vintage, 1995. Lukose, Ritty. “Consuming Globalization: Youth and Gender in Kerala, India.” Journal of Social History 38.4 (Summer 2005): 915-35. Meizel, Katherine. “Making the Dream a Reality (Show): The Celebration of Failure in American Idol.” Popular Music and Society 32.4 (Oct. 2009): 475-88. Rose, Randall L., and Stacy L. Wood. “Paradox and the Consumption of Authenticity through Reality Television.” Journal of Consumer Research 32 (Sep. 2005): 284-96.

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There is, in our sense of place, little cognisance of what lies underground. Yet our sense of place, instinctive, unconscious, primeval, has its own underground: the secret spaces which mirror our insides; the world beneath the skin. Our roots lie beneath the ground, with the minerals and the dead. (Hughes 83) The-Home-and-Away-Game Imagine the earth-grounded, “diagrammatological” trajectory of a footballer who as one member of a team is psyching himself up before the start of a game. The siren blasts its trumpet call. The footballer bursts out of the pavilion (where this psyching up has taken place) to engage in the opening bounce or kick of the game. And then: running, leaping, limping after injury, marking, sliding, kicking, and possibly even passing out from concussion. Finally, the elation accompanying the final siren, after which hugs, handshakes and raised fists conclude the actual match on the football oval. This exit from the pavilion, the course the player takes during the game itself, and return to the pavilion, forms a combination of stasis and movement, and a return to exhausted stasis again, that every player engages with regardless of the game code. Examined from a “diagrammatological” perspective, a perspective Rowan Wilken (following in the path of Gilles Deleuze and W. J. T. Mitchell) understands as “a generative process: a ‘metaphor’ or way of thinking — diagrammatic, diagrammatological thinking — which in turn, is linked to poetic thinking” (48), this footballer’s scenario arises out of an aerial perspective that depicts the actual spatial trajectory the player takes during the course of a game. It is a diagram that is digitally encoded via a sensor on the footballer’s body, and being an electronically encoded diagram it can also make available multiple sets of data such as speed, heartbeat, blood pressure, maybe even brain-wave patterns. From this limited point of view there is only one footballer’s playing trajectory to consider; various groupings within the team, the whole team itself, and the diagrammatological depiction of its games with various other teams might also be possible. This singular imagining though is itself an actuality: as a diagram it is encoded as a graphic image by a satellite hovering around the earth with a Global Positioning System (GPS) reading the sensor attached to the footballer which then digitally encodes this diagrammatological trajectory for appraisal later by the player, coach, team and management. In one respect, this practice is another example of a willing self-surveillance critical to explaining the reflexive subject and its attribute of continuous self-improvement. According to Docker, Official Magazine of the Fremantle Football Club, this is a technique the club uses as a part of game/play assessment, a system that can provide a “running map” for each player equipped with such a tracking device during a game. As the Fremantle Club’s Strength and Conditioning Coach Ben Tarbox says of this tactic, “We’re getting a physiological profile that has started to build a really good picture of how individual players react during a game” (21). With a little extra effort (and some sizeable computer processing grunt) this two dimensional linear graphic diagram of a footballer working the football ground could also form the raw material for a three-dimensional animation, maybe a virtual reality game, even a hologram. It could also be used to sideline a non-performing player. Now try another related but different imagining: what if this diagrammatological trajectory could be enlarged a little to include the possibility that this same player’s movements could be mapped out by the idea of home-and-away games; say over the course of a season, maybe even a whole career, for instance? No doubt, a wide range of differing diagrammatological perspectives might suggest themselves. My own particular refinement of this movement/stasis on the footballer’s part suggests my own distinctive comings and goings to and from my own specific piece of home country. And in this incessantly domestic/real world reciprocity, in this diurnally repetitive leaving and coming back to home country, might it be plausible to think of “Home as Capital of the Region”? If, as Walter Benjamin suggests in the prelude to his monumental Arcades Project, “Paris — the Capital of the Nineteenth Century,” could it be that both in and through my comings and goings to and from this selfsame home country, my own burgeoning sense of regionality is constituted in every minute-by-minutiae of lived experience? Could it be that this feeling about home is manifested in my every day-to-night manoeuvre of home-and-away-and-away-and-home-making, of every singular instance of exit, play/engage, and the return home? “Home, Capital of the Region” then examines the idea that my home is that part of the country which is the still-point of eternal return, the bedrock to which I retreat after the daily grind, and the point from which I start out and do it all again the next day. It employs, firstly, this ‘diagrammatological’ perspective to illustrate the point that this stasis/movement across country can make an electronic record of my own psychic self-surveillance and actualisation in-situ. And secondly, the architectural plan of the domestic home (examined through the perspective of critical regionalism) is used as a conduit to illustrate how I am physically embedded in country. Lastly, intermingling these digressive threads is chora, Plato’s notion of embodied place and itself an ancient regional rendering of this eternal return to the beginning, the place where the essential diversity of country decisively enters the soul. Chora: Core of Regionality Kevin Lynch writes that, “Our senses are local, while our experience is regional” (10), a combination that suggests this regional emphasis on home-and-away-making might be a useful frame of reference (simultaneously spatiotemporal, both a visceral and encoded communication) for me to include as a crucial vector in my own life-long learning package. Regionality (as, variously, a sub-generic categorisation and an extension/concentration of nationality, as well as a recently re-emerged friend/antagonist to a global understanding) infuses my world of home with a grounded footing in country, one that is a site of an Eternal Return to the Beginning in the micro-world of the everyday. This is a point John Sallis discusses at length in his analysis of Plato’s Timaeus and its founding notion of regionality: chora. More extended absences away from home-base are of course possible but one’s return to home on most days and for most nights is a given of post/modern, maybe even of ancient everyday experience. Even for the continually shifting nomad, nightfall in some part of the country brings the rest and recreation necessary for the next day’s wanderings. This fundamental question of an Eternal Return to the Beginning arises as a crucial element of the method in Plato’s Timaeus, a seemingly “unstructured” mythic/scientific dialogue about the origins and structure of both the psychically and the physically implaced world. In the Timaeus, “incoherence is especially obvious in the way the natural sequence in which a narrative would usually unfold is interrupted by regressions, corrections, repetitions, and abrupt new beginnings” (Gadamer 160). Right in the middle of the Timaeus, in between its sections on the “Work of Reason” and the “Work of Necessity”, sits chora, both an actual spatial and bodily site where my being intersects with my becoming, and where my lived life criss-crosses the various arts necessary to articulating a recorded version of that life. Every home is a grounded chora-logical timespace harness guiding its occupant’s thoughts, feelings and actions. My own regionally implaced chora (an example of which is the diagrammatological trajectory already outlined above as my various everyday comings and goings, of me acting in and projecting myself into context) could in part be understood as a graphical realisation of the extent of my movements and stationary rests in my own particular timespace trajectory. The shorthand for this process is ‘embedded’. Gregory Ulmer writes of chora that, “While chorography as a term is close to choreography, it duplicates a term that already exists in the discipline of geography, thus establishing a valuable resonance for a rhetoric of invention concerned with the history of ‘place’ in relation to memory” (Heuretics 39, original italics). Chorography is the geographic discipline for the systematic study and analysis of regions. Chora, home, country and regionality thus form an important multi-dimensional zone of interplay in memorialising the game of everyday life. In light of these observations I might even go so far as to suggest that this diagrammatological trajectory (being both digital and GPS originated) is part of the increasingly electrate condition that guides the production of knowledge in any global/regional context. This last point is a contextual connection usefully examined in Alan J. Scott’s Regions and the World Economy: The Coming Shape of Global Production, Competition, and Political Order and Michael Storper’s The Regional World: Territorial Development in a Global Economy. Their analyses explicitly suggest that the symbiosis between globalisation and regionalisation has been gathering pace since at least the end of World War Two and the Bretton Woods agreement. Our emerging understanding of electracy also happens to be Gregory Ulmer’s part-remedy for shifting the ground under the intense debates surrounding il/literacy in the current era (see, in particular, Internet Invention). And, for Tony Bennett, Michael Emmison and John Frow’s analysis of “Australian Everyday Cultures” (“Media Culture and the Home” 57–86), it is within the home that our un.conscious understanding of electronic media is at its most intense, a pattern that emerges in the longer term through receiving telegrams, compiling photo albums, listening to the radio, home- and video-movies, watching the evening news on television, and logging onto the computer in the home-office, media-room or home-studio. These various generalisations (along with this diagrammatological view of my comings and goings to and from the built space of home), all point indiscriminately to a productive confusion surrounding the sedentary and nomadic opposition/conjunction. If natural spaces are constituted in nouns like oceans, forests, plains, grasslands, steppes, deserts, rivers, tidal interstices, farmland etc. (and each categorisation here relies on the others for its existence and demarcation) then built space is often seen as constituting its human sedentary equivalent. For Deleuze and Guatteri (in A Thousand Plateaus, “1227: Treatise on Nomadology — The War Machine”) these natural spaces help instigate a nomadic movement across localities and regions. From a nomadology perspective, these smooth spaces unsettle a scientific, numerical calculation, sometimes even aesthetic demarcation and order. If they are marked at all, it is by heterogenous and differential forces, energised through constantly oscillating intensities. A Thousand Plateaus is careful though not to elevate these smooth nomadic spaces over the more sedentary spaces of culture and power (372–373). Nonetheless, as Edward S. Casey warns, “In their insistence on becoming and movement, however, the authors of A Thousand Plateaus overlook the placial potential of settled dwelling — of […] ‘built places’” (309, original italics). Sedentary, settled dwelling centred on home country may have a crust of easy legibility and order about it but it also formats a locally/regionally specific nomadic quality, a point underscored above in the diagrammatological perspective. The sedentary tendency also emerges once again in relation to home in the architectural drafting of the domestic domicile. The Real Estate Revolution When Captain Cook planted the British flag in the sand at Botany Bay in 1770 and declared the country it spiked as Crown Land and henceforth will come under the ownership of an English sovereign, it was also the moment when white Australia’s current fascination with real estate was conceived. In the wake of this spiking came the intense anxiety over Native Title that surfaced in late twentieth century Australia when claims of Indigenous land grabs would repossess suburban homes. While easily dismissed as hyperbole, a rhetorical gesture intended to arouse this very anxiety, its emergence is nonetheless an indication of the potential for political and psychic unsettling at the heart of the ownership and control of built place, or ‘settled dwelling’ in the Australian context. And here it would be wise to include not just the gridded, architectural quality of home-building and home-making, but also the home as the site of the family romance, another source of unsettling as much as a peaceful calming. Spreading out from the boundaries of the home are the built spaces of fences, bridges, roads, railways, airport terminals (along with their interconnecting pathways), which of course brings us back to the communications infrastructure which have so often followed alongside the development of transport infrastructure. These and other elements represent this conglomerate of built space, possibly the most significant transformation of natural space that humanity has brought about. For the purposes of this meditation though it is the more personal aspect of built space — my home and regional embeddedness, along with their connections into the global electrosphere — that constitutes the primary concern here. For a sedentary, striated space to settle into an unchallenged existence though requires a repression of the highest order, primarily because of the home’s proximity to everyday life, of the latter’s now fading ability to sometimes leave its presuppositions well enough alone. In settled, regionally experienced space, repressions are more difficult to abstract away, they are lived with on a daily basis, which also helps to explain the extra intensity brought to their sometimes-unsettling quality. Inversely, and encased in this globalised electro-spherical ambience, home cannot merely be a place where one dwells within avoiding those presuppositions, I take them with me when I travel and they come back with me from afar. This is a point obliquely reflected in Pico Iyer’s comment that “Australians have so flexible a sense of home, perhaps, that they can make themselves at home anywhere” (185). While our sense of home may well be, according to J. Douglas Porteous, “the territorial core” of our being, when other arrangements of space and knowledge shift it must inevitably do so as well. In these shifts of spatial affiliation (aided and abetted by regionalisation, globalisation and electronic knowledge), the built place of home can no longer be considered exclusively under the illusion of an autonomous sanctuary wholly guaranteed by capitalist property relations, one of the key factors in its attraction. These shifts in the cultural, economic and psychic relation of home to country are important to a sense of local and regional implacement. The “feeling” of autonomy and security involved in home occupation and/or ownership designates a component of this implacement, a point leading to Eric Leed’s comment that, “By the sixteenth century, literacy had become one of the definitive signs — along with the possession of property and a permanent residence — of an independent social status” (53). Globalising and regionalising forces make this feeling of autonomy and security dynamic, shifting the ground of home, work-place practices and citizenship allegiances in the process. Gathering these wide-ranging forces impacting on psychic and built space together is the emergence of critical regionalism as a branch of architectonics, considered here as a theory of domestic architecture. Critical Regionality Critical regionalism emerged out of the collective thinking of Liane Lefaivre and Alexander Tzonis (Tropical Architecture; Critical Regionalism), and as these authors themselves acknowledge, was itself deeply influenced by the work of Lewis Mumford during the first part of the twentieth century when he was arguing against the authority of the international style in architecture, a style epitomised by the Bauhaus movement. It is Kenneth Frampton’s essay, “Towards a Critical Regionalism: Six Points for an Architecture of Resistance” that deliberately takes this question of critical regionalism and makes it a part of a domestic architectonic project. In many ways the ideas critical regionalism espouses can themselves be a microcosm of this concomitantly emerging global/regional polis. With public examples of built-form the power of the centre is on display by virtue of a building’s enormous size and frequently high-cultural aesthetic power. This is a fact restated again and again from the ancient world’s agora to Australia’s own political bunker — its Houses of Parliament in Canberra. While Frampton discusses a range of aspects dealing with the universal/implaced axis across his discussion, it is points five and six that deserve attention from a domestically implaced perspective. Under the sub-heading, “Culture Versus Nature: Topography, Context, Climate, Light and Tectonic Form” is where he writes that, Here again, one touches in concrete terms this fundamental opposition between universal civilization and autochthonous culture. The bulldozing of an irregular topography into a flat site is clearly a technocratic gesture which aspires to a condition of absolute placelessness, whereas the terracing of the same site to receive the stepped form of a building is an engagement in the act of “cultivating” the site. (26, original italics) The “totally flat datum” that the universalising tendency sometimes presupposes is, within the critical regionalist perspective, an erroneous assumption. The “cultivation” of a site for the design of a building illustrates the point that built space emerges out of an interaction between parallel phenomena as they contrast and/or converge in a particular set of timespace co-ordinates. These are phenomena that could include (but are not limited to) geomorphic data like soil and rock formations, seismic activity, inclination and declension; climatic considerations in the form of wind patterns, temperature variations, rainfall patterns, available light and dark, humidity and the like; the building context in relation to the cardinal points of north, south, east, and west, along with their intermediary positions. There are also architectural considerations in the form of available building materials and personnel to consider. The social, psychological and cultural requirements of the building’s prospective in-dwellers are intermingled with all these phenomena. This is not so much a question of where to place the air conditioning system but the actuality of the way the building itself is placed on its site, or indeed if that site should be built on at all. A critical regionalist building practice, then, is autochthonous to the degree that a full consideration of this wide range of in-situ interactions is taken into consideration in the development of its design plan. And given this autochthonous quality of the critical regionalist project, it also suggests that the architectural design plan itself (especially when it utilised in conjunction with CAD and virtual reality simulations), might be the better model for designing electrate-centred projects rather than writing or even the script. The proliferation of ‘McMansions’ across many Australian suburbs during the 1990s (generally, oversized domestic buildings designed in the abstract with little or no thought to the above mentioned elements, on bulldozed sites, with powerful air-conditioning systems, and no verandas or roof eves to speak of) demonstrates the continuing influence of a universal, centralising dogma in the realm of built place. As summer temperatures start to climb into the 40°C range all these air-conditioners start to hum in unison, which in turn raises the susceptibility of the supporting infrastructure to collapse under the weight of an overbearing electrical load. The McMansion is a clear example of a built form that is envisioned more so in a drafting room, a space where the architect is remote-sensing the locational specificities. In this envisioning (driven more by a direct line-of-sight idiom dominant in “flat datum” and economic considerations rather than architectural or experiential ones), the tactile is subordinated, which is the subject of Frampton’s sixth point: It is symptomatic of the priority given to sight that we find it necessary to remind ourselves that the tactile is an important dimension in the perception of built form. One has in mind a whole range of complementary sensory perceptions which are registered by the labile body: the intensity of light, darkness, heat and cold; the feeling of humidity; the aroma of material; the almost palpable presence of masonry as the body senses it own confinement; the momentum of an induced gait and the relative inertia of the body as it traverses the floor; the echoing resonance of our own footfall. (28) The point here is clear: in its wider recognition of, and the foregrounding of my body’s full range of sensate capacities in relation to both natural and built space, the critical regionalist approach to built form spreads its meaning-making capacities across a broader range of knowledge modalities. This tactility is further elaborated in more thoroughly personal ways by Margaret Morse in her illuminating essay, “Home: Smell, Taste, Posture, Gleam”. Paradoxically, this synaesthetic, syncretic approach to bodily meaning-making in a built place, regional milieu intensely concentrates the site-centred locus of everyday life, while simultaneously, the electronic knowledge that increasingly underpins it expands both my body’s and its region’s knowledge-making possibilities into a global gestalt, sometimes even a cosmological one. It is a paradoxical transformation that makes us look anew at social, cultural and political givens, even objective and empirical understandings, especially as they are articulated through national frames of reference. Domestic built space then is a kind of micro-version of the multi-function polis where work, pleasure, family, rest, public display and privacy intermingle. So in both this reduction and expansion in the constitution of domestic home life, one that increasingly represents the location of the production of knowledge, built place represents a concentration of energy that forces us to re-imagine border-making, order, and the dynamic interplay of nomadic movement and sedentary return, a point that echoes Nicolas Rothwell’s comment that “every exile has in it a homecoming” (80). Albeit, this is a knowledge-making milieu with an expanded range of modalities incorporated and expressed through a wide range of bodily intensities not simply cognitive ones. Much of the ambiguous discontent manifested in McMansion style domiciles across many Western countries might be traced to the fact that their occupants have had little or no say in the way those domiciles have been designed and/or constructed. In Heidegger’s terms, they have not thought deeply enough about “dwelling” in that building, although with the advent of the media room the question of whether a “building” securely borders both “dwelling” and “thinking” is now open to question. As anxieties over border-making at all scales intensifies, the complexities and un/sureties of natural and built space take ever greater hold of the psyche, sometimes through the advance of a “high level of critical self-consciousness”, a process Frampton describes as a “double mediation” of world culture and local conditions (21). Nearly all commentators warn of a nostalgic, romantic or a sentimental regionalism, the sum total of which is aimed at privileging the local/regional and is sometimes utilised as a means of excluding the global or universal, sometimes even the national (Berry 67). Critical regionalism is itself a mediating factor between these dispositions, working its methods and practices through my own psyche into the local, the regional, the national and the global, rejecting and/or accepting elements of these domains, as my own specific context, in its multiplicity, demands it. If the politico-economic and cultural dimensions of this global/regional world have tended to undermine the process of border-making across a range of scales, we can see in domestic forms of built place the intense residue of both their continuing importance and an increased dependency on this electro-mediated world. This is especially apparent in those domiciles whose media rooms (with their satellite dishes, telephone lines, computers, television sets, games consuls, and music stereos) are connecting them to it in virtuality if not in reality. Indeed, the thought emerges (once again keeping in mind Eric Leed’s remark on the literate-configured sense of autonomy that is further enhanced by a separate physical address and residence) that the intense importance attached to domestically orientated built place by globally/regionally orientated peoples will figure as possibly the most viable means via which this sense of autonomy will transfer to electronic forms of knowledge. If, however, this here domestic habitué turns his gaze away from the screen that transports me into this global/regional milieu and I focus my attention on the physicality of the building in which I dwell, I once again stand in the presence of another beginning. This other beginning is framed diagrammatologically by the building’s architectural plans (usually conceived in either an in-situ, autochthonous, or a universal manner), and is a graphical conception that anchors my body in country long after the architects and builders have packed up their tools and left. This is so regardless of whether a home is built, bought, rented or squatted in. Ihab Hassan writes that, “Home is not where one is pushed into the light, but where one gathers it into oneself to become light” (417), an aphorism that might be rephrased as follows: “Home is not where one is pushed into the country, but where one gathers it into oneself to become country.” For the in-and-out-and-around-and-about domestic dweller of the twenty-first century, then, home is where both regional and global forms of country decisively enter the soul via the conduits of the virtuality of digital flows and the reality of architectural footings. Acknowledgements I’m indebted to both David Fosdick and Phil Roe for alerting me to the importance to the Fremantle Dockers Football Club. The research and an original draft of this essay were carried out under the auspices of a PhD scholarship from Central Queensland University, and from whom I would also like to thank Denis Cryle and Geoff Danaher for their advice. References Benjamin, Walter. “Paris — the Capital of the Nineteenth Century.” Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Trans. Quintin Hoare. London: New Left Books, 1973. 155–176. Bennett, Tony, Michael Emmison and John Frow. Accounting for Tastes: Australian Everyday Cultures. Cambridge: Cambridge UP, 1999. Berry, Wendell. “The Regional Motive.” A Continuous Harmony: Essays Cultural and Agricultural. San Diego: Harcourt Brace. 63–70. Casey, Edward S. The Fate of Place: A Philosophical History. Berkeley: U of California P, 1997. Deleuze, Gilles and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis: U of Minneapolis P, 1987. Deleuze, Gilles. “The Diagram.” The Deleuze Reader. Ed. Constantin Boundas. Trans. Constantin Boundas and Jacqueline Code. New York: Columbia UP, 1993. 193–200. Frampton, Kenneth. “Towards a Critical Regionalism: Six Points for an Architecture of Resistance.” The Anti-Aesthetic: Essays on Post-Modern Culture. Ed. Hal Foster. Port Townsend: Bay Press, 1983. 16–30. Gadamer, Hans-Georg. “Idea and Reality in Plato’s Timaeus.” Dialogue and Dialectic: Eight Hermeneutical Studies on Plato. Trans. P. Christopher Smith. New Haven: Yale UP, 1980. 156–193. Hassan, Ihab. “How Australian Is It?” The Best Australian Essays. Ed. Peter Craven. Melbourne: Black Inc., 2000. 405–417. Heidegger, Martin. “Building Dwelling Thinking.” Poetry, Language, Thought. Trans. Albert Hofstadter. New York: Harper and Row, 1971. 145–161. Hughes, John. The Idea of Home: Autobiographical Essays. Sydney: Giramondo, 2004. Iyer, Pico. “Australia 1988: Five Thousand Miles from Anywhere.” Falling Off the Map: Some Lonely Places of the World. London: Jonathon Cape, 1993. 173–190. “Keeping Track.” Docker, Official Magazine of the Fremantle Football Club. Edition 3, September (2005): 21. Leed, Eric. “‘Voice’ and ‘Print’: Master Symbols in the History of Communication.” The Myths of Information: Technology and Postindustrial Culture. Ed. Kathleen Woodward. Madison, Wisconsin: Coda Press, 1980. 41–61. Lefaivre, Liane and Alexander Tzonis. “The Suppression and Rethinking of Regionalism and Tropicalism After 1945.” Tropical Architecture: Critical Regionalism in the Age of Globalization. Eds. Alexander Tzonis, Liane Lefaivre and Bruno Stagno. Chichester, West Sussex: Wiley-Academy, 2001. 14–58. Lefaivre, Liane and Alexander Tzonis. Critical Regionalism: Architecture and Identity in a Globalized World. New York: Prestel, 2003. Lynch, Kevin. Managing the Sense of a Region. Cambridge, Massachusetts: MIT P, 1976. Mitchell, W. J. T. “Diagrammatology.” Critical Inquiry 7.3 (1981): 622–633. Morse, Margaret. “Home: Smell, Taste, Posture, Gleam.” Home, Exile, Homeland: Film, Media, and the Politics of Place. Ed. Hamid Naficy. New York and London: Routledge, 1999. 63–74. Plato. Timaeus and Critias. Trans. Desmond Lee. Harmondsworth: Penguin Classics, 1973. Porteous, J. Douglas. “Home: The Territorial Core.” Geographical Review LXVI (1976): 383-390. Rothwell, Nicolas. Wings of the Kite-Hawk: A Journey into the Heart of Australia. Sydney: Pidador, 2003. Sallis, John. Chorology: On Beginning in Plato’s Timaeus. Bloomington: Indianapolis UP, 1999. Scott, Allen J. Regions and the World Economy: The Coming Shape of Global Production, Competition, and Political Order. Oxford: Oxford University Press, 1998. Storper, Michael. The Regional World: Territorial Development in a Global Economy. New York: The Guildford Press, 1997. Ulmer, Gregory L. Heuretics: The Logic of Invention. New York: John Hopkins UP, 1994. Ulmer, Gregory. Internet Invention: Literacy into Electracy. Longman: Boston, 2003. Wilken, Rowan. “Diagrammatology.” Illogic of Sense: The Gregory Ulmer Remix. Eds. Darren Tofts and Lisa Gye. Alt-X Press, 2007. 48–60. Available at http://www.altx.com/ebooks/ulmer.html. (Retrieved 12 June 2007)

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My message is this in regard to SMS messages and swarming crowds; this is ludicrous behaviour; it is unAustralian. We all share this wonderful country. (NSW Police Assistant Commissioners Mark Goodwin, quoted in Kennedy) The cops hate and fear the swarming packs of Lebanese who respond when some of their numbers are confronted, mobilising quickly via mobile phones and showing open contempt for Australian law. All this is the real world, as distinct from the world preferred by ideological academics who talk about “moral panic” and the oppression of Muslims. They will see only Australian racism as the problem. (Sheehan) The Politics of Transmission On 11 December 2005, as Sydney was settling into early summer haze, there was a race riot on the popular Cronulla beach in the city’s southern suburbs. Hundreds of people, young men especially, gathered for a weekend protest. Their target and pretext were visitors from the culturally diverse suburbs to the west, and the need to defend their women and beaches in the face of such unwelcome incursions and behaviours. In the ensuing days, there were violent raids and assaults criss-crossing back and forth across Sydney’s beaches and suburbs, involving almost farcical yet deadly earnest efforts to identify, respectively, people of “anglo” or “Middle Eastern” appearance (often specifically “Lebanese”) and to threaten or bash them. At the very heart of this state of siege and the fear, outrage, and sadness that gripped those living in Sydney were the politics of transmission. The spark that set off this conflagration was widely believed to have been caused by the transmission of racist and violent “calls to arms” via mobile text messages. Predictably perhaps media outlets sought out experts on text messaging and cell phone culture for commentary, including myself and most mainstream media appeared interested in portraying a fascination for texting and reinforcing its pivotal role in the riots. In participating in media interviews, I found myself torn between wishing to attest to the significance and importance of cell phone culture and texting, on the one hand (or thumb perhaps), while being extremely sceptical about its alleged power in shaping these unfolding events, on the other — not to mention being disturbed about the ethical implications of what had unfolded. In this article, I wish to discuss the subject of transmission and the power of mobile texting culture, something that attracted much attention elsewhere — and to which the Sydney riots offer a fascinating and instructive lesson. My argument runs like this. Mobile phone culture, especially texting, has emerged over the past decade, and has played a central role in communicative and cultural practice in many countries and contexts as scholars have shown (Glotz and Bertschi; Harper, Palen and Taylor). Among other features, texting often plays a significant, if not decisive, role in co-ordinated as well as spontaneous social and political organization and networks, if not, on occasion, in revolution. However, it is important not to over-play the role, significance and force of such texting culture in the exercise of power, or the formation of collective action and identities (whether mobs, crowds, masses, movements, or multitudes). I think texting has been figured in such a hyperbolic and technological determinist way, especially, and ironically, through how it has been represented in other media (print, television, radio, and online). The difficulty then is to identify the precise contribution of mobile texting in organized and disorganized social networks, without the antimonies conferred alternatively by dystopian treatments (such as moral panic) or utopian ones (such as the technological sublime) — something which I shall try to elucidate in what follows. On the Beach Again Largely caught unawares and initially slow to respond, the New South Wales state government responded with a massive show of force and repression. 2005 had been marked by the state and Federal enactment of draconian terror laws. Now here was an opportunity for the government to demonstrate the worth of the instruments and rationales for suppression of liberties, to secure public order against threats of a more (un)civil than martial order. Outflanking the opposition party on law-and-order rhetoric once again, the government immediately formulated new laws to curtail accused and offender’s rights (Brown). The police “locked” down whole suburbs — first Cronulla, then others — and made a show of policing all beaches north and south (Sydney Morning Herald). The race riots were widely reported in the international press, and, not for the first time (especially since the recent Redfern and Macquarie Fields), the city’s self-image of a cosmopolitan, multicultural nation (or in Australian Prime Minister John Howard’s prim and loaded terms, a nation “relaxed and comfortable”) looked like a mirage. Debate raged on why the riots occurred, how harmony could be restored and what the events signified for questions of race and identity — the latter most narrowly construed in the Prime Minister’s insistence that the riots did not reflect underlying racism in Australia (Dodson, Timms and Creagh). There were suggestions that the unrest was rather at base about the contradictions and violence of masculinity, some two-odd decades after Puberty Blues — the famous account of teenage girls growing up on the (Cronulla) Shire beaches. Journalists agonized about whether the media amounted to reporter or amplifier of tensions. In the lead-up to the riots, at their height, and in their wake, there was much emphasis on the role mobile text messages played in creating the riots and sustaining the subsequent atmosphere of violence and racial tension (The Australian; Overington and Warne-Smith). Not only were text messages circulating in the Sydney area, but in other states as well (Daily Telegraph). The volume of such text messages and emails also increased in the wake of the riot (certainly I received one personally from a phone number I did not recognise). New messages were sent to exhort Lebanese-Australians and others to fight back. Those decrying racism, such as the organizers of a rally, pointedly circulated text messages, hoping to spread peace. Media commentators, police, government officials, and many others held such text messages directly and centrally responsible for organizing the riot and for the violent scuffles that followed: The text message hate mail that inspired 5000 people to attend the rally at Cronulla 10 days ago demonstrated to the police the power of the medium. The retaliation that followed, when gangs marauded through Maroubra and Cronulla, was also co-ordinated by text messaging (Davies). It is rioting for a tech-savvy generation. Mobile phones are providing the call to arms for the tribes in the race war dividing Sydney. More than 5000 people turn up to Cronulla on Sunday … many were drawn to the rally, which turned into a mob, by text messages on their mobiles (Hayes and Kearney). Such accounts were crucial to the international framing of the events as this report from The Times in London illustrates: In the days leading up to the riot racist text messages had apparently been circulating calling upon concerned “white” Australians to rally at Cronulla to defend their beach and women. Following the attacks on the volunteer lifeguards, a mobile telephone text campaign started, backed up by frenzied discussions on weblogs, calling on Cronulla locals to rally to protect their beach. In response, a text campaign urged youths from western Sydney to be at Cronulla on Sunday to protect their friends (Maynard). There were calls upon the mobile companies to intercept and ban such messages, with industry spokespeople pointing out text messages were usually only held for twenty-four hours and were in many ways more difficult to intercept than it was to tap phone calls (Burke and Cubby). Mobs and Messages I think there are many reasons to suggest that the transmission of text messages did constitute a moral panic (what I’ve called elsewhere a “mobile panic”; see Goggin), pace columnist Paul Sheehan. Notably the wayward texting drew a direct and immediate response from the state government, with legislative changes that included provisions allowing the confiscation of cell phones and outlawing sending, receipt or keeping of racist or inflammatory text messages. For some days police proceeded to stop cars and board buses and demand to inspect mobiles, checking and reading text messages, arresting at least one person for being responsible for transmitting banned text messages. However, there is another important set of ideas adduced by commentators to explain how people came together to riot in Sydney, taking their cue from Howard Rheingold’s 2002 book Smart Mobs, a widely discussed and prophetic text on social revolution and new technologies. Rheingold sees text messaging as the harbinger of such new, powerful forms of collectivity, studying emergent uses around the world. A prime example he uses to illustrate the “power of the mobile many” is the celebrated overthrow of President Joseph Estrada of the Philippines in January 2001: President Joseph Estrada of the Philippines became the first head of state in history to lose power to a smart mob. More than 1 million Manila residents, mobilized and coordinated by waves of text messages, assembled … Estrada fell. The legend of “Generation Txt” was born (Rheingold 157-58). Rheingold is careful to emphasize the social as much as technical nature of this revolution, yet still sees such developments leading to “smart mobs”. As with his earlier, prescient book Virtual Community (Rheingold 1993) did for the Internet, so has Smart Mobs compellingly fused and circulated a set of ideas about cell phones and the pervasive, wearable and mobile technologies that are their successors. The received view of the overthrow of the Estrada government is summed up in a remark attributed to Estrada himself: “I was ousted by a coup d’text” (Pertierra et al. ch. 6). The text-toppling of Estrada is typically attributed to “Generation Txt”, underlining the power of text messaging and the new social category which marks it, and has now passed into myth. What is less well-known is that the overriding role of the cell phone in the Estrada overthrow has been challenged. In the most detailed study of text messaging and subjectivity in the Philippines, which reviewed accounts of the events of the Estrada overthrow, as well as conducting interviews with participants, Pertierra et al. discern in EDSA2 a “utopian vision of the mobile phone that is characteristic of ‘discourses of sublime technology’”: It focuses squarely on the mobile phone, and ignores the people who used it … the technology is said to possess a mysterious force, called “Text Power” ... it is the technology that does things — makes things happen — not the people who use it. (Pertierra et al. ch. 6) Given the recrudescence of the technological sublime in digital media (on which see Mosco) the detailed examination of precise details and forms of agency and coordination using cell phones is most instructive. Pertierra et al. confirm that the cell phone did play an important role in EDSA2 (the term given to the events surrounding the downfall of Estrada). That role, however, was not the one for which it has usually been praised in the media since the event — namely, that of crowd-drawer par excellence … less than half of our survey respondents who took part in People Power 2 noted that text messaging influenced them to go. If people did attend, it was because they were persuaded to by an ensemble of other reasons … (2002: ch. 6) Instead, they argue, the significance of the cell phone lay firstly, in the way it helped join people who disapproved of Pres. Estrada in a network of complex connectivity … Secondly, the mobile phone was instrumental as an organizational device … In the hands of activists and powerbrokers from politics, the military, business groups and civil society, the mobile phone becomes a “potent communications tool” … (Pertierra et al. 2002: ch. 6) What this revisionist account of the Estrada coup underscores is that careful research and analysis is required to understand how SMS is used and what it signifies. Indeed it is worth going further to step back from either the celebratory or minatory discourses on the cell phone and its powerful effects, and reframe this set of events as very much to do with the mutual construction of society and technology, in which culture is intimately involved. This involves placing both the technology of text messaging and the social and political forces manifested in this uprising in a much wider setting. For instance, in his account of the Estrada crisis Vicente L. Rafael terms the tropes of text messaging and activism evident in the discourses surrounding it as: a set of telecommunicative fantasies among middle-class Filipinos … [that] reveal certain pervasive beliefs of the middle classes … in the power of communication technologies to transmit messages at a distance and in their own ability to possess that power (Rafael 399). For Rafael, rather than possessing instrinsic politics in its own right, text messaging here is about a “media politics (understood in both senses of the phrase: the politics of media systems, but also the inescapable mediation of the political) [that] reveal the unstable workings of Filipino middle-class sentiments” (400). “Little Square of Light” Doubtless there are emergent cultural and social forms created in conjunction with new technologies, which unfreeze and open up (for a time) social relations. As my discussion of the Estrada “coup d’text” shows, however, the dynamics of media, politics and technology in any revolution or riot need to be carefully traced. A full discussion of mobile media and the Sydney uprising will need to wait for another occasion. However, it is worth noting that the text messages in question to which the initial riot had been attributed, were actually read out on one of the country’s highest-rating and most influential talk-radio programs. The contents of such messages had also been detailed in print media, especially tabloids, and been widely discussed (McLellan, Marr). What remains unknown and unclear, however, is the actual use of text messages and cell phones in the conceiving, co-ordination, and improvisational dynamics of the riots, and affective, cultural processing of what occurred. Little retrospective interpretation at all has emerged in the months since the riots, but it certainly felt as if the police and state’s over-reaction, and the arrival of the traditionally hot and lethargic Christmas — combined with the underlying structures of power and feeling to achieve the reinstitution of calm, or rather perhaps the habitual, much less invisible, expression of whiteness as usual. The policing of the crisis had certainly been fuelled by the mobile panic, but setting law enforcement the task of bringing those text messages to book was much like asking them to catch the wind. For analysts, as well as police, the novel and salience appearance of texting also has a certain lure. Yet in concentrating on the deadly power of the cell phone to conjure up a howling or smart mob, or in the fascination with the new modes of transmission of mobile devices, it is important to give credit to the formidable, implacable role of media and cultural representations more generally, in all this, as they are transmitted, received, interpreted and circulated through old as well as new modes, channels and technologies. References The Australian. “SMS Message Goes Out: Let’s March for Racial Tolerance.” The Australian. 17 September, 2005. 6. Brown, M. “Powers Tested in the Text”. Sydney Morning Herald. 20 December, 2005. 7. Burke, K. and Cubby, B. “Police Track Text Message Senders”. Sydney Morning Herald, 23-25 December, 2005. 7. Daily Telegraph. “Police Intercept Interstate Riot SMS — Race Riot: Flames of Fear.” Daily Telegraph. 15 December, 2005. 5. Davis, A. “Flying Bats Rang Alarm”. Sydney Morning Herald. 21 December, 2005. 1, 5. Dodson, L., Timms, A. and Creagh, S. “Tourism Starts Counting the Cost of Race Riots”, Sydney Morning Herald. 21 December, 2005. 1. Goggin, G. Cell Phone Culture: Mobile Technology in Everyday Life. London: Routledge, 2006. In press. Glotz, P., and Bertschi, S. (ed.) Thumb Culture: Social Trends and Mobile Phone Use, Bielefeld: Transcript Verlag. Harper, R., Palen, L. and Taylor, A. (ed.)_ _The Inside Text: Social, Cultural and Design Perspectives on SMS. Dordrecht: Springer. Hayes, S. and Kearney, S. “Call to Arms Transmitted by Text”. Sydney Morning Herald. 13 December, 2005. 4. Kennedy, L. “Police Act Swiftly to Curb Attacks”. Sydney Morning Herald. 13 December, 2005. 6. Maynard, R. “Battle on Beach as Mob Vows to Defend ‘Aussie Way of Life.’ ” The Times. 12 December 2005. 29. Marr, D. “One-Way Radio Plays by Its Own Rules.” Sydney Morning Herald. 13 December, 2005. 6. McLellan, A. “Solid Reportage or Fanning the Flames?” The Australian. 15 December, 2005. 16. Mosco, V. The Digital Sublime: Myth, Power, and Cyberspace. Cambridge, MA: MIT Press, 2004. Overington, C. and Warne-Smith, D. “Countdown to Conflict”. The Australian. 17 December, 2005. 17, 20. Pertierra, R., E.F. Ugarte, A. Pingol, J. Hernandez, and N.L. Dacanay, N.L. Txt-ing Selves: Cellphones and Philippine Modernity. Manila: De La Salle University Press, 2002. 1 January 2006 http://www.finlandembassy.ph/texting1.htm>. Rafael, V. L. “The Cell Phone and the Crowd: Messianic Politics in the Contemporary Philippines.” Public Culture 15 (2003): 399-425. Rheingold, H. Smart Mobs: The Next Social Revolution. Cambridge, MA: Perseus, 2002. Sheehan, P. “Nasty Reality Surfs In as Ugly Tribes Collide”. Sydney Morning Herald. 12 December, 2005. 13. Sydney Morning Herald. “Beach Wars 1: After Lockdown”. Editorial. Sydney Morning Herald. 20 December, 2005. 12. Citation reference for this article MLA Style Goggin, Gerard. "SMS Riot: Transmitting Race on a Sydney Beach, December 2005." M/C Journal 9.1 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0603/02-goggin.php>. APA Style Goggin, G. (Mar. 2006) "SMS Riot: Transmitting Race on a Sydney Beach, December 2005," M/C Journal, 9(1). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0603/02-goggin.php>.

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Literary history can be viewed alternately in a perspective of continuities or discontinuities. In the former perspective, what I perversely call postmodernism is simply an extension of modernism [which is], as everyone knows, a development of symbolism, which … is itself a specialisation of romanticismand who is there to say that the romantic concept of man does not find its origin in the great European Enlightenment? Etc. In the latter perspective, however, continuities [which are] maintained on a certain level of narrative abstraction (i.e., history [or aesthetic description]) are resisted in the interests of the quiddity and discreteness of art, the space that each work or action creates around itself. – Ihab Hassan Ihab Hassan’s words, published in 1975, continue to resonate today. How should we approach art? Can an artwork ever really fully be described by its critical review, or does its description only lead to an ever multiplying succession of terms? Michel Foucault spoke of the construction of modern sexuality as being seen as the hidden, irresolvable “truth” of our subjectivity, as that secret which we must constantly speak about, and hence as an “incitement to discourse” (Foucault, History of Sexuality). Since the Romantic period, the appreciation of aesthetics has been tied to the subjectivity of the individual and to the degree an art work appeals to the individual’s sense of self: to one’s personal refinement, emotions and so on. Art might be considered part of the truth of our subjectivity which we seem to be endlessly talking about – without, however, actually ever resolving the issue of what a great art work really is (anymore than we have resolved the issue of what natural sexuality is). It is not my aim to explicate the relationship between art and sex but to re-inject a strategic understanding of discourse, as Foucault understood it, back into commonplace, contemporary aesthetic criticism. The problems in rendering into words subjective, emotional experiences and formal aesthetic criteria continue to dog criticism today. The chief hindrances to contemporary criticism remain such institutional factors as the economic function of newspapers. Given their primary function as tools for the selling of advertising space, newspapers are inherently unsuited to sustaining detailed, informed dialogue on any topic – be it international politics or aesthetics. As it is, reviews remain short, quickly written pieces squeezed into already overloaded arts pages. This does not prevent skilled, caring writers and their editorial supporters from ensuring that fine reviews are published. In the meantime, we muddle through as best we can. I argue that criticism, like art, should operate self-consciously as an incitement to discourse, to engagement, and so to further discussion, poetry, et cetera. The possibility of an endless recession of theoretical terms and subjective responses should not dissuade us. Rather, one should provisionally accept the instrumentality of aesthetic discourse provided one is able always to bear in mind the nominalism which is required to prevent the description of art from becoming an instrument of repression. This is to say, aesthetic criticism is clearly authored in order to demonstrate something: to argue a point, to make a fruitful comparison, and so on. This does not mean that criticism should be composed so as to dictate aesthetic taste to the reader. Instead, it should act as an invitation to further responses – much as the art work itself does. Foucault has described discourse – language, terminologies, metaphorical conceits and those logical and poetic structures which underpin them – as a form of technology (Foucault, Archaeology of Knowledge and History of Sexuality). Different discursive forces arise in response to different cultural needs and contexts, including, indeed, those formulated not only by artists, but also by reviewers. As Hassan intimates, what is or is not “postmodernism”, for example, depends less on the art work itself – it is less a matter of an art work’s specific “quiddity” and its internal qualities – but is, rather, fundamentally dependent upon what one is trying to say about the piece. If one is trying to describe something novel in a work, something which relates it to a series of new or unusual forms which have become dominant within society since World War Two, then the term “postmodernism” most usefully applies. This, then, would entail breaking down the “the space that each work … creates around itself” in order to emphasise horizontal “continuities”. If, on the other hand, the critic wishes to describe the work from the perspective of historical developments, so as to trace the common features of various art works across a genealogical pattern running from Romanticism to the present day, one must de-emphasise the quiddity of the work in favour of vertical continuities. In both cases, however, the identification of common themes across various art works so as to aid in the description of wider historical or aesthetic conditions requires a certain “abstraction” of the qualities of the aesthetic works in question. The “postmodernism”, or any other quality, of a single art work thus remains in the eye of the beholder. No art work is definitively “postmodern” as such. It is only “postmodern” inasmuch as this description aids one in understanding a certain aspect of the piece and its relationship to other objects of analysis. In short, the more either an art work or its critical review elides full descriptive explication, the more useful reflections which might be voiced in its wake. What then is the instrumental purpose of the arts review as a genre of writing? For liberal humanist critics such as Matthew Arnold, F.R. Leavis and Harold Bloom, the role of the critic is straight forward and authoritative. Great art is said to be imbued with the spirit of humanity; with the very essence of our common subjectivity itself. Critics in this mode seek the truth of art and once it has been found, they generally construct it as unified, cohesive and of great value to all of humanity. The authors of the various avant-garde manifestoes which arose in Europe from the fin de siècle period onwards significantly complicated this ideal of universal value by arguing that such aesthetic values were necessarily abstract and so were not immediately visible within the content of the work per se. Such values were rather often present in the art work’s form and expression. Surrealism, Futurism, Supremacism, the Bauhaus and the other movements were founded upon the contention that these avant-garde art works revealed fundamental truths about the essence of human subjectivity: the imperious power of the dream at the heart of our emotional and psychic life, the geometric principles of colour and shape which provide the language for all experience of the sublime, and so on. The critic was still obliged to identify greatness and to isolate and disseminate those pieces of art which revealed the hidden truth of our shared human experience. Few influential art movements did not, in fact, have a chief theoretician to promote their ideals to the world, be it Ezra Pound and Leavis as the explicators of the works of T.S. Eliot, Martin Esslin for Beckett, or the artist her or himself, such as choreographers Martha Graham or Merce Cunningham, both of whom described in considerable detail their own methodologies to various scribes. The great challenge presented in the writings of Foucault, Derrida, Hassan and others, however, is to abandon such a sense of universal aesthetic and philosophical value. Like their fellow travellers within the New Left and soixante huit-ièmes (the agitators and cultural critics of 1968 Paris), these critics contend that the idea of a universal human subjectivity is problematic at best, if not a discursive fiction, which has been used to justify repression, colonialism, the unequal institutional hierarchies of bourgeois democratic systems, and so on. Art does not therefore speak of universal human truths. It is rather – like aesthetic criticism itself – a discursive product whose value should be considered instrumentally. The kind of a critical relationship which I am proposing here might provisionally be classified as discursive or archaeological criticism (in the Foucauldian sense of tracing discursive relationships and their distribution within any given cross-section or strata of cultural life). The role of the critic in such a situation is not one of acknowledging great art. Rather, the critic’s function becomes highly strategic, with interpretations and opinions regarding art works acting as invitations to engagement, consideration and, hence, also to rejection. From the point of view of the audience, too, the critic’s role is one of utility. If a critical description prompts useful, interesting or pleasurable reflections in the reader, then the review has been effective. If it has not, it has no role to play. The response to criticism thus becomes as subjective as the response to the art work itself. Similarly, just as Marcel Duchamp’s act of inverting a urinal and calling it art showed that anyone could be an artist provided they adopted a suitably creative vision of the objects which surrounded them, so anyone and everyone is a legitimate critic of any art work addressed to him or her as an audience. The institutional power accorded to critics by merit of the publications to which they are attached should not obfuscate the fact that anyone has the moral right to venture a critical judgement. It is not actually logically possible to be “right” or “wrong” in attributing qualities to an art work (although I have had artists assert the contrary to me). I like noise art, for example, and find much to stimulate my intellect and my affect in the chaotic feedback characteristic of the work of Merzbow and others. Many others however simply find such sounds to constitute unpleasant noise. Neither commentator is “right”. Both views co-exist. What is important is how these ideas are expressed, what propositions are marshalled to support either position, and how internally cohesive are the arguments supplied by supporters of either proposition. The merit of any particular critical intervention is therefore strictly formal or expressive, lying in its rhetorical construction, rather than in the subjective content of the criticism itself, per se. Clearly, such discursive criticism is of little value in describing works devised according to either an unequivocally liberal humanist or modernist avant-garde perspective. Aesthetic criticism authored in this spirit will not identify the universal, timeless truths of the work, nor will it act as an authoritative barometer of aesthetic value. By the same token though, a recognition of pluralism and instrumentality does not necessarily entail the rejection of categories of value altogether. Such a technique of aesthetic analysis functions primarily in the realm of superficial discursive qualities and formal features, rather than subterranean essences. It is in this sense both anti-Romantic and anti-Platonic. Discursive analysis has its own categories of truth and evaluation. Similarities between works, influences amongst artists and generic or affective precedents become the primary objects of analysis. Such a form of criticism is, in this sense, directly in accord with a similarly self-reflexive, historicised approach to art making itself. Where artists are consciously seeking to engage with their predecessors or peers, to find ways of situating their own work through the development of ideas visible in other cultural objects and historic aesthetic works, then the creation of art becomes itself a form of practical criticism or praxis. The distinction between criticism and its object is, therefore, one of formal expression, not one of nature or essence. Both practices engage with similar materials through a process of reflection (Marshall, “Vertigo”). Having described in philosophical and critical terms what constitutes an unfettered, democratic and strategic model of discursive criticism, it is perhaps useful to close with a more pragmatic description of how I myself attempt to proceed in authoring such criticism and, so, offer at least one possible (and, by definition, subjective) model for discursive criticism. Given that discursive analysis itself developed out of linguistic theory and Saussure’s discussion of the structural nature of signification, it is no surprise that the primary methodology underlying discursive analysis remains that of semiotics: namely how systems of representation and meaning mutually reinforce and support each other, and how they fail to do so. As a critic viewing an art work, it is, therefore, always my first goal to attempt to identify what it is that the artist appears to be trying to do in mounting a production. Is the art work intended as a cultural critique, a political protest, an avant-garde statement, a work of pure escapism, or some other kind of project – and hence one which can be judged according to the generic forms and values associated with such a style in comparison with those by other artists who work in this field? Having determined or intuited this, several related but nominally distinct critical reflections follow. Firstly, how effectively is this intent underpinning the art work achieved, how internally consistent are the tools, forms and themes utilised within the production, and do the affective and historic resonances evoked by the materials employed therein cohere into a logical (or a deliberately fragmented) whole? Secondly, how valid or aesthetically interesting is such a project in the first place, irrespective of whether it was successfully achieved or not? In short, how does the artist’s work compare with its own apparent generic rules, precedents and peers, and is the idea behind the work a contextually valid one or not? The questions of value which inevitably come into these judgements must be weighed according to explicit arguments regarding context, history and genre. It is the discursive transparency of the critique which enables readers to mentally contest the author. Implicitly transcendental models of universal emotional or aesthetic responses should not be invoked. Works of art should, therefore, be judged according to their own manifest terms, and, so, according to the values which appear to govern the relationships which organise materials within the art work. They should also, however, be viewed from a position definitively outside the work, placing the overall concept and its implicit, underlying theses within the context of other precedents, cultural values, political considerations and so on. In other words, one should attempt to heed Hassan’s caution that all art works may be seen both from the perspective of historico-genealogical continuities, as well as according to their own unique, self-defining characteristics and intentions. At the same time, the critical framework of the review itself – while remaining potentially dense and complex – should be as apparent to the reader as possible. The kind of criticism which I author is, therefore, based on a combination of art-historical, generic and socio-cultural comparisons. Critics are clearly able to elaborate more parallels between various artistic and cultural activities than many of their peers in the audience simply because it is the profession of the former to be as familiar with as wide a range of art-historical, cultural and political materials as is possible. This does not, however, make the opinions of the critic “correct”, it merely makes them more potentially dense. Other audiences nevertheless make their own connections, while spectators remain free to state that the particular parallels identified by the critic were not, to their minds, as significant as the critic would contend. The quantity of knowledge from which the critic can select does not verify the accuracy of his or her observations. It rather enables the potential richness of the description. In short, it is high time critics gave up all pretensions to closing off discourse by describing aesthetic works. On the contrary, arts reviewing, like arts production itself, should be seen as an invitation to further discourse, as a gift offered to those who might want it, rather than a Leavisite or Bloom-esque bludgeon to instruct the insensitive masses as to what is supposed to subjectively enlighten and uplift them. It is this sense of engagement – between critic, artist and audience – which provides the truly poetic quality to arts criticism, allowing readers to think creatively in their own right through their own interaction with a collaborative process of rumination on aesthetics and culture. In this way, artists, audiences and critics come to occupy the same terrain, exchanging views and constructing a community of shared ideas, debate and ever-multiplying discursive forms. Ideally, written criticism would come to occupy the same level of authority as an argument between an audience member and a critic at the bar following the staging of a production. I admit myself that even my best written compositions rarely achieve the level of playful interaction which such an environment often provokes. I nevertheless continue to strive for such a form of discursive exchange and bibulous poetry. References Apollonio, Umbro, ed. Futurist Manifestos. London: Thames and Hudson, 1973. Arnold, Matthew. Essays in Criticism. London: Macmillan, 1903-27, published as 2 series. Barthes, Roland. Mythologies. Trans. by Annette Lavers. London: Vintage, 1993. Bloom, Harold. Shakespeare: The Invention of the Human. New York: Riverhead, 1998. Benjamin, Walter. Reflections: Essays, Aphorisms, Autobiographical Writings. Trans. by Edmund Jephcott. New York: Harcourt, 1978. Breton, André. Manifestoes of Surrealism. Trans. by Richard Seaver and Helen Lane. Ann Arbor: Michigan UP, 1972. Eliot, T.S. Collected Poems 1909-1962. London: Faber, 1963. Esslin, Martin. Theatre of the Absurd. Harmondsworth: Penguin, 1968. Foucault, Michel. The Archaeology of Knowledge. Trans. by A.M. Sheridan Smith. London: Tavistock, 1972. ———. The History of Sexuality: Volume I: An Introduction. Trans. by Robert Hurley. London: Penguin, 1990. f*ckuyama, Francis. The End of History and the Last Man. London: Penguin, 1992. Graham, Martha. Blood Memory. New York: Doubleday, 1991. Hassan, Ihab. “Joyce, Beckett and the Postmodern Imagination.” Triquarterly 32.4 (1975): 192ff. Jameson, Fredric. “Postmodernism, or the Cultural Dominant of Late Capitalism,” New Left Review 146 (1984): 53-92. Leavis, F.R. F.R. Leavis: Essays and Documents. Eds. Ian MacKillop and Richard Storer. Sheffield: Sheffield Academic Press, 1995. Malevich, Kazimir. In Penny Guggenheim, ed. Art of This Century – Drawings – Photographs – Sculpture – Collages. New York: Art Aid, 1942. Marshall, Jonathan. “Documents in Australian Postmodern Dance: Two Interviews with Lucy Guerin,” in Adrian Kiernander, ed. Dance and Physical Theatre, special edition of Australasian Drama Studies 41 (October 2002): 102-33. ———. “Operatic Tradition and Ambivalence in Chamber Made Opera’s Recital (Chesworth, Horton, Noonan),” in Keith Gallasch and Laura Ginters, eds. Music Theatre in Australia, special edition of Australasian Drama Studies 45 (October 2004): 72-96. ———. “Vertigo: Between the Word and the Act,” Independent Performance Forums, series of essays commissioned by Not Yet It’s Difficult theatre company and published in RealTime Australia 35 (2000): 10. Merzbow. Venereology. Audio recording. USA: Relapse, 1994. Richards, Alison, Geoffrey Milne, et al., eds. Pearls before Swine: Australian Theatre Criticism, special edition of Meajin 53.3 (Spring 1994). Tzara, Tristan. Seven Dada Manifestos and Lampisteries. Trans. by Barbara Wright. London: Calder, 1992. Vaughan, David. Merce Cunningham: Fifty Years. Ed. Melissa Harris. New York: Aperture, 1997. Citation reference for this article MLA Style Marshall, Jonathan. "Inciting Reflection: A Short Manifesto for and Introduction to the Discursive Reviewing of the Arts." M/C Journal 8.5 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0510/08-marshall.php>. APA Style Marshall, J. (Oct. 2005) "Inciting Reflection: A Short Manifesto for and Introduction to the Discursive Reviewing of the Arts," M/C Journal, 8(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0510/08-marshall.php>.

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'He did what the cipher could not, he rescued himself.' -- Alfred Bester, The Stars My Destination (23) On many levels, the new Nine Inch Nails album The Fragile is a gritty meditation about different types of End: the eternal relationship cycle of 'fragility, tension, ordeal, fragmentation' (adapted, with apologies to Wilhelm Reich); fin-de-siècle anxiety; post-millennium foreboding; a spectre of the alien discontinuity that heralds an on-rushing future vastly different from the one envisaged by Enlightenment Project architects. In retrospect, it's easy for this perspective to be dismissed as jargon-filled cyber-crit hyperbole. Cyber-crit has always been at its best too when it invents pre-histories and finds hidden connections between different phenomena (like the work of Greil Marcus and early Mark Dery), and not when it is closer to Chinese Water Torture, name-checking the canon's icons (the 'Deleuze/Guattari' tag-team), texts and key terms. "The organization of sound is interpreted historically, politically, socially ... . It subdues music's ambition, reins it in, restores it to its proper place, reconciles it to its naturally belated fate", comments imagineer Kodwo Eshun (4) on how cyber-crit destroys albums and the innocence of the listening experience. This is how official histories are constructed a priori and freeze-dried according to personal tastes and prior memes: sometimes the most interesting experiments are Darwinian dead-ends that fail to make the canon, or don't register on the radar. Anyone approaching The Fragile must also contend with the music industry's harsh realities. For every 10 000 Goth fans who moshed to the primal 'kill-f*ck-dance' rhythms of the hit single "Closer" (heeding its siren-call to fulfil basic physiological needs and build niche-space), maybe 20 noted that the same riff returned with a darker edge in the title track to The Downward Spiral, undermining the glorification of Indulgent hedonism. "The problem with such alternative audiences," notes Disinformation Creative Director Richard Metzger, "is that they are trying to be different -- just like everyone else." According to author Don Webb, "some mature Chaos and Black Magicians reject their earlier Nine Inch Nails-inspired Goth beginnings and are extremely critical towards new adopters because they are uncomfortable with the subculture's growing popularity, which threatens to taint their meticulously constructed 'mysterious' worlds. But by doing so, they are also rejecting their symbolic imprinting and some powerful Keys to unlocking their personal history." It is also difficult to separate Nine Inch Nails from the commercialisation and colossal money-making machine that inevitably ensued on the MTV tour circuit: do we blame Michael Trent Reznor because most of his audience are unlikely to be familiar with 'first-wave' industrial bands including Cabaret Voltaire and the experiments of Genesis P. Orridge in Throbbing Gristle? Do we accuse Reznor of being a plagiarist just because he wears some of his influences -- Dr. Dre, Daft Punk, Atari Teenage Riot, Pink Floyd's The Wall (1979), Tom Waits's Bone Machine (1992), David Bowie's Low (1977) -- on his sleeve? And do we accept no-brain rock critic album reviews who quote lines like 'All the pieces didn't fit/Though I really didn't give a sh*t' ("Where Is Everybody?") or 'And when I suck you off/Not a drop will go to waste' ("Starf*ckers Inc") as representative of his true personality? Reznor evidently has his own thoughts on this subject, but we should let the music speak for itself. The album's epic production and technical complexity turned into a post-modern studio Vision Quest, assisted by producer Alan Moulder, eleventh-hour saviour Bob Ezrin (brought in by Reznor to 'block-out' conceptual and sonic continuity), and a group of assault-technicians. The fruit of these collaborations is an album where Reznor is playing with our organism's time-binding sense, modulating strange emotions through deeply embedded tonal angularities. During his five-year absence, Trent Reznor fought diverse forms of repetitious trauma, from endogenous depression caused by endless touring to the death of his beloved grandmother (who raised him throughout childhood). An end signals a new beginning, a spiral is an open-ended and ever-shifting structure, and so Reznor sought to re-discover the Elder Gods within, a shamanic approach to renewal and secular salvation utilised most effectively by music PR luminary and scientist Howard Bloom. Concerned with healing the human animal through Ordeals that hard-wire the physiological baselines of Love, Hate and Fear, Reznor also focusses on what happens when 'meaning-making' collapses and hope for the future cannot easily be found. He accurately captures the confusion that such dissolution of meaning and decline of social institutions brings to the world -- Francis f*ckuyama calls this bifurcation 'The Great Disruption'. For a generation who experienced their late childhood and early adolescence in Reagan's America, Reznor and his influences (Marilyn Manson and Filter) capture the Dark Side of recent history, unleashed at Altamont and mutating into the Apocalyptic style of American politics (evident in the 'Star Wars'/SDI fascination). The personal 'psychotic core' that was crystallised by the collapse of the nuclear family unit and supportive social institutions has returned to haunt us with dystopian fantasies that are played out across Internet streaming media and visceral MTV film-clips. That such cathartic releases are useful -- and even necessary (to those whose lives have been formed by socio-economic 'life conditions') is a point that escapes critics like Roger Scruton, some Christian Evangelists and the New Right. The 'escapist' quality of early 1980s 'Rapture' and 'Cosmocide' (Hal Lindsey) prophecies has yielded strange fruit for the Children of Ezekiel, whom Reznor and Marilyn Manson are unofficial spokes-persons for. From a macro perspective, Reznor's post-human evolutionary nexus lies, like J.G. Ballard's tales, in a mythical near-future built upon past memory-shards. It is the kind of worldview that fuses organic and morphogenetic structures with industrial machines run amok, thus The Fragile is an artefact that captures the subjective contents of the different mind produced by different times. Sonic events are in-synch but out of phase. Samples subtly trigger and then scramble kinaesthetic-visceral and kinaesthetic-tactile memories, suggestive of dissociated affective states or body memories that are incapable of being retrieved (van der Kolk 294). Perhaps this is why after a Century of Identity Confusion some fans find it impossible to listen to a 102-minute album in one sitting. No wonder then that the double album is divided into 'left' and 'right' discs (a reference to split-brain research?). The real-time track-by-track interpretation below is necessarily subjective, and is intended to serve as a provisional listener's guide to the aural ur-text of 1999. The Fragile is full of encrypted tones and garbled frequencies that capture a world where the future is always bleeding into a non-recoverable past. Turbulent wave-forms fight for the listener's attention with prolonged static lulls. This does not make for comfortable or even 'nice' listening. The music's mind is a snapshot, a critical indicator, of the deep structures brewing within the Weltanschauung that could erupt at any moment. "Somewhat Damaged" opens the album's 'Left' disc with an oscillating acoustic strum that anchor's the listener's attention. Offset by pulsing beats and mallet percussion, Reznor builds up sound layers that contrast with lyrical epitaphs like 'Everything that swore it wouldn't change is different now'. Icarus iconography is invoked, but perhaps a more fitting mythopoeic symbol of the journey that lies ahead would be Nietzsche's pursuit of his Ariadne through the labyrinth of life, during which the hero is steadily consumed by his numbing psychosis. Reznor fittingly comments: 'Didn't quite/Fell Apart/Where were you?' If we consider that Reznor has been repeating the same cycle with different variations throughout all of his music to date, retro-fitting each new album into a seamless tapestry, then this track signals that he has begun to finally climb out of self-imposed exile in the Underworld. "The Day the World Went Away" has a tremendously eerie opening, with plucked mandolin effects entering at 0:40. The main slashing guitar riff was interpreted by some critics as Reznor's attempt to parody himself. For some reason, the eerie backdrop and fragmented acoustic guitar strums recalls to my mind civil defence nuclear war films. Reznor, like William S. Burroughs, has some powerful obsessions. The track builds up in intensity, with a 'Chorus of the Damned' singing 'na na nah' over apocalyptic end-times imagery. At 4:22 the track ends with an echo that loops and repeats. "The Frail" signals a shift to mournful introspectiveness with piano: a soundtrack to faded 8 mm films and dying memories. The piano builds up slowly with background echo, holds and segues into ... "The Wretched", beginning with a savage downbeat that recalls earlier material from Pretty Hate Machine. 'The Far Aways/Forget It' intones Reznor -- it's becoming clear that despite some claims to the contrary, there is redemption in this album, but it is one borne out of a relentless move forward, a strive-drive. 'You're finally free/You could be' suggest Reznor studied Existentialism during his psychotherapy visits. This song contains perhaps the ultimate post-relationship line: 'It didn't turn out the way you wanted it to, did it?' It's over, just not the way you wanted; you can always leave the partner you're with, but the ones you have already left will always stain your memories. The lines 'Back at the beginning/Sinking/Spinning' recall the claustrophobic trapped world and 'eternal Now' dislocation of Post-Traumatic Stress Disorder victims. At 3:44 a plucked cello riff, filtered, segues into a sludge buzz-saw guitar solo. At 5:18 the cello riff loops and repeats. "We're in This Together Now" uses static as percussion, highlighting the influence of electricity flows instead of traditional rock instrument configurations. At 0:34 vocals enter, at 1:15 Reznor wails 'I'm impossible', showing he is the heir to Roger Waters's self-reflective rock-star angst. 'Until the very end of me, until the very end of you' reverts the traditional marriage vow, whilst 'You're the Queen and I'm the King' quotes David Bowie's "Heroes". Unlike earlier tracks like "Reptile", this track is far more positive about relationships, which have previously resembled toxic-dyads. Reznor signals a delta surge (breaking through barriers at any cost), despite a time-line morphing between present-past-future. At 5:30 synths and piano signal a shift, at 5:49 the outgoing piano riff begins. The film-clip is filled with redemptive water imagery. The soundtrack gradually gets more murky and at 7:05 a subterranean note signals closure. "The Fragile" is even more hopeful and life-affirming (some may even interpret it as devotional), but this love -- representative of the End-Times, alludes to the 'Glamour of Evil' (Nico) in the line 'Fragile/She doesn't see her beauty'. The fusion of synths and atonal guitars beginning at 2:13 summons forth film-clip imagery -- mazes, pageants, bald eagles, found sounds, cloaked figures, ruined statues, enveloping darkness. "Just like You Imagined" opens with Soundscapes worthy of Robert Fripp, doubled by piano and guitar at 0:39. Drums and muffled voices enter at 0:54 -- are we seeing a pattern to Reznor's writing here? Sonic debris guitar enters at 1:08, bringing forth intensities from white noise. This track is full of subtle joys like the 1:23-1:36 solo by David Bowie pianist Mike Garson and guitarist Adrian Belew's outgoing guitar solo at 2:43, shifting back to the underlying soundscapes at 3:07. The sounds are always on the dissipative edge of chaos. "Just like You Imagined" opens with Soundscapes worthy of Robert Fripp, doubled by piano and guitar at 0:39. Drums and muffled voices enter at 0:54 -- are we seeing a pattern to Reznor's writing here? Sonic debris guitar enters at 1:08, bringing forth intensities from white noise. This track is full of subtle joys like the 1:23-1:36 solo by David Bowie pianist Mike Garson and guitarist Adrian Belew's outgoing guitar solo at 2:43, shifting back to the underlying soundscapes at 3:07. The sounds are always on the dissipative edge of chaos. "Pilgrimage" utilises a persistent ostinato and beat, with a driving guitar overlay at 0:18. This is perhaps the most familiar track, using Reznor motifs like the doubling of the riff with acoustic guitars between 1:12-1:20, march cries, and pitch-shift effects on a 3:18 drumbeat/cymbal. Or at least I could claim it was familiar, if it were not that legendary hip-hop producer and 'edge-of-panic' tactilist Dr. Dre helped assemble the final track mix. "No, You Don't" has been interpreted as an attack on Marilyn Manson and Hole's Courntey Love, particularly the 0:47 line 'Got to keep it all on the outside/Because everything is dead on the inside' and the 2:33 final verse 'Just so you know, I did not believe you could sink so low'. The song's structure is familiar: a basic beat at 0:16, guitars building from 0:31 to sneering vocals, a 2:03 counter-riff that merges at 2:19 with vocals and ascending to the final verse and 3:26 final distortion... "La Mer" is the first major surprise, a beautiful and sweeping fusion of piano, keyboard and cello, reminiscent of Symbolist composer Debussy. At 1:07 Denise Milfort whispers, setting the stage for sometime Ministry drummer Bill Reiflin's jazz drumming at 1:22, and a funky 1:32 guitar/bass line. The pulsing synth guitar at 2:04 serves as anchoring percussion for a cinematic electronica mindscape, filtered through new layers of sonic chiaroscuro at 2:51. 3:06 phase shifting, 3:22 layer doubling, 3:37 outgoing solo, 3:50-3:54 more swirling vocal fragments, seguing into a fading cello quartet as shadows creep. David Carson's moody film-clip captures the end more ominously, depicting the beauty of drowning. This track contains the line 'Nothing can stop me now', which appears to be Reznor's personal mantra. This track rivals 'Hurt' and 'A Warm Place' from The Downward Spiral and 'Something I Can Never Have' from Pretty Hate Machine as perhaps the most emotionally revealing and delicate material that Reznor has written. "The Great Below" ends the first disc with more multi-layered textures fusing nostalgia and reverie: a twelve-second cello riff is counter-pointed by a plucked overlay, which builds to a 0:43 washed pulse effect, transformed by six second pulses between 1:04-1:19 and a further effects layer at 1:24. E-bow effects underscore lyrics like 'Currents have their say' (2:33) and 'Washes me away' (2:44), which a 3:33 sitar riff answers. These complexities are further transmuted by seemingly random events -- a 4:06 doubling of the sitar riff which 'glitches' and a 4:32 backbeat echo that drifts for four bars. While Reznor's lyrics suggest that he is unable to control subjective time-states (like The Joker in the Batman: Dark Knight series of Kali-yuga comic-books), the track constructions show that the Key to his hold over the listener is very carefully constructed songs whose spaces resemble Pythagorean mathematical formulas. Misdirecting the audience is the secret of many magicians. "The Way Out Is Through" opens the 'Right' disc with an industrial riff that builds at 0:19 to click-track and rhythm, the equivalent of a weaving spiral. Whispering 'All I've undergone/I will keep on' at 1:24, Reznor is backed at 1:38 by synths and drums coalescing into guitars, which take shape at 1:46 and turn into a torrential electrical current. The models are clearly natural morphogenetic structures. The track twists through inner storms and torments from 2:42 to 2:48, mirrored by vocal shards at 2:59 and soundscapes at 3:45, before piano fades in and out at 4:12. The title references peri-natal theories of development (particularly those of Stanislav Grof), which is the source of much of the album's imagery. "Into the Void" is not the Black Sabbath song of the same name, but a catchy track that uses the same unfolding formula (opening static, cello at 0:18, guitars at 0:31, drums and backbeat at 1:02, trademark industrial vocals and synth at 1:02, verse at 1:23), and would not appear out of place in a Survival Research Laboratories exhibition. At 3:42 Reznor plays with the edge of synth soundscapes, merging vocals at 4:02 and ending the track nicely at 4:44 alone. "Where Is Everybody?" emulates earlier structures, but relies from 2:01 on whirring effects and organic rhythms, including a flurry of eight beat pulses between 2:40-2:46 and a 3:33 spiralling guitar solo. The 4:26 guitar solo is pure Adrian Belew, and is suddenly ended by spluttering static and white noise at 5:13. "The Mark Has Been Made" signals another downshift into introspectiveness with 0:32 ghostly synth shimmers, echoed by cello at 1:04 which is the doubled at 1:55 by guitar. At 2:08 industrial riffs suddenly build up, weaving between 3:28 distorted guitars and the return of the repressed original layer at 4:16. The surprise is a mystery 32 second soundscape at the end with Reznor crooning 'I'm getting closer, all the time' like a zombie devil Elvis. "Please" highlights spacious noise at 0:48, and signals a central album motif at 1:04 with the line 'Time starts slowing down/Sink until I drown'. The psychic mood of the album shifts with the discovery of Imagination as a liberating force against oppression. The synth sound again is remarkably organic for an industrial album. "Starf*ckers Inc" is the now infamous sneering attack on rock-stardom, perhaps at Marilyn Manson (at 3:08 Reznor quotes Carly Simon's 'You're So Vain'). Jungle beats and pulsing synths open the track, which features the sound-sculpting talent of Pop Will Eat Itself member Clint Mansell. Beginning at 0:26, Reznor's vocals appear to have been sampled, looped and cut up (apologies to Brion Gysin and William S. Burroughs). The lines 'I have arrived and this time you should believe the hype/I listened to everyone now I know everyone was right' is a very savage and funny exposure of Manson's constant references to Friedrich Nietzsche's Herd-mentality: the Herd needs a bogey-man to whip it into submission, and Manson comes dangerous close to fulfilling this potential, thus becoming trapped by a 'Stacked Deck' paradox. The 4:08 lyric line 'Now I belong I'm one of the Chosen Ones/Now I belong I'm one of the Beautiful Ones' highlights the problem of being Elect and becoming intertwined with institutionalised group-think. The album version ditches the closing sample of Gene Simmons screaming "Thankyou and goodnight!" to an enraptured audience on the single from KISS Alive (1975), which was appropriately over-the-top (the alternate quiet version is worth hearing also). "The danger Marilyn Manson faces", notes Don Webb (current High Priest of the Temple of Set), "is that he may end up in twenty years time on the 'Tonight Show' safely singing our favourite songs like a Goth Frank Sinatra, and will have gradually lost his antinomian power. It's much harder to maintain the enigmatic aura of an Evil villain than it is to play the clown with society". Reznor's superior musicianship and sense of irony should keep him from falling into the same trap. "Complication" juggernauts in at 0:57 with screaming vocals and a barrage of white noise at 1:56. It's clear by now that Reznor has read his psychological operations (PSYOP) manuals pertaining to blasting the hell out of his audiences' psyche by any means necessary. Computer blip noise and black light flotation tank memories. Dislocating pauses and time-bends. The aural equivalent of Klein bottles. "Complication" juggernauts in at 0:57 with screaming vocals and a barrage of white noise at 1:56. It's clear by now that Reznor has read his psychological operations (PSYOP) manuals pertaining to blasting the hell out of his audiences' psyche by any means necessary. Computer blip noise and black light flotation tank memories. Dislocating pauses and time-bends. The aural equivalent of Klein bottles. "The Big Come Down" begins with a four-second synth/static intro that is smashed apart by a hard beat at 0:05 and kaleidoscope guitars at 0:16. Critics refer to the song's lyrics in an attempt to project a narcissistic Reznor personality, but don't comment on stylistic tweaks like the AM radio influenced backing vocals at 1:02 and 1:19, or the use of guitars as a percussion layer at 1:51. A further intriguing element is the return of the fly samples at 2:38, an effect heard on previous releases and a possible post-human sub-text. The alien mythos will eventually reign over the banal and empty human. At 3:07 the synths return with static, a further overlay adds more synths at 3:45 as the track spirals to its peak, before dissipating at 3:1 in a mesh of percussion and guitars. "Underneath It All" opens with a riff that signals we have reached the album's climatic turning point, with the recurring theme of fragmenting body-memories returning at 0:23 with the line 'All I can do/I can still feel you', and being echoed by pulsing static at 0:42 as electric percussion. A 'Messiah Complex' appears at 1:34 with the line 'Crucify/After all I've died/After all I've tried/You are still inside', or at least it appears to be that on the surface. This is the kind of line that typical rock critics will quote, but a careful re-reading suggests that Reznor is pointing to the painful nature of remanifesting. Our past shapes us more than we would like to admit particularly our first relationships. "Ripe (With Decay)" is the album's final statement, a complex weaving of passages over a repetitive mesh of guitars, pulsing echoes, back-beats, soundscapes, and a powerful Mike Garson piano solo (2:26). Earlier motifs including fly samples (3:00), mournful funeral violas (3:36) and slowing time effects (4:28) recur throughout the track. Having finally reached the psychotic core, Reznor is not content to let us rest, mixing funk bass riffs (4:46), vocal snatches (5:23) and oscillating guitars (5:39) that drag the listener forever onwards towards the edge of the abyss (5:58). The final sequence begins at 6:22, loses fidelity at 6:28, and ends abruptly at 6:35. At millennium's end there is a common-held perception that the world is in an irreversible state of decay, and that Culture is just a wafer-thin veneer over anarchy. Music like The Fragile suggests that we are still trying to assimilate into popular culture the 'war-on-Self' worldviews unleashed by the nineteenth-century 'Masters of Suspicion' (Charles Darwin, Sigmund Freud, Friedrich Nietzsche). This 'assimilation gap' is evident in industrial music, which in the late 1970s was struggling to capture the mood of the Industrial Revolution and Charles Dickens, so the genre is ripe for further exploration of the scarred psyche. What the self-appointed moral guardians of the Herd fail to appreciate is that as the imprint baseline rises (reflective of socio-political realities), the kind of imagery prevalent throughout The Fragile and in films like Strange Days (1995), The Matrix (1999) and eXistenZ (1999) is going to get even darker. The solution is not censorship or repression in the name of pleasing an all-saving surrogate god-figure. No, these things have to be faced and embraced somehow. Such a process can only occur if there is space within for the Sadeian aesthetic that Nine Inch Nails embodies, and not a denial of Dark Eros. "We need a second Renaissance", notes Don Webb, "a rejuvenation of Culture on a significant scale". In other words, a global culture-shift of quantum (aeon or epoch-changing) proportions. The tools required will probably not come just from the over-wordy criticism of Cyber-culture and Cultural Studies or the logical-negative feeding frenzy of most Music Journalism. They will come from a dynamic synthesis of disciplines striving toward a unity of knowledge -- what socio-biologist Edward O. Wilson has described as 'Consilience'. Liberating tools and ideas will be conveyed to a wider public audience unfamiliar with such principles through predominantly science fiction visual imagery and industrial/electronica music. The Fragile serves as an invaluable model for how such artefacts could transmit their dreams and propagate their messages. For the hyper-alert listener, it will be the first step on a new journey. But sadly for the majority, it will be just another hysterical industrial album promoted as selection of the month. References Bester, Alfred. The Stars My Destination. London: Millennium Books, 1999. Eshun, Kodwo. More Brilliant than the Sun: Adventures in Sonic Fiction. London: Quartet Books, 1998. Van der Kolk, Bessel A. "Trauma and Memory." Traumatic Stress: The Effects of Overwhelming Experience on Mind, Body, and Society. Eds. Bessel A. van der Kolk et al. New York: Guilford Press, 1996. Nine Inch Nails. Downward Spiral. Nothing/Interscope, 1994. ---. The Fragile. Nothing, 1999. ---. Pretty Hate Machine. TVT, 1989. Citation reference for this article MLA style: Alex Burns. "'This Machine Is Obsolete': A Listeners' Guide to Nine Inch Nails' The Fragile." M/C: A Journal of Media and Culture 2.8 (1999). [your date of access] <http://www.uq.edu.au/mc/9912/nine.php>. Chicago style: Alex Burns, "'This Machine Is Obsolete': A Listeners' Guide to Nine Inch Nails' The Fragile," M/C: A Journal of Media and Culture 2, no. 8 (1999), <http://www.uq.edu.au/mc/9912/nine.php> ([your date of access]). APA style: Alex Burns. (1999) 'This machine is obsolete': a listeners' guide to Nine Inch Nails' The fragile. M/C: A Journal of Media and Culture 2(8). <http://www.uq.edu.au/mc/9912/nine.php> ([your date of access]).

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Abstract:

We ask you now, reader, to put your mind, as a citizen of the Australian Commonwealth, to the facts presented in these pages. We ask you to study the problem, in the way that we present the case, from the Aborigines’ point of view. We do not ask for your charity; we do not ask you to study us as scientific-freaks. Above all, we do not ask for your “protection”. No, thanks! We have had 150 years of that! We ask only for justice, decency, and fair play. (Patten and Ferguson 3-4) Jack Patten and William Ferguson’s above declaration on “Plain Speaking” in Aborigines Claim Citizenship Rights! A Statement of the Case for the Aborigines Progressive Association (1938), outlining Aboriginal Australians view of colonisation and the call for Aboriginal self-determinacy, will be my guiding framework in writing this paper. I ask you to study the problem, as it is presented, from the viewpoint of an Indigenous woman who seeks to understand how “sorry” has been uttered in political domains as a word divorced from the moral freight attached to a history of “degrading, humiliating and exterminating” Aboriginal Australians (Patten and Ferguson 11). I wish to argue that the Opposition leader’s utterance of “sorry” in his 13 February 2008 “We Are Sorry – Address to Parliament” was an indicator of the insidious ways in which colonisation has treated Aboriginal Australians as less than, not equal to, white Australians and to examine the ways in which this particular utterance of the word “sorry” is built on longstanding colonial frameworks that position ‘the Aborigine’ as peripheral in the representation of a national identity – a national identity that, as shown by the transcript of the apology, continues to romanticise settler values and ignore Indigenous rights. Nelson’s address tries to disassociate the word “sorry” from any moral attachment. The basis of his address is on constructing a national identity where all injustices are equal. In offering this apology, let us not create one injustice in our attempts to address another. (Nelson) All sorrys are equal, but some are more equal than others. Listening to Nelson’s address, words resembling those of Orwell’s ran through my head. The word “sorry” in relation to Indigenous Australians has taken on cultural, political, educational and economic proportions. The previous government’s refusal to utter the word was attached to the ways in which formations of rhetorically self-sufficient arguments of practicality, equality and justice “functioned to sustain and legitimate existing inequalities between Indigenous and non-Indigenous peoples in Australia” (Augoustinos, LeCouteur and Soyland 105). How then, I wondered as I nervously waited for Nelson to begin apologising, would he transform this inherited collective discursive practice of legitimised racism that upheld mainstream Australia’s social reality? The need for an apology, and the history of political refusal to give it, is not a simple classification of one event, one moment in history. The ‘act’ of removing children is not a singular, one-off event. The need to do, the justification and rationalisation of the doing and what that means now, the having done, as well as the impact on those that were left behind, those that were taken, those that were born after, are all bound up in this particular “sorry”. Given that reluctance of the previous government to admit injustices were done and still exist, this utterance of the word “sorry” from the leader of the opposition precariously sat between freely offering it and reluctantly giving it. The above quote from Nelson, and its central concern of not performing any injustice towards mainstream Australia (“let us not” [my italics]) very definitely defines this sorry in relation to one particular injustice (the removing of Indigenous children) which therefore ignores the surrounding and complicit colonialist and racist attitudes, policies and practices that both institutionalised and perpetuated racism against Australia’s Indigenous peoples. This comment also clearly articulates the opposition’s concern that mainstream Australia not be offended by this act of offering the word “sorry”. Nelson’s address and the ways that it constructs what this “sorry” is for, what it isn’t for, and who it is for, continues to uphold and legitimate existing inequalities between Indigenous and non-Indigenous Australians. From the very start of Nelson’s “We Are Sorry – Address to Parliament”, two specific clarifications were emphasised: the “sorry” was directed at a limited time period in history; and that there is an ‘us’ and a ‘them’. Nelson defines this distinction: “two cultures; one ancient, proud and celebrating its deep bond with this land for some 50,000 years. The other, no less proud, arrived here with little more than visionary hope deeply rooted in gritty determination to build an Australian nation.” This cultural division maintains colonising discourses that define and label, legitimate and exclude groups and communities. It draws from the binary oppositions of self and other, white and black, civilised and primitive. It maintains a divide between the two predominant ideas of history that this country struggles with and it silences those in that space in between, ignoring for example, the effects of colonisation and miscegenation in blurring the lines between ‘primitive’ and ‘civilised’. Although acknowledging that Indigenous Australians inhabited this land for a good few thousand decades before the proud, gritty, determined visionaries of a couple of hundred years ago, the “sorry” that is to be uttered is only in relation to “the first seven decades of the 20th century”. Nelson establishes from the outset that any forthcoming apology, on behalf of “us” – read as non-Indigenous Anglo-Australians – in reference to ‘them’ – “those Aboriginal people forcibly removed” – is only valid for the “period within which these events occurred [which] was one that defined and shaped Australia”. My reading of this sectioning of a period in Australia’s history is that while recognising that certain colonising actions were unjust, specifically in this instance the removal of Indigenous children, this period of time is also seen as influential and significant to the growth of the country. What this does is to allow the important colonial enterprise to subsume the unjust actions by the colonisers by other important colonial actions. Explicit in Nelson’s address is that this particular time frame saw the nation of Australia reach the heights of achievements and is a triumphant period – an approach which extends beyond taking the highs with the lows, and the good with the bad, towards overshadowing any minor ‘unfortunate’ mistakes that might have been made, ‘occasionally’, along the way. Throughout the address, there are continual reminders to the listeners that the “us” should not be placed at a disadvantage in the act of saying “sorry”: to do so would be to create injustice, whereas this “sorry” is strictly about attempting to “address another”. By sectioning off a specific period in the history of colonised Australia, the assumption is that all that happened before 1910 and all that happened after 1970 are “sorry” free. This not only ignores the lead up to the official policy of removal, how it was sanctioned and the aftermath of removal as outlined in The Bringing Them Home Report (1997); it also prevents Indigenous concepts of time from playing a legitimate and recognised role in the construct of both history and society. Aboriginal time is cyclical and moves around important events: those events that are most significant to an individual are held closer than those that are insignificant or mundane. Aleksendar Janca and Clothilde Bullen state that “time is perceived in relation to the socially sanctioned importance of events and is most often identified by stages in life or historic relevance of events” (41). The speech attempts to distinguish between moments and acts in history: firmly placing the act of removing children in a past society and as only one act of injustice amongst many acts of triumph. “Our generation does not own these actions, nor should it feel guilt for what was done in many, but not all cases, with the best of intentions” (Nelson). What was done is still being felt by Indigenous Australians today. And by differentiating between those that committed these actions and “our generation”, the address relies on a linear idea of time, to distance any wrongdoing from present day white Australians. What I struggle with here is that those wrongdoings continue to be felt according to Indigenous concepts of time and therefore these acts are not in a far away past but very much felt in the present. The need to not own these actions further entrenches the idea of separateness between Indigenous Australia and non-Indigenous Australia. The fear of being guilty or at blame evokes notions of wrong and right and this address is at pains not to do that – not to lay blame or evoke shame. Nelson’s address is relying on a national identity that has historically silenced and marginalised Indigenous Australians. If there is no blame to be accepted, if there is no attached shame to be acknowledged (“great pride, but occasionally shame” (Nelson)) and dealt with, then national identity is implicitly one of “discovery”, peaceful settlement and progress. Where are the Aboriginal perspectives of history in this idea of a national identity – then and now? And does this mean that colonialism happened and is now over? State and territory actions upon, against and in exclusion of Indigenous Australians are not actions that can be positioned as past discriminations; they continue today and are a direct result of those that preceded them. Throughout his address, Nelson emphasises the progressiveness of “today” and how that owes its success to the “past”: “In doing so, we reach from within ourselves to our past, those whose lives connect us to it and in deep understanding of its importance to our future”. By relying on a dichotomous approach – us and them, white and black, past and present – Nelson emphasises the distance between this generation of Australia and any momentary unjust actions in the past. The belief is that time moves on – away from the past and towards the future. That advancement, progression and civilisation are linear movements, all heading towards a more enlightened state. “We will be at our best today – and every day – if we pause to place ourselves in the shoes of others, imbued with the imaginative capacity to see this issue through their eyes with decency and respect”. But where is the recognition that today’s experiences, the results of what has been created by the past, are also attached to the need to offer an apology? Nelson’s “we” (Anglo-Australians) are being asked to stop and think about how “they” (Aborigines) might see things differently to the mainstream norm. The implication here also is that “they” – members of the Stolen Generations – must be prepared to understand the position white Australia is coming from, and acknowledge the good that white Australia has achieved. Anglo-Australian pride and achievement is reinforced throughout the address as the basis on which our national identity is understood. Ignoring its exclusion and silencing of the Indigenous Australians to whom his “sorry” is directed, Nelson perpetuates this ideology here in his address: “In brutally harsh conditions, from the small number of early British settlers our non Indigenous ancestors have given us a nation the envy of any in the world”. This gift of a nation where there was none before disregards the acts of invasion, segregation, protection and assimilation that characterise the colonisation of this nation. It also reverts to romanticised settler notions of triumph over great adversities – a notion that could just as easily be attached to Indigenous Australians yet Nelson specifically addresses “our non Indigenous ancestors”. He does add “But Aboriginal Australians made involuntary sacrifices, different but no less important, to make possible the economic and social development of our modern [my emphasis] Australia.” Indigenous Australians certainly made voluntary sacrifices, similar to and different from those made by non Indigenous Australians (Indigenous Australians also went to both World Wars and fought for this nation) and a great deal of “our modern” country’s economic success was achieved on the backs of Blackfellas (Taylor 9). But “involuntary sacrifices” is surely a contradiction in terms, either intellectually shoddy or breathtakingly disingenuous. To make a sacrifice is to do it voluntarily, to give something up for a greater good. “Involuntary sacrifices”, like “collateral damage” and other calculatedly cold-blooded euphemisms, conveniently covers up the question of who was doing what to whom – of who was sacrificed, and by whom. In the attempt to construct a basis of equal contribution between Indigenous and non-Indigenous, as well as equal acts of struggle and triumphing, Nelson’s account of history and nation building draws from the positioning of the oppressors but tries to suppress any notion of racial oppression. It maintains the separateness of Indigenous experiences of colonisation from the colonisers themselves. His reiteration that these occasional acts of unjustness came from benevolent and charitable white Australians privileges non-Indigenous ways of knowing and doing over Indigenous ones and attempts to present them as untainted and innate as opposed to repressive, discriminatory and racist. We honour those in our past who have suffered and all those who have made sacrifices for us by the way we live our lives and shape our nation. Today we recommit to do so – as one people. (Nelson) The political need to identify as “one people” drives assimilation policies (the attitude at the very heart of removing Aboriginal children on the basis that they were Aboriginal and needed to be absorbed into one society of whites). By honouring everyone, and therefore taking the focus off any act of unjustness by non-Indigenous peoples on Indigenous peoples, Nelson’s narrative again upholds an idea of contemporary national identity that has not only romanticised the past but ignores the inequalities of the present day. He spends a good few hundred words reminding his listeners that white Australia deserves to maintain its hard won position. And there is no doubt he is talking to white Australia – his focus is on Western constructs of patriotism and success. He reverts to settler/colonial discourse to uphold ideas of equity and access: These generations considered their responsibilities to their country and one another more important than their rights. They did not buy something until they had saved up for it and values were always more important than value. Living in considerably more difficult times, they had dreams for our nation but little money. Theirs was a mesh of values enshrined in God, King and Country and the belief in something greater than yourself. Neglectful indifference to all they achieved while seeing their actions in the separations only, through the values of our comfortable, modern Australia, will be to diminish ourselves. In “the separations only…” highlights Nelson’s colonial logic, which compartmentalises time, space, people and events and tries to disconnect one colonial act from another. The ideology, attitudes and policies that allowed the taking of Indigenous children were not separate from all other colonial and colonising acts and processes. The desire for a White Australia, a clear cut policy which was in existence at the same time as protection, removal and assimilation policies, cannot be disassociated from either the taking of children or the creation of this “comfortable, modern Australia” today. “Neglectful indifference to all they achieved” could aptly be applied to Indigenous peoples throughout Australian history – pre and post invasion. Where is the active acknowledgment of the denial of Indigenous rights so that “these generations [of non-Indigenous Australians could] consider their responsibilities to their country and one another more important than their rights”? Nelson adheres to the colonialist national narrative to focus on the “positive”, which Patrick Wolfe has argued in his critique of settler colonialism, is an attempt to mask disruptive moments that reveal the scope of state and national power over Aboriginal Australians (33). After consistently reinforcing the colonial/settler narrative, Nelson’s address moves on to insert Indigenous Australians into a well-defined and confined space within a specific chapter of that narrative. His perfunctory overview of the first seven decades of the 20th century alludes to Protection Boards and Reserves, assimilation policies and Christianisation, all underlined with white benevolence. Having established the innocent, inherently humane and decent motivations of “white families”, he resorts to appropriating Indigenous people’s stories and experiences. In the retelling of these stories, two prominent themes in Nelson’s text become apparent. White fellas were only trying to help the poor Blackfella back then, and one need only glance at Aboriginal communities today to see that white fellas are only trying to help the poor Blackfella again. It is reasonably argued that removal from squalor led to better lives – children fed, housed and educated for an adult world of [sic] which they could not have imagined. However, from my life as a family doctor and knowing the impact of my own father’s removal from his unmarried teenaged mother, not knowing who you are is the source of deep, scarring sorrows the real meaning of which can be known only to those who have endured it. No one should bring a sense of moral superiority to this debate in seeking to diminish the view that good was being sought to be done. (Nelson) A sense of moral superiority is what motivates colonisation: it is what motivated the enforced removal of children. The reference to “removal from squalor” is somewhat reminiscent of the 1909 Aborigines Protection Act. Act No. 25, 1909, section 11(1) which states: The board may, in accordance with and subject to the provisions of the Apprentices Act, 1901, by indenture bind or cause to be bound the child of any aborigine, or the neglected child of any person apparently having an admixture of aboriginal blood in his veins, to be apprenticed to any master, and may collect and institute proceedings for the recovery of any wages payable under such indenture, and may expend the same as the board may think fit in the interest of the child. Every child so apprenticed shall be under the supervision of the board, or of such person that may be authorised in that behalf by the regulations. (144) Neglect was often defined as simply being Aboriginal. The representation that being removed would lead to a better life relies on Western attitudes about society and culture. It dismisses any notion of Indigenous rights to be Indigenous and defines a better life according to how white society views it. Throughout most of the 1900s, Aboriginal children that were removed to experience this better life were trained in positions of servants. Nelson’s inclusion of his own personal experience as a non Indigenous Australian who has experienced loss and sorrow sustains his textual purpose to reduce human experiences to a common ground, an equal footing – to make all injustices equal. And he finishes the paragraph off with the subtle reminder that this “sorry” is only for “those” Aboriginal Australians that were removed in the first seven decades of last century. After retelling the experience of one Indigenous person as told to the National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from their Families, he retells the experience of an Indigenous woman as told to a non-Indigenous man. The appropriate protocols concerning the re-using of Indigenous knowledge and intellectual copyright appeared to be absent in this address. Not only does the individual remain unacknowledged but the potential for misappropriating Indigenous experiences for non Indigenous purposes is apparent. The insertion of the story dismisses the importance of the original act of telling, and the significance of the unspeakable through decades of silence. Felman presents the complexities of the survivor’s tale: “the victim’s story has to overcome not just the silence of the dead but the indelible coercive power of the oppressor’s terrifying, brutal silencing of the surviving, and the inherent speechless silence of the living in the face of an unthinkable, unknowable, ungraspable event” (227). In telling this story Nelson unravelled the foundation of equality he had attempted to resurrect. And his indication towards current happenings in the Northern Territory only served to further highlight the inequities that Indigenous peoples continue to face, resist and surpass. Nelson’s statement that “separation was then, and remains today, a painful but necessary part of public policy in the protection of children” is another reminder of the “indelible coercive power of the oppressor’s terrifying” potential to repeat history. The final unmasking of the hypocritical and contested nature of Nelson’s national ideology and narrative is in his telling of the “facts” – the statistics concerning Indigenous life expectancy, Indigenous infant mortality rates, “diabetes, kidney disease, hospitalisation of women from assault, imprisonment, overcrowding, educational underperformance and unemployment”. These statistics are a result not of what Nelson terms “existential aimlessness” (immediately preceding paragraph) but of colonisation – theft of land, oppression, abuse, discrimination, and lack of any rights whether citizenship or Aboriginal. These contemporary experiences of Indigenous peoples are the direct linear result of the last two hundred years of white nation building. The address is concluded with mention of Neville Bonner, portrayed here as the perfect example of what reading, writing, expressing yourself with dignity and treating people with decency and courtesy can achieve. Bonner is presented as the ‘ideal’ Blackfella, a product of the assimilation period: he could read and write and was dignified, decent and courteous (and, coincidentally, Liberal). The inclusion of this reference to Bonner in the address may hint at the “My best friend is an Aborigine” syndrome (Heiss 71), but it also provides a discursive example to the listener of the ways in which ‘equalness’ is suggested, assumed, privileged or denied. It is a reminder, in the same vein of Patten and Ferguson’s fights for rights, that what is equal has always been apparent to the colonised. Your present official attitude is one of prejudice and misunderstanding … we are no more dirty, lazy stupid, criminal, or immoral than yourselves. Also, your slanders against our race are a moral lie, told to throw all the blame for your troubles on to us. You, who originally conquered us by guns against our spears, now rely on superiority of numbers to support your false claims of moral and intellectual superiority. After 150 years, we ask you to review the situation and give us a fair deal – a New Deal for Aborigines. The cards have been stacked against us, and we now ask you to play the game like decent Australians. Remember, we do not ask for charity, we ask for justice. Nelson quotes Bonner’s words that “[unjust hardships] can only be changed when people of non Aboriginal extraction are prepared to listen, to hear what Aboriginal people are saying and then work with us to achieve those ends”. The need for non-Indigenous Australians to listen, to be shaken out of their complacent equalness appears to have gone unheard. Fiumara, in her philosophy of listening, states: “at this point the opportunity is offered for becoming aware that the compulsion to win is due less to the intrinsic difficulty of the situation than to inhibitions induced by a non-listening language that prevents us from seeing that which would otherwise be clear” (198). It is this compulsion to win, or to at least not be seen to be losing that contributes to the unequalness of this particular “sorry” and the need to construct an equal footing. This particular utterance of sorry does not come from an acknowledged place of difference and its attached history of colonisation; instead it strives to create a foundation based on a lack of anyone being positioned on the high moral ground. It is an irony that pervades the address considering it was the coloniser’s belief in his/her moral superiority that took the first child to begin with. Nelson’s address attempts to construct the utterance of “sorry”, and its intended meaning in this specific context, on ‘equal’ ground: his representation is that we are all Australians, “us” and ‘them’ combined, “we” all suffered and made sacrifices; “we” all deserve respect and equal acknowledgment of the contribution “we” all made to this “enviable” nation. And therein lies the unequalness, the inequality, the injustice, of this particular “sorry”. This particular “sorry” is born from and maintains the structures, policies, discourses and language that led to the taking of Indigenous children in the first place. In his attempt to create a “sorry” that drew equally from the “charitable” as well as the “misjudged” deeds of white Australia, Nelson’s “We Are Sorry – Address to Parliament” increased the experiences of inequality. Chow writes that in the politics of admittance the equal depends on “acceptance by permission … and yet, being ‘admitted’ is never simply a matter of possessing the right permit, for validation and acknowledgment must also be present for admittance to be complete” (36-37). References Augoustinos, Martha, Amanda LeCouteur, and John Soyland. “Self-Sufficient Arguments in Political Rhetoric: Constructing Reconciliation and Apologizing to the Stolen Generations.” Discourse and Society 13.1 (2002): 105-142.Bringing Them Home: National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from Their Families. Sydney: Human Rights and Equal Opportunity Commission, 1997.Aborigines Protection Act 1909: An Act to Provide for the Protection and Care of Aborigines; To Repeal the Supply of Liquors Aborigines Prevention Act; To Amend the Vagrancy Act, 1902, and the Police Offences (Amendment) Act, 1908; And for Purposes Consequent Thereon or Incidental Thereto. Assented to 20 Dec. 1909. Digital Collections: Books and Serial, National Library of Australia. 24 Mar. 2008 < http://www.nla.gov.au/apps/cdview?pi=nla.aus-vn71409-9x-s1-v >.Chow, Rey. “The Politics of Admittance: Female Sexual Agency, Miscegenation and the Formation of Community in Frantz Fanon.” In Anthony C. Alessandrini, ed. Frantz Fanon: Critical Perspectives. London: Routledge, 1999. 34-56.Felman, Shoshana. “Theaters of Justice: Arendt in Jerusalem, the Eichmann Trial and the Redefinition of Legal Meaning in the Wake of the Holocaust.” Critical Inquiry 27.2 (2001): 201-238.Fiumara, Gemma Corradi. The Other Side of Language: A Philosophy of Listening. London and New York: Routledge, 2006.Heiss, Anita. I’m Not a Racist But… UK: Salt Publishing, 2007.Janca, Aleksandar, and Clothilde Bullen. “Aboriginal Concept of Time and Its Mental Health Implications.” Australian Psychiatry 11 (Supplement 2003): 40-44.Nelson, Brendan. “We Are Sorry – Address to Parliament.” 14 Feb. 2008 < http://www.liberal.org.au/info/news/detail/20080213_ WearesorryAddresstoParliament.php >.Patten, Jack, and William Ferguson. Aborigines Claim Citizen Rights! A Statement for the Aborigines Progressive Association. Sydney: The Publicist, 1938.Taylor, Martin, and James Francis. Bludgers in Grass Castles: Native Title and the Unpaid Debts of the Pastoral Industry. Chippendale: Resistance Books, 1997.William, Ross. “‘Why Should I Feel Guilty?’ Reflections on the Workings of White-Aboriginal Relations.” Australian Psychologist 35.2 (2000): 136-142.Wolfe, Patrick. Settler Colonialism and the Transformation of Anthropology: The Politics and Poetics of an Ethnographic Event. London and New York: Cassell, 1999.

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Abstract:

Phillip Noyce is one of Australia’s most prominent film makers—a successful feature film director with both iconic Australian narratives and many a Hollywood blockbuster under his belt. Still, his beginnings were quite humble and far from his role today when he grew up in the midst of the counterculture of the late sixties. Millions of young people his age joined the various ‘movements’ of the day after experiences that changed their lives—mostly music but also drugs or fashion. The counterculture was a turbulent time in Sydney artistic circles as elsewhere. Everything looked possible, you simply had to “Do It!”—and Noyce did. He dived head-on into these times and with a voracious appetite for its many aspects—film, theatre, rallies, music, art and politics in general. In fact he often was the driving force behind such activities. Noyce described his personal epiphany occurring in 1968: A few months before I was due to graduate from high school, […] I saw a poster on a telegraph pole advertising American 'underground' movies. There was a mesmerising, beautiful blue-coloured drawing on the poster that I later discovered had been designed by an Australian filmmaker called David Perry. The word 'underground' conjured up all sorts of delights to an eighteen-year-old in the late Sixties: in an era of censorship it promised erotica, perhaps; in an era of drug-taking it promised some clandestine place where marijuana, or even something stronger, might be consumed; in an era of confrontation between conservative parents and their affluent post-war baby-boomer children, it promised a place where one could get together with other like-minded youth and plan to undermine the establishment, which at that time seemed to be the aim of just about everyone aged under 30. (Petzke 8) What the poster referred to was a new, highly different type of film. In the US these films were usually called “underground”. This term originates from film critic Manny Farber who used it in his 1957 essay Underground Films. Farber used the label for films whose directors today would be associated with independent and art house feature films. More directly, film historian Lewis Jacobs referred to experimental films when he used the words “film which for most of its life has led an underground existence” (8). The term is used interchangeably with New American Cinema. It was based on a New York group—the Film-Makers’ Co-operative—that started in 1960 with mostly low-budget filmmakers under the guidance of Jonas Mekas. When in 1962 the group was formally organised as a means for new, improved ways of distributing their works, experimental filmmakers were the dominant faction. They were filmmakers working in a more artistic vein, slightly influenced by the European Avant-garde of the 1920s and by attempts in the late 1940s and early 1950s. In film history, this era is also known as the Third Avant-garde. In their First Statement of the New American Cinema Group, the group drew connections to both the British Free Cinema and the French Nouvelle Vague. They also claimed that contemporary cinema was “morally corrupt, aesthetically obsolete, thematically superficial, temperamentally boring” (80). An all-encompassing definition of Underground Film never was available. Sheldon Renan lists some of the problems: There are underground films in which there is no movement and films in which there is nothing but movement. There are films about people and films about light. There are short, short underground films and long, long underground films. There are some that have been banned, and there is one that was nominated for an Academy Award. There are sexy films and sexless films, political films and poetical films, film epigrams and film epics … underground film is nothing less than an explosion of cinematic styles, forms and directions. (Renan 17) No wonder that propelled by frequent serious articles in the press—notably Jonas Mekas in the Village Voice—and regular screenings at other venues like the Film-makers’ Cinemathèque and the Gallery of Modern Art in New York, these films proved increasingly popular in the United States and almost immediately spread like bush fires around the world. So in early September 1968 Noyce joined a sold-out crowd at the Union Theatre in Sydney, watching 17 shorts assembled by Ubu Films, the premier experimental and underground film collective in 1960s Australia (Milesago). And on that night his whole attitude to art, his whole attitude to movies—in fact, his whole life—changed. He remembered: I left the cinema that night thinking, "I’m gonna make movies like that. I can do it." Here was a style of cinema that seemed to speak to me. It was immediate, it was direct, it was personal, and it wasn’t industrial. It was executed for personal expression, not for profit; it was individual as opposed to corporate, it was stylistically free; it seemed to require very little expenditure, innovation being the key note. It was a completely un-Hollywood-like aesthetic; it was operating on a visceral level that was often non-linear and was akin to the psychedelic images that were in vogue at the time—whether it was in music, in art or just in the patterns on your multi-coloured shirt. These movies spoke to me. (Petzke 9) Generally speaking, therefore, these films were the equivalent of counterculture in the area of film. Theodore Roszak railed against “technocracy” and underground films were just the opposite, often almost do-it-yourself in production and distribution. They were objecting to middle-class culture and values. And like counterculture they aimed at doing away with repression and to depict a utopian lifestyle feeling at ease with each imaginable form of liberality (Doggett 469). Underground films transgressed any Hollywood rule and convention in content, form and technique. Mobile hand-held cameras, narrow-gauge or outright home movies, shaky and wobbly, rapid cutting, out of focus, non-narrative, disparate continuity—you name it. This type of experimental film was used to express the individual consciousness of the “maker”—no longer calling themselves directors—a cinematic equivalent of the first person in literature. Just as in modern visual art, both the material and the process of making became part of these artworks. Music often was a dominant factor, particularly Eastern influences or the new Beat Music that was virtually non-existent in feature films. Drug experiences were reflected in imagery and structure. Some of the first comings-out of gay men can be found as well as films that were shown at the appropriately named “Wet Dreams Festival” in Amsterdam. Noyce commented: I worked out that the leading lights in this Ubu Films seemed to be three guys — Aggy Read, Albie Thoms and David Perry […They] all had beards and […] seemed to come from the basem*nt of a terrace house in Redfern. Watching those movies that night, picking up all this information, I was immediately seized by three great ambitions. First of all, I wanted to grow a beard; secondly, I wanted to live in a terrace house in the inner city; and thirdly, I wanted to be a filmmaker. (Ubu Films) Noyce soon discovered there were a lot of people like him who wanted to make short films for personal expression, but also as a form of nationalism. They wanted to make Australian movies. Noyce remembered: “Aggy, Albie and David encouraged everyone to go and make a film for themselves” (Petzke 11). This was easy enough to do as these films—not only in Australia—were often made for next to nothing and did not require any prior education or training. And the target audience group existed in a subculture of people willing to pay money even for extreme entertainment as long as it was advertised in an appealing way—which meant: in the way of the rampaging Zeitgeist. Noyce—smitten by the virus—would from then on regularly attend the weekly meetings organised by the young filmmakers. And in line with Jerry Rubin’s contemporary adage “Do it!” he would immediately embark on a string of films with enthusiasm and determination—qualities soon to become his trademark. All his films were experimental in nature, shot on 16mm and were so well received that Albie Thoms was convinced that Noyce had a great career ahead of him as an experimental filmmaker. Truly alternative was Noyce’s way to finally finance Better to Reign in Hell, his first film, made at age 18 and with a total budget of $600. Noyce said on reflection: I had approached some friends and told them that if they invested in my film, they could have an acting role. Unfortunately, the guy whose dad had the most money — he was a doctor’s son — was also maybe the worst actor that was ever put in front of a camera. But he had invested four hundred dollars, so I had to give him the lead. (Petzke 13) The title was taken from Milton’s poem Paradise Lost (“better to reign in hell than serve in heaven”). It was a film very much inspired by the images, montage and narrative techniques of the underground movies watched at Ubu. Essentially the film is about a young man’s obsession with a woman he sees repeatedly in advertising and the hallucinogenic dreams he has about her. Despite its later reputation, the film was relatively mundane. Being shot in black and white, it lacks the typical psychedelic ingredients of the time and is more reminiscent of the surrealistic precursors to underground film. Some contempt for the prevailing consumer society is thrown in for good measure. In the film, “A youth is persecuted by the haunting reappearance of a girl’s image in various commercial outlets. He finds escape from this commercial brainwashing only in his own confused sexual hallucinations” (Sydney Filmmakers Co-operative). But despite this advertising, so convincingly capturing the “hint! hint!” mood of the time, Noyce’s first film isn’t really outstanding even in terms of experimental film. Noyce continued to make short experimental films. There was not even the pretence of a story in any of them. He was just experimenting with his gear and finding his own way to use the techniques of the underground cinema. Megan was made at Sydney University Law School to be projected as part of the law students’ revue. It was a three-minute silent film that featured a woman called Megan, who he had a crush on. Intersection was 2 minutes 44 seconds in length and shot in the middle of a five-way or four-way intersection in North Sydney. The camera was walked into the intersection and spun around in a continuous circle from the beginning of the roll of film to the end. It was an experiment with disorientation and possibly a comment about urban development. Memories was a seven-minute short in colour about childhood and the bush, accompanied by a smell-track created in the cinema by burning eucalyptus leaves. Sun lasted 90 seconds in colour and examined the pulsating winter sun by way of 100 single frame shots. And finally, Home was a one-and-a-half-minute single frame camera exploration of the filmmaker’s home, inside and out, including its inhabitants and pets. As a true experimental filmmaker, Noyce had a deep interest in technical aspects. It was recommended that Sun “be projected through a special five image lens”, Memories and Intersection with “an anamorphic lens” (Sydney Filmmakers Co-operative). The double projection for Better to Reign in Hell and the two screens required for Good Afternoon, as well as the addition of the smell of burning leaves in Memories, were inroads into the subgenre of so-called Expanded Cinema. As filmmaking in those days was not an isolated enterprise but an integral part of the all-encompassing Counterculture, Noyce followed suit and became more and more involved and politiced. He started becoming a driving force of the movement. Besides selling Ubu News, he organised film screenings. He also wrote film articles for both Honi Soit and National U, the Sydney University and Canberra University newspapers—articles more opinionated than sophisticated. He was also involved in Ubu’s Underground Festival held in August and in other activities of the time, particularly anti-war protests. When Ubu Films went out of business after the lack of audience interest in Thoms’s long Marinetti film in 1969, Aggy Read suggested that Ubu be reinvented as a co-operative for tax reasons and because they might benefit from their stock of 250 Australian and foreign films. On 28 May 1970 the reinvention began at the first general meeting of the Sydney Filmmakers Cooperative where Noyce volunteered and was elected their part-time manager. He transferred the 250 prints to his parents’ home in Wahroonga where he was still living he said he “used to sit there day after day just screening those movies for myself” (Petzke 18). The Sydney University Film Society screened feature films to students at lunchtime. Noyce soon discovered they had money nobody was spending and equipment no one was using, which seemed to be made especially for him. In the university cinema he would often screen his own and other shorts from the Co-op’s library. The entry fee was 50 cents. He remembered: “If I handed out the leaflets in the morning, particularly concentrating on the fact that these films were uncensored and a little risqué, then usually there would be 600 people in the cinema […] One or two screenings per semester would usually give me all the pocket money I needed to live” (Petzke 19). Libertine and risqué films were obviously popular as they were hard to come by. Noyce said: We suffered the worst censorship of almost any Western country in the world, even worse than South Africa. Books would be seized by customs officers at the airports and when ships docked. Customs would be looking for Lady Chatterley’s Lover. We were very censored in literature and films and plays, and my film [Better to Reign in Hell] was banned from export. I tried to send it to a film festival in Holland and it was denied an export permit, but because it had been shot in Australia, until someone in the audience complained it could still be screened locally. (Castaway's Choice) No wonder clashes with the law happened frequently and were worn like medals of honour in those days of fighting the system, proving that one was fighting in the front line against the conservative values of law and order. Noyce encountered three brushes with the law. The first occurred when selling Ubu Films’ alternative culture newspaper Ubu News, Australia’s first underground newspaper (Milesago). One of the issues contained an advertisem*nt—a small drawing—for Levi’s jeans, showing a guy trying to put his Levis on his head, so that his penis was showing. That was judged by the police to be obscene. Noyce was found guilty and given a suspended sentence for publishing an indecent publication. There had been another incident including Phil’s Pill, his own publication of six or eight issues. After one day reprinting some erotic poems from The Penguin Collection of Erotic Poetry he was found guilty and released on a good behaviour bond without a conviction being recorded. For the sake of historical truth it should be remembered, though, that provocation was a genuine part of the game. How else could one seriously advertise Better to Reign in Hell as “a sex-fantasy film which includes a daring rape scene”—and be surprised when the police came in after screening this “p*rnographic film” (Stratton 202) at the Newcastle Law Students Ball? The Newcastle incident also throws light on the fact that Noyce organised screenings wherever possible, constantly driving prints and projectors around in his Mini Minor. Likewise, he is remembered as having been extremely helpful in trying to encourage other people with their own ideas—anyone could make films and could make them about anything they liked. He helped Jan Chapman, a fellow student who became his (first) wife in December 1971, to shoot and edit Just a Little Note, a documentary about a moratorium march and a guerrilla theatre group run by their friend George Shevtsov. Noyce also helped on I Happened to Be a Girl, a documentary about four women, friends of Chapman. There is no denying that being a filmmaker was a hobby, a full-time job and an obsessive religion for Noyce. He was on the organising committee of the First Australian Filmmakers’ Festival in August 1971. He performed in the agit-prop acting troupe run by George Shevtsov (later depicted in Renegades) that featured prominently at one of Sydney’s rock festival that year. In the latter part of 1971 and early 1972 he worked on Good Afternoon, a documentary about the Combined Universities’ Aquarius Arts Festival in Canberra, which arguably was the first major manifestation of counterculture in Australia. For this the Aquarius Foundation—the cultural arm of the Australian Union of Students—had contracted him. This became a two-screen movie à la Woodstock. Together with Thoms, Read and Ian Stocks, in 1972 he participated in cataloguing the complete set of films in distribution by the Co-op (see Sydney Filmmakers Cooperative). As can be seen, Noyce was at home in many manifestations of the Sydney counterculture. His own films had slowly become more politicised and bent towards documentary. He even started a newsreel that he used to screen at the Filmmakers’ Cooperative Cinema with a live commentary. One in 1971, Springboks Protest, was about the demonstrations at the Sydney Cricket Ground against the South African rugby tour. There were more but Noyce doesn’t remember them and no prints seem to have survived. Renegades was a diary film; a combination of poetic images and reportage on the street demonstrations. Noyce’s experimental films had been met with interest in the—limited—audience and among publications. His more political films and particularly Good Afternoon, however, reached out to a much wider audience, now including even the undogmatic left and hard-core documentarists of the times. In exchange, and for the first time, there were opposing reactions—but as always a great discussion at the Filmmakers’ Cinema, the main venue for independent productions. This cinema began with those initial screenings at Sydney University in the union room next to the Union Theatre. But once the Experimental Film Fund started operating in 1970, more and more films were submitted for the screenings and consequently a new venue was needed. Albie Thoms started a forum in the Yellow House in Kings Cross in May 1970. Next came—at least briefly—a restaurant in Glebe before the Co-op took over a space on the top floor of the socialist Third World Bookshop in Goulburn Street that was a firetrap. Bob Gould, the owner, was convinced that by first passing through his bookshop the audience would buy his books on the way upstairs. Sundays for him were otherwise dead from a commercial point of view. Noyce recollected that: The audience at this Filmmakers’ Cinema were mightily enthusiastic about seeing themselves up on the screen. And there was always a great discussion. So, generally the screenings were a huge success, with many full houses. The screenings grew from once a week, to three times on Sunday, to all weekend, and then seven days a week at several locations. One program could play in three different illegal cinemas around the city. (Petzke 26) A filmmakers’ cinema also started in Melbourne and the groups of filmmakers would visit each other and screen their respective films. But especially after the election of the Whitlam Labor government in December 1972 there was a shift in interest from risqué underground films to the concept of Australian Cinema. The audience started coming now for a dose of Australian culture. Funding of all kind was soon freely available and with such a fund the film co-op was able to set up a really good licensed cinema in St. Peters Lane in Darlinghurst, running seven days a week. But, Noyce said, “the move to St. Peters Lane was sort of the end of an era, because initially the cinema was self-funded, but once it became government sponsored everything changed” (Petzke 29). With money now readily available, egotism set in and the prevailing “we”-feeling rather quickly dissipated. But by the time of this move and the resulting developments, everything for Noyce had already changed again. He had been accepted into the first intake of the Interim Australian Film & TV School, another one of the nation-awareness-building projects of the Whitlam government. He was on his “long march through the institutions”—as this was frequently called throughout Europe—that would bring him to documentaries, TV and eventually even Hollywood (and return). Noyce didn’t linger once the alternative scene started fading away. Everything those few, wild years in the counterculture had taught him also put him right on track to become one of the major players in Hollywood. He never looked back—but he remembers fondly…References Castaway’s Choice. Radio broadcast by KCRW. 1990. Doggett, Peter. There’s a Riot Going On: Revolutionaries, Rock Stars and the Rise and Fall of ’60s Counter-Culture. Edinburgh: Canongate, 2007. Farber, Manny. “Underground Films.” Negative Space: Manny Farber on the Movies. Ed. Manny Farber. New York: Da Capo, 1998. 12–24. Jacobs, Lewis. “Morning for the Experimental Film”. Film Culture 19 (1959): 6–9. Milesago. “Ubu Films”. n.d. 26 Nov. 2014 ‹http://www.milesago.com/visual/ubu.htm›. New American Cinema Group. “First Statement of the New American Cinema Group.” Film Culture Reader. Ed. P. Adams Sitney. New York: Praeger, 1970. 73–75. Petzke, Ingo. Phillip Noyce: Backroads to Hollywood. Sydney: Pan McMillan, 2004. Renan, Sheldon. The Underground Film: An Introduction to Its Development in America. London: Studio Vista, 1968. Roszak, Theodore. The Making of Counter Culture. New York: Anchor, 1969. Stratton, David. The Last New Wave: The Australian Film Revival. Sydney: Angus and Robertson, 1980. Sydney Filmmakers Co-operative. Film Catalogue. Sydney: Sydney Filmmakers Co-operative, 1972. Ubu Films. Unreleased five-minute video for the promotion of Mudie, Peter. Ubu Films: Sydney Underground Movies 1965-1970. Sydney: UNSW Press, 1997.

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Abstract:

About half way through Yann Arthus-Bertrand’s film Home (2009) the narrator describes the fall of the Rapa Nui, the indigenous people of the Easter Islands. The narrator posits that the Rapa Nui culture collapsed due to extensive environmental degradation brought about by large-scale deforestation. The Rapa Nui cut down their massive native forests to clear spaces for agriculture, to heat their dwellings, to build canoes and, most importantly, to move their enormous rock sculptures—the Moai. The disappearance of their forests led to island-wide soil erosion and the gradual disappearance of arable land. Caught in the vice of overpopulation but with rapidly dwindling basic resources and no trees to build canoes, they were trapped on the island and watched helplessly as their society fell into disarray. The sequence ends with the narrator’s biting remark: “The real mystery of the Easter Islands is not how its strange statues got there, we know now; it's why the Rapa Nui didn't react in time.” In their unrelenting desire for development, the Rapa Nui appear to have overlooked the role the environment plays in maintaining a society. The island’s Moai accompanying the sequence appear as memento mori, a lesson in the mortality of human cultures brought about by their own misguided and short-sighted practices. Arthus-Bertrand’s Home, a film composed almost entirely of aerial photographs, bears witness to present-day environmental degradation and climate change, constructing society as a fragile structure built upon and sustained by the environment. Home is a call to recognise how contemporary practices of post-industrial societies have come to shape the environment and how they may impact the habitability of Earth in the near future. Through reflexivity and a ritualised structure the text invites spectators to look at themselves in a new light and remake their self-image in the wake of global environmental risk by embracing new, alternative core practices based on balance and interconnectedness. Arthus-Bertrand frames climate change not as a burden, but as a moment of profound realisation of the potential for change and humans ability to create a desirable future through hope and our innate capacity for renewal. This article examines how Arthus-Bertrand’s ritualised construction of climate change aims to remake viewers’ perception of present-day environmental degradation and investigates Home’s place in contemporary climate change communication discourse. Climate change, in its capacity to affect us globally, is considered a world risk. The most recent peer-reviewed Synthesis Report of the Intergovernmental Panel on Climate Change suggests that the concentration of atmospheric greenhouse gases has increased markedly since human industrialisation in the 18th century. Moreover, human activities, such as fossil fuel burning and agricultural practices, are “very likely” responsible for the resulting increase in temperature rise (IPPC 37). The increased global temperatures and the subsequent changing weather patterns have a direct and profound impact on the physical and biological systems of our planet, including shrinking glaciers, melting permafrost, coastal erosion, and changes in species distribution and reproduction patterns (Rosenzweig et al. 353). Studies of global security assert that these physiological changes are expected to increase the likelihood of humanitarian disasters, food and water supply shortages, and competition for resources thus resulting in a destabilisation of global safety (Boston et al. 1–2). Human behaviour and dominant practices of modernity are now on a path to materially impact the future habitability of our home, Earth. In contemporary post-industrial societies, however, climate change remains an elusive, intangible threat. Here, the Arctic-bound species forced to adapt to milder climates or the inhabitants of low-lying Pacific islands seeking refuge in mainland cities are removed from the everyday experience of the controlled and regulated environments of homes, offices, and shopping malls. Diverse research into the mediated and mediatised nature of the environment suggests that rather than from first-hand experiences and observations, the majority of our knowledge concerning the environment now comes from its representation in the mass media (Hamilton 4; Stamm et al. 220; Cox 2). Consequently the threat of climate change is communicated and constructed through the news media, entertainment and lifestyle programming, and various documentaries and fiction films. It is therefore the construction (the representation of the risk in various discourses) that shapes people’s perception and experience of the phenomenon, and ultimately influences behaviour and instigates social response (Beck 213). By drawing on and negotiating society’s dominant discourses, environmental mediation defines spectators’ perceptions of the human-nature relationship and subsequently their roles and responsibilities in the face of environmental risks. Maxwell Boykoff asserts that contemporary modern society’s mediatised representations of environmental degradation and climate change depict the phenomena as external to society’s primary social and economic concerns (449). Julia Corbett argues that this is partly because environmental protection and sustainable behaviour are often at odds with the dominant social paradigms of consumerism, economic growth, and materialism (175). Similarly, Rowan Howard-Williams suggests that most media texts, especially news, do not emphasise the link between social practices, such as consumerist behaviour, and their environmental consequences because they contradict dominant social paradigms (41). The demands contemporary post-industrial societies make on the environment to sustain economic growth, consumer culture, and citizens’ comfortable lives in air-conditioned homes and offices are often left unarticulated. While the media coverage of environmental risks may indeed have contributed to “critical misperceptions, misleading debates, and divergent understandings” (Boykoff 450) climate change possesses innate characteristics that amplify its perception in present-day post-industrial societies as a distant and impersonal threat. Climate change is characterised by temporal and spatial de-localisation. The gradual increase in global temperature and its physical and biological consequences are much less prominent than seasonal changes and hence difficult to observe on human time-scales. Moreover, while research points to the increased probability of extreme climatic events such as droughts, wild fires, and changes in weather patterns (IPCC 48), they take place over a wide range of geographical locations and no single event can be ultimately said to be the result of climate change (Maibach and Roser-Renouf 145). In addition to these observational obstacles, political partisanship, vested interests in the current status quo, and general resistance to profound change all play a part in keeping us one step removed from the phenomenon of climate change. The distant and impersonal nature of climate change coupled with the “uncertainty over consequences, diverse and multiple engaged interests, conflicting knowledge claims, and high stakes” (Lorenzoni et al. 65) often result in repression, rejection, and denial, removing the individual’s responsibility to act. Research suggests that, due to its unique observational obstacles in contemporary post-industrial societies, climate change is considered a psychologically distant event (Pawlik 559), one that is not personally salient due to the “perceived distance and remoteness [...] from one’s everyday experience” (O’Neill and Nicholson-Cole 370). In an examination of the barriers to behaviour change in the face of psychologically distant events, Robert Gifford argues that changing individuals’ perceptions of the issue-domain is one of the challenges of countering environmental inertia—the lack of initiative for environmentally sustainable social action (5). To challenge the status quo a radically different construction of the environment and the human-nature relationship is required to transform our perception of global environmental risks and ultimately result in environmentally consequential social action. Yann Arthus-Bertrand’s Home is a ritualised construction of contemporary environmental degradation and climate change which takes spectators on a rite of passage to a newfound understanding of the human-nature relationship. Transformation through re-imagining individuals’ roles, responsibilities, and practices is an intrinsic quality of rituals. A ritual charts a subjects path from one state of consciousness to the next, resulting in a meaningful change of attitudes (Deflem 8). Through a lifelong study of African rituals British cultural ethnographer Victor Turner refined his concept of rituals in a modern social context. Turner observed that rituals conform to a three-phased processural form (The Ritual Process 13–14). First, in the separation stage, the subjects are selected and removed from their fixed position in the social structure. Second, they enter an in-between and ambiguous liminal stage, characterised by a “partial or complete separation of the subject from everyday existence” (Deflem 8). Finally, imbued with a new perspective of the outside world borne out of the experience of reflexivity, liminality, and a cathartic cleansing, subjects are reintegrated into the social reality in a new, stable state. The three distinct stages make the ritual an emotionally charged, highly personal experience that “demarcates the passage from one phase to another in the individual’s life-cycle” (Turner, “Symbols” 488) and actively shapes human attitudes and behaviour. Adhering to the three-staged processural form of the ritual, Arthus-Bertrand guides spectators towards a newfound understanding of their roles and responsibilities in creating a desirable future. In the first stage—the separation—aerial photography of Home alienates viewers from their anthropocentric perspectives of the outside world. This establishes Earth as a body, and unearths spectators’ guilt and shame in relation to contemporary world risks. Aerial photography strips landscapes of their conventional qualities of horizon, scale, and human reference. As fine art photographer Emmet Gowin observes, “when one really sees an awesome, vast place, our sense of wholeness is reorganised [...] and the body seems always to diminish” (qtd. in Reynolds 4). Confronted with a seemingly infinite sublime landscape from above, the spectator’s “body diminishes” as they witness Earth’s body gradually taking shape. Home’s rushing rivers of Indonesia are akin to blood flowing through the veins and the Siberian permafrost seems like the texture of skin in extreme close-up. Arthus-Bertrand establishes a geocentric embodiment to force spectators to perceive and experience the environmental degradation brought about by the dominant social practices of contemporary post-industrial modernity. The film-maker visualises the maltreatment of the environment through suggested abuse of the Earth’s body. Images of industrial agricultural practices in the United States appear to leave scratches and scars on the landscape, and as a ship crosses the Arctic ice sheets of the Northwest Passage the boat glides like the surgeon’s knife cutting through the uppermost layer of the skin. But the deep blue water that’s revealed in the wake of the craft suggests a flesh and body now devoid of life, a suffering Earth in the wake of global climatic change. Arthus-Bertrand’s images become the sublime evidence of human intervention in the environment and the reflection of present-day industrialisation materially altering the face of Earth. The film-maker exploits spectators’ geocentric perspective and sensibility to prompt reflexivity, provide revelations about the self, and unearth the forgotten shame and guilt in having inadvertently caused excessive environmental degradation. Following the sequences establishing Earth as the body of the text Arthus-Bertrand returns spectators to their everyday “natural” environment—the city. Having witnessed and endured the pain and suffering of Earth, spectators now gaze at the skyscrapers standing bold and tall in the cityscape with disillusionment. The pinnacles of modern urban development become symbols of arrogance and exploitation: structures forced upon the landscape. Moreover, the images of contemporary cityscapes in Home serve as triggers for ritual reflexivity, allowing the spectator to “perceive the self [...] as a distanced ‘other’ and hence achieve a partial ‘self-transcendence’” (Beck, Comments 491). Arthus-Bertrand’s aerial photographs of Los Angeles, New York, and Tokyo fold these distinct urban environments into one uniform fusion of glass, metal, and concrete devoid of life. The uniformity of these cultural landscapes prompts spectators to add the missing element: the human. Suddenly, the homes and offices of desolate cityscapes are populated by none other than us, looking at ourselves from a unique vantage point. The geocentric sensibility the film-maker invoked with the images of the suffering Earth now prompt a revelation about the self as spectators see their everyday urban environments in a new light. Their homes and offices become blemishes on the face of the Earth: its inhabitants, including the spectators themselves, complicit in the excessive mistreatment of the planet. The second stage of the ritual allows Arthus-Bertrand to challenge dominant social paradigms of present day post-industrial societies and introduce new, alternative moral directives to govern our habits and attitudes. Following the separation, ritual subjects enter an in-between, threshold stage, one unencumbered by the spatial, temporal, and social boundaries of everyday existence. Turner posits that a subjects passage through this liminal stage is necessary to attain psychic maturation and successful transition to a new, stable state at the end of the ritual (The Ritual Process 97). While this “betwixt and between” (Turner, The Ritual Process 95) state may be a fleeting moment of transition, it makes for a “lived experience [that] transforms human beings cognitively, emotionally, and morally.” (Horvath et al. 3) Through a change of perceptions liminality paves the way toward meaningful social action. Home places spectators in a state of liminality to contrast geocentric and anthropocentric views. Arthus-Bertrand contrasts natural and human-made environments in terms of diversity. The narrator’s description of the “miracle of life” is followed by images of trees seemingly defying gravity, snow-covered summits among mountain ranges, and a whale in the ocean. Grandeur and variety appear to be inherent qualities of biodiversity on Earth, qualities contrasted with images of the endless, uniform rectangular greenhouses of Almeria, Spain. This contrast emphasises the loss of variety in human achievements and the monotony mass-production brings to the landscape. With the image of a fire burning atop a factory chimney, Arthus-Bertrand critiques the change of pace and distortion of time inherent in anthropocentric views, and specifically in contemporary modernity. Here, the flames appear to instantly eat away at resources that have taken millions of years to form, bringing anthropocentric and geocentric temporality into sharp contrast. A sequence showing a night time metropolis underscores this distinction. The glittering cityscape is lit by hundreds of lights in skyscrapers in an effort, it appears, to mimic and surpass daylight and thus upturn the natural rhythm of life. As the narrator remarks, in our present-day environments, “days are now the pale reflections of nights.” Arthus-Bertrand also uses ritual liminality to mark the present as a transitory, threshold moment in human civilisation. The film-maker contrasts the spectre of our past with possible visions of the future to mark the moment of now as a time when humanity is on the threshold of two distinct states of mind. The narrator’s descriptions of contemporary post-industrial society’s reliance on non-renewable resources and lack of environmentally sustainable agricultural practices condemn the past and warn viewers of the consequences of continuing such practices into the future. Exploring the liminal present Arthus-Bertrand proposes distinctive futurescapes for humankind. On the one hand, the narrator’s description of California’s “concentration camp style cattle farming” suggests that humankind will live in a future that feeds from the past, falling back on frames of horrors and past mistakes. On the other hand, the example of Costa Rica, a nation that abolished its military and dedicated the budget to environmental conservation, is recognition of our ability to re-imagine our future in the face of global risk. Home introduces myths to imbue liminality with the alternative dominant social paradigm of ecology. By calling upon deep-seated structures myths “touch the heart of society’s emotional, spiritual and intellectual consciousness” (Killingsworth and Palmer 176) and help us understand and come to terms with complex social, economic, and scientific phenomena. With the capacity to “pattern thought, beliefs and practices,” (Maier 166) myths are ideal tools in communicating ritual liminality and challenging contemporary post-industrial society’s dominant social paradigms. The opening sequence of Home, where the crescent Earth is slowly revealed in the darkness of space, is an allusion to creation: the genesis myth. Accompanied only by a gentle hum our home emerges in brilliant blue, white, and green-brown encompassing most of the screen. It is as if darkness and chaos disintegrated and order, life, and the elements were created right before our eyes. Akin to the Earthrise image taken by the astronauts of Apollo 8, Home’s opening sequence underscores the notion that our home is a unique spot in the blackness of space and is defined and circ*mscribed by the elements. With the opening sequence Arthus-Bertrand wishes to impart the message of interdependence and reliance on elements—core concepts of ecology. Balance, another key theme in ecology, is introduced with an allusion to the Icarus myth in a sequence depicting Dubai. The story of Icarus’s fall from the sky after flying too close to the sun is a symbolic retelling of hubris—a violent pride and arrogance punishable by nemesis—destruction, which ultimately restores balance by forcing the individual back within the limits transgressed (Littleton 712). In Arthus-Bertrand’s portrayal of Dubai, the camera slowly tilts upwards on the Burj Khalifa tower, the tallest human-made structure ever built. The construction works on the tower explicitly frame humans against the bright blue sky in their attempt to reach ever further, transgressing their limitations much like the ill-fated Icarus. Arthus-Bertrand warns that contemporary modernity does not strive for balance or moderation, and with climate change we may have brought our nemesis upon ourselves. By suggesting new dominant paradigms and providing a critique of current maxims, Home’s retelling of myths ultimately sees spectators through to the final stage of the ritual. The last phase in the rite of passage “celebrates and commemorates transcendent powers,” (Deflem 8) marking subjects’ rebirth to a new status and distinctive perception of the outside world. It is at this stage that Arthus-Bertrand resolves the emotional distress uncovered in the separation phase. The film-maker uses humanity’s innate capacity for creation and renewal as a cathartic cleansing aimed at reconciling spectators’ guilt and shame in having inadvertently exacerbated global environmental degradation. Arthus-Bertrand identifies renewable resources as the key to redeeming technology, human intervention in the landscape, and finally humanity itself. Until now, the film-maker pictured modernity and technology, evidenced in his portrayal of Dubai, as synonymous with excess and disrespect for the interconnectedness and balance of elements on Earth. The final sequence shows a very different face of technology. Here, we see a mechanical sea-snake generating electricity by riding the waves off the coast of Scotland and solar panels turning towards the sun in the Sahara desert. Technology’s redemption is evidenced in its ability to imitate nature—a move towards geocentric consciousness (a lesson learned from the ritual’s liminal stage). Moreover, these human-made structures, unlike the skyscrapers earlier in the film, appear a lot less invasive in the landscape and speak of moderation and union with nature. With the above examples Arthus-Bertrand suggests that humanity can shed the greed that drove it to dig deeper and deeper into the Earth to acquire non-renewable resources such as oil and coal, what the narrator describes as “treasures buried deep.” The incorporation of principles of ecology, such as balance and interconnectedness, into humanity’s behaviour ushers in reconciliation and ritual cleansing in Home. Following the description of the move toward renewable resources, the narrator reveals that “worldwide four children out of five attend school, never has learning been given to so many human beings” marking education, innovation, and creativity as the true inexhaustible resources on Earth. Lastly, the description of Antarctica in Home is the essence of Arthus-Bertrand’s argument for our innate capacity to create, not simply exploit and destroy. Here, the narrator describes the continent as possessing “immense natural resources that no country can claim for itself, a natural reserve devoted to peace and science, a treaty signed by 49 nations has made it a treasure shared by all humanity.” Innovation appears to fuel humankind’s transcendence to a state where it is capable of compassion, unification, sharing, and finally creating treasures. With these examples Arthus-Bertrand suggests that humanity has an innate capacity for creative energy that awaits authentic expression and can turn humankind from destroyer to creator. In recent years various risk communication texts have explicitly addressed climate change, endeavouring to instigate environmentally consequential social action. Home breaks discursive ground among them through its ritualistic construction which seeks to transform spectators’ perception, and in turn roles and responsibilities, in the face of global environmental risks. Unlike recent climate change media texts such as An Inconvenient Truth (2006), The 11th Hour (2007), The Age of Stupid (2009), Carbon Nation (2010) and Earth: The Operator’s Manual (2011), Home eludes simple genre classification. On the threshold of photography and film, documentary and fiction, Arthus-Bertrand’s work is best classified as an advocacy film promoting public debate and engagement with a universal concern—the state of the environment. The film’s website, available in multiple languages, contains educational material, resources to organise public screenings, and a link to GoodPlanet.info: a website dedicated to environmentalism, including legal tools and initiatives to take action. The film-maker’s approach to using Home as a basis for education and raising awareness corresponds to Antonio Lopez’s critique of contemporary mass-media communications of global risks. Lopez rebukes traditional forms of mediatised communication that place emphasis on the imparting of knowledge and instead calls for a participatory, discussion-driven, organic media approach, akin to a communion or a ritual (106). Moreover, while texts often place a great emphasis on the messenger, for instance Al Gore in An Inconvenient Truth, Leonardo DiCaprio in The 11th Hour, or geologist Dr. Richard Alley in Earth: The Operator’s Manual, Home’s messenger remains unseen—the narrator is only identified at the very end of the film among the credits. The film-maker’s decision to forego a central human character helps dissociate the message from the personality of the messenger which aids in establishing and maintaining the geocentric sensibility of the text. Finally, the ritual’s invocation and cathartic cleansing of emotional distress enables Home to at once acknowledge our environmentally destructive past habits and point to a hopeful, environmentally sustainable future. While The Age of Stupid mostly focuses on humanity’s present and past failures to respond to an imminent environmental catastrophe, Carbon Nation, with the tagline “A climate change solutions movie that doesn’t even care if you believe in climate change,” only explores the potential future business opportunities in turning towards renewable resources and environmentally sustainable practices. The three-phased processural form of the ritual allows for a balance of backward and forward-looking, establishing the possibility of change and renewal in the face of world risk. The ritual is a transformative experience. As Turner states, rituals “interrupt the flow of social life and force a group to take cognizance of its behaviour in relation to its own values, and even question at times the value of those values” (“Dramatic Ritual” 82). Home, a ritualised media text, is an invitation to look at our world, its dominant social paradigms, and the key element within that world—ourselves—with new eyes. It makes explicit contemporary post-industrial society’s dependence on the environment, highlights our impact on Earth, and reveals our complicity in bringing about a contemporary world risk. The ritual structure and the self-reflexivity allow Arthus-Bertrand to transform climate change into a personally salient issue. This bestows upon the spectator the responsibility to act and to reconcile the spectre of the past with the vision of the future.Acknowledgments The author would like to thank Dr. Angi Buettner whose support, guidance, and supervision has been invaluable in preparing this article. 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