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'Bloody Horizons: Ivan Sen’s Mystery Road', by Rebecca Harkins-Cross

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The title of Ivan Sen’s latest film Mystery Road appears on an arrow-shaped sign, pointing down one of the many highways traversed by his characters. Ochre light stains the dimming horizon, as if the land’s spilled blood has been blotted by the sky. Signs of what the country remembers, perhaps, or an augur of the violence still to come. A trucker pulls over to check his rig by Massacre Creek, soon drawn away from the road by something scratching and snarling in the culvert beneath. Whatever beast caught his attention remains unseen, but it has lured him to a more sinister discovery. An Aboriginal girl’s body slumps in the shadows. Rivulets of dried blood cake her neck, strings of rubies dripping from a crimson choker.

Hollywood lay claim to the highway long ago as a symbol of freedom. When the road movie emerged as a genre during the American New Wave, the turnpike was invested with countercultural capital in films like Bonnie and Clyde (1967) and Easy Rider (1969). Taking to the open road signified a rejection of conservative social norms, choosing the unknown over the fixity of the suburbs. Drivers set out in search of escape, thrills and hopefully revelation. Ivan Sen is fascinated by this symbol, yet the highway never offers his characters deliverance – no matter how much they long for it. Instead, it stretches across a landscape haunted by history. Dividing nature and culture, the road is a scar left by colonisers set on conquering an unruly land. But where does it lead for a people displaced?

Sen’s debut feature Beneath Clouds (2002) was nominally a road movie, in which two teenage runaways try to hitchhike to Sydney in search of their families: Murri boy Vaughn (Pitt) his dying mother, and light-skinned Lena (Dannielle Hall) the Irish father she never knew. Neither will reach their destination—though we suspect this all along—discovering a racially fractured country instead. The roads in Toomelah (2011) snake around in circles, snaring boys like 10-year-old Daniel (Daniel Connors) in the troubled mission community. Mystery Road’s protagonist Jay Swann (Aaron Pederson), an Aboriginal cop sent in to investigate the girl’s murder, spends much of the film driving across these arterials as he tries to solve the town’s mystery. Ariel shots map unwavering lines that seem to reach nowhere.

Caught between two worlds, Swann finds himself an outsider in each. White policemen are largely indifferent to his case, while many of the town’s Aboriginal residents slam the door in his face. “Are you a real copper, or one of them black trackers?” spits the farmer Bailey (played by a menacing David Field). Bailey intends it as a slur to undermine the detective’s authority—these guides were exploited by the colonisers, often utilising their knowledge of the land to hunt down bushrangers—but these divided figures share Swann’s predicament.[1] Many members of the local Aboriginal community view him as a turncoat. “We hate coppers, bro,” says a wide-eyed boy. “We kill coppers, bro.” Recently returned from the “big smoke”, Jay is twice othered, twice an outsider. “Things have changed since you’ve been away,” the sergeant (Tony Barry) tells him.

Mystery Road is Sen’s first foray into genre cinema, combining the narrative structure of the police procedural with the iconography of the Western. Dressed in press-stud shirt and white Akubra, the taciturn Swann is as much cowboy as cop. The camera lingers on the red dirt, punctuated by tussocks and rocky outcrops. Outback Queensland’s vistas could easily pass as the Nevada. But this isn’t a simple world of white hats and black hats, good guys and bad guys. Strange narrative tangents are never resolved – the scratching of the opening scene is revealed to be a “wild super dog”, a plague of which are terrorising the surrounding farmland, but it’s just a red herring to throw us off the scent. Sen’s use of the Western’s conventions is somewhat ironic: where Hollywood devised a whole genre to validate the frontier’s barbarous settlement, Aboriginal characters were, until very recently, largely erased from the histories charted in our cinema.

Aboriginal representation in Australian film has often reflected politics of the time. This began with Jedda (1955), Charles Chauvel’s technicolour melodrama about a half-caste girl raised by white landowners, who must eventually choose between assimilation and the wild black man she finds herself attracted to, reflecting assimilation policies being touted at the time.[2] A few films emerged with Aboriginal characters during the Australian New Wave—including Walkabout, The Chant of Jimmy Blacksmith (Fred Schepsi, 1978) and The Last Wave (Peter Weir, 1977)—but for many years they were thought to be “box office poison”. What better way to substantiate terra nullius than to pretend the First Peoples never existed at all. It wasn’t until the early 90s that the first films were made by Indigenous directors like Tracey Moffat (BeDevil, 1993) and Rachel Perkins (Radiance, 1998), though it was a decade after the monumental Mabo decision before we really saw an alternate history emerge in our cinema—with films like Rabbit Proof Fence (Philip Noyce, 2002), The Tracker (Rolf De Heer, 2002) and Ten Canoes (Rolf De Heer, 2002). The millennium also saw the emergence of groundbreaking directors like Sen and Warwick Thornton, who began telling contemporary stories about Aboriginal and Torres Strait Islander dispossession for themselves.

Despite the veneer of genre, Mystery Road has as much to say about Indigenous politics as his realist films. “Your children will have a pretty good future. You’re a lucky man,” Swann tells Bailey, as they survey the property he owns – a subtle comment on the privileges beget by a stolen land. But for the black kids in the community, things are far grimmer. Swann knocks on the door of fibro houses, where parents neck beer, chain-smoke and sleep during the day. The drug trade seems to be the town’s only thriving industry, and rural ennui leaves teenagers with not much else to do. Rumours circulate that the murdered girl and her friends were prostituting themselves to truckers on the highway to reimburse unscrupulous dealers.

The more Swann searches, he realises the mystery he must confront is his own past. When he left his alcoholic wife (Tasma Walton) and escaped to the city, he deserted his daughter Crystal (Tricia Whitton) too. While he tries to unravel the machinations of the drug trade, which his colleague Johnno (Hugo Weaving) may or may not be in on, each interviewee ends up telling him something about his estranged child. “She’s a beautiful girl, but you should learn to look after her,” Johnno tells him with patent threat. Like Daniel in Toomelah or Vaughn and Lena in Beneath Clouds, it’s nearly impossible for Crystal to break out of these destructive cycles. Sen often uses non-professional actors from the communities he films in, whose lives aren’t far removed from those he depicts on screen; Beneath Clouds’ young male lead died in a car accident, while several cast members of Toomelah went to jail soon afterwards.

Originally titled Moree Girls, Mystery Road is as firmly grounded in real world communities as any of Sen’s previous work. The very same rumours circulated about teenage girls in this Northern New South Wales township, where Sen spent much of his own childhood. His cousin Theresa Binge was murdered in a similar fashion in 2003, found beneath a highway not far out of Goondiwindi where she was last seen. (The 43-year-old’s murder remains unsolved – the police quickly gave up, but her family continue to campaign for further information.) Sen compares the murders of three Aboriginal children in the early ‘90s by a suspected serial killer with the coverage given to Jillian Meagher: “There’s not the effort put in, and it’s not just the police that are guilty, but it’s our media too. It doesn’t make the headlines,” he told the Australian.

There is a moment in each of Sen’s films where his characters are forced to acknowledge Australia’s painful history. Near the end of Beneath Clouds, and the end of Lena and Vaughn’s journey, they pass beneath an imposing cliff face. Its beauty is at odds with the story Vaughn recounts of the massacre that took place there, people herded to the edge of the cliff and shot at before falling to their deaths. Similar scenes occur in short films Wind– the tracker meets the ghost of an ancestor in the bush, and Dust (2000) – a fistfight brought on by a racist slight is interrupted by a willy-willy, which reveals the burial ground that lies just beneath the earth’s surface. In Mystery Road, this moment comes in the form of a gunslinging finale on Slaughter Hill, an outcrop on the outskirts of the town. Staging this stylised shootout on a site named for the butchery that took place there years ago suggests that these battles are not over yet.

Mystery Road’s irony is that Swann’s investigation can never be totally solved. The town is built on haunted country, a landscape brimming with ghosts. Sen doesn’t want to exorcise them, but like in Dust their bones must rise. It’s only then that the highway finally returns Swann to his family and his home, just before the bloody twilight recedes into the night.


[1] Sen explored the figure of the tracker in his 1999 short Wind, though they were brought into the wider consciousness by Rolf De Heer in the 2002 film The Tracker, in which an unnamed guide (David Gulpilil) is employed to find another black man accused of murdering a white woman. Casting Gulpilil here harks back to his first role in Walkabout, where he played a variation of the noble savage who saves two British children lost in the unforgiving bush.

[2] Jedda falls to her death at the film’s end, effectively punished for her sexual and cultural transgression.

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Rebecca Harkins-Cross is film editor at The Big Issue and theatre critic at The Age. Find her online at rebeccaharkinscross.com.

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This piece is from our most recent print issue, TLB20. You can grab a copy for yourself, if you like.


Melbourne readers! Come celebrate our 7th birthday with us

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The first edition of The Lifted Brow had listed on its masthead the very exact publication date of “19th January, 2007”. Since then, the Brow has: 
— published twenty giant print issues
— staged over sixty gigs
— launched a digital magazine
— published a book 
— and generally just done what it always wanted to do, for the good of you (metaphor: we’re like an astoundingly delicious and equally nutritious vegetable)

To celebrate the all-important 7th birthday (think of how many famous people died when they were seven years old), we’re putting on another gig! Because why mess with a winning formula; we’re not mathematicians.

Come to Boney (aka “old Pony”) on the evening of January 16th to hear/see/feel:

The Ocean Party! 2013 was a big year for these guys, which makes sense because they’re awesome. Have a watch/listen to ‘Split’ off their album of the same name here: http://www.youtube.com/watch?v=Lz-CvXR_3M4 

Electric Sea Spider! When you are a band that makes aural gems like ‘Havana Banana’, everything else will take care of itself:https://soundcloud.com/electricseaspider/havana-banana

ScotDrakula! Opening on the night will be this garage/rock three piece, who have been garnering a lot of praise with the release of their rad single ‘Break Me Up: http://www.youtube.com/watch?v=UGA0K2olCCM 

We’ll probably do a raffle on the night or something similarly inventive! We’re zany like that

Cost: $12 at the door, which includes a copy of the magazine. Any edition, you choose the one you want. Choice = freedom

'THE BEST OF THE LIFTED BROW: VOLUME ONE' — now available to purchase in our online shop

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Buy it direct from us and we’ll post it out to you immediately.

"Since 2007, The Lifted Brow has grown into Australia’s most exciting literary magazine, publishing hot local talent like Benjamin Law, Romy Ash, and Anna Krien alongside international stars like Karen Russell, Heidi Julavits, and David Foster Wallace.

The Best of The Lifted Brow celebrates five years of sheer nerve and dangerous excess. Alongside strange, sharp fiction from Frank Moorhouse, Christos Tsiolkas, and Rick Moody, there’s personal essay and reportage that ranges wide and digs deep: Luke Ryan gets cancer twice, Michaela McGuire sabotages her casino job, Liam Pieper investigates how cocaine gets to Australia, and Alice Pung discovers just how different girls can grow up to be.”

Contents:

Brow and Then (Introduction) - Ronnie Scott
Reports from the Streets of Brisbane - Michaela McGuire
Harold Holt - Chris Somerville
On Cocaine - Liam Pieper
America - Sam Cooney
Shooting Lunch - Romy Ash
Luke’s Got Cancer - Luke Ryan
Serious Adverse Events - Tao Lin
Minotaur - Jim Shepard
Cottage Gardening - Karen Russell
More Women of Mystery - Daniel Handler and Lisa Brown
Santosbrazzi Killer - Heidi Julavits
Dagger Lane - Adam Levin
Advance Praise for the “Atonement” Murders - Rick Moody
Pang - Robert Shearman
Arboretum - n a bourke
Pornography Available for Download from the United Dairy Council - Glen David Gold
From Now On All I’ll Talk About Is Light - Blake Butler
Heat! Vermin! Pestilence! - Benjamin Law
Patagonia - Benjamin Kunkel
The Dacian - Christos Tsiolkas
A New Examiner - David Foster Wallace
In a German University - Frank Moorhouse
What Are the Attributes of God? - Tom Cho
Silver Swan - Rebecca Giggs
Returning - Alice Pung
Shipwreck - Elspeth Muir
Golden Circle - Anna Krien




RECOMMENDATIONS

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In each issue of the Brow, in the Middlebrow arts and culture lift-out section, we publish a handful of ‘recommendations’ from our favourite writers. It’s just people recommending you do/read/listen to/eat/experience something, but of course it’s much more than that. It’s life.

Here are four recommendations from TLB20, by Liam Pieper, Patrick Lenton, Dion Kagan, and Ellena Savage. If you had a wise cell in your head, you’d do as these people say.

Liam Pieper Recommends: Photographers

I’ve always been very vain, even though I’m not very good looking. I mean, I do okay, in a character actor kind of way, but I’m not what an objective witness would call handsome. A novelist friend, who once wrote a character based on me, described him as having “an alluring, bat-like grin”. Over the years, I’ve also been described as “interesting looking’, “crazy Nelsony”, and “jail-hot”.

On top of this, I’ve never been good at having my photo taken. When someone points a camera at me, I start to twitch. Disparate parts of my face, my jaw maybe, and perhaps an eyelid, begin to spasm and gurn in a spastic tarantella. It’s always been this way. When I look back at photos taken on the first generation of digital cameras, between my face pulling and early-tech shutter blur, I look like the doomed teenagers who have watched the videotape in The Ring.  

So when I needed a professional headshot for a magazine, one which minimised my resemblance to the baby from Eraserhead, I called my friend Tara, who has a way with pictures and graphics, and asked her to take my portrait. 

Tara is what you might call a triple-threat, in that she is at once charming, supremely talented and unsurpassingly kind. If she were heterosexual, I would have tried years ago to badger her into some kind of romantic entanglement, which would have, at best, ended with her patting me on the shoulder and reassuring me that women don’t always need to reach orgasm, that sometimes it’s nice just to be held and wept on a little.

She does the best she can, walking me around my home to try out different lights, the way the doctor of a terminally ill patient might experiment with anti-virals. Whenever she can find the raw material to fashion a makeshift compliment, she throws me a bone. “Gosh,” she says. “You cast a very interesting shadow,” or, “Your facial expression is very consistent.”

I’m not terribly optimistic, but when she mails through the portrait it is wonderful: a brilliant, soft-focus vanity pic taken at a Starshots in heaven. Her camera takes my squint and transforms it from awkward to searching; my smile from pleading to wry. I look almost professional, so I immediately upload it to LinkedIn, who promptly send out a couple thousand emails inviting loose acquaintances, to “Check out Liam’s new photo,” and I’m like, “Right on, LinkedIn. Right on.”

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Patrick Lenton Recommends A Statue of a Dignified Dog

Over six years ago my girlfriend was picking me up from my weird job of the moment (creating mazes for toddlers) and as we drove along the wide, sad streets of Caringbah, I saw a small dog sitting on the side of the road. As we got closer it became extremely clear that it wasn’t a real dog, but a life-sized statue of a Dalmatian, sitting patiently on its haunches. Its proud head watched our car go by, and we both said something vague like, “Hey, look at that dog statue, man.” Both its front legs were broken, brutally snapped but still attached in some manner.

We drove on for a bit, before I whispered “Reverse the car.” My girlfriend was all “Yes, I already am.” So I jumped out of the car, cradled the dog-statue in my arms and carried him home. We named him “Leprosy-Boy” because he is made of a weird yellowish kind of porcelain and bits keep falling off him.

I thoroughly recommend every house having a Leprosy-Boy. He fulfils the following functions: surveying his domain like a dignified king, creeping my friend East out when he sleeps on our couch, filling the empty gap in our lives because we will never have children and replacing having a real dog because we live in a sharehouse. He is ace because he doesn’t poop and looks totally gnarly in various hats. Sometimes you come home from a hard day and you need to lavish your love on someone who not only doesn’t expect anything in return, but literally has no desires in any fashion or form because they are an inanimate object.

We moved house again this weekend, and when I put Leprosy-Boy up on the mantelpiece, I realised that it was his classy snout and broken feet that made our house feel like a home. It wasn’t our boxes of crap or my pant collection, but him. I patted him on the snout and asked “who’s a good boy? Who’s a good boy?” and our new neighbours watched me from their garden. I looked out the window, and pointed to my dog statue. “He’s a good boy,” I told them. He’s the best boy.

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Dion Kagan Recommends the Films of Nicole Kidman

It is so abjectly unfashionable to praise Nicole Kidman that I may never again get laid or live this recommendation of her oeuvre down. More likely people will think twice about inviting me to dinner parties. But I’m unapologetic. That classy redhead is a very decent actor with a backlist of fascinating film choices.

Par exemple:

1991, during her Aussie phase, pre-Hollywood Kidman totally nails stuck-up prefect Nicola Radcliffe in that sensuous examination of mid 60s Australian sexual and race politics, Flirting. Top of the hierarchy of starchy boarding school bitches in nylons, she flicks over the figurative house of cards with a confession of unseemly lust for the caretaker. It’s spellbinding. Is ‘Nicola’/Nicole riffing on Kidman’s uber white, North Shore elitist private school vibe? I think yes, so marks for reflexivity, Nic. See also: icy manipulator Suzanne Stone in To Die For (1995) and loveable narcissist, Margo, in Margot at the Wedding (2007).

In 1996, she’s beginning the masochistic phase, and she throws herself at the mercy of the ‘Moby Dick of the women’s novel’, Henry James’ Portrait of a Lady, not to mention those other sadistically uncompromising geniuses John Malkovich and Jane Campion. A shitload of crying ensues. Kidman here is on the cusp of a career transition from Tom Cruise’s Pretty Beard to Screen Presence Commanding Our Attention. Campion wants to make literature’s Isabel Archer into a real embodied woman and Kidman does it all: sniffs her boots, struggles out of the grip of male suitors, runs awkwardly in crinolines, touches herself and cries bucket loads. See also: bravura encounters with other brutal auteurs, Stanley Kubrick in Eyes Wide Shut (1999) and Lars von Trier in Dogville (2003).

Which A-lister would accept the role of a grieving widow gradually convinced that her deceased husband has been reincarnated as a 10 year-old boy? Nicole Kidman, that’s who. It’s 2004 and Nicole is in her I-could-do-blockbusters-but-I’d-prefer-to-stick-with-interesting-female-characters-that-challenge-me-as-an-actor phase. This phase’s signature film Birth was another critical polariser with more haters than defenders, but owing to the extremity of commitment from its female lead it is a lost work of genius. Forehead already suspiciously smooth, Kidman’s face is nonetheless the melodramatic canvas upon which every register of goddamn human heartache plays out. See also: mourning mother in Rabbit Hole (2010).

There have been some dogs, yes, but why do so many love to hate this precious artiste? Why do you hate her? Do you even have a real reason? Take a good hard look at yourself please, and then look at Nicole.

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Ellena Savage Recommends Writing A Sadomasochistic Socratic Dialogue About Someone You Just Met

Sometimes in life you will break up with a person you used to be completely in love with but who you now hold in vague contempt. During these times in life you will look at yourself and ask, What kind of person do you even want to be, you goose?

Do you want to be the kind of person who falls desperately in love with someone because they’re handsome and smart, so much so that you grow blind to the fact that they are effectively stealing your youth and draining your emotional resources?

No. The person you will want to be is one with whom all others fall in love just because. The person who inspires the best in all people always, and who has the capacity for full, reciprocal love, friendship, and other such wizardry.

But in these times of crisis, it is unlikely that you will possess the emotional wherewithal to truly connect, or inspire in others even the most mundane levels of human inspiration. It is far more likely that you will find yourself stalking handsome strangers and then pretending that you are totally oblivious and cool if they ever pay you any attention at all.

But you will be sure you are still a creative person with a lot to give back to this world, even when you have lost the capacity to feel more than empty disappointment and general fatigue.

So when your life becomes a constant failure to connect with others, you think, what can you put out into the world that will allow people to see you as you see yourself: a bastion of cosmic love; a Madonna of divine proportions; also a whore (but like, a hot one).

You will write a play that is as sexy as it is dangerous—a sadomasochistic Socratic dialogue—about someone you just met, someone you maybe have a crush on. It will contain phrases such as: “Yes, well, literal phalluses are grossly superior to cultural ones”; “Can’t you see I’m trying to debase myself?”; and “I am the boss of emotional restraint! My ex called me a psychopath once.”

You will consider sending it to him, your subject, but will eventually decide that the play is more about your own process of becoming a person than it is a reflection of his unique subjectivity. Instead, you will email it to your perverted friends, and conduct readings of it on your back porch aided by whiskey and the thrilling new understanding that this is the person you want to be. This is it.

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These pieces are from our most recent print issue, TLB20. You can grab a copy for yourself, if you like.

'Why is a Raven Like a Writing Desk?' by Aden Rolfe

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(illustration by Sab Meynert)

Picture a room containing two things: a piece of wire, and a plastic tube with a small bucket of food at the bottom. The objective is to retrieve the food, but the tube can’t be upended, and it’s too narrow for you to reach down. So how do you get it?

If you said, Bend the wire into a hook to lift the bucket, you’d be right. Simple enough? Not quite. It mightn’t seem overly complex, but this answer demonstrates a high level of intelligence. To make a tool without instruction necessitates an understanding of cause and effect, along with the capacity to imagine the solution rather than stumble on it by persistence or chance. The ability to do this is something that’s long been used to separate us from all other animals — including our closest relatives, chimpanzees — except that, in 2002, a crow solved this very riddle.

So what does that say about humanity?

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Betty is a New Caledonian crow, Corvus moneduloides, residing at Oxford University with her test partner, Abel. In the wild, she would have fashioned a number of tools out of twigs and pandanus palm leaves to spear and hook insects that live inside plant cavities and crevices. Such behaviour makes Corvus moneduloides“almost unique amongst all animal species”, according to Jackie Chappell and Alex Kacelnik, of the university’s Behavioural Ecology Research Group. It positions New Caledonian Crows as ideal candidates for experiments and studies of complex cognition in animals.

In 2002, together with Alex Weir, Chappell and Kacelnik were running just such an experiment, investigating whether Betty and Abel could select the right tool to retrieve some food. It was the bucket setup described above, with the choice between a hooked piece of wire and a straight one. The experiment changed course, however, when Abel absconded with the hook and Betty made a new one from the straight piece of wire. Surprised and excited, the researchers recalibrated the test, and observed Betty repeat the behaviour in nine of ten trials, experimenting with different techniques to create the hook (standing on it, bending it around the tube, wedging it in a crevice). So while Betty didn’t invent the hook out of thin air (she’d seen the tool she needed to replicate; she would have made tools for similar purposes in the wild) her behaviour suggests she had an appreciation of the underlying forces of the hook — that is, how it’s useful, not just that it is useful — and provides us with one of most compelling examples of corvid intelligence on record.

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A corvid is any bird in the Corvidae family (cast your mind back to high-school biology: kingdom, phylum, class, order, family, genus, species). Corvidae includes crows and ravens, which make up about 40 species of the Corvus genus, five of which reside in Australia. People often say “crow” when they mean “raven”, and vice versa, but the two aren’t interchangeable, as bird lovers insist. But then again, they kind of are.

Ravens are typically larger and more solitary than crows, but other than this, the differences are minimal. The Australian (or, more properly, the Torresian) crow, Corvus orru, is almost indistinguishable from the Australian raven, Corvus coronoides. What’s more, “Corvus” comes from the Latin for “raven”, while “coronoides”, derived from the Greek, simply means “crow-shaped”. The two birds differ not so much in size or diet, or their eyes (Australian crows and ravens are the only ones to have white irises, but they both display this feature), but in their distribution, their calls, and the white feathers at the base of the crow’s neck. So when someone tells you adamantly that there aren’t crows in New South Wales or ravens in Queensland, they’re right, but they also deserve a punch in the teeth. Even side by side, you can’t really tell them apart. Crows are crows are ravens are ravens, and anyone telling you otherwise is a jerk.

So when I say “crow”, I also mean raven. And when the Mad Hatter asks, “Why is a raven like a writing desk?”, he might as well have asked it about a crow.

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When someone says “animal intelligence”, by contrast, I don’t think of either crows or ravens. I think of gorillas using sign language, the dolphin in seaQuest DSV and Lassie rescuing people from trouble at the old mill. The words that immediately come to mind about crows are altogether more negative: “knowing”, “calculating”, “malicious”. As Poe says of his eponymous raven, “his eyes have all the seeming of a demon’s that is dreaming”. Despite this dark reputation, however, it’s interesting that these depictions still point to the idea that there’s more going on inside a crow’s head than what we are privy to. Which is turning out to be true.

There are numerous measures of animal intelligence, and specifically that of birds, some more obvious than others. We might take into account an animal’s brain-to-body ratio, its capacity for memory, how sophisticated its communication is, whether it can count and whether or not it uses tools.

Tool use by animals is relatively rare, despite increasing evidence for it across a range of land and sea-bound beasts. In a paper published in Animal Cognition, Chappell and Kacelnik note that “only 26 of an estimated 8,600 species of birds have ever been shown to use any kind of tool”. Other notable tool users are octopodi, which carry coconut halves to make impromptu shelters and, possibly, coconut disguises; bears that, somewhat alarmingly, use rocks to scratch themselves; and a variety of primates, present company included. Tool use offers insight into a species’ cognitive capacity, but because it’s been defined in different ways (is a tool an object used as an extension of the body, or does it need to be directly manipulated to qualify?) it’s more useful, as it were, to look at different kinds of tool use to create distinctions.

At its simplest, tool use means, unsurprisingly, using a tool. It’s about picking an object up, getting things done. It’s more advanced than using your bare paws, but it doesn’t mean you understand the tool’s function, and candidates quickly begin to drop out when you advance to the next level: selecting a tool.

Tool selection requires an animal to understand why a tool works, or at least that the hooked stick is better for getting the food than the shorter one. Prior to Betty and Abel, there were only two recorded instances of tool selectivity in non-primates: black-breasted buzzards that dropped stones on hen’s eggs and Egyptian vultures that, as if unable to come up with a different use, dropped stones on ostrich eggs. In both examples, the predators exhibited a preference for stones best suited for the job. To qualify as a selector, animals need to choose the appropriate tool more often than would be expected by chance. It’s better still if they do so through insight rather than trial-and-error.

Insight and trial-and-error can be thought of as the two main approaches to problem-solving. Both are valuable and necessary for intelligent beings to get through the day, but where one method seeks to comprehend the problem in order to arrive at a solution, the other is content simply to locatethe solution. An insightful buzzard, for example, might choose a rock that is heavy enough for the task without being unnecessarily cumbersome, while a vulture using trial-and-error will test each rock’s effectiveness on the eggs until it gets what it needs. This is the difference between learning a rule (hooks get buckets; straight pieces of wire don’t) and learning by rote (this particular piece of wire works in this situation). The rule learner can build on their knowledge to solve increasingly complex problems; the rote learner needs to figure things out whenever they’re confronted with a new set of rocks.

In his book, Mind of the Raven, biologist, writer and long-distance runner Bernd Heinrich details an experiment he conducted with hand-raised ravens in which they displayed both insight, and the ability to flexibly apply their knowledge to new situations. In a setup that had no analogue for the birds either in nature or their prior experience, Heinrich hung a piece of meat from a perch by a string. The only way to successfully retrieve the meat was for a raven to pull the string up, place a foot on the pulled-up length, and repeat until lunch was within reach. Some ravens reached this solution on the first attempt — that is, not by trial-and-error — and none of the ravens selected the incorrect strings (which held control stones) or attempted to fly away with the meat still attached to the perch.

This is what Weir and his colleagues were testing for in their hook and bucket experiment: whether the crows would arrive at the right solution to an unfamiliar, artificial problem through selecting the right tool, and whether they would use insight or trial-and-error in their decision-making. When Abel absconded with the hook, Betty went one better and just made her own.

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Tool-making was once thought to be unique to primates, so it’s no small thing when it manifests in other species. Along with language, it’s generally regarded as the main driver of our rapid evolution and cognitive advancement, ushering us from the apes in the opening scene of 2001: A Space Odyssey to the closing credits of The Flintstones. Tool manufacture demonstrates the ability to think in abstract terms, a grasp of object permanence and the use of causal reasoning. And apart from the great apes, it’s only ever been recorded in elephants, woodpecker finches and our friends the New Caledonian Crows. There’s a caveat to be mentioned here, though: instinct.

Because New Caledonian Crows make and use a variety of tools in the wild, Betty’s behaviour might be considered partly instinctive, or at least based on prior experience. This makes her achievement less impressive than if she’d made the hook merely of her own intelligence. Instinct encompasses all of an animal’s hardwired behaviours and how it can apply skills in different situations: just because a spider spins a web doesn’t mean it can design a patio extension. Prior experience, meanwhile, is the ability to generalise experience to solve new and unfamiliar problems. Like trial-and-error, it’s at once an indicator and qualifier of higher intelligence, demonstrating flexibility in the application of knowledge, but is less advanced than solving a problem with no reference point or previous exposure. It’s more to do with an animal’s capacity for learning than pure cognitive ability. When testing Betty and Abel in another tool-selection experiment, for example, Chappell and Kacelnik deliberately limited the number of trials in order to focus on their ability to “solve new problems” rather than “improve in solving the task by practice and reinforcement”.

Instinct is, as you can imagine, a not inconsiderable grey area, rife with speculation and qualification. All animals feed themselves instinctively, and many of the actions they carry out are an extension of this primal urge. So where do you draw the line? Chappell and Kacelnik note that it’s unclear the extent to which crows’ abilities in this area are “a specialisation for tool using or an expression of unusual cognitive ability.” In other words, do New Caledonian Crows make tools because they innately know how to do so, or is this ability more complex, informed by their capacity to teach and learn new behaviours, and indicative of higher intelligence?

Professor Gavin Hunt, of the University of Auckland, is firmly in the camp of the latter. In a journal article in Proceedings of the Royal Society B in 2003, he and Russell Gray claim that the tools Corvus moneduloides makes in the wild include variations and innovations that are passed on between individuals and across generations. The website of Hunt’s research group in the university’s School of Psychology makes the bold claim that “New Caledonian crows are the most accomplished tool manufacturers in the animal kingdom.” Kacelnik backs this statement up, quoted in a National Geographic article as saying, “There is no similar [non-human] example of cumulative transmission of a skill… such as the making of pandanus leaf tools by New Caledonian crows.”

When it comes to what crows and ravens are capable of teaching to and learning from each other, and what they can be taught, there are numerous examples, including a crow vending machine built by Josh Klein. A technologist and systems thinking advocate, Klein describes, in a 2008 TED Talk, the staged process he used to train the crows to use his machine. Eventually, the birds were foraging coins from the surrounding area and inserting them into the machine to receive some nuts. Despite being unable to suggest imaginative applications for his technology (the best Klein comes up with in the lecture is training crows to pick up rubbish after sports games) this project remains a great demonstration of how quickly crows can adapt to new technologies and provides compelling evidence for complex cognition.

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In an article published in Science magazine in 2004, Nathan Emery and Nicola  Clayton propose that complex cognition “depends on a ‘tool kit’ consisting of causal reasoning, flexibility, imagination, and prospection.” Like tool use, complex cognition was previously thought to be the sole realm of the great apes, developed to solve environmental and social problems that we encountered over time. Emery and Clayton suggest that crows’ tool use provides a strong case for complex cognition, despite the different brain structures between corvids and primates.

Causal reasoning is the understanding of the relationship between cause and effect. In the context of crows, causal reasoning is comprehending how a tool works, and is tied to insight rather than trial-and-error. Betty’s innovative tool manufacture “suggests some appreciation of mechanical causation”, and while Klein’s crows can’t understand exactly how the vending machine works, they can be thought to appreciate the mechanics of the transaction (money = nuts). At a more advanced level, causal reasoning is also to do with recognising other beings as having their own desires, beliefs and motivations. Reports remain “controversial” in this area, according to Emery and Clayton, but both corvids and apes “appear to demonstrate a similar propensity for representing animate beings as causal agents.”

When it comes to flexibility, Emery and Clayton state that “The ability to act on information flexibly is one of the cornerstones of intelligent behavior”. It’s about applying prior experience to solve new problems, generalising learned rules in unfamiliar situations, and separating rule learners from rote learners. Chappell and Kacelnik include tool selectivity in this category, and note that this kind of flexibility is considered a “hallmark of complex cognitive adaptations for tool use.”

Imagination, then, refers to the “process by which scenarios and situations that are not currently available to perception are perceived in the mind’s eye” (again, I’m quoting Emery and Clayton). Like causal reasoning, it’s tied to insight, and it’s been suggested that object permanence — the ability to picture an object that’s absent — “may be a precursor of imagination”. This is about experience projection: perceiving the solution to a problem and executing it, as Heinrich’s ravens did with the string puzzle, rather than testing out the parameters of a situation and learning through trial-and-error.

Lastly, prospection covers the ability to “imagine possible future events”. It’s about stepping outside the current moment and your instincts and engaging in planning. Here’s where the current examples of tool selection and manufacture become less indicative, and researchers point instead to instances of complex caching as better indicators of future thinking. Elsewhere, Hunt claims that “shaping tools to a rule system”, as Corvus monedulodies does with pandanus leaves, “is generally assumed to require foresight, planning and … ‘mental templates’’’. He also goes a step further, suggesting that this behaviour “might point to symbolic thought and the use of language as well”. Which is a pretty big call.

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Studies of complex cognition and animal intelligence are important because they contribute to our comprehension of our own mental processes and help us better understand our own evolution, as well as the conditions that give rise to higher intelligence. They also make us rethink what sets us apart from the rest of the animal kingdom. We share up to 95% of our DNA with chimpanzees, and generally think of the remaining 5% as what defines humanity. But when other animals display a propensity for the behaviours and cognitive abilities that fall in this gap, we have to reconsider our definition. They might not be capable of language and symbolic thought, or religion and madness, but corvids exhibit compelling evidence of their capacity for both culture and complex cognition. Proportionally they have similarly sized brains to chimpanzees, even though the brain structure is notably different. According to Emery and Clayton, this “has important implications for understanding the evolution of intelligence, given that it can evolve in the absence of a prefrontal cortex”.

New Caledonian crows not only have a propensity for tool use previously undocumented in non-primates, they’ve surpassed them in some areas. Abel performs better than capuchin monkeys in certain tool selection tests, and Betty is capable of refining her tools at a much more advanced level than any ape. Hunt and Gray once wrote that “only humans are generally considered to have the cognitive sophistication required for cumulative technological evolution”. Not anymore. While chimps are capable of insight in solving certain problems, their tool-making mainly involves trial-and-error, meaning that innovations at the population level can’t exist. Corvus moneduloides, however, is the first non-human animal to demonstrate this feat, enhancing their tools and passing the improvements on to each other. As Weir and Kacelnik write in another Animal Cognition article, their “observed behaviour is consistent with a partial understanding of physical tasks at a level that exceeds that previously attained by any other non-human subject”. (With article titles like ‘Lateralized suckling in domestic horses’ and ‘Contextual Pavlovian conditioning in the crab’, Animal Cognition is your go-to journal if any of this stuff floats your boat.)

These studies can also help us predict the kind of adaptations that will occur — either in us or in animals — in the future, including the possibility of intelligent life arising, or having already arisen, elsewhere. And while evolution on Earth takes place over hundreds of thousands of years, essayist and pop-rock culture critic John Jeremiah Sullivan notes in his humorous (and only somewhat embellished) article, ‘Violence of the Lambs’, that a warmer planet means faster evolution. More pressing and more immediate, he points out, are the effects of human impacts on the environment, namely that a distressed planet is likely to yield “stress-related behavior modification, so-called ‘phenotypic plasticity’” in our animal friends. As major ecological shifts take place, what new innovations will crows come up with in their tool-making?

University of Washington academics John Marzluff and Tony Angell suggest a less alarmist future, more akin to a “synergy between human culture and the environment – a coevolution of human and other species’ cultures”. In their 2005 paper in the Journal of Ecological Anthropology, they propose that “when humans interact with other social species … simple feedbacks from a culturally evolving ‘environment’ can stimulate rapid cultural evolution in humans”. They term this process “cultural coevolution”. And while their vision is of a shared future, markedly less apocalyptic than Sullivan’s, the effects of cultural coevolution aren’t necessarily positive, for us or crows.

In a later study, Marzluff had his research team wear a particular type of mask for tagging and handling crows, a process the crows invariably dislike. He then had other researchers walk around with the same mask on, to see how the crows would react. It turned out that whenever the crows saw the mask, they would caw and harass the wearer, even though the researcher had never bagged or tagged a crow. Marzluff was intrigued to note that this behaviour was exhibited even by birds that hadn’t been handled by the researchers. The crows not only recognised and remembered the mask, but they told all their friends about him too.

It’s also somewhat interesting that we can’t return the favour. We’re not very good at telling crows apart, even in the case of different species, as noted about Torresian crows and Australian ravens. National Public Radio’s golden tonsils of science journalism, Robert Krulwich, labels this phenomenon “the crow paradox”. He suggests that there’s no evolutionary reason for us to be able to identify individual crows, whereas crows have a number of reasons to tell us apart, not least to avoid bag-and-taggers.

The human race has a long history of scapegoating corvids, and not just in stories. In the fifteenth century, both James I and James II of Scotland ordered the killing of rooks, and England passed the Vermin Act in 1532, encouraging the slaughter of (among other things) crows, rooks and choughs. In all of these instances it was believed that the damage corvids did to agriculture rendered them a pest (consider exhibit A, the scarecrow); also, that they carried disease. It’s a sentiment that isn’t just relegated to the past either. Crow hunting is still a regular occurrence in the US, where it’s generally legal to shoot them if they’re seen to be causing a nuisance or health hazard. Accordingly, crows have learned to tell people who shoot them from people who don’t. Seems reasonable enough, really.

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Historically, we’ve never needed to tell crows and ravens apart, but do these evolutionary advantages give us reason enough? Corvids exist in vast quantities, alongside human settlements, with few natural predators and the ability to adapt to new food sources (including, believe it or not, cane toads). There’s a famous documentary sequence where David Attenborough observes some crows in Tokyo in possession of walnuts that they’re unable to crack with their beaks. The crows solve their problem by dropping the nuts onto the road at an intersection. They let the passing cars do the grunt work while they stand patiently on the curb, waiting for the lights to change and the traffic to stop before hopping out and retrieving their lunch.

This kind of environmental adaptation and ingenuity suggests to me an innate survivalism, possibly beyond that of humans. Faced with uncrackable nuts in Shinjuku or a piece of ox heart at the bottom a tube in Oxford, how long would it take me to arrive at a solution without help? It’s not hard to imagine crows outliving us, thriving in a post-apocalyptic landscape, possibly of their own making.

Tongue-in-cheek or otherwise, John Jeremiah Sullivan posits that we have very real reasons to fear an animal uprising. “As we intrude on, clear-cut, burn, pollute, occupy, cause to become too hot or too dry, or otherwise render unsuitable to wildlife a larger and larger percentage of the planet, what will be involved in terms of the inevitable increased human exposure to remnant populations of truly wild fauna?” he asks. “What sort of changes, adaptations, and responses might we look for in the animals themselves as the pressures of this global-biological endgame begin to make themselves felt at the level of the individual organism?” Sullivan goes on to cite instance after instance of animal-on-animal and animal-on-human violence, cataloguing, in case you were still unclear, “changes in the nature and lethality of animal aggression”. And crows? In an admirable turn, he resists the temptation to mention Hitchcock’s The Birds (I have no such dignity), as he notes that “when measured in actual numbers, birds may be the single most active species in terms of manifesting whatever lies underneath this shift”.

Bernd Heinrich, the corvid enthusiast who conducted the meat-string experiment, recounts an anecdote that offers competing interpretations: two possible relationships we might have with crows going forward. It’s about a woman in Colorado, chopping and stacking wood while a raven flutters about and caws incessantly. Heinrich describes the woman’s annoyance at the bird, exhibiting behaviour she’d never noticed before. Just before it’s too late, however, she spots a cougar ready to pounce on her. The woman’s explanation, repeated in press at the time, was that the raven was trying to alert her to the danger of the cougar, and ultimately save her life. Heinrich’s preferred interpretation, however, is that the raven wasn’t flapping and calling for the woman’s benefit, but to let the cougar know where it could find an easy meal. Sullivan may be right after all. What dangers do animals capable of social organisation present to us, either as a species or, as in this cougar-raven coalition, through interspecies cooperation?

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Again, we might look to Marzluff and Angell, the Washington academics and committed nature-advocates, for more optimistic possibilities. In looking at corvid intelligence and its implications for cultural coevolution, they call for “a more thorough understanding of how human culture is stimulated by the sight, sound, and even culture of nature”. They even suggest that cultural coevolution – the changes that occur in people by living with and alongside animals – is “an ‘ethological service’ that nature provides people”.

An ethological service is certainly something I like, or at least I like the sound of it, however unconvincing it may be as an argument for increased ecological conservation. More than this, though, and more than the advances in evolutionary biology and cognitive psychology, and regardless of the impending animal apocalypse, I find examples of corvid intelligence compelling in and of themselves. That’s what initially drew me to the subject: that Betty made a hook unprompted, untaught, with unfamiliar materials in an artificial environment; that crows can be taught to use a vending machine; that Japanese crows use cars to crack nuts; that Midwest ravens use mountain lions to kill married women. And despite the intervening exploration, with the implications for complex cognition, problem-solving, instinct and evolution, that’s what remains with me – that it just blows my mind. Crows and ravens are intelligent, emotional, intriguing birds, and are closer to us psychologically than we give them credit. But in terms of what’s going on inside their heads, we may just never figure that out.

After the Mad Hatter asks why a raven is like a writing desk, he promptly admits that he hasn’t the slightest idea. Later commentators asked if it was because Poe wrote on both. Or because they both stand on sticks, perhaps? They both come with inky quills? The real answer is that the author, Lewis Carroll, never intended it to have a solution, that the question simply draw attention to its own absurdity, but he did include the following preface to later editions: “Because it can produce a few notes, tho they are very flat; and it is nevar put with the wrong end in front!” In most printings, however, “nevar” is erroneously corrected to “never”, and the pun is nevermore.

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Sab Meynert is an illustrator living and working out of Toronto, Canada. Her work stretches between illustration, fine art, and writing. When not exhibiting at zine fairs with her micropress, Blacktooth, Sab is surrounded by comics, cats, and cheese. She is lactose intolerant. 

Bye Ronnie! Hello Katie!

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We are very sad to announce that Ronnie Scott, the Brow's Art Editor (and Founder!), is stepping down from all art commissioning duties.

Ronnie has been almost 100% solely responsible for organising all of the visual art that has ever appeared in the Brow's pages since 2007, first as the sole editor and chief of the magazine for the first five-ish years, and then as editor of the visual art features and illustrations for the past couple of years. It is no hyperbole to say that he has played a significant part in the resurgence of interest in graphic narratives, especially in Australia, and especially for Australian comics artists. He has commissioned and offered a wider and new readership to dozens of emerging and established visual artists, and provided readers who might not actively engage in the graphic narrative scene with entry points every single issue of the Brow.

Ronnie founded The Lifted Brow in 2007 and has always had a big hand in both the everyday of what we do and the directions in which we scramble. Much of the energy and inventiveness of the Brow stems from him because he is a tight bouncy ball of ebullience, always positive and looking for new opportunities, and he pursues strange and interesting ways of doing things not to be better than everyone else or to make others play catch-up, but because it’s his nature, and he cares. Everyone who works on the Brow feeds off his exuberance and he asks for naught in return. As such, we won’t quite let him leave. Instead, Ronnie will be popping back in from time to time, as a writer with words in our pages, or as a commissioning editor, or as whatever really. But still: this is a kind of goodbye. So goodbye Ronnie! We love you, and can’t wait to pluck your books off the shelves and see what other exciting projects you will throw yourself into.

Now is also the perfectest time to divulge that we have a new Art Editor, in the marvelous Katie Parrish.

A wonderful artist and organiser, Katie has agreed to slip into Ronnie’s wake, vowing to continue to do the same kind of excellent work that has been done for the first 20 issues, and also vowing to take the Brow into original and unfamiliar visual territories. We have published Katie many times because we have a skyhigh opinion of her work, and we also know she is as unselfishly interested—if not more—in boosting up the work of others. The merriment and excellence that awaits, beckoning: it’s almost too much to bear.

2014 is gonna be a very fun and electric year for our visual art, and for the Brow in general. Are you ready? Are you reading us regularly? Hop on board the proverbial train, friends, and sit your proverbial keister on that proverbial hay bale while we sing you a year-long proverbial folk ditty as we rock along these tracks through the proverbial night. What!

'Elephants in the Top End, Kangaroos in the Top Paddock: The Colourful History of Introduced Species', by Rhianna Boyle

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(illustration by Bonnie Eichelberger)

In 1861, the Governor of Victoria received a letter requesting that monkeys be released into the Victorian bush. In the words of the Governor, Sir Henry Barclay, his correspondent suggested that the monkeys should be introduced “for the amusement of the wayfarer, whom their gambols would delight as he lay under some gum tree in the forest on a sultry day.”

For many Australians nowadays, the wisdom of introducing exotic species does not even require protracted argument, but is instead summed up in a single byword: ‘rabbits’. Or perhaps ‘cane toads’, or even ‘foxes’. But before we had the advantage of ecological hindsight—in fact, before the science of ecology existed—the introduction of exotic species was seen in a very different light.

The request for monkeys, while wisely rejected by the Governor, came not from an eccentric crank, but from Edward Wilson, former editor of the Argus newspaper and founder of the Victorian Acclimatisation Society. Along with the politicians, academics and hereditary title holders that made up the Society, Wilson was committed to introducing all of the world’s wonderful species to the impoverished fauna of the new colony. The introduction of English songbirds, Wilson argued, to mention just one example, would temper the harsh calls of our native kookaburras and cockatoos.

The first Acclimatisation Society had been founded in Paris in 1854. Its British counterpart was formed in 1859, and its gentlemen members celebrated by dining on an exotic dinner of eland, a deer-like African species. For a few decades in the nineteenth century, Acclimatisation Societies flourished in the British colonies and in the United States, although they were most influential in Australia and New Zealand. ‘Liberations’, as the releases of exotic species were called, were carried out to satisfy combinations of civic duty, nostalgia, religious obligation and God complexes. Some introductions had a practical rationale—to introduce ‘useful’ domesticated species—but others were the result of loftier ideals.

In her book Exotic Intruders, Joan Druett describes the “gentleman’s menagerie” established by the one-time Governor of New Zealand, Sir George Grey. During the 1860s, Sir George purchased the island of Kawau, off New Zealand, and set about creating a paradise for exotic species. Animals were allowed to roam free in a set-up that seemed to take its cues from the Garden of Eden. Living together on the island were zebras, emus, kangaroos, monkeys, possums, wallabies, antelope, cassowaries, peacocks and swans, together with a selection of exotic plants. The wallabies bred uncontrollably, and in conjunction with the possums, ate so much of the island’s vegetation that all the animals began to starve. Shooting parties were able to kill as many as 200 wallabies in a single weekend.

Thomas R. Dunlap writes that the focus of the natural sciences during the Victorian era was not to describe relationships between species, as it is today, but to catalogue and arrange the diversity of life. According to Dunlap, the Victorians believed that nature could be “taken apart and put together almost at will.” Such a rationale seems to have played a part in the establishment of the menagerie on Kawau, which resembled a living version of the butterfly collections or stuffed bird arrangements that decorated Victorian homes. An obvious design flaw in the eyes of modern ecologists—the absence of a predator that would limit herbivore populations— was not considered.

The Victorians believed that man had a duty to assist the proliferation of the creator’s best work. And in their eyes, His finest pieces, both human and animal, were European. Just as people of European stock would displace the original inhabitants of the places they colonised, the superior European plants and animals would displace their native counterparts.

The starling is now amongst the most invasive bird species in North America. Its presence there is thanks to Eugene Schieffelin, a member of the American Acclimatisation Society. It is thought that Schieffelin, a dedicated aesthete, decided to introduce starlings and other European birds because he wanted to look out the window and see all the birds mentioned by Shakespeare.

In 1858, the poet William Cullen Bryant commemorated Schiefflin’s release of a flock of English house sparrows with the lines:

A winged settler has taken his place

With Teutons and men of the Celtic race

Twenty-three years later, the sparrows had acclimatised so successfully to North America that a magazine published a parody of Cullen Bryant’s verse, referring to the sparrows’ poo and seed pilfering.

 Meanwhile, in Australia, the Victorian Acclimatisation Society was also releasing sparrows, along with pheasants, robins, partridges, blackbirds, and other English birds. Non-avian animals released included goats, hares and several species of deer. The Society also possessed monkeys and a leopard, but these were amongst animals kept in captivity at what later became Melbourne Zoo.

At the same time as these importations were underway, the Society was shipping kangaroos, wombats, dingoes and kookaburras to cities in Europe and Asia. It is likely that most of these exports ended up in zoos. But those who feel patriotically towards our native species will be pleased to know that just as our bush is suffering under the onslaught of invasive species, our native fauna and flora are wreaking their own havoc overseas. There are Australian possums in New Zealand, brown snakes in Guam, and melaleuca and casuarina trees in Florida. There are even wild colonies of wallabies in Britain – escapees from private zoos.

Overwhelmingly, modern popular opinion has shifted against exotic introductions. Today, a civic-minded concern for the environment does not entail ‘liberating’ zebras into it, but rather removing exotic species. However, the legacy of the Victorian era Acclimatisation Societies may not have left us completely.

Introducing animals was once an upper-class pursuit. But while wealthy, educated types have now taken up the peasant-like pastimes of kneading their own sourdough and growing heirloom vegetables, the marginalised rural underclass are the ones carrying on the gentleman’s task of acclimatisation. And it seems that was once carried out, however misguidedly, for the edification of society, may now be undertaken as a big middle finger raised to the environmental values of elites. The possible deliberate introduction of the fox to Tasmania, in the late 1990s, for example, has been described as an act of environmental terrorism.

The story of modern fox introductions to Tasmania is a tricky one to tell, because barely any of the facts are undisputed. Whether or not there are currently foxes in Tasmania, let alone how they got there, is up for debate. Foxes were introduced to mainland Australia in the 1800s, however, despite similarly early attempts at introduction, Tasmania remained fox-free until late last century.

In 1998, a fox was captured on security cameras at Burnie port, presumably just after it had walked off a container ship from Melbourne. This video evidence suggests that foxes are able to cross the Tasman (check) under their own steam, but it seems unlikely that a few stowaways could found a whole population.

Then, in 2001, two men appeared in the media with a fox they claimed to have shot, but the case was later believed to be a hoax, with the body of the fox presumably brought across from the mainland. Subsequent corpse discoveries and sightings have been publically ridiculed, which may mean that people who genuinely believe they have seen a fox are reluctant to report the sighting to the government-funded Fox Taskforce. 

The only abundant concrete evidence of a fox presence in Tasmania exists in the form of scats that contain fox DNA, but even this evidence is controversial. Some environmentalists have accused their opponents of bringing fox poo over from the mainland and scattering it about to waste the time and money of the Fox Task Force, thereby siphoning resources away from other environmental issues. Others have claimed that those secretly transporting the poo are most likely to be members of the Taskforce themselves, or work for the laboratories that perform the genetic analysis, because they benefit financially from the foxes’ presumed presence.

In 2001, three people were investigated by the police and the Tasmanian Parks and Wildlife Service over suspected deliberate introductions. No evidence of such introductions was found, but some scientists and environmentalists still suspect deliberate introduction as a way of antagonising ‘greenies’.

Foxes are not the only animals suspected of being deliberately introduced in recent decades. Deer in Australia descend from those introduced during the nineteenth century. However, in 1995 there were just four distinct populations of red deer Australia, but by 2007, that number had increased to sixty-five populations. It’s thought that many of the new deer populations in south-eastern Australia have been deliberately established by hunters, who capture feral animals and release them in new wilderness areas.

The world of deer hunting enthusiasts is a topsy-turvy parallel universe of environmental politics. The language and ideology are familiar, but the context is new. According to hunting websites, deer contribute to biodiversity. They should be hunted in moderation, rather than subjected to the widespread culling called for by some environmentalists, in order to protect a valuable natural resource. The idea that moderated exploitation now will protect a resource for the future has long been promulgated by green groups, but it seems strange that it has been taken up so enthusiastically by the hunting lobby.

According to the website of the hunting lobby group Research Into Deer Genetics and Environment (R.I.D.G.E), hunters’ desire to preserve deer can be attributed to the “long and constant link that many Australian families have with deer hunting, especially amongst those of European or Celtic descent.” In some cases, “traditional hunting practices go back at least 5 generations.” According to the group, the cultural significance of the deer can be seen in the fact that it appears on council and property signs, football teams and place names.

This rhetoric implies that the deer is effectively the white man’s totem animal or spirit guide. As with the environmental arguments, these defences seem to cherry-pick from left wing ideas about indigenous rights, but they seem to have been appropriated—perhaps cynically so—by a demographic not usually associated with either the conservation or land rights movements.

Perhaps the most surprising aspect of the deer hunting in Australia is that, in an apparent throwback to the days of the Victorian Era acclimatisation societies, the government is on board. In most states of Australia, deer are considered a pest. However, in Victoria, Tasmania, and New South Wales they are a protected game species. In these states, deer are allowed to persist in national parks for the enjoyment of hunters. There are bag limits to preserve the resource.

Certainly, deer aren’t as destructive as rabbits or foxes, but the disturbing aspect of government protection of feral deer is that we don’t really know what effects they have on the environment.  The few existing studies suggest they cause vegetation destruction, competition with native herbivores and weed transmission. Some farmers have raised concerns that deer damage their crops.

Yet hunters seem to be able to rely on support in high places. For example, in 2005, two scientists from the Tasmanian Department of Primary Industries published a scientific paper claiming that a “professional” approach to wildlife management means we must “move away from traditional paradigms of protection of native species and eradication of exotic species.” Echoing the sentiments of hunters, the paper claims that deer are have been “part of the Australian biodiversity since early in the nineteenth century.” Apparently, it’s “traditional perceptions of deer as an exotic species” that lead people to believe they cause agricultural and environmental damage.

It seems odd that both the science of ecology and green politics—both generally regarded as being born in the 1970s—are now ‘traditional paradigms’, while the hunting lobby’s born-again acclimatisation movement is the new way of thinking. It’s one thing when hunters on an internet forum appropriate the language of the left to promote an opposing ideology, but when a state government department does the same, it seems to be inviting unflattering comparisons to Orwell’s Nineteen Eighty Four.

State government protection of introduced species is not limited to deer. In fact, there is one introduced species that a state government-funded body breeds in order to release into the wild. Each year, Victorian Fisheries releases captive raised trout — a European species — into the wild so that fishing enthusiasts can catch them.

This occurs despite evidence that trout eliminate populations of galaxiids, a group of native fish that includes some rare and threatened species. In Victoria, trout hatchlings are now released only into closed bodies of water, such as lakes and dams, but it is thought that they may reach rivers despite this practice. Ecologist Susan Lawler points out that the same agencies tasked with breeding and protecting native fish are also breeding the trout that may end up preying on them.  

The government-sanctioned presence of deer and trout in Australia raises the question of why the hobbies of a minority take precedence over the conservation of public resources. Even disregarding the environmental impacts of trout, the money put into the scheme means it can effectively be considered a charitable service that provides subsidised fish dinners to the incurably rugged. It’s tempting to think that government deference to hunting and fishing types is a psychological throwback to the time when manly men who killed animals with weapons were the pinnacle of respect. In Western society, that time ended somewhere around 4000BC. Perhaps political organisation, in the form of the Shooters and Fishers Party, has had an impact.

But it would be wrong to think that these practices are the last gasp of the acclimatisation mentality, as a resurgence may come from unexpected quarters. In recent decades, the scientific community has been the strongest critic of exotic introductions. But a new concept in ecology is rewilding. This practise is exemplified by the reintroduction of wolves to Yellowstone National Park in the 1990s, after they had been exterminated from the park decades before. Some scientists take this idea one step further. According to some proponents of rewilding, in the absence of the original native species, exotic species should be introduced to fulfil particular ecological roles.

Professor David Bowman of the University of Tasmania believes we should consider introducing elephants to northern Australia. This claim was made last year in Nature, one of the world’s leading scientific journals. The elephants are apparently required to control gamba grass, a giant weed that is colonising the top end of Australia at a rapid rate. But this is not the elephant’s only proposed function. Our continent once boasted, amongst other things, two-metre tall wombats and kangaroos. Bowman believes the Australian ecosystem has been ‘out of balance’ since we lost such creatures during the Pleistocene megafauna extinctions of about 50,000 years ago. For this reason he also suggests introducing komodo dragons in order to fill the niche left by extinct giant goannas.

I suppose that if we have to revive a Victorian-era fad, on a spectrum that includes baby farming and incurable syphilis, acclimatisation is a lesser of evils. If acclimatisation is the scientific trend of the future, my support is behind a revival of Edward Wilson’s plan for monkey introductions. Like deer, monkeys will contribute to biodiversity, and that can only be a good thing. The presence of monkeys will make up for the obvious deficits in our native fauna, the gambols of which are simply not delightful enough. And monkey-watching is a serious sport, which supports regional economies. At least, that’s what my platform will be when candidates from my soon-to-be-formed Monkey Appreciation Party run for the Federal Senate. If recent events are any indication, I’d say we’re in with a chance.



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Rhianna Boyle is a research assistant in the zoology department at the University of Melbourne.

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Bonnie Eichelberger is a Melbourne-based freelance designer and illustrator.

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This piece is from our most recent print issue, TLB20. You can grab a copy for yourself, if you like.

some comics/artwork from Issue 20

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Nicky Minus



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Ines Estrada



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Noel Freibert - ‘Moderate Torture’



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Michael Litven - ‘datastream’



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These pieces are from our most recent print issue, TLB20. You can grab a copy for yourself, if you like.


'Boring', by André Dao

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What exactly is boredom? In his book on the aesthetics of failure, Boring Formless Noise, composer eldritch Priest describes it as “a lessening of one’s capacity to affect and be affected – a diminishing of our potential engagement with the world and its population of things”. Boredom is a yearning for a lost feeling or memory of yearning; it’s desire turned in on itself, a supreme dislocation and indifference that just wants to want something. Paradoxically, that diminishment of affect doesn’t stop boredom from being painful – almost physically so. As David Foster Wallace wrote in his unfinished final novel, The Pale King, if you “pay close attention to the most tedious thing you can find…in waves, a boredom like you’ve never known will wash over you and just about kill you.”

Is it any wonder then that we spend most of our lives running away from boredom? Indeed, the traditional purpose of music—of all art—is affect, and to confirm our own capacities to be affected. A concert can, and should, make us feel joy, anger, and melancholy; why then, do so many avant-garde concerts in the latter half of the twentieth century leave us feeling nothing at all?

Which isn’t to say that there wasn’t boring art before the Second World War, but that it stopped pretending to be un-boring. (Priest uses the example of Wagner’s fifteen hour opera Der Ring des Nibelungen, which, with its gods, Valkyries and giants might have been the first over-long summer blockbuster.) In other words, where boredom would normally be a sign of failure for a composition, experimental composers began to practice an aesthetics of intentional failure – which is both oxymoronic and tautological in a never-ending funhouse mirror kind of way: if I intend to fail and fail then I’ve succeeded which means I’ve failed which means I’ve succeeded and so on.[1]

Perhaps the first such work dates back to around 1893, an unpublished composition for the piano by French composer Erik Satie. Vexations consists of a single sheet of music, little more than a simple theme in the bass (comprising 19 notes), alternatively played unaccompanied and with chords above. The only other notation is an author’s note, which says that, “In order to play the theme 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities.”[2] Unknown and unperformed during Satie’s lifetime, it wasn’t until 1963 that a marathon performance was produced by John Cage and Lewis Lloyd in New York. That first performance featured 12 pianists (one of whom was Howard Klein, the New York Times reviewer who was called on to play during the event) and lasted 18 hours.

Dick Higgins, an early Fluxus artist who studied composition with Cage at the New School of Social Research, described the experience of listening to Satie’s work:

“The music first becomes so familiar that it seems extremely offensive and objectionable. But after that the mind slowly becomes incapable of taking further offense, and a very strange, euphoric acceptance and enjoyment begin to set in.”

Higgins’ response is prototypical of what would become a widely recognised quality of boredom, or more precisely, the quality of some unnamed thing or time beyond boredom, a sort of latent transcendence lurking beneath boredom’s “offensive and objectionable” surface.

In 1973, that surface-level offense was still apparent enough to nearly incite a riot at a performance of Steve Reich’s Four Organs. In that piece, the titular organs play a single dominant eleventh chord (E-D-E-F#-G#-A-B), deconstructing it by playing different parts sequentially whilst the chord’s duration slowly increases from a single 1/8 chord to 200 beats at the end. A continuous maraca beat provides the rhythmic backbone. A success on debut back in 1970 at New York’s Guggenheim Museum, the New York Times’ Harold C Schonberg reported that a performance three years later at Carnegie Hall in the same city drew “yells for the music to stop, mixed with applause to hasten the end of the piece.” One of the performers, Michael Tilson Thomas, remembers “one woman walked down the aisle and repeatedly banged her head on the front of the stage, wailing ‘Stop, stop, I confess.’”

And yet there is something undeniably hypnotic about Four Organs. I always begin listening to it in a state of impatience, an anxiety that increases as the monotony sets in. But at some point (and I’m never consciously aware of when this happens) something changes; my mind slips from the music itself into the chaotic rough and tumble of my unconscious. It is as Foster Wallace describes the beyond of boredom: if you ride out those crushing waves, then “it’s like stepping from black and white into colour. Like water after days in the desert. Constant bliss in every atom.”

Brian Eno described the effect of duration on perception as a habituation that leads to extraordinary attentiveness: “If you stare at something for a very long time your eye very quickly cancels the common information, stops seeing it, and only notices the differences.” In a performance of Vexations or Four Organs the difference you end up attending to is actually the sound of failure – the performer’s failure to perfectly play repetitive phrases again and again. John Cage’s (in)famous 4’33, in which the performer sits silently at a piano for four minutes and 33 seconds,takes this logic to its extreme – the audience is forced to attend to the shuffle of a neighbour in her seat, the creak of floorboards or the booming cough from across the concert hall; these are the sounds of the performer’s failure to play. Cage and his peers used boredom in their music to banish boredom. As Cage famously said, “If something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two. Eventually one discovers that it is not boring at all.”

The problem with this approach, at least according to Priest, is that it is fundamentally neo-liberal. It pushes the responsibility of being not bored onto the listener, and so ends up being less a resistance to the social injunction to be constantly entertained than a way of having your avant-garde cake and eating it too. That is, experimental composers disavow their responsibility to entertain the audience without doing away with the entertained/bored dichotomy.

Consider Canadian composer John Abram, who wrote a 68-minute composition called Vinyl Mine, cataloguing the sound of a single revolution of the play-off groove at the end of each album in his record collection. In response to Priest’s claim that he wrote boring music, he said: “It’s a pet peeve of mine that people say ‘It’s boring,’ when they really ought to say ‘I am bored by this.’ I really believe that anything at all can be engaging and fascinating if you examine it the right way, or for long enough. The viewer’s inability or unwillingness to engage with the work is not the work’s problem, nor its maker’s.”

Far from offering a method of resistance, the avant-garde’s deployment of boredom is complicit in modernity’s individuating processes of desire-production. In fact, Priest argues that as boredom has become a commonplace affect in contemporary art, so it has become more difficult to distinguish between “momentous aesthetic boredom” (which may or may not be trying to say something) and the quotidian dullness of 21st century living (which definitely has nothing to say). In a world of cable television, aesthetic boredom is redundant. The genius of pure reality television, such as early Big Brother (without the contrivances and the challenges), was that its insistence that entertainment could consist of simply watching ordinary people, doing not much at all. An even purer version of Big Brother would have allowed the contestants to leave the house, to go to work and so on – leaving the audience watching an empty house, waiting for an event that never occurs; for when the housemates finally get home, nothing has changed.

What potential remains in boredom as an aesthetic tool may lie in a more tactical and ambivalent approach, one that eschews the promise of transcendence. Borrowing from French thinker Michel de Certeau, Priest suggests that boredom can be seen as a temporary downtime from an entertainment obsessed culture. De Certeau calls it la perruque, a way of imagining how an individual can steal back time from other ends that are “free, creative, and precisely not directed toward profit.”

In Albert Camus’ The Plague, an existentialist classic, social misfit Jean Tarrou aspires to be a “saint without God” – that is, to be a good man in a world in which the good is no longer defined or guaranteed by religion. Oran, the city visited by the plague, is a “thoroughly modern” town, whose inhabitants are wholly absorbed in making money and seeking pleasure for themselves. Seeking to resist what he sees as meaningless modernity, Tarrou records in his notebook one method of the would-be atheist saint:

“Question: how can one manage not to lose time? Answer: experience it at its full length. Means: spend days in the dentist’s waiting-room in an uncomfortable chair; live on one’s balcony on a Sunday afternoon; listen to lectures in a language that one does not understand; choose the most roundabout and least convenient routes on the railway (and, naturally, travel standing up); queue at the box-office for theatres and so on and not take one’s seat; etc.”

After all, who waits these days? We download leaked albums on devices that we carry everywhere and all the time – there is no dead time that cannot be converted into instant entertainment. Boredom, in that context, has its own value – not for what lies beyond boredom, like a reward for waiting, but the very waiting itself. But that value is unquantifiable and impossible to articulate; there is no profit to be made from this untranscendent boredom.

Sianne Ngai, an English professor at Stanford University, coined the term “stuplime” to describe this ambivalence. The avant-garde approach to boredom bears all the hallmarks of the sublime – which in the Kantian iteration involves an encounter with something infinite and overwhelming which leads the self back to its own capacity for reason. Similarly, an encounter with the boring works of a Reich or Cage leads to the affirmation of our own capacities for attentiveness. Conversely, Ngai’s concept of the stuplime “keeps us mired in our insufficiency.” A music of the stuplime would have to somehow keep us waiting; it would know that being, and staying, bored is harder than it sounds.



[1] It’s worth nothing, as Priest does, that all this playing at failing forgets to ask the question of who can fail: generally those with sufficient cultural capital – and the concomitant self-confident expectation of success – rather than those who have to scrap for every morsel of respect (i.e. the artists discussed in Priest’s book and in this column tend to be white, middle-class males).

[2]Pour se jouer 840 fois de suite ce motif, il sera bon se preparer au prélable, et dans le plus grand silence, par des immobilités sérieuses.



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André Dao is a writer, and the the Editor-in-Chief of www.rightnow.org.au, an online human rights magazine.

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This piece is from our most recent print issue, TLB20. You can grab a copy for yourself, if you like.

Raging Against ‘Against the Rage Machine’, by Kat Muscat

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It began with a Facebook share. And then another, followed in rapid succession by three more. An editorial published in the most recent issue of n+1—and republished online—titled ‘Against the Rage Machine’ was clearly striking a chord with the peeps on my feed. Generally accompanied by an endorsement along the lines of ‘required reading’, huge slabs were quoted, with the comments in response echoing approval.

The article’s argument is one we’ve heard before: our love of opinion is corroding the quality of opinion (both our own, and that of others). Quantity is through the roof: via statuses, tweets and blogs, everyone now has the ability to be an individual broadcaster. ‘Against the Rage Machine’ is a response to the anxiety and exhaustion this can cause. We are both perpetuators and victims in a cycle of clicktivism, it says, a saturation of rage so thorough we’ve forgotten how to switch off and our ‘right to remain silent’ about the issues that plague our feeds.

The piece in and by n+1 does a great job of breaking down how companies benefit financially from this process, and the motivations behind proliferating news that isn’t actually news. I agree that we need to switch off our phones sometimes, or take a deep breath (and maybe even do some independent research!) before weighing in on the issue of the week. I too want everyone’s blood pressure to be below boiling, and the quality of critique in Australian media to rise above its current funk. However, the foundation of the argument in ‘Against the Rage Machine’ is also mega privileged, and several times throughout the editorial makes its point at the expense of feminist debate. Yes, “We ought to be selective about who deserves our good faith.” No, you do not have the right to tell everyone to just chill out.



The opening example n+1 uses to illustrate how quickly faux news can respawn itself—the woman whose boyfriend will only marry her once she’s made him three hundred sandwiches—is an event that had slipped me by. It seems that every clickbaity and news site had their hypothetical hat out, asking the people of the internet for their two cents. The point is that no one makes a profit if we all just agree that’s blatantly sexist and moves on. Gotcha. But by the end of my first read of the article, I was feeling squicky and kinda pissed off (oh, the irony). Why are so many of the topics referenced—and implicitly added to the list of ‘things to calm down about’—feminist issues? Miley Cyrus re VMAs, “recreational misandry”, a hypothetical sexist teacher, Girls, #solidarityisforwhitewomen, Miley Cyrus re the circle-jerk of celebrity open letters—all of this accompanied by a photographic illustration of a brow-furrowed woman who can’t eat lunch (a sandwich, can you believe it) because she’s too busy being intensely angry about something.

Closely following my frustration were feelings of self-doubt. Maybe the percentage of feminist issues mentioned in the article is simply reflective of what people have been particularly pissed off about lately. I honestly don’t know when it comes to these ratios; within my IRL and online friendship groups and newsfeeds it’s pretty much all about feminism all the time, because this is exactly how I want it. Later on the same day of reading ‘Against the Rage Machine’ I found myself still awake at 7am after a discussion with two mates about the treatment of women and queered characters in Harry Potter (though a lot of that time was also spent fanning-out about how much we love Harry Potter). Feminism is politically and personally the way I engage with the world, a world that is always telling me that if I’m not careful I’ll become one of ‘those feminists’ – someone who feels slighted even when there is no crime committed. All my shaving razors will evaporate mysteriously and no one will like me, or they’ll pretend to like me but call me Ms Buzzkillington behind my back. All of which is the main reason why this n+1 editorial, and others like it, are flawed. Despite what I believe to be good intentions in this case, they’re contributing to a culture that encourages women to remain silent about the issues that upset them.  



It’s a combination of factors that makes me want to tell n+1’s argument to suck it. First, I’m not cool with the way hulking-out on the internet is set in direct opposition with thoughtful critique. The idea of ‘rage’ is used in a very particular and dismissive way throughout the article; because the author or authors fail to acknowledge that a person can be mad and making valid points at the same time, their viewpoint is condescending. Not to mention we’re now in particularly icky territory considering it’s also a classic refutation of feminist concerns – that feminists, especially female feminists, are just too emotional to be thinking or arguing clearly. Rage is an emotion, one that comes about from feeling oppressed, from being provoked. It’s an emotion n+1 has drawn on in the past few years in its attacks on what it views as unfair campaigns and oppressive regimes, and it’s an emotion n+1 has exhibited periodically during its ongoing defence of the Occupy movement.

A perceived excess of emotion has forever been coded as traditionally female (read: undesirable; weak; unhinged); unless we learn to talk calmly like the men with the men, then they can’t be expected to listen. This attitude can manifest in very subtle ways and is socialised into us from a very young age. Despite apparent progression, due to systemic inequality there is still a massive difference between telling a man and a woman to ‘settle down’. It is still all too common for an emotional display to be coded as ‘assertive’, ‘passionate’ or ‘hysterical’, and the allocation of these labels is often based on gender. As such, any conversation about anger—like this n+1 editorial—that doesn’t acknowledge this inevitably trips itself up because it is ignoring the bigger picture.

The second problem with ‘Against the Rage Machine’ is that there’s a huge amount of privilege required to even be able to take issue with opinion writing on the internet, a privilege not acknowledged in the editorial. A part of me just has to snort sarcastically about how difficult n+1 makes having an internet connection seem for the modern industrialised and educated person. More importantly, the editorial makes invisible those minorities for whom the internet is breaking down barriers of access to mainstream discussions. Thrown around is the concept of infinite intellectual echo chambers—and yes this does happen—but what about people who have never been able to hear their voice bounce off anything? It would be a rad step in the right direction to stop deriding ‘Mommy Bloggers’ and instead start reading some blogs by women of colour, and maybe some authored by queer or transfolk too. Even if they’re full of rage about some issues (being treated as less-than-equal human can have that effect), you will no doubt learn something – not just that they’re angry sometimes, but, much more importantly, why. A lack of awareness about the advantages more privileged groups possess is often a part of the problem.

Lastly, there is a completely unnecessary section in this editorial in which we are told to stop doing feminism wrong. The unnamed author(s) believe it is fine and legitimate to make a distinction between engaging with #solidarityisforwhitewomen and the open letters to Miley Cyrus project. Such distinctions act like these two events happened in a vacuum. They did not happen in a vacuum. In fact, the (unsolicited) support that Sinéad O’Conner and Amanda Palmer were expressing through their concern for Cyrus is a prime example of #solidarityisforwhitewomen. That woman-of-colour performers were reduced to sexualised teddy bears was less important to two white ladies than weighing in on Cyrus’s own personal well-being within the industry. Not only is this just two-sides-of-the-same-coin, it’s also racist. The distinction the n+1 editors are making is arbitrary and done at the expense of already disadvantaged groups.

That’s what it boils down to. As soon as you find yourself writing an article about how it’s time to calm down, you need to do so without leaning on structural inequality. Define your audience instead of implying that everyone experiences the world in the same or even a similar way. There are a lot of legitimate reasons why feminists and/or people from marginalised groups are angry. Lumping these reasons into the same conversation as trashy clickbait doesn’t cut it; at best it is lazy. To imply that a reactionary opinion is automatically less constructive than commentary that keeps its voice level is baseless. Drawing on the joke that “We cared about Pussy Riot when they were still a band!” diminishes the bravery of these activists; it obscures how messed up things are when a country can throw women in prison because the music isn’t to their social taste. Mocking a movement through the notion of someone addicted to the adrenaline of outrage, or one that is possessive about its favourite cause – it simply doesn’t give you a free pass to say whatever you want.

Social Justice 101 correctly asserts that your intention is less important than the impact of your actions. I understand the point of ‘Against the Rage Machine’ wasn’t meant to complain about how angry women are these days, but this is what has happened, and it’s intelligent people who are responsible. Also, the collective language used throughout is sneakily seductive. Using ‘we’ to refer to a dominant and privileged minority will mean the people already most likely to read this article see themselves reflected back, while also being lulled into the misconception their anxiety counts as an ‘everyperson’ issue. And the editorial’s ending sentiment that “The right to not care is the right to sit still, to not talk, to be subject to unclarity and allow knowledge to come unbidden to you” is pretty easy to concede if you yourself feel generally unthreatened. Try fighting against social and systemic aggressions that are set on denying you the basic right of being a subject at all. Then you’ll see that such a position is not exactly viable.

 

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Kat Muscat is the editor of Voiceworks magazine and a raging feminist. She is now super tempted to change her name to Ms Buzzkillington. 

Jobs! Join us at the Brow

Copies of TLB 20 still available. Please visit out store...

Have you had occasion lately to ogle our contributors? Gaze upon...

Digital Brow relaunched with 'The 3D Yellow Man Edition'

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Yesterday we relaunched the Brow’s digital editions for 2014, with ‘THE 3D YELLOW MAN EDITION’.

After a brief hiatus while we sorted out our ‘shit’, we’re back delivering new and improved content via The Lifted Brow iOS app, with a new Digital Editions Editor, namely one Alexander Bennetts. Every fortnight Alex will be publishing a digital edition of the Brow, and inside will be freshly commissioned fiction, nonfiction, poetry, comics, and more.

We’re proud that the first issue after our relaunch is one that features work from Sam Wallman, Briohny Doyle, Ines Estrada, Phil Estes, Matt Banham, Angelo Giunta, Marijka Gooding, Matt Huynh, and J.Y.L. Koh, whose story ‘The Three-Dimensional Yellow Man' is the most wonderful Tom Cho-esque piece of writing, about a one-dimensional yellow ninja who steps out of a 3D film on George Street in Sydney, to the horror of local cinema-goers. 

The story was shortlisted last year for the Overland and Victoria University Short Story Prize for New and Emerging Writers, and will be taught this year at the University of Sydney, the University of Melbourne and possibly Monash University.

Read it here, read it now, read it any which way and how.

um, look, it's the contents page of our about-to-be-printed Sex Issue


TLB21 — The Sex Issue

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Issue 21 of Australia’s most interesting magazine — The Sex Issue

TLB21 is our long-awaited Sex Issue — a bumper entire 88-page edition of the magazine dedicated to discussing, criticising and celebrating the notions and ideas of ‘sex’. 

Available to order right now, the Sex Issue goes to print this week, meaning you’ll have it first thing next week if you get in fast.

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Inside the double Jonny Negron covers of the Sex Issue you will find: Adam Curley goes on a journey to find the vulnerable River Phoenix; Sofija Stefanovic seeks out eerily lifelike sex dolls and those who own them; Oscar Schwartz uses Tinder; Amy Gray remembers her sadomasochistic sexual history; Sam West reviews a whole lot of different porn sites; H.D. Thompson reviews all the dates he went on in one NYC summer last year; Beth Blanchard watches some sexually hysterical literary readings; David Donaldson ponders the language we use to describe sex in the animal kingdom; Sam George-Allen wonders where magic stops and sexual attraction starts; Ara Sarafian discusses the world of sex as it exists in Afghanistan; and Zenobia Frost digs deeps into the current state and ideas surrounding polyamory.

Patrick Marlborough reminisces about his glory days of masturbation; James Brown is back with more poems — these ones as sexy as all get-out; Astrid Lorange feeds you one-liners; Jenny Sinclair has chopped and hacked into ye olde sex manuals and in doing so makes them new; and Dr Christopher Fox explains how we’ve got it all wrong with penis sizes.

Law School is a bit special this time around: joining Ben Law and his mum Jenny to answer your sex questions is the one and only Dan Savage. And my oh my, doesn’t he get stuck right in.

Our regular columnists tee off, sexually speaking, with Christine Priestly’s profile of escort and porn star Madison Missina, Briohny Doyle’s take on BDSM, Rhianna Boyle’s close-up analysis of the birds and the bees (mostly the birds), Nina Gibb’s personal tale of sexual bodysnatching aka sexomnia, and Chad Parkhill’s take on how we mix alcohol and talk of sex and sexual abuse.

In the uber-creative department, we have Shia LeBeouf erotic fan fiction from Briohny Doyle, and sexually charged short stories from Krissy Keen and Darrent Groth. 

Middlebrow! It’s the best arts/culture lift-out that’s ever been realised, and this issue is no different. Andre Dao remembers the time he met sound artist Tom Grant; Rebecca Harkins-Cross takes a look at the mothers-doing-sons book — Anne Fontaine’s Adoration; Ellena Savage tackles hebephilia; Stephanie Van Schilt is and always has been a dirty little creep; Michelle Law signs off on her TV column with a general overview of sex on the box; Shaun Prescott argues that sex in video games can never be sexy; and Matthew Clayfield represses his sexual instincts with the idea that theatre criticism is a type of eulogy. Plus the recommendations: Holly Childs recommends making things happen in non-/half-IRL spaces; Jessica Friedmann recommends trying to conceive; and Benjamin Riley recommends you find out the colour of your penis. And Lachlan Mitchell wrote some dirty poems and took photos of them on his iPhone.

And there are comics and artwork from Sam Wallman, Leigh Rigozzi, Audrey Schmidt, Merv Heers, Evie Cahir, Zeijan Shen, Michael Hawkins, mickey zacchilli, Ruth O’Leary, and Kasia Lynch. Also find editorial illustrations from Ellen Porteus, Nicky Minus, Tessa McDonnell, Lashna Tuschewski, Sara Drake, Krystal DiFronzo, Bonnie Draws, and Maria Blackwell.

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We launch the Sex Issue in Melbourne on March 1st, and in Sydney on March 2nd. Both events feature performers and artists that’ll blow your mind, sexually. The Melbourne event is ticketed, so grab one before they sell out.

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(Contents Page — click to enlarge)

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You can also purchase this issue as the first part of a subscription: six issues per year for $50/$80.

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GRAB A COPY NOW

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THE SEX ISSUE: BAGGED UP NICE AND TIGHT, WITH A HOT LITTLE PINK BIT SHOWING

'The Honey Jar', by Sam George-Allen

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Maybe it was a coincidence that I started to re-examine magic when I started crushing again, but they both felt supernatural. If love is the meeting of two of the strongest human drives—fear and desire—then it makes sense that magic should accompany it, with its promise to lead us out of the paralysis that accompanies that hope/fear junction. I had fallen hard for a boy with black hair, blue eyes, and a girlfriend. It felt like being eaten alive. Magic, and the promise of taking back my life, was very alluring.

The occult is attractive because of its furtive nature—something feminine and hidden, underground, semiotic. I spoke to my mother once about issues I was having in a relationship—“He won’t listen to me, he won’t take my suggestions on board”—and she advised me to “make him think it’s his idea”. Like Conjureman Ali said, we manipulate our partners, whether we think we do or not; taking it into my own hands was an intoxicating idea. I decided to do a spell of my own. I immediately questioned that decision.

At first I looked into Wicca, but all the spells seemed so insipid. A wish and a candle—how much could that do for me? But my research led me to hoodoo, and that was where things started to make sense. There’s an internal logic and a groundedness at work in hoodoo, a physicality, that resonated well with me. I’ve never been good at abstract concepts. Wicca promised me the idea of love, and it felt like a lie. Hoodoo, with its plainly worded spells and its massive catalogue of purchasable oils, candles, and powders, promised ways of dealing with the realities of relationships: unrequited love, infidelity, arguments, reconciliation. The monetary value of the accoutrements on sale made them feel potent, and when Conjureman Ali talked about “the rightful state of a person”, I liked that. My rightful state: being loved like I deserved.

The spell I chose was nothing drastic – it was a honey-jar spell, which sweetens the object of your affection’s feelings towards you. There are so many variations on this spell that it’s hard to go wrong. All I’d need was a jar of honey, a candle, a name-paper, and a hair each from the crushee and me. I felt an unexpected pleasure at the thought of laying him low with a good old-fashioned love spell. Girl power, I thought. That’ll show him, I thought.

In the end I didn’t have a jar of honey or a pair of hairs. This was the spell I did:

Take a piece of brown grocery-bag paper and tear it on all four sides so there are no machine-made lines. On the paper, with a red pen, write his full name three times. Turn the paper ninety degrees, and write your name over his three times, so it forms a grid. Then, in a circle around your names, write your wish in one continuous line, without lifting your pen [I wrote “lovemelovemeloveme”]. If you make a mistake, like lifting your pen, throw out the paper and start again. You want it to be perfect.

Now take the paper, place the hairs on it [I skipped this bit], and fold it towards you, to bring your desire to you, saying aloud your intent (“love me” or “be sweet to me”). Fold it again, towards you. Now place it on a white saucer [I used a crystal one because all the white saucers in the house belonged to my housemates] and lay a ring of sweetener—sugar, molasses, syrup, honey—around it. Light a new candle [I dug a half-used one out of the kitchen drawer] on top of the name-paper and let it burn all the way down. Snuff it out with your fingers, never blow it out—it will scatter the spell.

The fact that I lacked the hairs was a serious set-back. The spell’s instructions warned that the effects would be far weaker without them. If I wasn’t even close enough to my beloved to get just one of his hairs, it scoffed, then to make him love me would be asking for some kind of miracle.

My friend Sam told me that when he was fifteen he did a similar kind of spell on “the best boy in drama class”. He wrote his name on a piece of paper and sewed the paper up inside a hand-made doll, and then put it in a tin, covered it with honey, and left it in the back of the cupboard somewhere. Then the guy started acting strange.

"He was straight, so I thought I’d given him feelings he couldn’t deal with and it was making him crazy," he said.

Sam dug the doll out and burned it.

It hasn’t been very long since I did the spell. Without those hairs, even with all the force of my intent and desire behind it, I’m asking for a lot. But I didn’t even put all the force of my intent and desire behind it. I was scared.

The object of a crush is not a person. They are just an object. You don’t really need them to love you; you need them to be yours. But by the time I was lighting the candle on my bedroom floor, after my correspondence with Conjureman Ali and my spell research and with the weight of needing to “make my peace with God” on my shoulders, my crush stopped being an object and started being a real guy who I could be messing with. This was good for him, maybe, because in all likelihood any magical influence I might have harnessed has well and truly ignored me; but it was better for me, because once he was a person, not a thing, I couldn’t maintain that level of crush on him. He was real. All the magical thinking just fell away.

Read more about Sam George-Allen’s adventures with sex and magic in the Sex Issue of The Lifted Brow!

"Brief Reviews of NYC Summer Dates", by H D Thompson

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On a recent trip to New York, I had some free time up my sleeve and at the suggestion of a friend, began an online dating quest to immerse myself in the city and get to know the locals and all that jazz. Once I figured out how to use OkCupid—it took me eight hours and ten cups of coffee to realise you can just skip those fucking never-ending introductory personality questions—I had dates coming out the wazoo. All my wazoos.

 

Date: One

Age: 25

Met an Aussie guy at orientation of the school I was attending over the summer. He was fun and had a good sense of humour. We agreed to go on a date and have a typically touristy kitschy time. It was organised that we would watch classic New York films at my place and pig out on some deep-fried take away. I chose Popeyes. Everything was ready: I picked up the food (one family bucket of fried chicken and a heap of sides) and set it up in my room. I laid an extra sheet down on my bed and thought it would be funny to place all the chicken in a circle so that we could sit and just eat our way out of a circle of fried chicken then do whatever came naturally. My friend, whose room I was renting, gave me explicit instruction to have at least one love affair in her bed, so this was perfect. I was succeeding already! The minutes dragged on and when he didn’t respond to my third text message, I realised he wasn’t coming. I felt shitty. I had been stood up on my first date in NYC. Not only that, but I was at home, alone, in my room, completely and depressingly surrounded by fried chicken. On the upside, I had lunch for a week. Serves me right dating an Aussie in New York.

Rating: Insulting. Bleak. Isolating.  (for the food).

Update: this guy never turned up at school again – he was probably a ghost or a hobo.

 

Date: Two

Age: 28

Original date: creepily meeting at dawn to walk aimlessly around a weird part of Queens. Date I changed it to when I realised this first date actually wasn’t witty banter: mid morning coffee in a normal neighbourhood. I received a text message from him at 6.45am telling me we needed to reschedule because he had just gotten home – this after previously reprimanding me for going out myself the night before. Crazy dick. I am not rescheduling.

Rating: Bewildering. Boorish. Recalcitrant. Zero Stars.

This is an excerpt from The Lifted Brow #21, The Sex Issue. Buy your copy now!

"Literature, Sex and Death: On Reading Supervert’s Necrophilia Variations", by Bethanie Blanchard

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“We were at a party, you and I, in celebration of a long-forgotten cause for joy.”

A girl sits at a table with a book in her hands. She’s wearing a chequered dress that is at once demure and revealing. The film is black and white, yet the girl is monochrome herself – dark jet hair and ivory skin. She opens the book and begins to read a passage from it aloud. At first she seems nervous and somehow fragile, her breathing shallow as she reads quickly.

The prose sounds like a dark love letter. It’s scattered with endearments like “darling” but the subject is death and blood and pain. At least, those are the words I can make out. It’s difficult to follow the narrative as her breathing becomes uneven, the syntax and rhythms skew. It’s just before two minutes in that you begin to suspect the point of the video has little to do with the words being read.

The girl stops short and winces as you realise something is happening beneath the surface of the table, unseen within the tight focus of the camera. Finally, after almost six minutes of gasps and stammered sentences, a look of both pain and ecstasy crosses her face as she orgasms, unmistakably.

This is an extract from The Lifted Brow #21, The Sex Issue! Get your copy now!


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