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Can you control your image? Gina Rinehart, King Charles and ‘moral portraits'

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/roger-benjamin-119535">Roger Benjamin</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> “She’s no oil painting”. Those were the unkind words of a colleague commenting on the subject of Vincent Namatjira’s acrylic painting, Gina. Every one of the prominent Australians and cultural heroes in Namatjira’s ensemble <a href="https://theconversation.com/vincent-namatjiras-paintbrush-is-his-weapon-with-an-infectious-energy-and-wry-humour-nothing-is-off-limits-217361">Australia in Colour</a> (2021) is subject to his trademark distortions. When the painter gets to work interpreting the press photographs that his main source, resemblance is always stretched. No one comes out unscathed: Tony Abbott looks just as scary as Angus Young from AC/DC; a grimacing Queen Elizabeth as grisly as a roaring Cathy Freeman. Indeed, in the <a href="https://thamesandhudson.com.au/product/vincent-namatjira/">2023 volume on Namatjira</a> there are no fewer than four paintings of Gina Rinehart – and they look like four different people. Do we expect a portrait to be a moral <a href="https://en.wikipedia.org/wiki/Physiognomy">physiognomy</a>, the ancient pseudoscience that assumes the way someone has lived their life shapes their features and appearance? Roman emperors were shown to be ideal types: the heroic portrait. Who knows what these men actually looked like? In the case of King Charles III, whose <a href="https://www.bbc.com/news/entertainment-arts-68981200">new portrait</a> by Jonathon Yeo was unveiled this week, we can compare his likeness to the myriad photographic and filmic images. Newspaper caricature, <a href="https://firstamendmentmuseum.org/exhibits/virtual-exhibits/art-politics-300-years-of-political-cartoons/political-cartoons-part-1-1720-1800/">popular since the 1700s</a>, works hard to point out imperfections, posit animal likenesses, and exaggerate specific facial features to satirise public figures. Namatjira brushes with caricature even when depicting himself. <h2>Can you control your image?</h2> I think Rinehart should be flattered to be one of Namatjira’s favourites. The wits in the twittersphere have in the past 24 hours shown several more of his Ginas, and it turns out there are also at least half a dozen colour portraits of her by other artists. They range from <a href="https://scottmarsh.com.au/products/mothers-milk">Scottie Marsh’s mural</a> on a Sydney wall of a matronly Rinehart giving the breast to infant Barnaby Joyce (with apologies to Raphael), to Xavier Ghazi’s demonic hard-hatted Gina <a href="https://citynews.com.au/2023/bald-archy-prize-heading-for-immortality/">giving Australians the finger</a> – it’s in newspaper caricature mode, his entry in the Bald Archies competition for 2023. Although Rinehart has reportedly called for Namatjira’s painting to be taken down, the initiative <a href="https://www.theage.com.au/culture/art-and-design/gold-medallist-led-campaign-to-take-down-gina-rinehart-portrait-20240516-p5je1y.html">apparently comes</a> from members of the Australian swimming team and their former coach (Rinehart is that sport’s major private sponsor). I suspect their discomfort comes from reading Namatjira’s Gina as a moral portrait; that is, ugliness of appearance projects an ugly spirit (whereas for them she is the epitome of generosity). It’s an interesting idea that the fresh-faced teenage daughter of Lang Hancock in <a href="https://www.smh.com.au/entertainment/tv-and-radio/abcs-australian-story-focuses-on-gina-rineharts-bond-with-father-lang-hancock-20150706-gi6h1f.html">old news photos</a> has changed not just because times takes beauty away (as we all know), but because of the impact of things she inherited from her father: not just the extreme wealth and the jawline, but the conservative views, and the ways she has used her money and power. Her control of vast tracts of (unceded) grazing land across western and central Australia give reason to reflect on what Western Aranda man Namatjira might think of her. <h2>And yet what about commissions?</h2> When can a sitter control their portrait image? Only when they commission the work. Art history has plenty of cases in which a sitter has rejected their portrait. Monet in the 1860s painted his brother Leon, who so disliked the canvas he locked it in an attic, from which it emerged 150 years later. Portrait paintings have had to be altered, payment refused, or be paid for then destroyed. The commissioned portrait, it’s assumed, must flatter the sitter or at least offer a fair and non-judgemental likeness. The British royal family has historically been very forgiving about portraits, and has the sophistication to know it is futile to protest a likeness. Doing so invokes the perverse “<a href="https://en.wikipedia.org/wiki/Streisand_effect">Streisand effect</a>”, as we see happening with Namatjira’s Gina. There are dozens of depictions of Elizabeth II and Charles III in Namatjira’s pantheon – including one of the late queen alongside Rinehart in Australia in Colour. Namatjira has a family link to Elizabeth and Prince Philip, who met Albert Namatjira (the painter’s great grandfather) on their 1954 tour of Australia. But no one is asking for Queen Bess to be removed from the National Gallery of Australia. As a mark of noblesse oblige, King Charles has accepted the newly unveiled commissioned portrait of himself by Jonathon Yeo. It is an absolute shocker, and he should have sent it back. The King, de-aged by 20 years, looks pleasantly out at us from a floor-to-ceiling fog of strawberry- and cerise-coloured paint that covers his dress uniform. The joke, of course, is that the red colouration can be read as a reference to “<a href="https://time.com/6226657/crown-charles-camilla-tampongate/">tampongate</a>”, the product of an infamous case of tabloid phone-hacking in 1993. It’s a case of a portrait generating an unintended consequence – just as Namatjira surely did not expect to provoke international headlines today with his Gina, whom he’s been depicting for years. Fittingly, wise heads have rejected calls for the gallery to remove the canvas, starting with director Nick Mitzevich’s <a href="https://amp.smh.com.au/culture/art-and-design/portrait-gina-rinehart-doesn-t-want-you-to-see-mogul-demands-national-gallery-remove-her-image-20240513-p5jd59.html">measured statement</a>, seconded by the National Association for the Visual Arts whose <a href="https://visualarts.net.au/news-opinion/2024/nava-defends-vincent-namatjiras-artistic-freedom-amid-demands-removal-nga/">press release</a> insists on freedom of expression. Finally, late yesterday, Namatjira, resisting myriad calls for interviews, issued a statement in the pithy mode of his book texts. Let him have the last word: <blockquote> I paint people who are wealthy, powerful, or significant – people who have had an influence on this country, and on me personally, whether directly or indirectly, whether for good or for bad. Some people might not like it, other people might find it funny, but I hope people look beneath the surface and see the serious side too.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/230297/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> </blockquote> <a href="https://theconversation.com/profiles/roger-benjamin-119535">Roger Benjamin</a>, Professor in Art History, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> Image credits: X (Twitter) This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/can-you-control-your-image-gina-rinehart-king-charles-and-moral-portraits-230297">original article</a>. </div>

Art

5 reasons art therapy is great for your mental health as you age

We know how important it is to look after our <a style="color: blue;" href="https://www.betterhealth.vic.gov.au/health/servicesandsupport/healthy-and-active-ageing">physical health</a> as we age, but our mental health is equally important. <a style="color: blue;" href="https://aifs.gov.au/resources/short-articles/normalising-mental-illness-older-adults-barrier-care">Studies have shown</a> that besides the immediate impact on wellbeing, older people with untreated mental ill health are at risk of poorer overall health, increased hospital admissions, and an earlier transition into aged care. Art therapy is an excellent way to boost our mental wellbeing. In a nutshell, this type of therapy is when visual art, such as drawing, sculpting, or collage, is used in a <a style="color: blue;" href="https://www.rtor.org/2018/07/10/benefits-of-art-therapy/">therapeutic context</a>. And don’t be put off if you haven’t picked up a paintbrush since you were a kid. Art therapy is not about creating works of beauty but about the process. It’s a completely <a style="color: blue;" href="https://cata.org.au/faqs-myth-busters/#:~:text=The%20focus%20of%20Creative%20Art,%2C%20growth%20and%20self%2Dawareness.&text=Reality%3A%20Creative%20Art%20Therapy%20does,to%20affect%20change%20and%20growth.">judgement free zone</a>! Emotional release: Growing up, many of us were never taught that it was okay to express how we’re feeling, especially emotions like anger and sadness. In that way, art therapy can be ideal us older folks who often feel stuck when it comes to expressing ourselves. Art therapy provides the opportunity to express our <a style="color: blue;" href="https://creativityintherapy.com/2017/06/expressing-emotions-creativity-6-step-art-process/">inner experiences</a> in a visual way. Through the act of creation, we can release pent-up feelings, reduce stress, and experience emotional release. Another challenging emotion that art therapy can help with is grief. As we age, we are more likely to experience the <a style="color: blue;" href="https://www.nari.net.au/the-impact-of-prolonged-grief-in-older-people">loss of a loved one</a> and we don’t get ‘used to it’. The hole it leaves in our hearts is just as dark. Through <a style="color: blue;" href="https://www.vivianpaans.com.au/blog/healing-through-art-how-art-therapy-can-help-with-grief-and-wellbeing">creating art</a> we can explore the feelings of grief and sadness in a safe, judgement-free space. It can also foster a sense of self-compassion and when we have more compassion for ourselves, it becomes easier to accept our emotions. Stress relief: <a style="color: blue;" href="https://www.sane.org/information-and-resources/facts-and-guides/facts-mental-health-issues">Anxiety, depression, and past traumas</a> can heavily impact on our daily lives. Risk factors over our lifespans may change but they don’t magically disappear once we hit a certain age. Illness, grief, financial stress, social isolation, and life transitions such as menopause can all be <a style="color: blue;" href="https://www.healthdirect.gov.au/older-people-and-mental-health">contributing factors</a> of poor mental health for older adults. Creating art can ease symptoms as we refocus on what we’re creating and move thoughts away from overthinking and worry. Creating art releases <a style="color: blue;" href="https://www.rtor.org/2018/07/10/benefits-of-art-therapy/">dopamine,</a> the chemical responsible for allowing us to feel pleasure and satisfaction. This further reduces bothersome symptoms of anxiety and depression. Also, participating in art therapy leads to a more creative brain. A creative brain is better equipped to create stress-relieving techniques for other areas of our lives. Through creating art, we draw the fears that are inside our minds. This takes them out of our heads and places them away from us, helping us feel more in control. Recovering from <a style="color: blue;" href="https://www.interrelate.org.au/news-media/blogs/november-2021/how-art-can-heal-trauma">trauma</a> can be a lifelong process for many, and it’s important for someone dealing with it to find tools that will help this process. Art therapy can be one of those as it can give a sense of agency and self-understanding through the ability to express feelings symbolically. This can give <a style="color: blue;" href="https://anzacata.org/About-CAT">new perspectives</a> of ourselves and our worldview which is essential in the recovery process. It can also help connect with deeply stored emotions and help process them. Self-discovery: When we are younger we are often so busy working, socialising, and raising a family many of us never get a chance to take the time out for <a style="color: blue;" href="https://www.visionpsychology.com/starting-the-process-of-self-discovery/">self-discovery</a>. Self-discovery is important in our lives as it gives us a clearer sense of purpose and direction in life. In turn, this leads to making better decisions that lead to our overall happiness. Some of us see our kids leave home and suddenly we’re left wondering, who am I when I don’t have a family to care for? Creating art can help us acknowledge and recognise feelings that have been suppressed in our subconscious. Through learning to use different techniques of art our minds open up to thinking more freely. Self-discovery comes from both the finished product we create as well as the process of making it. Self-esteem: As we age, it’s easy to look in the mirror and struggle to recognise the person we see. Our bodies are changing, and it can often feel like society doesn’t value us as much as when we were young. It can be a major shift in the way we view ourselves and lead to poor self-esteem. Art therapy teaches us how to use a variety of media to create something new. We can develop talents and see strengths as we master new materials and see the completion of projects. This sense of accomplishment can be a big leg up to our <a style="color: blue;" href="https://artbusinessnews.com/2022/01/benefits-of-art-therapy/">self-esteem.</a> A sense of community: <a style="color: blue;" href="https://likefamily.com.au/blog/what-is-loneliness-and-how-does-it-affect-someone/">Loneliness</a> is a big contributor to poor mental health. <a style="color: blue;" href="https://www.psychiatrist.com/news/study-why-older-people-feel-so-lonely/">Studies</a> show two groups of people are most at risk: young adults and older people. With factors at our age such as children leaving home, not working as much or at all, living alone, and chronic illness, it’s easy to see how loneliness can creep into our lives. Group art therapy is a wonderful way to connect with others. We share a space with those who have similar interests, and it gives us a sense of belonging. For those who can't make a session in person due to distance or illness, some therapists offer <a style="color: blue;" href="https://www.artandplaytherapytraining.com.au/art_therapy">online group art therapy</a>. You don’t need to see an art therapist to get the mental health benefits of creating art. But the advantage of that is they have the skills to work out what best suits your needs. They’ll also work with you through any tough emotions that may arise from your art therapy. So maybe it’s time to hide those new coloured pencils from the little ones, crack them open, and enjoy them yourself! If you’d like to find out more about art therapy sessions, the links below are helpful. They offer online, in person and group sessions. <a style="color: blue;" href="https://www.zevaarttherapy.com/" target="_blank" rel="noopener">https://www.zevaarttherapy.com/</a> <a style="color: blue;" href="https://www.alliedarttherapy.com.au/" target="_blank" rel="noopener">https://www.alliedarttherapy.com.au/</a> <a style="color: blue;" href="https://www.solacecreativetherapies.com.au/" target="_blank" rel="noopener">https://www.solacecreativetherapies.com.au/</a> <a style="color: blue;" href="https://cata.org.au/programs-ndis/online-creative-art-therapy/" target="_blank" rel="noopener">https://cata.org.au/programs-ndis/online-creative-art-therapy/</a> And for some more ideas on dabbling in art therapy on your own (or with a friend), check out Shelley Klammer’s amazing resources. She is US-based but has some online workshops that are also amazing: <a style="color: blue;" href="https://www.expressiveartworkshops.com/expressive-art-resources/100-art-therapy-exercises/" target="_blank" rel="noopener">https://www.expressiveartworkshops.com/expressive-art-resources/100-art-therapy-exercises/</a> Article written by Kylie Carberry Image: Shutterstock

Mind

Royal photographers weigh in on photo editing fiasco

Royal photographers, brothers Zak and Samir Hussein have opened up about the realities of altering royal images - including what is and isn't allowed. "It's pretty clear what we're allowed to do – we're allowed to basically use darkroom techniques," Samir - who has also taken official portraits of members of the royal family - told 9Honey. He then explained what darkroom techniques entail: "So what photographers in the days when they were shooting film used to do in the dark rooms. "We're pretty limited in what we can do, it's sort of a basic crop, maybe a bit of colour correcting and that's how we edit our photos basically. "Sometimes you look at picture and you think 'Oh, if I crop it like this, it will stand out more, this will be more impactful'. So it's usually, if I'm honest, when looking back at the picture that's taken, that's the first thing I look at – how can this be cropped to make it have the impact that it should really." Zak, who has taken many photos of Prince Harry and Meghan as well as other royal family members agreed and said that the photographers do their best to get the shot right to reduce the need for editing. "You try and get it right first time around when you're taking the picture," he told 9Honey. "Ideally, you don't want to have to do too much to the picture but yeah, it's very basic what we do. "I think cropping is really important because you're trying to find the best version of that picture, so if it means cropping in tighter to make it a nice portrait or keeping it wider to show more in what's going on in the event. "It's pretty basic what we do to the picture because it's all about when you take the picture, you're looking through the viewfinder [and] that's when you want to get it right." The topic of re-touching royal photos sensationally <a href="https://www.oversixty.com.au/lifestyle/family-pets/princess-kate-sensationally-speaks-out-over-photo-fiasco" target="_blank" rel="noopener">made headlines</a> over a manipulated image posted by Kate Middleton, and has now made its way back into the spotlight following the launch of the <a href="https://www.oversixty.com.au/entertainment/art/incredible-treasure-trove-of-unseen-royal-images" target="_blank" rel="noopener">new exhibition</a> at The King's Gallery exhibition in the Buckingham Palace. The exhibition which runs until October 6 has noted darkroom techniques including cropping and framing out backgrounds or brightening up levels in a few of the negatives, including one label that read: "retouching is an essential part of photography. "Analogue retouching can occur at three stages: Modifying the negative, Manipulating the image during printing, direct retouching on the final print." Image: 9Honey/ Royal Collection Trust / © His Majesty King Charles III 2024.

Art

Gina Rinehart demands for National Gallery to remove her portrait

Gina Rinehart has demanded that her portriat be removed from the National Gallery of Australia in Canberra because she doesn't like it. The portrait of Australia's richest woman appears alongside many others, including Queen Elizabeth and former Prime Minister Julia Gillard, in an exhibition by acclaimed Archibald Prize-winning Indigenous artist Vincent Namatjira. Namatjira's works are known for having cartoon-like qualities, as he often paints famous figures as caricatures. <a title="www.smh.com.au" href="https://www.smh.com.au/culture/art-and-design/portrait-gina-rinehart-doesn-t-want-you-to-see-mogul-demands-national-gallery-remove-her-image-20240513-p5jd59.html">Nine Newspapers </a>have the National Gallery of Australia (NGA) have been flooded with a dozen complaints about the portrait of Rinehart, including some from athletes she sponsors through her company Hancock Prospecting. <blockquote class="twitter-tweet"> Australia’s richest person, Gina Rinehart, has demanded the National Gallery of Australia remove a portrait of her from an exhibition by Archibald Prize-winning Indigenous artist Vincent Namatjira. THAT’S A GOOD REASON TO SHARE THE PORTRAIT WIDELY. <a href="https://t.co/pYoMh6vQcW">pic.twitter.com/pYoMh6vQcW</a> — Maurie Mulheron (@maurie_mulheron) <a href="https://twitter.com/maurie_mulheron/status/1790621641502036239?ref_src=twsrc%5Etfw">May 15, 2024</a></blockquote> One complaint allegedly accused the NGA of “doing the bidding of the Chinese Communist Party” with the portrait of Ms Rinehart. On the NGA website, Ms Rinehart is listed as a “friend” of the gallery, as she historically has donated up to $9999. The NGA has refused to take the painting down, and the artwork will be on display until July 21st. “Since 1973, when the National Gallery acquired Jackson Pollack’s Blue Poles, there has been a dynamic discussion on the artistic merits of works in the national collection, and/or on display at the gallery,” the NGA said in a statement. “We present works of art to the Australian public to inspire people to explore, experience and learn about art.” In response to the demand to have the painting removed, Namatjira released a statement saying, “I paint the world as I see it. People don’t have to like my paintings, but I hope they take the time to look and think, ‘why has this Aboriginal bloke painted these powerful people? What is he trying to say?’" "I paint people who are wealthy, powerful, or significant – people who have had an influence on this country, and on me personally, whether directly or indirectly, whether for good or for bad. Some people might not like it, other people might find it funny, but I hope people look beneath the surface and see the serious side too.” Image credits: Getty Images / X (Twitter)

Art

15,000 squares, 500 hours, 19 months: how I used embroidery to make sense of Australia’s catastrophic fires

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/tracey-clement-1518268">Tracey Clement</a>, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> I slip the needle through a small loop of black thread, pull it tight and snip. Done. I have just tied off the very last stitch on an embroidered scroll that has taken me more than 500 hours across 19 months to complete. All of my artwork is extremely labour-intensive. But I have to admit, this is a bit excessive, even for me. It’s not surprising that I have been asked more than once “why not just outsource the labour?” and even “what is the point?” I always sigh and think enviously of plumbers. I am 100% sure hardworking tradies are never asked to justify the point of their work. Why do I work so hard? There is no one easy answer, it’s different every time. The labour intensity of my processes adds time into the equation and this both carries meaning and can change the meaning of the work as it goes on (and on and on). I always learn something unexpected. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=800&fit=crop&dpr=1 600w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=800&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=800&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=1005&fit=crop&dpr=1 754w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=1005&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=1005&fit=crop&dpr=3 2262w" alt="A finger points to a knot on the back of a messy abstract embroidery done in black, red, orange and yellow" /></a><figcaption>The last stitch! Tracey Clement</figcaption></figure> I put my little scissors down and, before busting out the bubbles, I snap a picture for Instagram because #selfpromotion, but also because this is news, albeit of a very slow-breaking kind. This is what I’ve learned after stitching for seemingly endless hours: while no news may be good news, “slow news” is even better. My embroidered scroll is titled Impossible Numbers. It started as my attempt to memorialise <a href="https://wwf.org.au/what-we-do/australian-bushfires/in-depth-australian-bushfires">the estimated 3,000,000,000 non-human lives lost</a> in the devastating bushfires of 2019–20, a number impossible to actually comprehend. <h2>Doomscrolling an emergency</h2> During that long and awful summer Sydney was often shrouded in an eerie orange haze. You could smell smoke. Ash fell. But, like many Australians, I experienced the worst of it by <a href="https://dictionary.cambridge.org/dictionary/english/doomscrolling">doomscrolling</a> fast news. I was both horrified and fascinated by images of fires so huge and hot they generated their own weather, by pictures of houses reduced to smoking skeletal outlines that somehow remained standing, by headlines comparing the fires to <a href="https://www.theguardian.com/australia-news/2019/dec/31/mallacoota-fire-mayhem-armageddon-bushfires-rage-victoria-east-gippsland">armageddon</a> and <a href="https://www.theguardian.com/australia-news/2020/oct/30/australia-must-prepare-for-future-shaped-by-extreme-climate-bushfire-royal-commission-report-warns">the apocalypse</a>. This hyperbolic language implies we are locked in a war of good versus evil. Even headlines in the vein of “Firefighters battle blazes” pit us (people) against them (the forces of nature). And in the heat of the moment the language of war feels right. <a href="https://traceyclement.com/2020/04/21/apocalypse-now">I’ve succumbed to it myself</a>. But it is dangerous. This language reinforces the idea we can dominate nature; it frames the fires as a conflict that we can end by winning. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=1432&fit=crop&dpr=1 600w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=1432&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=1432&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=1800&fit=crop&dpr=1 754w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=1800&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=1800&fit=crop&dpr=3 2262w" alt="A hand holds a phone taking a picture of a long abstract embroidery in black, red, orange and yellow." /></a><figcaption>Viewing the world through the phone. Tracey Clement</figcaption></figure> I will admit watching a goat-toting woman <a href="https://www.abc.net.au/news/2020-01-03/scott-morrison-got-bushfire-welcome-he-deserved-says-liberal-mp/11838476">berate a sitting prime minister</a> left me with a short-lived, but mildly satisfying, feeling of shared righteous indignation. But mostly doomscrolling just fuelled my sorrow and left me feeling impotent as, inevitably, the fast news cycled on to the next crisis (and the next, and the next). <h2>Slowing it down</h2> In October 2022, I finally stopped trying to process the bushfires, and all their terrifying implications, through the fast-news language of war. I picked up a needle instead. Of course 3,000,000,000 stitches would be too many, even for me, so I decided to stitch a grid of some 15,000 squares, which I filled with innumerable stitches – a nod to the endless stream of pixels that usually deliver our news. I started wanting to honour the 3 billion dead, that impossible number, but after months of stitching I realised I was “writing” a kind of slow-news story. It may sound ridiculous, but this tactic has been used before. The <a href="https://www.bayeuxmuseum.com/en/the-bayeux-tapestry">Bayeux Tapestry</a> is a slow-news story that documents the Norman conquest of England through embroidery. It took years to stitch, and some 950 years later it is still in circulation. As an alternative to doomscrolling easily digestible fast-news stories of good triumphing (or not) over evil, I have created an actual fabric scroll which depicts a stylised firestorm building in intensity until it becomes all-consuming. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=799&fit=crop&dpr=1 600w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=799&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=799&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=1004&fit=crop&dpr=1 754w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=1004&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=1004&fit=crop&dpr=3 2262w" alt="A middle-aged white woman peeks out from behind a very long abstract embroidery in black, red, orange and yellow." /></a><figcaption>The artist with Impossible Numbers. Tracey Clement</figcaption></figure> Despite mimicking pixels, Impossible Numbers is resolutely handmade. It is too messy, too crude, to be anything else. It is bleedingly obvious (and there was blood) the will of a person is inextricably stitched into this image of devastating fire. Human labour is literally entangled in this artwork; it shows us as part of the picture, part of nature. And this is good news Impossible Numbers doesn’t have a victorious ending, or any ending at all. The scroll is not fully unrolled. There is no end in sight: the story isn’t over, it’s ongoing. In this way it points to the future; a future in which we are not fighting nature. And this is good news too. If you don’t have a spare 500 hours to process the news into slow news, don’t worry. By the time I finally tied my last knot, I found I had transformed my fear and rage into something tangible, something both magnificent and beautiful (if I do say so myself), no longer about me. It is now a slow-news story that is no longer about a particular event; something everyone can share. This is why I do the work. Impossible Numbers is on display as part of <a href="https://www.casulapowerhouse.com/prizes/the-blake-art-prize">The Blake Prize</a> at the Casula Powerhouse, Sydney, until July 7. <hr /> This article is part of <a href="https://theconversation.com/au/topics/making-art-work-126611">Making Art Work</a>, our series on what inspires artists and the process of their work.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/227907/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/tracey-clement-1518268">Tracey Clement</a>, Lecturer in Visual Art and McGlade Gallery Director, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> Image credits: Instagram This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/15-000-squares-500-hours-19-months-how-i-used-embroidery-to-make-sense-of-australias-catastrophic-fires-227907">original article</a>. </div>

Art

King Charles unveils first post-coronation portrait

King Charles has unveiled his first post-coronation portrait in a special ceremony at Buckingham Palace. The painting by Jonathan Yeo - known for portraits of celebrities including Nicole Kidman, Paris Hilton and Grayson Perry - was commissioned in 2020 to celebrate the then Prince of Wales’ 50 years as a member of charitable institution The Drapers’ Company. Yeo had four sittings with the King, with the first sitting when Charles was still Prince of Wales in June 2021 at his country home in Highgrove, and the last sitting in November 2023 at Clarence house. The portrait – approximately 2.6 metres by 2 metres framed – depicts King Charles wearing the uniform of the Welsh Guard. “It was a privilege and pleasure to have been commissioned by The Drapers’ Company to paint this portrait of His Majesty The King, the first to be unveiled since his Coronation,” the artist said. “When I started this project, His Majesty The King was still His Royal Highness The Prince of Wales, and much like the butterfly I’ve painted hovering over his shoulder, this portrait has evolved as the subject’s role in our public life has transformed. “I do my best to capture the life experiences etched into any individual sitter’s face. “In this case, my aim was also to make reference to the traditions of Royal portraiture but in a way that reflects a 21st century monarchy and, above all else, to communicate the subject’s deep humanity,” said Mr Yeo. “I’m unimaginably grateful for the opportunity to capture such an extraordinary and unique person, especially at the historic moment of becoming King.” The King and Queen met The Master of The Drapers’ Company, Tom Harris and Past Master, William Charnley on Tuesday at Buckingham Palace. The portrait will go on public display for a month at the Philip Mould Gallery in London, from May 16 until June 14 and will be displayed at Drapers’ Hall from the end of August. Images: news.com.au

Art

Motorist fined $387 for "handling wallet" while driving

A motorist has collapsed after receiving a fine for $387, in which the fine claims he was holding his phone while driving. Sydney man Husni Tarmizi opened the infringement notice with his 62-year-old dad on Tuesday and admitted he was both "surprised" and "panicked" by the fine, leaving Husni to pick his father up off the floor after he collapsed from shock. Husni was confused by the fine, which also cost his dad 10 demerit points, as his father is rarely on his phone, and decided to take a closer look at the image captured by the mobile detection camera. "I went to the computer and downloaded the image and I could see clearly that it's a wallet [in his hand], you can see his phone is in the cradle," he told <a href="https://au.news.yahoo.com/driver-fined-387-and-cops-10-demerit-points-for-handling-wallet-while-driving-073557336.html" target="_blank" rel="noopener">Yahoo News</a>. "In his left hand you can see the wallet and his right hand he's holding a $50 bill." Husni continued, "He was quite panicked, especially with the 10 demerit points... and I was scared a bit because he has a heart condition." The 62-year-old man said he recalls holding onto his wallet and the $50 note to pay for petrol over the Easter long weekend, which explains the hefty loss of demerit points. Tarmizi confirmed he has already appealed the infringement and is awaiting a response after people urged him to dispute it. "I've also written an appeal, it's called a review request, we'll see how that goes," he said. "For the older generation where they don't understand the technologies and stuff, it's scary." Image credits: Husni Tarmizi

Legal

Woman fined after paid car park gets set up around her parked vehicle

Josephine Williams had been leaving her car in a gravel clearing at Westgate in Auckland, alongside other commuters to catch the bus into the city for months. The New Zealand woman was left with a "nasty surprise" when she returned from work on Monday to find a NZ $85 ($77) fine sitting on her windshield. "To my unfortunate surprise - and many others - I was greeted by an $85 parking ticket for a breach and a flyer from Wilson Parking saying paid parking had started that day," Williams told Stuff. "But what breach exactly was made? How was I supposed to know paid parking started that day when there was nothing at all displayed anywhere in the car park?" Williams claimed that the Wilson Parking car park had been set up around her already parked car, even providing dash cam footage that showed her pulling into the gravel clearing at 7.45am, with no paid parking signs or Wilson branding in sight. By 6pm, a large red and white Wilson sign had been put up at the entrance, with "12 hours for $4" written on it. "Wilson deliberately put their sign up sometime after 9am and then took it upon themselves to fine every single car that was already parked there from the morning," Williams said. "$85 is a lot of money - it would have been two weeks' worth of grocery shopping for me," she added. "I'm lucky that I know the law and my rights, but some other people might not. What about students or the elderly or people who don't know English well?" She estimated that there was usually around 50 and 100 cars in the gravel clearing. Wilson argued that the carpark was always there and they had just added more signage, but have since waived Williams' fine after she lodged a request to have it reviewed by Parking Enforcement Services. Wilson Parking also said that they had started to set up the car park and installed a "clear signage" on April 22. "It was not set up around parked cars on 29 April as suggested," a Wilson spokesperson said. "Several payments were made by customers via the Parkmate app from 22 April proving that signage on the site was clear and effective," they said. They added that on April 29 more signs were added to all entry points of the car park. "In acknowledgment of the increased signage added on the 29th at the entry we've made the decision to refund all payments made until 30 April and waive any breach notices issued up to this date." They also denied issuing any breach notices before the signs were put up. "Payment options were available and signed from 22 April - but no infringement notices were issued prior to the 29th." Images: Stuff

Legal

Woolies faces up to $10b fine after pleading guilty to 1000 charges

In what seems like a cascade of misfortune for Woolworths, the retail giant has found itself embroiled in yet another controversy. A week fraught with bad press took a turn for the worse when outgoing CEO Brad Banducci <a href="https://www.oversixty.com.au/finance/legal/last-chance-mr-banducci-woolies-ceo-threatened-with-jail-time" target="_blank" rel="noopener">faced the threat of jail time</a> for his refusal to address questions in a Senate inquiry probing supermarket price gouging. Now, the company is grappling with the repercussions of admitting to underpaying over a thousand former Victorian employees for their long service leave entitlements. The admission, made in a Melbourne court, revealed that Woolworths fell short in compensating at least 1,235 former workers, amounting to a staggering $1.24 million in underpayments spanning from November 2018 to January 2023. While some employees were owed only modest sums, others were deprived of significant entitlements, with figures reaching up to $12,000 in the most severe cases. The Melbourne Magistrates' Court learned that Woolworths, alongside its related company Woolstar, breached Victoria's Long Service Leave Act on a startling 1,227 occasions. The revelation came to light during an internal audit of the company's IT systems, prompting Woolworths to self-report the discrepancies to Victoria's Wage Inspectorate. Woolworths' barrister, Saul Holt KC, highlighted the company's commitment to rectifying the situation, after discovering the discrepancies during an audit of its IT systems and self-reporting it to Victoria's Wage Inspectorate. "That's just the right thing to do," he said. However, the gravity of the breaches places Woolworths at risk of facing a potentially astronomical fine, with a theoretical maximum exceeding $10.25 billion. While such a penalty could spell financial catastrophe for many, including a corporate behemoth like Woolworths, legal experts suggest that a more realistic figure would be capped at approximately $480,000, in line with typical penalties in Victorian magistrates courts. The magistrate presiding over the case, Nahrain Warda, has deferred her decision until Wednesday, April 24, leaving Woolworths in a state of uncertainty. In addition to the impending financial penalty, Kathleen Crennan, representing the Wage Inspectorate of Victoria, advocated for Woolworths to be convicted, denouncing the underpayments as inexcusable. "There's really no excuse for this to have happened in the first place," she said. In the face of mounting legal challenges and public scrutiny, Woolworths' reputation as an employer is under scrutiny. Despite assertions of being an "exemplary employer", founded on principles dating back to 1924, the company's track record is marred by repeated instances of underpayment scandals. As Woolworths awaits the magistrate's verdict and braces for the fallout from its legal battles, the spectre of underpayment casts a long shadow over the company's corporate governance and raises broader questions about accountability within the retail industry. Images: Woolworths

Legal

Homeowner fined just $667 over fire that killed six people

A homeowner has been slapped with a fine for smoke alarm failure after a house fire killed six people. The 61-year-old woman has been forced to pay just $667 for failing to install legally required and compliant smoke alarms, after a father and his five children died in the property due to a deadly house fire. Donna Rose Beadel was the owner of the home on Russell Island where Wayne Godinet, 34, and his five sons were residing in August 2023. The house was engulfed in flames, also destroying two neighbouring homes and leaving several people needing treatment for minor burns and smoke inhalation, while the children's mother Samantha Stephenson, and another woman survived the blaze. Cleveland magistrate Deborah Vasta handed down the maximum fine of $667.25 to Ms Beadel for failing to comply with smoke alarm legislation, saying, "It seems a pittance, however it's not for me to comment on the laws." "It's absolutely no excuse that she failed to keep abreast of the laws required of an investment property owner in having the premises legally wired with smoke detectors after January 2022," Vasta said. The fine comes just weeks after the children's grandmother claimed her daughter had "begged" their landlord to <a href="https://oversixty.com.au/finance/legal/major-claim-in-investigation-into-deadly-house-fire-that-killed-five-children" target="_blank" rel="noopener">fix</a> the smoke alarms in the house. When Ms Beadel was charged for her involvement in the tragedy, Rebecca Stephenson claimed that her daughter had spoken to the landlord about updating the smoke alarms in the property just one week before the fire. Image credits: Nine

Legal

Police share wild seatbelt pic after fining driver for bizarre DIY fix

A driver has copped a $387 fine over their bizarre seatbelt fix during a random stationary test at Richmond in Sydney's northwest. A photo shared by NSW Police Traffic and Highway Patrol showed the shocking state of the driver's seatbelt, which was tattered and held together by duct tape. The police department have warned other drivers to make sure their seatbelts are in good condition, otherwise they too might cop a fine and demerit points. "Seatbelts help to save lives, except for this one...." they wrote in a Facebook post on Wednesday. "Hawkesbury Highway Patrol were recently conducting random stationary testing on Londonderry Road at Richmond when they spoke with a driver about his seatbelt. "Not only was the seatbelt not being worn, an inspection of the seatbelt found it to be dangerously defective," they added. "He was issued a defect notice and infringement in the amount of $387 and three demerit points. Please ensure your seatbelts don't look like this." <img src="https://oversixtydev.blob.core.windows.net/media/2024/03/SeatbeltNSWPolice.jpg" alt="" width="1280" height="720" /> Many commenters were baffled as to how the vehicle passed the eSafety check, also known as a pink slip inspection, which is required for vehicles over five years old in NSW to be deemed roadworthy. "And who passed the Pink Slip? That’s where I’d be heading," one wrote. "I wonder who did the rego check on this vehicle," another added. "How does it even get to that stage," a third questioned, while others agreed that the seatbelt was no longer safe. Images: Getty / Traffic and Highway Patrol Command, NSW Police Force

Legal

"Unfair" parking fines could soon be a thing of the past

In recent years, road users in one Australian state have found themselves at the receiving end of unwelcome surprises in their mailboxes. An experimental parking fine process, initiated with the aim of streamlining administrative procedures, has instead garnered significant backlash from unsuspecting motorists. However, relief seems to be on the horizon as the New South Wales Government steps in to rectify the situation. The issue revolves around the introduction of ticketless parking fines, a system that was implemented with the intention of simplifying the issuance of penalties for parking violations. Under this scheme, parking officers could send details of fines directly to Revenue NSW, which would then dispatch infringement notices either by post or through the Service NSW app. However, what was meant to be a simple and streamlined modernisation effort has led to a surge in revenue from fines and a subsequent erosion of trust in the system. Concerns about the fairness and transparency of ticketless fines have been mounting, prompting action from the NSW government. Reports indicate that Finance Minister Courtney Houssos has written to all 128 local councils in the state, urging them to halt further adoption of the ticketless parking fine system. Instead, councils have been instructed to revert to traditional ticketing methods and ensure that drivers are promptly made aware of fines at the time of the offence. The move comes in response to a range of issues highlighted by critics of the ticketless system. One major concern is the lack of immediate notification, which diminishes the deterrent effect of fines and makes it difficult for motorists to contest them effectively. Without receiving timely notification, drivers may struggle to gather evidence or address issues such as inadequate signage, hidden signs, or other circumstances that could warrant a review of the fine. Organisations like the National Roads and Motorists' Association (NRMA) have been vocal opponents of the ticketless scheme, labelling it as "unfair" and criticising its impact on transparency. According to NRMA spokesperson Peter Khoury, the system reduces the ability of drivers to contest fines, thereby undermining their rights and contributing to a loss of community trust in the administration of fines. The NSW government's intervention signals a recognition of these concerns and a commitment to restoring confidence in the fines system. By prioritising immediate notification for drivers, authorities aim to address the shortcomings of the ticketless parking fine process. The decision to reverse the experimental system comes amid staggering revenue figures, with nearly $140 million generated from ticketless fines in 2023 alone. While the financial gains may be substantial, they come at the expense of public trust and fairness, prompting a much-needed course correction. As Minister Houssos asserts, providing immediate notification to drivers is not only the right thing to do but also a crucial step towards rebuilding community trust. By ensuring that drivers are promptly informed of fines and have the opportunity to contest them, authorities can strike a balance between effective enforcement and procedural fairness in managing parking violations. As road users await the reinstatement of traditional ticketing methods, they can take solace in the prospect of a fairer and more transparent fines system in the future. Images: City of Sydney

Legal

Driver fined over "six-second stop"

A driver has been fined $387 for making "six-second stop" at what he thought was a 15-minute parking zone, and now he is fuming as he believes he is a victim of a cash grab. Sydney resident Michael was dropping off his partner in a quiet street on Darling Harbour and was shocked to receive a hefty fine and two demerit points for his quick drop-off. Revenue NSW reportedly told him that he had stopped within 10 metres after a crossing, which was a "serious" safety risk. Michael said that he was unaware he needed to pull in and believed he was allowed to stop where he did, as he was adjacent to the parking bay. "It's a flawed set up with the crossing being so close to the 15-minute parking," Michael told Yahoo News Australia. "If I was a metre over in the vacant bay I would have avoided the fine. But the signage is just not clear.. and that bay itself is within 10 metres of the crossing, so how does that work?" The photos supplied by Revenue NSW, all time-stamped 8:23am, showed Michael's vehicle in different positions of the Zollner Circuit, which he has argued is not sufficient evidence to prove that he stopped. The photos also showed no visible pedestrians, other than Michael's partner who had just gotten out of the car, and Michael argued that he was allowed to stop since there was the 15-minute parking sign. While Darling Harbour is located in the City of Sydney LGA, the area is managed by government-run Place Management NSW. "It is an offence to stop on or near a pedestrian crossing," a spokesperson stressed. Michael questioned why there was no leniency, with such a large fine particularly amid a cost-of-living crisis, but it is reportedly because those who clearly breach road laws would not be granted any. "There's no one around and I was there for six seconds... it just feels like someone was having a bad day and waiting to make a name for themselves," Michael argued. Images: Yahoo News Australia.

Legal

The US just returned to the Moon after more than 50 years. How big a deal is it, really?

<a href="https://theconversation.com/profiles/david-flannery-3906">David Flannery</a>, <a href="https://theconversation.com/institutions/queensland-university-of-technology-847">Queensland University of Technology</a> In the few short years since the COVID pandemic changed our world, China, Japan and India have all successfully landed on the Moon. Many more robotic missions have flown past the Moon, entered lunar orbit, or crashed into it in the past five years. This includes <a href="https://www.planetary.org/space-missions/kplo">spacecraft developed by South Korea</a>, <a href="https://english.alarabiya.net/News/gulf/2023/04/27/Dubai-s-ruler-announces-new-moon-mission-after-UAE-s-Rashid-Rover-lunar-crash-">the United Arab Emirates</a>, and an <a href="https://www.spaceil.com/">Israeli not-for-profit organisation</a>. Late last week, the American company <a href="https://www.intuitivemachines.com/">Intuitive Machines</a>, in collaboration with NASA, celebrated “America’s return to the Moon” with a successful landing of its Odysseus spacecraft. Recent <a href="https://theconversation.com/change-5-china-launches-sample-return-mission-to-the-moon-is-it-winning-the-new-space-race-150665">Chinese-built sample return missions</a> are far more complex than this project. And didn’t NASA ferry a dozen humans to the Moon back when microwaves were cutting-edge technology? So what is different about this mission developed by a US company? <h2>Back to the Moon</h2> The recent Odysseus landing stands out for two reasons. For starters, this is the first time a US-built spacecraft has landed – not crashed – on the Moon for over 50 years. Secondly, and far more significantly, this is the first time a private company has pulled off a successful delivery of cargo to the Moon’s surface. NASA has lately focused on destinations beyond the Earth–Moon system, including Mars. But with its <a href="https://www.nasa.gov/commercial-lunar-payload-services/">Commercial Lunar Payload Services</a> (CLPS) program, it has also funded US private industry to develop Moon landing concepts, hoping to reduce the delivery costs of lunar payloads and allow NASA engineers to focus on other challenges. Working with NASA, Intuitive Machines selected a <a href="https://en.wikipedia.org/wiki/Malapert_(crater)">landing site</a> about 300 kilometres from the lunar south pole. Among other challenges, landing here requires entering a polar orbit around the Moon, which consumes additional fuel. At this latitude, the land is heavily cratered and dotted with long shadows. This makes it challenging for autonomous landing systems to find a safe spot for a touchdown. NASA spent about US$118 million (A$180 million) to land six scientific <a href="https://www.esa.int/Enabling_Support/Space_Engineering_Technology/About_Payload_Systems">payloads</a> on Odysseus. This is relatively cheap. Using low-cost lunar landers, NASA will have an efficient way to test new space hardware that may then be flown on other Moon missions or farther afield. <h2>Ten minutes of silence</h2> One of the technology tests on the Odysseus lander, NASA’s <a href="https://www.nasa.gov/directorates/stmd/impact-story-navigation-doppler-lidar/">Navigation Doppler Lidar experiment</a> or NDL, appears to have proved crucial to the lander’s success. As the lander neared the surface, the company realised its navigation systems had a problem. NASA’s NDL experiment is serendipitously designed to test precision landing techniques for future missions. It seems that at the last second, engineers bodged together a solution that involved feeding necessary data from NDL to the lander. Ten minutes of silence followed before a <a href="https://twitter.com/Int_Machines/status/1760838333851148442">weak signal was detected</a> from Odysseus. Applause thundered through the mission control room. NASA’s administrator released a video congratulating everyone for returning America to the Moon. It has since become clear the lander is not oriented perfectly upright. The solar panels are generating sufficient power and the team is slowly receiving the first images from the surface. However, it’s likely Odysseus <a href="https://www.universetoday.com/165864/odysseus-moon-lander-is-tipped-over-but-still-sending-data/">partially toppled over</a> upon landing. Fortunately, at the time of writing, it seems most of the science payload may yet be deployed as it’s on the side of the lander facing upwards. The unlucky payload element facing downwards <a href="https://edition.cnn.com/2024/02/23/world/odysseus-lunar-landing-sideways-scn/index.html">is a privately contributed artwork</a> connected <a href="https://edition.cnn.com/2024/02/22/style/jeff-koons-moon-phases-odysseus-landing/index.html">to NFTs</a>. The lander is now likely to survive for at least a week before the Sun sets on the landing site and a dark, frigid lunar night turns it into another museum piece of human technology frozen in the lunar <a href="https://www.britannica.com/science/regolith">regolith</a>. <h2>Win some, lose some</h2> NASA’s commercial approach to stimulating low-cost payload services all but guarantees some failures. But eventually NASA hopes that several commercial launch and landing providers will emerge from the program, along with a few learning experiences. The know-how accumulated at organisations operating hardware in space is at least as important as the development of the hardware itself. The market for commercial lunar payloads remains unclear. Possibly, once the novelty wears off and brands are no longer able to generate buzz by, for example, <a href="https://www.columbia.com/omni-heat-infinity/moon-mission/">sending a piece of outdoor clothing to the Moon</a>, this source of funding may dwindle. However, just as today, civil space agencies and taxpayers will continue to fund space exploration to address shared science goals. Ideally, commercial providers will offer NASA an efficient method for testing key technologies needed for its schedule of upcoming scientific robotic missions, as well as <a href="https://www.nasa.gov/specials/artemis/">human spaceflight in the Artemis program</a>. Australia would also have the opportunity to test hardware at a reduced price. It’s worth noting that US budgetary issues, <a href="https://spacenews.com/nasa-warns-of-very-problematic-space-technology-budget-cuts/">funding cuts</a> and <a href="https://www.jpl.nasa.gov/news/jpl-workforce-update">subsequent lay-offs</a> do threaten these ambitions. Meanwhile, in Australia, we may have nothing to launch anyway. We continue to spend less <a href="https://www.aph.gov.au/About_Parliament/Parliamentary_departments/Parliamentary_Library/Budget/reviews/2023-24/ScienceResearch">than the OECD average on scientific research</a>, and only a few Australian universities – who traditionally lead such efforts – <a href="https://business.gov.au/grants-and-programs/moon-to-mars-initiative-demonstrator-mission-grants/grant-recipients">have received funding</a> provided by the Australian Space Agency. If we do support planetary science and space exploration in the future, Australians will need to decide if we want to allocate our limited resources, competing with NASA and US private industry, to supply launch, landing and robotic services to the global space industry. Alternatively, we could leverage these lower-cost payload providers to develop our own scientific space program, and locally developed space technologies associated with benefits to the knowledge economy, education and national security.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/224276/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/david-flannery-3906">David Flannery</a>, Planetary Scientist, <a href="https://theconversation.com/institutions/queensland-university-of-technology-847">Queensland University of Technology</a> Image credits: Intuitive Machines This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/the-us-just-returned-to-the-moon-after-more-than-50-years-how-big-a-deal-is-it-really-224276">original article</a>.

International Travel

The art of ‘getting lost’: how re-discovering your city can be an antidote to capitalism

<a href="https://theconversation.com/profiles/stephen-dobson-1093706">Stephen Dobson</a>, <a href="https://theconversation.com/institutions/cquniversity-australia-2140">CQUniversity Australia</a> Do you remember what it was like to discover the magic of a city for the first time? Do you remember the noises, smells, flashing lights and pulsating crowds? Or do you mostly remember cities through the screen of your phone? In 1967, French philosopher and filmmaker Guy Debord <a href="https://files.libcom.org/files/The%20Society%20of%20the%20Spectacle%20Annotated%20Edition.pdf">publicised the need</a> to move away from living our lives as bystanders continually tempted by the power of images. Today, we might see this in a young person flicking from one TikTok to the next – echoing the hold images have on us. But adults aren’t adverse to this window-shopping experience, either. Debord notes we have a tendency to observe rather than engage. And this is to our detriment. Continually topping-up our image consumption leaves no space for the unplanned – the reveries to break the pattern of an ordered life. Debord was a member of a group called the <a href="https://www.britannica.com/topic/Situationist-International">Situationist International</a>, dedicated to new ways we could reflect upon and experience our cities. Active for about 15 years, they believed we should experience our cities as an act of resistance, in direct opposition to the (profit-motivated) capitalistic structures that demand our attention and productivity every waking hour. More than 50 years since the group dissolved, the Situationists’ philosophy points us to a continued need to attune ourselves – through our thoughts and senses – to the world we live in. We might consider them as early eco-warriors. And through better understanding their philosophy, we can develop a new relationship with our cities today. <h2>Understanding the ‘situation’</h2> The Situationist International movement was <a href="https://www.jstor.org/stable/j.ctt183p61x">formed</a> in 1957 in Cosio di Arroscia, Italy, and became active in several European countries. It brought together radical artists inspired by spontaneity, experimentalism, intellectualism, protest and hedonism. Central figures included Danish artist <a href="https://museumjorn.dk/en/">Asger Jorn</a>, French novelist <a href="https://mitpress.mit.edu/author/michele-bernstein-10219/">Michèle Bernstein</a> and Italian musician and composer <a href="https://en.wikipedia.org/wiki/Walter_Olmo">Walter Olmo</a>. The Situationists were driven by a <a href="https://encyclopedia.pub/entry/34141">libertarian form of Marxism</a> that resisted mass consumerism. One of the group’s early terms was “unitary urbanism”, which sought to join avant-garde art with the critique of mass production and technology. They rejected “urbanism’s” conventional emphasis on function, and instead thought about art and the environment as inexorably interrelated. By rebelling against the invasiveness of consumption, the Situationists proposed a turn towards artistically-inspired individuality and creativity. <h2>Think on your own two feet</h2> According to the 1960 <a href="https://hts3.files.wordpress.com/2010/12/situationist-international-manifesto.pdf">Situationist Manifesto</a> we are all to be artists of our own “situations”, crafting independent identities as we stand on our own two feet. They believed this could be achieved, in part, through “<a href="https://www.tate.org.uk/art/art-terms/p/psychogeography#:%7E:text=Psychogeography%20describes%20the%20effect%20of,emotions%20and%20behaviour%20of%20individuals">psychogeography</a>”: the idea that geographical locations exert a unique psychological effect on us. For instance, when you walk down a street, the architecture around you may be deliberately designed to encourage a certain kind of experience. Crossing a vibrant city square on a sunny morning evokes joy and a feeling of connection with others. There’s also usually a public event taking place. The Situationists valued drift, or dérive in French. This alludes to unplanned movement through a landscape during journeys on foot. By drifting aimlessly, we unintentionally redefine the traditional rules imposed by private or public land owners and property developers. We make ourselves open to the new unexpected and, in doing so, are liberated from the shackles of everyday routine. In <a href="https://link.springer.com/book/10.1007/978-981-10-8100-2">our research</a>, my colleagues and I consider cities as places in which “getting lost” means exposing yourself to discovering the new and taken-for-granted. <h2>Forge your own path</h2> By understanding the Situationists – by looking away from our phones and allowing ourselves to get lost – we can rediscover our cities. We can see them for what they are beneath the blankets of posters, billboards and advertisements. How might we take back the image and make it work for us? The practise of geo-tagging images on social media, and sharing our location with others, could be considered close to the spirit of the Situationists. Although it’s often met with claims of <a href="https://www.nationalgeographic.com/travel/article/when-why-not-to-use-geotagging-overtourism-security">over-fuelling tourism</a> (especially regarding idyllic or otherwise protected sites), geo-tagging could <a href="https://www.melaninbasecamp.com/trip-reports/2019/5/1/five-reasons-why-you-should-keep-geotagging">inspire us</a> to actively seek out new places through visiting the source of an image. This could lead to culturally respectful engagement, and new-found respect for the rights of traditional custodians as we experience their lands in real life, rather than just through images on our phones. Then there are uniquely personal and anarchistic forms of resistance, wherein we can learn about the world around us by interweaving ourselves with our histories. In doing so we offer a new meaning to a historical message, and a new purpose. The Situationists called this process <a href="https://www.theartstory.org/movement/situationist-international/">détournement</a>, or hijacking. For instance, from my grandfather I inherited a biscuit tin of black and white photographs I believe were taken in the 1960s. They showed images of parks and wildlife, perhaps even of the same park, and cityscapes of London with people, streets and buildings. I have spent many hours wandering the London streets tracking down the exact places these images were snapped. I was juxtaposing past with present, and experiencing both continuity and change in the dialogues I had with my grandfather. In this way, I used images to augment (rather than replace) my lived experience of the material world. Urban art installations can also be examples of detournment as they make us re-think everyday conceptions. <a href="https://www.cityartsydney.com.au/artwork/forgotten-songs/">Forgotten Songs</a> by Michael Hill is one such example. A canopy of empty birdcages commemorates the songs of 50 different birds once heard in central Sydney, but which are now lost due to habitat removal as a result of urban development. There are also a number of groups, often with a strong environmental or civic rights focus, that partake in detournment. <a href="https://popularresistance.org/dancing-revolution-how-90s-protests-used-rave-culture-to-reclaim-the-streets/">Reclaim the Streets</a> is a movement with a long history in Australia. The group advocates for communities having ownership of and agency within public spaces. They may, for instance, “invade” a highway to throw a “<a href="https://pasttenseblog.files.wordpress.com/2022/02/road-rave.pdf">road rave</a>” as an act of reclamation. <figure><iframe src="https://www.youtube.com/embed/bUL0C_T-Sqk?wmode=transparent&start=999" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> As French avant-garde philosopher <a href="https://www.themarginalian.org/2014/07/24/the-poetics-of-reverie-gaston-bachelard/">Gaston Bachelard</a> might have put it, when we’re bombarded by images there is no space left to daydream. We lose the opportunity to explore and question the world capitalism serves us through images. Perhaps now is a good time to set down the phone and follow in the Situationists’ footsteps. <img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/221606/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/stephen-dobson-1093706">Stephen Dobson</a>, Professor and Dean of Education and the Arts, <a href="https://theconversation.com/institutions/cquniversity-australia-2140">CQUniversity Australia</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/the-art-of-getting-lost-how-re-discovering-your-city-can-be-an-antidote-to-capitalism-221606">original article</a>.

Travel Tips

Woman riding e-bike hit with almost $3k in fines

A woman has been slapped with multiple fines while taking her child to school on an e-bike. The 42-year-old woman was travelling in Liverpool, in Sydney's south-west, on the motorised bicycle when she was pulled over by police. According to the Traffic and Highway Patrol Command Facebook page, police said the woman had been pulled over for not complying with a number of road rules, including riding an unregistered and uninsured motor vehicle, not having the correct licence, and carrying a passenger under eight years old on the bike without using a sidecar. Police allege that the child was only five-years-old and was riding on the back of the bike. "Police would like to remind the community that these E-Bikes are considered motor vehicles in the state of New South Wales and are required to comply with all ADR (Australian Design Rules)," police wrote on Facebook. "They need to be road registered, display official number plates issued by Service NSW and the rider must hold a Class R driver licence and wear the correct protective helmet as per AS/NZS 1698." The woman's fines for the multiple offences added up to $2,575. The Facebook post was flooded with comments, as people shared their own stories of how dangerous e-bikes and e-scooters can be. Another commenter simply remarked, "That's an expensive school trip." Image credits: NSW Police

Legal

"It's just not fair": Driver slams council for misleading parking fine

A furious motorist has taken aim at a Sydney council's parking solution that resulted in an "outrageous" and "unjustified" fine. Ben drives to the Campbelltown train station in South West Sydney every day for his workday commute, and has recently been forced to find alternative parking plans due to a major disruption. A multi-deck carpark is being built near the station to accommodate the influx of traffic, but while the site is under construction, a makeshift parking lot has been set up. While the new car park will add 500 parking bays when completed, residents have claimed the council has drastically reduced the number of spaces in the meantime. Ben told <a href="https://www.9news.com.au/national/sydney-parking-rules-drivers-outrage-over-tiny-detail-in-parking-fine/4cfe4d45-c311-4587-b68a-fc1d017675fc" target="_blank" rel="noopener">9news.com.au</a> parking had become "a nightmare" since the temporary lot opened, leaving many motorists with no option but to park along the fence line. It's this act that saw Ben receive a $129 parking fine in the mail. He was outraged when he was issued a fine on February 9th for "not stand vehicle in a marked parking space" when he had no other parking option. "They've advertised that the temporary car park is the same amount of spaces lost during the construction, which is severely incorrect," he said. "I can only assume they are fining loads of drivers as that space along the fence line is always full of cars parked the same as mine was." Along with the fine itself, ticket inspectors supplied Ben a photo of a wordy and confusing sign located near the entrance to the lot, which only added to his frustration with the local council. He said while there were no marked bays along the fence line, signage was not clear enough to indicate to drivers they weren't allowed to park there. "I mean it's just not fair. It's a temporary gravel parking lot," he said. "They've created this mess and now they are targeting innocent commuters fighting to just leave their car somewhere to catch public transport into work." A spokesperson for Campbelltown City Council told Nine News they understood the construction of the new car park would "create some disruption". "A temporary 113-space parking lot has been opened adjacent to the existing parking lot in order to offset some of the parking loss," they said. The council was "actively monitoring and reviewing the current parking and signage arrangements as well as community feedback, to identify any further improvements that could be made and inform any additional community notification required". "While this review takes place, vehicles will only be fined where a safety risk to both other vehicles and/or pedestrians is identified," the spokesperson said. Image credits: Nine News

Legal

"Stuff youse": Pensioner who's never owned a phone fights mobile detection camera fine

A pensioner from New South Wales has disputed a fine he was issued for using his phone while driving, despite never owning a phone. Frank Singh, 77, was captured on a mobile phone detection camera while driving on the Pacific Motorway last September, and was issued a fine for $362. Mr Singh has refused to pay the fine, claiming that he was holding his wallet when the image was captured. He also claims to have never owned a mobile phone or a computer in his life, wondering how the camera made such a mistake. The senior man decided to appeal and take Revenue NSW to court, despite the risk of paying thousands in legal fees if he lost the case. "Looks like I'm guilty on it, but I'm not," he told A Current Affair. "I thought, what the bloody hell is this all about, I don't own a mobile phone. I've never used a mobile phone. What a load of s***." When questioned what the item could be, he said, "I think it could be my wallet." While Mr Singh admitted he can't specifically remember what he was doing at the time, he believes he was possibly placing his wallet on the passenger seat after paying for fuel. Unfortunately, the review of the fine was rejected and Frank was ordered to pay the $362, but he has not given up. "Then I thought stuff youse, I'm not guilty, I don't own a bloody phone," he said. While preparing to appeal the fine once more, Revenue NSW revoked the fine after issuing a letter to Mr Singh saying he would not be required in court following an investigation by the government body. "We have decided to cancel the fine," the letter read. "You little bloody beauty, how good's that," Mr Singh said on hearing the news, before planning to celebrate the win with a beer at his local pub. Image credits: A Current Affair

Legal

Woman sparks debate after copping $116 fine for "absurd" rule

Shakira Coldwell, 21, has sparked debate online after copping a $116 parking fine for an "absurd" rule she claims she didn't even know existed. The Aussie woman took to TikTok to share her confusion, and asked if anyone else was aware of the rule. “Was I the only one that didn’t know you can get a parking fine for parking nose in, like the front of your car goes in first instead of backing into a car park?” she asked. She then asked whether the rule was only enforced in Noosa, saying that she was "pretty sure" you could park in any way as long as you stay between the lines. Coldwell then shared a photo of how she parked her car when she received the fine and said that she was “clearly” within the parking lines but hadn’t backed into her space like the car next to her. “Does that not just seem a bit absurd, a bit bizarre?” she said. She also said that she was only just made aware of the fine, as she had been travelling, which means that she may be copping even bigger fees as her payment was now overdue. “I’ve asked a couple of people about this and they literally had no idea that rule even existed. Like, I’m within the lines, it doesn’t matter how I’m parked,” she continued. According to the Brisbane City Council website, failing to park as indicated by an angle parking sign will result in a $116 fine, but Coldwell claims that she didn't see any signs. “So I am a bit confused. Is this just Noosa rule or does everyone know this because I literally did not know this was a rule. And low key $116 for a parking fine that's a bit absurd, given I was within the lines,” she said. Many commenters were quick to inform her that it was actually a common parking rule that wasn't restricted to Noosa. “As someone who lives in Noosa I can 100% guarantee there was a sign saying you had to back in,” one person wrote. “Being within the lines literally has nothing to do with it lol,” another said. A few others said that parking the wrong way in angled spots can make it “dangerous” when backing out into traffic, with one commenter claiming “everyone knows this”. However, a few others were just as baffled as the 21-year-old. “I’d be challenging that. I have never heard of it and there should definitely be signs so if you can go and check the signage,” one said. “Never heard of this before I wouldn’t pay it tell them where to go,” another wrote. According to the <a href="https://www.noosa.qld.gov.au/community/local-laws/parking-regulations" target="_blank" rel="noopener">Noosa Council website</a>, rear-in angle parking is enforced in certain areas to “ensure a safer parking experience for everyone in the area," and to prevent cars from crossing into oncoming traffic as they try to exit the parking bay. Images: TikTok

Legal

Retiree threatened with $200,000 fine over home egg business

A Queensland retiree has insisted that he will continue to sell eggs from the chooks in his backyard despite authorities threatening him with a fine up to $200,000. Murray Koina said that when he first received the email about his business he thought it was a scam and ignored it. It wasn't until they pushed for him to stop that he immediately realised things were getting serious. "They said it was a health issue, someone could get poisoned by an egg," Murray told Today show hosts Karl Stefanovic and Sarah Abo. "Well my mother grew eggs from when I was a baby and we've eaten them and given them away and sold them and I don't think anyone's died yet - and I'm 73." Murray added that he could get a licence to avoid the fine and continue his little business, but that costs $630 upfront and then around $450 every year to renew it, so it's just not worth it. "I sell around a dozen cartons a week at $4 a dozen so that wouldn't make sense," he said. "I can't say what I really feel about it, but I'm really, you know, p---ed off." Image: Today

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Driver fined over "six-second stop"

The US just returned to the Moon after more than 50 years. How big a deal is it, really?

The art of ‘getting lost’: how re-discovering your city can be an antidote to capitalism

Woman riding e-bike hit with almost $3k in fines

"It's just not fair": Driver slams council for misleading parking fine

"Stuff youse": Pensioner who's never owned a phone fights mobile detection camera fine

Woman sparks debate after copping $116 fine for "absurd" rule

Retiree threatened with $200,000 fine over home egg business

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Can you control your image? Gina Rinehart, King Charles and ‘moral portraits'

5 reasons art therapy is great for your mental health as you age

Royal photographers weigh in on photo editing fiasco

Gina Rinehart demands for National Gallery to remove her portrait

15,000 squares, 500 hours, 19 months: how I used embroidery to make sense of Australia’s catastrophic fires

King Charles unveils first post-coronation portrait

Motorist fined $387 for "handling wallet" while driving

Woman fined after paid car park gets set up around her parked vehicle

Woolies faces up to $10b fine after pleading guilty to 1000 charges

Homeowner fined just $667 over fire that killed six people

Police share wild seatbelt pic after fining driver for bizarre DIY fix

"Unfair" parking fines could soon be a thing of the past

Driver fined over "six-second stop"

The US just returned to the Moon after more than 50 years. How big a deal is it, really?

The art of ‘getting lost’: how re-discovering your city can be an antidote to capitalism

Woman riding e-bike hit with almost $3k in fines

"It's just not fair": Driver slams council for misleading parking fine

"Stuff youse": Pensioner who's never owned a phone fights mobile detection camera fine

Woman sparks debate after copping $116 fine for "absurd" rule

Retiree threatened with $200,000 fine over home egg business

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