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Olympic flame is lit at birthplace of ancient games

The flame for the 2024 Paris Olympics was lit on Tuesday at the site of the ancient games in Ancient Olympia, southern Greece. Despite the gloomy weather which prevented the traditional lighting- which involves an ancient Greek priestess using the sun to ignite the torch after offering a prayer to Apollo, the ancient Greek sun god - actress Mary Mina, used a back up flame to kickstart the epic torch relay. Normally, the group of priestesses would use a parabolic mirror to light the torch using the sun's rays, but because of the cloudy skies, they had to use a back up flame that was kept in a copy of an ancient Greek pot and lit on the same spot during their final rehearsals on Monday. International Olympic Committee President Thomas Bach said the flame lighting combined "a pilgrimage to our past in ancient Olympia, and an act of faith in our future." A relay of torchbearers will carry the flame along a 5,000-kilometre route through Greece, including several islands, until the handover to Paris Games organisers in Athens on April 26. "In these difficult times ... with wars and conflicts on the rise, people are fed up with all the hate, the aggression and negative news," Bach said. "We are longing for something which brings us together; something that is unifying; something that gives us hope." Thousands of spectators from all over the world packed Olympia for the event, amid the ruins of temples and sports grounds where the ancient games were held from 776 BC - 393 AD. The first torchbearer was Greek rower Stefanos Douskos, who was a gold medalist in 2021, followed by Laure Manaudou, a French swimmer who won three medals at Athens in 2004. Manaudou then handed it over to a Greek senior European Union official, Margaritis Schinas. From Greece, the Olympic flame will travel from Athens' port of Piraeus on the Belem, a French three-masted sailing ship built in 1896 - the year that the first modern games began in Athens. On May 8, it's due in the southern French port of Marseille, a city founded by Greek colonists around 2600 years ago. Images: Getty

International Travel

Vigil held as families visit site where Jesse Baird and Luke Davies' bodies found

In the wake of the devastating loss of Jesse Baird and Luke Davies, allegedly murdered in a shocking incident that has reverberated more than 150km apart, communities are coming together to mourn, support and seek solace. The heart-wrenching discovery of the couple's bodies in the serene landscapes of the Southern Tablelands near Goulburn has sent shockwaves through both urban and rural areas. As news of the tragic discovery spread, family members embarked on a solemn journey south to the Bungonia property where <a href="https://www.oversixty.com.au/finance/legal/update-on-search-for-bodies-of-murdered-couple" target="_blank" rel="noopener">Baird and Davies were found</a>. Their pilgrimage was met with an outpouring of sympathy and solidarity from friends and community members alike. Meanwhile, in Sydney's Eastern Suburbs, a sombre vigil took place, with dozens gathering at the Bronte Surf Life Saving Club to honour the memories of the beloved couple. The scene at the vigil was poignant yet comforting, with friends embracing one another against the backdrop of crashing waves and flickering candlelight. A portrait of Davies served as a focal point, surrounded by tokens of affection and remembrance. Meanwhile, in the NSW countryside, law enforcement officials worked diligently to unravel the mysteries surrounding the tragic deaths. The sight of police tape being lowered to allow family members to pass through symbolised both closure and the beginning of a long journey toward healing. For the NSW Police Force, the case hit particularly close to home. Deputy Commissioner Michael Fitzgerald spoke candidly about the profound impact of the alleged crime, emphasising the shock and horror felt within the law enforcement community. "It has hurt us because it was one of our own," Assistant Commissioner Fitzgerald remarked. "It was an officer who used a police weapon. It's captured the world's attention, not just Australia's. It's horrendous and horrific." Indeed, the tragedy has sparked a broader conversation about the prevalence of violence and the need for greater support for victims and their families. As communities grapple with grief and loss, there is a renewed commitment to standing together in solidarity and offering support to those in need. While the discovery of Baird and Davies' bodies brings a heartbreaking confirmation of their deaths, it also serves as a catalyst for healing and closure. In the days and weeks ahead, friends, family and communities will continue to come together to honour their memories and seek justice for the lives lost too soon. Images: 9News

Family & Pets

Tourist arrested for disgusting act at sacred UNESCO World Heritage Site

A tourist has been arrested after he committed this disgusting act on top of the Leshan Giant Buddha, a sacred UNESCO World Heritage Site in China. The man allegedly found a blind spot away from CCTV cameras, climbed over the security fence and on top of the statue. Once he reached the top of the monuments head, he proceeded to pull down his pants and urinate in front of horrified visitors who filmed the act. Security guards quickly removed the unidentified man and handed him over to police, after being informed of his actions. It is reported that the man was taken to a nearby hospital for psychiatric evaluation. The UNESCO World Heritage Site itself is a 71-metre-tall monument, which is considered to be the largest and tallest stone Buddha statue in the world. The Leshan Giant Buddha monument is located in the Sichuan Province of China, and was carved out of a cliff face between 713 and 803 AD. The statue and surrounding Mount Emei Scenic Area have been listed as a UNESCO World Heritage Site since 1996. This act is one of many incidences of tourists behaving badly across the world. In June 2023 a German tourist was detained after <a href="https://www.oversixty.com.au/travel/travel-trouble/tourist-accused-of-causing-over-8-000-in-damages-to-iconic-roman-statue" target="_blank" rel="noopener">climbing up</a> a 16th-century Fountain of Neptune, and was accused of causing over $8,000 in damages to the iconic statue. Prior to that, an Irish tourist landed himself into <a href="https://www.oversixty.com.au/finance/legal/tourist-busted-for-carving-name-into-world-s-most-famous-roman-relic" target="_blank" rel="noopener">trouble in Rome</a> after carving his and his girlfriend's name onto the walls of the Colosseum. Images: News.com.au

Travel Trouble

Aussies lament the end of ancient "Beers for Garbos" tradition

Here in Australia, where rubbish collectors are celebrated annually with a frosty brew (or six), a cherished tradition is facing its untimely demise. Yes, you guessed it right – the legendary "Beers for Garbos" tradition, where grateful locals adorn their wheelie bins with a six-pack of beer as a token of appreciation, is disappearing faster than a cold beer on a scorching summer day. For generations, Aussies have upheld this festive practice, a heartwarming exchange between citizens and their garbage collectors during the most wonderful time of the year. But alas, the tides are turning, and it seems the days of beer-topped bins are numbered. The alarm was sounded when a concerned citizen took to the virtual streets of Reddit to lament the decline of this time-honoured tradition. "I've been doing this for 20 years, only the last two years they don't seem interested. Is this a tradition we are losing?" cried out the desperate Redditor, faced with the heartbreaking prospect of having their VB left unwanted and unclaimed. Speculations ran wild in the digital realm, with theories ranging from light-fingered neighbours to the outrageous notion that beer might not be as popular as it once was. However, Veolia, the giant among waste management companies in Australia, quickly extinguished the fiery speculations. Veolia's chief operating officer of environment, Tony Roderick, delivered the crushing blow, confirming that the "Beers for Garbos" tradition had taken its last bow. The culprit? Health and safety concerns, the perennial party poopers of workplace festivities. Roderick explained, "Packages of beer become missiles in the cabin of the truck under emergency braking." Picture this: a garbage truck hurtling down the suburban streets, emergency brakes screeching, and inside, a symphony of exploding beer bottles. It's a hazardous scenario that even the most seasoned garbage collector might find hard to navigate. Moreover, Veolia has a company-wide dry workplace policy, dashing hopes of a beer-fuelled trash pickup. But fear not, for Roderick is not entirely Ebenezer Scrooge. He encourages alternative forms of gift-giving. "Should people want to leave a small gift for their local driver, it is possible to leave it at the local depot where the driver can collect it at the end of the shift." So, instead of a six-pack perched on the bin, envision a quaint scene of a garbage collector picking up a thoughtful gift basket at the depot – the stuff of modern Aussie holiday magic. As we bid adieu to the "Beers for Garbos" era, let's raise a glass in fond remembrance. May your wheelie bins be forever adorned with the spirit of giving, even if the contents are now strictly non-alcoholic. Cheers to a new era of sober, yet equally heartfelt, expressions of gratitude for our unsung garbage heroes! Images: Facebook

Home & Garden

Tiny ancient Christmas tree sells for thousands

One of the world's first mass-produced Christmas trees has sold at auction for a whopping 56 times higher than its original purchase price. The tree was first bought in 1920 for just six pence, and was snapped up at the auction in England by an anonymous buyer for £3,400, or $6,433 AUD. The tree was described by the auctioneer as “the humblest Christmas tree in the world”, measuring just 79cm in height, boasting 25 branches, 12 berries and six mini candle holders. The tree sits in a small, red-painted wooden base with a simple decorative emblem. The Christmas tree was first bought by the family of eight-year-old Dorothy Grant in 1920, with Dorothy using it as her tree until she passed away at the age of 101. The tree is believed to have been bought from Woolworths, with Grant decorating the tree as a child with cotton wool to mimic snow, given that baubles were considered a luxury at the time. After Grant's passing in 2014, the charming tree was passed down to her daughter Shirley Hall, who was "parting with the tree now to honour her mother's memory and to ensure it survives as a humble reminder of 1920s life". It was expected to sell for between £60 and £80 (between $110 and $150 AUD) but was bought for the astonishing price of £3,411 when it went under the hammer at Hansons auctioneers on Friday. Charles Hanson, the owner of Hansons and a regular guest on the BBC’s Bargain Hunt said, “This is one of the earliest Christmas trees of its type we have seen. The humblest Christmas tree in the world has a new home and we’re delighted for both buyer and seller … I think it’s down to the power of nostalgia. Dorothy’s story resonated with people.” He added, “As simple as it was, Dorothy loved that tree. It became a staple part of family celebrations for decades. The fact that it brought such joy to Dorothy is humbling in itself. It reminds us that extravagance and excess are not required to capture the spirit of Christmas. For Dorothy it was enough to have a tree." “Some of the first artificial Christmas trees utilised machinery which had been designed to manufacture toilet brushes. The waste-not, want-not generations of old are still teaching us an important lesson about valuing the simple things and not replacing objects just for the sake of it." Image credits: Hansons Auctioneers

Money & Banking

Tourist busted for carving name into world's most famous Roman relic

An Irish tourist has run himself headfirst into trouble in Rome after he was reportedly caught carving his name - and his girlfriend’s - into the Colosseum. It is said that he had been making his carvings, which were six-centimetre-tall initials, with a metal point - possibly his keys - and gouged into a pillar of the 2000-year-old historic monument. The inscription, dedicated to himself and his partner, reportedly read “Ivan+Haley 23”. The Carabinieri police have claimed that the 32-year-old man was caught by private security at the World Heritage Site, and that social media videos of the incident alerted police to the alleged crime. The man has been accused of damaging the historical landmark, the Carabinieri confirmed to CNN, with the act considered to be a crime under Italian law. The Colosseum is one of the seven wonders of the modern world, and also a World Heritage Site, and Italy’s Minister of Culture has called for the tourist to be “identified and sanctioned”. “I consider it very serious, unworthy and a sign of great incivility that a tourist defaces one of the most famous places in the world, the Colosseum, to engrave the name of his fiancée,” he tweeted, along with footage of the incident. “I hope that whoever did this will be identified and sanctioned according to our laws.” He later uploaded another video, accompanied by the scathing caption “Tourist scars the Colosseum.” <blockquote class="twitter-tweet"> Reputo gravissimo, indegno e segno di grande inciviltà, che un turista sfregi uno dei luoghi più celebri al mondo, il Colosseo, per incidere il nome della sua fidanzata. Spero che chi ha compiuto questo gesto venga individuato e sanzionato secondo le nostre leggi. <a href="https://t.co/p8Jss1GWuY">pic.twitter.com/p8Jss1GWuY</a> — Gennaro Sangiuliano (@g_sangiuliano) <a href="https://twitter.com/g_sangiuliano/status/1673318742057525248?ref_src=twsrc%5Etfw">June 26, 2023</a></blockquote> If the man is convicted, he faces a penalty of at least €2,065 (~$3,370.7) and up to one year in prison, according to CNN. And it isn’t the first time the Colosseum has been defaced by those seeking to carve out their place in history, with a Russian tourist facing a fine of €20,000 for carving the letter “K”. It’s a serious offence in the hearts of many, with archaeologist Federica Rinaldi - who is responsible for the ancient amphitheatre - telling the publication that “the Colosseum, like any monument that represents the history of all of us, must be preserved and handed over to future generations.” “It is a monument that deserves everyone’s respect because it belongs to everyone, and it must remain so,” Rinaldi added. “Carving one’s initials, in addition to being a crime, seems to be a gesture of those who want to appropriate the monument. Better take a selfie!” Images: Twitter

Legal

A brief history of the mortgage, from its roots in ancient Rome to the English ‘dead pledge’ and its rebirth in America

The average interest rate for a new U.S. <a href="https://www.cbsnews.com/news/home-loan-mortgage-interest-rate-7-percent-highest-since-2001/">30-year fixed-rate mortgage topped 7% in late October 2022</a> for the first time in more than two decades. It’s a sharp increase from one year earlier, when <a href="https://www.valuepenguin.com/mortgages/historical-mortgage-rates">lenders were charging homebuyers only 3.09%</a> for the same kind of loan. Several factors, including <a href="https://www.nerdwallet.com/article/mortgages/fed-mortgage-rates">inflation rates and the general economic outlook</a>, influence mortgage rates. A primary driver of the ongoing upward spiral is the <a href="https://abc7chicago.com/fed-interest-rate-decision-today-hike-federal-reserve-meeting-november/12408055/">Federal Reserve’s series of interest rate hikes</a> intended to tame inflation. Its decision to increase the benchmark rate by <a href="https://www.federalreserve.gov/newsevents/pressreleases/monetary20221102a.htm">0.75 percentage points on Nov. 2, 2022</a>, to as much as 4% will propel the cost of mortgage borrowing even higher. Even if you have had mortgage debt for years, you might be unfamiliar with the history of these loans – a subject I cover <a href="https://scholar.google.com/citations?user=KVv47noAAAAJ&hl=en&oi=ao">in my mortgage financing course</a> for undergraduate business students at Mississippi State University. The term dates back to <a href="https://www.english-heritage.org.uk/learn/story-of-england/medieval/">medieval England</a>. But the roots of these legal contracts, in which land is pledged for a debt and will become the property of the lender if the loan is not repaid, go back thousands of years. <h2>Ancient roots</h2> Historians trace the <a href="https://www.kingjamesbibleonline.org/Nehemiah-5-3/">origins of mortgage contracts</a> to the reign of King Artaxerxes of Persia, who ruled modern-day Iran in the fifth century B.C. The Roman Empire formalized and documented the legal process of pledging collateral for a loan. Often using the <a href="https://www.biblegateway.com/passage/?search=John%202%3A13-16&version=NIV">forum and temples as their base of operations</a>, mensarii, which is derived from the word mensa or “bank” in Latin, would set up loans and charge <a href="https://www.biblegateway.com/passage/?search=John%202%3A13-16&version=NIV">borrowers interest</a>. These government-appointed public bankers required the borrower to put up collateral, whether real estate or personal property, and their agreement regarding the use of the collateral would be handled in one of three ways. First, the <a href="https://www.merriam-webster.com/dictionary/fiducia">Fiducia</a>, Latin for “trust” or “confidence,” required the transfer of both ownership and possession to lenders until the debt was repaid in full. Ironically, this arrangement involved no trust at all. Second, the <a href="https://www.merriam-webster.com/dictionary/pignus">Pignus</a>, Latin for “pawn,” allowed borrowers to retain ownership while <a href="https://scholarship.law.upenn.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=1684&context=penn_law_review">sacrificing possession and use</a> until they repaid their debts. Finally, the <a href="https://legaldictionary.lawin.org/hypotheca/">Hypotheca</a>, Latin for “pledge,” let borrowers retain both ownership and possession while repaying debts. <h2>The living-versus-dead pledge</h2> <a href="https://www.britannica.com/biography/Claudius-Roman-emperor">Emperor Claudius</a> brought Roman law and customs to Britain in A.D. 43. Over the next <a href="https://www.english-heritage.org.uk/learn/story-of-england/romans/">four centuries of Roman rule</a> and the <a href="https://www.english-heritage.org.uk/learn/story-of-england/early-medieval/">subsequent 600 years known as the Dark Ages</a>, the British adopted another Latin term for a pledge of security or collateral for loans: <a href="https://worldofdictionary.com/dict/latin-english/meaning/vadium">Vadium</a>. If given as collateral for a loan, real estate could be offered as “<a href="https://www.merriam-webster.com/dictionary/vadium%20vivum">Vivum Vadium</a>.” The literal translation of this term is “living pledge.” Land would be temporarily pledged to the lender who used it to generate income to pay off the debt. Once the lender had collected enough income to cover the debt and some interest, the land would revert back to the borrower. With the alternative, the “<a href="https://www.merriam-webster.com/dictionary/mortuum%20vadium">Mortuum Vadium</a>” or “dead pledge,” land was pledged to the lender until the borrower could fully repay the debt. It was, essentially, an interest-only loan with full principal payment from the borrower required at a future date. When the lender demanded repayment, the borrower had to pay off the loan or lose the land. Lenders would keep proceeds from the land, be it income from farming, selling timber or renting the property for housing. In effect, the land was <a href="https://www.jstor.org/stable/pdf/1321129.pdf">dead to the debtor</a> during the term of the loan because it provided no benefit to the borrower. Following <a href="https://www.royal.uk/william-the-conqueror">William the Conqueror’s victory</a> at the Battle of Hastings in 1066, the English language was heavily influenced by <a href="https://blocs.mesvilaweb.cat/subirats/the-norman-conquest-the-influence-of-french-on-the-english-language-loans-and-calques/">Norman French</a> – William’s language. That is how the Latin term “Mortuum Vadium” morphed into “Mort Gage,” Norman French for “dead” and “pledge.” “<a href="https://www.etymonline.com/word/mortgage">Mortgage</a>,” a <a href="https://ia600201.us.archive.org/1/items/cu31924021674399/cu31924021674399.pdf">mashup of the two words</a>, then entered the English vocabulary. <h2>Establishing rights of borrowers</h2> Unlike today’s mortgages, which are usually due within 15 or 30 years, English loans in the 11th-16th centuries were unpredictable. <a href="https://www.jstor.org/stable/pdf/1323192.pdf">Lenders could demand repayment</a> at any time. If borrowers couldn’t comply, lenders could seek a court order, and the land would be forfeited by the borrower to the lender. Unhappy borrowers could <a href="https://www.law.cornell.edu/wex/chancery">petition the king</a> regarding their predicament. He could refer the case to the lord chancellor, who could <a href="https://www.britannica.com/topic/Chancery-Division">rule as he saw fit</a>. <a href="https://www.britannica.com/biography/Francis-Bacon-Viscount-Saint-Alban">Sir Francis Bacon</a>, England’s lord chancellor from 1618 to 1621, <a href="https://www.jstor.org/stable/752041">established</a> the <a href="https://www.law.cornell.edu/wex/equity_of_redemption">Equitable Right of Redemption</a>. This new right allowed borrowers to pay off debts, even after default. The official end of the period to redeem the property was called <a href="https://www.law.cornell.edu/wex/foreclosure">foreclosure</a>, which is derived from an Old French word that means “<a href="https://www.etymonline.com/word/foreclose">to shut out</a>.” Today, foreclosure is a legal process in which lenders to take possession of property used as collateral for a loan. <h2>Early US housing history</h2> The <a href="https://www.loc.gov/classroom-materials/united-states-history-primary-source-timeline/colonial-settlement-1600-1763/overview/">English colonization</a> of what’s now <a href="https://themayflowersociety.org/history/the-mayflower-compact/">the United States</a> didn’t immediately transplant mortgages across the pond. But eventually, U.S. financial institutions were offering mortgages. <a href="https://www.huduser.gov/publications/pdf/us_evolution.pdf">Before 1930, they were small</a> – generally amounting to at most half of a home’s market value. These loans were generally short-term, maturing in under 10 years, with payments due only twice a year. Borrowers either paid nothing toward the principal at all or made a few such payments before maturity. Borrowers would have to refinance loans if they couldn’t pay them off. <h2>Rescuing the housing market</h2> Once America fell into the <a href="https://www.history.com/topics/great-depression">Great Depression</a>, the <a href="https://www.stlouisfed.org/news-releases/2008/05/02/does-the-great-depression-hold-the-answers-for-the-current-mortgage-distress">banking system collapsed</a>. With most homeowners unable to pay off or refinance their mortgages, the <a href="https://www.federalreservehistory.org/essays/great-depression">housing market crumbled</a>. The number of <a href="https://www.encyclopedia.com/education/news-and-education-magazines/housing-1929-1941">foreclosures grew to over 1,000 per day by 1933</a>, and housing prices fell precipitously. The <a href="https://www.fhfaoig.gov/Content/Files/History%20of%20the%20Government%20Sponsored%20Enterprises.pdf">federal government responded by establishing</a> new agencies to stabilize the housing market. They included the <a href="https://www.hud.gov/program_offices/housing/fhahistory">Federal Housing Administration</a>. It provides <a href="https://www.consumerfinance.gov/ask-cfpb/what-is-mortgage-insurance-and-how-does-it-work-en-1953/">mortgage insurance</a> – borrowers pay a small fee to protect lenders in the case of default. Another new agency, the <a href="https://sf.freddiemac.com/articles/insights/why-americas-homebuyers-communities-rely-on-the-30-year-fixed-rate-mortgage">Home Owners’ Loan Corp.</a>, established in 1933, bought defaulted short-term, semiannual, interest-only mortgages and transformed them into new long-term loans lasting 15 years. Payments were monthly and self-amortizing – covering both principal and interest. They were also fixed-rate, remaining steady for the life of the mortgage. Initially they skewed more heavily toward interest and later defrayed more principal. The corporation made new loans for three years, tending to them until it <a href="https://content.time.com/time/subscriber/article/0,33009,858135,00.html">closed in 1951</a>. It pioneered long-term mortgages in the U.S. In 1938 Congress established the Federal National Mortgage Association, better known as <a href="https://www.fanniemae.com/about-us/who-we-are/history">Fannie Mae</a>. This <a href="https://www.financial-dictionary.info/terms/government-sponsored-enterprise/">government-sponsored enterprise</a> made fixed-rate long-term mortgage loans viable <a href="https://www.investopedia.com/terms/s/securitization.asp">through a process called securitization</a> – selling debt to investors and using the proceeds to purchase these long-term mortgage loans from banks. This process reduced risks for banks and encouraged long-term mortgage lending. <h2>Fixed- versus adjustable-rate mortgages</h2> After World War II, Congress authorized the Federal Housing Administration to insure <a href="https://www.govinfo.gov/content/pkg/CPRT-108HPRT92629/html/CPRT-108HPRT92629.htm">30-year loans on new construction</a> and, a few years later, purchases of existing homes. But then, the <a href="https://files.stlouisfed.org/files/htdocs/publications/review/69/09/Historical_Sep1969.pdf">credit crunch of 1966</a> and the years of high inflation that followed made adjustable-rate mortgages more popular. Known as ARMs, these mortgages have stable rates for only a few years. Typically, the initial rate is significantly lower than it would be for 15- or 30-year fixed-rate mortgages. Once that initial period ends, <a href="https://www.investopedia.com/terms/a/arm.asp">interest rates on ARMs</a> get adjusted up or down annually – along with monthly payments to lenders. Unlike the rest of the world, where ARMs prevail, Americans still prefer the <a href="https://sf.freddiemac.com/articles/insights/why-americas-homebuyers-communities-rely-on-the-30-year-fixed-rate-mortgage">30-year fixed-rate mortgage</a>. About <a href="https://data.census.gov/cedsci/table?q=DP04&t=Housing">61% of American homeowners</a> have mortgages today – with <a href="https://doi.org/10.1080/15214842.2020.1757357">fixed rates the dominant type</a>. But as interest rates rise, demand for <a href="https://www.corelogic.com/intelligence/interest-rates-are-up-but-arm-backed-home-purchases-are-way-up/">ARMs is growing</a> again. If the Federal Reserve fails to slow inflation and interest rates continue to climb, unfortunately for some ARM borrowers, the term “dead pledge” may live up to its name. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/a-brief-history-of-the-mortgage-from-its-roots-in-ancient-rome-to-the-english-dead-pledge-and-its-rebirth-in-america-193005" target="_blank" rel="noopener">The Conversation</a>.

Real Estate

10 amazing abandoned sites around the world

For every perfectly-manicured tourist attraction around the world, there are scores more that haven’t been touched in years, yet still draw thousands of curious thrill-seekers who aren’t afraid of a bit of dust (and maybe a few ghosts!). Take a look at these incredible abandoned places that are definitely worth a visit – but only if you’re game. <ol start="1"> <li>Chateau Miranda, Belgium – an imposing castle built in 1866 but abandoned in 1991 after becoming too expensive to maintain.</li> <li>Kolmanskop, Namibia – a German settlement established in the early 20th century to mine for diamonds, but which has been a ghost town since the ‘50s.</li> <li>Teufelsberg, Germany – the “Devil’s Mountain” is a manmade hill in Berlin created out of rubble from WWII and home to a former US National Security Agency (NSA) listening station.</li> <li>House-Monument of the Bulgaria Communist Party, Bulgaria – it looks like it’s straight out of a sci-fi film, but in its heyday, this structure was the meeting place of communist leaders.</li> <li>Garnet Ghost Town, USA – this remote town in Montana was built to house those rushing to the state during the gold rush, but these days, the mines are empty and so are the houses.</li> <li>Ross Island, India – this British Administrative Centre was abandoned after a serious earthquake in 1941. It now lies in overgrown yet beautiful ruins.</li> <li>Wonderland Amusement Park, China – construction on Beijing’s answer to Disneyland stopped after land disputes, so all that’s left is the surreal shell to a Disney-esque castle.</li> <li>SS Ayrfield, Australia – right in the middle of Homebush Bay lies this floating relic of the past, covered in beautiful greenery.</li> <li>Villa Epecuén, Argentina – from the 1920s to 1985, this Buenos Aires village was a popular tourist destination, after a flood forced both residents and visitors out for good.</li> <li>Gouqi Island, China – on the banks of the Yangtze River lies this beautiful forgotten fishing village, filled with ivy-covered homes reminiscent of old European towns.</li> </ol> Images: Shutterstock

International Travel

National Aboriginal Art Gallery under fire over proposed building site

Indigenous Australian elders in the Northern Territory have called the development of the National Aboriginal Art Gallery (NAAG) a “complete joke” due to its insensitive proposed building site. The $130 million project is set to celebrate 65,000 years of First Nations history and culture, while also ramping up future tourism prospects in the NT. However, the government wants to build it on the town's football oval precinct, which, critically, overlaps a sacred women's site. Doris Stuart Kngwarreye, a proud Arrernte woman, described the five-year consultation process for the project as a "complete joke" and said she would continue to fight to protect her cultural heritage. "If you're there and they're consulting with you and you say 'no, end of story' consultation goes on without you there," she said. "The boxes have been ticked." The main issue for Ms Stuart is that the gallery will layer other First Nations' songlines and stories, expressed through the artworks proposed for the gallery, over an Mparntwe sacred women's area. "If you put a building up there with stories that don't belong there, how do you think the ancestors will feel towards that?" she said. "Where's the respect? We have our boundaries here." Western Arrarnta elder and artist Mervyn Rubuntja has been painting his homeland in vibrant watercolour since he was a teenager, and said he felt uneasy about displaying his artwork on the potential site. "It's a woman's site," he said. "You need to talk to the ladies first if they say yes or no, because it's important for every non-Indigenous person to listen." The fight over the location first began in 2017, when a government-funded steering committee, led by Indigenous art experts, <a href="https://desart.com.au/publication/2786/">said in a report</a> the gallery should be built out of town and should have major input from the local Indigenous custodians. The NT government is still consulting with the community over the designs of the building and that consultation process is expected to be wrapped by late 2023, but there is no clear timeline for when the building will commence. For Ms Stuart, she said she is disappointed that the government is pushing ahead with the project but said she’d continue to speak up for her country no matter the outcome. "All I want is respect for all this land," she said. Image credits: Getty Images

Art

Soup on Van Gogh and graffiti on Warhol: climate activists follow the long history of museums as a site of protest

Andy Warhol’s Campbell’s Soup Cans at the National Gallery of Australia are just the <a href="https://www.theguardian.com/culture/2022/nov/09/climate-activists-target-andy-warhols-campbells-soup-cans-at-australias-national-gallery">latest artistic target</a> of climate protesters, who have been throwing <a href="https://www.theguardian.com/environment/2022/oct/14/just-stop-oil-activists-throw-soup-at-van-goghs-sunflowers">soup</a>, <a href="https://www.washingtonpost.com/world/climate-protesters-throw-mashed-potatoes-at-monet-painting/2022/10/23/cc39e636-52f0-11ed-ac8b-08bbfab1c5a5_story.html">mashed potatoes</a> and <a href="https://www.washingtonpost.com/world/climate-protesters-throw-mashed-potatoes-at-monet-painting/2022/10/23/cc39e636-52f0-11ed-ac8b-08bbfab1c5a5_story.html">cake</a> at art worth millions of dollars. The actions have received a <a href="https://www.artnews.com/art-news/news/in-doha-four-museum-directors-talk-the-climate-protests-1234644472/">muted response</a> from some museum directors, but the protesters know exactly what they are doing. As the activists who threw soup on Van Gogh’s Sunflowers <a href="https://www.frieze.com/article/interview-just-stop-oil">said, "</a>We know that civil resistance works. History has shown us that." Indeed, there is a long history of museums and art being used for political protest. <h2>For women’s suffrage and women artists</h2> In 1914, suffragette Mary Richardson <a href="https://womensarttours.com/slashing-venus-suffragettes-and-vandalism/">slashed</a> the canvas of Velázquez’s Rokeby Venus at London’s National Gallery. Richardson wanted to attract publicity to Emmeline Pankhurst’s imprisonment for her suffragette actions. Richardson selected this painting in part because of its value, and because of “the way men visitors gaped at it all day long”. Her tactics are credited as <a href="https://www.surfacemag.com/articles/just-stop-oil-protests-museums-environmental-activism/">motivating</a> Extinction Rebellion and Just Stop Oil. Since 1985, the <a href="https://eprints.mdx.ac.uk/25207/1/Camillabrownpaper.pdf">Guerrilla Girls</a> have been exposing sexual and racial discrimination in the art world. Their actions have usually occurred at the outskirts of museums: in museum foyers, on nearby billboards and on New York City buses. Perhaps their most famous work <a href="https://www.tate.org.uk/art/artworks/guerrilla-girls-do-women-have-to-be-naked-to-get-into-the-met-museum-p78793">asked</a>: “do women have to be naked to get into the Met Museum?” <h2>Against corporate sponsorship and artwashing</h2> <a href="https://www.artnews.com/art-news/news/decolonize-this-place-kanders-whitney-nine-weeks-of-art-and-action-12207/">Decolonize this Place</a> brings together campaigns against racial and economic inequality. They organised a campaign beginning in 2018 targeting the then vice-chair of New York’s Whitney Museum, Warren B. Kander, whose company sold tear gas that had reportedly been used against asylum seekers along the US-Mexico border. The campaign’s first event was held in the museum’s foyer. <a href="https://www.artnews.com/art-news/news/no-space-profiteer-state-violence-decolonize-place-protests-whitney-vice-chair-warren-b-kanders-11507/">Protesters burned sage</a> to mimic tear gas, which wafted through the lobby until the fire department arrived. The protesters argued Kander’s business interests meant he was not fit to lead a globally significant cultural heritage institution that sought relevance for a wide and diverse public constituency. Kander <a href="https://www.nytimes.com/2019/07/25/arts/whitney-warren-kanders-resigns.html">resigned</a> from the museum’s board in 2019. Since 2018, artist <a href="https://news.artnet.com/art-world/sackler-nan-goldin-victoria-albert-1704450">Nan Goldin</a> and her “Opioid Activist Group” have been staging “die-ins” at the museum to protest against the galleries named for sponsorship from the Sackler family. The Sackler family business is Purdue Pharma, infamous for OxyContin, a major drug in the US <a href="https://www.npr.org/2022/03/03/1084163626/purdue-sacklers-oxycontin-settlement">opioid crisis</a>. Activists have targeted galleries around the world, and so far the Sackler name has been removed from galleries including the <a href="https://www.nytimes.com/2019/07/18/arts/sackler-family-museums.html">Louvre</a>, the <a href="https://www.theguardian.com/culture/2022/mar/25/british-museum-removes-sackler-family-name-from-galleries">British Museum</a>, the <a href="https://news.artnet.com/art-world/sackler-name-change-guggenheim-museum-2110993">Guggenheim</a> and, as of last month, the <a href="https://www.theguardian.com/artanddesign/2022/oct/01/campaigners-celebrate-as-va-severs-sackler-links-over-opioids-cash">Victoria and Albert Museum</a>. <h2>For the return of cultural artefacts</h2> The highest-profile actions against the British Museum have targeted its rejection of calls to return objects including the <a href="https://www.artnews.com/art-news/news/parthenon-marbles-british-museum-protest-1234632365/">Parthenon Marbles</a> of Greece, the <a href="https://morningstaronline.co.uk/article/b/british-museum-closes-gallery-in-response-to-protesters">Benin Bronzes</a> from modern-day Nigeria, and the <a href="https://morningstaronline.co.uk/article/b/british-museum-closes-gallery-in-response-to-protesters">Gweagal shield</a> from Australia. In 2018, a group of activists performed a “<a href="https://camd.org.au/stolen-goods-tour-of-bm-protest/">Stolen Goods Tour</a>” of the museum. Participants from across the world gave a different story to what visitors read in the museum’s object labels and catalogues, as the activist tour guides explained their continuing connections with objects in the collection. The tour did not convince the museum to return cultural items, but drew extensive global attention to <a href="https://www.theguardian.com/world/2022/oct/11/nigeria-benin-repatriate-bronzes-smithsonian">ongoing campaigns</a>seeking restitution and repatriation. <h2>In the culture wars</h2> Protests using art and museums aren’t just the domain of the left. In 1969, <a href="https://www.routledge.com/Museums-and-Social-Activism-Engaged-Protest/Message/p/book/9780415658539">an arsonist destroyed</a> a display at the National Museum of American History that commemorated Martin Luther King Jr, who had been recently assassinated. The perpetrator was never identified. In 2017, <a href="https://www.theguardian.com/us-news/2017/jun/18/noose-found-hanging-washington-museum">nooses</a> were left at various museums of the Smithsonian, including The National Museum of African American History and Culture. No groups ever came forward to claim responsibility or express a motive, but the noose is a potent and divisive symbol of segregation and racially motivated violence. In December 2021, doors to the Museum of Australian Democracy in Canberra were <a href="https://www.abc.net.au/news/2021-12-30/act-protesters-set-old-parliament-house-on-fire/100731444">set alight</a> twice by protesters with a number of grievances, including opposition to COVID-19 vaccines. The museum’s <a href="https://www.abc.net.au/news/2022-01-20/multimillion-dollar-repair-bill-for-old-parliament-house-fire/100770268">director said</a> the “assault on the building” would force the museum to rethink its commitment to being “as open as possible, representing all that is good about Australian democracy”, and at the same time keeping it protected. <h2>‘Direct action works’</h2> The past two decades have seen a surge of art-focused demonstrations. In 2019, Decolonize this Place and Goldin’s anti-Sackler coalition met with members of 30 other groups in front of Andy Warhol’s “The Last Supper” (1986) at the Whitney. They were there to celebrate the Tate Museum in London and the Guggenheim Museum in New York, who had announced they would stop taking funding from the Sackler family. One participant cried “<a href="https://hyperallergic.com/491418/decolonize-this-place-nine-weeks-launch/">direct action works!</a>” Even when protests at museums and art achieve less concrete outcomes than this, they remain central tools for building public awareness around political and social issues. It is unlikely actions against museums and art will subside anytime soon. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/soup-on-van-gogh-and-graffiti-on-warhol-climate-activists-follow-the-long-history-of-museums-as-a-site-of-protest-193009" target="_blank" rel="noopener">The Conversation</a>.

Art

Evidence that human evolution driven by major environmental pressures discovered

The genes of ancient humans might have changed substantially due to environmental pressures and change, say an international team of researchers. A widely held belief related to human evolution is that our ancient ancestors’ ability to fashion tools, shelter, and use advanced communication skills may have helped to shield them from large environmental impacts such as changing climate, disease and exposure to other events affecting mortality. But research led out of Australian Centre for Ancient DNA at the University of Adelaide suggests that beneficial genes may have played a more important role in preserving our ancestors. Until now, the sudden increase in frequency of these genes in human groups was masked by the exchange of DNA between people during reproduction. Now, analyses of more than one thousand ancient genomes dating as far back as 45,000 years ago have found historic signals showing genetic adaptation was more common than previously thought. The study of evolutionary events, says the study’s co-lead author Dr Yassine Souilmi, has increased substantially in recent years, as these are the points where human genetics take historic turns. “Evolutionary events [are] exactly what shape our genetic diversity today,” Souilmi tells Cosmos. “That’s what makes us vulnerable to certain diseases [and] resistant to others. “Having a good understanding of evolution, we can have a better understanding of who we are.” Previous research by the Centre has uncovered a range of evolutionary trends, from historic climate change causing the demise of ancestral lions and bears, to the first interactions between humans and coronaviruses 20,000 years ago. And the broader field of research into ancient DNA has shed light on important moments in human history. Only recently did analyses of ancient genes uncover locations on the human genome associated with surviving Yersinia pestis – the bacterium that causes the bubonic plague. <h2>Single events probably triggered selection</h2> This study, published in Nature Ecology and Evolution, has similarly found environmental events might have been more influential on evolution among Eurasian groups. Such events might lead to a point of natural selection. Take, for instance, the emergence of a pathogen. If such a disease could kill people, those who managed to survive and continue reproducing would pass down favourable traits to subsequent generations. “Natural selection acts in two different mechanisms,” says Souilmi. “It only cares about whether you’re procreating successfully… when it acts, it’s either killing a lot of people, [preventing] some people from reproducing successfully, or some people are just not finding mates because they have some sort of ailment that’s not allowing them to mate successfully, or might make them undesirable. “What we’re finding is that the signal of natural selection we detected in this [research] was likely a single event, because the signal is clustered in time in a very early migration out of Africa. “Not all of the [events] we detected occurred at the same time, but the bulk of them did.” <h2>A mirror to the present</h2> This ‘agnostic’ study did not seek to identify the external pressures leading to the selection events indicated in these ancient genes, but future research by the team will seek to uncover that information. Studies like this, or those into specific pressures like the influence of the Black Death or coronaviruses on humans, show the impact of environmental change on our genetics. Souilmi says this is both insightful and cautionary, as environmental change in the present could be studied by humans in the future. He speculates that changes in the Earth’s climate, or the emergence of new pathogens, likely imposed selection pressures on ancient groups, whether through forcing shortages or changes to food supply or imposing physiological stressors. “Very likely, it’s the environment, the temperature, the weather patterns, that would have somewhat impacted the dietary regime of our ancestors out of Africa, and pathogens would have driven this [genetic] adaptation, which has shaped our genetic diversity now,” Souilmi says. “The direct lesson, socially, now, is that if we’re ever faced with events that are similar to that, we are not as immune to extreme episodes of adaptation where a lot of people might die, or be unable to reproduce. “Unless we do something to counteract the environmental changes, or viruses, bacterial or other pandemics, it could be a bad thing.” This article originally appeared on <a href="https://cosmosmagazine.com/science/human-evolution-driven-by-environment/" target="_blank" rel="noopener">cosmosmagazine.com</a> and was written by Matthew Agius. Image: Shutterstock

Body

3 times you should never “accept cookies” on a site

To cookie or not to cookie? Cookie-consent pop-ups are one of the biggest annoyances on the Internet. Almost every site you visit has a notice saying, “This website uses cookies to improve your experience. Do you agree?” or something similar. Typically, we click “yes” or “agree” without even thinking about it because we’re eager to get to the content. But should we? Not necessarily. What are cookies, exactly? Before we delve into the dos and don’ts of cookie consent, here’s a little refresher on this Web tool: Cookies are essentially information collectors and trackers in the form of small text files stored on your browser by the sites you visit. Some are useful. For example, a cookie saved on your browser makes it so you don’t have to re-enter your log-in information every time you visit one of your favourite websites. Cookies can also remember your shopping preferences so that you get a personalised experience when you visit the website. Others, however, track how you use a website, how often you go there, your IP address, your phone number, what types of things you look at and buy, and other information you may not want to share. Do you have to accept cookies? Many companies have you click “yes” so that they’re compliant with current privacy laws. This means that once you click, you’ve given the company permission to use your information as they see fit without the worry of legal backlash. Most of the time, cookies are no big deal. There are a few occasions, though, where you should decline cookies. Don’t worry – if you find yourself in a situation where you need to decline or simply want to decline for whatever reason, most websites will work just fine without collecting your information. With that said, here’s when saying no to the cookies is a good idea. Sketchy sites Beware when you’re on an unencrypted website (these websites will have an unlocked lock icon by the web address) while using a public Wi-Fi network. The information collected by cookies can be intercepted by hackers because there isn’t any security to stop them. Your best bet when borrowing Wi-Fi from your local coffee shop or fast-food joint is to use your browser’s private or incognito mode. While in this mode, cookies aren’t collected by default (though you can manually turn off cookie blocking on some browsers), no matter where your Internet journeys take you. Third-party cookies If the cookie-consent pop-up mentions third-party cookies, click “decline.” Accepting gives the website the right to sell your browsing behaviour to a data broker. The broker then combines your behaviour on one website with information from other websites and builds an extremely detailed profile of you as a consumer. “The broker then sells that profile to other third parties who want to market to people like you,” says Harry Maugans, CEO of Privacy Bee, a proactive privacy management tool for consumers. “As you can imagine, this chain extends infinitely. Once you lose control of your personal data, it gets packaged and repackaged in all kinds of ways. It’s scary but true.” According to Maugans, some third-party cookies are even nefarious. You could become a victim of “cookie stealing” or “session hijacking.” This is when a hacker gains access to a browser and mimics users to be able to steal cookies from that browser. This can put you at risk of identity theft if hackers manage to steal cookies that store your personal information or credit card information. If you’re worried that you might accidentally accept third-party cookies, there’s an easy way to make things fool-proof. Go into your browser and choose to allow only required cookies or “first party” cookies. These cookies are the helpful ones mentioned earlier and are usually only used by the website you’re visiting. When you’re using private information If you don’t feel comfortable sharing the information you’re using or accessing on a website with a stranger, don’t use cookies on that site. According to Jeremy Tillman, president of the privacy company Ghostery, you should avoid cookies on sites where you do your banking, access your medical information, or use other private information. If you’re afraid that you’ve already accepted cookies on websites where you wouldn’t want your information gathered, go into your browser and use the “clear cookies” option. This will prevent sites from collecting your information in the future, as long as you decline the next time a site asks you to accept its cookies. Written by Alina Bradford. This article first appeared in <a href="https://www.readersdigest.com.au/true-stories-lifestyle/science-technology/3-times-you-should-never-accept-cookies-on-a-site" target="_blank" rel="noopener">Reader’s Digest</a>. For more of what you love from the world’s best-loved magazine, <a href="http://readersdigest.innovations.com.au/c/readersdigestemailsubscribe?utm_source=over60&utm_medium=articles&utm_campaign=RDSUB&keycode=WRA87V" target="_blank" rel="noopener">here’s our best subscription offer.</a> Image: Getty Images

Technology

How Bob Dylan used the ancient practice of ‘imitatio’ to craft some of the most original songs of his time

Over the course of six decades, Bob Dylan steadily brought together popular music and poetic excellence. Yet the guardians of literary culture have only rarely accepted Dylan’s legitimacy. His <a href="https://www.nytimes.com/2016/10/14/arts/music/bob-dylan-nobel-prize-literature.html">2016 Nobel Prize in Literature</a> undermined his outsider status, challenging scholars, fans and critics to think of Dylan as an integral part of international literary heritage. My new book, “<a href="https://www.amazon.com/No-One-Meet-Imitation-Originality/dp/0817321411">No One to Meet: Imitation and Originality in the Songs of Bob Dylan</a>,” takes this challenge seriously and places Dylan within a literary tradition that extends all the way back to the ancients. <a href="https://english.umbc.edu/core-faculty/raphael-falco/">I am a professor of early modern literature</a>, with a special interest in the Renaissance. But I am also a longtime Dylan enthusiast and the co-editor of the open-access <a href="https://thedylanreview.org/">Dylan Review</a>, the only scholarly journal on Bob Dylan. After teaching and <a href="https://www.researchgate.net/profile/Raphael-Falco">writing about</a> early modern poetry for 30 years, I couldn’t help but recognize a similarity between the way Dylan composes his songs and the ancient practice known as “<a href="http://www.artandpopularculture.com/Dionysian_imitatio">imitatio</a>.” <h2>Poetic honey-making</h2> Although the Latin word imitatio would translate to “imitation” in English, it doesn’t mean simply producing a mirror image of something. The term instead describes a practice or a methodology of composing poetry. The classical author Seneca <a href="https://en.wikisource.org/wiki/Moral_letters_to_Lucilius/Letter_84">used bees</a> as a metaphor for writing poetry using imitatio. Just as a bee samples and digests the nectar from a whole field of flowers to produce a new kind of honey – which is part flower and part bee – a poet produces a poem by sampling and digesting the best authors of the past. Dylan’s imitations follow this pattern: His best work is always part flower, part Dylan. Consider a song like “<a href="https://www.bobdylan.com/songs/hard-rains-gonna-fall/">A Hard Rain’s A-Gonna Fall</a>.” To write it, Dylan repurposed the familiar Old English ballad “<a href="https://www.poetrybyheart.org.uk/poems/lord-randall/">Lord Randal</a>,” retaining the call-and-response framework. In the original, a worried mother asks, “O where ha’ you been, Lord Randal, my son? / And where ha’ you been, my handsome young man?” and her son tells of being poisoned by his true love. In Dylan’s version, the nominal son responds to the same questions with a brilliant mixture of public and private experiences, conjuring violent images such as a newborn baby surrounded by wolves, black branches dripping blood, the broken tongues of a thousand talkers and pellets poisoning the water. At the end, a young girl hands the speaker – a son in name only – a rainbow, and he promises to know his song well before he’ll stand on the mountain to sing it. “A Hard Rain’s A-Gonna Fall” resounds with the original Old English ballad, which would have been very familiar to Dylan’s original audiences of Greenwich Village folk singers. He first sang the song in 1962 at <a href="https://bedfordandbowery.com/2016/12/the-story-of-the-gaslight-cafe-where-dylan-premiered-a-hard-rains-a-gonna-fall/">the Gaslight Cafe</a> on MacDougal Street, a hangout of folk revival stalwarts. To their ears, Dylan’s indictment of American culture – its racism, militarism and reckless destruction of the environment – would have echoed that poisoning in the earlier poem and added force to the repurposed lyrics. <h2>Drawing from the source</h2> Because Dylan “samples and digests” songs from the past, <a href="https://thedylanreview.org/2022/08/04/interview-with-scott-warmuth/">he has been accused of plagiarism</a>. This charge underestimates Dylan’s complex creative process, which closely resembles that of early modern poets who had a different concept of originality – a concept Dylan intuitively understands. For Renaissance authors, “originality” meant not creating something out of nothing, but <a href="https://www.google.com/books/edition/Origin_and_Originality_in_Renaissance_Li/1OmCQgAACAAJ?hl=en">going back to what had come before</a>. They literally returned to the “origin.” Writers first searched outside themselves to find models to imitate, and then they transformed what they imitated – that is, what they found, sampled and digested – into something new. Achieving originality depended on the successful imitation and repurposing of an admired author from a much earlier era. They did not imitate each other, or contemporary authors from a different national tradition. Instead, they found their models among authors and works from earlier centuries. In his book “<a href="https://archive.org/details/lightintroyimita0000gree/page/n5/mode/2up">The Light in Troy</a>,” literary scholar Thomas Greene points to a 1513 letter written by poet Pietro Bembo to Giovanfrancesco Pico della Mirandola. “Imitation,” Bembo writes, “since it is wholly concerned with a model, must be drawn from the model … the activity of imitating is nothing other than translating the likeness of some other’s style into one’s own writings.” The act of translation was largely stylistic and involved a transformation of the model. <h2>Romantics devise a new definition of originality</h2> However, the Romantics of the late 18th century wished to change, and supersede, that understanding of poetic originality. For them, and the writers who came after them, creative originality meant going inside oneself to find a connection to nature. <a href="https://www.google.com/books/edition/Natural_Supernaturalism/-ygCZmrJ2E4C?hl=en&gbpv=1&dq=natural+supernaturalism&printsec=frontcover">As scholar of Romantic literature M.H. Abrams explains</a> in his renowned study “Natural Supernaturalism,” “the poet will proclaim how exquisitely an individual mind … is fitted to the external world, and the external world to the mind, and how the two in union are able to beget a new world.” Instead of the world wrought by imitating the ancients, the new Romantic theories envisioned the union of nature and the mind as the ideal creative process. Abrams quotes the 18th-century German Romantic <a href="https://plato.stanford.edu/entries/novalis/">Novalis</a>: “The higher philosophy is concerned with the marriage of Nature and Mind.” The Romantics believed that through this connection of nature and mind, poets would discover something new and produce an original creation. To borrow from past “original” models, rather than producing a supposedly new work or “new world,” could seem like theft, despite the fact, obvious to anyone paging through an anthology, that poets have always responded to one another and to earlier works. Unfortunately – as Dylan’s critics too often demonstrate – this bias favoring supposedly “natural” originality over imitation continues to color views of the creative process today. For six decades now, Dylan has turned that Romantic idea of originality on its head. With his own idiosyncratic method of composing songs and his creative reinvention of the Renaissance practice of imitatio, he has written and performed – yes, imitation functions in performance too – <a href="https://en.wikipedia.org/wiki/List_of_songs_written_by_Bob_Dylan">over 600 songs</a>, many of which are the most significant and most significantly original songs of his time. To me, there is a firm historical and theoretical rationale for what these audiences have long known – and the Nobel Prize committee made official in 2016 – that Bob Dylan is both a modern voice entirely unique and, at the same time, the product of ancient, time-honoured ways of practicing and thinking about creativity. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/how-bob-dylan-used-the-ancient-practice-of-imitatio-to-craft-some-of-the-most-original-songs-of-his-time-187052" target="_blank" rel="noopener">The Conversation</a>.

Music

An ancient seed could prove wonders for your hair and skin

In a world of products saturated with new formulas and hero ingredients that promise wondrous benefits, it can feel overwhelming to find a product that works for you. A new contender is the oil of the humble Black Cumin seed, or Nigella sativa, which is the hero ingredient in Hab Shifa’s line of beauty products, including a body wash, moisturiser shampoo and conditioner. With its use dating back to the Ancient Egyptians and in some of the world’s oldest religious and medical texts, <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2583426/" target="_blank" rel="noopener">clinical studies</a> of the Black Seed have since found it has various health benefits, thanks to its antioxidant, anti-inflammatory, antimicrobial, antiviral, and even anti-diabetic properties. When it comes to our skin and hair, Black Seed oil has been praised for its ability to cleanse hair of impurities while nurturing the scalp. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/CiOcuLuNVYA/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CiOcuLuNVYA/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Hab Shifa Australia (@hab_shifa_black_seed)</a> </div> </blockquote> Hab Shifa takes advantage of these qualities and combines Black Seed oil with other anti-irritant ingredients, with the resulting combination helping restore skin elasticity and minimise the loss of moisture in the barriers of the skin. After trialling Hab Shifa’s products over the last few months, I can safely say the shampoo and conditioner make easy work of my hair, leaving it feeling lighter, softer, and clean even when it has been at its greasiest. The body wash and moisturiser have delivered similar results for my skin, with the scrub helping my skin feel exfoliated while the moisturiser has put an end to my usual bouts of dry skin. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/Ch1t5DOLeXI/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/Ch1t5DOLeXI/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Hab Shifa Australia (@hab_shifa_black_seed)</a> </div> </blockquote> I’m not the only one who has seen the benefits of using Hab Shifa’s Black Seed oil products either. After searching for a product to help with dryness and cracking - a problem made all the worse due to increased hand-washing during the COVID-19 pandemic - nurse Margie Ryan has since made the moisturiser her go-to product, even over pharmaceutical and heavy-duty products. She says the moisturiser absorbs well and that it doesn’t feel like oils are transferred, and recommends it for anyone who works in industries where their hands are frequently in water or where they are prone to dryness or cracking. The Hab Shifa Black Seed skin and hair care range consists of the <a href="https://habshifa.com.au/collections/nourishment-tq/products/black-seed-nurturing-shampoo-1" target="_blank" rel="noopener">Nurturing Shampoo</a> and <a href="https://habshifa.com.au/collections/nourishment-tq/products/black-seed-nurturing-conditioner" target="_blank" rel="noopener">Nurturing Conditioner</a>, the <a href="https://habshifa.com.au/collections/nourishment-tq/products/black-seed-revitalizing-body-wash" target="_blank" rel="noopener">Revitalizing Body Wash</a>, and the <a href="https://habshifa.com.au/collections/nourishment-tq/products/black-seed-hydrating-moisturizing-lotion" target="_blank" rel="noopener">Hydrating Moisturizing Lotion</a>, which retail for $19.95 each or can be purchased as <a href="https://habshifa.com.au/collections/gift-packs/products/gift-of-beauty-gift-pack" target="_blank" rel="noopener">a bundle</a> for $77.50 on Hab Shifa’s online store. To find their products in-store, head <a href="https://habshifa.com.au/pages/store-locator" target="_blank" rel="noopener">here</a> to locate your closest one. Image: Getty Images

Beauty & Style

Silence of the poets – has an ancient tradition of commemorative verse died with the Queen?

Not so long ago, the death of a monarch would have been a cue for outpourings of elegies and poetic commemorations. One might have thought the end of the second Elizabethan era would prompt something similar – but apparently not. So far, the death of Queen Elizabeth II has had only a muted response from our poets, both in the United Kingdom and here in Aotearoa New Zealand. Does this reflect shifting priorities in the national imagination? Are we witnessing the demise of poetry on public occasions? We need only look back at the death in 1936 of the queen’s grandfather, George V, for comparison. <a href="https://backwatersman.wordpress.com/2009/12/27/the-death-of-king-george-v/">John Betjeman</a> and <a href="https://www.poetryexplorer.net/poem.php?id=10105234">John Masefield</a> were among the poets who marked the occasion. Betjeman was England’s poet laureate from 1972 until his death in 1984, and also wrote on the <a href="https://www.poetryexplorer.net/poem.php?id=10038138">birthday of the queen mother</a> and the <a href="https://www.poetryexplorer.net/poem.php?id=10038137">marriage of Charles and Diana</a>. Betjeman stood in a long line of British poet laureates stretching back unbroken to John Dryden in 1668, and to poets such as Geoffrey Chaucer before that. But the culture of poetry responding to monarchs’ deaths has flourished outside the official post, too. The unexpected death in 1612 of the 18-year-old Prince Henry, son and heir to James VI and I, prompted an <a href="https://specialcollections-blog.lib.cam.ac.uk/?p=3553">outpouring of poetic tears</a>. <a href="https://www.poetrynook.com/poem/elegy-upon-untimely-death-incomparable-prince-henry">John Donne</a> wrote an elegy, as did George Herbert, John Webster and Sir Walter Raleigh. <h2>Elegiac energy</h2> Particularly voluminous was the the flood of poetry that met the execution of King Charles I at the height of the English Civil Wars in 1649. His <a href="https://www.npg.org.uk/collections/search/portrait/mw35443/The-execution-of-King-Charles-I">dramatic beheading</a> on a scaffold erected outside Whitehall Palace made him a martyr to his loyal followers. Literary historian Nigel Smith has described the way elegy became a royalist genre, as the death of the king “sucked all elegiac energy into its own subject”. And there are close connections nearby to these elegies on King Charles I. Melbourne’s State Library Victoria holds the <a href="https://www.slv.vic.gov.au/search-discover/explore-collections-theme/history-book/emmerson-collection">John Emmerson collection</a> of over 5,000 early modern English books, among which poems, pamphlets and other <a href="https://www.abc.net.au/news/2015-04-16/king-charles-1-trial-and-executed-news-of-the-time/6391990">publications on the death of Charles I</a> feature prominently. Poetic treasures in the collection include a copy of Monumentum Regale: Or a Tombe, Erected for that Incomparable and Glorious Monarch, Charles the First, a volume of elegies and poetic “sighs” and “groans” published three months after the king’s execution. Royalist poets grapple with how they can possibly commemorate an “incomparable” king. The Earl of Montrose declares he has written his poem with “blood”, “wounds” and the point of his sword. In Aotearoa New Zealand, the Alexander Turnbull Library is famous for its collection of works by a poet from the other side of the 17th-century political divide, John Milton. <a href="https://teara.govt.nz/en/biographies/2t53/turnbull-alexander-horsburgh">Turnbull</a> (1868–1918) had a personal interest in Milton, an ardent republican. Even Turnbull’s collection, however, contains a notable number of volumes celebrating Charles I, including multiple editions of Eikon Basilike (The King’s Book), which represented Charles I as a Christ-like martyr. <h2>Public poetry isn’t dead</h2> This vast body of public poetry about previous monarchs is in sharp contrast to the response to Queen Elizabeth II’s death. Even in the United Kingdom, the current poet laureate, Simon Armitage, seems to have struggled. The form of his poem “Floral Tribute”, an acrostic on the name “<a href="https://www.theguardian.com/uk-news/2022/sep/13/floral-tribute-poem-queen-elizabeth-simon-armitage-poet-laureate">Elizabeth</a>”, seems archaic at best and banal at worst. New Zealand’s poet laurate, Chris Tse, inaugurated only a few weeks ago, has been notably silent. When I asked him why, he said writing a poem for the queen “would be a backwards step in terms of where I want the role to go”. Tse’s reticence perhaps echoes the complicated thoughts of Selina Tusitala Marsh, a recent former laureate, on <a href="https://www.read-nz.org/aotearoa-reads-details/nz-poet-selina-tusitala-marsh-visits-and-sasses-the-queen">performing her poem</a> “Unity” for the queen in 2016. For Marsh, the British Crown’s colonial legacy (as she put it, “Her peeps also colonised my peeps”) made writing and performing the poem a complex commission to accept. As laureate, Marsh preferred to write poems on occasions such as <a href="https://thespinoff.co.nz/books/22-06-2018/the-friday-poem-jacinda-and-clarke-and-the-baby-and-us-by-the-nz-poet-laureate">the birth of a prime ministerial baby</a>. But the fact New Zealand even has a <a href="http://www.poetlaureate.org.nz/">poet laureate</a> in 2022 suggests there is still an appetite for public poetry, even if the days of poems on the death of a queen are numbered. The modern monarchy itself, of course, provides rich material for poetry of a less commemorative kind. Bill Manhire, New Zealand’s inaugural laureate, speculated on Twitter that we are awaiting an acrostic on “Andrew”. And the most remarkable poem of the morning we awoke to news of the queen’s death was essa may ranapiri’s “<a href="https://twitter.com/ired0mi/status/1567977694348058624">The Queen is Dead</a>”. Immediate and visceral, it’s an unabashed anti-colonialist spit in the face of monarchy. Some will find it shocking, others will gasp with appreciation. But even those taken aback by its frank approach and timing may share the sense of distance it captures, in its formal displacement of the news from afar by scrambled eggs, spring sunlight and the joy of quotidian love as a new day begins. Public poetry isn’t dead. But our poets’ responses to the death of the queen – the silent, the awkward, the confrontational – tell us much, as ever, about the societies we live in. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/silence-of-the-poets-has-an-ancient-tradition-of-commemorative-verse-died-with-the-queen-190834" target="_blank" rel="noopener">The Conversation</a>.

Art

Sacred Aboriginal sites are yet again at risk in the Pilbara

An application from Traditional Owners to block the construction of a fertiliser plant near ancient rock art in the Pilbara <a href="https://www.abc.net.au/news/2022-08-24/perdaman-fertiliser-traditional-owners-sacred-sites-rock-art/101363542" target="_blank" rel="noopener">was denied</a> by the federal Environment Minister Tanya Plibersek. This decision is deeply concerning, and points to a much larger problem with Indigenous heritage management. Plibersek says she went with the views of the Murujuga Aboriginal Corporation in making her decision, <a href="https://www.abc.net.au/news/2022-08-23/plibersek-will-not-block-perdaman-fertiliser-plant-/101360350" target="_blank" rel="noopener">calling it</a> the “most representative organisation on cultural knowledge” in the region. Yet, she <a href="https://www.abc.net.au/radionational/programs/breakfast/environment-minister-won-t-intervene-on-burrup-plant/101359854" target="_blank" rel="noopener">also acknowledged</a> that these views don’t represent all Traditional Owner perspectives in the area. Save Our Songlines, a separate organisation of Murujuga Traditional Owners, oppose the fertiliser plant, which they say poses a threat to sacred rock art sites. <a href="https://www.saveoursonglines.org/post/tanya-plibersek-fails-to-protect-murujuga" target="_blank" rel="noopener">They say</a> the minister’s decision is “based on faulty reasoning and false conclusions”. In 2020, the world reacted in horror when Rio Tinto <a href="https://theconversation.com/rio-tinto-just-blasted-away-an-ancient-aboriginal-site-heres-why-that-was-allowed-139466" target="_blank" rel="noopener">lawfully</a> destroyed Juukan Gorge – sacred Aboriginal rock shelters in the Pilbara some 46,000 years old. Broader community understanding of the value of Aboriginal and Torres Strait Islander knowledges for looking after Country can help us avoid repeating this tragedy. Tourism and community education is an important way to do that. <blockquote> "The community, the country and the whole world will be outraged if this leads to another Juukan Gorge because the federal government would not stand up to industry and protect sacred Aboriginal sites from further destruction.” — Save Our Songlines (@SaveBurrup) <a href="https://twitter.com/SaveBurrup/status/1561902261571203078?ref_src=twsrc%5Etfw">August 23, 2022</a></blockquote> <h2>‘Enough is enough’</h2> The A$4.5 billion Perdaman fertiliser plant will be constructed in the World Heritage nominated <a href="https://exploreparks.dbca.wa.gov.au/park/murujuga-national-park" target="_blank" rel="noopener">Murujuga National Park</a> in Western Australia. It is home to the world’s largest rock art gallery, with more than 1 million images scattered across the entire Burrup Peninsula and Dampier Archipelago. As many as <a href="https://www.saveoursonglines.org/post/tanya-plibersek-fails-to-protect-murujuga" target="_blank" rel="noopener">20 sacred sites</a> may be impacted by the plant, according to Save Our Songlines. In <a href="https://www.abc.net.au/radionational/programs/breakfast/environment-minister-won-t-intervene-on-burrup-plant/101359854" target="_blank" rel="noopener">an interview</a> with ABC Radio National, Plibersek said the Murujuga Aboriginal Corporation have agreed that some of these rock carvings can be moved safely, and others can be protected on site even if the plant goes ahead. However, the situation isn’t so clear cut. For example, <a href="https://www.abc.net.au/news/2022-08-26/aboriginal-custodians-concerns-in-letter-to-government/101370394?utm_source=sfmc&utm_medium=email&utm_campaign=abc_news_newsmail_am_sfmc&utm_term=&utm_id=1930785&sfmc_id=281363065" target="_blank" rel="noopener">the ABC revealed</a> on Thursday that the Murujuga Aboriginal Corporation refused permission to move the rock art sites multiple times, preferring they remain undisturbed. Elders finally agreed after receiving advice that this wasn’t possible. This isn’t the first time we’ve seen issues regarding consultation processes with Traditional Owners, such as during the notorious <a href="https://www.smh.com.au/environment/battle-for-the-kimberley-20120523-1z5fb.html" target="_blank" rel="noopener">battle for the Kimberley</a> against a major gas plant in 2012. Traditional Owner and co-author Clinton Walker has been sharing his intimate knowledge of the Pilbara with visitors through his tourism venture <a href="https://www.ngurrangga.com.au/" target="_blank" rel="noopener">Ngurrangga Tours</a> for the past 11 years. He has the cultural authority and capacity to speak for his Country. Clinton was a signatory on the <a href="https://www.saveoursonglines.org/post/open-letter-from-murujuga-custodians" target="_blank" rel="noopener">open letter from Traditional Owners and Custodians of Murujuga</a> concerning threats to cultural heritage in the area. He describes the potential impact of the fertiliser plant: <blockquote> This hill is a very very sacred site to my people. If they build their plant here we’re not gonna have the same access we do now to go visit our rock art and teach our kids and family their culture. This impact is going to damage our culture and it will damage us as the Traditional Owners because we’re connected to these sites in a spiritual way. I want people to know how important these sites are. We need to protect them. Enough is enough. <h2>The need for consent</h2> The <a href="https://parlinfo.aph.gov.au/parlInfo/download/committees/reportjnt/024757/toc_pdf/AWayForward.pdf;fileType=application%2Fpdf" target="_blank" rel="noopener">federal inquiry into the Juukan Gorge</a> disaster <a href="https://theconversation.com/juukan-gorge-inquiry-puts-rio-tinto-on-notice-but-without-drastic-reforms-it-could-happen-again-151377" target="_blank" rel="noopener">highlighted</a> the need for free, prior and informed consent from any affected Aboriginal and Torres Strait Islander group. The inquiry also <a href="https://www.abc.net.au/news/2020-10-12/juukan-gorge-blast-inquiry-told-of-rio-tinto-gag-clauses-warning/12754100" target="_blank" rel="noopener">called for</a> the removal of so-called “gag clauses” from land-use agreements, which prevent Aboriginal people from speaking out against developers. Save Our Songlines Traditional Owners say principles from the inquiry aren’t being upheld, and are concerned <a href="https://www.nit.com.au/the-six-clauses-traditional-owners-say-gag-them-from-raising-murujuga-concerns/" target="_blank" rel="noopener">gag clauses</a> are <a href="https://www.theguardian.com/australia-news/2022/mar/24/indigenous-elders-in-wa-say-gag-clause-denies-them-a-say-in-industrial-developments-on-their-land" target="_blank" rel="noopener">silencing members of the Murujuga Aboriginal Corporation</a>. We find it deeply problematic that Plibersek did not acknowledge these concerns around gag clauses in announcing her approval of the fertiliser plant. It is the role of the government to keep industry accountable for their obligations to abide by <a href="https://www.legislation.gov.au/Details/C2016C00937" target="_blank" rel="noopener">Indigenous heritage laws</a> and to ensure proper consultation processes are undertaken. This decision is also not in line with the federal government’s vocal commitment to the environment and to <a href="https://alp-assets.s3.ap-southeast-2.amazonaws.com/documents/ALP_FIRST_NATIONS_PEOPLES_2022.pdf" target="_blank" rel="noopener">Aboriginal and Torres Strait Islander affairs</a> prior to winning the election. In a <a href="http://www.majala.com.au/news/lawful-but-awful" target="_blank" rel="noopener">submission to the United Nations</a> about how to “decolonise our legal system”, Nyikina Warrwa Indigenous leader and respected researcher <a href="https://www.notredame.edu.au/research/nulungu/staff/Anne-Poelina" target="_blank" rel="noopener">Professor Anne Poelina</a> said: <blockquote> If the Lawful Laws which are awful, are enabled as lawful, what chance do Indigenous people and our lands, water, lifeways, and livelihoods stand against destruction? <h2>Understanding Indigenous connection to Country</h2> Non-Indigenous people need to better understand the <a href="https://theconversation.com/although-we-didnt-produce-these-problems-we-suffer-them-3-ways-you-can-help-in-naidocs-call-to-heal-country-163362" target="_blank" rel="noopener">importance of Country</a> for Aboriginal and Torres Strait Islander people. Classrooms are a good place to start. <a href="https://journals.sagepub.com/doi/10.1177/1177180120929688" target="_blank" rel="noopener">Deficits in the Australian education system</a> have led to poor knowledge and frequent and pervasive misunderstandings of Aboriginal people, places and cultures. A <a href="https://insidestory.org.au/white-australias-hangover/" target="_blank" rel="noopener">psychological hangover</a> from White Australia’s assimilation policies persists. When school education doesn’t provide accurate and truthful accounts of Australian histories, <a href="https://www.reconciliation.org.au/wp-content/uploads/2021/02/State-of-Reconciliation-2021-Full-Report_web.pdf" target="_blank" rel="noopener">harmful stereotypes are left unchallenged</a>. Clinton Walker describes a common response from visitors on his tours showcasing the culture, Country and history of the Pilbara: <blockquote> People say ‘how the hell don’t we know that? Why have we never learnt this stuff?’ </blockquote> Improvements in education have been slow. For example, the Australian Institute for Teacher and School Leadership only released their report “<a href="https://www.aitsl.edu.au/teach/intercultural-development/building-a-culturally-responsive-australian-teaching-workforce" target="_blank" rel="noopener">Building a culturally responsive Australian teaching workforce</a>” in June this year. Resources to support teachers are said to be scheduled for release in the coming months. <h2>Learn about Country through tourism</h2> <a href="https://www.welcometocountry.com/" target="_blank" rel="noopener">Tourism is one context</a> where the visibility and recognition of Indigenous people as knowledge-holders can be promoted and celebrated. Aboriginal and Torres Strait Islander tourism operators are delivering truthful accounts of Australian history and telling their stories of their connection to Country and culture. <a href="https://journals.sagepub.com/doi/full/10.1177/1468797620987688" target="_blank" rel="noopener">This work is an emotional labour</a> as they challenge entrenched colonial narratives. Indigenous tourism operators are <a href="https://theconversation.com/more-than-a-word-practising-reconciliation-through-indigenous-knowledge-sharing-in-tourism-158563" target="_blank" rel="noopener">agents of reconciliation</a>. Operators speak about wanting to educate visitors to build awareness of social and environmental issues facing their communities. The potential destruction of cultural sites at Murujuga is one such issue. Ongoing research from lead-author Nicole Curtin involves conversations with Aboriginal tourism operators and their visitors. It finds that deep listening is required for visitors to interrogate their own biases and privileges during their tourism experience. Visitors must be willing to “go and sit and learn” about Indigenous sovereignty and knowledges in their own lives. Indeed, an enhanced sense of connection to our local communities may help to drive people to speak out about the destruction of sites of environmental and cultural significance. Raising community awareness to fuel social momentum is one way of exerting pressure on decision makers to protect Australia’s rich cultural heritage and environment. <div> We acknowledge the Bininj, Larrakia, Noongar, Ngarluma, Yindjibarndi and Yawuru peoples as the Traditional Owners of Country where this article, and our research, was conducted and written. We pay our respects to Elders past and present. This article originally appeared on <a href="https://theconversation.com/sacred-aboriginal-sites-are-yet-again-at-risk-in-the-pilbara-but-tourism-can-help-protect-australias-rich-cultural-heritage-188524" target="_blank" rel="noopener">The Conversation</a>. Image: Shutterstock </div> </blockquote> </blockquote>

Travel Trouble

“Barbarian” Aussie rides moped in Pompeii

An Aussie tourist has been dubbed a “barbarian” after stupidly driving a moped in the ancient site of Pompeii. The 33-year-old was spotted on CCTV entering the historic site where construction vehicles were allowed in which prompted them to chase him down immediately. It is alleged the man rode the moped for almost 2km before he was captured by police and charged with “unauthorised access”. "The route taken is a dirt road outside the ancient city walls, used by site vehicles for excavation works," the park said in a statement. "It is safe, restored, and not accessible to the public. So there was no danger for either visitors or for the archaeological heritage at any point." The man claims that he did not know he was riding through an ancient site which was destroyed from a volcanic eruption in 79AD. It has been confirmed that luckily the man did not destroy anything of the 2,000-year-old historic site. Image: CCTV

Travel Trouble

Ancient insect calls for update to Jurassic Park soundtrack

For the past 150 years, the single known specimen of a species of katydid-like insect known as <a href="http://orthoptera.speciesfile.org/Common/basic/Taxa.aspx?TaxonNameID=1129138" target="_blank" rel="noreferrer noopener">Prophalangopsis obscura</a> has sat quietly in the London Natural History Museum but now some scientists have worked out what it would have sounded like. A British/Austrian team, used some seriously fancy equipment and an understanding of the physics of insect acoustics to work out what this species would have sounded like when it sang for a mate, giving insight into the ancient insect soundscape of the Jurassic period. Katydids are grasshoppers and crickets. This holotype, or single known specimen, is one of only eight remaining species from the 90 or so which were abundant during the Jurassic period. The research team has shown the sounds produced by this particular insect would have been similar to, although distinguishable from, other related species around this period. <figure class="wp-block-audio"><audio src="../wp-content/uploads/2022/08/journal.pone_.0270498.s002.wav?x88132" controls="controls"></audio><figcaption>The reconstructed calling song of Prophalangopsis obscura. Credit: Woodrow et al. 2002/PLOS ONE, CC-BY 4.0</figcaption></figure> The chirp produced by P. obscura is a pure tone, emitted at around 4.7 kHz — well-within the <a href="https://www.ncbi.nlm.nih.gov/books/NBK10924/" target="_blank" rel="noreferrer noopener">range of human hearing</a>. Aside from helping researchers understand what the insect world sounded like when dinosaurs roamed the Earth some 145 to 201 million years ago, the findings also suggest that early insects of this type were limited to frequencies below 20 kHz. <div class="newsletter-box"> </div> This is important because the other species of Prophalangopsis known today have evolved to be flightless, using their wings exclusively for sound production and attracting a mate. These evolved species have also developed ultrasonic sound production organs to assist in deterring ground-based predators. That P. obscura retained its ability to fly — even just short distances — and did not develop ultrasonic capabilities, suggests it followed a different evolutionary path to the other species still in existence today, giving extra insight into the evolution of this species and their relatives. But, how do you hear an insect that has been dead for 150 years? Like katydids and their relatives, P. obscura, produced sound by scraping one of its wings with a ‘file’ (or row of teeth). These vibrations would then by amplified by special structures within the insect’s wing and radiated out into the surrounding environment. Scientists at the University of Lincoln, the Natural History Museum, London, UK and Karl-Franzens-University, Graz, Austria used a technique called micro-scanning Laser-Doppler Vibrometry (LDV) to scan and then reconstruct the wings and sound-producing organs of the holotype. They then applied knowledge of close relatives of the species, they were then able to infer the “carrier frequency” (the central frequency at which the <a href="https://onlinelibrary.wiley.com/doi/full/10.1111/jeb.13179" target="_blank" rel="noreferrer noopener">overall sound reaches its maximum energy</a>). Due to its low frequency and pure tone, the song P. obscura sang may have reverberated far and wide across the Jurassic landscape.  <img id="cosmos-post-tracker" style="opacity: 0; height: 1px!important; width: 1px!important; border: 0!important; position: absolute!important; z-index: -1!important;" src="https://syndication.cosmosmagazine.com/?id=201424&title=Ancient+insect+calls+for+update+to+Jurassic+Park+soundtrack" width="1" height="1" />  <div id="contributors"> <a href="https://cosmosmagazine.com/science/biology/ancient-insect-jurassic-sound/" target="_blank" rel="noopener">This article</a> was originally published on <a href="https://cosmosmagazine.com" target="_blank" rel="noopener">Cosmos Magazine</a> and was written by <a href="https://cosmosmagazine.com/contributor/clare-kenyon" target="_blank" rel="noopener">Clare Kenyon</a>. Clare Kenyon is a science writer for Cosmos. She is currently wrangling the death throes of her PhD in astrophysics, has a Masters in astronomy and another in education, and has classroom experience teaching high school science, maths and physics. Clare also has diplomas in music and criminology and a graduate certificate of leadership and learning. Image: Charlie Woodrow </div>

Family & Pets

Take a trip through an ancient home in Pompeii

Archeologists have recreated a Pompeiian villa that was destroyed by the eruption of Mount Vesuvius in 79 C.E. Through the use of VR (virtual reality), researchers have carefully created a digital model of the ancient residence to better understand how visitors would have seen the home, according to <a href="https://www.cambridge.org/core/journals/antiquity/article/reviewing-pompeian-domestic-space-through-combined-virtual-realitybased-eye-tracking-and-3d-gis/E82035C72C580D9602CCF00D625BC65D">the recently published paper in the </a><a href="https://www.artnews.com/t/archaeology/">archaeology</a> journal Antiquity. The villa, known as the House of the Epigrams, was excavated in the 1870s and so named because it contains mythical paintings accompanied by Greek epigrams. While the identity of the owner is impossible to determine, researchers have suggested it may have belonged to a Lucius Valerius Flaccus due to a signet ring bearing his sigil being discovered there. The paper, titled “Re-viewing Pompeian domestic space through combined virtual reality-based eye tracking and 3D GIS,” was written by PhD. candidate Danilo M. Campanaro and Professor Giacomo Landeschi, who are both affiliated with the Department of Archaeology and Ancient History, Lund University, Sweden. <iframe title="YouTube video player" src="https://www.youtube.com/embed/9t39at8xgLw" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Through extensive research, the authors of the paper have been able to determine what decorations to use in the recreation, as well as uncovering how the opulent villa would be viewed by residents of Pompeii of various social and economic classes. This recreation is the first of its kind in the studies of ancient Pompeii, with the research findings showcasing a different quality of life for locals before their city was destroyed. Image credits: YouTube

Art

Pompeii’s ancient ruins guarded by a robot “dog”

The Archaeological Park of Pompeii has found a unique way to patrol the historical archaeological areas and structures of Pompeii in Italy. Created by Boston Dynamics, a robot “dog” named Spot is being used to identify structural and safety issues at Pompeii: the ancient Roman city that was encased in volcanic ash following the 79 C.E. eruption of Mount Vesuvius. The robot is the latest addition to a broader initiative to transform Pompeii into a “Smart Archaeological Park” with “intelligent, sustainable and inclusive management.” The movement for this “integrated technological solution” began in 2013, when UNESCO threatened to remove the site from the World Heritage List unless drastic measures were taken to improve its preservation, after structural deficiencies started to emerge. The goal, as noted in the release, is to “improve both the quality of monitoring of the existing areas, and to further our knowledge of the state of progress of the works in areas undergoing recovery or restoration, and thereby to manage the safety of the site, as well as that of workers.” “We wish to test the use of these robots in the underground tunnels that were made by illegal excavators and which we are uncovering in the area around Pompeii, as part of a memorandum of understanding with the Public Prosecutor’s Office of Torre Annunziata,” said Pompeii’s director general Gabriel Zuchtriegel in a statement. In addition to having Spot the “dog” patrol the area, a laser scanner will also fly over the 163-acre site and record data, which will be used to study and plan further interventions to preserve the ancient ruins of Pompeii. Image credits: Getty Images

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Olympic flame is lit at birthplace of ancient games

Vigil held as families visit site where Jesse Baird and Luke Davies' bodies found

Tourist arrested for disgusting act at sacred UNESCO World Heritage Site

Aussies lament the end of ancient "Beers for Garbos" tradition

Tiny ancient Christmas tree sells for thousands

Tourist busted for carving name into world's most famous Roman relic

A brief history of the mortgage, from its roots in ancient Rome to the English ‘dead pledge’ and its rebirth in America

10 amazing abandoned sites around the world

National Aboriginal Art Gallery under fire over proposed building site

Soup on Van Gogh and graffiti on Warhol: climate activists follow the long history of museums as a site of protest

Evidence that human evolution driven by major environmental pressures discovered

3 times you should never “accept cookies” on a site

How Bob Dylan used the ancient practice of ‘imitatio’ to craft some of the most original songs of his time

An ancient seed could prove wonders for your hair and skin

Silence of the poets – has an ancient tradition of commemorative verse died with the Queen?

Sacred Aboriginal sites are yet again at risk in the Pilbara

“Barbarian” Aussie rides moped in Pompeii

Ancient insect calls for update to Jurassic Park soundtrack

Take a trip through an ancient home in Pompeii

Pompeii’s ancient ruins guarded by a robot “dog”

Our Partners

News

Shop

Catalogues

Newspaper

Contests

Entertainment

Travel

Health

Lifestyle

Finance

Property

Compare

Games

Information

Keep up to date

Search

Olympic flame is lit at birthplace of ancient games

Vigil held as families visit site where Jesse Baird and Luke Davies' bodies found

Tourist arrested for disgusting act at sacred UNESCO World Heritage Site

Aussies lament the end of ancient "Beers for Garbos" tradition

Tiny ancient Christmas tree sells for thousands

Tourist busted for carving name into world's most famous Roman relic

A brief history of the mortgage, from its roots in ancient Rome to the English ‘dead pledge’ and its rebirth in America

10 amazing abandoned sites around the world

National Aboriginal Art Gallery under fire over proposed building site

Soup on Van Gogh and graffiti on Warhol: climate activists follow the long history of museums as a site of protest

Evidence that human evolution driven by major environmental pressures discovered

3 times you should never “accept cookies” on a site

How Bob Dylan used the ancient practice of ‘imitatio’ to craft some of the most original songs of his time

An ancient seed could prove wonders for your hair and skin

Silence of the poets – has an ancient tradition of commemorative verse died with the Queen?

Sacred Aboriginal sites are yet again at risk in the Pilbara

“Barbarian” Aussie rides moped in Pompeii

Ancient insect calls for update to Jurassic Park soundtrack

Take a trip through an ancient home in Pompeii

Pompeii’s ancient ruins guarded by a robot “dog”

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