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Who really was Mona Lisa? More than 500 years on, there’s good reason to think we got it wrong

<div class="theconversation-article-body"> <p><em><a href="https://theconversation.com/profiles/darius-von-guttner-sporzynski-112147">Darius von Guttner Sporzynski</a>, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a></em></p> <p>In the pantheon of Renaissance art, Leonardo da Vinci’s Mona Lisa stands as an unrivalled icon. This half-length portrait is more than just an artistic masterpiece; it embodies the allure of an era marked by unparalleled cultural flourishing.</p> <p>Yet, beneath the surface of the Mona Lisa’s elusive smile lies a debate that touches the very essence of the Renaissance, its politics and the role of women in history.</p> <h2>A mystery woman</h2> <p>The intrigue of the Mona Lisa, also known as <a href="https://archiv.ub.uni-heidelberg.de/artdok/4207/1/Zoellner_Leonardos_portrait_of_Mona_Lisa_1993.pdf">La Gioconda</a>, isn’t solely due to Leonardo’s revolutionary painting techniques. It’s also because the identity of the subject is unconfirmed to this day. More than half a millennium since it was first painted, the real identity of the Mona Lisa remains one of art’s greatest mysteries, intriguing scholars and enthusiasts alike.</p> <p>The painting has traditionally been associated with Lisa Gherardini, the wife of Florentine silk merchant Francesco del Giocondo. But another compelling theory suggests a different sitter: Isabella of Aragon.</p> <p>Isabella of Aragon was born into the illustrious House of Aragon in Naples, in 1470. She was a princess who was deeply entwined in the political and cultural fabric of the Renaissance.</p> <p>Her 1490 marriage to Gian Galeazzo Sforza, Duke of Milan, positioned Isabella at the heart of Italian politics. And this role was both complicated and elevated by the ambitions and machinations of Ludovico Sforza (also called Ludovico il Moro), her husband’s uncle and usurper of the Milanese dukedom.</p> <h2>Scholarly perspectives</h2> <p>The theory that Isabella is the real Mona Lisa is supported by a combination of stylistic analyses, historical connections and reinterpretations of Leonardo’s intent as an artist.</p> <p>In his <a href="https://www.bookstellyouwhy.com/pages/books/51791/robert-payne/leonardo-1st-edition-1st-printing">biography of Leonardo</a>, author Robert Payne points to <a href="https://emuseum.hydecollection.org/objects/94/study-of-the-mona-lisa?ctx=760b87fd-efbf-4468-b579-42f98e9712d2&idx=0">preliminary studies</a> by the artist that bear a striking resemblances to Isabella around age 20. Payne suggests Leonardo captured Isabella <a href="https://emuseum.hydecollection.org/objects/94/study-of-the-mona-lisa?ctx=760b87fd-efbf-4468-b579-42f98e9712d2&idx=0">across different life stages</a>, including during widowhood, as depicted in the Mona Lisa.</p> <p>US artist Lillian F. Schwartz’s <a href="https://www.sciencedirect.com/science/article/pii/0097849395000317">1988 study</a> used x-rays to reveal an initial sketch of a woman hidden beneath Leonardo’s painting. This sketch was then painted over with Leonardo’s own likeness.</p> <p>Schwartz believes the woman in the sketch is Isabella, because of its similarity with a cartoon Leonardo made of the princess. She proposes the work was made by integrating specific features of the initial model with Leonardo’s own features.</p> <p>This hypothesis is further supported by art historians Jerzy Kulski and <a href="https://www.youtube.com/watch?v=owjJWxcnKrE">Maike Vogt-Luerssen</a>.</p> <p>According to Vogt-Luerssen’s <a href="https://www.kleio.org/de/buecher/wer-ist-mona-lisa/">detailed analysis</a> of the Mona Lisa, the symbols of the Sforza house and the depiction of mourning garb both align with Isabella’s known life circumstances. They suggest the Mona Lisa isn’t a commissioned portrait, but a nuanced representation of a woman’s journey through triumph and tragedy.</p> <p>Similarly, Kulski highlights the <a href="https://www.academia.edu/40147186/The_Mona_Lisa_Portrait_Leonardos_Personal_and_Political_Tribute_to_Isabella_Aragon_Sforza_the_Duchess_of_Milan">portrait’s heraldic designs</a>, which would be atypical for a silk merchant’s wife. He, too, suggests the painting shows Isabella mourning her late husband.</p> <p>The Mona Lisa’s enigmatic expression also captures Isabella’s self-described state post-1500 of being “<a href="https://onlinelibrary.wiley.com/doi/full/10.1111/1468-0424.12683">alone in misfortune</a>”. Contrary to representing a wealthy, recently married woman, the portrait exudes the aura of a virtuous widow.</p> <p>Late professor of art history <a href="https://brill.com/display/book/edcoll/9789004304130/B9789004304130_014.xml?language=en">Joanna Woods-Marsden</a> suggested the Mona Lisa transcends traditional portraiture and embodies Leonardo’s ideal, rather than being a straightforward commission.</p> <p>This perspective frames the work as a deeply personal project for Leonardo, possibly signifying a special connection between him and Isabella. Leonardo’s reluctance to part with the work also indicates a deeper, personal investment in it.</p> <h2>Beyond the canvas</h2> <p>The theory that Isabella of Aragon could be the true Mona Lisa is a profound reevaluation of the painting’s context, opening up new avenues through which to appreciate the work.</p> <p>It elevates Isabella from a figure overshadowed by the men in her life, to a woman of courage and complexity who deserves recognition in her own right.</p> <p>Through her strategic marriage and political savvy, <a href="https://www.scopus.com/record/display.uri?eid=2-s2.0-85147429412&origin=resultslist">Isabella played a crucial role in the alliances and conflicts</a> that defined the Italian Renaissance. By possibly choosing her as his subject, Leonardo immortalised her and also made a profound statement on the complexity and agency of women in a male-dominated society.</p> <p>The ongoing debate over Mona Lisa’s identity underscores this work’s significance as a cultural and historical artefact. It also invites us to reflect on the roles of women in the Renaissance and challenge common narratives that minimise them.</p> <p>In this light, it becomes a legacy of the women who shaped the Renaissance.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/220666/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><em><a href="https://theconversation.com/profiles/darius-von-guttner-sporzynski-112147">Darius von Guttner Sporzynski</a>, Historian, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a></em></p> <p><em>Image credits: Xinhua News Agency/Shutterstock Editorial </em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/who-really-was-mona-lisa-more-than-500-years-on-theres-good-reason-to-think-we-got-it-wrong-220666">original article</a>.</em></p> </div>

Art

"Looks nothing like her": Kate Middleton portrait ridiculed

<p>A painted portrait of Kate Middleton has gone viral for all the wrong reasons, after royal fans everywhere claimed the artwork "looks nothing like" the Princess of Wales. </p> <p>The image, created by artist Hannah Uzor, appeared on the front cover of UK magazine <em>Tatler</em>, as the artist recreated Middleton's appearance at a banquet held in South Africa in 2022. </p> <p>The Princess wore a white beaded Jenny Packham gown, and also donned her famous tiara, the Lover’s Knot, which was previously worn by Princess Diana.</p> <p>Uzor explained that in creating the artwork, she was inspired by the composure and bravery demonstrated by the royal mum-of-three in her emotional cancer diagnosis video in March.</p> <p>“A moment of dealing with something difficult, speaking from the heart, having the courage to tackle it head-on,” she explained in awe.</p> <p>However, many royal fans slated the artist on social media, simply asking, “are you kidding me?”.</p> <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/C7Qy93EtBeT/?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/C7Qy93EtBeT/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Tatler (@tatlermagazine)</a></p> </div> </blockquote> <p>“This is just plain weird, looks nothing like her,” one person commented.</p> <p>“What have they done to her face,” asked another.</p> <p>A third agreed: “Doesn’t look like Catherine at all. If she wasn’t wearing that dress I’d have no clue as to who it’s meant to be.”</p> <p>“Are you kidding me? … You must be joking,” scorned someone else.</p> <p>Others slated the artwork by saying they believed it looked “like it was created by a child”.</p> <p>“It’s absolutely dreadful and should never have seen the light of day, let alone appear on the cover,” agreed another.</p> <p>Hannah Uzor defended her artwork, saying she had to draw on other sources as she was not able to meet the Princess directly to create her portrait. </p> <p>She said, “When you can’t meet the sitter in person, you have to look at everything you can find and piece together the subtle human moments revealed in different photographs: do they have a particular way of standing or holding their head or hands? Do they have a recurrent gesture?"</p> <p>“[Kate] has really risen up to her role – she was born for this. She carries herself with such dignity, elegance and grace."</p> <p><em>Image credits: Tatler Magazine / Chris Jackson/WPA Pool/Shutterstock Editorial </em></p>

Art

How to write creative non-fiction history

<p><em>Discovering an old photo album from the 1920s, celebrated author and adjunct professor <strong>Paul Ashton</strong> embarked on a journey to turn historical research into engaging creative non-fiction, blending meticulous evidence with captivating storytelling. Here he shares he insights on the fascinating process. </em></p> <p>One afternoon my elderly father and niece came to my home for lunch. On their way they had seen something on a council clean up. ‘We thought you might be interested in this,’ said my father handing me a small, brown photo album. I was.</p> <p>The album contained around 100 undated black and white photographs. It became apparent quickly that this was the record of a road trip done in the 1920s or 1930s. A boy, two women and a man had gone on a trip from Sydney up through New England, to Tamworth then to Brisbane and back to Sydney. Shadows in some of the images indicate that they were taken by the man and at least one of the women. The album provided the basis for my first children’s book, Palmer’s Mystery Hikes.</p> <p>One photograph stood out for me. Hundreds of people were gathered somewhere in the bush. In the far left-hand corner in the background was an elevated table covered with a large white tablecloth. With a magnifying glass I could just make out ‘Palmers [something] Hike’. In 1932 Palmer’s men and boys’ department store, in Park Street in Sydney, had established a hiking club to promote the sale of hiking apparel. You bought a ‘mystery’ ticket from New South Wales Railways with which Palmer had an arrangement; turned up at Central Station on Sunday morning; and were taken to a mystery destination. From there you did a ten-mile hike to another station and were then trained back to Sydney. There were five hikes. The third one to the Hawkesbury River attracted over 8,000 people.</p> <p>Turning historical research into believable fiction or creative non-fiction has certain demands. How do you strike a balance between historical research and evidence and the narrative form? This is a big question and will ultimately depend on many things, including the availability of primary and secondary sources and the nature of the particular narrative. But perhaps the most important question is: how do writers use the past to give their work historical dimensions and insights?</p> <p>For me, the most critical element is context. And it’s the thing most missing in much historically based fictional literature. Evoking people, places and periods involves understandings of things such as continuity and change over time, historical process – like colonisation and suburbanisation – ideologies and superstitions. Where appropriate, these should form subtle backgrounds to the narrative. Fiction and creative non-fiction as historical modes of presenting history should also show – not tell.</p> <p>My edited collection, If It’s not True It Should Be (Halstead Press), explores writing history using fictional techniques. As Peter Stanley has written in that book, ‘those who seek to illuminate the past through the imaginative recreation of historical fiction … [are] motivated by the fundamental conviction that what links the fidelity of the historian and the imagination of the historical novelist is that the work of both should be offered and read as if it were true.’</p> <p><em>ABOUT THE AUTHOR<br />Paul Ashton is adjunct professor and co-founder of the Australian Centre for Public History at the University of Technology Sydney and adjunct professor at the University of Canberra and Macquarie University. He has authored, co-authored, edited and co-edited over 40 books and is editor of the journal Public History Review. His series of creative non-fiction children’s histories – Accidental Histories – is being published by Halstead Press.</em></p> <p><em>Images: Supplied</em></p>

Books

Royal artist reveals King Charles' reaction to official portrait

<p>Jonathan Yeo, who is known for his portraits of royal family members, has revealed the King and Queen's reaction to the most recent <a href="https://www.oversixty.com.au/entertainment/art/king-charles-unveils-first-post-coronation-portrait" target="_blank" rel="noopener">portrait of King Charles</a> which made headlines. </p> <p>The portrait, which was done in four sittings from 2020, featured the King in his crimson Welsh Guards uniform, with a butterfly hovering above his shoulder. </p> <p>"People don't know their own faces, so it's much more useful to see the reaction of someone who knows that person well because they know in a split second if you've captured them," he told <em>The Times</em>. </p> <p>"Sometimes they'll say it, but more often you see it in their face – amazement, pleasure or recognition."</p> <p>He recalled how during his and Charles' final sitting in November, Camilla told him: "Yes, you've got him," with a look of recognition across her face. </p> <p>Yeo also revealed that the King saw the portrait when it was half completed and despite the surprise at the intense colour, he smiled at the painting and said: "It is remarkable how it has turned out." </p> <p>The artist said that the King and Queen were prepared for the mixed reactions from the public. </p> <p>"They knew what to expect," he told the publication, before revealing that the King appeared in good health despite his recent cancer diagnosis. </p> <p>"[Our last sitting] was before his diagnosis. He didn't look remotely ill to me, and he looked amazingly well on Tuesday."</p> <p>"We already had a bit of a rapport and that definitely makes it easier," Yeo said of the painting process. </p> <p>"He was really relaxed and I think it helped that he is interested in the process. We spent a lot of time talking about art and artists, as well as the environment."</p> <p><em>Image: Aaron Chown-PA/POOL supplied by Splash News/ Shutterstock Editorial</em></p> <p> </p>

Art

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

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

Art

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

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

Mind

Royal photographers weigh in on photo editing fiasco

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

Art

Gina Rinehart demands for National Gallery to remove her portrait

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

Art

What is allyship? A brief history, present and future

<div class="theconversation-article-body"> <p><em><a href="https://theconversation.com/profiles/wendy-marie-cumming-potvin-542762">Wendy Marie Cumming-Potvin</a>, <a href="https://theconversation.com/institutions/murdoch-university-746">Murdoch University</a></em></p> <p>Despite social change, LGBTQI+ people still face discrimination <a href="https://www.ohchr.org/en/statements/2019/10/inclusion-lgbt-people-education-settings-paramount-importance-leaving-no-one">at school</a> and <a href="https://www.tandfonline.com/doi/full/10.1080/10304312.2023.2296344">in the community</a>.</p> <p>Language for diverse genders and sexualities is continually changing. LGBTQI+ allyship is part of this change. But what is allyship?</p> <p>Allyship refers to people outside of a group – say, straight people – who actively support and work with people inside a group – say, LGBTQI+ people.</p> <p>It can also mean people from different groups working together to support each other’s goals. A key example of this was at the <a href="https://www.tandfonline.com/doi/full/10.1080/10304312.2023.2296344">Stonewall riots in 1969</a>, when lesbians, gay men and transgender people joined with Black Panthers and civil rights activists in New York City to protest against police brutality.</p> <p>But defining allyship can be challenging. Some people disagree about who an ally is. Others disagree about what an ally does.</p> <h2>What is an ally?</h2> <p>The term “ally” first appeared in US universities among students <a href="https://files.eric.ed.gov/fulltext/ED336682.pdf#page=215">in the early 1990s</a>. It was used to describe how majority group members (straight students) helped minorities (gay, lesbian and bisexual students), by advocating to end sexuality-based oppression in higher education.</p> <p>For many years, scholars have seen straight allyship for lesbian, gay and bisexual people as helpful for activism. Straight allies have played important roles in <a href="https://www.jstor.org/stable/j.ctt7pf5j">policy</a> and in <a href="https://www.tandfonline.com/doi/full/10.1080/19361653.2014.969867">combating prejudice</a> on high school and university campuses.</p> <p>Research has shown university and high school gay–straight alliances <a href="https://www.tandfonline.com/doi/full/10.1080/19361653.2017.1326867?casa_token=A6nQuWeFBIYAAAAA%3Ad-Tg1edyeiOyRDuHKyeHDcWuvqLLVhAFqyhXMjOe8RtWJH6pdwxUpES759QaY_zacNUS-TtqMXYK">have contributed</a> to more positive campus environments and a reduction in gender- and sexuality-based discrimination.</p> <p>Over many years, gay–straight teacher alliances have <a href="https://go.gale.com/ps/i.do?id=GALE%7CA227011983&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=10813004&p=LitRC&sw=w&userGroupName=anon%7E40663b6e&aty=open-web-entry">successfully used</a> inquiry groups to combat homophobia and explore <a href="https://theconversation.com/explainer-what-does-intersectionality-mean-104937">intersectionality</a> (the way different facets of someone’s identity intersect) within their schools. These groups highlighted LGBTQI-themed literature in English class, and encouraged teachers to be outspoken in their support by attending community events, such as pride parades.</p> <p>But allyship can be exclusionary. While early perspectives of allyship focused on helping gay or lesbian university students, transgender or non-binary folk <a href="https://www.routledge.com/LGBTQI-Allies-in-Education-Advocacy-Activism-and-Participatory-Collaborative/Cumming-Potvin/p/book/9781032298832">were often ignored</a>.</p> <p>There is also contention about <a href="https://www.queensjournal.ca/justin-timberlakes-queer-allyship-strips-ally-of-its-meaning/">how much “work”</a> a straight ally has to do to earn recognition. Some people say that for someone to be called an ally they need to actively work for change, not just say they support others.</p> <p>As allies, we are continually learning. And sometimes we get it wrong. When we make mistakes, it’s important to apologise and continue supporting those we wish to serve.</p> <h2>Allyship from within the community</h2> <p>Many current definitions of allyship only encompass allies outside of the group they are supporting. But a broadened definition of allyship would be useful.</p> <p>LGBTQI+ people, especially with leadership roles, can be strong allies in their communities. Laverne Cox uses her stardom <a href="https://ccrjustice.org/home/blog/2019/08/02/evening-activism-laverne-cox">to advocate</a> for her community of transgender women of colour and other LGBTQI+ people. Georgie Stone made medical processes <a href="https://www.theguardian.com/society/2019/sep/07/it-takes-a-lot-of-courage-rebekah-robertson-on-raising-transgender-activist-georgie-stone">easier for transgender children</a> in Australia.</p> <figure><iframe src="https://www.youtube.com/embed/-_dpLOXfOUE?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Because identities can shift, identifying who sits inside and outside LGBTQA+ communities can be challenging. Sometimes, there are clear social group insiders. Sometimes, there are clear outsiders. Other times, things are less clear. A person might hover inside and outside minority groups. They may not identify as straight, but they may not live publicly as LGBTQI+. Or a bisexual person may live in a straight relationship for many years.</p> <p>This means allyship is also dynamic. It <a href="https://www.suu.edu/pridealliance/pdf/reynolds.pdf">shifts</a> depending on power, privilege and life experiences. For example, in one social context, a white, heterosexual woman may have power as a LGBTQI+ ally. But in a professional setting where the majority of attendees are white heterosexual men, this same woman may not be as powerful.</p> <h2>An intersectional process</h2> <p>Allyship needs to understand that many people’s gender and sexuality interact with language fluency, class, geography, race, age and disability.</p> <p>This means that despite victories such as marriage equality, LGBTQI+ people who are homeless, transgender or people of colour may face <a href="https://theconversation.com/despite-recent-victories-plights-of-many-lgbt-people-remain-ignored-49273">significant barriers</a> in society. For example, as of May 2024, <a href="https://translegislation.com/">550 anti-trans bills</a> have been introduced in US legislatures.</p> <p><a href="https://www.creativespirits.info/aboriginalculture/people/lgbti-aboriginal-people-diversity-at-the-margins">Because of</a> discrimination, racism and a silencing around Black queer history, LGBTQA+ Aboriginal and Torres Strait Islander people can receive inappropriate services, for example, <a href="https://journals.sagepub.com/doi/epdf/10.1177/10497323211069682">in healthcare and education</a>.</p> <p>Understanding the multiple identities of LGBTQI+ people will support strong allyship to reduce <a href="https://www.murdoch.edu.au/news/articles/national-survey-reveals-mental-health-burden-on-first-nations-lgbtqa-youth">negative health outcomes</a> for Aboriginal communities.</p> <h2>What’s next for allyship?</h2> <p>Recent Canadian work has grouped researchers, school boards and teacher federations to make <a href="https://trans-affirm.edu.uwo.ca/toolkit/Trans-Affirming%20Toolkit.pdf">ally resources</a> for supporting trans and gender-diverse students in Ontario.</p> <p>This tool kit includes modules for having conversations about gender identity and teaching about transgender policy. The final module introduces action plans for supporting transgender students through whole school approaches.</p> <p>History has shown coming together can lead to social transformation and better outcomes for marginalised groups. In 2016, US President Barack Obama designated the Stonewall Inn <a href="https://www.theguardian.com/world/2016/jun/24/obama-announces-stonewall-inn-national-monument">a national US monument</a> to celebrate gay history.</p> <p>Apart from acknowledging evolving ideas about gender and sexuality, future LGBTQI+ allyship needs to be intersectional. This means that factors like age, social class, geography, race, language and disability count. And when barriers are broken down across sectors, like healthcare, education and housing, allies become stronger.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/220668/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><em><a href="https://theconversation.com/profiles/wendy-marie-cumming-potvin-542762">Wendy Marie Cumming-Potvin</a>, Associate Professor/ Director of Research (School of Education), <a href="https://theconversation.com/institutions/murdoch-university-746">Murdoch University</a></em></p> <p><em>Image credits: Shutterstock</em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/what-is-allyship-a-brief-history-present-and-future-220668">original article</a>.</em></p> </div>

Caring

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

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

Art

King Charles unveils first post-coronation portrait

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

Art

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

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

Travel Tips

Climate activists throw soup at Mona Lisa

<p>Two climate change activists have hurled soup at the bullet-proof glass protecting Leonardo da Vinci’s iconic painting, the Mona Lisa, at the Louvre Museum in Paris. </p> <p>On Sunday morning, local time, a video posted on social media showed two women throwing red and orange soup onto the glass protecting the painting to the shock of bystanders. </p> <p>The incident came amid days of protests by French farmers across the country demanding better pay, taxes, and regulations.</p> <p>The two women, with the words "FOOD RIPOSTE" or "Food Counterattack" written on their T-shirts, managed to pass under the security barrier and stood in front of the painting, while shouting slogans for a sustainable food system.</p> <p>“What is more important? Art or the right to healthy and sustainable food?” they asked. </p> <p>“Your agricultural system is sick. Our farmers are dying at work,” they added, before the security put black panels in front of the painting, and asked visitors to evacuate the space. </p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="fr">ALERTE - Des militantes pour le climat jettent de la soupe sur le tableau de La Joconde au musée du Louvre. <a href="https://twitter.com/CLPRESSFR?ref_src=twsrc%5Etfw">@CLPRESSFR</a> <a href="https://t.co/Aa7gavRRc4">pic.twitter.com/Aa7gavRRc4</a></p> <p>— CLPRESS / Agence de presse (@CLPRESSFR) <a href="https://twitter.com/CLPRESSFR/status/1751538762687893894?ref_src=twsrc%5Etfw">January 28, 2024</a></p></blockquote> <p>On its website, the "Food Riposte" group said that the French government is breaking its climate commitments, and they demanded a state-sponsored health care system to be put in to give people better access to healthy food, while providing farmers with a decent income. </p> <p>The protests comes after the French government announced a series of measures for agricultural workers on Friday, which they believe do not fully address their demands. </p> <p><em>Image: Twitter</em><span style="font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen, Ubuntu, Cantarell, 'Open Sans', 'Helvetica Neue', sans-serif;"> </span></p>

Legal

Embracing the art of beauty without compromise

<p dir="ltr">When it comes to trying out the latest makeup products, people with sensitivities are often left behind. </p> <p dir="ltr">Whether it’s sensitive skin or allergies, makeup users can often find products that work for them and their limitations. </p> <p dir="ltr">But when it comes to having sensitive eyes, there are very few options for those who still want to partake in applying makeup. </p> <p dir="ltr">In answer to this gap in the market, an Australian ophthalmologist has developed a game-changing product that can give everyone the long lashes they deserve, even if they suffer from eye sensitivities. </p> <p dir="ltr">Enter: OKKIYO. </p> <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/reel/C0xoSFPvHhl/?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/reel/C0xoSFPvHhl/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Beauty + Makeup for Sensitive Eyes - OKKIYO™️ (@okkiyoeyes)</a></p> </div> </blockquote> <p dir="ltr">The OKKIYO Eye-Care collection was crafted with expertise by Dr. Jacqueline Beltz, with each product being the perfect blend of aesthetics and eye health. </p> <p dir="ltr">The range offers meticulously formulated products to beautify sensitive eyes, ensuring you don't just look good but also feel great.</p> <p dir="ltr">From the transformative PRIORITEYES Mascara to the gentle Sensiteyes Cleansing System, every item is a promise of quality, safety, and confidence.</p> <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/Cvd68g8tBWE/?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/Cvd68g8tBWE/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Beauty + Makeup for Sensitive Eyes - OKKIYO™️ (@okkiyoeyes)</a></p> </div> </blockquote> <p dir="ltr">The <a href="https://www.okkiyo.com/products/protect-and-preserve-mascara">PRIORITEYES Mascara</a> is crafted with natural ingredients that will protect your eyes, while still doing all the things you want a mascara to do. </p> <p dir="ltr">The mascara is tailored for those with sensitive eyes, ensuring a comfortable, irritation-free experience, making it the perfect blend of medical-grade care and cosmetic elegance.</p> <p dir="ltr">Its clean formula boasts over 90% natural ingredients, including nourishing Australian Manuka honey and rejuvenating citrus extracts, while also promising no smudging, lasting through watery eyes and eye drops, all while being a breeze to remove.</p> <p dir="ltr">Another feature of the OKKIYO mascara is its accessible packaging, as the square tube prevents the product from rolling away and out of sight, with the tube also featuring braille, so those with low vision can identify the product. </p> <p dir="ltr">When it comes to removing eye makeup, cleansing the eyelid margins is one of the most important steps in looking after the delicate eye area, especially if you have sensitive eyes. </p> <p dir="ltr">Thankfully, <a href="https://www.okkiyo.com/products/okkiyo-cleansing-cloth">OKKIYO cleansing cloths</a> effectively remove all traces of eye make-up as well as any dried oil, bacteria and skin cells from the lashes and lids, all while being good for the environment. </p> <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/reel/C14D7OrvSYd/?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/reel/C14D7OrvSYd/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Beauty + Makeup for Sensitive Eyes - OKKIYO™️ (@okkiyoeyes)</a></p> </div> </blockquote> <p dir="ltr">The reusable muslin cloths cleanse the lid margins allowing the oil glands to function properly, producing tears that naturally desensitise the eyes. </p> <p dir="ltr">OKKIYO is the first Australian beauty brand to cater to the over 2.2 billion people in the world with low vision, and now, after three years in the making, the OKKIYO range is available exclusively at <a href="http://www.okkiyo.com.au/">www.okkiyo.com.au</a>.</p> <p dir="ltr">A proportion of profits from each OKKIYO sale will go to supporting Aboriginal Eye Health, improvements for people with low vision and general eye health research.</p> <p dir="ltr">Given the ophthalmologist-created and tested formula, those with eye sensitivities no longer have to choose between protecting their vision and looking fabulous thanks to the revolutionary OKKIYO system. </p> <p dir="ltr"><em>Image credits: Getty Images</em></p> <p><span id="docs-internal-guid-5dc0b4d6-7fff-4672-607b-3530170c75c6"></span></p>

Beauty & Style

Crown Princess Mary set to make history

<p>Crown Princess Mary is set to make history, after a surprise announcement from Queen Margrethe has shaken up the Danish royal family. </p> <p>On New Year's Eve, Queen Margrethe, who is currently Europe's longest-serving monarch, announced that she would be stepping down as the Danish monarch from January 14th, making her eldest son, Crown Prince Frederik, the country's new King. </p> <p>The Crown Prince will be known as King Frederik X, and his wife, Australian-born Crown Princess Mary, will be his Queen Consort, and will be known as Queen Mary. </p> <p>While there have been monarchs known as Queen Mary in the past, the Tasmanian native will be the first ever Australian to hold the title. </p> <p>Unlike the British royal family, King Frederik and Queen Mary will not be crowned in a coronation service. </p> <p>Instead, a proclamation of the new reign will be made at Christiansborg Palace on January 14th, as the prime minister has proclaimed each new monarch on the balcony of the Danish palace since the early 1900s.</p> <p>The announcement from Queen Margrethe was made during her annual New Year's Eve speech, where she reflected on having surgery on her back in February 2023. </p> <p>“The surgery naturally gave rise to thinking about the future – whether the time had come to leave the responsibility to the next generation,” she said in the televised speech.</p> <p>“I have decided that now is the right time. On 14 January 2024 – 52 years after I succeeded my beloved father – I will step down as queen of Denmark,” she said.</p> <p>“I leave the throne to my son, Crown Prince Frederik,” she added.</p> <p><em>Image credits: Getty Images</em></p>

Family & Pets

The sky’s the limit: A brief history of in-flight entertainment

<p><em><a href="https://theconversation.com/profiles/olusola-adewumi-john-1490381">Olusola Adewumi John</a>, <a href="https://theconversation.com/institutions/university-of-regina-3498">University of Regina</a> </em></p> <p>As the winter holidays draw near, many of us are already booking flights to see friends and family or vacation in warmer climates. Nowadays, air travel is synonymous with some form of in-flight entertainment, encompassing everything from the reception offered by the aircrew to the food choices and digital content.</p> <p>These services all add value to flying for customers. Passengers are now so familiar with in-flight entertainment that to travel without it is unthinkable.</p> <p><a href="https://www.globenewswire.com/news-release/2023/10/19/2762903/0/en/In-Flight-Entertainment-Connectivity-Market-to-Worth-21-03-Bn-by-2030-Exhibiting-With-a-15-9-CAGR.html">The in-flight entertainment and connectivity market grew to US$5.9 billion as of 2019</a>, a testament to its economic impact on both the airlines and the GDP of countries with airline carriers.</p> <p>In-flight entertainment is so ubiquitous that, even if all other airline services were offered, <a href="https://travel.stackexchange.com/questions/19427/will-airlines-compensate-me-if-my-entertainment-system-is-not-working">the airline ensures a refund is made to the passenger affected</a> if television content cannot be accessed.</p> <h2>A brief history</h2> <p>In-flight entertainment has evolved significantly over the years. Before in-flight entertainment media was introduced, passengers entertained themselves by reading books or with food and drink services.</p> <p>The original aim of bringing in-flight entertainment into cabins was to attract more customers, drawing inspiration from a variety of sources, including the theatrical and domestic media environments. It was not initially for the comfort and ease of travelling, as it is today.</p> <p><a href="https://www.academia.edu/5023683/A_History_of_INFLIGHT_ENTERTAINMENT">Inflight entertainment began as an experiment</a> in 1921, when 11 Aeromarine Airways passengers were shown the film <em>Howdy Chicago!</em> on a screen hung in the cabin during the flight. Four years later, another experiment was carried out in 1925 when 12 passengers on board an Imperial Airlines flight from London were shown the film <em>The Lost World</em>.</p> <p><a href="https://www.smithsonianmag.com/air-space-magazine/when-did-inflight-movies-become-standard-on-airlines-180955566/">It wasn’t until the 1960s</a> that in-flight movies became mainstream for airlines. Trans World Airlines became the first carrier to regularly offer feature films during flights, using a unique film system developed by <a href="https://www.newyorker.com/magazine/1962/06/02/inflight">David Flexer, then-president of Inflight Motion Pictures</a>.</p> <p>Starting in 1964, in-flight entertainment evolved to include various media types like 16-mm film, closed-circuit television, live television broadcasts and magnetic tape. In the 1970s, for example, airplanes might feature a large screen with a 16-mm projector in one part of the plane, while small screens hung overhead in another section.</p> <p><a href="https://www.smh.com.au/traveller/reviews-and-advice/when-did-airlines-install-seatback-entertainment-20190711-h1g51b.html">Seatback screens were introduced in 1988</a> when Airvision installed 6.9-centimetre screens on the backs of airline seats for Northwest Airlines. They have since morphed into the larger screens we are familiar with today, which are found on nearly every airline.</p> <h2>In-flight entertainment today</h2> <p>Most airlines nowadays have personal televisions for every passenger on long-haul flights. On-demand streaming and internet access are also now the norm. Despite initial concerns about speed and cost, in-flight services are becoming faster and more affordable.</p> <p>In-flight entertainment now includes movies, music, radio talk shows, TV talk shows, documentaries, magazines, stand-up comedy, culinary shows, sports shows and kids’ shows.</p> <p>However, the rise of personal devices, like tablets and smartphones, <a href="https://www.telegraph.co.uk/travel/comment/the-weird-and-wonderful-history-of-in-flight-entertainment/">could spell the end for seatback screens</a>. A number of U.S. airlines, including American Airlines, United Airlines and Alaska Air, have <a href="https://www.bloomberg.com/news/articles/2019-10-09/airline-seatback-screens-may-soon-become-an-endangered-species">removed seatback screens from their domestic planes</a>.</p> <p>This decline is par for the course. To arrive at the complex system used by aircraft today, in-flight entertainment went through a number of different stages, <a href="https://doi.org/10.1007/978-981-19-0641-1_10">as identified by aviation scholar D.A. Reed</a>.</p> <p>It started with an idea phase, which saw the conception of the idea, followed by an arms race phase where most airlines adopted some form of it. Currently, airlines are facing challenges in the final — and current — phase of evolution, and are dealing with failures linked to business concept flaws or low revenue.</p> <p>Now that most air travellers carry electronic devices, fewer airlines are installing seatback screens. From an economic standpoint, this makes sense for airlines: removing seatback screens <a href="https://mobile.nytimes.com/2018/01/01/business/airlines-travel-entertainment.html">improves fuel costs</a> and allows airlines to <a href="https://www.flightglobal.com/systems-and-interiors/united-ups-757-density-with-new-slimline-seats/126574.article">install slimmer seats</a>, allowing for more passengers.</p> <h2>More than entertainment</h2> <p>At some point in the evolution of in-flight entertainment, it started to serve as more than just a form of entertainment or comfort. Now, it’s also a competitive tool for airline advertisements, and a form of cultural production.</p> <p>In-flight entertainment has become an economic platform for investors, business people, manufacturers and entertainment providers, especially Hollywood. It also plays a key role in promoting the national culture of destination countries.</p> <p>However, the evolution of in-flight entertainment hasn’t been without its challenges. As a form of cultural production, it often reflects the interests of advertisers, governments and business entities. It also follows that <a href="https://doi.org/10.1007/978-981-19-0641-1_10">certain ideas, products and cultures are sold to passengers</a> via in-flight entertainment.</p> <p>The lucrative practice of capturing and selling passengers’ attention to advertisers was not limited to screens, either. In-flight magazines have always been packed with advertisements, and by the late 1980s, these advertisements had spread to napkins and the audio channels.</p> <p>Despite its shortcomings and precarious future, in-flight entertainment still offers passengers a sense of comfort, alleviating concerns about being suspended over 30,000 feet above sea level. If you end up flying during the holidays, remember your comfort is partly thanks to this innovation.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/218996/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><a href="https://theconversation.com/profiles/olusola-adewumi-john-1490381"><em>Olusola Adewumi John</em></a><em>, Visiting Researcher, Centre for Socially Engaged Theatre, <a href="https://theconversation.com/institutions/university-of-regina-3498">University of Regina</a></em></p> <p><em>Image credits: Shutterstock</em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/the-skys-the-limit-a-brief-history-of-in-flight-entertainment-218996">original article</a>.</em></p>

Travel Tips

2023 Drone Photo Awards fly high as winners are revealed

<p dir="ltr">The winners of the 2023 Drone Photo Awards have been announced, with photographers all around the world recognised for their commitment to aerial photography in the fierce international competition.</p> <p dir="ltr">Thousands of submissions were received for the annual contest across nine different categories: photo of the year, urban, wildlife, sport, people, nature, abstract, wedding, series, and video. </p> <p dir="ltr">The Drone Photo Awards are open to both aerial photography and video, with platforms including “fixed-wing aircraft, helicopters, unmanned aerial vehicles, balloons, blimps and dirigibles, rockets, kites, and parachutes.”</p> <p dir="ltr">The competition’s top award, Photo of the Year, went to a shot by Israeli photographer Or Adar. </p> <p dir="ltr">His submission, ‘Must resist’, presents the image of “protesters holding banners during a demonstration again Israeli Prime Minister Benjamin Netanyahu’s judicial overhaul plans” from an aerial perspective, capturing the moment in Tel Aviv when “tens of thousands of protesters took to the streets of Israeli cities for the ninth straight week, on Saturday March 4th, to fight a government plan to overhaul the country's court system.” </p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">🏆“𝐃𝐫𝐨𝐧𝐞 𝐏𝐡𝐨𝐭𝐨 𝐀𝐰𝐚𝐫𝐝𝐬 𝟐𝟎𝟐𝟑” 𝐏𝐡𝐨𝐭𝐨 𝐨𝐟 𝐭𝐡𝐞 𝐘𝐞𝐚𝐫 🏆</p> <p>Congrats to Or Adar for his stunning image “Must resist”. 👏👏👏<a href="https://t.co/leaZw2sazu">https://t.co/leaZw2sazu</a><a href="https://twitter.com/hashtag/sienawards?src=hash&ref_src=twsrc%5Etfw">#sienawards</a> <a href="https://twitter.com/hashtag/dronephotoawards?src=hash&ref_src=twsrc%5Etfw">#dronephotoawards</a> <a href="https://twitter.com/hashtag/photocontest?src=hash&ref_src=twsrc%5Etfw">#photocontest</a> <a href="https://twitter.com/hashtag/dronephotography?src=hash&ref_src=twsrc%5Etfw">#dronephotography</a> <a href="https://t.co/pyReGOTMC9">pic.twitter.com/pyReGOTMC9</a></p> <p>— Siena Awards (@SIPAContest) <a href="https://twitter.com/SIPAContest/status/1671458317472866313?ref_src=twsrc%5Etfw">June 21, 2023</a></p></blockquote> <p dir="ltr">Polish photographer Sebastian Piórek took home the win in the Urban category for his shot of Chorzów in southern Poland, which was described by The Siena Awards as a photo that “beautifully juxtaposes the colourful ambiance and harmony of the playground against the backdrop of the city.”</p> <p dir="ltr">Indian photographer Danu Paran won the Wildlife category with his shot of a napping elephant, where “the elephant’s grey and wrinkled skin perfectly merges with the natural landscape, creating a harmonious composition that showcases the beauty of wildlife.”</p> <p dir="ltr">French photographer David Machet won for Sport with his photo of tightrope walker Nathan Paulin in the French Alps, as Paulin traversed a ‘highline’ almost 2.5 km in the air. </p> <p dir="ltr">The People category went to British photographer Simon Heather’s picture of people in Portugal enjoying a sunny day by the sea, while the Series award went to American photographer George Steinmetz for his photo series of farmland.</p> <p dir="ltr">Indian photographer Thomas Vijayan took home the Nature award for his photo of Svalbard, with Vijayan sharing that “it was surprisingly sad to see that the ice had already melted in June, and we were able to reach the ice cap with our ship.”</p> <p dir="ltr">The Abstract winner was Spanish photographer Ignacio Medem for a shot demonstrating how drought and poor water resource management has impacted a river in the American West.</p> <p dir="ltr">Polish photographer Krzysztof Krawczyk found success in the Wedding category, with his snap of newlyweds on a boat in the middle of a lake, while “they are enveloped by voluminous clouds and surrounded by thousands of dry leaves, resembling stars and creating gentle waves.”</p> <p dir="ltr">And last but not least, Bashir Abu won the Video category with “Why I Travel the World Alone”.</p> <p><iframe title="YouTube video player" src="https://www.youtube.com/embed/Z6t4y3A28uA" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p> <p dir="ltr">And for anyone hoping to check the winners out for themselves, Adar’s image - as well as the top photographs from the other winning categories - will be available for viewing in the Above Us Only Sky exhibition set to take place for the first time at Italy’s San Galgano Abbey from July 8 to November 19. </p> <p dir="ltr"><em>Images: Drone Photo Awards</em></p>

Art

Coming to terms with the past is more important than ever. The Voice referendum is a vital first step

<p><em><a href="https://theconversation.com/profiles/heidi-norman-859">Heidi Norman</a>, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a></em></p> <p>This Saturday is the final day of voting in the Voice to Parliament referendum, which asks Australians to support recognition of First Peoples in the Constitution and enable First Peoples’ representation on relevant policies and programs.</p> <p>Over the last several weeks, I have attended many events supporting and advocating for the Voice referendum. In these forums, my fellow Australians talk about the Constitution, the role of government and how power is exercised in modern democracy. Some have never read or thought about the Constitution before.</p> <p>I’ve seen young First Nations lawyers explaining to a mixed crowd how the Constitution works, what is included in it and what a constitutionally enshrined Voice would mean. I have been invigorated by such sincere participation in understanding how our democracy works, and could work better.</p> <p>This serious contemplation was getting underway at the Referendum Council’s Aboriginal regional dialogues I attended in 2017. With other Aboriginal people, we discussed what change could look like. I have supported the implementation of the Uluru Statement from the Heart and played my small part supporting the “yes” vote at my university and with my family and community.</p> <h2>How opinions have differed</h2> <p>Debates around the Voice have presented three competing narratives to the Australian public.</p> <p>The “yes” position addresses the outstanding business of the place of First Peoples in the life of the nation. This position is an offer of peace, to walk together towards settlement. It also believes that if First Peoples are able to work with and through government – with power devolved to local-level decision-making – the everyday experiences of the disadvantaged will be changed.</p> <p>The Voice proposal is a modest, middle path. It’s a compromise position that was believed to have the greatest chance of gaining support from progressives, liberals and conservatives.</p> <p>The “no” position refuses to acknowledge the unique place of First Peoples in the life of the nation and rejects any perceived “special treatment” based on either disadvantage or cultural difference.</p> <p>A third, minority group is the so-called “progressive no” vote, which rejects the Voice referendum as an unacceptable compromise with limited utility as a mechanism to advance First Peoples’ rights. It argues Voice is not enough, and it’s time instead for recognition of sovereignty.</p> <p>Each of these narratives draws from competing versions of the story of the nation’s past and future. We can see that understanding our history is more important than ever in addressing the politics of disruption and disinformation and the toxic social and political discourse that has dominated the campaign.</p> <h2>Right-wing tactics of division</h2> <p>Debate over the referendum has played out in a different way to other referendums and general election campaigns. The debate has often been discourteous, relying on a swarm of cruel, derogatory and racist social media posts. Some leading “no” campaigners have <a href="https://www.theguardian.com/australia-news/2023/sep/28/we-forgive-but-never-forget-yes-campaigner-rachel-perkins-responds-to-warren-mundine-on-uluru-statement">presented</a> increasingly extremist and sensational views intended to dominate the news cycle and social media.</p> <p>In many ways, the “no” campaign has followed patterns of right-wing campaigning from overseas, which is intended to destabilise the social relations, trust and confidence we have in one another and seed division.</p> <p>Consider the Brexit debate in the UK, and or US Capitol insurrection and claims of a stolen election by former President Donald Trump. Each provided a platform for people to express white nationalist sentiments and their deep distrust in the institutions of democratic government.</p> <p>The “no” campaign’s tactics have also sought to <a href="https://epress.lib.uts.edu.au/journals/index.php/mcs/article/view/8813">link</a> a host of disparate themes to the referendum, from climate change denial to anti-vaccination beliefs. The common theme is grievance against the perceived extension of the distrusted government into people’s lives. Disinformation has played a key role.</p> <p>Other concerns have also been publicly raised about the Voice, such as that it would be a risk to <a href="https://theconversation.com/no-the-voice-to-parliament-would-not-force-people-to-give-up-their-private-land-212784">people’s private land</a>. These concerns are sincerely feared, but totally unfounded.</p> <h2>Difficulties confronting our history</h2> <p>What sits beneath this right-wing rhetoric in Australia is the highly charged debate over the nation’s past and its future.</p> <p>Contesting views about Australia’s history should not come as a surprise. Since historians became more interested in the telling of Australian history “from the other side” and writing First Peoples back into the nation’s story, it has been met with an equal measure of resistance and shock.</p> <p>The ongoing difficulty of “coming to terms” with colonial histories can be attributed to a number of things:</p> <ul> <li> <p>historical amnesia, disbelief or cultural differences over what counts as historical knowledge</p> </li> <li> <p>the strategic use of “forgetting” to protect a social group’s self-image</p> </li> <li> <p>and the belief that engaging in these difficult histories is somebody else’s responsibility rather than our own.</p> </li> </ul> <p>The Voice Referendum and Uluru Statement introduce a new nationalism underpinned by a different origin story: the process of a settlement between First Nations and non-Indigenous Australians with a recognition of how our continent’s much deeper history can be a gift, or inheritance, to all Australians.</p> <p>In this vision for the future, the worlds of Aboriginal and Torres Strait Islanders narrate the story of the country over much longer timeframes through an entirely different archive and knowledge system.</p> <p>The idea of inheritance of a much deeper and longer history of country is less concerned with colonial settler-Indigenous relations. Rather, it is a transformed sense of history that extends over thousands of generations and speaks to place.</p> <h2>Playing a role in the future of the nation</h2> <p>The aim of the Voice is to strengthen democracy by meaningfully engaging with those who have the knowledge and expertise, in local conditions and contexts, to improve government decisions in Indigenous policy and programs.</p> <p>The Voice proposal eschews a rights framework in favour of <a href="https://www.mup.com.au/books/its-our-country-paperback-softback">providing</a></p> <blockquote> <p>the impetus for a profound paradigmatic shift between Indigenous peoples and the state. While this “power of influence” on one hand seeks to improve policy and programs and services on the ground, it also seeks to shape a new and meaningful relationship between Indigenous Peoples and political institutions.</p> </blockquote> <p>There is a legitimate and important role for government to play in First Peoples’ lives, but this role can be improved by greater participation and local-level input in the design and implementation of policy and programs.</p> <p>For too long, First Peoples have experienced the worst excesses of government and its various instruments – namely the police and judiciary. There’s a reason why many people hold a deep and abiding fear and suspicion of government. It has been responsible for many traumas:</p> <ul> <li> <p>the brutal dislodging of kinship connections</p> </li> <li> <p>the taking of land without any legal basis or compensation</p> </li> <li> <p>the violent dispersal of people from their land, which has rendered many destitute and without means to care for their families</p> </li> <li> <p>the removal of people’s children, denial of basic services and assistance, and management of people’s lives by a cruel and underfunded protection board</p> </li> <li> <p>the <a href="https://www.monash.edu/law/research/centres/castancentre/our-areas-of-work/indigenous/the-northern-territory-intervention/the-northern-territory-intervention-an-evaluation/what-is-the-northern-territory-intervention">empowering</a> of police and military to seize people’s community assets.</p> </li> </ul> <p>And yet, the Voice referendum, supported by the overwhelming majority of First Peoples, seeks to improve the relationship with governments to achieve greater efficiency and effectiveness of policies intended to improve lives.</p> <p>At one Sydney “yes” rally, we walked from Redfern Park along Cleveland Street to Victoria Park. It was a massive turnout that far exceeded expectations. The mood was serious, yet joyous. People came from all over Sydney and brought their place with them – the crew from “The Shire” got a big cheer from the crowd.</p> <p>This gathering was not looking for division, but rather a heart-filled yearning to come together as a community of people and play a role in the future of a nation that’s accepting of the fact it’s our country, too.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/215152/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><em><a href="https://theconversation.com/profiles/heidi-norman-859">Heidi Norman</a>, Professor, Faculty of Arts and Social Sciences, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a></em></p> <p><em>Image credits: Central Land Council - PR Image</em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/coming-to-terms-with-the-past-is-more-important-than-ever-the-voice-referendum-is-a-vital-first-step-215152">original article</a>.</em></p>

Caring

What your family history says about your eyesight

<p>Eye disorders can be caused by many things such as infection and injury but did you know it can also be genetic? We know looking up our family history is important for our health but it’s also vitally important to do so for our eyes. Genetics do play a role in determining your family’s susceptibility to certain eye diseases so it’s a good idea to check your family history as well as record any eye issues you have for future generations.</p> <p>Here are some of the most common hereditary eye conditions. </p> <p><strong>Glaucoma</strong></p> <p>Not all glaucoma is inherited but the most common type, primary open-angle glaucoma, is hereditary. According to the Glaucoma Research Foundation, a family history of glaucoma increases your risk around four to nine times.</p> <p>Coupled with the fact glaucoma is much more common as you age, it’s a good idea to get your eyes checked regularly. Glaucoma can lead to the reduction in peripheral vision and even blindness. Signs include bulging eyes, excessive tearing and abnormal sensitivity to light.</p> <p><strong>Age-related macular degeneration</strong></p> <p>Scientist have found that genetics may contribute to the risk of having macular degeneration but it’s not always the case. Some people never develop it even though both parents may have it while others get it even though there is no family history. The current research shows that genetics contribute to macular degeneration anywhere from 40 to 70 percent.</p> <p>However, whether you have a family history or not it’s important to get your eyes checked as age-related macular degeneration is the leading cause of vision loss in people aged 50 and over. </p> <p><strong>Colour blindness</strong></p> <p>A misnomer as people are not ‘blind’ but colour vision deficient. People who are colour blind usually cannot distinguish between certain colours such as red and green. Inherited colour blindness is common in men with women rarely affected. There is no treatment and most people adjust to the condition.</p> <p><strong>Retinitis pigmentosa</strong></p> <p>A mutated gene causes the retina to degenerate which can lead to night blindness and vision loss. Most cases are inherited and it usually appears in childhood but vision loss doesn’t occur until later in life. There is unfortunately no cure and no treatments but researchers are making significant progress in identifying the genes that cause retinitis pigmentosa.</p> <p><strong>Achromatopsia</strong></p> <p>An inherited condition (only if both parents have the recessive gene) that affects 1 in 33,000 people. The condition is associated with decreased vision, sensitivity to light and colour blindness.</p> <p><strong>Optic atrophy</strong></p> <p>Optic atrophy may be inherited or caused by brain trauma, inflammation, degenerative disorders, haemorrhage or tumour. The breakdown of the optic nerve causes vision loss. </p> <p><em>Image credits: Getty Images </em></p>

Body

The strange history of these 5 common superstitions

<p><strong>Where superstitions come from</strong></p> <p>You probably engage in many of these superstitions as second nature, but have you ever thought about where they come from?</p> <p><strong>Superstition: Black cats are bad omens</strong></p> <p><span style="text-decoration: underline;"><em>The backstory</em></span>: Despite centuries of royal treatment (Egyptians worshipped them; the Norse goddess Freya rode in a chariot pulled by them), cats took a big hit to their reputation in the 1200s, when Pope Gregory IX, waging a culture war on pagan symbols, damned cats as servants of Satan.</p> <p>As a result, cats – especially black ones – were killed across Europe. One unintended consequence, according to some historians: The cat-deprived continent may have allowed disease-carrying rodents to flourish and spread the bubonic plague of 1348.</p> <p>Rumours that the feline’s fangs and fur were venomous persisted, and by the witch-hunting days of the 1600s, many Puritans believed black cats to be “familiars” – supernatural demons that serve witches – and avoided them (to borrow an apt phrase) like the plague.</p> <p><strong>Superstition: Never walk under a ladder</strong></p> <p><span style="text-decoration: underline;"><em>The backstory</em></span>: Depending on your background, a ladder leaning against a wall can represent an honest day’s work, a textbook geometry problem, or a symbol of the Holy Trinity that, if breached, will damn your soul. That last bit is what some ancient Christians believed – that any triangle represented the Trinity, and disrupting one could summon the Evil One.</p> <p>These days, our under-ladder phobia is a smidge more practical: Avoid it because you might get beaned by falling tools, debris, or an even less lucky human.</p> <p><strong>Superstition: Break a mirror and see seven years of bad luck</strong></p> <p><span style="text-decoration: underline;"><em>The backstory</em></span>: Numerous ancient cultures agree: Your reflection doesn’t just reveal whether you’re having a bad hair day – it also holds a piece of your soul. To break a mirror, then, is to fracture your very essence, leaving you vulnerable to bad luck.</p> <p>So why should the sentence last seven years? Some writers cite the ancient Romans, who are said to have believed that the human body and soul fully regenerate every seven years. Any poor pleb who fractured his or her soul in the looking glass would therefore have to endure the bad karma until the soul renewed again.</p> <p><strong>Superstition: A full moon brings out the crazies</strong></p> <p><span style="text-decoration: underline;"><em>The backstory</em></span>: Ever wonder where the word lunatic came from? Look no further than luna, the Latin word for the moon. Many Greeks knew that the moon and its goddess, Luna, held the tides in their thrall, and Aristotle considered the human brain – the “moistest” organ – particularly susceptible to Luna’s pull.</p> <p>Ancient physician Hippocrates agreed, writing, “One who is seized with terror, fright and madness during the night is being visited by the goddess of the moon.” Today, some emergency room workers still believe the full moon means trouble.</p> <p><strong>Superstition: Say “God bless you” after a sneeze or risk something worse than a cold</strong></p> <p><span style="text-decoration: underline;"><em>The backstory</em></span>: You’ve probably heard the myth that a sneeze stops the heart (it doesn’t) or separates body from soul (science declines to comment there). But to explain the ritual of post-sneeze “blessing,” we can look to another pope.</p> <p>During the first recorded plague pandemic, in the sixth century, severe sneezing often portended sudden death. As a desperate precaution, Pope Gregory I supposedly asked followers to say “God bless you” every time someone sneezed. Today, it’s just polite.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://www.readersdigest.com.au/culture/this-is-the-history-behind-these-5-common-superstitions" target="_blank" rel="noopener">Reader's Digest</a>. </em></p>

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Travel

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Lifestyle

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Who really was Mona Lisa? More than 500 years on, there’s good reason to think we got it wrong

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Coming to terms with the past is more important than ever. The Voice referendum is a vital first step

What your family history says about your eyesight

The strange history of these 5 common superstitions

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