IF THE SPRING OF popular government in time of peace is virtue, the springs of popular government in revolution are at once virtue and terror: virtue, without which terror is fatal; terror, without which virtue is powerless. Terror is nothing other than justice, prompt, severe, inflexible; it is therefore an emanation of virtue; it is not so much a special principle as it is a consequence of the general principle of democracy applied to our country's most urgent needs.
It has been said that terror is the principle of despotic government. Does your government therefore resemble despotism? Yes, as the sword that gleams in the hands of the heroes of liberty resembles that with which the henchmen of tyranny are armed. Let the despot govern by terror his brutalized subjects; he is right, as a despot. Subdue by terror the enemies of liberty, and you will be right, as founders of the Republic. The government of the revolution is liberty's despotism against tyranny. Is force made only to protect crime?
THE MINING COMPANY RIO Tinto was recently responsible for the blasting of a set of highly significant caves in Juukan Gorge in the Hammersley Ranges. This was legal; Ministerial authority under Western Australian law gives consent to this kind of mining development, which can then not be held up in other courts. By contrast, Heritage Acts across the States protect non-Aboriginal cultural heritage more elaborately. In Sydney, the Sirius Building, whose redevelopment was, in a similar way, given direct consent by the Minister, was looked over by the Supreme Court, and saved from demolition. Plain racism explains a great deal of the distinction, but not everything.
I think we tend to undervalue the social experience of seeing our colleagues: the lift encounters, the desk-side chats, the coffee runs. I suppose if we happily discard those things now it will only go to show how little they really meant all along. But we'll miss them, I suspect. They're much better than staring at a screen.
IT IS NO WONDER that zombies are such a fixture of the horror genre. To be reanimated after one's own death, both with and without the key elements of your identity, treated as a less-than-human shambling artefact and played either for revulsion or comedy---what could be more terrifying? If there is one constant in zombie stories, it's the fundamental indignity of the afterlife: their shambling, angry peacelessness. The zombies naturally want to eat or kill the living, and it's never really a surprise that they should want to. In the first reel of the film, it's always the present that calls upon the dead; a spell, perhaps, or a toxic gas, but the present is always being haunted by the past, and unable to understand its own culpability, without context, or deal with the consequences. If you aren't scared of your own identity becoming reanimated after your death, and used by selfish characters to further a plot-line not of your choosing, maybe you don't have enough imagination.
ALAN JONES HAS ANNOUNCED his planned retirement and with his exit from our politics, both NSW and Australia will be a little bit better, a little bit cleaner, a little bit less self-satisfiedly hateful. You will read members of Parliament, celebrities, other members of the press, eulogising his career, paying tribute to a public man, or most predictably of all, describing him as complicated or ambiguous. It's all garbage. The man was uncomplicatedly, straightforwardly, the worst and most toxic public figure of Australia's last half-decade. Our political and cultural life will be better for his absence.
The key beats of folk horror are the sense of time and the sense of the land- the relationship between place and past. It is perhaps a stretch to call the ways in which the genre thinks about these things “anti-capitalist” – but only slightly. For the protagonists who fall foul of the weird and the old and the powerful and the land itself, their demise is often as a result of an attempt to own, or to exploit, or to regulate, or even just to comprehend the things that have been there for a long, long time. In folk horror, to monetise is to antagonise…
Louis Bechereau’s racing masterpiece: this is the most important aircraft barely anybody ever talks about today, designed by arguably the most important aircraft designer of the Great War (who hardly anybody talks about today). A flying machine to prove that heartbreaking bloodbaths are not necessarily a requirement for advancing our sense of style or our design and engineering skills.
At impressionable ages we are brought up to believe that success comes from knowledge and intellect. We thus believe this even in contexts where it is wrong. We’d be better prepared for politics if teachers gave top marks not to the brightest students but to the school bullies.
This is not an accidental choice of words, and also refers to the application of new powers established by law in 2018, and trained with in exercises in 2019.
EVERYONE CAN MAKE MASHED potatoes, but what do you do when you want to make the kind of mashed potatoes that deserve a blog post? You make champ, Ireland's answer to the question 'carbohydrates and fats, how can we make these even more delicious'.
IF THE TRANSITION TO mature industrial society entailed a severe restructuring of working habits—new disciplines, new incentives, and a new human nature upon which these incentives could bite effectively—how far is this related to changes in the inward notation of time?
Asked E.P. Thompson in the extremely famous journal article Time, Work-Discipline, and Industrial Capitalism, and his answer (to spoil a half-century old social history argument) was 'quite a bit, and also Methodism'.
IT’S A UNIVERSALHABIT in every era in every culture to express communal desire, keep solidarity, and drive individual courage, in music. Few of the songs I am used to humming and singing to myself are appropriate today: every one seems to call people to gather or come together. It isn’t physical courage we’re required in these times to show anyway, but social distancing demands moral, psychological, and even spiritual courage. We are each of us for the near future in our own prison of the self, but freedom is coming.
Keep Your Eyes On The Prize was one of the key songs of the United States’ civil rights movement in the post-WWII. Like us, they knew things would get worse before they got better. Like us, they knew that patience is impossibly hard. Like us, they could see a different, better world at the end of the journey.
Paul and Silas thought they was lost
Dungeon shook and the chains come off
Keep your eyes on the prize, hold on
Freedom’s name is mighty sweet
And soon we’re gonna meet
Keep your eyes on the prize, hold on
…The only chain that a man can stand
Is that chain of hand on hand
Keep your eyes on the prize, hold on