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Published by the TUU State Council on behalf of the Tasmania University Union (henceforth “the publishers”) The copyright in each piece of work remains with the contributor. However, the publishers reserve the right to reproduce material on the Togatus website at togatus.com.au Togatus Team: Editor-in-Chief: April Cuison Deputy Editor: Joe Brady Creative Director: Maddie Burrows Marketing & Advertising Manager: Monte Bovill Website Manager: Ella van Emmerik Graphic Designer: Liam Johnson Content Editors: Chris Ham, Logan Linkston, Steph Morrison, Steph Palmer Editorial Assistants: Bethany Green, Cameron Allen, Morgan Fürst, Richard Siu Togatus welcomes all your contributions. Please email your work and ideas to contributions@togatus.com.au Togatus Contributors: Alastair Bett, Andre Abrego, Andrew Grey, Caylee Tierney, Chelsea Wilde, Clark Cooley, Dalipinder Singh Sandhu, Dan Prichard, Eilidh Direen, Eleanor Lyall, Elise Sweeney, Ella Hilder, Emily Pott, Erin Cooper, Finnian Burman, Genevieve Holding, Harlan Graves, James Kelly, Javaria Farooqui, John Vo, Jonty Dalton, Joseph Schmidt, Kirstie Tyson, Mackenzie Stolp, Millicent Banner, Millie Rooney, Nathan Hennessy, Nathaniel Lau, Niamh Schofield, Oliver Hovenden, Olivia Skeers, Paulie Wilkinson, Rachel Hay, Salman Shah, Sharifah Syed Rohan, Sim Howe, Sophie Sliskovic, Spencer McGregor, Stephen Hargreaves, Xingming Wu (Peter Wu), Zoe Douglas-Kinghorn, Zoe Stott It is understood that any contributions sent to Togatus may be used for publication in either the magazine or the website, and that the final decision on whether to publish submissions resides with the editors. The editors reserve the right to make changes to submitted material as required. Togatus staff reserve the right to use submitted content for Togatus-related promotional material. It is understood that all submissions to Togatus is still the intellectual property of the contributor. The opinions expressed herein are not those of the editors, the publishers, the University of Tasmania, or the Tasmania University Union. Reasonable care is taken to ensure that Togatus articles and other information are up-to-date and as accurate as possible at the time of publication, but no responsibility can be taken by Togatus for any errors or omissions contained herein. Contact Togatus: Twitter & Instagram: @togatus_ Facebook: facebook.com/TogatusOnline Website: www.togatus.com.au Post: PO Box 5055, UTAS LPO, Sandy Bay 7005 Email: contact@togatus.com.au Advertising: marketing@togatus.com.au Togatus is printed by Monotone Art Printers.

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4 4 6 Editorials 2018 The Year That Was

8 10 12

A Little List of My Favourite Children’s Literature The Naughty Noughties

16 18 20 Changing the Date

22 Tattooing the Soul: Sak Yant

Ar e

He 201 re 8

To ga tu s: Ye ar bo ok ,

Yo u

Dear Pixar

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28 Hobart’s Future Skyline What is Divesting from Fossil Fuel? God of War Not Just Paint Exhibition

30 32 34 36 38 Jamez’ Moviez: Horrorween Special The Macabre Murder Mansion

42 44 46

World of War and Wonder

Jamez’ Gamez: Super-Bit Edition

40 48 50 52

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6 58 60 Sustainability at UTas: A Year in Review TUU Structure in 2019 Council Retroport

62 64 66 68 70 72

Yearbook Signatures

The Marvel that is the Superhero Film

Defending Freedom

Second Time Lucky

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Scavenger Hunt: Clues and Answers

Our University Community

54 74 76


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“You? Who are you?!�

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Andre Abrego

Contributors

Clark Cooley

James Kelly

Dan Prichard

Kirstie Tyson

Ella Hilder

Mackenzie Stolp

Finnian Burman

Nathan Hennessy

Other Contributors Adrian Bradbury Christie Lange Colin Schildhauer Elizabeth Lada Gray Ethan Woodward Holly Zeinert Joshua Orchard Joy Ann Belen

Kimberly Clack Lucy Smith Millie Rooney Niamh Schofield Nicola Gower Wallis Olivia Skeers Taylar Bowerman Tanya McLachlan-Troup

Sophie Sliskovic

Stephen Hargreaves

Zoe Douglas-Kinghorn

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Content Editor: Chris Ham

Togatus Team

Content Editor: Logan Linkston

Editor-in-Chief: April Cuison

Content Editor: Steph Morrison

Deputy Editor: Joe Brady

Content Editor: Steph Palmer

Creative Director: Maddie Burrows

Togatus Mascot: Hidden Avocado

Marketing Manager: Monte Bovill

Editorial Assistant: Bethany Green

Website Manager: Ella van Emmerik

Editorial Assistant: Cameron Allen

Graphic Designer: Liam Johnson

Editorial Assistant: Morgan FĂźrst

Editorial Assistant: Richard Siu

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Editorials Editor-in-Chief April Cuison Hello everyone, Welcome to Togatus’ final edition for 2018! I hope that you’ve had a wonderful semester, and to those who have exams in the next few weeks, I wish you the greatest of luck! You all deserve a long and relaxing holiday. In the meantime, I hope this Yearbook can aid you during your study breaks. The university has seen some change over the course of the year. We welcomed our new Vice Chancellor, Professor Rufus Black. The TUU Strategic Review prompted an overhaul of the organisation. Things took an unfortunate turn when the Sandy Bay campus was devastated by natural disaster. However, as cliché as it sounds, the university community overcame adversity through their resilience and unity. On a much lighter note, the long-awaited Media School opened in Salamanca Square. Described as “looking like a Bond villain’s lair” by an anonymous contributor, the new campus is looking quite snazzy! The next few years will see more colleges and faculties move to the city. What becomes of the Sandy Bay campus still remains a mystery.

Togatus has also seen change over the year, and it will only continue to get better from here. It's been a great honour to be the publication’s Editor-in-Chief, and it's time to pass the torch to someone else. To everyone who shared their stories and artwork, to everyone who gave me advice, and to everyone who picked up Togatus and flipped through its pages, thank you. You’ve made this such a memorable run, and I hope that you continue to support Togatus for many more years to come! April

Clues and answers for all the avocados in 2018 are on Page 71!

Avocado Scavenger Hunt! The avocados have escaped and are running loose within the publication! They must be recovered at all costs! There are many places to search and only so much time. Now listen, it’s a known fact that the avocados cannot inhabit or hide in the small text of articles so don’t waste your efforts there. The devious little fruits are unlikely to make themselves obvious and they will not always look the same, but they are commonly known to appear pear shaped with a pip in the centre. Do not be fooled though! Any instance of an avocado in any form is sufficient grounds for apprehension!

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Deputy Editor

Creative Director

Joe Brady

Maddie Burrows

2018 saw big changes for all of us. The Union has restructured following the results of the Strategic Review, faculties are moving back into the city, and the Sandy Bay campus seems quiet. I’m left wondering what will become of the Sandy Bay campus, in all its midcentury glory and asbestos. Who knows? In twenty years it might be estates.

To all faithful avocado loving Tog readers,

Togatus is a difficult bugger to kill, though. If they demolish the TUU, you’ll find us in some other mouldy office, stumbling from one edition to the next. This year, we’ve had a fantastic staff who have worked hard to make Tog what it is. All our editions are produced by a small team of a dozen people, and a cabal of precious contributors that give reason for Tog to exist. The magazine has seen its fair share of lows in the last few years, but this student oddity is better than it has ever been. It always looks better, reads better and carries the student voice better than the year before. This year, we’ve seen hard journalism, colourful features, creative writing, artworks, guides, and anecdotes populate our pages. As the University’s future twists and turns, and we look into an era of change and growth, Tog will always be there, chugging along on the labour of editors, designers, journalists, artists and writers. To those people; a hearty thanks. It’s been a good year and I look forward to seeing where Tog goes in the next. Joe

Congratulations on making it through yet another year of study, university drama, TUU politics, art school protests, and overpriced coffee. Another year has come and gone, and Togatus remains your colourful beacon of procrastination goodness. We end this year on a nostalgic note with our retrospective Yearbook, bringing all your childhood feels back, with snippets of history, and a delicious taste of UTas accomplishments and drama. Those of you who have been around UTas for the past two years will have noticed Togatus has gone through a brand rehaul. In light of our ‘retrospective’ theme, I’d like to take you back to where this all began. It was the start of the year 2017, a new team had been elected, and we sat in our tiny office, snacking on Reese Cups as we discussed what we wanted from our student media moving forward. We wanted something fun to take the edge off study blues, colour to brighten our days, honest reporting, with a bit sarcasm and satire to move us along. The first edition of 2017 brought us our avocado mascot who lead us to where we are today. We stand as strong as ever, and pumped for many more years of Togatus to come. We're very thankful to have received so much support this year from our contributors, artists, and fans, without whom we would not be where we are today. From myself and the entire Togatus team, we wish you the best of luck during the exam period. But remember, keep on procrastinating Tog readers, because if you don’t then you’ll never read us. Maddie

Evidence suggests there are

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hiding in this very Edition! 11


2018 The Year that Was

A Time of Triumph, Change and Devastation at the University of Tasmania Monte Bovill

1: January

2: February

In January, the University of Tasmania (UTas) received support from the Federal Government for the STEM centre project on the corner of Argyle Street and Melville Street in Hobart, which would transfer a number of key courses and facilities from Sandy Bay to the CBD.

Rain did not hamper February’s TUU Welcome Week that ushered in new and old students to the University for 2018. Tasmanian artist Maddy Jane headlined the return of a Welcome Week concert.

The former Secretary of Tasmania’s Department of Justice, Simon Overland, finished his term as the Chair of the Tasmania University Union (TUU) Board of Management (BoM). UTas staff member, Michael Stoddart took over as acting chair.

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In March, new UTas Vice-Chancellor Professor Rufus Black began his term in the University’s top job. The findings of a $120,000 review into the constitution and make-up of the TUU was obtained by Togatus. The report called for sweeping reform of the Union’s structure and services and identified a series of systemic structural issues within the TUU, concluding that the organisation is not transparent, and fails to adequately represent UTas students. UTas announced it would build a new accommodation complex in Hobart’s CBD, housing an extra 400 students. The University also announced it would provide an extra 150-200 new beds for Semester 2 in the hope of alleviating Hobart’s housing crisis.

Edition 1 Released

5: May Devastation hit UTas’ Sandy Bay campus in May, when floodwaters inundated a number of buildings. Classes were cancelled across Hobart during the day following the intense downpour. Law and Engineering were the most severely affected areas and remained out of action for a number of months, with the damage bill reaching well into tens of millions of dollars. Also in May, UTas announced it had purchased Midcity Hotel in Hobart’s CBD and would be refurbishing it to provide 140 student accommodation beds in time for Semester 2. Smoking was banned in most areas at UTas campuses from May 31, as part of a transition to make all UTas campuses smoke-free.

4: April By-elections to fill vacant TUU student representative positions were held in April. 14 of the 24 vacant positions had at least one candidate contesting them. Controversy sparked after an anti-abortion student society was successfully affiliated with the TUU. The affiliation of LifeChoice Tasmania drew mixed opinions, with the UTas Women’s Collective initiating an online petition that gained well over 500 signatures lobbying for the society to be unaffiliated. A counter society promoting a pro-choice message was later affiliated.

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Student

3: March


Severe weather welcomed students to Semester 2. Strong winds and rain didn’t stop the TUU Welcome Week from going ahead, with the week concluding with a night market co-hosted with UTASLife. UTas announced it had adopted the national guidelines to reduce the instances of sexual abuse and harassment on campus. The guidelines were released by Universities Australia a year on from the Human Rights Commission report that found half of university students were sexually harassed on at least one occasion in 2016.

Edition 2 Released

7: July

It was publicised in July that a Victorian architecture firm will head a team in charge of the redevelopments of the Burnie and Launceston UTas campuses. Designs for the new campuses are expected by the end of the year with construction to start soon after. The Tasmanian Electoral Commission (TEC) revealed that some students who requested an express vote in the 2016 TUU elections had sensitive personal information compromised in a data breach.

6: June

8: August

The Media School moved from Sandy Bay to its new location in Salamanca, behind the Mercury newspaper building, adding to the extensive number of UTas campuses in Hobart’s CBD.

Sophie Muller became Chair of the TUU BoM. The Director of the Tasmanian Climate Change Office in the Department of Premier and Cabinet took over from UTas staff member Michael Stoddart.

Personal details of thousands of people who had applied for jobs at UTas may have been compromised after a massive data breach of PageUp, the company that supports the University’s job site. Latest data shows UTas has the highest dropout rate of any university in the country, with 33.6 per cent of students in 2015, down from 38 per cent the previous year, leaving uni before the end of their degree. UTas moved up 26 places in the QS World University Rankings, making it to 287th in the world and 17th best university in Australia.

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Student

Yearbook 2018 Released Edition 3 Released

9: September Following the strategic review into the TUU earlier in the year, major changes were announced for the yearly student representative elections and structure of the union. The elections were held online and 23 positions from the existing structure were abolished as part of the union’s overhaul.

10: October Sharifah Syed Rohan was elected as the 2019 TUU President, with just over 850 UTas students casting at least one vote in the elections, around 2.5 per cent of the whole student body. The student position on the University Council was decided by a vote for the first time, chosen from a short list of four candidates.

Future Events Plans for the future of the Sandy Bay campus will be announced with UTas being faced with the decision to either keep its current layout or move away from Sandy Bay all together and into the CBD of Hobart. The Yearbook is scheduled to be distributed in late 2018 where it has been forecast that the audience will likely binge every article from front to back ;)

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Dear Pixar A Love Letter Dan Prichard

Dear Pixar, It’s been a while since I first had the pleasure of making your acquaintance. If I can rely on my childhood memories, it was not in a theatre, but on the futon couch in the lounge room of my first home. At that stage, I could do little more than take two or three steps, fall on my face, and engage in midday philosophical ponderings on the mat with Punya (my older sister and cat). I would have sat on the couch, milk bottle in one hand, thumb in mouth, drowsy and completely unaware of the fact that my life was about to be changed by your grace, and the heartwarming story of an unlikely feud-turned-friendship between a wild west cowboy and an intergalactic space ranger. Looking at the expansive universe that has followed, it’s often hard to remember that it all started with a young boy and his love for his action figures. I fell in love with the sea on a family trip to Sydney, and it had nothing to do with our visit to the aquarium. Sitting in the cinema and experiencing what I can only refer to as my favourite film of all time, the absolute joy that is Finding Nemo, changed my life in more ways than one. Inspiring a global love for Clownfish and Ellen’s forgetful Blue Tang, Dory, concern for the protection of our reefs, and a pretty fantastic fifth birthday party, this cinematic masterpiece taught me at a very young age the importance of being brave, teamwork, and that when times get tough, the best we can do is “just keep swimming”.

I didn’t realise my physical incapability until I tried to match Dash Parr’s speed at the beach. To much dismay, I could not run on water. I’ll forgive you for misleading me, because I took much more than just this disappointment away from The Incredibles. At age six, having two brothers is no longer something you’re that crazy about. I’m so grateful you gave me the gift of this super family to remind me how super mine is. Completely upstaging the entire Marvel cinematic universe in under two hours, this film showed the world your genre-hopping capacity and wittiness, not to mention sass in the form of the fashion and postmodern icon that is Edna Mode, who confidently taught us to “never look back darling”, because “it distracts from the now”. You’ve taught me many things over the years, some of which took more time for me to understand than I would have thought. For too long, your tale of the rat cooking in Paris’ greatest restaurant was no more than a good laugh that made my mouth water, and had me disappointed when I first tried the title dish at the mature age of sixteen. On reflection, Ratatouille taught me that anyone is capable of defying expectations and proving prejudice wrong. Friends are found in funny places, and if a human can live peacefully with a rat in their hat, I know that I can treat those around me with kindness and a smile. And I can’t thank the late Gusteau enough for reminding me that “your only limit is your soul”. You triggered a deep interest in space and the wonders and woes of human creation and destruction in 2008. I learnt the importance of respecting the environment, and wiping my muddy shoes at the door (for which we can thank M-O). WALL-E instilled in me both a love for theatre, and an understanding that sometimes the most effective communication occurs without the use of words. You showed me that hard work pays off, through

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Opinion

the charming yellow trash compactor on wheels. He was a favourite of mine, and thanks to him I can never forget “there’s lots of world out there”. You’ve also taught me to cry. Jesse’s origin story in Toy Story 2. Boo’s farewell from Mike and Sully in Monsters, Inc. and Up! was no exception. Carl and Ellie’s love story is one that has stayed with me for close to a decade now. However, above everything, I’m grateful to you for showing me through this odd little adventure that it’s never too late to follow your dreams. Furthermore, your charming story of the flying house and its hopeful owner reached me at age ten, teaching me that life is about the journey, and not the final destination. Your peak and triumphant conclusion to Andy’s saga, Toy Story 3, was a pivotal moment for me. You teased me, tearing my emotions to pieces in almost burning my favourite characters to smithereens. But finally, you brought me to a difficult understanding which has helped me as I’ve grown older: goodbyes are hard, but necessary for growth. Your messages only got more honest as time went on. You had me tearing up again at age sixteen, when I witnessed Joy herself cry on-screen. Inside Out was more than just an Oscar-winning excuse for irrational behaviour: it had heart, and reminded me that emotions are weird and often unexplainable. And just last year, with a young boy’s journey into the land of the dead, you amazed me with a colourful portrayal of one culture’s

celebration of death. Coco was an instant classic in my books, reminding me that after yet another grim Cars sequel (which we won’t talk about, because I love you so), you still have the magic you started with. Teaching me that death is a natural part of life, I’m still learning from you at age nineteen. So many adventures I’ve been able to share with you time and time again. So much to be grateful for. I guess all I can really say is thank you. Thank you for teaching me that life can be cruel, unpredictable, and wonderful all at the same time. For showing me wonderful worlds full of adventure, and characters so bizarre yet simultaneously flawed and human. I have learnt lessons I know I will take with me through whatever adventures come my way. You’re a dear and much loved friend to me. And, to quote the superior minions of the animation industry, “you’ve saved my life, and I’m eternally grateful.” With love and gratitude, Dan

P.S. I’m sorry. But fish are friends AND food. I hope you can forgive me. x

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A Little List of My Favourite

Children’s Literature Sophie Sliskovic Children’s literature has certainly changed over the years and these books in this carefully selected list (in no particular order) have not only been inspiring in my childhood and teenage years but for generations of children and teenagers alike.

Harry Potter by J. K. Rowling Harry Potter is the amazing and highly successful children’s book series by J. K. Rowling about a wizard ‘boy’ named Harry and his friends Hermione and Ron and their adventures at Hogwarts School of Witchcraft and Wizardry. Celebrating 20 years in 2017, this series has truly enchanted many adults, teenagers and children alike. Having been rejected by eight different publishers before Bloomsbury Publishing published the series in 1997, Harry Potter and the Philosopher’s Stone was the fastest selling book in history, selling 2.6 million copies in the first 24 hours of release. It went on to sell 500 million copies worldwide. The books have been translated into 80 different languages, made into eight film versions plus two spin off movies and a play (coming to Australia in 2019). In 2008, a Harry Potter theme park named The Wizarding World of Harry Potter was opened at Universal Studios in Florida, USA.

Alice in Wonderland by Lewis Carroll Alice in Wonderland is a classic children’s book written by Lewis Carroll in 1865. It’s the fourth bestselling single volume book of all time with approximately 100 million sales. Alice in Wonderland is the magical tale of a seven-year-old girl who adventures into the magical underground world of wonderland and meets some interesting creatures along the way. It’s a beautiful story full of detailed descriptions and characterisation. This book has been made into many different films (including live action Disney and animated versions) and lots of theatre adaptations too.

Matilda by Roald Dahl Roald Dahl’s books formed an integral part of my life through my childhood reading. Dahl’s books are available in 59 different languages and have sold over 50 million books in the United Kingdom and 200 million globally. It’s hard to pick a favourite but Matilda, written in 1988, is mine. Matilda is a mischievous and brave girl who is not afraid to assert her opinion or be independent despite her less-than-kind family. After the publishing of the book, Matilda was adapted into a 1996 film and 2012 best-selling musical.

Charlotte’s Web by E. B. White In my family, one book that was read throughout my childhood was Charlotte’s Web. Written in 1952, it's a must-read children’s book. I first read it in grade 1 and I love it. It’s a heart-warming story of a young girl’s connection with animals and a special bond between a pig and a spider. This book is a true tale of friendship which has captivated generations of readers. Charlotte’s Web has since been made into two different films.

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Opinion

The Magic Faraway Tree by Enid Blyton This is probably my favourite Enid Blyton series I read growing up. The first book in The Magic Faraway Tree series, The Enchanted Wood, was released in 1939 and follows three children growing up around the woods and discovering a magical tree. Enid Blyton was determined to have a strong moral compass in her books and her enchanting style of writing is well loved. Since the 1930s, Enid Blyton’s books have been best sellers and sold more than 600 million copies which have been translated into 90 different languages. Her books have been adapted into board games, films and television shows (most notably Noddy). After her death in 1968, Enid Blyton’s legacy continues through her children’s charity and trust to improve lives.

The Cat in the Hat by Dr Seuss The Cat in the Hat is a fun, energetic and much-loved poetic children’s book published in 1957. It was written in response to a children’s literacy debate in Britain in the 1950s and was created to teach children to read with rhyming patterns in words. Dr Seuss books have been translated into 20 different languages and have sold approximately 650 million copies in 95 countries. His books are loved because they’re so simple and easy to follow and they feature memorable quotes.

Tomorrow, When the War Began by John Marsden Tomorrow, When the War Began is an Australian book series written by John Marsden between 1993 and 1999. This series has captivated teen readers across Australia and has been received critical acclaim. Three million copies have been sold in Australia and it has been translated into five languages. This book grapples with topics of war and invasion and is hauntingly powerful. It has been recognised by the Children’s Book Council of Australia and is now used as an English text in many states.

Looking for Alibrandi by Melina Marchetta Looking for Alibrandi, published in 1992 and written by Australian author Melina Marchetta, is an important and inspirational book. It highlights the challenges and personal demands that being torn between two cultures can have on your life and the influence of culture and identity. This book is based around 17-year-old Josie who is a young Italian-Australian trying to meet the demands of her background while living in Sydney during the ‘90s. This book is one of the best-selling debut novels by an Australian author and was adapted into an award-winning movie. Looking for Alibrandi is also a required reading in some Australian schools.

The Chronicles of Narnia by C.S. Lewis The Chronicles of Narnia series was written by Christian philosopher and evangelist C. S. Lewis. The first book, The Lion, the Witch and the Wardrobe is his most known and best-selling book, selling 100 million copies and available in 47 languages. Set in England during World War II, the book revolves around children sent to live in a country town to escape the war but discover a magical wardrobe leading to their adventures in Narnia. With Christian symbolism underlying the themes, it is full of fantasy, adventure, mythological beasts and magic. There are also film, TV and stage adaptations.

Hating Alison Ashley by Robin Klein Hating Alison Ashley was another book that I was required to read at school which went on to become one of my favourite books. Hating Alison Ashley is a 1984 Australian book written by Robin Klein which deals with the challenges of early adolescence, school girl rivalries, embarrassment and growing up. It has won many awards and was also adapted into a film.

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The Naughty Noughties Chris Ham

The early 2000s – a strange mix of simpler times and wilder parties, nostalgically looked back upon through rose tinted glasses by those who came out and of age at the turn of the millennium. Homosexuality had been decriminalised in Tasmania only a few years earlier, and the gay party culture was thriving, peaking at the same time as the dance scene. After centuries of oppression, this newly granted autonomy provided by queer-friendly dance venues led to a hypersexualisation of the drug-fuelled gay party and hook-up culture. As wild and unencumbered as any Gatsby party, The Bright Young Gay Things celebrated in excess the freedoms they had only recently been granted. Central to Hobart’s party scene was LaLa Land, Hobart’s answer to Studio 54 – the 1970s New York discotheque famous for its dance music and open club drug use policies. Information on LaLa Land is difficult to find; with no internet record, tax records or photographs – this nightclub has mysteriously vanished from everything except the B.Y.G.T.’s blurry memories. Someone who could shed light on the elusive nightclub is the creator of LaLa Land. “LaLa Land was born out of the need for somewhere for the gay and lesbian community to go out and have a fun night of dancing and socialising,” he said. “I had organised dance nights previously, but decided there was a need for something that was next level – and so the club was born.” He created the event in 2001 and it quickly filled a gap in Hobart’s nightlife scene, providing a place for the LGBT+ community, and their allies, to celebrate high-energy dance music and new-found freedom. Just as quickly as it came to be, it became infamous.

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Twice a month for ten years their doors would open to expose the glamour; the hypersexualised, drug-fuelled behaviour; and most importantly the music that defined an era. Studio 54 would have been proud. “A lot of people wanting to explore their sexuality often came to LaLa Land. Not just the gays but the curious. It was a space known for that – you could come in and be who you wanted to be, no labels. “It was never labelled as a gay club, but just as a dance club. It picked up a crowd of anybody and everybody – everybody was welcome.” The sudden explosion of freedom venues like LaLa Land provided spaces for young men to experience gay culture, unadulterated. Coming out, coming to terms and coming to find love in the haze of smoke, sweat, booze and flashing lights went hand-in-hand. Everyone’s first kiss, gay or straight, is a powerful memory. But the first kiss a young LGBT+ person shares in public with their chosen lover is a euphoria that cannot be matched. “It was at LaLa in Hobart where I first publicly danced and kissed with another man,” Jake reveals. “This place was so wild. It was shirts off for everyone, nearly everyone was on pills and there was kissing and dancing all round. There were times at LaLa when you’d find yourself kissing two guys at the same fucking time, it was all very ‘whatever goes, goes!’. “There’s no doubt that my coming out experience was totally entwined with partying, particularly with using ecstasy,” says Jake. “However, it was these partying environments that helped me meet other gay men – it was so much fucking fun at the time, and I now have lifelong friendships because of it.”


Feature

Daniel’s coming out experience was also influenced by excessive drinking in the gay party culture. He came out in 1996, a year before homosexuality was made legal in Tasmania and when there was still a strong stigma attached to being gay. Daniel explains how he felt the need to hide his sexuality – from his family, friends and wife at the time, with whom he has a son. “I found myself drunk in a well-known gay hotel, something I had never done before. I met a guy and he took me home and we fucked awkwardly. The next morning came a feeling of self-loathing and anxiety that I had never felt before – I was scared and sad and feeling like a total cunt. “That was the time that I chose to “come out” – I was completely fucked up, a total emotional wreck. It was at this time, through my jaded judgement I came out to my heavily pregnant wife. The timing was terrible.”

“After 6am there’d be a house party to go to - but if not, it was home time, which often resulted in threesomes or a one-nighter or home with my partner and one or two other guys. “There’d often be a come down party to go to at a friend’s place the next day – more music, more drinks, more pills, and more sex.” It is this gay party and hook-up culture that the younger generations of LGBT+ have missed out on. The conflict between being uncomfortable in every avenue of life, then finding a place where you could completely be yourself, free and uninhibited, calls for rush of emotions that aren’t fully experienced these days.

The unfortunate reality, then and now, is that many men find settling into single gay life after masking their sexuality to be a difficult and confronting process.

“I don’t think that in Hobart there is as big of a gay party culture like there was on the early 2000s,” Jake says. “We used to party with dozens and dozens of others, all with tops off, all off our heads. Perhaps it’s just that I’m not in those circles anymore, but there doesn’t seem to be as big of a drug culture – particularly ecstasy and ketamine, as there used to be.”

Daniel recalls, “The first time I went alone to La Cage, (a Hobart gay bar) I found the place sticky, dark and sleazy – I felt really out of place and overwhelmed by the attention. Perhaps I was a little too conservative in my thinking, but when a nice looking fella that I smiled at approached me and said ‘I’d really like to suck your cock’, I was mortified, and left.”

Not saying that this is a bad thing – for the most part it’s safe to be openly queer in the Western world without fear of serious repercussions. But this sublime feeling of ecstasy (with help from ecstasy) – is why the shortlived but intense culture thrived at the dawn of a new millennium, where being yourself was accepted but only at exclusive events.

The energy summoned to survive these big nights of partying and sex often came from recreational drug use – a ‘typical’ party night usually involved three or four pills throughout the night, with bigger benders seeing everyone sniffing ketamine. As Daniel says, the party would often rage on well into the next day.

21st Century 21


Ethan Woodward Third Year | Photography Major Instagram: @basementphotostudio

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(Left) Above the City, 2017

(Right) Chinese Man Eating and Reading, 2017

In high school I went on exchange to America. I asked the student I was living with to take me to his favourite part of the city. This is where we went. It was the first time I ever let my feet dangle from a building.

This came about from a trip I took in early 2014. I spent three days in Beijing walking around the city taking photos. This man spotted me taking a picture of him and was kind enough to share his lunch.

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As soon as I saw the bright red flyer calling for people to ‘submit their skin and soul’ to Thai Sak Yant master and traditional tattooist Ajarn Ohr, I knew I had to sign up. Like many Hobartians, Dark Mofo is my favourite yearly event - I revel in the weird and wonderful world that descends upon the city. From sacrificing a bull last year, to opening the gates and letting people wander the terrifying halls of the New Norfolk asylum, Dark Mofo never fails to disappoint me. This year, I jumped at the chance to offer my body as a human canvas, receiving a Sak Yant or ‘magic tattoo’ in front of an audience. I would have little input into the design of the tattoo, other than answering questions from Ohr through his translator. He would decide what he thought was best based on my answers. Yeah. My friends and family thought I was crazy. There are few words for the experience itself. Ohr and his translator sat before me, and he smiled, beckoning me forward. I removed my shoes and kneeled at his chair. I was instructed to bring an offering to Ohr for his time, and

opted to give him a beautiful print of Wineglass Bay. As I laid my offering upon his golden plate, he began to chant in Thai. My head lowered, his hands moved around my shoulders, and his translator motioned for me to look up and listen as he spoke to me. “What do you think represents you as a person?” his translator asked me, and Ohr nodded as we made eye contact briefly. “Surviving through struggle,” I responded, without hesitation. “What defines me is that I have struggled so much, but I'm still here. I survived. I'm a survivor.” Ohr seemed thoughtful as he received the translation of my words, and after a moment, suggested a spell of protection called Hah Taew, otherwise known as ‘The Five Lines’. This particular design is somewhat famous for adorning Angelina Jolie’s shoulder, but I didn’t mind sharing with her. “If you think this is right for me, then it's perfect.” With that, Ohr stencilled the design onto my right rib cage, prepared his needle, and we began.

Images: Olivia Skeers

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Feature

Tattooing the

Soul: Sak Yant

Finnian Burman

The Five Lines The first row prevents unjust punishment and leans luck in your favour. It also cleanses unwanted spirits and protects the place you live. The second row reverses and protects you against any bad fortunes. The third row protects you from the use of black magic. The fourth row boosts your good luck, success as well as your fortune. The fifth row is to gain charisma and attraction in the eyes of the opposite sex. Oh, was it excruciating. Sak Yant tattoos are given in the traditional way, with a thick needle on the end of a metal shaft. He used one hand to balance his wrist, and the other to rhythmically pierce my skin, occasionally dipping the needle into his ink pot. He spoke lightly under his breath as he worked; his focussed penmanship on my skin absolute and precise. The entire process took only forty minutes and I was immensely grateful for that. Much faster than your usual tattoo, that’s for sure! When the tattoo was done, I kneeled before him again and received more blessings. Ohr began to chant loudly, and his assistants lowered their heads and prayed. He lifted a wooden helmet known as a ruhsi mask over my shoulders and circled my head with it, before placing it on top. This act may be even more important than the tattoo itself, as it is considered the continuation of the lineage of a master. I was being accepted as his disciple, and he was praying for me, swearing to protect me from harm. “No matter who you are or where you have come from, you are now my family.” Ohr finished the ritual by whistling and breathing his magic over me, and placing in my hand a bracelet emblazoned

with the Hah Taew design. As my newly tattooed skin was washed, Ohr’s translator explained to me that Kom, the language the Sak Yant tattoos are scribed in, means nothing on its own, “but all together the meaning of the lettering is magical.” I found this intriguing; no direct translation? My Sak Yant is mostly Kom lettering, with a few symbols on each end. It’s amazing to me that on their own these symbols don’t mean anything at all, and only develop meaning when combined with the tattoos Ohr has given to his ‘family’. The powerful spiritual presence of the tattooist, coupled with the smell of lilies and frangipani, allowed me to transcend the painful process of receiving my magic tattoo. Sak Yant is an emotionally uplifting experience that leaves you tired, tender, and changed as a person. My brief moment with Ajarn Ohr is something I will remember for the rest of my life.

You can also view more artwork by Ajarn Ohr's on his Instagram page, @BangkokInkThaiTattooWorldTours

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Sun. Beach. Cricket. Barbecue. The Australian culture. Invasion. What does Australia Day mean to you, dear reader? To me, it's a time to celebrate all that is Australian, a culture of acceptance and a fair go. It's a land of opportunities, where my dad and his family were given a second chance to live and succeed as they fled war and violence in El Salvador. It was not an easy journey to Australia, as my Abuelos (grandparents) would stress to me. My Abuelo (grandfather), a strong man with a self-sacrificing love for his family, risked his life to bring them to Australia. He tells me of his days when he fought in the civil war in a United States backed militia, and he shows me the scar on his right leg of a bullet piercing the skin when he came under enemy fire. He said adios mi familia (‘Goodbye, my family’) to friends and family and gave up his engineering business to afford visas for my Abuela (grandmother) and their combined six children, and through strained tears he tells me how it's all worth it as he watches his grandchildren laugh and play with the dogs. There are many other people with a similar story as my grandfather, and Australia is the reason that they can continue to tell their stories. When Australia Day comes around every year on the 26th of January, my family celebrates as much as any other as we are proud to be Australian. But is the 26th of January the right day to celebrate Australian culture? The 26th of January commemorates the landing of the First Fleet in Sydney Cove in 1788. Initially things were peaceful between the indigenous and white settlers, but as the colonies grew, the indigenous became increasingly displaced, leading to an adversarial relationship between the two communities. There were numerous atrocities

committed against the indigenous since colonisation, including countless massacres, near genocide, the stolen generation and not being counted in the census until 1967. Many argue that celebrating this day is offensive, but many people also argue that the meaning has changed. So, should we really change the date? After all, it's just a date, right? Just putting it on a different day only changes the time, not the meaning of Australia Day. This is a view shared by Shireen Morris from the MEANJIN quarterly where they write: “I am not yet persuaded that changing the date fixes the problem. My concern is that changing the date is largely symbolic and lets ourselves off the hook too easily.” This counter argument is largely hinged on changing the meaning of Australia Day and not the dates if changing the date is only a meaningless symbol that allows the history of violence towards the indigenous to be less offensive or forgotten. It would be little more than celebrating the invasion and genocide of the Indigenous people on another day. A survey conducted earlier this year by the research firm Review Partners sampled 1,043 Australians and found that 62% of Australians don't want the date changed, with a further 19% wanting the change and 19% not caring. The same poll also found that less than half of Australians knew that the 26th of January commemorates the landing of the first fleet in Sydney cove. These findings suggest that the meaning of Australia Day has changed over time, and it has become more of a day of celebrating Australian culture and less of a day of commemoration.

Changing the Date Part of a Larger Conversation Andre Abrego

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This history has had lasting effects on the indigenous people, with persisting problems such as lack of access to education and healthcare. Robert Murray, author of The Making of Australia: A Concise History, estimates that the indigenous population in 1788 was 750,000, and there was a steep decline to 74,000 by 1933. He argues that this fall in the population is what makes Australia Day a sad occasion. It is easy to fathom why this day has been labelled 'invasion day', and many indigenous people feel isolated, angry and upset with continued celebrations. Several organisations have joined the push to change the date, including notable groups such as Amnesty International, the Tasmanian Aboriginal Centre (TAC) and the Tasmanian Greens party. It’s also important to know that Australia Day protests are not new and is not a result of a ‘politically correct’ culture. William Cooper, an Aboriginal rights activist, organised and pioneered the first day of mourning and protest of Australia Day in 1938. Over recent years, action has been taken, such as the announcement of the Hottest 100 played by the triple j radio station being held on the 27th January instead of the traditional Australia Day date. Other councils in Victoria, Western Australia and Tasmania have changed the date of their festivities to some days later also.

One of the hardest questions on this side of the debate, is if the current date is too offensive, which date should it be moved to? The 1st of January is a strong contender as it commemorates the day the colonies in Australia federated and formed the Commonwealth of Australia. But there are heavy criticisms, such as how the Australian government continued to commit atrocities against the indigenous throughout the 20th century; the stolen generation is one example. May 27 has also been suggested, as it would commemorate the 1967 referendum to include the indigenous population in the census and give federal parliament the power to legislate for the indigenous. Other dates have been proposed such as the 30th of July, the first Australia Day celebrated in 1915 to rally support for troops in World War I. The 8th of May or ‘M8’ day was also put forward. While these dates are certainly compelling, most of them are during the colder months of the year. It would be difficult to gather support for a day that is usually associated with the hot sun and white beaches. Whichever date we celebrate Australian culture on, it is important to reflect seriously on our national identity and the foundation of our society. Remembering and celebrating what we did right, but also acknowledging and mourning everything we did wrong. Australia is special in so many ways to different people, but it's important not to forget what Australia has taken away from the indigenous people. This argument is not just about the act of changing of the date itself, but our refusal to acknowledge the past which is preventing our society from reconciling. So, should the date change? That's up to you to decide. Personally, I tend to agree with changing the date to a day which is more inclusive of the first people of Australia, however I think more must be done to aid the effort of reconciliation. After all, it is only a date for me, but for the indigenous, it means a lot more.

“So, should we really change the date? After all, it's just a date, right?”

Image: Monte Bovill

Another Date 27

Opinion

There are compelling arguments for changing the date too, which is what makes this subject such a controversial debate. The core argument is that the 26th of January represents a dark time in the history of this land, where the landing of European settlers led to centuries of indigenous persecution, oppression and transgressions. Celebration of this date is seen as offensive and isolates a large portion of the indigenous population of Australia.


Adrian Bradbury Honours Year | Bachelor of Fine Arts (All) Moss and Marker, 2018 Moss and Marker considers the formal similarities between the circular lichen, and the hand painted track markers that colonise the boulder-fields of the Lost World Track, Kunnayi.

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Nicola Gower Wallis Third Year | Painting Major The Party at the End of the World #1, 2018 Depicting scenes of destruction as a kind of catharsis, the work is an attempt to find a balance between violence and joy. Through referencing classical bacchanalian scenes in composition, the painting is an expression of excess, both in the form of visual clutter, and content.

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Taylar Bowerman Fourth Year | Sculpture Major

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(All) Illustrations from Wrapped in Red, 2018 Wrapped in Red is a silent graphic novel following the journey of a young boy and his mischievous coal-coloured rabbit through the dark forest in search of a fallen star. While doing so they encounter maze-like trails, avoid unfriendly foes, and deal with starvation and loneliness. The hand-drawn images were created using fine-line pen and coloured pencil and the story is told solely through illustration to encourage the imagination of viewers.


Lucy Smith Second Year | Drawing Major Instagram: @lucycsart

Just in Case, 2018 This work was greatly influenced by a Thylacine pup specimen I remember seeing as a child at the Tasmanian Museum and Art Gallery. My jar holds within it a vast haven: a place to protect the Thylacine from disease, humans and even mortality.

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Hobart’s Future Skyline Joe Brady Hobart’s future as a city is at an architectural crossroads. On one hand, the port city is defined by its comparatively low-rise skyline and accessible waterfront. On the other, we’re a growing community on the cusp of economic prosperity and attractive investment opportunity. UTas is one of Hobart’s major property developers, so Togatus talked to some of Hobart’s key figures on Hobart’s future cityscape to hear what they had to say. Tasmanian Greens leader and longtime Hobartian Cassy O’Connor sat down with Togatus a few months back to talk about Hobart’s future as a city, and what we should expect from future investment. The first topic: UTas’ new apartments in the city centre. As minister for housing, she played an important role in the approval process. “Having students in the city has changed the city; it’s more vibrant, and that’s a fantastic thing,” O’Connor said. “I’m a bit concerned about the potential for the whole uni to move into the city, and I think a lot of other Hobartians are as well, because we’ve already got huge congestion problems.” UTas has been building more than apartments in recent years. With medical, fine arts and media schools already in the heart of the city, and more on the way, we’re seeing a fragmentation of the Sandy Bay campus. “If the university wants to move most of itself into the city, they’re going to be part of coming up with transport solutions,” O’Connor said. Those solutions? O’Connor envisions both bicycles and mass transport projects as options to alleviate Hobart’s congestion problems, and is not swayed by hopes that expanding roads in the city will ease pressure. “We don’t have a city masterplan. If we need an increased density high-rise area, like Sydney’s north shore, we should be planning for another place for it rather than just ‘in the city’,” she told Togatus, suggesting the Northern Suburbs or somewhere similar for future development.

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“But you’re going to want to take people with you on that, and it’s a small community, and we will get out and fiercely defend places when we’re pushed; that’s our history.” In addition to the University’s ambitions, we’re seeing formal interest in the development of high-rise structures around the city and waterfront area. The recent target of low-rise advocates has been the Fragrance Group, a firm headquartered in Singapore with plans for a skyscraper in Battery Point that were later revised following public backlash. The recent influx of proposals for high-rise buildings has alarmed some Hobart residents. The Chair of the City Planning Committee, alderman Jeff Briscoe, says Hobartians shouldn’t worry about high-rise developments scarring the skyline anytime soon. “It would be very unlikely under the current planning schemes for Hobart and the waterfront for proposals for high rise structures [like the Fragrance Group proposals] to gain planning approval,” he told Togatus. Alderman Briscoe said his view was that “Hobart should remain a low-rise city,” and that use and adaptation of our older structures should be encouraged. Hobart Not Highrise, a low-rise advocacy organisation, continues to raise concerns about large developments. “The community is overwhelmingly against Fragrance's developments. There's a lot of anger,” Brian Corr, President of the organisation said. A Hobart Not Highrise petition has gathered over 7,000 signatures against the proposed Fragrance skyscraper development in Battery Point. Corr, while open to the idea of high-rise developments outside of the city (like MONA’s proposed hotel), is against efforts to construct skyscrapers in the city centre. “People want Hobart to remain a low-level city, maintaining its heritage and its views,” he said.


“The first one — regulating short-stay, would immediately release properties into the market,” she said. “The second thing we need to do is change the planning laws so that new housing developments have a percentage of affordable housing written in, especially if it’s on government land.” The housing crisis in Hobart has hit prospective residents very hard. Togatus spoke to several people house-hunting in the city. “Finding a place to rent in the city or the surrounding suburbs, in my experience, is nearly impossible,” says one Tasmanian looking to move into the city. “Showing up to an open house only to see thirty-plus people there, who want the house just as much as you do, is incredibly disheartening.” O’Connor looks toward vacant space in the CBD as a possible remedy for Hobart’s housing woes. “We need to do things like release the 1,400 properties that are above shops in the CBD. There’s a whole lot of living space in the city already that’s not been tapped, partly because of fire safety and heritage regulations.” As the council reels from the housing crisis and pressure mounts to respond to the concerns of residents, the future of Hobart’s cityscape seems clear: housing has to be created somewhere, or city living risks becoming untenable for many residents. Hobart’s population is swelling, and the questions of progress versus conservation are only going to become more important. On one hand, UTas has made significant progress introducing students back into the city centre through recent projects and acquisitions. On the other it’s exactly those high-density residential efforts that come to dominate an old port town’s skyline. As we grow as a city and as a community, questions over Hobart’s development are going to dominate local politics for decades to come.

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The Fragrance Group proposals are currently in the preliminary review stages, and will attract intense public interest as they move forward. Concerns of high-rise in Hobart acknowledged, O’Connor believes residential development has a future in the CBD. She outlined to Togatus several steps toward bringing people back into Hobart’s heart.


What is Divesting from Fossil Fuel? Ella Hilder “This would motivate companies to practice environment-friendly policies and to make the switch to renewables quicker.” On campus over the past few years there has been growing interest in the debate around whether UTas should divest from fossil fuel or not. Many people, specifically students, believe that our educational institutions and the way student fees are invested should lead the way in transferring to green technology. Advocates of retaining the status quo, however, argue that divestment will do very little to change the behaviour of big energy companies and that there are far more effective means of environmental activism. So, let’s dive in to divestment - what it is, its pros and cons and what it would mean for UTas’ future.

What is Fossil Fuel Divestment? Fossil fuel divestment is a company, institution, body or individual choosing to remove investments or avoid investing in companies involved in extracting fossil fuels. This means that investments in companies such as BP Oil, Shell and BHP Billiton would be cancelled or “divested” in order to punish companies producing fossil fuels that are harmful to the environment. This would motivate companies to practice environment-friendly policies and to make the switch to renewables quicker. The fossil fuel divestment movement began on US university campuses in 2010 and has since spread globally, being considered the fastest growing movement in history. The ethos of university students demanding divestment has been that they want mission-driven institutions that care about their students and the environment, not profit driven ones.

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Student

UTas’ Divestment Future

Pros v Cons Fossil fuel divestment has been criticised. However, often these criticisms are that it doesn’t go far enough or require more from the institutions being pressured into divesting. Critics are concerned that divestment from these companies won’t hurt companies enough, as others will simply purchase the shares instead, citing that a carbon tax would be more effective in directly hurting big energy users. A carbon tax would attack the price of their oil, gas and/or coal, which would dramatically drive down stock prices and negatively affect market competitiveness. There are arguments as well that large investors should not divest, but use their significant influence to positively affect these companies from the inside out by demanding greener practices. The most common criticism of divestment is that it should not simply require big institutions to divest from fossil fuels but demand that they actively invest in renewable energies and green businesses in order to support the transition from fossil fuels to renewables. While these criticisms are valid and will hopefully mould the divestment movement into a more effective and well-rounded movement that works in conjunction with government policy, the criticisms in no way outweigh the positives. The major benefit of divestment is that it is a capitalist approach to an environmental problem. Rather than trying to play on the heart strings of big businesses and institutions about the devastating and very real effects of climate change on our world, divestment plays on the purse strings.

The momentum for UTas to become a cleaner and greener university started in 2017 when UTas’s then Vice Chancellor, Peter Rathjen, agreed to make all UTas campuses carbon neutral (the campus would produce no net release of carbon dioxide into the atmosphere through carbon offsetting). This was the first step in a positive direction, however, there is still a lot more that the university can do and the next step should be divestment from fossil fuels. As of the 2016-17 financial year, UTas directly invested 12.5 million dollars into fossil fuels out of a 288 million-dollar portfolio. Of that 12.5 million, 13.5 per cent was invested in AGL, BHP, Woodside, Rio Tinto and Oilsearch. It is estimated that in total 40 million dollars is invested in fossil fuels, however, UTas also invests in major banks and other corporations which are well-known for being large investors in fossil fuels as well. It does not have to be this way. Other Australian universities are already leading the way with La Trobe, Swinburne and the Queensland University of Technology having fully divested and ANU, Monash and USyd having taken substantial steps towards this goal. UTas divesting from fossil fuels may be difficult motion to achieve but, as other Australian universities have shown, it is by no means impossible and as students and a community we need to decide whether we are going to stay in the past, or move into the future of renewables and clean energy.

Divestment creates a very easy decision for businesses: either transfer to renewable energy and environmentally friendly practices and retain business and investment, or remain in the past investing in an unsustainable source and have major institutions, bodies and even governments pull all investment from your company. In the world of the dollar, the ultimatum is fairly easy to answer for big businesses. Divestment is effectively acting to accelerate the transfer from fossil fuel to renewable energies and in doing so is attempting to keep global temperatures from moving above the two degrees that is considered dangerous levels of climate change.

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V

GOD of W R A Too-Soon Retrospective Nathan Hennessy Are blockbuster video games starting to question the importance of execution in their execution? A symptom we see of film sagas is that of ‘sequelitis’, which at the worst of times results in films that achieve nothing more than laying the groundwork for further sequels and franchising. While we want the next chapter so bad, we can be left with a bittersweet taste of satisfaction through irrelevance - why was this two hour distraction really necessary? It provided more questions than answers, or the plot didn’t conclude in anything meaningful. This is where I’m torn with God of War, the misleadingly named eighth entry in the bloody action adventure series of the same name. Without treading much further on this delicate subject matter, I want to get my only outstanding gripe over with. This is the one of the most tepidly paced plots I’ve seen in a game of this calibre, but told in one of the best ways I’ve ever seen in a video game. Oxymoron? Yes and no, this game only teases itself as the introductory chapter to something far larger (and greater), but with no assurances that we'll see any satisfying pay off within the next three years. Way to grasp a firm hold of the gamer’s thirsty tongue and tease it with water for 30 odd hours. Now for the good stuff. The God of War series has matured from a grotesque, albeit viscerally fun, series following a grumpy old Spartan asshole as he rampages through mythic Greece. Until now the series has resembled a twisted companion to Homer’s The Odyssey, if the epic plodded through oceans of blood and murder, with a wash of decapitation and prolicide. It should've been the perfect case study for “do video games encourage violence”, and yet the hugely popular franchise flew under the radar. Carnage and slaughter has been the series’ brand since 2004, and now almost 15 years later, the protagonist Kratos seems to reemerge again to bring legitimacy and sensibility to the title. Yet even the title plays paradoxically at this change, as it seems this game is doing much to try and distance itself from the mindless violence that excited my early adolescent time with the earlier entries. Oh and Kratos is now some old guy with a beard and a son, which I initially thought was some marketing move to signal maturity to the audience. That the series has essentially grown up and mellowed out alongside its stalwart fans. This allusion is intentional.

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The game begins as smooth as butter, moving seamlessly from the opening menu straight into the ‘action’. Things begin quite slow with a lot of false starts (the game takes a while to find its groove). The plot struggles for some time to clearly define the complication of its plot, despite it being almost achingly straightforward. The game is often unsure when it wants to hand the reins over to you, the player. Instead it tries to hold your hand and shows you how magnificent its world and characters are by making things very restricted. ‘No wandering off and having fun until we have proven how talented we are,’ seemed to be the message I was getting during the first 5 or so hours. And that is a significant amount of time, and these developers are extraordinarily talented. Despite this, it did feel patronising that I wasn’t allowed to experience these opening hours on my terms or appreciate the developer’s work on my terms. Just loads of slow movement while listening to conversations, and a feeling of navigating very pretty, albeit linear corridors. Any gamer knows this is symptomatic of the majority of expensive, big studio titles looking to make sure their hard work doesn’t go unnoticed. Fair enough. Worthy of note at the outset is that this game presents itself as an ‘experience’, with no interruptions (think of this as a mighty long tracking shot) and very few ‘information elements’ popping up to distract from your immersion in this world. And this indeed is a world aching to be immersed in. We’ve left behind the jaw-dropping mediterranean pantheon of Greece for the tranquil and frosty valleys of Midgard (read: Norway). Every forest, lake, and cave feels organic and lived in, despite the world being almost entirely void of any sentient characters. This is one of the most aesthetically delightful games to come out of a big studio in years. Unfortunately Breath of the Wild beat it to the punch and largely retains that title. Back to my opening musings on narrative, the plot of this game can be very easily explained. Father and son journey to the highest peak in Midgard to spread the ashes of Kratos’ recently departed wife. Father and son bond in a way that feels perversely reminiscent of Marilynne Robinson’s Gilead (to the single person that has read this, you’re welcome). A bunch of setbacks disrupt the course, but the plot never really takes any great risks. There are some exciting complications that arise, but this never


The plot does succeed in setting us up for a melancholic experience that is brightened by the stunning vistas and warm autumn colours contrasting the frigid nordic setting. This is a colourful fantasy, complete with a superhuman dad carting entire trees on his shoulder. As the game progresses, the mood lightens further as we encounter a very isolated cast of characters positively dripping with hilariously dark personality and heartfelt motivations. Soft sounds, gentle music, and a boat with which to paddle the pristine fjords. These are the moments outside of the action which stole my heart and created a fully realised world that skipped between lighthearted fairy tale and tragic myth. Then the action rears its slightly disfigured head and turns the experience upside down. Ironically for the series, the fast and furious action was easily the highlight. Spartan-flavoured Kratos did not have a son to lecture, but instead was scaling titans to remove their heads or pluck the organs out of malevolent Greek gods. As I

already mentioned, there was a gross visceral delight in this for me back in the day, aided by a fluid and dynamic combat system. But now we have slow, old Norse Kratos that seems to only be capable of the same six movements with his axe and trudges through swarms of very stale and repetitive enemy encounters. This is an slightly unfair criticism, the game does offer variations to its formula. Yet beyond changing the animations of the combat, these new moves and abilities do not seem to create any real dynamic and experimentation is discouraged due to a counter-intuitive roleplaying stat system forced on top. Aside from the also samey encounters with some of the (not so big) bad guys, I groaned whenever combat popped up. This is predominantly an action game too, mind. It was often quite antithetical to the experience. A common example would be a long dialogue sequence that occurred prior in which Kratos implored his son to shy away from violence, before tearing an undead combatant in half before his son’s eyes. When you reset the numbers and subtitles on a franchise title like this, you confuse your branding for better or worse. I have an imperative here to highlight the criticisms, because that’s all I can discuss without impacting the core experience of this game - which has been cited as nothing short of fantastic by most all games reviewers. And just like the other flagship adventure title on the PlayStation, The Last of Us, this is truly an experience - one that only video games can provide. If you can grit your teeth through the often arduous combat encounters (eased by a generous and rewarding system that allows you to dress up Kratos for bonuses such as defence or magic boosts), there’s a wonderfully told story here. Emphasis on the telling, as this story has too few heart-in-mouth moments for a 30 hour journey.

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Review

achieves the heights of epics that have inspired this series. Rarely any monumental confrontations with any great figures from the Norse canon, though familiar names like Thor and Odin are frustrating teased constantly. There are some briefly exciting forays into the different realms of the myth, but these are only distractions from the plots forward goal too. Despite this, the handholding is often quietly captivating and the experience exceeds the sum of its parts.


Not Just Paint Exhibition Stephen Hargreaves Salamanca Arts Centre’s Long Gallery will again be the venue for the TUU Painting Society’s annual Not Just Paint exhibition from November 29 to December 11. Works from across various disciplines at the School of Creative Arts will be presented by students and post graduates. Among the artists exhibiting for the first time at the Long Gallery will be international exchange student Colin Schildhauer whose vibrant ‘Californian’ colour and optimism is unmistakable in a painted rendition of a local landmark, Hope Beach on South Arm. Tanya McLaclan-

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Troup is graduating this year and we have watched with pleasure as her work has grown in technique and sophistication. Colin and Tanya were also both finalists in the recent Henry Jones IXL art competition for emerging artists. Honours student Holly Zeinert, in her research project, has been transforming her exquisitely rendered charcoal drawings into three-dimensional installations embodying tension and form. The opening night for the Not Just Paint exhibition will take place on Friday, November 30 at 6pm!


Creative

Images: TUU Painting Society

Holly Zeinert (Above) (Untitled), 2017 Charcoal on Paper, 90 x 60cm

Colin Schildhauer (Left) Hope Beach Bliss, South Arm Tasmania, 2018 Oil on Canvas Board, 50 x 40 cm

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Tanya McLachlan-Troup (Right) All Heaven and Earth are Still, Though Not in Sleep-But Breathless, 2018 Oil on Poplar Panel, 35 x 50cm

Images: TUU Painting Society

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Creative

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Dragon's Fury (1992) Developed by Technosoft

Pinball has always been a classic which has invaded our local arcades and cinemas over the decades; simple and easy to get into for the casual audience, intricate and challenging for those wanting the highest score possible. Launch the ball into the arena of your choosing theme, whether it be The X-Files or Jurassic Park and tap those two flippers to kingdom come. What if you couldn’t be bothered leaving your home, but were craving a desperate game of pinball? Then Dragon’s Fury for the Sega Mega Drive is most certainly the best choice. Forget your copy of Austin Powers Pinball on the PlayStation 1… that… we don’t mention that. Developed by Technosoft, Dragon’s Fury came out in 1992 and is quite a hidden gem. I was lucky finding it for 15 bucks at a market. What’s captivating about Dragon’s Fury is the visual presentation. The menu begins with electricity swirling around orb symbols that flash to the title. It builds up the anticipation. Entering the game you have your pinball table that contains a manic skull, dragons and d stone female head that gradually transforms into a freaky-looking lizard after hitting it with your ball, knights, mysterious figures in robes and so on. The whole table is laid out like a labyrinthian dungeon, with ruins under the table, colourful detail, special bonus round rooms and the bosses. They are all interactive and contribute towards the high score.

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Speaking of the high-score, the gameplay is simple dimple like any other pinball game. The main thing to be controlled is the flippers, and you can also bash the table a bit. You pull the toggle to launch your ball and it begins. The ball is sharp and fast in its movement, it never feels floaty and there was never a point where I felt cheated. The table has three levels and it’s always best to stay at the top. The ground level is hazardous and could cost a game over or ten. Each level contains secret portals to bonus rooms that require some patience and skill. This could be a challenge to smash a few floating pots or defeating some creepy entities surrounded by an electric forcefield. The music is engaging. It never becomes encumbering or obnoxious. The compositions themselves are lively, fast and deliver an intensity with the shredding 16-bit guitars. Then when you enter a bonus round or boot up the main menu itself, the music turns the atmosphere into something eerie and daunting. It intimidates you and the pressure of losing is present. Also, the sound effects explode and give the pinball base character, such as the skull that laughs when you lose your ball and when you hit the medusa head. This boosts the game’s intriguing vibrancy. Dragon’s Fury is a hidden pinball classic that needs to be given some love and attention. Check it out if you can.


Super-Bit Edition James Kelly

Crossing Souls (2018) Developed by Fourattic

Within the indie game market, you can always expect there to be some that use 8-bit or 16-bit pixels as their artistic approach. It’s their call-back to old Nintendo and Sega titles like Legend of Zelda or Wonder Boy: The Dragon’s Trap. You have Fez, Shovel Knight, Celeste and more that follow this artistic direction. But the most recent pixel-art indie game, Crossing Souls, is a brilliant and colourful addition to your digital library. Crossing Souls was developed by Fourattic and is set in the mid 1980s. You control five teenagers (Chris, Charlie, Big Joe, Matt and Kevin), each with unique attitudes and different gameplay techniques. The start of the game resembles Stephen King’s Stand by Me, in which the team stumbles upon a dead body. They obtain a Duat Stone, which then plays a fundamental part of the story. They use it for many-a-problem solving situations, but a government baddie known as Oh Russ wants that power for himself, and will do what it takes to stop them. I mentioned call-backs earlier, and this game gives you plenty of references and homages. The art style is in the form of 8-bit graphics and the camera is similar to the original Zelda. You can interact with nearly everything around this small world and refers to films like The Empire Strikes Back, and Back to the Future. The town is alight with collectibles to be found that parody Lionel Richie, and gives purpose to explore beyond the narrative.

The cutscenes are animated in the style of a Saturday morning cartoon. They may be short, but they’re sweet. The gameplay is separated into exploration and combat. Exploration consists of running around your hometown and talking to multiple NPC that each have their own personality. Some offer side quests, involving solving a puzzle or taking down rodents. You’ll be rewarded with VHS or vinyl collectibles. In areas like the woods, you’ll platform your way to different places which results in letting you change characters. Chris can climb, Big Joe can move large boxes, Charlie can slingshot over ravines etc. When it comes to combat, they all have various weapons and fighting styles. Chris is the intermediate attacker with a baseball bat, and can reflect incoming objects. Big Joe is your strong player and uses his big fists. Charlie is lighter and fast, using a whip. Matt is the nerd of the group and uses a ray gun for ranged attacks. You can change between them at any moment, each one controlling smoothly and fluent. It never becomes dull or repetitive but gets rather difficult in the later stages as enemies become more vicious, and health is few and far between. Crossing Souls is at times cliché, yet it doesn’t necessarily matter as I believe that was the intent. There’s enough personality to the game that it never gets old. The combat and interactivity with the world is engaging and entertaining, and doesn’t overstay its welcome.

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Review

Jamez’ Gamez:


Bride of Frankenstein (1935) Directed by James Whale

When you think of ultimate horror classics, you instantly think of the Universal horror monsters: Dracula, The Invisible Man, The Wolf Man, the Creature from the Black Lagoon and Frankenstein’s Monster. They gathered many teens and adults from that generation into the theatres to receive all the frights and chills on a Saturday matinee night. While some modern horror films have resorted to constant jump-scares and gore festivals (not all of them have), you can still count on the classics to provide an atmosphere unlike any other.

iconic hair. The conversations and luring deception of Pretorious are wonderfully acted and the different sets definitely provide an eeriness that is foggy and brooding. My only major complaint is the character Minnie, who is rather annoying and kind of takes me out of the experience. She’s the comical character that’s unwanted.

My personal favourite out of the bushel of Universal Horrors has to be Bride of Frankenstein, the sequel to the original Frankenstein from 1931. The story continues immediately after where a burning windmill cavalcades the monster inside, but it survives. Villagers find out about this and the hunt is on for the monster roaming around the forests, whereas Dr Frankenstein is implored by an evil Dr Pretorious to recreate a new being. And over the course of the movie, Frankenstein is convinced to create a bride for the monster.

What I want to bring up is a single scene, where the monster meets a blind hermit who plays a violin. The monster is wounded, but hears the hermit play a familiar and alluring tune that leads it to the hut. The blind man greets it inside and what could turn into a horrible situation results in a scene of humanity. He is welcoming and humble, feeding the monster with bread and soup, giving it a place to rest and sleep in harmony. And for the hermit, he prays in praise for being given a friend after being lonely for so long. It’s an emotional segment I never forget, all brilliantly acted by Boris Karloff as the monster and Oliver Heggie as the hermit. And it continues on as the hermit teaches the creature to speak, shake hands and to not be afraid of fire.

This film makes me feel alive every time I watch it. It’s grim, yes, and the monster does indeed kill many villagers. They see it as an unstoppable force and try their best to capture it or kill it. Whether chaining it up or shooting it, the monster retaliates. There’s many great moments in the movie such as the awakening of the bride, with her

Only a couple of horror films have ever made me cry (Hereditary being the most recent), and that scene alone is always replayable. It’s the reason people should watch this one. The chills and the suspense of the movie is great, but the overall message on what it means to be human is a good kicker. Definitely check it out.

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N E E W R O R L R A I O C E H P S Kelly s e m a J

Fright Night (1985) Directed by Tom Holland

Now is time for a fun, cheesy ‘80s vampire film known as Fright Night. You might be familiar with the decent remake from 2011 starring Anton Yelchin and Colin Farrell that followed the same vein as the original. Fright Night follows a teen named Charlie Brewster, who finds out that his new neighbour, named Jerry, is a vampire. Yes… Jerry the Vampire. And Jerry invites beautiful women into his house for a bit of succulent blood-sucking. Jerry is aware of Charlie witnessing these things, but things turn for the worse when Charlie tries to convince his friend Billy, girlfriend Amy and his mother that he’s of the supernatural kind. Jerry comes after him whilst trying to keep his vampire antics behind the cape. Charlie believes that hiring an actor who once had a vampire hunter role, Peter Vincent, is the best way to take down Jerry. Of course, Peter doesn’t believe him. After a payment, he is convinced to help Charlie out. The narrative is rather basic but it is quite elevated and kept me engaged by the performances and pacing. Roddy McDowall as Mr Vincent is humorous and is so charismatic that he is the star in every scene he’s in. McDowall sells a convincing retired actor who really wants that fame once more, but no one cares about vampire movies anymore. Charlie and his other friend I will admit are rather annoying, and it is aggravating that

no one believes him throughout the movie, but it makes it satisfying when the third act occurs. The main star of the show is Chris Sarandon who plays Jerry the Vampire. He’s stoic and menacing, while maintaining a suave and sensually attractive personality. The nightclub segment is a great example of this, where he seduces Charlie’s girlfriend into a trance dance. And while he is very buff and alluring, he does unleash the evil and maddening vampire that he actually is, leading to the practical effects. Special effects in the ‘80s were always engaging and usages of practical effects with models and gore effects are very present in Fright Night. The makeup for when Jerry unveils his true vampire face is vile and the beaming red eyes soar to the screen. A cross is melted upon a vampire’s forehead, looking fleshy and brutal. A wolf is grossly transformed back into a human and is honestly hard to watch if you love dogs and the character itself. Is it scary? Sometimes, but it's mainly a popcorn flick that you could enjoy with your girlfriend/boyfriend or with a group of friends. Don’t take it too seriously, and you’ll be engaged through and through. There are other ‘80s horrors like Killer Klowns from Outer Space or ReAnimator that can also deliver a great time, but Fright Night is one to check out.

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Review

: z e i v o M ’ z Jame


The Macabre Murder Mansion Logan Linkston

Tall tales, legends, myths, folklore… Each country has their own version of the concept. Stories from your childhood that you can’t quite ever remember the first time you heard because it seems like you’ve known them your whole life. In Australia we have stories about Ned Kelly and the Man from Snowy River. In America it’s stories like Johnny Appleseed, Davy Crockett and Daniel Boone. In most cases, the main character is a hero and has some quirky trait. Something that has rooted them as a legend for years past. And in some cases, the main character is not a hero. In fact, they are the opposite of a hero and have gone down in history because of terrible deeds… Jack the Ripper, as one example. But our story is the legend of H. H. Holmes and his “Murder Castle” — and his claim to fame is that he was America’s first serial killer. He was attractive, charming, intelligent and evidently had killer blue eyes. Pun unintended. Our story begins in 1880, while Holmes was in college. The story might start earlier than that, with whispers of Holmes’ abusive father and allegations that he murdered a childhood friend, but in all the years that have passed no one knows this for certain. Some accounts of his life speak of how he trapped animals and performed surgery on them, a common trait of psychopathy in early years.

What we can be sure of is that in college, Holmes studied to be a physician and worked in the anatomy lab, where he mutilated cadavers to defraud life insurance companies. Starting from there, Holmes evolved into something of a con artist, running many scams that had to do with collecting life insurance, but also managing to con three different women into marrying him all at the same time. He moved around constantly, disappearing from cities he scammed before he could get caught. In 1886 he finally settled down in White City, Chicago and got a job with a local chemist. The handsome Holmes fitted in seamlessly, his charm and wit enchanting many of the locals, in particular young women. At this stage, Chicago was enjoying a booming economy — the world’s first skyscraper city, full of intoxicating possibilities and beckoning opportunities. Before long, Holmes purchased an empty lot and began building what would become his “Murder Castle”, an actual house of horrors. As construction of the building began, Holmes frequently hired and fired architects and builders to ensure that no one knew the end design of the hotel. Holmes created his own haunted mansion, where guests checked in and mysteriously never checked out. He advertised the hotel as accommodation for people visiting the 1893 World’s Fair, an exhibition to commemorate Christopher Columbus’ arrival in the US. Guests who booked in to stay at the hotel were in for a xperience akin to a labyrinth. There were rooms with five doors, others the size of a closet with no windows at all. Some had chutes covered by trap-doors that dropped Holmes’ victims into the basement. Other rooms were soundproof because of

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Feature

iron-plated walls and more still were outfitted as gas chambers. The hallways were as disorienting as a house of mirrors: a maze of staircases and hallways that either led to rooms or to a brick wall. Holmes installed an intricate alarm system that would alert him if someone entered the hall or attempted to go downstairs. The basement of the hotel was like something from a nightmare. It featured a human-sized kiln, a medieval torture device and a blood-soaked operating table. It was here that the police found a pile of bones of a stature so small as to have belonged only to a child. For decades, Holmes got away with criminal activities ranging from polygamy and life insurance scams, to rape and murder. He was apprehended in November 1894 and pleaded guilty to insurance fraud, but Detective Geyer refused to stop there. The insurance scam that cost Holmes his life was that of a business partner — Benjamin Pitezel. Holmes and Pitezel planned to fake Pitezel’s death and collect on his life insurance policy, but instead Holmes actually murdered Pitezel. He didn’t stop there; he also murdered and dismembered three of Pitezel’s children. It took the unrelenting Geyer eight months to find the kids’ bodies while trekking through the Midwest and Canada. From then all of Holmes’ intricate lies began to unravel and once imprisoned, he admitted the truth about the purpose of his hotel. He confessed to 27 murders, mostly young women. Young women like Emmeline Cigrand, who he said he locked in a vault in the basement of the hotel and raped and murdered. Or Julia Conners, a married women he hired as a bookkeeper for his hotel and admitted he killed during a botched abortion after they had an affair. Holmes’ also said he poisoned

Julia’s daughter Pearl with chloroform in her bed. Or Emily Van Tassel, a 17 year old who worked at the candy store on the first floor of the building and simply vanished... One of many who stepped foot into Holmes’ building, never to step out again. The myth of H. H. Holmes started as all good stories do, with elements of the truth. As he gained the status of a notorious criminal, parts of his story were embellished as it was retold. It is commonly believed that Holmes murdered more than 200 people and although that has never been proven, it is true that the number of victims is impossible to confirm. His castle was designed to dispose of bodies. There were thousands of people who went missing during the Fair and no expectation during that time to investigate missing persons. Despite the fact that so much of his story might line up and seem true, a lot of it is conjecture and many of the accounts of his life are contradictory. So now, we will never truly know. The only person that will ever know the whole truth is Holmes himself. He was hanged for the murder of Pitezel in 1896. Only after he was convicted of Pitezel’s murder did it become evident that Holmes also murdered the three Pitezel children. Holmes never repented for the horrors he committed, and in his own words said, “I was born with the devil in me. I could not help the fact that I was a murderer, no more than a poet can help the inspiration to sing.” Howard Schechter, Depraved: The Shocking True Story of America’s First Serial Killer Troy Taylor, Murder & Mayhem on Chicago’s South Side Erik Larson, The Devil in the White City

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Christie Lange Third Year | Sculpture Major

Cimmerian Proliferation I, 2018 Denatured organic and industrial materials mimic and morph to transcend their raw state. Interventions combining bull kelp, expanding foam and enamel coalesce to a form of fluidity, almost suggesting the movement of an organism. Potentially, this sculpture may allude to meteorites, alien landscapes, parasitic infestations, lava flows or dark surrealist objects on a theatre set, drawing the viewer closer to decipher the materials and perhaps, their origin.

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Kimberly Clack Third Year | Painting Major (Untitled), 2017 This work attempts to evoke and construct the sensation of movement through exploring the relationship between movement, space and time. It is part of an ongoing project dealing with these complex ideas through visual language in order to decipher how we experience space, and how movement affects our understanding of it.

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Elizabeth Lada Gray Research Higher Degree in Fine Arts (Final Year)

(Left) As Breath, 2017 (Right) Migrating Memories, 2017 Thesis: Memory Stitches - A Painterly Exploration of Migratory Dowry I investigate how the act of painting can represent dowry objects, reinterpret post Second World War migrant women's life histories and produce images that can evoke nostalgic recollections that transpose inert migratory dowry objects into transcendent motifs of cultural relocation. Using paint, I explore the historical and personal cultural significance of dowries to reassess their meaning and importance as a significant aspect of Tasmania's migration history.

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Wonder Woman took the world by storm in 2017. Competitors like Marvel have a lot to offer, but so far DC is leading on female superheroes. And Wonder Woman is arguably the most famous female superhero of all. Gal Gadot revitalised the character in a way that only she could, with her fierce accent, beautiful dark features and Israeli military training. The fact that we got to see a childhood royal like Princess Buttercup turn into a General like Antiope was something we millennials didn’t even know we needed. But what is more interesting is this Wonder Woman film being set during the First World War. The Second World War is far more familiar and used in popular culture. Movies like Schindler’s List and Saving Private Ryan have the accolades to prove it. World War II has certainly been used for the setting of superhero films in the past — Captain America punches “Hitler” over 200 times in Captain America: The First Avenger. Ask someone why World War II happened and they’ll probably say something along the lines of “those damn Nazis”. But ask someone why we fought in World War I and… There’s no one person or easy answer. No man’s shoulders to place the blame upon.

to be a superhero to defeat Hitler, someone to come in and save the world and all those people wouldn’t have had to die. It didn’t happen, but we can tell stories like it did. It’s nice to think of Captain America punching out Hitler’s lights.

In fact, British historian Brian Best discusses how the vast majority of people struggle to recall which countries fought in World War I and what they were fighting for. He describes it as “a war whose cause is still a subject of confusion and debate”.

World War I just wasn’t that simple. To this day, the First World War is often referred to as the Great War. Steve Trevor (Chris Pine) looks at the Amazon warriors in front of him, with the truth lasso wrapped around him, and speaks of a war to end all wars. “It’s like nothing I’ve ever seen. It’s like the world is going to end.”

Many believe the blame of the Second World War sits squarely on the shoulders of one man. It’s very simple and easy, the Germans were the enemy and Hitler was at the helm of the ship… Or in the driver’s seat of the panzer. Perhaps what the world wanted so badly was for there

Perhaps that is why Wonder Woman was set during 1918. In order for Diana Prince to have something to fight for, there could not be a Hitler figure. That would be far too easy; she could kill him and the war would be over. The bloodshed stops.

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Logan Linkston

man is capable of, but tell herself that the suffering and bloodshed of the war is Ares, not the humans. However, after Diana defeats who she believes to be Ares, mankind continues to fight. The teenage German soldiers keep loading the gas canisters on to the plane. She realises that mankind isn't inherently good and her understanding of the world is turned upside down. She briefly loses hope, but learns that light and dark is inside everyone. So when the real Ares tells her that humankind does not deserve her protection, she says, “Humans are everything you say, but so much more… It’s not about [what they] deserve. It’s about what you believe. And I believe in love.”

Instead, the picture was 250,000 soldiers under the age of 18, barely old enough to shave. It was absolutely senseless violence, the slaughter of nearly 40 million people. A total of 32 countries fought for four years. Even in 2017, the Great War was not easily explained and was used as the setting for infamous superhero movies. In the movie, Diana is fighting for peace and for humanity. She’s not out to defeat one big, bad wolf although she thinks she is for almost the entire film. She believes that if she defeats Ares, the God of War, the human world will be at peace again. In that respect, Ares manifests in the film as the ultimate Hitler figure. Diana believes that mankind is good and kind, and that killing Ares will wash humanity of his corruption. She sees the horrors of the war and what

Diana realises that although humankind is not what she originally thought, they are still worth fighting for. She learns this through Steve Trevor, with whom she falls in love. She learns it through Charlie, a sniper battling PTSD because of the horrific things he’s seen. She learns it from Sameer, an aspiring actor who, according to him, was “the wrong colour”. The Chief teaches her that although Steve Trevor’s people massacred his people, he chooses to believe in humanity and to do the right thing. In the closing scene Diana says, “I’ve seen the worst of this world, and the best. Seen the terrible things men do to each other in the name of hatred, and the lengths they’ll go to for love. Now I know. Only love can save this world. So I stay. I fight, and I give… For the world I know can be.” Wonder Woman reflects the complexities of not only war and conflict, but also humankind. It does this through the extraordinary setting of World War I. Diana is fighting for so much more than just victory over one man. She is fighting for love and hope, despite what others may say people “deserve”. Talk about the superhero story we didn’t know we needed.

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Opinion

World of War and Wonder


Defending Freedom History of the University of Tasmania Liberal Club Clark Cooley As the academic year ends, so does the 73rd year of the University of Tasmania Liberal Club, Australia’s fourth oldest University Liberal Club. The Club was founded on the 4th of July 1945 by then Leader of the Opposition, and Leader of the Tasmanian Nationalist Party, the Honourable Henry Seymour Baker MP (later Sir Baker KCMG, DSO). At the opening meeting of the Club, Mr Baker stated that “the increasing complexity of politics called in a greater degree than ever before for the services of educated men”. The Club was not the first political movement at the University. The ‘Australian Soviet Friendship Society’ requested to affiliate in 1942, but was rejected by the then Tasmania University Union Student Representative Council (TUU SRC). It wasn’t until April 1945, three months before the Liberal Club, that the University Labor Club was launched by the then Tasmanian State Secretary of the Australian Labor Party Mr Ernest West MHA Member for Wilmot (Lyons). The meeting was interrupted by 40 Liberal supporting students who attended the inaugural meeting wearing, as The Mercury reported, “red ties, with gaily coloured handkerchiefs in their buttonholes, and with red streamers trailing from their clothes.” The group of Liberals massed at the rear of the meeting room while the approximately 15 “intimidated” prospective Labor members sat in front. Mr West tried to control the meeting, but was left to deal with interruptions throughout. In answer to a question from the back of the room as to whether the branch was to have communist tendencies, Mr West said “the ALP did not wish to bring to light any fantastic dreams”. “Did they include nightmares?” Mr West was asked in reply. While the following decade was defined by stability and security, jobs growth, and improved living standards, arguments continued on campus over the merits of communism. The Political Science Society hosted a debate on the issue before a packed hall, with addresses by representatives of the Club, and the Communist Party of Tasmania. The mid-1960s however saw changes in the conversations happening at Universities around the world, and UTas was no exception. Students actively debated issues like the South African Apartheid, the White Australia Policy

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and the Vietnam War. Views about the Vietnam War were initially conservative, with most students supporting the war. However, opinions soon shifted with the international movement of student militancy peaking in influence at UTas. In 1966 one of the first student protests against Vietnam was part of a nationwide ‘Day of Action’ against sending conscripts to Vietnam, initiated by the National Union of Australian University Students (a predecessor of the National Union of Students). This ‘Day of Action’ was almost halted however, when the Club censured the TUU SRC. As reported in Student Liberal, the club magazine, the objective was not that it wished to force all students to accept its views on Vietnam, but to show that “it is not one of the functions of the Students’ Union to make political pronouncements on matters such as this, but it should be left for individual students, or perhaps the political clubs, to decide for themselves whether they should oppose conscription or not.” The censure was eventually overturned, and on the ‘Day of Protest’ 80 students in academic gowns handed out pamphlets in the streets. During the protest eight members of the Club handed out pro-war leaflets while also dressed in their academic gowns.


“They were relatively easy to mobilise. If I talked about the referendum or the election, I needed 50% plus one of about 20% of students. So if I could command 10% support on campus, I'd win," Eric was quoted as explaining.

Voluntary student unionism continued as a significant issue in the 1980s. The Club argued that the often Labordominated unions did not provide valuable services, and compulsory membership was undemocratic. In 1980 the State Liberal opposition introduced voluntary unionism in the Tasmanian Parliament, but was defeated after heated debate. In 1983, under Liberal Premier Robin Gray, the issue surfaced again when the Government introduced similar legislation. The then University Council, backed by the TUU, lobbied the Government to set up a form of voluntary unionism: students could opt out of membership, but still had to pay the fee.

Images: University of Tasmania Liberal Students

In that same year, with the leadership of Guy Barnett as President, the Club invited the Premier to address students. A Mercury article reported that there were rumours that eggs and tomatoes would be thrown at Gray, and students would be violent. In the event there was no violence, though over a thousand students came to hear Gray. He spoke competently, but the vast majority of the crowd was against him. With an alumni today consisting of journalists like the AFR’s Joe Aston, business leaders such

as Mohamed Sultan, economists including Saul Eslake, as well as Members of Parliament, Ministers and three of the four sitting Tasmanian Liberal Senators, our Club continues to share the same core values we were founded upon: the advocacy for centre-right mainstream political ideals with a political philosophy focussed on limited government power, low taxes, individual responsibility, a focus on the family and a strong belief in rewarding initiative and private enterprise. I encourage all that share our beliefs to join today. You can find out more at www.utasliberals.com

Clark Cooley is President of the University of Tasmania Liberal Club. He tweets @ClarkCooley.

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Student

The late 1970s brought change for the Club on campus. A newcomer, Arts/Law student Eric Abetz, helped bring about a resurgence in the continued fight against compulsory union membership. “The Liberals wanted to identify with what they believed in, and being soft on lefties didn't make them want to be involved,” he said. His support base was the Liberals themselves, the Christian Union, Catholic students, and the colleges, where “the students were young and red-blooded, and they didn't take kindly to left-wing propaganda”.


Joy Ann Belen Third Year | Visual Communications Major

Ofrenda (Identity Design Project), 2018 Ofrenda (Offerings) is a festival based on the day of the dead. Traditionally celebrated throughout Mexico, the festival focuses on the gatherings of family and friends to remember their loved ones who have died. This celebration is known for its beautiful blend of colours that represent a significant meaning to the spiritual needs. Target Market: All Ages and Families

Being Good (Dust Jacket Design Project), 2018 Being Good is a book written by Lucienne Roberts that is about the ethics of graphic design. Lucienne points out the relationship between ethics and graphic practice including how designers apply worth and value to their professional practice. Target Market: Graphic Designers

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Joshua Orchard Third Year | Visual Communications Major (All) Tech Nature, 2018 Tech Nature is a combination of my digital manipulation practices and photography. The idea of distorting something to the point of creating something beautiful.

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Second Time Lucky Mackenzie Stolp Remaking films is a fine art, and it’s often done terribly. But every now and then, a remake rises like a phoenix, born from the ashes of a shit film. Key genres that have found popularity in 21st century remakes include the ‘childhood revival’, the ‘classic horror’, the ‘reverse gender’, and the ‘movie to TV show’ remake. Each have their triumphs, and their complete fails.

The Classic Horror Remake There is an endless collection of horror movie remakes, most of which fall seriously short of the originals. Cheap budget, bigactor remakes seem to be the popular option for remaking horror. The Amityville Horror remake starring Ryan Reynolds, or Carrie featuring Chloe Grace Moretz and Julianne Moore both exemplify this trend. These are still enjoyable films, but horror movie remakes rarely receive critical or public praise, and are rarely considered better than the original. But every now and then, it happens.

The Childhood Revival Remake Sometimes, childhood movies and shows do this weird thing where they remake the original film twenty or thirty years later, for an adult audience. (By adult I mean crude humour, not what you’re thinking). My personal favourite in this subgenre is The Brady Bunch Movie. Instead of their beloved ‘70s setting, the Bradys are transported to 1990s America, where their easy-going, all-loving nature just doesn’t fit. There is nothing better than someone who is blissfully unaware of everyone around them taking the piss out of them - that’s just what The Brady Bunch Movie is. This movie, whilst many might disagree, is pure genius. Riverdale is another example of a beloved children’s text brought back to life for a modern adult audience. While it’s easy to see the TV show seriously departs from the plot of the original Archie Comics, the same intent is there, used as building blocks for an ‘older’, more mature program based on a text aimed at younger viewers.

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Any fan of horror knows Pennywise the clown. Even if you haven’t read the book, watched the mini-series, or seen the new film, bets are you’re familiar with IT. I find Tim Curry generally terrifying on his best days, so to add white paint and, you know, the whole murdering kids thing to the mix should make for the perfect horror story. But I hated the mini-series he starred in. Perhaps purely due to my distaste of Tim Curry, or it could be the terrible special effects. But the story’s recent incarnation was an incredible success, grossing seven hundred million dollars globally since its release. Even Stephen King, author of the original novel, said he “wasn’t prepared for how good it really is”. Which is a glowing review from the author who dislikes most his books’ adaptations including The Shining, considered one of the greatest horror movies of all time (I agree with King on that one though). Horror movies are not necessarily always ground breaking; they’re not always good; but every now and then someone puts in the time and effort to make an amazing one.


Opinion

The Reverse Gender Remake A slightly controversial remake idea is the gender-flip. Authors and storytellers have been rewriting classic tales but reversing the main characters’ genders for decades, but for some reason this does not sit well when it comes to movies. To be fair, reverse gender remakes can be cheap and often use talented female actors as a commodity, but they can also be done really well. As a huge Bill Murray fan, the idea of a new Ghostbusters film got me very excited, regardless of the new cast and crew. This movie created a HUGE stir, with people concerned about the ‘sanctity’ of original films. But the outrage was misplaced, as any remake of Ghostbusters was going to be new and different, regardless of the gender of the cast. People were very quick to write this film off, mainly due to the female leads - three of which have established comedic careers. How many times does Melissa McCarthy have to prove herself? There are, however, certain circumstances where the gender flip doesn’t make sense. This normally happens when gender is an important aspect of the plot. This was not the case for Ghostbusters, but is valid for the upcoming remake of Lord of the Flies. William Golding’s novel is about a group of young boys stranded on an island during a nuclear war. The main issue explored by Goldberg is the evil, savage natures of humans, but he essentially explores toxic masculinity, systematic male violence and how it replicates. The original themes obviously don’t work with an all-female cast - but yet, Hollywood tries. A film about the battle to become alpha male doesn’t really work without males, and would need an overhaul to explore the dynamics of exclusively female relationships. But, most concerningly, this all-female cast film is being written by David Siegel and Scott McGehee - two men. I honestly don’t think they’ve thought this one through.

The Movie to TV Show Remake As the 21st Century progresses, the film industry is turning to television as the ideal platform for deep, thorough and extensive stories. Instead of creating a two hour long movie, a television series allows the creators to draw out the storyline, weaving complex stories threads together for an interesting and nuanced show. The rise of the television series has created a new wave of movies remade for television. And it’s not a bad-movies-that-need-to-beredone-and-made-better type of thing. Fargo has always been considered a great movie - the Coen brothers’ best! Nobody asked for a remake or a sequel, but we got a good one. The television version of Fargo completely exceeded expectations and by creating an anthology and is removed enough from the original content that it will never ruin the sanctity of the film, as it can’t drag on or run overdue. The television remake is perfect when a story requires, or would profit from, a more in-depth view.

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L E V R A M THE

E H T S I T A H T

M L I F O R E H R E P SU n Kirstie Tyso

A quick alert for those who may have been living under a rock for the last 10 years and haven’t seen any or all of the Marvel movies… there are some very minor spoilers in this article. You’re safe with Avengers: Infinity War here though. But you should definitely watch it. Like, right now. Forget reading this and go watch it!

If you decided to stay and read, let’s talk about Marvel. Anyone with even the slightest interest in current popular culture will know that Marvel has well and truly cemented its place in the forefront of this. The cinematic universe is commonly referred to as the Marvel Cinematic Universe, or the MCU. It began in 2008 with Iron Man and from there, a new era of superheroes emerged onto the big screen. Fast-forward 19 movies later and the MCU is now the highest-grossing film franchise globally, overtaking both the Star Wars and Harry Potter franchises, according to Box Office Mojo’s Franchise Index, an IMDB affiliated site. If you like numbers and statistics: the MCU has a box office gross of around $24.3 billion AUD, while the Star Wars franchise is at about $12.9 billion AUD. That’s a difference of about $11.4 billion AUD. Avengers: Infinity War is also at number 32 in IMDB’s Top 250 list by user ratings, passing movies such as Psycho and Back to the Future. So, in other words, the MCU is doing really well. It’s hard to try and explain the whole MCU in brief without spoiling anything AND while maintaining a reasonable word count, so I’ll keep it simple. The MCU thus far is divided up into 3 phases, each one representing a significant arc in the narrative. The phases also represent the chronological plot order in which to watch the films, rather than their release date.

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Phase 1 - Captain America: The First Avenger (2011) - Iron Man (2008) - The Incredible Hulk (2008) - Iron Man 2 (2010) - Thor (2011) - The Avengers (2012) Phase 1 introduces the audience to the franchise’s main players — the original Avengers and the government organisation known as S.H.I.E.L.D. (Strategic Homeland Intervention, Enforcement and Logistics Division). Phase 1 concludes by bringing the main players together in time to fight the first “Big Baddie” in The Avengers Loki, Thor’s adopted trickster brother.


Phase 3

- Iron Man 3 (2013) - Thor: The Dark World (2013) - Captain America: The Winter Soldier (2014) - Guardians of the Galaxy (2014) - Guardians of the Galaxy: Vol. 2 (2017) - Avengers: Age of Ultron (2015) - Ant-Man (2015)

- Captain America: Civil War (2016) - Spider-Man: Homecoming (2017) - Doctor Strange (2016) - Thor: Ragnarok (2017) - Black Panther (2018) - Avengers: Infinity War (2018) - Ant-Man and the Wasp (2018)

This is where the audience gets to know more about the main players. The Infinity Stones start to make a prominent appearance, both in films and sneaky after-credits shorts, hinting at something larger happening within the MCU. The next “Big Baddie”, Ultron, an artificial intelligence created from an infinity stone, is also defeated.

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Phase 2

Phase 3 is where the purpose of the Infinity Stones is fully realised by the audience, and tensions built up over the last two phases are released in the form of Avengers: Infinity War. And I’ll hold back from saying anything more than that.

You might wonder why these superhero movies have become so mainstream, considering comic books have been a stereotypically geeky and ‘uncool’ hobby to be interested in. We’ve seen enough Hollywood high school films to know that's a fact. The answer is: it’s people like you and me. In order to answer this question, I asked some friends why they liked the MCU.

Knowledgeable Film Watcher and Aspiring Filmmaker This response was originally lengthy and detailed but essentially they said that all the Marvel directors diversity into different genres and styles of film throughout the series (Shakespearian, spy-thriller, comedy) is what they enjoy the most.

Comic Book Fanatic This person (not surprisingly) was a reader of the comics before the MCU existed, and enjoys the vastness of the universe in that it can have multiple layers of narratives from broadly different heroes happening at the same time - from Spider-Man in New York to Thanos doing his thing in space.

Casual Movie Watcher They just liked it because the movies are fun and action-packed; it's as simple as that.

to be continued… 0.6161¢


…previously in the article

These are some opinions as to why viewers enjoy the MCU, but that doesn’t truly explain why it has this appeal. What could be the real reason is because of one man — Stan Lee. Back in 1961, Lee refreshed, remodelled and reinstated the superhero archetype into what we know and love today by writing the first Fantastic Four comic, with the help of illustrator Jack Kirby. Before this revolution, comics were written with the target audience of children, with other superhero characters at the time being portrayed as having little to no flaws, as well as being nearly indestructible.

Lee presented a new era of heroes who had imperfections, who argue and squabble with each other. To put it simply, Lee made these new superheroes human. He turned his target audience towards older readers, to readers of all ages who needed someone to relate to and admire. It is the relatability of these new heroes that has made them so popular, even back in the comic days. Experiencing the journeys of these heroes in overcoming their weaknesses and differences is the reason we keep coming back. You could say that comic book characters before Lee’s time are a stark contrast to their predecessors.

Now, if all this hasn’t gotten you excited to delve deeper into the Marvel universe, I don’t know what will. If you're keen to watch some Marvel movies now you’ve got a handy-dandy list you can choose from, plus the numerous TV shows on Netflix: Iron Fist, Jessica Jones, Luke Cage, The Punisher and Daredevil. If you are interested in reading some Marvel comics, the official Marvel website has a database of comic book characters with over 2,500 entries, featuring notable characters such as the Strong Guy, the Purple Man, Shuma-Gorath and my new personal favourite one, the Arabian Knight.

If there’s something that I’d want you to take away from this silly little article, it’s that being human isn’t a flaw. It’s the humanness of these comic book characters brought to life in cinema that makes them so likable and relatable. I’ll leave you with this quote from Stan Lee himself: “Achilles, without his heel, you wouldn’t even know his name today.” - Stan Lee

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Monte Bovill

But the floods tested our University community like never before. An unbelievable amount of water swept into buildings across the Sandy Bay campus on the night of May 10. Years of research, personal belongings and valuable infrastructure were all destroyed within a matter of minutes. No one could have predicted something like that would happen - not here. From the law books strewn across the University oval, to the muddied halls of the Engineering Building and the damp bedrooms at the residential colleges, the impact of the flood was widespread. The catastrophe also happened to coincide with the distribution of our first print edition for 2018. Dozens of Togatus copies were swept away. At first light, there was an eerie silence on campus the day after when the water subsided. Classes were cancelled and people were told to stay away.

Student

In 2018, we’ve come together. We’ve come together when confronted with disaster and we’ve come together to celebrate. No matter how diverse our community is, there is a strong connection between all of us. It’s a connection we are lucky to have.

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Our University Community

Crisis discussions had begun in the early hours of the morning and continued for not only days, but weeks after the event. Within hours, the Vice-Chancellor Professor Rufus Black proclaimed, “We will fix it.” By Monday, the Sandy Bay campus was open again. Student volunteers were mobilised and people across the community were willing to help and donate their time. For many, the Sandy Bay campus soon returned to normal and the floods disappeared from memory. For others, the impact of that night continues to be felt today. However, I believe our University community has never been as connected as it is right now because of that night. A night of utter devastation was able to bring us together. I am truly proud of our University of Tasmania community. A community of diversity, a community full of spirit and a community that is united. Let’s keep it that way.

But that didn’t last long. Students and staff turned up in droves to salvage the law books and volunteers began the task of removing hundreds of pieces of damaged furniture and belongings.

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Sustainability at UTas: A Year in Review Zoe Douglas-Kinghorn

This year has been a rollercoaster for young people – growing university fees, workplace casualisation and the abandonment of climate policy are huge issues that will affect our future. And yet, in between growing commitments of work and study, students have been leading the way to a more sustainable future for their university.

Images: Millie Rooney

As Southern Environment Officer for the TUU, I would like to congratulate the vibrant community at UTas for your achievements. With the commitment of staff, union representatives, Sustainability Integration Program for Students (SIPS) interns – and of course you, the student body – we have a lot to be proud of, as a university with a strong and inclusive focus on environmental leadership.

Sustainability interns Ella Hilder, Millie Knott, and Nina Hamasaki facilitated a space for student discussion and action at their Sustainability Roundtable Series. Pictured above, hundreds of students from various faculties gathered to share their vision for a more sustainable UTas. At these sessions, we workshopped numerous ideas, from building a sense of community, to supporting fair trade and implementing closed-loop systems of waste. We brainstormed as a group under the guide of mentors, including SIPS interns and sustainability officer Millie Rooney, working towards the the broader goal of communicating these ideas and concerns to the executive administration at UTas. It was heartening to see so many students engaged in passionate discussion of ideas that mattered to them.

Here are just a couple of the amazing initiatives and continued projects of 2018:

You might not know that about one quarter of UTas’ technological equipment (including workable laptops

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Student and PCs) are updated each year, leaving tonnes of e-waste to landfill. SIPS intern Wenting Zhu has developed an exciting project to exchange stationery, furniture and tech supplies between the university and its students. Watch this space… The UTas War on Waste continues! I worked with UTASLife to replace single-use plastic with reclaimed crockery from Hobart’s Resource recycling centre, saving stacks of plastic plates by washing dishes together at weekly lunch events. I also worked with Rianisa Fitriani, Varu Jayaseelan, Job Carr-Turbitt to install a mug library at Lazenby’s, where students can borrow mugs to save takeaway cups from going to landfill. The Student Representative Council also held a terrariummaking workshop in Wellbeing Week, to bring a small pot of greenery into the sharehouse, while sharing conversations with Fossil Free UTAS and SIPS interns. In August, Fossil Free UTAS held a public forum on the alternatives to carbon intensive investing. The action group is committed to divest UTas’ 40 million dollars from fossil fuel shares. After a dormant period of two years, the team was revived and invigorated by medical student Pete Donkersley, whose legacy continues to inspire young climate leaders across campuses. The forum was held to a packed-out Centenary Lecture Theatre, with speeches from a distinguished panel including finance actuary Naomi Edwards (founder of Tasplan Super), ex-Liberal party leader John Hewson, and UTas’ own Professor Benjamin Richardson. The Tasmanian University becomes the first student union in the southern hemisphere (if not the world) to be powered by 100% onsite renewable energy. This is an amazing achievement on the part of numerous Environment Officers across a timeline of more than five years, in partnership with SIPS interns, the Australian Youth Climate Coalition, and countless students who have made this project happen. The final 20 kilowatts of solar panels are due to go up in the next month, repowering the TUU as a world leader in clean energy systems. You can find out how the panels are doing by scanning the QR code above – although the North is probably beating Sandy Bay campus! Happy holidays, #YourTUU Environment Officer

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TUU Structure in 2019 Greater student representation and a stronger focus on academic concerns have been promised as part of the most significant overhaul of the Tasmania University Union (TUU) in nearly a decade. The amount of student representative positions within the existing structure of the TUU has been almost halved from 49 down to 27. The Postgraduate and Education Councils as well as various positions across the three SRCs have been abolished. The following is an overview of the TUU structure for 2019 at the time of publishing.

Board of Management

SRC South

The body responsible for setting the strategy and direction of the TUU.

The council representing students studying on the Sandy Bay and Hobart campuses.

Chair of the Board: Sophie Muller TUU President: Sharifah Syed Rohan TUU Postgraduate President: Ali Ghahremanlou TUU Northern President: Dillon Ong UTas Staff: Michael Stoddart Jo Willsmore Margaret Otlowski

Campus President South: Harry Fawcett Aboriginal and Torres Strait Islander Officer: (Vacancy) Disabilities Officer: Joshua Garvin Environment Officer: Harry Payne International Students Officer: (Vacancy) Postgraduate Representative: (Vacancy) Queer Officer: Benjamin Dudman Welfare Officer: Elliot Krzysik Women’s Officer: Isabella Duffie

State Council The body constituted to deal with student representation and activities. President: Sharifah Syed Rohan Deputy President: Matthew Clark Postgraduate President: Ali Ghahremanlou Societies President: Gabrielle Carswell Sports President: Alex Guibord Campus President South: Harry Fawcett Campus President North: Dillon Ong Campus President Cradle Coast: Davina Smith

Tasmania University Student Council The Tasmania University Student Council (TUSC) has been founded to balance out the reduction of positions and better convey academic concerns from students. The TUSC mirrors the UTas Academic Senate, and students are expected to sit on relevant school boards and encouraged to be involved in an affiliated club or society from the study area. More information about the new council will be released in early 2019.

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SRC North The council representing students studying on the Launceston and Sydney campuses. Campus President North: Dillon Ong Aboriginal and Torres Strait Islander Officer: (Vacancy) Disabilities Officer: (Vacancy) Environment Officer: Eliza Kimlin International Students Officer: Kenneth Wu Postgraduate Representative: Arno Dubois Queer Officer: (Vacancy) Welfare Officer: Margaret McGowan Women’s Officer: Mia Kealy

SRC Cradle Coast The council representing students studying on the the Cradle Coast campus. Campus President Cradle Coast: Davina Smith Aboriginal and Torres Strait Islander Officer: (Vacancy) Postgraduate Representative: (Vacancy) Welfare Officer: (Vacancy)


Student

Board of Management

State Council

TUSC

SRC South

SRC North

SRC Cradle Coast Societies Council

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Council Retroport Tasmania University Union

TUU President

Image: Monte Bovill

Jessica Robinson Howdy, By the time this hits the stands, a new student president will have been announced, and I will be soon to leave not only an organisation that I have been a part of for the past three years, but also a University that I have been at for five. My role this year as President of the Tasmania University Union (TUU) has been a challenging but rewarding one. Alongside the rest of the student leadership team, we have worked together to communicate regularly with staff and students and provide opportunities for students to take ownership of the positive learning environments they want to see. I am so grateful and humbled that I had the opportunity to be President of the TUU. I have been even luckier to have worked with such an amazing student representative team. Responsible student leadership is essential to the creation of success here at the University of Tasmania, and I personally am extremely proud of each student who has helped me leave the TUU in a position where it can only continue to be built upon by future leaders. The diverse range of opportunities that the TUU provides are unparalleled, ranging from serving as a sports captain, being pushed and extended in academic programmes, to being president of a society. Throughout my time at university and my involvement with the TUU, these

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experiences have given me the opportunity to develop my leadership skills and network with not only my peers but also the university community too. It is through the TUU that I leave the university a much better and more determined person than when I arrived. Reflecting on this year, it truly has been a journey. The TUU has faced adversity, and the depth of talent and potential that has been exercised is incredible. I have been surrounded by individuals who are the next key stakeholders in their fields, proving that you really can move mountains‌ (or at least shift them). This year as a collective team, we have experienced the importance of harnessing diversity, allowing us to build on ideas and create unique atmospheres and experiences. There have been students from all corners of the university, embracing the efforts of our student leaders, and taking hold of every opportunity that comes their way. I encourage students to continue to engage in these spaces, and to step outside their comfort zone. Although difficult at times, personally it has been a fantastic journey and I would like to acknowledge the State Council, the Student Representatives and the students who engaged with the TUU this year. The commitment, determination, and engagement shown has kept me motivated to keep pushing and advocating for the best from our university.


General Secretary Dan Probert

TUU

I am now approaching the end of my time at UTas, and as a TUU representative. When I first stood for Environment Officer in 2015, I had no idea that I was going to become part of a movement which would radically re-envision the place of the TUU in our community. I am privileged to have served in two of the best administrations that the TUU has had. The organisation still has improvements to make, however I know that it is time for me to depart. I say with confidence that I am leaving it better than I found it, and I am content with that. My exit is made easier knowing that I leave you in Sharifah’s capable hands – I am confident of this: she who began good work will carry it on to completion. I have fought the good fight, I have finished the race.

Postgraduate President Arno Dubois This year, the postgraduate council has been busy making sure that students in postgraduate learning spaces have access to both networking and social activities. There has been a large focus on collaborating with our other councils and student representatives to approve PG grants and engage with students within our University community. Additionally, we ensured a presence at the 2018 Graduate Research Conference to engage with postgrad students and made a commitment for further collaboration in organising the event in the future. The TUU Postgraduate team this year said goodbye to Megan Albion, the postgraduate advocate, and we would like to acknowledge the hard work she put in to building up her portfolio whilst with us. We have since had the pleasure of welcoming Helene Thomas as the new advocate, who has brought a wealth of knowledge and energy to the portfolio. We wish her luck as she continues to work and engage students in this space! Moving into 2019, the Postgraduate Council will not take its current form. However, don’t fret because with Postgraduate Representatives on each campus council, and a Postgraduate President working with our advocates and team, there will be plenty of representation.

Sports President Ali Ghahremanlou As the sport council president, one should be familiarised with each club's financial and technical requirements and needs to use that knowledge efficiently in managing their concerns during the monthly sport council meetings where all the clubs present their reasons for funding. This year again, the affiliated clubs have been quite active. In July 2018, I was present during the Nationals Division 2 observing and supporting the clubs and came back home with different victories from Futsal, Volleyball and Badminton. Recently, some of our clubs went to the Gold Coast again to compete at the Nationals Division 1 and claimed some victories again. Apart from the University games, each club has taken part in different regional games for better representing of what they are capable of. To view the A-Z listing of Tasmania University Union affiliated sports clubs available at UTas, search the TUU website at tuu.com.au/clubs-societies/a-z-sports

Education President Dillon Ong Hello all, it has been a pleasure serving you as your Education President in 2018. This year has been a fantastic year in terms of advocacy for the TUU, with the TUU being involved in more initiatives together with the University. The Education Council this year has not only been the voice of students, but also supporting students with initiatives like the Exam Packs. Although the Education Council will be amalgamated with the other portfolios within student leadership next year, representation in higher education will not cease to exist as we will continue to be a strong advocate for the students academically.

I would like to thank those students from across the board that have engaged in the events and opportunities that the Postgraduate Council has provided this year.

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Societies President Campus President Cradle Coast Davina Smith It has been a busy year again on the Cradle Coast Campus. We’ve tried out a few new ways to run events, mixed up the BBQ foods and even run a 100% vegetarian BBQ for Earth Day that proved to be very popular. Sustainability is what the students want! We even did falafels instead of the old snag! In 2018, the SRC has provided our students with the daily breakfast club, 24/7 refreshment station and a daily fruit bowl. During second semester we ran our popular weekly Winter Warmer lunch. Students have engaged through events including Harmony Day, creating a Sea of Hands artwork, our annual breast cancer awareness high tea, Easter egg competitions, weekly Facebook competitions, a couple of off campus student night outs, providing feedback, and keeping us on our toes to provide these quality events. Students at Cradle Coast are actively engaging with the Northern Transformation teams and discussing changes and additions they would like to see in and around the new campus.

Campus President North Sean Kebbell The Northern Campus President is a position that allows you to voice the concerns of the students you represent whilst also trying your best to improve the student experience. This year your northern SRC has been very active in our portfolios. Our women’s officer has been incredible with a wide range of initiatives such as the Karyina women’s drive and the period packs. Our environmental officer had an incredible sustainability market and our international officer has been running some great events. We have been able to send students to a range of different conferences such as NOWSA and the Ports and Shipping conference. To finish off, we have been working alongside the Northern Transformation Project team and have been passing on your incredible feedback we have collected. Cheers, Sean.

Morgan Read It has been an exciting year for societies. We have had an unprecedented number of grants, and as a result we have had the opportunity to fund so many excellent events. We also welcomed 14 new societies this year: Acro, Business and Economic Student Society of Tasmania (BESST), Esports, Creative Writing, Justice, Language Cuisine Community, Launceston Chess Club, Launceston Health Students’ Society, Life Choice Tasmania, Pen and Paper Roleplaying, Provocation Obstetric and Gynaecology Society (PVOGS), Red Lion Markets, UTAS Fishing & Camping Club, and UTAS Food Revolution. Finally, I would like to take this opportunity to congratulate all the winners of the 2018 Societies Awards, as well as all the members of societies executives of 2018; their work is impeccable, and the reason societies exist.

Campus President South Sharifah Syed Rohan Hola Tog Readers, what a year it has been! This year it has been my absolute pleasure to serve as your Southern Campus President. As #yourTUU Southern President I’ve led a team of 15 SRC representatives to deliver better outcomes for students at UTas. In the South, #yourTUU SRC have been committed to collaborating with a range of stakeholders to bring you events and initiatives you can be proud of. Reflecting on the year that was, we have worked tirelessly to focus on what is important to you. This year, our greatest achievements have been the return of the Welcome Week Concert, and our continued efforts to place the environment at the top of our agenda in order to raise awareness of what our university community can do to lead a cleaner and greener life. We have also engaged more closely with students studying at our satellite campuses. We have advocated for the university to become more accountable for their decisions and have ensured that students know the student representatives who represent them on university committees. On behalf of the SRC South, I would like to thank you for engaging with our activities and initiatives. Best of luck with your exams and major assignments! Love, #yourTUU SRC South

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Creative

Scavenger Hunt:

Clues and Answers Congratulations fellow reader! The Togatus Team and I commend you on your swift and successful recovery of all thirty-nine rogue avocados across four Editions. We have seen the devious little fruits camouflaged amongst unsuspecting illustrations, disguised in article headings and even masquerading as a letter-number cipher.

In the event you need a nudge in the right direction, a list of clues has been provided below covering each edition this year. However, if you are having trouble locating the tropical critters, or are ready to see the answers, please take a spoilerific peek over the page for visual coverage of every hidden avocado’s specific location!

Avocado Clues

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Yearbook

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Page 1 Page 9 Page 13 Page 19 Page 28 Page 33 Page 37 Page 44 Page 52 Page 58 Page 61 Page 65

Avocado Answers (Over the Page)

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YEARBOOK SIGNATURES 75


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Togatus Yearbook, 2018  
Togatus Yearbook, 2018