FYI #104
How to Weather Together: Feminist Practice for Climate Change, event at Sydney University, December 2
Cover-Up, a documentary tracing the work of investigative journalist Seymour Hersh
Two New Yorker Radio Hour conversations, David Remnick with Patti Smith and Ian McEwan
The Year that Made Me: Anna Iltnere, 2016, with Julian Morrow on RN’s Sunday Extra. Iltnere is the creator of the wonderful Sea Library.
The Librarians, documentary trailer, via Kottke
Where It’s At, with Ruthie Rogers, with Jefferson Hack
The Claims of Close Reading, by Johanna Winant, via Boston Review
Dangerously Modern: a major conservation project, via AGNSW. The restoration of a painting.
From Rubbish Tip to Powerful Owls: Regenerating Urban Bushland, Dr Joey DiBattista and Rudi Adlmayer (my brother-in-law)
The Slop Tax, a Brief Introduction, by Mike Pepi.. ‘is a mandatory contribution by AI companies equal to ~1% of their annual market capitalisation, directed into an independent, publicly managed Cultural Trust Vehicle.’
‘Ambition is a punishing sphere for women’: author Maggie Nelson on why Taylor Swift is the Sylvia Plath of her generation, by Arifa Akbar, via the Guardian. Nelson has a new essay out, The Slicks
First Hike Project helps refugees experience hiking in Australia's bushland for the first time, via ABC News
Interview with artist & friend, Nina Walton, via Lee Mathews
Is the Marty Supreme Jacket the Defining Garment of 2025?, via GQ
A former British Vogue staffer's deeply comfortable Hampshire cottage, via House & Garden
Cloth and Complicity: Seth Rockman on Plantations, Textiles, and the Art of Weaving, by Stephanie Wong, via Public Books
There are so many problems with transcending our subjectivities; so many difficulties when encountering the violence that structured a past that can’t and shouldn’t be reproduced or approximated. And that creates a real barrier. But at the same time, as historians, we are committed to inhabiting other bodies and living in other times and making sense of universes that don’t make sense in our own. Our craft requires imagining ourselves across differences of cosmology and spirituality, of material conditions, of the day-to-day experiences of survival. But this gets ever more difficult when our subjects lived on the margins of the societies whose structures of exploitation and exclusion endure to the present day.