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There are more than 200 results, only the first 200 are displayed here.
To many who work in the arts industry, the rise of art-making artificial intelligence may pose an eventual threat to their livelihoods. Will independent artists be replaced by corporations using AI to generate mass entertainment?
Edward Cole understood that books encouraged community. The businessman could rub shoulders with the tramp in his Arcade. Now, in an age of division and isolation, more than ever we need spaces which facilitate community; light-filled cathedrals dedicated to the love of knowledge and stories, and their power to cross borders, politically, ideologically and culturally.
I’m not sure that my Greek grandchildren know the word antediluvian or whether they have heard of Methuselah, but they certainly consider me an ancient relic who occasionally tells tall tales and true from the legendary past, and from another land. Of course they are unable to conceive of life or domestic space without screens: even my youngest grandchild, who has just had her first birthday, knows when a Skype call is imminent, and coos accordingly.
From my third-floor hotel balcony I could reach out almost to touch the mountain. It seems such a good neighbour. When I walk out by the Li River, the mountain follows me, shadowing my footsteps. I watch the river-boats working their ways across the current towards night-moorings, the fisherman homeward-bound with his cormorants.
I'm standing before the portrait of a woman with closed eyes, her hands delicately cupping, almost, her tilted head. In her face, in her composure, a flower-like serenity that speaks of care, reverence.
The question of reconciliation in the Church is particularly pressing, given 2021 marks the 250th anniversary of the arrival of Christianity in Australia, and the 150th anniversary of the arrival of Christianity to the Torres Strait. Yet many First Australians recognise that the Spirit of God was poured out onto the original inhabitants of this great Southern Land many, many thousands of years prior.
The debate about the future of work, and therefore UBI, was hijacked by a reductive media narrative around ‘the robot question’ and this has made it hard to recognise the complex nature of the changes underway.
Bosses give any number of reasons, often focused on some vaguely defined notion of productivity, why they do or don’t support remote working, but ultimately it comes down to a single, fundamental question: what is the ideal balance between reducing expenditure and surveilling workers?
A common argument is that publicly-funded artists take unnecessarily from the ‘average Australian’. In the current international crisis, this argument fails to recognise that artists and arts workers are just as deeply impacted financially by COVID-19 as the ‘average Australian’ in other industries.
Tall Fences, Taller Trees, directed by Dutch-based Iranian filmmaker, Arash Kamali Sarvestani, is a companion to Chauka, Please Tell Us the Time, which Sarvestani co-directed with Kurdish-Iranian writer and Manus Island detainee, Behrouz Boochani. On its most basic level Tall Fences, Taller Trees documents the making of the first film, but it is far more than that.
I stare out the bus window, my eyes chasing raindrops down the glass. They jiggle in unison as we jolt over speed bumps. I imagine they’re dancing along with the songs belting through my tangled earphones. A Carla Geneve lyric catches my attention: It's raining on Tuesday, got my Doc Martens wet. I glance down and smile at my soggy docs.
If you’re mad about some white people controlling the use of the Aboriginal flag, there are some things you should know. This is not a clear-cut case of white people trying to exploit Aboriginal culture or intellectual property for multiple reasons.
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