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I would like here to reflect on the relationship between accountability and other essential aspects of public life: reflection, responsibility, and praise or blame with their attendant punishment and reward. The order and priorities within these need to be respected both in government action and in public comment.
The capacity to story our experience is a powerful tool for reflection and understanding. As adults we learn that no story is pure and we are capable of telling ourselves spin, but the shaping of experience into story is the bread and butter of our lives. Narrative, it has been said, is a primary act of mind.
With all its good intentions and charming participants, Love on the Spectrum is for the neurotypical eye. Just like The Undateables, a similar show from the UK, it takes the inner machinations of disabled lives and creates entertainment for non-disabled viewers. Autistic representation on television is rare, which makes it all the more alienating when these few depictions exist purely for everyone else’s warm-n-fuzzies.
Craftsmanship is a way of seeing and understanding mediated through touch and feel and the body. While the finished product or the stated goal are important, the process — as an act of learning, making mistakes, experiencing both frustration and satisfaction — is equally (if not more) important.
When a distinguished journal is caught unawares in its editorial judgment, others will cheer at the burning house. The academic business is a tough one, and at its core is an exaggerated virtue that often conceals core defects.
Nothing in the world is single, as Shelley said, and we have proof of this in the general reaction to COVID-19. That spirit, however, seems to have its limitations. For some politicians are set on dividing people, rather than on uniting them.
Over the weekend in most Australian states, rules requiring people to stay home were relaxed somewhat. The country has commenced its easing of the significant restrictions on venturing out in public. As we begin to reacquaint ourselves with life outside, it is useful to reflect on the new resonance of ‘home’ — but also on its inherent limits.
What turned out to be extraordinary was the familiarity of the subject matter, and the routines that Camus makes the authorities of the plague-ridden Algerian town Oran put in place: the quarantine, the isolation hospitals, the attempts to develop a vaccine, the volunteer health workers, and the way in which funerals were conducted in haste.
I keep going back to a short story, by Carmen Maria Machado in her book Her Body and Other Parties, called ‘Inventory’. In its simplest terms, the story is a narrator’s list of her lovers loved: boyfriends, girlfriends, neighbours, strangers. From this inventory emerges, bit by bit, the story that has made the list necessary: an epidemic is ravaging the world’s population.
We are at the end of the beginning. ‘If you feel you have coronavirus…’ I tune out emotionally and daydream as the public service announcement plays over and over in empty trams and trains, and in deserted shopping centres.
I don't want to sound too ungrateful, because there isn't a playbook for this scenario, but if all it took to build a passable digital schooling ecosystem was a week of hard work, we'd have done it long ago. We haven't been asked to turn on a dime, we've been asked to pirouette.
Already the ideological die-hards of neoliberalism are working out how the pandemic might be manipulated to lower wages and to snap back to the old economic normal. So now is when collectively we need to take over the framing and the forming of the future. Not to snap back but to spring forward.
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