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At the next global financial crisis, when questions about what we want our monetary system to do for us become a matter of survival, why not devise a transactional system that is not just geared towards the consumption of goods and services, but involves monetary exchanges for social goods, such as sustainable production, or civic benefit?
David Leyonhjelm recently thanked men from South Asian backgrounds for delivering his pizza, groceries and online purchases; for rolling up their sleeves for jobs others refused. This gesture is seriously problematic. The casual service industry is broken and exploitative and needs to be carefully regulated and constantly audited.
As the West flirts with starting World War III in Syria, it is worth examining some of the financial and business dynamics behind the US 'military industrial complex'. War may not be good business, but it is big business. And in contrast to Russia and China, the industry in the US is heavily privatised, including the use of mercenaries.
Defence Minister Christopher Pyne recently called for an expansion of the Australian weapons industry. It would enable Australia to join the United States and Britain as a major exporter of weapons and further Australia’s strategic goals. The move has a logic: if you want weapons it is cheaper to make them than buy them; if you make them it is more profitable to sell them to others than to keep them all for yourself; if you sell them it is best to sell them to your friends.
One thing that is rarely done is a literary-style analysis of the language used in finance and business. It can quickly reveal the sleight-of-hand, even outright deception, that plague these powerful sectors. To take one example, finance language heavily relies on water metaphors, which are deeply misleading. It is unlikely that this is done deliberately; it is more probably reification (making the intangible appear to be concrete). But its consequences have been, and remain, devastating.
The success of the Australian comedy The Dressmaker is thrilling to those watching the local film industry. There's more to cheer in the fact the film is proudly female in both story and production. We're not as bad as Hollywood, but even in Australia, there are not enough films for women, about women and by women. Since the 1970s male directors have been responsible for more than 85 per cent of the feature films made. Why does it matter? Because women are more likely to tell stories about women.
Former Australian Salvation Army world leader General Eva Burrows, who died on 20 March, tried in vain to engage the former British PM in making the preferential option for the poor. ‘Margaret Thatcher was a disappointment,’ the General said. ‘I felt she didn’t have a deep, true feeling for the poor. I invited her to come out on the soup run indirectly and said it wouldn’t be a media event, we’d go incognito, but the answer was no.’
The Australian Government needs to be less cavalier and reticent to subsidise local manufacturers, who are obliged to be transparent about their work practices and bear the costs of this. When our politicians praise workplace efficiency in other countries, they are promoting manufacturing processes that often exploit workers.
Malcolm Turnbull assures us that something will come along to fill the gap left by the demise in Australia of Toyota and SPC Ardmona. But new sources of employment do not magically appear because they have been foretold by economic doctrine. Only about a third of those who are about to lose their jobs in car making or food processing are likely to find new jobs on equivalent incomes. Another third will probably never work again.
The immediate responsibility for this looming economic disaster rests with the Abbott Government, and not merely because of its use of a bullying speech in Parliament by the Treasurer, Joe Hockey, to goad Holden into announcing a decision that its masters in Detroit had probably already taken. In the longer term, this should be seen as a bipartisan disaster. What happened this week was the culmination of a process that began under Hawke.
At Turkey Creek, George Mung had carved a statue out of a piece of tree, a work of extraordinary beauty. Here it was, sitting on top of a hot-water system. 'You take it,' he said, 'I'll do another one.' (Eureka Street March 1991)
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