Independent journalism finds its moment

Independent journalism finds its moment

Independent journalism finds its moment

Pavel Antonov (Bluelink, Bulgaria) and Andrew Garton (APC) covering the Open Culture/iSummit 2008, Sapporo, Japan

With extreme views populating mainstream media and increased use of generative AI within once respected news media outlets and platforms, how do we make sense of the world? Who is left to hold power to account, where do we find the kind of journalism that informed as well as critiqued the events shaping our lives and that of future generations?

by Andrew Garton
Mar 8, 2026


Australia has had a long tradition of both establishing the means and supporting independent media. Though the means and mechanisms of support have changed, the tradition has not. In fact, it is flourishing. It is also flourishing abroad, creating far more means to be informed and engaged in both local and global concerns.

We are seeing the rise of an independent media phenomenon, largely driven by experienced journalists and educated commentators who have either left their main stream publishers or never entertained such pursuits at all.

I have compiled some of the resources I have come to trust and find both solace and a sense of personal empowerment, a far more meaningful space to be in than outrage and despair. Though it may be difficult to fully rid ourselves of despair, there is strength in knowing we can draw on the courage and experience of the following individuals and platforms.

These are recommendations based on what I can comprehensively read weekly. There are many more. You will find them listed in a weekly rundown of essential reading from the TrueNorth Weekday Independent News Update. I have no personal stake in any of these platforms and journalists.

News and current affairs

Australian independent journalism is growing at a pace, no-more so than recent years as major media outlets report talking points rather than engage in holding power to account. Our once trusted media has all but abandoned the must fundamental of journalistic principles. The following selection represents the journalism I have come to rely on and when feasible, support through subscriptions and posts such as this.

The shot

The Shot describes itself as priding โ€œ...itself on providing witty yet thoughtful news, opinion and analysis pieces that are โ€˜Profane and Profoundโ€™, focusing on the oddly unique perspective of telling stories from the perspective of regular people stuck in an awful system looking for hope. Writers to look out for include Ronni Salt and Dave Milner.

They also produce a weekly interview panel, The Sunday Shot, comprised of guest journalists and some of Australiaโ€™s most essential commentators and thinkers, streamed on YouTube at 9am AEDT every Sunday and available as a podcast. Search for The Sunday Shot on your podcast app of choice.

>> The Shot

Michael West Media

Michael West Media describes itself as โ€œ...an independent media publisher covering the rising power of corporations over democracy.โ€ They are โ€œ...non-partisan, do not take advertising and are funded by readers. Our investigations focus on big business, particularly multinational tax-avoiders, financial markets and the banking and energy sectors.โ€

They also produce The West Report published weekly on YouTube.

>> Michael West Media

Pearls and Irritations

Published by John Menadue since 2012, Pearls and Irritations is largely focused on public police. It describes itself as โ€œ...a vehicle for analysis, clarification, fresh interpretations, policy proposals, reviews and other contributions to promote discussion on important public issues.โ€

>> Pearls and Irritations

Lamestream

Lamestream describes itself as โ€œ...an independent news publication tackling the crisis in media.โ€ Their โ€œ...podcasts and newsletters cover how the media shapes news, culture, politics and current affairs, and how the industry's transformation is reshaping the world we live in.โ€

Hosted by Osman Faruqi and Scott Mitchell, two journalists who have worked with many news and media outlets, from the ABC to the Sydney Morning Herald. They are creating, in addition to all of the above, some of the most critical and important independent media platforms in Australia.

>> Lamestream

Independent Australia

Independent Australia describes itself as โ€œโ€ฆ a progressive journal, supporting freedom and justice for individuals, and getting to the truth. IA opposes governments of the country beholden to vested interests. Our main editorial focus is on federal politics, democratic government, the environment, human rights, Australian identity, Indigenous issues, world affairs, economics, finance, health, law and the justice system.โ€

>> Independent Australia

Amy Remeikis

Amy is not only the Chief Political Analyst of The Australia Institute, she writes for the independent publisher, The NewDaily. Clear-eyed and essential reading for all things politics in Australia.

>> Amy Remeikis's profile on The Newdaily

Caitlin Johnstone

Caitlin takes on some of the toughest local and international events impacting us all. She and her husband, Tim Foley, produce a single article every day on an astonishing number of platforms. Their reach is extraordinary. Caitlin also publishes moving reflections in poetry, painting and a monthly hard-copy publication.

>> Caitlin Johnstone

Tim Dunlop

Tim describes himself as โ€œa writer based in Melbourne and the author of four books on media, politics and the future of work.โ€ He is also known for his โ€œdoctoral work was on citizenship and deliberative democracy.โ€ Tim was a frequent contributor to the ABCโ€™s The Drum. I have found him an essential critic of all things governance in Australia, particularly when it comes to the power plays in Canberra and the people we have elected to represent and lead us.

>> Tim Dunlop's substack

Others...

There are many more independent journalists and media platforms doing impressive work. The few I follow on socials or subscribe to include Deepcut News, Emma Shortis, Ketan Joshi (all things climate and energy) Jeff Sparrow, Rick Morton, The Saturday Paper and The Australia Institute, the podcasts 7AM, This Machine Kills, We Used to the Journos, Serious Danger, Australia Matters and Burning Platforms.

International news and current affairs

The Intercept

Publishing since 2014, The Intercept describes itself as investigating โ€œ...powerful individuals and institutions to expose corruption and injustice.โ€ They see โ€œ...journalism as an instrument of civic action.โ€ They make the point that they are โ€œ...here to change the world, not just describe it.โ€

>> The Intercept

Kyiv Independent

Publishing since 2021, the Kyiv Independent was founded by a group of journalists who had been laid off from the Kyiv Post when the owner tried to take over the newsroom and realign its mission. The Kyiv Independent does not stray from calling out the problems within Ukraine as it does describing and reporting on the war waged against it by Russia. They also report on Eastern European issues.

>> Kyiv Independent

Ian Dunt

Many Australians will know Ian from his weekly contributions to the ABC Radio National program, Late Night Live. He writes on numerous geopolitical issues with an emphasis on UK and EU politics and produces the hugely information podcast, Origin Story, with writer Dorian Lynskey.

>> Ian Dunt's website

Timothy Garton-Ash

Timothy (unrelated) writes about the geopolitics of the European Union and more specifically, Ukraine. His two books, Free Speech โ€“ ten principles for a connected world (2017) and Homelands โ€“ a personal history of Europe (2024), I canโ€™t recommend highly enough.

>> Timothy Garton-Ash's website

Emergence Magazine

Itโ€™s important to keep oneโ€™s information intake balanced. As such, the stories published by Emergence Magazine ensure I remain connected to one of my first loves, the non-human world. They also produce a weekly podcast that I listen to from time to time.

>> Emergence Magazine

Reasons to be Cheerful

Founded by musician and producer David Byrne, Reasons to be Cheerful covers stories everyone ought to. It provides insights into all manner of works dealing with innovation in farming, energy, urban planning, building and design, civic culture and more. Itโ€™s an uplift and reminds us that there is important, valuable and inspired work going on in communities the world over.

>> Reasons to be Cheerful

Others...

When I can, I read posts and newsletters from Naomi Kline, investigative journalist Sarah Kendzior, journalist and historian Anne Applebaum, Darya Zorka and Russian Colonialism 101.

Tech and media ecology

So much of our lives are mediated by one form of technology or another. We are saturated by streams, socials, outrage and apps and devices that compete for our attention. As many of us are wise to these perilous tactics, we are learning how to use tech in far more meaningful and creative ways. Some of the journalists and media outlets helping us make sense of these trends and the pervasive impact tech is having on us have become essential reading and listening to both inform and maintain my well-being.

404 Media

The small crew of journalists that created 404 Media have made more impact since going independent, I would argue, than when they were employed by various publishers. Jointly they are irrepressible, courageous and on their podcast, voices I have befriended over recent years. Essential reading and listening.

>> 404 Media

Molly White

Molly is one of the most invaluable writers in all things tech, specifically cryptocurrencies and all things crypto which she documents on Web 3 is Going Just Great. Her newsletter, Citation Needed is essential reading. She brings enthusiasm for tech, specifically the web, into her critical observations. Sheโ€™s also a great advocate for Wikipedia where she had been โ€œan administrator and functionary, and previously served three terms on the Arbitration Committeeโ€ since 2007.

>> Molly White's website

Cameron Wilson

Cameron investigates tech issues and writes for both Crikey and his own newsletter, The Sizzle. He also co-authored Conspiracy Nation - exploring the dangerous world of Australian conspiracy theories with Ariel Bogle. Ariel is an investigative journalist for The Guardian focusing on tech issues.

>> Cameron Wilson's website

The Weekly Cybers

A weekly newsletter published by Australian freelance media and communications journalist, Stilgherrian.

>> The Weekly Cybers newsletter

Cory Doctorow

Cory is a prolific writer in both fiction and non-fiction genres, specifically dealing in tech and all its optimism and failures. I have read just about all of his books, fiction and non-fiction. His writing on tech is recommended reading for the Media Ecology unit I teach at Swinburne University. Cory has also been online nearly as long as I have and like Douglas Rushkoff, whom I list below, brings that historical perspective into his work.

>> Cory Doctorow's website

Paris Marx

Paris is publishing some of the most important and critical writing on tech and related issues. I got to know of his work through his outstanding podcast, Tech Wonโ€™t Save Us.

>> Paris Marx's website

Tech Wonโ€™t Save Us (podcast)

Paris Marxโ€™s long-running podcast. The podcast is based on interviews focusing in key technology issues that impact us all. Every so often he will delve into a single topic resulting in a specialised series unpacking, for instance, the extraordinary influence and hold Elon Musk has on so many of our lives.

>> Tech Wonโ€™t Save Us

7amleh

The Arab Centre for the Advancement of Social Media is non-profit organisation that advocates for Palestinian digital rights. It publishes weekly reports and numerous publications.

>>> 7amleh News

Brian Merchantโ€™s Blood in the Machine

Brian is one of the few investigative tech journalists that had begun his career with big publishing houses and is now supporting himself through his newsletters and commissioned articles. He has valuable insights and is as fearless as all of the above. His book, Blood in the Machine - The Origins of the Rebellion Against Big Tech (2023), is also essential reading.

Even though Brian publishes on Substack, he has enabled an RSS feed for much of his public, subscription-free readers. See below for info about RSS.

>> Blood in the Machine substack

Pivot to AI

Just as Molly keeps track of crypto, so too does Australian journalist David Gerard on all things artificial intelligence.

>> Pivot to AI

Douglas Rushkoff

Douglas pretty much wrote the book on media ecology, or rather, brought the work of the late Neil Postman into the 20th and 21st centuries alongside the emergence and growth of the internet. Iโ€™ve read pretty much all of Douglasโ€™s books and from time to time listen to his podcast, Team Human. Douglasโ€™s writing and podcast interviews can ground me, reminding me why we began this thing we call the internet in the first place and why connection, not merely wires and wireless, within you and I is the most important relationship we must claim and nurture and allow to grow in all its beautiful manifestations.

>> Douglas Rushkoff's website

Others...

There are many other writers and commentators I read, specifically those who deal with generative AI and its relationship to big tech, white supremacy and eugenics! They include Joan Westernberg, Australian student of political economy of information technology, Jathan Sadowski, author of The Mechanic and The Luddite โ€“ a ruthless criticism of technology and capitalism (2025), German Sociotechnologist, tante, Ed Zitron, Emily M. Bender and Alex Hanna, authors of The AI Con (2025), founder of The Distributed AI Research Institute, Timnit Gebru, and scholar ร‰mile P. Torres. Timnit and ร‰mile co-authored The TESCREAL bundle โ€“ Eugenics and the promise of utopia through artificial general intelligence (2023).

Support independent media

It should go without saying that all these writers and publishers rely on subscriptions to keep themselves not only afloat, but able to research and sometimes travel to cover the stories we read. Some ensure all their work is available regardless of subscription rates or paywalls and others, such as Molly White, have a pay what you can afford, if you can, model.

How do I keep up with all of this?

Most of the above can be read from an RSS (Really Simple Syndication) feed reader from which you can curate your own personal newspaper. This means you donโ€™t have to scroll through socials. Install a feed reader app or use a browser that supports RSS aggregation such as the European owned Vivaldi.

Donโ€™t know what RSS is? Hereโ€™s an excellent introduction to this ancient internet feature that we use everyday without knowing it.

Others publish on Substack, a platform known to generate income from neo-Nazis newsletters. Many writers have abandoned Substack for Ghost, Beehive or setup newsletter publishing platforms on their own web and mail servers.

But truly, do I keep on top of all of these writers and publishers? No. I donโ€™t. But I do have a broad palate of material to choose from should I need to understand the brutal idiocy and violence brought to bare on all human and non-human life on planet Earth and why those we elect to represent us, fail again and again to do so. We are, day by day, lied to and betrayed. But we are not alone in our grievances and neither are we isolated from the many who do what ever it takes to course correct.


6 responses to “Independent journalism finds its moment”

  1. Mysta Squiggle Avatar

    Friendly Jordies. However they have been through so much for speaking the truth (Shanks had his house fire bombed twice) that they may be twice shy to take on any new exposรฉ.

    1. Andrew Garton Avatar
      Andrew Garton

      Thanks for the recommendation. I haven’t tuned into any of his work for a couple of years now. Not since his hate of The Greens, regardless what they say or do, persisted without reason. It’s of course good to hold everyone up to scrutiny but his regard for The Greens is divisive and unreasonable.

  2. Neil Grant Avatar

    Great to see all these writers gathered in one place. Thank you for taking the time to call them in. I am saddened an appalled that Substack is, in part, funded by neo-Nazi newsletters. It seems like as soon as someone sets up a space away from the division and terror of everyday media/social media these pernicious weevils seem to arrive. Keep up your good work, Andrew!

    1. Andrew Garton Avatar
      Andrew Garton

      Thanks. The issue with Substack has been a concern for some years. It’s only recently made mainstream media, such as The Guardian. There has been an exodus of independent journalists off Substack since 2022.

  3. Liz P Avatar

    The Nerve is also interesting, set up by ex-Guardian people who were involved in Cambridge Analytica expose. Also has a hilarious column by Stewart Lee https://www.thenerve.news/p/stewart-lee-column-iran-war-dubai-trump-netanyahu-hegseth-jesus

    1. Andrew Garton Avatar
      Andrew Garton

      Thanks Liz. Quite a few ex-Guardian people in my list!

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The Ian Urquhart Cinereel Archive

The Ian Urquhart Cinereel Archive

The Ian Urquhart Cinereel Archive

Screenshot from the Ian Urquhart CineReel Archive

The footage that inspired my film, KNOW ME, was originally shot in Sarawak, on the island of Borneo, between 1954 to 1963 by Ian Urquhart. This footage is now available for non-commercial and educational use.

by Andrew Garton
Date 30 JUL 2025


Sarawak is one of those places many people have heard about but may not know where it is. On the island of Borneo it is situated on the East Malaysian side of the island. It is home to more than forty different indigenous peoples, each with their own language and dialects. It is also home to some of the last rainforests in Southeast Asia and the complex flora and fauna that thrive there.

Sarawak was a former British colony too. It was during the last three decades of British rule that World War 2 veteran and linguist Ian Urquhart had been stationed there. As a civil service officer he spent considerable time in the ulu, the remote regions of Sarawak. It was during his time there that he began filming his expeditions. From 1954 to 1963 Ian shot over eight hours of footage on standard/regular 8 mm film. All up, 23 reels of film, along with his annotations, have survived.

From July 2025 all 23 reels are available from archive.org. They have been restored, digitised and Ian's annotations transcribed and published with every single reel. This work was accomplished in collaboration with Ian's daughter, Alexa, and his sons Neil and Murdo.

It was Ian's wish that his footage be publicly available for use by the people of Sarawak, and that it should be accessible, from my understanding, without any administrative hurdles. As such, archive.org was chosen as the host for Ian's outstanding CineReel resource.

How I came to find Ian's remarkable work and his family is described in this short film. You will meet Alexa who recalls her father's relationship with Sarawak and how we came to know each other.

Accessing the archive

The archive consists of 23 individual reels. Use this direct link to the entire collection, or any from the selection below:

Cinereel FAQ


How did you digitize these films?

Every single reel was cleaned and digitised to 2K 24fps by r3store Studios in London. For details about their workflow see Our Work and Unique 10 Step Workflow - R3store Studios

Do I need to inform the Internet Archive and/or Urquhart Cine Reels when I reuse these films?

No, there is no need to inform either the Internet Archive or the Ian Urquhart CineReels project. However, we ask that you credit us if the material is used in a publishable form. See below for more details.

How can I get access to stock footage from these films?

The original footage is stored safely in London. Should you wish to gain access to this footage for any reason please contact alexa.

Do I need to credit the Internet Archive and Urquhart Cine Reels when I reuse these movies?

We ask that you credit the Internet Archive as a source of archival material, in order to help make others aware of this site. We suggest the following forms of credit:
โ€œArchival footage supplied by Internet Archive (at archive.org) in association with the Ian Urquhart CineReels Projectโ€
โ€œArchival footage supplied by Internet Archive (at archive.org)โ€
โ€œArchival footage supplied by archive.orgโ€

Are there restrictions on the use of the Urquhart Cine Reels?

The films are available for reuse according to the Creative Commons licenses, if any, that appear with on each filmโ€™s detail page. Pursuant to the Creative Commons license, you are encouraged to download, use and reproduce these films in whole or in part, in any non-commercial medium throughout the world. You are also encouraged to share, exchange, redistribute, transfer and copy these films, and especially encouraged to do so for free. Any derivative works that you produce using these films are yours to perform, publish, reproduce, or distribute in any way you wish with some limitations. You are not to resell nor use this material for any commercial purposes without suitable licencing arrangements.

Descriptions, synopses, shot-lists and other metadata provided by the Ian Urquhart CineReels Project to archive.org are copyrighted by Ian Urquhart's estate. They may be quoted, excerpted or reproduced for educational, scholarly, non-profit or archival purposes, but may not be reproduced for commercial purposes of any kind without permission.

We would appreciate attribution or credit whenever possible.

Can you point me to resources on the history of the Ian Urquhart CineReels?

Although he rarely mentions his filming, Ian's memoirs, Sarawak Anecdotes, are an excellent source for a historical record of his activities in Sarawak.

Who can I talk to about Ian, the archive and his photos?

Contact Ian's daughter, Alexa Young, by emailing her at alexa@mysports.com.au.

Ian's photography


Both Ian and his wife Bunty were keen photographers. Sadly, none of Bunty's negatives survived. We do, however, have many of Ian's, some of which can be seen here.

Copyright Ian Urquhart
Copyright Ian Urquhart
Copyright Ian Urquhart
Copyright Ian Urquhart
Copyright Ian Urquhart
Copyright Ian Urquhart

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Homeland, portraiture, the curated self and war

Homeland, portraiture, the curated self and war

Homeland, portraiture, the curated self and war

Oleg Garton (centre) Displaced Persons Camp, Laggerstrasse, Spittal an der Drau, Austria, circa 1948

Family photos led my family and I to discover our father's Ukraine homeland and stories of resilience in the face of impending crisis, war and occupied territory I won't be able to visit any time soon.

Andrew Garton
Feb 25, 2025


My brothers and sisters and I grew up with an old suitcase filled with photos from the old world. Every so often it was pulled out from under our parents bed, carefully opened, each photograph a container for stories.

One by one black and white photos would be picked out and placed on the dining table weโ€™d be sat around. Often our father, occasionally our mother would unpack the stories there, every year a little more would be told. These were mostly cherished photos they had brought with them, migrating to Australia on a work visa as displaced, stateless people, survivors of the second of world wars and many conflagrations that preceded it. On my fatherโ€™s side, surviving World War Two was only the most recent of wars and persecution they faced and barely survived. These photos were the only remaining physical evidence of their history beyond Australia, beyond even their own memories.

Many of these photos were taken during the mid to late 1940s in and around a displaced persons camp in Austria. Others were twenty or more years older, three or four of them dating back to the 19th century. The oldest were of my Omaโ€™s family, portals into her world, a visual record of her identity and perhaps something of my own. These were portraits of her parents, her sisters, unknown women, girls and boys, and the one that attracted me the most, a family portrait taken circa 1919.

Ustimenko family
L to R Kseniya, Anna, Elena, Lidiya Ustimenko, circa 1919

My Oma, Elena Alekseyevna Ustimenko is about 18 years old. She stands behind her mother, Anna Ivanovna and her two sisters, Lidiya on the right and Kseniya on the left. This photo was taken at the height of the civil war that brought down Russiaโ€™s dynastic empire whilst laying the foundations for the Soviet Union. Lidiya and Kseniya are playing a strategic naval board game as Anna looks ahead, her face bears the signs of endurance, of her personal losses and what fate has in store for her family. Elena stands behind her, both aware that she and Kseniya will soon flee Leninโ€™s approaching Red Army obliterating families with complex ties to the collapsed Russian Empire and Ukraineโ€™s turbulent history such as theirs.

We had very few photos of my Opa, Andrey Fedorovic Garton. This one, taken in Novi Sad just as Germany invaded Poland, had its own story to tell. But it would take another eighty years before it revealed its own secrets and when it did, both his and Elenaโ€™s photos lead me to Ukraine, first to Crimea and then to its Poltava region.

Andrey Garton
Andrey Garton, Novi Sad, 1939

Both my fatherโ€™s parents were not only born in Crimea, both had Cossack lineages going all the way back to the 17th century and the formation of an independent Cossack led polity, the Zaporozhian Sich in what is now south-eastern Ukraine.

Elena was born in Sevastopol and Andrey was not born in the former Yugoslavia as we had thought, but in Simferopol. These discoveries were, however, bitter-sweet. Both cities are in Crimea which, since 2014, have been forcibly occupied by Russia. I will not be visiting the homeland of my fatherโ€™s parents any time soon.

In February 2022, declaring he would โ€œdenazifyโ€ Ukraine, wannabe Tsar, Vladimir Putin, mobilised his troops along Russiaโ€™s border with Ukraine. Eight years prior Russia invaded Crimea and instigated a proxy war in Ukraineโ€™s Donbas region.

This strange, dangerous man joins a lineage of dictators and tsars who, for more than four centuries have claimed Ukraine as Russiaโ€™s historical homeland, allegedly saving the country from itself. First Catherine the Great extinguished the Zaporozhian Sich in 1775. Then followed the banning of the Ukraine language in 1876 by Tsar Alexander II and the seizure of Kyiv in 1919 by the Bolsheviks. Stalinโ€™s cruel collectivist program lead to the Holodomor in 1932 when millions of Ukrainians died of famine. If this was not enough, in 1937 Stalin personally signed off on the execution of hundreds of Ukraineโ€™s scientists, teachers, writers and other intellectuals including one of my relatives, Pyotr Kirillovich Nechiporenko.

Three years ago the thought of war in Europe seemed distant and frankly, impossible. Then suddenly... it was not! One hundred and two years after Elena and Andrey fled Ukraine it was brutally attacked by the country whose former Red Army and its increasingly skittish and despotic leadership they feared. Russia mounted an invasion of Ukraine and every shocking threat bearing moment was transmitted on an ever expanding number of social media threads. The Internet was awash with shock, alarm, mayhem, video streams of Russiaโ€™s advancing army and Ukraine citizens defending their towns and cities and selfies! A lot of them. Photos would again lead me to my homeland.

Nazar Nebozhenskyi took and published a selfie as he left to defend his country from Russiaโ€™s invasion. Nazar was mortally wounded saving twenty of his fellow Ukrainian soldiers from Russian bombardment. He was 23 years old. Source: @rishcast/Reddit, July 2022
Nazar Nebozhenskyi took and published a selfie as he left to defend his country from Russiaโ€™s invasion. Nazar was mortally wounded saving twenty of his fellow Ukrainian soldiers from Russian bombardment. He was 23 years old.
Source: @rishcast/Reddit, July 2022

As the war intensified, selfies of both Ukraine and Russian soldiers appeared on Twitter, Instagram and Telegram. The war had become personal and individualised. I was looking at faces of men and women forced into battle with one another. These were not the black and white faces of young English, Austrian and Yugoslav combatants long dead I would find in the few dozen photos my parents left Europe with. These were high resolution digital stills of people who only weeks earlier shared selfies of themselves at parties, weddings, on holidays, or at home with their pets. They had taken their curated, social media selves to war. Pets were replaced with machine guns and the latest fashion with flak jackets. Against a background of devastation war was becoming a live, public photo-me-booth.

In April of 2022 photos of another sort emerged. These were of a man with his hands tied behind his back sprawled face down on the pavements and steps leading to some of Moscow's most iconic landmarks.1 Titled ะะบั†ะธั โ€œะ‘ัƒั‡ะฐ-ะœะพัะบะฒะฐโ€ (Action โ€œBucha Moscowโ€) a Russian performance artist had taken to replicating a photo taken of a Ukraine citizen found tortured on the streets of Bucha, what would become known as massacre of civilians, a war crime perpetrated by the Russian military.2 At that time there was little by way of resistance in Russia to the war taking place in their name. Actions such as this one on the Bridge at the Cathedral of Christ the Savior in Moscow remain rare. That it was documented at all and shared internationally even rarer still.3

ะะบั†ะธั โ€œะ‘ัƒั‡ะฐ-ะœะพัะบะฒะฐโ€, Bridge at the Cathedral of Christ the Savior, 5 April 2022

What struck me about this photo and many more like it is how much it reminded me of the internet I knew of former times, an internet that was primarily about coordinating and transmitting physical acts of resistance into the virtual, and how they would spread from one platform to the next, reaching thousands, perhaps hundreds of thousands of people, motivating others to do the same or similar. It was how an international ban on rainforest timbers had been mobilised in the late 1980s, how war crimes in Bosnia Herzegovina and torture in East Timor were recorded, transmitted and shook the outside world. This was an era when a photograph, a media release or a call to action would be stir people to action, to organise and participate in any number of international events from protest, to lobbying and embargoes.

Over thirty years before Action โ€œBucha Moscowโ€ quietly infiltrated social media, a simpler version of the Internet emerged from the firmament of imminent war in the Middle East, the harrowing destruction of ancient forests and fear of a radically changed climate. In the late 1980s through to the early 1990s, no attention-seeking hand-held devices derailed our focus or motivated us to curate our social media selves through violence.

Powerful photographs mobilised protest and international condemnation. These include Napalm Girl, Nick Utโ€™s 1972 photo of nine year old Phan Thi Kim Phuc running down a street naked after being severely burned by a napalm attack, the Penan forest blockades in Sarawak immortalised in the book and film Blowpipes and Bulldozers, and Jeff Widenerโ€™s 1989 photograph of Tank Man, one man with shopping bags confronting a convoy of tanks on Tienanmen Square, China. Would Napalm Girl have the same impact today as it did in 1972?

Today we are saturated with powerful images. But not even the actual photographs of the victims of Russiaโ€™s war crimes in Bucha, least of all our lone protester on the streets of Moscow, stirred Russians to protest what continues to be perpetrated in their name. If Ukraine is, as Putin claimed in his February 21 speech, โ€œan inalienable partโ€ of Russiaโ€™s โ€œown history, culture and spiritual spaceโ€ why destroy it? Why rain missiles into apartment buildings, shopping centres, schools, and why brutalise its people? Can Russians not see the crimes, the contradictions? Was โ€œBucha Moscowโ€ a rare, daring act of protest in a country convinced it should murder its own โ€œspiritualโ€ sisters and brothers? Where is the revolt in Russia itself? Has the wannabe tsar paralysed courage, outrage and dissent?

When 236 Ukrainian refugees arrived in Canada on a special flight from Warsaw in July 2022 they were welcomed by Phan Thi Kim Phuc, the Napalm Girl. Where there is a paucity of revolt in the country perpetrating violence, torture and a war of attrition against its brothers and sisters in Ukraine, there are others the world over who do stand by them.

What else did I learn from my Oma and Opaโ€™s photos?

From the work of courageous and meticulous archivists in Ukraine and elsewhere in Europe, we were to discover that Andrey, a multi-instrumentalist, was playing in Dresden when it was bombed by allied forces. In 1950, when giving a reason for ending his employment so suddenly, he wrote โ€˜FLEDโ€™ on an Application for Assistance. Andrey and his new wife were seeking to migrate from Germany to Canada. Elsewhere on the document a US official presiding over displaced persons in Germany writes, Eligibility established.

Extract from Andrey Garton's Application for Assistance, Germany, September 1950

Itโ€™s Tuesday, 25 February. As I write, three years since the start of the war in Ukraine, peace negotiations are underway, but key discussions exclude Ukrainian representation. The UN General Assembly passes a resolution โ€˜condemning Russiaโ€™s invasion of Ukraineโ€™. Those voting against the resolution include the US, Russia, North Korea, Israel, Belarus and Hungary. As UN media releases spread across social media, Germany announces a new government. Its newly minted Chancellor Friedrich Merz comes out strong in his support of Ukraine distancing Germany from the US now siding with Russia. Other countries in the EU are expected to follow. At around 3 AM EEST Russia launches two TU-95 long range missiles aimed at Ukraine. Explosions are reported in Kharkiv as โ€œpeace negotiationsโ€ continue.

ะฏ ะทะฐ ะฃะบั€ะฐั—ะฝัƒ

Post by a Ukrainian citizen on BlueSky, 25 February 2025


Endnotes

1 Unknown performance artist stages multiple 'silent provocations' at Moscow landmarks to protest the Russian militaryโ€™s massacre of civilians in Bucha, @KevinRothrock/Twitter forwarded from Telegram, 5 April 2022

2 UN report details summary executions of civilians by Russian troops in northern Ukraine, United Nations Media Centre, 7 December 2022 [viewed February 2025]

3 Kishkovsky, S 2022, Russian artist stages protest performance against Bucha massacre, The Art Newspaper, 7 April 2022 [viewed February 2025]

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There was nowhere else to go butย inside

There was nowhere else to go butย inside

There was nowhere else to go butย inside

Ollie Olsen performing with Terminal Quartet, February 2006

On 16 October 2024 musician, composer, visionary and collaborator extraordinaire, Ollie Olsen returned to star dust. Ollie had been a tremendous support and influence to countless. He was greatly respected and loved. We got to know each other over a hectic couple of decades creating sound works, performances and installations in Melbourne, Newcastle and Austria. This is how I came to know about the great man.

Andrew Garton
Oct 25, 2024

Crystalline excretions grew deep underground drip by drop. Timeless. Ancient passageways emerged from glistening rock in all directions. I had been in a reverie of listening and what I heard took me down, way down beneath the Brisbane River where it flowed parallel to Oxlade Drive. Twenty seconds in and a choral-like voice evoked the first tumbling of primal drums accompanying my descent. The pace quickened, and I seemed to be flying into a cavern lit by stars reflected through countless quartz crystals embedded within a nest of barely perceptible shafts riven through bedrock. Then, a voice, as if gouged from coal and ground pestle-like into sentences, emerged from the vast speleogenesis landscape, from the step stomp of beats. Into your mind. The vastness had spoke! Timeless.

This was a strident, self-assured music emanating from everywhere within an ancient, timeless chamber. How it evoked this was as beguiling as finding myself here. And it was here, in the centre of this void of smooth rock and myriad stalactites overhead, a single eye-ball of improbable proportions was suspended. It was big! It blinked and simultaneously I heard a pulse of sorts. A repeating sine wave, hypnotic and primal. Voices invited me to it, the eye. Then! A breath! A pauseโ€ฆ It blinked again. There was no where else to go but inside, to.it, the music, the eye.

I was in my bed. It was late. I had headphones on and listening to Third Eyeโ€™s Ancient Future. An album I would cycle over and over, mesmerised by it, allowing the music to create spaces I imagined beneath me, beneath the weatherboard cottage Iโ€™d spent 14 months in Brisbane in. I was listening to a brooding, yet expansive and seductive electronic music.


Techno had been on the outer periphery of my world of music. Its repetitive beats as meaningless and mournful as the chaotic, senseless wailing Iโ€™d thought punk was about; its social story, its political dimensions as lost on me as were the raves flourishing in forests, warehouses and Brisbaneโ€™s nightclubs. It was 1993. Iโ€™d been living in Brisbane for about a year when I met Kathleen โ€˜BigKโ€™ Williamson. BigK had been photographing a live interpretation of Mary Shellyโ€™s Frankenstein. Frankenwein was performed by the Omniscient Gallery at the former Woolloongabba rubber factory where the then Sydney based musician, David Nerlich and I were performing a live and noisy underscore.

BigK invited me to contribute my bare butt in a polaroid photo series of infamous Brisbane bottoms. At the informal launch of her series BigK introduced me to another of her butt models, local electronic music producer, Andy Bagley. She was eager to have us work together on a play she was involved with.

With our butts having had their 5 minutes of fame behind us, Andy and I agreed to work together on a score for the Brisbane based Debacle Theatre Companyโ€™s interpretation of Anthony Burgessโ€™s A Clockwork Orange. The book was published in 1962, the year I was born. Burgess had written it up as a play in 1987 and it was this reworking of his well known futuristic classic that would be seen for the first time on an Australian stage.

In the weeks that followed Andy and I set to work on music drawing inspiration from Beethovenโ€™s 9th Symphony, Hitlerโ€™s apocalyptic speeches on agricultural productivity and our distinctively individual music making approaches, Andyโ€™s driven by beats and bass riffs and mine by aleatoric melodies, textures and drones.

Our collaboration took place in Andyโ€™s well equipped studio. It housed the most diverse collection of keyboards and synths I had ever seen. Andy had synthesizers from every era of their making and we would use many of them. But first, before we recorded a single note we would get to know each other through the music we listened to at that time. At our first gathering in the studio Iโ€™d brought Andreas Ammer and FM Einheitโ€™s Radio Inferno which remains a thrilling inspiration to me. When it came time for Andy to share his offering he began with a Front 242 album. I recall it being loud, hard and bereft of harmony. I didnโ€™t like it. Then, Andy loaded up Quilombo, the 1991 release from JG Thirwellโ€™s Steriod Maximus project. I was so taken by it I bought a CD of the album the following weekend and listened to it so much I doubt Iโ€™ll listen to it ever again. He then played Third Eyeโ€™s Ancient Future and I was drop-jaw smitten!

Whoโ€™s this, I asked?

This, Andy replied, is Ollie Olsen.

Huh? Ollieโ€ฆ Olsen?

Iโ€™d first heard Ollieโ€™s name in 1980 Iโ€™d when his song Win/Lose appeared on 2JJ; a desperate appeal for sanity amid deranged and uncertain times. I adored its odd shuffle, its angular motion, its weird organ grinder aesthetic. Win/Lose was one of those pieces that changed the way I listened to music and what I would look for in it.


I told Andy that throughout the 1980s Ollieโ€™s trajectories in music somehow found me in many of my own. Bands such as Orchestra of Skin and Bone, Whirlywirld and No would feed my curiosity for this manโ€™s bewildering creativity. But Ollie Olsen writing, producing and releasing techno? On a label of his own making too! At first, it didnโ€™t make sense, but here was a music that was not only infectious it had cadence, harmony, an orchestral kind of approach to its arrangements and it had a dynamism that I could listen to. Yes, I actually could listen to Ollieโ€™s techno as I would Bach or Bowie.

Andy loaned me the album and that evening I rode back to my Newfarm cottage, parked the bike, slid off my helmet and leapt up the wooden stairs, opened the door, changed into shorts and a t-shirt and lay in bed with a pair of headphones plugged into a portable CD player I kept atop a stack of books. I flipped open the player, inserted Ancient Future, pushed down the lid, pressed Play and Repeat. I laid back and closed my eyes.

Just as The Clash and Elvis Costello eventually led me to the wide world of punk, Ollieโ€™s Third Eye tuned my ears to techno that was musical, that had history to its making and a creative dimension Iโ€™d not heard, nor understood before. Here, embedded within Ollieโ€™s Ancient Future, were elements of Stockhausen, Noi, Can, Ligeti, the Mahavishnu Orchestra and Gorecki.

In the years that followed I would dance the fuck out of Ollieโ€™s music and we would work together on any number of projects - Terminal Quartet, Regenerative/Generative, D3 Derive to name but a few - and share in each others deeper thoughts and aspirations, but back then, it was all about laying on my bed in an old Brisbane weatherboard, a crisp evening in 1993 with possums scampering across corrugated iron, fruit bats camped in the trees outside and the Brisbane river nearby as I lay listening, going nowhere else but to Ollieโ€™s third eye suspended there


Terminal Quartet (L-R: Steve Law, Andrew Garton, Ollie Olsen, John Arthur Grant) Make it up Club, March 2005.
Photo by Justina Curtis

Rest in Love Ollie.

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The wonder of the Blacksmiths Tree

The wonder of the Blacksmiths Tree

The wonder of the Blacksmiths' Tree

The Blacksmithsโ€™ Tree [Video Still: Michael Wilkins]

My story with the Blacksmithsโ€™ Tree began in 2011. Its own story began in 2009, but if truth be told it began much earlier than that.

Sometime between 2558 and 2532 BC, ancient Egyptians of the Old Kingdom build the oldest known sculpture in Egypt, The Great Sphinx of Giza. We know it was carved out of bedrock, but how and for what reason is lost to us as might have been the Sphinx itself were it not for centuries of restoration, its distinct features once buried under sand. But in AD 1378 its long beard and one-metre wide nose were chiselled off by a religious zealot when he observed commoners offering gifts and salutations to the mighty rock. According to Arabic historians, he was hung for his vandalism.

In 280 BC, over 2000 years since the Sphinx emerged from a single piece of stone, a statue of the Greek Sun God Helios was erected in the City of Rhodes. The Colossus of Rhodes was said to have stood 33 metres high, celebrating the tumultuous victory of Rhodesโ€™ over the ruler of neighbouring Cyprus. The tallest statue of the ancient world collapsed during the earthquake of 226 BC. Parts of it remain to this day, but it was never rebuilt.

On July 20, 1969, the first human stepped foot on the Moon. It took just under 10 years of a massive scientific and engineering undertaking to not only breach the Earthโ€™s gravity but to reach the Moon and return three astronauts safely back to Earth. The mission was driven by a yearning to outflank the Soviet Unionโ€™s efforts, who had themselves thrown the first satellite, then a dog and finally a man into orbit around the Earth.

As incredible as these and other human achievements have been, as far-reaching the technologies that led us here, it did not take the posturing of powerful kingdoms nor their gods, or the celebration of war and the craving for power it underscores, nor had it taken political avarice and cold war theology to motivate a small group of artisans, blacksmiths and welders, engineers and volunteers to create what now stands 9.8 meters tall in Strathewen, one of several townships affected by the 2009 Black Saturday fires in Australia.

In the 21st Century, the makers of the Blacksmithsโ€™ Tree show us that human ingenuity need not be driven by magical thinking, by war and political ambition. It can come to us all by serving our community needs, through collaborative outreach and actionโ€ฆ and love. It is this that we may learn from the Blacksmithsโ€™ Tree, that we can come together, today, tomorrow and the days ahead to remake the way we live here on planet Earth. And we do so so that our children and their childrenโ€™s children may live long, well and safe because this stainless steel Tree, unlike the Sphinx and the Colossus of Rhodes, may, if politicians continue to falter in their responsibilities, this the Blacksmithsโ€™ Tree may well be the last tree standing. But for now, it isnโ€™t and how it came about and what it means to us all is the story I tell in my film, Forged from Fireโ€Šโ€”โ€Šthe Making of The Blacksmithsโ€™ Tree.

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