Category: The Conversation – Global Perspectives

Source: The Conversation – Global Perspectives – By Adam Simpson, Senior Lecturer in International Studies in the School of Society and Culture, Adelaide University

Japanese Prime Minister Sanae Takaichi has delivered her Liberal Democratic Party (LDP) a landslide victory in the parliamentary elections she called shortly after taking office.

Now that she has consolidated her power in Japan’s legislature (called the Diet), the big question is what she will do with it.

Since her ascent to the prime ministership in a parliamentary vote in October, the ultra conservative Takaichi has upended the normally staid Japanese political system.

She has connected with younger voters like no other Japanese leader in recent history with her savvy social media presence, iconic fashion sense and diplomatic flair. (In a literal rock-star moment, she showed off her drumming skills in a jam session with South Korea’s leader.)

Takaichi has cannily taken advantage of the honeymoon phase of her leadership by calling a snap election to gain more power in the Diet before there’s a dip in her popularity.

However, voters will now expect to see a return on their investment, and Takaichi faces the much more daunting task of delivering on her promises. Improving living standards in a country with a rapidly shrinking workforce and ageing population without mass immigration will test her political skills much more than winning an election.

An unlikely election victory

Although Takaichi’s LDP has been in government for most of Japan’s post-war history, it has recently experienced a string of poor election results.

In 2024, it lost the lower house majority it held with its then-coalition partner, Komeito, after a series of corruption scandals. Then, last year, the coalition lost its majority in the upper house, leaving the government hanging by a thread.

The party began its remarkable turnaround following then-Prime Minister Shigeru Ishiba’s resignation in September in the wake of those electoral setbacks.

Many pre-election polls predicted a sizeable victory for the LDP and its new coalition partner, Nippon Ishin (the Japan Innovation Party). Takaichi also received a boost with an endorsement from US President Donald Trump. Although the Japanese public views Trump unfavourably, they also know the US is their ultimate security guarantor against China, in addition to Japan’s largest export destination.

Nevertheless, there were some doubts about whether Takaichi’s popularity, particularly among younger voters, would translate into votes.

In the end, her electoral gold dust rubbed off on the rest of her party. Despite freezing temperatures and record snow in places, the LDP has been comfortably returned to office with a vastly increased majority in the lower house. The coalition now has a two-thirds super-majority, which means she can override the upper house to push through her legislative agenda.

A more assertive posture on China?

Since becoming prime minister, the hawkish Takaichi has taken an assertive position towards China.

In November, she angered Beijing by saying Japan could intervene militarily to help protect Taiwan in the face of a potential Chinese invasion. This resulted in vicious Chinese attacks on Takaichi that continued into the new year.

While the Japanese public is divided over whether to come to Taiwan’s aid in any conflict with China, there is now strong support for Takaichi’s pledge to increase the defence budget to 2% of GDP by this March, two years ahead of schedule.

In December, the Cabinet approved a 9.4% increase in defence spending to achieve this objective, focusing on domestic production and advanced capabilities (cyber, space, long-range strikes).

In response to rising threats from China, North Korea and Russia, Takaichi’s government also plans to revise Japan’s core security and defence strategies this year.

Economic woes front and centre

As much as defence matters, Takaichi will ultimately be judged by the public when it comes to economic policy.

The public is increasingly concerned about rising inflation and stagnant wages leading to falling living standards.

A vivid illustration of this: the price of rice has doubled since 2024, hitting a new high last month. Public anger over rising rice prices even brought down the farm minister last year.

Inflation has been above the Bank of Japan’s 2% target for 45 straight months. And though nominal wages have recently picked up, real incomes have been decreasing for the last four years.

Takaichi has made tackling the cost of living a priority. She has vowed to suspend Japan’s 8% food tax for two years. And last year, her government announced a massive US$135 billion (A$192 billion) stimulus package, including subsidies for electricity and gas bills.

However, these policies will increase the government’s budget deficit, adding to the country’s already sky-high public debt levels.

And last month, Japanese government bond prices collapsed after Takaichi called the election, with the markets predicting a LDP win would result in looser fiscal policy and higher government debt.

The Bank of Japan is unlikely to intervene to support the bond market in any future crisis, which will leave the government with higher borrowing costs, further increasing public debt.

Japan also faces enormous challenges related to its shrinking population and workforce.

It is too early to know whether Takaichi has the answers to these challenges. But she now has the power, authority and freedom to boldly pursue her policy agenda. Now she will need to deliver the kind of change the electorate expects.

Adam Simpson does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Japan’s rock star leader now has the political backing to push a bold agenda. Will she deliver? – https://theconversation.com/japans-rock-star-leader-now-has-the-political-backing-to-push-a-bold-agenda-will-she-deliver-274015

Source: The Conversation – Global Perspectives – By Rebecca Van Amber, Senior Lecturer in Fashion & Textiles, RMIT University

There’s a peculiar ritual in many kitchens: reaching past the crisp, pristine tea towel hanging on the oven door to grab the threadbare, slightly greying one shoved in the drawer.

We all know that old faithful dries dishes better, even if we can’t quite explain why. It seems counter-intuitive – shouldn’t brand new towels, fresh from the packaging, outperform their worn-out predecessors?

Yet here we are, instinctively choosing the frayed over the fresh.

This isn’t just kitchen superstition. There’s genuine science behind why your tea towels actually improve with age, and understanding it might change how you think about all your household textiles.

The science of soaking it up

Tea towels are typically made from cotton or linen fibres, chosen specifically because these natural cellulose fibres are inherently hygroscopic, or water-loving.

But fibre type alone doesn’t determine how well your towel performs. A textile’s absorption is the result of a complex interplay between fibre, yarn, fabric structure, and any finishes applied during manufacturing.

Textiles absorb and hold water in two key places: within the fibre structure itself, and in the spaces between fibres and yarns. This is why fabric structure matters so much.

Think about bath towels – when was the last time you used a smooth, thin one? Bath towels are typically thick terry pile construction with lots of small loops on the surface. These loops dramatically increase surface area, allowing water to be easily wicked into the fabric.

Tea towels come in various constructions: plain weave, twill weave, waffle cloth, or terry. Plain weave towels – the kind you see with printed designs – require a smooth surface for clean, crisp screen printing.

Waffle cloth, which looks exactly as its name suggests, has a three-dimensional texture that makes it incredibly effective. Like with terry towels, this structure increases surface area and enhances water absorption.

Why old beats new

So what makes your battered old tea towel superior to its pristine replacement? Three key factors are at play.

Silicone finishes. Many brand-new textiles arrive coated in silicone softeners that provide softness and wrinkle resistance, making them appealing on store shelves.

But here’s the catch: these same finishes are often water resistant. Your brand new tea towel may literally have a water-repellent coating. The fix is simple – always wash new tea towels in hot water before first use.

The impact of laundering. Fabrics undergo significant changes during their first several washes – typically up to six cycles. During manufacturing, whether knitted or woven, fabrics are held under tension. Washing causes the yarns to relax in what’s called “relaxation shrinkage”, reverting to their natural, tension-free state. Industry typically tolerates up to 5% shrinkage.

Here’s where it gets interesting: while your tea towel’s dimensions may shrink slightly, its mass stays the same, meaning the fabric becomes thicker and denser. In waffle weave towels, this shrinkage can make the three-dimensional texture more pronounced, increasing surface geometry and absorption. This phenomenon has been documented in terry bath towels, as well.

Fabric ageing. Repeated washing and drying causes minor surface damage that actually improves performance. Small fibres gradually raise up from the fabric surface, creating a fluffier, “hairier” texture.

Really smooth tea towels aren’t very absorbent because water struggles to wet the surface – it can almost bead up due to the contact angle between water and the smooth fabric.

But as washing raises more fibres off the surface making a “rougher” textile, the contact angle decreases, making the fabric easier to wet. Waffle fabrics, with their irregular surfaces, are inherently more absorbent from the start due to favourable contact angles.

In short: washing leads to more surface texture, leading to better absorption.

Not just tea towels

The real revelation here isn’t just about tea towels – it’s about how we think about textiles in general.

That “worn in” feeling we associate with our favourite bath towels, tea towels and even bed linens isn’t just nostalgia. Many of our home textiles are genuinely performing better after repeated laundering, having shed their factory finishes and relaxed into their true structure.

So before you send your old tea towels off for recycling to replace with new ones, remember: those frayed edges and faded patterns represent months of your towel becoming exactly what it was meant to be.

And when you do buy new household textiles, wash them at least once before using to remove any residual finishes.

Rebecca Van Amber is a chartered member of The Textile Institute.

– ref. Why are new tea towels worse at drying dishes than older ones? – https://theconversation.com/why-are-new-tea-towels-worse-at-drying-dishes-than-older-ones-271852

Source: The Conversation – Global Perspectives – By Larissa Hjorth, Professor of Mobile Media and Games., RMIT University

The recent murders of Minneapolis residents Alex Pretti and Renee Nicole Good are drawing renewed attention to the activities of United States Immigration and Customs Enforcement (ICE) agents.

While they are not the only people to have been killed by ICE agents, first-hand videos of the events of their death have made us all witness to the extreme violence being carried out in the US.

Multiple versions of the footage went viral globally, capturing the world’s palpable sense of injustice. These videos demonstrate how mobile media is transforming each of us into a new kind of witness to suffering.

We need to find new ways to process such collective trauma and channel it toward meaningful action.

Why some deaths grip the world

Every day, we are exposed to loss, grief and death through our mobile phones. The distance between the participant and the observer – between the mourner and the witness – collapses. This is what scholars call “affective witnessing”. The rise of social media, body cam technology and surveillance media have all driven this phenomenon.

As we watch viral footage of tragic events, the boundaries between the emotions of the recording witness and our own merge. We feel their grief in our bodies, and become witnesses by extension.

All witnessing is “affective” – meaning it stays in our bodies, hearts and minds. But there is a particular intensity that comes with mobile media witnessing, since our phones live in our pockets, in an especially intimate space we can’t always distance ourselves from.

Cultural studies scholar Judith Butler notes that in the case of war and violence, grief is not just personal – it’s social, cultural and political. Butler argues that when grief goes public (such as through social media), inequalities are magnified. Some losses become more visible and “grievable” than others.

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Read more:
Images from Gaza have shocked the world – but the ‘spectacle of suffering’ is a double-edged sword

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In recent years, we have increasingly witnessed through social media what death researcher Darcy Harris calls “political grief”.

Political grief encompasses the collective loss and mourning felt by communities facing systemic injustice (including non-death related). It can take the form of emotional, psychological and spiritual distress arising from certain events, policies, and ideologies.

All of the violent ICE incidents reported in the US are deeply embedded in a sense of political grief being felt across the world. They prompt the lingering question: “Is this the future of the world?”

From text messages to TikTok

From its outset, mobile media has played an important role in making political grief visible and providing systems for collective action.

From its 2G beginnings, mobile media has been used in “people power” political revolutions. For instance in 2001, text messaging was used in the Philippines to mobilise protesters to demand the removal of then president Joseph Estrada.

More recently, footage of the 2020 murder of George Floyd by the Minneapolis police had global ramifications. As cultural studies scholars Andrew Brooks and Michael Richardson note, the affected body of the Floyd witness who filmed the video represents

both the intensity of the event and the embodied experience of the witness, establishing a relation between the two.

Brooks and Richardson call this “embodied affective witnessing”, whereby the victim, the first-hand witness and their online audience all become implicated.

At the same time, mobile media can be a weapon when used by a state as a form of surveillance technology.

What do we do with what we can’t unsee?

In a space where the distance between mourner and witness is vanishing, digital “grief literacy” is needed.

Psychologist Lauren Breen and colleagues describe this as finding ways to identify and normalise respectful conversations about grief, mourning and loss that connect to hope and social change.

In the context of distressing ICE footage, this could look like

• pausing before re-sharing graphic material, and considering who might be affected
• seeking out safe spaces for processing political grief
• channelling distress into tangible real-world action, such as contacting politicians, or supporting affected families.

We also need to understand that we all grieve differently. For two years, we have been investigating how everyday Australians explore grief, loss and mourning via mobile media.

Through interviews with mourners and field experts, we’ve encountered stories ranging from personal bereavement to collective non-death loss, such as ecological grief and political grief.

Many of the people we interviewed developed their own social media strategies to cope with loss on personal and collective scales.

Some chose not to share footage out of concern for their own wellbeing, respect for victims’ dignity, or due to scepticism over what positive real-world impact re-sharing would have.

Others engaged in thoughtful sharing to create spaces for understanding, hope and activism.

But sorting through these feelings shouldn’t fall entirely on individuals. Ultimately, we need better media grief literacy, and ways to hold complex public discussions that address how grief may be dealt with on both an individual and collective level.

Larissa Hjorth is an Australian Research Council Future Fellow (The Mourning After: Grief, witnessing and mobile media practices, FT220100552).

This research is funded by Larissa Hjorth’s Australian Research Council Future Fellowship, The Mourning After. Katrin Gerber is a Research Fellow on this study.

– ref. How watching videos of ICE violence affects our mental health – https://theconversation.com/how-watching-videos-of-ice-violence-affects-our-mental-health-275217

Source: The Conversation – Global Perspectives – By Emma Palmer, Lecturer in International Law, Griffith University

Just four months ago, Timor-Leste formally became a member of the Association of Southeast Asian States (ASEAN).

This week, the tiny country took an unprecedented step: its judicial authorities appointed a prosecutor to examine the Myanmar military’s responsibility for war crimes and crimes against humanity. It’s believed to be the first time an ASEAN state has taken such an action against another member.

The case resulted from the persistence of a victims’ group, the Chin Human Rights Organisation, in pursuing justice for the Chin people, a minority group in Myanmar. In submitting the complaint, the head of the organisation expressed solidarity with Timor-Leste’s own historic efforts to secure justice and independence.

Timor-Leste authorities will now assess whether to bring charges against Myanmar’s military leaders, including junta chief Min Aung Hlaing.

Any prosecutions would be on the basis of “universal jurisdiction”. This is a legal principle that allows domestic courts to hear cases alleging international crimes, regardless of where the crimes occurred, or the nationality of the victims or perpetrators.

Limitations of international courts

This week, a major study of 23 conflicts around the globe said the international legal system designed to protect civilians is at a “breaking point”. Observers are also asking whether the United Nations has any future at all.

It has long been clear that international courts have limited efficacy in prosecuting cases of war crimes and crimes against humanity.

Critics argue the International Criminal Court (ICC) has engaged in selective prosecutions, is too slow and has weak enforcement powers. In the past 20 years, the court has heard 34 cases and issued just 13 convictions.

However, proponents of the court say it has been unfairly maligned and targeted, including by the Trump administration, which imposed sanctions on it last year.

The International Court of Justice (ICJ), meanwhile, can hold states accountable for crimes, but not individuals.

Both the ICC and ICJ have investigations underway on Myanmar, but they deal with crimes allegedly committed against the Rohingya minority group before the coup. The ICC case covers incidents committed partly in Bangladesh.

The ICC’s chief prosecutor asked the court’s judges to issue an arrest warrant for Min Aung Hlang in November 2024. More than a year later, a decision has yet to be made.

Challenges for domestic courts

In this environment, universal jurisdiction could play a more important role. The United Nations has implicitly recognised this by establishing investigative mechanisms for Syria and Myanmar that gather evidence for future prosecutions in domestic, regional or international courts.

Many states have laws that allow them to prosecute international crimes like torture, genocide or war crimes. What is lacking are resources to fund investigations and transparent criteria or guidelines for how to undertake them.

There are other challenges once cases are underway, too. For one, domestic courts have limited reach. Arrests are difficult, as high-level officials can rely on diplomatic immunity or just avoid the countries where they believe they could face prosecution or extradition.

Prosecuting even lower-level or mid-level perpetrators can be politically awkward. Cases can be expensive and practically difficult, especially when witnesses and evidence are mostly overseas.

The scale and complex nature of these crimes can also be challenging for domestic criminal courts that have limited experience with them.

And if trials go ahead, victims can still find justice elusive, even if the cases have broader strategic or symbolic aims.

Still, there have been successes. Nearly 10 years ago, the former president of Chad, Hissène Habré, was convicted of international crimes in Senegal. The case was tried using universal jurisdiction, driven by civil society networks.

More countries need to step up

This latest initiative in Timor-Leste comes after victim groups have tried many different countries to seek justice for the people of Myanmar. This includes Argentina, where arrest warrants were issued for Myanmar’s leaders, Turkey, and Germany.

In the Asia-Pacific, lawyers have also attempted to bring cases in Indonesia and the Philippines.

While European countries are increasingly using universal jurisdiction to prosecute crimes, other countries have been less keen to take these cases on. For instance, some suggest Canada and Australia could do more to investigate war crimes cases, even though they both have the laws in place to do so.

This just leaves the heavy lifting of prosecutions to others, possibly in courts with more limited resources.

With atrocities continuing to be committed around the world, it’s become more vital than ever for governments to not just back international justice with strong words, but show a real commitment to investigating them at home.

Associate Professor Emma Palmer is the recipient of an Australian Research Council Australian Discovery Early Career Award (project number DE250100597) funded by the Australian Government. The views expressed herein are those of the author and are not necessarily those of the Australian Government or Australian Research Council. She is also affiliated with the Association of Mainland Southeast Asia Scholars.

– ref. With international law at a ‘breaking point’, a tiny country goes after Myanmar’s junta on its own – https://theconversation.com/with-international-law-at-a-breaking-point-a-tiny-country-goes-after-myanmars-junta-on-its-own-275089

Source: The Conversation – Global Perspectives – By Beatriz Carbajal-Carrera, Lecturer in Spanish and Latin American Studies, University of Sydney

Bad Bunny is on a roll. Among the three wins at the 68th Grammy Awards, DeBÍ TiRAR MáS FOToS (I should have taken more pictures) became the first Spanish-language record to win Album of the Year. On Sunday, Bad Bunny will be the first Latino and Spanish speaking artist to perform as solo headliner at the Super Bowl halftime show.

Born Benito Antonio Martínez Ocasio, and raised in Borinquen (the Taíno-language name for Puerto Rico), Bad Bunny’s life and music has been marked by political, social and economic crises affecting the archipelago: government corruption, failing infrastructure and debt.

Bad Bunny has used his voice to protest in both his music and public statements against national crises and the ongoing effects of colonialism, while celebrating Latinx and Puerto Rican identities.

Bad Bunny started posting songs on SoundCloud in 2016. In 2018, he released his first album, X 100PRE. Sung in Spanish, the album reached number 11 on the Billboard charts.

His third album, 2020’s El último tour del mundo (The Last World Tour), became the first Spanish-language album to reach number one in the Billboard charts. His fourth record, 2022’s Un Verano Sin Ti (A Summer Without You) also topped this chart, this time for 13 weeks.

DeBÍ TiRAR MáS FOToS stands out against Bad Bunny’s previous albums for its focus on Puerto Rican identity and ongoing fight against colonisation. This is reflected in the album through national symbols, genres and, of course, language. Bad Bunny addresses these themes through companion videos explaining central aspects to the collective memory of Puerto Rico.

In the current climate in the United States of interventionism and mass deportations, DeBÍ TiRAR MáS FOToS has made the domestic Puerto Rican experience resonate among global audiences.

Language and genre

Puerto Rico is an unincorporated territory that belongs to the US, and Puerto Ricans are US citizens, but the territory is not counted as one of the country’s states. The US exerts control over the military, politics and economy of the archipelago.

Spanish plays a complex role in Puerto Rico, as a colonial language that was imposed in the archipelago. More recently, Spanish has been embraced as a resistance to English dominance.

Bad Bunny speaks Puerto Rican Spanish, which combines influences from indigenous Taíno language, African languages, Spanish and English. Studies have found Spanish speakers may consider this variety as incorrect because its characteristics are seen as distant from the Castilian Spanish norm: perceptions anchored in colonial ideologies that privilege Castilian Spanish.

Among other genres, Bad Bunny sings reggaeton, a Caribbean genre that draws on Jamaican dancehall, American hip-hop and Dominican Republic dembow.

Reggaeton is popular music with underground roots and explicit lyrics. In the 1990s, Puerto Rican reggaeton was subject to government prosecution (including confiscation, fines and negative media campaigns) due to its alleged obscenity. That did not stop its increasing popularity among young audiences in the Caribbean, and beyond.

The international popularity of reggeaton artists such as Don Omar, Daddy Yankee, Young Miko, Ozuna and Bad Bunny has changed the perception of Puerto Rican Spanish from a history of deficit views to more social prestige. In the past, the distance from the Castilian Spanish norm was considered something negative, but there is now a strong interest among students of Spanish to learn this variety.

Fluid use of language

Bad Bunny’s language does not reflect a purist vision of language with rigid boundaries. Instead, he embraces a creative use of language with fluid boundaries.

The Puerto Rican slang Bad Bunny uses on DeBÍ TiRAR MáS FOToS features numerous Anglicisms, or words borrowed from English – a feature of Puerto Rican Spanish.

He uses unadapted borrowings – such as the words shot, pitcher, flashback, follow, blondie, glossy, brother, bestie, eyelash, underwater and movie. And he also uses hybrid realisations, compound words that combine English and Spanish components such as janguear (adapted from the English “hang out”), girla (girl), ghosteó (ghosted), stalkeándote (stalking) and kloufrens (close friends).

Bad Bunny embraces his Puerto Rican identity in the pronunciation of lyrics and in public commentary. For example, he pronounces the letter “r” as the letter “l” in songs like NUEVAYoL (New York) and VeLDÁ (Truth).

The letter “l” becomes a strong identity feature of NUEVAYoL when compared to other iconic renditions to the city, such as from Frank Sinatra.

By using his voice to celebrate characteristics of Puerto Rican Spanish previously not perceived as prestigious, Bad Bunny is contributing to the values of linguistic diversity and fighting language ideologies inherited from colonialism.

Music as defiance

The way Bad Bunny uses language has been described as an act of defiance and survival. Bad Bunny does not break down language and make it easier for listeners. Rather, listeners have to make the effort of decoding it.

Notably, the lexicographer Maia Sherwood Droz created a Spanish dictionary for DeBÍ TiRAR MáS FOToS, including definitions of words, phrases and cultural references to decode the meanings in the album.

In an album loaded with references to the ongoing fight to preserve Puerto Rican identity, he evokes community symbols of “pitorro de coco” (homemade clandestine rum) to “la bandera azul clarito” (the light blue flag, referring to a 1895 Puerto Rican emblem.

When accepting an award at the Grammys, Bad Bunny said:

We’re not savage. We’re not animals. We’re not aliens. We are humans, and we are Americans.

Bad Bunny’s acceptance speech is explicitly rejecting dehumanisation in a ceremony where, finally, music in language other than English and, importantly, in Puerto Rican Spanish, was honoured and celebrated as the best album of the year.

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Beatriz Carbajal-Carrera does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Who is Bad Bunny? Why the biggest music star in the world sings in Puerto Rican Spanish – https://theconversation.com/who-is-bad-bunny-why-the-biggest-music-star-in-the-world-sings-in-puerto-rican-spanish-274965

Source: The Conversation – Global Perspectives – By Alexander Howard, Senior Lecturer, Discipline of English and Writing, University of Sydney

Martin Scorsese’s Taxi Driver turns 50 this month. Nominated for four Oscars and winner of the Palme d’Or at the 1976 Cannes Festival, Scorsese’s searing, hallucinatory portrait of urban alienation is widely regarded as one of the most important American films of all time.

It is also unquestionably one of the most troubling.

Taxi Driver channels the anger, paranoia and alienation of an American decade shaped by economic decline, imperialist violence and political scandal. Set in the dilapidated squalor of a rapidly deindustrialising New York, the film proffers a forlorn portrait of a society coming apart at the seams.

At its heart sits a deeply unsettling vision of masculinity, bound up in racism and misogyny.

The social and psychological forces Taxi Driver brought into focus have not disappeared. If anything, they have simply migrated – finding new expression in digital cultures shaped by the platforming of grievance, aesthetised resentment and the monetisation of male rage.

American existentialism

Travis Bickle (portrayed with unnerving intensity by Robert De Niro) was the creation of screenwriter Paul Schrader, who drew heavily on his own experiences of isolation and emotional crisis. Schrader also looked to literature for inspiration, citing Fyodor Dostoevsky’s misanthropic Underground Man as a formative influence.

In placing the European existential hero in an American context, said Schrader:

you find that he becomes more ignorant, ignorant of the nature of his problem. Travis’ problem is the same as the existential hero’s, that is, should I exist? But Travis doesn’t understand that this is his problem, so he focuses it elsewhere: and I think that is a mark of the immaturity and the youngness of our country.

Schrader also drew on contemporary events, including the attempted assassination of right-wing politician George Wallace by Arthur Bremer. The result was a character who crystallised the violent confusions of the era.

Like Bremer, Travis keeps a diary. We see him writing in it at various points in the film and we hear excerpts from it in voiceover:

All the animals come out at night. Whores, skunk pussies, buggers, queens, fairies, dopers, junkies, sick, venal. Someday a real rain’ll come and wash all this scum off the streets.

Travis, a decidedly unreliable narrator who claims to have served in Vietnam, takes a job as a taxi driver because he has trouble sleeping. Working almost exclusively at night and wound impossibly tight, he rides through the city in a state of heightened unease.

One morning, after clocking off from a long shift, he notices a young woman through the window of a midtown Manhattan office. This is Betsy (Cybill Shepherd), an ambitious campaign worker employed by a presidential hopeful Charles Palentine (Leonard Harris).

Betsy quickly becomes the object of Travis’s fixation. He begins loitering in his cab outside her workplace, watching her from a distance. Eventually, he somehow persuades her to go on a date with him. It does not go well.

Socially inept, Travis’ idea of a good time is a trip to a Times Square porno theatre. He appears genuinely baffled when Betsy decides she has had enough and storms out, cutting off all contact with him. This only deepens Travis’ indignation and culminates in an angry confrontation at Betsy’s office, where he berates her in front of her coworkers.

Travis starts to spiral, confessing to a fellow cabbie that he’s got “some bad ideas” in his head. He settles on a plan of action. His diary entries become even more ominous.

He starts working out obsessively, loads up on guns and plots the public assassination of Betsy’s boss. Political violence becomes a way of giving shape to his discontent, transforming indignation into a pipe dream of historical consequence. He practices shooting in front of the mirror in his dingy apartment.

De Niro’s improvised line, “You talkin’ to me”, became (to borrow from film scholar Amy Taubin) “arguably the most quoted scene in movie history”.

When his plan to murder Palantine collapses, Travis redirects his attention to Iris, a 12-year-old sex worker played by Jodie Foster. He decides he must “help” her get away from her pimp, believing himself morally just. Carnage ensues – so ferocious that it initially led to the film being refused a commercial rating.

It ends on a bleakly ironic, ambiguous note.

A dark afterlife

Taxi Driver divided critics but proved an immediate hit with viewers.

Its disquieting power did not diminish with time; if anything, the film’s afterlife has been almost as troublesome as the work itself.

In 1981, John Hinckley Jr. – who had become obsessed with the film – attempted to assassinate Ronald Reagan in an effort to impress Jodie Foster. This incident shook Scorsese, who briefly considered giving up filmmaking altogether.

Travis Bickle has been repeatedly elevated to the status of anti-hero. The character has cast a long cultural shadow, most obviously in Todd Phillips’s Joker (2019).

A 2025 documentary series reflecting on Scorsese’s career returns to this question of legacy. Director Rebecca Williams puts it to Schrader that she gets the impression that “there are a lot of Travis Bickles, especially right now.” Schrader’s reply is blunt:

They’re all talking to each other on the internet. When I first wrote about him, he was talking to nobody. He really was, at that point, the Underground Man. Now he’s the Internet Man.

It is a sobering thought.

Alexander Howard does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Taxi Driver at 50: Martin Scorsese’s film remains a troubling reflection of our times – https://theconversation.com/taxi-driver-at-50-martin-scorseses-film-remains-a-troubling-reflection-of-our-times-261662

Source: The Conversation – Global Perspectives – By Darius von Guttner Sporzynski, Professor of History, Australian Catholic University

A new evolutionary study has found human penises are large compared with other primates: for two reasons. The first is reproduction. The second is that size works as a signal, attracting potential mates and intimidating rivals. In evolutionary terms, the penis is big because it is meant to be noticed.

That finding lands awkwardly in a world that has spent centuries hiding, shrinking, censoring or symbolically neutralising the penis whenever it becomes too visible.

A single object captures this tension between biological display and cultural embarrassment: the fig leaf.

The fig leaf’s story begins, as so many Western stories do, in Genesis. Adam and Eve eat from the tree of knowledge, realise they are naked, and stitch fig leaves together to cover themselves. Nakedness becomes linked with moral awareness, guilt and self-consciousness.

Nudity no longer neutral

Early Christian art absorbed this lesson. In late antique mosaics and medieval manuscripts, Adam and Eve clutch leaves over their groins with a mixture of alarm and regret. Nudity is no longer neutral. It signals sin, punishment, or humiliation. The only bodies shown naked are the damned.

Then comes a sharp reversal. Ancient Greek and Roman sculpture, rediscovered in Renaissance Italy, presents the naked male body as strong, balanced, and admirable. Heroes, gods, and athletes are unclothed because they have nothing to hide. Their genitals are visible, proportioned, and unremarkable. This is not erotic display so much as confidence made stone.

Michelangelo’s David sits squarely in this tradition. Carved between 1501 and 1504, he is naked, alert and physically present. His body is not idealised into abstraction. It is specific, human, and unmistakably male. Florentines reportedly threw stones when the statue was first installed. Before long, authorities added a garland of metal fig leaves to protect public sensibilities, which remained in place until around the 16th century.

This was not an isolated decision. Over the next century, the Reformation fractured Christian Europe, giving birth to Protestantism, and the Catholic Church doubled down on moral discipline. Naked bodies in art became political liabilities. The Council of Trent’s decrees on religious imagery reflected concerns that the prominent display of naked bodies in sacred art risked drawing attention to human physicality rather than directing devotion towards God. This led to what later historians have called the “Fig Leaf Campaign”.

Across Rome and beyond, sculpted genitals were chipped away, painted over, draped, or concealed with leaves. Michelangelo’s Last Judgement in the Sistine Chapel was altered after his death by Daniele da Volterra, who was hired to cover up visible genitalia with drapery. He earned the nickname “the breeches maker” for his efforts.

Classical statues in the Vatican acquired permanent marble underwear. A literal drawer of removed stone penises is rumoured to have existed. Whether or not that is true, the impulse behind it certainly was.

Strikingly, the fig leaf does not erase the penis. It points to it. The cover announces the presence of something that must not be seen. As several writers note, concealment tends to sharpen attention rather than dull it. The fig leaf becomes a visual alarm bell.

Resisting biology

This brings us back to the present. The new evolutionary research argues human penis size evolved partly because it is visible.

For most of our species’ history, before clothes, the penis was on display during daily life. It became a cue others learned to read quickly and unconsciously. Larger size was associated with attractiveness and with competitive threat.

From that perspective, centuries of fig leaves look less like moral refinement and more like cultural resistance to biology. The body insists on signalling. Society keeps trying to mute the signal.

Victorian Britain provides a late and almost comic example. When Queen Victoria was presented with a plaster cast of David, in around 1857, a detachable fig leaf was hastily produced and kept on standby for royal visits.

The leaf survives today, displayed separately in the Victoria and Albert Museum. The statue stands naked again, but the object designed to hide him has become a museum piece in its own right.

Even now, museums still debate whether to remove historic coverings. Social media platforms struggle to define what kinds of nudity are acceptable. Statues are boxed up for diplomatic visits. The anxiety persists, even if the fig leaf itself has become unfashionable.

Evolutionary biology suggests the human penis became prominent because it mattered socially – but our cultural history shows centuries of effort devoted to pretending it does not. The fig leaf sits at the centre of this contradiction: a small, awkward object carrying an enormous cultural load.

Darius von Guttner Sporzynski does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. The penis evolved to be noticed – but the artful fig leaf has hidden it for centuries – https://theconversation.com/the-penis-evolved-to-be-noticed-but-the-artful-fig-leaf-has-hidden-it-for-centuries-274286

Source: The Conversation – Global Perspectives – By Wellett Potter, Senior Lecturer in Law, University of New England

Would you create an interactive “digital twin” of yourself that can communicate with loved ones after your death?

Generative artificial intelligence (AI) has made it possible to seemingly resurrect the dead. So-called griefbots or deathbots – an AI-generated voice, video avatar or text-based chatbot trained on the data of a deceased person – proliferate in the booming digital afterlife industry, also known as grief tech.

Deathbots are usually created by the bereaved, often as part of the grieving process. But there are also services that allow you to create a digital twin of yourself while you’re still alive. So why not create one for when you’re gone?

As with any application of new technology, the idea of such digital immortality raises many legal questions – and most of them don’t have a clear answer.

Your AI afterlife

To create an AI digital twin of yourself, you can sign up for a service that provides this feature, and answer a series of questions to provide data about who you are. You also record stories, memories and thoughts in your own voice. You might also upload your visual likeness in the form of images or video.

The AI software then creates a digital replica based on that training data. After you die and the company is notified of your death, your loved ones can interact with your digital twin.

But in doing this, you’re also delegating agency to a company to create a digital AI simulation of yourself after death.

From the get go, this is different to using AI to “resurrect” a dead person who can’t consent to this. Instead, a living person is essentially licensing data about themselves to an AI afterlife company before they’ve died. They’re engaging in a deliberate, contractual creation of AI-generated data for posthumous use.

However, there are many unanswered questions. What about copyright? What about your privacy?. What happens if the technology becomes outdated or the business closes? Does the data get sold on? Does the digital twin also “die”, and what effect does this have for a second time on the bereaved?

What does the law say?

Currently, Australian law doesn’t protect a person’s identity, voice, presence, values or personality as such. In contrast to the United States, Australians don’t have a general publicity or personality right. This means, for an Australian citizen, there’s currently no legal right for you to own or control your identity – the use of your voice, image or likeness.

In short, the law doesn’t recognise a proprietary right in most of the unique things that make you “you”.

Under copyright law, the concept of your presence or self is abstract, much like an idea is. Copyright doesn’t offer protection for “your presence” or “the self” as such. That’s because there has to be material form in specific categories of works for copyright to exist: these are tangible things, such as books or photos.

However, typed responses or the voice recordings submitted to the AI for training are material. This means the data used to train the AI to create your digital twin would likely be protectable. But fully autonomous AI generated output is unlikely to have any copyright attached to it. Under current Australian law, it would likely be considered authorless because it didn’t originate from the “independent intellectual effort” of a human, but from a machine.

Moral rights in copyright protect a creator’s reputation against false attribution and against derogatory treatment of their work. However, they wouldn’t apply to a digital twin. This is because moral rights attach to actual works created by a human author, not any AI-generated output.

So where does that leave your digital twin? Although it’s unlikely copyright applies to AI-generated output, in their terms and conditions companies may assert ownership of the AI-generated data, users may be granted rights in outputs, or the company may reserve extensive reuse rights. It’s something to look out for.

There are ethical risks, too

Using AI to make digital copies of people – living or dead – also raises ethical risks. For example, even though the training data for your digital twin might be locked upon your death, others will be accessing it in the future by interacting with it. What happens if the technology misrepresents the deceased person’s morals and ethics?

As AI is usually probabilistic and based on algorithms, there may be risk of creep or distortion, where the responses drift over time. The deathbot could lose its resemblance to the original person. It’s not clear what recourse the bereaved may have if this happens.

AI-enabled deathbots and digital twins can help people grieve, but the effects so far are largely anecdotal – more study is needed. At the same time, there’s potential for bereaved relatives to form a dependence on the AI version of their loved one, rather than processing their grief in a healthier way. If the outputs of AI-powered grief tech cause distress, how can this be managed, and who will be held responsible?

The current state of the law clearly shows more regulation is needed in this burgeoning grief tech industry. Even if you consent to the use of your data for an AI digital twin after you die, it’s difficult to anticipate new technologies changing how your data is used in the future.

For now, it’s important to always read the terms and conditions if you decide to create a digital afterlife for yourself. After all, you are bound by the contract you sign.

Wellett Potter is a member of the Copyright Society of Australia and the Asia-Pacific Copyright Association.

– ref. An ‘AI afterlife’ is now a real option – but what becomes of your legal status? – https://theconversation.com/an-ai-afterlife-is-now-a-real-option-but-what-becomes-of-your-legal-status-274021

Source: The Conversation – Global Perspectives – By Meaghan O’Donnell, Professor and Head, Research, Phoenix Australia, Centre for Posttraumatic Mental Health, The University of Melbourne

In their day-to-day work, first responders – including police, firefighters, paramedics and lifesavers – often witness terrible things happening to other people, and may be in danger themselves.

For some people, this can lead to post-traumatic stress disorder (PTSD), which usually involves intrusive memories and flashbacks, negative thoughts and emotions, feeling constantly on guard, and avoiding things that remind them of the trauma.

But our research – which tested a mobile app focused on building resilience with firefighters – shows PTSD isn’t inevitable. We found depression, anxiety and PTSD symptoms were less likely when firefighters used a mental health program that was self-led, specifically addressed trauma and focused on teaching practical skills.

First responders’ mental health

First responders report high rates of psychiatric disorders and often have symptoms of depression (such as persistent feelings of sadness), anxiety (such as nervousness or restlessness) and post-traumatic stress (including distressing flashbacks).

Sometimes symptoms aren’t severe enough for a diagnosis.

But left untreated,these “sub-clinical” symptoms can escalate into PTSD, which can severely impact day-to-day life. So targeting symptoms early is important.

However, stigma – as well as concerns about confidentiality and career implications – can prevent first responders from seeking help.

What we already knew about building resilience

For the past decade, we have been testing a program designed to give people exposed to traumatic events the skills to manage their distress and foster their own recovery.

The “Skills for Life Adjustment and Resilience” (SOLAR) program is:

• skills-based – it teaches people specific strategies and tools to improve their mental health
• trauma-informed, meaning it has been designed for people who have been exposed to trauma, and avoids re-traumatisation
• and has a psychosocial focus, focusing on what people can do in their relationships, behaviour and thinking to improve their mental health.

Participants complete modules focused on:

• the connection between physical health and mental health
• staying socially connected
• managing strong emotions
• engaging and re-engaging in meaningful activities
• coming to terms with traumatic events
• managing worry and rumination.

The SOLAR program trains coaches to deliver these modules in their communities. Importantly, these coaches don’t necessarily have specific mental health training, such as Australian Red Cross volunteers, community nurses and case workers.

What our new research did

The evidence shows the SOLAR program is effective at improving wellbeing and reducing depression, post-traumatic stress and anxiety symptoms.

But working with firefighters in New South Wales, they told us they wanted a self-led program they could complete confidentially, independently of their employer, and in their own time – a mobile app. So we wanted to test if the program would still be effective delivered this way.

A total of 163 firefighters took part in our recent randomised control trial, either using the app we co-designed with them, or a mood monitoring app.

A mood monitoring app tracks daily emotions to help understand patterns in how someone is feeling. There is evidence to show it can be useful for some people in reducing symptoms.

But this kind of app doesn’t teach a person practical skills that can be applied to different situations. And it does not specifically address stressful or traumatic experiences. So we wanted to test if taking a skills approach made a significant difference.

What we found

Eight weeks after they started using one of the two apps, we followed up with the firefighters.

The study found those who used the SOLAR app had significantly lower symptoms of depression, anxiety and post-traumatic stress, compared to those in the mood monitoring group.

We followed up with participants again three months after their post-treatment assessment.

We found:

• depression was much lower in the group who learned practical skills about trauma, compared to those who used the mood monitoring app, and
• anxiety and post-traumatic stress symptoms had reduced significantly for both groups since starting their program (but there was no real difference between them).

What does this mean?

Both apps improved mental health.

But the results show using the SOLAR app, which focused on building skills and specifically addressing trauma, reduced mental symptoms more quickly. It was especially useful for tackling depression longer term.

Firefighters also told us they liked the app. This is important – an app is only effective when people use it.

Around half of the firefighters started using it completed all the modules. This is much higher than usual for mental health apps. Typically, only around 3% of those who start using a mental health app complete them.

The more modules a firefighter completed, the more their mental health improved.

The takeaway

It’s common for firefighters and other first responders to struggle with mental health symptoms. Our study demonstrates the importance of intervening early and teaching practical skills for resilience, so that those symptoms don’t develop into a disorder such as PTSD.

A program that is self-led, confidential and evidence-based can help protect the mental health of first responders while they do the work they love, protecting us.

Meaghan O’Donnell (Phoenix Australia) receives funding from government funding bodies such as National Health and Medical Research Council, and Department of Veterans’ Affairs, and philanthropic bodies such as Wellcome Trust Fund (UK), Latrobe Health Foundation, and Ramsay Health Foundation. Funding for this study in this Conversation article was from icare, NSW.

Tracey Varker (Phoenix Australia) receives funding from government funding bodies such as Department of Veterans’ Affairs, and philanthropic foundations such as Latrobe Health Services Foundation. Funding for the study described in this Conversation article was from icare NSW.

– ref. Firefighters face repeat trauma. We learned how to reduce their risk of PTSD – https://theconversation.com/firefighters-face-repeat-trauma-we-learned-how-to-reduce-their-risk-of-ptsd-269283

Source: The Conversation – Global Perspectives – By Keith Rathbone, Senior Lecturer, Modern European History and Sports History, Macquarie University

Since the murder of 11 Israeli hostages at the 1972 Munich Summer Olympics, security has been fundamental for games stakeholders.

The 2024 Paris games set new benchmarks for security at a mega-event, and now the presence of American security officials in Milan Cortina threatens to darken this year’s Winter Olympics before they even start.

Security at the games

The scale of security at the games has magnified considerably since the 1970s.

For the 2024 Olympics, the French government mobilised an unprecedented 45,000 police officers from around the nation.

For the opening ceremony, these forces cordoned off six kilometres of the Seine River.

Advocates point to Paris as an example of security done correctly.

Milipol Paris – one of the world’s largest annual conferences on policing and security – pointed to lower crime across the country during the games and a complete absence of any of the feared large security events. It stated:

The operation demonstrated the effectiveness of advanced planning, inter-agency cooperation and strong logistical coordination. Authorities and observers are now reflecting on which elements of the Paris 2024 model might be applied to future large-scale events.

However, critics complained the security measures infringed on civil liberties.

Controversy as ICE heads to Italy

Ahead of the Milan Cortina games, which run from February 4-23, Italian officials promised they were “ready to meet the challenge of security”.

A newly established cybersecurity headquarters will include officials from around the globe, who will sift through intelligence reports and react to issues in real time.

As well as this, security will feature:

• 6,000 officers to protect the two major locations – Milan and Cortina d’Ampezzo
• a no-fly zone around key sites
• a constant restricted access cordon around some sites (as seen in Paris).

Some of the security officers working in the cybersecurity headquarters will come from the United States.

Traditionally the US diplomatic security service provides protection for US athletes and officials attending mega-events overseas. It has been involved in the games since 1976.

Late last month, however, news broke that some of the officers will be from “a unit of US Immigration and Customs Enforcement (ICE)”.

US and Italian officials were quick to differentiate between Homeland Security Investigations (HSI), which handles cross-border crime, and Enforcement and Removal Operations, the department responsible for the brutal crackdown on immigrant communities across the US.

The HSI has helped protect athletes at previous events and will be stationed at the US Consulate in Milan to provide support to the broader US security team at the games.

But the organisation’s reputation precedes them, and Italians are wary.

In Milan, demonstrators expressed outrage. Left-wing Mayor Giuseppe Sala called ICE a “a militia that kills” while protests broke out in the host cities.

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US-European relations are stretched

The presence of ICE has also illuminated fractures within Italian Prime Minister Giorgia Meloni’s governing coalition.

Foreign Minister Antonio Tajani defended the inclusion of the US officers, saying “it’s not like the SS are coming”, referring to the Nazis paramilitary force in Germany.

However, local officials, including those from Meloni’s centre-right coalition, expressed concerns.

The tension inside Meloni’s government reflects broader concerns on the continent about US-European relations.

US Vice President JD Vance and Secretary of State Marco Rubio will attend the opening ceremony in Milan, despite some Europeans viewing Vance as the mouthpiece for US President Donald Trump’s imperial agenda.

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Trump’s desire to take over Greenland has undermined American and European support for trans-Atlantic amity and the NATO alliance.

Just ahead of the Olympics, Danish veterans marched outside the US Embassy after Trump disparaged NATO’s contribution to US-led operations in Iraq and Afghanistan. These protests added to Danes’ fears about Trump’s Greenland ambition.

Tensions in Denmark remain high as the Americans and the Danes gear up to play ice hockey in the opening round robin of the men’s competition.

Elsewhere, politicians in the US on both sides have raised concerns that Trump’s bombastic rhetoric will make it harder for American athletes to compete and win.

A double standard?

Critics argue there is an American exception when it comes to global politics interfering in international sport.

Under Trump, the US has attacked Iran and Venezuela, called on Canada to become its 51st state, threatened to occupy Greenland and engaged in cross-border operations in Mexico.

Despite this, US competitors can still wear their nation’s colours at the Olympics.

Compare this to Belarussian and Russian athletes, who are only eligible to compete as Individual Neutral Athletes after the Russian invasion of Ukraine, and only under the condition they have not been publicly supportive of the invasion. An International Olympic Committee (IOC) body assesses each competitor’s eligibility.

Israeli athletes have also been under the spotlight amid geopolitical tensions in the region.

Following the Israeli invasion of Gaza in October 2023, a panel of independent experts at the United Nations urged soccer’s governing body FIFA to ban Israeli athletes, stating:

sporting bodies must not turn a blind eye to grave human rights violations.

But FIFA, and the IOC, have recently defended Israeli athletes’ right to participate in international sport in the face of boycotts and protests.

Competitors from Israel can represent their country at the Winter Olympics.

The political developments which have caused ructions worldwide ironically come after the IOC’s 2021 decision to update the Olympic motto to supposedly recognise the “unifying power of sport and the importance of solidarity”.

The change was a simple one, adding the word “together” after the original three-word motto: “faster, higher, stronger”.

It remains to be seen whether the Milan Cortina games live up to every aspect of the “faster, higher, stronger – together” motto, not just the first three words.

Keith Rathbone does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Winter Olympic security tightens as US-European tensions grow – https://theconversation.com/winter-olympic-security-tightens-as-us-european-tensions-grow-274530