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In June of last year I received a distressed call from a friend. A man she barely knew had sent her several vicious text messages completely out of the blue. My friend only knew the man in a professional capacity, having hosted a few online meetings of a group he’d been part of. Apart from her limited online interactions with him, she had never met him in person.
The man, a pro-Israeli, had for reasons best known to himself and his cohort, taken to trawling through my friend’s social media and had discovered a post relating to the starvation of Palestinian children that had raised his ire – but not for the reasons most ethical people would suspect. No, his issue with the post he’d pounced upon was that my friend was spreading ‘misinformation’ from alleged Palestinian propagandists that made him feel ‘unsafe’. Yes, while snooping through the pages of a middle-aged woman he barely knew, and confronted with the image of a starving child, this wealthy privileged white male suddenly felt ‘unsafe’.
Exactly how this 30-something man, who lived 500 kms away from my friend, felt “unsafe” in his living room in online meetings with a lone woman he’d never met is anyone’s guess, but such is the warped reality and the organised victimhood of the pro-Israel lobby.
A few months prior to this, in March 2024, the State Library of Victoria abruptly ended the contracts of three writers due to appear in a series of workshops. The three writers had not done anything illegal or immoral or blatantly aggressive. Some of them had, however, shared their opinions on the people of Palestine and had even had the audacity as writers and artists to make their opinions publicly known through their art.
This was too much for the management of the State Library who, without consultation with the artists, (a common theme) told the writers they were suddenly persona non grata. Complaints (plural) by persons unknown – one cannot imagine who – had been made to the library that the appearance of these wicked writers who wrote things would make for an “unsafe environment”. Unsafe.
In November of 2023, 6 weeks after the atrocious Hamas attacks of October 7th, three actors in a play in Sydney appeared at the curtain call wearing scarves traditionally known as keffiyeh. Scarves.
Although the theatre only held approximately 800 people, within 24 hours of the unforgivable sin of wearing scarves in a theatre, the Israeli lobby machine had swung into action across Australia. The Australian newspaper was luckily immediately on the case of the outrageous scarf wearing, and before long, a 1500 signature petition (with alleged signatories not independently verified) was presented to the Sydney Theatre Company with, of course, the Australian newspaper being the only media to know of the petition’s existence beforehand.
In a performance worthy of its own stage, one STC board member resigned over the scarf wearing, typing through clutched pearls: “Can we look at who has the power right now? It’s not bewildered Jewish theatregoers, intimidated and triggered in the place they love, support and usually feel safe.” Hmm, unsafe.
By month’s end, the STC had been forced to produce not one, but three grovelling apologies. The STC’s chief fundraiser Judi Hausmann claimed she felt “unsafe” (there’s that word again) and yes, even “devastated” due to three actors wearing scarves inside a theatre, pro-Israeli fundraisers withdrew their sponsorship and all hell rained down upon the theatre company because, well… three actors wore scarves inside a theatre.
Fast forward to August of 2024 where we find another artist doing something horrific inside a theatre. Saying words. Three full sentences in fact. British Australian pianist Jayson Gillham said before his scheduled recital: “Over the last 10 months, Israel has killed more than 100 Palestinian journalists. A number were targeted assassinations of prominent journalists who were travelling in marked press vehicles or wearing press jackets. The killing of journalists is a war crime in international law, and it is done in an effort to prevent the documentation and broadcasting of war crimes to the world.”
Once more, the sophisticated pro-Israeli machine charged with ensuring artists inside Australian theatres and libraries did not allow Palestinian people a scintilla of sympathy, rallied with their victimhood flags at the ready. The next day, the Australian newspaper (such a coincidence) reported on the forbidden theatre words and within days, Mr Gillham’s next performances were cancelled by the Melbourne Symphony Orchestra in a panicked, thought-free frenzy of cowardly management that has become all too familiar in Australia’s arts and culture scene.
Australians over the past few years have had to witness their own country’s artistic and cultural institutions continually hijacked to their detriment by a foreign entity. This hijacking raises a very serious question that Australia’s politicians are yet to address: are some Jewish Australians and non-Jewish Australians loyal to Israel to the overall detriment of Australian life? I suspect we know the answer.
Over the past two years, we have seen:
It’s clear by now that Israel and its adherents constantly imagine themselves as small and powerless and somehow under continual attack from the world around them. Like the well-connected man secretly surveilling my friend’s social media pages for things to make him feel ‘unsafe’, it is a cult-like mentality of collective and self-fulfilling paranoia. And like any cult mentality, it suits the leaders, the state of Israel, to keep its believers that way – forever ‘unsafe’ in the world.
The reality is of course that the Israeli propaganda machine is a highly organised movement that has been well under way since the middle of last century. As we have seen in Australia, it is slick, it’s coordinated and it’s designed to do two things – silence any dissent and terrify any other person or organisation from doing the same. The proof sits boldly on top of Australia’s forever damaged, censored and cowed arts and cultural institutions.
The pro-Israel machine is not about balance, it’s not about objectivity. That would rely on all voices being heard and all sides being given equal sympathies and equal access to power. The pro-Israel lobby isn’t designed to balance debate nor to enrich it – it is designed to silence it.
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Scientists at the University of Minnesota Duluth's Large Lakes Observatory have discovered a new microorganism in an unexpected place—hiding in the oily recesses of a Great Lakes research vessel.
The researchers made the discovery last fall, after crew members aboard the R/V Blue Heron noticed a strange knocking sound coming from the ship’s propeller system while on a research expedition on Lake Erie.
They hauled the ship out of the water at the Great Lakes Shipyard in Cleveland. That’s when the Large Lakes Observatory’s Marine Superintendent Doug Ricketts saw a black, tar-like goop oozing out of the ship’s rudder shaft.
He had never seen the stuff before, and thought it was odd. So he filled a red plastic cup full of the substance, and gave it to UMD professor Cody Shiek, a biologist who focuses on microbial ecology. Shiek decided to sample it.
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"I was completely like, we're not going to get anything off of this,” he remembers thinking.
“But surprisingly, we found DNA and it wasn’t too destroyed, nor was the biomass too low."
After sequencing the DNA and comparing it with global databases, the team confirmed they had discovered an entirely new organism, a microbial species that appeared to thrive in the warm, oily, oxygen-free environment within the ship’s rudder shaft.
Shiek and his team temporarily dubbed the substance “ShipGoo001.”
"And we don't know exactly what ShipGoo001 is good for right now,” said Catherine O'Reilly, director of the Large Lakes Observatory. “But there's a good chance that we'll learn more about it, and it might turn out to have applications to things that we care about as a society."
For example, some organisms in the goo appear to be methane producers, O’Reilly said, potentially useful for biofuel production.
This isn’t the first time Shiek has discovered a new organism. Far from it. On research trips on Lake Superior aboard the Blue Heron, he said it’s common to find new species, especially in the sediment of the lake.
“When we go out into the environment, we're constantly finding new organisms, and that's just because things are very under sampled,” Shiek said.
What’s different and exciting about the ship goo is that they were not looking for these organisms. It was an accidental discovery. “We weren’t supposed to probably see this,” he said.
Shiek has studied microbes living in extreme environments from Lake Superior, to deep ocean hydrothermal vents and hot springs.
This discovery highlights how much remains unknown, even in familiar, built-up environments like ships.
“I think it tells us we can discover new things everywhere. We don't have to go to Mars necessarily to find brand new things right under our noses,” O’Reilly said. She added that it’s important to allow scientists to pursue new things without necessarily having a goal in mind.
“This shows us how how important it is to be creative as a scientist, to be open minded, to take advantage of opportunities that come to you and just explore what's right in front of you, because you really don't know what you're going to find.”
A mystery that Shiek is still trying to answer is determining where the organisms originate. He speculates they may have been dormant in the oil used to grease the rudder, waiting until conditions were right for growth.
While ShipGoo001 is new to science, similar species have been found in tar pits and petroleum wells around the world.
Shiek said the next step in the research is to try to decipher the metabolic processes of the microbes.
“Does it eat oil? Does it breathe in metal, like iron? And so that's where we're at right now. Thinking about how these organisms are surviving, or maybe even just thriving, in this built environment that we very rarely think about.”
And soon, the substance will receive a new scientific name. Participants in the Large Lakes Observatory’s Freshwater Discovery Day aboard the Blue Heron on July 30 will have a chance to join Shiek in coming up with an official name for what remains, for now, ShipGoo011.
An electric scooter doesn't have that much in common with a humidicrib. Or a fax machine.
You wouldn't expect someone who made heart monitors to be your first port of call when you wanted an Olympic scoreboard.
Yet all of these inventions — and around a hundred more — once came out of the same Australian factory.
They were all the creations of a pair of brothers, Edward and Donald Both.
Across the middle of the 20th century, the Both brothers built things to meet the challenges of the times — war machinery in the Second World War, electric vans to beat post-war rationing, sports technology for the 1956 Melbourne Olympics, and a lifesaving polio treatment to counter the devastating epidemic.
But where their name was once emblazoned on tools around the world, it's now filtered out of sight.
Even in their home state of South Australia, the brothers' work isn't common knowledge — although their memory is preserved by a few dedicated museum curators and family members.
"Ted" and "Don" hailed from Caltowie near Port Pirie in South Australia and were the eldest and youngest, respectively, of five siblings.
Kaylene Kranz, a relative of the brothers, says their regional roots were a source of their inventiveness.
"If you're in the country, you haven't got the luxury of picking up the phone and say, 'Hey, come and help,'" she says.
"If you need something, well, you adapt and you make [it]."
Ms Kranz knew both Ted and Don as a young woman — particularly Don, who she recalls as a jolly fellow.
"Ted was the put-together man and Don had ideas and ran the business side of it. But together, they were a formidable team," Ms Kranz says.
Kellie Branson, a curator at the SA Health Museum, said the brothers' genius came from their ability to work in tandem.
"Their brains were opposites, but they still work together to come up with these amazing inventions."
The duo didn't tend to invent brand new things, so much as dramatically improve existing tools. Ted once said he didn't even like the term "inventor" – it implied their ideas had come from nowhere.
"People who imagine a person dreaming up an entire invention and making it work have the wrong idea," he said in a 1950 interview.
"It is a painstaking process, checking each step."
This reticence didn't stop people labelling Ted "Australia's Edison", particularly after his work in the 1940s.
During World War II, Ted worked on devices that measured machine gun fire, transmitted drawings and diagrams over phone lines, dried blood that could be reconstituted for field transfusions, and helped guided torpedoes.
The brothers' electric vehicles were a response to petrol rationing. The scooter never made it to market, but Ted also developed electric vans, which were used to deliver bread until the late 1940s.
The drawing-transmitting device, a kind of early fax machine dubbed the Visitel, found uses in confirming horse racing results.
There were more sporting innovations, first with tennis scoreboards for the Davis Cup, then the 14,000-light globe Olympic scoreboard at the MCG.
Ms Kranz says there's even a family story that they "had television sorted" before anyone else in the 1930s, only to have their plans disrupted by the war.
But the brothers' biggest success was in healthcare.
The iron lung worked better when it wasn't made from iron.
The respirator, first developed in the 1920s, was a lifesaver for people paralysed by polio.
"It was very heavy, cumbersome and expensive to make and produce," Ms Branson says.
At his new wife Eileen's coaxing, Ted decided to spend their honeymoon funds on making a cheaper version in 1937.
"They managed to do one made of plywood," Ms Branson says. The lighter, cheaper, "iron" lung was a twentieth of the cost of commercial iron lungs.
Ted took the invention to London, and within a few years, there were hundreds of wooden respirators being distributed across the Commonwealth, helping surging numbers of polio patients. He was awarded an Order of the British Empire for his work.
Humidicribs, similarly, already existed in the early 1950s, when Don turned his hand to one. But his portable version could more quickly and safely encase premature babies with the right temperatures and humidity.
Then, there are the electrocardiograph (ECG) machines. Doctors had known since the 19th century that placing electrodes over a patient's heart, and recording the signals it emitted, could give vital information about a patient's heart health.
By the 1930s, ECGs were accurate enough to diagnose patients — but getting the graphs required an arduous film-developing process, which could take weeks.
The Both brothers figured out how to make instant readers: first with glass discs, then with paper and ink-dipped styluses marking out tiny graphs.
"You could use the microscope on top of the machine to view the results instantly," Ms Branson says.
They could also be transported to hospital bedsides, or even over bumpy roads to the patients' homes.
The brothers also worked on electroencephalographs (EEGs) for measuring brain activity.
Ms Kranz, who worked in neurology, found herself using EEG equipment designed by the Both brothers years later — alongside a family cousin who'd stayed with the business.
"That was nice, to be working with a Both invention in a Both environment."
From the polished wooden frames to the delicately printed labels, much of the Both equipment is aesthetically pleasing to look at. It's a world away from the bright, boxy plastic of modern medical equipment.
The ECGs fit right in to the halls of the library at the South Australia Parliament, where librarian John Weste has put some of the Both equipment on display.
"I love the design," Dr Weste says.
"It's so beautifully executed — even the carrying cases with the herring bone wood patterns."
Packed into their cases, the early ECGs look less like doctors' tools and more like vintage sewing machines. Ms Branson suspects this is deliberate.
"I think they did design it on the look of some old sewing machines," she says.
For patients who'd never seen an ECG before, a more familiar piece of equipment might be less foreboding.
Other pieces might be mistaken for old radios.
"It wouldn't seem like they were getting a procedure or a reading. It just looked like the radio was next to their beds," Ms Branson says.
"I think putting patients at ease was a major factor in some of these designs and inventions."
Ms Kranz finds this suggestion likely, remembering the beauty of Don and his wife Yvonne's Kensington home on her visits.
"They had a lovely house, and we were always given tea out of beautiful cups in the sitting room," she says.
"So yes, I think so that it wasn't just 'OK, let's sort this', [it was] 'let's make people comfortable while we're making them well.'"
The brothers sold their company to Drug Houses of Australia in the 1960s, but they kept tinkering well into retirement. Ted died in 1987 and Don died in 2005.
Ms Branson, who's been collecting Both equipment for the health museum for years, recently travelled out to Ted's grave in Victoria.
"It's a humble little plaque. No mention of his inventions. It just says: 'Ted Both, OBE, and his dates.'"
Eventually, more company acquisitions and the pace of medical research took the Both name off equipment.
Dr Weste, who's been showing the Both equipment to visitors to the South Australia Parliament, says people are surprised to learn the inventions originated in the state.
"No-one's heard of them. And that's the great tragedy of it," he says.
This is partly why the health museum loans some of the Both equipment out.
"Otherwise, these stories will be hidden away," Ms Branson says.
"We want these people to be out in the light."
Ms Kranz has told her grandchildren about her clever cousins, and she wants them to be more widely known too — but not just them.
She says South Australia has a host of other under-recognised inventors.
"This state has got people who have done amazing things, women and men."
Ms Kranz hopes the Both equipment on display will show people how much medicine has changed in the span of less than a lifetime.
"We have our MRIs and our CTs, and our big, whiz-bang machines that twiddle around and go ping, but they managed to diagnose without that in the early days, with very basic stuff."