Artigos de revistas sobre o tema "Theodore Roszak"

Abstract The word “gnosis” is widely used in contemporary scholarship in a range of fields including not only the study of the historical phenomenon of Gnosticism, but also in more unexpected areas like translations of Buddhist texts, where the term has taken on a fairly specific collectively understood meaning. Broadly speaking, in the developing consensus visible both in scholarship and in popular culture, gnosis refers to knowledge that transcends ratiocinative, discursive, or dualistic forms of knowledge. Gnosis, broadly understood both in scholarship and to some extent in popular culture, refers to knowledge understood as the transcendence of self/other dualism. Authors discussed include Edward Conze, Theodore Roszak, Carl Jung, Andrew Newberg, April DeConick, Peter Carroll, Andrieh Vitimus, Ken Wilber, and Christopher Bache.

En este trabajo indagamos el modo en que la ecología se dirige a su objeto de estudio, la naturaleza. “Ilustramos” este modo de estudiar la naturaleza mediante una crítica a la objetividad desarrollada por Theodore Roszak. Destacando que la ecología opera, en el contexto de la problemática ambiental, <<como sí>> fuese objetiva. En este marco, problematizamos: (i) cómo se construye un significado de la naturaleza desde la ecología, (ii) cómo se silencia la experiencia del ecólogo en la naturaleza, (iii) cómo se da el vínculo entre valores (espirituales, estéticos o recreativos) y conocimiento ecosistémico y finalmente (iv) abordamos el carácter <<nómade>> del conocimiento ecosistémico y su posición hegemónica en el contexto de la problemática ambiental. En líneas generales, las conclusiones del presente trabajo se dirigen a relegar al conocimiento ecosistémico a un lugar más modesto dentro de la actual crisis ambiental.

Science and Technology (ST) understood as mechanical Newtonian physics and industry has indeed bypassed Muslim societies - and that’s a good thing. Because with the new ST Muslims can become full participants rather than passive recipients. From the 1960s and 1970s, a few Muslim thinkers sounded the alarm about ST (e.g., Seyyed Hossein Nasr, Ismail Faruqi, and Syed Muhammad Naquib al-Attas). They were aware that Muslim societies were trying to catch up and join a system of knowledge and technological tools that were both ontologically opposed to Islam and harmful to Muslim cultures. At the same time, thinkers in the West were horrified at the implications of ST for the natural world and for human freedom (e.g., Theodore Roszak, Jerry Mander, Lewis Mumford, Jacques Ellul). Today, from intellectual discourse to popular culture and movies, the idea that the old science and technology has gone wrong is easy to find and accept.

Ecopsycology emphasizes on the intrinsic bond between humans and nature for mutual well-being. This article examines how poetry of corona time expresses human anxieties of environmental loss and sense of alienation from nature and how it makes people aware of their inherent sense of emotional attachment with natural system for their happiness, well-being and meaningful life. The objective of this paper is to investigate humans’ alienation from nature and their efforts for reconnecting to it. To achieve this, the paper evaluates the selected poems using theoretical modality of ecopsychology propounded by Theodore Roszak and Robert Greenway. As a piece of qualitative research, it incorporates interpretive and analytical approaches following the techniques of close reading of the selected texts. Along with the relevant observations of critics, the focus lies on the thematic and textual analysis of the selected poems. The findings of the research unveil that corona time poetry depicts humans’ alienation from nature as a consequence of their indifference to and domination upon it, and the only way for their well-being is reconnection to it.

Mark Sundeen is an American born author of many successful books touching on various themes. One of his most prolific book is The Unsettlers, which was published in 2017, and focuses on two emerging practices, living off the grid and living simply. The author combines these two themes in The Unsettlers as though to imply that they are related. This provides a starting point for the reader to understand what they are. Living simply underscores the quest to resist the material culture prevailing in America and the world today. Living off the grid underscores the quest to be free from bills and utility connections for water, electricity, and gasoline. The simplicity theory by Nick Chater. Paul Vitanyi, Jacob Feldman, Jean-Louis Dessalles, and Jürgen Schmidhuber provide a better understanding of human affinity to noncomplex things. When examined through the concepts of anti-consumerism and environmentalism, simplicity theory helps understand Sundeen’s ideas about living simply. The theory of Eco-psychology by Theodore Roszak offers a better understanding of the link between the environment and economic activities. This theory helps understand the ideas of Sundeen on living off the grid when evaluated through the concepts of environmental sustainability and ecological economics. This paper examines the motivations and processes of living simply and living off the grid.

Monique Roffey is a Trinidadian-born award winning writer who has produced a number of famous novels and a memoir. In her recent novel, Archipelago (2012), issues on redemption, loss of hope and healing were highlighted in the wake of a devastating natural disaster that swept across the Caribbean Island of Trinidad. Life was a complete change for the chief protagonist, Gavin Weald, as the catastrophic flood not only destroyed his home but also put great psychological strains which affected him and his family. In order to combat the distressing ordeal, Gavin and his daughter- alongside with their dog- decided to set sail and to make peace with the very ocean that caused the misfortune upon them. This research aims to validate the authenticity and importance nature plays in overcoming trauma that has been caused by the flood. In order to carry out this research, the concepts of ecological unconscious and dualism under the lenses of Eco-psychology by Theodore Roszak and Andy Fisher as well as trauma by Cathy Caruth will be employed in analysing how nature plays a pertinent role in healing trauma caused by the floods in this novel. This study aspires to explicate further the relationship between human and animals and how this union helps to overcome psychological disturbances experienced by the characters.

El año de 1968 fue fundamental para los movimientos sociales a nivel mundial, a 50 años de distancia se requiere contar con distintas interpretaciones sobre los postulados teóricos que influyeron en las acciones colectivas que distintos sectores principalmente juveniles llevaron a cabo. Un concepto que es esencial para entender 1968 es el de contracultura, para estudiarlo resulta necesario conocer la influencia que tuvieron los teóricos críticos de Frankfurt en los movimientos contraculturales. La Teoría Crítica abordó diversas problemáticas en su tiempo, fue fundamental para el surgimiento de la contracultura en su posición frente al racionalismo burgués y a los totalitarismos tecnócratas. Durante las primeras dos décadas del siglo XXI han surgido organizaciones, colectivos, grupos que han tomado la bandera de movimiento contracultural, se han generado acciones colectivas en las que el factor cultural ha sido motivo de lucha, en ese sentido se ha dado un nuevo debate sobre la pertinencia de la definición de contracultura. La metodología que se sigue en este trabajo tiene que ver con una revisión histórica y un análisis sobre la discusión conceptual entre Teoría Crítica y contracultura, en especial se revisa lo propuesto por Theodore Roszak (1970) y José Agustín (1996), se analiza la influencia del sociólogo Herbert Marcuse en los movimientos contraculturales de los años 60, por lo que se concluye que la relación entre ambos conceptos es importante para el estudio de los movimientos sociales de 1968.

In the article the author analyzes the directions of studying the phenomenon of counterculture in Western science. An attempt is also made to typologize these scientific approaches. The term is first encountered in the work of Talcott Parsons «Social System» in 1951. The term is used in the context of a discussion on the ideology of subculture movements and deviant groups. His term sounds like «counter-culture». In a somewhat modified writing, with an expanded description of the term, it is used by American sociologist J. Milton Jinger in 1960. His term «contraculture» in English first encountered in 1960. The term gained its scientific and public popularity in 1969 after Theodore Roszak`s publication “The Making of a Counter Culture”. He used this term to describe countercultural, subcultural movements in the United States of the 1960s, including the hippies, the «New Left». The term also was related to their critical program, as well as to characterizing an alternative society, whose creation was propagated, and partly carried out by the representatives of the movements of the sixties. This approach characterizes counterculture in a narrow sense. In the broad sense, it does not connected to a concrete time period and defines a set of ideas, values, world outlook, which oppose the official basic culture. After investigating the views of scholars on counterculture, since the 1970s the author identifies three different directions, divided by the criterion of relation to counterculture. Among them are apologetic, critical and balanced approaches. To the apologetic approach belongs the work of researchers, which is characterized by a clearly positive attitude to counterculture, social and political aspects of its activities. Often there are some critical remarks but they do not change the general picture of the author’s commitment to the phenomenon. Critical approach include researchers who consider counterculture as a negative social phenomenon and practice. The most radical representatives include Daniel Bell, Joseph Heath and Andrew Potter and others. Balanced approach combines the work of many researchers, which combines efforts to investigate counterculture as an objective phenomenon, while taking into account its weaknesses and strengths. At the same time, the authors recognize the importance of existence of the phenomenon, its influence on socio-cultural and political processes. Criticism relates to radical cultural practices, political extremism and excessive interest in psychedelics among representatives of counterculture. The approaches of researchers to this direction vary, from the «pioneer» of research of the phenomenon J. Milton Jinger, and to the researchers who tried to conduct research directly inside of the countercultural movement, in particular Kenneth Keniston, and others.

El artículo analiza el concepto de contracultura a partir de dos momentos: una primera parte histórica, en la que se presenta la evolución de la juventud contracultural en base al nacimiento de expresiones de protesta juvenil, tomando en cuenta principalmente los aportes del sociólogo Theodore Roszak. La segunda parte presenta la manera en que el movimiento zapatista en la década de 1990, influyó y empujó a un sector de jóvenes que heredaron ideas de protesta de las décadas anteriores y los llevaron a solidarizarse con los indígenas de Chiapas a partir de la irrupción del EZLN el 1 de enero de 1994. El trabajo toma como ejemplo las manifestaciones y utopías juveniles que se fueron presentando en algunos hechos sucedidos principalmente en la ciudad de San Cristóbal de Las Casas en 1994, un año icónico y necesario para comprender los movimientos sociales y las acciones de protesta de fin de siglo.

The aim of the article is to outline the philosophical and psychological dimensions of a sustainable lifestyle based on responsible consumption. In the author’s opinion, moderate consumption and an ecologically balanced way of living should, for their durability, have a broader mental and worldview background. The article will present and compare the concepts of the eco-philosophy of Henryk Skolimowski and the ecopsychology of Theodore Roszak in terms of cognitive, ideological, and axiological propositions of these concepts that can form the motivating basis for responsible living on Earth. In the author’s opinion, apart from the economic dimension, the adoption of ecological ethics and of ecological sensitivity is crucial for the permanent rooting of sustainable consumption patterns in people's attitudes. Ecophilosophical and ecopsychological concepts can significantly help in this, contributing to human sensitivity to environmental issues related to the contemporary ecological crisis. The ecophilosophical and ecopsychological approach, in the author’s opinion, need each other because they use complementary perspectives and methods of building ecological awareness. In the process of environmental education and shaping sustainable life attitudes, they are equally necessary for the effectiveness of achieving the goals of education for sustainable development and promoting an environmentally responsible lifestyle in society.

What does counterculture do? This is the question we asked ourselves repeatedly in curating this issue for M/C Journal. While incredible examples of countercultural lives—collective and individual—were described in articles we received, what we have tried to do is bring together research on how counterculture is both theorised and practised in local and international contexts. At the heart of this issue is a two-day conference in May 2013 titled “Aquarius and Beyond: 40 years on…” (Southern Cross University) that marked the 40th anniversary of the 1973 Nimbin Aquarius Festival, held in the northern NSW village of Nimbin. The Festival was one of, if not the, defining countercultural event in Australia. The editors met at the 2013 conference and hatched the countercultural plan to continue working together on publishing interdisciplinary scholarship on the subject. The project grew to encompass wider interpretations of the counterculture. Given this history of this M/C Journal issue, we have taken a particular stance on counterculture. While some authors point to the importance of conceptualising counterculture without a specific reference to context (for example Grossberg; Parsons), in this issue we have deliberately infused the need for a conceptual focus with empirical content that derives from the global countercultural phenomena of the 1960s and 1970s (for example Roszak; Smith and Crossley). That said, we do not want to confine explorations of the counterculture to that period, nor do we want to leave the concept behind, but we are interested in that specific structure of feeling we now generally associate with the term. Rob Garbutt expands these thoughts in his opening article by briefly surveying the idea of counterculture, before reading a specific instance of the counterculture—the 1973 Nimbin Aquarius Festival—through that literature and with the addition of Esposito’s twinned conceptualisation of immunitas and communitas. We then continue with theoretical perspectives on counterculture. Patrick Williams and Erik Hannerz write about the distinction between counterculture and subcultures, positing the ongoing oppositional element as the distinguishing feature that serves to draw both of these concepts together. Thomas Sutherland then poses a challenge to counterculture as capitalism’s stooge. The next two papers take aim at mainstream practices of consumption and science. Peter Sampson challenges some contemporary notions that view counterculture in terms of fluid and temporary coalitions by proposing a holistic, all-of-life approach that draws on monasticism as a counter to consuming cultures. Dan McQuillan then argues for more democratised models of citizen science. McQuillan draws on the 1970s Science for the People movement that was seeded by a rebellion of young physicists against the role of US science in the Vietnam War, as well the potential of contemporary citizen science to take an alternative engagement with mainstream science. The largest group of papers in this issue locate themselves firmly in the “Rainbow Region” of northern NSW, the region that is focused on Australia’s “countercultural capital”, Nimbin (Australian Broadcasting Commission). Victor Marsh starts this historically ordered set of articles by taking his personal experience of the 1971 and 1973 Aquarius Festivals in order to reflect on counterculture as a meme-cluster. Next, Alethea Scantlebury investigates claims that the 1973 Aquarius Festival was “the first event in Australian history that sought permission for the use of the land from the Traditional Owners”. The aftermath of the Festival was marked by an influx of “new settlers”, some of whom sought to develop communal forms of property ownership. John Page unpacks ideas of “Aquarian property” through tracing emergent property theory in the 1960s and 1970s, and the practices these theories engendered. Jacqueline Dutton then explores the view of Nimbin in 1973 from the emerging tourist destination of nearby Byron Bay. Dutton uses the alternative media publication The Byron Express as her source material and a counterculturally-refracted reading of utopia as her theoretical lens. Yvonne Hartman and Sandy Darab then close this set of papers by bringing the threads of the Rainbow Region counterculture into the present. They examine the interconnections between counterculture, the mainstream and social movements during recent successful environmental activism against Coal Seam Gas through that ubiquitous rural gesture of “the wave”. We follow these papers which are themed on an instance of rural counterculture with one on permaculture, which is typically associated with the “back to the land movement”. Here Alexandra Lara Crosby, Jacquie Lorber-Kasunic and Ilaria Vanni Accarigi argue that a shift is required in understanding permaculture—practices for living a sustainable life. This move is from that historical view mentioned above to a contemporary contrapuntal reading of permaculture as an assemblage and global network of practices. The next three papers focus on various forms of media. The counterculture of the 60s and 70s had strong atavistic tendencies where practices from former “simpler” times were resurrected as a simpler-living antidote to alienating technocracy (Roszak). Rosanna Hunt and Michelle Phillipov find these same connections in the contemporary popularisation of the “nanna” as a countercultural icon, specifically in examples drawn from “nanna-style” cookbooks and Frankie magazine. Ingo Petzke then traces the development of the counterculture in Sydney through a biographical telling of film director Phillip Noyce’s beginnings in experimental cinema. Finally, on the eve of the 40th anniversary of the commencement of Australian youth-oriented radio station 2JJ (now 2JJJ), Cathy Hope and Bethany Turner chart the station’s countercultural orientation. While it was very much situated in the mainstream as part of the government-owned Australian Broadcasting Commission, “Double Jay” was able to tap into and reflect youth-based aspects of the counterculture in 1970s Australia. Our “counterculture” issue closes with Mario George Rodriguez’s paper on his experience of and reflections on Burning Man, a large festival set in the Nevada Desert. This festival claims countercultural status but to what extent, Rodriguez asks, is this the case today? We felt that Rodriguez’s paper was a fitting close to the issue as it gives expression to ongoing questions of the relevance of “counterculture”. As Bennett has noted, counterculture can be questioned for being theoretically vague and therefore not useful for cultural analysis (25). In other analyses it is pigeon-holed as a failed youthful experiment in that decade between the mid-’60s and the mid-’70s (Nelson 8). Yet despite this, the idea of counterculture lives on in the popular imagination, and as the authors in this issue demonstrate, has much to offer scholars in their inquiries into past and contemporary cultures, and in considerations of global futures. As editors, we would like to especially thank all the authors in, and reviewers of, this issue. We also sincerely thank the M/C Journal team for providing an accessible venue for scholarship, and Axel Bruns for his patient and generous support of new research. References Australian Broadcasting Commission. "Fire Guts Nimbin Museum and Rainbow Cafe in Counterculture Capital." Bush Telegraph. Australian Broadcasting Commission 2014. 27 Nov. 2014 ‹http://www.abc.net.au/radionational/programs/bushtelegraph/nimbin-fire/5668428›. Bennett, Andy. "Reappraising 'Counterculture'." Countercultures and Popular Music. Eds. Whiteley, Sheila and Jebediah Sklower. Farnham: Ashgate, 2014. 17–26. Grossberg, Lawrence. "Some Preliminary Conjunctural Thoughts on Countercultures." Journal of Gender and Power 1.1 (2014): 13–23. Nelson, Elizabeth. The British Counter-Culture, 1966-73: A Study of the Underground Press. Basingstoke: Palgrave Macmillan, 1989. Parsons, Talcott. The Social System. New York: Free Press, 1951. Roszak, Theodore. The Making of a Counter Culture: Reflections on the Technocratic Society and Its Youthful Opposition. New York: Anchor, 1969. Smith, Margaret, and David Crossley, eds. The Way Out: Radical Alternatives in Australia. Melbourne: Lansdowne, 1975. Southern Cross University. "Aquarius and Beyond: 40 Years On..." Southern Cross University 2013. 5 Sep. 2014 ‹http://sassevents.scu.edu.au/aquarius/›.

What is the countercultural potential of citizen science? As a participant in the wider citizen science movement, I can attest that contemporary citizen science initiatives rarely characterise themselves as countercultural. Rather, the goal of most citizen science projects is to be seen as producing orthodox scientific knowledge: the ethos is respectability rather than rebellion (NERC). I will suggest instead that there are resonances with the counterculture that emerged in the 1960s, most visibly through an emphasis on participatory experimentation and the principles of environmental sustainability and social justice. This will be illustrated by example, through two citizen science projects that have a commitment to combining social values with scientific practice. I will then describe the explicitly countercultural organisation, Science for the People, which arose from within the scientific community itself, out of opposition to the Vietnam War. Methodological and conceptual weaknesses in the authoritative model of science are explored, suggesting that there is an opportunity for citizen science to become anti-hegemonic by challenging the hegemony of science itself. This reformulation will be expressed through Deleuze and Guattari's notion of nomadic science, the means through which citizen science could become countercultural. Counterculture Before examining the countercultural potential of citizen science, I set out some of the grounds for identifying a counterculture drawing on the ideas of Theodore Roszak, who invented the term counterculture to describe the new forms of youth movements that emerged in the 1960s (Roszak). This was a perspective that allowed the carnivalesque procession of beatniks, hippies and the New Left to be seen as a single paradigm shift combining psychic and social revolution. But just as striking and more often forgotten is the way Roszak characterised the role of the counterculture as mobilising a vital critique of the scientific worldview (Roszak 273-274). The concept of counterculture has been taken up in diverse ways since its original formation. We can draw, for example, on Lawrence Grossberg's more contemporary analysis of counterculture (Grossberg) to clarify the main concepts and contrast them with a scientific approach. Firstly, a counterculture works on and through cultural formations. This positions it as something the scientific community would see as the other, as the opposite to the objective, repeatable and quantitative truth-seeking of science. Secondly, a counterculture is a diverse and hybrid space without a unitary identity. Again, scientists would often see science as a singular activity applied in modulated forms depending on the context, although in practice the different sciences can experience each other as different tribes. Thirdly, a counterculture is lived as a transformative experience where the participant is fundamentally changed at a psychic level through participation in unique events. Contrast this with the scientific idea of the separation of observer and observed, and the objective repeatability of the experiment irrespective of the experimenter. Fourthly, a counterculture is associated with a unique moment in time, a point of shift from the old to the new. For the counterculture of the 1960s this was the Age of Aquarius. In general, the aim of science and scientists is to contribute to a form of truth that is essentially timeless, in that a physical law is assumed to hold across all time (and space), although science also has moments of radical change with regard to scientific paradigms. Finally, and significantly for the conclusions of this paper, according to Roszak a counterculture stands against the mainstream. It offers a challenge not at the level of detail but, to the fundamental assumptions of the status quo. This is what “science” cannot do, in as much as science itself has become the mainstream. It was the character of science as the bedrock of all values that Roszak himself opposed and for which he named and welcomed the counterculture. Although critical of some of the more shallow aspects of its psychedelic experimentation or political militancy, he shared its criticism of the technocratic society (the technocracy) and the egocentric mode of consciousness. His hope was that the counterculture could help restore a visionary imagination along with a more human sense of community. What Is Citizen Science? In recent years the concept of citizen science has grown massively in popularity, but is still an open and unstable term with many variants. Current moves towards institutionalisation (Citizen Science Association) are attempting to marry growth and stabilisation, with the first Annual General Meeting of the European Citizen Science Association securing a tentative agreement on the common principles of citizen science (Haklay, "European"). Key papers and presentations in the mainstream of the movement emphasise that citizen science is not a new activity (Bonney et al.) with much being made of the fact that the National Audubon Society started its annual Christmas Bird Count in 1900 (National Audubon Society). However, this elides the key role of the Internet in the current surge, which takes two distinct forms; the organisation of distributed fieldwork, and the online crowdsourcing of data analysis. To scientists, the appeal of citizen science fieldwork follows from its distributed character; they can research patterns over large scales and across latitudes in ways that would be impossible for a researcher at a single study site (Toomey). Gathering together the volunteer, observations are made possible by an infrastructure of web tools. The role of the citizen in this is to be a careful observer; the eyes and ears of the scientist in cyberspace. In online crowdsourcing, the internet is used to present pattern recognition tasks; enrolling users in searching images for signs of new planets or the jets of material from black holes. The growth of science crowdsourcing is exponential; one of the largest sites facilitating this kind of citizen science now has well in excess of a million registered users (Zooniverse). Such is the force of the technological aura around crowdsourced science that mainstream publications often conflate it with the whole of citizen science (Parr). There are projects within citizen science which share core values with the counterculture as originally defined by Roszak, in particular open participation and social justice. These projects also show characteristics from Grossberg's analysis of counterculture; they are diverse and hybrid spaces, carry a sense of moving from an old era to a new one, and have cultural forms of their own. They open up the full range of the scientific method to participation, including problem definition, research design, analysis and action. Citizen science projects that aim for participation in all these areas include the Extreme Citizen Science research group (ExCiteS) at University College London (UCL), the associated social enterprise Mapping for Change (Mapping for Change), and the Public Laboratory for Open Technology and Science (Public Lab). ExCiteS sees its version of citizen science as "a situated, bottom-up practice" that "takes into account local needs, practices and culture". Public Lab, meanwhile, argue that many citizen science projects only offer non-scientists token forms of participation in scientific inquiry that rarely amount to more that data collection and record keeping. They counter this through an open process which tries to involve communities all the way from framing the research questions, to prototyping tools, to collating and interpreting the measurements. ExCiteS and Public Lab also share an implicit commitment to social justice through scientific activity. The Public Lab mission is to "put scientific inquiry at the heart of civic life" and the UCL research group strive for "new devices and knowledge creation processes that can transform the world". All of their work is framed by environmental sustainability and care for the planet, whether it's enabling environmental monitoring by indigenous communities in the Congo (ExCiteS) or developing do-it-yourself spectrometry kits to detect crude oil pollution (Public Lab, "Homebrew"). Having provided a case for elements of countercultural DNA being present in bottom-up and problem-driven citizen science, we can contrast this with Science for the People, a scientific movement that was born out of the counterculture. Countercultural Science from the 1970s: Science for the People Science for the People (SftP) was a scientific movement seeded by a rebellion of young physicists against the role of US science in the Vietnam War. Young members of the American Physical Society (APS) lobbied for it to take a position against the war but were heavily criticised by other members, whose written complaints in the communications of the APS focused on the importance of scientific neutrality and the need to maintain the association's purely scientific nature rather than allowing science to become contaminated by politics (Sarah Bridger, in Plenary 2, 0:46 to 1:04). The counter-narrative from the dissidents argued that science is not neutral, invoking the example of Nazi science as a justification for taking a stand. After losing the internal vote the young radicals left to form Scientists and Engineers for Social and Political Action (SESPA), which later became Science for the People (SftP). As well as opposition to the Vietnam War, SftP embodied from the start other key themes of the counterculture, such as civil rights and feminism. For example, the first edition of Science for the People magazine (appearing as Vol. 2, No. 2 of the SESPA Newsletter) included an article about leading Black Panther, Bobby Seale, alongside a piece entitled “Women Demand Equality in Science.” The final articles in the same issue are indicators of SftP's dual approach to science and change; both the radicalisation of professionals (“Computer Professionals for Peace”) and the demystification of technical practices (“Statistics for the People”) (Science for the People). Science for the People was by no means just a magazine. For example, their technical assistance programme provided practical support to street health clinics run by the Black Panthers, and brought SftP under FBI surveillance (Herb Fox, in Plenary 1, 0:25 to 0:35). Both as a magazine and as a movement, SftP showed a tenacious longevity, with the publication being produced every two months between August 1970 and May/June 1989. It mutated through a network of affiliated local groups and international links, and was deeply involved in constructing early critiques of nuclear power and genetic determinism. SftP itself seems to have had a consistent commitment to non-hierarchical processes and, as one of the founders expressed it, a “shit kicking” approach to putting its principles in to practice (Al Weinrub, in Plenary 1, 0:25 to 0:35). SftP criticised power, front and centre. It is this opposition to hegemony that puts the “counter” into counterculture, and is missing from citizen science as currently practised. Cracks in the authority of orthodox science, which can be traced to both methodologies and basic concepts, follow in this paper. These can be seen as an opportunity for citizen science to directly challenge orthodox science and thus establish an anti-hegemonic stance of its own. Weaknesses of Scientific Hegemony In this section I argue that the weaknesses of scientific hegemony are in proportion to its claims to authority (Feyerabend). Through my scientific training as an experimental particle physicist I have participated in many discussions about the ontological and epistemological grounds for scientific authority. While most scientists choose to present their practice publicly as an infallible machine for the production of truths, the opinions behind the curtain are far more mixed. Physicist Lee Somolin has written a devastating critique of science-in-practice that focuses on the capture of the institutional economy of science by an ideological grouping of string theorists (Smolin), and his account is replete with questions about science itself and ethnographic details that bring to life the messy behind-the-scenes conflicts in scientific-knowledge making. Knowledge of this messiness has prompted some citizen science advocates to take science to task, for example for demanding higher standards in data consistency from citizen science than is often the case in orthodox science (Haklay, "Assertions"; Freitag, "Good Science"). Scientists will also and invariably refer to reproducibility as the basis for the authority of scientific truths. The principle that the same experiments always get the same results, irrespective of who is doing the experiment, and as long as they follow the same method, is a foundation of scientific objectivity. However, a 2012 study of landmark results in cancer science was able to reproduce only 11 per cent of the original findings (Begley and Ellis). While this may be an outlier case, there are broader issues with statistics and falsification, a bias on positive results, weaknesses in peer review and the “publish or perish” academic culture (The Economist). While the pressures are all-too-human, the resulting distortions are rarely acknowledged in public by scientists themselves. On the other hand, citizen science has been slow to pick up the gauntlet. For example, while some scientists involved in citizen science have commented on the inequality and inappropriateness of orthodox peer review for citizen science papers (Freitag, “What Is the Role”) there has been no direct challenge to any significant part of the scientific edifice. I argue that the nearest thing to a real challenge to orthodox science is the proposal for a post-normal science, which pre-dates the current wave of citizen science. Post-normal science tries to accommodate the philosophical implications of post-structuralism and at the same time position science to tackle problems such as climate change, intractable to reproducibility (Funtowicz and Ravetz). It accomplishes this by extending the domains in which science can provide meaningful answers to include issues such as global warming, which involve high decision stakes and high uncertainty. It extends traditional peer review into an extended peer community, which includes all the stakeholders in an issue, and may involve active research as well as quality assessment. The idea of extended peer review has obvious overlaps with community-oriented citizen science, but has yet to be widely mobilised as a theoretical buttress for citizen-led science. Prior even to post-normal science are the potential cracks in the core philosophy of science. In her book Cosmopolitics, Isabelle Stengers characterises the essential nature of scientific truth as the ability to disqualify and exclude other truth claims. This, she asserts, is the hegemony of physics and its singular claim to decide what is real and what is true. Stengers traces this, in part, to the confrontation more than one hundred years ago between Max Planck and Ernst Mach, whereas the latter argued that claims to an absolute truth should be replaced by formulations that tied physical laws to the human practices that produced them. Planck stood firmly for knowledge forms that were unbounded by time, space or specific social-material procedures (Stengers). Although contemporary understandings of science are based on Planck's version, citizen science has the potential to re-open these questions in a productive manner for its own practices, if it can re-conceive of itself as what Deleuze and Guattari would call nomadic science (Deleuze; Deleuze & Guattari). Citizen Science as Nomadic Science Deleuze and Guattari referred to orthodox science as Royal Science or Striated Science, referring in part to its state-like form of authority and practice, as well as its psycho-social character. Their alternative is a smooth or nomadic science that, importantly for citizen science, does not have the ambition to totalise knowledge. Nomadic science is a form of empirical investigation that has no need to be hooked up to a grand narrative. The concept of nomadic science is a natural fit for bottom-up citizen science because it can valorise truths that are non-dual and that go beyond objectivity to include the experiential. In this sense it is like the extended peer review of post-normal science but without the need to be limited to high-risk high-stakes questions. As there is no a priori problem with provisional knowledges, it naturally inclines towards the local, the situated and the culturally reflective. The apparent unreliability of citizen science in terms of participants and tools, which is solely a source of anxiety, can become heuristic for nomadic science when re-cast through the forgotten alternatives like Mach's formulation; that truths are never separated from the specifics of the context and process that produced them (Stengers 6-18; 223). Nomadic science, I believe, will start to emerge through projects that are prepared to tackle toxic epistemology as much as toxic pollutants. For example, the Community Based Auditing (CBA) developed by environmental activists in Tasmania (Tattersall) challenges local alliances of state and extractive industries by undermining their own truth claims with regards to environmental impact, a process described in the CBA Toolbox as disconfirmation. In CBA, this mixture of post-normal science and Stenger's critique is combined with forms of data collection and analysis known as Community Based Sampling (Tattersall et al.), which would be recognisable to any citizen science project. The change from citizen science to nomadic science is not a total rupture but a shift in the starting point: it is based on an overt critique of power. One way to bring this about is being tested in the “Kosovo Science for Change” project (Science for Change Kosovo), where I am a researcher and where we have adopted the critical pedagogy of Paulo Freire as the starting point for our empirical investigations (Freire). Critical pedagogy is learning as the co-operative activity of understanding—how our lived experience is constructed by power, and how to make a difference in the world. Taking a position such as nomadic science, openly critical of Royal Science, is the anti-hegemonic stance that could qualify citizen science as properly countercultural. Citizen Science and Counterculture Counterculture, as I have expressed it, stands against or rejects the hegemonic culture. However, there is a strong tendency in contemporary social movements to take a stance not only against the dominant structures but against hegemony itself. They contest what Richard Day calls the hegemony of hegemony (Day). I witnessed this during the counter-G8 mobilisation of 2001. Having been an activist in the 1980s and 1990s I was wearily familiar with the sectarian competitiveness of various radical narratives, each seeking to establish itself as the correct path. So it was a strongly affective experience to stand in the convergence centre and listen to so many divergent social groups and movements agree to support each other's tactics, expressing a solidarity based on a non-judgemental pluralism. Since then we have seen the emergence of similarly anti-hegemonic countercultures around the Occupy and Anonymous movements. It is in this context of counterculture that I will try to summarise and evaluate the countercultural potential of citizen science and what being countercultural might offer to citizen science itself. To be countercultural it is not enough for citizen science to counterpose participation against the institutional and hierarchical aspects of professional science. As an activity defined purely by engagement it offers to plug the legitimacy gap for science while still being wholly dependent on it. A countercultural citizen science must pose a strong challenge to the status quo, and I have suggested that a route to this would be to develop as nomadic science. This does not mean replacing or overthrowing science but constructing an other to science with its own claim to empirical methods. It is fair to ask what this would offer citizen science that it does not already have. At an abstract level it would gain a freedom of movement; an ability to occupy Deleuzian smooth spaces rather than be constrained by the striation of established science. The founders of Science for the People are clear that it could never have existed if it had not been able to draw on the mass movements of its time. Being countercultural would give citizen science an affinity with the bottom-up, local and community-based issues where empirical methods are likely to have the most social impact. One of many examples is the movement against fracking (the hydraulic fracturing of deep rock formations to release shale gas). Together, these benefits of being countercultural open up the possibility for forms of citizen science to spread rhizomatically in a way that is not about immaterial virtual labour but is itself part of a wider cultural change. 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Introduction Burning Man (BM) is a festival of art and music that materialises for one week each year in the Nevada desert. It is considered by many to be the world’s largest countercultural event. But what is BM, really? With record attendance of 69,613 in 2013 (Griffith) (the original event in 1986 had twenty), and recent event themes that have engaged with mainstream political themes such as “Green Man” (2007) and “American Dream” (2008), can BM still be considered countercultural? Was it ever? In the first part of this article, we define counterculture as a subculture that originates in the hippie movement of 1960s America and the rejection of “mainstream” values associated with post-WWII industrial culture, that aligns itself with environmentalism and ecological consciousness, and that is distinctly anti-consumer (Roszak, Making). Second, we identify BM as an art and music festival that transcends the event to travel with its desert denizens out into the “real world.” In this way, it is also a festival that has countercultural connections. Third, though BM bears some resemblance to counterculture, given that it is founded upon “Radical Self-Reliance”, BM is actually anything but countercultural because it interlocks with the current socioeconomic zeitgeist of neoliberalism, and that reflects a “new individualism” (Elliot & Lemert). BM’s ambition to be a commercial-free zone runs aground against its entanglement with market relations, and BM is also arguably a consumer space. Finally, neoliberal ideology and “new individualism” are encoded in the space of BM at the level of the spectacle (Debord). The Uchronian’s structure from BM 2006 (a cavernous wooden construction nicknamed the “Belgian Waffle”) could be read as one example. However, opportunities for personal transformation and transcendent experience may persist as counterculture moves into a global age. Defining Counterculture To talk about BM as a counterculture, we must first define counterculture. Hebdige provided a useful distinction between subculture and counterculture in an endnote to a discussion of Teds versus Rockers (148). According to Hebdige, what distinguishes counterculture from mere subculture and related styles is its association with a specific era (1967–70), that its adherents tended to hail from educated, middle-class families, and that it is “explicitly political and ideological” and thus more easily “read” by the dominant powers. Finally, it opposes the dominant culture. Counterculture has its roots in “the hippies, the flower children, the yippies” of the 60s. However, perhaps Hebdige’s definition is too narrow; it is more of an instance of counterculture than a definition. A more general definition of counterculture might be a subculture that rejects “mainstream” values, and examples of this have existed throughout time. For example, we might include the 19th century Romantics with their rejection of the Enlightenment and distrust of capitalism (Roszak 1972), or the Beat generation and post-War America (Miller). Perhaps counterculture even requires one to be a criminal: the prominent Beat writer William S. Burroughs shot guns and heroin, was a homosexual, and accidentally shot and killed his wife in a drug haze (Severo). All of these are examples of subcultures that rejected or opposed the mainstream values of the time. But it was Roszak (Making) who originally defined counterculture as the hippie movement of 1960s era college-aged middle-class American youth who revolted against the values and society inherited not only from their parents, but from the “military-industrial complex” itself, which “quite simply was the American political system” (3). Indeed, the 1960s counterculture—what the term “counterculture” has more generally come to mean—was perhaps the most radical expression of humanity ever in its ontological overthrow of industrial culture and all that it implied (and also, Roszak speculates, in so much that it may have been an experiment gone wrong on the part of the American establishment): The Communist and Socialist Left had always been as committed to industrialism as their capitalist foes, never questioning it as an inevitable historical stage. From this viewpoint, all that needed to be debated was the ownership and control of the system. But here was a dissenting movement that yearned for an entirely different quality of life. It was not simply calling the political superstructure into question; with precocious ecological insight, it was challenging the culture of industrial cities on which that superstructure stood. And more troubling still, there were those among the dissenters who questioned the very sanity of that culture. These psychic disaffiliates took off in search of altered states of consciousness that might generate altered states of society. (8) For the purposes of this paper, then, counterculture refers specifically to those cultures that find their roots in the hippie movement of the late 1960s. I embrace both Roszak’s and Hebdige’s definitions of counterculture because they define it as a unique reaction of post-WWII American youth against industrial culture and a rejection of the accompanying values of home, marriage and career. Instead, counterculture embraced ecological awareness, rejected consumption, and even directed itself toward mystical altered states. In the case of the espoused ecological consciousness, that blossomed into the contemporary (increasingly mainstream) environmental movement toward “green” energy. In the case of counterculture, the specific instance really is the definition in this case because the response of postwar youth was so strong and idiosyncratic, and there is overlap between counterculture and the BM community. So what is Burning Man? Defining Burning Man According to the event’s website: Burning Man is an annual event and a thriving year-round culture. The event takes place the week leading up to and including Labor Day, in Nevada’s Black Rock Desert. The Burning Man organization […] creates the infrastructure of Black Rock City, wherein attendees (or “participants”) dedicate themselves to the spirit of community, art, self-expression, and self-reliance. They depart one week later, leaving no trace […] Outside the event, Burning Man’s vibrant year-round culture is growing through the non-profit Burning Man Project, including worldwide Regional Groups and associated non-profits who embody Burning Man’s ethos out in the world. (“What is Burning Man?”) I interpret BM as a massive art festival and party that materialises in the desert once a year to produce one of the largest cities in Nevada, but one with increasingly global reach in which the participants feel compelled to carry the ethos forward into their everyday lives. It is also an event with an increasing number of “regional burns” (Taylor) that have emerged as offshoots of the original. Creator Larry Harvey originally conceived of burning the effigy of a man on San Francisco’s Baker Beach in 1986 in honor of the solstice (“Burning Man Timeline”). Twenty people attended the first BM. That figure rapidly rose to 800 by 1990 when for legal reasons it became necessary to relocate to the remote Black Rock desert in Nevada, the largest expanse of flat land in the United States. In the early 90s, when BM had newly relocated and attendees numbered in the low thousands, it was not uncommon for participants to mix drugs, booze, speeding cars and firearms (Bonin) (reminiscent of the outlaw associations of counterculture). As the Internet became popular in the mid-1990s word spread quickly, leading to a surge in the population. By the early 2000s attendance regularly numbered in the tens of thousands and BM had become a global phenomenon. In 2014 the festival turned 28, but it had already been a corporation for nearly two decades before transitioning to a non-profit (“Burning Man Transitions”). Burning Man as Countercultural Event BM has connections to the counterculture, though the organisation is quick to dispel these connections as myths (“Media Myths”). For example, in response to the notion that BM is a “90s Woodstock”, the organisers point out that BM is for all ages and not a concert. Rather, it is a “noncommercial environment” where the participants come to entertain each other, and thus it is “not limited by the conventions of any subculture.” The idea that BM is a “hippie” festival is also a myth, but one with some truth to it: Hippies helped create environmental ethics, founded communes, wore colorful clothing, courted mysticism, and distrusted the modern industrial economy. In some ways, this counterculture bears a resemblance to aspects of Burning Man. Hippie society was also a youth movement that often revolved around drugs, music, and checks from home. Burning Man is about “radical self-reliance”–it is not a youth movement, and it is definitely not a subculture (“Media Myths”). There are some familiar aspects of counterculture here, particularly environmental consciousness, anti-consumer tendencies and mysticism. Yet, looking at the high attendance numbers and the progression of themes in recent years one might speculate that BM is no longer as countercultural as it once was. For instance, psychedelic themes such as “Vault of Heaven” (2004) and “Psyche” (2005) gave way to “The Green Man” (2007) and “American Dream” (2008). Although “Green Man” was an environmental theme it debuted the year after Vice President Al Gore’s “An Inconvenient Truth” (2006) brought the issue of climate change to a mainstream audience. Indeed, as a global, leaderless event with a strong participatory ethos in many respects BM followed suit with the business world, particularly given it was a Limited Liability Corporation (LLC) for many years (though it was ahead of the curve): “Capitalism has learned from the counter culture. But this is not news” (Rojek 355). Similarly, just in time for the 2008 U.S. Presidential election the organisational committee decided to juxtapose “the Man” with the American flag. Therefore, there has been an arguable shift toward engagement with mainstream issues and politics in recent years (and away from mysticism). Recent themes are really re-appropriations of mainstream discourses; hence they are “agonistic” readings (Mouffe). Take for example the VoterDrive Bus, an early example of political talk at BM that engaged with mainstream politics. The driver was seven-time BM veteran Corey Mervis (also known as “Misty Mocracy”) (“Jack Rabbit Speaks”). Beginning on 22 July 2004, the VoterDrive Bus wrote the word VOTE in script across the continental United States in the months before the election, stopping in the Black Rock City (BRC) for one week during the BM festival. Four years later the theme “American Dream” would reflect this countercultural re-appropriation of mainstream political themes in the final months leading up to the 2008 Presidential election. In that year, “the Man,” a massive wooden effigy that burns on the last night of the event, stood atop a platform of windows, each inscribed with the flag of a different country. “American Dream” was as politically as it was poetically inspired. Note the agonistic appeal: “This year's art theme is about patriotism—not that kind which freights the nation state with the collective weight of ego, but a patriotism that is based upon a love of country and culture. Leave ideology at home…Ask yourself, instead…What can postmodern America, this stumbling, roused, half-conscious giant, yet give to the world?” (“2008 Art Theme: American Dream”). BM has arguably retained its countercultural authenticity despite engagement with mainstream political themes by virtue of such agonistic appeals to “American Dream”, and to “Green Man” which promoted environmental awareness, and which after all started out in the counterculture. I attended BM twice in 2006 and 2007 with “The Zombie Hotel”, one among a thousand camps in the BRC, Nevada (oddly, there were numerous zombie-themed camps). The last year I attended, the festival seemed to have come of age, and 2007 was the first in its history that BM invited corporate presence in the form of green energy companies (and informational kiosks, courtesy of Google) (Taylor). Midway through the week, as I stumbled through the haphazard common area that was The Zombie Hotel hiding from the infernal heat of the desert sun, two twin fighter jets, their paths intertwining, disturbed the sanctity of the clear, blue afternoon sky followed by a collective roar from the city. One can imagine my dismay at rumours that the fighter jets—which I had initially assumed to be some sort of military reconnaissance—were in fact hired by the BM Organizational Committee to trace the event’s symbol in the sky. Speculation would later abound on Tribe.net (“What was up with the fighter jets?”). What had BM become after all? Figure 1: Misty Mocracy & the VoterDrive Bus. Photo: Erick Leskinen (2004). Reproduced with permission. “Radical Self-Reliance”, Neoliberalism and the “New Individualism” Despite overlap with elements of counterculture, there is something quite normative about BM from the standpoint of ideology, and thus “mainstream” in the sense of favouring values associated with what Roszak calls “industrial society”, namely consumption and capitalist labor relations. To understand this, let us examine “The Ten Principles of BM”. These include: Radical Inclusion, Gifting, Decommodification, Radical Self-Reliance, Radical Self-Expression, Communal Effort, Civic Responsibility, Leaving No Trace, Participation and Immediacy (“Ten Principles of Burning Man”). These categories speak to BM’s strong connection to the counterculture. For example, “Decommodification” is a rejection of consumerism in favour of a culture of giving; “Immediacy” rejects mediation, and “Participation” stresses transformative change. Many of these categories also evoke political agonism, for example “Radical Inclusion” requires that “anyone may be a part of Burning Man”, and “Radical Self-Expression”, which suggests that no one other than the gift-giver can determine the content of the message. Finally, there are categories that also engage with concepts associated with traditional civil society and democracy, such as “Civic Responsibility”, which refers to the “public welfare”, “Participation”, and “Communal Effort.” Though at first it may seem to connect with countercultural values, upon closer inspection “Radical Self-Reliance” aligns BM with the larger socioeconomic zeitgeist under late-capitalism, subverting its message of “Decommodification.” Here is what it says: “Burning Man encourages the individual to discover, exercise and rely on his or her inner resources.” That message is transformative, even mystical, but it aligns well with a neoliberal ideology and uncertain labor relations under late capitalism. Indeed, Elliot and Lemert explore the psychological impact of a “new individualism”, setting the self in opposition to the incoming forces of globalisation. They address the question of how individuals respond to globalisation, perhaps pathologically. Elliot and Lemert clarify the socio-psychological ramifications of economic fragmentation. They envision this as inextricably caught up with the erosion of personal identity and the necessity to please “self-absorbed others” in a multiplicity of incommensurate realities (20, 21). Individuals are not merely atomised socially but fragmented psychologically, while at the macroscopic level privatisation of the economy spawns this colonisation of the personal Lifeworld, as social things move into the realm of individualised dilemmas (42). It is interesting to note how BM’s principles (in particular “Radical Self-Reliance”) evoke this fracturing of identity as identities and realities multiply in the BRC. Furthermore, the spectre of neoliberal labour conditions on “the Playa” kicks down the door for consumer culture’s entrée. Consumer society “technicises” the project of the self as a series of problems having consumer solutions with reference to expert advice (Slater 86), BM provides that solution in the form of a transformative experience through “Participation”, and acolytes of the BM festival can be said to be deeply invested in the “experience economy” (Pine & Gilmore): “We believe that transformative change, whether in the individual or in society, can occur only through the medium of deeply personal participation” (“Ten Principles”). Yet, while BM rejects consumption as part of “Decommodification”, the event has become something of a playground for new technological elites (with a taste for pink fur and glow tape rather than wine and cheese) with some camps charging as much as US $25,000 in fees per person for the week (most charge $300) (Bilton). BM is gentrifying, or as veteran attendee Tyler Hanson put it, “Burning Man is no longer a counterculture revolution. It’s now become a mirror of society” (quoted in Bilton). Neoliberalism and “new individualism” are all around at BM, and a reading of space and spectacle in the Uchronian structure reveals this encoding. Figure 2: “Message Out of the Future by Night” (also known as “the Belgian Waffle). Photo: Laurent Chavanne (2006). Reproduced with permission. “Long Gone Hippies” Republican tax reformist Grover Norquist made his way to BM for the first time this year, joining the tech elites. He subsequently proclaimed that America had a lot to learn from BM: “The story of Burning Man is one of radical self-reliance” (Norquist). As the population of the BRC surges toward seventy thousand, it may be difficult to call BM a countercultural event any longer. Given parallels between the BM ethos and neoliberal market relations and a “new individualism”, it is hard to deny that BM is deeply intertwined with counterposing forces of globalisation. However, if you ask the participants (and Norquist) they will have a different story: After you buy your ticket to Burning Man to help pay for the infrastructure, and after you pay for your own transportation, food and water, and if you optionally decide to pay to join a camp that provides some services THEN you never have to take your wallet out while at Burning Man. Folks share food, massages, alcohol, swimming pools, trampolines, many experiences. The expenses that occur prior to the festival are very reasonable and it is wonderful to walk around free from shopping or purchasing. Pockets are unnecessary. So are clothes. (Alex & Allyson Grey) Consumerism is a means to an end in an environment where the meanings of civic participation and “giving back” to the counterculture take many forms. Moreover, Thornton argued that the varied definitions of what is “mainstream” among subcultures point more to a complex and multifaceted landscape of subculture than to any coherent agreement as to what “mainstream” actually means (101), and so perhaps our entire discussion of the counterculture/mainstream binary is moot. Perhaps there is something yet to be salvaged in the spaces of participation at BM, some agonistic activity to be harnessed. The fluid spaces of the desert are the loci of community action. Jan Kriekels, founder of the Uchronia Community, holds out some hope. The Belgian based art collective hauled 150 kilometres of lumber to the BRC in the summer of 2006 to construct a freestanding, cavernous structure with a floor space of 60 by 30 metres at its center and a height of 15 metres (they promised a reforestation of the equivalent amount of trees) (Figure 1). “Don’t mistake us for long gone hippies in the desert”, wrote Kriekels in Message Out of the Future: Uchronia Community, “we are trying to build a bridge between materialism and spiritualism” (102). The Uchronians announced themselves as not only desert nomads but nomads in time (“U” signifying “nothing” and “chronos” or “time”), their time-traveller personas designed to subvert commodification, their mysterious structure (nicknamed the “Belgian Waffle” by the burners, a painful misnomer in the eyes of the Uchronians) evoking a sense of timelessness. I remember standing within that “cathedral-like” (60) structure and feeling exhilarated and lonely and cold all at once for the chill of the desert at night, and later, much later, away from the Playa in conversations with a friend we recalled Guy Debord’s “Thesis 30”: “The spectator feels at home nowhere, for the spectacle is everywhere.” The message of the Uchronians provokes a comparison with Virilio’s conceptualisations of “world time” and “simultaneity” that emerge from globalisation and digital technologies (13), part of the rise of a “globalitarianism” (15)—“world time (‘live’) takes over from the ancient, immemorial supremacy of the local time of regions” (113). A fragmented sense of time, after all, accompanies unstable labour conditions in the 21st century. Still, I hold out hope for the “resistance” inherent in counterculture as it fosters humanity’s “bothersomely unfulfilled potentialities” (Roszak, Making 16). I wonder in closing if I have damaged the trust of burners in attempting to write about what is a transcendent experience for many. It may be argued that the space of the BRC is not merely a spectacle—rather, it contains the urban “forests of gestures” (de Certeau 102). These are the secret perambulations—physical and mental—at risk of betrayal. References An Inconvenient Truth. Dir. Davis Guggenheim. Perf. Al Gore. Paramount Pictures, 2006. Bilton, Nick. “At Burning Man, the Tech Elite One-Up One Another.” The New York Times: Fashion & Style, 20 Aug. 2014. 10 Oct. 2014 ‹http://www.nytimes.com/2014/08/21/fashion/at-burning-man-the-tech-elite-one-up-one-another.html› “Burning Man Timeline.” Burningman. 10 Oct. 2014 ‹http://burningman.org/timeline/›. “Burning Man Transitions to Non-Profit Organization.” Burningman 3 Mar. 2014. 10 Oct. 2014 ‹http://blog.burningman.com/2014/03/news/burning-man-transitions-to-non-profit-organization/›. De Bord, Guy. The Society of the Spectacle. New York: Zone, 1994. De Certeau, Michel. The Practice of Everyday Life. Berkeley, Calif.: U of California P, 1984. Dust & Illusions: 30 Years of History of Burning Man. Dir. Oliver Bonin. Perf. Jerry James, Larry Harvey, John Law. Imagine, 2009. Elliot, Anthony, and Charles Lemert. The New Individualism. New York: Routledge, 2006. Grey, Alex, and Alyson Grey. “Ticket 4066, Burning Man Study.” Message to the author. 30 Nov. 2007. E-mail. Griffith, Martin. “Burning Man Draws 66,000 People to the Nevada Desert.” The Huffington Post 2 Sep. 2014. 10 Oct. 2014 ‹http://www.huffingtonpost.com/2014/09/02/burning-man-2014_n_5751648.html›. Hebdige, Dick. Subculture: The Meaning of Style. New York: Methuen, 1979. “Jack Rabbit Speaks.” JRS 8.32 (2004). 10 Oct. 2014 ‹http://www.burningman.com/blackrockcity_yearround/jrs/vol08/jrs_v08_i32.html›. Kriekels, Jan. Message Out of the Future: Uchronia Community. 2006. 10 Oct. 2014 ‹http://issuu.com/harmenvdw/docs/uchronia-book-low#›. “Media Myths.” Burningman. 6 Nov. 2014 ‹http://www.burningman.com/press/myths.html›. Miller, Timothy. The Hippies and American Values. Knoxville: U of Tennessee P, 1999. Mouffe, Chantal. On the Political. London: Routledge, 2005. Norquist, Grover. “My First Burning Man: Confessions of a Conservative from Washington.” The Guardian 2 Sep. 2014. 10 Oct. 2014 ‹http://www.theguardian.com/commentisfree/2014/sep/02/my-first-burning-man-grover-norquist›. Pine, B. Joseph, and James H. Gilmore. The Experience Economy. Boston: Harvard Business School P, 1999. Rojek, Chris. "Leaderless Organization, World Historical Events and Their Contradictions: The ‘Burning Man’ City Case.” Cultural Sociology 8.3 (2014): 351–364. Roszak, Theodore. The Making of a Counter Culture. Oakiland, Calif.: U of California P, 1995 [1968]. Roszak, Theodore. Where the Wasteland Ends. Charlottesville, Va.: U of Virginia P, 1972. Severo, Richard. “William S. Burroughs Dies at 83.” New York Times 3 Aug. 1997. 6 Nov. 2014 ‹http://www.nytimes.com/1997/08/03/nyregion/william-s-burroughs-dies-at-83-member-of-the-beat-generation-wrote-naked-lunch.html›. Slater, Don. Consumer Culture and Modernity. Cambridge, U.K.: Polity, 1997. Taylor, Chris. “Burning Man Grows Up.” CNN: Money. 10 Oct. 2014 ‹http://money.cnn.com/magazines/business2/business2_archive/2007/07/01/100117064›. “Ten Principles of Burning Man.” Burningman. 10 Oct. 2014 ‹http://burningman.org/culture/philosophical-center/10-principles/›. Thornton, Sarah. Club Cultures: Music, Media and Subcultural Capital. Hanover, NH: Wesleyan UP, 1996. Virilio, Paul. The Information Bomb. London: Verso, 2000. “What Was Up with the Fighter Jets?” Tribe 7 Sep. 2007. 10 Oct. 2014 ‹http://bm.tribe.net/thread/84f762e0-2160-4e6e-b5af-1e35ce81a1b7›. “2008 Art Theme: American Dream.” Tribe 3 Sep. 2007. 10 Oct. 2014 ‹http://bm.tribe.net/thread/60b9b69c-001a-401f-b69f-25e9bdef95ce›.

In one of his final pieces of writing, Timothy Leary—one of the most singularly iconic and influential figures of the 1960s counterculture, known especially for his advocacy of a “molecular revolution” premised upon hallucinogenic self-medication—proposes that [c]ounterculture blooms wherever and whenever a few members of a society choose lifestyles, artistic expressions, and ways of thinking and being that wholeheartedly embrace the ancient axiom that the only true constant is change itself. The mark of counterculture is not a particular social form or structure, but rather the evanescence of forms and structures, the dazzling rapidity and flexibility with which they appear, mutate, and morph into one another and disappear. (ix) But it is not just radical activists and ancient philosophers who celebrate the constancy of change; on the contrary, it is a basic principle of post-industrial capitalism, a system which relies upon the constant extraction of surplus value—this being the very basis of the accumulation of capital—through an ever-accelerating creation of new markets and new desires fostered via a perpetual cycle of technical obsolescence and social destabilisation. Far from being unambiguously aligned with a mode of resistance then (as seemingly inferred by the quote above), the imperative for change would appear to be a basic constituent of that which the latter seeks to undermine. The very concept of “counterculture” as an ideal and a practice has been challenged and contested repeatedly over the past fifty or so years, both inside and outside of the academy. For the most part, the notion of counterculture is understood to have emerged out of the tumultuous cultural shifts of the 1960s, and yet, at the same time, as Theodore Roszak—who first coined the term—notes, the intellectual heritage of such a movement draws upon a “stormy Romantic sensibility, obsessed from first to last with paradox and madness, ecstasy and spiritual striving” (91) that dates back to nineteenth century Idealist philosophy and its critique of a rapidly industrialising civilisation. My purpose in this paper is not to address these numerous conceptualisations of counterculture but instead to analyse specifically the enigmatic definition given by Leary above, whereby he conflates counterculture with the demand for continual change or novelty, arguing that the former appears precisely at the point when “equilibrium and symmetry have given way to a complexity so intense as to appear to the eye as chaos” (ix). Concerned that this definition is internally inconsistent given Leary’s understanding of counterculture as a profoundly anti-capitalist force, I will cursorily illustrate the contradictions that proceed when the notion of counterculture as resistance to capitalist hegemony is combined with the identification of counterculture as an authentic and repeated irruption of the new, albeit one that is inevitably domesticated by and subsumed into the dominant culture against which it is posed, as occurs in Leary’s account. The claim that I make here is that this demand for change as an end in itself is inextricably capitalist in its orientation, and as such, cannot be meaningfully understood as a structural externality to the capitalist processes that it strives to interrupt. Capitalism and Growth The study of counterculture is typically, and probably inevitably premised upon an opposition between a dominant culture and those emergent forces that seek to undermine it. In the words of Roszak, the American counterculture of the 1960s arose in defiance of the “modernizing, up-dating, rationalizing, planning” tendencies of technocracy, “that social form in which an industrial society reaches the peak of its organizational integration” (5). Similarly, for Herbert Marcuse, the philosopher perhaps most closely associated with this counterculture, and whose writings formed the intellectual lynchpin of the student protest movement at that time, “intensified progress seems to be bound up with intensified unfreedom,” and as a consequence, we must strive for “a non-repressive civilization, based on a fundamentally different experience of being, a fundamentally different relation between man [sic] and nature, and fundamentally different existential relations” (Eros 4-5). In both cases, the dominant culture is associated with a particular form of repression, based upon the false sense of freedom imposed by the exigencies of the market. “Free choice among a wide variety of goods and services does not signify freedom,” argues Marcuse, “if these goods and services sustain social controls over a life of toil and fear” (One-Dimensional 10). Most importantly, Marcuse observes that this facile freedom of choice is propped up by processes of continual renewal, transformation, and rationalisation—“advertising, public relations, indoctrination, planned obsolescence”—operating on the basis of a “relentless utilization of advanced techniques and science,” such that “a rising standard of living is the almost unavoidable by-product of the politically manipulated industrial society” (One-Dimensional 52-53). Writing at a time when the Keynesian welfare state was still a foregone conclusion, Marcuse denounces the way in which an increase in the quality of life associated with the rise of consumerism and lifestyle culture “reduces the use-value of freedom”, for “there is no reason to insist on self-determination if the administered life is the comfortable and even the ‘good’ life” (One-Dimensional 53). The late industrial society, in other words, is presented as driven by a repressive desublimation which does not merely replace the objects of a so-called “high culture” with those of an inferior mass culture, but totally liquidates any such distinction, reducing all culture to a mere process of consumption, divorced from any higher goals or purposes. This desublimation is able to maintain growth through the constant production of novelty—providing new objects for the purposes of consumption. This society is not stagnant then; rather, “[i]ts productivity and efficiency, its capacity to increase and spread comforts, to turn waste into need, and destruction into construction” all represent the demand for a continual production of the new that undergirds its own stability (One-Dimensional 11). This necessary dynamism, and the creative destruction that goes along with it, is a result of the basic laws of competition: the need not only to generate profit, but to maintain this profitability means that new avenues for growth must constantly be laid down. This leads to both a geographical expansion in search of new markets, and a psychological manipulation in order to cultivate needs, desires, and fantasies in consumers that they never knew they had, combined with a dramatic shift in the search for both raw materials and labour power toward the developing economies of Asia. The result, notes David Harvey, is to “exacerbate insecurity and instability, as masses of capital and workers shift from one line of production to another, leaving whole sectors devastated, while the perpetual flux in consumer wants, tastes, and needs becomes a permanent locus of uncertainty and struggle” (106). What we are seeing then, as these processes of production and demands for consumption accelerate, is not so much the maintenance of the comfortable and carefree life that Marcuse sees as destructive to culture; conversely, this acceleration is engendering a sense of disorientation and even groundlessness that leaves us in a state of continual anxiety and disquietude. Although these processes have certainly accelerated in recent years—not least because of the rise of high-speed digital networking and telecommunications—they were prominent throughout the second-half of the twentieth century (in varying degrees), and indicate a general logic of rationalisation and technical efficiency that has been the focus of critique from the proto-countercultural romanticism of the nineteenth century onward. It is Marx who observes that “[t]he driving motive and determining purpose of capitalist production is the self-valorization of capital to the greatest possible extent,” and it is precisely this seemingly unstoppable impetus toward accumulation that finds its most acute manifestation in our age of digital, post-industrial capitalism (449). What needs to be kept in mind is that capitalism is not opposed to those exteriorities that resist its logic; on the contrary, it is through its ability to appropriate them in a double movement whereby it simultaneously claims to act as the condition of their production and claims the right to represent them on its terms (through the universal sign of money) that capitalism is able to maintain its continual growth. Put simply, capitalism as an economic system and an ideological constellation has proved itself time and time again to be remarkably resilient not only to intellectual critique, but also to the concrete production of new forms of living seemingly contrary to its principles, precisely because it is able to incorporate and thus nullify such threats. The production of the new does not harm capitalism; on the contrary, capitalism thrives on such production. The odd contradiction of the mass society, writes Walter Benjamin, coheres in the way that “the novelty of products—as a stimulus to demand—is accorded an unprecedented importance,” whilst at the same time, “‘the eternal return of the same’ is manifest in mass production” (331). This production of novelty is, in other words, restricted by the parameters of the commodity form—the necessity that it be exchangeable under the terms of capital (as money)—such that its potential heterogeneity is restrained by its identity as a commodity. Capitalism is perfectly capable of creating new modes of living, but it does so specifically according to its terms. This poses a difficulty then for the study and advocacy of counterculture in the terms for which Leary advocates above, because the progressivism of the latter—referring to its demand for continual change and innovation (a demand that admittedly runs counter to the nostalgic romanticism that has motivated a great deal of countercultural thought and praxis, and is certainly not a universally accepted definition of counterculture more broadly)—is not necessarily easily distinguishable from the dominant culture against which it is counterposed. Raymond Williams expresses this frustration well when he observes that “it is exceptionally difficult to distinguish between those which are really elements of some new phase of the dominant culture […] and those which are substantially alternative or oppositional to it” (123). In other words, given that capitalism as an economic system and hegemonic cultural formation is so effective in producing the novelty that we crave—creating objects, ideas, and practices often vastly different to those residual traditions that preceded them—there is no obvious metric for determining when we are looking at a genuine alternative to this hegemony, and when we are looking at yet another variegated product of it. Williams makes a distinction here, whereby the emergence (in the strict sense of coming-into-being or genesis) of a new culture is presumed to be qualitatively different to mere novelty. What is not adequately considered is the possibility that this distinction is entirely illusory—that holding out hope for a qualitatively different mode of existence that will mark a distinct break from capitalist hegemony is in fact the chimera by which this hegemony is sustained, and its cycle of production perpetuated. There is an anxiety here that is present within (and one might suggest even constitutive of) present-day debates over counterculture, particularly in regard to the question of resistance, and what form it might take under the conditions of late capitalism. From Williams’s perspective, it can be argued that “all or nearly all initiatives and contributions, even when they take on manifestly alternative or oppositional forms, are in practice tied to the hegemonic,” such that “the dominant culture, so to say, at once produces and limits its own forms of counter-culture” (114). To argue this though, he goes on to suggest, would: overlook the importance of works and ideas which, while clearly affected by hegemonic limits and pressures, are at least in part significant breaks beyond them, which may again in part be neutralized, reduced, or incorporated, but which in their most active elements nevertheless come through as independent and original. (114)Authentic breaks in specific social conditions are not just a fantasy, he correctly observes, but have occurred many times across history—and not merely in the guise of violent revolutionary activity. What is needed, therefore, is the development of “modes of analysis which instead of reducing works to finished products, and activities to fixed positions, are capable of discerning, in good faith, the finite but significant openness of many actual initiatives and contributions” (114). For Williams, this openness is located chiefly within the semiotic indeterminacy of the artwork, and the resultant potentiality contained within it for individuals to develop resistant readings contrary to any dominant interpretation. These divergent readings become the sites upon which we might imagine new worlds and new ways of living. There is a sense of resignation in his solution though: an appeal to the autonomy of an artwork, and a momentary sublime glimpse of another world, that will inevitably be domesticated by capital. The difficulty that comes with understanding counterculture as an uncompromising demand for the new, over and against the mundane repetitions of commodity culture and lifestyle consumerism, is that it must reckon with the seemingly inevitable appropriation of these new creations by the system against which they are opposed. In such cases, the typical result is a tragic and fundamentally romantic defeatism, in which the creative individual (or community, etc.) must continue to create anew, knowing full well that their output will immediately find itself domesticated and enervated by the forces of capital. This specific conception of counterculture as perpetual change knows that it is doomed to failure, but takes pleasure in the struggle that nonetheless ensues. The Subsumption of Counterculture “Marx and Freud, perhaps, do represent the dawn of our culture,” writes philosopher Gilles Deleuze, “but Nietzsche is something entirely different: the dawn of counterculture” (142). Friedrich Nietzsche seems like an unlikely candidate for the originator of counterculture—his writings certainly bear little overt resemblance to the premises of the various movements that emerged in the 1960s, even though, as Roszak remarks, these movements actually largely issued forth from “the work of Freud and of Nietzsche, the major psychologists of the Faustian soul” (91)—but what he does share with Leary is a belief, expressed most clearly in his posthumous text The Will to Power (1967), in the political and ethical power of becoming, and the need to celebrate and affirm, rather than resist, a world that appears to be in constant, ineluctable flux. Rather than seeking merely to improve the status quo, Nietzsche works toward total and perpetual upheaval—a transvaluation of all values. In Deleuze’s words, he “made thought into a machine of war—a battering ram—into a nomadic force” (149). At a time when resistance to capitalism seems futile; when the possibility of capitalism ending seems more and more distant (which is not to say that it is unlikely to end anytime soon, but merely that its plausible alternatives have been evacuated from the popular imagination), such a claim can seem rather appealing. But how might we distinguish this conception of perpetual revolution of values from the creative destruction of capitalism itself? Why do we presume that there is such a distinction to be made? Why should Leary’s call for rapidity and flexibility—and more broadly, a celebration of change over constancy—be seen as anything other than an acknowledgement and reinforcement of capitalism’s accelerating cycle of obsolescence? The uncomfortable reality we must consider is that the countercultural, as an apparent exteriority waiting to be appropriated, plays an essential role in the accumulation of capital that drives our economic system, and that accordingly, it cannot be plausibly understood as external to the structural conditions that it opposes. This is not to suggest that counterculture does not produce new possibilities, new opportunities, and new ways of living, but simply that its production is always already structured by capitalist relations—the precise anxiety acknowledged by Williams. Once again, this is not a dismissal of counterculture, just the opposite in fact. It is a rejection of the conflation that Leary makes between counterculture and novelty, the combination of which is supposed to provide a potent threat to capitalist hegemony. “The naive supposition of an unambiguous development towards increased production,” argues German philosopher Theodor Adorno, “is itself a piece of that bourgeois outlook which permits development because […] it is hostile to qualitative difference” (156). Capitalism produces many different types of commodities (within which we can include ideas, beliefs, means of communication, as well as physical goods in the traditional sense), but what unites them is their shared identity under the regime of exchange value (money). This exchange value masks their genuine heterogeneity. But what use is it simply reassuring us that if we continue to produce, we may eventually produce something so new, so different that it will evade capture by this logic? Does this not merely reinforce a complicity between the appeal of the countercultural as a force of change and the continuous accumulation of capital? I would contend that to define counterculture as the production of the new underwrites the inexhaustible productivism of the capitalist hegemony that it seeks to challenge. What if, then, this qualitative difference was created not through the production of the new, but the total rejection of this production as the means to resistance? This would not be to engender or encourage a state of total stasis (which is definitely not a preferable or plausible scenario), but rather, to detach the hope for a better world from the idea that we must achieve this by somehow adding to the world that we already have—to recognise, as Adorno would have it, that “the forces of production are not the deepest substratum of man [sic], but represent his historical form adapted to the production of commodities” (156). Leary’s peculiar conception of counterculture that we have been examining throughout this paper refuses to give countenance to any kind of stability or equilibrium, instead proffering an essentially Nietzschean mode of resistance in which incessant creativity becomes the means to the contrivance of a new world—this is part of what Roszak records as the rejection of Marx’s “compulsive hard-headedness” and the embrace of “[m]yth, religion, dreams, visions” which mark the fundamental romanticism of (post-)1960s counterculture, and its heritage in nineteenth century bourgeois sensibilities. For all the benefits that such a conception of counterculture has provided, it would seem misguided to ignore the ways in which Leary’s rhetoric is undermined by the simple fact that it presumes a hierarchy between a dominant culture (capitalism) and its resistant periphery that is already structured by and given through a capitalist mode of thought that presumes its own self-sufficiency (that is, it assumes the adequacy of the logic of exchange to homogenise all products under the commodity form). The postulate that grounds Leary’s understanding of counterculture is a covert identification of man/woman as a restless, alienated being who will never reach a state of stability or actualisation, and must instead continue to produce in the vain hope that this might finally and definitely change things for the better. Instead of embracing the constancy of change, an ideology that ends up justifying the excesses of a capitalist order that knows nothing other than production, perhaps it is possible to begin reconceptualising counterculture in terms that resist precisely this demand for novelty. As Alexander Galloway declares, “[i]t is time now to subtract from this world, not add to it,” for the “political does not arise from the domain of production” (138-139). We do not need more well-intentioned ideas regarding how the world could be a better place or what new possibilities are on offer—we know these things already, we hear about them every day. What we need, and what perhaps counterculture can offer, is to affirm the truth of that which does not need to be produced, which is always already given to us through the immanence of human thought. In the words of François Laruelle, this is an understanding of human individuals as ordinary, “stripped of qualities or attributes by a wholly positive sufficiency,” such that “they lack nothing, are not alienated,” whereby the identity of the individual “is defined by characteristics that are absolutely original, primitive, internal, and without equivalent in the World […] not ideal essences, but finite, inalienable (and consequently irrecusable) lived experiences” (48-49). The job of counterculture then becomes not so much creating that which did not exist prior, but of realising “what we already know to be true” (Galloway 139). References Adorno, Theodor. Minima Moralia: Reflections on a Damaged Life. London and New York: Verso, 1974. Benjamin, Walter. The Arcades Project. Ed. Rolf Tiedemann. Cambridge and London: The Belknapp Press, 1999. Deleuze, Gilles. “Nomad Thought.” The New Nietzsche: Contemporary Styles of Interpretation. Ed. David B. Allison. New York City: Dell Publishing, 1977: 142-149. Galloway, Alexander R. The Interface Effect. Cambridge and Malden: Polity, 2012. Harvey, David. The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change. Cambridge and Oxford: Blackwell, 1989. Laruelle, François. From Decision to Heresy: Experiments in Non-Standard Thought. Ed. Robin Mackay. Falmouth: Urbanomic, 2012. Leary, Timothy. “Foreword.” Counterculture through the Ages: From Abraham to Acid House. Ken Goffman and Dan Joy. New York City: Villard Books, 2004: ix-xiv. Marcuse, Herbert. One Dimensional Man. London and New York: Routledge, 1991. ---. Eros and Civilization: A Philosophical Inquiry into Freud. London: Routledge, 1998. Marx, Karl. Capital, Volume One. London: Penguin, 1976. Nietzsche, Friedrich. The Will to Power. Ed. Walter Kaufmann. New York: Vintage Books, 1967. Roszak, Theodore. The Makings of a Counter Culture. Garden City, New York: Anchor Books, 1969. Williams, Raymond. Marxism and Literature. Oxford and New York: Oxford University Press, 1977.

On 19 January 1975, Australia’s first youth station 2JJ (Double Jay) launched itself onto the nation’s airwaves with a NASA-style countdown and You Only Like Me ‘Cause I’m Good in Bed by Australian band Skyhooks. Refused airtime by the commercial stations because of its explicit sexual content, this song was a clear signifier of the new station’s intent—to occupy a more radical territory on Australian radio. Indeed, Double Jay’s musical entrée into the highly restrictive local broadcasting environment of the time has gone on to symbolise both the station’s role in its early days as an enfant terrible of radio (Inglis 376), and its near 40 years as a voice for youth culture in Australia (Milesago, Double Jay). In this paper we explore the proposition that Double Jay functioned as an outlet for youth counterculture in Australia, and that it achieved this even with (and arguably because of) its credentials as a state-generated entity. This proposition is considered via brief analysis of the political and musical context leading to the establishment of Double Jay. We intend to demonstrate that although the station was deeply embedded in “the system” in material and cultural terms, it simultaneously existed in an “uneasy symbiosis” (Martin and Siehl 54) with this system because it consciously railed against the mainstream cultures from which it drew, providing a public and active vehicle for youth counterculture in Australia. The origins of Double Jay thus provide one example of the complicated relationship between culture and counterculture, and the multiple ways in which the two are inextricably linked. As a publicly-funded broadcasting station Double Jay was liberated from the industrial imperatives of Australia’s commercial stations which arguably drove their predisposition for formula. The absence of profit motive gave Double Jay’s organisers greater room to experiment with format and content, and thus the potential to create a genuine alternative in Australia broadcasting. As a youth station Double Jay was created to provide a minority with its own outlet. The Labor government committed to wrenching airspace from the very restrictive Australian broadcasting “system” (Wiltshire and Stokes 2) to provide minority voices with room to speak and to be heard. Youth was identified by the government as one such minority. The Australian Broadcasting Commission (ABC) contributed to this process by enabling young staffers to establish the semi-independent Contemporary Radio Unit (CRU) (Webb) and within this a youth station. Not only did this provide a focal point around which a youth collective could coalesce, but the distinct place and identity of Double Jay within the ABC offered its organisers the opportunity to ignore or indeed subvert some of the perceived strictures of the “mothership” that was the ABC, whether in organisational, content and/or stylistic terms. For these and other reasons Double Jay was arguably well positioned to counter the broadcasting cultures that existed alongside this station. It did so stylistically, and also in more fundamental ways, At the same time, however, it “pillaged the host body at random” (Webb) co-opting certain aspects of these cultures (people, scheduling, content, administration) which in turn implicated Double Jay in the material and cultural practices of those mainstream cultures against which it railed. Counterculture on the Airwaves: Space for Youth to Play? Before exploring these themes further, we should make clear that Double Jay’s legitimacy as a “counterculture” organisation is observably tenuous against the more extreme renderings of the concept. Theodore Roszak, for example, requires of counterculture something “so radically disaffiliated from the mainstream assumptions of our society that it scarcely looks to many as a culture at all” (5). Double Jay was a brainchild of the state: an outcome of the Whitlam Government’s efforts to open up the nation’s airwaves (Davis, Government; McClelland). Further, the supervision of this station was given to the publicly funded Australian national broadcaster, the ABC (Inglis). Any claim Double Jay has to counterculture status then is arguably located in less radical invocations of the term. Some definitions, for example, hold that counterculture contains value systems that run counter to culture, but these values are relational rather than divorced from each other. Kenneth Leech, for example, states that counterculture is "a way of life and philosophy which at central points is in conflict with the mainstream society” (Desmond et al. 245, our emphasis); E.D. Batzell defines counterculture as "a minority culture marked by a set of values, norms and behaviour patterns which contradict those of the dominant society" (116, our emphasis). Both definitions imply that counterculture requires the mainstream to make sense of what it is doing and why. In simple terms then, counterculture as the ‘other’ does not exist without its mainstream counterpoint. The particular values with which counterculture is in conflict are generated by “the system” (Heath and Potter 6)—a system that imbues “manufactured needs and mass-produced desires” (Frank 15) in the masses to encourage order, conformity and consumption. Counterculture seeks to challenge this “system” via individualist, expression-oriented values such as difference, diversity, change, egalitarianism, and spontaneity (Davis On Youth; Leary; Thompson and Coskuner‐Balli). It is these kinds of counterculture values that we demonstrate were embedded in the content, style and management practices within Double Jay. The Whitlam Years and the Birth of Double Jay Double Jay was borne of the Whitlam government’s brief but impactful period in office from 1972 to 1975, after 23 years of conservative government in Australia. Key to the Labor Party’s election platform was the principle of participatory democracy, the purpose of which was “breaking down apathy and maximising active citizen engagement” (Cunningham 123). Within this framework, the Labor Party committed to opening the airwaves, and reconfiguring the rhetoric of communication and media as a space of and for the people (Department of the Media 3). Labor planned to honour this commitment via sweeping reforms that would counter the heavily concentrated Australian media landscape through “the encouragement of diversification of ownership of commercial radio and television”—and in doing so enable “the expression of a plurality of viewpoints and cultures throughout the media” (Department of the Media 3). Minority groups in particular were to be privileged, while some in the Party even argued for voices that would actively agitate. Senator Jim McClelland, for one, declared, “We say that somewhere in the system there must be broadcasting which not only must not be afraid to be controversial but has a duty to be controversial” (Senate Standing Committee 4). One clear voice of controversy to emerge in the 1960s and resonate throughout the 1970s was the voice of youth (Gerster and Bassett; Langley). Indeed, counterculture is considered by some as synonymous with a particular strain of youth culture during this time (Roszak; Leech). The Labor Government acknowledged this hitherto unrecognised voice in its 1972 platform, with Minister for the Media Senator Doug McClelland claiming that his party would encourage the “whetting of the appetite” for “life and experimentation” of Australia’s youth – in particular through support for the arts (160). McClelland secured licenses for two “experimental-type” stations under the auspices of the ABC, with the youth station destined for Sydney via the ABC’s standby transmitter in Gore Hill (ABCB, 2). Just as the political context in early 1970s Australia provided the necessary conditions for the appearance of Double Jay, so too did the cultural context. Counterculture emerged in the UK, USA and Europe as a clear and potent force in the late 1960s (Roszak; Leech; Frank; Braunstein and Doyle). In Australia this manifested in the 1960s and 1970s in various ways, including political protest (Langley; Horne); battles for the liberalisation of censorship (Hope and Dickerson, Liberalisation; Chipp and Larkin); sex and drugs (Dawson); and the art film scene (Hope and Dickerson, Happiness; Thoms). Of particular interest here is the “lifestyle” aspect of counterculture, within which the value-expressions against the dominant culture manifest in cultural products and practices (Bloodworth 304; Leary ix), and more specifically, music. Many authors have suggested that music was pivotal to counterculture (Bloodworth 309; Leech 8), a key “social force” through which the values of counterculture were articulated (Whiteley 1). The youth music broadcasting scene in Australia was extremely narrow prior to Double Jay, monopolised by a handful of media proprietors who maintained a stranglehold over the youth music scene from the mid-50s. This dominance was in part fuelled by the rising profitability of pop music, driven by “the dreamy teenage market”, whose spending was purely discretionary (Doherty 52) and whose underdeveloped tastes made them “immune to any sophisticated disdain of run-of-the-mill” cultural products (Doherty 230-231). Over the course of the 1950s the commercial stations pursued this market by “skewing” their programs toward the youth demographic (Griffen-Foley 264). The growing popularity of pop music saw radio shift from a “multidimensional” to “mono-dimensional” medium according to rock journalist Bruce Elder, in which the “lowest-common-denominator formula of pop song-chat-commercial-pop-song” dominated the commercial music stations (12). Emblematic of this mono-dimensionalism was the appearance of the Top 40 Playlist in 1958 (Griffin-Foley 265), which might see as few as 10–15 songs in rotation in peak shifts. Elder claims that this trend became more pronounced over the course of the 1960s and peaked in 1970, with playlists that were controlled with almost mechanical precision [and] compiled according to American-devised market research methods which tended to reinforce repetition and familiarity at the expense of novelty and diversity. (12) Colin Vercoe, whose job was to sell the music catalogues of Festival Records to stations like 2UE, 2SER and SUW, says it was “an incredibly frustrating affair” to market new releases because of the rigid attachment by commercials to the “Top 40 of endless repeats” (Vercoe). While some air time was given to youth music beyond the Top 40, this happened mostly in non-peak shifts and on weekends. Bill Drake at 2SM (who was poached by Double Jay and allowed to reclaim his real name, Holger Brockmann) played non-Top 40 music in his Sunday afternoon programme The Album Show (Brockmann). A more notable exception was Chris Winter’s Room to Move on the ABC, considered by many as the predecessor of Double Jay. Introduced in 1971, Room to Move played all forms of contemporary music not represented by the commercial broadcasters, including whole albums and B sides. Rock music’s isolation to the fringes was exacerbated by the lack of musical sales outlets for rock and other forms of non-pop music, with much music sourced through catalogues, music magazines and word of mouth (Winter; Walker). In this context a small number of independent record stores, like Anthem Records in Sydney and Archie and Jugheads in Melbourne, appear in the early 1970s. Vercoe claims that the commercial record companies relentlessly pursued the closure of these independents on the grounds they were illegal entities: The record companies hated them and they did everything they could do close them down. When (the companies) bought the catalogue to overseas music, they bought the rights. And they thought these record stores were impinging on their rights. It was clear that a niche market existed for rock and alternative forms of music. Keith Glass and David Pepperell from Archie and Jugheads realised this when stock sold out in the first week of trade. Pepperell notes, “We had some feeling we were doing something new relating to people our own age but little idea of the forces we were about to unleash”. Challenging the “System” from the Inside At the same time as interested individuals clamoured to buy from independent record stores, the nation’s first youth radio station was being instituted within the ABC. In October 1974, three young staffers—Marius Webb, Ron Moss and Chris Winter— with the requisite youth credentials were briefed by ABC executives to build a youth-style station for launch in January 1975. According to Winter “All they said was 'We want you to set up a station for young people' and that was it!”, leaving the three with a conceptual carte blanche–although assumedly within the working parameters of the ABC (Webb). A Contemporary Radio Unit (CRU) was formed in order to meet the requirements of the ABC while also creating a clear distinction between the youth station and the ABC. According to Webb “the CRU gave us a lot of latitude […] we didn’t have to go to other ABC Departments to do things”. The CRU was conscious from the outset of positioning itself against the mainstream practices of both the commercial stations and the ABC. The publicly funded status of Double Jay freed it from the shackles of profit motive that enslaved the commercial stations, in turn liberating its turntables from baser capitalist imperatives. The two coordinators Ron Moss and Marius Webb also bypassed the conventions of typecasting the announcer line-up (as was practice in both commercial and ABC radio), seeking instead people with charisma, individual style and youth appeal. Webb told the Sydney Morning Herald that Double Jay’s announcers were “not required to have a frontal lobotomy before they go on air.” In line with the individual- and expression-oriented character of the counterculture lifestyle, it was made clear that “real people” with “individuality and personality” would fill the airwaves of Double Jay (Nicklin 9). The only formula to which the station held was to avoid (almost) all formula – a mantra enhanced by the purchase in the station’s early days of thousands of albums and singles from 10 or so years of back catalogues (Robinson). This library provided presenters with the capacity to circumvent any need for repetition. According to Winter the DJs “just played whatever we wanted”, from B sides to whole albums of music, most of which had never made it onto Australian radio. The station also adapted the ABC tradition of recording live classical music, but instead recorded open-air rock concerts and pub gigs. A recording van built from second-hand ABC equipment captured the grit of Sydney’s live music scene for Double Jay, and in so doing undercut the polished sounds of its commercial counterparts (Walker). Double Jay’s counterculture tendencies further extended to its management style. The station’s more political agitators, led by Webb, sought to subvert the traditional top-down organisational model in favour of a more egalitarian one, including a battle with the ABC to remove the bureaucratic distinction between technical staff and presenters and replace this with the single category “producer/presenter” (Cheney, Webb, Davis 41). The coordinators also actively subverted their own positions as coordinators by holding leaderless meetings open to all Double Jay employees – meetings that were infamously long and fraught, but also remembered as symbolic of the station’s vibe at that time (Frolows, Matchett). While Double Jay assumed the ABC’s focus on music, news and comedy, at times it politicised the content contra to the ABC’s non-partisan policy, ignored ABC policy and practice, and more frequently pushed its contents over the edges of what was considered propriety and taste. These trends were already present in pockets of the ABC prior to Double Jay: in current affairs programmes like This Day Tonight and Four Corners (Harding 49); and in overtly leftist figures like Alan Ashbolt (Bowman), who it should be noted had a profound influence over Webb and other Double Jay staff (Webb). However, such an approach to radio still remained on the edges of the ABC. As one example of Double Jay’s singularity, Webb made clear that the ABC’s “gentleman’s agreement” with the Federation of Australian Commercial Broadcasters to ban certain content from airplay would not apply to Double Jay because the station would not “impose any censorship on our people” – a fact demonstrated by the station’s launch song (Nicklin 9). The station’s “people” in turn made the most of this freedom with the production of programmes like Gayle Austin’s Horny Radio Porn Show, the Naked Vicar Show, the adventures of Colonel Chuck Chunder of the Space Patrol, and the Sunday afternoon comic improvisations of Nude Radio from the team that made Aunty Jack. This openness also made its way into the news team, most famously in its second month on air with the production of The Ins and Outs of Love, a candid documentary of the sexual proclivities and encounters of Sydney’s youth. Conservative ABC staffer Clement Semmler described the programme as containing such “disgustingly explicit accounts of the sexual behaviour of young teenagers” that it “aroused almost universal obloquy from listeners and the press” (35). The playlist, announcers, comedy sketches, news reporting and management style of Double Jay represented direct challenges to the entrenched media culture of Australia in the mid 1970s. The Australian National Commission for UNESCO noted at the time that Double Jay was “variously described as political, subversive, offensive, pornographic, radical, revolutionary and obscene” (7). While these terms were understandable given the station’s commitment to experiment and innovation, the “vital point” about Double Jay was that it “transmitted an electronic reflection of change”: What the station did was to zero in on the kind of questioning of traditional values now inherent in a significant section of the under 30s population. It played their music, talked in their jargon, pandered to their whims, tastes, prejudices and societal conflicts both intrinsic and extrinsic. (48) Conclusion From the outset, Double Jay was locked in an “uneasy symbiosis” with mainstream culture. On the one hand, the station was established by federal government and its infrastructure was provided by state funds. It also drew on elements of mainstream broadcasting in multiple ways. However, at the same time, it was a voice for and active agent of counterculture, representing through its content, form and style those values that were considered to challenge the ‘system,’ in turn creating an outlet for the expression of hitherto un-broadcast “ways of thinking and being” (Leary). As Henry Rosenbloom, press secretary to then Labor Minister Dr Moss Cass wrote, Double Jay had the potential to free its audience “from an automatic acceptance of the artificial rhythms of urban and suburban life. In a very real sense, JJ [was] a deconditioning agent” (Inglis 375-6). While Double Jay drew deeply from mainstream culture, its skilful and playful manipulation of this culture enabled it to both reflect and incite youth-based counterculture in Australia in the 1970s. References Australian Broadcasting Control Board. Development of National Broadcasting and Television Services. ABCB: Sydney, 1976. Batzell, E.D. “Counter-Culture.” Blackwell Dictionary of Twentieth-Century Social Thought. Eds. Williams Outhwaite and Tom Bottomore. Oxford: Blackwell, 1994. 116-119. Bloodworth, John David. “Communication in the Youth Counterculture: Music as Expression.” Central States Speech Journal 26.4 (1975): 304-309. Bowman, David. “Radical Giant of Australian Broadcasting: Allan Ashbolt, Lion of the ABC, 1921-2005.” Sydney Morning Herald 15 June 2005. 15 Sep. 2013 ‹http://www.smh.com.au/news/Obituaries/Radical-giant-of-Australian-broadcasting/2005/06/14/1118645805607.html›. 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Introduction The first “Aquarius Festival” came together in Canberra, at the Australian National University, in the autumn of 1971 and was reprised in 1973 in the small rural town of Nimbin, in northern New South Wales. Both events reflected the Zeitgeist in what was, in some ways, an inchoate expression of the so-called “counterculture” (Roszak). Rather than attempting to analyse the counterculture as a discrete movement with a definable history, I enlist the theory of cultural memes to read the counter culture as a Dawkinsian cluster meme, with this paper offered as “testimonio”, a form of quasi-political memoir that views shifts in the culture through the lens of personal experience (Zimmerman, Yúdice). I track an evolving personal, “internal” topography and map its points of intersection with the radical social, political and cultural changes spawned by the “consciousness revolution” that was an integral part of the counterculture emerging in the 1970s. I focus particularly on the notion of “consciousness raising”, as a Dawkinsian memetic replicator, in the context of the idealistic notions of the much-heralded “New Age” of Aquarius, and propose that this meme has been a persistent feature of the evolution of the “meme cluster” known as the counterculture. Mimesis and the Counterculture Since evolutionary biologist Richard Dawkins floated the notion of cultural memes as a template to account for the evolution of ideas within political cultures, a literature of commentary and criticism has emerged that debates the strengths and weaknesses of his proposed model and its application across a number of fields. I borrow the notion to trace the influence of a set of memes that clustered around the emergence of what writer Marilyn Ferguson called The Aquarian Conspiracy, in her 1980 book of that name. Ferguson’s text, subtitled Personal and Social Transformation in Our Time, was a controversial attempt to account for what was known as the “New Age” movement, with its late millennial focus on social and personal transformation. That focus leads me to approach the counterculture (a term first floated by Theodore Roszak) less as a definable historical movement and more as a cluster of aspirational tropes expressing a range of aspects or concerns, from the overt political activism through to experimental technologies for the transformation of consciousness, and all characterised by a critical interrogation of, and resistance to, conventional social norms (Ferguson’s “personal and social transformation”). With its more overtly “spiritual” focus, I read the “New Age” meme, then, as a sub-set of this “cluster meme”, the counterculture. In my reading, “New Age” and “counterculture” overlap, sharing persistent concerns and a broad enough tent to accommodate the serious—the combative political action of Students for a Democratic Society (SDS), say, (see Elbaum)—to the light-hearted—the sport of frisbee for example (Stancil). The interrogation of conventional social and political norms inherited from previous generations was a prominent strategy across both movements. Rather than offering a sociological analysis or history of the ragbag counterculture, per se, my discussion here focuses in on the particular meme of “consciousness raising” within that broader set of cultural shifts, some of which were sustained in their own right, some dropping away, and many absorbed into the dominant mainstream culture. Dawkins use of the term “meme” was rooted in the Greek mimesis, to emphasise the replication of an idea by imitation, or copying. He likened the way ideas survive and change in human culture to the natural selection of genes in biological evolution. While the transmission of memes does not depend on a physical medium, such as the DNA of biology, they replicate with a greater or lesser degree of success by harnessing human social media in a kind of “infectivity”, it is argued, through “contagious” repetition among human populations. Dawkins proposed that just as biological organisms could be said to act as “hosts” for replicating genes, in the same way people and groups of people act as hosts for replicating memes. Even before Dawkins floated his term, French biologist Jacques Monod wrote that ideas have retained some of the properties of organisms. Like them, they tend to perpetuate their structure and to breed; they too can fuse, recombine, segregate their content; indeed they too can evolve, and in this evolution selection must surely play an important role. (165, emphasis mine) Ideas have power, in Monod’s analysis: “They interact with each other and with other mental forces in the same brain, in neighbouring brains, and thanks to global communication, in far distant, foreign brains” (Monod, cited in Gleick). Emblematic of the counterculture were various “New Age” phenomena such as psychedelic drugs, art and music, with the latter contributing the “Aquarius” meme, whose theme song came from the stage musical (and later, film) Hair, and particularly the lyric that runs: “This is the dawning of the Age of Aquarius”. The Australian Aquarius Festivals of 1971 and 1973 explicitly invoked this meme in the way identified by Monod and the “Aquarius” meme resonated even in Australia. Problematising “Aquarius” As for the astrological accuracy of the “Age of Aquarius meme”, professional astrologers argue about its dating, and the qualities that supposedly characterise it. When I consulted with two prominent workers in this field for the preparation of this article, I was astonished to find their respective dating of the putative Age of Aquarius were centuries apart! What memes were being “hosted” here? According to the lyrics: When the moon is in the seventh house And Jupiter aligns with Mars Then peace will guide the planets And love will steer the stars. (Hair) My astrologer informants assert that the moon is actually in the seventh house twice every year, and that Jupiter aligns with Mars every two years. Yet we are still waiting for the outbreak of peace promised according to these astrological conditions. I am also informed that there’s no “real” astrological underpinning for the aspirations of the song’s lyrics, for an astrological “Age” is not determined by any planet but by constellations rising, they tell me. Most important, contrary to the aspirations embodied in the lyrics, peace was not guiding the planets and love was not about to “steer the stars”. For Mars is not the planet of love, apparently, but of war and conflict and, empowered with the expansiveness of Jupiter, it was the forceful aggression of a militaristic mind-set that actually prevailed as the “New Age” supposedly dawned. For the hippified summer of love had taken a nosedive with the tragic events at the Altamont speedway, near San Francisco in 1969, when biker gangs, enlisted to provide security for a concert performance by The Rolling Stones allegedly provoked violence, marring the event and contributing to a dawning disillusionment (for a useful coverage of the event and its historical context see Dalton). There was a lot of far-fetched poetic licence involved in this dreaming, then, but memes, according to Nikos Salingaros, are “greatly simplified versions of patterns”. “The simpler they are, the faster they can proliferate”, he writes, and the most successful memes “come with a great psychological appeal” (243, 260; emphasis mine). What could be retrieved from this inchoate idealism? Harmony and understanding Sympathy and trust abounding No more falsehoods or derisions Golden living dreams of visions Mystic crystal revelation And the mind’s true liberation Aquarius, Aquarius. (Hair) In what follows I want to focus on this notion: “mind’s true liberation” by tracing the evolution of this project of “liberating” the mind, reflected in my personal journey. Nimbin and Aquarius I had attended the first Aquarius Festival, which came together in Canberra, at the Australian National University, in the autumn of 1971. I travelled there from Perth, overland, in a Ford Transit van, among a raggedy band of tie-dyed hippie actors, styled as The Campus Guerilla Theatre Troupe, re-joining our long-lost sisters and brothers as visionary pioneers of the New Age of Aquarius. Our visions were fueled with a suitcase full of potent Sumatran “buddha sticks” and, contrary to Biblical prophesies, we tended to see—not “through a glass darkly” but—in psychedelic, pop-, and op-art explosions of colour. We could see energy, man! Two years later, I found myself at the next Aquarius event in Nimbin, too, but by that time I inhabited a totally different mind-zone, albeit one characterised by the familiar, intense idealism. In the interim, I had been arrested in 1971 while “tripping out” in Sydney on potent “acid”, or LSD (Lysergic acid diethylamide); had tried out political engagement at the Pram Factory Theatre in Melbourne; had camped out in protest at the flooding of Lake Pedder in the Tasmanian wilderness; met a young guru, started meditating, and joined “the ashram”—part of the movement known as the Divine Light Mission, which originated in India and was carried to the “West” (including Australia) by an enthusiastic and evangelical following of drug-toking drop-outs who had been swarming through India intent on escaping the dominant culture of the military-industrial complex and the horrors of the Vietnam War. Thus, by the time of the 1973 event in Nimbin, while other festival participants were foraging for “gold top” magic mushrooms in farmers’ fields, we devotees had put aside such chemical interventions in conscious awareness to dig latrines (our “service” project for the event) and we invited everyone to join us for “satsang” in the yellow, canvas-covered, geodesic dome, to attend to the message of peace. The liberation meme had shifted through a mutation that involved lifestyle-changing choices that were less about alternative approaches to sustainable agriculture and more about engaging directly with “mind’s true liberation”. Raising Consciousness What comes into focus here is the meme of “consciousness raising”, which became the persistent project within which I lived and worked and had my being for many years. Triggered initially by the ingestion of those psychedelic substances that led to my shocking encounter with the police, the project was carried forward into the more disciplined environs of my guru’s ashrams. However, before my encounter with sustained spiritual practice I had tried to work the shift within the parameters of an ostensibly political framework. “Consciousness raising” was a form of political activism borrowed from the political sphere. Originally generated by Mao Zedong in China during the revolutionary struggle to overthrow the vested colonial interests that were choking Chinese nationalism in the 1940s, to our “distant, foreign brains” (Monod), as Western revolutionary romantics, Chairman Mao and his Little Red Book were taken up, in a kind of international counterculture solidarity with revolutionaries everywhere. It must be admitted, this solidarity was a fairly superficial gesture. Back in China it might be construed as part of a crude totalitarian campaign to inculcate Marxist-Leninist political ideas among the peasant classes (see Compestine for a fictionalised account of traumatic times; Han Suyin’s long-form autobiography—an early example of testimonio as personal and political history—offers an unapologetic account of a struggle not usually construed as sympathetically by Western commentators). But the meme (and the processes) of consciousness raising were picked up by feminists in the United States in the late 1960s and into the 1970s (Brownmiller 21) and it was in this form I encountered it as an actor with the politically engaged theatre troupe, The Australian Performing Group, at Carlton’s Pram Factory Theatre in late 1971. The Performance Group I performed as a core member of the Group in 1971-72. Decisions as to which direction the Group should take were to be made as a collective, and the group veered towards anarchy. Most of the women were getting together outside of the confines of the Pram Factory to raise their consciousness within the Carlton Women’s Liberation Cell Group. While happy that the sexual revolution was reducing women’s sexual inhibitions, some of the men at the Factory were grumbling into their beer, disturbed that intimate details of their private lives—and their sexual performance—might be disclosed and raked over by a bunch of radical feminists. As they began to demand equal rights to orgasm in the bedroom, the women started to seek equal access within the performance group, too. They requested rehearsal time to stage the first production by the Women’s Theatre Group, newly formed under the umbrella of the wider collective. As all of the acknowledged writers in the Group so far were men—some of whom had not kept pace in consciousness raising—scripts tended to be viewed as part of a patriarchal plot, so Betty Can Jump was an improvised piece, with the performance material developed entirely by the cast in workshop-style rehearsals, under the direction of Kerry Dwyer (see Blundell, Zuber-Skerritt 21, plus various contributors at www.pramfactory.com/memoirsfolder/). I was the only male in the collective included in the cast. Several women would have been more comfortable if no mere male were involved at all. My gendered attitudes would scarcely have withstood a critical interrogation but, as my partner was active in launching the Women’s Electoral Lobby, I was given the benefit of the doubt. Director Kerry Dwyer liked my physicalised approach to performance (we were both inspired by the “poor theatre” of Jerzy Grotowski and the earlier surrealistic theories of Antonin Artaud), and I was cast to play all the male parts, whatever they would be. Memorable material came up in improvisation, much of which made it into the performances, but my personal favorite didn’t make the cut. It was a sprawling movement piece where I was “born” out of a symbolic mass of writhing female bodies. It was an arduous process and, after much heaving and huffing, I emerged from the birth canal stammering “SSSS … SSSS … SSMMMO-THER”! The radical reversioning of culturally authorised roles for women has inevitably, if more slowly, led to a re-thinking of the culturally approved and reinforced models of masculinity, too, once widely accepted as entirely biologically ordained rather than culturally constructed. But the possibility of a queer re-versioning of gender would be recognised only slowly. Liberation Meanwhile, Dennis Altman was emerging as an early spokesman for gay, or homosexual, liberation and he was invited to address the collective. Altman’s stirring book, Homosexual: Oppression and Liberation, had recently been published, but none of us had read it. Radical or not, the Group had shown little evidence of sensitivity to gender-queer issues. My own sexuality was very much “oppressed” rather than liberated and I would have been loath to use “queer” to describe myself. The term “homosexual” was fraught with pejorative, quasi-medical associations and, in a collective so divided across strict and sometimes hostile gender boundaries, deviant affiliations got short shrift. Dennis was unsure of his reception before this bunch of apparent “heteros”. Sitting at the rear of the meeting, I admired his courage. It took more self-acceptance than I could muster to confront the Group on this issue at the time. Somewhere in the back of my mind, “homosexuality” was still something I was supposed to “get over”, so I failed to respond to Altman’s implicit invitation to come out and join the party. The others saw me in relationship with a woman and whatever doubts they might have carried about the nature of my sexuality were tactfully suspended. Looking back, I am struck by the number of simultaneous poses I was trying to maintain: as an actor; as a practitioner of an Artaudian “theatre of cruelty”; as a politically committed activist; and as a “hetero”-sexual. My identity was an assemblage of entities posing as “I”; it was as if I were performing a self. Little gay boys are encouraged from an early age to hide their real impulses, not only from others—in the very closest circle, the family; at school; among one’s peers—but from themselves, too. The coercive effects of shaming usually fix the denial into place in our psyches before we have any intellectual (or political) resources to consider other options. Growing up trying to please, I hid my feelings. In my experience, it could be downright dangerous to resist the subtle and gross coercions that applied around gender normativity. The psychoanalyst D. W. Winnicott, of the British object-relations school, argues that when the environment does not support the developing personality and requires the person to sacrifice his or her own spontaneous needs to adapt to environmental demands, there is not even a resting-place for individual experience and the result is a failure in the primary narcissistic state to evolve an individual. The “individual” then develops as an extension of the shell rather than that of the core [...] What there is left of a core is hidden away and is difficult to find even in the most far-reaching analysis. The individual then exists by not being found. The true self is hidden, and what we have to deal with clinically is the complex false self whose function is to keep this true self hidden. (212) How to connect to that hidden core, then? “Mind’s true liberation...” Alienated from the performative version of selfhood, but still inspired by the promise of liberation, even in the “fuzzy” form for which my inchoate hunger yearned (sexual liberation? political liberation? mystical liberation?), I was left to seek out a more authentic basis for selfhood, one that didn’t send me spinning along the roller-coaster of psychedelic drugs, or lie to me with the nostrums of a toxic, most forms of which would deny me, as a sexual, moral and legal pariah, the comforts of those “anchorage points to the social matrix” identified by Soddy (cited in Mol 58). My spiritual inquiry was “counter” to these institutionalised models of religious culture. So, I began to read my way through a myriad of books on comparative religion. And to my surprise, rather than taking up with the religions of antique cultures, instead I encountered a very young guru, initially as presented in a simply drawn poster in the window of Melbourne’s only vegetarian restaurant (Shakahari, in Carlton). “Are you hungry and tired of reading recipe books?” asked the figure in the poster. I had little sense of where that hunger would lead me, but it seemed to promise a fulfilment in ways that the fractious politics of the APG offered little nourishment. So, while many of my peers in the cities chose to pursue direct political action, and others experimented with cooperative living in rural communes, I chose the communal lifestyle of the ashram. In these different forms, then, the conscious raising meme persisted when other challenges raised by the counterculture either faded or were absorbed in the mainstream. I finally came to realise that the intense disillusionment process I had been through (“dis-illusionment” as the stripping away of illusions) was the beginning of awakening, in effect a “spiritual initiation” into a new way of seeing myself and my “place” in the world. Buddhist teachers might encourage this very kind of stripping away of false notions as part of their teaching, so the aspiration towards the “true liberation” of the mind expressed in the Aquarian visioning might be—and in my case, actually has been and continues to be—fulfilled to a very real extent. Gurus and the entire turn towards Eastern mysticism were part of the New Age meme cluster prevailing during the early 1970s, but I was fortunate to connect with an enduring set of empirical practices that haven’t faded with the fashions of the counterculture. A good guitarist would never want to play in public without first tuning her instrument. In a similar way, it is now possible for me to tune my mind back to a deeper, more original source of being than the socially constructed sense of self, which had been so fraught with conflicts for me. I have discovered that before gender, and before sexuality, in fact, pulsing away behind the thicket of everyday associations, there is an original, unconditioned state of beingness, the awareness of which can be reclaimed through focused meditation practices, tested in a wide variety of “real world” settings. For quite a significant period of time I worked as an instructor in the method on behalf of my guru, or mentor, travelling through a dozen or so countries, and it was through this exposure that I was able to observe that the practices worked independently of culture and that “mind’s true liberation” was in many ways a de-programming of cultural indoctrinations (see Marsh, 2014, 2013, 2011 and 2007 for testimony of this process). In Japan, Zen roshi might challenge their students with the koan: “Show me your original face, before you were born!” While that might seem to be an absurd proposal, I am finding that there is a potential, if unexpected, liberation in following through such an inquiry. As “hokey” as the Aquarian meme-set might have been, it was a reflection of the idealistic hope that characterised the cluster of memes that aggregated within the counterculture, a yearning for healthier life choices than those offered by the toxicity of the military-industrial complex, the grossly exploitative effects of rampant Capitalism and a politics of cynicism and domination. The meme of the “true liberation” of the mind, then, promised by the heady lyrics of a 1970s hippie musical, has continued to bear fruit in ways that I could not have imagined. References Altman, Dennis. Homosexual Oppression and Liberation. Sydney: Angus & Robertson, 1972. Blundell, Graeme. The Naked Truth: A Life in Parts. Sydney: Hachette, 2011. Brownmiller, Susan. In Our Time: Memoir of a Revolution. New York: The Dial Press, 1999. Compestine, Ying Chang. Revolution Is Not a Dinner Party. New York: Square Fish, 2009. Dalton, David. “Altamont: End of the Sixties, Or Big Mix-Up in the Middle of Nowhere?” Gadfly Nov/Dec 1999. April 2014 ‹http://www.gadflyonline.com/archive/NovDec99/archive-altamont.html›. Dawkins, Richard. The Selfish Gene. Oxford: Oxford UP, 1976. Elbaum, Max. Revolution in the Air: Sixties Radicals Turn to Lenin, Mao and Che. London and New York: Verso, 2002. Ferguson, Marilyn. The Aquarian Conspiracy. Los Angeles: Tarcher Putnam, 1980. Gleick, James. “What Defines a Meme?” Smithsonian Magazine 2011. April 2014 ‹http://www.smithsonianmag.com/arts-culture/What-Defines-a Meme.html›. Hair, The American Tribal Love Rock Musical. Prod. Michael Butler. Book by Gerome Ragni and James Rado; Lyrics by Gerome Ragni and James Rado; Music by Galt MacDermot; Musical Director: Galt MacDermot. 1968. Han, Suyin. The Crippled Tree. 1965. Reprinted. Chicago: Academy Chicago P, 1985. ---. A Mortal Flower. 1966. Reprinted. Chicago: Academy Chicago P, 1985. ---. Birdless Summer. 1968. Reprinted. Chicago: Academy Chicago P, 1985. ---. The Morning Deluge: Mao TseTung and the Chinese Revolution 1893-1954. Boston: Little Brown, 1972. ---. My House Has Two Doors. New York: Putnam, 1980. Marsh, Victor. The Boy in the Yellow Dress. Melbourne: Clouds of Magellan Press, 2014. ---. “A Touch of Silk: A (Post)modern Faerie Tale.” Griffith Review 42: Once Upon a Time in Oz (Oct. 2013): 159-69. ---. “Bent Kid, Straight World: Life Writing and the Reconfiguration of ‘Queer’.” TEXT: Journal of Writing and Writing Courses 15.1 (April 2011). ‹http://www.textjournal.com.au/april11/marsh.htm›. ---. “The Boy in the Yellow Dress: Re-framing Subjectivity in Narrativisations of the Queer Self.“ Life Writing 4.2 (Oct. 2007): 263-286. Mol, Hans. Identity and the Sacred: A Sketch for a New Social-Scientific Theory of Religion. Oxford: Blackwell, 1976. Monod, Jacques. Chance and Necessity: An Essay on the Natural Philosophy of Modern Biology. New York: Alfred A. Knopf, 1970. Roszak, Theodore. The Making of a Counter Culture: Reflections on the Technocratic Society and Its Youthful Opposition. New York: Doubleday, 1968. Salingaros, Nikos. Theory of Architecture. Solingen: Umbau-Verlag, 2006. Stancil, E.D., and M.D. Johnson. Frisbee: A Practitioner’s Manual and Definitive Treatise. New York: Workman, 1975 Winnicott, D.W. Through Paediatrics to Psycho-Analysis: Collected Papers. 1958. London: Hogarth Press, 1975. Yúdice, George. “Testimonio and Postmodernism.” Latin American Perspectives 18.3 (1991): 15-31. Zimmerman, Marc. “Testimonio.” The Sage Encyclopedia of Social Science Research Methods. Eds. Michael S. Lewis-Beck, Alan Bryman and Tim Futing Liao. London: Sage Publications, 2003. Zuber-Skerritt, Ortrun, ed. Australian Playwrights: David Williamson. Amsterdam: Rodolpi, 1988.

Phillip Noyce is one of Australia’s most prominent film makers—a successful feature film director with both iconic Australian narratives and many a Hollywood blockbuster under his belt. Still, his beginnings were quite humble and far from his role today when he grew up in the midst of the counterculture of the late sixties. Millions of young people his age joined the various ‘movements’ of the day after experiences that changed their lives—mostly music but also drugs or fashion. The counterculture was a turbulent time in Sydney artistic circles as elsewhere. Everything looked possible, you simply had to “Do It!”—and Noyce did. He dived head-on into these times and with a voracious appetite for its many aspects—film, theatre, rallies, music, art and politics in general. In fact he often was the driving force behind such activities. Noyce described his personal epiphany occurring in 1968: A few months before I was due to graduate from high school, […] I saw a poster on a telegraph pole advertising American 'underground' movies. There was a mesmerising, beautiful blue-coloured drawing on the poster that I later discovered had been designed by an Australian filmmaker called David Perry. The word 'underground' conjured up all sorts of delights to an eighteen-year-old in the late Sixties: in an era of censorship it promised erotica, perhaps; in an era of drug-taking it promised some clandestine place where marijuana, or even something stronger, might be consumed; in an era of confrontation between conservative parents and their affluent post-war baby-boomer children, it promised a place where one could get together with other like-minded youth and plan to undermine the establishment, which at that time seemed to be the aim of just about everyone aged under 30. (Petzke 8) What the poster referred to was a new, highly different type of film. In the US these films were usually called “underground”. This term originates from film critic Manny Farber who used it in his 1957 essay Underground Films. Farber used the label for films whose directors today would be associated with independent and art house feature films. More directly, film historian Lewis Jacobs referred to experimental films when he used the words “film which for most of its life has led an underground existence” (8). The term is used interchangeably with New American Cinema. It was based on a New York group—the Film-Makers’ Co-operative—that started in 1960 with mostly low-budget filmmakers under the guidance of Jonas Mekas. When in 1962 the group was formally organised as a means for new, improved ways of distributing their works, experimental filmmakers were the dominant faction. They were filmmakers working in a more artistic vein, slightly influenced by the European Avant-garde of the 1920s and by attempts in the late 1940s and early 1950s. In film history, this era is also known as the Third Avant-garde. In their First Statement of the New American Cinema Group, the group drew connections to both the British Free Cinema and the French Nouvelle Vague. They also claimed that contemporary cinema was “morally corrupt, aesthetically obsolete, thematically superficial, temperamentally boring” (80). An all-encompassing definition of Underground Film never was available. Sheldon Renan lists some of the problems: There are underground films in which there is no movement and films in which there is nothing but movement. There are films about people and films about light. There are short, short underground films and long, long underground films. There are some that have been banned, and there is one that was nominated for an Academy Award. There are sexy films and sexless films, political films and poetical films, film epigrams and film epics … underground film is nothing less than an explosion of cinematic styles, forms and directions. (Renan 17) No wonder that propelled by frequent serious articles in the press—notably Jonas Mekas in the Village Voice—and regular screenings at other venues like the Film-makers’ Cinemathèque and the Gallery of Modern Art in New York, these films proved increasingly popular in the United States and almost immediately spread like bush fires around the world. So in early September 1968 Noyce joined a sold-out crowd at the Union Theatre in Sydney, watching 17 shorts assembled by Ubu Films, the premier experimental and underground film collective in 1960s Australia (Milesago). And on that night his whole attitude to art, his whole attitude to movies—in fact, his whole life—changed. He remembered: I left the cinema that night thinking, "I’m gonna make movies like that. I can do it." Here was a style of cinema that seemed to speak to me. It was immediate, it was direct, it was personal, and it wasn’t industrial. It was executed for personal expression, not for profit; it was individual as opposed to corporate, it was stylistically free; it seemed to require very little expenditure, innovation being the key note. It was a completely un-Hollywood-like aesthetic; it was operating on a visceral level that was often non-linear and was akin to the psychedelic images that were in vogue at the time—whether it was in music, in art or just in the patterns on your multi-coloured shirt. These movies spoke to me. (Petzke 9) Generally speaking, therefore, these films were the equivalent of counterculture in the area of film. Theodore Roszak railed against “technocracy” and underground films were just the opposite, often almost do-it-yourself in production and distribution. They were objecting to middle-class culture and values. And like counterculture they aimed at doing away with repression and to depict a utopian lifestyle feeling at ease with each imaginable form of liberality (Doggett 469). Underground films transgressed any Hollywood rule and convention in content, form and technique. Mobile hand-held cameras, narrow-gauge or outright home movies, shaky and wobbly, rapid cutting, out of focus, non-narrative, disparate continuity—you name it. This type of experimental film was used to express the individual consciousness of the “maker”—no longer calling themselves directors—a cinematic equivalent of the first person in literature. Just as in modern visual art, both the material and the process of making became part of these artworks. Music often was a dominant factor, particularly Eastern influences or the new Beat Music that was virtually non-existent in feature films. Drug experiences were reflected in imagery and structure. Some of the first comings-out of gay men can be found as well as films that were shown at the appropriately named “Wet Dreams Festival” in Amsterdam. Noyce commented: I worked out that the leading lights in this Ubu Films seemed to be three guys — Aggy Read, Albie Thoms and David Perry […They] all had beards and […] seemed to come from the basement of a terrace house in Redfern. Watching those movies that night, picking up all this information, I was immediately seized by three great ambitions. First of all, I wanted to grow a beard; secondly, I wanted to live in a terrace house in the inner city; and thirdly, I wanted to be a filmmaker. (Ubu Films) Noyce soon discovered there were a lot of people like him who wanted to make short films for personal expression, but also as a form of nationalism. They wanted to make Australian movies. Noyce remembered: “Aggy, Albie and David encouraged everyone to go and make a film for themselves” (Petzke 11). This was easy enough to do as these films—not only in Australia—were often made for next to nothing and did not require any prior education or training. And the target audience group existed in a subculture of people willing to pay money even for extreme entertainment as long as it was advertised in an appealing way—which meant: in the way of the rampaging Zeitgeist. Noyce—smitten by the virus—would from then on regularly attend the weekly meetings organised by the young filmmakers. And in line with Jerry Rubin’s contemporary adage “Do it!” he would immediately embark on a string of films with enthusiasm and determination—qualities soon to become his trademark. All his films were experimental in nature, shot on 16mm and were so well received that Albie Thoms was convinced that Noyce had a great career ahead of him as an experimental filmmaker. Truly alternative was Noyce’s way to finally finance Better to Reign in Hell, his first film, made at age 18 and with a total budget of $600. Noyce said on reflection: I had approached some friends and told them that if they invested in my film, they could have an acting role. Unfortunately, the guy whose dad had the most money — he was a doctor’s son — was also maybe the worst actor that was ever put in front of a camera. But he had invested four hundred dollars, so I had to give him the lead. (Petzke 13) The title was taken from Milton’s poem Paradise Lost (“better to reign in hell than serve in heaven”). It was a film very much inspired by the images, montage and narrative techniques of the underground movies watched at Ubu. Essentially the film is about a young man’s obsession with a woman he sees repeatedly in advertising and the hallucinogenic dreams he has about her. Despite its later reputation, the film was relatively mundane. Being shot in black and white, it lacks the typical psychedelic ingredients of the time and is more reminiscent of the surrealistic precursors to underground film. Some contempt for the prevailing consumer society is thrown in for good measure. In the film, “A youth is persecuted by the haunting reappearance of a girl’s image in various commercial outlets. He finds escape from this commercial brainwashing only in his own confused sexual hallucinations” (Sydney Filmmakers Co-operative). But despite this advertising, so convincingly capturing the “hint! hint!” mood of the time, Noyce’s first film isn’t really outstanding even in terms of experimental film. Noyce continued to make short experimental films. There was not even the pretence of a story in any of them. He was just experimenting with his gear and finding his own way to use the techniques of the underground cinema. Megan was made at Sydney University Law School to be projected as part of the law students’ revue. It was a three-minute silent film that featured a woman called Megan, who he had a crush on. Intersection was 2 minutes 44 seconds in length and shot in the middle of a five-way or four-way intersection in North Sydney. The camera was walked into the intersection and spun around in a continuous circle from the beginning of the roll of film to the end. It was an experiment with disorientation and possibly a comment about urban development. Memories was a seven-minute short in colour about childhood and the bush, accompanied by a smell-track created in the cinema by burning eucalyptus leaves. Sun lasted 90 seconds in colour and examined the pulsating winter sun by way of 100 single frame shots. And finally, Home was a one-and-a-half-minute single frame camera exploration of the filmmaker’s home, inside and out, including its inhabitants and pets. As a true experimental filmmaker, Noyce had a deep interest in technical aspects. It was recommended that Sun “be projected through a special five image lens”, Memories and Intersection with “an anamorphic lens” (Sydney Filmmakers Co-operative). The double projection for Better to Reign in Hell and the two screens required for Good Afternoon, as well as the addition of the smell of burning leaves in Memories, were inroads into the subgenre of so-called Expanded Cinema. As filmmaking in those days was not an isolated enterprise but an integral part of the all-encompassing Counterculture, Noyce followed suit and became more and more involved and politiced. He started becoming a driving force of the movement. Besides selling Ubu News, he organised film screenings. He also wrote film articles for both Honi Soit and National U, the Sydney University and Canberra University newspapers—articles more opinionated than sophisticated. He was also involved in Ubu’s Underground Festival held in August and in other activities of the time, particularly anti-war protests. When Ubu Films went out of business after the lack of audience interest in Thoms’s long Marinetti film in 1969, Aggy Read suggested that Ubu be reinvented as a co-operative for tax reasons and because they might benefit from their stock of 250 Australian and foreign films. On 28 May 1970 the reinvention began at the first general meeting of the Sydney Filmmakers Cooperative where Noyce volunteered and was elected their part-time manager. He transferred the 250 prints to his parents’ home in Wahroonga where he was still living he said he “used to sit there day after day just screening those movies for myself” (Petzke 18). The Sydney University Film Society screened feature films to students at lunchtime. Noyce soon discovered they had money nobody was spending and equipment no one was using, which seemed to be made especially for him. In the university cinema he would often screen his own and other shorts from the Co-op’s library. The entry fee was 50 cents. He remembered: “If I handed out the leaflets in the morning, particularly concentrating on the fact that these films were uncensored and a little risqué, then usually there would be 600 people in the cinema […] One or two screenings per semester would usually give me all the pocket money I needed to live” (Petzke 19). Libertine and risqué films were obviously popular as they were hard to come by. Noyce said: We suffered the worst censorship of almost any Western country in the world, even worse than South Africa. Books would be seized by customs officers at the airports and when ships docked. Customs would be looking for Lady Chatterley’s Lover. We were very censored in literature and films and plays, and my film [Better to Reign in Hell] was banned from export. I tried to send it to a film festival in Holland and it was denied an export permit, but because it had been shot in Australia, until someone in the audience complained it could still be screened locally. (Castaway's Choice) No wonder clashes with the law happened frequently and were worn like medals of honour in those days of fighting the system, proving that one was fighting in the front line against the conservative values of law and order. Noyce encountered three brushes with the law. The first occurred when selling Ubu Films’ alternative culture newspaper Ubu News, Australia’s first underground newspaper (Milesago). One of the issues contained an advertisement—a small drawing—for Levi’s jeans, showing a guy trying to put his Levis on his head, so that his penis was showing. That was judged by the police to be obscene. Noyce was found guilty and given a suspended sentence for publishing an indecent publication. There had been another incident including Phil’s Pill, his own publication of six or eight issues. After one day reprinting some erotic poems from The Penguin Collection of Erotic Poetry he was found guilty and released on a good behaviour bond without a conviction being recorded. For the sake of historical truth it should be remembered, though, that provocation was a genuine part of the game. How else could one seriously advertise Better to Reign in Hell as “a sex-fantasy film which includes a daring rape scene”—and be surprised when the police came in after screening this “pornographic film” (Stratton 202) at the Newcastle Law Students Ball? The Newcastle incident also throws light on the fact that Noyce organised screenings wherever possible, constantly driving prints and projectors around in his Mini Minor. Likewise, he is remembered as having been extremely helpful in trying to encourage other people with their own ideas—anyone could make films and could make them about anything they liked. He helped Jan Chapman, a fellow student who became his (first) wife in December 1971, to shoot and edit Just a Little Note, a documentary about a moratorium march and a guerrilla theatre group run by their friend George Shevtsov. Noyce also helped on I Happened to Be a Girl, a documentary about four women, friends of Chapman. There is no denying that being a filmmaker was a hobby, a full-time job and an obsessive religion for Noyce. He was on the organising committee of the First Australian Filmmakers’ Festival in August 1971. He performed in the agit-prop acting troupe run by George Shevtsov (later depicted in Renegades) that featured prominently at one of Sydney’s rock festival that year. In the latter part of 1971 and early 1972 he worked on Good Afternoon, a documentary about the Combined Universities’ Aquarius Arts Festival in Canberra, which arguably was the first major manifestation of counterculture in Australia. For this the Aquarius Foundation—the cultural arm of the Australian Union of Students—had contracted him. This became a two-screen movie à la Woodstock. Together with Thoms, Read and Ian Stocks, in 1972 he participated in cataloguing the complete set of films in distribution by the Co-op (see Sydney Filmmakers Cooperative). As can be seen, Noyce was at home in many manifestations of the Sydney counterculture. His own films had slowly become more politicised and bent towards documentary. He even started a newsreel that he used to screen at the Filmmakers’ Cooperative Cinema with a live commentary. One in 1971, Springboks Protest, was about the demonstrations at the Sydney Cricket Ground against the South African rugby tour. There were more but Noyce doesn’t remember them and no prints seem to have survived. Renegades was a diary film; a combination of poetic images and reportage on the street demonstrations. Noyce’s experimental films had been met with interest in the—limited—audience and among publications. His more political films and particularly Good Afternoon, however, reached out to a much wider audience, now including even the undogmatic left and hard-core documentarists of the times. In exchange, and for the first time, there were opposing reactions—but as always a great discussion at the Filmmakers’ Cinema, the main venue for independent productions. This cinema began with those initial screenings at Sydney University in the union room next to the Union Theatre. But once the Experimental Film Fund started operating in 1970, more and more films were submitted for the screenings and consequently a new venue was needed. Albie Thoms started a forum in the Yellow House in Kings Cross in May 1970. Next came—at least briefly—a restaurant in Glebe before the Co-op took over a space on the top floor of the socialist Third World Bookshop in Goulburn Street that was a firetrap. Bob Gould, the owner, was convinced that by first passing through his bookshop the audience would buy his books on the way upstairs. Sundays for him were otherwise dead from a commercial point of view. Noyce recollected that: The audience at this Filmmakers’ Cinema were mightily enthusiastic about seeing themselves up on the screen. And there was always a great discussion. So, generally the screenings were a huge success, with many full houses. The screenings grew from once a week, to three times on Sunday, to all weekend, and then seven days a week at several locations. One program could play in three different illegal cinemas around the city. (Petzke 26) A filmmakers’ cinema also started in Melbourne and the groups of filmmakers would visit each other and screen their respective films. But especially after the election of the Whitlam Labor government in December 1972 there was a shift in interest from risqué underground films to the concept of Australian Cinema. The audience started coming now for a dose of Australian culture. Funding of all kind was soon freely available and with such a fund the film co-op was able to set up a really good licensed cinema in St. Peters Lane in Darlinghurst, running seven days a week. But, Noyce said, “the move to St. Peters Lane was sort of the end of an era, because initially the cinema was self-funded, but once it became government sponsored everything changed” (Petzke 29). With money now readily available, egotism set in and the prevailing “we”-feeling rather quickly dissipated. But by the time of this move and the resulting developments, everything for Noyce had already changed again. He had been accepted into the first intake of the Interim Australian Film & TV School, another one of the nation-awareness-building projects of the Whitlam government. He was on his “long march through the institutions”—as this was frequently called throughout Europe—that would bring him to documentaries, TV and eventually even Hollywood (and return). Noyce didn’t linger once the alternative scene started fading away. Everything those few, wild years in the counterculture had taught him also put him right on track to become one of the major players in Hollywood. He never looked back—but he remembers fondly…References Castaway’s Choice. Radio broadcast by KCRW. 1990. Doggett, Peter. There’s a Riot Going On: Revolutionaries, Rock Stars and the Rise and Fall of ’60s Counter-Culture. Edinburgh: Canongate, 2007. Farber, Manny. “Underground Films.” Negative Space: Manny Farber on the Movies. Ed. Manny Farber. New York: Da Capo, 1998. 12–24. Jacobs, Lewis. “Morning for the Experimental Film”. Film Culture 19 (1959): 6–9. Milesago. “Ubu Films”. n.d. 26 Nov. 2014 ‹http://www.milesago.com/visual/ubu.htm›. New American Cinema Group. “First Statement of the New American Cinema Group.” Film Culture Reader. Ed. P. Adams Sitney. New York: Praeger, 1970. 73–75. Petzke, Ingo. Phillip Noyce: Backroads to Hollywood. Sydney: Pan McMillan, 2004. Renan, Sheldon. The Underground Film: An Introduction to Its Development in America. London: Studio Vista, 1968. Roszak, Theodore. The Making of Counter Culture. New York: Anchor, 1969. Stratton, David. The Last New Wave: The Australian Film Revival. Sydney: Angus and Robertson, 1980. Sydney Filmmakers Co-operative. Film Catalogue. Sydney: Sydney Filmmakers Co-operative, 1972. Ubu Films. Unreleased five-minute video for the promotion of Mudie, Peter. Ubu Films: Sydney Underground Movies 1965-1970. Sydney: UNSW Press, 1997.

Introduction As street protests and clashes between citizens and authorities in places as different as Ferguson, Missouri and Hong Kong in autumn 2014 demonstrate, everyday life in many parts of the world is characterised by conflicting and competing sets of cultural norms, values, and practices. The idea that groups create cultures that stand in contrast to “mainstream” or “dominant culture” is nothing new—sociology’s earliest scholars sought cultural explanations for social “dysfunctions” such as anomie and deviance. Yet our interest in this article is not about the problems that marginalised and non-normative groups face, but rather with the cultures that are created as part of dealing with those problems. Milton Yinger begins his 1982 book, Countercultures: The Promise and Peril of a World Turned Upside Down, by contrasting multiple perspectives on countercultures. Some thinkers have characterised countercultures as not only a mundane feature of social life, but as a necessary one: Countercultures and the many types of intentional communities they commonly create are not social aberrations. For thousands of years there have been attempts to provide alternatives for the existing social order in response to the perennial grounds for dissent: hierarchy and privilege […,] disgust with hedonism and consumerism […, and] a decline in the quality of life. (Yinger, Countercultures 1) Others, however, have discursively delegitimised countercultures by characterising them as something in between naiveté and unschooled arrogance. Speaking specifically about hippies in the 1960s, Bell argued that the so-called counter-culture was a children’s crusade that sought to eliminate the line between fantasy and reality and act out in life its impulses under a banner of liberation. It claimed to mock bourgeois prudishness, when it was only flaunting the closet behavior of its liberal parents. It claimed to be new and daring when it was only repeating in more raucous form […] the youthful japes of a Greenwich Village bohemia of a half century before. It was less a counter-culture than a counterfeit culture. (xxvi-xxvii) If Bell is at all right, then perhaps countercultures may be better understood as subcultures, a term that may not require the idea of opposition (but see Gelder; Williams, Subcultural). To tease this distinction out, we want to consider the value of the counterculture concept for the study of oppositional subcultures. Rather than uncritically assuming what counter means, we take a more analytical view of how “counter,” as similar to other terms such as “resistant” and “oppositional,” has been articulated by social scientists. In doing this, we focus our attention on scholarly works that have dealt explicitly with group cultures “that sharply contradict the dominant norms and values of the society of which that group is a part” (Yinger, Countercultures 3). The Relationship between Counterculture and Subculture Many scholars point to the Chicago School of sociology as developing the first clear articulation of subcultural groups that differed clearly from mainstream society (see for example, Gelder and Thornton; Hannerz, E.; Williams, Youth). Paul G. Cressey, Frederic Thrasher, and later William Foote Whyte each provide exemplary empirical studies of marginal groups that were susceptible to social problems and therefore more likely to develop cultures that were defined as problematic for the mainstream. Robert Merton argued that marginalised groups formed as individuals tried to cope with the strain they experienced by their inability to access the cultural means (such as good education and good jobs) needed to achieve mainstream cultural goals (primarily, material success and social status), but Albert Cohen and others subsequently argued that such groups often reject mainstream culture in favour of a new, alternative culture instead. Within a few years, conceptual distinctions among these alternative cultures were necessary, with counterculture and subculture being disambiguated in American sociology. Yinger originally employed the term contraculture but eventually switched to the more common counterculture. Subculture became most often tied either to the study of religious and ethnic enclaves (Mauss) or to deviance and delinquency (Arnold), while counterculture found its currency in framing the cultures of more explicitly political groups and movements (see for example, Cushman; George and Starr). Perhaps the clearest analytical distinction between the terms suggested that subculture refer to ascribed differences based upon socio-economic status, ethnicity, religion (and so on) in relation to the mainstream, whereas counterculture should refer to groups rooted in an explicit rejection of a dominant culture. This is similar to the distinction that Ken Gelder makes between subcultures based upon marginalisation versus non-normativity. Counterculture became best used wherever the normative system of a group contains, as a primary element, a theme of conflict with the values of the total society, where personality variables are directly involved in the development and maintenance of the group's values, and wherever its norms can be understood only by reference to the relationships of the group to a surrounding dominant culture. (Yinger, Contraculture 629) Even at that time, however, such a neat distinction was problematic. Sociologist Howard S. Becker demonstrated that jazz musicians, for example, experienced a problem shared in many service occupations, namely that their clients did not possess the ability to judge properly the value of the service rendered, yet nevertheless sought to control it. As a consequence, a subculture emerged based on the opposition of “hip” musicians to their “square” employers’ cultural sensibilities. Yet Becker framed their experiences as subcultural rather than countercultural, as deviant rather than political (Becker 79-100). Meanwhile, the political connotations of “counterculture” were solidifying during the 1960s as the term became commonly used to describe aspects of the civil rights movement in the US, hippie culture, and the anti-Vietnam or peace movement. By the end of the 1960s, subculture and counterculture had become analytically distinct terms within sociology. Cultural Studies and the Class-ification of Counterculture The reification of subculture and counterculture as ontologically distinct phenomena was more or less completed in the 1970s through a series of publications on British youth cultures and subcultures (see Hall and Jefferson; Hebdige; Mungham and Pearson). The Centre for Contemporary Cultural Studies (CCCS) in particular expended a great deal of collective mental energy theorising the material base upon which cultures—and in particular spectacular youth subcultures such as mods and punk—exist. As with Marxist analyses of culture more generally, class was considered a key analytic variable. In the definitive theoretical statement on subculture, Clarke, Hall, Jefferson, and Roberts argued that “the most fundamental groups are the social classes, and the major cultural configurations will be […] ‘class cultures’” (13). Subcultures were thus seen as ideological reactions to the material conditions experienced and made meaningful within working class “parent culture.” This is what made youth subcultures sub—a part of the working-class—as well as cultural—the process of expressing their structural position. Given the Marxist orientation, it should go without saying that subcultures, as working-class youth cultures, were seen as naturally in a state of conflict with bourgeois culture. But that approach didn’t account well for counter-currents that emerged from within the middle-class, whose relationship with the means of production was markedly different, and so the concept of counterculture was appropriated to describe a distinctly middle-class phenomenon. The idea that counterculture represented an overtly political response from within the dominant culture itself fitted with work by Theodore Roszak and Frank Musgrove, and later Yinger (Countercultures) and Ulf Hannerz, who each defined counterculture through its political and activist orientations stemming from a crisis within the middle-class. To further differentiate the concepts, the CCCS dismissed the collective aspect of middle-class resistance (see Clarke et al., 58-9, for a list of phenomena they considered exemplary of middle-class counterculture), describing it as more “diffuse, less group-oriented, [and] more individualised” than its working-class counterpart, the latter “clearly articulated [as] ‘near’ or ‘quasi’-gangs” (Clarke et al. 60). And whereas subcultures were centred on leisure-time activities within working-class environments, countercultures were concerned with a blurring of the boundaries between work and leisure. This conceptualisation was problematic at best, not least because it limits counterculture to the middle-class and subculture to the working class. It also gave considerably more agency and consequence to middle-class youths. It seemed that countercultures, with their individualist tendencies, offered individuals and groups choices about what and how to resist, as well as some expectations for social change, while subculturalists, locked within an unfortunate class position, could only resist dominant culture “at the profoundly superficial level of appearances” (Hebdige 17). Beyond the Limits of Class Cultures By 1980 cultural studies scholars had begun disassembling the class-basis of subcultures (see for example, G. Clarke; McRobbie; Griffin). Even though many studies still focused on stylised forms of opposition, subcultural scholarship increasingly emphasised subcultures such as punk as reflecting a more explicitly politicised resistance against the dominant or mainstream culture. Some scholars suggested that “mainstream culture” was used as a contrastive device to exaggerate the distinctiveness of those who self-identity as different (see U. Hannerz; Copes and Williams), while others questioned what subcultures could be seen as existing independently from, or in assumed opposition to (see Blackman; Thornton). In such cases, we can see a move toward reconciling the alleged limits of subculture as a countercultural concept. Instead of seeing subcultures as magical solutions and thus inevitably impotent, more recent research has considered the agency of social actors to overcome social divisions such as race, gender, and class. On the dance floor in particular, youth culture was theorised as breaking free of its class-binding shackles. Along with this break came the rhetorical distancing from CCCS’s definitions of subculture. The attempted development of “post-subculture” studies around the Millennium focused on consumptive behaviours among certain groups of youths and concluded that consumption rather than opposition had become a hallmark of youth culture broadly (see Bennett, Popular; Huq; Muggleton). For these scholars, the rave and club cultures of the 1990s, and others since, represent youth culture as hedonistic and relatively apolitical. “Post-subculture” studies drew in part on Steve Redhead’s postmodern approach to youth culture as found in The Clubcultures Reader and its companion text, From Subcultures to Clubcultures (Redhead). These texts offered a theoretical alternative to the CCCS’s view of oppositional subcultures and recognition that subcultural style could no longer be understood as a representation of ideological strain among working-class youths. Carried forward in volumes by David Muggleton and Rupert Weinzierl,,among others, “post-subcultural” scholarship criticised prior subcultural research for having objectified/reified mainstream/subcultural boundaries and authenticities, echoing Gary Clarke’s remark that the sharp distinction between us and them “rests upon [subculturalists’] consideration of the rest of society as being straight, incorporated in a consensus, and willing to scream undividedly loud in any moral panic” (71). Instead, the mixtures of punk, mod, skinhead and/or hippy styles among club-goers signalled “entirely new ways of understanding how young people perceive the relationship between music taste and visual style…revealing the infinitely malleable and interchangeable nature of the latter as these are appropriated and realised by individuals as aspects of consumer choice” (Bennett, Subcultures 613). Reincorporating the Counter into Subculture Studies The postmodern focus on cultural fluidity, individuality, and consumption highlights to some extent the agency that individuals have to make choices about the cultures in which they participate. To be sure, the postmodern and post-subculture critiques of class-based subculture studies were quite influential in the development of more recent subcultural scholarship, though not necessarily as they were intended. Much of the theoretical rhetoric of post-subculture scholarship (over-)emphasised heterogeneity, contingency, and play, which drew attention away from the collective identities and practices that continue to characterise many subcultures and groups. Fortunately, other scholars over the last decade have been critical of that approach’s failure to deal with perennial concerns related to participation in alternative cultural groups, including consumption (Buckingham), voice (Bae and Ivashkevich), education (Tuck and Yang), and group affiliation (Pilkington), among others. We want to follow this trajectory by explicitly reiterating the continuing significance of the “counter” aspects of subcultures. Two trends in social theory are exemplary in this reiteration. The first trend is a growing interest in re-theorizing resistance to refer to “a contribution to progressive transformations and radical changes in social and cultural structures” (Johansson and Lalander) rather than to a set of styles and practices through which working-class youth impotently rage against the machine. Resistance is qualitatively different from rebellion, which is often framed in terms of unconscious or irrational behaviour (Raby); resistance is first and foremost intentional. Subcultures articulate resistance to mainstream/dominant culture and may be measured across several continua, including passive to active, micro to macro, covert to overt, individual to collective, and local to global (see Williams, Resistance; E. Hannerz). Participants in countercultures see themselves as being more critically aware of what is happening in the world than the average person, believe that they act on that critical awareness in their thoughts, words, and/or deeds, and electively detach themselves from “involuntary or unconscious commitments” (Leary 253) to mainstream culture, refusing to uncritically follow the rules. The concept of resistance thus gives some momentum to attempts to clarify the extent to which members of alternative cultures intentionally break with the mainstream. The links between resistance and counterculture are explicitly dealt with in recent scholarship on music subcultures. Graham St John’s work on electronic dance music culture (EDMC), for example, offers a complex analysis of resistant practices that he conceptualizes as countercultural. Participation in EDMC is seen as more than simple hedonism. Rather, EDMC provides the scripts necessary for individuals to pursue freedom from various forms of perceived oppression in everyday life. At a more macro level, Madigan Fichter’s study of counterculture in Romania similarly frames resistance and political dissent as key variables in the articulation of a counterculture. Some recent attempts at invoking counterculture seem less convincing. Noting that counterculture is a relatively “unpopular term in social scientific research,” Hjelm, Kahn-Harris, and LeVine nevertheless proceed to theorize heavy metal as countercultural by drawing on the culture’s “transgressive” (14) qualities and “antagonistic […] attempts to shock and provoke [as well as] those occasions when metal, by its very presence, is shocking” (15). Other studies have similarly articulated “countercultures” in terms of behaviours that transgress mainstream sensibilities (see for example, Arthur and Sherman; Kolind). It is debatable at best, however, whether hedonism, transgression, or provocation are sufficient qualities for counterculture without concomitant cultural imperatives for both resistance and social change. This leads into a brief comment on a second trend, which is the growing interconnectedness of social theories that attend to subcultures on the one hand and “new” social movements (NSMs) on the other. “Traditional” social movements, such as the civil rights and labour movements, have been typically organised by and for people excluded in some way from full rights to participate in society, for example the rights to political participation or basic economic protection. NSMs, however, often involve people who already enjoy full rights as members of society, but who reject political and economic processes that injure them or others, such as marginalised groups, animals, or the environment. Some movements are contentious in nature, such as the Occupy-movement, and thus quite clearly antagonistic toward mainstream political-economy. NSM theories (see Pichardo), however, also theorize the roles of culture and collective identity in supporting both opposition to dominant processes and strategies for alternative practices. Other NSMs foster lifestyles that, through the minutiae of everyday practice, promote a ground-up reaction to dominant political-economic practices (see Haenfler, Johnson, and Jones). Both contentious and lifestyle movements are relatively diffuse and as such align with traditional conceptualisations of both subculture and counterculture. NSM theory and subcultural theories are thus coming together in a moment where scholars are seeking distinctly cultural understandings of collective lifestyles of resistance and social change. Conclusion Recent attempts to rephrase subcultural theory have combined ideas of the Birmingham and Chicago Schools with more contemporary approaches such as social constructivism and new social movements theory. Together, they recognise a couple of things. First, culture is not the determining structure it was once theorised to be. The shift in understanding subcultural groups as rooted in ascribed characteristics—being naturally different due to class, ethnicity, age, or to location (Park; Cohen; Clarke et al.)—to one in which subcultures are intentional articulations created by people, highlights the agency of individuals and groups to create culture. The break with realist/objectivist notions of culture offers promising opportunities for understanding resistance and opposition more generally. Second, the “counter” continues to be relevant in the study of subcultures. Subcultural participation these days is characterised as much or more by non-normativity than by marginalisation. As such, subcultures represent intentional protests against something outside themselves. Of course, we do not mean to suggest this is always and everywhere the case. Subcultural homogeneity was never really real, and concepts like “the mainstream” and “dominant culture” on the one hand, and “counterculture” and “opposition” on the other, are dialectically constructed. The “sub” in subculture refers both to a subset of meanings within a larger parent or mainstream culture (meanings which are unproblematic within the subculture) and to a set of meanings that explicitly rejects that which they oppose (E. Hannerz). In this regard, “sub” and “counter” can come together in new analyses of opposition, whether in terms of symbols (as cultural) or actions (as social). References Arnold, David O., ed. The Sociology of Subcultures. Berkeley, CA: Glendessary P, 1970. Arthur, Damien, and Claire Sherman. “Status within a Consumption-Oriented Counterculture: An Ethnographic Investigation of the Australian Hip Hop Culture.” Advances in Consumer Research 37 (2010): 386-392. 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All history of this area and the general talk and all of that is that 1973 was a turning point and the Aquarius Festival is credited with having turned this region around in so many ways, but I think that is a myth ... and I have to honour the truth; and the truth is that old Dicke Donelly came and did a Welcome to Country the night before the festival. (Joseph in Joseph and Hanley)In 1973 the Australian Union of Students (AUS) held the Aquarius Arts and Lifestyle Festival in a small, rural New South Wales town called Nimbin. The festival was seen as the peak expression of Australian counterculture and is attributed to creating the “Rainbow Region”, an area with a concentration of alternative life stylers in Northern NSW (Derrett 28). While the Aquarius Festival is recognised as a founding historical and countercultural event, the unique and important relationships established with Indigenous people at this time are generally less well known. This article investigates claims that the 1973 Aquarius Festival was “the first event in Australian history that sought permission for the use of the land from the Traditional Owners” (Joseph and Hanley). The diverse international, national and local conditions that coalesced at the Aquarius Festival suggest a fertile environment was created for reconciliatory bonds to develop. Often dismissed as a “tree hugging, soap dodging movement,” the counterculture was radically politicised having sprung from the 1960s social revolutions when the world witnessed mass demonstrations that confronted war, racism, sexism and capitalism. Primarily a youth movement, it was characterised by flamboyant dress, music, drugs and mass gatherings with universities forming the epicentre and white, middle class youth leading the charge. As their ideals of changing the world were frustrated by lack of systematic change, many decided to disengage and a migration to rural settings occurred (Jacob; Munro-Clarke; Newton). In the search for alternatives, the counterculture assimilated many spiritual practices, such as Eastern traditions and mysticism, which were previously obscure to the Western world. This practice of spiritual syncretism can be represented as a direct resistance to the hegemony of the dominant Western culture (Stell). As the new counterculture developed, its progression from urban to rural settings was driven by philosophies imbued with a desire to reconnect with and protect the natural world while simultaneously rejecting the dominant conservative order. A recurring feature of this countercultural ‘back to the land’ migration was not only an empathetic awareness of the injustices of colonial past, but also a genuine desire to learn from the Indigenous people of the land. Indigenous people were generally perceived as genuine opposers of Westernisation, inherently spiritual, ecological, tribal and communal, thus encompassing the primary values to which the counterculture was aspiring (Smith). Cultures converged. One, a youth culture rebelling from its parent culture; the other, ancient cultures reeling from the historical conquest by the youths’ own ancestors. Such cultural intersections are rich with complex scenarios and politics. As a result, often naïve, but well-intended relations were established with Native Americans, various South American Indigenous peoples, New Zealand Maori and, as this article demonstrates, the Original People of Australia (Smith; Newton; Barr-Melej; Zolov). The 1960s protest era fostered the formation of groups aiming to address a variety of issues, and at times many supported each other. Jennifer Clarke says it was the Civil Rights movement that provided the first models of dissent by formulating a “method, ideology and language of protest” as African Americans stood up and shouted prior to other movements (2). The issue of racial empowerment was not lost on Australia’s Indigenous population. Clarke writes that during the 1960s, encouraged by events overseas and buoyed by national organisation, Aborigines “slowly embarked on a political awakening, demanded freedom from the trappings of colonialism and responded to the effects of oppression at worst and neglect at best” (4). Activism of the 1960s had the “profoundly productive effect of providing Aborigines with the confidence to assert their racial identity” (159). Many Indigenous youth were compelled by the zeitgeist to address their people’s issues, fulfilling Charlie Perkins’s intentions of inspiring in Indigenous peoples a will to resist (Perkins). Enjoying new freedoms of movement out of missions, due to the 1967 Constitutional change and the practical implementation of the assimilation policy, up to 32,000 Indigenous youth moved to Redfern, Sydney between 1967 and 1972 (Foley, “An Evening With”). Gary Foley reports that a dynamic new Black Power Movement emerged but the important difference between this new younger group and the older Indigenous leaders of the day was the diverse range of contemporary influences. Taking its mantra from the Black Panther movement in America, though having more in common with the equivalent Native American Red Power movement, the Black Power Movement acknowledged many other international struggles for independence as equally inspiring (Foley, “An Evening”). People joined together for grassroots resistance, formed anti-hierarchical collectives and established solidarities between varied groups who previously would have had little to do with each other. The 1973 Aquarius Festival was directly aligned with “back to the land” philosophies. The intention was to provide a place and a reason for gathering to “facilitate exchanges on survival techniques” and to experience “living in harmony with the natural environment.” without being destructive to the land (Dunstan, “A Survival Festival”). Early documents in the archives, however, reveal no apparent interest in Australia’s Indigenous people, referring more to “silken Arabian tents, mediaeval banners, circus, jugglers and clowns, peace pipes, maypole and magic circles” (Dunstan, “A Survival Festival”). Obliterated from the social landscape and minimally referred to in the Australian education system, Indigenous people were “off the radar” to the majority mindset, and the Australian counterculture similarly was slow to appreciate Indigenous culture. Like mainstream Australia, the local counterculture movement largely perceived the “race” issue as something occurring in other countries, igniting the phrase “in your own backyard” which became a catchcry of Indigenous activists (Foley, “Whiteness and Blackness”) With no mention of any Indigenous interest, it seems likely that the decision to engage grew from the emerging climate of Indigenous activism in Australia. Frustrated by student protestors who seemed oblivious to local racial issues, focusing instead on popular international injustices, Indigenous activists accused them of hypocrisy. Aquarius Festival directors, found themselves open to similar accusations when public announcements elicited a range of responses. Once committed to the location of Nimbin, directors Graeme Dunstan and Johnny Allen began a tour of Australian universities to promote the upcoming event. While at the annual conference of AUS in January 1973 at Monash University, Dunstan met Indigenous activist Gary Foley: Gary witnessed the presentation of Johnny Allen and myself at the Aquarius Foundation session and our jubilation that we had agreement from the village residents to not only allow, but also to collaborate in the production of the Festival. After our presentation which won unanimous support, it was Gary who confronted me with the question “have you asked permission from local Aboriginal folk?” This threw me into confusion because we had seen no Aboriginals in Nimbin. (Dunstan, e-mail) Such a challenge came at a time when the historical climate was etched with political activism, not only within the student movement, but more importantly with Indigenous activists’ recent demonstrations, such as the installation in 1972 of the Tent Embassy in Canberra. As representatives of the counterculture movement, which was characterised by its inclinations towards consciousness-raising, AUS organisers were ethically obliged to respond appropriately to the questions about Indigenous permission and involvement in the Aquarius Festival at Nimbin. In addition to this political pressure, organisers in Nimbin began hearing stories of the area being cursed or taboo for women. This most likely originated from the tradition of Nimbin Rocks, a rocky outcrop one kilometre from Nimbin, as a place where only certain men could go. Jennifer Hoff explains that many major rock formations were immensely sacred places and were treated with great caution and respect. Only a few Elders and custodians could visit these places and many such locations were also forbidden for women. Ceremonies were conducted at places like Nimbin Rocks to ensure the wellbeing of all tribespeople. Stories of the Nimbin curse began to spread and most likely captivated a counterculture interested in mysticism. As organisers had hoped that news of the festival would spread on the “lips of the counterculture,” they were alarmed to hear how “fast the bad news of this curse was travelling” (Dunstan, e-mail). A diplomatic issue escalated with further challenges from the Black Power community when organisers discovered that word had spread to Sydney’s Indigenous community in Redfern. Organisers faced a hostile reaction to their alleged cultural insensitivity and were plagued by negative publicity with accusations the AUS were “violating sacred ground” (Janice Newton 62). Faced with such bad press, Dunstan was determined to repair what was becoming a public relations disaster. It seemed once prompted to the path, a sense of moral responsibility prevailed amongst the organisers and they took the unprecedented step of reaching out to Australia’s Indigenous people. Dunstan claimed that an expedition was made to the local Woodenbong mission to consult with Elder, Uncle Lyle Roberts. To connect with local people required crossing the great social divide present in that era of Australia’s history. Amy Nethery described how from the nineteenth century to the 1960s, a “system of reserves, missions and other institutions isolated, confined and controlled Aboriginal people” (9). She explains that the people were incarcerated as a solution to perceived social problems. For Foley, “the widespread genocidal activity of early “settlement” gave way to a policy of containment” (Foley, “Australia and the Holocaust”). Conditions on missions were notoriously bad with alcoholism, extreme poverty, violence, serious health issues and depression common. Of particular concern to mission administrators was the perceived need to keep Indigenous people separate from the non-indigenous population. Dunstan described the mission he visited as having “bad vibes.” He found it difficult to communicate with the elderly man, and was not sure if he understood Dunstan’s quest, as his “responses came as disjointed raves about Jesus and saving grace” (Dunstan, e-mail). Uncle Lyle, he claimed, did not respond affirmatively or negatively to the suggestion that Nimbin was cursed, and so Dunstan left assuming it was not true. Other organisers began to believe the curse and worried that female festival goers might get sick or worse, die. This interpretation reflected, as Vanessa Bible argues, a general Eurocentric misunderstanding of the relationship of Indigenous peoples with the land. Paul Joseph admits they were naïve whites coming into a place with very little understanding, “we didn’t know if we needed a witch doctor or what we needed but we knew we needed something from the Aborigines to lift the spell!”(Joseph and Hanley). Joseph, one of the first “hippies” who moved to the area, had joined forces with AUS organisers. He said, “it just felt right” to get Indigenous involvement and recounted how organisers made another trip to Woodenbong Mission to find Dickee (Richard) Donnelly, a Song Man, who was very happy to be invited. Whether the curse was valid or not it proved to be productive in further instigating respectful action. Perhaps feeling out of their depth, the organisers initiated another strategy to engage with Australian Indigenous people. A call out was sent through the AUS network to diversify the cultural input and it was recommended they engage the services of South African artist, Bauxhau Stone. Timing aligned well as in 1972 Australia had voted in a new Prime Minister, Gough Whitlam. Whitlam brought about significant political changes, many in response to socialist protests that left a buoyancy in the air for the counterculturalist movement. He made prodigious political changes in support of Indigenous people, including creating the Aboriginal Arts Board as part of the Australian Council of the Arts (ACA). As the ACA were already funding activities for the Aquarius Festival, organisers were successful in gaining two additional grants specifically for Indigenous participation (Farnham). As a result We were able to hire […] representatives, a couple of Kalahari bushmen. ‘Cause we were so dumb, we didn’t think we could speak to the black people, you know what I mean, we thought we would be rejected, or whatever, so for us to really reach out, we needed somebody black to go and talk to them, or so we thought, and it was remarkable. This one Bau, a remarkable fellow really, great artist, great character, he went all over Australia. He went to Pitjantjatjara, Yirrkala and we arranged buses and tents when they got here. We had a very large contingent of Aboriginal people come to the Aquarius Festival, thanks to Whitlam. (Joseph in Joseph and Henley) It was under the aegis of these government grants that Bauxhau Stone conducted his work. Stone embodied a nexus of contemporary issues. Acutely aware of the international movement for racial equality and its relevance to Australia, where conditions were “really appalling”, Stone set out to transform Australian race relations by engaging with the alternative arts movement (Stone). While his white Australian contemporaries may have been unaccustomed to dealing with the Indigenous racial issue, Stone was actively engaged and thus well suited to act as a cultural envoy for the Aquarius Festival. He visited several local missions, inviting people to attend and notifying them of ceremonies being conducted by respected Elders. Nimbin was then the site of the Aquarius Lifestyle and Celebration Festival, a two week gathering of alternative cultures, technologies and youth. It innovatively demonstrated its diversity of influences, attracted people from all over the world and was the first time that the general public really witnessed Australia’s counterculture (Derrett 224). As markers of cultural life, counterculture festivals of the 1960s and 1970s were as iconic as the era itself and many around the world drew on the unique Indigenous heritage of their settings in some form or another (Partridge; Perone; Broadley and Jones; Zolov). The social phenomenon of coming together to experience, celebrate and foster a sense of unity was triggered by protests, music and a simple, yet deep desire to reconnect with each other. Festivals provided an environment where the negative social pressures of race, gender, class and mores (such as clothes) were suspended and held the potential “for personal and social transformation” (St John 167). With the expressed intent to “take matters into our own hands” and try to develop alternative, innovative ways of doing things with collective participation, the Aquarius Festival thus became an optimal space for reinvigorating ancient and Indigenous ways (Dunstan, “A Survival Festival”). With philosophies that venerated collectivism, tribalism, connecting with the earth, and the use of ritual, the Indigenous presence at the Aquarius Festival gave attendees the opportunity to experience these values. To connect authentically with Nimbin’s landscape, forming bonds with the Traditional Owners was essential. Participants were very fortunate to have the presence of the last known initiated men of the area, Uncle Lyle Roberts and Uncle Dickee Donnely. These Elders represented the last vestiges of an ancient culture and conducted innovative ceremonies, song, teachings and created a sacred fire for the new youth they encountered in their land. They welcomed the young people and were very happy for their presence, believing it represented a revolutionary shift (Wedd; King; John Roberts; Cecil Roberts). Images 1 and 2: Ceremony and talks conducted at the Aquarius Festival (people unknown). Photographs reproduced by permission of photographer and festival attendee Paul White. The festival thus provided an important platform for the regeneration of cultural and spiritual practices. John Roberts, nephew of Uncle Lyle, recalled being surprised by the reaction of festival participants to his uncle: “He was happy and then he started to sing. And my God … I couldn’t get near him! There was this big ring of hippies around him. They were about twenty deep!” Sharing to an enthusiastic, captive audience had a positive effect and gave the non-indigenous a direct Indigenous encounter (Cecil Roberts; King; Oshlak). Estimates of the number of Indigenous people in attendance vary, with the main organisers suggesting 800 to 1000 and participants suggesting 200 to 400 (Stone; Wedd; Oshlak: Joseph; King; Cecil Roberts). As the Festival lasted over a two week period, many came and left within that time and estimates are at best reliant on memory, engagement and perspectives. With an estimated total attendance at the Festival between 5000 and 10,000, either number of Indigenous attendees is symbolic and a significant symbolic statistic for Indigenous and non-indigenous to be together on mutual ground in Australia in 1973. Images 3-5: Performers from Yirrkala Dance Group, brought to the festival by Stone with funding from the Federal Government. Photographs reproduced by permission of photographer and festival attendee Dr Ian Cameron. For Indigenous people, the event provided an important occasion to reconnect with their own people, to share their culture with enthusiastic recipients, as well as the chance to experience diverse aspects of the counterculture. Though the northern NSW region has a history of diverse cultural migration of Italian and Indian families, the majority of non-indigenous and Indigenous people had limited interaction with cosmopolitan influences (Kijas 20). Thus Nimbin was a conservative region and many Christianised Indigenous people were also conservative in their outlook. The Aquarius Festival changed that as the Indigenous people experienced the wide-ranging cultural elements of the alternative movement. The festival epitomised countercultural tendencies towards flamboyant fashion and hairstyles, architectural design, fantastical art, circus performance, Asian clothes and religious products, vegetarian food and nudity. Exposure to this bohemian culture would have surely led to “mind expansion and consciousness raising,” explicit aims adhered to by the movement (Roszak). Performers and participants from Africa, America and India also gave attending Indigenous Australians the opportunity to interact with non-European cultures. Many people interviewed for this paper indicated that Indigenous people’s reception of this festival experience was joyous. For Australia’s early counterculture, interest in Indigenous Australia was limited and for organisers of the AUS Aquarius Festival, it was not originally on the agenda. The counterculture in the USA and New Zealand had already started to engage with their Indigenous people some years earlier. However due to the Aquarius Festival’s origins in the student movement and its solidarities with the international Indigenous activist movement, they were forced to shift their priorities. The coincidental selection of a significant spiritual location at Nimbin to hold the festival brought up additional challenges and countercultural intrigue with mystical powers and a desire to connect authentically to the land, further prompted action. Essentially, it was the voices of empowered Indigenous activists, like Gary Foley, which in fact triggered the reaching out to Indigenous involvement. While the counterculture organisers were ultimately receptive and did act with unprecedented respect, credit must be given to Indigenous activists. The activist’s role is to trigger action and challenge thinking and in this case, it was ultimately productive. Therefore the Indigenous people were not merely passive recipients of beneficiary goodwill, but active instigators of appropriate cultural exchange. After the 1973 festival many attendees decided to stay in Nimbin to purchase land collectively and a community was born. Relationships established with local Indigenous people developed further. Upon visiting Nimbin now, one will see a vibrant visual display of Indigenous and psychedelic themed art, a central park with an open fire tended by local custodians and other Indigenous community members, an Aboriginal Centre whose rent is paid for by local shopkeepers, and various expressions of a fusion of counterculture and Indigenous art, music and dance. While it appears that reconciliation became the aspiration for mainstream society in the 1990s, Nimbin’s early counterculture history had Indigenous reconciliation at its very foundation. The efforts made by organisers of the 1973 Aquarius Festival stand as one of very few examples in Australian history where non-indigenous Australians have respectfully sought to learn from Indigenous people and to assimilate their cultural practices. It also stands as an example for the world, of reconciliation, based on hippie ideals of peace and love. They encouraged the hippies moving up here, even when they came out for Aquarius, old Uncle Lyle and Richard Donnelly, they came out and they blessed the mob out here, it was like the hairy people had come back, with the Nimbin, cause the Nimbynji is the little hairy people, so the hairy people came back (Jerome). References Barr-Melej, Patrick. “Siloísmo and the Self in Allende’s Chile: Youth, 'Total Revolution,' and the Roots of the Humanist Movement.” Hispanic American Historical Review 86.4 (Nov. 2006): 747-784. Bible, Vanessa. Aquarius Rising: Terania Creek and the Australian Forest Protest Movement. BA (Honours) Thesis. University of New England, Armidale, 2010. Broadley, Colin, and Judith Jones, eds. Nambassa: A New Direction. Auckland: Reed, 1979. Bryant, Gordon M. Parliament of Australia. Minister for Aboriginal Affairs. 1 May 1973. Australian Union of Students. Records of the AUS, 1934-1991. National Library of Australia MS ACC GB 1992.0505. Cameron, Ian. “Aquarius Festival Photographs.” 1973. Clarke, Jennifer. Aborigines and Activism: Race, Aborigines and the Coming of the Sixties to Australia. Crawley: University of Western Australia Press, 2008. Derrett, Ross. Regional Festivals: Nourishing Community Resilience: The Nature and Role of Cultural Festivals in Northern Rivers NSW Communities. PhD Thesis. Southern Cross University, Lismore, 2008. Dunstan, Graeme. “A Survival Festival May 1973.” 1 Aug. 1972. Pamphlet. MS 6945/1. Nimbin Aquarius Festival Archives. National Library of Australia, Canberra. ---. E-mail to author, 11 July 2012. ---. “The Aquarius Festival.” Aquarius Rainbow Region. n.d. Farnham, Ken. Acting Executive Officer, Aboriginal Council for the Arts. 19 June 1973. Letter. MS ACC GB 1992.0505. Australian Union of Students. Records of the AUS, 1934-1991. National Library of Australia, Canberra. Foley, Gary. “Australia and the Holocaust: A Koori Perspective (1997).” The Koori History Website. n.d. 20 May 2013 ‹http://www.kooriweb.org/foley/essays/essay_8.html›. ---. “Whiteness and Blackness in the Koori Struggle for Self-Determination (1999).” The Koori History Website. n.d. 20 May 2013 ‹http://www.kooriweb.org/foley/essays/essay_9.html›. ---. “Black Power in Redfern 1968-1972 (2001).” The Koori History Website. n.d. 20 May 2013 ‹http://www.kooriweb.org/foley/essays/essay_1.html›. ---. “An Evening with Legendary Aboriginal Activist Gary Foley.” Conference Session. Marxism 2012 “Revolution in the Air”, Melbourne, Mar. 2012. Hoff, Jennifer. Bundjalung Jugun: Bundjalung Country. Lismore: Richmond River Historical Society, 2006. Jacob, Jeffrey. New Pioneers: The Back-to-the-Land Movement and the Search for a Sustainable Future. Pennsylvania: Penn State Press, 1997. Jerome, Burri. Interview. 31 July 2012. Joseph, Paul. Interview. 7 Aug. 2012. Joseph, Paul, and Brendan ‘Mookx’ Hanley. Interview by Rob Willis. 14 Aug. 2010. Audiofile, Session 2 of 3. nla.oh-vn4978025. Rob Willis Folklore Collection. National Library of Australia, Canberra. Kijas, Johanna, Caravans and Communes: Stories of Settling in the Tweed 1970s & 1980s. Murwillumbah: Tweed Shire Council, 2011. King, Vivienne (Aunty Viv). Interview. 1 Aug. 2012. Munro-Clarke, Margaret. Communes of Rural Australia: The Movement Since 1970. Sydney: Hale and Iremonger, 1986. Nethery, Amy. “Aboriginal Reserves: ‘A Modern-Day Concentration Camp’: Using History to Make Sense of Australian Immigration Detention Centres.” Does History Matter? Making and Debating Citizenship, Immigration and Refugee Policy in Australia and New Zealand. Eds. Klaus Neumann and Gwenda Tavan. Canberra: Australian National University Press, 2009. 4. Newton, Janice. “Aborigines, Tribes and the Counterculture.” Social Analysis 23 (1988): 53-71. Newton, John. The Double Rainbow: James K Baxter, Ngati Hau and the Jerusalem Commune. Wellington: Victoria University Press, 2009. Offord, Baden. “Mapping the Rainbow Region: Fields of Belonging and Sites of Confluence.” Transformations 2 (March 2002): 1-5. Oshlak, Al. Interview. 27 Mar. 2013. Partridge, Christopher. “The Spiritual and the Revolutionary: Alternative Spirituality, British Free Festivals, and the Emergence of Rave Culture.” Culture and Religion: An Interdisciplinary Journal 7 (2006): 3-5. Perkins, Charlie. “Charlie Perkins on 1965 Freedom Ride.” Youtube, 13 Oct. 2009. Perone, James E. Woodstock: An Encyclopedia of the Music and Art Fair. Greenwood: Greenwood Publishing Group, 2005. Roberts, John. Interview. 1 Aug. 2012. Roberts, Cecil. Interview. 6 Aug. 2012. Roszak, Theodore. The Making of a Counter Culture: Reflections on the Technocratic Society and Its Youthful Opposition. New York: University of California Press,1969. St John, Graham. “Going Feral: Authentica on the Edge of Australian culture.” The Australian Journal of Anthropology 8 (1997): 167-189. Smith, Sherry. Hippies, Indians and the Fight for Red Power. New York: Oxford University Press, 2012. Stell, Alex. Dancing in the Hyper-Crucible: The Rite de Passage of the Post-Rave Movement. BA (Honours) Thesis. University of Westminster, London, 2005. Stone, Trevor Bauxhau. Interview. 1 Oct. 2012. Wedd, Leila. Interview. 27 Sep. 2012. White, Paul. “Aquarius Revisited.” 1973. Zolov, Eric. Refried Elvis: The Rise of the Mexican Counterculture. Berkeley: University of California Press, 1999.

Introduction Utopia has always been countercultural, and ever since technological progress has allowed, utopia has been using alternative media to promote and strengthen its underpinning ideals. In this article, I am seeking to clarify the connections between counterculture and alternative media in utopian contexts to demonstrate their reciprocity, then draw together these threads through reference to a well-known figure of the Rainbow Region–Rusty Miller. His trajectory from iconic surfer and Aquarian reporter to mediator for utopian politics and ideals in the Rainbow Region encompasses in a single identity the three elements underpinning this study. In concluding, I will turn to Rusty’s Byron Guide, questioning its classification as alternative or mainstream media, and whether Byron Bay is represented as countercultural and utopian in this long-running and ongoing publication. Counterculture and Alternative Media in Utopian Contexts Counterculture is an umbrella that enfolds utopia, among many other genres and practices. It has been most often situated in the 1960s and 1970s as a new form of social movement embodying youth resistance to the technocratic mainstream and its norms of gender, sexuality, politics, music, and language (Roszak). Many scholars of counterculture underscore its utopian impulses both in the projection of better societies where the social goals are achieved, and in the withdrawal from mainstream society into intentional communities (Yinger 194-6; McKay 5; Berger). Before exploring further the connections between counterculture and alternative media, I want to define the scope of countercultural utopian contexts in general, and the Rainbow Region in particular. Utopia is a neologism created by Sir Thomas More almost 500 years ago to designate the island community that demonstrates order, harmony, justice, hope and desire in the right balance so that it seems like an ideal land. This imaginary place described in Utopia (1516) as a counterpoint to the social, political and religious shortcomings of contemporary 16th century British society, has attracted accusations of heresy (Molner), and been used as a pejorative term, an insult to denigrate political projects that seem farfetched or subversive, especially during the 19th century. Almost every study of utopian theory, literature and practice points to a dissatisfaction with the status quo, which inspires writers, politicians, architects, artists, individuals and communities to rail against it (see for example Davis, Moylan, Suvin, Levitas, Jameson). Kingsley Widmer’s book Counterings: Utopian Dialectics in Contemporary Contexts reiterates what many scholars have stated when he writes that utopias should be understood in terms of what they are countering. Lyman Tower Sargent defines utopia as “a non-existent society described in considerable detail and normally located in time and space” and utopianism as “social dreaming” (9), to which I would add that both indicate an improvement on the alternatives, and may indeed be striving to represent the best place imaginable. Utopian contexts, by extension, are those situations where the “social dreaming” is enhanced through human agency, good governance, just laws, education, and work, rather than being a divinely ordained state of nature (Schaer et al). In this way, utopian contexts are explicitly countercultural through their very conception, as human agency is required and their emphasis is on social change. These modes of resistance against dominant paradigms are most evident in attempts to realise textual projections of a better society in countercultural communal experiments. Almost immediately after its publication, More’s Utopia became the model for Bishop Vasco de Quiroga’s communitarian hospital-town Santa Fe de la Laguna in Michoacan, Mexico, established in the 1530s as a counterculture to the oppressive enslavement and massacres of the Purhépecha people by Nuno Guzmán (Green). The countercultural thrust of the 1960s and 1970s provided many utopian contexts, perhaps most readily identifiable as the intentional communities that spawned and flourished, especially in the United States, the United Kingdom, Australia, and New Zealand (Metcalf, Shared Lives). They were often inspired by texts such as Charles A. Reich’s The Greening of America (1970) and Ernest Callenbach’s Ecotopia (1975), and this convergence of textual practices and alternative lifestyles can be seen in the development of Australia’s own Rainbow Region. Located in northern New South Wales, the geographical area of the Northern Rivers that has come to be known as the Rainbow Region encompasses Byron Bay, Nimbin, Mullumbimby, Bangalow, Clunes, Dunoon, Federal, with Lismore as the region’s largest town. But more evocative than these place names are the “rivers and creeks, vivid green hills, fruit and nut farms […] bounded by subtropical beaches and rainforest mountains” (Wilson 1). Utopian by nature, and recognised as such by the indigenous Bundjalung people who inhabited it before the white settlers, whalers and dairy farmers moved in, the Rainbow Region became utopian through culture–or indeed counterculture–during the 1973 Aquarius Festival in Nimbin when the hippies of Mullumbimby and the surfers of Byron Bay were joined by up to 10,000 people seeking alternative ways of being in the world. When the party was over, many Aquarians stayed on to form intentional communities in the beautiful region, like Tuntable Falls, Nimbin’s first and largest such cooperative (Metcalf, From Utopian Dreaming to Communal Reality 74-83). In utopian contexts, from the Renaissance to the 1970s and beyond, counterculture has underpinned and alternative media has circulated the aims and ideals of the communities of resistance. The early utopian context of the Anabaptist movement has been dubbed as countercultural by Sigrun Haude: “During the reign of the Münster (1534-5) Anabaptists erected not only a religious but also a social and political counterculture to the existing order” (240). And it was this Protestant Reformation that John Downing calls the first real media war, with conflicting movements using pamphlets produced on the new technology of the Gutenberg press to disseminate their ideas (144). What is striking here is the confluence of ideas and practices at this time–countercultural ideals are articulated, published, and disseminated, printing presses make this possible, and utopian activists realise how mass media can be used and abused, exploited and censored. Twentieth century countercultural movements drew on the lessons learnt from historical uprising and revolutions, understanding the importance of getting the word out through their own forms of media which, given the subversive nature of the messages, were essentially alternative, according to the criteria proposed by Chris Atton: alternative media may be understood as a radical challenge to the professionalized and institutionalized practices of the mainstream media. Alternative media privileges a journalism that is closely wedded to notions of social responsibility, replacing an ideology of “objectivity” with overt advocacy and oppositional practices. Its practices emphasize first person, eyewitness accounts by participants; a reworking of the populist approaches of tabloid newspapers to recover a “radical popular” style of reporting; collective and antihierarchical forms of organization which eschew demarcation and specialization–and which importantly suggest an inclusive, radical form of civic journalism. (267) Nick Couldry goes further to point out the utopian processes required to identify agencies of change, including alternative media, which he defines as “practices of symbolic production which contest (in some way) media power itself–that is, the concentration of symbolic power in media institutions” (25). Alternative media’s orientation towards oppositional and contestatory practices demonstrates clear parallels between its ambitions and those of counterculture in utopian contexts. From the 1960s onwards, the upsurge in alternative newspaper numbers is commensurate with the blossoming of the counterculture and increased utopian contexts; Susan Forde describes it thus: “a huge resurgence in the popularity of publications throughout the ‘counter-culture’ days of the 1960s and 1970s” (“Monitoring the Establishment”, 114). The nexus of counterculture and alternative media in such utopian contexts is documented in texts like Roger Streitmatter’s Voices of Revolution and Bob Osterlag’s People’s Movements, People’s Press. Like the utopian newspapers that came out of 18th and 19th century intentional communities, many of the new alternative press served to educate, socialise, promote and represent the special interests of the founders and followers of the countercultural movements, often focusing on the philosophy and ideals underpinning these communities rather than the everyday events (see also Frobert). The radical press in Australia was also gaining ground, with OZ in Australia from 1963-1969, and then from 1967-1973 in London. Magazines launched by Philip Frazer like The Digger, Go-Set, Revolution and High Times, and university student newspapers were the main avenues for youth and alternative expression on the Vietnam war and conscription, gay and lesbian rights, racism, feminism and ecological activism (Forde, Challenging the News; Cock & Perry). Nimbin 1973: Rusty Miller and The Byron Express The 1973 Aquarius Festival of counterculture in Nimbin (12-23 May) was a utopian context that had an alternative media life of its own before it arrived in the Rainbow Region–in student publications like Tharnuka and newsletters distributed via the Aquarius Foundation. There were other voices that announced the coming of the Aquarius Festival to Nimbin and reported on its impact, like The Digger from Melbourne and the local paper, The Northern Star. During the Festival, the Nimbin Good Times first appeared as the daily bulletin and continues today with the original masthead drawn by the Festival’s co-organiser, Graeme Dunstan. Some interesting work has been done on this area, ranging from general studies of the Rainbow Region (Wilson; Munro-Clark) to articles analysing its alternative press (Ward & van Vuuren; Martin & Ellis), but to date, there has been no focus on the Rainbow Region’s first alternative newspaper, The Byron Express. Co-edited by Rusty Miller and David Guthrie, this paper presented and mediated the aims and desires of the Aquarian movement. Though short-lived, as only 7 issues were published from 15 February 1973 to September 1973, The Byron Express left a permanent printed vestige of the Aquarian counterculture movement’s activism and ideals from an independent regional perspective. Miller’s credentials for starting up the newspaper are clear–he has always been a trailblazer, mixing “smarts” with surfing and environmental politics. After graduating from a Bachelor of Arts in history from San Diego State College, he first set foot in Byron Bay during his two semesters with the inaugural Chapman College affiliated University of the Seven Seas in 1965-6. Returning to his hometown of Encinitas, he co-founded the Surf Research accessory company with legendary Californian surfer Mike Doyle, and launched Waxmate, the first specially formulated surf wax in 1967 (Davis, Witzig & James; Warshaw 217), selling his interest in the business soon after to spend a couple of years “living the counterculture life on the Hawaiian Island of Kauai” (Davis, Witzig & James), before heading back to Byron Bay via Bells Beach in 1970 (Miller & Shantz) and Sydney, where he worked as an advertising salesman and writer with Tracks surfing magazine (Martin & Ellis). In 1971, he was one of the first to ride the now famous waves of Uluwatu in Bali, and is captured with Steven Cooney in the iconic publicity image for Albe Falzon’s 1971 film, Morning Of The Earth. The champion surfer from the US knew a thing or two about counterculture, alternative media, advertising and business when he found his new utopian context in Byron Bay. Miller and Guthrie’s front-page editorial of the inaugural issue of The Byron Express, published on 15 February 1973, with the byline “for a higher shire”, expressed the countercultural (cl)aims of the publication. Land use, property development and the lack of concern that some people in Byron had for their impact on the environment and people of the region were a prime target: With this first issue of the Byron Express, we hope to explain that the area is badly in need of a focal point. The transitions of present are vast and moving fast. The land is being sold and resold. Lots of money is coming into the area in the way of developments […] caravan parts, hotels, businesses and real estate. Many of the trips incoming are not exactly “concerned” as to what long term effect such developments might have on the environment and its people. We hope to serve as a focus of concern and service, a centre for expression and reflection. We would ask your contributions in vocal and written form. We are ready for some sock it to ya criticism… and hope you would grab us upon the street to tell us how you feel…The mission of this alternative newspaper is thereby defined by the need for a “focal point” that inscribes the voices of the community in a freely accessible narrative, recorded in print for posterity. Although this first issue contains no mention of the Aquarius Festival, there were already rumours circulating about it, as organisers Graeme Dunstan and Johnny Allen had been up to Main Arm, Mullumbimby and Nimbin on reconnaissance missions beginning in September 1972. Instead, there was an article on “Mullumbimby Man–Close to the Land” by Nicholas Shand, who would go on to found the community-based weekly newspaper The Echo in 1986, then called The Brunswick Valley Echo and still going strong. Another by Bob McTavish asked whether there could be a better form of government; there was a surf story, and a soul food section with a recipe for honey meade entitled “Do you want to get out of it on 10 cents a bottle?” The second issue continues in much the same vein. It is not until the third issue comes out on 17 March 1973 that the Aquarius Festival is mentioned in a skinny half column on page four. And it’s not particularly promising: Arrived at Nimbin, sleepy hamlet… Office in disused R.S.L. rooms, met a couple of guys recently arrived, said nothing was being done. “Only women here, you know–no drive”. Met Joanne and Vi, both unable to say anything to be reported… Graham Dunstan (codenamed Superfest) and John Allen nowhere in sight. Allen off on trip overseas. Dunstan due back in a couple of weeks. 10 weeks to go till “they” all come… and to what… nobody is quite sure. This progress report provides a fascinating contemporary insight into the tensions–between the local surfies and hippies on one hand, and the incoming students on the other–around the organisation of the Aquarius Festival. There is an unbridled barb at the sexist comments made by the guys, implicit criticism of the absent organisers, obvious skepticism about whether anyone will actually come to the festival, and wonderment at what it will be like. Reading between the lines, we might find a feeling of resentment about not being privy to new developments in their own backyard. The final lines of the article are non-committal “Anyway, let’s see what eventuates when the Chiefs return.” It seems that all has been resolved by the fifth issue of 11 May, which is almost entirely dedicated to the Aquarius Festival with the front page headline “Welcome to the New Age”. But there is still an undertone of slight suspicion at what the newcomers to the area might mean in terms of property development: The goal is improving your fellow man’s mind and nourishment in concert with your own; competition to improve your day and the quality of the day for society. Meanwhile, what is the first thing one thinks about when he enters Byron and the area? The physical environment is so magnificent and all encompassing that it can actually hold a man’s breath back a few seconds. Then a man says, “Wow, this land is so beautiful that one could make a quid here.” And from that moment the natural aura and spells are broken and the mind lapses into speculative equations, sales projections and future interest payments. There is plenty of “love” though, in this article: “The gathering at Nimbin is the most spectacular demonstration of the faith people have in a belief that is possible (and possible just because they want it to be) to live in love, through love together.” The following article signed by Rusty Miller “A Town Together” is equally focused on love: “See what you could offer the spirit at Nimbin. It might introduce you to a style that could lead to LOVE.” The centre spread features photos: the obligatory nudes, tents, and back to nature activities, like planting and woodworking. With a text box of “random comments” including one from a Lismore executive: ‘I took my wife and kids out there last weekend and we had such a good time. Seems pretty organized and the town was loaded with love. Heard there is some hepatitis about and rumours of VD. Everyone happy.” And another from a land speculator (surely the prime target of Miller’s wrath): “Saw guys kissing girls on the street, so sweet, bought 200 acres right outside of town, it’s going to be valuable out there some day.” The interview with Johnny Allen as the centrepiece includes some pertinent commentary on the media and reveals a well-founded suspicion of the mediatisation of the Aquarius Festival: We have tried to avoid the media actually. But we haven’t succeeded in doing so. Part of the basic idea is that we don’t need to be sold. All the down town press can do is try and interpret you. And by doing that it automatically places it in the wrong sort of context. So we’ve tried to keep it to people writing about the festival to people who will be involved in it. It’s an involvement festival. Coopting The Byron Express as an “involved” party effects a fundamental shift from an external reporting newspaper to a kind of proponent or even propaganda for the Aquarius festival and its ideas, like so many utopian newspapers had done before. It is therefore perhaps inevitable that The Byron Express should disappear very soon after the Aquarius festival. Fiona Martin and Rhonda Ellis explain that Rusty Miller stopped producing the paper because he “found the production schedule exhausting and his readership too small to attract consistent advertising” (5). At any rate, there were only two more issues, one in June–with some follow up reporting of the festival–and another in September 1973, which was almost entirely devoted to environmentally focused features, including an interview with Kath Walker (Oodgeroo Noonuccal). Byron Bay 2013: Thirty Years of Rusty’s Byron Guide What Rusty did next is fairly well known locally–surfing and teaching people how to surf and a bit of writing. When major local employer Walkers slaughterhouse closed in 1983, he and his wife, social geographer Tricia Shantz, were asked by the local council to help promote Byron Bay as a tourist destination, writing the first Byron guide in 1983-4. Incorporating essays by local personalities and dedicated visitors, the Byron guide perpetuates the ideal of environmental awareness, spiritual experimentation, and respect for the land and sea. Recent contributors have included philosopher Peter Singer, political journalist Kerry O’Brien, and writer John Ralston Saul, and Miller and Shantz always have an essay in there themselves. “People, Politics and Culture” is the new byline for the 2013 edition. And Miller’s opening essay mediates the same utopian desires and environmental community messages that he espoused from the beginning of The Byron Express: The name Byron Bay represents something that we constantly try to articulate. If one was to dream up a menu of situations and conditions to compose a utopia, Australia would be the model of the nation-state and Byron would have many elements of the actual place one might wish to live for the rest of their lives. But of course there is always the danger of excesses in tropical paradises especially when they become famous destinations. Australia is being held to ransom for the ideology that we should be slaves to money and growth at the cost of a degraded and polluted physical and social environment. Byron at least was/is a refuge against this profusion of the so-called real-world perception that holds profit over environment as the way we must choose for our future. Even when writing for a much more commercial medium, Miller retains the countercultural utopian spirit that was crystallised in the Aquarius festival of 1973, and which remains relevant to many of those living in and visiting the Rainbow Region. Miller’s ethos moves beyond the alternative movements and communities to infiltrate travel writing and tourism initiatives in the area today, as evidenced in the Rusty’s Byron Guide essays. By presenting more radical discourses for a mainstream public, Miller together with Shantz have built on the participatory role that he played in launching the region’s first alternative newspaper in 1973 that became albeit briefly the equivalent of a countercultural utopian gazette. Now, he and Shantz effectively play the same role, producing a kind of countercultural form of utopian media for Byron Bay that corresponds to exactly the same criteria mentioned above. Through their free publication, they aim to educate, socialise, promote and represent the special interests of the founders and followers of the Rainbow Region, focusing on the philosophy and ideals underpinning these communities rather than the everyday events. The Byron Bay that Miller and Shantz promote is resolutely utopian, and certainly countercultural if compared to other free publications like The Book, a new shopping guide, or mainstream media elsewhere. Despite this new competition, they are planning the next edition for 2015 with essays to make people think, talk, and understand the region’s issues, so perhaps the counterculture is still holding its own against the mainstream. References Atton, Chris. “What Is ‘Alternative’ Journalism?” Journalism: Theory, Practice, Criticism 4.3 (2003): 267-72. Berger, Bennett M. The Survival of a Counterculture: Ideological Work and Everyday Life among Rural Communards. New Brunswick: Transaction Publishers, 2004. Cock, Peter H., & Paul F. Perry. “Australia's Alternative Media.” Media Information Australia 6 (1977): 4-13. 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