Tag Archives: culture

Collective Establishes HAVN For The Arts In Hamilton

I learned about the Hamilton Audio Visual Node (HAVN) a few years ago by doing the rounds during Art Crawl. Since then it’s become obvious they’re hosting some of the most innovative music and visual art in Hamilton. I sat down with Connor Bennett and Chris Ferguson at the beginning of July to learn more about the collective and discover yet another reason to move to Hamilton. Connor and Chris made it pretty clear you don’t need an invitation to join the party. Featured Title Image, The HAVN Storefront on Barton Street Credit: Ariel Bader-Shamai

Timothy: How did HAVN get started?

Connor: Um, a few of us started a band, and we were practising in the basement of a student house and when it came time to leave that house, we wanted a space where we could continue to play, and show art, and we just lucked out, our collaborator and co-founder Amy McIntosh was living above a storefront and…

Chris: …had a good relationship with the landlord and managed to get the downstairs space at a price we could afford.

Connor: That was May, 2012, we opened up just as most of us were graduating from McMaster University.

Timothy: What does it mean to be a node for the arts? Is the storefront a critical component?

Connor: It’s probably not critical, although it’s nice, it’s really nice. I wouldn’t say it’s critical because we don’t do regular gallery hours, where people can just pop in. It is nice to have the storefront space for things like art crawl. We’re off of James Street but it’s still easier to get people out as compared to a studio space.

Aubrey Wilson Quartet in February 2015
Aubrey Wilson Quartet in February 2015, Photo Credit: Amy McIntosh

Chris: Back to your question, as to what it means to be a node. Nodes are intersection points, which denotes the collaborative nature, the interdisciplinary nature of what we’re trying to do. And it was chosen for the sake of the acronym [Laughter].

Timothy: So what are your activities?

Chris: You could put it into four categories. We do art shows every art crawl, and occasionally outside of art crawl. We do music shows two to five times a month. And then there’s HAVN Records, our cassette tape little label. There’s also some miscellaneous things that are harder to categorize. We’ve done craft nights where people come out. Or if people in the collective supply an idea and make it happen. For a little while we had a darkroom in the backroom where people could develop photos.

Timothy: What are some of the highlights from the past couple of years?

Chris: It wasn’t something that I was involved with personally but I thought the darkroom was a really cool idea. It’s not something that’s widely available and it was a DIY thing where they obtained all the equipment and brought it all together. Some of it was donated by a like-minded friend from Guelph.

Connor: One of the best concerts I’ve seen recently was hosted by Cem Zafir and his partner Donna Akrey at HAVN, and they had a percussionist by the name of Tatsuya Nakatani come in and everyone in the room was transported to a different world, it was a magical moment. Those happen a lot. We’ve been really lucky with a lot of good music.

Hagface and Zena in August 2015
Hagface and Zena in August 2015, Photo Credit: Tony Hoang

 

Chris: What was the name of the show, I think Ariel and Petra did it, with the yarn, it was kind of, performance stuff; would you consider it a successor to the Quanta_1 show, where you and Kearon…

Connor: Yeah, yeah, it’s kind of like that…

Chris: An extension of that idea. Petra and Ariel did it, how would you describe it?

Connor: It was kind of a poetic yarn installation, with figures…

Chris: …and quotations.

Connor: It was great.

Chris: Really well executed. Not something you see a lot of.

Connor: Yeah, there’s lots of highlights.

Chris: We could keep going.

Connor: Once you start thinking about it.

Chris: I really liked our show for Supercrawl last year, which ended up being themed around Cootes Paradise, the Cootes to Escarpment EcoPark System, which is a conservation effort beginning with Cootes Paradise all the way into Burlington to connect some critical natural lands. The show really nailed the peaceful nature of it. Supercrawl is very busy, there’s tonnes of people and then you come to HAVN and it’s peaceful, relaxed.

Connor: Serene.

Chris: Yeah, Judy Major-Girardin, a professor at McMaster that taught a lot of the HAVN crew, was very generous with her time and she’s a big supporter of that initiative, so she put up a gorgeous installation with sound recordings from Georgian Bay. Frogs. Printed cheesecloth. It was stunning.

Corridors, in Support of the Cootes to Escarpment EcoPark System, September 2015
Corridors, in Support of the Cootes to Escarpment EcoPark System, September 2015, Photo Credit: Ariel Bader-Shamai

 

Timothy: What are your objectives? What is the need or desire that you are addressing?

Connor: I’d say from the music side of things, it’s a space for outsider music, for music that doesn’t really fit in a club or a bar. It’s a small space, really intimate, so even if ten people come out it feels like a nice crowd.

Chris: Yeah, It could just be a touring band who might have trouble booking a show at a bigger venue, because they wouldn’t attract a bigger crowd.

Connor: We know a lot of people who are booking shows in Hamilton and we’re filling a bit of a void since they’re not booking these types of shows. Like free jazz, for example, there’s no venues that are booking free jazz but we will gladly and enthusiastically book a free-jazz show.

Boyhood and Holzkopf in July 2015
Boyhood and Holzkopf in July 2015, Photo Credit: Tony Hoang

Timothy: How did you determine the scope of your practice?

Connor: Time determined that. When I started out with HAVN I was working a lot more with Kearon on the visual arts and installation projects and with time my interests and time investments moved more towards the music. It’s a natural evolution within the group, that we’ve settled into our roles based on our interests.

Timothy: Were those interests present from the beginning, or have they been nurtured over time?

Connor: One of the reasons why this has worked out for so long is that everyone has been really passionate about creativity, and art in general, and open to all art forms. That’s been the crux of why we’ve been around for so long, and putting on shows that are successful.

Timothy: What is your current relationship with institutional structures like the university and the gallery?

Connor: Well, quite a few professors from McMaster have shown art in our space. Judy and Dr. McQueen had a show recently. Other galleries? We have good relationships with other galleries, in particular, the Factory Media Centre, because we’ve done a lot of media art, not only that, we’ve shown a lot of art there, and both Amy McIntosh and Aaron Hutchinson have been on the board there. Amy’s been involved since the beginning.

Timothy: You position yourself as an alternative, though.

Chris: It’s not an adversarial relationship, like ‘that stuff is no good.’

Connor: We just don’t want to replicate things that are being done elsewhere. I’m sure we do it all the time. But the intention is to fill a void, take a risk.

Timothy: What are the benefits and limitations associated with your present configuration?

Connor: We’ve had trouble finding grants that apply to us. That’s one challenge because we operate with no inflow of money, so it’s just tough to make it work sometimes. That’s one of the limitations.

Chris: Sometimes I wonder if we put more time into the grants whether we would begin to take a different path. Like, having gallery hours wouldn’t be a bad thing, but it would be different than what we do now, and it would mean that we would be travelling down a more traditional path.

Timothy: Can you speak of the benefits and effects of HAVN, for yourselves and the broader community?

Connor: It’s such a useful space for us as artists and musicians, that’s kind of priceless.

Chris: It’s great to have a spot that you’re part of.

The Celestial Offerings Show in December 2015
The Celestial Offerings Show in December 2015, Photo Credit: Petra Matar

Connor: Ideally we’re providing a space that’s inclusive, and open, where people feel comfortable. But if I was new to Hamilton and I went to HAVN I could understand feeling intimidated because there’s all these people who know each other already.

Chris: I think it’s always hard, because you establish your audience, and your friends, and you want people to have a stake in the space, that they’re part of it, that they’re not just attending shows, but that they’re part of the community too. But you have to balance that with being open and having new people feel that they can be part of it.

Timothy: So do you have any words of advice to people who might want to start a collective?

Chris: If I had any advice it would be pretty cheesy.

Connor: I don’t know. [Laughter]

Chris: The real trick is having the right group of people.

Connor: Get lucky.

Chris: Yeah, we couldn’t have made this happen in a bigger city where the rents are more expensive.

For the Silo, Timothy deVries.

Supplemental- Video Credit: Mubarik Gyenne-Bayere

 

Video Credit: Footage by Ariel Bader-Shamai, live visuals by Andrew O’Connor https://www.instagram.com/p/BDE-Nhwk0BT/
Video Credit: Footage by Ariel Bader-Shamai, live visuals by Andrew O’Connor https://www.instagram.com/p/BCCFlOBE0FF/

Video Credit: Olga K.

3rd Concours d’Elégance Elite Concept Car Event

Peter Auto is delighted to announce that the Concours Chantilly Arts & Elegance Richard Mille, which will be held on 4th September in the Chantilly Domain for the third time, is welcoming two new partners: BMW and ACJ (Airbus Corporate Jets).

Last year's Chantilly.
Last year’s Chantilly.

BMW was present at the 2015 event as entrant in the Concours d’Elégance reserved for concept cars and won the 1st prize with the 3.0 CSL Homage R. In 2016, the year which marks the Bavarian make’s centenary, BMW has joined the Chantilly Arts & Elegance Richard Mille in the context of a wider partnership that will be announced at a later date.

ACJ provides its clients with the most modern business jets in the world based on the full range of planes made by Airbus, leader in the field of aeronautics, thanks to its unique expertise, innovative technology and bespoke customer service. A fully personalised interior can be installed in these very spacious VIP planes including, for example, a lounge, an office, a bedroom and a bathroom. By combining interiors with unique living spaces and a range of action that enables its clients to cover the whole world, ACJ facilitates their life style. With ACJ Chantilly Arts & Elegance welcomes a partner whose values of excellence, innovation and luxury dovetail perfectly with those highlighted by the event.

Last year's winner- the BMW CSL R concept car. What a beauty!
Last year’s winner- the BMW CSL          concept car. What a beauty!

BMW and ACJ join a list of prestigious partners who have renewed their confidence in Peter Auto in 2016 for the Chantilly Arts & Elegance Richard Mille: DS Automobiles, Le Point, Bonhams, Relais & Châteaux, Charles Heidsieck, Radio Classic, the IDEC Group, etc.

The first two Chantilly Arts & Elegance Richard Mille were an instant success with the public, manufacturers, collectors and partners. They were also rewarded in Great Britain by the prize for the Motor Car Event of the Year in 2014 and 2015 at the International Historic Motoring Awards. In 2015 the event received the backing of the French Ministry of Culture and Communication, which has renewed its support in 2016.

The 3rd Chantilly Arts & Elegance Richard Mille follows in the same vein as the previous ones by continuing with the Concours Automobile allied with a wide range of activities that include the French Art of Living, Fine Arts, Arts of the Table, Fashion, Music, Watch making, etc. with the partnership of prestigious houses and brands. Thus, all the ingredients are combined to make it a rendezvous that’s unique in its field in an exceptional setting only a few kilometres from Paris. The riches of the Chantilly Domain and the eponymous princely town give Chantilly Arts & Elegance Richard Mille the quintessence of art and elegance, which all the visitor can enjoy at this convivial, family event.

Click me! Future ready art music for future ready Super Cars.

First “Party Star”, Socialite Dorothy Taylor’s Beverly Hills Mansion For Sale

“The Countess of Beverly Hills Mansions” Before Paris Hilton and Kim Kardashian, socialite Dorothy Taylor may have been the first Hollywood celebrity who wasn’t in the entertainment business. She was the ultimate party host and frequent 1930’s scandal rag fodder. Her lovers included Gary Cooper, Bugsy Siegel, George Raft and an Italian count.

Dorothy Taylor Countess Of Beverly Hills And Interior 3Dorothy’s trip to celebrity fame began after she inherited $12 million in 1916, the equivalent of about $275 million today. The first thing she did with her money was divorce her British aviator husband, Claude Grahame-White, and embark on a long party in Europe’s best circles. In 1923, she married Italian Count Carlo Dentice di Frasso, many years her senior. On the outskirts of Rome, the new countess acquired and restored one of Europe’s most famous homes, Villa Madama, that had been designed in the sixteenth century by Raphael. It was later used by Benito Mussolini during World War II for National Fascist Party functions.

While residing in the villa, actor Gary Cooper was doing a movie in Rome and became quite ill. Dorothy took him in and during his recuperation began an intense affair with him under her husband’s nose. Since she and the count were at that point leading separate lives, Dorothy went on with the affair and moved to Hollywood where she purchased a mansion in Beverly Hills. Making friends of some of Hollywood’s most important stars through her Cooper connections, Dorothy called in the best decorators and landscapers and created a luxurious estate that was classic Art Deco filmdom glamour. Dorothy and Cooper eventually went their own ways but remained distant friends. She was always known as the woman who taught Gary Cooper how to dress, making him the most elegant man in Hollywood.

Dorothy Taylor Countess Of Beverly Hills And Interiors

Through her new Hollywood friends, Dorothy eventually rented her mansion to Marlene Dietrich and headed off to search for sunken treasure on the studio-owned schooner, Metha Nelson; Captain Bligh’s ship in the 1935 movie “Mutiny on the Bounty.” Also on the ship was American gangster Bugsy Siegel. Although the trip turned into a disaster when the schooner was tossed violently by 70 mile-per-hour gale winds that split the main mast and destroyed the sails, it was the start of a new affair with Bugsy.  She always rejected gossip of her association with Bugsy, instead referring to him as Benjamin to her friends.

In 1947, Dorothy sold the Beverly Hills house to MGM pianist Jose Iturbi, who lived there until he died in 1980. In 1954, Dorothy died of heart failure in a train compartment while she was traveling with George Raft from Las Vegas to Los Angeles after attending one of Dietrich’s performances.

Hand painted murals & mirrored verre églomisé panels.
Hand painted murals & mirrored verre églomisé panels.

Once again for sale, the beautifully preserved Spanish Revival estate hasn’t changed much since its heyday in the 1930s when it was featured in “House and Garden.” At approximately 8,000 square feet, it has four bedrooms and five baths on 1.12 acres. The home was built for entertaining with large public rooms and although it looks like wallpaper, the walls are covered in hand-painted murals. In the dining room, the walls are mirrored verre églomisé panels that depict towering palms. There is also a two-bedroom guest house and pool nestled within the mature landscaped grounds. The asking price is USD $26.9 million. Dimitri Velis of Hilton and Hyland in Beverly Hills is the listing agent. For the Silo, Terry Walsh.

Visit our friends at TopTenRealEstateDeals.com for more famous homes and real estate news.

 

DreamHack Austin 2016 Featured ZOWIE Official eSports Monitors

COSTA MESA, Calif. — May, 2016 — BenQ America Corp., a globally renowned LED and gaming monitor expert, recently announced that ZOWIE, the company’s eSports brand, would be the official monitor sponsor of DreamHack Austin 2016. Making its first-ever stop in North America as part of the DreamHack ZOWIE Open World Tour, the event took place May 6-8 at the Austin Convention Center. Pro gamers competed using the XL Series eSports monitors for all PC gaming tournaments. Additionally, ZOWIE extended its partnership to supply its RL eSports console monitors for the Capcom Pro Tour’s Street Fighter V and Pokkén Tournament matches.

The North American eSports market has seen phenomenal growth, attracting millions of gamers and online viewers. Committed to eSports, ZOWIE is pleased to partner with DreamHack to deliver the ultimate pro gaming experience with its XL and RL monitor lines.

“BenQ ZOWIE is created for eSports and only eSports. We believe that gaming is all about the experience, whether it’s PC or console eSports. Our relentless pursuit to provide the most professional experience drives us to craft eSports products, including the XL and RL monitors, that are based on a deep understanding of the sport and fine-tuned to meet the pros’ specific usage scenarios,” said Lars Yoder, president of BenQ America. “With our XL and RL monitors, professional players will have the high performance they expect for competition.”

ZOWIE EC2-eVo Gaming Mouse
ZOWIE EC2-eVo Gaming Mouse

DreamHack Austin 2016 attendees were able to test-drive the full range of ZOWIE products at booth 135. The complete ZOWIE lineup includes the XL and RL series monitors, SR and TF mousepads, as well as the EC, ZA, FK, and newly released FK1+ mice series. ZOWIE mice fit every particular gaming style with options for right- and left-handed players in addition to ambidextrous ones. As a sneak peek, visitors also had an opportunity to experience the soon-to-be-released ZOWIE VITAL audio system, an intuitive, driverless device that provides convenient adjustments to improve both sound and audio communication for games.

ZOWIE also conducted its own Counter-Strike: Global Offensive death match tournament at its booth three times per day each day — noon, 3:00 p.m. and 6:00 p.m. — to give players a chance to win a custom ZOWIE G-SR mousepad.

Follow @DreamHackOpen and @DreamHack on Twitter and stay tuned to @ZOWIEbyBenQ for other deals.

About ZOWIE
Introduced in late 2008, ZOWIE is a brand dedicated to the development of the best competitive gaming products to improve eSports athletes’ combat performance. In 2015, the ZOWIE brand was acquired by BenQ Corp. to aggressively lead the company’s eSports product line with products that deliver true competitive advantages. More information is available at ZOWIE.BenQ.com/.

About BenQ America Corp.
The BenQ digital lifestyle brand stands for “Bringing Enjoyment and Quality to Life,” fusing lifestyle with technology, enjoyment with productivity and aesthetic design with purpose-built engineering. It is this mantra that has made BenQ the No. 1-selling projector brand powered by TI DLP® technology in The Americas(1). BenQ America Corp. offers an extensive line of visual display and presentation solutions that incorporate the very latest technologies. The company delivers a broad range of Colorific™ projectors, ZOWIE eSports gear and monitors, interactive large-format displays, mobile audio products, cloud consumer products and lifestyle lighting for any application and market — education, home, gaming, enterprise, government, house of worship, digital signage, A/V and IT — with cutting-edge models that lead the industry in performance, reliability, environmental sustainability and aesthetics. Whether it’s interactive digital whiteboards for classrooms, full HD 3D projectors for home theaters, short-throw projectors for boardrooms, interactive flat-panel displays for digital signage or LED backlight monitors for professional gaming, BenQ continues to defy the limits of digital displays. The company’s products are available across North America through leading value-added distributors, resellers and retailers.

More information is available at www.BenQ.us.

(1) Based upon Q1’15 – Q3’15 data from the Quarterly Projector Shipment and Forecast Report from PMA Research

About BenQ Corporation
Founded on the corporate vision of “Bringing Enjoyment and Quality to Life,” BenQ Corporation is a world-leading human technology and solutions provider aiming to elevate and enrich every aspect of consumers’ lives. To realize this vision, the company focuses on the aspects that matter most to people today — lifestyle, business, healthcare and education — with the hope of providing people with the means to live better, increase efficiency, feel healthier and enhance learning. Such means include a delightful broad portfolio of people-driven products and embedded technologies spanning digital projectors, monitors, interactive large-format displays, audio products, cloud consumer products, mobile communications and lifestyle lighting. Because it matters.

Montreal Restaurant Renoir Is Part Of Culinary Golden Mile

SOFITEL MONTREAL GOLDEN MILE
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ON S’EN MET PLEIN LES PATTES
Chaque jeudi     Every Thursday
Du 14 au 28 avril, de 17h à 20h
From April 14 to 28, from 5 p.m. to 8 p.m.
crabeneige.jpg
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Bar à crabe des neiges et oursins
Snow crab and sea urchins bar
Le printemps arrive, le crabe des neiges aussi ! Joignez-vous à nous au restaurant Renoir pour découvrir nos fameux cocktails ainsi que des produits sélectionnés par notre Chef Olivier Perret. 
Spring is coming, so is the snow crab! Come join us at the Renoir restaurant to discover our famous cocktails and products selected by our Chef Olivier Perret. 
Servis avec mayonnaise maison et garnitures
Served with home-made mayonnaise and garnish
30 $
Taxes et service non inclus
Taxes and service not inclued
Restaurant Renoir
1155 Sherbrooke Ouest
Montréal, H3A 2N3, Québec
SofitelMontreal.Restaurant@sofitel.com
+1 (514) 788-3038
www.Restaurant-Renoir.com
#RenoirDesNeige
#RestaurantRenoir
#SofitelMontreal
1155 Sherbrooke Ouest – Montreal – Quebec – H3A 2N3 – Montreal – Canada
Tel: +1 514 285-9000 – Fax : +1 514 289-1155 – montreal@sofitel.com – www.sofitel.com/Montreal

May 4 is Yom HaShoah ‘ Holocaust Remembrance Day ‘

Jews Transported Via TrainThe Holocaust was a time of devastation, hate and corruption and is considered one of the most terrible events in human history.

While the horror and mass extermination of more than six million Jews is known as fact around the world, it is more than just history to Arthur Weisze— it is his most vivid and harrowing memory.

“The most appropriate tribute that we can pay to the victims of the Holocaust is to never let the world forget that it happened,” says Danna Horwood, Executive Director at Margaret’s Legacy. “Education is a vital tool to ensure it is not forgotten and to remind generations why we cannot allow history to repeat itself.”

Margaret’s Legacy is an umbrella agency that seeks to provide Holocaust education through tools such as the documentary ‘Margaret and Arthur’s Story’. This thirty-five minute film chronicles Margaret and Arthur Weiszes’ experiences during WWII, their escape from Hungary to Canada and their new life in Hamilton, Ontario—told through the eyes of Arthur and Weisz’s descendants.

In an effort to give younger audiences a better understanding of what happened during the Holocaust and its lingering effects, the documentary addresses the themes of courage, survival and love, and educates youth about the need for tolerance and kindness in the world.

Image: Europe-Israel.com
Image: Europe-Israel.com

“As we approach Yom HaShoah, Holocaust Remembrance Day, [Full name is Yom Hashoah Ve-Hagevurah CP] it is important to listen to the stories of those who lived and experienced this tragic time,” adds Danna. “It will become harder as time goes by, to learn from first-hand experiences and to truly feel the impact that the Holocaust had on six-million Jews and their families.”

Danna Horwood and her youngest daughter Jamie Rose (both descendants of Margaret and Arthur Weisz) will present to community members at the Hamilton Hebrew Academy on May 5th. Margaret and Arthur’s Story’ will also be screened. For the Silo, Lauren Dam

For more information, please visit http://www.margaretslegacy.com/site/home.

About Margaret’s Legacy:

Margaret’s Legacy is an umbrella agency that seeks to provide holocaust education through tools such as the documentary ‘Margaret and Arthur’s Story’. Using their harrowing, yet inspirational story as a backdrop, Margaret and Arthur’s Story is a documentary produced specifically for young viewers to educate them about the Holocaust, its impact and why we cannot allow history to repeat itself.

Supplemental-  How the Holocaust rocked RUSH front man Geddy Lee

 

The Metapolitics of Burning Man- ‘Fighting the Lie of The Normal Art Economy’

OCCUPY BLACK ROCK! THE METAPOLITICS OF BURNING MAN by MARK VAN PROYEN

As annual journalistic rituals go, the annual Time Magazine  “Person of the Year” has been the most enduring barometer of the spirit of the moment of its announcement. For close to a century, the banner was “Man of the Year,” but after Corazon Aquino and Queen Elizabeth smiled at the world from the front cover of that influential publication, gender neutrality became the preferred modality. In 1982 “the computer” received the coveted award, so gender went out the window altogether. But the 2011 award was given to “the protestor,” and the representative image was a masked face of an angry-eyed anonymous person.
TOP Black Rock City from above Photo: AJPN Anthony Peterson BOTTOM Black Rock City seen from Old Razorback Mountain Photo: Peretz Partensky
TOP Black Rock City from above Photo: AJPN Anthony Peterson
BOTTOM Black Rock City seen from Old Razorback Mountain
Photo: Peretz Partensky

This image followed a long year of public demonstrations that started at Cairo’s Tafir Square in late January 2011, spread to the shores of Tripoli and then moved on to Damascus. In September 2011, it arrived in New York’s Zucotti Park, a tiny sliver of public space surrounded on all sides by the world’s most prominent financial institutions. According to the surging multitudes that participated in what would come to be known as Occupy Wall Street, those institutions were evil, and needed to be called into account.It took the major media a full ten days to report the story of the occupation of that little park, although the story had already been thoroughly distributed via social media networks. The movement’s rhetoric was ingeniously crafted for those modes of distribution, and usually took the form of declarative slogans. These proclaimed that the protestors represented the 99 per cent of the American population that would no longer stand for being fleeced by irresponsible government tax policies, a lack of regulation of the financial markets and a vast system of political bribes routinely called “campaign contributions.” Conservative commentators squealed “Class War!” in comic disregard of an OWS placard reminding its readers “they call it class war when we fight back!” From the OWS point of view, that war had been ongoing since Ronald Reagan’s first term in office. When the major media did get around to picking up the story, “What do they want?” or “What are their demands?” were published everywhere, as if the protestors were unintelligible in their calls for economic justice and political fair play. OWS did not give in to the “demand for demands” and this is crucially important, because their movement never was nor is now a conventional exercise in political advocacy. It is much better to describe it as a case of spontaneous socio-cultural upheaval intended to reshape contemporary political priorities into a more ethical form. In an America where an uber- wealthy minority has garnered a proportionally larger piece of the economic pie for decades, one might have anticipated that the protesters would have adopted a more conventional form of utopian rhetoric. But theirs was decidedly pragmatist. They pointed at real problems that could and should be solved in a political practice governed by simple sanity. One sign read, “I don’t mind you being rich. I mind you buying my government out from under me.” The sign referred to the draconian political atmosphere created when the Supreme Court voted five to four to overturn the McCain/Feingold Campaign Reform Act in the now infamous Citizens United vs Federal Election Commission decision of 2010. 3

The real issue at stake in the Occupy Movement’s actions is the control that money exerts over the political process. The movement reveals the plutocratic Achilles heel of neoliberal corporatism’s claim that it is more democratic than its chief rivals in model government. I call these rivals “state capitalism” and “theocratic tribalism,” and intend them to be non-euphemistic names for what are conventionally called socialism and religion-based social organization. Because of its distinctly modern emphasis on upholding the prerogatives of individual political actors, neoliberal corporatism is easy to sell as the ideology of choice for free thinkers. But, as history shows, free thinking never stays free for long, because it too has to live in a marketplace of encouragements and discouragements governed by instrumental rationales that are epiphenomenal to the formation and protection of wealth. In other words, those who have the gold set the standards, regardless of any vision of or obligation to social fair play. This insures that instrumental reason will always protect itself from any utopian vision so that in the realms of conventional discourse, we are always given an “intelligentsia” that functions as the public face of bureaucracy and policy. However “oppositional” its posture of hidden loyalty might be, it will nonetheless always end up fleeing from the Socratic mandate that philosophical thinking helps its aspirants to actually live better. From the point of view of the Occupy movement, that mandate desperately needs to be returned to the core of any thinking that seeks to establish anything resembling a political priority.
When I refer to model forms of governmentality, I am not pointing to any operational political entity, any and all of which are circumstantial admixtures of the three models of neo-liberalism, state capitalism and tribal theocracy all achieving legibility much in the same way that tertiary colors do through the mixture of the primary hues of red, yellow and blue. For example, social democracy is really a blend of neo-liberal corporatism and state capitalism. Another example reminds us that there will always be a black market of goods and subversive ideology working in the shadows of any state capitalist system, or for that matter, within any theocratic tribe. Any system configured around any of these three model forms will also contain latent aspects of one or both of the others, arranged into dominant and subordinate formations. These are always in a perpetual state of change and reconsolidation.
Art Police Badge Black Rock City
They are also always in a state of subtle redefinition, and the factors that shape these redefinitions can sometimes come from surprising vectors. The Occupy Wall Street movement is one such example, surprising in that it refuses to operate according to the rules of normative political advocacy. Whereas the extremely conservative Tea Party rallies held during the previous year were examples of a durable tradition of anti-government American populism, the OWS movement is representative of an equally durable anti-bank populism that has a long-standing place in American history reaching back to early colonial laws against debtors’ prisons. Even though the two groups blamed different entities for the economic misery that swept the land after the 2008 financial crisis, there is an important difference: in an act of support for the second amendment, Tea Party activists often brought guns to their rallies. The only firearms seen at Occupy Wall Street (and its more contentious sister event, Occupy Oakland) were in the hands of over-zealous law enforcement officers. Occupy Wall Street events are significantly more complicated animals than their Tea Party predecessors. The movement has gone far out of its way not to be co-opted by the mass media or any collection of candidates for public office. Conversely, the Tea Party groups were all too happy to be ventriloquized by Rupert Murdoch’s Fox News affiliates. OWS had a justifiable concern that any such affiliation would inevitably lead to the seven stages of political futility: cooptation, division, dilution, pacification, neutralization, disappointment and betrayal. Because of these concerns, what one sees coming out of the Occupy movement is not an exercise of politics defined by the normal terms and conditions of any conventional political science. Rather, it operates as an example of what Alain Badiou has called a Metapolitics, that is, a strategic restaging of the ethical grounds by which political matters are imagined, understood, debated and acted upon. According to Badiou, Metapolitics is a form of “Resistance by Logic.” 4
No group, no class, no social configuration or mental objective was behind the Resistance… there was nothing in the course of this sequence which could have been described in terms of objective groups, be they ‘workers’ or ‘philosophers’…. Let us say that this resistance, proceeding by logic, is not an opinion. Rather, it is a logical rupture with dominant and circulating opinions…. For the contemporary philosophical situation is one where, on the ruins on the doctrine of classes and class consciousness, attempts are made on all sides to restore the primacy of morality. 5
It is particularly interesting to look at Badiou’s metapolitical thesis in light of his larger project to transform the most basic grounds of philosophical inquiry so as to place greater emphasis on ethics. He is well known for proposing a change in the basic categories of philosophy (metaphysics, ethics, logic and epistemology), seeking to restage them as the interdependent “truth procedures” of “art, love, politics and science.” 6
His metapolitical restaging of the truth procedure of political science can be understood to be of a piece with his postulation of an ethical “inaesthetics.” This seeks to deny the meditative subject/object relationship of contemplation with something suffused with “immanence and singularity,” leading to a “transfiguration of the given.” The Occupy Wall Street movement has followed suit on this score, fashioning itself as an immanent and singular metapolitical gesture that has embraced a unique resistance by logic that was and still is a vigorous disruption of logic. It has accomplished this by staging a theatrical moment that calls attention to the withering state of the commons, that being the place of democratic co-existence and rational debate where all citizens can freely enter and exist regardless of their inability to rent media time. And let there be no mistake: in the second decade of the twenty-first century, social media has become the new commons, needing only a shared event to galvanize its attention to the point of putting a wide-ranging discourse about political priorities into play on a vast and unregulated scale. Occupy Wall Street is one such event, one whose time has clearly come. But the model for this kind of actual/virtual exercise in reformulating a common space into a rhetorical congregation had been established two decades earlier in a very different public location that also galvanized a vast virtual community. It too was a brilliantly conceived exercise in a metapolitical “resistance by logic.” That space was and still is the vast Black Rock Desert, a dry lakebed in northwestern Nevada that is administered by the Federal Bureau of Land Management.
Karen on Eileen and George, from Crude Awakening PHOTO: ROGER MINKOW M.D.
Karen on Eileen and George, from Crude Awakening
PHOTO: ROGER MINKOW M.D.

The event was and still is Burning Man. Since the early beginnings of the Internet, many observers have postulated that there was revolutionary potential in its ability to widely and instantaneously distribute unmediated information. Some have proclaimed it to be the new commons, this in recognition of how the forces of neoliberal corporatism have turned the old commons into shopping malls of various kinds, those being places where the subtle doctrine of “pay to play” began to slowly displace all other opportunities for political participation. Burning Man was the first major instance of an organized recognition of this new communal possibility of the digital revolution, and the first to act upon it at any meaningful scale. It did so by “occupying” a piece of public land in a wilderness area, and then configuring itself as a kind of free city where monetary exchange and corporate advertising would not be allowed. Participation, collaboration and self-reliance were upheld as paramount civic virtues, and art was defined and welcomed as the product of any “radical free expression” that any person could devise, regardless of any lack of previous experience or education. When web-browsing software first became available in 1994, Burning Man was already nine years old, and had already been using email networks and virtual bulletin boards to distribute its messages to a growing audience. The emergence of such communications technologies were a natural fit for the event, and even to this day, it has never paid for any advertising beyond the printing and mailing of its own promotional materials. That was the same year that the mass media initially came out to report on the event. The following year, the population doubled, making it clear that a tax on participants was needed to cover necessary costs for staging the event on a much larger sale. Admission tickets were sold, and federal rules were re-written so that the federal Bureau of Land Management could charge the organizers of Burning Man a hefty fee to use the space. Soon after that, much more money was spent in legal fees to support litigation that should have never have come to any court’s attention, if constitutional guarantees of rights to free assembly and self-expression were deemed worthy of any respect. But they weren’t, because it was difficult to convince certain political operators that the self-expressive thing that had engendered Burning Man’s free assembly of pilgrims had anything to do with art. From their point of view, what was happening at an increasingly large scale every year in the Black Rock Desert on Labor Day weekend was much more frightening, in that its almost complete lack of artistic supervision portended something akin to a mass participation Satanic ritual.7 It also threatened to unmask the lie that art had become.

 
I
From the perspective of an art world populated by museum curators, globe trotting art collectors and the toney gallerists working the crowds at international art fairs, Burning Man represents a kind of Special Olympics for Art. To give credence to this view, all any nay-sayer would have to do is attend the event and take in its many starry-eyed unicorns and countless geodesic domes built in service to obscure comic-book deities fashioned from disfigured mannequins. If our nay-sayer were guided by courage and in search of additional evidence to support her initial observation, the next logical destination would be the large indoor exhibition space called the Café, which is usually decorated by the work of a great many amateur photographers and collage artists working on heavy doses of misinformed spiritual pretense and undeserved self-esteem. And yet, as revealing as the Café environment might be, it still pales in comparison to the best place to witness Burning Man’s culture of unfettered creativity, that being the array of unmapped theme camps located away from the Esplanade that separates the event’s semi-circular camping area from the mile-wide no-camping zone at its core. Here, one is liable to find a vast assortment of incomprehensible do-it-yourself efforts at representational makeshiftery, often times manifested in things that look more like distorted family entertainments than the objects of any conventional art history. Looking like the mutant offspring of a theme park and a slum conceived in the prop closet of George and Mike Kuchar’s Studio 8 Production Company, 8 these provisional amalgamations of such materials such as fluorescent fabric and solar powered lava lamps oftentimes seem to allegoricize the traumas and contradictions of a consumer culture blindly addicted to the debt-driven circulation of pseudo-goods and non-services; all saying something troublingly oblique about an America that is amusing itself to death in the age of Walmart.
The real value of Burning Man lies in how it reverses this model. It does so by simply allowing its participants to amuse themselves back to life through their participation in a week of collective catharsis. Fortunately for our dyspeptic pilgrim, the artistic offerings of Burning Man get bathed in a seemingly endless sea of electro-luminescent blinky lights when nightfall arrives, and her attention will then most likely be diverted by an omnipresent soundscape of pulsating techno music punctuated by the explosive flashings of propane fireballs surging into the sky. To this, add the lumbering peregrinations of large, slow moving vehicles that appear as grotesque carnival rides taken from a Dada-themed amusement park, and the picture of a vastly absurd semiotic entity comes close to completion, a relational esthetics
 gesamtkunskwerk 9 that is metaphorically and geographically located at the exact half-way point between San Francisco’s Mission District and Robert Smithson’s Spiral Jetty protruding from the north shore of the Great Salt Lake. It is equal parts game space and refugee camp, and as such, it presents itself as a gargantuan omni-participatory rejoinder to the regulation of subjectivity embedded in the cognitive illusions bred by normative market-defined existence. And for this reason, the ensemble experience of participating in Burning Man provides a much-needed transfiguration of everyday assumptions about what passes for cultural nourishment. Its chief lesson lies in the way that it demonstrates how well a do-it-yourself social economy can work if and when it reframes itself in the terms of a do-it-with-others ethos, and this represents a profound political revelation as well as its chief metapolitical legacy to be later taken up by the Occupy Wall Street movement.
Rather than calling this vast entity by its proper name of Black Rock City, lets give it a more descriptive moniker: the living model of an alternative version of contemporary culture based on advancing an ethical glocalism as the highest of priorities. And then let us note that, in theatrically performing itself as such a model, it also forms itself into a fun house mirror reflection of the absurdities of twenty-first century existence, all-the-while organizing itself as a temporary corrective for many of that century’s social and political shortcomings, especially those pointed toward systematically excluding people from social participation for no good reason. At Burning Man, the stranger is always welcome, and there are always opportunities for any given participant to do things that she never imagined herself to be doing. And in so doing, she oftentimes learns a great deal about the roles that she plays in her everyday life, in turn allowing her to imagine and act upon other roles that might lead her to a better world, at least for herself and maybe for others. Yes, Burning Man does feature a great deal of so-called “New Age” art made by people who might best be called hippies, and yes, almost all of that art is at best a guileless exercise in naïve cluelessness that is scripted not so much by any “radical free expression” as it is by the simplistic recirculation of pop cultural cliché. At worst, it is something on a par with toenail fungus, but even that can be strangely entertaining when contrasted with the vastness of the desert. Indeed, accounting for maybe two- or three-dozen notable exceptions during the past decade, we would have to concede that almost all of the art at Burning Man is as bad as its detractors say that it is. But in admitting this fact, another obvious question comes to the fore: in the great scheme of things, how important is it whether any of it is bad or good? And following from this, another obvious set of questions: who or what are the entities that are empowered to decide on any such differentiation? What values do they represent? What is masked by the authoritative proclamation of said values? And again: why does any of it matter?
Turnabout being fair play, it now becomes obligatory to imagine what an everyburner might make of the current world of contemporary art, resplendent as it is when ensconced within opulent museum architecture and festooned with price tags that are the monetary equivalent of real estate when it is not. It is undeniable that those environments are the sites of a kind of authoritative coldness designed to intimidate the viewer into a kind of passive submission to the historical authority of those things that are beheld within them. It is also undeniable that the large majority of those snobjects contain very little that conveys the kind of truthful generosity that might reward the attention of the serious viewer who is not party to the vested interests that have been influence-peddled into the visible existence of their environment’s adoration.
And so, our everyburner would no doubt ask: given the sorry state of the world, why all the fuss? Presumably, money is part of the equation, although it is difficult for the uninitiated to see exactly how it plays out through the elaborate web of private, corporate and public support that buoy any given museum’s orchestration of the importance effect. As Paul Werner succinctly put it in 2005: “The illusion that art museums could be run for profit like everything else was derived from the notion museums themselves had worked so hard to foster: that art and capital were all one and circulated in the same manner.”10
Werner goes on to quote former Metropolitan Museum director Phillipe de Montebello’s statement that “It is the judicious exercise of the museum’s authority that makes possible the state of pure reverie that an unencumbered esthetic experience can inspire,”11 and then goes on to state that “by the same logic, the absence of ‘a state of reverie’ interferes with ‘the judicious exercise of authority.’” Werner drives this point home when he writes “What Brecht wrote of the Nazis then now applies to cultural apparatus of the twenty-first century: they want to turn the People into an audience. Same policy, different means.”12
Once again, we are reminded of the truism stating that propaganda works best when those who are being manipulated believe that they are acting on their own free will. How you might ask, and the answer is obvious: in the way of the translation of a certain class of objects—let’s call them symbolic commodities—into a certain class of equities. It is easy to suppose that said equity is simply gained from the fortuitous position that any given investor might take amid the normal value/worth fluctuation of the commodity in question. But works of art are not commodities in same way as are barrels of crude oil or tons of copper, nor is it a form of reserve currency as are ounces of gold or silver. The commodity value of a given work of art is instead a function of its status as a reliquary representation of its own myth status, and that is something that continues to be manufactured long after said work of art leaves the studio of the artist who created it. Ultimately, it is the museum that confirms the mythic status of the objects that it chooses to display and collect, creating a fortuitous feedback loop that points to how the world of contemporary art has been transformed into a rather perverse epiphenomena of the financial services industry.
Here is how the normative art economy actually works. Artist a) makes a work of art b) and shows it at the gallery of dealer c), who gets it written about by critic d) and then sells it to collector e) for f) amount of money. Collector e) hangs on to artwork while the reputation of artist a) rises by way others repeating the same machinations described in the aforementioned equation, and then, at a fortuitous moment, she either sells said artwork for profit f)+x , or more normally donates said artwork to museum g), for which she receives donor recognition h), which represents the fair market value that museum g) places on artwork b).
 Because the work has been accepted into museum g)’s collection, its fair market value automatically rises, so that donor recognition h) is actually worth much more that the original purchase price f) of work of art b).  And it is donor recognition h) that collector e) sends to the tax collector as a claim for a tax deductable charitable contribution that reduces collector e)’ s overall tax burden by a significant sum of money (yes, the federal government does support the arts!). The value added portion of this equation lies in how much greater a sum of money donor recognition h) represents in relation to original cost of artwork b), and in many cases that sum is ten or 20 or 100 times the original investment. Thus the economy of art is laid bare, and it can rightfully be called a speculative marketplace in objects that might represent a significantly enhanced tax-deductability that can be exercised at some future juncture, all assuming that museum g) is interested in acquiring work of art b) at any point in time. This means that work of art b) has to fit in with what museum g)  considers to be a worthwhile esthetic experience, based in part on its own vested interest in perpetuating its ability to exercise such consideration. Werner gets that particular point right when he states that “if the Guggenheim, or any other museum, had actually covered its expenses through admissions, that would have harmed its true function: The manufacture of exclusiveness.”13
But, even though money is a major part of the equation, it by no means is all of it. It is worth noting that Werner’s remarks about the museum world point to a specific historical moment, and that moment was defined by the aftermath of the politically motivated reformulation of the National Endowment for the Arts that took place between 1989 and 1994. After that reformulation (which effectively ended government support for the arts in the United States), both the world of the museum and the larger world of contemporary art were momentarily recast as perverse sub-functions of the entertainment industry, with a reigning style called “Pop Surrealism”14
This coming to the fore as the stylistic marker for the art of that brief and bygone moment, and indeed, a perfectly useful and legitimate term that could accurately describe much of the art that one might find at any given iteration of Burning Man. In fact, it is a far more accurate term than the more common ascription pointing to it as new form of “outsider art.” This is so because at that particular moment, there was a major lack of clarity about what was inside or outside of anything other than what financially motivated turnstiles might keep in a state of separation, and in the wake of the cessation of government funding, an increase in audience size became an necessary institutional mandate. Thus, we had an art style that “took its inspiration from popular culture,” meaning that it was trying and failing to be popular culture, rather than the kind of critical comment on it that we saw with 1960s Pop Art. Part-and-parcel with the 1990s embrace of Pop Surrealism as an audience development strategy was another related trend called Postart spectacle, which transformed whole museums into elaborately staged pseudo-operas of the type made famous by Matthew Barney, Paul McCarthy and Martin Kippenberger—artists who all infused Pop Surrealist esthetics with the theme park ambience of an arena rock concert. Finally, it is worth noting that the rhetorical pendent that was hung around the neck of this esthetic shift toward popular entertainment was something called “art writing.” It did not come from the traditional world of art historically trained art critics, but instead issued from a new hybrid discourse that proclaimed itself to be something called “visual studies,” which in many cases was little more than culturally sensitive entertainment reporting—“celebrity porn journalism” to use a deservedly uncharitable term. Its most characteristic feature was a shameless willingness to be used as a tool for institutional audience development.
Nonetheless, in the art world, all of this was brief and transitional, because the focus would again shift in dramatic form after the 9/11 terrorist attacks, making Pop Surrealism suddenly look very anachronistic. Very soon thereafter, Globalism became the new buzzword for a suddenly robust emphasis on a transnational art hailing from under-recognized parts of the world. Presumably, Globalism represented an impetus toward encouraging the embrace of art as an instrument of national liberation, or failing that particular pretense, as a focal point for the kind of cultural lubrication that might politically facilitate desirable access to the labor, natural resources and markets of the developing economies so dearly prized by neoliberal corporatism. It might also represent a politically motivated usage of art as an instrument of pacification, that is, as an administrative technology for deflecting the potential for actual conflict into the containable realm of symbolic conflict. The visible shape that this newly globalized art took on was not manifested in any particular form of artistic cultural production, but instead, was revealed as a relatively new form of cultural presentation called the Mega-Exhibition. These were exemplified by such time-honored extravaganzi as Documenta and the Venice Biennial, but also by a metastasizing host of newer entries into the global mega-exhibition fray, held in such cities as Istanbul and Taipei. These are giant affairs that operate under the guidance of an elite class of internationally renown curatorial directors, and in addition to operating as certification mechanisms for the investability of the art contained by them, they also function as major engines of cultural tourism and transnational ideological propaganda that have been used to enrich the coffers of their host cities. It is also worth thinking about how other imperatives might be in play. As Okwui Enwezor has written, globalism embodies a new vision of global totality and a concept of modernity that dissolves the old paradigm of the nation-state and the ideology of the ‘center,’ each giving way to a dispersed regime of rules based on networks, circuits, flows, interconnection. Those rhizomatic movements are said to operate on the logic of horizontality, whose disciplinary, spatial, and temporal orders enable the mobility of knowledge, information, culture, capital, and exchange, and are no longer based on domination and control… globalism was part of the maturation of a certain kind of liberal ideal, which in its combination of democratic regimes of governance and free market capitalism was prematurely announced as the end of history.15
These attributes are all pointed at the imagination of “a truly unified world system whereby all systems of modern rationalism would finally be properly fused.”16
Of course, the inquiring mind will ask, to what end? And more importantly, to whose end? Of course, answers to these questions are never made clear, perhaps because they cannot be made clear. But it is worth pointing out that the impetus toward the aforementioned fusion is a very different thing than the impetus toward cultural diversity, and it is also interesting to note that among the many topics of cultural identity that have surfaced during the heyday of the global mega-exhibition, the debt obligations of post-colonial nation states is one that almost never comes up. That is because the thing instigating and benefiting from the aforementioned fusion is a global, trans-national banking system that has learned how to use both art and nation states as tools for its own purposes. That much said, we can go on to productively note Burning Man is also a mega-exhibition, but in many ways it is also an anti-mega-exhibition, especially in the ways that it prefigured, mirrored and satirized the “the rhizomatic logics of horizontality, interconnection and dispersal” that have become de rigueur themes in twenty-first century art. III
Electrical Suit sketch by Dr. Austin Richards AKA Dr. Megavolt
Electrical Suit sketch by Dr. Austin Richards AKA Dr. Megavolt

For all of Burning Man’s claims of being a place apart from the default world that it pretends to leave behind, it nonetheless does seem that the event sustains an oblique relationship to that world. During the technologically addled 1990s, Burning Man seemed to be prophetically far ahead of the cultural environment surrounding it. The chief reason for this was its far-reaching imagination of the ways that new technology could recast how social relations might be reconfigured in critical relation to what Naomi Klein would later call “Disaster Capitalism.”17

In those days, the presiding spirit of Burning Man was not any getting back to the mythical garden that so captured the imagination of the Woodstock generation so much as it was a celebration of various kinds of real and imagined love taking place amongst the post-apocalyptic ruins of rampant military adventurism and financial and ecological unsustainability. But in 2001, the specter of real apocalypse became traumatically evident when the 9/11 terrorist attacks ushered in an unfunded war wedded to the draconian trappings of the National Security State. Suddenly, the world caught up with Burning Man’s parsing of the utopian and dystopian themes of technologically-assisted social capitalism, making them seem redundantly similar to the mass media narratives about a brave new cyber-economy as well as the emergence of other forms of Postart spectacle that had come into prominence in the art world. The fact that Burning Man had become the putative darling of a kind of trivializing mass-media condescension did not help, and over time the event become more-and-more indistinguishable from the “wild and crazy” caricatures that were heaped upon it. By 2007, the event had clearly become a victim of its own clichés of flagrant silliness, mired in a repetitious cycle of nostalgia for the exuberant 1990s. Soon after that, that the world would pass it by, because in 2008, the story would take another turn, a downturn to be exact. The financial crisis that exploded in October of that year once again recalibrated the larger terrain of cultural understanding, and the urgency of that moment began to make Burning Man look every bit as indulgent and frivolous as it did the institutional art world. Soon thereafter, a new concern for the politics of social justice had come into the foreground, eclipsing the themes of alternative identity and self-sustaining community-of-desire that were such prominent features of the event during its 1990s heyday. It was time to pass the metapolitical torch of the do-it-with-others ethos so that a very different fire might be lit with the aid of a few well-placed Falstaffian pitchforks.
Returning to Badiou, we read that the ethical understanding of justice is something quite specific. It is based on the following injunction: “to examine political statements and their proscriptions, and draw from them their egalitarian kernel of universal signification.”18
If Burning Man has done nothing else, it has certainly created an Archimedean ground from which such an examination might proceed, much more successfully than anything that happened in the institutional art world during the same time period. Following from this recognition, we might then ask how the metapolitical kernel of Burning Man was passed to Zucotti Park, as if, in an age of social media, the assertion and exertion of any influence on anything can somehow be supposed to not be operable until proven otherwise. We know that one of the key instigators of the OWS movement was Micah White, the Berkeley-based co-editor of the Vancouver-based journal Adbusters , therefore a Bay Area connection is easily made, although it is not clear if White was in any way influenced by Burning Man. Because there is a very large contingent of Burning Man participants that hail from New York City, one could easily suppose that their experience of the event might have had something to do with the encampment at Zucotti, especially since Occupy Wall Street initially took place just ten days after the conclusion of the 2011 Burning Man event. But there is one important kernel of indisputable influence that clearly stands out, and that is Bill Talen, who is better known in his performance guise of Reverend Billy of the Church of Stop Shopping, a New York-based performance group that has extensively toured the United States and is the subject of two widely circulated documentary films. What makes Talen’s performances so timely for this discussion is his evocation of the tropes of a theocratic tribalism that are severed from the politics of hate and fear, all enacted in service to the kind of communitarianism and pleas for justice that earmarked the earliest Christian communities of the second century. Obviously, those same values are in short supply among so-called evangelical churches populated by legions of CINOs (Christians-in-Name-Only), reminding us of how deeply perverted the gospel message has become in twenty-first century America. The fact that the more organized churches proclaiming allegiance to the gospels have been outdone on this score by a performance artist should be cause for concern, outrage and cruel mockery. Starting in 2002, the 30-member band and gospel choir of the Church of Stop Shopping has regularly performed at Burning Man, putting on a rousing revival show that is a stunningly convincing mimic of similar services consecrated to “the old time religion” a la Elmer Gantry, only at Burning Man, it was comically staged under the shadow of an 40-foot-tall effigy that echos the real old old old time religion of Neolithic cult worship.
At the forefront of the Church’s performance is Talen’s character named Reverend Billy, who preaches in passionate, Elvis Presley-inflected voice about the evils of consumerism and the tragic human cost of debt-driven consumption, backed up by a gospel chorus and small orchestra featuring a church organ. The chorus sings songs about the virtues of an economic democracy that is described as a promised land, and the mood is always persuasively festive, even joyous.
Talen’s passionate and eloquent sermons come across like rhapsodic poems made from the many fragments of Occupy Wall Street signage, and in fact, Talen did perform (sans choir) at the 17 September 2011 beginning of OWS, just a few days after returning to New York from Burning Man. Subsequently, he performed with the choir at Zucotti Park on several other days, to audiences that grew ever larger during the month of October. These were rousing and inspirational shows that galvanized the attention of ever-growing crowds in a way that gave them a coherent group identity, meaning that, for a few brief moments, the Occupy protesters found themselves attending a church of their own politically inclusive revelation, which allowed them to see themselves as being a part of something much larger than themselves.
As always, Talen’s performances were a brilliant obversion of the pernicious role that religion has come to play in American politics, where so-called “values” candidates have been using church affiliation for decades as the preferred excuse for supporting candidates and policies that embody the hateful opposite of Christian morality. Such ethically duplicitous rhetoric also has a metapolitical name, and that name is Neoconservatism when practiced by Americans who identify with Judeo-Christian tradition, and fundamentalism when practiced by others. Either way, the word “fundamental” applies in all of its many nuances, especially the one that highlights its definitional opposition to enlightened sophistication. Essentially, Neoconservatism is a subtle theologicization of the neoliberal doctrine that defines the subject along the secular lines of economic self-interest, but it deviates from that doctrine in that it assumes that self-serving moral edicts are required when the economic interests of cultural Others begins to gain too quickly in relation to the economic self-interest of the culturally entitled.
Talen’s Reverend Billy performances are so entertaining and well executed that it is easy to miss the seriousness of the metapolitical critique embodied in them. Certainly, they provide a thoughtful and dramatic critique of the empathy deficit disorder that is bred by neoliberal corporatism, and they command and entice their audiences to insist on ethical correctives. As for the relation of his work to his experience of Burning Man, Talen himself has a clear vision of the similarity between Burning Man and the OWS movement. He writes: Burning Man and Occupy Wall Street share this: we discovered that living together is a performance with long-range power. How we live—people watch and learn. Then they live back at us and we change too. We experience the decisions of how to live as drama, and (we found out) as protest—more than traditional theater which rarely has electrical charge these days. For years we were the butt of journalist jokes, calling us refried 60s protesters—angry people carrying signs and chanting. All that was wiped away by the glorious arrival of Occupy, which was the simple notion of living together in public, in a park under the scrapers of Wall. Sharing food, stories, making media, figuring out laws, discussing health, feeding each other—LIVING TOGETHER is the devastating protest form of our day. Burning Man’s fascination—you see it around the world—flows from living together under arid desert conditions for a week. BM also chucks the conventional stage and finds a new charged theater in sashaying in outrageous costumes and nakedness in front of 50,000 people who are doing the same thing back at you. Burning Man is great theater—leaves Broadway in its playa dust. And Wall Street guys are there too—wearing fluorescent underwear while they check out a 100-foot-long chandelier. How change comes to the world from these two forms of theatrical living— stay tuned! It has begun.” To this I can only say Amen.
notes- *apologies for layout issues, text spaces have been modified to allow for full citation listings.

1.

 Alain Badiou,
 Metapolitics
(1998), translated by Jason Barker, London: Verso Books, 2005, p. 19.
2.
 Jean Tingley, “On Statics,” (text from a leaflet dropped near Dusseldorf in 1959. Recorded in
The Diary of Anaïs Nin, Volume VI 
, edited by Gunther Stuhlman, New York: Harcourt, Brace and Jovanovich, 1966 p. 284.
3.
 See Adam Schiff, “The Supreme Court Still Thinks That Coroporations Are People,” (July 18, 2012)
The Atlantic Monthly 
; http://www.theatlantic.com/politics/archive/2012/07/the-supreme-court-still-thinks-corporations-are-people/259995/court-still-thinks-corporations-are-people/259995/
4.
 Badiou, Op. Cit., p. 5.
5.
 Ibid, pp. 5–6.
6.
 For a synopsis of Badiou’s key claims, see his
Manifesto for Philosophy 
, translated by Norman Maderaz, State University of New York Press, 1999. Further references to Baudiou’s ideas are extracted from this source, unless otherwise cited.
7.
 Claims of Burning Man being a socially dangerous satanic ritual were made on the 18 May 1998 broadcast of Pat Robertson’s 700 Club program on the
Christian Broadcast Network 
.
8.
 George Kuchar (1942–2011) and Mike Kuchar (b.1942) were San Francisco-based underground filmmakers whose low budget works used and misused exaggerated gender clichés to satirize the most preposterous aspects of conventional “sinematic” exposition. George Kuchar’s most well known film was titled
Hold Me While I’m Naked 
, 1966, while Mike Kuchar is best known for his 1966 film titled
Sins of the Fleshapoids.
 In 1997, they collaborated on a book of comic reminiscences titled
Reflections from a Cinematic Cesspool 
 (San Francisco: Zanja Press). Here we might note a persistent albeit unconfirmed rumor that San Francisco’s long-running stage play titled
Beach Blanket Babylon
was originally indebted in some way to the George Kuchar esthetic. In Jennifer Kroot’s 2009 documentary film titled
It Came From Kuchar,
 it was revealed that Bill Griffith’s comic character named
Zippy the Pinhead
was modeled on George Kuchar.
9.
 
Gesamtkunskwerk 
 literally means “total work of art.” It was coined by Richard Wagner to describe his view opera production as a synthesis of all of the arts. See his
The Artwork of the Future 
 (1849, translated by William Ashton Ellis) at http://users.belgacom.net/wagnerlibrary/prose/wagartfut.htm. “Relational Esthetics” was a term originally coined by Nicholas Bourriard in 1986 as a way of calling attention to certain artistic practices that were/ are less concerned about the creation of a final product than they are about the social processes of inclusion and participation leading up to it. Bourriaud defined the approach simply as “a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.” (p. 113). See Nicholas Bourriard,
Relational Esthetics , Dijon, France:  Les Presses du Reel , 2002. For a critique of Bourriard’s thesis, see Claire Bishop, “Antagonism and Relational Aesthetics,”
October 110, Fall 2004. Bishop points out that “The curators promoting this ‘laboratory’ paradigm—including Maria Lind, Hans Ulrich Obrist, Barbara van der Linden, Hou Hanru, and Nicolas Bourriaud—have to a large extent been encouraged to adopt this curatorial modus operandi  as a direct reaction to the type of art produced in the 1990s: work that is open-ended, interactive, and resistant to closure, often appearing to be ‘work-in-progress’ rather than a completed object. Such work seems to derive from a creative misreading of poststructuralist theory: rather than the interpretations of a work of art being open to continual reassessment, the work of art itself  is argued to be in perpetual flux. There are many problems with this idea, not least of which is the difficulty of discerning a work whose identity is willfully unstable. Another problem is the ease with which the ‘laboratory’ becomes marketable as a space of leisure and entertainment. Venues such as the Baltic in Gateshead, the Kunstverein Munich, and the Palais de Tokyo (in Paris) have used metaphors like ‘laboratory,’ ‘construction site,’ and ‘art factory’ to differentiate themselves from bureaucracy-encumbered collection-based museums; their dedicated project spaces create a buzz of creativity and the aura of being at the vanguard of contemporary production. One could argue that in this context, project-based works-in-progress and artists-in-residence begin to dovetail with an‘experience economy,’ the marketing strategy that seeks to replace goods and services with scripted and staged personal experiences. Yet, what the viewer is supposed to garner from such an ‘experience’ of creativity, which is essentially institutionalized studio activity, is often unclear.” (p. 52) Bishop goes on to quote Bourriard: “It seems more pressing to invent possible relations with our neighbors in the present than to bet on happier tomorrows” (p. 54;
Relational Esthetics,p. 45), Then she adds “This DIY, microtopian ethos is what Bourriaud perceives to be the core political significance of relational aesthetics.” (p.54). It is worth noting that there has never been much difference between Bourriard’s assertion of “Relational Aesthetics” art practices and Allan Kaprow’s much older advocacy of Happenings, the first principle of which being “the line between the Happenings and daily life should be kept as fluid as possible,” so that “the reciprocation between the handmade and the ready-made will be at its maximum power.” (Allan Kaprow, “The Happenings are Dead: Long Live the Happenings!” (1966) in Jeff Kelly ed., The Blurring of Art and Life: The Collected Writings of Allan Kaprow , Berkeley: University of California Press, 1996, p. 62). The key point lies in how both Relational Esthetics and the earlier Happenings resurrect the tenants of Lukasian social realism by substituting real-time face-to-face encounters for the older tropes of representing and/or narrating ideas of “class consciousness.” More recently, similar activities have again rebranded themselves as “Social Practice Art,” as a way of emphasizing more specific political ambitions. See Nato Thompson, Living as Form: Socially Engaged Art from 1991 to 2011,
Cambridge, MA. MIT Press, 2012. But even here, the obvious equation of institutionally supported “social practice art” with inefficacious postures of mild political concern (scented with the bad faith of loyal opposition) are never directly addressed. An important early instance of a Relational Esthetics artwork was San Francisco-based artist Tom Marioni’s Drinking Beer with Friends is the Highest Form of Art 
, a weekly relational esthetics performance that has been ongoing since the mid-1970s. Clearly, San Francisco-based Burning Man is far and away the largest and most complex example. Neither was mentioned in Bourriard’s famous book.
10.
 Paul Werner,
Museums, Inc.
, Chicago: Prickly Paradigm Press, 2005, p. 9.
11.
 Ibid., p. 15.
12.
 Ibid
.,
 p. 58.
13.
 Ibid
.,
p. 41.
14.
 Pop Surrealism was the name of a 1998 exhibition organized by Richard Klein, Ingrid Schaffner and Dominique Nahas held at the Aldrich Museum in Ridgefield Connecticut. It contained the work of artists such as Peter Saul, Mike Kelly, Paul McCarthy, Lisa Yuskavage, Ed “Big Daddy” Roth, John Currin and Robt. Williams, and could be said to have reprised and expanded upon an earlier exhibition titled Helter
Skelter that was organized in 1992 by Paul Schimmel at the Museum of Contemporary Art in Los Angeles. The monthly publication Juxtapose (founded by Williams in 1994) has done much to promote many of the artists associated with the Pop Surrealism movement, but the publication’s claim that the movement originated in southern California is erroneous. The real historical sources of the Pop Surrealism movement is found in the earlier work of Bay Area-based artists such as Peter Saul and George Kuchar, as well as the underground comics movement that was based in the same area during the middle 1960s. Chicago artists of the early 1970s such as Jim Nutt, Gladys Nielson and Karl Wirsum were also important early influences. The most important aspect of the Pop Surrealism movement lied in its embrace of a populist turn in art that was responsive to circumstances related to the political controversies surrounding government funding for the arts. In 1998, the National Endowment for the Arts published the findings of a multi-year research project that concluded that the arts were widely perceived to be irrelevant and elitist. The project was called American Canvas 
. See Gary O. Larson,
American Canvas: An Arts Legacy for Our Communities 
, Washing ton D.C.: US Government Printing Office, 1998.
15.
 Okwui Enwezor, “Mega-Exhibitions and the Antinomies of a Transnational Global Form,” in Andreas Huyssen ed.,
Other Cities, Other Worlds: Urban Imaginaries in Globalizing Art 
, Duke University Press, 2008, pp. 148–149.
16.
 Ibid
.,
p. 149. In an anonymous introductory remark made in the online journal
Italian Greyhound , we read that “Enwezor uses as an illustration of the serious and thoughtfully considered nature of righteous internationalists in fomenting new representations in academic programs and curated collections by pointing to a think tank he participated in 1997 in Italy whose members came from Brazil, Turkey, Cuba, Australia, South Africa, and Thailand, amid other countries. These panelists endeavored to recode the complex dialectics between globalization and the long process of modernization towards market basked-economies on the course of which much of the developing world was set since the early days of decolonization. Enwezor reports that this group drew and reached no conclusions other than to continue meeting at subsequent retreats and biennale exhibitions.” The same anonymous interlocutor also summarizes a response formulated by art critic George Baker to Enwezor’s essay that takes exception to its optimistic assessment of the equalizing nature of enormous international art fairs, arguing that “the only valid definition of globalization is one that must include an acknowledgement of the invasiveness of multinational corporations.” Baker defiantly asks “who and where is the audience for mega-exhibitions?” echoing Enwezor’s use of the words “spectatorship” and “spectacle.” The roving biennale, Baker says, “creates a traveling fair for global elites, excluding both artists and the local populations where such exhibits take place.” Baker dismisses Enwezor’s Trauma and Nation model concepts, claiming instead that “shows such as Documenta existed for years merely as a forum for exported American art and views of art.” Baker further argues “mega-exhibits are in fact created, like the Olympics, with the intent of defining, promulgating, and delineating American culture.” Baker asks “why it is that biennials,” (which are, he says, “essentially the same showcasing of many of the same works repeated in different time zones”) “are the new model for counter-hegemonic spectatorship?” (See the summary provided at athttp://italiangreyhounds.org/errata/2007/06/13/“mega-exhibitions-and-the-antimonies-of-a-transnational-global-form”-by-okwui-enwezor-vs-“the-globalization-of-the-false-a-response-to-okwui-enwezor”-by-george-baker/)
17.
 See Naomi Klein,
The Shock Doctrine: The Rise of Disaster Capitalism,
New York: Henry Holt &Co., 2007.
18.
 Badiou, Op. Cit., p. 17.
19.
 Bill Talen, Email correspondence with the author, 7 April 2012.
SLOW BURN245BARBARA TRAUB
SLOW BURN
BARBARA TRAUB
Monolith
, 2012
246SLOW BURN247BARBARA TRAUB
Playa Play 
, 2000
Greeter Station 
, 1997
Double Expusure 
, 1995
248SLOW BURN249BARBARA TRAUB
Guiding Light 
, 1999
250SLOW BURN251BARBARA TRAUB
Ravishing Raven 
, 2000
Desert Rat 
, 1997
252SLOW BURN253BARBARA TRAUB
Dust Cloud 
, 1996
Tableau Vivant 
, 1994
Water Woman 
, 1997

 

Click me!
Click me!

Ontario Certifies Six Nation Polytech- First Aboriginal School to Award Languages Degree

Six Nations Polytechnic Aboriginal Institute to Offer Standalone Languages Degree Program

Ontario Helping to Expand Post-secondary Options for Indigenous Students

 

NEWS February 8, 2016

 

Ontario is helping to improve access to culturally appropriate postsecondary education and training opportunities for Indigenous learners by making it possible for Six Nations Polytechnic, an Aboriginal Institute, to offer a standalone degree program.

 

For the first time, the province will make it possible for an Aboriginal Institute, an organization that is run and governed by Indigenous communities, to offer a standalone degree program. As of January 2016, students at Six Nations Polytechnic Aboriginal Institute in Ohsweken can obtain a Bachelor of Arts degree in Ogwehoweh (Cayuga and Mohawk) Languages.

 

This degree will help promote and protect Ogwehoweh languages and make it possible for students to complete their degree at one institution, closer to home. It also will help students build on their linguistic skills and cultural knowledge as well as expand their opportunities to participate in the labour market. This standalone degree also supports the recommendations of the Truth and Reconciliation Commission, which called for postsecondary institutions to create degree programs in Indigenous languages.

 

Investing in the talent and skills of First Nation, Métis, and Inuit learners is one of many steps on Ontario’s journey of healing and reconciliation with Indigenous peoples. It reflects the government’s commitment to work with Indigenous partners, creating a better future for everyone in the province.

 

QUOTES

 

“Our government has made a clear commitment to learn from the past, build on our success stories, and increase our efforts to help Indigenous learners get the education and training they need. Six Nations Polytechnic is committed to creating an Indigenous environment that is grounded in culture and community, language, research, and academic quality, and this new degree program will help improve Indigenous learners’ access to, participation in, and completion of postsecondary education and training programs in Ontario.”

— Reza Moridi, Minister of Training Colleges and Universities

 

“I want to thank Six Nations Polytechnic for the leadership and guidance they have provided. Today’s announcement provides a tangible illustration of Ontario’s journey along the path of reconciliation. We will continue to rely on Indigenous partners as we chart a way forward that will produce tangible results.”

— David Zimmer, Minister of Aboriginal Affairs

 

“Language preservation and protection are at the core values of Six Nations Polytechnic. That’s why we have always had the intention of having our Ogwehoweh Language Diploma Program become a language degree program.”

— Rebecca Jamieson, President Six Nations Polytechnic

 

“Congratulations to Rebecca and her entire team. They have worked tirelessly to bring about the expansion of Six Nations Polytechnic programming. Education is the cornerstone of the future successes of our local Indigenous students.”

— Dave Levac, Member of Provincial Parliament, Brant

 

QUICK FACTS

 

  • Aboriginal Institutes provide opportunities for students to start and complete postsecondary education credentials in a culturally appropriate and safe learning environments close to home and are completely run and governed by Indigenous communities.
  • The Ogwehoweh (Cayuga and Mohawk) Languages degree builds on the strong foundation of the current language diploma program offered in partnership with McMaster University.
  • Six Nations Polytechnic is an Aboriginal postsecondary education and training institute located in Ohsweken, a community on Six Nations of the Grand River Territory near Brantford, Ontario.
  • Six Nations Polytechnic applied for and was granted consent to offer a Bachelor of Arts degree in Ogwehoweh (Cayuga and Mohawk) Languages.
  • Ontario provides $1.5 million in annual funding through the Aboriginal Student Bursary Fund to help Indigenous learners with financial needs participate in postsecondary education and training.
  • In June 2015 the province committed stable funding of Indigenous postsecondary education totaling $97 million over three years, including an additional $5 million to support the sustainability of Ontario’s nine Indigenous-owned and operated postsecondary education and training institutes located throughout the province. In 2013-14, about 16,036 self-identified Indigenous learners attended college and university in Ontario, an increase of about nine per cent or 1,472 learners since 2009-10.

 

LEARN MORE

 

Aboriginal Postsecondary Education and Training Bursary

Aboriginal Institutes

Aboriginal Postsecondary Education and Training Policy Framework

Aboriginal Education Strategy

 

Belinda Bien, Minister’s Office, 647-823-5489

Tanya Blazina, Communications Branch, 416-325-2746

Public inquiries, 416-325-2929 or 1-800-387-5514

TTY 1-800-268-7095

ontario.ca/tcu-news

Disponible en français

 

 

Offre d’un programme indépendant menant à un diplôme à l’institut autochtone Six Nations Polytechnic

L’Ontario contribue à accroître les options d’études postsecondaires des étudiants autochtones

 

NOUVELLES Le 8 février 2016

 

L’Ontario contribue à améliorer l’accès des apprenantes et apprenants autochtones à des possibilités de formation et à des études postsecondaires adaptées à leur culture en permettant à la Six Nations Polytechnic, un institut autochtone, d’offrir un programme d’études indépendant menant à un diplôme.

 

Pour la première fois, la province accepte qu’un institut autochtone offre un tel programme d’études indépendant. Les instituts autochtones sont des établissements exploités et gérés par des communautés autochtones. À compter de janvier 2016, les étudiants de la Six Nations Polytechnic peuvent recevoir un baccalauréat ès arts dans les langues ogwehoweh (cayuga et mohawk).

 

Ce baccalauréat contribuera à promouvoir l’usage des langues ogwehoweh et à les protéger. Il permettra également aux étudiants de faire leurs études dans un seul établissement, plus près de chez eux. Ils pourront approfondir leurs compétences linguistiques et leurs connaissances culturelles, en s’ouvrant à davantage de possibilités d’intégrer le marché du travail. En outre, l’offre de ce programme indépendant menant à un diplôme répond à la recommandation de la Commission de vérité et réconciliation voulant que les établissements d’enseignement postsecondaire créent des programmes d’études en langues autochtones.

 

Investir dans le talent et les compétences des apprenantes et apprenants métis, inuits et des Premières Nations constitue l’une des nombreuses étapes que l’Ontario devra franchir tout au long du processus de guérison et de réconciliation. Cela reflète aussi l’engagement du gouvernement à collaborer avec ses partenaires autochtones et à bâtir un avenir meilleur pour tous les habitants de la province.

 

CITATIONS

 

« Il est indéniable que le gouvernement s’est engagé à tirer des leçons du passé, à amplifier ses réussites et à redoubler d’efforts pour aider les apprenants autochtones à entreprendre les études et la formation dont ils ont besoin. La Six Nations Polytechnic s’engage à créer un environnement propice à l’apprentissage des autochtones dont les fondements sont la culture, la communauté, la langue, la recherche et la qualité des programmes. Ce nouveau baccalauréat améliorera l’accès à l’éducation postsecondaire des apprenants autochtones en Ontario et contribuera à l’accroissement du nombre d’étudiants autochtones détenteurs d’accréditations ou de diplômes. »

— Reza Moridi, ministre de la Formation et des Collèges et Universités

 

« Je souhaite remercier la Six Nations Polytechnic pour le leadership dont elle a fait preuve et pour l’orientation qu’elle a su donner. L’annonce d’aujourd’hui illustre parfaitement le processus de réconciliation entrepris par l’Ontario et nous continuerons de collaborer avec nos partenaires autochtones en vue d’arriver à des résultats concrets. »

— David Zimmer, ministre des Affaires autochtones

 

« La préservation des langues autochtones est au cœur des valeurs de la Six Nations Polytechnic. C’est d’ailleurs pourquoi nous voulions depuis longtemps que notre programme en langues Ogwehoweh mène à un grade universitaire. »

— Rebecca Jamieson, rectrice, Six Nations Polytechnic

 

« Toutes mes félicitations à Rebecca Jamieson et à son équipe. En effet, la diversification des programmes offerts à la Six Nations Polytechnic est un travail de longue haleine. Nous savons que l’éducation est la pierre angulaire sur laquelle repose le succès des étudiants autochtones de la région. »

— Dave Levac, député provincial de Brant

 

FAITS EN BREF

 

  • Grâce aux instituts autochtones, les étudiants peuvent commencer et terminer leur éducation postsecondaire dans un milieu d’apprentissage près de chez eux qui est à la fois sécuritaire et culturellement adapté. Les instituts autochtones sont exploités et gérés par des communautés autochtones.
  • Le programme d’études en langues ogwehoweh (cayuga et mohawk) a comme base solide le programme de langues qui est actuellement offert en partenariat avec l’Université McMaster.
  • La Six Nations Polytechnic est un institut d’enseignement postsecondaire et de formation autochtone situé à Ohsweken, dans le territoire des Six Nations de la rivière Grand, près de Brantford, en Ontario.
  • La Six Nations Polytechnic a reçu l’autorisation d’offrir un programme de baccalauréat ès arts en langues ogwehoweh (cayuga et mohawk).
  • L’Ontario octroie 1,5 million de dollars par an par l’entremise du Fonds des bourses pour les étudiantes et étudiants autochtones. Ce fonds aide les apprenants autochtones ayant des besoins financiers à accéder à la formation ou aux études postsecondaires.
  • En juin 2015, la province a pris l’engagement de fournir un financement stable de 97 millions de dollars sur trois ans pour appuyer l’éducation postsecondaire des Autochtones. Cet investissement comprend un financement supplémentaire de 5 millions de dollars consacrés à la viabilité des neuf instituts d’enseignement et de formation postsecondaires de l’Ontario exploités et gérés par des communautés autochtones. En 2013‑2014, environ 16 036 apprenants auto-identifiés comme Autochtones ont fréquenté un collège ou une université en Ontario, ce qui représente une augmentation d’environ 9 %, ou de 1 472 personnes, depuis 2009‑2010.

 

 

POUR EN SAVOIR DAVANTAGE

 

Bourses pour l’éducation postsecondaire et la formation autochtones

Établissements autochtones

Cadre d’élaboration des politiques en matière d’éducation postsecondaire et de formation autochtones

Stratégie d’éducation autochtone

Silo Book Spotlight- A Practical Guide to Emotional Intelligence

The Power Of Feelings CoverSmallFeelings are at the core of every social interaction. Anger, fear, and sadness are all very different concepts, but together they form part of an emotional compass that allows people to appropriately deal with each other in everyday situations. In short, unlocking the true power behind a person’s feelings – even challenging ones – is actually the key to clarity, love, and a happier life.  

As a way to help you understand your feelings and develop your own emotional intelligence, business coach, speaker, and bestselling author Vivian Dittmar has written the insightful book, The Power of Feelings: A Practical Guide to Emotional Intelligence.  In this groundbreaking work, Dittmar takes the reader on an introspective journey by examining the inner workings of the human mind and heart. She explains at length the difference between feelings and emotions, how each are created, why each has its own purpose, and why everything you “feel” is not always a feeling.

Divided into five easy-to-read sections, The Power of Feelings is a comprehensive guidebook with 12 self-assessment exercises for exploring your life. By working through these exercises, Dittmar ultimately teaches how understanding and harnessing the power behind your feelings are the keys to your emotional potential and intelligence.

In this fascinating and eye-opening book, Dittmar also reveals:

  •  The Five Powers of Anger, Sadness, Fear, Joy, and Shame: How each fulfills an important function in your life
  • Turning Negative Feelings Into Positive Forces: Why some feelings that are typically considered to be “bad” can be used to your benefit
  • Emotional Baggage: Some of the most effective ways to deal with past emotional issues
  • Blocks of Emotional Intelligence: Common causes of emotional imbalances
  • Living Feelings: How to incorporate conscious feelings into your daily life

VivianDittmarAuthorBanner

“When I felt it was time to write my first book, I took a look at what was on the market in the field of personal development and felt the greatest deficit was in the realm of feelings and emotions,” says Dittmar. “I had been emotionally challenged in my life and was unsatisfied with the answers I could find. This dissatisfaction caused me to start investigating the matter within me, with the people I worked with, and in seminars and groups. When it was time to write the book, we collected questions about feelings from people of all walks of life looking for the same answers. This material later became the first version of The Power of Feelings.”

Vivian Dittmar grew up on three continents in three different cultures. In doing so, she developed a unique perspective on humans and their interactions. Traveling between first, second, and third-world nations, she was struck by the contrast between people’s external wealth and their corresponding life issues. Her experiences led her to pursue a career in the fields of self-help and personal development.

Throughout her career, Dittmar has worked in Germany, Indonesia, Australia, Thailand, Costa Rica, Italy, Greece, and Sweden. In Indonesia, she ran her own practice working with clients from all backgrounds. She then returned to Europe and set up the non-profit, Be the Change Foundation for Cultural Change.  The foundation offers educational events to raise awareness about ecological and social justice issues.

Dittmar also works as a trainer and coach.  As a coach, she helps small and mid-sized business owners and executives develop their emotional intelligence. She is also the author of three successful books – the first of which has been translated from German into English, Italian, and Spanish. Dittmar currently lives between Germany and Italy and is a mother of two sons.

Books are available on VivianDittmar.com and Amazon.comE-books are also available on Kindle. Connect with Dittmar on Twitter.com and Facebook.com.

Fascinating Book- CANADIAN PACIFIC: Creating A Brand, Building A Nation

Canadian Pacific: Creating A Brand, Building A Nation, the forthcoming luxury coffee table book from School of Design of the Université du Québec à Montréal professor emeritus Marc H. Choko and Callisto Publishers. The private railway corporation that united Canada and built the world’s greatest transportation system, Canadian Pacific broke boundaries with its powerful commercial design.

Canadian Pacific Book Brief CoverA gorgeous new full-colour, 384-page hardcover from leading design book publisher Callisto, Canadian Pacific: Creating A Brand, Building A Nation [November 15 2015] reveals the intriguing story of the private railway company that united Canada politically – and became, for a time, the world’s greatest and most diverse transportation system. Written by Marc H. Choko – professor emeritus at the School of Design of the Université du Québec à Montréal and an honorary member of the Société des designers graphiques du Québec – Canadian Pacific weaves a concise and compelling narrative recapitulating the first 100 years of the company’s history, beginning in the 1880s. Brought to life by hundreds of advertisements, illustrations, designs, photos, and historical documents – many of which have never been published before – Canadian Pacific is more than a beautiful book: it is an indispensible testament to one of the greatest achievements of entrepreneurship the world has ever seen.

“The history of Canada is inseparable from the history of Canadian Pacific,” writes publisher Matthias C. Hühne in the book’s preface. “A distinct Canadian national identity was still in its infancy in the 19th century, and various stereotypes linked with Canada today are the direct result of decisions made by these artists and Canadian Pacific’s publicity executives.” From adventurous world travelers to potential immigrants considering a move to Canada, Canadian Pacific tells the important and unforgettable story of the impact this private corporation has had on a nation’s economic development and image – and will be a welcome addition to the bookcases, coffee tables, and cottages of history buffs, art lovers, and aesthetes alike.

Marc Choko
Marc Choko

Among the topics author Marc H. Choko is currently interested in and researching are: Beavers, Banff and propaganda: how commercial design helped a disparate, newly formed nation understand its place in the world and forge an identity. This is Canada: the romanticism and beauty of the images Canadian Pacific’s publicity department produced, and their immeasurable impact on the way Canada is perceived domestically and throughout the world Immigration and colonization: Canadian Pacific’s little-known history of facilitating the process of coming to Canada for hundreds of thousands of citizens. The eminent artists behind Canadian Pacific’s publicity materials: why we cannot separate the interplay of commercial interest and high culture.

About the Author: Marc H. Choko, author of Canadian Pacific: Creating a Brand, Building a Nation is professor emeritus at the School of Design of the Université du Québec à Montréal and former director of the university’s Design Centre. He is also a former research director at the Institut national de la recherche scientifique Urbanisation, Culture et Société. Choko earned a bachelor’s degree in architecture and a master’s degree in planning from the Université de Montréal and a doctorate in urban planning from the Université de Paris VIII. He is the author of numerous publications on graphic design, urbandevelopment and housing, and has curated many exhibitions that toured internationally. Choko is an honorary member of the Société des designers graphiques du Québec.

About the Publisher: Berlin-based Callisto Publishers selects topics from the fields of design, art, and architecture that are especially well suited to be represented by a printed book, rather than an electronic medium, aspiring to create printed works of perfect quality in terms of content, design, and production. Strong contemporary design requires solid knowledge of the designs and methods of the past. Which designs endured, which did not, and why? Callisto’s books analyze trends of the past that are relevant for understanding design today and in the future. Website: https://www.callisto-publishers.com/

PremiumEditionAbout Canadian Pacific: The Standard Edition of Canadian Pacific: Creating A Brand, Building A Nation will be released this month, and retail for $80CAD / $70USD. The Premium Edition – a larger and technically more sophisticated version, packaged in a hand-crafted collector’s case with a wood veneer cover symbolizing the natural beauty of Canada, and containing additional images and Pantone colours and finishes not included in the Standard Edition – will be released in April 2016 and retail for $720CAD / $600 USD.

Art Canada Institute Facebook Promo Post Image

Celebrate Jewish New Year with these Unique Kosher Dessert recipes from Paula Shoyer

Holiday Kosher Baker By Paula ShoyerThe Jewish High Holidays are a time when family and friends come together to share a meal and celebrate the new year. Paris-trained pastry chef, Paula Shoyer created the essential baking book for that provides desserts and breads perfect for any Jewish holiday or dinner. THE HOLIDAY KOSHER BAKER has desserts that follow the latest trends but also recipes that remind us of those our grandmothers used to make – but with Paula’s distinctively modern and healthier twist.
Even modern Jewish bakers gravitate towards traditional Jewish recipes when they bake for Rosh Hashanah. Maybe it is because Rosh Hashanah, one of the most significant holidays of the Jewish calendar, deserves baked goods that are central to the rich Jewish culinary tradition. These classics include rugelach, strudel, babka, honey and apple cakes, and, of course, round challahs.
“I have always tried to honor tradition, because I want my children to grow up appreciating classic Jewish food, but I have tried to vary the recipes to make them more interesting to a modern audience,” Paula explains. Paula’s take on babka are mini babka bites, she turned honey cake into crunchy biscotti and below recipes for a strudel that combines fresh and dried fruit, and challah rolls filled with the classics: apples and honey.
This New Year, sweeten up your dinner table with two of Paula’s delicious recipes:
(Recipes from The Holiday Kosher Baker by Paula Shoyer   Sterling / November 2013)
Apricot and Berry Strudel
Makes 2 rolls, serves 10
For this recipe, I took apple strudel, a delicious dessert that has been absent from holiday tables since my childhood, and instead substituted berries and dried fruit for the apples. You could also make this dessert with plums, or substitute dates or dried figs for the apricots. You will have enough filo to double the recipe and can easily double the filling to serve more people.  I always thought the filo came in large boxes and needed trimming, but recently learned that it also comes in smaller, about 8 X 12-inch, sheets.  They are easy to work with and were used to make the cute rolls pictured here.
1 cup dried apricots, chopped into 1/3- inch pieces
1 ½ cups (6 ounces) blackberries or blueberries
3 tablespoons sugar
1 tablespoon cornstarch
1 pound filo dough (8 X 12-inch sheets), thawed according to package directions
Spray oil
Preheat oven 350°F.  Line a jelly roll pan with parchment. Set aside.  Place the chopped apricots and berries into a medium bowl.  Add the sugar and cornstarch and toss lightly.  Set aside.
Have ready a clean, damp dish towel. Place a large piece of parchment paper on the counter. Take the filo out of its package and unroll. Separate one sheet and place on top of the parchment.  Spray with the oil. Place a second sheet on top and spray again. Repeat with two more sheets. Cover the remaining filo with the damp towel.
Place ½ of the filling along the long end of the filo, two inches from the edge.  Fold the right and left sides (the short sides) in one inch. Starting from the side with the filling, roll up tightly until you have a long log. Place on the baking sheet. Repeat to make another log.
Bake for 40 minutes, or until lightly browned on top.  Let cool and cut into two-inch slices.  Serve warm or at room temperature.   Store covered at room temperature for up to two days.  Reheat to serve.
Apple and Honey Challah Rolls
Makes 24 rolls  
I filled these delicious rolls with cooked apples and honey, which we eat at the beginning of the meal and wish everyone a sweet new year.  Almost every year on Rosh Hashanah I host at least 25 people in my home.  I give each guest their own small plate with a challah roll, apple slices and small bowl of honey to save some of the time that slips away when passing these essential holiday elements around the table.  Perhaps I invented these challah rolls that are filled with sautéed apples and honey to further streamline the entire beginning of the meal? 
Dough
1/2 ounce (2 envelopes) dry yeast
1/2 cup warm water
1 cup boiling water
½ cup cold water
½ cup plus 1 teaspoon canola oil, divided
1 tablespoon salt
2/3 cup plus 1 teaspoon sugar, divided
3 large eggs
1 teaspoon pure vanilla extract
2 teaspoons cinnamon
6 ¼ to 6 ½ cups bread flour
Apples
5 Gala or Fuji apples
2 tablespoons oil
1/3 cup light brown sugar
1 tablespoon honey
2 teaspoons cinnamon, divided
2 pinches nutmeg
Glaze
Reserved egg plus 2 teaspoons water
1 tablespoon honey
Place 1/3 cup warm water into a liquid measuring cup.  Add the yeast and teaspoon sugar and mix.  Let sit five minutes, or until thick.  Meanwhile, in a large mixing bowl, place 1/2 cup of the oil, salt and 2/3 cup sugar.  Whisk well.  Add the boiling water and whisk to dissolve the salt and sugar. Add the cold water and mix again.
Beat the eggs in a separate bowl and add to oil mixture, reserving one tablespoon to brush on the loaves.  Cover the reserved egg and place in the fridge.  Add the vanilla and cinnamon to the bowl and whisk in.  Do not worry that the cinnamon does not dissolve; it will mix in later.  When the yeast bubbles, add the yeast mixture to the bowl and stir.
Add 6 cups of the flour, one cup at a time, mixing the flour in completely after each addition. You can use the dough hook in a stand mixer.  Place the dough on a floured surface and knead until smooth, adding flour a little at a time from the remaining ½ cup. The dough is done when you rub your palm across the dough and it feels soft.  Shape the dough into a ball.  Lift up the dough and add the remaining one teaspoon oil to the bowl and rub all around the bowl and on top of the dough. Place the dough into the oiled bowl and cover with plastic wrap. Let rise one hour.
Meanwhile, prepare the apples.  Peel and core the apples and cut into 1/4-inch cubes.  Heat the oil in a large frying pan over medium heat.  When hot, add the brown sugar, 1 teaspoon cinnamon, nutmeg and apples.  Cook for 5 to 10 minutes, stirring often, until fork tender. You do not want them to be too soft.  Add the remaining teaspoon cinnamon and honey and stir.  Scoop into another bowl and let cool.  If any liquid remains in the bowl, strain out before filling the rolls.
Cover two cookie sheets with parchment paper or silicone baking mats.
When the dough has risen, divide into 24 pieces. Roll each piece into a ball and then roll between your hands into an 8-inch strand.  Place horizontally in front of you and use a rolling pin to roll the dough until it is about 4 inches wide.  Add one heaping tablespoon of apple filling and use your fingers to spread along the dough the long way.  Fold one long side of dough over the filling and then roll up to close.  Pinch the edges closed, tucking in any apples that try to escape.  Tie each strand into a knot, pulling an end through the top to look like a button, or shape into a spiral by coiling the strand around and tucking in the end.  Place on the prepared baking sheets and cover with plastic wrap.  Let rise 30 minutes.
Preheat oven to 375°F.  Take the reserved egg, add two teaspoons water and one tablespoon honey and stir.  Brush the tops of the rolls.
Bake for 20 to 25 minutes, or until lightly browned.  Store covered at room temperature for up to three days or freeze for up to three months.
ABOUT PAULA SHOYER
Paula Shoyer is the leading authority on Jewish baking.  This busy mother of four believes that a healthy diet can include desserts . . . if they are homemade. A former attorney, she graduated from the Ritz Escoffier pastry program in Paris, and now teaches cooking and baking classes across the country and around the world. Paula is the author of the best-selling The Kosher Baker: Over 160 Dairy-Free Recipes from Traditional to Trendy, The Holiday Kosher Baker, and her first savory cookbook, The New Passover Menu released February 2015. Her books are carried in Williams Sonoma, Crate & Barrel and Costco. She is a contributing editor to several kosher websites such as kosherscoop.com and jewishfoodexperience.com, and magazines such as Joy of Kosher, Whisk, and Hadassah as well as the Washington Post. Paula has appeared on TV 22 times: Food Network’s Sweet Genius, twice on Home & Family on Hallmark Channel, Good Day New York on FOX, San Diego Living, Daytime, and is a frequent guest on several Washington DC news shows. Paula also serves as a consultant for kosher food companies and bakeries. Paula lives in Chevy Chase, MD.
To learn more about Paula Shoyer, visit her website, www.thekosherbaker.com.

More dogma in North American Archaeology ? Euro-style tools being discounted.

Levallois lithic technology in the USA? The cores tell the story by Richard Doninger  EDS. DISCLAIMER- We reproduce here a portion of our disclaimer from Doninger’s PCN Part1 article. Doninger’s collection is controversial and may indeed be a mix of genuine artifacts and geofacts.

One of the primary reasons to look at his material is the story he tells. It is one that the founders, members, and many readers of PCN (click here) are very familiar with. It involves a mainstream science community that is so dogmatic in its beliefs that it is willing to both block evidence or not even look at evidence that might challenge those beliefs. These beliefs include that there were no genuinely ancient people in the Americas and that early people throughout the world were less intelligent than us.

The idea that Lower, Middle, or Early Upper Paleolithic-style tools (in the European archaeology sense) are present in the Americas and mainstream resistance to the possibility is something that founding members geologist Virginia Steen-McIntyre (volcanic ash specialist), archaeologist Chris Hardaker, and geologist, the late Sam L. VanLandingham (diatomist) are/were all too familiar with as are also copy editors Tom Baldwin and David Campbell. This is not to mention the layout editor’s experience of censorship regarding evidence disproving cognitive evolution.

So, in a field where censorship of challenging evidence is routine—anthropology—virtually every  proclamation the field makes needs to be questioned. One thing that we can be certain of is that once someone becomes “professional” in this field, in all likelihood, they will already be strongly opinionated regarding what is possible.

Dr. Steen-McIntyre, who started this regular feature section of PCN make it as a means to encourage avocational archaeologists and to help them raise the bar above the mere collecting of artifacts (the easy part) to adopting as many professional practices as possible especially in the recording and presenting of their finds. While Doninger’s artifacts are all surface collected, with few specific details of their discoveries recorded he does, nonetheless, present an interesting case that Levallois technology was established and varied in the southwest Indiana (c. Evansville) region.

Our publishing of Rick’s series is not an endorsement of his collection per se, but a reminder that we in the U.S. need to hold our anthropologists accountable as objective scientists, and, like in the field of astronomy, take the contributions of its amateur enthusiasts with a degree of interest.

Fig.1_R.Doninger-article_PCN-may-june2015WEB

In Part 1, I shared the story of my initial experience in trying to get input from the mainstream American archaeology community regarding Levallois artifacts including cores I have found in southwest Indiana (e.g., Fig.1) They repeatedly told me that such lithic technology wasn’t present in this country. After many years of research and communication with many professionals, I came to realize a few things that I wasn’t aware of. The first thing is that just because someone is an archaeologist by profession it does not mean that they have any expertise in lithic technology from prehistoric times.

The second is that just because an archaeologist has expertise in Native American lithic technology, does not mean they have any knowledge about lithic technology of early man such as that found abroad, e.g., “Levallois.” This leads to the third and most disappointing which is that many mainstream archaeologists will pretend to know a great deal more about the subject than they actually do and, often, rather than admit that they don’t will fall into simply towing the party line and coming back with a standard mainstream answer should you offer them any kind of evidence that challenges their long held beliefs such as about our origins or how old were the “first Americans” or who might they have been.

I guess one lesson I have learned well is that PhD B.S. is still discernible as B.S. even to a window cleaner such as myself and even though the attempt to camouflage it in scholarly data is present.

After almost two decades of inquiry and research on early lithic technology it seems to me that there is still very little known by American archaeologists about what is considered late Lower or Middle Paleolithic technology such as that found in sites abroad which are “usually” associated with Neanderthal occupations. The terms “Acheulian,” “Mousterian,” or “Levallois” all seem to produce perplexed looks when mentioned in most archaeologist circles and among those who are considered experts in the area of ancient flint tools and flint knapping.

Fig.2_R.Doninger-article_PCN-may-june2015WEB

Having said all of these things, I would like to share a bit from an amateur perspective on the subject. I mentioned in my last PCN article that I was told by lithic experts abroad that the only way to identify Levallois lithic reduction was to have some of the cores from which the proposed Levallois flake tools were struck.

Levallois cores are very distinct in appearance and are rarely mistaken for later type technologies such as those blade cores from what is considered the Upper Paleolithic.

There are at least four known core preps which I have found to be considered Levallois which yield several different flake types used in producing a fairly wide variety of tools found from what is considered the late Lower and Middle Paleolithic. All of these are unmistakably different from the American Clovis and later technologies commonly found in the USA.

Those four include the most commonly described “tortoise” (refer to Fig. 1, above), the “centripetal or discoidal” (refer to Fig.2, above),“triangular or chapeau de gendarme,” and the “blocky” core (see Fig.3 below)- all of which yield a very specific type of tool which are similar in morphology and are mostly made on flakes rather than blades (which are the hallmark of most known Native American technologies).

When archaeologists or collectors discover lithic scatters or “debitage” left from Clovis or later archaic tool production it is very recognizable to the trained eye familiar with Native American tool industries. The same applies with Levallois technology and the debitage produced from it. It is unmistakable to the trained eye but can remain virtually invisible to the eye programmed to see Clovis and later evidence, which seems to have been the case for decades now among American archaeologists. They have been recognizing only the evidence that they have been trained to see. That can now change as there is sufficient evidence in enough quantity to recognize what has been considered late Lower and Middle Paleolithic technology all over the world and is now available for analysis here in the USA.

Fig.3_R.Doninger-article_PCN-may-june2015WEB

If “the cores tell the story” it can now be told because we have the cores! For this article I have included an example of each core preparation as well as an example point tool (see Fig.4 below) made on Levallois flakes from such cores. A close look at the cores will reveal the negative triangular scars from where triangular flakes were struck revealing the method of reduction.

Levallois lithic reduction has been shown to be a more productive method of tool making in general than the later blade technologies as a wider range of tools can be produced by making the tools on flakes rather than blades. Contrary to the most commonly held belief that later blade technologies such as Clovis or Solutrean were more advanced, I personally believe the Levallois reduction resulted in a much wider range of tools from the same basic core preps which leave one to conclude that it is actually more advanced and complex than those who are assumed to have come later in history.

Over the last several years I have  witnessed many who claim expertise in flint knapping who are able to produce virtually every kind of Native American “arrowhead” or bifacial blade tool commonly seen within the known Clovis or later tool industries. Some talented knappers can produce a very fine Clovis point in a matter of minutes and other arrowheads present little challenge in reproduction; but rare are the ones who can reproduce Levallois tools. How the flakes are struck so systematically and consistently from the same core preparation remains a mystery to most. One simply cannot appreciate the complexity of the industry without having such an industry to observe and most American archaeologists have never seen much less handled tools from an actual Levallois assemblage.

Fig.4_R.Doninger-article_PCN-may-june2015We have in recent years witnessed various claims of alleged “pre-Clovis” tools having been found. There are the tools from Meadowcroft Rock Shelter, Buttermilk Creek, Paisley Cave, Cactus Hill, Topper and others, each producing artifacts believed by the finders to represent cultures living here prior to those which produced the famed Clovis industry.

Unlike Clovis technology which has been found in sufficient quantity to establish an identifiable industry, none of the alleged pre-Clovis artifacts have been proven to be of an identifiable technology which has been seen anywhere else in the world in contexts believed to be older than Clovis, leaving only speculation and theory in regard to an actual identifiable “industry” to accompany the claims of a “pre-Clovis” origin.

This is not the case in regard to the assemblages of Levallois artifacts such as the ones being found in as many as eight different states now. These collections clearly display a specific identifiable technology commonly found in sites around the world which are always believed to be from contexts thousands of years older than any yet recorded in the USA. The scholarly critics of “pre-Clovis” claims often use the reasoning that none of the sites have produced a “coherent set of lithic artifacts” to justify the claims.

Having seen much of the lithic evidence from the sites such as Buttermilk Creek and Meadowcroft, I can understand the reluctance to welcome such scant evidence to support the claims because of the absence of a recognizable technology.

Levallois technology is not ambiguous when it is found, regardless of the location. The name is the first indicator in the process of identification…”prepared core.” When such cores are found, identification of the “industry” can begin and an understanding of the actual “technology” becomes comprehensive.

Although I am only showing a few cores and point tools in this article, there are hundreds more in my possession to support my claims of an actual “industry” based on Levallois reduction.

As I have stated previously, I am making no claims regarding the age of these artifacts but rather the “technology” of the tools which is clearly paralleled in the later Acheulian and Middle Paleolithic Mousterian industries of the Old World.

Although the images shown are some of the basic cores and points of the industry, there are also dozens of other tool types present in our assemblages such as burins, blades, hand axes, bolas, scrapers, planes, awls, ochers and effigies. Tools made on the cores themselves are also common, displaying the life of the core and its utilization as different tools during the reduction process of extracting flakes for points, blades and other utensils.

Although considered and labeled as “primitive man” technology when found abroad to support the proposed “out of Africa” human migration theory, I disagree with such labels and assumptions in regard to this technology. Levallois reduction obviously requires both planning and skillful execution to produce such an industry in such an efficient use of available lithic material resources.

The presence of what has been called “old world” technology here in the USA clearly shows that what is being taught in regard to our origins as a nation is wrong and needs to be acknowledged by those who are promoting such error. The evidence is as solid as the rock from which it is hewn. For the Silo (from PCN Vol7 Issue3)- Richard Doninger, a surface-artifact collector living in Evansville southwest Indiana.

Eds. Comment- Rick makes a very interesting case for a lithic technology that appears to be little-known to archaeologists in the U.S. There is still the problem that the artifacts are not documented as to the exact context of each, which, unfortunately, limits the value of the specimens.

However, if the technology is as abundant as Rick’s collection suggests, we simply recommend that he “re-collect” duplicate examples from specific locations with an exacting record of what he has found and where.

Avocational archaeology is a special section of Pleistocene Coalition News started by PC founding member, Dr. Virginia Steen-McIntyre, to encourage amateur archaeologists.

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SipSup mobile linked Drinking Glass disrupts Conventions of Communication

SipSup3 SipSup  is a new beverage drinking glass that communicates with smart phones via app technology to become an interactive media display and storage unit. When you have finished drinking your beverage of choice, digital photos and videos you have dropped into your glass via the SipSup app are left behind. The SipSup app enables you to keep your special moments only for yourself (private) or to make them visible to every person who happens to tap their phone to your glass (public). The social interaction possibilities are endless- many of us already spend a lot of time at coffeehouses or pubs, consider bringing your glass along- it would be a great way to meet new people and discover new forms of interaction- all via your hi-tech SipSup glassware. SipSup1If that wasn’t enough, another feature called “post-it”, allows your guests to leave photos or videos on your glass and even write on a fun message. Hydration will never again be boring. SipSupLogoA Slovenian start-up that prides itself on ‘out of the box’ thinking, the SipSup team have taken an object we all use on a daily basis and given it new functions. SipSup will stand out from the other glasses in your kitchen because of it’s distinct curved shape designed to naturally fit your hand. It’s base resembles the ripple effect of a drop falling into water and was inspired by the notion of  “dropping moments into a glass”. You can get this great looking piece of smart glassware on Kickstarter. For more information email: marketingdirector@thesilo.ca

 

 

 

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Are More Native Children In Gov’t Care Today Than At Height Of Residential Schools?

Truth and Reconciliation Report – One Oneida Woman’s Perspective

Indian Residential Schools are a large part of Canadian History. I use the present tense. Every Canadian lives with the fallout of these schools which were to, “Kill the Indian in the Child.” Cultural Genocide the TRC [Truth and Reconciliation Commission CP] says in its opening paragraph.

In Canada, we think it a right and obligation for our children to come home safe. We kiss them on the first day of school, knowing that we will see them again when school is finished. How would you feel if your child never came home?

Mount Pleasant Indian Boarding School
Mount Pleasant Indian Boarding School

This happens today.

Families who live in small, fly-in communities have to have their children flown south to attend high school. Some never return.  http://www.cbc.ca/news/canada/thunder-bay/first-nations-want-inquest-into-7-student-deaths-1.1239226

There are more Native children is the care of the government today than at the height of the Residential Schools. http://news.nationalpost.com/news/canada/a-lost-tribe-child-welfare-system-accused-of-repeating-residential-school-history-sapping-aboriginal-kids-from-their-homes

Rather than empathy or acknowledgement of the past, we are told to, “Just get over it.”

Wide Distribution And Remoteness of some Reserves

Before colonization, we had no abuse, no addictions. We had no poor. Our needs were met- meaning we were one of the richest people on earth (thank you, Professor John Milloy for pointing that out to me).

I have been told that, “Since the Jews got over the Holocaust that we should just get over it.” That is insulting to both me and those who are Jewish.

Get over it.

First Nations communities suffer from the effects of the Residential Schools by having Intergenerational Trauma. We alone are not the only people who have this. Those with a family history of addictions, or abuse, or neglect feel the same effects. We had a generation or two of people who did not see parenting. They saw institutionalized abuse. How could they possibly know how to parent when they left school?

Without proper healing sources in place, and without feeling stuck in the anger, hurt, and pain which comes from Trauma, no one recovers from it.

TRCPoster

I can only speak for myself. My grandfather went to the Mush Hole in Brantford, Ontario. He was a bright student, plus when home, he spoke a couple of the Native Languages on our Six Nations Reserve. I am very proud of that.

However, while he says he (personally) was not sexually abused, he had friends who were. He was not allowed to speak his languages at school. He was denied medical care while at school, which caused permanent damage to his brain. My bright and intelligent grandfather became stuck in the poverty cycle. And, the addictions cycle. He couldn’t cope without the structure which was forced on him at school. He couldn’t function well on the reserve. What the school taught his was agriculture. He worked the tobacco fields when he could. Then, he was on welfare.

On top of his mental capabilities, the alcohol killed him inside. Because of him, my mother was raised in a non-Native foster home, not knowing she was Oneida until she was 18. Her foster home denied her access to knowledge of her family on the reserve which was 10 minutes away.

My mom’s foster family did the best they could according to the times. In the 1940’s and 1950’s, it was best to be seen bringing up a little Indian girl in a good Christian family, a family which included a foster father who also had an addictions issue.

Her upbringing effected how I was raised. She also did the best she could. She tried her best to be a good mom, a mom who loved and cared for her own biological children. But also kept them at bay emotionally.  She did not know how to really bond as a mom.

Because of the Residential School, my mom did not learn how to properly parent. As for me, I looked for parents I could follow. I am doing the best I can. I hope I my kids do better.

I hope my kids see that while I am Oneida, that does not make me less-than a full person. I hope they see that the Oneida blood that we share is a privilege, something to be honoured and respected. I hope they see it as something that bonds us to other First Nations people around Turtle Island. We are a strong people. We didn’t die. We learned how to survive. Now, we are striving to learn how to live in peace again.

For, you see, the Residential Schools did not kill the Indian in the child. Even with the horrific events which happened, we did not die. We are blossoming as a rose. We will overcome and heal.

Anger needs to be let go. Treaties need to be upheld. If the Canadian government did not want to fulfill the treaties, why were they included in the Canadian Constitution? They are a matter of law. Deal with it, Harper. We don’t expect handouts. We need the highest levels of Canadian law respected and enforced. The government needs to honour their obligations which they proposed, agreed to, and reinforced in the Constitution in 1982.

There is Truth – they tried to kill us off. Now, please, let there be Reconciliation. We all need to acknowledge the past and present to make a future which honours the laws of Our Lands. We agreed to share our land for the benefit of all, not to be killed off. Let us all honour our agreements.  For the Silo, Stephanie MacDonald

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Global Meditation for Compassion will livestream FREE & feature Deepak Chopra

Chopra Meditate

The Chopra Center has just announced that the 2015 Global Meditation for Compassion will be held on Saturday, July 11 at 9 a.m. PT In Carlsbad, CA at the Omni La Costa Resort & Spa and meditation will be accessible worldwide for free via livestream in both English and Spanish [see link below DE]. Gabrielle Bernstein, best-selling author and motivational speaker, will lead a conversation around meditation and compassion with Deepak Chopra, M.D., founder of The Chopra Center and best-selling author, and Ismael Cala, acclaimed CNN en Español anchor, best-selling author and speaker.

A 15-minute guided meditation led by Chopra will follow the discussion. In addition, the event will include videos and questions contributed from the global livestreamed audience along with inspiring musical performances and special guest appearances. The Chopra Center 2014 Global Meditation for Peace currently holds the Guinness Book of World Record title for the largest global meditation worldwide with 140,000 in attendance from nearly every country. This will be their second annual global meditation and they are expecting to unite more than 500,000 people worldwide – breaking 2014’s record by nearly four times.

The second annual global movement will also host 1,500 guests at the live event and unite individuals, families and groups across the world for the largest meditation gathering in history. In addition, the event will include videos and questions contributed from the global livestreamed audience along with inspiring musical performances and special guest appearances.

Existential Suffering

“The Chopra Center’s mission is to serve as the global source for balance, healing, transformation and the expansion of awareness. By creating an opportunity for the world to be a part of the largest guided meditation, we hope to create a more compassionate world,” said Chopra. “It is time to rediscover our common truth – that we are all one.” This year’s meditation aims to increase compassion worldwide, creating a movement towards a kinder, more connected culture. For more information on how to sign up or to learn more, please visit: http://www.chopra.com/globalmeditation.html or email: marketingdirector@thesilo.ca  Tickets to the live event are currently available for purchase for 49$USD+service fee at: https://tickets.brightstarevents.com/event/GlobalMeditation

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Outer Shores Expeditions Relive Canadian Documentary Haida Gwaii

Outer shores SchoonerPlease note, Outer Shores Expeditions is in no way affiliated with the ‘Haida Gwaii: On The Edge of the World’ nor is it portrayed in the documentary. What Hot Docs’ best Canadian Feature Documentary explores on film, Outer Shores Expeditions explores by classic wooden schooner.

Documentary film fans were given an intimate look into life on the Haida Gwaii archipelago during Toronto’s Hot Docs film festival in 2015, and now travelers can experience one of the planet’s most spectacular places for themselves with Outer Shores Expeditions, British Columbia’s leading sailing operator.

‘Haida Gwaii: On The Edge of the World’ was awarded top honours at the prestigious documentary film festival. Director Charles Wilkinson’s film about First Nations rights activists, ecologists and locals took home the Best Canadian Feature Documentary award, receiving praise from the Hot Docs festival jury for its “stunning cinematography.”

Toronto audiences were captivated by the film’s journey, as the documentary sold out all four of its screenings throughout the festival. It’s a journey travellers can also experience for themselves aboard Outer Shores Expeditions’ classic 70-foot wooden schooner Passing Cloud this summer.

Captain Markel
Captain Markel

To those of us familiar with Haida Gwaii, its people, and its history, it really doesn’t come as a surprise that a film placing this spectacular setting at its centre would enrapture audiences,” says Russell Markel, Captain and Founder, Outer Shores Expeditions. “You look around you and you have to believe that a talented filmmaker would find a perfect story of place and people in Haida Gwaii.”

Haida Artist

‘Islands of the People’

Outershores1Outer Shores guests will be able to experience first hand the history and pre-history of the ‘Islands of the People.’ The expedition is dedicated to exploring and learning about the ecosystems, wildlife and cultural heritage also featured in ‘Haida Gwaii: On The Edge of the World.’ Excursions include Gwaii Haanas National Park Reserve, Haida Heritage Site, National Marine Conservation Area, ancient Haida villages, old-growth forests, estuaries, white-sand beaches and rocky shores.
Expedition Schedule

Outer Shores offers five “”Haida Gwaii Archipelago: Islands at the Edge expedition sailings from June to August.

Outer Shores Expeditions also offers expedition sailings of Pacific Rim National Park  , Great Bear Rainforestthe Gulf Islands and Johnstone Strait  and Blackfish Sound.

For more information on Outer Shores Expeditions, visit  www.outershores.ca  or call 1-855-714-7233 Please mention The Silo when contacting. 

About Passing Cloud

Passing Cloud is a classic, 70′ schooner designed by William James Roué, famous for designing the legendary schooner Bluenose. Built in Victoria, BC, in 1974, Passing Cloud has a rich history on the BC Coast, renowned for her elegant design, exceptional accommodation, robust construction, and remarkable sailing abilities. Designed to sail around the world, Passing Cloud is an ideal vessel for small-group natural and cultural history expeditions throughout the BC Coast. Among her many features are Passing Cloud’s classic West coast wheelhouse, four private staterooms and gorgeous main salon.

About Outer Shores Expeditions

Outer Shores offers multi-day wildlife and cultural expeditions that are once-in-a-lifetime experiences. Guided by a crew of professional mariners and expert naturalists, Outer Shores Expeditions small groups of 6 to 8 guests explore, experience, and learn about the stunning wildlife and ancient cultures of coastal British Columbia while living and traveling aboard the 70′ classic wooden schooner Passing Cloud. President and Captain Russell Markel holds a PhD in marine biology and is dedicated to hosting guests from around the world while fostering stewardship and supporting conservation-based research in the areas where Outer Shores travels.

 

Understanding The Jihadist Threat And Qur’an’s Scriptured Concept of War

The Qur'anic Concept Of War The Qur’anic Concept of War (1979) is one of “4 core texts of jihadists” today. US military officials are finding summaries of it in various languages on captured and killed jihadists.  Written by Pakistani Brigadier General S. K. Malik with the first English Indian reprint edition published by Himalayan Books in 1986. This is more than just a study of the military campaigns of the Muslim Prophet Muhammad between 610-630 A.D. against the various tribes inhabiting Saudi Arabia, and those who refused to pay protection-taxes to Muhammad. This book religiously reviews and quotes from the Muslim’s Holy Book: the Qur’an/Koran, detailing how Allah outlined the principles of Islamic warfare.
Author/ Brigadier General S. K Malik
Author/ Brigadier General S. K Malik
The Qur’an — the Book of Allah,  according to Islamic teaching, the Qur’an came down as a series of scriptures from Allah through the Archangel Gabriel to the Prophet Muhammad, who then dictated it to his followers. The early revelations were peaceful, but the Qur’an’s commandments to Muslims to wage war in the name of Allah against non-Muslims are unmistakable. They are, furthermore, absolutely authoritative as they were revealed late in the Prophet’s career and so cancel out and replace earlier instructions to act peaceably when weak. In 630, Muhammad and his forces marched to Mecca and defeated its defenders The Prophet rededicated the Ka’ba temple to Allah, and witnessed the conversion to Islam of nearly the entire Meccan population. Muhammad died in 632, having conquered nearly all of Arabia for Islam. Within 100 years of Muhammad’s death, Islam had reached the Atlantic in one direction and the borders of China in the other.
Tapestry scene of the Battle of Badr
Tapestry scene of the Battle of Badr
This success was due in large part to the military and political abilities of Muhammad’s successors, the caliphs. See more at: http://www.religionfacts.com/islam/history/prophet.htm#sthash.Rf58pzSw.dpuf
Westerners who manage to pick up a translation of the Qur’an are often left bewildered as to its meaning thanks to ignorance of a critically important principle of Qur’anic interpretation known as “abrogation.” The principle of abrogation that directs that verses revealed later in Muhammad’s career to “abrogate” — i.e., cancel and replace — earlier ones whose instructions they may contradict. Thus, passages revealed later in Muhammad’s career when his Army was successful in Medina, overrule peaceful passages revealed earlier, in Mecca.
Consider Qur’an 9:5, commonly referred to as the “Verse of the Sword”, revealed toward the end of Muhammad’s life: 9:5. When the Sacred Months (the 1st, 7th, 11th, and 12th months of the Islamic calendar) have passed, then kill the Mushrikun {unbelievers} wherever you find them, and capture them and besiege them, and prepare for them each and every ambush. But if they repent and perform As-Salat {the Islamic ritual prayers}, and give Zakat {alms}, then leave their way free. Verily, Allah is Oft-Forgiving, Most Merciful.
Having been revealed later in Muhammad’s life than 50:45, 109, and 2:256, the Verse of the Sword abrogates their peaceful injunctions in accordance with 2:106. Sura 8, revealed shortly before Sura 9, reveals a similar theme:
8:39. And fight them until there is no more Fitnah (disbelief and. worshipping others besides Allah) and the religion (worship) will all be for Allah Alone. But if they cease (worshipping others besides Allah), then certainly, Allah is All-Seer of what they do.
8:67. It is not for a Prophet that he should have prisoners of war (and free them with ransom) until he had made a great slaughter (among his enemies) in the land. You desire the good of this world (i.e. the money of ransom for freeing the captives), but Allah desires (for you) the Hereafter. And Allah is All-Mighty, All-Wise.
9:29. Fight against those who believe not in Allah, nor in the Last Day, nor forbid that which has been forbidden by Allah and His Messenger and those who acknowledge not the religion of truth (i.e. Islam) among the people of the Scripture (Jews and Christians), until they pay the Jizya with willing submission, and feel themselves subdued. The Qur’an itself lays out the principle of abrogation: Without knowledge of the principle of abrogation, Westerners will continue to misread the Qur’an and misdiagnose Islam as a “religion of peace.” For the Silo George Filer. Filer’s Files #05-2015

Griots And A Strong Sense Of What Hip-Hop Means

Mos def has a strong sense of what hip-hop means

Hip-hop is not rap, although rap is part of hip-hop. Hip-hop is a culture and style that was born in the American city, growing out of the minds and experiences of predominantly African-American communities in late ’70’s New York. But by now it is everywhere. They love hip-hop in India and South America and here where I live in Norfolk, most farmers may not listen to hip-hop, but their kids certainly do.

Hip-hop is also a beat: the beat of rap music, the beat of the city beating here in the country, over the airwaves and out of car windows, vibrating through headphones in the air-conditioned cabs of tractors. It is a beat originally created by isolating the percussion breaks of jazz and funk records and remixing them live for dancing and block party revelry, and later to accompany the flowing, groove poetry of a whole new kind of poet: the rapper, Master of Ceremonies or MC—often poor and disenfranchised, but still creative, soulful and strong. Hip-hop, in its original form, could be considered a kind of technological, urban folk music, in the sense that its early practitioners did not record their sounds, and even resisted recording. Hip-hop was something that happened live.

But was rapping really a new form? There is another part of this story that has always interested me. In many of the African tribes from which slaves were stolen, the griot (pr. gree-oh) was a cultural fixture. Griots were to West-Africa what the bards or troubadours were to Europe: mobile repositories of history in the form of oral tradition; cultural history sung and chanted to the beat of drums. Except in the case of the griot, that beat was African.

Griots were also expected to improvise poetry based on the current social and political scene, and were known for their sharp wit and verbal mastery. In many parts of West-Africa, a party still isn’t a party without a griot.

It is a testimony to the resilience of slaves that, denied the right to speak their own languages, they found other ways to speak, and sing, their true voices. There were the work songs of course,   documented before they disappeared in the field recordings of Alan Lomax. But consider other examples. As blacks embraced Christianity, they injected the forms of church with Africanness. Black preaching became famous for its emotional power, spontaneity and, you guessed it, verbal mastery. Black gospel, blues and then jazz took the existing forms of American church music, folk and brass military music and made them African. Jazz and blues again incorporated the principle of the masterful voice, not spoken this time, but sung through the instrument itself, giving us the improvised instrumental solo. And rock and roll is a whole other subject…

Given this history, hip-hop is seen as an urban innovation on an old theme and a turn, perhaps full circle, back to the centrality of The Word. Rap is not merely poetry to a beat: these words flow with and around beats to create layers of syncopation, tickling the mind while they move the body. They are polyrhythms with verbal content.

At this level hip-hop is an art form, and while we may not always like the content of an artist’s message, if we care about art we can still engage with it on the basis of its merits. And we may consider its context. Some people, even creative people, will respond to poverty and systemic oppression with anger and violence. Some will focus their desire on all the trappings of money and fame formerly denied them. It’s not so hard to fathom.

But there are some, a few, who go another direction for justice. These are the warrior-poets who seek from pain the gifts of understanding, even wisdom. Even love. Hip-hop is known to borrow motifs from kung-fu movies, because there, too,  you find the archetype of the warrior-artist, skills honed to razor sharpness, delivering beat-downs with fists if necessary, but just as often with the mind itself.

Granted, you will not find much of this style of writing on the radio. But it’s out there. To dig deeper, Google “conscious hip-hop” or “underground hip-hop” and see where that takes you. Word.  For the Silo, Chris Dowber.

Buffalo, New York’s Hyatt Regency offering specialness to visitors from Canada

The City of Buffalo is experiencing an economic and cultural resurgence. Visitors from around the globe have been enjoying the majestic Niagara Falls, Sabres, Bills and Bisons sporting events, breathtaking Canalside, and terrific shopping. Located just steps from Buffalo’s Metro Rail, Hyatt Regency Buffalo is a quick trip to many popular activities, cultural attractions and dining options.

In recent years, Buffalo has undergone an economic and cultural resurgence. Hyatt Regency Buffalo is proud partner with the Buffalo Loves Canada campaign and welcomes all residents from Canada to enjoy the city’s many attractions and rich architecture. Located just steps from Buffalo’s Metro Rail, Hyatt Regency Buffalo is a quick trip to many popular activities, including visiting the Buffalo Museum of Science and HarborCenter, catching an exciting Sabres, Bills or Bisons game, walking around breathtaking Canalside, or shopping at the Fashion Outlets of Niagara, Walden Galleria, Elmwood Village, or Boulevard Mall.

Wonderfully historic- downtown Buffalo. image courtesy: s84photobucket/user/segaert-library
Wonderfully historic- downtown Buffalo. image courtesy: s84photobucket/user/segaert-library

Additionally, Hyatt Regency Buffalo recently unveiled its luxurious new Penthouse Suite, a stunning high-end space with a panoramic view of the skyline of downtown Buffalo. The space is perfect for leisure or business travelers looking for a sophisticated retreat in the heart of downtown Buffalo—and for hosting exclusive corporate board meetings and executive retreats. Guests of the suite receive complimentary transportation in the hotel’s Mercedes-Benz shuttles, as well as their own personal concierge or meeting concierge.

Hyatt Regency has recently announced two exclusive “Maple Leaf” travel packages offering special rates to visitors from Canada. Buffalo is the perfect weekend destination for Canadians to watch hockey and football games, visit the U.S. side of Niagara Falls, and also offers a vibrant cultural scene as well as plethora of dining options.

The Hyatt Regency's "Huron Suite" with a splendid downtown view.
The Hyatt Regency’s “Huron Suite” with a splendid downtown view.

The “Maple Leaf” package starts at $99 during weekends and $109 during holidays and mid-week. Canadians can also choose from the Maple Leaf PLUS package, which includes luxurious overnight accommodations, complimentary valet parking, a $25 Visa gift card, and 20% discount on rejuvenating treatments in luxurious Spa Alexis (closed on Sundays). Rates for the Maple Leaf PLUS package vary per day.  Advance payment and proof of Canadian Residency are required at time of check in. Both packages are non-refundable and subject to availability. Please call 716.856.1234 or visit www.buffalo.hyatt.com for details and to make a reservation. Please mention the Silo when contacting. Blackout dates include Nov. 15, 28 & 29; Dec. 13 & 31; Jan. 24; and Feb. 21, 27 & 28. Additional blackout dates may be added. For the Silo, Katharine Nichols.

If like us, you can't get enough of Rooftop City Viewing- you will love the pool.
If like us, you can’t get enough of Rooftop City Viewing- you will love the pool.

About Hyatt Regency Buffalo

Hyatt Regency Buffalo, 2 Fountain Plaza, is a 1922 landmark building in the heart of downtown. Adjacent to the Buffalo Convention Center and minutes from Niagara Falls, Ralph Wilson Stadium and Buffalo’s many cultural attractions, the hotel offers a contemporary retreat for work and play in the beautiful City of Lights. The property has 396 guestrooms, 17 suites and 23,479 square feet of flexible meeting space. Amenities include the StayFitTM fitness center, a 24 hour, state-of-the art business center and pet-friendly rooms. On-site dining includes E.B. Greens Steakhouse and Atrium Bar and Bistro. For reservations, call (716) 856-1234 or visit www.buffalo.hyatt.com.

What a great lobby! Downstairs to The Atrium Bar and Bistro.
What a great lobby! Downstairs to The Atrium Bar and Bistro.

About Hyatt Regency

The Hyatt Regency brand is an energizing hotel brand that connects travelers to whom and what matters most to them. More than 140 conveniently located Hyatt Regency urban and resort locations in over 30 countries around the world serve as the go-to gathering space for every occasion – from efficient business meetings to memorable family vacations. The brand offers a one-stop experience that puts everything guests need right at their fingertips. Hyatt Regency hotels and resorts offer a full range of services and amenities, including notable culinary experiences; technology-enabled ways to collaborate; the space to work, engage or relax; and expert planners who take care of every detail. For more information, visit hyattregency.com or facebook.com/HyattRegency.

Buffalo downtowners know how to embrace all the Seasons- a scene from the first Winter Festival in 2010. image: juliafinucane/blogspot.ca
Buffalo downtowners know how to embrace all the Seasons- a scene from the first Winter Festival in 2010. image: juliafinucane/blogspot.ca

Vintage Conan the Barbarian original comic page sold via Heritage Auctions

John Buscema and the Crusty Bunkers Conan the Barbarian #45 Page 16 Original Art (Marvel, 1974). Wondrous and horrible things await in this page from “The Last Ballad of Laza-Lanti,” written by Roy Thomas. The ink on Bristol art has an image area of 10″ x 15″ and it is in Very Good condition. Let’s take a look at a single panel from the page on offer.

Fans of 1970's/1980's Conan the Barbarian graphic comics appreciate the moody almost expressionist pencil and inks.
Fans of 1970’s/1980’s Conan the Barbarian graphic comics appreciate the moody almost expressionist pencil and inks.

Buscema, John:John Buscema (American 1927-2002): After the departure of Jack Kirby from Marvel in 1970, John Buscema became one of the company’s most influential artists [Often called the Michelangelo of comics CP]. Buscema is perhaps most celebrated for his Bronze Age work on the Avengers, the Silver Surfer, and Conan the Barbarian. Buscema’s work proved so in-demand in the mid-seventies, he launched the John Buscema Art School which advertised for students in the pages of many Marvel titles. Stan Lee made appearances as a guest lecturer at Buscema’s school and the two collaborated on the wildly popular book How to Draw Comics The Marvel Way, Simon and Schuster, 1978. Comic Art

Conan the Barbarian Original Comic Art

Conan the Barbarian Original Art

Conan the Barbarian Original Art Full Page

The page was sold to the highest bid which reached $US 2,210.75

Supplemental- L.A. Times’ John Buscema obituary – article from 2002

One of the best epic fantasy films of all time? Sure. We will go that far and say Yes!

Money Buys Happiness If You Give It Away

“All of us could invest part of our ‘fortune,’ great or small, on something that gives back on a deeper human level, such as non-predatory loans to individuals from impoverished communities,” Tim McCarthy
“All of us could invest part of our ‘fortune,’ great or small, on something that gives back on a deeper human level, such as non-predatory loans to individuals from impoverished communities,” Tim McCarthy

North Americans are still choosing to hold onto their money these days, a lesson learned from the 2008-09 financial crash.

It’s good to have savings – but not to the point of hoarding, says entrepreneur and philanthropist Tim McCarthy, author of “Empty Abundance”.

Citizens in the United States of America are saving at a rate of 5.30 percent, well above the record low of 0.80 percent in 2005, according to the U.S. Bureau of Economic Analysis.

The world’s billionaires are holding an average of $600 million each in cash, which is more than the gross domestic product of Dominica, according to the new Billionaire Census from Wealth-X and UBS. That’s up from $60 million the previous year, signaling that the very wealthy are keeping their money on the sidelines and waiting for an optimal investment time.

McCarthy diverts all of his business profits annually to his foundation, The Business of Good, which invests in socially conscious businesses and scalable nonprofit concepts.

The Business of Good Foundation

He reviews what everyone has to gain from mindful giving.

•  Money buys you happiness – up to $75,000 worth. Life satisfaction rises with income, but everyday happiness – another measure of well-being – changes little once a person earns $75,000 per year, according to a 2010 Princeton study. Another widely published survey by psychologist Roy Baumeister suggested that “happiness, or immediate fulfillment, is largely irrelevant to meaningfulness.” In other words, so many who finally achieve financial excess are unfulfilled by the rewards that come with that.

•  Remember the wealth disconnection to overall fulfillment. A Gallup survey conducted in 132 countries found that people in wealthy countries rate themselves higher in happiness than those in poor countries. However, 95 percent of those surveyed in poverty-stricken countries such as Ethiopia, Kyrgyzstan and Sierra Leone reported leading meaningful lives, while less than 60 percent reported the same in wealthier countries.

“While more investigation to wealth, happiness and well-being is certainly in order, I think it’s clear that while money is important, it cannot buy purpose, significance or overall satisfaction,” McCarthy says.

•  Giving money reliably equals happy money. Two behavioral scientists, Elizabeth Dunn and Michael Norton, explore in their recent book, “Happy Money: The Science of Smarter Spending,” what makes people engage in “prosocial behavior” – including charitable contributions, buying gifts and volunteering time. According to Dunn and Norton, recent research on happiness indicates that the most satisfying way of using money is to invest in others.

In 2010, multi-billionaires Warren Buffet and Bill and Melinda Gates co-founded The Giving Pledge, a long-term charitable effort that asks the wealthiest among us to commit to giving more than half of their fortunes to philanthropy. Among the first to join, Michael R. Bloomberg wrote in his pledge letter: “If you want to do something for your children and show how much you love them, the single best thing – by far – is to support organizations that will create a better world for them and their children.”  To date, 115 of our country’s 495 billionaires have pledged.

•  Anhedonia, amnesia and the fallacy of consumption. Anhedonia is the inability to enjoy activities that are typically found pleasurable.

“After making my wealth, I found that I suffered from anhedonia,” McCarthy says. “Mindful giving – intelligent and conscious giving to those who need it – turned out to be my best therapy.”

Everybody has experienced the limits of consumption, the economic law of diminishing returns. One cookie is nice and so, too, is your first $1 million. But at some point, your ability to enjoy eating cookies or earning millions diminishes more with each successive one.

“Everyone learns this lesson, yet the horror is that so many of us succeed in forgetting it,” McCarthy says. “I think that, in every moment, we need to remind ourselves that continually reaching for the next ‘cookie’ is not in our best interest.”

About Tim McCarthy

Tim McCarthy’s first business, WorkPlace Media, eventually built a permissioned database of 700,000 gatekeepers who reach more than 70 million employees with incentives for clients such as Coca-Cola, Lenscrafters and McDonalds. He sold the company in 2007 and recently bought it back. 

Niagara Falls Canada Is Romantic And Beautiful Twelve Months Of The Year

Niagara Falls Friendly to Same Sex Weddings

Every girl dreams of that perfect wedding, where she is pampered and spoiled, as she embarks on a new life. With one of the world’s most breathtaking natural wonders providing a unique backdrop, Niagara Falls is the place for a magical wedding that you and your guests won’t soon forget.

Marriott’s wedding specialists will ensure the most important day of your life is absolutely perfect, from preparation through the ceremony and reception and into the honeymoon, the bride and groom will be pampered, refreshed and relaxed on their wedding day.

Niagara Falls is a dynamic place all twelve months of the year. Imagine having your wedding or engagement photos with this winter time vista.
Niagara Falls is a dynamic place all twelve months of the year. Imagine having your wedding or engagement photos with this winter time vista.

Pampering the bride starts the morning of the wedding at Serenity Spa by the Falls where a memorable spa experience will have the bride and her maidens glowing when they step up to the altar. That altar is perched 23 storys above the crest of Niagara Falls in the Marriott’s elegant and intimate Chapel Overlooking the Falls, a majestic setting that is truly awe-inspiring. During the reception, experience elegance with every flawless detail tailored to fit your unforgettable story.

The fairy tale continues in a luxurious Honeymoon Suite overlooking the Falls, with breakfast in bed as befits the newly-wed couple. The happy couple can then spend their first day together with a romantic afternoon of indulgence with Serenity’s Couple’s Ritual Spa Treatment.

Beautiful all year round.
Beautiful all year round.

For the guests, Niagara Falls boasts a vibrant night life to keep them entertained once the happy couple steps away to begin their honeymoon. Clubs, bars and restaurants, not to mention two casinos and several theatre shows, will ensure a wedding in Niagara Falls is a wedding people will be talking about for years.

Australian Archaeologist In Ontario For Practices Exchange

Lindsey Yulline & Phil discussing DGPS
Lindsey Yulline & Phil discussing DGPS

Phil Czerwinski of Perth, Australia and director of “Heritage Western Australia” an archaeological consultant company focusing on the survey of indigenous rock art, archaeological, and ethnographic sites in Western Australia came to learn about archaeology in southern Ontario. Phil arrived in Haldimand-Norfolk County July 4-11, 2014 to participate in an archaeological exchange with the Haldimand Norfolk Archaeological Regional Project (HNARP).

Phil was kind enough to take time from his schedule in Canada to answer a few questions about his experiences with archaeology in southern Ontario.

1. What kind of archaeology do you conduct in Western Australia?

I’m an archaeologist who does a lot of work in Western Australia. We have lots of cool archaeology such as artefact scatters, rock art, and caves with human occupation dating back 40,000 years ago. My main interest is in how hunter-gatherers use the landscape, and how these settlement patterns are shown in archaeological sites. Much of my work is for mining companies.

2. What interested you to come to Ontario and participate in this regional project?

I came to do fieldwork with the Haldimand Norfolk Archaeological Research Project (HNARP) in Ontario because Lorenz and I worked together in Australia a few years ago. He told me about his project and I thought it would be a great idea to see how things are done in Canada.

3. In Haldimand-Norfolk County much of the archaeology is conducted on private lands. When does your company deal with private land owners to access properties to conduct your archaeological work?

We do not do too much work on private lands as most of the work is on Crown Land, which is why I was interested in coming to see how HNARP relates to local landowners. What instantly impressed me during my time in the field with HNARP was the level of community engagement with the landowners and other stakeholders such as collectors. The way Lorenz Bruechert, Project Director spoke respectfully with them, listened to their concerns about accessing fields in crop, handling their precious artefact collections, and making sure the communication was a two way street was refreshing to experience. To have a beer and ‘talk turkey’ (in our case pigs) with landowners was wonderful. The fact that landowners and interested people get newsletter updates on HNARP is a great information sharing initiative.

4. HNARP attempts to develop long term relationships with land owners in an effort to develop community archaeology. When do consultant companies like Heritage Western Australia have an opportunity to develop community archaeology with their clients or within communities where development is planned?

Our archaeology is mostly mining based, so our relationships are with the companies and the Aboriginal groups on whose lands the mining companies want to mine. Often these turn into long term relationships, which have their ups and downs. We aim for sustainability in heritage; where we all get something out of the process.

5. How do corporations support community archaeology in Western Australia?

The main corporate interest in archaeology where I work is based on the approvals process, where heritage is often viewed as another box to check in the mining process. Some of the bigger mining companies do it differently, and sponsor larger regional studies in order to understand the Aboriginal heritage.

An Agate Basin paleo (ice age) projectile point- types studied by HNARP
An Agate Basin paleo (ice age) projectile point- types studied by HNARP

6. How do you see a regional archaeological study different or similar to how consultant archaeology is conducted in Australia?

There are long term goals in the type of regional study that HNARP is doing, whereas consultancy based archaeology often does not share this goal and is a get in and out quick approach to archaeology.

7. What benefits did you see in a regional study compared to consultant archaeology?

There are many benefits. By developing relationships with landowners HNARP can give something to the community that consultancy often does not – that being a sense of communal ownership and responsibility for regional heritage. It sheds light on large areas and hunter-gatherer settlement patterns across time and space.

8. The HNARP works collaboratively and in co-operation with land owners to engage them in public archaeology to protect archaeological sites and artifacts from destruction and permanent loss. What opportunities are there to conduct similar practices in for archaeological sites and artifacts in Australia?

Much of our work involves working with Aboriginal people and mining companies to manage archaeological sites for a win-win solutions. Mining takes up land, and archaeological sites are so prevalent in the Pilbara region of Western Australia where I work that this involves destroying sites. Here the aim is ensuring everyone is informed on what is going on, and when sites are to be destroyed they are done so in a culturally sensitive manner and in line with legislative requirements.

9. What finals comments would you like to share with Silo readers about your experiences with HNARP?

It is not easy to tell people about the ins and outs of archaeology in a way they can understand what you are trying to achieve, but being a local Lorenz understands the landowner’s issues and communicates in a down to earth manner. He works to develop long term relationships with landowners. This is rare in archaeology, be it in Australia or anywhere in the world. We have lots of stone artefact sites in Western Australia, although we do not have the nice artefacts such as arrowheads you folks have. To see these local treasures being studied in a project that is solely funded by the researcher is again uncommon.

Archaeology is archaeology anywhere in the world, but people are people. They have interests and issues that should never be over-ridden in the pursuit of academic studies. With the goal to put archaeology back into the community, HNARP is unique and deserves local support. After all, who best to understand the Haldimand-Norfolk area than an archaeologist who was raised and grew up a local farmer. Thanks for this opportunity to share my experiences about archaeology in southern Ontario. CP

 

Small Talk Vineyards on how to Master the art of “Small Talk”

Do you know this guy?
Do you know this guy?

Anyone who’s been caught at a wedding reception or a cocktail party discussing recent changes in the weather knows that these situations can quickly go from bad to worse and that making small talk isn’t as easy as it sounds.

Conversations with strangers can sometimes be stilted and uncomfortable, often resulting in a mad dash for the door as soon as is socially acceptable, but it doesn’t have to be this way.

“Small talk is an art,” says Small Talk Vineyards Owner, Hank Hunse. “It isn’t a skill that people are born with, but it can be mastered. Small talk is the starting point of all relationships and whether you are at a friend’s wine tasting party or a networking event it is an important starting point for everyone.”

Small Talk Vineyards, located in Niagara-on-the-Lake, knows all about the art of good conversation and the winery’s staff have become experts at small talk.

“A big part of our business is engaging our visitors in conversation,” said Hunse. “With hundreds of people visiting the winery each season, we have had to learn how to keep our guests engaged in conversation while ensuring they feel comfortable.”

Smooth!
Smooth!

To help us conquer our jitters of awkward meetings and functions, Small Talk Vineyards has compiled a list of five tips to mastering the art of small talk:

Remember Names

Introductions tend pass in a blur. Names are forgotten just as quickly as the hors d’oeuvres disappear, but make an effort to slow down and stay present. Repeat the person’s name in your head a few times and if you forget a name, discreetly ask a third party for help. Remembering someone’s name goes a long way and they are more likely to approach you at future gatherings.

Establish Eye Contact

This may sound like a no-brainer, but in uncomfortable situations people tend to avoid eye contact. Casual eye contact and a warm, friendly smile demonstrate your interest and desire to communicate. Eye contact for five to ten seconds indicates curiosity and is generally considered friendly. Make an effort to keep your body language open and relaxed – you’ll send out confident and friendly signals that will draw people to you

Discuss the Setting

Finding a topic of discussion after introductions is the hardest part of small talk. By commenting on the location of the event — how long the line is for drinks or floral arrangements — you are creating common ground. For example, if we sense that someone is uncomfortable during a wine tasting, we often comment on the bright paint colours that decorate the winery to find common ground.

Have Fun!

It’s important to remember that you aren’t alone. There are others in the room feeling just as uncomfortable as you, so stop hiding behind your glass of wine and enjoy yourself! Allow yourself to be curious and ask questions, you never know who you might meet.

Make a Clean Escape

When your conversation starts to draw to a close, take the opportunity to make a natural exit. Using phrases such as “I need to grab another drink” or “I need to say hello to a friend who just arrived” allows you to make a clean exit. Make sure to end the conversation with something like: “I’ve enjoyed talking to you, and I hope to talk to you again.” This keeps the lines of communication open for another meeting.

To learn more about Small Talk Vineyards please visit www.smalltalkvineyards.com. Follow Small Talk on Twitter @SmallTalkWines and like it on Facebook at www.facebook.com/smalltalkwinery

The Apple Place Norfolk Fruit Growers Association

About Small Talk Vineyards:

Small Talk Vineyards is an innovative, boutique, small-production VQA winery located in Niagara-on-the-Lake. The estate vineyard is family run and has been in operation since 1955. Small Talk’s  labels are about attending dinner parties and engaging in conversation, the front label in the “Speech Bubble” is what we say out loud during these gatherings and the back label, the “thought bubble” expresses what we’re thinking. Small Talk Vineyards features bold, fresh VQA wines that expose the dramatic gap between what you say … and what you really think!

 

1,969 Words on Having Experienced Domestic Abuse

Dear Silo,

In light of the [RayNFL domestic abuse controversy, I decided to write to you about my experience of domestic abuse.

My abuser was my husband. We had children. We had good jobs. People told us how happy we looked.

I had to look happy. He demanded my loyalty. He demanded I speak publicly, often at church, about how much I loved him and was grateful to him for providing for me and the children.

I was raped constantly. Not by knife, though, and not by physical restraints. He ruled my brain and body, he told me. As his wife, it was demanded that I have sex with him whenever he wanted. If I said no, he would be angry for days, calling me names, telling me that no other man would ever want me, that if I didn’t give it to him, he would take the children and never give them back. He would email me at work to continue the fight during the day. He would text me at night if I wasn’t with him.

When I came home from work one day to find all of my belongings on the front yard, I believed he was telling me the truth. I felt like an ungrateful woman who treated her husband horribly. My church leaders even told me that a husband could not rape his wife. One did tell me to leave, but I wasn’t strong enough then.

He took the air out of my tires so I couldn’t go out with a girlfriend. One of our children witnessed it.

I finally turned to the police. They wrote our episodes up as domestic disputes, which didn’t break the Canada’s Criminal Code (I have the reports, highly redacted). My husband was too smart to do something for which he could be charged.

Neighbours called the Police on him. My family also called the Police, afraid he was going to kill me because of a status on Facebook they thought was directed at me. The OPP showed up, questioned him, but did nothing when he said he would never harm me.

He kept a knife under his pillow. Why? He told our children that he felt I was going to kill him in his sleep and he had to be protected from me.

I was accused of many affairs. I was unfaithful to him even if I talked with a girlfriend on the phone. I was told that when I was home, I was to only spend time with family, but he meant with him. I couldn’t watch tv with the kids because he demanded that I stay with him.

On nights when I chose to get away from him to watch tv with them, he would bombard me with texts, telling me how horrible I was, keeping my attention on him, not the kids. On really bad days, he would charge into the room where I was with the kids to yell at me there, making sure they knew I was horrible, too.

He told me for 6 years that he wanted a divorce, to keep me in fear of breaking up the family. He would tell me that no man would want to be with a mom of so many kids. He also said that if I ever found someone to be with me, he would make sure he told him about the kinky sex I liked (true or not). I was damaged goods. No one would want me.

For years, I thought that was all I was worth.

That changed. Five years ago, I started planning to get out. It took that long because I had to convince myself that, even if I stayed single, the children and I deserved to not live on egg shells anymore.\

I had to find the strength to be a single mom.

Five years of getting my ducks in a row. Five years of emotionally divorcing him in my head.

When I told him I wanted a divorce, he begged to stay. He told the oldest children without me in the room that I asked for the divorce, that I was kicking him out. My kids hated me.

Then, he played the cancer card. He told the oldest children that the doctors suspected he had cancer and I was still kicking him out of the house. The day he before he was to have his scope, I asked him why he wasn’t clearing out his colon, like I had to do when I had mine scoped. He yelled at me, told me I didn’t know what I was talking about and went to our room.

Well, by then, it was his room alone. I was kicked out.

He told the kids he was moving east on a Friday. With our youngest away for the weekend at a camp with me, she kept asking if her dad was going to be home when she got there. When was he leaving? She was in knots all weekend. He didn’t tell her that he chose to stay. We found out when we got home.

Two weeks later, he said he was moving again. He actually packed the car this time. He said his good-byes before they left for school. He got as far as Quebec when he begged to come back. I refused.

He lived in his car. He lived in a cheap hotel. He told the kids I put him on the street. He emailed or texted me constantly to 1) let him back in, promising he’d change or 2) he’d make sure the kids knew it was all my fault. He told them he’d do anything to let him back in but I refused to forgive him.

Forgiveness was never an issue for me. It was a refusal to live under fear and anger any longer.

The kids and I didn’t have stress in our house anymore after he moved out. It only took a few days of him being away before they told me the house felt so much better without him there, without him yelling anymore.

Then he did something which put the fear back into my heart, fear that he could really hurt us this time. Until then, he had never done anything physical.

When I called the OPP to report it, they put everything back on me. I was told to stop slinging mud at him. They said I was never afraid for my safety before, so this episode was nothing. I was just trying to get him in trouble.

What do you do when the people you most trust to protect you, don’t? The church and the OPP did nothing to help. He was (is) a charmer and manipulator, he had everyone believing he was innocent of everything. Remember, a wife can’t say no to her husband.

I was not perfect. No one is. I was diagnosed with PTSD not long after he moved out.

But people have to stop blaming the victims of abuse for the abuse. We don’t ask for it. He was mad at me by my daily living, why would I do something deliberately to piss him off? No one deserves name-calling, harassment, manipulated into actions they don’t want to do, to walk on egg shells to keep him happy.

I stayed because there was no way in hell I would let him have custody of the kids. I stayed because for years, I believed I was worthless and that no man would ever want me. I was damaged goods. It took me years to get that thinking out of my brain. I am well educated. I have a great career. Abuse doesn’t care.

Abuse doesn’t infect any social status of people more than any other. Abuse infects the minds of women and children who are raised to believe it is the only way to live. Abused people believe they are worthless. Abused people don’t think they deserve any better.

On average it takes women 7-10 attempts to get out of that situation to follow through. Why? It is because they keep getting pulled back in with apologies, gifts. Grand gestures are made in front of children to make the woman look bad.

Example: the first time I said I wanted a divorce (years beforehand), he proposed to me again (with ring) in front of the children, promising things would be different. He gave me diamond earrings, too (he used the mortgage money to pay for them). I didn’t have the strength then to say no. The kids were counting on me to keep the family together. The kids were counting on me to protect them from him.

I failed more times than I care to count.

He came to my workplace once, after using my GPS location at a lawyer’s office, asked me in front of co-workers for a moment to speak to me, put me in his car and screamed at me for wanting a divorce. How dare I try to ruin our family!! I was allowed to leave the car, went back to my desk and cried. My officemate patted my shoulder and asked if I wanted to talk. I couldn’t. How could I let her know I was so badly abused by him and was terrified to leave?

Oh, he also hacked into my digital journal. Private thoughts were no longer private. They became tools to be used against me.

I thought I was strong enough to get out then. He beat me back down verbally, psychologically, financially, emotionally, sexually – yet he never broke the law. He had asked me for years for a divorce. Suddenly, following through with his wishes, I was bad – bad because I was actually pursuing it.

Last week, he used the ‘cancer card’ again, this time on our youngest children. The only thing they know of cancer was watching it slowly kill his dad years ago. It killed his mom, too. He told the kids that doctors thought he had cancer and that he was getting tested. He told them alone in the car, without even his girlfriend to even hear. Manipulative, conniving control freak. He played the pity card to keep them close. He didn’t care about what the news did to them. He only wants control. He demands loyalty.

Laws in this country, and many other countries, need to change. Why does it take a punch to the head to get the police to act? What kind of proof is needed for harassment via texting? I printed out the texts he sent to me at all hours of the night and brought them to the OPP. Nothing was done. Because nothing was done, he continued until I blocked his number. Email is now the only safe way to communicate. I have kept every one for the past 10 years. Plus, screen captures of texts.

Will it make a difference? I don’t know.

Getting a divorce is complicated. And expensive. My ex said he’d pay all court costs. Really? He’ll pay court costs but not child support?

The process is worse when you are divorcing a control freak who refuses to cooperate. He dropped out of mediation. He dropped out of counselling. He only wants divorce on his terms. That is not going to happen. I am levelling off this power struggle.

I don’t know what the future holds with the divorce. What I do know is that when the children are with me, they live in a home without fear, a home where they are trusted, a home where they can tell me whatever they want, even if it hurts my feelings. They can’t do the same with him.

They are the other victims of spousal abuse.

To be continued….

Information has been changed or deleted for fear of retribution.

TRDWTR “Treadwater” launches as new mature themed Superhero franchise

TRDWTR  TRDWTR, pronounced ‘treadwater’, is a mature take on the superhero genre, set in a plausible geopolitical future. The franchise will kick off with a graphic novel on September 30th, 2014. A live-action series based on the novel is set to follow suit in 2015. A preview of the graphic novel will be staged in America’s largest comic book store today, September 10th.  To commemorate the launch, a teaser trailer for the TRDWTR franchise has been  made available to the general public. And here it is!

5 tips to Make sure first year Students transition from high school to Biz school

How to succeed in business school: Five tips for first year students

 

 

ST. CATHARINES, Ont. – The start of university can be intimidating enough for most first-year students. But business students face an extra set of challenges as they balance their coursework with gaining work and extra-curricular experience to help take them from campus to career. Freaked Out First Year University Student

From co-op work placements to mock interviews and networking breakfasts, the business school experience is designed to help students gain professional polish, acquire leadership skills and learn the foundations of management, accounting and entrepreneurship.

So how can new students and their parents make sure they are ready to take advantage of the available opportunities? These five tips will make sure first year students are ready for the transition from high school to business school:

  1. Be prepared (Textbook not required)

There’s is no need to read your textbooks cover-to-cover over the summer. Instead, spend some time getting comfortable with all that is available at your future school- both offline and online.

Spend a day on campus before the first day of class and figure out where your classes will be held. Don’t forget to attend your orientation. Most schools will offer a faculty specific orientation in the days leading up to the first day of classes.

And do your research online. Follow your business school on Facebook, Twitter and Instagram. Figure out the online registration system, how to access your student email and the online learning platforms. These online tools will be used throughout the academic year so access them early so you don’t miss any emails or messages.

  1. Going to University is your full-time job

While University doesn’t pay you a regular paycheck, it does pay you in grades. At the end of your degree, you will be able to use your straight A’s as currency to get a great job.

Everything you learned at your summer job about responsibility, punctuality and honesty can be used in business school.  So, impress your professor just like you would your boss. Show up to class. Stay on top of your assignments and hand them in on time.

  1. Get involved (and stay involved)

Want to stand out at a job interview? Join a business student club. These clubs focus on everything from accounting to marketing and every subject area in between.  Joining a club is a great way to make new friends and apply coursework to real life situations.

One key tip: it’s not enough to sign up and attend the occasional meetings. If you really want to have an experience that stands out on your resume, get involved on the executive team, attend a case competition or organize an event. You’ll have an experience you’ll never forget and something unique to mention during a job interview.

  1. Make friends (with everyone)

We guarantee that you’ll make friends in your classes and in residence. But don’t forget to build meaningful relationships with faculty, staff and upper year students. They can become important mentors who can help point you to on-campus resources and introduce you to new connections. Plus, if you know your career centre staff they’ll be sure to recommend you to employers who are hiring students.

Do you want to guarantee straight A’s on group projects? One successful strategy we’ve seen Goodman students use is to have a group of friends from different concentrations. When it comes time to write that paper, you’ll have every subject area covered, from HR to entrepreneurship.

  1. Ask for help

It’s a new school, a new environment and new friends. This is a big transition and it’s normal for there to be ups and downs during your first year. Fortunately, your university has resources available to help you succeed. From study skill workshops to mental health resources, there is a lot of support available to you on-campus.

If you need any type of help, talk to your academic advisor or a professor as early as possible. Don’t put your academic career at risk; there are people available to help you get through any type of problem you encounter. For the Silo, Don Cyr, dean of the Goodman School of Business at Brock University.

Don Cyr, dean of the Goodman School of Business at Brock University
Don Cyr, dean of the Goodman School of Business at Brock University

 

About the Goodman School of Business:

Based at Brock University in St. Catharines, Ont., the Goodman School of Business is one of only eight schools in Ontario that is accredited by the Association to Advance Collegiate Schools of Business International. The Goodman School of Business is home to more than 2,600 undergraduate students, 450 graduate students and has 7,000 alumni worldwide.

 

Country Music Of Johnny Mac Slater

Be sure to 'like' Johnny's Facebook "Jam Page" (link at the end of this article)- you can find live videos, recordings and other trivia and info about Johnny Mac Slater.
Be sure to ‘like’ Johnny’s Facebook “Jam Page” (link at the end of this article)- you can find live videos, recordings and other trivia and info about Johnny Mac Slater.

For those in the country music scene, talented Johnny Mac has a song for you. Known first to family and friends as John McIntosh, he added ‘Slater’ as a surname, hence his stage name is Johnny Mac Slater. It is a handle that fits his style well. He writes stories from the heart and magically transforms the words into beautiful songs which he sings and plays. Johnny Mac Slater spent some time in Nashville, writing songs and developing his craft. Now living in Hamilton, and happy to be close to his roots, he is working on a new project. Johnny says “I’ve recently been recording at Westmoreland Recording Studios in Hamilton for awhile now, and a CD release will happen soon.”   You can bet he will stick with his life’s stories and experiences. Typically his lyrics are centered around girls and love, both lost or found, and then performed with passion and  filled with emotion. He also appreciates a good party and quirky story.  All of which are found in his songs. It is easy to see, he feels that “nothing makes a better song than a good story.” Some of his early influences you’ll find varied, including Glen Campbell, Keith Urban, Eric Church, Micheal Martin Murphy, Elton John, Kris Kristofferson, and even Boston,  Pete Townsend and Motley Crue. The musicians he has teamed up with for his soon to be released CD have added some great sound. From a strong drum beat, clean bass lines and some very sweet guitar licks. There is no doubt it will be a hit CD. Watch his You Tube home page for a sneak preview of a song or two that will be on the new CD.

Supplemental – http://music.cbc.ca/#/artists/Johnny-Mac-Slater –  https://www.facebook.com/pages/Johnny-Macs-Music-Kitchen/108086535919900?fref=ts