“In my personal archaeological research I’ve been focused on the shores of Lake Erie (and a few inland sites) beach and general shoreline lithic retrievals— on the Canadian side of the lake—for many years.”
Top Left- one of the retrieval locations. Top Right- one of the retrieved teeth sent to Dr. Walker. Center- eg’s of stone artifacts discovered in indirect association with some of the teeth.
The surf and weather are odd bedfellows, on one hand revealing and on the other destroying, so it seemed obvious to me that I should keep eyes to the ground, sand, and wave line and to pick up what seemed to me to be artifacts.
Occasionally friable materials turn up such as large, disarticulated bones. Even a basket made from reeds turned up. And then there’s the teeth— found in several varied locations and in indirect association with what look to me like artifacts and pierced pebbles.
I’ve yet, however, to find any of this material in situ, i.e. still buried in its confining sediments.
Some of the teeth seem to have been ‘broken’ perpendicular to the long axes, some seem to have been burned and some show calcified deposits of calculus in the interproximal grooves (I worked in dentistry for several years so have a basic understanding of tooth morphology and deposit identification etc).
Some teeth were found inland quite a few miles away from Lake Erie. I later contacted Dr. Danny Walker, RPA, Wyoming Assistant State Archaeologist at the Comparative Osteology Museum and Zooarchaeology Laboratory. I emailed to him photos and descriptions of the teeth. He kindly offered to study several of the teeth. (Dr. Walker is a co-author of the research paper, Unraveling the sequence and structure of the protein osteocalcin from a 42 ka fossil horse, Geochimica et CosmochimicaActa 2006;70(8):2034-44.)
(Center) Equus Scotti- Pleistocene horse once native to North America.
Along with his graduate students, Dr. Walker identified the teeth that I had mailed to him as Equusscotti—Pleistocene ice-age horse. Now the story begins to resemble somewhat the X-files. The established archaeological community here in Ontario and the Royal Ontario Museum (I made all aware of the teeth, the lithics and the identification offered by Dr. Walker) disputed the finds, the identification and the lithics. The Royal Ontario Museum also told me that if I had the teeth dated and they showed as pre-contact, then they would offer this explanation— that the teeth were deposited on the Lake Erie shoreline after being brought aboard lake freighters from Europe; i.e. that they may have filled their ballast with gravels which could have included the teeth.
Putting aside the low probability of this possibility, as well as the fact that Equus scotti is a North American horse, the skeptics have failed to address the fact that some teeth were discovered inland—many miles away from Lake Erie. For the Silo, Jarrod Barker.
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, 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, 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, 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, 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, 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.
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.
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.
François Dallegret, L’IntroConversoMAtic, 1963. photo collage and drawing. Dimensions variable. Photo: François Dallegret
In 2014 McMaster Museum of Art presented GOD & CO: François Dallegret Beyond the Bubble. An exhibition organized by the Architectural Association, London UK
François Dallegret trained as an architect at the École des Beaux-Arts in Paris in the late 1950s. He moved to North America; first to New York and then Montreal in 1964. Dallegret has since and continues to slip between disciplines, working as an artist, entrepreneur, theoretical architect (before the term was in general use), industrial and graphic designer, writer and social commentator.
Although his work over the past fifty years has been firmly planted within the possibilities offered by contemporary technologies—his 1964 drawing of a personal, wrap-around electronic communicator l’intro conversomatic has become a commonplace reality in the current world of smart phones & “pads”—Dallegret can be seen been in the context of 19th century idealism; the engineer as artist, the inventor as philosopher and so on. And while his work carries the sense of wonder of the modern age, manifest in the pure beauty of the object, it is also tempered by the realities of social, economic and cultural issues, and often framed with a quixotic sense of humour and irony.
GOD & CO offers a unique view into Dallegret’s work and activities, a de facto retrospective that engages his active thoughts. Organized by the Architectural Association School of Architecture (UK), it opened in London in late 2011 and has subsequently been presented in Paris and Zurich. This was the first presentation In Canada.
The 2014 exhibition was accompanied by a 384-page illustrated publication with texts by Alessandra Ponte, Laurent Stalder and Thomas Weaver. For the Silo- RoseAnne Prevec.
