REGENESIS @ YORK MOVEMBER
NOVEMBER 2013 VOL. 03 NO. 3
Come out for weekly Salsa lessons every Thursday. Location
Winters Dining Hall BEGINNER
7pm — 8pm
OR
8pm — 9pm
INTERMEDIATE
9pm — 10pm Cost
$25 for any one session; $40 for all sessions per semester. Join us on Facebook and YUConnect: ‘Salsa Club @ York’ E-mail: yorksalsaclub@gmail.com
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EWAG Eleanor Winters Art Gallery Update Betty Zhang, Curator Hi everybody, welcome to Winters College! We are located at WC 129 and we welcome all kinds of artistic expression (visual, music, dance, and theater performances). If you are interested in exhibiting your artwork, email us at ewag@yorku.ca for more information. Keep checking Artichoke for updates on EWAG! You can also visit our Facebook page www.facebook.com/EWAGYU and facebook group www.facebook.com/groups/ 409362955785187/ follow us on Twitter @EWAGyu and tumblr ewagyu.tumblr.com/
November 4 -15 VASA INSTALLATION ART SHOW The Visual Art Student Association (VASA) in conjunction with EWAG (Eleanor Winters Art Gallery) is hosting an installation-based group show focusing on various installation works from students of all year levels. If you don’t know much about installation art, this is a great opportunity to expand your artistic horizon. November 18-28 Phoebe Todd-Parish & Brigetta Piggott POSSIBILITIES We are both exploring the possibilities and limitations of social comfort, space and process. Brigetta Piggott Natural organisms and industrial spaces pose strong oppositions by the way we react to these cosmoses and what we assume of them. I am exploring the binaries and effects of natural depictions inside opposing developed settings. Ironically, the industrial processes that create our manufactured space are similar to the methods that create organic pieces. I explore fluid forms and how their meaning transforms and fluctuates by the medium used to represent them, playing with the
realities of the mediums themselves and their capabilities. These organic sculptures may suggest the opportunity to grow or drip further while frozen in time by a commodified material. I invite viewers to touch and encourage an interactive experience with sculpture. Phoebe Todd-Parish Where do we feel comfortable? Does the unknown and the unexpected make us UNcomfortable? The space inbetween in often left undescribed, in language, binaries keep us in limbo for descriptions of the purgatory between experience we seek to describe to one another. I strive to make prints and installations that explore that space that lie between opposites and “others”. I invite the viewer to inhabit the spaces that are overlooked; question the nuances in a print, the editing of a photograph, or to feel uneasy in a recognizable space. I approach the topic of the in-between with a certain degree of humour and a hint of horror, and encourages her audience to take away a curiosity for the “inter-” bits of life and language. November 29 Winter College Art Club is showcasing student works during the first term.
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CONTENTS VOL 3 NO. 3 NOVEMBER 2013
FEATURE
ENTERTAINMENT
10
REGENESIS
24
TUMBLR
Femenism & You
14
MOVEMBER
26
REBELS
With a Cause
16
CREATIVE SUBMISSION
30
FASHION
Shock Absorber
32
PUP PEOPLE
By John Lawler
MAJOR SPEAK
HEALTH
17
VISUAL ARTS
33
RES RECIPE
Nuit Blanche Review
Spinach and Artichoke Dip
18
DIGITAL MEDIA
35
LIFESTYLE
An Introduction To The World Of Digital Media
Slaves to Technology
20
ENGLISH
34
PSYCHOLOGY
International Festival of Authors
Honeymoon Phase
36
PHILOSOPHY
Four Months with a Blue Collar
22 MUSIC
Why Study Jazz?
Contributors EDITOR IN CHIEF
EMMA BECKETT
ART DIRECTORS
JACOB COLOSI JENNIFER ZHANG
WRITERS
Alex Millington Camellia De Castro Connor Johnstone Curtis te Brinke Diana Edelhauser John Lawler Joy Wong Lindsay Presswell Maddy Patton Megan Rooney Mike Tatarski Nigel D’Souza Peter Ellman Rielle Ullberg Sarah Ellison
DESIGNERS
Amanda Hoff Amy Chiu Anna Campbell Chelsie Grant Emily Munro Erika Sternberg Heather McAlpine Karen Keung Karen Vertierra Michelle Fok Sarah El Sherbini Scott Osborne
PHOTOGRAPHY
Peter Howie
6 WINTERS
WCC UPDATE Over the past month, Winters College Council has been hard at work to provide for our constituents. We have had a vote and elected five new council members: First Year Representatives: Joshua Murphy Angelica Grospe Commuter Representatives: Peter Howie Thomas Gianfranceso Winters Residence Representative: David Olaolwwa Aleinsaisya
There has also been a group of students
reviving the tradition of putting together a yearbook to capture our memories, people, and artistic initiatives of Winters College 2013 Â14. Anyone in the Fine Arts Faculty & Communications Dept can request to do media coverage of your Winters organization or initiative, or send submissions of info/photos to: winterscollegeyearbook@live.com. Anyone is welcome to contribute regularly as a general or executive member, any can sign up by messaging your name, student number, email, and anything you’re interested in doing to facebook.com/wintersyearbook or winterscollegeyearbook@ live.com. Executive team applications can be found on the FB group, or by email. Join the Facebook group: Winters College Yearbook Inc. to receive updates and com-
municate with the existing team. Coming up on November 26th, Artichoke Magazine and Winters College Council will be hosting the third EWAG Poetry Night of the year. Come by to read your work, enjoy some snacks, and hear some writing from your talented peers.
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EDITORS LETTER I WOULD LIKE TO TAKE THIS OPPORTUNITY to thank all of the
Winters constituents for their response to my start as Editor-In-Chief. I have received so much support and positive feedback so far, and I am so happy to be representing the college and its beautiful students. That being said, there were a couple of errors in the article about the Absinthe Pub that need to be redacted. In the article, it is stated that the Greenbush Inn ended in 1982, and the Ab replaced it in the same year. In fact, that space had been called the Absinthe since the 70's, and 1982 was the year that the plaque
was posted in the space to acknowledge the previous coffee shop. Second, in the Recent Developments section it is stated that the Ab Management Board was created after York University lost its liquor license, but it has existed since the inception of the Ab. Artichoke Magazine has always done its best to remain an accurate and positive representation of the college, and I apologize for these inconsistencies. I greatly appreciate all of the support from Winters Council and affiliates, and I look forward to representing them in an correct and professional way for the rest of the year.
SINCERELY, EMMA BECKETT, E.I.C.
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EMAIL contact@creativestudents.ca PHONE 416-736 2100 x 20205 LOCATION Room 164A Goldfarb Centre for Fine Arts, York University, Ontario, Canada. WEBSITE www.creativestudents.ca
Creative Arts Student Association (CASA) is the governing student body in the Faculty of Fine Arts. We exist in order to represent your interests to the administration, and are here to provide you with encouragement and support.
If you have any questions or comments, please don’t hesitate to contact us in whatever way is most convenient for you. And as always, we have weekly meetings in the CASA office. So feel free to stop by and say hello!
This is achieved through the coordination of services, events, and activities which will enhance our immediate cultural community as well as the University as a whole. We strive to foster a sense of inter-departmental connectedness and belonging.
CASA also runs Spotlight, a trans media gallery which is primarily hosted on our website. Spotlight is just another initiative that CASA has taken to feature artistic work created by York U students. Students are encouraged to submit their work to be featured on our site and to be published in the Artichoke magazine.
There are three ways to get in touch with us. The first is via email, the second is on the phone, and third (our favourite) is to drop by in person.
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REGENESIS @ YORK
BY EMMA BECKETT The Regenesis Project is an entirely student-run grassroots environmental organization that was started in 2007 by a group of young people, many of whom became York students and went on to develop the Regenesis@York chapter. Originally the program focussed on international development, but it has evolved to focus mainly on improvements in Canada before working towards expansion. In just a few short years, the program has expanded to take on a number of initiatives based on the needs and ideas of students all over the York campus. Its primary members are Courtny Vaz, Michael Kenny, and Darnel Harris. Their motivation when creating the program was to form an outlet for students to get their voices heard, and to get people involved in caring for the world around them. The term "grass-roots" means that
the initiatives develop from the bottom up, and as Courtny states, "the ones affected by the outcome are the ones with the power to change it." This allows any student who cares about the cause to be able to make an impact. Many of the founding members had previous experience with organizations that operated from the top down, and attempting to volunteer for them and get their voices heard was always a struggle. They feel that young people had a lot of potential to make changes and without an outlet that valued that potential, decided to form their own organization. Regenesis has made a significant amount of impact in the past few years, and though it is still relatively young there are a lot of new initiatives that are in progress at the university.
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@ York Their motivation when creating the program was to form an outlet for students to get their voices heard, and to get people involved in caring for the world around them.
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Regenesis@York exists to inform students about how to care for our world, and give them the power to make changes. • DIY Bike Shop: In the second semester of this year, Regenesis has plans to develop a DIY Bike Shop in the Bennett Centre where students can come in to repair their bikes for free. In order to promote cycling as an eco-friendly alternative to driving or transit, they have tools and educated staff available for students to use on location, and a selection of replacement parts for free or sale. They are also looking into the eventual integration of a bike-share network to the infrastructure on and around campus.
• Forest Restoration:
CURRENT INITIATIVES • Weekly Farmer’s Market: This is the first year that the Weekly Farmer's Market has come to fruition at York. There has been about three years of negotiation with the university to make it a reality, and as of October 24th, the market will will be held every Thursday from 12:00pm to 4:00pm in the TEL building. It includes fifteen different [local] vendors selling organic produce, specialty goods, and a variety of sustainable products that are not always available to students who live on or near campus.
• Free Store: The Free Store is currently operating on a temporary basis, but once they have a location Regenesis will be hosting a space for people to bring old clothes and items that they no longer want, and browse through some other old things that people have left for them to take. It is completely free of charge, as it is based on the idea of a "gift economy." The intention is to keep recycling useable items, and keep things out of landfills that would otherwise have been thrown away.
In 2011, Regenesis was granted $15 000 from the TD Go Green Challenge for their proposal to restore the forest on Glendon campus. Glendon forest has a large number of old oaks and due to the way the nature paths are set up they are being destroyed by erosion from dogs and people walking through the forest. Regenesis is putting together a plan for a raised wooden trail system to prevent this erosion and rehabilitate the forest, and to build a greenhouse to grow new saplings. This greenhouse will also be available to grow food for cafeterias on campus, and to use as a practical classroom. This idea of a greenhouse may eventually be extended to the Keele campus, and right now Regenesis is working to fundraise and recruit student volunteers for the project.
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• World Garden: The World Garden initiative is planning to bring urban agriculture to the campus. Regenesis has been given access to the soil planters on the top of the Ross building, and they have plans to develop a garden where students who live on campus or in the village can have a space to grow their own fresh produce and spices. There is still a lot of work to be done changing the soil and bringing water to the location, but the garden will most likely be up and running sometime around next spring.
UPCOMING VOTE Next semester, Regenesis has organized a referendum for students to vote on financial support from the school to fund their upcoming environmental projects. This same vote was made last year, and it would have passed but the number of students who had voted was too low. They are trying again this year since they have been getting positive support from the students, and if more people vote this year it will allow for the implementation of a number of improvements to student life around campus. This funding will also support paid work/study and RA positions for students who are interested in getting involved with the organization.
EXPANSION Regenesis is centred at the York campus, but there have been a few other chapters of the organization established at other universities around Ontario. There is a branch in downtown Toronto that has been working to develop their own version of the York Farmer's Market. The Regenesis Project has grown to establish locations in Toronto and Kitchener, where they are pursuing similar initiatives that have been tailored to their environment. Most importantly, Regenesis@York exists to inform students about how to care for our world, and give them the
power to make changes. If you have an idea or want to help, do not hesitate to contact them, participate in some of their social events, and get involved in the initiatives. EMAIL: regenesis.yorku@gmail.com WEBSITE: www.theregenesisproject.com regenesisyork.wordpress.com ADDRESS: 347 York lanes 4700 Keele Street, York University
14 FEATURE
Movember Movember was started by two dudes in Melbourne Australia. They were inspired by a friend’s mother who was raising money for breast cancer research, and decided to do the same for prostate cancer by bringing back the moustache. In 2004 they raised $54,000 for the Prostate Cancer Foundation of Australia (PCFA.) In 2012 the movement had grown to be a worldwide phenomenon, raising over $146.6 million in 21 countries. It’s also an awareness campaign. Getting men to be more open and willing to do simple things like going to the doctor if they are having problems and getting an annual check up. Their health is just something that men don’t really talk about very much so Movember is about getting men to take personal responsibility for their health.
The Beard Appreciation Society at York is a club on campus that is heavily involved in the movement. We fund-raise all month long for Movember Canada which is a registered charity, as well as holding awareness events around campus. We always start Movember with our annual Shave Off event, as you are supposed to start Movember clean shaven and then grow your moustache during the month. We are also tabling in Vari Hall, Vari Link, and other locations on campus throughout the month. If you want to get involved you can get in touch with them through email at beardappreciation@gmail.com, find them on facebook by searching Beard Appreciation Society at York, or find them on YUconnect by searching Beard Appreciation Society at York. Mike Tatarski, VP Finance at BASAY
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MOVEMBER SHAFE-OFF EVENT
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16 CREATIVE
IOWA By: John Lawler
I dreamed I was taken from Iowa It was overcast, dirty and Cold There were little family owned Restaurants And little grey and white houses in Siding You and I were taken in a Limousine Driven miles, miles and miles North To a cemetery in Providence, Rhode Island By sunlit gardens of New England I was taken to a pure light Mausoleum Enclosed in 3 dimensional, private Sunlight I stayed there Forever You did Not I dreamed I was taken from Iowa
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I HAD INTENDED TO WRITE about Nuit Blanche for the upcoming issue, but I was so incredibly let down with the night’s events I fear that if I were to go through with the thing it would be nothing but a depressing and pessimistic definition for the death of art... You know, you hear about the heart of Toronto being ransacked by artists and all the planning and curating that goes in to providing them adequate space with a cohesive theme, and you think it’s going to be good every year, but then you get there and everyone’s just masturbating… And for the worst reasons! The artists are masturbating because they’re a part of Nuit Blanche, not because their work is worth it; and the curators are masturbating because of the turn out, not because they’ve arranged a notable exhibit; and the viewers are masturbating when they claim to get it, etc… I have come to expect too much from these sorts of things. I’m not sure if you took a trip down for it, but if you did, did you notice that many of the works were simply an outstanding collection of the same object. Bruno Billio’s collection of chairs, Tongue & Groove’s smaller collection of chairs, Tadashi Kawamata’s bigger collection of chairs, Ai Weiwei’s collection of bicycles, Kim Adams’ collection of double bicycles, Franck Scurti’s collection of bicycle clocks, Michel de Broin’s collection of picnic
tables, Pascale Tayou’s collection of plastic bags, Ruth Spitzer and Claire Ironside’s collection of balloons, Libby Hague’s larger collection of balloons, Marcin Kedzior and Christine Kim’s collection of paper hats, some other group’s collection of socks… Anyways, I gave it about seven hours, a backpack full of beer and a pack of smokes and all I got back were a few cool sights round Nathan Phillips Square and up University. As such, I am so melancholy regarding the subject I have lost the will to write. I apologize for any inconvenience this may cause you, but consider the magazine more uplifting as a result... Mournfully, Alex Millington
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MAJOR SPEAK
DIGITAL media AN INTRODUCTION TO THE WORLD OF
MEGAN KOROL ROONEY
UNBEKNOWNST TO MOST students
on campus, York University is home to the only fine arts faculty in the province of Ontario. The fine arts faculty has traditionally offered academic studies in concert with hands-on professional training in the fields of dance, design, film, music, theatre and visual arts. Relatively new to the line-up offered under the fine arts umbrella is the digital media department. As a cross-faculty program, the digital media sector features courses from the Faculty of Fine Arts as well as the Department of Computer Science in the Lassonde School of Engineering. Despite featuring a unique combination of courses and putting on interesting showcases here at York, the department is not widely known and is still in the process of establishing itself. To better understand what the digital media program is all about, I went straight to the source. I spoke with Nabil Babu and William Cook two upper year digital media students, about the undergraduate degree they are currently pursuing and the challenges of working in a field that is constantly changing and evolving. Q: Thank you both for speaking with me about the digital media department. To start, why don't you tell me why you
choose to work towards earning this particular degree? NABIL: I chose this degree because it appealed to everything I wanted to do. I want to become a video game designer and the Digital Media program provides courses that address the technical aspect, which comes from the Computer Science department but also provides a creative environment with the fine arts courses. Both of these skills are really essential to what I want to do with my career. WILLIAM: For me, choosing this program stemmed from my interest in the digital arts. Unlike Nabil, I didn't have a specific aspect of the digital arts in mind when I enrolled. I am still young and I hope my experience in the DM program can help me find that calling, be it Programming, Web/Video Game design or image and video arts. Q: What skills does a person need to have to be successful in this department? NABIL: In my opinion the only skill you need to be successful in Digital Media is extreme patience. There is a lot of technical work that needs to be learned, worked on, fixed, relearned, re-worked and finally
finished. The computer science aspect of the program can be challenging to those who have not done it before, but patience is the key to learning programming. WILLIAM: A lot of the students hit the “wall” in the form of difficult computer science and math courses in the second year of the program, and the higher drop rate stems from that. Because of the cross disciplinary nature of the program, the vital programming courses that students of Digital Media tend to look for aren’t those offered in the Department of Computer Science. Those courses are geared towards Science and engineering students, so the course material reflects this and is often at a level that not only exceeds the DM student in skill, but also loses their interest. Linear Algebra, although understandably, a component of Programming, won’t teach me how render and animate in 3D space. Restating Nabil's point can only strengthen its importance; patience is key when it comes to success in these courses. Q: The digital media department is described as a cross-faculty department that "draws on the strengths of the Faculty of Fine Arts and the Department of
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Computer Science." Do you believe that the digital media department relies on students having an equal balance of imagination and technical skill? Does one take priority over the other? NABIL: Yes, the program does require students to be both technical in programming and open minded and creative at the same time, which is a difficult thing to do since most of us are one way or the other. In certain scenarios one might take priority over the other, for example writing a script for an animation takes a little more creativity, while after the script is written, the programming aspect of the animation will require more technical skill. The combination of the two makes for an interesting outcome since traditionally, the writer and the programmer would be two different people or groups. WILLIAM: Keeping in mind what I said regarding the difficulty of higher level courses, this means that a lot of the students' efforts need to be focused on these difficult subjects in order to stay afloat in the program. Creative aspects are pushed to the back burner. Q: Does the digital media department work with other fine arts departments in a
collaborative manner? If so, what do they bring to the table? NABIL: Digital Media collaborates with many other Fine Arts departments mainly, Theatre. Last year the Digital Media department and Theatre department worked together on York's production of Shakespeare's Midsummer Nights Dream. This year we are working with Theatre again on The Beggars' Opera. We bring a lot to the table, including: moving interactive projections, motion capture, sound installations, video installations, robotics, animations, 3D modelling. Instead of a painted set, digital media students make that set come alive and react and move with the actors on stage to add a new level of immersion to the production. Q: What are some of the challenges of working in a field that is relatively new and constantly changing? NABIL: Since the Digital Media department is relatively new, there is a lot of fine tuning to be done with the courses that are offered and the expectations of the Digital Media students. We have issues with some core courses conflicting with other core courses. The difficulty of the Computer Science aspect of our
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program has forced undergrads to drop out. Since we are a cross-faculty program, we are held under the standards of two departments for some our courses. It is an on-going battle to fix these problems, but we are such a small program that it takes time. WILLIAM: As technology gets better and the standards increase, we need to stay up to date and well versed in these new technologies to meet and exceed the standard. For example, every time a new version of software is released, all of the developers and programmers with content on these devices need to check and update our work to ensure they function properly. From a work standpoint it can be tedious and nerve racking, but at the same time this concept of constant change is what allows us thrive as an industry. For the Digital Artist, these changes also mean never ending opportunities to explore and create new artwork. For the Programmer it provides them with a means to enhance their tool kit and work towards reaching new heights in software engineering. And that’s the beauty of digital media, it has versatility.
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MAJOR SPEAK
BY: CAMELLIA DE CASTRO
To be wholly immersed in literature is a beautiful experience. When reading a brilliant story, any literature-loving person will admit that the real world becomes almost non-existent. I love becoming so wrapped up in a piece of writing, whether it be a novel or a poem, that I feel as if I am living in another world. And it’s all because of the authors. We, the readers, can only dream of stepping into the frameworks of these authors’ creative minds. I mean, just imagine you were in the same room as your literary hero. Can you picture it? You’re sitting amongst a sea of people, all of you anxiously waiting to hear the author’s voice. Perhaps the author will read a few sentences from their literary work. Or even offer some words of wisdom that might inspire the writer in you. Well, look no further because this type of cultural literary experience is provided by the International Festival of Authors. Every October and November, in the heart of downtown Toronto at the Harbourfront Centre, the IFOA brings together some of the best contemporary writers. Novelists, poets, playwrights, short story writers and biographers – writers
from every literary genre imaginable come to the IFOA. The line up of authors varies every year so the events are always fresh. Writers from various countries, as well as many Canadian authors are granted the opportunity to showcase their writing in this international forum. This festival is a chance to promote great literature while encouraging reading. The IFOA both entertains and advocates, and that’s pretty remarkable! But, the best part would have to be breathing the same air as one of your favourite authors, getting to be a few feet away from the person who created the story that changed your whole life. You cannot put a price on that privilege. This year the October portion of the IFOA was filled with a vast list of authors, including Stephen King, Margaret Atwood, Joseph Boyden, Anne Carson, Douglas Coupland, Sam Lipsyte and Lisa Moore. In between author appearances, the IFOA also hosts celebrations for different literary award finalists such as the Governor General’s Literary Awards finalists. Also, the IFOA hosts lectures on the publishing industry given by various writers and journalists.
Each event is exciting and informative in its own right. A typical event where an author is honoured may include the author reading some of his/her writing to the audience as well as sharing his/her personal experiences as a writer. In addition, an equally respectable writer or editor hosts the event. For instance, when Stephen King came to the IFOA on October 24th, he presented his new novel Doctor Sleep and was joined by his son, writer Owen King. Also, the people with tickets were able to get their novel signed by Mr. King – those were some lucky fans! But, the IFOA is not over yet because recent Nobel Prize winner, Alice Munro is being honoured this November. A Tribute to Alice Munro Sat. November 2, 2013 - 8:00 PM Fleck Dance Theatre 207 Queens Quay West
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In addition, the IFOA offers weekly events all year long, such as readings, panel discussions and interviews. Some events coming up this November and December include: In Conversation with Ann Patchett Mon. November 11, 2013 - 7:30 PM York Quay Centre - Brigantine Room 235 Queens Quay West
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In Conversation with Alexander McCall Smith Tues. November 12, 2013 - 7:30 PM York Quay Centre - Brigantine Room
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In Conversation with Amy Tan Thurs. November 21, 2013 - 7:30 PM Enwave Theatre 231 Queens Quay West Book Club: December Book Discussed: City of Bohane by Kevin Barry Wed. December 18, 2013 - 6:00 PM York Quay Centre - Tea Room To gain an extensive knowledge of each event, be sure to check out the IFOA website: www.ifoa.org. We all love to step into the worlds of our favourite stories and the IFOA allows us another step deeper into that world.
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MAJOR SPEAK
Why Study
JAZZ? BY PETER ELLMAN
Last year in the martin family lounge
in accolade east building, I overheard the unthinkable: a jazz drummer complaining about jazz drumming. He was specifically discussing a class in which he had to “just ‘swing’ for 75 minutes. It’s boring! That’s not a beat! I want to play a BEAT!” Through discussions with other jazz majors, I’ve learned that the feeling is not a rarity. Strangely, many students majoring in the study of jazz are just not really that passionate about it. I know more than a few who are much more interested in electronic or rock subgenres. There are two big factors at work here. One is the fact that jazz is nearly one hundred years old, and as such, might seem foreign and outdated to many young people in 2013. While this is an entirely subjective point, a more objective way of understanding this is thinking about how most popular music today bears very little resemblance to the jazz of the early part of the twentieth century. Miley Cyrus is probably more of a household name among the 15-25 demographic than Bill Evans (unfortunately).
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The second factor is lack of other options for post secondary study of music. Most if not all music degrees fall into one of these three streams: Jazz, Classical, or World music. Newer forms that are more popular with young people and students don’t really have much of a place at the university level. If a student is passionate about music, any or all kinds of music, she or he must fit themselves into one of those 3 streams or forsake any post secondary education in music. The reality however, is that despite jazz’ tenuous popularity with young people, there are some important reasons why it has whole university programs devoted to its study, while other music forms do not. Jazz (and linked with it, the Blues) is one of the first and most original forms of music born in North America. Inherent in the study of jazz is an examination of the history of musical and cultural innovation on this continent. Also inherent to the study of jazz is the cultivation of musical skills and knowledge in a complex, highly refined, area of musicianship –one that builds, both on and away from the European music theory of past centuries. Inevitably, a jazz undergraduate student
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will face the usual questions from friends, family, and basically everyone else ever: “What are you going to do with your music degree? What do you plan to do after school?” While I’m no expert on the job market, nor have I completed my degree to face that market myself, I do believe strongly in the skills that any sort of music education provides, as well as those skills unique to jazz: improvisation, collaboration, presentation, and organization, to name a few. Classes involving writing about music can enhance communication and persuasive skills, as well as cultural awareness and sensitivity. Jazz provides complex theory and ear training, but feels more open to interpretation and innovation than classical training. There are also still many musicians currently pushing the boundaries of what constitutes jazz, or combining it with any number of other styles or genres, and still coming up with captivating new forms of music. Perhaps some of the students currently feeling disconnected from jazz will go on to incorporate their jazz training into their own new musical explorations. The only real limit is one’s ability to open one’s ears and mind.
24 24 ENTERTAINMENT
BY RIELLE ULLBERG I’VE RECENTLY DISCOVERED TUMBLR. I always knew it was there, but I’d never succumbed to the temptation of its endless media content. As a consequence, I have a lot to catch up on and therefore haven’t left my room all day. I’ve just been eating a stashed bag of cheesy popcorn and scrolling through endless tag searches. #community #sims #art #crabstickz #jokes #johnlock. Really anything at all that comes to mind. Even if I don’t find it particularly interesting, I know there’s a wealth of images out there that can distract me. I don’t think Tumblr has any severe disadvantages. I know many find themselves at the mercy of anonymous hateful messages. And that can be problematic, especially for younger users. But I have seen a lot of good come from the website and, in particular, opposition to the aforementioned ‘hate’. A lot of people don’t take care to censor themselves. In a way, I admire that. I keep way too much bottled inside. If someone irks me I would love to, with extreme reckless abandon, shout incessantly at them. Dreaming about this always puts a smile on my face. But I try not to do such things if not for social conformity, then at least for self preservation. While Tumblr lends itself to
the spreading of hate, it also provides a forum for such daring reactionary tirades. I am an uninhibited advocate of feminism. Nothing gets me more riled up than slanderous ignorant hate speech about gender. Fortunately for me, all those who feel similarly have found the gem that is Tumblr. For feminists like myself, Tumblr offers a way to combat sexism in a sheltered environment as many people find it difficult to directly confront sexist comments in a face-to-face situation. I must draw attention to that fact that many people on Tumblr take this notion too far. Feminism is intended to seek equality for all humans. It is meant to give everyone the same opportunities while dismantling some of the ancient traditions of oppression that groups of race, gender and sexuality have experienced. However, feminism has gotten a bad rap in recent years from angry people who take the debate too far in the opposite direction. This type of ignorance privileges minorities above previous power holders. You will find those people also making their opinions known on Tumblr. But, what happens is that those who have retained a rational understanding of the race, gender and sexuality debates, come forth to set the arguments right. They
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find themselves empowered by the anonymity of social media and freed from the pressure of face-to-face disputes. These people articulate their own wise thoughts on repression and share in the circulation of comments from others who champion anti-oppression movements. I’ve seen so many wonderful stories, quotes, images, and videos that support our society’s positive growth and I feel honoured to be in a position to comment and interact with this content. I hope you feel the same. Use your position as a Tumblr participant to empower those whose voices have been stanched, includ-
ing your own. Allow yourself to challenge or be challenged if something you say snags on another’s opinion. We all think politically incorrect thoughts. The most valuable thing you can do for yourself is discuss them and understand them. From this, Tumblr will make this world a better place. Disagree? Let’s talk about it. Email me at elleartichoke@gmail.com. Hopefully I can drag myself away from Tumblr long enough to converse with you.
“Use your position as a Tumblr participant to empower those whose voices have been stanched, including your own.”
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digest this film fest, don’t just consume it! BY LINDSAY PRESSWELL
Rebels With a Cause is a politically minded film festival coordinated by members of the York University community. I had the opportunity to view some experimental shorts from the “FAG Selects” series curated in collaboration with FAG: Feminist Art Gallery.
the atmosphere of the screening was
unconventional, as this particular section of the festival took place as a part of a first year gender and women’s studies lecture. The course is Sex, Gender, and Popular Culture, and it is taught by Allyson Mitchell, one of the founders of FAG. The 50-minute screening included seven shorts ranging from 30 seconds to 14 minutes in length, and was followed by a talkback led by Allyson Mitchell and a representative from Rebels With a Cause. How does an artist create a politically charged, innovative film that is 30 seconds in length? How does an inexperienced film critic unpack the complex and intense issues addressed in 50 minutes of experimental film? The talkback was a crucial part of the film screening in this case, considering that the majority of the audience members were students from a first-year
gender studies course, and visitors that may not have any formal background in gender and sexuality studies, or experimental film at all. As a member of the latter group, I found that a guided discussion of the subject matter in the seven short films revealed a lot about how to approach political art, and how to unpack the heavy tension that surrounds the uncomfortable topics that political and experimental film shoves brazenly in your face. On the surface the films presented issues that could not possibly be discussed fully or reconciled in the short talkback period, but Mitchell provided several tools that the audience could take with them, if they chose to try and analyze the subject matter of the films on their own time. The most important of these tools was the ability to confront the tension of the films.
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Some of the shorts, notably Lesser Apes by Emily Vey Duke and Cooper Battersby, and Target by Rehab Nazzal, were profoundly unsettling and dealt with uncomfortable issues and used uncomfortable techniques to convey their message. Lesser Apes combines scientific footage of bonobo apes, homemade computer animations, and unconventional love songs to challenge society’s conceptions of perversion, language, and the human vs. nature superiority complex. While that description sounds like standard activist artwork, the audience must grapple with the fact that these messages are being conveyed through a narrative that describes the sexual relationship between a female human primatologist and
a female bonobo ape. Considering that this narrative is the surface of the film it is easy to understand how tension and discomfort mounts as viewers must reconcile what they think they know about acceptable human behavior in order to sift the meaning out of the film. When it comes to confronting the tension in Lesser Apes, a critical viewer can ask why the notion of bestiality makes them so uncomfortable, and why the film makers chose this topic to frame their message with. In the film, the ape Meema is given the ability to communicate human ideas using a computerized voice. Viewers get a glimpse at the love affair from the ape’s perspective, and it is from this perspective
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that the concept of “perversion” and what it means to be a “pervert” arises. What does it mean to be a pervert? From learned experience it seems inherently bad, but it is also a word that gets thrown around whenever people are uncomfortable with something. “Pervert” is a sentence; it is a way of separating deviants from orthodox members of society. Why is this problematic? By asking these kinds of questions, viewers push past their discomfort to see what the film is really trying to prove. You can view the film Lesser Apes here, and ask yourself these questions. dukeandbattersby.com/wp/?author=3
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Target is a film that creates tension in a completely different way. The subject matter of the film is not difficult to grasp: it is a series of black and white oval portraits and inscriptions that seem to represent deceased citizens. It’s easy to recognize the political and social nature of the short when the viewer notices that all of the portraits are of people from the same ethnicity. They are visual obituaries. The tension comes from the fact that while these ovals are appearing, and fading into a collage of oval shadows in rapid succession, there is complete silence. There is no sound to this film. For four minutes the audience watches these obituaries in complete silence. As they become more and more uncomfortable with the silence, the audience becomes a part of the film. Every uncomfortable shuffle of belongings, every uncertain cough or clearing of a throat adds to the piece. This audience participation asks aggressive questions about silence. What is the audience doing while these obituaries flash before their eyes? How long can the audience stand to be silent before they react? Check out Rehab Nazzal’s portfolio here. rehabnazzal.com/#!videos/c8gi
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Of the films screened as a part of the “FAG Selects” portion of Rebels With a Cause, I particularly enjoyed Beyond the Usual Limits: Part 1 by Deirdre Logue. This three-minute short featured a person of indiscernible gender trying to force themself horizontally between their mattress and box spring, beginning with their hands and ending with their feet. The film is three minutes of struggle, in contrast with the sound choice of a 70s inspired funk background music. This film seemed to ask really simple questions about difficult tasks: why bother? Why try and achieve such a strenuous goal? Additionally, the ridiculousness of the trying to squeeze between two heavy pieces of a bed made me wonder if I could do it. What does this struggle represent? Answer that question yourself by having a look at this preview, and Logue’s website. deirdrelogue.com/video_html/beyond_ usual_limits_part1.html
Other shorts screened included This is Not a Test, by Marisa Hoicka, Woodcarver by Ehren BEARwitness Thomas and A Tribe Called Red, Covered by John Greyson, and Bending Over Backwards by Heather Keung. All dealt with heavy issues and all prompted an endless stream of intellectual inquiry. Some were visually uncomfortable, some were mentally uncomfortable, and others were aurally uncomfortable. So why is it important to confront tension when viewing politically
and socially critical film? Why bother curating a film screening that makes its audience uncomfortable? The purpose, as is the purpose behind Rebels With a Cause Film Festival, is to demonstrate that film should not be passive or escapist: an audience should not simply consume. They should also digest. Rebels With a Cause urges its viewers to be critical, and if the films screened as a part of “FAG Selects” are any indication, it also forces them to.
To get information on the festival so that you can be a critical participant during next year’s edition, bookmark their website. rebelsfilmfest.wordpress.com
For more information about FAG Feminist Art Gallery, look at this page on Allyson Mitchell’s personal site. allysonmitchell.com/FAG.html
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BY DIANA EDELHAUSER
WE’VE COME TO KNOW
American Apparel for its basic pieces that are simple beyond compare, yet still manage to turn heads. The uninhibited image of sexuality that the company projects onto consumers is arguably one of the wildest forms of photographical advertisement of the decade, with posters shamelessly portraying the human body in more wanton ways you could imagine. “Disgusting”, your mother might gasp, “Put that photo away”, your father might beg. Odd as it may seem, it appears that the media is trying to make up for the super-skinny fad of the 1990s by encouraging all body types to feel beautiful, and while this is really warm and fuzzy, maybe American Apparel is taking this to an entirely different level. With ads banned in the UK (the United Kingdom, land of the Sex Pistols and uncensored television), American Apparel billboards and magazine spreads proudly boast young people of any
size usually wearing nothing but the product intended for promotion. Thigh-high stockings? Well that’s all you’ll want to buy since you’re not seeing much else on the
“We see size 12 ‘real models’, as they call them, wearing close to nothing and oozing sexual confidence but then we try the very same clothes on and would never be caught dead publicly wearing them.” curvy, unedited model. What about some cotton briefs for the men? I guess the ad reminds you that not much else needs to be covered.
There are different ways of looking at this phenomenon of racy photographs in the name of brand identity. First of all, you have the marketing component. Knowing that sex sells and always will, it may come as a shock that by the end of 2012 American Apparel was at a $37.3 million loss. It is important to note, however, that they did better compared to 2011 (net loss of $39.3 million), and this could be in part due to the sexier ads. I mean its common knowledge that founder and CEO Dov Charney is a creep (seriously, give him a Google), but let’s not forget the target market for AA are those in their late teens/early adulthood, and usually needy for materialistic attention. With this information we can infer that these consumers simply do not have the money to buy everything they want when they visit the store, and let’s face it, mommy won’t be buying you that spandex thong bodysuit. The interest is
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They are 100% sweatshop free and have always done their part in supporting relevant socio-political causes such as the legalization of homosexual marriage.
there, however. The intention of buying American Apparel crop tops and highwaisted shorts is one shared by millions of young girls. To look at American Apparel through a fashion-focused lens, let’s take it to Los Angeles: hot, materialistic, dirty, opulent. Forget the celebrities, Los Angeles is a fashion icon in itself. It is absolutely synonymous with every large fashion label to ever emerge from within it (think 7 For All Mankind and Crooks n’ Castles), and has always maintained its cool if almost trashy vibe. American Apparel offers consumers around the world (as seen on the hyper-reblogged brown paper bags) the Los Angeles “Made in USA” look, pieces that range from white cotton undies to skin tight metallic spandex party dresses and everything in between, all of which could be mixed and matched in millions of ways. The versatility comes from the sheer minimalism of any item, as well as the same item being available in usually more than 7 colours. Each sweater, pair of leggings or circle scarf exudes that “je m’en fiche” feel that is so essential to LA. Ironically enough, however, these clothes simply do not suit every size, as advertised in the semi-pornographic images. Obviously anyone can wear whatever they want in theory, but it
seems that the look they are trying to sell you at American Apparel is usually tailor made for that skinny, perky-bummed chick you always see ordering a kale smoothie. So now we’re a little conflicted, aren’t we? We see size 12 “real models”, as they call them, wearing close to nothing and oozing sexual confidence but then we try the very same clothes on and would never be caught dead publicly wearing them. Let’s not discredit American Apparel, however. The leggings they’ve been successfully selling for years will probably never go out of style, and although some of the leggings labels say “These tights are not pants”, there’s nothing stopping you from wearing them however you want. I’ve mostly seen the same products being purchased and worn from American Apparel over the years, meaning cotton hoodies, lace tube dresses and metallic black leggings, and I’m really wishing that people would push their boundaries a little more. Try, for example, the Illustrated chiffon camisole in Steeple ($30) or the Hounds-tooth tap short ($40)! The truth of the matter is that American Apparel has a good thing goingthey are 100% sweatshop free and have always done their part in supporting relevant socio-political causes such as the
legalization of homosexual marriage (remember the Legalize Gay t-shirts?). You can genuinely feel good about where those extra $15 you wouldn’t normally spend on a cotton top are going, and whether you’re a size 00 or 16, it is very likely that you’ll find something for you, be it a micro-bikini or an unbelievably cozy sweater. Bring it back to those girls-gone-wild ads, so what?! It’s the human figure in its most natural form. It used to just be Kate Moss and Giselle that we’d see modeling the clothes we’re expected to wear. With American Apparel’s real models, one of the sales associates at your local store could be the one modeling the pants you want! How cool is it that as a society, we are starting to break down the walls of conventional beauty? The American Apparel models are un-airbrushed, raw individuals who submit their photos to the company online from around the world or are simply stumbled upon. It’s a grassroots operation, it’s challenging the rules of fashion and I, for one, love it. Maybe I don’t love the occasional hairy butt cheek that I’m greeted with on a billboard. But if it’s making young people realize that they, too, are picture perfect, than that’s a shock I’m willing to absorb.
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BY CURTIS TE BRINKE this one is for the nights i have
hazy memories of, and the people who inform me of it later. Last month I was having a conversation with a friend in the Underground. The night was wearing on and he had spent the majority of it lounging at the bar, throwing back mixed drink after mixed drink as the actual clubbing took place on the floor below us. To be honest, if I had the cash and liver for it, I would be doing the exact same thing. So there we are, across a table from one another. Him significantly more sloppy than I was at the time. He just wasn’t feeling the night club atmosphere, he told me. And I could relate. There are two kinds of people in this world, to
take a very deterministic stance on the matter: Pub People and Club People. The distinction runs something like this: Club People are more inclined to want to go out dancing. Pub People prefer a more laid back approach. For us it’s more about getting a pitcher with a friend or two, talking about God-knows-what and maybe running into some people we know at the same time. Personally I fall under the Pub persuasion. Dancing to techno music in a sweaty hole-in-the-wall isn’t my speed. It’s gotten to the point where sometimes I just go to the Ab when I don’t know where else to go. As if being surrounded by cigarette smoke and dimly lit undergrads somehow validates the time I would
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Pub culture is a flexible thing. It allows you to hole up in a corner with your notebook and a cup of coffee, meet an entire table of people, or float around the room talking to people at random. otherwise be whiling away at home. My discomfort with social situations and my compulsive people watching habit duke it out the entire time. Pubs allow for a certain kind of experience that clubs just can’t quite obtain. For us it’s the idea of going out and seeking conversation, drunk or otherwise. It’s about meeting new people and actually getting to talk to that one person you keep seeing over and over again but never say a word to. Pub culture is a flexible thing. It allows you to hole up in a corner with your notebook and a cup of coffee, meet an entire table of
people, or float around the room talking to people at random. For those of us who are never sure how they want to interact (or not interact) with people this is ideal. Its not just the way it enables my antisocial behavior. Pub culture also creates a very specific kind of community. People who frequent a specific pub have a sense of ownership towards it, and a sense of shared culture and camaraderie with everyone else who spends far too much time in there. You get to know the bartenders, the people who always share the
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table next to you, or like I said, the guy who is always sitting in the corner with his notebook. It is shared experiences, shared pitchers, and a shared sense of community. It’s that kind of experience that brings all us out to our familiar stools and favourite tables. Maybe it’s the community you feel with an old friend, or the Political Science major you just met sitting at the table next to you. It’s all good, really. So maybe I’ll see you at the next Pub Night. You can tell me all about it on Friday.
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HEALTH
SPINACH AND ARTICHOKE DIP BY NIGEL D’SOUZA Hey everybody! I’m back with another recipe, but this one isn’t meant to last you a while. I put in something Artichoke-y for the Artichoke! This recipe is great for when you’re chilling out with your friends or having a night in with your house. Best of all, all the ingredients are cheap and easy to find in any grocery store.
1 package of chopped spinach
1) Boil the spinach, drain the water and put the spinach into a glass mixing bowl.
1 small jar of pickled artichoke hearts
2) Chop up the artichoke hearts and add them into the mixing bowl with the spinach (If you want to, you can also add a little bit of the pickling liquid to the mixing bowl as well).
1 cup of sour cream 1 cup of Mayonnaise 1 brick of Monterey Jack Cheese (shredded) (if you can’t find this, Mozzarella is pretty good too!)
3) Add the sour cream, and the mayonnaise to the mixing bowl and mix the contents together. 4) Shred half of the brick of Monterrey Jack cheese and mix it into the bowl. 5) Put it into a toaster oven or an oven at 350 degrees F for about 10 – 15 minutes 6) Take out the bowl from the oven, and shred the other half of the cheese and place the cheese on top of the dip. 7) Put the bowl back into the toaster oven or oven and broil it until the cheese has browned a little bit. 8) Let it cool, and then grab some bread and enjoy! This is an amazing recipe for a party. I suggest eating this with pumpernickel or rye bread. Also, if you have any left over, cover the bowl with saran wrap and put it in the fridge. This dip also happens to make a really good sandwich spread. Until next month, happy eating!
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Are We Slaves to Technology? BY SARAH ELLISON i’ve heard this phrase used before
(especially by upset family members when I don’t step away from the computer quickly enough for meals or chores), but I’ve never really taken the time to really think about what it means. According to the Merriam-Webster dictionary, a slave is a “person who is the legal property of another and is forced to obey them”. The message behind the phrase is clear - though we are not ‘owned’ by technology as it is inanimate, I believe we are helplessly tied to it to the point that we could not cope in a world without it. The definition of technology is “the application of scientific knowledge for practical purposes” such as with “machinery and equipment developed for such scientific knowledge”. Most people associate technology with electronics - such as TVs, laptops, ipods, game consoles - and think that they could live without it. But the definition of technology encompasses so much more. I don’t know about any of you, but I don’t know how to make a fire - at least, not without a lighter, something else that falls into the title of ‘technology’ as an application with a practical purpose. I also rely on our stove to cook, fridge to preserve food, and our microwave to reheat meals. Then there is transportation - I don’t always use the family car. Sometimes I
take the bus. To get to my city center, it takes me 40 minutes to walk. If I am in no hurry, that really isn’t a bad amount of time - I could even bike it in 20 minutes, probably. But even a bike would not exist in a world without technology. I rely on technology to go about my daily life, from flushing the toilet and brushing my teeth, to cooking food and washing my clothes. But am I a ‘slave’ to it? Is that the right word? Slavery is more commonly associated with the oppressed, forced labour of the masses. As ‘slaves of technology’, I suppose this would mean that technology forces itself down upon us - and in a broad sense, this may be true. Among the first things I do in the morning is turn my computer on during school, to work on projects, during summer, to check my email and websites I subscribe to. Yet the word slave really doesn’t feel appropriate. While I am addicted to and extremely reliant to it, I don’t feel oppressed by it - in fact, technology is often very liberating. One only has to recall the role technology had to play in the Egyptian revolution. On the other hand, it is hard to go anywhere in first world countries and not see some bit of technology - and in some cases, it does oppress us, creating those people who do not go out into the world at all, but
rather remain indoors and interact with the world through technology. We can now order food online from restaurants and grocery stores; we can talk to family members thousands of kilometers away; we don’t even have to walk up and down the stairs if we don’t want to. Humans are social creatures, and all animals need sunlight to survive. In this way, something that we view as highly liberating for all that it can do for us, is actually oppressing and limiting us, by allowing us to hide behind the sweet allure of Nyan Cat and 4chan. While I do not fit into most of these ‘slave to technology’ consequences, in some ways I know I still am. I don’t go out as often as I should, even to just enjoy nature and breathe in the fresh air. If I am expecting an email, I find myself restricted by the computer because I cannot fathom going anywhere until I have received and replied to it. In some way I suppose I could be considered a ‘slave to technology’, but given the varying definitions of both of these words, the same could be said for all of us.
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HEALTH
BY MADDY PATTON SO WHAT IS THE “HONEYMOON
phase?” It’s the beginning of a relationship where your partner just seems perfect in your eyes. They’re the smartest, hottest, funniest person you’ve ever met in you’re life and they’re all you can think about, and ohmygod everything is so amazing all the time. It’s so crazy, you guys like, never fight, and have sex like three times a day, and this is the best thing that’s ever happened to you, you’re totally getting married and having ten kids, ohmygosh. Or maybe not, you think to yourself, afterthe breakup not a month later. What is it that makes you feel so ridiculously in love, and all of a sudden so not? Spoiler alert: its
something called “limerence”, and it happens because evolution thinks you’ll be single forever unless it drugs you up with hormones. A whole bunch of things go into the bubbly concoction that creates limerence. First things you’re drugged up with are huge amounts of sex hormones especially testosterone to create that lust. Lust is that that, “Holy crap, what are my hands even doing right now, and why can’t I keep them off you,” feeling and its why you’re making out 24/7, even when it makes everyone else in the subway/public park/ McDonalds/your friend Jim’s house super uncomfortable. The more kissing that goes on, the lustier it all gets,
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which is actually due to the fact that in a heterosexual kiss, the male transfers testosterone to the female through saliva and jumpstarts her sex drive. I looked, but I couldn’t find any research on how homosexual kissing iffers, which should totally change. I encourage gay couples to seek out psychology majors and just make out in front of them until they break down and write a paper on it. Do it for science. The next thing that happens is that your prefrontal cortex actually just shuts off for a while. You know that, “You are just the smartest, funniest, hottest, most perfect person on the planet,” feeling I was talking about earlier? Yeah, that’s because the part of your brain that detects flaws, lies, and is in charge of social judgments goes AWOL for a while. With your prefrontal cortex out of commission, you’ll go blissfully unaware of your new partner’s crippling heroin addiction/other lovers/evil plot to take over the world. Take comfort in knowing that if you’ve ever dated someone just awful but didn’t realize until after the fact, you weren’t stupid for not seeing it before. Your brain is just a dick that wants you to unwittingly marry a sociopath. The last part of limerence is elevated dopamine levels and diminished
serotonin levels. These two go hand in hand in making you feel those butterflies in your stomach. Dopamine is the reward chemical, and it floods your brain whenever you see your partner, which gives you the warm fuzzies inside. At the same time, your serotonin levels go down which is why you might be nervous around them. Serotonin is the chemical that makes you feel calm and level headed, so the less you have, the more anxious you feel. You can blame serotonin for being clingy and sobbing in a corner over unanswered texts in the beginning of a relationship. Serotonin is also a hunger chemical, so chances are you’re probably eating less in the midst of limerence because your brain is so distracted with all this romance, it actually forgets to tell you you’re hungry. Stupid brain. Limerence is evolution’s way of forcing you to find a mate, and once its work is done, it rides off into the sunset so you aren’t neurotic forever. It kind of has to, otherwise we’d all be gullible idiots who don’t eat and enthusiastically make out in subway cars all day, (seriously you guys, no. Stop that.) The end of limerence is the end of a lot of relationships, unfortunately. Once you stop having sex every five
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“You are just the smartest, funniest, hottest, most perfect person on the planet” seconds, don’t get those butterflies when you see them anymore and begin to notice their occupation as a hitman for the mafia, it’s time to break things off. Interestingly enough, there are people who stay in the honeymoon phase forever due to a mutation in their brain. Psychologists lovingly refer to these people as “swans” because swans mate for life, which is so cute I just threw up in my mouth a little. “Swans,” however are technically classified as having a mild-severe form of OCD because of the obsessive nature of limerence-love. So there’s that.
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Four Months With A Blue Collar
BY CONNOR JOHNSTONE It was four weeks into my job at Pioneer Pools that I truly realized what a different world I had entered. We were in the work truck listening to the radio, my boss and I, taking a break from the usual country fare for London’s classic rock station. I had to suppress my excitement when Creep began to play, five seconds later, with a groan and a quick turn of the knob back to Tim Mcgraw my dreams were crushed. I almost looked at my boss with astonishment, there were people who didn’t like Radiohead? A strange place for an art student indeed.
Like most first years last year I began the summer with an overwhelming sense of dread, as I knew the break wasn’t for idle play anymore. Facing the reality of finding work and raising the money I would need to continue my education I had to take the first tentative steps outside the comforting bubble of York and into the foreign field of the workforce. Having little in the way of experience or references I took to the most accessible form of employment for young men in my situation; physical drudgery, specifically the life of a pool boy.
I’d had other jobs before of course, I’d spent a summer as a Park Ranger and another at a resort so I was no stranger to the reality of responsibility and physical labour. But I was used to being coddled, as these jobs had been in situations where my inexperience was taken into account. Entering my first real job I was certainly not prepared for the experience ahead. I am not a remotely blue collar person, both my parents are journalists and when I talk to them it’s more likely to be about Chekhov than the proper installation of
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a carburetor. Yet here I was, in the least suited but only available job I could find. For the first few weeks I was terrified, I didn’t know the difference between a Robbie and a Philips head and I could see the incredulous look on my boss’ face when he saw me hook up a pump backwards. As it turns out however, the work was the easiest thing to figure out and I had grasped the routine of each day within the first month. More difficult was my assimilation into the environment, as I became immersed into a culture of people I had almost never encountered in my previous life. While remaining corrigible on the surface I took every blow to my ego with a certain snotty arrogance. When I was reprimanded or patronized for a sloppy job or a lack of knowledge I would remind myself that an air brake certification hung above my supervisors desk instead of a diploma. It was this poisonous attitude that took me the longest to rid myself of.
Eventually the long hours and exhaustion wore down the snobbery I had been cultivating as a pampered film student and I began to open up more easily to my coworkers. Starting with sports and cars I had managed to fake my way through a few conversations by pretending to be a baseball and motorcycle enthusiast. These were respectable interests, but far enough away from hockey and trucks for me to be called out on my phoniness. Though the fare was usually light and reserved to commonalities like the stiff rear end of our supervisor, sometimes the long drives into the country between pools would delve into discussions about dreams, family and the future. There was a real wisdom behind these talks, and when I stopped judging and started lis tening I became aware of that. I realized just how awful I had been by holding myself up on a pedestal just because I was lucky enough to get higher education.
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I remember most vividly the dream my boss had of opening his own farm someday. He’d had everything planned out down to the detail and I’d heard almost all of it as the summer progressed. It wasn’t something dramatic or far fetched, he didn’t want to win the lottery or marry a celebrity, just to live out the rest of his life doing something that would make him happy. That stuck with me more than anything I think, and although I’m back in my natural habitat surrounded by dusty professors and the macaroni stink of 16mm film I sincerely hope the grounded sensibilities exposed to me through my first experience in a real job stay with me for good. I cannot speak for those of you reading this, but if our summers were at all similar, I implore you to reflect on the opportunity given to you and the experiences that are to be had in the world beyond university.