mag
GO FORTH 06
Through the Years Artichoke History
APRIL 2016 | VOL. 5 N o . 6
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ARTICHOKE
CONTRIBUTORS Editor-in-chief
Mayeesha Chowdhury
Writers
Alex Gage Amber Ghosh ChantaĂŠ Candize Christina Zisko Elijah Budgeon
Art Director
Karen Keung
Designers
Camilla Dinardo Caroline Gonzales Daniel Kim Justin Veneracion Maryanne Cruz Olivia Chan Scott Osbourne
Front cover image via NASA & National Geographic
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CONTENTS APRIL 2016
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Feature: Through the Years Winters Archives
Major Speak 12
Ten Things Amber Ghosh
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Round Up to Level Up ChantaĂŠ Candize
Entertainment 16
Between Panels: Panels, Cells, and Reels Elijah Budgeon
Lifestyle 18
Instagram Envy Christina Zisko
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Keep Calm and Study On Christina Zisko
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The Portrait of a Neo-Bohemian Alex Gage
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Think Carefully Alex Gage
VOL 5. No. 6 | APRIL 2016
Musings
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ARTICHOKE
LETTER FROM THE EDITOR
HEY EVERYONE! This issue, and my letter marks the end of the 2015-16 school year, and ends Artichoke’s fifth year! To commemorate the end of the year, and our fifth birthday, we bring you Artichoke—Through the Years: a look through our five year long creative journey. Have a look through the issue to re-live some of Artichoke’s history. Aside from that, we bring you some parting sentiments from our current writing team! To end the issue, I would like to give the warmest virtual hug to Winters College Council’15-16 for being an amazing support system both for myself, and for the magazine as a whole. I could not have pulled this off without you guys. Not only have they been a great council, but they have also constantly validated and appreciated the work that my team and I have put into making this year happen! You guys make the Winters community magical. I would also like to extend my appreciation and gratitude to my co-editor, and our Design Editor— Karen Keung, for being her amazing talented self, and for putting up with me, my constant requests, and the crazy timelines. You’ve been a rock in not only making The Artichoke look bloody amazing, but also in handling an exceptional team of designers, and in supporting me—Thank you. Big shout outs to Lindsey Presswell for taking the initiative to create The Artichoke, and to Emma Beckett for believing in me to carry on the torch. It has been amazing watching the magazine and the team grow over the last few years, and watching my team grow over the past school year. Last, but definitely not the least, I would like to thank my writing team, who ultimately became my huge virtual family—for letting me nag you and constantly annoy you via e-mail (thanks for not blocking me). Have a wonderful summer, and thank you for reading.
SIGNING OFF, WITH LOVE, M
WINTERS
NOTES FROM DESIGN DEAR READERS, What a journey it’s been! Having been part of Artichoke since my first year at York, it is bittersweet to write this final letter. It’s been a wonderful time designing for Artichoke; and, after two years art directing, I’ve learned and enjoyed so much through the content that our wonderful writers have created. So many thanks to my hard-working designers for their commitment and creativity. Thank you to Mayeesha for helming Artichoke this past year—it’s been a pleasure. Thank you to our readers, of course, who this is all for. The Winters community is a wonderfully warm one, and I’m so happy to have played a small part in it. I can’t wait to see what you all come up with in the coming year!
SEE YOU SOON, KAREN
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ARTICHOKE
THROUGH THE YEARS W I N T E R S
F R E E
P R E S S
artichoke M A G A Z I N E
LIVING ARTIST? AS AN
W I N T E R S
F R E E
P R E S S
WHAT
WEEKENDS IN WINTERS ARE LIKE WANNA TAKE
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ITALY101
FEATURE
To end The Artichoke’s fifth year, we bring you a look through Winters Free Press’ long and endearing journey. Since its inception, the free press has encouraged student involvement and creativity through their various publications. What had first started as a monthly newspaper named Mondo, then turned into a newsletter booklet titled Winters Free Press, to ultimately become what you’re reading right now—a monthly magazine named The Artichoke. Enjoy this showcase of some of our old cover art, outlining the history of the free press.
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Now at Winters we are no so much about the details, specifics, and politics— we’re more
ot
about the artistic
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ARTICHOKE
What are three things that you consider to be essential to the Winters frosh experience? Open-mindedness. I’m all about spirit. Big spirit. Bravery. Just get out of your shell, try something new for the first time, I bet you’ll like it.
artichoke
F R E E
HEADPHONES AND OUR CULTURE
Say yes to everything. Just take every opportunity that comes your way during the week, help out wherever you can, get to know as many people as you possibly can, and you will not be sorry for it.
P R E S S
M A G A Z I N E
What do you think makes it worth it?
FEATURE
Where is your favourite place to study/relax on campus? Well, I really like the nature around the college,11 the gardens, the shrubbery, those little nooks, or I guess you could call them holes… where you just get to enjoy the outdoors. The nature. The greenery.
Absolutely everything makes it worth it. Being at the college, meeting new people, getting to know people you already know a lot better. It’s one of those experiences that you look back on and you remember as being one of the greatest. I’m in my 4th year and every time I think about my frosh week I still get that rush of energy. It’s something that I’ll remember for the rest of my life.
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ARTICHOKE
10 THINGS I WILL MISS DEARLY ABOUT BEING A MEMBER OF WCC I’ve had the pleasure of being a member of Winters College Council for two years now, so why not share with you readers the heartache I will be going through after this semester is over and I am no longer apart of this wonderful family. I sure will never forget...
AMBER GHOSH
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MAJOR SPEAK
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Council gatherings—whether it be a twerk-filled evenings of celebratory shenanigans, council retreats at a beautiful cottage, or council bonding through the best icebreaker games known to man; these gatherings will truly be missed. Resume building! Council provides numerous opportunities to enhance your skill set that I otherwise wouldn’t have known about if it wasn’t for council.
Getting out of my comfort zone; that is what happens when an Urban Studies & Business Economics students finds home in an arts’ college council.
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Having the biggest support system at York University. wcc members are some of the loyalist friends I’ve made in university.
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Learning how to make a Facebook poll; that sh*t comes in handy!
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Establishing relationships with faculty and other student unions on campus.
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Making the most kick-ass of friends.
My time on council has been a great one and I strongly encourage those who haven’t gotten involved throughout the college, or in university in general; to strongly consider doing so. I wish good luck to those who will form the future generations of council! xo
Friday morning meetings… They sure did kick off the weekend.
Amending our constitution during 4 hour meetings on a weekend… Worth it? I’d said so.
Seeing Montreal in just a whole new way.
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ARTICHOKE
ROUND UP TO LEVEL UP BY CHANTAÉ CANDIZE
Why don’t you look at that; my second year of university has arrived it’s final stop (thank god) and I can’t fully explain to you what has happened during this journey because…that was quick. My second year went a little something like this; I had 7 courses first semester, 1 semi break up, 15 lbs weight gain (not because of the break up thank you very much), work 4 days out of the week (what are weekends?), extra curricular activities, working on my portfolio and start up, all on top of this thing called a social life and simply being. Oh and the dashes of salt life throws at you unexpectedly. I consistently get the question, “How did you manage all of that Chantaé?!”, and my answer is; I didn’t choose to-life continued on no matter what. As cliché as that sounds, it’s true; life goes on. Whether I wanted a day to recuperate and breathe, or a day of sweet nothings, I always continue on with what I could and can currently do. The most impactful experience I have learned is that it is crucial, and I highly stress crucial to the well being of oneself is allotting some time to just simply chill. If it’s a minimum of 5 hours of the week for yourself- if you have the privilege of having a full day, go on and take that day; I ain’t mad at ya but it is needed. I’ve learned the importance of mental health by
experiencing an immense amount of turmoil of dismay, countless breakdowns (I mean not even all the 75% off Valentines day chocolate couldn’t help), experiencing an anxiety attack for the first e and living through an indescribable feeling of being lost, confused, overly exhausted and a burning soul without passion. I started to burn out mid October and to be honest, I still can’t recover from that overly jam packed schedule (long story on how I got to 7 courses). Life challenged me in ways that had me rolling in my sleep, consistently worried and afraid of things I don’t know myself. I passed all my classes however not to the academic level that I know I am capable of which honestly disappoints me. Through all of this, I can genuinely say that I’ve grown thick skin, a stronger, healthier mentality and one hell of a “do more, work harder” (Casey Neistat) attitude. It’s the idea of not feeling sorry for yourself because that gets you no. where. With the unconditional support of my mom and life long friends (the fact that they’ve seen and been with me through times where I could barely grasp and continuously support mekeepers!), I can say surround yourself with people who are positive and smarter than you will help keep your life boat afloat.
Major Speak
I was in a relationship with someone that I was so proud and happy to call a friend (before and after our relationship) but things changed dramatically and I experience a new concept of life that I never experienced before: a real relationship. I can’t say love, because, I don’t believe we reached there. I’ve learned that words do hurt when coming from someone you do truly care for. As Kanye West says in his lyrically rich tune Bittersweet, “You cut me deep *****/you cut me like surgery”, played as an anthem as my time of pure confusion ringed through my thoughts daily. I had to find my strength and remind myself what I believe in and what I know is right. But as much sh*t that relationship brought on top of everything, I’m so glad at the end of the day, him and I have a healthier relationship as friends and we can still kick it and keep things cordial and respectable. 4 courses, 1 job, single gal, new brand and several naps later, I’m alive and still here. I’m still trying to find stability in the ending of this year, but genuinely thankful for al the experiences. With all of that upside down turn of events for the past 6 months, I’ve had some super bright, joyous moments that made the tears that would roll down my warm cheeks taste sweet in comparison to the salty ones that nested in my pillows. At the end of my storm, I’m finally seeing that rainbow that everyone lusts for (please tell me there are the two pots of gold, abundantly filled to help a girl out over here). Second year made me think in ways that I did not know was possible. Second year showed me the university struggle in an art major and business minor. Second year showed me that first year was beautifully powered with fairy dust and really could not prepare me fore second year. This year forced me to be someone who I never knew I was; a strong queen. This year I have experienced is the most challenging of my nearly 20 year life span, but I can’t describe to you enough that I’m so thankful for the growth and the people that have held me down and kept it real. I’m thankful that I came out of this saying, “Hey girl, you are Slayoncé”. And with that, I will tell anyone to keep pushing, keep hustling because it gets better. Honestly. With love, I sign out for the the last article of the 2015-2016 school year, Chantaé Candize
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ARTICHOKE
Between Panels: A Modern Age Explained Panels, Cells and Reels BY ELIJAH BUDGEON
The comic industry made a small rebound in the late 90’s with the rise of trade paperbacks, collected reprints of comics bound in book form and sold at bookstores. Aiding this rebound was the animated series of Batman, Superman, the X-Men, and Spider-Man, introducing new generations of children to these icons. This gave the industry the shot in the arm it needed to stay afloat. While the 1978 Superman film and the 1989 Batman film are cited as Comic book movies began to find mainstream success beginning with Blade in 1998. Save for the odd exception, before this period, comic book movies weren’t respected— the popular attitude was that they weren’t very good. Blade was the first proof that this type of movie could be done well, and taken seriously. Following Blade’s success came X-Men in 2000, bringing a grounded interpretation of the team of mutants to theaters, and SpiderMan in 2001.
When September 11th happened, the reality between the real and fantastic blurred. Many were shocked and caught off-guard by the event, but as reflections of reality, comics addressed it, and acknowledged the everyday heroes, the police, and the firefighters. Four year later, after the War on Terror was underway, the Marvel crossover event Civil War was written. It was a response to the question of how much individual freedom should be surrendered for the sake of security, in this context, should superheroes be registered like everyday heroes, or should they remain free to act outside the law. The success of the increasingly popular movies affected change in the comics they were based on, following the lead of the movies. The cartoons continue to help bolster popularity for the properties they’re based on. Marvel Entertainment, now their own film production company independent of Fox and Sony (who hold the rights to
X-Men and Spider-Man family rights respectively), goes forward with their five year plan, releasing individual movies set within a shared universe—Ironman, The Incredible Hulk, Ironman 2, Thor, and Captain America: The First Avenger—building to The Avengers in 2012. Comic book properties are enjoying a renaissance of success in the theatres and on television. Marvel’s The Avengers grossed 207 million dollars opening weekend, later breaking 2012 box office records, and CW’s The Flash’s first season became a breakout hit of 2015. People now, are ready for the fantastic, for bright costumes, thunder gods standing next to green rage giants, and super-intelligent gorillas. We’re at a point now where we’ve caught up. It’s hard to define what age we’re in now, whether we’ve crossed over into the post-modern age or still living and reading through the modern age— nobody agrees on this.
ENTERTAINMENT
Comics have more genre diverse now than they’ve had in sometime, with the superhero majority coexisting on the stands with westerns, horror, fantasy, and science fiction comics—all with different and unique flavours of story. There’s something for everyone, and this is made possible because of creator owned books at third party publishers like Image Comics who produced hits such as Saga and The Walking Dead, as well as capable and sometimes named
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talent like Neil Gaiman (Coraline), J. Michael Straczynski (BabylonFive), Stephen King, and Max Landis (Chronicle). We haven’t escaped the grit, or the doom and gloom of the last age, but we’ve made room for the fun, quirky, and experimental too. Comics are finally accepted widely as a worthwhile storytelling medium, coming a long way from trash you wouldn’t want to be caught reading.
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ARTICHOKE
INSTAGRAM ENVY
BY CHRISTINA ZISKO
LIFESTYLE
The advent of social media has connected people like never before. Our parents’ generations had to use magazines or television shows to keep up with their favourite celebrities, and oftentimes lost touch with classmates after graduation. Us, on the other hand, can follow our favourite singer’s every move through platforms like Instagram and Snapchat. And if you’re anything like me, you still know the business of most of your elementary and high school peers by keeping up with their posts. Even if I haven’t spoken to a person in years, I’m usually up to date about who they’re dating, if they’ve had a breakup, and various other bits of personal information. What’s most interesting is that I’m not even embarrassed to admit that, and I think that’s because everyone is guilty of it from time to time. It’s not a secret that we spend time creeping celebrities, acquaintances, and even strangers. There’s nothing wrong with a little harmless scrolling. The problem occurs when we begin to compare our own lives to the carefully constructed online lives of friends and celebrities. Take Kim Kardashian, for example. She has 63 million followers on Instagram, and is constantly posting shots of her glamourous life, may it be selfies showing off perfect hair and makeup, or #ootd shots to remind us that her closet is pretty much never-ending. It can be really tempting to open your own closet and begin to feel like quite the peasant. The comparisons that are closer to home are the ones we make with our friends, or friendsof-friends. We find an account
through Instagram’s “Explore” page and before we know it we’re looking at posts from 106 weeks ago. Where did she get that top? Her hair is so shiny. I wish I could contour like that. How did she get 3000 followers? The problem is, as the quote says, we’re comparing our behind-the-scenes to another person’s highlight reel. An Instagram, or any other social media account, is a collection of a person’s best moments. When they’re out with friends, just got their hair done, or are wearing a great outfit. Not many people are willing to post a photo of them studying for a test, working a long shift, or right when they wake up. These are the times most of us try to keep under wraps, because they’re not considered “Instagramworthy”. There’s nothing especially wrong with wanting to convey the best version of oneself on social media. We simply need to understand that, as a generation of social media savvy young adults, that a Facebook or Instagram profile isn’t real life. It’s only a small glimpse. At times even that small glimpse isn’t entirely truthful. For example, another Kardashian sister, Khloe, came under fire recently for Photoshopping a selfie of herself. It was caught when her followers noticed that the doorway in which she was standing in was warped, showing that Khloe slimmed her hips and thighs in the photo. Even the Queen B herself, Beyonce, has been accused of Photoshopping her Instagram posts. Pair that with professional make-up artists, free clothing, and personal stylists, and you get an unattainable ideal. There’s no way anyone could
19 compare themselves to these posts and feel up to par. Don’t get me wrong, I take a hell of a lot of pride in my Instagram page. I love taking photos, adding filters, and coming up with captions. I also love scrolling through the profiles of my friends, favourite celebrities, and yes, randoms as well. I just try to remember to take social media with a grain of salt, so to speak. Maybe the flawless selfie that appears on your timeline took 20 tries (I know I’ve been guilty of that!). There’s nothing wrong with wanting to look your best online, as long as social media doesn’t get in the way of real living. Once that cute group photo of you and your friends gets posted, put the phone down and actually enjoy the party. Or if you spend one Friday night in with your family, don’t obsessively lurk on Instagram to see all of the things your followers are doing. It’ll give you a case of fomo (Fear Of Missing Out) when all you are seeing is a one second snapshot of a person’s night. Besides, maybe next weekend when you’re out, they’ll be at home, and the cycle starts all over again! I challenge you and myself to focus this school break on spending more time living in the moment and less worrying about social media comparisons. Just to enjoy what we’re doing, when we’re doing it. Of course, taking a few pictures to post is totally fine. As long as the party, sightseeing, or dinner out is the main event, not the photo shoot. So now that I’ve taken a few selfies of myself typing away, should I use Valencia? Hudson? Sierra?
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ARTICHOKE
KEEP CALM AND STUDY ON CHRISTINA ZISKO
It’s that time of year again- exams are around the corner, and all the essay and assignment due dates are creeping up. Add in part time work or extra-curriculars and that’s a recipe for anxiety. Even the most organized and disciplined student isn’t immune to the end of the semester chaos. But just because you have a lot on your plate these next few weeks doesn’t mean you can’t take some time to relax. Here are the best ways to combat the stress of exam time.
LIFESTYLE
Get Moving I get it, when you’ve spent all day in the library, the last thing you may want to do is log hours in at the gym. But trust me, even just twenty minutes spent running, on the elliptical, or doing your favourite type of cardio (a fun Zumba class maybe?) can do wonders for your stress level. Getting your heart rate up helps your body release endorphins, which are basically “feel-good” chemicals, and after cramming, that sounds pretty good to me. (Free) Massages It’s no surprise that massages can help people destress, but it can be a surprise to learn how many other benefits there are. Anxiety, headaches and insomnia are a few of the conditions that can improve with an hour on the massage table. Speaking from personal experience, sessions with an RMT (Registered Massage Therapist) can be covered under your or your parents health insurance plan, making them totally free! And we all know “free” is one of university students’ favourite words. Swap Your Coffee for Tea “Tea is like a hug in a cup.”—Patrick Jane, The Mentalist Just the act of sipping a warm cup of tea can have a calming effect. Teas like camomile and peppermint can help ease stress and anxiety during busy exam times. They are also naturally caffeine free, meaning that having a mug before bed will actually help you fall asleep. Reserve the night time coffee for your all night cram sessions, but consider making tea your new go-to!
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Stop and Smell the Lavender Aromatherapy has been used for thousands of years, and one of the major reasons is for stress relief. The next time you’re feeling stressed, light a lavender or mint scented candle. Just the smell filling your bedroom while note-taking can help you relax! Try the “Relax- Lavender Linens” or “Eucalyptus Spearmint” candles by Bath and Body Works ($22.50 CAD) during your next study session. Take a Minute to Meditate Something as simple as closing your eyes and breathing for a few minutes can significantly re- duce stress. What can be easier than that? Meditation quiets your mind, which leads to less anxiety. If keeping perfectly still isn’t your cup of (camomile or peppermint) tea, try some yoga. Taking time out of your day to stretch not only helps your flexibility and fitness level, but also is an awesome way to de-stress. I call that a triple threat. The next time you have three essays to write in one week, or an exam you are so not prepared for, and are about to freak out, try one (or all!) of these tips to combat stress. Each and every one of these methods can help you to keep calm and study on.
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ARTICHOKE
THE PORTRAIT OF A NEO-BOHEMIAN BY ALEX GAGE She’s wearing a combat jacket and cuts her own hair, currently tied up behind a bandanna—you swear you had napkins of the same material once. Thin: she exists between strung-out, exhausted, and stoned; from time to time sparking evanescent flares of excitement. Strapped for cash, she casually peruses her options dumpster diving with less hesitation than you peruse the day-olds shelf. Yet she’s bought a three-dollar vegan chocolate-chip cookie to go with her artisanal coffee in a downtown café. During some of the unwieldy silences which smother our conversation I wonder whether it is because she is too dumb or I am too cynical (though my cynicism is only a most extreme form of optimism). But in times of uncertainty, prudence dictates that one give the benefit of the doubt until proven otherwise. She’s an art-student like the kind you see shivering outside of the academy pinching a cigarette. It’s almost a required class. She’s bussed across the country to climb a mountain and live on an island. She goes to rallies and is into street art and righteous vandalism. Currently, a scheme is underway which will reap the clandestine money some loop-hole in the bureaucracy has accidentally entitled native born citizens: Freemen on the Land she says. Her explanation derails after colliding with the definition. Her boyfriend is the mastermind; you can’t just Google this shit. People disappear. Proof, prudence, law,
uncertainty: laws uncertain of certain laws on lawful certainty prudentially prove proof of law to be less than certain in no uncertain terms here. So I am meant to understand—I am not sure that I do. She actually did it. She is one of the neobohemians. Coming from a well off home and a comfy petite-bourgeois life, she has opted for no more than a transient stability of residence and scowls at the offense of society. After a crash and burn year of life on her own, hers consists of maintaining school this time ‘round, an aloof though outwardly dedicated social circle, the drug culture, social and civic demonstrations, and the constant puzzlement of being. I list that fact last as though it provides impetus for all the preceding elements. It is the item with the least time and energy allotted. In fact, its solving is perhaps the most consciously averted of all goals. Any attempts are generally the consequence of depression, failure, or drugs and typically result in compounding phases of de facto nihilism. Why? I thought this was the artistic dream in its purest form. The neo-bohemian is not happier than their brothers and sisters entrenched in the officially un-natural, corrupt, and unsustainable system. There is no Romanticism in her malcontent – perhaps the truly tragic element is this. Her self-fulfillment is fleeting at the best of times. Accomplishment only pays
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against the mortgage and causes a flinch-like reaction to party hard or get hard stoned ‘till you’re gone all soft. After a weekend of partying comes the yearning to complete neglected assignments and feel like she’s doing something with herself and becoming something. Once more, she sizes up the debt and hauls ass to the wrong class with a hangover and week-long comedown spilled all over her work and dribbling down her chin. Certainly though, with all due credit, she’s come a long way. But wait…. These are the same pains as the hipsters, squares, elite and outcasts; all but the most prodigious and even then, their godly ranks are not immune. The same or perhaps an inverse system of gluttony and austerity: I eat rich animal flesh; the neo-bohemian scrounges wilting vegetables. You moderate most of your alcohol to wine with dinner and three beers at the pub while you talk about a good band you heard (unless it’s a special occasion to get stupid and the only drugs you take or “mistake” come from a little bottle from the pharmacy); the neo-bohemian camps out upstairs on a boycott of St. Patrick’s day (patron saint of love) with an indiscriminate forty until she’s forgotten the quaint enchantment that is human speech and the other higher brain functions and spends Sunday night ramped up on speed, recounting reality-rending old ladies at acid fueled protests. What I didn’t write earlier is just how scarily absent she was. So it seems we are endlessly fragmented, stretched impossibly thin, or our bones and our insides are broken up into pieces and our skins pulled taught across the scatter, hearts still puffing, barely visible: little rattling drums marching to an absurd eye-less discord. It’s soberingly cold outside the café tonight and it seems we are all waiting for summer. That’s about it, really: We are all waiting for summer. I like that. It is simple, it’s sweet, and we are all waiting for summer. The structure of life is unchanged; the neo-bohemian only observes it from a converging perspective. Relief becomes raised,
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illuminated becomes obscured, and vice versa but the shape remains the same. We mount ostensibly opposed yet completely and integrally concomitant steps. Not necessarily climb or descent, but all us living mount or perch on it somewhere. The best part is that this structure exists in a gravitational mirror; the pull of gravity draws always from the center of its mass and towards the extremities. Envisage a globe steepled with pyramids outward from the infinity of possible angles across its spherical surface area. At its center is the cavity of all creation: the womb: Birth. It does not exert gravitational pull of its own equal to the surrounding outer space but does impede outward movement with a weight which pulls more than merely at the limbs, an ambivalent psychological commitment. In any given direction then, the Person moves, climbing and eventually sliding up or down and out along the ledged, creviced and plateaued walls of each geometric course of life. Bearing the course or swerving to another wall, even leaping from structure to structure – but always moving from inside-outwards at a variable but inexorable pace. It is impossible to know which way is proverbial “up” or tell it from likewise colloquial “down.” All that is certain is that the farther we move towards the extreme limits of the life structure, the stronger the pull of gravity, the gravity of death. It is a necessary force to complete the propulsive magnetism of life; it is the one sure thing that pushes most of us out of bed in the mornings: we live, we die. However, we still don’t know if after our struggle we’ll climb to such a point as to find a plateau or the zenith and slip in apotheosis into the sky, becoming stars; or if we’ll slide down into ruin, rubble, and the fossils of misery. The neo-bohemian doesn’t care to know, holding out. If it’s true, four months from now her being in will become her enlightenment—because we are all waiting for summer.
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ARTICHOKE
BY ALEX GAGE
Think carefully about what you are doing. That is all I ask.
We live in dangerous and exciting times. As artists, as people who have chosen a life dedicated to speaking, we must choose our statements with, not caution, but certainly care, and be deeply aware of what we are choosing to say and its possible implications. But in order to do this fully, it also requires us to reflect on why we are doing it. This means not only why we make the statements we choose to make, but why we choose to speak at all. It is easy as artists—especially for those of us trained in an academic setting—to get caught up in the heady aesthetic explanations, diatribes, and all that amounts all too often to too-simple posturing. However, mostly these refer to the tangible object of art as a “thing itself” or to an ideology attached or attributed to the work. In either case, in our
attempts to exhibit the merits and legitmate value of works in art we often run the risk of speaking to a reductionist objectification of what should remain a subject, alienating that art from what it is in it that makes it so important to us in the first place. The conversation must always encompass not only ‘what does it all mean?’ but ‘what does it all matter?'—which is really a way of asking, why? That ‘Why?’ is operational at so many levels; this is the beauty of it. We are not the first generation to feel it lives in a new and precarious age and, like always, the aspirations and anxieties of the times infuse themselves into the art. This process is only possible at great personal expense to the artists themselves; personally, economically, sometimes socially…. Wouldn’t it
be better, or at least more efficient, to spend that time and effort and money actively contributing to reinvigorate the economy instead of spending it all in an editing studio? To develop technologies to save the environment instead of singing songs about our natural disaster? Enlist in Mèdecins Sans Frontier and visit refugee camps instead of rehearsing the role of Romeo Montague? Not that you can’t theoretically do both, but let’s be realistic: Either option takes a life-time’s dedication and most of us only have one life to give. Herbie Hancock and Wayne Shorter—two uncompromising colossi in the world of jazz—recently published a comprehensive and moving open letter to the current and upcoming generation of artists. They talked about the role and du-
MUSINGS ties of artists as professionals and as human beings in the face of current global conditions. I recommend you look it up. Inspired by their letter, I asked four artists of the “current and upcoming” generation from different mediums—an actor, a musician, a game developer, and a writer—to think about what they are doing. In excerpt, here is some of what they said…. the actor I work in the theatre because there I am a storyteller. We have been storytellers since the beginning of our existence. For me it is not so much a search for the meaning of life, but a search for what it means to be alive. It is also about finding similarities in our differences, to make bold social and political statements. An artist’s job is to reflect their time. What makes the process in theatre so valuable is that it takes people coming together to create something. Not just one person, but many, both in front and behind the scenes. And it takes an audience. A community. On a personal level, the theatre provides me a chance to explore what is important to me through living—or acting!—out a path of discovery, the pursuit of excellence, taking risks, having fun, community…. and it allows me an opportunity to share my view on the world. You have to remember, without people actively practicing the craft, and this is especially true for the theatre, it will die. People will sit at home and watch what they want, when they want it, without
having to be a functioning member of society, communicating with people, sharing ideas, challenging the status quo. Sure, theatre isn’t the only way for this to happen but it is one of the oldest ways of doing this. I said earlier part of what is important about theatre is that without an audience theatre would not exist. It is about communication, listening and responding, invigorating society and even infuriating them. the musician When I was younger I had a very vivid imagination so the way that I interpret the world has always been tainted with a degree of the abstract and surreal, from dreams to imaginary visions. Anything in art that reflects that has always been really awe inspiring and driven me towards it. When I was a kid I would have been into poetry, I got into photography later on. I got into music later on and now I think what keeps me there is the catharsis and the soulful fulfilment of the creative process through the medium of music, how direct or immediately it can evoke emotion without the words of a poet. It can really cut through all that. For me what I appreciate most is the transporting quality; how you can lose yourself in playing, in practice, performing live. Even in writing you can kind of lose yourself and find yourself that way…. Kind of have that transcendent moment when you are approaching it from a very material aspect but then it becomes…. You are looking at it from an outsider perspective all of a sudden. You are seeing the thing manifest before your eyes. You
25 create it but it also has a will of its own as it is being born. But what is important to me would be trying to render the feelings and visions that I want to evoke or express into a material form. So, it can be dream sequences or something like that, or an image I want to elucidate – by doing the actual music – things that I can’t express, I can see them. I am not a drawer so I do music instead. I think the two things are to get closer and closer to that outlet and be able to render things more and more perfectly. The other side would just be the trying to always render it with my own voice. I think that is one of the hardest things—is trying to find the signature or that voice that stamps an artist, that defines that inner voice, that can really separate you from other people but also really confirms that sense of self that is our own. I think, on an individual level, it is a catharsis, it is an outlet. It is also a way we frame our experiences: through that abstract creative medium. Maybe get to know ourselves better or face daemons— exorcise daemons we had in front of us all along. And then on a bigger spectrum, I think it is important to give people music who can’t do music for themselves. They are the ones who are always looking for that next something and the artist can give them that sense of that longing or hope that a lot of other things can’t in life. And I think that that is in a very sociopolitical realm as well, where it can give people feelings they never felt before and cause their actions to shift on even a marginal level—or even on a grand scale!
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It can be a conduit for so many different communal moments. It has its implications on the social realm where it has a tribal kind of thing…. I think people really do find communion and commonality through that blissful moment of music—and also certain themes people can relate to. It is almost immediate sympathy; those moments of music where everyone can feel when Adele sings a song, lets say, “Someone Like You.” You know that feeling that comes with “Someone Like You,” that experience it has that resonates with someone. It makes you feel more whole. It’s that dialogue where the artist gives credence to your feelings without you having to do much at all and I think that is one of the most important things for an artist. the game developer Honestly, I think the biggest thing is that I enjoy telling stories and shaping worlds. I did read a lot as a kid and I watched movies and stuff but I was always the most engaged with stories in games because in the mid to late 90s games were still really threadbare on stores so you created your own as you went. I remember Shigeru Miyamoto said his inspiration for The Legend of Zelda was a story from when he was exploring a cave as a child; he wanted to capture that sense of wonder. And really, game
ARTICHOKE
development as a whole is, for me at least, a way to tell a story to make someone feel that wonder – it’s that new experience. I think, really, the question of why are you a game developer vs. why are you an author or director or something is there are fewer degrees of separation between you and the characters. For all intents and purposes you are the characters. If you want to talk specific things, it’s about the games that communicate exactly what they are in extremely simple terms. Nowadays your Skyrims and your Far Crys.… They’re oceans with the depth of puddles because they spend hours and hours doing the same thing over and over again and its bloated and overly complex. But in the original Legend Of Zelda, the opening screen was an orange background that was supposed to ground and three green walls on the sides, these three paths you could go down, and a black square in one of the things that look like walls. You had nothing, there was no tutorial, it was just like, “Hey, you’re a green guy. Go.” And it’s extremely compelling to get involved in those very simple experiences. Really it’s just to make someone feel something and I think that is the object for all art. It’s to just have whatever person is observing your art and taking part in your art feel something they’ve not felt before.
It’s to create empathy for something that isn’t animate, almost. Game development is important because it’s a new medium and people don’t give it a tonne of respect. Just like in film and television when people where once like “oh it’s a fad, it’ll just go away; it’s just a cheap version of the theatre.” Game development is important. It’s twofold: 1. Because it is art that is play. And that’s something we’re loosing a lot of. Art is this very high falutin’ thing. You comment on a white canvass with sixteen coats of white paint on it…. And I know that’s really not a thing but…. For the purposes of the question: Gaming doesn’t take itself so seriously and that’s important. But at the same time it’s important it be recognized as a serious thing that isn’t taking itself so seriously. 2. It’s important that it’s done now because heretofore it’s lots of old white people doing it and it’s important that people from different walks of life do it because right now we’re telling one story. I think the easiest way to explain why gaming is so relevant in a social stratum is, I think, the fact that I spend most of my time on the computer talking to people I’ve never met in person who I’ve met through gaming. Look: I met [name redacted] on a forum for Fire Emblem in 2008. Sure there are
MUSINGS
people who go on movie forums and talk about movies and stuff but with gaming and especially multiplayer gaming there is that direct societal relation. It’s a microcosm of society. the writer I write because it allows me first to talk to myself. To become clear. Once I have that, it is the only way I can share my inner-voice—I am not much for speechifying at parties, so there is an element of personal exorcism too. In writing, I can appeal to the inner-voice of the reader themselves. Once they have the words in front of them there is no further mediation. It is as near-direct mental contact as I can envision possible…. For better or worse. Writing also has this power to elevate the mundane into a state of meaning: That we can take the essence of communication, of how we process things internally as well, and smelt this taken-forgranted element, language, into quintessence, a work of art, in a form any person can understand and relate to (granted they speak the language) is incredible. The written or spoken word can also serve synaesthetically with other art forms quite happily. But the real miracle is to infuse the everyday mundane with meaning. Novelty – not to pun around! – but novelty is what keeps the medium relevant. The challenge
is coming up with a new way of seeing and speaking things, ideas, and feelings that have honestly been around for ages. At the core humans and their lives have changed over the epochs in style more than substance. So, for me, writing is all about the journey, the experience of the story, rather than the points of the plot itself. Like life, you can have an epic adventure on a Tuesday Of No Obvious Significance if you can see or somehow know some intangible meaning in your every step. So that is what is important to me: every syllabic step, every curvature of phrasing paving the path forward, each sentence composing itself into the landscape. It’s a story within a story within a story. Or with poetry, you can create micro-metaphors and narrative or imagery arcs with line and stanza breaks. Things like that. It is imperative above all to preserve one’s sense of wonder; the moment it dies, we may as well have gone with it. In a way it is the most abstract and the most specific or direct art possible. It is a semiotic Legohouse, but at the same time, you are playing with ideas and emotions. A powerful duo of elements, especially when you cross the streams – which I think all Great writing must. It allows someone else to see with your eyes, to think with your mind, to love with your loves, and even to hate with your hatreds. I think reading is the most personal of art experiences possible. But for this reason it has the power to imbue your private consciousness with collective or shared elements: fragments of the writers’ personal thoughts but also the codes and values of a
27 social culture or subculture. It is the imaginary community concept. It is a great test for the individual as well. You must question these ideas, these emotions, in your own voice. That is to say, you read to the sound of your own thoughts, which 90% of the time is a conceptual analogue to your physical acoustic voice. It is much easier to believe this voice sometimes when it says what you would like to hear, or compliments you. Likewise, it can be a challenge when you suddenly feel uncomfortable or confused by information you believe should be copacetic to your self-constructed identity. Both reading and writing have the power to challenge us at the interstice of the personal and the social, where we have proven to be among our most vulnerable. …So then, it seems the art is the asking. The ‘why?’ lies in the actual doing of artists and audiences who must both experience the question together. It is not the art-object but the experience that makes the meaning; gives us the will to turn the page, flip the record, clear the next dungeon, enter stage-right; do all this as Creator, Benefactor, and Beneficiary; all three at once inseparable in trinity beholden to this experience. And what then of our vexed planet and those thereupon? What can art do? There is no thin line between imagination and empathy, pathos; only a matter of intensity.