The Independent Student Newspaper of the University of Toronto Mississauga since 1974
Issue 010 Volume 47 November 23 2020
themedium.ca
WINTER 2021 RETURN
DIWALI FIREWORKS
ZOOM DYSMORPHIA
On November 20, University of Toronto President Meric Gertler made some major announcements regarding the winter 2021 semester in a letter addressed to the U of T community.
Watching the shimmering streams of colourful sparks falling off firecrackers with friends and family is the highlight of Indians celebrating Diwali all over the world.
>> WINTER continued on page 02
>> DIWALI continued on page 05
Since all university classes shifted online, most students are spending hours each day on Zoom. Many are also working from home. Overall, there has been a huge increase in the time we spend staring at our faces on screen as we talk, smile, or even just sit and listen to others. >> ZOOM continued on page 11
NEWS
U of T’s Adams Sustainability Celebration embraces climate action Isik Vera Senel News Editor
O
n November 17, UTM Professor Shashi Kant hosted a live panel discussion focused on the new campus Sustainability Strategic Plan. This panel was a part of the six live panel discussions organized by the University of Toronto’s sustainability office for its ongoing sustainability celebration. >> SUSTAINABILITY continued on page 02
COMMENT
ARTS
The life cycle of memes as cultural artifacts
Antigone Now: How a 2000-YearOld Story Comes Full Circle
never gonna give you up never gonna let you down
Aya Yafaoui Comment Editor
Hana Khan Staff Writer
M
A
emes can be funny, wholesome, political, dark, offensive, niche, universal, or a combination of all these types. In fact, meme types are as varied and unique as jokes because internet memes are, at their core, an inside joke for a community. The size of that community differs greatly, and some memes are able to permeate through to multiple communities and go mainstream. The life cycle of a meme is contingent on the community as well. Memes are created, shared, reach the mainstream (go viral), get recycled, die, and are resurrected because of how communities make, share, and use those memes. The important fact is that memes are nothing without the context from which they emerge, evolve, and die. There is a widely held belief on the internet that once a meme has a think piece written about it, it is considered dead. Essentially, when the meme reaches a critical mass that catches the attention of writers and compels them to produce analyses about the meme, the meme loses its appeal as a joke because jokes aren’t funny when you explain them. However, this notion of thinking about and perceiving memes as just an internet joke that is shallow and not indicative of a wider social or cultural phenomenon is reductionist. It is also used as a shield for those who use memes to attack or offend other communities since they can laugh it off as a harmless joke. >> MEME continued on page 04
s the blue night lifts and the sun peeks over the rubble and dustcovered hills, Ismene stands alone, weeping. “I cannot resist life,” she pleads with the shadow of her sister. This is the heart-wrenching ending of Antigone Now, in which we see Ismene weep for her fallen brothers, Polynices and Eteocles, and her late sister, Antigone, all of whom won’t see the brassy gold sunrise again. Written by the award-winning playwright Melissa Cooper, Antigone Now is a modern theatrical adaptation of Sophocles’ infamous Greek tragedy. The ancient story follows our headstrong protagonist, Antigone, who must survive living in the war-torn country of Thebes. After her brothers die on the battlefield, her uncle, Creon, assumes the vacant throne. Creon’s first law as King prevents the burial of Antigone’s brother, Polynices, who sent enemy troops into Thebes and betrayed his land. Despite her uncle’s law, Antigone is determined to lay her brother to rest. Her personality, combined with the love for her brother, drives her to act against the state and risk execution. >> ANTIGONE continued on page 09