The Independent Student Newspaper of the University of Toronto Mississauga since 1974
Issue 19 Volume 48 February 28 2022
themedium.ca
RUSSIA-UKRAINE CRISIS
EPIDEMIC EMPIRE
MICHELLE HOPKINS
On February 23 at 8 p.m., I scroll through the news in Meduza (the Russian oppositional newspaper almost banned in Russia). Things have become worse. I have friends in Ukraine. A lot of my Russian friends have friends and relatives there. I’m scared.
“However, I had some professors who saw something radical and revolutionary in my work, so I [called them] when I felt I was getting too much push back from senior colleagues in my field.”
“In 2019, I decided to pursue music as a career. I don’t care if it’s a career of celebrity status. I just want to always use this outlet to connect to people who my experiences relate to. I just want to share something that I’m passionate aboutt.”
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NEWS
An overview of the ongoing trucker protest in the Ottawa and Toronto
O
Razia Saleh Associate News Editor
ver the past few weeks, Ottawa has been involuntarily hosting truck protestors with the desire to remove the Covid- 19 vac cine a m ndate and a m sks in the workplace; both provincialy l and federaly l . e protests, which originaly l started on a J nuary 2 - in Ot tawa, have escalated signicantly over the past two weeks. is protest was prompted y b the indignation a m ny trucke- rs ex pressed toward rP ime Minister Trudeau’s announcement on trav eler sanctions. >
U C K T E R OP S
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OPINION
ARTS
Technological injustice
Individuality in Fefu and Her Friends
Hamna Riaz Staff Writer
Julia Skoczypiec Theatre Erindale Correspondent
“T
L
echnology is often spoken about as if it were a force separate from human influence [...] Yet ‘human beings are behind the screen: our values, our ideologies, our biases and assumptions,” says Ruha Benjamin, a sociologist and professor of African American studies at Princeton University. Amidst the rise of movements such as #BlackLivesMatter, the problem of racism in artificial intelligence (AI) and technology has been brought to light. Most followers of the movements have a general understanding of the fact that technological “advancements” have disproportionately negative effects on the Black community, especially in North America. However, to solidify this argument and push toward technological reform, it is important that we understand how and why this discrimination occurs. For starters, technology is not a saving grace that will enter a community and remove all flaws. This idea is rooted in technological solutionism where large technology companies try to convince society that by spending more money in the technology sector, we can achieve world peace. Some may truly believe that their creation is fair and equitable, but unconscious bias and deeply embedded oppressive values get reproduced. The complex AI systems we use are a mere extension of our current society that follow the rules that the ones creating it set. Technology is not unbiased. >> TECHNOLOGY continues on page 07
ike TV shows and literature, we have all seen different works created and performed by women, and they often portray women through lenses that empower and celebrate womanhood. Many literary critics suggest that they “know feminist writing when they see it”—as though there is a list of criteria that “makes” a work feminist. But how can a predominantly “feminine” piece display gender roles? Written by María Irene Fornés and directed by Brian Postalian, Fefu and Her Friends is a story set in the 1930s about eight women who gather at Fefu’s (Rachel Tomasic) home to plan and rehearse for a charity event for education. The play is often identified as “plotless”— we see a day of social gathering unfold from morning to evening, and at times, the story is inexplicable. As such, it becomes a mirror for the often puzzling and inexistent “structures” of life itself. Fefu, the main character, is an avid believer in the future of the education system. Although she is passionate about making a change, audiences see Fefu struggle with her own concept of femininity and quarrel with her offstage husband.
Besides Fefu, we meet Cecilia (Nell Senkevich) and Paula (Amelia Woolfrey)—lovers with a complicated and impactful relationship—as well as Cindy (Reese Cowley), Christina (Elif Coşkun), Emma (Molly Botten), and Sue (Bronwyn Keough). They all attend the gathering, offering their individual and well-articulated perceptions on love, sensitivity, societal gender norms, lust, performance, conformity, fear, and much more. Julia (Angel Haines), the final guest at the gathering, is centralized in the play by monologues and her connection to a mysterious past—one that follows a hunting accident, placing her in a wheelchair. Her presence causes tension in the house, and she shows a continual fascination toward Fefu’s ever-present half-loaded gun. Theatre Erindale’s production of Fefu and Her Friends blurs the lines that determine gender and touches on concepts of mental illness in a way that connects audiences. Although each character in the play represents a woman, their individual personalities frame them as people who do not follow any specific gender roles. These characters are simply human beings; they move, speak, and act according to their desires. Based on her performance of Paula, Woolfrey shares her thoughts with The Medium on character building. >> THEATRE ERINDALE continues on page 10