The Concordian - March 20th 2018

Concordia University’s weekly, independent student newspaper

theconcordian

VOLUME 35, ISSUE 23 | TUESDAY, MARCH 20, 2018

theconcordian.com  /theconcordian  @theconcordian

theconcordian

Reimagining ASFA

Marguerite Rolland wants the federation to be a resource for students News p. 3

feature

life

Working to put artists first — A part-time faculty profile

arts

music

sports

p. 10

opinions

Construction and A fiesta for a The art of learning How a score can Pitching across zero-waste life p. 6 through artwork p. 9 create a scare p. 12 North America p. 15 chaos in FG p. 17

news

NEWS EDITORS /// news@theconcordian.com CANDICE PYE & ETIENNE LAJOIE ( @candicepye @renegadereports)

POLICY

University and students not disconnected: Shepard

Concordia president says he is interested in the results of the CSU student congress ÉTIENNE LAJOIE NEWS EDITOR MEGAN HUNT ASSISTANT NEWS EDITOR In an inter view with The Co n c o r d i a n o n M a r c h 1 5 , Concordia president A lan Shepard offered no comment in response to a recent CBC repor t revealing that t wo Concordia part-time instructors, Jon Paul Fiorentino and David McGimpsey, were the subjects of complaints in a third-party investigation.

“I wouldn’t be able to make any comments about any investigation,” Shepard said. The university has not made a comment regarding the complaints since the report was published on Feb. 28.

Alt h o ug h F i orent in o an d McGimps ey were or ig inall y scheduled to teach this semester, their classes have been reassigned while the allegations against them are being investigated. Shepard told The Concordian on Feb. 15 that professors are not allowed to teach while they’re under investigation.

LACK OF FACULTY ATTENDANCE AT STUDENT CONGRESS When asked if he felt the universit y’s administration was disconnected from the student body, Shepard said: “Absolutely not.”

As previously reported by The Concordian, only one Concordia faculty member was present at the congress organized by the Concordia Student Union (CSU) to discuss proposals on potential sexual misconduct policy changes.

Kate Bligh, a part-time faculty member in the School of Irish Studies, as well as the theatre and English departments, said that in her 20 years of teaching, she had never been asked to attend any consent training similar to what the CSU wishes to implement for all students, staff and faculty within a reasonable time frame.

“The same way we hold discrimination and violence to this standard, we have to do the same with sexual assault and violence,” Bligh said.

Shepard said he was “very interested to see the results” of the congress, adding that Bill 151, provincial legislation requiring universities to take certain steps to

Graphic by Zeze Le Lin.

address sexual violence, will require consent training for faculty and staff in all universities. “ We h ave to c o m p l y b y September 2019 and I anticipate that we’ll do it this coming year, so it’ll be early,” Shepard said.

According to him, the university is already doing “a huge amount of voluntary consent training” for students, but whether or not the training will become mandatory depends on the findings of the newly created sexual assault task force.

He also said the university’s Sexual Assault Research Centre, whose employees were not present at the congress, “does a great job [and] has been training hundreds, if not thousands of students. Probably thousands at this point.”

Shepard told The Concordian he hasn’t received an invitation from the CSU to meet with executives, but said if they want to speak with him, he is “always willing to talk to them.”

UNIVERSITY

Senate approves new nanoscience program

The reception of millions of dollars, program name-change proposal also announced NEW COURSES, NEW NAMES

MATTHEW LAPIERRE ASSISTANT NEWS EDITOR Concordia’s Senate approved a new master’s program in nanoscience and nanotechnology (NSNT) on Friday, March 16. The new graduate program is the result of almost a decade of collaboration between the Faculty of Engineering and Computer Science and the Faculty of Arts and Science.

“We’re bringing science and technology together in a very interesting way,” André Roy, the Faculty of Arts and Science dean, told the Senate.

According to documents submitted to the Senate, the NSNT program was designed as a graduate program to give students the skills and knowledge needed to work in the nanoscience and nanotechnology fields.

The documents describe NSNT as the ability to study and manipulate materials at the nanometre scale.

A few examples of NSNT include quantum materials, nanoconstructs

for medical applications and nanoengineering of chemistry.

Although McGill University offers a minor in nanotechnology at the undergraduate level through their chemical engineering department, the new Concordia program is the first master’s degree in nanoscience or nanotechnology available in Quebec. The University of Waterloo in Ontario is the

only other Canadian university to offer a master’s program in nanotechnology.

$10 MILLION FOR A REAL ESTATE CENTRE It was also announced at the meeting that Concordia received two major donations from Concordia alumni. Jonathan

and Susan Wener contributed $10 million to the establishment of a new centre for real estate studies.

Jonathan Wener is a Concordia graduate and the chairman and CEO of Canderel, a Montreal-based property development firm.

Miriam Roland, another Concordia alumna, donated $3 million to establish a graduate fellowship in her name.

On Friday, the Senate received documents to be approved by the Academic Programs Committee (APC) concerning two new physics courses. If approved, experimental physics I and II will be offered starting in the Fall 2018 semester.

They will be mandatory courses for Concordia students hoping to obtain a major in physics. According to the documents, the courses will better prepare physics students for work in a laboratory throughout their academic or professional careers.

Documents were also submitted to the Senate for approval by the APC to officially change the name of the Concordia Canadian Irish Studies program to Irish Studies in 2018. The documents suggested that the current name is misleading because the program does not focus exclusively on the Irish in Canada, but rather on Irish people in Ireland, Canada and all over the world.

Photo by Alex Hutchins.

MARCH 20, 2018

theconcordian

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COVER STORY

ASFA candidate seeks to “ fill in the blanks" If elected, Marguerite Rolland plans to provide students with co-curricular opportunities

Concordia linguistics student Marguerite Rolland is running to be ASFA’s advocacy and executive coordinator. Photo by Alex Hutchins.

CANDICE PYE NEWS EDITOR At her core, Marguerite Rolland is an organizer. From planning out every detail of her cottage trips with friends, to her work as president of the Concordia Linguistics Student Association (LSA), she prides herself on her knack for structure and efficiency.

When she isn’t up to her ears in her latest spreadsheet, Rolland spends her time engaging in student life at Concordia in every possible way. Apart from her work with the LSA, she is also a student advocate at the Concordia Student Union (CSU) Advocacy Centre and an undergraduate research assistant for the linguistics department.

“My whole first year, I was very involved in the LSA, and then this year I wanted to branch out a little bit more, so I started joining ASFA committees,” Rolland told The Concordian.

In this month’s ASFA elections, she is running for advocacy and executive coordinator as part of a team called Fill In The Blanks—a name that reflects the team's desire to “provide students with experiences and opportunities that

supplement their academics at Concordia,” according to Rolland.

Along with her teammates Fatima El Gahami, Bakry Alsaieq, Elliot t Boulanger and Manal Alsaieq, Rolland said she is trying to figure out “what’s wrong with ASFA, and what’s right with other faculty associations.” According to her, ASFA is not respected by the majority of the student body.

“In the past, they’ve been regarded as this sort of fratty, toxic, unprofessional association,” Rolland said. “ASFA isn’t really a resource for students in the same way that [other student associations are].”

Rolland’s main goal, if elected, is to change that reputation by transforming ASFA into a vehicle for student success.

“The one thing that unifies all Arts and Science students is that we all walk out of Concordia with a BA or a BSc,” she said.

“Unfor tunately, that alone is not worth very much anymore.

Students graduating with these degrees need to stand out. They need something else on their CVs, like co-curricular activities, volunteer experience. […] I want ASFA to offer those things.”

One of the projects Rolland

and her team have proposed is a volunteering series organized

by ASFA, where students can sign up and have off-campus volunteering sessions organized and scheduled for them by the federation. According to Rolland, participating students would be able to complete a full day of volunteering once a month with a specific organization or charity.

After eight sessions, students would be granted recognition for participating in the volunteer ing program by having it included on their co-curricular record.

“You would be able to choose what type of volunteering works for you and build connections that way,” she said. “It’d be accessible to students because they wouldn’t have to go out and find organizations themselves. They wouldn’t have to schedule it or set it up and they wouldn’t even have to go every week.”

Rolland and her team also hope to bring forward other projects, such as implementing an online voting system and providing workshops or seminars on things like coding or graphic design— useful skills students would then be able to list on their CV. Another issue the team hopes

to highlight is the current lack of mandatory office hours for ASFA executives. She said she believes that implementing mandatory office hours would encourage students to come into the office, speak with executives, ask for help and suggest their own ideas.

“I think it’s important to show students that we’re not just here to plan frosh, host random parties or give out random amounts of money to the [Member Associations (MAs)], but rather, that we’re actually trying to do something,” Rolland said. “We’re trying to go somewhere and we’re trying to do it in a way that makes people want to get involved.”

Currently, MAs can apply to to receive funds from ASFA to host various events. Rolland said she hopes to “cut that [Special Project Fund (SPF)] in half and have a specific SPF that’s designated for academic experience.” The Academic SPF would fund MAs that wish to host academic activities, such as conferences.

When asked what dif ferentiates her f rom the other ASFA candidates, Rolland said she draws on her experiences working with the LSA and the

Student Advocacy Centre.

“I know how to work in a team, and I know how to ask the right questions,” she said. “I feel like I’m very aware of what’s happening in the school and what students are not happy with, so I have a really well-rounded sense of what is wrong and what needs to be fixed.”

Overall, Rolland said her main goal is to accurately represent Arts and Science students, as well as bringing ASFA back to its original purpose—providing students with things their academics aren’t giving them.

“I’m not a politician; I’m an organizer,” she said. “I think it’s important to represent your students and what they believe, but I think, at the same time, ASFA is primarily a resource. I would like to bring it back down to being a resource first and foremost and make sure it has a good foundation.”

Rolland said that, even if she isn’t elected, she still wants to see the initiatives she cares about put forward.

“I’m anti-apathy,” she said.

“At the end of the day, it’s not about who’s doing it, it’s about getting it done."

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theconcordian

MARCH 20, 2018

UNESCO

Concordia professor strives to prevent violence

Co-chair of anti-radicalization initiative Vivek Venkatesh focused on prevention over punishment

MEGAN HUNT ASSISTANT NEWS EDITOR Concordia professor Vivek Venkatesh balances many responsibilities, from director of the university’s Centre for the Study of Learning and Performance to creator of Project Someone, a multimedia initiative designed to promote digital literacy and prevent hate speech. Now, he has one more role to add to the list— co-chair of the United Nations Educational, Scientific and Cultural Organization (UNESCO)’s new chair on the prevention of radicalization and violent extremism.

The initiative, which recently received $400,000 in funding from the Quebec government to be distributed over the next

four years, will focus on goals that include developing research programs to shape public policy and enhancing cooper ation between researchers, communities and other stakeholders that play a role in preventing violent radicalization.

Venkatesh’s involvement with the chair began in October 2016, when he spoke at a UNESCO conference on the subject of youth radicalization via the internet. Following this conference, he worked with Université de Sherbrooke professor David Morin and Université du Québec à Montréal (UQAM) professor Ghayda Hassan to create a chair proposal that focuses on the prevention of radicalization.

“It needs to go beyond simply incarceration. It needs to go into the field of rehabilitation, of com-

munity resilience and bringing the public voice to bear,” Venkatesh said of the chair’s approach to addressing the issue.

Venkatesh noted that there is no single definition of radicalization agreed upon by governments and academics, although it is often considered a process in which people who would normally hold “moderate viewpoints” on political and social issues shift to more extreme perspectives. Venkatesh added that the UNESCO chair is not focused on all forms of radicalization, but rather on instances in which radicalization leads to violence.

For Venk atesh, the issue of radicalization has personal significance, as he has lost a family member to a terror attack.

“It shaped the way I think about

hate,” he said. “It shapes the way I think about how we can build spaces to have dialogues.”

The chair proposal, according to Venkatesh, was first vetted by group of professionals working with the Canadian Commission for UNESCO before being presented to and approved by the UNESCO headquarters in Paris.

Although all three co-chairs bring their own unique research a n d e x p e r t i s e to t h e t a b le, Venkatesh is heavily invested in exploring the ways in which art and multimedia platforms can be used to prevent and understand radical violence. The three professors are also not working alone; they have support from over 25 international partners, including universities, non-profit organizations and other UNESCO chairs.

Before becoming co-chair of this effort, Venkatesh was already working to address hate speech and radicalization in a highly digitized world through Project Someone, which includes programs that provide learning resources on digital literacy, and an “anti-hate” comic series intended to star t classroom dialogues on the issue.

Ultimately, Venkatesh said he believes the success of this chair will hinge on the diverse experiences and perspectives that he and his co-chairs have brought to their work.

“One of the things that will be successful to this chair is the fact that [...] we have our experience and projects,” he said. “We know what we do well, and we know how we can help each other do better.”

Graphic by Zeze Le Lin.

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MARCH 20, 2018

FOOD

theconcordian

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Unconventional grocery shopping CSU workshop shares tips and resources for dumpster diving

The Concordia Student Union hosted a free dumpster diving workshop on March 12. Workshop participants prepared a meal together after their dive. Photo by Gabriela Simone.

CATHERINE HANSEN CONTRIBUTOR GABRIELA SIMONE CONTRIBUTOR The Concordia Student Union organized a free dumpster diving workshop on March 12 as part of their weekly DIY series. The two-part event kicked off with a dumpster diving theory class, which encompasses proper etiquette, health risks, legal aspects and a reflection on the eating habits of today’s society.

The second half of the event had participants dumpster diving for food and making a meal with their findings.

The event was hosted by Isabella Leone and Coco Graziani of Les Échelles, a collective living space in Mont real’s Plateau neighbourhood that organizes free cultural events and encourages the sharing of food and resources.

The majority of the food found Graphic by Zeze Le Lin.

in their fridge is gathered from dumpster diving. Residents of Les Échelles rarely spend money on food because they often find perfectly good produce that has been thrown away.

Graziani was raised in Italy and has been living in Montreal for four years. She spent the last two years living at Les Échelles and has taken up dumpster diving.

“Having dumpster diving as an option makes me feel less horrible when I eat food,” Graziani said.

Dumpster diving allows her to “avoid going to grocery stores and buying things whose production rests on the exploitation of other humans and animals, and contributes to the further degradation of the environment.”

Leone and Graziani said dumpster diving is a viable option for people who want to save money on food and prevent food from being wasted, but it ’s of ten trickier than it seems. While large

quantities of edible food can be found in dumpsters, many building owners do not appreciate people rummaging through their garbage without permission.

To have a successful dumpster diving experience, Leone and Graziani said there is some important preparation involved, such as finding dumpsters ahead of time and making sure they are in a public space. Usually, if they are located in parking lots or behind buildings, they are considered private property.

Other dumpsters, like those located in alleyways, are considered public and can be looked through by anyone.

According to Graziani, proper diving etiquette includes not taking all the produce when large quantities are available and leaving the extras in a box outside of the dumpster.

The main health tip highlighted in the workshop was to make sure

to soak found produce in a bowl with water and a tablespoon of vinegar to disinfect it. As for moldy produce, Graziani and her friends have a rhyme they use to identify potentially dangerous mold: “Pink and black, put it back; blue and white, you’re alright.”

There are multiple resources dumpster divers can use to find the perfect diving spots, such as food drop-off and pick-up locations, the Health Canada recall website and a dumpster diving map available online. The map shows where dumpsters are located throughout the city, and are marked in either green or red. Pierre-Olivier Jourdenais, a workshop participant, wrote on the Dumpster Diving Workshop Facebook event page: ‘’The red dumpsters tend to be rarely fruit ful, according to map markers, while the green ones are more likely to have things

to dumpster dive. So, you’re avantaged to go for the green ones whenever possible, for efficiency reasons.’’

Jourdenais is a frequent dumpster diver who follows diving-related pages on Facebook, such as Free Food for Free People, a group created to inform people of drop-off points around Montreal where divers can collect food that would otherwise go to waste.

“I often go to the drop-offs in Rosemont,” Jourdenais said.

O n e o f t h e p a r t i c i p a nt s , Marina Kuneva, travelled all the way from Sherbrooke to attend the dumpster diving workshop with her friend, Valerie-Anne Codina-Fauteux, a student at the Université de Mont réal.

Codina-Fauteux said she likes how dumpster divers “don’t consider the standard way of consuming food as the only good way.”

life

LIFE EDITOR /// life@theconcordian.com SANDRA HERCEGOVÁ

SUSTAINABILITY

Inspiration for leading a zero-waste life

Zero Waste Fiesta hosted by Greenpeace McGill featured sustainable initiatives from local companies

MIA ANHOURY ASSISTANT LIFE EDITOR Living a zero-waste life may seem out of reach for some, but with minor adjustments, it can be possible. With this in mind, Greenpeace McGill hosted its third annual Zero Waste Fiesta on March 15, welcoming over 30 Montreal-based businesses, services, environmental activists and specialists.

“Our goal is to raise awareness about how wasteful our consumption is,” said Alice Sécheresse, the president of Greenpeace McGill. “We want to create a platform to get everyone together and begin a conversation about the zero-waste lifestyle.”

At this year’s Zero Waste Fiesta, local band Temporary Flings performed while people walked around the fair, enjoying vegan food and browsing the various stands selling products or services.

According to Geneviève Westgate, the vice-president of Greenpeace McGill, the Zero Waste Fiesta was actually created before Montreal’s own annual Zero Waste Festival, back in April 2016.

Greenpeace McGill works closely with the organization’s Montreal, Quebec and Canada branches to promote their initiatives, such as a campaign against plastic pollution and a petition urging Coca-Cola to phase out single-use bottles and implement alternatives.

According to Westgate, Coca-Cola products are the most common waste found in the trash.

“We want to begin the conversation about the zero-waste lifestyle, have people ask questions and learn everything they need about the different types of alternatives,” Sécheresse said.

Events like the Zero Waste Fiesta, she explained, demonstrate to large companies that their smaller competitors are gaining local popularity while promoting and implementing environmentally friendly practices. The success of small, eco-friendly businesses challenges large corporations to set a better example.

The message is essentially: if small companies are capable of being zero waste, why shouldn’t other companies follow suit, Sécheresse said. From the many stands featured at the Zero Waste Fiesta, attendees learned about what is and is not compostable, and questions about zero-waste and shifting to a more eco-friendly lifestyle were answered by representatives from the Association Québecoise Zéro Déchet.

Global campaign representatives from the Billion Bottle Challenge were also in attendance, selling reusable bottles and goodies from Senegal in the hopes of encouraging people to reduce plastic consumption.

But now, it ’s your turn to learn about the different ways you can start a zero-waste lifestyle.

All the way from Trois-Rivières, Etienne Cyr creates sculptures by reusing plastic and metal.

Öko Creations’s stand showcased their reusable products, including makeup remover pads and handkerchiefs made from organic cotton and hemp.

The local business Öko Creations—named after the German word for ‘eco’—was founded in 2009 by sisters Mélanie and Marie-Noël Beetz. At the Zero Waste Fiesta, Öko Creations' reusable makeup remover pads, handkerchieves and feminine hygiene products were available for sale. All of these products are made from organic cotton and hemp. Karine Létourneau, an Öko employee, said using these types of products is a great and easy way to transition to a zero-waste lifestyle.

“Buying products in bulk that eventually end up in the wastebasket turns out to be more expensive than the one-time purchase of a reusable product,” Létourneau said. “So, from a the long-term perspective, financially and environmentally, the zero-waste lifestyle is better.

Étienne Cyr, an artist who reuses metal and plastic to create his robotic sculptures, came all the way from Trois-Rivières to share his art. “I improvise,” said Cyr about his process. “When I begin a sculpture, I do art workshops with children and have them guess what my sculptures are made from.”

A glimpse of the handmade jewelry from zero-waste brand Pommerose.

Cyr wasn’t the only one who turned recycled materials into art at the Zero Waste Fiesta. Francia Arcila displayed her handmade jewellery at the event. Under the brand Pommerose, Arcila makes earrings, bracelets and necklaces out of cans, bottles and plastic bags.

Just as someone would sort waste to be recycled or composted, this artist sorts her materials by colour to keep the accessories uniform.

Simon Gosselin founded an online zero-waste grocery shop that delivers all its goods by bike.

Simon Gosselin, the founder of an online zero-waste grocery store called Vrac sur Roues, was promoting his service at the Zero Waste Fiesta. His goal in creating Vrac sur Roues was not only to offer a zero-waste service, but also a zero-CO2 service—he delivers everything by bike.

The online grocery store only sells dry products, such as sesame seeds, dried fruit, nuts, rice and oats. Customers can order the exact amount they want, and when the delivery is made, the goods are poured directly into their containers, thus making it zero-waste.

Gosselin also makes and sells his own shampoo and floor detergent, using organic and natural products. “Smell the floor detergent,” he said. “That’s the scent of no chemicals.”

A zero-waste sushi catering service is available every Wednesday at the Concordia Farmer’s Market.

Rawlin, a Montreal startup created by Gaultier Vendioux, makes a vegan “grab and go” roll that resembles sushi. The zero-waste catering service has a stand at the Concordia Farmer’s Market every Wednesday in the Hall building.

Although Rawlin did not start out as a zero-waste company, the transition to zero-waste was easier than the team thought. According to Duc Nguyen, a Rawlin representative, “going zero-waste is simply having the knowledge to go zero-waste.” Vendioux added that knowing exactly how much food you need is a must when catering events to make sure no food goes to waste.

Photos by Mackenzie Lad.

MARCH 20, 2018

theconcordian

7

TECHNOLOGY

Mapping the future of artificial intelligence Panelists define AI and discuss how this technology will impact society and the workplace MINA MAZUMDER STAFF WRITER

An important subdivision of AI is machine learning, Gupta explained. This refers to a digital Artif icial intelligence (AI) system’s ability to “learn” a task professionals discussed the that it is not explicitly programmed impact and future of AI in the for. In this process, the digital workplace and it s role in system is provided with a set society at large during a panel of data, which its AI compoheld at Concordia University nent registers and internalizes. on March 13.

Machine learning is just one “The fear of technological of the ways AI can be helpful, anxiety and mass unemployment rather than harmful, according to due to ar tificial intelligence Xavier-Henri Hervé, the executive has been largely proven to director of Concordia’s District be untrue,” said panelist Kai 3 Innovation Centre.

Hsin-Hung, a consultant at the “I do not think AI is the foe.

International Training Centre AI is just reality,” he said. “The for the International Labour foe right now is time. The speed Org aniz ation. “Rather than at which this is happening; eliminating occupations, AI will things are happening a lot most likely replace the tasks faster than anyone is imagFrom left, Abhishek Gupta, Xavier-Henri Hervé, Kai Hsin-Hung, Caroline Bourbonnière and Sydney SwaineSimon discussed the future and impact of AI during a panel held at Concordia. Photo by Mackenzie Lad. and how we are going to be ining. [AI] is so convenient.“ doing them.”

Hervé reminded the audience According to Abhishek Gupta, an AI operations is to allow workers to be jobs. In particular, she discussed how that AI is already a component in many ethics researcher at McGill University, more efficient.

AI technology will be responsible for everyday devices, such as smartphones. many people don’t fully understand “All of futurists are wrong about completing paperwork in the future, “It is hiding everywhere,” he said. the term AI, and its definition “has been how quickly AI will be affecting the which will allow workers to focus on Bourbonnière added that she believes shifting over time.” Gupta defined AI as job market,” she said. “We have a lot tasks more central to their job. it’s crucial to democratize AI to prevent “the ability of a machine to do a task of reports, and it was found that job “In some organizations, people will large companies from monopolizing that was previously thought to be only creations versus job-loss projections be spending about two hours a week the technology, and to allow non-profit possible by human intelligence.” tended to have a very balancing effect.” putting together reports,” Bourbonnière organizations to use AI to address issues Caroline Bourbonnière, a communiCer tain dangerous jobs, such as said, offering the example of how “79 around the world. “[Democratization] is cations advisor for the research institute t r ac tor oper ator s and miner s , may per cent of social workers’ work is education—to learn about the technology Element AI, clarified that, while certain eventually be replaced by AI technol- paperwork. Imagine what they could do and not feel intimidated by it,” she said. jobs will be replaced with AI, the purpose ogy, but Bourbonnière emphasized that with this time. They can be spending it “It’s important in widening the population’s of converting this work to automatic this does not mean AI will replace all with youth at risk.” understand of the technology.”

BUSINESS

What does it mean to be successful?

Local brand Atelier New Regime discusses their new art installation, Trapped, at Phi Centre KIRUBEL MEHARI ASSISTANT PHOTO EDITOR

Here is a glimpse at the discussion between the Awuye brothers.

Atelier New Regime is a streetwear label and creative collective, founded in 2009 by Setiz Taheri and brothers Koku and Gildas Awuye.

The trio’s vision was to share the groups creativity and lifestyle.

In the years since, they have developed their own streetwear culture by introducing a clothing line that has evolved through the use of design and photography, pushing the aesthetic boundaries of the brand even further. The brand is multidisciplinary and often fuses art, photography and street culture into their projects.

Their latest endeavor, Trapped, addresses our culture’s notion of success through a self-reflective installation about the idea of money and achievement. On March 13, two members of the collective, Koku and Gildas, sat down for a quick conversation about the installation and its meaning. The talk was moderated by Aye Magazine collaborator Josiane Ménard at the Phi Centre.

The installation consisted of a transparent box with a hole where people could reach in and hold the $5,000 worth of cash that was inside. They could only hold the money for a brief moment, and it was impossible to leave with the cash. The installation also included a poem featuring the words of local rapper Nate Husser on the topic of freedom, complemented by several photographs and audio pieces with vibrant imagery.

JOSIANE MÉNARD: In the year 2017, what objectives had you fixed for yourselves as creatives? And have you attained them?

KOKU AWUYE: Fundamentally, our entrepreneurial goal is to stay in business, to stay afloat as a company. In essence, it’s about building a brand that also stays true to itself.

GILDAS AWUYE: At our end-of-the-year meeting, we always set ourselves new goals to accomplish as a collective because there is always something to push forward as a team, whether it's through a new clothing collection or art installations. There is a constant need to surpass ourselves as creatives.

JM: What does the installation Trapped tell us when we talk about today’s definition of success?

GA: The visual focal point of the installation is a glass box with a bundle of cash inside it. This social experiment tells us a lot about our culture today, because we focus a lot on money before anything else. At the exhibit, there were other parts to the event, such as an audio piece, videos and photographs, but primarily the attention was given to the money.

With Trapped, the goal was for people to reflect on their own definition of success and not compare that with others.

KA: It was interesting because we were able to see how people would react to an object of value. It made them forget about their surroundings and turn all of their attention toward the money.

JM: What are your personal definitions of success?

KA: The ability to live and work without any constraints.

GA: For me personally, the perception of success is something that evolves over time.

In the beginning, it was about acquiring that perception of success, such as getting a lot of money, buying that new car, etc. But the more work we put into this project, the more we realized that we achieved that goal that seemed so far away a while ago. Finally, as soon as you get there, it’s cool for like 30 minutes and then it’s on to the next one. Today, I think my definition of success is to find a peace of mind toward the little things that matter and to be satisfied going to bed at night, knowing that I’m happy with the work that I do.

From left: Gildas Awuye, Koku Awuye and Josiane Ménard during the panel discussion at the Phi Centre. Photo by Kirubel Mehari.

arts

ARTS EDITOR /// arts@theconcordian.com MAGGIE HOPE

PROFILE

There’s a fine line between art and trash Introducing three final artists from the first annual VAVxCUCCR residency

CHLOË LALONDE ASSISTANT ARTS EDITOR In celebration of the Concordia University Centre for Creative Reuse (CUCCR)’s first year of operation, the centre will host their first annual residency in collaboration with the VAV Gallery.

Together, the VAV and CUCCR have selected seven undergraduate fine arts student-artists who will exhibit their work on March 22. The artists have been tasked with creating zero-waste artworks using CUCCR’s material.

***

Gabrielle Mulholland is a Toronto native and began her studies in illustration at OCAD University. She left OCAD to move to Montreal in 2014, and is now in her last year of print media at Concordia. This summer, Mulholland will be opening her own printmaking studio in the Plateau.

Inspired by CUCCR’s focus on creative reuse, Mulholland began to consider the original saying, “Reduce, Reuse, Recycle,” and how the emphasis was originally placed on reducing and recycling, not reusing.

The artist’s experience of constantly being in the city forms the basis of her current work, which aims to challenge the idea that art and design create waste.

Mulholland is particularly interested in producing work from garbage found on Montreal’s snowy, frozen streets. For the residency, she has created an installation called x 11. It consists of a papier-mâché screen print sculpture, a “snow pile” of found materials and an 8.5 x 11 inch tapestry. The exact composition of her piece will be revealed at the exhibition.

The tapestry was created from material sourced at a Renaissance thrift store and hand-dyed using a salt resist. “In the imagery on the tapestry, you can slightly see the original illustration student in me who was obsessed with human communication and symbols,” the artist said.

Mulholland is thrilled to be part of the first annual VAVxCUCCR residency. She said she hopes the exhibition will inspire artists and students alike to be more involved in creative reuse.

***

Laura Douglas has a bachelor’s degree in English and a minor in environmental studies from McGill University, and is currently in her third year of studio arts at Concordia.

She works in a variety of mediums, including paint, textile and installation.

Most, if not all, of Douglas’ work grapples with themes related to the environment.

Her recent project was exhibited as part of the Art Matters Festival at Mainline Gallery's Tender Teeth exhibit. She hand made a biodegradable quilt using organic fibres and placed seeds in the fibres that will grow upon long-term contact with soil.

Her work will also be featured in Bright Lights / Blurred Vision, opening March 19 at 6 p.m. at La Récréation - Jeux de société et activités culturelles (404 Ontario St. E).

For the residency, Douglas created an installation of small hanging planters and large self-watering planters, using soil f rom public spaces and reused containers of varied sizes from CUCCR. She painted these containers to suit her desired aesthetic.

Douglas is particularly interested in the fact that cities are often built on the most fertile soil, yet lack large areas dedicated to gardening. As an artist and environmental activist, Douglas wants to use her work as a means of teaching others about how easy urban gardening can be. Self-watering planters can be made with two containers and mesh or burlap. The bottom of one container must be removed and replaced by the mesh or burlap, allowing water from a second container to be absorbed when needed.

***

Mikaela Kautzky is currently in her second year majoring in studio art and minoring in diversity and the contemporary world. She said she believes art is a valuable personal, social and cultural tool, but it lacks consideration in how it impacts the environment. Like Mulholland, Kautzky aims to deconstruct the wasteful nature of art-making.

In addition to waste, Kautzky’s work shines a spotlight on social and environmental degradation. She strives to lead a completely zero-waste lifestyle, meaning she only consumes unpackaged food items and commits to purchasing biodegradable products. Kautzky uses art as a tool to commit to no-garbage living.

“For one whole school year, I challenged myself to do a painting of every piece of trash I threw out, and I learned a lot about the issue through this creative research,” Kautzky revealed. “Now, going forward, I try to create with the least environmental harm as possible by using reused materials and less toxic paints in my art practice.”

Kautzky volunteered with CUCCR during the fall semester, and she is quite familiar with the abundance of file folders kept in the depot. Her project for the residency, “Rest In Peace Phil Folderino” is an ode to manual means of storing data and questions whether or not online storage is truly the greener alternative. “It is ultimately just out of mind, out of sight,” Kautzky said.

The artist also dabbles in photography and fashion in Less_n, a larger project that demands a dialogue on contemporary consumption. Kautzky will be selling upcycled, second-hand shirts at September Surf Cafe and Pop-Up Shop on March 24 at 4123 St-Denis St. Details will be released on Instagram @mik00k and @less_n.

The Concordian has profiled the artists-in-residence each week leading up to CUCCR’s birthday event on March 22. Past issues have featured Bianca Arroyo-Kreimes, Gabrielle Desrosiers, Roxane Fiore and Saba Heravi.

a “snow of a papier-mâché screen print sculpture, Gabrielle Mulholland’s installation consists olland.

Mulh ielle Gabr of tesy cour o tapestry. Phot pile” of found materials and an 8.5 x 11 inch

Laura Douglas built small hanging planters and larger self-watering planters out of recycled containers. Photo court esy of Laura Douglas.

“Rest In Peace Phil Folderino” is an ode to manual means of storing data.

Mikaela Kautzky urges viewers to think about the impact art-making has on the environment. Photo courtesy of Mikaela Kautzky.

MARCH 20, 2018

theconcordian

9

EXHIBITION

Reinterpreting the process of learning Concordia students explore pedagogy in this year's Art Matters Festival MAGGIE HOPE ARTS EDITOR

ART CRUSH IN TIME According to the exhibition’s description, “the pieces selected reveal an emotional analysis of the dialogue between the body and the spatial constructions around it. By offering an intimate experience to the viewer, some artworks also visualize how built environments contain and direct behaviour in public, social spaces.” The exhibition features the work of eight Concordia student-artists, and was curated by Avery Zhao-Djokic and Marie Lemieux. There will be a vernissage held at articule on March 22, from 6 p.m. to 9 p.m.

WHERE Now until March 27 WHEN articule, 262 Fairmount Ave. W.

THE WORK OF DIANE MOREAU AND HEIDI DAEHLER Monastiraki's first show of 2018 features the works of Diane Moreau and Concordia alumna Heidi Daehler. Moreau's pieces work with found objects and incorporate them into new forms and a new story. Daehler's aim is "to create representational works that situate human subjects and landscapes in emotional or existential contexts," with acrylic and oil painting, according to the exhibition's description.

WHERE Now until March 31 WHEN Monastiraki, 5478 St-Laurent Blvd.

THE MATERIAL TURN According to the exhibition's description, "The Material Turn exhibition presents international and intergenerational conversations around contemporary textile practices in the digital information age. In particular, the materiality of digital technologies is interpreted and translated by artists who mine, question and transform diverse data sources through expanded textile approaches." This exhibition features stunning work by 14 artists, and was curated by WhiteFeather Hunter and Kelly Thompson.

WHERE Now until April 13 WHEN FOFA Gallery, EV building

QUI PARLE? / WHO SPEAKS? "Made up of videos, photos and conceptual installations presented alongside texts and related documents, this exhibition aims to highlight direct and indirect manifestations of the artist’s identity in language, and to examine the many other voices (individual, sociocultural, institutional) woven into their work and the exhibition," according to the exhibition's description. This collection features the work of Jo-Anne Balcaen, Raymond Boisjoly, Moyra Davey, Suzy Lake, Isabelle Pauwels, Krista Belle Stewart and Ian Wallace.

WHERE Now until April 21 WHEN Leonard & Bina Ellen Art Gallery,

LB building

The term ‘pedagogy’ is defined as “the method and practice of teaching, especially as an academic subject or theoretical concept.” Chris Mendoza and Jamie Potvin—the curators of pedagogy, an exhibition included in this year’s Art Matters Festival— explained that they wanted to explore this method outside the world of academia. Mendoza and Potvin focused their approach on m in their piece, prox.Dance.

Artists Emma Forgues (left) and Sam Bourgault perfor pedagogy in the art world, inquiring Photo by Alex Hutchins. how and why we learn through and with art. experiences would differ in unconventional will perform prox.Dance at the exhibition’s Both studio art students with minors gallery spaces. By presenting the works in a finissage on March 23, but until then, a video in art education, the curators met while traditional gallery, Mendoza and Potvin call of their preparation process is on display co-teaching together. According to Potvin, attention to these questions and encourage at the gallery. “art education has a really structured frame- viewers to question the way they interact Phil Mercier, a photography transfer work,” which they wanted to expand on. with art as well. Mendoza referred to this student from Mount Allison University in The idea of exploring the intersection of art all-encompassing exploration as “a triad New Brunswick, was chosen to display his and education evolved into the concept for of curator-artist-viewer” experiences of piece titled Action. The piece consists of two an exhibition. Mendoza and Potvin agreed learning. iMac computers that display old footage of that the Art Matters Festival could act as a One of the pieces featured in ped- the time Mercier spent at summer camps platform they could build their idea on, as agogy is by Concordia computation as a child. The artist, photographer and well as provide access to student work at arts students Emma Forgues and Sam filmmaker said that as a kid, he enjoyed Concordia.

Bourgault. Mendoza described their recording portions of his life. Recently, This year, the festival received almost piece as the “translation of intimacy into his parents sent him the old tapes, and 300 submissions, which each chosen curator something digital.” The piece, titled prox. Mercier decided to convert them into an art sifted through in order to find pieces that fit Dance, originated in a digital sound class. It piece. He catalogued the clips by dividing with their exhibition idea. A jury approved involves a performance (done by Forgues them based on the actions that happen the curators’ choices, and they were given and Bourgault), which the artists wanted to in the recordings. The actions were then the funds and resources needed to bring share with the art community outside of the pieced together to form a 2-channel video their idea to fruition. As Potvin pointed out, classroom. Similar to Mendoza and Potvin, installation that Mercier said was intended the festival takes place in “traditional gallery they were drawn to the festival as a way to be “almost overwhelming.” It’s up to the space[s],” which added another area of to present their idea to the public. “It helps viewer to decipher what is happening and exploration and critique to their exhibition. us to see how it looks in a real context,” how to make sense of it.

The curators aimed to question how viewers Bourgault said.

The artist said he is happy to participate learn from pieces presented in white-wall The performance piece revolves around in the festival, as he believes “it’s super galleries, how artists learn about their practice the artists, who wear proximity sensors. important that there are opportunities for by exhibiting in these spaces and how their According to Forgues, they begin by moving student-[artists], [...] and that students are in the space around them, and proceed paid and valued for their work.” Art Matters to “explore the distance” between has created a space for student-creators each other, always moving in a to share their knowledge and ideas while slow, calculated manner. Bourgault also being recognized for their work. explained that they wanted to “focus Mendoza, Potvin, Forgues, Bourgault and on these minimal movements Mercier all agreed that the environment of between two bodies,” and allow the the festival encouraged collaboration and audience to do the same. The artists a collective respect for student work. also used frequency modulation Mercier explained that although what (FM) synthesis to incorporate is shared in a classroom has its value, sound into their movements. practical experiences like this festival are With every movement Forgues extremely valuable to student-artists as and Bourgault make, the sound well. He also encouraged viewers to give changes and adjusts. Through the exhibited works the time and attention exploration of movement, the artists they deserve. Although it’s easy to pass by learn about each other and the them without much thought, “when you’re space between and surrounding in front of the piece, try to give it an extra eo project. vid l ne han 2-c s er' rci them. They 10 seconds and think about it a little bit A still of Phil Me . ins tch Hu x Ale by Photo more critically,” he said. pedagogy is on display at Espace Projet (353 Villeray St.) until March 24. The gallery is open Wednesday to Saturday, from 11 a.m. to 6 p.m.

The finissage will be held at the gallery on March 23, from 7 p.m. to 10 p.m. Forgue and Bourgault’s performance will be included in the event. For more information about the exhibition, visit the Art Matters Festival’s website: www. artmattersfestival.org. Additional information about the artists and their work can be found on their personal websites.

The exhibition's curators, Chris Mendoza (left) and Jamie Potvin. Photo

by Alex Hutchins.

feature

PROFILE

Putting others in the spotlight For long-time curator Nicole Gingras, it’s all about supporting artists

The exhibition Spectres, waves and modulations was featured at Oboro in Montreal this year. Photo by Paul Litherland.

MINA MAZUMDER STAFF WRITER For the past 34 years, Nicole Gingras has curated and showcased the work of artists across the city and on an international stage.

“Curating, for me, is to go outside of my comfort zone,” said Gingras, a parttime faculty member in Concordia’s studio arts department. “In some ways, I taught myself to be a curator. I started to curate because I had an interest in some artists, and I wanted to bring light on their work.”

Gingras teaches master’s seminars once a year at Concordia. In one of these courses, “Thinking through Sound,” she makes students aware of the way sounds resonate in art. She does this by analyzing the texts of philosophers, engineers and musicians who have studied the signifi-

cance of sounds.

For Gingras, teaching is a way to meet student-artists and further her research.

“I love to teach,” she emphasized. “It is a good research ground, and it is a good opportunity to test some ideas that I have.”

In addition to teaching, much of Gingras’ time is dedicated to curating and highlighting the work of artists through exhibitions. However, this was not a passion she initially had as a student. “I never thought I would be a curator,” said Gingras, who has bachelor’s degree in cinema from Concordia and a master’s in art history from the Université de Montréal.

Yet, art has always been important to Gingras. “I wanted to support and diffuse the work of artists. It was something that came out very naturally. That was the moteur to start curating.”

The curating process

For Gingras, it is not the finished product but rather the process of developing an exhibition—from mounting it to giving a tour to visitors—that is her primary focus as a curator. “I like to follow the work of an artist who is developing,” she said.

“I am very interested in the creating, researching and thinking processes; these elements reflect themselves in my curatorial projects.”

She stressed that curators have the responsibility to be aware of new artists and where they come from, as well as the innovations of the field. “[Curating] is a way of living, because curators are aware of artists and contexts of exhibiting, how ideas are developed in the public space, and how notions of exhibiting

Où sont les sons?, on display in Belgium, was the longest exhibition Gingras curated abroad. Courtesy of Nicole Gingras.

have transformed.”

Among other topics, an artist’s use of still and moving images to create tension between the two media fascinates Gingras. She said she appreciates the benefits of the two media; still images have duration, while moving images last for only an instant. “This tension is a way of talking about the movement between the presence and the absence,” Gingras said. “It is a way to talk about fragility, vulnerability and mortality.”

She emphasized that the interaction between these two media also engages the viewer. “When you look at [an image], it challenges you when the state of the image is changing,” Gingras said. “It’s very subjective, and every viewer will get a different moment in this passage from stillness and motion.”

Gingras said she believes it is crucial to help tell an artist’s story in the way she curates an exhibition. “When I am curating for institutions, I think it is very important to put in context new work and its history to show where the artist is coming from,” she said, noting that curating brings artists together to develop a network. “Curating is also to develop links between artists, practices or thematics, and these links should be organic so that the viewers can find their own perspective.”

Accompanying exhibitions with some sort of textual element is also important in her curatorial work. “Publication is a very good medium to disseminate the artist’s work,” said Gingras, who founded a publishing house, Éditions Nicole Gingras, which focuses on artists from Montreal and abroad who “have never had a book.”

It is one of the many ways Gingras sheds light on artists and their work.

In terms of choosing which artists to work with, Gingras said it is not a question of choice but a question of timing. “I’m interested in research and exploratory approaches,” she said, which is often what guides her decision.

MARCH 20, 2018

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11

Nicole Gingras curated Karen Trask - L’ombre et la forme at the Maison des Arts de Laval in 2014. Photo by Paul Litherland.

A landscape of works Gingras has worked on a long-term basis with the International Festival of Films on Art (FIFA), which focuses on films and documentaries about artists on an international scale. She was first invited to be a guest programmer in 2003, and a few years later, Gingras was appointed as the director of one of the festival’s sections, which she later named FIFA Experimental. This particular section “presents the latest in video art and experimental film while reconnecting us with the achievements of pioneers and the emergence of other singular voices,” according to the festival’s website.

“I thought it would be interesting to reflect the artist’s work, so it is like an addition to the exhibition,” Gingras said. Some of the films and videos she has curated for the festival are based on the artists’ practices and processes, while others are more like art essays.

Additionally, over the years, Gingras has been invited to curate the collections of various film distributors and video centres in Canada based on select themes. Among these distributors is

Group Intervention Vidéo, an artist-run centre dedicated to supporting female artists and video makers. Gingras said she was particularly interested in their collection because of its focus on social issues and art.

“We go very deep in the process and in the intention of these artists,” said Gingras about the process of curating this type of collection.

One of the challenges Gingras has faced as a curator is balancing multiple projects at once. “All of the projects are not at the same moment of their development. The challenge is to coordinate all of these aspects and to be able to manage them,” she said.

Another challenge she has experienced is mounting an exhibition in another country, because it takes a lot more communication and coordination between her and the artists.

Nevertheless, she assured “it’s a good challenge.”

The longest exhibition Gingras curated abroad was Où sont les sons? / Where are Sounds?. This exhibition was displayed in Brussels, Belgium, from April 20 to Sept. 10, 2017. The project involved the works of artists from Montreal, Germany, Austria, Belgium, Greece, France, Norway and Italy. According to Gingras, the project incorporated many of

her curatorial interests—sound work, silence, kinetic installation, transformation—into one exhibition.

“In this exhibition, you can experience sounds from different parts of your body, not only from your ears,” she explained.

“Sounds can be transmitted to your body through your teeth, skin or bones.”

Current endeavors

Gingras’ latest curatorial work, Spectres, ondes et modulations , was on display at Oboro, a contemporary and new media art centre in Montreal, from Feb. 3 to March 10.

For this exhibition, Gingras took the work of Martine H. Crispo, an artist-in-residence at Oboro, and gave it a particular angle.

“When I proposed this exhibition to the selection committee, I thought it would be interesting to show one piece by Martine, but also to make relations with artists who are using film or video.” According to Gingras, the purpose was to build a connection between the thematic elements in Crispo’s work and their connection with the work of other artists in

In 2015, Nicole Gingras curated Spaces Under Scrutiny, Knockdown Center, pictured on display in Brooklyn, N.Y. Photo by François Quévillon.

film and video. The exhibition focused on the different experiences of duration and sound in relation to motion or moving image, she said.

Gingras also put together six programs, featuring a total of 29 artists’ works, for FIFA Experimental in the latest edition of FIFA, which wrapped up on March 18. On the festival’s final weekend, Gingras organized a public conversation followed by a Q&A session with two filmmakers, Alexandre Larose and Shelley Niro. According to Gingras, Larose looks at reality, nature and domestic space, while Niro’s work deals with identity, the land, its history and how all of this is disseminated in a powerful manner.

A piece of advice Gingras would give to her students, or any student who wants to be an artist or a curator, is to immerse themselves in the art world. “See as much as possible in galleries,” she said. “[It is important] to live your own experience of the work, to get this experience, and to refer later to the memory of this experience in [your] own work.”

“Artists make us aware of things that sometimes we don’t see, hear or understand, so as a young artist or as an aspiring curator, you have to go through these experiences yourself.”

This article is part of a series of profiles on part-time faculty at Concordia. Our goal is to highlight some of the incredible work these professors do, while also shedding light on the difference in treatment between being part-time versus full-time faculty. This series came to life with the help of Laurie Milner, the chair of communications for the Concordia University Part-time Faculty Association (CUPFA), and Lorraine Oades, the vice-president of professional development at CUPFA.

Graphic by Zeze Le Lin.

music

MUSIC EDITOR /// music@theconcordian.com CALVIN CASHEN

THINKPIECE

Linking horror and the sounds of synth Analyzing Annihilation’s soundtrack and the unmitigated fear it produces while viewing

Graphic by Zeze Le Lin. HUSSAIN ALMAHR ASSISTANT MUSIC EDITOR Spoilers for the movie Annihilation

Annihilation is the first movie in a long time to actually scare me. The movie doesn’t use cheap jump scares; instead, it taps into our fear of the unknown, our anxieties around ideas beyond our reality and imagination. The soundtrack, by composer Ben Salisbury and Geoff Barrow of the band Portishead, extends these themes through its eerie sounds.

The movie centres around Lena, a biologist and former soldier in the United States army, masterfully played by Natalie Portman, who is trying to find answers about the mystery surrounding the disappearance of her husband (played by Oscar Isaac) and his sudden reappearance.

Lena sets off, alongside a crew of experts, to explore an area called “The Shimmer” where her husband was sent as part of a covert military operation.

Many unexpected and reality-bending things happen inside The Shimmer: a person’s consciousness is folded into a bear’s body, trees shaped like people decorate the land, and the crew’s DNA mutates in inexplicable ways. Since the movie is cleverly written, none of it seems

ridiculous. Everything feels grounded within the movie’s world.

Every scene inside The Shimmer feels deliberately tense. It had me questioning every plot point, and that’s an uncomfortable feeling. The music is mind-bending.

It includes so many strange noises, and amplifies the emotions of every scene inside The Shimmer with shocking sounds.

My favourite scene is near the end of the movie, when Lena reaches the lighthouse fromm which The Shimmer originates. Dr. Ventress, a psychologist and leader of the crew, loses her senses and starts changing, transforming into a strange creature made of light and colours. Lena’s blood gets sucked into the multi-coloured void-creature, creating a featureless human-like figure that mimics Lena’s every move.

The evocative track “The Alien” plays during this part. The bass-heavy synth sounds are contorting and pulsating—I originally thought it was the sound of the creature talking. As the creature ominously mirrors Lena, the music becomes continually more layered—strings, a choir and ambient noises start getting mixed in. I was enthralled by this moment; the theatre’s sound system was blaring with all the enveloping sounds, and I could feel the seats shaking.

When Lena finally escaped from the lighthouse, I cherished the silence that came after. It made me feel safe. Great music utilizes loud sounds and silence effectively, using pockets of calm to bolster moments of raucous sounds. The silence creates a space for meditation and reflection.

Synthesizers used for the scenes inside The Shimmer sound simultaneously aggressive and passive. This dichotomy helps convey fear, because unlike string or other such instruments, synths don’t make sounds physically, but rather electronically. Playing a note on a synth produces electronic sounds, usually conducted through a electronic oscillator, unlike a physical object hitting a string.

Sci-fi and electronic music have almost become synonymous. Movies like Annihilation , Ex Machina and both Blade Runner movies revolve around a fear of technology and the exotic, so it’s no mistake they all feature synth-heavy soundtracks. Electronic sounds are unnaturally consistent, at least compared to acoustic instruments, creating a synthetic vibe and texture.

Blade Runner 2049 similarly uses synths to communicate fear. In 2049, people fear the Replicant population, sentient androids

manufactured to have human-like abilities, because of an uprising a few years back.

Replicants are socially marginalized and used for slave labour. The soundtrack, composed by Hans Zimmer and Benjamin Wallfisch, also uses loud synths to intensify the dystopian atmosphere, augmenting the movie’s themes. By the end, the music sounds melancholic and sweet.

Annihilation and its soundtrack resonated with me on a deep level. The film’s existential horror and ambiguity still have me thinking about the narrowness of human reality. The movie’s sci-fi trappings are elevated by great writing and an amazing soundtrack; it's visually memorable, the characters are complicated, smart and subvert many genre clichés. The movie’s soundtrack transcends the sci-fi movie template, while retaining the memorable aspects that fans of the genre love.

The films asks many questions unexplored by other surface-level alien fiction: What if we can’t handle the reality of other species? What if alien species have no concept of good and evil? Should we question our sense of rationality? What makes us individuals? The movie never answers these questions, giving us room for interpretation and analysis. For now, I’ll listen to the memorable soundtrack and reflect about the meaning of Annihilation.

MARCH 20, 2018

Quickspins

theconcordian

13

ROUND-UP

LIL YACHTY

Top 10 timeless Canadian albums Records from the great north you can’t pass on

Lil Boat 2 (Quality Control) Lil Yachty’s latest mixtape is a sequel to his debut mixtape, Lil Boat. The original Lil Boat featured the autotuned crooner switching between two personas: Lil Yachty and Lil Boat. Yachty is the sensitive singing artist, while Boat focused more on rapping and was more aggressive. Lil Boat 2 deviates from this formula with more of the Boat persona shining through.

On the majority of the 18 tracks, Yachty trades in bubbly beats for more ominous and cavernous trap production. His rapping has come a long way since the Lil Boat tape, with the flows being more pronounced and hard-hitting. Songs like “She Ready” and “Love Me Forever” examples of when Yachty goes for a singing approach, but it works. Not to mention songs like “BOOM!” and “66” are certified bangers.

This project’s big weak spot is its length, with over half the songs running too short and too generic.

11 Trial Track: “BOOM!” ft. Ugly God

6/10 — ALEX COLE, MANAGING EDITOR

Graphic by Zeze Le Lin. ERIN WALKER STAFF WRITER

XXX TENTACION

?

(Capitol)

The infamous Florida rapper is back with his second full-length album, a follow-up to August’s 17. Unlike 17, which was only 27 minutes long, ? nearly doubles that with a plethora of tracks ranging in various music styles. XXXTentacion’s talent is his ability to operate within many different genres.

Songs like “Moonlight” and “SAD!” are a mix between hip hop and sad emo rock, while the hilariously titled “I don’t even speak Spanish lol” is a reggaeton track that is not only rhythmic but catchy as hell.

Other highlights on the album are “$$$” featuring pre-teen rap sensation Matt Ox and “SMASH!” with PnB Rock. Warning though, like all XXX albums, there are a lot of cringy emo rap tracks that will leave you with a bad taste in your mouth. ? is a huge improvement on 17, but the recent domestic violence case against XXX is definitely a turnoff. If you really want to listen to this, I suggest pirating it rather than buying it.

11 Trial Track: “SAD!”

7/10 — ALEX COLE, MANAGING EDITOR

Disclaimer: This list was compiled from the perspective of a Canadian millennial.

10. FEIST - THE REMINDER (2007)

7. NEIL YOUNG - ON THE BEACH (1974)

3. ARCADE FIRE – FUNERAL (2004)

Mixing dark humour with solitude and affection, Neil Young steers in a softer rock direction rather than folk with this album. It's minimal-but-smooth production makes it stand against time, and marks it as a hidden gem in Canadian discography.

Arcade Fire describes Canada’s snowy suburban neighborhoods in Funeral , with stories of the tragedies, growing pains and bittersweet family memories that happen there. In the end, the band guides the listener through how these obstacles are overcome and accepted. It’s a cinematic record and a slightly orchestral instrumental lineup that remains rock at its core in the way it screams.

This album spans across a variety of music genres, including influences from jazz to disco, with both Leslie Feist’s introspective originals and covers made entirely her own. The Reminder is adventurous and br ight, and its jangly up-tempo indie pop emulates a multifaceted complexit y that still resonates today.

6. SLOAN – ONE CHORD TO ANOTHER (1996)

9. JONI MITCHELL – BLUE (1971)

5. WOLF PARADE - APOLOGIES TO THE QUEEN MARY (2005)

This classic folk record took on a more experimental territory in its song structures, which have raised the bar for folk music ever since. Joni Mitchell is strikingly forthright in her lyricism and imagery. Blue is gorgeously confessional and raw, but there is strength in Mitchell’s vulnerability that stands against time, making it a seminal record that will most likely set off waterworks, even for us millennials.

Montreal outfit Wolf Parade’s debut record was produced by Isaac Brock of Modest Mouse, creating an album of brittle indie pop with the energy of post-punk.

There is a strong David Bowie-driven influence, though the squiggly guitar riffs and video-game synths give it that distinct 2000s sound that still happily floods our ears.

8. ERIC’S TRIP – LOVE, TARA (1993) A hidden gem, this New Brunswick indie album has a lo-fi quality that makes it feel personal and accessible. While the songs incorporate 90s noise influence, the song structures remain pop-y and melodic in a way that’s nostalgic and easy to listen to even in 2018.

This Halifax quartet incorporates the jangly power-pop of the 90s with 1960s pop melodies.

With just the right amount of British Invasion and garage adolescent energy, Sloan mirrors the rawness of The Who and The Beatles while still retaining their own sound. There is no other Canadian band quite like them.

4. NEIL YOUNG – HARVEST (1972) Harvest is a classic that paints a picture of Young’s experience of Americana in the 70s through his own Canadian perspective.

An easy listen on the surface, Young contrasts a humbling folk/country rock sound with darker undertones in a way that feels nothing but human in his most accessible album. This is the perfect album to listen to when you need to sonically escape from the city into the barren but endearing country.

2. LEONARD COHEN – SONGS OF LEONARD COHEN (1967) Cohen is a master at describing the strong connections between people. The beloved late Montreal native showed us that music could be poetic. He crafts stories of men and women into poems of erotic despair, revealing the pleasure and pain of lust in ways that sound like love. This classic album is vulnerable and mesmerizing, while still emulating the unique grace only Cohen could craft.

1. BROKEN SOCIAL SCENE – YOU FORGOT IT IN PEOPLE (2002) There aren’t many bands like Broken Social Scene, and it makes me proud to know these guys are Canadian. This album has a human energy that’s cathartic like no other pop album. The band stems from the experimental Toronto music scene with 15 members, creating a sprawling bittersweet treasure. It’s both orchestral and noisy, with the perfect balance of slow melodic lullabies and sprawling power ballads. You Forgot It in People is the perfect example of what magic can occur when the right creative minds come together.

sports

SPORTS EDITOR /// sports@theconcordian.com NICHOLAS DI GIOVANNI ( @n_digiovanni)

HOCKEY

Pacioretty’s hit changed NHL's safety measures Seven years after the infamous incident, hits to the head have decreased NICHOLAS DI GIOVANNI SPORTS EDITOR On March 8, 2011, Montreal Canadiens forward Max Pacioretty lay motionless on the Bell Centre ice, as 21,000 fans in the are na and thou s and s more watching on television looked on in shock.

Boston Bruins captain Zdeno Chara slammed Pacioretty head-first into a metal stanchion separating the two benches, fracturing then-22-year-old Pacioretty’s fourth cervical vertebra and giving him a concussion. Even though Chara received a five-minute major penalty and a game misconduct for interference, the National Hockey League (NHL) did not discipline Chara any further.

Following the league’s announcement not to suspend Chara—who went on to win the Stanley Cup that year, while Pacioretty didn’t play again for the rest of the season—many people began to question the NHL’s commitment to player safety. Just two days after the incident, former Prime Minister Stephen Harper said: “I am very concerned about the growing number of very serious injuries [...] I don't think that's good for the game, and I think the league's got to take a serious look at that for its own sake,” according to the CBC.

At the turn of the decade, the NHL was not a safe league for players. Former Bruins forward Marc Savard suffered a concussion when Matt Cooke of the Pittsburgh Penguins hit him with a blind-side shoulder-to-head hit on March 7, 2010.

Cooke was not suspended, while Savard missed the rest of the regular season and 23 games to start the 2010-11 season.

Savard’s career ended when he suffered another concussion in January 2011.

Also in January 2011, superstar Sidney Crosby was a victim of a shoulder-to-head hit from David Steckel. Four days later, he received a hit-from-behind from Victor Hedman. Crosby missed the remaining 41 games of the season, and only played 22 games the following season.

The reaction to the Pacioretty-Chara incident was a culmination of multiple serious head injuries in the NHL. Fans and league sponsors had seen enough.

According to the Toronto Star, Air Canada wrote a letter threatening to remove sponsorship, “unless the NHL takes immediate action with serious suspension to the players in question to curtail these life-threatening injuries.”

Montreal Canadiens owner Geoff Molson was the first executive in the NHL who tried to implement action.

“Our organization believes that the players’ safety in hockey has become a major concern, and that this situation has reached a point of urgency,” Molson wrote in an open letter to fans on March 10, 2011. “Players’ safety in hockey must become the ultimate priority and the situation must be addressed immediately.”

Molson and the NHL implemented change soon after.

Before the 2011-12 season, every arena in the league installed rounded glass near the benches, removing all stanchions like the one Pacioretty hit. At the Bell Centre, there used to be a pane of glass separating the benches, connected to glass on top of the boards. The corner of the two panes of glass was where Pacioretty got hit, and both panes were removed at the end of the season.

The NHL’s department of player safety started giving stricter suspensions for hits to the head, with 13 illegal head contact suspensions ranging from three to 25 games in the 2011-12 season. In the 2013-14 season, there were 14 head contact suspensions lasting between two and 10 games, with nine in 2014-15, seven in 2015-16 and five last season.

In October 2016, the NHL also implemented a concussion protocol. An independent spotter watches games and notifies the officials if a player is showing concussion-like symptoms.

The player is then removed from the game to undergo an evaluation, and cannot return to play unless he passes the evaluation.

In the seven years since the Chara hit on Pacioretty, player safety in the NHL has changed quite a bit, and for the better. Sometimes, there has to be some bad before the good.

Graphic by Alexa Hawksworth.

ESPORTS

FIFA 18 Weekend League dictating players’ lives “It was so unhealthy,” says one user about time-consuming video game mode NICHOLAS DI GIOVANNI SPORTS EDITOR A few weekends ago, I played 40 games on FIFA 18, and there was a good reason for it.

In the game’s flagship mode, FIFA Ultimate Team, there’s a competition called Weekend League, which allows users to play up to 40 games every weekend, from Friday through Sunday, and earn prizes based on their number of wins.

To qualify for this mode, the user must win a mini-tournament during the week, or have earned 11 wins in the previous Weekend League.

After I won the mini-tournament during reading week, I qualified for the Weekend League from Feb. 23 to 25. Although I have qualified for it twice in FIFA 17, it was the first time I qualified in FIFA 18. I played 20 games on Friday, and then 10 on Saturday and the rest on Sunday, winning 14 games over the entire weekend. I qualified for the following Weekend League, but only had time to play three games.

Some of the best FIFA 18 players in the world compete in the Weekend League on a regular basis. For eSports gamers, or at least fans of FIFA 18, it’s a serious competition but also takes serious commitment.

Playing 40 games in 72 hours is not an easy task. Let’s do the math: each game takes about 20 minutes (and up to 30 minutes if the game goes to extra time or penalties), so that’s at least 800 minutes of playing, which is over 13 hours. Imagine spending an entire half-day of your weekend just playing video games—that’s what many players do every weekend.

The Weekend League also takes away from a user’s social life. Personally, I didn’t feel like that, because I made plans throughout the weekend (which were eventually cancelled), and I still played hockey on Saturday night.

However, for others, the Weekend League takes over their weekend. The Concordian took to reddit to see how other users cope with balancing their social life and playing this mode.

“I’m 29, have a family to provide for and work full-time including Saturdays, so I’d have to sacrifice doing anything Saturday night to get my games in,” wrote one user, Stephen B. “It got to the stage where I was snapping at my family and friends all the time, neglecting my social life and thinking of FIFA every minute of the day.

It was so unhealthy.”

Another player, Mark P., said he also had to play his games late at night—sometimes

until past 3 a.m. “Working all week and then cramming 40 games into a few remaining weekend hours makes it feel like a chore,” he wrote.

Some players wrote they don’t play all 40 games, but rather play until they get 11 wins—the minimum needed to qualify for the next Weekend League. Those who use that strategy said they have more free time during the weekend, and the game is not a burden.

Video games should be fun, and not something that dictates your weekend. Yet, EA Sports has turned this video game into a social life-killer and a chore.

Former Concordia student Mike K., wrote he used to play all 40 games in FIFA 17, but now that he works 18 hours over the weekend, he can’t play as much. He said he used to prioritize the video game over other activities, too.

“I don't think something can be a hobby when it's forcing you to spend about eight hours [a day] on it during the weekend,” he wrote. “I'd classify it as an obsession for those who sacrifice other activities to complete it on a weekly basis.”

The reddit users requested only their first name and last-name initial be used.

Graphic by Alexa Hawksworth.

MARCH 20, 2018

PROFILE

Feeling at home on the mound Jackson Morgan returned from the U.S. to pitch for the Stingers

Despite never playing pro baseball, Jackson Morgan is happy with the way his career has turned out. Photo by Alex Hutchins.

BEN FRASER STAFF WRITER When a pitcher’s job is to keep the opposition off-balance with a variety of pitches, it seems fitting that the athlete has a balancing act in his own life. That is the case for Concordia Stingers starting pitcher Jackson Morgan.

The 24-year-old Westmount native began playing competitive baseball as a child and knew he wanted to pursue it from there.

“It was one of the few sports that I actually found myself passionate about,” Morgan said. “Around the age of eight or nine, I knew I wanted to play baseball competitively.” Even from this young age, Morgan knew he would be a pitcher. He throws left, which is an attractive quality in baseball because most pitchers throw right-handed. “[Coaches] tend to see if you can pitch [as a lefty],” Morgan added. “At a young age, if you're a lefty and can hit the strike zone, [coaches] encourage you to keep pitching.”

Morgan’s baseball career brought him to Concordia, after playing four years for Saint Michael’s College in Colchester, Vt., in the second division of the National Collegiate Athletic Association (NCAA).

Prior to playing in the NCAA, while at Dawson College, Morgan uploaded a video online of himself, hoping to get recruited. “I didn't think anything would come of it, but sure enough, I was contacted, and the next year I was playing [at Saint Michael's College].”

Morgan injured his shoulder and missed his third college season, which was his draft year for Major League Baseball (MLB).

Although he was never drafted, Morgan remains thankful for the years he spent in the United States.

“I’m happy with the way my baseball career turned out,” he said.

After graduating with a degree in political science from Saint Michael’s College in 2016, Morgan returned to Montreal for his master’s degree, unsure about his baseball future.

“I spoke to [Stingers baseball coach]

Howie Schwartz, and he couldn't have means there’s a pitcher’s duel taking place. been more encouraging for me to come out It’s easier to keep a good tempo. You're in and try and see if I fit well with the team,” the dugout for five to 10 minutes and then Morgan said. you're right back on the field.”

It was a decision Morgan wouldn't regret.

Most athletes have players they look “From day one, I knew that I loved [the team] up to, and Morgan is no different. When he and fit well with [my teammates].” Morgan was a child, former Montreal Expos pitcher took the lessons he learned from the NCAA and baseball Hall of Fame member Pedro and applied them to the Stingers.

Martinez was dominating Major League “In the U.S, I played against bigger, faster Baseball (MLB). Morgan said Martinez was and stronger players, and it forces you to a major influence on how he developed [...] play smarter [...] and outthink hitters his game. and apply the more mental aspect of the “As a short but powerful man, he had an game,” the second-year player said. The explosive delivery,” Morgan said. “I really experience that Morgan gained has made loved the violent, aggressive nature of his him a leader on the current Stingers roster, [pitching] motion.” Morgan throws a handful speaking to younger players and sharing of pitches, including a curveball—a pitch advice—something he loves to do. Yet, Martinez used to dominate baseball with. when Morgan chose to return to Montreal, The Stingers baseball season only runs athletics weren't his priority. in the fall, so right now, it’s their off-season.

“I tried to make baseball not a priority The off-season, while important for training for the first time in my life,” Morgan said. and developing new skills, presents a unique “Throughout the first year of my master’s, opportunity to rest.

I didn't even play. I didn’t contact any of “In my experience, [the off-season is] the coaches; I didn’t want [baseball] to a great time to relax and stop throwing,” interfere with my academics.” However, by Morgan added. “That’s a great opportunity his second year, Morgan was on the team. to get into the gym and work on [weak “Ultimately, I’m so happy with my decision points] and give yourself better stats going to play at Concordia.” into next year.”

Morgan, who is completing a master’s Morgan and the rest of the Stingers degree in public policy and public adminbaseball team are currently training at istration while playing baseball for the the Stingers Dome, and will be primed to Stingers, calls it a balancing act. challenge the McGill Redmen, who have “It’s tough [...] at the end of the day it’s won four-straight national championships, about managing your time,” Morgan said. next season.

“In the States, I would play 30 to 40 hours a week [...] The skills [of time management] that I learned during my undergraduate degree really helped me.”

This past season, Morgan started four games for the Stingers while maintaining a 3.71 earned run average (ER A). The Stingers offence didn't score many runs for Morgan when he was on the hill, something Morgan takes in stride. “Sometimes, I find it easier to get your job done when hitters aren’t getting Jackson Morgan pitches left-handed, which isn’t traditional for pitchers. Photo by Ben Fraser. their jobs done,” he said. “It

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COLOUR COMMENTARY

BY NICHOLAS DI GIOVANNI

I think most sports fans can agree that March Madness is the most entertaining annual college sporting event. The National Collegiate Athletic Association (NCAA) men’s national basketball tournament offers exciting games and unforgettable moments.

Who doesn’t love seeing the LoyolaChicago Ramblers upset the Miami Hurricanes on a buzzer-beating three-point shot? And nobody will forget Kris Jenkins’s last-second shot to win the 2016 national championship for Villanova.

It’s moments like these that give the March tournament its madness.

March Madness is one of the most anticipated events on the sports calendar. According to USA Today, people will bet over $10 billion during the tournament, and with so much money riding on these college students, millions of Americans stop working to watch the games. USA Today predicted employers will lose $2.3 billion in productivity from employees watching the games.

The biggest beneficiary of the tournament is undoubtedly the NCAA. According to Fortune.com, the NCAA raked in a revenue of over $1 billion for the first time in 2017, with $761 million coming directly from last year’s March Madness. TV companies also pay big bucks to broadcast the games. According to SB Nation, CBS signed a 14-year, $10.8-billion contract with the NCAA in 2010 for the tournament’s broadcasting rights, and extended that contract in 2016 for an extra eight years, worth $8.8 billion.

The most surprising number out of all of this? The players make zero dollars. Sure, almost every player receives a scholarship from their school, but its value is tiny compared to the profit the NCAA makes. The collegiate organization uses its athletes for these multi-billion-dollar tournaments, and makes sure the players see none of it.

It’s time for players to start receiving financial compensation from March Madness. I don’t know what kind of compensation they should receive specifically, but the NCAA shouldn’t exploit young athletes for their gain.

The NCAA thinks what they do is right—they show advertisements during the tournament explaining how great it is to be a student-athlete, and how the NCAA could benefit the athletes. They’re wrong. It’s the NCAA that benefits from the athletes, not the other way around.

Most of the players in the tournament won’t be playing pro after their college careers are done. The least the NCAA could do is help them financially so they aren’t in debt once they leave university and the NCAA forgets about them.

If you make money, pay your players.

opinions OPINIONS EDITOR /// opinions@theconcordian.com SANIA MALIK

Put down your textbooks and vote Will you walk past the polling stations set up around campus from March 27 to 29 or cast your vote for the new Concordia Student Union (CSU) executive?

With finals on the horizon, student union elections likely sit near the bottom of many students’ priority lists. This is counterintuitive. For any student hoping to flourish in university and make the most of their experience at Concordia, the CSU

election is arguably the most important election to participate in.

With more than $6.5 million in revenue from fees in the 2016-17 academic year alone, it’s clear the CSU has the money and resources to significantly impact the university experiences of the more than 35,000 undergraduate students it represents. By casting a vote in the CSU election, students can have a real say in how the student union is governed and how those resources are distributed.

But it’s not just about the money. The CSU and other student associations are often the ones directing the university administration’s attention to serious problems on campus.

Most recently, the CSU successfully demanded the right to recruit the undergraduate members of the Task Force on Sexual Misconduct and Sexual Violence, and

is continuing to advocate for more student seats on the task force. The CSU also hosted a congress on Feb. 28 to give all students the opportunity to voice their concerns and suggestions for policy changes about how sexual misconduct on campus is dealt with.

It is the CSU’s top mandate to defend the rights of students and ensure our voices are heard. This is at the heart of their past and present campaigns for paid internships, climate justice and fossil fuel divestment, anti-austerity and ending tuition hikes. Services provided to students through the CSU range from the health and dental insurance plan to the legal information clinic to the daily free lunches offered at the Loyola Hive Café. The Housing and Job Resource Centre (HOJO) helps students find jobs and educate themselves on tenant and workers’ rights. The Student Advocacy Centre promotes student rights and assists students with issues of academic misconduct or violations of the Code of Rights and Responsibilities.

Among the responsibilities of the new CSU executive will be ensuring a smooth beginning for its downtown daycare centre and the successful completion of the $14 million housing co-operative.

Regardless of your outlook on student politics, it’s nearly impossible to be an undergraduate at Concordia and not be impacted in some way by the CSU. As with any other election, it is important to participate in the democratic process. Unlike other elections, however, your vote carries weight. You are one of 35,000 students, rather than one of about seven million eligible Quebec voters or one of over 25 million eligible Canadian voters.

So put down your textbooks, close Facebook, grab yourself another cup of coffee and take a minute to learn about the candidates and their platforms. What changes do you want to see on campus?

Who’s advocating for the things you care about? Who do you want to be your voice for the next year?

Now, more than ever, there is proof that students can make an impact when they stand up and speak up for what they believe in. Students are no longer expected to follow the status quo and accept their circumstances. It may not seem like much, but casting a vote from March 27 to 29 is a step toward making Concordia a more engaging, safe and positive place for everyone.

Graphic by Alexa Hawksworth.

ENTERTAINMENT

The importance of inclusion in the film industry Inclusion riders can improve the age-old problem of the lack of diversity in Hollywood

MATTHEW GUIDA STAFF WRITER At the conclusion of the 90th Oscars on March 4, actress Frances McDormand, who won the Academy Award for Best Actress that night, ended her acceptance speech by saying: “I have two words for you: inclusion riders.”

I must admit, before her speech, I had never heard anyone use the term in relation to the film industry before.

According to an article by National Public Radio (NPR), I was not the only one. Following the actress’ speech, internet searches for the term spiked overnight.

According to The New York Times , McDormand’s mention of inclusion riders was the biggest public acknowledgment of the term to date. An inclusion rider is “a stipulation that actors and actresses can ask (or demand) to have inserted into their contracts, which would require a certain level of diversity among a film’s cast and crew,” according to NPR. These days, I believe people are more accepting of diversity in terms of race, gender, ethnicity and culture, and so inclusion in the media is a crucial aspect of progress. Yet, for something that should be an obvious movement in the film industry, it is taking far too long to achieve results.

According to a 2014 Hollywood

Reporter article written by Stacy L. Smith, the founder and director of the Annenberg Inclusion Initiative at the University of Southern California (USC) Annenberg School for Communication and Journalism, women are severely underrepresented in the film industry.

A nine-year study conducted by USC observed that, in 2013, women represented less than a third of speaking characters among the top 100 grossing films, a ratio that has remained constant for the last 25 years. In regards to current statistics, women comprised 34 per cent of all speaking roles, 37 per cent of the major characters and 24 per cent of sole protagonists among the 100 top-grossing films in 2017, according to the website Women and Hollywood.

Racial diversity wasn’t much better last year among these top 100 films, as 68 per cent of all female characters were white. Of the remaining 32 per cent, 16 per cent were black, seven per cent were Latina, seven per cent were Asian and two per cent were another race or ethnicity.

For years, Smith has made it her personal mission to promote diversity in the film industry. Unfortunately, factors such as the biases of producers, directors or casting directors interfere with the interviewing and hiring process, which not only prevents any progress from being made, but also makes it more difficult for gifted actors to reach their

full potential, according to The New York Times .

According to NPR, Smith’s findings do indicate that although not many actors pushed for an inclusion rider in the past, many have started asking for it.

She also elaborates that the benefits of inclusion riders could increase diversity in the film industry both on screen and among the crew, according to The New York Times .

Among those taking action in the last few weeks, Michael B. Jordan, who most re c e n t l y p l a y e d t h e role of Erik Killmonger in Black Panther, announced that his production company, Outlier Society Productions, will now be adding an inclusion rider into its projects, according to The New York Times . This decision marks the first time a major actor has publicly adopted a rider since McDormand’s speech.

A lot of progress has been made in the last few decades to promote diversity and equality in society. However, in my opinion, it is important to recognize that we

still have a long way to go and that we must acknowledge the faults within our current system, especially in the film industry. In Smith’s words, we must make sure that “the world on-screen looks like the world in which we live.”

Graphic by Alexa Hawksworth.

MARCH 20, 2018

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CONSTRUCTION

A commotion in Concordia’s FG building The university is responsible for trying to solve distracting, frustrating problem EITHNE LYNCH STAFF WRITER Every Monday, I struggle to wake up for my 8:45 a.m. lecture. What makes matters worse is that my class is in the FG building on Concordia’s downtown campus. This building’s main floor and upper levels have been under construction since before the semester started. Many students, like me, have had to make their way to class only to have most of what their professor says be drowned out by the sounds of construction.

It was a bit of a joke at the start of the semester because the sound of construction seemed to start immediately after the professor began talking. However, after nine weeks of having large portions of every class be interrupted by the sound of drilling, it has become a nuisance.

During our most recent lecture, the drilling noises lasted for an hour and a half straight. I counted seven students in my class who got up mid-lecture and walked out because they couldn’t hear anything the professor was saying. I could also see more and more students—myself included—looking frustrated as the drilling persisted.

Our teacher has been forced to scream his lectures to the class. Even with him

yelling, we still often miss important information. Whenever someone tries asking, or rather, screaming a question, the teacher can’t hear us either. Most of the class consists of “Sir, can you repeat that?” followed by our professor asking “What? Can you repeat your question?”

On top of the noise, sometimes the construction produces strange smells. For the most part, it does not filter down into the classrooms and there are large fans set up to help keep the air circulating, which also produce a lot of noise. But every now and again, smells make their way into the halls and the classrooms. This might not bother many people, but as someone with asthma, it really affects me. What’s worse is that I know the classroom is probably the area where it smells the least, so I can’t exactly leave the room to escape it.

Although the construction isn’t necessarily Concordia’s fault, it’s still affecting students and professors.

Essentially, professors have to re-teach their students during office hours and are losing their voices. In my opinion, the construction is also affecting students’ physical health at times, by giving them headaches and, in the case of some students like me, affecting their breathing.

Concordia has a duty to its staff and students to provide adequate learning and teaching environments. As it stands, the

FG building is not one.

T his is an unlikely solution, but perhaps Concordia could work with the construction company or the other owners of the building to e n s u re c o n s truction times do not coincide with class hours. Again, I understand how hard it would be to come to that kind of consensus. Another option would be for Concordia to reduce the number of classes held in the FG building while construction takes place, or at the very least, not hold classes in rooms that are closest to the construction site.

I am fully aware that the university’s administrations has little to no control over the issue. But they also need to recognize that it’s having a negative impact on students and professors.

Therefore, they have to do whatever is in their power to ensure classes are interrupted as little as possible and that students and teachers have an adequate space to flourish in.

Graphic by Zeze Le Lin.

GENDER

Sorry Jordan Peterson, the future is non-binary The professor's conceptions of gender highlight a refusal to acknowledge modernity

TYSON BURGER ASSISTANT OPINIONS EDITOR It’s an exciting time, folks. Progressive culture is alive and well, and it’s propelling us toward a more realistic and less discriminatory definition of gender every day. This definition is one that recognizes the ways Western society enforces arbitrary gender stereotypes through socialization.

It also recognizes and seeks to end the unjust limitation of individual opportunity on the basis of gender identity.

This is currently the dominant way gen der is t aug ht in post-secondary institutions in relev ant f ield s . B ut there is a psycholog y profe s s or at the Universit y of Toronto who has taken to publicly lamenting the declining popularity of the traditional understanding of gender—and his name is Jordan Peterson.

His online lecture videos are often geared directly toward young men—a demographic that repre s ent s over 9 0 p er cent of his following, according to Peterson himself. The reason for this is likely the content of his claims like: “Feminism that says Western culture is an evil and corrupt patriarchy [is to blame for] alienating young men.” Peterson’s videos operate on the logic that progressive conceptions of gender are wrongfully oppressing men. He fights to preserve the gender ideals that one might find in a TV commercial from 1950s America.

Peterson’s understanding of the world is so rooted in a binary understanding of gender that it makes sense he would be reluctant to question it. Almost every one of his videos are laced with big, generalizing claims about the inherent personality differences between men and women, and he states in a lecture that he has been studying the topic for over 25 years. If Peterson acknowledges the large role socialization plays in gender identity, as well as the legitimacy of non-binary genders, he risks invalidating 25 years of his own research.

He argues society doesn’t value traditional masculinity as much as it did in the past (and he’s right). He may also be right in proposing that this shift has caused his young male supporters’ troubles. But he is wrong in suggesting that progressive attitudes towards gender—rather than toxic men—need to change.

Peterson refuses to recognize the existence of rape culture or the whole idea of toxic masculinity as a culture-wide problem. He said in a recent video: “You don’t want to confuse the actions of some of the men with all of the men” in response to the #MeToo movement.

However, what Peterson doesn’t realize is that this is the exact type of logic that enforces the very alienation of young men Peterson is concerned about. If they dig their heels in and refuse to adjust to society’s changing values, then they’re bound only for ostracization.

Some of the traits that we associate with “traditional” masculinity are courage, independence, assertiveness and leadership (I put traditional in quotations, because as sociologist Raewyn Connell points out, definitions of masculinity have varied dramatically in various cultures throughout the course of history). The thing is, there are a ton of women in my life who have all of these traits, and as progressive culture encourages a more fluid definition of gender, that number will only increase. Don’t get me wrong, there is a long way to go, but people are finding it increasingly easy to act according to their feelings rather than in accordance with societal constraints.

"Traditional" men are finding that their place in society is diminishing, and they are faced with the option of either confronting the toxic behaviour they’ve been instilled with since the beginning stages of their socialization, or becoming bitter about it.

There is comfort in Peterson’s lectures for those who become bitter, as he reassures them that society is at fault for progressing away from traditional masculinity.

It’s hard work to acknowledge privilege and confront toxic masculine values, but the social move that questions those things is not going anywhere.

You get to decide if you want to be part of the positive change or cling on to archaic understandings of gender. The future is non-binary.

Graphic by Alexa Hawksworth.

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theconcordian

MARCH 20, 2018

LETTER TO THE EDITOR

ia d r o c n o C The

KAËLLA STAPELS COLLÈGE DE MAISONNEUVE I aspire to join one of the most gratifying professions there is, a job where I take care of people in every aspect of their lives and where I make sure they can live in the best way possible. I’ve chosen a trade, not a calling—I saw it as a job, rather than a choice that requires me to give away all parts of my life. I’ve chosen to help others, but not at my expense.

I study nursing, and I work to afford school since I do not qualify for loans or bursaries and my parents cannot contribute financially to my studies. Not only do I work to study, but I take on debt to study. Finding a work-study balance is hard when my school and internship hours keep me from working as much as I should.

I never stop. The concept of a weekend no longer exists for me. On weekdays, I go to school, I have my internships. In the evenings, I study, I do my homework, I prepare for my courses and internships. On weekends, I work night shifts, day shifts, evening shits, on rotation and always according to the hospital’s needs. After my work shift, I study more, I prepare for my courses more and I start over, endlessly.

In this neverending hustle, I have to find time for daily tasks like anybody else would, such as cleaning, doing laundry, running errands, making lunches, washing dishes, dealing with my landlord, calling my bank and my insurance company—all of that on a budget calculated down to the penny. Things add up during these endless weeks: sleep deprivation, malnutrition and stress. Stress, because my budget is already tight enough when my tuition fees come up, along with my winter electricity bill, the pile of books that will cost me three months worth of rent and my bus fare for the semester. Stress, because I need to

n

decide what I won’t be capable of paying this month: internet, my credit card bill, my driver’s license?

My internships represent over 1,000 hours of unpaid work and are required for my training by my program. More than 1,000 hours where I do not study, but work. Yet I am not paid. I can say that I work because I accomplish the same tasks as the nursing staff. Even though I’m not paid, I’m legally responsible for my patients and for the care that I give, just the same as any other nurse, because I am a professional. I am there for over eight hours a day, and I must remain smiling, comprehensive, efficient, precise, impeccable. I am required to be just as good as the regular staff. And yet, I am not a nurse. I am a student. I am not protected by labour standards.

There is no consideration for the fact that I work to afford school, that I live under the poverty line and that I am accumulating a financial and sleep debt that are both growing day by day.

I am told I need to deal with it, that my internship will prepare me, that my working conditions won’t be much different than my current conditions as an intern. I am told that lack of sleep on top of psychological and work overloads await me when I become a full-time nurse.

During our internships, just like at work, nursing students must arrive 30 minutes before and leave 30 minutes after our eight-hour shift so that continuity of care is assured for our patients. An extra hour every day. Everyone is under pressure. If an error occurs, I am just as responsible as the nurses.

I may be expunged, even if I am just a student. I may be sued, even though I am in training. I am treated like a nurse from a legal standpoint, and I am asked to be a nurse from a professional point of view. I am told to be irreproachable, even though I am learning.

I do the same tasks as the hospital staff: the vital signs, the hygienic care, the medication, the

checkups, educating beneficiaries and much more.

I have access to the same insufficient resources, the same dysfunctional spaces—where one-patient rooms are transformed into two-patient rooms, where each act of care requires moving an entire set of equipment. It's an environment where everyone is caught up in the gymnastics of doing more with less. I am subjected to the same conditions, the same cuts that I am told are just the tip of the iceberg.

Teachers and society are trying to force students into a defective mould instead of changing it. The solution does not reside in more budget cuts to a system that is already choking from having to tighten its belt. I work and I study in public fields that are crying out for help, accustomed to seeing their budgets amputated year after year. In these fields, many take it upon themselves to deal with these burdens. We tell ourselves that beneficiaries should not be the ones having to pay and suffer for these budget cuts, so we suffer blow after blow.

As a woman, a student, a worker, a recipient and giver of care, as a citizen, I speak out in opposition of this oppression.

I am opposed to this endless austerity. I advocate for the women in every field, for the student-parents, for those who take on debt, for those who go back to school for a better future, for those who work two jobs during their studies just to get by.

I am often asked why I carry on, why I’m an activist, why I chose the nursing trade. I have chosen to discuss the issues, the problems, the solutions, to get involved and to go on strike. I have chosen to refuse to work for free and without better rights and working conditions. I am doing it to make a difference, be it for the beneficiaries, the students, the workers or the parents. I believe that by choosing to give wages to interns, we can all make a difference for interns and, as a result, the patients they care for.

Archive graphic by Charlotte Bracho.

etc

FEATURED CONCORDIA ARTIST

VICTOR LE

Hi, my name is Victor. I am a photographer and currently studying design at Concordia.

My photographs explore the relation between people and space. The style can be described as moody and subtle, depicting life as cinematic stills. These photos can also be seen as a romanticization of the industrial and often overlooked segments of the city.

Sometimes I would use empty spaces to create a sense of belonging instead of using people as the main subject. I play with compositions and symmetry to create a perspective that people don't usually see, emphasizing the colours and textures of the environment.

When I'm not doing photography, I run my own clothing brand. DECENT HUMAN BEINGS is a minimal clothing brand with inspirations drawn from pristine elements fused between Japanese and Scandinavian aesthetics which share a foundation that focuses on simplistic and harmonic designs. DHB is more than purely a clothing brand, but rather a lifestyle. We wear our clothes with purpose, bringing positivity and a zen state of mind to our designs and everything we do. Everyone is a Decent Human Being.

Instagram:

Website:

@LITTLEVICTAH @DECENT.HUMANBEINGS

WWW.VICTAHGRAPHY.COM WWW.DHBSTUDIOS.CO

Etc is a space dedicated to showcasing Concordia artists!

Submissions can be sent to production@theconcordian.com

20 theconcordian

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