Tag Archives: culture

Government Of Belgium Battling Social Media Sites Blocking Nude Artwork

July 23, 2018 The Silo Leave a comment

Facebook and other social media sites are blocking masterpieces of “nude” art from Rubens, Bruegel, Van Eyck and others. In an open letter, several top European Museums are asking social networks to reconsider their policy. Facebook has been in the spotlight recently for blocking content including some parts of the United States Constitution and other historical documents and multimedia content.

Artistic censorship continues to pursue Peter Paul Rubens. In the 17th century, the Flemish Baroque painter was asked by the Catholic Church to paint camouflaging ‘loincloths’ over certain body parts of his Venus figures. Nowadays, social media networks, including Facebook, go one step further. All breasts, buttocks and cherubs painted by artists such as Rubens are banned on these platforms. ‘Bots’ on Facebook use artificial intelligence to screen for nudity, but do not make a distinction between pornographic images or nudity in art. Flanders – the perfect place to enjoy the Flemish Masters in all their glory – is denouncing this artistic censorship in a playful manner. At the Rubens House, ‘nudity viewers’ with a Facebook account were blocked from viewing nudity by a group of “social media police agents”.

The Flemish Masters are best experienced in Flanders, the number one destination for art lovers. After all, this is where Rubens, Bruegel and Van Eyck lived and worked. Their work can often be found still hanging in the very same places for which they were made. “We want to promote this unique experience,” says Peter De Wilde, CEO of VISITFLANDERS. “Our Flemish Masters attract hundreds of thousands of visitors to Flanders each year and we are proud of this achievement.

With our multi-year program focusing on Rubens, Bruegel and Van Eyck, which was launched in 2018, we are aiming for three million visitors by the end of 2020. At the moment it is not possible for us to promote our unique cultural heritage via one of the most popular social media networks. Our art is categorized as being indecent and sometimes even pornographic. This is such a shame as it restricts the promotion of our Flemish Masters.”

Eve detail Ghent Altarpiece by Jan van Eyck

The agency in charge of promoting tourism in Flanders, Belgium explains that they have invested 30 million US dollars in 2018 to improve the experience of cultural travelers visiting that region, especially in cities like Antwerp, Bruges, Ghent and Brussels. Now they can’t promote some of those museums due to restrictive policies applied by some online social networks.

‘We are for it and not against it’ is what the people of Flanders say. Peter De Wilde explains, “Social media and art have a lot in common. Art brings people together. Social media brings people together, and our Flemish Masters too. This is why we want to enter into discussions with Facebook so that we can use this platform as one way in which to make our art visible. Surely it’s not that difficult to differentiate between cultural heritage and gratuitous nudity?”

VISITFLANDERS position is supported by several top museums in Belgium and around Europe. In an open letter, the institutions ask Mark Zuckerberg to revise Facebook’s policy related to art, culture and heritage. Click here to read the open letter.

“We tried various channels to bring this matter to Facebook’s attention. Unfortunately nobody listened,” De Wilde explains. Flanders hopes the comedy video produced in Rubens’s House will facilitate a discussion to solve the issue and allow users to view this content that is present in encyclopedias and elementary school grade text books. “Flanders is a unique art destination. But because we are naturally modest in Flanders, we do not shout out about it often enough. This stunt enables us to make our presence felt and also honor the spirit of Pieter Paul Rubens. He was an artistic rebel who was not afraid of engaging in social debate. There’s no finer tribute to honor our Flemish Master than by taking up the battle against unnecessary artistic censorship.” For the Silo, Marcos Stupenengo.

About the Flemish Masters.
For over 250 years, from the 15th to long into the 17th century, Flanders was a figurehead for fine arts in Western Europe and the source of inspiration for well-known art movements of the time, such as the Flemish primitives, the Renaissance and the Baroque. Artists were known for their craftsmanship, creativity and technical innovations and they transformed the prosperous and urbanized Flanders into one of the most refined cultural regions with their impressive artistic and architectural creations.

About Peter Paul Rubens, master of female nudity.
Rubens is the best-known Flemish Master. This Baroque painter, illustrator and diplomat was one of the most celebrated artists of the 17th century. He exerted a particularly strong influence. He was a master of color, composition and painting techniques and also an expert in painting female nudity. His nude figures – which often refer to mythical beings – appear extremely lifelike, made from flesh and blood, with a fair amount of cellulite and with all kinds of body shapes visibly on display.

About Antwerp, the home of the Flemish Baroque movement.
Lonely Planet selected the best cities to visit in 2018 and included Antwerp in its top 10. According to the travel guide, Antwerp is one of Europe’s best kept secrets. And there is certainly plenty to see and do there in 2018. The “Antwerp Baroque 2018. Rubens inspires” festival shows you the finest places in Antwerp: www.antwerpbaroque2018.be

Culture

Explore The Evolution And Creation Of America’s Music On Giant IMAX Screen

May 15, 2018 The Silo Leave a comment

America’s Musical Journey follows singer/songwriter Aloe Blacc as he traces the roots of American music and explores the great musical cities- places like New Orleans, Chicago, Nashville, Miami, New York City and more- where such electrifying art forms as jazz, the blues, country, soul and rock and roll were born.

In America’s musical cities, every chord, every riff, every bang of a drum tells a story. In America’s Musical Journey these stories come together to create a soundtrack for the American experience—a soundtrack that showcases the nation’s diversity and its collision of cultures, culminating in a unique blend of sound, music and innovation unlike anywhere else in the world. Click here to read full PDF release.

Singer/songwriter Aloe Blacc tracing the roots of American music.

“There’s something exciting that happens when different cultures come together as they have in America. One of the things that happens is incredible creativity.”

Aloe Blacc- one of the stars of America’s Musical Journey- performing live this month at the U.S. Consulate in Toronto.

America’s Musical Journey is a MacGillivray Freeman Film produced in association with Brand USA and presented by Expedia.

Director: Greg MacGillivray
Producer: Shaun MacGillivray
Executive Producer: Tom Garzilli
Writer: Stephen Judson
Music By: Steve Wood
Editors: Stephen Judson, Jason Paul and Victoria McGinnis
Director of Cinematography: Brad Ohlund
Aerial Cinematographer: Ron Goodman
Production Manager: Meghan MacGillivray
Production Manager: Kathy Almon
Visual Effects: Alan Markowitz

Click Me!

Culture

Port Dover Hosts Biggest Single Day Biker Event In Canada

April 12, 2018 The Silo Leave a comment

Before you contemplate the pictures above lets flash-back to Friday 13th, 1984, when Chris Simons, a local biker, and a few of his buddies met in the “ZOO,” a local watering hole, to shoot the breeze and have a few cold ones. They agreed to meet every Fri. 13th and pass the idea on to friends. And so it began.

Many local people, including the Municipal Council, feared the 1% of potentially violent bikers invading Norfolk County (as opposed to the 99% of peaceful riders), but as it grew into the biggest money making event the Kinsmen had ever seen, the need for some organization became evident.

The word went out to “LEAVE YOUR COLOURS AND ATTITUDES AT HOME,” otherwise the Council threatened to shut it down. The Kinsmen knew the bikers would continue to come and numbers would soar. The Coffin Bike and even Santa Claus were soon regular attendees as well as the Motor Maids (6000 strong nation-wide) and the Christian Riders.

HOG (Harley Owners Group) and BRO (Bikers Rights Organization) were present. By 1999 the OPP reported 12 outlaw biker clubs present in Port Dover, including Satan’s Choice, Hells Angels, Outlaws, Nomads, Para-Dice Riders, Red Devils, Piston Pushers, and even Banditos. Still, no violence erupted and over 100 police were brought in to maintain order.

As word spread Port Dover became THE place to be on Friday The 13th. Bikes were showing up from Quebec, Manitoba, Nova Scotia and B.C., as well as Americans from as far away as Florida. Even several Brits put their bike on a ship and came over.

Tim Hortons Drive-Thru soon was a walk-through. Yard Sales were common; seniors sold food to pay for a wheelchair-van. Pop, water and Freezies were sold from many local yards and eateries. Bars and beer gardens struggled to meet the demand in the summer months.

Big name bands were soon playing, like Steppenwolf, Colin James, Blue Rodeo, Dry County, Tragically Hip and local favourites. As the 20th century came to a close over 100,000 people were attending in the summer months.

As crowds swelled to over 150,000 in a town of 4,500, businesses placed “WELCOME BIKERS” signs in their storefronts and traffic backed up to Simcoe in the West and Cayuga in the East. Lodgings were booked-up for a year in advance and campgrounds swelled to full capacity quickly. Some businesses closed for the day like law offices, pharmacies, hardware stores and banks, though they stocked their debit machines full and went to work with the service clubs.

In 2009 The Port Dover Board of Trade, Kinsmen and the Lions partnered to run this massive event. The Kinsmen now handle bookings for 100 vendors in Powell Park and the Harbor Front, and run a 1,200 capacity beer garden. They monitor about 1200 campers in Kinsmen Park and Doverwood School, as well as selling souvenirs, including over 1,000 t-shirts. Shuttles are provided to haul campers to the action downtown.

Over the years the Kinsmen Club recruited many others to help, like Minor Softball and Hockey, Hard ball, Jr. Hockey, Figure Skating, Soccer, Maureen Dodds Art Foundation, Alzheimers, Big Brothers, High School Council (the Port Dover High School was closed a few years ago) Scouts K. of C., and the Harbor Museum. Other Kin Clubs came on board as did “Support our School.” At one point 26 other groups assisted the Kinsmen with everybody getting a share of the pie. It’s well known that bikers come back to visit Port Dover even when it’s not Fri. 13, as can be witnessed on any good weekend throughout the summer. The welcome mat is out so come visit us on Friday, September 13th, 2013 and every Friday the 13th to follow. For the Silo……Yours in Kin: Life Member Dave C.

Transportation

Digital Blessings For Auto Restoration And Repair

January 13, 2018 The Silo 1 Comment

One of the biggest influences that the internet and social media has on the automotive industry is the now ease of finding hard-to-find parts and procedures. Go on Google, type in your year, make, and model, followed by the part or procedure you are looking for, and in the results you are bound to find (at the very least) a forum, web group, or page dedicated to your vehicle specifically. What this means to you is that now you can discuss (with others who love the same vehicle as you) parts, repair procedures, styling, or just why you love your vehicle so much! What this also means is that you now can draw from a vast pool of knowledge from others who share your same interest.

So be it a complicated repair or common problem, you can usually chat with someone who has already been there and done that. (a majority of the time) and a lot of the forums usually have step by step procedures with pictures. This came in handy for me last month when a certain silver Smart car I know had starting issues. The first problem? Where is the starter? This may sound dumb but, Look under the bonnet (hood under the trunk) and you tell me where the starter is. I would bet 5 bucks that you could not, even from underneath. Unless, you have messed with one, prior. The next Issue, where the heck is this starter supposed to fit out? Lastly, How do you even get to the bolts that hold it in?

Luckily for me, there are many Smart car pages based out of the U.K. and one really good one I found, had many members who were very knowledgeable in this topic, this page also had step by step detailed instructions along with very clear pictures. This is substantial considering that one cannot even get a repair manual for these cars, almost nobody has parts listings OR interchanges for any of these cars with a model year prior to 2008 (this car being a 2006). Who knew that to change this starter there was insane procedure including dropping the engine and removing the intercooler system. A bunch of people on this page had already been through this and had come up with a very efficient shortcut. This saved me hours of time. All this from a free membership. Here are a few Facebook pages that I follow:

“Restoring Old Cars” – a lot of classic car posts, “Lifted Trucks USA”- lots of pics of lifted trucks lol, “Chevy Chevelle”- Lots of Chevelle pics, ”Chevy Militia”- jacked up Chevy truck pics, and my two favorite ones “Bow-tie Society”- for everything Chevrolet, also where Ford and Dodge Trollers come to get put back in their respective places. And “Black Crow Car Education System” –this guy posts all kinds of cool classic auto industry pics, vintage, and artistic mechanical pics. All of these pages are very cool. Check em out by searching them on Facebook. Till next time. For the Silo, Robb Price, WC Kustoms.

Politics

ISIS Goal Splits Family And Divides Muslims

October 21, 2017 The Silo Leave a comment

History is made in moments, often of crisis and uncertainty, and the wisdom with which we meet them. This is one of those moments.

ISIS goal is to split the human family. To divide the world’s 1.5 billion Muslims from everyone else. Those in our societies who sow fear, suspicion and hatred of Muslims are the best allies the extremists who attacked Paris and Beirut could ask for.

Muslims are almost one quarter of humanity, and 99% are as horrified by the ISIS attacks as everyone else. They have been the greatest victims of ISIS, and have the greatest power to help defeat it. So let’s answer hate with humanity, and seize this chance for transformative change. For all of us – Muslims and Non-Muslims everywhere – to fiercely welcome each other into our one human family like never before.

Sign the global “Undivided” message, add your own, and share the page with everyone – If enough us join now, we can start a global wave of solidarity, and make the pain of these attacks the birth pangs of a more beautiful world. When we get to 500,000 signatures Avaaz will run ads in Muslim community papers and online, as well as key right wing papers that spread fear and division:

https://secure.avaaz.org/en/loving_transformation_loc/?bsOTIab&v=69561&cl=8992696952

The real front line of this war is not just in the dusty towns of Syria and Iraq, but in the media and social media forums where the stories we tell ourselves compete. There is a fraternity of ignorance and hatred and it stretches across borders, in which extremists on all sides work together to drag the rest of us down into their backward world of spiraling brutality.

Our governments will need to increase their vigilance in preventing attacks, and support military efforts to defeat ISIS. But our job as people, and our leaders’ jobs as moral leaders, is to ensure that love, the transformational antidote to ISIS’ hate, blooms between Muslims and everyone else everywhere. THAT would be ISIS’ worst nightmare – it might even give some of the angry young men they recruit cause to hesitate – a chance to see an alternative as inspiring to them as the backward brand of faith that ISIS markets.

At the darkest times, our light as humanity can shine brightest. Human rights were not recognized until after the second world war. The world got it wrong after 9/11, when leaders play into Al Qaeda’s hands by stoking Islamaphobia. This time, let’s be wiser, come together as Muslims and non-Muslims more closely than ever before, and brightly shine the light of the world we’re building:

https://secure.avaaz.org/en/loving_transformation_loc/?bsOTIab&v=69561&cl=8992696952

From a place of love, we might begin to listen to our brothers and sisters among Muslims that have lent ISIS some support. First and foremost those Sunnis from Syria and Iraq, who have been treated unjustly by Iraq’s government, and incredibly brutally oppressed by Syria’s dictator Al Assad. We might begin to understand that when we failed to offer their families protection and relief from the horrors they faced, ISIS offered that protection, and some accepted it. We might focus on learning from this, and offering them a better deal.

With that lesson, we might see the stories of the peoples around the world that ISIS fighters come from. From Chechnya, where generations of Muslim families were horrifically murdered while the world looked away. Or from Egypt, or Algeria, or dozens of other countries, where sickeningly brutal state security police have tortured and murdered countless Muslims who dared to stand up to their venal corruption – something that is a religious responsibility for Muslims.

And maybe then we will understand that while ISIS is a monster that we must defeat, the monster is more than just the group itself. It’s the desperation of millions of people suffering under horrific conditions, and looking for a way out. And the rest of us in the human family, Muslims and non-Muslims, have either looked away, failed to effectively address, or often, backed and supported these horrors.

So let’s seize this moment with wisdom, to bring down the monster we face, the one we all have lines of responsibility for. Let’s see the human family united like never before to defeat ISIS – not just on the battlefield, but in our own societies, in the media and social media, and most of all in the thousands of Muslim communities that live today around the world in fear. Let’s encourage Muslim and Non-Muslim communities everywhere to embrace each other, welcome refugees with compassion, escalate our pressure on Egypt and other brutal governments to stop brutalizing opponents and creating the ISIS’ of the future, redouble our efforts to achieve a peace deal in Syria, protect at-risk communities like the Rohingya, stop constant terrifying drone attacks on communities, and ensure that the military actions we support are scrupulously careful to avoid traumatizing the civilians who are suffering enough already under ISIS’ boot. If we do these things, we’ll do far more than defeat ISIS, we’ll defeat the misery that has given rise to them, and in a way that takes the human family one wiser step further on our journey together.

With love and gratitude for this amazing community,

Ricken, Luis, Ben, Alice, Rewan, Elana, Mohammed, Steve, Emma and the whole Avaaz team.

Politics

Do’s And Don’ts Of Political Conversations

October 19, 2017 The Silo 2 Comments

We live in one of the most politically heated times in history. Expressing your point of view is a personal decision and can be tricky. Although conversations may start out benign, they can quickly become a toxic dialogue.

Sharon Schweitzer, an international etiquette expert, author, and the founder of Access to Culture, says there are several “do’s and dont’s” to make sure polite political discourse doesn’t turn into hostile debates.

Show respect for differing opinions

It can be challenging to listen to those with different opinions. It’s important to show respect and take time to listen, giving the other person the opportunity to share their viewpoints. The Platinum rule encourages treating others as they wish to be treated. Stay calm, collected and respectful.

Agree to disagree

If their opinions are different from your views, you can agree to disagree. Try saying something along the lines of, “I respect your perspective, but I think we may need to agree to disagree” or “That’s a different way of thinking about the issue, but I’m comfortable if you and I can agree to disagree.”

Ask questions

If someone asks you a question about your political beliefs, you can reciprocate by asking them about their own beliefs. Let the other person do the talking while you listen. Try to ask open-ended questions such as, “What are your thoughts on the current political atmosphere?” or “How do you feel about the media’s portrayal of …?”

Change the subject

If someone continues to ask your opinion, change the topic by saying: “It’s impossible to keep track of the different versions of the news. How is your family doing by the way?” “With the divisive political atmosphere, I’m not comfortable sharing my personal opinions, but thank you for your interest.” “I can’t answer that question, but what I can discuss is… ”

DON’T

Get angry, cross or upset

It can be difficult to keep your temper, but don’t get angry or upset if you don’t agree with someone’s viewpoints. Expressing sarcasm, bitterness or passive aggressiveness won’t change any minds. It will only damage your reputation.

Talk over them

The worst thing you could do is interrupt conversation and start talking about your own opinion. Be respectful of other opinions and views. Listen attentively, especially when you don’t agree with that viewpoint. It gets easier the more you practice.

Overshare

Politics is a difficult conversation, particularly with family members and close friends. If you are speaking to someone you’ve just met, refrain from oversharing. In this case, less is more. Avoid saying something you will later regret.

Make assumptions

We make mental notes when we first meet someone new. We make a first impression based on hair, shoes, watch, clothing, mannerisms, etc. However, political views are hidden unless they are shared verbally or by wearing a revealing detail. It’s important to approach people with an open mind to avoid awkward and potentially toxic conversations.

For the Silo, Scott Jones.

Featured image- http://ashleylewis-oldmeetsnew.blogspot.ca/

Reviews

Becoming AFI Celebrates 50 Years Of American Film Institute

September 7, 2017 The Silo Leave a comment

“This book puts you directly behind the scenes for a story that began with a dream,

overcame constant challenges, and evolved into the institution it is today.”

―Steven Spielberg

“Documented here by the people who lived it, this is a remarkable tale of how a major institution,

created out of whole cloth, wove itself into the American fabric.”

—Cokie Roberts, author and political commentator for ABC and NPR

For over fifty years, the American Film Institute has flourished as one of America’s great cultural entities. Its graduates, faculty, supporters, and trustees have included such acclaimed individuals as Steven Spielberg, Maya Angelou, Gregory Peck, Sidney Poitier, Meryl Streep, Les Moonves, Patty Jenkins, David Lynch, Jane Fonda, Edward James Olmos, Shonda Rhimes, James L. Brooks, and many other respected leaders in the worlds of film, television, digital media, and philanthropy.

In their new book, Becoming AFI: 50 Years Inside the American Film Institute (Santa Monica Press/October 2017), Jean Picker Firstenberg and James Hindman provide a candid look at how this remarkable organization brought together aspiring filmmakers, educators, and artists who helped AFI become the foremost national champion for moving images as a vibrant art form.

Preview page from BECOMING AFI: 50 YEARS INSIDE THE AMERICAN FILM INSTITUTE

From its early years operating out of the Kennedy Center in Washington, DC, and the legendary Greystone mansion in Beverly Hills under the leadership of George Stevens Jr., through its incredible growth into an influential cultural institution at its landmark Hollywood campus under the guidance of Jean Picker Firstenberg, to its continued excellence today under the dynamic leadership of Bob Gazzale, the organization and its history are chronicled in Becoming AFI through in-depth essays written by those who have been involved in its adventures, growth, and success.

“After being asked so many times what our book would be about, we decided to put together AFI’s history as we experienced it personally,” explain Firstenberg and Hindman. “As we structured the book with the stories we wanted to tell from those years, we realized that some of those stories really belonged to other voices. So, we went to several former colleagues and asked them to join our band. Each chapter tells a stand-alone story about an aspect of AFI, but together, they add up to the full picture.”

Becoming AFI provides an insightful, behind-the-scenes look at how AFI, with passionate determination, overcame the hurdles of advancing technology, political shifts, and new audience dynamics to turn its aspirations into a substantial and highly successful organization, becoming a tireless advocate of moving images as one of America’s most popular forms of art, and maturing into one of the world’s most respected educational and cultural institutions. For the Silo, Trina Kaye.

“No matter how divisive life in this country may become, the movie theater has always been a place where we can discover what unites us.”

—Vernon Jordan Jr., New York Times

44 2006-05-31_COMMENCEMENT_HonoraryDegrees_Basinger_Fries_Jones_Pollack-0131

“AFI saved our film history. AFI celebrates filmmakers. AFI trains the next generation. Thanks to Becoming AFI for telling us the fascinating story of its fifty-year history. And a big thank you to Jean Picker Firstenberg and James Hindman for documenting all of it! Here’s to the next fifty!”

―Edward James Olmos, actor and AFI trustee

About the Authors

Jean Picker Firstenberg served as president and CEO of the American Film Institute from 1980 to 2007, overseeing the development of AFI as one of America’s greatest national, cultural, and educational resources. She received an AFI Life Achievement Award for Service to the Institute and was named president emerita and a lifetime trustee. In 2016, Firstenberg was named to the California State University Board of Trustees by Governor Jerry Brown, overseeing the largest four-year public university system in the United States, with twenty-three campuses educating the most diverse student body in the nation. Prior to serving at AFI, Firstenberg spent four years as a program officer at the John and Mary R. Markle Foundation. She also served as director of Princeton University’s Publications Office. Firstenberg is a summa cum laude graduate of Boston University’s College of Communications. She has served on several boards, including that of Boston University (1984–1996), the George Foster Peabody Awards at Georgia University (1985–1997; board chair 1991–1997), and the United States Postal Service Citizens’ Stamp Advisory Committee (2002–2014; committee chair 2008–2014). She has won numerous awards and honorary degrees.

James Hindman, PhD, has spent his career in cinema and performing arts, creating and leading professional and public education programs at major institutions. During his twenty-four years at the American Film Institute, where he served as co-director and chief operating officer, he was provost of the AFI Conservatory, which he nurtured through WASC accreditation. He was also the uncredited producer of the award-winning feature documentary Visions of Light and the television series Starring the Actor. He developed the AFI Silver Theatre and Cultural Center in Silver Springs, Maryland, as well as numerous television projects and international film and television festivals. Subsequent to AFI, he developed and led film schools in the U.S. and internationally, including the Red Sea School of Cinematic Arts in Aqaba, Jordan, and New Mexico State University’s Creative Media Institute in Las Cruces. He is currently on the board of the New Mexico School for the Arts in Santa Fe, charged with creating a new cinematic and media arts program and facilities for the school. Prior to AFI, he served as head of graduate studies in the Performing Arts Department at American University in Washington, DC, having previously taught at the University of North Carolina. Hindman holds a PhD in drama from the University of Georgia and has served on the boards of the AIDS Service Center and LAMP in Los Angeles. He currently splits his time between Santa Monica, California, and Taos, New Mexico.

Patty Jenkins made history in 2017 when she directed her second film, Wonder Woman, becoming the first woman to direct a studio superhero movie and earning the biggest domestic opening of all time for a woman director. Jenkins wrote and directed her first film, the crime drama Monster, in 2003, launching Charlize Theron’s career with many awards, including an Oscar for Best Actress. Jenkins graduated from the Cooper Union for the Advancement of Science and Art in 1993 and the AFI Conservatory in 2001.

Dana Gioia was appointed Poet Laureate of the State of California in 2015 by Governor Jerry Brown. An award-winning poet who has published five collections of poetry, Gioia served as chair of the National Endowment for the Arts from 2003 to 2009, and was named a USC Judge Widney Professor in Poetry and Public Art in 2011.

David Lynch, born in 1946 in Missoula, Montana. Eagle Scout.

BECOMING AFI: 50 YEARS INSIDE THE AMERICAN FILM INSTITUTE

By Jean Picker Firstenberg and James Hindman

Foreword by Dana Gioia

Preface by Patty Jenkins

Afterword by David Lynch

Santa Monica Press/October 2017

Hardcover/$27.95 usd

ISBN-13: 978-159580-094-7

Culture

More To Vast World Of Biennials Than Venice, Whitney and Documenta

April 20, 2017 The Silo Leave a comment

With the historic opening of Documenta 14 in Athens this month, now is a perfect time to take a look around the world at more of the biennials happening in every corner throughout the year. You may recall a previous post in which we discussed three of the brightest stars in the biennial universe (namely, Venice, Whitney, and Documenta) but there is more to the vast world of biennials than just those few. There are old and new festivals celebrating cultural and political stories from every part of the globe imaginable. In these times of increased global awareness and community, the biennial may be one of the best conduits to further difficult conversations. The four biennials here take place in nations where socio-political upheaval has been or is part of the nations’ recent past or present existence.

Documenta 13 – Thomas Bayrle. Photo: commons.wikimedia.org

Odessa Biennale
A relative newcomer to the biennial scene, Odessa Biennale was established in 2013 by The Museum of Modern Art, Odessa. The first biennale was titled Self-government: cultural evolution vs. revolution. Participants were asked to examine the relationship and contradiction between various forms of freedom (personal, social, small group) and the impositions and restrictions of self-government. The upcoming biennale, set for August 26-September 30 is titled Turbulence. This year’s exhibition is rooted in Alvin Toffler’s 1970 book, Future Shock. Toffler examined the idea of collective shock as a result of living during a time of extreme change. Spinning out from the ancient curse, “may you live in an era of change” this year’s biennale seeks to disrupt the notion that extreme change is outside the ordinary and instead posits that all of human existence has been based around rotating times of chaos and calm. Open call for the 2017 biennale ended in December, but for future events (the next is slated for 2019) artists are always welcome to contribute their work for consideration.

Istanbul Biennale
This year will mark the 15^th Istanbul Biennial. Since its inception in 1987, Istanbul has made the move to become an artist curated biennial. This year curation is headed up by artist duo Elmgreen & Dragset, Danish artists who explore the crossroads of art, architecture, and design. Istanbul has risen to a high place among the world’s biennial festivals, now being given similar footing to Venice, Sao Paolo, and Sydney. The event seeks to bring together Turkish artists as well as artists from the international community in order to further dialogue and exchange of cultural ideas. Past themes have included 2013’s Mom, am i barbarian? And in 2015 Saltwater: a theory of thought forms. The 2017 biennial is working in collaboration with the 2017 Istanbul film festival, both of which are exploring the title topic A Good Neighbor. In addition to the contemporary art program, the biennial will include ten feature and five short films all curated by Elmgreen and Dragset. The films (as well as the art) will look at the concept of home as a means of portraying identity and the intricacies of community and co-existence. The 2017 Istanbul Biennial runs from September 16-Novermber 12.

Beijing International Art Biennale
China is a nation with an ancient history of art as well as a finger on the developing pulse of the future. It is a burgeoning international economy as well as a land steeped in cultural tradition. The biennial was begun following China’s ascent to the WTO as well as their 2008 hosting of the Olympic Games. Through art, the Beijing Biennale seeks to further the notion of plurality as China continues to open its borders and join the world stage. The overall theme of each biennial is stated as demonstrating “the graceful bearing of opening up in an all-round way.”

A few of the tenets of the Beijing Biennale are, “building a grand path and bridge for international cultural exchanges” and “closely combining arts with international trends and national interests, developing the resource advantages in serving society and human beings.” The theme of the 2017 Biennale, set to run from September 24-October 15 at National Art Museum of China, encapsulates these basic principles. The Silk Road and World’s Civilizations considers the ancient tradition of China’s Silk Road and the new tradition of peaceful international development.

Karachi Biennale
In its first ever biennale, Pakistan will explore bold themes under the title Witness. According to the festival website, “Art as a testament of its time has always held signiﬁcance, particularly in times when memory is heavily contested.

According to Milan Kundera, ‘The struggle of man against power is the struggle of memories against forgetting’. The theme Witness has been chosen for its strong relevance to politics of representation, erasure and selective documentation.” Pakistan has been a nation of political and social strife. Like much of the world today, upheaval has been a strong contributor to individual experience. Art has always been a medium that can reach beyond difficult times and continue a dialogue outside the socio-political arena. Karachi’s first Biennale will be curated by Amin Gulgee who grew up in Karachi. For the Silo, Brainard Carey.

Brainard is currently giving free webinars on how to write a better Artist bio and statement and how to get a show in a gallery – you can register for that live webinar and ask questions live by clicking here.

Banner image: Teaser Magazine 2015 Instanbul Biennale

Travel

Warm History Behind Sanderson Centre 100th Anniversary

March 3, 2017 The Silo 5 Comments

Opened as the Temple Theatre on December 22, 1919, the centre was originally designed as a vaudeville and silent movie house. Opening night premiered with five acts of vaudeville and the silent movie “Heart of the Hills” starring Mary Pickford. As one of the premiere theatres in Canada at the time, the Temple was a “first-run” film house attracting films from all the major distributors.

The local orchestra members started collecting promotional photos of the acts who performed at the theatre and glued them to the walls, the doors, and the sides of their sheet music cabinets. Many of these photos were salvaged during renovations of the orchestra pit and are on display throughout the lobbies today, along with photos of our more recent performers.

The Temple Theatre was renamed the Capitol in the early 1930s. For fifty-seven years, the theatre entertained moviegoers, and occasionally drew up her movie screen to be used again as a stage. As the years passed, attendance waned and in August 1986, the final movie “One Crazy Summer” was shown at the Capitol Theatre.

The vision of reopening the theatre as a performing arts facility was born and was met with fantastic support from local citizens. The Brantford Heritage Theatre Foundation spearheaded a highly successful fundraising campaign for the restoration and renovation of the Capitol Theatre. The first performance was Evita on October 2, 1986, tickets sold out quickly and two more performances were added. On December 11, 1989, the theatre was renamed the Sanderson Centre for the Performing Arts, a tribute to the memory of the Sanderson family known for their generous support of local causes.

The original ceiling mural (shown above this article’s title) was reproduced aided by ghost images which remained and historical photographs. It is believed the mural is titled “The Three Muses” depicting Greek goddesses who preside over literature, sciences, and the arts. Canada’s premiere performer Anne Murray officially opened the newly restored theatre on September 8, 1990, with a gala presentation.

In June, 1991 the Sanderson Centre for the Performing Arts was proud to be awarded the prestigious “Theatre Preservation Award” presented by the League of Historic American Theatres. The Sanderson Centre joins a select few authentically restored historic facilities including Carnegie Hall in New York and the Elgin Winter Garden Theatres in Toronto.

Amid the grandeur of 1919, the theatre inspires all to treasure the past and cherish the present. The Sanderson Centre for the Performing Arts, together with the Sanderson Centre Foundation, continues to honour our heritage. We invite you to enjoy the archival collection of photographs and memorabilia showcased in the lower lobby.

As we approach our 100^th anniversary there will be many celebrations and events during the year.

Fashion

Showing In New York’s NADA Lobby- Drag As Radical Form Of Art Theater And Politics

March 3, 2017 The Silo Leave a comment

NADA x PAOM: Contemporary Drag

We are pleased to announce NADA x PAOM: Contemporary Drag, a new collection of artist-designed limited editions curated by Gordon Robichaux for the sixth edition of NADA New York.

NADA (The New Art Dealers Alliance) is the definitive non-profit arts organization dedicated to the cultivation, support, and advancement of new voices in contemporary art.

The collection features the artwork of Chris of Hur, Jimmy Paul, Juwelia, La’fem Ladosha, Lady Bunny, Linda Simpson, Patti Spliff, Sasha Velour, Tabboo!, and Tyler Ashley The Dauphine of Bushwick. The limited edition merchandise will be available for purchase in the lobby of NADA New York and on paom.com.

Contemporary Drag features a wide range of intergenerational artists, performers, and cultural figures, and will highlight their engagement with drag as a radical form of art, theater, and politics.
For the complete schedule of programming and events, visit here.

Art

US Premiere of Small Wonders: The VR Experience At Metropolitan Museum Of Art

February 17, 2017 The Silo Leave a comment

“Walking through 500-year-old art…Once I put the VR headset and headphones on, it truly felt like I was transported to another world. You could walk through the levels of sculpture and detail in the bead, which was a frieze of heaven on top, purgatory in the middle, and hell below it. There were easily 20 fully carved objects – humans, demons, and animals – in the five centimeter bead, with multiple layers of objects on top of one another to create a three-dimensional image. I was astounded to be able to see, as close as I wanted to get, the bead in all its detail.”— Stefan Palios,betakit

The Canadian Film Centre’s Media Lab (CFC Media Lab), Seneca’s School of Creative Arts and Animation, and the Art Gallery of Ontario (AGO) are pleased to announce their groundbreaking virtual reality (VR) collaboration, Small Wonders: The VR Experience. It will screen for a special four-day limited-run as part of The Metropolitan Museum of Art’s new exhibition, Small Wonders: Gothic Boxwood Miniatures, February 22-27, 2017 at The Met Cloisters (99 Margaret Corbin Drive, Fort Tryon Park, New York, NY 10040).

From February 24 to 27 during public hours, visitors can don a VR headset and explore a 3D rendering of a miniature boxwood carving from the AGO’s collection. The experience is free with general admission, reservations required, and marks a significant first for The Met Cloisters—the integrated use of VR to enhance the exhibition experience.

The exhibition Small Wonders: Gothic Boxwood Miniatures, which runs through May 21st, brings together for the first time some 50 rare boxwood carvings from museums and private collections across Europe and North America. The exhibition offers new insight into the methods of production and cultural significance of these awe-inspiring works of art. Small enough to fit in the palm of the hand, these tiny masterpieces depict complex scenes with elegance and precision. Without fail, they inspire viewers to ask how a person could have possibly made them, a question that can only be answered today and a challenge perfect for VR technology.

“Much of the success of new VR will hinge upon the quality of experiences being created. Everyone is searching for that sublime encounter one can only have in VR. With the boxwood miniatures and their high-resolution scans, we have found the perfect, transcendent landscape to explore in this medium,” says Ana Serrano, Chief Digital Officer, CFC, and Producer, Small Wonders: The VR Experience.

The AGO, CFC Media Lab and Seneca’s School of Creative Arts and Animation partnered to create Small Wonders: The VR Experience. Using one of the AGO’s micro-computed topography (micro-CT) scans of the miniatures, the creative and technical team led by interactive artist and designer, Priam Givord, developed an experience specifically for the HTC Vive platform. Viewers can explore the intricate carvings of the prayer bead from various angles and in detail otherwise inaccessible to the human eye. The soundtrack, Treasures of Devotion: Spiritual Songs in Northern Europe 1500-1540, echoes the ambience of the wider show. The result: VR enriches the contemplative and immersive experience.

Barbara Drake Boehm, the Paul and Jill Ruddock Senior Curator for The Met Cloisters said: “At first glance, the VR experience might seem anomalous in the medieval ambiance of The Met Cloisters. But, thanks to the efforts of the CFC Media Lab, Seneca and the AGO, VR opens a portal through which our visitors can tumble into a tiny world, and sense the meditative power that these centuries-old works of art were intended to convey.”

Small Wonders: The VR Experience was created by Lisa Ellis, Conservator of Sculpture and Decorative Arts (AGO); VR Creative and Technical Director Priam Givord (Interactive Artist/Designer); VR Producers Ana Serrano (CFC Media Lab) and Mark Jones (Seneca College); VR Technical Team Craig Alguire, Morgan Young (Quantum Capture) and Tyrone Melkitoy (Mobius Interactive); Composer/Vocalist Anne Azema, Artistic Director (The Boston Camerata); Narrator Gillian McIntyre; and Micro-CT Scanner Andrew Nelson, Associate Professor of Anthropology, Sustainable Archaeology (Western University).

The exhibition continues at The Met Cloisters through May 21, 2017, but the VR experience will only run during public hours, February 24–27. To learn more about the Small Wonders exhibition and to plan your visit, go to: http://www.metmuseum.org/exhibitions/listings/2017/small-wonders

At The Met Cloisters, Small Wonders: Gothic Boxwood Miniatures is made possible by the Michel David-Weill Fund. It was organized by the Art Gallery of Ontario, Toronto; The Metropolitan Museum of Art, New York; and the Rijksmuseum, Amsterdam.

Social Media

Canadian Film Centre (CFC)
@cfccreates.com | facebook.com/cfccreates CFC Media Lab (CFC Media Lab)
@cfcmedialab | facebook.com/cfcmedialab

Seneca College
@senecacomms | facebook.com/senecacollegeArt Gallery of Ontario (AGO)
@AGOToronto | facebook.com/AGOToronto

The Metropolitan Museum of Art
@metmuseum | facebook.com/metmuseum

About CFC

The Canadian Film Centre (CFC) is a charitable organization whose mission is to invest in and inspire the next generation of world-class Canadian content creators and entrepreneurs in the screen-based entertainment industry. A significant economic and cultural driver in Canada and beyond, CFC delivers a range of multi-disciplinary programs and initiatives in film, television, music, screen acting, and digital media, which provides industry collaborations, strategic partnerships, and business and marketplace opportunities for talent and participants. For more information, visit cfccreates.com.

About CFC Media Lab

The Canadian Film Centre’s Media Lab (CFC Media Lab) is an internationally acclaimed digital media think tank and award-winning production facility. It provides a unique research, training and production environment for digital media content developers and practitioners, as well as acceleration programs and services for digital entertainment start-ups and related SMEs. The Silo founder and Digital Editor Jarrod Barker and contributor Arthur Maughan are graduates and fellows of the CFC Media Lab. Program participants have emerged as leaders in the world of digital media, producing groundbreaking projects and innovative, sustainable companies for the digital and virtual age. CFC Media Lab is funded in part by the Federal Economic Development Agency for Southern Ontario. For more information, visit cfccreates.com.

About Seneca

With campuses in Toronto, York Region and Peterborough, Seneca offers degrees, diplomas, certificates and graduate programs renowned for their quality and respected by employers. It is one of the largest comprehensive colleges in Canada, offering nearly 300 full-time, part-time and online programs. Combining the highest academic standards with work-integrated and applied learning, expert teaching faculty and the latest technology ensure Seneca graduates are career-ready. Find out more at senecacollege.ca.

About AGO

With a collection of more than 90,000 works of art, the Art Gallery of Ontario is among the most distinguished art museums in North America. From the vast body of Group of Seven and signature Canadian works to the African art gallery, from the cutting-edge contemporary art to Peter Paul Rubens’s masterpiece The Massacre of The Innocents, the AGO offers an incredible art experience with each visit. In 2002, Ken Thomson’s generous gift of 2,000 remarkable works of Canadian and European art inspired Transformation AGO, an innovative architectural expansion by world-renowned architect Frank Gehry that in 2008 resulted in one of the most critically acclaimed architectural achievements in North America. Highlights include Galleria Italia, a gleaming showcase of wood and glass running the length of an entire city block, and the often-photographed spiral staircase, beckoning visitors to explore. The AGO has an active membership program offering great value, and the AGO’s Weston Family Learning Centre offers engaging art and creative programs for children, families, youth and adults. Visit ago.net to learn more.

About The Metropolitan Museum of Art

The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy. The Museum lives in three iconic sites in New York City— The Met Fifth Avenue, The Met Breuer, and The Met Cloisters. Millions of people also take part in The Met experience online. Since it was founded in 1870, The Met has always aspired to be more than a treasury of rare and beautiful objects. Every day, art comes alive in the Museum’s galleries and through its exhibitions and events, revealing both new ideas and unexpected connections across time and across cultures.

Travel

5 Disruptive Luxury Travel Trends Shattering The Status Quo

February 15, 2017 The Silo Leave a comment

With the global luxury market collectively growing at 4 percent to an estimated $1.15USD (€1.08) trillion in 2016, according to a recent “Bain & Company Luxury Study,” coupled with optimistic forecasts that the luxury goods market will pick up this year, the hospitality industry is gearing up for elevated demand among both leisure and business travelers. This amid evidence that, despite widespread geopolitical uncertainties, luxury consumers are redirecting their spending toward new and more personalized high-end experiences like luxury travel, food and wine.

“The luxury market has reached a maturation point,” said Claudia D’Arpizio, lead author of the study. “Brands can no longer rely on low-hanging fruit. Instead, they really need to implement differentiating strategies to succeed going forward. We are already starting to see clear polarization when it comes to performance with winners and losers emerging across product categories and segments.”

D’Arpizio also underscored that personal luxury market brands that “take an omni-channel, customer-centric approach will rise to the top.” Such is the prevailing wisdom for both the B2C and B2B luxury travel sector, specifically, with personalized experiences, quality of service and private booking options serving as primary distinguishing factors for luxe brand positioning throughout 2017 and beyond.

Here how these key drivers will converge with evolving luxury travel trends to greatly influence various vertical sectors—and, in doing so, the marketplace at large—in the months ahead:

1. Small group cultural immersions loom large.
Travelers are increasingly seeking exclusive and regionally-authentic itineraries that cater to small groups. Tour companies like Fort Washington, Pennsylvania-based Gate 1 Travel are capitalizing on this trend with offerings that provide the convenience of an escorted tour with the intimate view of local cultures that large groups just can’t provide. “Our small group tours option has seen, by far, the most significant increase in booking volume–up 50% in 2016,” the company reports.

A City Lodge Hotel Group report concurs that the trend of being “connoisseurs of local culture” will boom this year. It emphasizes that indigenous tourism experiences and cultural immersion will remain a big factor whether traveling within your own home country or jaunting to faraway lands. “We’ll see more people wanting to visit more than the big landmarks and monuments of their destination,” it says. “Rather people are more likely to be interested in knowing about the locals–those that call that place home. Trips to the rural communities will become popular, and travelers are likely to be more interested in private guides that teach them about the traditional ways of life.”

2. Private villa travel surpassing leading luxe resorts.
Today’s breed of private villa rentals have become the ultimate in luxury travel lodging for vacationers and business travelers, alike. This is due to the vast array of benefits and creature comforts it proffers for couples, families and small groups. While maximized privacy and security, uber-tailored guest service and 5-star accommodations and amenities are chief reasons the trend toward private villa lodging is exploding, an elite few have offerings far beyond that don’t just rival, but far exceed, those offered by high-end resorts, including their elite Penthouse suit options.

According to luxury travel agent Sandy Webb who books elite vacations all over the world “private villa residences offering first class, one-of-a-kind services are ushering in an entirely new era of bespoke hospitality around the globe. They are, in fact, single handedly setting a new and decidedly elevated standard for luxe travel worldwide.”

One private villa exemplifying this new standard is Casa Dos Cisnes–Puerto Vallarta’s foremost premier private oceanfront villa vacation experience. This 10,000 square foot Casa Dos Cisnes property, a five-bedroom colonial style home with breathtaking views of the Pacific that can accommodate up to 10 adults, goes well over-and-above to ensure each guest’s needs, desires, hopes and expectations for an extraordinary private villa vacation are fulfilled.

According to owner Cathryn Arnell, this includes proffering a bevy of premium benefits, including an authentic and stylishly-appointed residential setting, custom-prepared gourmet meals from an on-site private chef, 24/7 bilingual butler service and multiple staff, monitored security, housecleaning services, private infinity-edge ocean view pool, fully equipped state-of-the-art gym, large media-entertainment room, concierge and spa service, musicians for hire, sports and boating excursions, VIP treatment at the city’s leading beach club and most renowned restaurants, and more. “Given that guests enjoy complete privacy and security in the most exclusive area in Puerto Vallarta, commandeering the entire 10,000 square foot space with all of the relaxation, solitude and discretion that affords, the result is a one-of-a-kind holiday providing an unparalleled culinary and luxury living experience.”

3. Higher caliber private jet jaunts.
According to Sergey Petrossov, founder and CEO of JetSmarter—an industry-leading private jet company based in Dubai, people are increasingly growing accustomed to personalized experiences, so much so, that it isn’t a demand anymore; it is now an expectation that needs to be met.

In order for brands to be memorable, they need to remember their customers and offer unique customized experiences. For its part, this JetSmarter achieves by placing a heavy emphasis on member relationships, with each assigned a relationship manager who is responsible for creating personalized and customizable private travel experiences.

JetSmarter also cites that there’s a very thin line between high-end and luxury, with the difference barely noticeable. “The travel industry is inundated with both high-end and luxury brands, however the distinction is relatively minor,” Petrossov said. “People often confuse high-end brands for luxury ones. Luxury brands essentially need to heighten their levels of service to be able to distinguish themselves from their high-end counterparts.”

4. Next-gen travel tech eases and expedites.
Artificial Intelligence (AI) is another tech trend that will continue to evolve at a rapid pace. According to Advito’s 2017 Industry Forecast, AI has already enabled a range of apps, bots and software that makes it easier for industry purveyors to interact with travelers at every step of a trip to expedite, ease and enhance. AI automates computer processes to work in the same way as the human brain. Natural language processing (NLP) helps computers understand human speech or typing, and AI then applies machine learning to provide a useful response.

Advito reveals that the travel industry is “well-positioned to embrace AI,” and also that the wider travel industry is adopting AI as, for example, KLM passengers are now able to use Facebook Messenger to confirm bookings, get boarding passes and flight status updates. “AI is still in its infancy, but it is in our immediate future,” the report asserts. “As it develops, it will help simplify complex travel decisions, shorten the buying process and deliver a more personalized offering.”

5. Game changing smart suitcases solve perennial problems.
Travel is tough enough in the best of circumstances and is all-too-often replete with challenges. From crowded freeways, overbooked flights, Wi-Fi downtime and generally not having necessary items at hand, getting from point A to point B can be fraught with more than its fair share of frustrations. Not surprisingly, technologists have responded with problem-solving gadgets and gear that exemplify tremendous innovation and ingenuity both in concept and execution. One glowing example of this is the Bluesmart Suitcase. Billed as “the world’s first smart suitcase,” this carry-on keeps traveler’s belongings tracked, devices charged, bag secure and trips hassle-free thanks to integrated technology that syncs to an associated mobile app that’s compatible with both iPhone and Android.

The suitcase features a built-in battery/charger with 2 USB ports. The substantial 10.000 mAh battery can charge your phone up to six times, juicing up this and any other USB-connectable device from the USB port on the back or the inside. The bag also boasts a 3G+GPS tracker with global coverage to track the suitcase anywhere in the world; a scale built right into the handle that interfaces with the app to tell you the approximate weight of your suitcase; and a remote digital lock that can be set up to lock itself when you step away and to unlock when you return. The TSA- approved smart lock provides distance alerts, notifying you if you leave it behind. Of course, the bag needs to carry you belongings, so the main compartment does provide large space for clothes, shoes, and coats, while a secondary TSA-friendly compartment is able to accommodate up to a 15″ laptop.

Despite the fact that luxury sales fell flat in 2016 as consumers shunned traditional products, it’s experiences—namely travel and entertainment—that are predicted to drive sector sales growth up ahead. “There is a progressive shift from physical products to experiences, especially in the last year,” Federica Levato, partner at Bain & Company and co-author of the study, told Reuters, predicting that trend would continue. With the world economy poised to regain momentum this year and the penchant among wealthy consumers to spend on travel and gourmet food and wine rather than clothes and accessories, the future is bright for high-end hospitality. For the Silo, Merilee Kern.

About the author: Branding, business and entrepreneurship success pundit, Merilee Kern, MBA, is an influential media voice and lauded communications strategist. As the Executive Editor and Producer of “The Luxe List International News Syndicate,” she’s a revered consumer product trends expert and travel industry voice of authority who spotlights noteworthy marketplace change makers, movers and shakers. Merilee may be reached online at www.TheLuxeList.com. Follow her on Twitter here: http://twitter.com/LuxeListEditor and Facebook here: www.Facebook.com/TheLuxeList.

Sources:

http://www.bain.com/about/press/press-releases/the_global_personal_luxury_goods_market_holds_steady_at_249_billion_amid_geopolitical_uncertainty.aspx

http://www.thediamondloupe.com/articles/2016-04-12/bain-forecasts-drop-luxury-market-sales-2016-rebound-next-year

www.clhg.com/blog/2016/11/2017-travel-trends/

https://www.advito.com/advito-industry-forecast-2017/

Spotlight image- centraljetcharter.com

Art

Emerging China Wine Market Impacts USA, Canada and Global Wine Markets

January 18, 2017 The Silo Leave a comment

It’s no secret that luxury brands have thrived in China in recent years amid a population increasingly oriented toward high-end consumer goods like fashion, jewelry and automobiles—and the elevated social status such items confer. Today, the Chinese population is immersed in a new love affair: with grape-based wine! According to internationally-renowned sommelier, Noel Shu, China is about to be known producing quality wine bringing the region on par with other wine producing regions such as Napa Valley and Sonoma in California.

A self-made entrepreneur who serves as Managing Partner for ultra-luxe wine and spirits purveyor, Prodiguer Brands Shu recently launched his new book, China Through a Glass of Wine, to provide the most in-depth understanding of the wine marketplace to date and an extensive analysis of the modern Chinese wine industry, revealing a delicate interplay between commerce, the government and the consumer.

International-renowned sommelier, Noel Shu, provides in-depth look at the modern Chinese wine industry and guides us through the misty vineyards and crowded wineries of China.

Following the tradition of great traveling sommeliers, his no-holds-barred journey through China’s emerging wine culture is part ethnography, travel guide, tasting guide, cross-cultural examination and snapshot of the Chinese wine trade and consumer culture at large.

China Through a Glass of Wine also includes insightful interviews with key industry movers and shakers, including China’s largest wine importer and distribution company as well as boutique and unique chateaus across the region, revealing what wine making in present-day China is really like.

Casual wine enthusiasts and travelers as well as serious collectors and globally-minded investors will appreciate the accurate portrayal of China “through a glass of wine.” For the Silo, Trina Kaye.

About the Author
Internationally-regarded sommelier Noel Shu, Managing Partner for the ultra-luxe, award-winning wine and spirits purveyor Prodiguer Brands, is a 24-year-old self-made millionaire, entrepreneur and author of the newly released title, “China Through a Glass of Wine.” With impeccable panache and style, Shu, has already accomplished more than many do in an entire lifetime. He earned his undergraduate at West Point, completed the U.S. Army’s elite and grueling Combat Diver Qualification Course at the Special Forces Underwater Operations School (regarded by many Soldiers as the toughest military school to endure), and has personally designed and sold extraordinary multi-million dollar timepieces and necklaces to China’s elite through his ancillary, highly successful luxury jewelry business. Always striving to for growth and self-improvement and with a reverence for continuing education, despite his busy schedule Shu is currently pursuing an Ivy League Master’s degree at Columbia University. As a globally-minded business practitioner, Shu understands commerce on both sides of the Pacific and brings that expertise to bear with his various ventures, including the highly anticipated upcoming release of “Regale”—an exclusive wine brand expressly developed for the Chinese marketplace, which will be exported to the region in early 2016. For more information about Noel Shu, visit www.prodiguerbrands.com.

Politics

Economic Aspects Of Globalization In The Past Material World

January 12, 2017 The Silo Leave a comment

Questions and deliberations concerning globalization are more than a hot topic of extended cross-disciplinary focus in academia; they are also central to the long-simmering debates regarding policies and their implications that today often enter the public arena. For example, a quick perusal of broadly accessible media outlets from late 2013 and early 2014 reflects a suite of still unresolved but vibrant civic pondering: “When did globalization start” (The Economist 2013), “The dark side of globalization: why Seattle’s 1999 protesters were right” (Smith 2014), and “Have we reached the end of globalization?: (CNN 2014).

Yet can such issues really be evaluated judiciously without defining the critical elements of globalization, and then dissecting and assessing its historical scope? Given the broad temporal and spatial elements implied by the concept of “globalization”, it is not most likely that the outcomes and effects of this multifaceted process would be highly variable across time and space?

But through a diachromic and comparative examination of human connections over time, might we see some commonalities and learn relevant lessons?

Continue reading this essay by Gary Feinman by clicking here.

*Banner image of Ronald McDonald -McDonalds China courtesy of image.minyanville.com

Sci-Tech

Canada’s Original Black Friday- ‘Cancelled Arrow’ Was Cutting Edge 1950s Jet Interceptor

November 25, 2016 The Silo 3 Comments

I began writing this post after an annual viewing pilgrimage of sorts. Each year on the eve of shopping’s busiest day, I crack open the well worn plastic jewel case and fire up the DVD player. It’s a fictional account but based in fact and is very entertaining and I can’t help but wonder what “might have been” after watching CBC’s 1996 mini-series “the Arrow” again. [You can watch this right here at the end of this post CP]

Over the decades fact and fiction have become tangled but the basic truths remain intact. In the late 1950’s a highly advanced jet interceptor designed to seek (and if necessary destroy) Russian nuclear bombers was conceived, designed, built and flown in Canada by a predominantly Canadian team. Here’s where things get fuzzy. The Arrow was developed when the federal Liberal party were in power but was finished and flown when the Conservatives were in power. It represented not only the technological capability of Canada’s aviation industry- but also the econo-political agenda of the mid-twentieth Century. So what happened at that time to help spell the doom of the Arrow?

-The ICBM- intercontinental ballistic missile was viewed as the future of warfare not the nuclear bomber. This meant that a jet interceptor was obsolete because it would be unable to intercept approaching missiles.

-Bad timing: on the day of the rollout of the very first completed Arrow, the Russians launched Sputnik, the world’s first artificial satellite. In the public eye jets seemed unimportant.

-The American Bomarc missile system was designed to intercept incoming nuclear bombers and ballistic nuclear missiles. The Bomarc had a small nuclear warhead which would detonate in the pathway of approaching missiles (or bombers) and create a nuclear ‘shield’. The Bomarc was highly controversial at the time because our Prime Minister did not want nuclear missiles on Canadian territory. However, our Defence Minister did not agree and eventually resigned over the matter. This defence ‘split’ exacerbated the Arrow program and any chance for an Arrow squadron legacy.

-The Canadian designed Iroquois engines were not readied in time and were not fitted into the Arrow. These engines were innovative and theoretically could have propelled the Arrow to speeds of Mach 2.5 or possibly Mach 3.0- far beyond every fighter of the time with the exception of secret black technology projects like the American Blackbird SR-71. Had the Canadian engines been readied and proven, there seems little doubt that international orders would have offset some of the Arrow’s mounting costs.

Black Friday…….almost 15,000 workers lose their job.

There is no official record of just who ordered the destruction of the remaining Arrows. Other than a few recovered test models, an incomplete cockpit and a few seconds of in flight film, nothing remains of this wonderful airplane . For the Silo, Jarrod Barker.

The completed Arrows being cut up and readied for a Hamilton,ON scrap dealer.

Supplemental-

University of Saskatchewan The Nuclear Question in Canada http://www.usask.ca/diefenbaker/galleries/virtual_exhibit/nuclear_question_in_canada/

Post Featured Image- http://plunkettgw.deviantart.com/art/AVRO-ARROW-17-139364086

Boeing’s Bomarc Missile http://www.boeing.com/boeing/history/boeing/bomarc.page

Culture

Day Marks Another Anniversary Of JFK Assassination

November 22, 2016 The Silo Leave a comment

2015’s historic JFK 50th assassination Special was a riveting and powerful demonstration of media technology. We co-hosted the CBS feature which “rebroadcast” their original assassination television coverage in real-time, fully and completely. Every detail was reproduced exactly as it was shown on that fateful day- even the interruption of a certain soap opera with the first “bulletin” announcement. Live internet coverage began at 1:38 EDT exactly 50 years to the minute of the initial CBS news broadcasts.

If you have any #JFK thoughts (perhaps you even remember that fateful day)- or if you watch the archived live stream please share your feelings by commenting below at the end of this post. We will respect all requests for anonymity.

In the meantime, you may want to view Newsmax TV documentary: “I killed JFK” claiming to showcase a newly revealed “confessed killer”. In 1978 a US Congressional Investigation into Kennedy’s death determined that there were likely more than one shooter/killer.

JFK visits Ottawa 1961:

@CBSNews live tweeting during this historical rebroadcast event- image:CBS Twitter

Supplemental- The United States National Archives Report of the Select Committee on Assassinations of the U.S. House of Representatives
References: I. Findings in the Assassination of President John F. Kennedy

Art

Poetic Grace Gesture Is Needed In All Art Work

August 22, 2016 The Silo Leave a comment

Dear Reader, it is difficult to deny that a side of art making is fatally concerned with the poetic grace of the gesture – it is expected that a work should exude a cosmic and ineffable air.

Regardless of your medium, I hope this glance into the minds of two established poets from very different walks of life can help dissipate the intimidating mist between process and product, as well as remind you that the transcendent and the familiar are often one in the same.

Global spectator Meena Alexander recognizes that even in the grand art of poetry is a desire to express what cannot be said through its own means. After eight books of poems and a lifetime of travel, Alexander continues to defend her craft as the most ordinary of entities, no more inexplicable than a child’s obvious and impossible sense of language or rhythm.

New York-based Eileen Myles approaches poetry from a reserved and humble perspective, with the intent of striking a tasteful balance between metaphysical grandeur and the habitual rhythm of the everyday.

Myles, a breathing artistic currency, treats poetry as an extension of the self with the potency of a movement and the collective memory of a civilization. Myles proves that common experience and abstract phenomena are synonymous when we step back to look.

If the weight of the world seems so immense that the few strands of creativity cannot unravel, the Mayer Foundation offers emergency funding for New York artists facing economic, residential or medical turbulence. Proposals may be submitted at any time, with over two thousand dollars granted to those with concrete objectives and a levelheaded art plan.

It is easy to forget that behind the polished mirror of history is a messy and cumulative reality. There is little difference between the intelligentsia of years past and the friends sitting at your dining room table. For the Silo, Brainard Carey.

Supplemental-

Art

Collective Establishes HAVN For The Arts In Hamilton

August 4, 2016 The Silo Leave a comment

I learned about the Hamilton Audio Visual Node (HAVN) a few years ago by doing the rounds during Art Crawl. Since then it’s become obvious they’re hosting some of the most innovative music and visual art in Hamilton. I sat down with Connor Bennett and Chris Ferguson at the beginning of July to learn more about the collective and discover yet another reason to move to Hamilton. Connor and Chris made it pretty clear you don’t need an invitation to join the party. Featured Title Image, The HAVN Storefront on Barton Street Credit: Ariel Bader-Shamai

Timothy: How did HAVN get started?

Connor: Um, a few of us started a band, and we were practising in the basement of a student house and when it came time to leave that house, we wanted a space where we could continue to play, and show art, and we just lucked out, our collaborator and co-founder Amy McIntosh was living above a storefront and…

Chris: …had a good relationship with the landlord and managed to get the downstairs space at a price we could afford.

Connor: That was May, 2012, we opened up just as most of us were graduating from McMaster University.

Timothy: What does it mean to be a node for the arts? Is the storefront a critical component?

Connor: It’s probably not critical, although it’s nice, it’s really nice. I wouldn’t say it’s critical because we don’t do regular gallery hours, where people can just pop in. It is nice to have the storefront space for things like art crawl. We’re off of James Street but it’s still easier to get people out as compared to a studio space.

Aubrey Wilson Quartet in February 2015, Photo Credit: Amy McIntosh

Chris: Back to your question, as to what it means to be a node. Nodes are intersection points, which denotes the collaborative nature, the interdisciplinary nature of what we’re trying to do. And it was chosen for the sake of the acronym [Laughter].

Timothy: So what are your activities?

Chris: You could put it into four categories. We do art shows every art crawl, and occasionally outside of art crawl. We do music shows two to five times a month. And then there’s HAVN Records, our cassette tape little label. There’s also some miscellaneous things that are harder to categorize. We’ve done craft nights where people come out. Or if people in the collective supply an idea and make it happen. For a little while we had a darkroom in the backroom where people could develop photos.

Timothy: What are some of the highlights from the past couple of years?

Chris: It wasn’t something that I was involved with personally but I thought the darkroom was a really cool idea. It’s not something that’s widely available and it was a DIY thing where they obtained all the equipment and brought it all together. Some of it was donated by a like-minded friend from Guelph.

Connor: One of the best concerts I’ve seen recently was hosted by Cem Zafir and his partner Donna Akrey at HAVN, and they had a percussionist by the name of Tatsuya Nakatani come in and everyone in the room was transported to a different world, it was a magical moment. Those happen a lot. We’ve been really lucky with a lot of good music.

Hagface and Zena in August 2015, Photo Credit: Tony Hoang

Chris: What was the name of the show, I think Ariel and Petra did it, with the yarn, it was kind of, performance stuff; would you consider it a successor to the Quanta_1 show, where you and Kearon…

Connor: Yeah, yeah, it’s kind of like that…

Chris: An extension of that idea. Petra and Ariel did it, how would you describe it?

Connor: It was kind of a poetic yarn installation, with figures…

Chris: …and quotations.

Connor: It was great.

Chris: Really well executed. Not something you see a lot of.

Connor: Yeah, there’s lots of highlights.

Chris: We could keep going.

Connor: Once you start thinking about it.

Chris: I really liked our show for Supercrawl last year, which ended up being themed around Cootes Paradise, the Cootes to Escarpment EcoPark System, which is a conservation effort beginning with Cootes Paradise all the way into Burlington to connect some critical natural lands. The show really nailed the peaceful nature of it. Supercrawl is very busy, there’s tonnes of people and then you come to HAVN and it’s peaceful, relaxed.

Connor: Serene.

Chris: Yeah, Judy Major-Girardin, a professor at McMaster that taught a lot of the HAVN crew, was very generous with her time and she’s a big supporter of that initiative, so she put up a gorgeous installation with sound recordings from Georgian Bay. Frogs. Printed cheesecloth. It was stunning.

Corridors, in Support of the Cootes to Escarpment EcoPark System, September 2015, Photo Credit: Ariel Bader-Shamai

Timothy: What are your objectives? What is the need or desire that you are addressing?

Connor: I’d say from the music side of things, it’s a space for outsider music, for music that doesn’t really fit in a club or a bar. It’s a small space, really intimate, so even if ten people come out it feels like a nice crowd.

Chris: Yeah, It could just be a touring band who might have trouble booking a show at a bigger venue, because they wouldn’t attract a bigger crowd.

Connor: We know a lot of people who are booking shows in Hamilton and we’re filling a bit of a void since they’re not booking these types of shows. Like free jazz, for example, there’s no venues that are booking free jazz but we will gladly and enthusiastically book a free-jazz show.

Boyhood and Holzkopf in July 2015, Photo Credit: Tony Hoang

Timothy: How did you determine the scope of your practice?

Connor: Time determined that. When I started out with HAVN I was working a lot more with Kearon on the visual arts and installation projects and with time my interests and time investments moved more towards the music. It’s a natural evolution within the group, that we’ve settled into our roles based on our interests.

Timothy: Were those interests present from the beginning, or have they been nurtured over time?

Connor: One of the reasons why this has worked out for so long is that everyone has been really passionate about creativity, and art in general, and open to all art forms. That’s been the crux of why we’ve been around for so long, and putting on shows that are successful.

Timothy: What is your current relationship with institutional structures like the university and the gallery?

Connor: Well, quite a few professors from McMaster have shown art in our space. Judy and Dr. McQueen had a show recently. Other galleries? We have good relationships with other galleries, in particular, the Factory Media Centre, because we’ve done a lot of media art, not only that, we’ve shown a lot of art there, and both Amy McIntosh and Aaron Hutchinson have been on the board there. Amy’s been involved since the beginning.

Timothy: You position yourself as an alternative, though.

Chris: It’s not an adversarial relationship, like ‘that stuff is no good.’

Connor: We just don’t want to replicate things that are being done elsewhere. I’m sure we do it all the time. But the intention is to fill a void, take a risk.

Timothy: What are the benefits and limitations associated with your present configuration?

Connor: We’ve had trouble finding grants that apply to us. That’s one challenge because we operate with no inflow of money, so it’s just tough to make it work sometimes. That’s one of the limitations.

Chris: Sometimes I wonder if we put more time into the grants whether we would begin to take a different path. Like, having gallery hours wouldn’t be a bad thing, but it would be different than what we do now, and it would mean that we would be travelling down a more traditional path.

Timothy: Can you speak of the benefits and effects of HAVN, for yourselves and the broader community?

Connor: It’s such a useful space for us as artists and musicians, that’s kind of priceless.

Chris: It’s great to have a spot that you’re part of.

The Celestial Offerings Show in December 2015, Photo Credit: Petra Matar

Connor: Ideally we’re providing a space that’s inclusive, and open, where people feel comfortable. But if I was new to Hamilton and I went to HAVN I could understand feeling intimidated because there’s all these people who know each other already.

Chris: I think it’s always hard, because you establish your audience, and your friends, and you want people to have a stake in the space, that they’re part of it, that they’re not just attending shows, but that they’re part of the community too. But you have to balance that with being open and having new people feel that they can be part of it.

Timothy: So do you have any words of advice to people who might want to start a collective?

Chris: If I had any advice it would be pretty cheesy.

Connor: I don’t know. [Laughter]

Chris: The real trick is having the right group of people.

Connor: Get lucky.

Chris: Yeah, we couldn’t have made this happen in a bigger city where the rents are more expensive.

For the Silo, Timothy deVries.

Supplemental- Video Credit: Mubarik Gyenne-Bayere

Video Credit: Footage by Ariel Bader-Shamai, live visuals by Andrew O’Connor https://www.instagram.com/p/BDE-Nhwk0BT/
Video Credit: Footage by Ariel Bader-Shamai, live visuals by Andrew O’Connor https://www.instagram.com/p/BCCFlOBE0FF/

Video Credit: Olga K.

Transportation

3rd Concours d’Elégance Elite Concept Car Event

June 9, 2016 The Silo Leave a comment

Peter Auto is delighted to announce that the Concours Chantilly Arts & Elegance Richard Mille, which will be held on 4th September in the Chantilly Domain for the third time, is welcoming two new partners: BMW and ACJ (Airbus Corporate Jets).

Last year's Chantilly. — Last year’s Chantilly.

BMW was present at the 2015 event as entrant in the Concours d’Elégance reserved for concept cars and won the 1st prize with the 3.0 CSL Homage R. In 2016, the year which marks the Bavarian make’s centenary, BMW has joined the Chantilly Arts & Elegance Richard Mille in the context of a wider partnership that will be announced at a later date.

ACJ provides its clients with the most modern business jets in the world based on the full range of planes made by Airbus, leader in the field of aeronautics, thanks to its unique expertise, innovative technology and bespoke customer service. A fully personalised interior can be installed in these very spacious VIP planes including, for example, a lounge, an office, a bedroom and a bathroom. By combining interiors with unique living spaces and a range of action that enables its clients to cover the whole world, ACJ facilitates their life style. With ACJ Chantilly Arts & Elegance welcomes a partner whose values of excellence, innovation and luxury dovetail perfectly with those highlighted by the event.

Last year's winner- the BMW CSL R concept car. What a beauty! — Last year’s winner- the BMW CSL concept car. What a beauty!

BMW and ACJ join a list of prestigious partners who have renewed their confidence in Peter Auto in 2016 for the Chantilly Arts & Elegance Richard Mille: DS Automobiles, Le Point, Bonhams, Relais & Châteaux, Charles Heidsieck, Radio Classic, the IDEC Group, etc.

The first two Chantilly Arts & Elegance Richard Mille were an instant success with the public, manufacturers, collectors and partners. They were also rewarded in Great Britain by the prize for the Motor Car Event of the Year in 2014 and 2015 at the International Historic Motoring Awards. In 2015 the event received the backing of the French Ministry of Culture and Communication, which has renewed its support in 2016.

The 3rd Chantilly Arts & Elegance Richard Mille follows in the same vein as the previous ones by continuing with the Concours Automobile allied with a wide range of activities that include the French Art of Living, Fine Arts, Arts of the Table, Fashion, Music, Watch making, etc. with the partnership of prestigious houses and brands. Thus, all the ingredients are combined to make it a rendezvous that’s unique in its field in an exceptional setting only a few kilometres from Paris. The riches of the Chantilly Domain and the eponymous princely town give Chantilly Arts & Elegance Richard Mille the quintessence of art and elegance, which all the visitor can enjoy at this convivial, family event.

Vintage

First “Party Star”, Socialite Dorothy Taylor’s Beverly Hills Mansion For Sale

May 27, 2016 The Silo Leave a comment

“The Countess of Beverly Hills Mansions” Before Paris Hilton and Kim Kardashian, socialite Dorothy Taylor may have been the first Hollywood celebrity who wasn’t in the entertainment business. She was the ultimate party host and frequent 1930’s scandal rag fodder. Her lovers included Gary Cooper, Bugsy Siegel, George Raft and an Italian count.

Dorothy’s trip to celebrity fame began after she inherited $12 million in 1916, the equivalent of about $275 million today. The first thing she did with her money was divorce her British aviator husband, Claude Grahame-White, and embark on a long party in Europe’s best circles. In 1923, she married Italian Count Carlo Dentice di Frasso, many years her senior. On the outskirts of Rome, the new countess acquired and restored one of Europe’s most famous homes, Villa Madama, that had been designed in the sixteenth century by Raphael. It was later used by Benito Mussolini during World War II for National Fascist Party functions.

While residing in the villa, actor Gary Cooper was doing a movie in Rome and became quite ill. Dorothy took him in and during his recuperation began an intense affair with him under her husband’s nose. Since she and the count were at that point leading separate lives, Dorothy went on with the affair and moved to Hollywood where she purchased a mansion in Beverly Hills. Making friends of some of Hollywood’s most important stars through her Cooper connections, Dorothy called in the best decorators and landscapers and created a luxurious estate that was classic Art Deco filmdom glamour. Dorothy and Cooper eventually went their own ways but remained distant friends. She was always known as the woman who taught Gary Cooper how to dress, making him the most elegant man in Hollywood.

Through her new Hollywood friends, Dorothy eventually rented her mansion to Marlene Dietrich and headed off to search for sunken treasure on the studio-owned schooner, Metha Nelson; Captain Bligh’s ship in the 1935 movie “Mutiny on the Bounty.” Also on the ship was American gangster Bugsy Siegel. Although the trip turned into a disaster when the schooner was tossed violently by 70 mile-per-hour gale winds that split the main mast and destroyed the sails, it was the start of a new affair with Bugsy. She always rejected gossip of her association with Bugsy, instead referring to him as Benjamin to her friends.

In 1947, Dorothy sold the Beverly Hills house to MGM pianist Jose Iturbi, who lived there until he died in 1980. In 1954, Dorothy died of heart failure in a train compartment while she was traveling with George Raft from Las Vegas to Los Angeles after attending one of Dietrich’s performances.

Hand painted murals & mirrored verre églomisé panels.

Once again for sale, the beautifully preserved Spanish Revival estate hasn’t changed much since its heyday in the 1930s when it was featured in “House and Garden.” At approximately 8,000 square feet, it has four bedrooms and five baths on 1.12 acres. The home was built for entertaining with large public rooms and although it looks like wallpaper, the walls are covered in hand-painted murals. In the dining room, the walls are mirrored verre églomisé panels that depict towering palms. There is also a two-bedroom guest house and pool nestled within the mature landscaped grounds. The asking price is USD $26.9 million. Dimitri Velis of Hilton and Hyland in Beverly Hills is the listing agent. For the Silo, Terry Walsh.

Visit our friends at TopTenRealEstateDeals.com for more famous homes and real estate news.

Gaming

DreamHack Austin 2016 Featured ZOWIE Official eSports Monitors

May 9, 2016 The Silo Leave a comment

COSTA MESA, Calif. — May, 2016 — BenQ America Corp., a globally renowned LED and gaming monitor expert, recently announced that ZOWIE, the company’s eSports brand, would be the official monitor sponsor of DreamHack Austin 2016. Making its first-ever stop in North America as part of the DreamHack ZOWIE Open World Tour, the event took place May 6-8 at the Austin Convention Center. Pro gamers competed using the XL Series eSports monitors for all PC gaming tournaments. Additionally, ZOWIE extended its partnership to supply its RL eSports console monitors for the Capcom Pro Tour’s Street Fighter V and Pokkén Tournament matches.

The North American eSports market has seen phenomenal growth, attracting millions of gamers and online viewers. Committed to eSports, ZOWIE is pleased to partner with DreamHack to deliver the ultimate pro gaming experience with its XL and RL monitor lines.

“BenQ ZOWIE is created for eSports and only eSports. We believe that gaming is all about the experience, whether it’s PC or console eSports. Our relentless pursuit to provide the most professional experience drives us to craft eSports products, including the XL and RL monitors, that are based on a deep understanding of the sport and fine-tuned to meet the pros’ specific usage scenarios,” said Lars Yoder, president of BenQ America. “With our XL and RL monitors, professional players will have the high performance they expect for competition.”

ZOWIE EC2-eVo Gaming Mouse

DreamHack Austin 2016 attendees were able to test-drive the full range of ZOWIE products at booth 135. The complete ZOWIE lineup includes the XL and RL series monitors, SR and TF mousepads, as well as the EC, ZA, FK, and newly released FK1+ mice series. ZOWIE mice fit every particular gaming style with options for right- and left-handed players in addition to ambidextrous ones. As a sneak peek, visitors also had an opportunity to experience the soon-to-be-released ZOWIE VITAL audio system, an intuitive, driverless device that provides convenient adjustments to improve both sound and audio communication for games.

ZOWIE also conducted its own Counter-Strike: Global Offensive death match tournament at its booth three times per day each day — noon, 3:00 p.m. and 6:00 p.m. — to give players a chance to win a custom ZOWIE G-SR mousepad.

Follow @DreamHackOpen and @DreamHack on Twitter and stay tuned to @ZOWIEbyBenQ for other deals.

About ZOWIE
Introduced in late 2008, ZOWIE is a brand dedicated to the development of the best competitive gaming products to improve eSports athletes’ combat performance. In 2015, the ZOWIE brand was acquired by BenQ Corp. to aggressively lead the company’s eSports product line with products that deliver true competitive advantages. More information is available at ZOWIE.BenQ.com/.

About BenQ America Corp.
The BenQ digital lifestyle brand stands for “Bringing Enjoyment and Quality to Life,” fusing lifestyle with technology, enjoyment with productivity and aesthetic design with purpose-built engineering. It is this mantra that has made BenQ the No. 1-selling projector brand powered by TI DLP® technology in The Americas(1). BenQ America Corp. offers an extensive line of visual display and presentation solutions that incorporate the very latest technologies. The company delivers a broad range of Colorific™ projectors, ZOWIE eSports gear and monitors, interactive large-format displays, mobile audio products, cloud consumer products and lifestyle lighting for any application and market — education, home, gaming, enterprise, government, house of worship, digital signage, A/V and IT — with cutting-edge models that lead the industry in performance, reliability, environmental sustainability and aesthetics. Whether it’s interactive digital whiteboards for classrooms, full HD 3D projectors for home theaters, short-throw projectors for boardrooms, interactive flat-panel displays for digital signage or LED backlight monitors for professional gaming, BenQ continues to defy the limits of digital displays. The company’s products are available across North America through leading value-added distributors, resellers and retailers.

More information is available at www.BenQ.us.

(1) Based upon Q1’15 – Q3’15 data from the Quarterly Projector Shipment and Forecast Report from PMA Research

About BenQ Corporation
Founded on the corporate vision of “Bringing Enjoyment and Quality to Life,” BenQ Corporation is a world-leading human technology and solutions provider aiming to elevate and enrich every aspect of consumers’ lives. To realize this vision, the company focuses on the aspects that matter most to people today — lifestyle, business, healthcare and education — with the hope of providing people with the means to live better, increase efficiency, feel healthier and enhance learning. Such means include a delightful broad portfolio of people-driven products and embedded technologies spanning digital projectors, monitors, interactive large-format displays, audio products, cloud consumer products, mobile communications and lifestyle lighting. Because it matters.

Travel

Montreal Restaurant Renoir Is Part Of Culinary Golden Mile

April 14, 2016 The Silo Leave a comment

SOFITEL MONTREAL GOLDEN MILE

ON S’EN MET PLEIN LES PATTES

Chaque jeudi Every Thursday

Du 14 au 28 avril, de 17h à 20h

From April 14 to 28, from 5 p.m. to 8 p.m.

Bar à crabe des neiges et oursins

Snow crab and sea urchins bar

Le printemps arrive, le crabe des neiges aussi ! Joignez-vous à nous au restaurant Renoir pour découvrir nos fameux cocktails ainsi que des produits sélectionnés par notre Chef Olivier Perret.

Spring is coming, so is the snow crab! Come join us at the Renoir restaurant to discover our famous cocktails and products selected by our Chef Olivier Perret.

Servis avec mayonnaise maison et garnitures

Served with home-made mayonnaise and garnish

30 $

Taxes et service non inclus

Taxes and service not inclued

Restaurant Renoir
1155 Sherbrooke Ouest
Montréal, H3A 2N3, Québec
SofitelMontreal.Restaurant@sofitel.com
+1 (514) 788-3038
www.Restaurant-Renoir.com

#RenoirDesNeige

#RestaurantRenoir

#SofitelMontreal

1155 Sherbrooke Ouest – Montreal – Quebec – H3A 2N3 – Montreal – Canada
Tel: +1 514 285-9000 – Fax : +1 514 289-1155 – montreal@sofitel.com – www.sofitel.com/Montreal

Culture

May 4 is Yom HaShoah ‘ Holocaust Remembrance Day ‘

April 13, 2016 The Silo 1 Comment

The Holocaust was a time of devastation, hate and corruption and is considered one of the most terrible events in human history.

While the horror and mass extermination of more than six million Jews is known as fact around the world, it is more than just history to Arthur Weisze— it is his most vivid and harrowing memory.

“The most appropriate tribute that we can pay to the victims of the Holocaust is to never let the world forget that it happened,” says Danna Horwood, Executive Director at Margaret’s Legacy. “Education is a vital tool to ensure it is not forgotten and to remind generations why we cannot allow history to repeat itself.”

Margaret’s Legacy is an umbrella agency that seeks to provide Holocaust education through tools such as the documentary ‘Margaret and Arthur’s Story’. This thirty-five minute film chronicles Margaret and Arthur Weiszes’ experiences during WWII, their escape from Hungary to Canada and their new life in Hamilton, Ontario—told through the eyes of Arthur and Weisz’s descendants.

In an effort to give younger audiences a better understanding of what happened during the Holocaust and its lingering effects, the documentary addresses the themes of courage, survival and love, and educates youth about the need for tolerance and kindness in the world.

“As we approach Yom HaShoah, Holocaust Remembrance Day, [Full name is Yom Hashoah Ve-Hagevurah CP] it is important to listen to the stories of those who lived and experienced this tragic time,” adds Danna. “It will become harder as time goes by, to learn from first-hand experiences and to truly feel the impact that the Holocaust had on six-million Jews and their families.”

Danna Horwood and her youngest daughter Jamie Rose (both descendants of Margaret and Arthur Weisz) will present to community members at the Hamilton Hebrew Academy on May 5th. Margaret and Arthur’s Story’ will also be screened. For the Silo, Lauren Dam

For more information, please visit http://www.margaretslegacy.com/site/home.

About Margaret’s Legacy:

Margaret’s Legacy is an umbrella agency that seeks to provide holocaust education through tools such as the documentary ‘Margaret and Arthur’s Story’. Using their harrowing, yet inspirational story as a backdrop, Margaret and Arthur’s Story is a documentary produced specifically for young viewers to educate them about the Holocaust, its impact and why we cannot allow history to repeat itself.

Supplemental- How the Holocaust rocked RUSH front man Geddy Lee

Culture

The Metapolitics of Burning Man- ‘Fighting the Lie of The Normal Art Economy’

March 27, 2016 The Silo Leave a comment

OCCUPY BLACK ROCK! THE METAPOLITICS OF BURNING MAN by MARK VAN PROYEN

As annual journalistic rituals go, the annual Time Magazine “Person of the Year” has been the most enduring barometer of the spirit of the moment of its announcement. For close to a century, the banner was “Man of the Year,” but after Corazon Aquino and Queen Elizabeth smiled at the world from the front cover of that inﬂuential publication, gender neutrality became the preferred modality. In 1982 “the computer” received the coveted award, so gender went out the window altogether. But the 2011 award was given to “the protestor,” and the representative image was a masked face of an angry-eyed anonymous person.

TOP Black Rock City from above Photo: AJPN Anthony Peterson BOTTOM Black Rock City seen from Old Razorback Mountain Photo: Peretz Partensky — TOP Black Rock City from above Photo: AJPN Anthony Peterson
BOTTOM Black Rock City seen from Old Razorback Mountain
Photo: Peretz Partensky

This image followed a long year of public demonstrations that started at Cairo’s Taﬁr Square in late January 2011, spread to the shores of Tripoli and then moved on to Damascus. In September 2011, it arrived in New York’s Zucotti Park, a tiny sliver of public space surrounded on all sides by the world’s most prominent ﬁnancial institutions. According to the surging multitudes that participated in what would come to be known as Occupy Wall Street, those institutions were evil, and needed to be called into account.It took the major media a full ten days to report the story of the occupation of that little park, although the story had already been thoroughly distributed via social media networks. The movement’s rhetoric was ingeniously crafted for those modes of distribution, and usually took the form of declarative slogans. These proclaimed that the protestors represented the 99 per cent of the American population that would no longer stand for being ﬂeeced by irresponsible government tax policies, a lack of regulation of the ﬁnancial markets and a vast system of political bribes routinely called “campaign contributions.” Conservative commentators squealed “Class War!” in comic disregard of an OWS placard reminding its readers “they call it class war when we ﬁght back!” From the OWS point of view, that war had been ongoing since Ronald Reagan’s ﬁrst term in ofﬁce. When the major media did get around to picking up the story, “What do they want?” or “What are their demands?” were published everywhere, as if the protestors were unintelligible in their calls for economic justice and political fair play. OWS did not give in to the “demand for demands” and this is crucially important, because their movement never was nor is now a conventional exercise in political advocacy. It is much better to describe it as a case of spontaneous socio-cultural upheaval intended to reshape contemporary political priorities into a more ethical form. In an America where an uber- wealthy minority has garnered a proportionally larger piece of the economic pie for decades, one might have anticipated that the protesters would have adopted a more conventional form of utopian rhetoric. But theirs was decidedly pragmatist. They pointed at real problems that could and should be solved in a political practice governed by simple sanity. One sign read, “I don’t mind you being rich. I mind you buying my government out from under me.” The sign referred to the draconian political atmosphere created when the Supreme Court voted ﬁve to four to overturn the McCain/Feingold Campaign Reform Act in the now infamous Citizens United vs Federal Election Commission decision of 2010. 3

The real issue at stake in the Occupy Movement’s actions is the control that money exerts over the political process. The movement reveals the plutocratic Achilles heel of neoliberal corporatism’s claim that it is more democratic than its chief rivals in model government. I call these rivals “state capitalism” and “theocratic tribalism,” and intend them to be non-euphemistic names for what are conventionally called socialism and religion-based social organization. Because of its distinctly modern emphasis on upholding the prerogatives of individual political actors, neoliberal corporatism is easy to sell as the ideology of choice for free thinkers. But, as history shows, free thinking never stays free for long, because it too has to live in a marketplace of encouragements and discouragements governed by instrumental rationales that are epiphenomenal to the formation and protection of wealth. In other words, those who have the gold set the standards, regardless of any vision of or obligation to social fair play. This insures that instrumental reason will always protect itself from any utopian vision so that in the realms of conventional discourse, we are always given an “intelligentsia” that functions as the public face of bureaucracy and policy. However “oppositional” its posture of hidden loyalty might be, it will nonetheless always end up ﬂeeing from the Socratic mandate that philosophical thinking helps its aspirants to actually live better. From the point of view of the Occupy movement, that mandate desperately needs to be returned to the core of any thinking that seeks to establish anything resembling a political priority.

When I refer to model forms of governmentality, I am not pointing to any operational political entity, any and all of which are circumstantial admixtures of the three models of neo-liberalism, state capitalism and tribal theocracy all achieving legibility much in the same way that tertiary colors do through the mixture of the primary hues of red, yellow and blue. For example, social democracy is really a blend of neo-liberal corporatism and state capitalism. Another example reminds us that there will always be a black market of goods and subversive ideology working in the shadows of any state capitalist system, or for that matter, within any theocratic tribe. Any system conﬁgured around any of these three model forms will also contain latent aspects of one or both of the others, arranged into dominant and subordinate formations. These are always in a perpetual state of change and reconsolidation.

They are also always in a state of subtle redeﬁnition, and the factors that shape these redeﬁnitions can sometimes come from surprising vectors. The Occupy Wall Street movement is one such example, surprising in that it refuses to operate according to the rules of normative political advocacy. Whereas the extremely conservative Tea Party rallies held during the previous year were examples of a durable tradition of anti-government American populism, the OWS movement is representative of an equally durable anti-bank populism that has a long-standing place in American history reaching back to early colonial laws against debtors’ prisons. Even though the two groups blamed different entities for the economic misery that swept the land after the 2008 ﬁnancial crisis, there is an important difference: in an act of support for the second amendment, Tea Party activists often brought guns to their rallies. The only ﬁrearms seen at Occupy Wall Street (and its more contentious sister event, Occupy Oakland) were in the hands of over-zealous law enforcement ofﬁcers. Occupy Wall Street events are signiﬁcantly more complicated animals than their Tea Party predecessors. The movement has gone far out of its way not to be co-opted by the mass media or any collection of candidates for public ofﬁce. Conversely, the Tea Party groups were all too happy to be ventriloquized by Rupert Murdoch’s Fox News afﬁliates. OWS had a justiﬁable concern that any such afﬁliation would inevitably lead to the seven stages of political futility: cooptation, division, dilution, paciﬁcation, neutralization, disappointment and betrayal. Because of these concerns, what one sees coming out of the Occupy movement is not an exercise of politics deﬁned by the normal terms and conditions of any conventional political science. Rather, it operates as an example of what Alain Badiou has called a Metapolitics, that is, a strategic restaging of the ethical grounds by which political matters are imagined, understood, debated and acted upon. According to Badiou, Metapolitics is a form of “Resistance by Logic.” 4

No group, no class, no social conﬁguration or mental objective was behind the Resistance… there was nothing in the course of this sequence which could have been described in terms of objective groups, be they ‘workers’ or ‘philosophers’…. Let us say that this resistance, proceeding by logic, is not an opinion. Rather, it is a logical rupture with dominant and circulating opinions…. For the contemporary philosophical situation is one where, on the ruins on the doctrine of classes and class consciousness, attempts are made on all sides to restore the primacy of morality. 5

It is particularly interesting to look at Badiou’s metapolitical thesis in light of his larger project to transform the most basic grounds of philosophical inquiry so as to place greater emphasis on ethics. He is well known for proposing a change in the basic categories of philosophy (metaphysics, ethics, logic and epistemology), seeking to restage them as the interdependent “truth procedures” of “art, love, politics and science.” 6

His metapolitical restaging of the truth procedure of political science can be understood to be of a piece with his postulation of an ethical “inaesthetics.” This seeks to deny the meditative subject/object relationship of contemplation with something suffused with “immanence and singularity,” leading to a “transﬁguration of the given.” The Occupy Wall Street movement has followed suit on this score, fashioning itself as an immanent and singular metapolitical gesture that has embraced a unique resistance by logic that was and still is a vigorous disruption of logic. It has accomplished this by staging a theatrical moment that calls attention to the withering state of the commons, that being the place of democratic co-existence and rational debate where all citizens can freely enter and exist regardless of their inability to rent media time. And let there be no mistake: in the second decade of the twenty-ﬁrst century, social media has become the new commons, needing only a shared event to galvanize its attention to the point of putting a wide-ranging discourse about political priorities into play on a vast and unregulated scale. Occupy Wall Street is one such event, one whose time has clearly come. But the model for this kind of actual/virtual exercise in reformulating a common space into a rhetorical congregation had been established two decades earlier in a very different public location that also galvanized a vast virtual community. It too was a brilliantly conceived exercise in a metapolitical “resistance by logic.” That space was and still is the vast Black Rock Desert, a dry lakebed in northwestern Nevada that is administered by the Federal Bureau of Land Management.

Karen on Eileen and George, from Crude Awakening PHOTO: ROGER MINKOW M.D. — Karen on Eileen and George, from Crude Awakening
PHOTO: ROGER MINKOW M.D.

The event was and still is Burning Man. Since the early beginnings of the Internet, many observers have postulated that there was revolutionary potential in its ability to widely and instantaneously distribute unmediated information. Some have proclaimed it to be the new commons, this in recognition of how the forces of neoliberal corporatism have turned the old commons into shopping malls of various kinds, those being places where the subtle doctrine of “pay to play” began to slowly displace all other opportunities for political participation. Burning Man was the ﬁrst major instance of an organized recognition of this new communal possibility of the digital revolution, and the ﬁrst to act upon it at any meaningful scale. It did so by “occupying” a piece of public land in a wilderness area, and then conﬁguring itself as a kind of free city where monetary exchange and corporate advertising would not be allowed. Participation, collaboration and self-reliance were upheld as paramount civic virtues, and art was deﬁned and welcomed as the product of any “radical free expression” that any person could devise, regardless of any lack of previous experience or education. When web-browsing software ﬁrst became available in 1994, Burning Man was already nine years old, and had already been using email networks and virtual bulletin boards to distribute its messages to a growing audience. The emergence of such communications technologies were a natural ﬁt for the event, and even to this day, it has never paid for any advertising beyond the printing and mailing of its own promotional materials. That was the same year that the mass media initially came out to report on the event. The following year, the population doubled, making it clear that a tax on participants was needed to cover necessary costs for staging the event on a much larger sale. Admission tickets were sold, and federal rules were re-written so that the federal Bureau of Land Management could charge the organizers of Burning Man a hefty fee to use the space. Soon after that, much more money was spent in legal fees to support litigation that should have never have come to any court’s attention, if constitutional guarantees of rights to free assembly and self-expression were deemed worthy of any respect. But they weren’t, because it was difﬁcult to convince certain political operators that the self-expressive thing that had engendered Burning Man’s free assembly of pilgrims had anything to do with art. From their point of view, what was happening at an increasingly large scale every year in the Black Rock Desert on Labor Day weekend was much more frightening, in that its almost complete lack of artistic supervision portended something akin to a mass participation Satanic ritual.7 It also threatened to unmask the lie that art had become.

From the perspective of an art world populated by museum curators, globe trotting art collectors and the toney gallerists working the crowds at international art fairs, Burning Man represents a kind of Special Olympics for Art. To give credence to this view, all any nay-sayer would have to do is attend the event and take in its many starry-eyed unicorns and countless geodesic domes built in service to obscure comic-book deities fashioned from disﬁgured mannequins. If our nay-sayer were guided by courage and in search of additional evidence to support her initial observation, the next logical destination would be the large indoor exhibition space called the Café, which is usually decorated by the work of a great many amateur photographers and collage artists working on heavy doses of misinformed spiritual pretense and undeserved self-esteem. And yet, as revealing as the Café environment might be, it still pales in comparison to the best place to witness Burning Man’s culture of unfettered creativity, that being the array of unmapped theme camps located away from the Esplanade that separates the event’s semi-circular camping area from the mile-wide no-camping zone at its core. Here, one is liable to ﬁnd a vast assortment of incomprehensible do-it-yourself efforts at representational makeshiftery, often times manifested in things that look more like distorted family entertainments than the objects of any conventional art history. Looking like the mutant offspring of a theme park and a slum conceived in the prop closet of George and Mike Kuchar’s Studio 8 Production Company, 8 these provisional amalgamations of such materials such as ﬂuorescent fabric and solar powered lava lamps oftentimes seem to allegoricize the traumas and contradictions of a consumer culture blindly addicted to the debt-driven circulation of pseudo-goods and non-services; all saying something troublingly oblique about an America that is amusing itself to death in the age of Walmart.

The real value of Burning Man lies in how it reverses this model. It does so by simply allowing its participants to amuse themselves back to life through their participation in a week of collective catharsis. Fortunately for our dyspeptic pilgrim, the artistic offerings of Burning Man get bathed in a seemingly endless sea of electro-luminescent blinky lights when nightfall arrives, and her attention will then most likely be diverted by an omnipresent soundscape of pulsating techno music punctuated by the explosive ﬂashings of propane ﬁreballs surging into the sky. To this, add the lumbering peregrinations of large, slow moving vehicles that appear as grotesque carnival rides taken from a Dada-themed amusement park, and the picture of a vastly absurd semiotic entity comes close to completion, a relational esthetics

gesamtkunskwerk 9 that is metaphorically and geographically located at the exact half-way point between San Francisco’s Mission District and Robert Smithson’s Spiral Jetty protruding from the north shore of the Great Salt Lake. It is equal parts game space and refugee camp, and as such, it presents itself as a gargantuan omni-participatory rejoinder to the regulation of subjectivity embedded in the cognitive illusions bred by normative market-deﬁned existence. And for this reason, the ensemble experience of participating in Burning Man provides a much-needed transﬁguration of everyday assumptions about what passes for cultural nourishment. Its chief lesson lies in the way that it demonstrates how well a do-it-yourself social economy can work if and when it reframes itself in the terms of a do-it-with-others ethos, and this represents a profound political revelation as well as its chief metapolitical legacy to be later taken up by the Occupy Wall Street movement.

Rather than calling this vast entity by its proper name of Black Rock City, lets give it a more descriptive moniker: the living model of an alternative version of contemporary culture based on advancing an ethical glocalism as the highest of priorities. And then let us note that, in theatrically performing itself as such a model, it also forms itself into a fun house mirror reﬂection of the absurdities of twenty-ﬁrst century existence, all-the-while organizing itself as a temporary corrective for many of that century’s social and political shortcomings, especially those pointed toward systematically excluding people from social participation for no good reason. At Burning Man, the stranger is always welcome, and there are always opportunities for any given participant to do things that she never imagined herself to be doing. And in so doing, she oftentimes learns a great deal about the roles that she plays in her everyday life, in turn allowing her to imagine and act upon other roles that might lead her to a better world, at least for herself and maybe for others. Yes, Burning Man does feature a great deal of so-called “New Age” art made by people who might best be called hippies, and yes, almost all of that art is at best a guileless exercise in naïve cluelessness that is scripted not so much by any “radical free expression” as it is by the simplistic recirculation of pop cultural cliché. At worst, it is something on a par with toenail fungus, but even that can be strangely entertaining when contrasted with the vastness of the desert. Indeed, accounting for maybe two- or three-dozen notable exceptions during the past decade, we would have to concede that almost all of the art at Burning Man is as bad as its detractors say that it is. But in admitting this fact, another obvious question comes to the fore: in the great scheme of things, how important is it whether any of it is bad or good? And following from this, another obvious set of questions: who or what are the entities that are empowered to decide on any such differentiation? What values do they represent? What is masked by the authoritative proclamation of said values? And again: why does any of it matter?

Turnabout being fair play, it now becomes obligatory to imagine what an everyburner might make of the current world of contemporary art, resplendent as it is when ensconced within opulent museum architecture and festooned with price tags that are the monetary equivalent of real estate when it is not. It is undeniable that those environments are the sites of a kind of authoritative coldness designed to intimidate the viewer into a kind of passive submission to the historical authority of those things that are beheld within them. It is also undeniable that the large majority of those snobjects contain very little that conveys the kind of truthful generosity that might reward the attention of the serious viewer who is not party to the vested interests that have been inﬂuence-peddled into the visible existence of their environment’s adoration.

And so, our everyburner would no doubt ask: given the sorry state of the world, why all the fuss? Presumably, money is part of the equation, although it is difﬁcult for the uninitiated to see exactly how it plays out through the elaborate web of private, corporate and public support that buoy any given museum’s orchestration of the importance effect. As Paul Werner succinctly put it in 2005: “The illusion that art museums could be run for proﬁt like everything else was derived from the notion museums themselves had worked so hard to foster: that art and capital were all one and circulated in the same manner.”10

Werner goes on to quote former Metropolitan Museum director Phillipe de Montebello’s statement that “It is the judicious exercise of the museum’s authority that makes possible the state of pure reverie that an unencumbered esthetic experience can inspire,”11 and then goes on to state that “by the same logic, the absence of ‘a state of reverie’ interferes with ‘the judicious exercise of authority.’” Werner drives this point home when he writes “What Brecht wrote of the Nazis then now applies to cultural apparatus of the twenty-ﬁrst century: they want to turn the People into an audience. Same policy, different means.”12

Once again, we are reminded of the truism stating that propaganda works best when those who are being manipulated believe that they are acting on their own free will. How you might ask, and the answer is obvious: in the way of the translation of a certain class of objects—let’s call them symbolic commodities—into a certain class of equities. It is easy to suppose that said equity is simply gained from the fortuitous position that any given investor might take amid the normal value/worth ﬂuctuation of the commodity in question. But works of art are not commodities in same way as are barrels of crude oil or tons of copper, nor is it a form of reserve currency as are ounces of gold or silver. The commodity value of a given work of art is instead a function of its status as a reliquary representation of its own myth status, and that is something that continues to be manufactured long after said work of art leaves the studio of the artist who created it. Ultimately, it is the museum that conﬁrms the mythic status of the objects that it chooses to display and collect, creating a fortuitous feedback loop that points to how the world of contemporary art has been transformed into a rather perverse epiphenomena of the ﬁnancial services industry.

Here is how the normative art economy actually works. Artist a) makes a work of art b) and shows it at the gallery of dealer c), who gets it written about by critic d) and then sells it to collector e) for f) amount of money. Collector e) hangs on to artwork while the reputation of artist a) rises by way others repeating the same machinations described in the aforementioned equation, and then, at a fortuitous moment, she either sells said artwork for proﬁt f)+x , or more normally donates said artwork to museum g), for which she receives donor recognition h), which represents the fair market value that museum g) places on artwork b).

Because the work has been accepted into museum g)’s collection, its fair market value automatically rises, so that donor recognition h) is actually worth much more that the original purchase price f) of work of art b). And it is donor recognition h) that collector e) sends to the tax collector as a claim for a tax deductable charitable contribution that reduces collector e)’ s overall tax burden by a signiﬁcant sum of money (yes, the federal government does support the arts!). The value added portion of this equation lies in how much greater a sum of money donor recognition h) represents in relation to original cost of artwork b), and in many cases that sum is ten or 20 or 100 times the original investment. Thus the economy of art is laid bare, and it can rightfully be called a speculative marketplace in objects that might represent a signiﬁcantly enhanced tax-deductability that can be exercised at some future juncture, all assuming that museum g) is interested in acquiring work of art b) at any point in time. This means that work of art b) has to ﬁt in with what museum g) considers to be a worthwhile esthetic experience, based in part on its own vested interest in perpetuating its ability to exercise such consideration. Werner gets that particular point right when he states that “if the Guggenheim, or any other museum, had actually covered its expenses through admissions, that would have harmed its true function: The manufacture of exclusiveness.”13

But, even though money is a major part of the equation, it by no means is all of it. It is worth noting that Werner’s remarks about the museum world point to a speciﬁc historical moment, and that moment was deﬁned by the aftermath of the politically motivated reformulation of the National Endowment for the Arts that took place between 1989 and 1994. After that reformulation (which effectively ended government support for the arts in the United States), both the world of the museum and the larger world of contemporary art were momentarily recast as perverse sub-functions of the entertainment industry, with a reigning style called “Pop Surrealism”14

This coming to the fore as the stylistic marker for the art of that brief and bygone moment, and indeed, a perfectly useful and legitimate term that could accurately describe much of the art that one might ﬁnd at any given iteration of Burning Man. In fact, it is a far more accurate term than the more common ascription pointing to it as new form of “outsider art.” This is so because at that particular moment, there was a major lack of clarity about what was inside or outside of anything other than what ﬁnancially motivated turnstiles might keep in a state of separation, and in the wake of the cessation of government funding, an increase in audience size became an necessary institutional mandate. Thus, we had an art style that “took its inspiration from popular culture,” meaning that it was trying and failing to be popular culture, rather than the kind of critical comment on it that we saw with 1960s Pop Art. Part-and-parcel with the 1990s embrace of Pop Surrealism as an audience development strategy was another related trend called Postart spectacle, which transformed whole museums into elaborately staged pseudo-operas of the type made famous by Matthew Barney, Paul McCarthy and Martin Kippenberger—artists who all infused Pop Surrealist esthetics with the theme park ambience of an arena rock concert. Finally, it is worth noting that the rhetorical pendent that was hung around the neck of this esthetic shift toward popular entertainment was something called “art writing.” It did not come from the traditional world of art historically trained art critics, but instead issued from a new hybrid discourse that proclaimed itself to be something called “visual studies,” which in many cases was little more than culturally sensitive entertainment reporting—“celebrity porn journalism” to use a deservedly uncharitable term. Its most characteristic feature was a shameless willingness to be used as a tool for institutional audience development.

Nonetheless, in the art world, all of this was brief and transitional, because the focus would again shift in dramatic form after the 9/11 terrorist attacks, making Pop Surrealism suddenly look very anachronistic. Very soon thereafter, Globalism became the new buzzword for a suddenly robust emphasis on a transnational art hailing from under-recognized parts of the world. Presumably, Globalism represented an impetus toward encouraging the embrace of art as an instrument of national liberation, or failing that particular pretense, as a focal point for the kind of cultural lubrication that might politically facilitate desirable access to the labor, natural resources and markets of the developing economies so dearly prized by neoliberal corporatism. It might also represent a politically motivated usage of art as an instrument of paciﬁcation, that is, as an administrative technology for deﬂecting the potential for actual conﬂict into the containable realm of symbolic conﬂict. The visible shape that this newly globalized art took on was not manifested in any particular form of artistic cultural production, but instead, was revealed as a relatively new form of cultural presentation called the Mega-Exhibition. These were exempliﬁed by such time-honored extravaganzi as Documenta and the Venice Biennial, but also by a metastasizing host of newer entries into the global mega-exhibition fray, held in such cities as Istanbul and Taipei. These are giant affairs that operate under the guidance of an elite class of internationally renown curatorial directors, and in addition to operating as certiﬁcation mechanisms for the investability of the art contained by them, they also function as major engines of cultural tourism and transnational ideological propaganda that have been used to enrich the coffers of their host cities. It is also worth thinking about how other imperatives might be in play. As Okwui Enwezor has written, globalism embodies a new vision of global totality and a concept of modernity that dissolves the old paradigm of the nation-state and the ideology of the ‘center,’ each giving way to a dispersed regime of rules based on networks, circuits, ﬂows, interconnection. Those rhizomatic movements are said to operate on the logic of horizontality, whose disciplinary, spatial, and temporal orders enable the mobility of knowledge, information, culture, capital, and exchange, and are no longer based on domination and control… globalism was part of the maturation of a certain kind of liberal ideal, which in its combination of democratic regimes of governance and free market capitalism was prematurely announced as the end of history.15

These attributes are all pointed at the imagination of “a truly uniﬁed world system whereby all systems of modern rationalism would ﬁnally be properly fused.”16

Of course, the inquiring mind will ask, to what end? And more importantly, to whose end? Of course, answers to these questions are never made clear, perhaps because they cannot be made clear. But it is worth pointing out that the impetus toward the aforementioned fusion is a very different thing than the impetus toward cultural diversity, and it is also interesting to note that among the many topics of cultural identity that have surfaced during the heyday of the global mega-exhibition, the debt obligations of post-colonial nation states is one that almost never comes up. That is because the thing instigating and beneﬁting from the aforementioned fusion is a global, trans-national banking system that has learned how to use both art and nation states as tools for its own purposes. That much said, we can go on to productively note Burning Man is also a mega-exhibition, but in many ways it is also an anti-mega-exhibition, especially in the ways that it preﬁgured, mirrored and satirized the “the rhizomatic logics of horizontality, interconnection and dispersal” that have become de rigueur themes in twenty-ﬁrst century art. III

Electrical Suit sketch by Dr. Austin Richards AKA Dr. Megavolt

For all of Burning Man’s claims of being a place apart from the default world that it pretends to leave behind, it nonetheless does seem that the event sustains an oblique relationship to that world. During the technologically addled 1990s, Burning Man seemed to be prophetically far ahead of the cultural environment surrounding it. The chief reason for this was its far-reaching imagination of the ways that new technology could recast how social relations might be reconﬁgured in critical relation to what Naomi Klein would later call “Disaster Capitalism.”17

In those days, the presiding spirit of Burning Man was not any getting back to the mythical garden that so captured the imagination of the Woodstock generation so much as it was a celebration of various kinds of real and imagined love taking place amongst the post-apocalyptic ruins of rampant military adventurism and ﬁnancial and ecological unsustainability. But in 2001, the specter of real apocalypse became traumatically evident when the 9/11 terrorist attacks ushered in an unfunded war wedded to the draconian trappings of the National Security State. Suddenly, the world caught up with Burning Man’s parsing of the utopian and dystopian themes of technologically-assisted social capitalism, making them seem redundantly similar to the mass media narratives about a brave new cyber-economy as well as the emergence of other forms of Postart spectacle that had come into prominence in the art world. The fact that Burning Man had become the putative darling of a kind of trivializing mass-media condescension did not help, and over time the event become more-and-more indistinguishable from the “wild and crazy” caricatures that were heaped upon it. By 2007, the event had clearly become a victim of its own clichés of ﬂagrant silliness, mired in a repetitious cycle of nostalgia for the exuberant 1990s. Soon after that, that the world would pass it by, because in 2008, the story would take another turn, a downturn to be exact. The ﬁnancial crisis that exploded in October of that year once again recalibrated the larger terrain of cultural understanding, and the urgency of that moment began to make Burning Man look every bit as indulgent and frivolous as it did the institutional art world. Soon thereafter, a new concern for the politics of social justice had come into the foreground, eclipsing the themes of alternative identity and self-sustaining community-of-desire that were such prominent features of the event during its 1990s heyday. It was time to pass the metapolitical torch of the do-it-with-others ethos so that a very different ﬁre might be lit with the aid of a few well-placed Falstafﬁan pitchforks.

Returning to Badiou, we read that the ethical understanding of justice is something quite speciﬁc. It is based on the following injunction: “to examine political statements and their proscriptions, and draw from them their egalitarian kernel of universal signiﬁcation.”18

If Burning Man has done nothing else, it has certainly created an Archimedean ground from which such an examination might proceed, much more successfully than anything that happened in the institutional art world during the same time period. Following from this recognition, we might then ask how the metapolitical kernel of Burning Man was passed to Zucotti Park, as if, in an age of social media, the assertion and exertion of any inﬂuence on anything can somehow be supposed to not be operable until proven otherwise. We know that one of the key instigators of the OWS movement was Micah White, the Berkeley-based co-editor of the Vancouver-based journal Adbusters , therefore a Bay Area connection is easily made, although it is not clear if White was in any way inﬂuenced by Burning Man. Because there is a very large contingent of Burning Man participants that hail from New York City, one could easily suppose that their experience of the event might have had something to do with the encampment at Zucotti, especially since Occupy Wall Street initially took place just ten days after the conclusion of the 2011 Burning Man event. But there is one important kernel of indisputable inﬂuence that clearly stands out, and that is Bill Talen, who is better known in his performance guise of Reverend Billy of the Church of Stop Shopping, a New York-based performance group that has extensively toured the United States and is the subject of two widely circulated documentary ﬁlms. What makes Talen’s performances so timely for this discussion is his evocation of the tropes of a theocratic tribalism that are severed from the politics of hate and fear, all enacted in service to the kind of communitarianism and pleas for justice that earmarked the earliest Christian communities of the second century. Obviously, those same values are in short supply among so-called evangelical churches populated by legions of CINOs (Christians-in-Name-Only), reminding us of how deeply perverted the gospel message has become in twenty-ﬁrst century America. The fact that the more organized churches proclaiming allegiance to the gospels have been outdone on this score by a performance artist should be cause for concern, outrage and cruel mockery. Starting in 2002, the 30-member band and gospel choir of the Church of Stop Shopping has regularly performed at Burning Man, putting on a rousing revival show that is a stunningly convincing mimic of similar services consecrated to “the old time religion” a la Elmer Gantry, only at Burning Man, it was comically staged under the shadow of an 40-foot-tall efﬁgy that echos the real old old old time religion of Neolithic cult worship.

At the forefront of the Church’s performance is Talen’s character named Reverend Billy, who preaches in passionate, Elvis Presley-inﬂected voice about the evils of consumerism and the tragic human cost of debt-driven consumption, backed up by a gospel chorus and small orchestra featuring a church organ. The chorus sings songs about the virtues of an economic democracy that is described as a promised land, and the mood is always persuasively festive, even joyous.

Talen’s passionate and eloquent sermons come across like rhapsodic poems made from the many fragments of Occupy Wall Street signage, and in fact, Talen did perform (sans choir) at the 17 September 2011 beginning of OWS, just a few days after returning to New York from Burning Man. Subsequently, he performed with the choir at Zucotti Park on several other days, to audiences that grew ever larger during the month of October. These were rousing and inspirational shows that galvanized the attention of ever-growing crowds in a way that gave them a coherent group identity, meaning that, for a few brief moments, the Occupy protesters found themselves attending a church of their own politically inclusive revelation, which allowed them to see themselves as being a part of something much larger than themselves.

As always, Talen’s performances were a brilliant obversion of the pernicious role that religion has come to play in American politics, where so-called “values” candidates have been using church afﬁliation for decades as the preferred excuse for supporting candidates and policies that embody the hateful opposite of Christian morality. Such ethically duplicitous rhetoric also has a metapolitical name, and that name is Neoconservatism when practiced by Americans who identify with Judeo-Christian tradition, and fundamentalism when practiced by others. Either way, the word “fundamental” applies in all of its many nuances, especially the one that highlights its deﬁnitional opposition to enlightened sophistication. Essentially, Neoconservatism is a subtle theologicization of the neoliberal doctrine that deﬁnes the subject along the secular lines of economic self-interest, but it deviates from that doctrine in that it assumes that self-serving moral edicts are required when the economic interests of cultural Others begins to gain too quickly in relation to the economic self-interest of the culturally entitled.

Talen’s Reverend Billy performances are so entertaining and well executed that it is easy to miss the seriousness of the metapolitical critique embodied in them. Certainly, they provide a thoughtful and dramatic critique of the empathy deﬁcit disorder that is bred by neoliberal corporatism, and they command and entice their audiences to insist on ethical correctives. As for the relation of his work to his experience of Burning Man, Talen himself has a clear vision of the similarity between Burning Man and the OWS movement. He writes: Burning Man and Occupy Wall Street share this: we discovered that living together is a performance with long-range power. How we live—people watch and learn. Then they live back at us and we change too. We experience the decisions of how to live as drama, and (we found out) as protest—more than traditional theater which rarely has electrical charge these days. For years we were the butt of journalist jokes, calling us refried 60s protesters—angry people carrying signs and chanting. All that was wiped away by the glorious arrival of Occupy, which was the simple notion of living together in public, in a park under the scrapers of Wall. Sharing food, stories, making media, ﬁguring out laws, discussing health, feeding each other—LIVING TOGETHER is the devastating protest form of our day. Burning Man’s fascination—you see it around the world—ﬂows from living together under arid desert conditions for a week. BM also chucks the conventional stage and ﬁnds a new charged theater in sashaying in outrageous costumes and nakedness in front of 50,000 people who are doing the same thing back at you. Burning Man is great theater—leaves Broadway in its playa dust. And Wall Street guys are there too—wearing ﬂuorescent underwear while they check out a 100-foot-long chandelier. How change comes to the world from these two forms of theatrical living— stay tuned! It has begun.” To this I can only say Amen.

notes- *apologies for layout issues, text spaces have been modified to allow for full citation listings.

Alain Badiou,

Metapolitics

(1998), translated by Jason Barker, London: Verso Books, 2005, p. 19.

Jean Tingley, “On Statics,” (text from a leaﬂet dropped near Dusseldorf in 1959. Recorded in

The Diary of Anaïs Nin, Volume VI

, edited by Gunther Stuhlman, New York: Harcourt, Brace and Jovanovich, 1966 p. 284.

See Adam Schiff, “The Supreme Court Still Thinks That Coroporations Are People,” (July 18, 2012)

The Atlantic Monthly

; http://www.theatlantic.com/politics/archive/2012/07/the-supreme-court-still-thinks-corporations-are-people/259995/court-still-thinks-corporations-are-people/259995/

Badiou, Op. Cit., p. 5.

Ibid, pp. 5–6.

For a synopsis of Badiou’s key claims, see his

Manifesto for Philosophy

, translated by Norman Maderaz, State University of New York Press, 1999. Further references to Baudiou’s ideas are extracted from this source, unless otherwise cited.

Claims of Burning Man being a socially dangerous satanic ritual were made on the 18 May 1998 broadcast of Pat Robertson’s 700 Club program on the

Christian Broadcast Network

George Kuchar (1942–2011) and Mike Kuchar (b.1942) were San Francisco-based underground ﬁlmmakers whose low budget works used and misused exaggerated gender clichés to satirize the most preposterous aspects of conventional “sinematic” exposition. George Kuchar’s most well known ﬁlm was titled

Hold Me While I’m Naked

, 1966, while Mike Kuchar is best known for his 1966 ﬁlm titled

Sins of the Fleshapoids.

In 1997, they collaborated on a book of comic reminiscences titled

Reﬂections from a Cinematic Cesspool

(San Francisco: Zanja Press). Here we might note a persistent albeit unconﬁrmed rumor that San Francisco’s long-running stage play titled

Beach Blanket Babylon

was originally indebted in some way to the George Kuchar esthetic. In Jennifer Kroot’s 2009 documentary ﬁlm titled

It Came From Kuchar,

it was revealed that Bill Grifﬁth’s comic character named

Zippy the Pinhead

was modeled on George Kuchar.

Gesamtkunskwerk

literally means “total work of art.” It was coined by Richard Wagner to describe his view opera production as a synthesis of all of the arts. See his

The Artwork of the Future

(1849, translated by William Ashton Ellis) at http://users.belgacom.net/wagnerlibrary/prose/wagartfut.htm. “Relational Esthetics” was a term originally coined by Nicholas Bourriard in 1986 as a way of calling attention to certain artistic practices that were/ are less concerned about the creation of a ﬁnal product than they are about the social processes of inclusion and participation leading up to it. Bourriaud deﬁned the approach simply as “a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.” (p. 113). See Nicholas Bourriard,

Relational Esthetics , Dijon, France: Les Presses du Reel , 2002. For a critique of Bourriard’s thesis, see Claire Bishop, “Antagonism and Relational Aesthetics,”

October 110, Fall 2004. Bishop points out that “The curators promoting this ‘laboratory’ paradigm—including Maria Lind, Hans Ulrich Obrist, Barbara van der Linden, Hou Hanru, and Nicolas Bourriaud—have to a large extent been encouraged to adopt this curatorial modus operandi as a direct reaction to the type of art produced in the 1990s: work that is open-ended, interactive, and resistant to closure, often appearing to be ‘work-in-progress’ rather than a completed object. Such work seems to derive from a creative misreading of poststructuralist theory: rather than the interpretations of a work of art being open to continual reassessment, the work of art itself is argued to be in perpetual ﬂux. There are many problems with this idea, not least of which is the difﬁculty of discerning a work whose identity is willfully unstable. Another problem is the ease with which the ‘laboratory’ becomes marketable as a space of leisure and entertainment. Venues such as the Baltic in Gateshead, the Kunstverein Munich, and the Palais de Tokyo (in Paris) have used metaphors like ‘laboratory,’ ‘construction site,’ and ‘art factory’ to differentiate themselves from bureaucracy-encumbered collection-based museums; their dedicated project spaces create a buzz of creativity and the aura of being at the vanguard of contemporary production. One could argue that in this context, project-based works-in-progress and artists-in-residence begin to dovetail with an‘experience economy,’ the marketing strategy that seeks to replace goods and services with scripted and staged personal experiences. Yet, what the viewer is supposed to garner from such an ‘experience’ of creativity, which is essentially institutionalized studio activity, is often unclear.” (p. 52) Bishop goes on to quote Bourriard: “It seems more pressing to invent possible relations with our neighbors in the present than to bet on happier tomorrows” (p. 54;

Relational Esthetics,p. 45), Then she adds “This DIY, microtopian ethos is what Bourriaud perceives to be the core political signiﬁcance of relational aesthetics.” (p.54). It is worth noting that there has never been much difference between Bourriard’s assertion of “Relational Aesthetics” art practices and Allan Kaprow’s much older advocacy of Happenings, the ﬁrst principle of which being “the line between the Happenings and daily life should be kept as ﬂuid as possible,” so that “the reciprocation between the handmade and the ready-made will be at its maximum power.” (Allan Kaprow, “The Happenings are Dead: Long Live the Happenings!” (1966) in Jeff Kelly ed., The Blurring of Art and Life: The Collected Writings of Allan Kaprow , Berkeley: University of California Press, 1996, p. 62). The key point lies in how both Relational Esthetics and the earlier Happenings resurrect the tenants of Lukasian social realism by substituting real-time face-to-face encounters for the older tropes of representing and/or narrating ideas of “class consciousness.” More recently, similar activities have again rebranded themselves as “Social Practice Art,” as a way of emphasizing more speciﬁc political ambitions. See Nato Thompson, Living as Form: Socially Engaged Art from 1991 to 2011,

Cambridge, MA. MIT Press, 2012. But even here, the obvious equation of institutionally supported “social practice art” with inefﬁcacious postures of mild political concern (scented with the bad faith of loyal opposition) are never directly addressed. An important early instance of a Relational Esthetics artwork was San Francisco-based artist Tom Marioni’s Drinking Beer with Friends is the Highest Form of Art

, a weekly relational esthetics performance that has been ongoing since the mid-1970s. Clearly, San Francisco-based Burning Man is far and away the largest and most complex example. Neither was mentioned in Bourriard’s famous book.

10.

Paul Werner,

Museums, Inc.

, Chicago: Prickly Paradigm Press, 2005, p. 9.

11.

Ibid., p. 15.

12.

Ibid

p. 58.

13.

Ibid

p. 41.

14.

Pop Surrealism was the name of a 1998 exhibition organized by Richard Klein, Ingrid Schaffner and Dominique Nahas held at the Aldrich Museum in Ridgeﬁeld Connecticut. It contained the work of artists such as Peter Saul, Mike Kelly, Paul McCarthy, Lisa Yuskavage, Ed “Big Daddy” Roth, John Currin and Robt. Williams, and could be said to have reprised and expanded upon an earlier exhibition titled Helter

Skelter that was organized in 1992 by Paul Schimmel at the Museum of Contemporary Art in Los Angeles. The monthly publication Juxtapose (founded by Williams in 1994) has done much to promote many of the artists associated with the Pop Surrealism movement, but the publication’s claim that the movement originated in southern California is erroneous. The real historical sources of the Pop Surrealism movement is found in the earlier work of Bay Area-based artists such as Peter Saul and George Kuchar, as well as the underground comics movement that was based in the same area during the middle 1960s. Chicago artists of the early 1970s such as Jim Nutt, Gladys Nielson and Karl Wirsum were also important early inﬂuences. The most important aspect of the Pop Surrealism movement lied in its embrace of a populist turn in art that was responsive to circumstances related to the political controversies surrounding government funding for the arts. In 1998, the National Endowment for the Arts published the ﬁndings of a multi-year research project that concluded that the arts were widely perceived to be irrelevant and elitist. The project was called American Canvas

. See Gary O. Larson,

American Canvas: An Arts Legacy for Our Communities

, Washing ton D.C.: US Government Printing Ofﬁce, 1998.

15.

Okwui Enwezor, “Mega-Exhibitions and the Antinomies of a Transnational Global Form,” in Andreas Huyssen ed.,

Other Cities, Other Worlds: Urban Imaginaries in Globalizing Art

, Duke University Press, 2008, pp. 148–149.

16.

Ibid

p. 149. In an anonymous introductory remark made in the online journal

Italian Greyhound , we read that “Enwezor uses as an illustration of the serious and thoughtfully considered nature of righteous internationalists in fomenting new representations in academic programs and curated collections by pointing to a think tank he participated in 1997 in Italy whose members came from Brazil, Turkey, Cuba, Australia, South Africa, and Thailand, amid other countries. These panelists endeavored to recode the complex dialectics between globalization and the long process of modernization towards market basked-economies on the course of which much of the developing world was set since the early days of decolonization. Enwezor reports that this group drew and reached no conclusions other than to continue meeting at subsequent retreats and biennale exhibitions.” The same anonymous interlocutor also summarizes a response formulated by art critic George Baker to Enwezor’s essay that takes exception to its optimistic assessment of the equalizing nature of enormous international art fairs, arguing that “the only valid deﬁnition of globalization is one that must include an acknowledgement of the invasiveness of multinational corporations.” Baker deﬁantly asks “who and where is the audience for mega-exhibitions?” echoing Enwezor’s use of the words “spectatorship” and “spectacle.” The roving biennale, Baker says, “creates a traveling fair for global elites, excluding both artists and the local populations where such exhibits take place.” Baker dismisses Enwezor’s Trauma and Nation model concepts, claiming instead that “shows such as Documenta existed for years merely as a forum for exported American art and views of art.” Baker further argues “mega-exhibits are in fact created, like the Olympics, with the intent of deﬁning, promulgating, and delineating American culture.” Baker asks “why it is that biennials,” (which are, he says, “essentially the same showcasing of many of the same works repeated in different time zones”) “are the new model for counter-hegemonic spectatorship?” (See the summary provided at athttp://italiangreyhounds.org/errata/2007/06/13/“mega-exhibitions-and-the-antimonies-of-a-transnational-global-form”-by-okwui-enwezor-vs-“the-globalization-of-the-false-a-response-to-okwui-enwezor”-by-george-baker/)

17.

See Naomi Klein,

The Shock Doctrine: The Rise of Disaster Capitalism,

New York: Henry Holt &Co., 2007.

18.

Badiou, Op. Cit., p. 17.

19.

Bill Talen, Email correspondence with the author, 7 April 2012.

SLOW BURN245BARBARA TRAUB

SLOW BURN

BARBARA TRAUB

Monolith

, 2012

246SLOW BURN247BARBARA TRAUB

Playa Play

, 2000

Greeter Station

, 1997

Double Expusure

, 1995

248SLOW BURN249BARBARA TRAUB

Guiding Light

, 1999

250SLOW BURN251BARBARA TRAUB

Ravishing Raven

, 2000

Desert Rat

, 1997

252SLOW BURN253BARBARA TRAUB

Dust Cloud

, 1996

Tableau Vivant

, 1994

Water Woman

, 1997

Culture

Ontario Certifies Six Nation Polytech- First Aboriginal School to Award Languages Degree

February 8, 2016 The Silo Leave a comment

Six Nations Polytechnic Aboriginal Institute to Offer Standalone Languages Degree Program

Ontario Helping to Expand Post-secondary Options for Indigenous Students

NEWS

February 8, 2016

Ontario is helping to improve access to culturally appropriate postsecondary education and training opportunities for Indigenous learners by making it possible for Six Nations Polytechnic, an Aboriginal Institute, to offer a standalone degree program.

For the first time, the province will make it possible for an Aboriginal Institute, an organization that is run and governed by Indigenous communities, to offer a standalone degree program. As of January 2016, students at Six Nations Polytechnic Aboriginal Institute in Ohsweken can obtain a Bachelor of Arts degree in Ogwehoweh (Cayuga and Mohawk) Languages.

This degree will help promote and protect Ogwehoweh languages and make it possible for students to complete their degree at one institution, closer to home. It also will help students build on their linguistic skills and cultural knowledge as well as expand their opportunities to participate in the labour market. This standalone degree also supports the recommendations of the Truth and Reconciliation Commission, which called for postsecondary institutions to create degree programs in Indigenous languages.

Investing in the talent and skills of First Nation, Métis, and Inuit learners is one of many steps on Ontario’s journey of healing and reconciliation with Indigenous peoples. It reflects the government’s commitment to work with Indigenous partners, creating a better future for everyone in the province.

QUOTES

“Our government has made a clear commitment to learn from the past, build on our success stories, and increase our efforts to help Indigenous learners get the education and training they need. Six Nations Polytechnic is committed to creating an Indigenous environment that is grounded in culture and community, language, research, and academic quality, and this new degree program will help improve Indigenous learners’ access to, participation in, and completion of postsecondary education and training programs in Ontario.”

— Reza Moridi, Minister of Training Colleges and Universities

“I want to thank Six Nations Polytechnic for the leadership and guidance they have provided. Today’s announcement provides a tangible illustration of Ontario’s journey along the path of reconciliation. We will continue to rely on Indigenous partners as we chart a way forward that will produce tangible results.”

— David Zimmer, Minister of Aboriginal Affairs

“Language preservation and protection are at the core values of Six Nations Polytechnic. That’s why we have always had the intention of having our Ogwehoweh Language Diploma Program become a language degree program.”

— Rebecca Jamieson, President Six Nations Polytechnic

“Congratulations to Rebecca and her entire team. They have worked tirelessly to bring about the expansion of Six Nations Polytechnic programming. Education is the cornerstone of the future successes of our local Indigenous students.”

— Dave Levac, Member of Provincial Parliament, Brant

QUICK FACTS

Aboriginal Institutes provide opportunities for students to start and complete postsecondary education credentials in a culturally appropriate and safe learning environments close to home and are completely run and governed by Indigenous communities.
The Ogwehoweh (Cayuga and Mohawk) Languages degree builds on the strong foundation of the current language diploma program offered in partnership with McMaster University.
Six Nations Polytechnic is an Aboriginal postsecondary education and training institute located in Ohsweken, a community on Six Nations of the Grand River Territory near Brantford, Ontario.
Six Nations Polytechnic applied for and was granted consent to offer a Bachelor of Arts degree in Ogwehoweh (Cayuga and Mohawk) Languages.
Ontario provides $1.5 million in annual funding through the Aboriginal Student Bursary Fund to help Indigenous learners with financial needs participate in postsecondary education and training.
In June 2015 the province committed stable funding of Indigenous postsecondary education totaling $97 million over three years, including an additional $5 million to support the sustainability of Ontario’s nine Indigenous-owned and operated postsecondary education and training institutes located throughout the province. In 2013-14, about 16,036 self-identified Indigenous learners attended college and university in Ontario, an increase of about nine per cent or 1,472 learners since 2009-10.

LEARN MORE

Aboriginal Postsecondary Education and Training Bursary

Aboriginal Institutes

Aboriginal Postsecondary Education and Training Policy Framework

Aboriginal Education Strategy

Belinda Bien, Minister’s Office, 647-823-5489

Tanya Blazina, Communications Branch, 416-325-2746

Public inquiries, 416-325-2929 or 1-800-387-5514

TTY 1-800-268-7095

ontario.ca/tcu-news

Disponible en français

Offre d’un programme indépendant menant à un diplôme à l’institut autochtone Six Nations Polytechnic

L’Ontario contribue à accroître les options d’études postsecondaires des étudiants autochtones

NOUVELLES

Le 8 février 2016

L’Ontario contribue à améliorer l’accès des apprenantes et apprenants autochtones à des possibilités de formation et à des études postsecondaires adaptées à leur culture en permettant à la Six Nations Polytechnic, un institut autochtone, d’offrir un programme d’études indépendant menant à un diplôme.

Pour la première fois, la province accepte qu’un institut autochtone offre un tel programme d’études indépendant. Les instituts autochtones sont des établissements exploités et gérés par des communautés autochtones. À compter de janvier 2016, les étudiants de la Six Nations Polytechnic peuvent recevoir un baccalauréat ès arts dans les langues ogwehoweh (cayuga et mohawk).

Ce baccalauréat contribuera à promouvoir l’usage des langues ogwehoweh et à les protéger. Il permettra également aux étudiants de faire leurs études dans un seul établissement, plus près de chez eux. Ils pourront approfondir leurs compétences linguistiques et leurs connaissances culturelles, en s’ouvrant à davantage de possibilités d’intégrer le marché du travail. En outre, l’offre de ce programme indépendant menant à un diplôme répond à la recommandation de la Commission de vérité et réconciliation voulant que les établissements d’enseignement postsecondaire créent des programmes d’études en langues autochtones.

Investir dans le talent et les compétences des apprenantes et apprenants métis, inuits et des Premières Nations constitue l’une des nombreuses étapes que l’Ontario devra franchir tout au long du processus de guérison et de réconciliation. Cela reflète aussi l’engagement du gouvernement à collaborer avec ses partenaires autochtones et à bâtir un avenir meilleur pour tous les habitants de la province.

CITATIONS

« Il est indéniable que le gouvernement s’est engagé à tirer des leçons du passé, à amplifier ses réussites et à redoubler d’efforts pour aider les apprenants autochtones à entreprendre les études et la formation dont ils ont besoin. La Six Nations Polytechnic s’engage à créer un environnement propice à l’apprentissage des autochtones dont les fondements sont la culture, la communauté, la langue, la recherche et la qualité des programmes. Ce nouveau baccalauréat améliorera l’accès à l’éducation postsecondaire des apprenants autochtones en Ontario et contribuera à l’accroissement du nombre d’étudiants autochtones détenteurs d’accréditations ou de diplômes. »

— Reza Moridi, ministre de la Formation et des Collèges et Universités

« Je souhaite remercier la Six Nations Polytechnic pour le leadership dont elle a fait preuve et pour l’orientation qu’elle a su donner. L’annonce d’aujourd’hui illustre parfaitement le processus de réconciliation entrepris par l’Ontario et nous continuerons de collaborer avec nos partenaires autochtones en vue d’arriver à des résultats concrets. »

— David Zimmer, ministre des Affaires autochtones

« La préservation des langues autochtones est au cœur des valeurs de la Six Nations Polytechnic. C’est d’ailleurs pourquoi nous voulions depuis longtemps que notre programme en langues Ogwehoweh mène à un grade universitaire. »

— Rebecca Jamieson, rectrice, Six Nations Polytechnic

« Toutes mes félicitations à Rebecca Jamieson et à son équipe. En effet, la diversification des programmes offerts à la Six Nations Polytechnic est un travail de longue haleine. Nous savons que l’éducation est la pierre angulaire sur laquelle repose le succès des étudiants autochtones de la région. »

— Dave Levac, député provincial de Brant

FAITS EN BREF

Grâce aux instituts autochtones, les étudiants peuvent commencer et terminer leur éducation postsecondaire dans un milieu d’apprentissage près de chez eux qui est à la fois sécuritaire et culturellement adapté. Les instituts autochtones sont exploités et gérés par des communautés autochtones.
Le programme d’études en langues ogwehoweh (cayuga et mohawk) a comme base solide le programme de langues qui est actuellement offert en partenariat avec l’Université McMaster.
La Six Nations Polytechnic est un institut d’enseignement postsecondaire et de formation autochtone situé à Ohsweken, dans le territoire des Six Nations de la rivière Grand, près de Brantford, en Ontario.
La Six Nations Polytechnic a reçu l’autorisation d’offrir un programme de baccalauréat ès arts en langues ogwehoweh (cayuga et mohawk).
L’Ontario octroie 1,5 million de dollars par an par l’entremise du Fonds des bourses pour les étudiantes et étudiants autochtones. Ce fonds aide les apprenants autochtones ayant des besoins financiers à accéder à la formation ou aux études postsecondaires.
En juin 2015, la province a pris l’engagement de fournir un financement stable de 97 millions de dollars sur trois ans pour appuyer l’éducation postsecondaire des Autochtones. Cet investissement comprend un financement supplémentaire de 5 millions de dollars consacrés à la viabilité des neuf instituts d’enseignement et de formation postsecondaires de l’Ontario exploités et gérés par des communautés autochtones. En 2013‑2014, environ 16 036 apprenants auto-identifiés comme Autochtones ont fréquenté un collège ou une université en Ontario, ce qui représente une augmentation d’environ 9 %, ou de 1 472 personnes, depuis 2009‑2010.

POUR EN SAVOIR DAVANTAGE

Bourses pour l’éducation postsecondaire et la formation autochtones

Établissements autochtones

Cadre d’élaboration des politiques en matière d’éducation postsecondaire et de formation autochtones

Stratégie d’éducation autochtone

Reviews

Silo Book Spotlight- A Practical Guide to Emotional Intelligence

December 14, 2015 The Silo Leave a comment

Feelings are at the core of every social interaction. Anger, fear, and sadness are all very different concepts, but together they form part of an emotional compass that allows people to appropriately deal with each other in everyday situations. In short, unlocking the true power behind a person’s feelings – even challenging ones – is actually the key to clarity, love, and a happier life.

As a way to help you understand your feelings and develop your own emotional intelligence, business coach, speaker, and bestselling author Vivian Dittmar has written the insightful book, The Power of Feelings: A Practical Guide to Emotional Intelligence. In this groundbreaking work, Dittmar takes the reader on an introspective journey by examining the inner workings of the human mind and heart. She explains at length the difference between feelings and emotions, how each are created, why each has its own purpose, and why everything you “feel” is not always a feeling.

Divided into five easy-to-read sections, The Power of Feelings is a comprehensive guidebook with 12 self-assessment exercises for exploring your life. By working through these exercises, Dittmar ultimately teaches how understanding and harnessing the power behind your feelings are the keys to your emotional potential and intelligence.

In this fascinating and eye-opening book, Dittmar also reveals:

The Five Powers of Anger, Sadness, Fear, Joy, and Shame: How each fulfills an important function in your life
Turning Negative Feelings Into Positive Forces: Why some feelings that are typically considered to be “bad” can be used to your benefit
Emotional Baggage: Some of the most effective ways to deal with past emotional issues
Blocks of Emotional Intelligence: Common causes of emotional imbalances
Living Feelings: How to incorporate conscious feelings into your daily life

“When I felt it was time to write my first book, I took a look at what was on the market in the field of personal development and felt the greatest deficit was in the realm of feelings and emotions,” says Dittmar. “I had been emotionally challenged in my life and was unsatisfied with the answers I could find. This dissatisfaction caused me to start investigating the matter within me, with the people I worked with, and in seminars and groups. When it was time to write the book, we collected questions about feelings from people of all walks of life looking for the same answers. This material later became the first version of The Power of Feelings.”

Vivian Dittmar grew up on three continents in three different cultures. In doing so, she developed a unique perspective on humans and their interactions. Traveling between first, second, and third-world nations, she was struck by the contrast between people’s external wealth and their corresponding life issues. Her experiences led her to pursue a career in the fields of self-help and personal development.

Throughout her career, Dittmar has worked in Germany, Indonesia, Australia, Thailand, Costa Rica, Italy, Greece, and Sweden. In Indonesia, she ran her own practice working with clients from all backgrounds. She then returned to Europe and set up the non-profit, Be the Change Foundation for Cultural Change. The foundation offers educational events to raise awareness about ecological and social justice issues.

Dittmar also works as a trainer and coach. As a coach, she helps small and mid-sized business owners and executives develop their emotional intelligence. She is also the author of three successful books – the first of which has been translated from German into English, Italian, and Spanish. Dittmar currently lives between Germany and Italy and is a mother of two sons.

Books are available on VivianDittmar.com and Amazon.com. E-books are also available on Kindle. Connect with Dittmar on Twitter.com and Facebook.com.

Reviews

Fascinating Book- CANADIAN PACIFIC: Creating A Brand, Building A Nation

November 19, 2015 The Silo 2 Comments

Canadian Pacific: Creating A Brand, Building A Nation, the forthcoming luxury coffee table book from School of Design of the Université du Québec à Montréal professor emeritus Marc H. Choko and Callisto Publishers. The private railway corporation that united Canada and built the world’s greatest transportation system, Canadian Pacific broke boundaries with its powerful commercial design.

A gorgeous new full-colour, 384-page hardcover from leading design book publisher Callisto, Canadian Pacific: Creating A Brand, Building A Nation [November 15 2015] reveals the intriguing story of the private railway company that united Canada politically – and became, for a time, the world’s greatest and most diverse transportation system. Written by Marc H. Choko – professor emeritus at the School of Design of the Université du Québec à Montréal and an honorary member of the Société des designers graphiques du Québec – Canadian Pacific weaves a concise and compelling narrative recapitulating the first 100 years of the company’s history, beginning in the 1880s. Brought to life by hundreds of advertisements, illustrations, designs, photos, and historical documents – many of which have never been published before – Canadian Pacific is more than a beautiful book: it is an indispensible testament to one of the greatest achievements of entrepreneurship the world has ever seen.

“The history of Canada is inseparable from the history of Canadian Pacific,” writes publisher Matthias C. Hühne in the book’s preface. “A distinct Canadian national identity was still in its infancy in the 19th century, and various stereotypes linked with Canada today are the direct result of decisions made by these artists and Canadian Pacific’s publicity executives.” From adventurous world travelers to potential immigrants considering a move to Canada, Canadian Pacific tells the important and unforgettable story of the impact this private corporation has had on a nation’s economic development and image – and will be a welcome addition to the bookcases, coffee tables, and cottages of history buffs, art lovers, and aesthetes alike.

Marc Choko

Among the topics author Marc H. Choko is currently interested in and researching are: Beavers, Banff and propaganda: how commercial design helped a disparate, newly formed nation understand its place in the world and forge an identity. This is Canada: the romanticism and beauty of the images Canadian Pacific’s publicity department produced, and their immeasurable impact on the way Canada is perceived domestically and throughout the world Immigration and colonization: Canadian Pacific’s little-known history of facilitating the process of coming to Canada for hundreds of thousands of citizens. The eminent artists behind Canadian Pacific’s publicity materials: why we cannot separate the interplay of commercial interest and high culture.

About the Author: Marc H. Choko, author of Canadian Pacific: Creating a Brand, Building a Nation is professor emeritus at the School of Design of the Université du Québec à Montréal and former director of the university’s Design Centre. He is also a former research director at the Institut national de la recherche scientifique Urbanisation, Culture et Société. Choko earned a bachelor’s degree in architecture and a master’s degree in planning from the Université de Montréal and a doctorate in urban planning from the Université de Paris VIII. He is the author of numerous publications on graphic design, urbandevelopment and housing, and has curated many exhibitions that toured internationally. Choko is an honorary member of the Société des designers graphiques du Québec.

About the Publisher: Berlin-based Callisto Publishers selects topics from the fields of design, art, and architecture that are especially well suited to be represented by a printed book, rather than an electronic medium, aspiring to create printed works of perfect quality in terms of content, design, and production. Strong contemporary design requires solid knowledge of the designs and methods of the past. Which designs endured, which did not, and why? Callisto’s books analyze trends of the past that are relevant for understanding design today and in the future. Website: https://www.callisto-publishers.com/

About Canadian Pacific: The Standard Edition of Canadian Pacific: Creating A Brand, Building A Nation will be released this month, and retail for $80CAD / $70USD. The Premium Edition – a larger and technically more sophisticated version, packaged in a hand-crafted collector’s case with a wood veneer cover symbolizing the natural beauty of Canada, and containing additional images and Pantone colours and finishes not included in the Standard Edition – will be released in April 2016 and retail for $720CAD / $600 USD.

Art

Celebrate Jewish New Year with these Unique Kosher Dessert recipes from Paula Shoyer

August 6, 2015 The Silo 1 Comment

The Jewish High Holidays are a time when family and friends come together to share a meal and celebrate the new year. Paris-trained pastry chef, Paula Shoyer created the essential baking book for that provides desserts and breads perfect for any Jewish holiday or dinner. THE HOLIDAY KOSHER BAKER has desserts that follow the latest trends but also recipes that remind us of those our grandmothers used to make – but with Paula’s distinctively modern and healthier twist.

Even modern Jewish bakers gravitate towards traditional Jewish recipes when they bake for Rosh Hashanah. Maybe it is because Rosh Hashanah, one of the most significant holidays of the Jewish calendar, deserves baked goods that are central to the rich Jewish culinary tradition. These classics include rugelach, strudel, babka, honey and apple cakes, and, of course, round challahs.

“I have always tried to honor tradition, because I want my children to grow up appreciating classic Jewish food, but I have tried to vary the recipes to make them more interesting to a modern audience,” Paula explains. Paula’s take on babka are mini babka bites, she turned honey cake into crunchy biscotti and below recipes for a strudel that combines fresh and dried fruit, and challah rolls filled with the classics: apples and honey.

This New Year, sweeten up your dinner table with two of Paula’s delicious recipes:

(Recipes from The Holiday Kosher Baker by Paula Shoyer Sterling / November 2013)

Apricot and Berry Strudel

Makes 2 rolls, serves 10

For this recipe, I took apple strudel, a delicious dessert that has been absent from holiday tables since my childhood, and instead substituted berries and dried fruit for the apples. You could also make this dessert with plums, or substitute dates or dried figs for the apricots. You will have enough filo to double the recipe and can easily double the filling to serve more people. I always thought the filo came in large boxes and needed trimming, but recently learned that it also comes in smaller, about 8 X 12-inch, sheets. They are easy to work with and were used to make the cute rolls pictured here.

1 cup dried apricots, chopped into 1/3- inch pieces

1 ½ cups (6 ounces) blackberries or blueberries

3 tablespoons sugar

1 tablespoon cornstarch

1 pound filo dough (8 X 12-inch sheets), thawed according to package directions

Spray oil

Preheat oven 350°F. Line a jelly roll pan with parchment. Set aside. Place the chopped apricots and berries into a medium bowl. Add the sugar and cornstarch and toss lightly. Set aside.

Have ready a clean, damp dish towel. Place a large piece of parchment paper on the counter. Take the filo out of its package and unroll. Separate one sheet and place on top of the parchment. Spray with the oil. Place a second sheet on top and spray again. Repeat with two more sheets. Cover the remaining filo with the damp towel.

Place ½ of the filling along the long end of the filo, two inches from the edge. Fold the right and left sides (the short sides) in one inch. Starting from the side with the filling, roll up tightly until you have a long log. Place on the baking sheet. Repeat to make another log.

Bake for 40 minutes, or until lightly browned on top. Let cool and cut into two-inch slices. Serve warm or at room temperature. Store covered at room temperature for up to two days. Reheat to serve.

Apple and Honey Challah Rolls

Makes 24 rolls

I filled these delicious rolls with cooked apples and honey, which we eat at the beginning of the meal and wish everyone a sweet new year. Almost every year on Rosh Hashanah I host at least 25 people in my home. I give each guest their own small plate with a challah roll, apple slices and small bowl of honey to save some of the time that slips away when passing these essential holiday elements around the table. Perhaps I invented these challah rolls that are filled with sautéed apples and honey to further streamline the entire beginning of the meal?

Dough

1/2 ounce (2 envelopes) dry yeast

1/2 cup warm water

1 cup boiling water

½ cup cold water

½ cup plus 1 teaspoon canola oil, divided

1 tablespoon salt

2/3 cup plus 1 teaspoon sugar, divided

3 large eggs

1 teaspoon pure vanilla extract

2 teaspoons cinnamon

6 ¼ to 6 ½ cups bread flour

Apples

5 Gala or Fuji apples

2 tablespoons oil

1/3 cup light brown sugar

1 tablespoon honey

2 teaspoons cinnamon, divided

2 pinches nutmeg

Glaze

Reserved egg plus 2 teaspoons water

1 tablespoon honey

Place 1/3 cup warm water into a liquid measuring cup. Add the yeast and teaspoon sugar and mix. Let sit five minutes, or until thick. Meanwhile, in a large mixing bowl, place 1/2 cup of the oil, salt and 2/3 cup sugar. Whisk well. Add the boiling water and whisk to dissolve the salt and sugar. Add the cold water and mix again.

Beat the eggs in a separate bowl and add to oil mixture, reserving one tablespoon to brush on the loaves. Cover the reserved egg and place in the fridge. Add the vanilla and cinnamon to the bowl and whisk in. Do not worry that the cinnamon does not dissolve; it will mix in later. When the yeast bubbles, add the yeast mixture to the bowl and stir.

Add 6 cups of the flour, one cup at a time, mixing the flour in completely after each addition. You can use the dough hook in a stand mixer. Place the dough on a floured surface and knead until smooth, adding flour a little at a time from the remaining ½ cup. The dough is done when you rub your palm across the dough and it feels soft. Shape the dough into a ball. Lift up the dough and add the remaining one teaspoon oil to the bowl and rub all around the bowl and on top of the dough. Place the dough into the oiled bowl and cover with plastic wrap. Let rise one hour.

Meanwhile, prepare the apples. Peel and core the apples and cut into 1/4-inch cubes. Heat the oil in a large frying pan over medium heat. When hot, add the brown sugar, 1 teaspoon cinnamon, nutmeg and apples. Cook for 5 to 10 minutes, stirring often, until fork tender. You do not want them to be too soft. Add the remaining teaspoon cinnamon and honey and stir. Scoop into another bowl and let cool. If any liquid remains in the bowl, strain out before filling the rolls.

Cover two cookie sheets with parchment paper or silicone baking mats.

When the dough has risen, divide into 24 pieces. Roll each piece into a ball and then roll between your hands into an 8-inch strand. Place horizontally in front of you and use a rolling pin to roll the dough until it is about 4 inches wide. Add one heaping tablespoon of apple filling and use your fingers to spread along the dough the long way. Fold one long side of dough over the filling and then roll up to close. Pinch the edges closed, tucking in any apples that try to escape. Tie each strand into a knot, pulling an end through the top to look like a button, or shape into a spiral by coiling the strand around and tucking in the end. Place on the prepared baking sheets and cover with plastic wrap. Let rise 30 minutes.

Preheat oven to 375°F. Take the reserved egg, add two teaspoons water and one tablespoon honey and stir. Brush the tops of the rolls.

Bake for 20 to 25 minutes, or until lightly browned. Store covered at room temperature for up to three days or freeze for up to three months.

ABOUT PAULA SHOYER

Paula Shoyer is the leading authority on Jewish baking. This busy mother of four believes that a healthy diet can include desserts . . . if they are homemade. A former attorney, she graduated from the Ritz Escoffier pastry program in Paris, and now teaches cooking and baking classes across the country and around the world. Paula is the author of the best-selling The Kosher Baker: Over 160 Dairy-Free Recipes from Traditional to Trendy, The Holiday Kosher Baker, and her first savory cookbook, The New Passover Menu released February 2015. Her books are carried in Williams Sonoma, Crate & Barrel and Costco. She is a contributing editor to several kosher websites such as kosherscoop.com and jewishfoodexperience.com, and magazines such as Joy of Kosher, Whisk, and Hadassah as well as the Washington Post. Paula has appeared on TV 22 times: Food Network’s Sweet Genius, twice on Home & Family on Hallmark Channel, Good Day New York on FOX, San Diego Living, Daytime, and is a frequent guest on several Washington DC news shows. Paula also serves as a consultant for kosher food companies and bakeries. Paula lives in Chevy Chase, MD.

To learn more about Paula Shoyer, visit her website, www.thekosherbaker.com.

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