Protectionism is a dirty word

The original stimulus bill drawn up by congressional Democrats contained, in addition to many frivolous wastes of taxpayer money, a particularly offensive section entitled “Buy America.” This was a wolf in sheep’s clothing—or more specifically, protectionism dressed up as patriotism, with little attempt at disguise. After facing international criticism for exhibiting the kind of stupidity that caused a recession in 1929 and led to the Great Depression, Obama wisely reassured trading partners that America would not break any of its existing free trade pacts. He was hailed as the second coming by the global media for yanking his party back from the brink of an economic abyss. This may seem like a lower standard of leadership than we usually apply to politicians, but maybe that’s just me.

Observers feared that American protectionism would encourage other countries to follow suit, marking the beginning of a global trade war. The only response offered by protectionist and socialist lawmakers was the lackluster excuse that it would protect American jobs. What these reactionary fools didn’t understand is that until the world economy starts to recover, nothing America does individually will help their economy—not even a $2.7 trillion injection into the private market. Protectionism would harm recovery by reducing gains from trade, making everyone poorer. Some speculated that other nations might respond by putting up their own trade barriers. And lo and behold, within days of the “Buy America” announcement, Jack Layton and his gang in the far left corner of Parliament were trumpeting the need for Canada to introduce similar protectionism in our country.

While erecting trade barriers around America might reap an extremely limited short-term benefit, it’s certainly not in Canada’s interest. Our export sector, a huge driver of our economy, is only now beginning to recover from the decimation it suffered when our dollar climbed over parity last year. A new round of tariffs would doubtlessly lead to reciprocation from other countries and eliminate the profit margins of export-based firms, or force them to raise prices to uncompetitive levels. Canada is not a large enough player in most industries to meaningfully influence global market prices. Only our suppliers, manufacturers, and small businesses will be affected, resulting in massive layoffs and stagnation once again.

In an increasingly connected global economy, no country—not even America—can afford to go it alone. President Obama demonstrated as much when removing the worst parts of a stimulus bill that, despite the spin of bipartisanship, was party-line Democratic. Congressional leaders like Nancy Pelosi and Harry Reid need to realize that in spite of their congressional majorities, they must resist the urge to slam their pet projects through Congress without even seeking a modicum of bipartisan support.

If there is one thing in short supply right now, it is public tolerance for political gamesmanship. The first effort at pandering to big labour ended with a presidential reversal and widespread global condemnation. This is one case where, if at first you don’t succeed, giving up is the better option—for America, its leaders, and the world.

Kellogg’s dumps dolphin boy

As university students, most of us have taken a hit (or two) off of our friends’ bongs. Michael Phelps is like most of us. But while our pot escapades lead to fits of giggles and sprawling out on the nearest futon, Phelps’ tomfoolery lead to a twenty-minute lecture from The View’s youngest hag, Elisabeth Hasselbeck, who demanded a reprimand as harsh as she is dense.

Well, ask and you shall receive: the 14-time Olympic medal winner is barred from competition for the next three months, effective February 5, 2009. Phelps accepted his punishment, and is determined to “earn back our trust.” But that’s not enough.

In a statement, Kellogg’s representatives wrote, “Michael’s most recent behavior is not consistent with the image of Kellogg’s. His contract expires at the end of February and we have made a decision not to extend his contract.” I wonder, what is the image of Kellogg’s? We all know Tony the Tiger is hopped up on something, and it’s not Frosted Flakes. Should a little marijuana disqualify a world-class athlete from selling corn flakes?

Really, we should be doubly impressed with Phelps’ abilities now that we know something about his habits. Imagine how fast the guy would be if he didn’t smoke pot! Is that Michael Phelps or an HMS Dreadnought?

I’m left wondering if Kellogg’s missed a golden opportunity to tap into a market as old as time itself: 4:20 enthusiasts. Think of it this way: marijuana has the ability to make one stupendously hungry. The commercial practically writes itself:

What’s the first thing Michael Phelps does after taking a 40-minute (dolphin lung) inhale from his friend’s bong? He dives face-first into an Olympic-sized pool filled with Kellog’s Corn Flakes, that’s what! Get yourself a box today!

What a wasted opportunity. Let’s hope that the rest of Phelps’ endorsement deals don’t end the same way. He has 100 million reasons not to “shock and offend” them with his stoner conduct.

These mysterious eyes

Chances are you’ve seen these eyes. They’ve developed a near-mythical following among street artists and admirers, popping up all over the streets of Toronto the past two years. But who is the artist? Whose face is this? And what is behind these mysterious eyes?

The stories told about this face have created a new Torontonian myth: an angst-ridden romantic purging the demons of an unrequited love; a gorgeous young egotist turning our city into a self-portrait; some even speculate it’s a memorial. As rumours abound, The Varsity sought out the artist to get some answers.

After much investigation, we uncovered the mastermind behind the face. The artist goes by the name of Anser (she has asked journalists to arbitrarily choose a gender for her to protect her identity).

The piece’s official name is Mysterious Date, a moniker coined by a local photographer. That the name has been embraced by the artist speaks to the heart of what Anser is trying to achieve—a free public art piece that belongs to all Torontonians. Anser stresses this interconnectedness, saying, “I want to connect with people. I want people to feel connected to this city.”

The face’s defining characteristics are its eyes, often the only part of the painting done in colour (the rest is usually in black). Sometimes the colour literally bleeds out of the pupils, gushing down her face like tears. Anser explains: “The colour in the eyes is a metaphor for our life force—the things that give us colour in our lives. The face is our mask, the eyes are the life behind it, and the life is trying to get out. There is a certain morbidity in it, [which] has a lot to do with how I see the world.”

“The world is made up of so many barriers, but things like beauty and love—even though its so cliché to say it—break down those barriers. They [break down] the separation between you and that woman, or you and that painting. Beauty is about that connection, touching those deeper things that aren’t so superficial.”

Though she maintains a dedication to graffiti, Anser struggled for many years with the effects of the medium. One of her major reservations was graffiti’s inaccessibility.

“I did letter-based graffiti for a long time, and then I stopped…because I didn’t feel like it meant anything,” she says. “Graffiti has its own language and syntax. To really understand graffiti letters, you have to participate in the community. You can’t understand the aesthetics without being [part of] it. With Mysterious Date, I’m trying to throw [the inaccessibility] out the window and say, ‘You can do something that everybody can love.’”

Anser defies what she sees as an elitism within traditional letter-based graffiti, which is why she chooses not to work in coded letters that the average pedestrian can’t understand. The simplicity of Mysterious Date is its greatest attribute—the beautiful face stares back at the viewer, making it a rare example of graffiti art that maintains a dialogue with the public.

The piece is also Anser’s attempt to straddle the two worlds of graffiti and street art. “To me, they are two very separate things…I’m bringing [together] art and graffiti. [The face] is an act of creation under very strict pressure—that’s the beauty of graffiti. And I still use spray paint, so if people can come to appreciate Mysterious Date, hopefully they can look at [more traditional graffiti] and understand that there is an art within that too.”

Despite its clear legal violation of the property of others, Anser insists that good street art is not vandalism, but rather an ethically viable solution to an alienating urban landscape. “People don’t understand street art, so they fear it. We’re trying to better the space by putting organic forms into inorganic places.”

She argues that her attempt to bring beauty and creativity into the lives of Torontonians resists the elitism that she claims characterizes both today’s mainstream art world and Toronto’s graffiti subculture.

Bridging the gap between these exclusive worlds is one of Anser’s principal goals in painting Mysterious Date. On the one side is an exclusive graffiti culture; on the other is “high art,” although these distinctions are now beginning to blur. For example, London’s Tate Modern has showcased multiple retrospective exhibitions of world-renowned street artists, such as the Os Gêmeos twins from Sao Paolo, whose works are valued in the multi-millions. In fact, the Tate Modern has recently gone one step further, featuring six large-scale street art murals on the outdoor walls of the gallery.

It is in the context of this “slow permeation of graffiti into high art” that Anser has launched herself, currently boasting a gallery exhibit of her own devoted almost entirely to Mysterious Date. After a ten-day showing at the Funktion Gallery at Bloor and Lansdowne this past month, the exhibit is slated to re-open by popular demand for an additional two weeks, from February 27 to March 14.

Anser is ambivalent about her movement into the gallery: “One thing I hate about bringing it into the gallery is that a gallery is a huge barrier. 90 per cent of the population doesn’t go into a gallery, but 90 per cent of the population walks down the street. That’s the whole point of graffiti—bringing the gallery to the street.”

Anser also has no love for the historical traditions of the conventional art gallery. For example, she dislikes the canvas, preferring to work on found objects.

“The canvas is a box that is historically charged with meaning. By using found objects, I’m not participating in the consumerist and unsustainable culture of canvasses. When I use these found objects, not only am I having a greater dialogue with the world, but I also have something that’s sustainable because it’s recyclable.”

In her rejection of consumerism, formal elitism, and the distinctions between high and low culture, Anser seems to have a postmodern sensibility. However, she refuses any such categorization, saying, “I think it’s hilarious how retrospective and self-conscious it is. I’m in the postmodern state because I’m basically forced to be, and yet I still have these Romantic ideas that exist in me.”

Are there deeper, more personal meanings behind the mysterious face? Does the girl have an identity? Anser is reticent: “I don’t know, it’s completely subconscious.” She also insists that Mysterious Date is an aesthetic formula, and she is unwilling to reveal any more personal explanations for the passion behind her mysterious eyes. What is truly important, Anser repeats, is what the face means to Torontonians.

“It’s not the face, it’s what the face does to you.” And the mystery continues.

U of T canned Palestinian solidarity group’s plans: activist

The U of T administration stands accused of silencing pro-Palestine views after denying a Students Against Israeli Apartheid space request.

Last Wednesday, Liisa Schofield posted a provocative commentary on the alternative news website, accusing U of T’s senior administration of “repression, stifling of dissent and bureaucratic harassment.”

Schofield is the volunteering and programming coordinator at the Toronto chapter of the Ontario Public Interest Research Group, a collection of semi-independent social justice student groups including SAIA.

SAIA was planning a cross-Ontario conference, where business included Israeli Apartheid Week, for the first weekend of October. The event was to take place at OISE; when the request was denied, it happened just off-campus at Trinity St. Paul’s United Church.

Schofield obtained documents proving that U of T admin decided to cancel the event before the space request was made, after being alerted by a pro-Israeli group.

She claimed that U of T was pressured by lobbyists to cancel the conference and that the stated reasons for denying the space request were fabricated.

Although the denial letter said the booking was not made five days prior to the weekend event, the document was faxed the Sunday before.

“This whole thing has been taken out of context. It seems they’re orchestrating outlash,” said U of T president David Naylor. “We’ve followed proper procedure.”

The documents, released under the Ontario Freedom of Information and Protection of Privacy Act, consist of 250 pages of emails among U of T admin during the week before the space denial was issued.

Schofield requested through FIPPA any communication pertaining to the conference, suspecting admin of being unfair.

“I have seen a consistent pattern of any space requests that are submitted for events pertaining to the issue … being singled out by the bureaucracy,” said Schofield, who claimed that such requests can take twice as long to process.

Jim Delaney, director of the office of the Vice-Provost, stresses it was a matter of procedure.

“They gave us incorrect information about the event,” said Delaney. “There aren’t many reasons for denying booking requests, unless a group doesn’t follow procedure.”

Naylor agreed.

“The group is not following standard procedure. A few weeks ago, an event at OISE was supposed to be open to the public when it was not.”

Naylor was referring to an OISE event in February last year for high school students opposing the Israeli government, where only students with a high school ID card were admitted. Accusations of brainwashing students were raised in national newspapers. The event was not organized by OPIRG.

Schofield questioned why senior admin was involved in the bookings.

“When we hear of any controversial event that’s high profile, we must be prudent in how we respond,” said Naylor, citing abortion protests as another controversy. “Administration getting involved is simple, given the profile of the issue.”

Talitha Kozak, president of U of T Students for Life, said she was unaware of any admin involvement in her club’s activities, and that her group has had no problems with space bookings for the past two years.

SAIA has previously butted heads with U of T admin. In Nov. 2007, the group successfully contested a bill for undercover police officers’ presence at an International Apartheid Week event featuring high-profile speakers. Campus Police regularly check booked spaces on campus and send officers, at the expense of event operators, if they deem it necessary.

Naylor has described IAW as “the consistently worst week of a president’s life.” The event draws international media attention each year, mainly due to its name.

Schofield alleged that admin is siding with Israel after forming partnerships with Israeli universities.

“I don’t think we have a bias. Our interest is forging relationships with research-intensive universities, and there is massive growth in Israel. We try to avoid the politicization of academic issues, although it seems others don’t,” said Naylor, citing minimal criticism for ties to China despite its human rights record.

Pre-Raphaelites star at the AGO

Sin and Salvation: Holman Hunt and the Pre-Raphaelite Vision, the latest exhibit at the newly renovated AGO, opened to a packed house on Valentine’s Day. The display, which runs until May 10, showcases some of legendary British artist William Holman Hunt’s most recognized canvases, along with items from his everyday life and the works of other notable Pre-Raphaelites, including Dante Gabriel Rossetti and John Everett Millais.

The exhibit provides insight not only into Hunt’s artistic work, but the most pressing issues of his day. Nineteenth-century England struggled with social and political concerns, such as the role of women in society, gender relations, and a loss of faith. Curator Dr. Katharine Lochnan added that the main concerns of the Pre-Raphaelites have yet to be solved, saying, “The issues he addresses are as relevant today as they were in his own day.”

Hunt’s vibrant application of colour, curious incorporation of figures, and fascinating use of symbolism sheds light on the moments of insight and revelation that changed the course of individual lives. His preoccupation with piety and salvation is especially evident in The Light of the World, Isabella and the Pot of Basil, and The Finding of the Saviour in the Temple.

The ROM has also donated textiles worn by Hunt in his studio. These peculiar fashion choices are reminiscent of the prints and patterns used in his artwork, showing that Hunt incorporated his artistic visions into many different aspects of his life, including his wardrobe. Also on display are the artist’s palette and pigments, which provide a reminder of the old school techniques once used by painters.

The highlight of the exhibit is Hunt’s most famous piece, The Awakening Conscience. A young woman leaps from her lover’s embrace, intrigued by an unseen subject through the window. The glass-covered clock, a bird held captive by a cat, and the woman’s noticeably ring-less left hand all suggest she is a kept woman—a mistress. The light coming through the open window illuminates her face, depicting her realization of the errors of her luxurious life, and her turn toward salvation. The painting’s usage of realism and suggestion of spiritual enlightenment were central to the Pre-Raphaelite vision. The Awakening Conscience is the focal point of the room, and should not be missed.

UTSU directors talk election business

Questions around upcoming UTSU elections dominated last Thursday’s UTSU board of directors meeting. David Berliner, representing Victoria College, opened the discussion, asking executives to justify the “rushed” ratification of Lydia Treadwell as Chief Returning Officer.

The board was presented with Treadwell as the only choice for CRO at the board meeting two days after nominations had already opened, two weeks after election notices had appeared on the UTSU website and The Varsity. By then, it was too late for her to approve election notices or dates.

The notices advertise incorrect numbers of board members for Woodsworth College, New College, and the engineering faculty, which do not correspond with the size of the constituencies. UTSU will go ahead with the numbers as they are. This matter did not come up at the meeting.

“A number of the [Election and Referenda Committee] members have been extremely difficult with scheduling meetings,” said VP external Dave Scrivener. “As you can see in this room, a lot of people have gotten used to proxying and calling in their positions.” Scrivener said the ERC found it difficult to schedule meetings, but that he and committee members would come up with a system for future elections.

Scrivener said that the ERC picked Treadwell from several candidates because she is not a student, not involved with any club or college, and has never been elected to any position at U of T or any other university, and is therefore a neutral third party to the election. Three UTSU directors and three execs sit on the ERC, according to the bylaws.

Berliner later moved to create a working group to promote the election, in an effort towards inclusion and transparency. “The UTSU needs to make a better effort to reach out to students,” said Berliner.

His motion was met with varying degrees of dissent from other board members, specifically those on the UTSU executive. VP university affairs Adam Awad said the proposed group would be a “shadow ERC,” and echoed Scrivener’s earlier concerns that people just wouldn’t show up to its meetings. Awad, Scrivener, the chairperson (who was allowed to speak because of informal discussion), and others said that the functions of the proposed group would be better performed by the ERC herself with oversight from the board of executives.

Berliner withdrew the motion before a vote.

Collective energy, collective funds

Sunday, February 22nd marked the third annual Power of Movement, the world’s largest yoga fundraiser in support of the Arthritis & Autoimmunity Research Centre (AARC). Organized into “mega sessions” across the country, do-gooders and yoga aficionados came together nationwide to practice yoga, raise awareness, fundraise, and breathe. The Toronto mega session was held at the Wellesley Community Centre, providing two time slots to work out your karma.

Power of Movement appeals to the au courant who live and breathe spirituality, organics, and social consciousness. The environment at the Toronto mega session was bright and blissful on a beautiful Sunday morning. Toronto’s hottest yoga butts were in attendance, clad in a sea of Lululemon apparel. Whole Foods provided delectable organic treats and goody bags.

The woman behind the mega sessions is Erin Moraghan, who was dually impassioned to create this event as both a Moksha yoga instructor and the senior development officer at the AARC.

Moraghan is sensitive and passionate about her cause. She revealed that she was initially drawn to yoga for its restorative purposes, to de-stress and address the pain of arthritis that came about as a result of a joint injury.

An alarming 4.5 million Canadians are living with some form of arthritis, and many of the afflicted are young men and women. It’s a common misconception that arthritis and autoimmunity conditions are a plight of the elderly. In fact, the charitable event was created to honour the struggle of Dorna Chee, a young mother who used yoga to ease her pain. Exercise became the vehicle that brought her comfort and strength. Moraghan adds, “People feel empowered taking control of chronic pain. Johns Hopkins has done studies on the positive effects of yoga for people with rheumatoid arthritis. Doctors are starting to sit up and take notice.”

Teaming up with Moksha Yoga created perfect harmony for Moraghan and the AARC. Moksha’s website describes themselves as “a group of independent hot yoga studios committed to ethical, compassionate, and environmentally conscious living. We strive to collectively communicate that the benefits of yoga are limitless and accessible to all.”

Accessibility was an important theme at Power of Movement—not only was the event free, but those unable to attend a mega session for distance or health reasons were encouraged to practice at home via sponsor, or at yoga studios nationwide that joined in on the challenge. For those confined to their homes due to arthritic pain or any affliction, this was a way to connect. Moraghan comments, “It’s a gentle practice—it welcomes everyone to it.”

When asked about the overwhelming success of the Power of Movement, Moraghan credits her colleagues at Moksha. “Moksha supports forward thinking and was committed to trying to bring the message through a unique approach. Power of Movement went national and happened so fast because of the Moksha community. They really understand.”

Last year’s event boasted 250 participants, raising over $50,000 in Toronto alone. This year, the Power of Movement mega sessions went national, featuring locations in 10 major Canadian cities. POM 2009 received unprecedented media and sponsorship attention, with the fundraising meter on sitting above $200,000.

All told, the event featured 1,000 people across Canada at mega sessions and yoga studios, practicing yoga and creating an outpouring of good will. POM volunteer and U of T alum Lillian Lourenco summed up the spirit of the event: “Imagine that every time you are exercising for your own health, you are saving the lives of others.”

POM attendee Ann Marie Deboran agreed. “It’s an excellent cause that draws the community and the country together in a way that benefits everyone involved. The participants benefit from the incredible workout and the positive environment, and the charity receives attention and generous donations. The word yoga means union, and that’s what I think Power of Movement is—a union between yourself and those in need.”

To check out the initiative or to donate online, visit

For Vic, new digs don’t come cheap

Students at Victoria College will see a dramatic increase in student fees once construction begins for the Goldring Student Centre, a $21-million project set to replace the Wymilwood building.

The new centre will triple the amount of student space, offer new facilities, and be more environmentally friendly. Unlike Wymilwood, it will be wheelchair accessible.

“For everybody who will be able to use the centre at some point, they’ll pay an increase of $100 [per year] until the centre is complete,” said James Janeiro, president of Victoria University Student Administrative Council. “Once the centre is complete, people start paying $200 [per year in additional fees] until the mortgage is paid off, which is approximately 15 years.”

Construction is expected to begin next winter, and admin hope to have the centre open by 2011.

Currently, Vic students pay $1,074 in ancillary student fees. With the proposed increase, Vic will pass St. Michael’s College, almost matching Trinity College as the most expensive college at U of T.

In 2006, VUSAC passed a motion that promised to help fund the project. Vic admin and alumni will each contribute $7 million dollars to the project, and students will pick up the remaining $7 million. VUSAC has negotiated the specifics of the budget with admin since September.

Unlike the Student Commons, a centre for all St. George students, Vic students will not be able to approve or reject the proposed increase in fees with a referendum. Instead, the decision to ratify the hike in student fees will be made solely by VUSAC when members of the council vote on decision on Feb. 5.

“We thought it would be a lot more efficient to get it done like this,” said Janeiro. “We feel that we are a very good organization at getting student feedback. Rather than having to waste time and money mounting a ‘Yes’ campaign and then getting a ‘No’ campaign started and then having to set up polling stations or [go] online or anything like that, we decided that the best way to do it would be to use ourselves as a representative body of students.”

VUSAC has sent out representatives to talk with students and the heads of clubs to gather opinions. It has also worked closely with the Strand, Victoria College’s student newspaper, to spread awareness.

“I’m as confident that VUSCAC speaks for everyone at Vic as much as any other government speaks for anyone,” said Jason Hunter, Vic’s dean of students. “I don’t think that we would go ahead and do it without the approval of VUSAC.”

“We have faced some opposition, of course,” said Janeiro, but said students have given mostly positive feedback. “There’s not been a huge protest,” Hunter said.

Janeiro said he hoped VUSAC would ratify the fee hike and avoid any delays. “We want to get the shovel in the ground as soon as possible so that students that are at Vic right now will be able to profit from the centre.”