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Don’t Kid Yourself: We all pay for the defunding of higher education

a guest post by Erika Shaker.

I went to McGill in the late 80s and early 90s when tuition fees were less than $1,200 a year, so with summer jobs and some parental help I graduated from my first degree debt-free. For my MA, which I took in Ontario, I worked part-time and graduated after one year with a debt of $10,000.

By way of comparison: my partner went to university in Ontario after grants were eliminated, and when the first round of tuition fee hikes were implemented. He completed a BA and then an MA, and graduated with a debt load (and compound interest) requiring monthly payments of around $650 for 10 years.

We know we benefited, and are benefiting from, our education. Both of us have found employment that allows us to make use of what we studied, and each of us paid back our loans. But that debt (particularly my partner’s), until it was fully repaid, impacted every major decision we made as a couple and then later as a family. And we still live with those decisions: when we bought a house, when we had kids, how many kids we could afford to have, the fact that we don’t own a car, how often we see our families who live out of town. (The other determining factor is the high cost of child care outside of Québec.)

“Have you set up RESPs yet?” we’re often asked. Are you kidding—with both kids still in child care? And since we have fundamental issues with the RESP system, the public money it represents and how, like the RRSP system, it’s geared to the wealthiest families who can most afford to save, we’ll be exploring other ways—once child care expenses go down—to save for our kids’ education so that they can start their adulthood as debt-free as possible.

Of course, if our house needs major repairs it promises to throw a huge wrench into “the plan”. Because for many of us, life is as precariously balanced as a three-legged stool: alter one element (like when I broke my leg last year, rendering me immobile for several weeks) and the whole thing threatens to topple.

Our societies are likewise delicately balanced: educated societies are healthy societies; equitable societies are safer societies. There is no one panacea—these elements work together. And they need to work well together—which requires accountability, sufficient financing, transparency, and effective administration. So the question is not “health care or education, what’s it going to be?”; the question is, what do we need in order to create an equitable, healthy, educated and engaged society, and what’s the best, fairest, most efficient way to get it?

It is within this context that we need to examine the rhetorical criticisms levied against the Québec student strike and the people involved.

Discarded placards in Place Jacques-Cartier, Old Montréal after 200,000 people marched through the streets against Québec’s tuition increases on March 22, 2012. photo by David Widgington

Tuition fees in Québec are the lowest in the country. What have they got to complain about?

It’s less surprising that Québec students are protesting than Continue reading →

Art That Moves You: David Lester’s “The Listener”

The power of art should never be underestimated. All works of art, regardless of their form as mediated expression, offer a message to those that contemplate them. Some works of art are conceived as more deliberate acts of communication with specific intentions. Others allow room for nuance interpretation. Art can inspire to kill for social change and it can inspire to risk death for social change. Without question, art is a potent tool for societal inspiration.

Leni Riefenstahl’s film Victory of Faith documents the Nazi Party’s 1933 Fifth Party Rally in Nuremberg and her later Triumph of the Will was made at the Nazi Party’s 1934 Nuremberg congress. Both indisputable examples of how the power of art can move an entire population to commit collective murder on the scale of the Holocaust. Riefenstahl’s films represent the art of manipulation, preying on popular anxiety for the purposes of deliberate and exacting propaganda for political gain and popular domination.

Other artistic initiatives like the abstract sculptures as created by The Listener‘s protagonist, Louise Shearing, leave more room for interpretation, yet with their own deadly consequences. Vann, a young Cambodian doctor turned activist, was profoundly affected by her first political sculpture of French feminist Louise Michel. As the graphic novel’s foil character, Vann provides the contrast that moves the protagonist forward. He is the mirror within which the protagonist can see herself and which allows the central character to evolve. This literary and narrative tool is perfectly embodied in Chapter 12.

Detail of page 272 from the graphic novel, The Listerner by David Lester by David Lester © 2011

In this climactic chapter, Walter, a Holocaust survivor and close friend of Vann, visits Louise to tell her more about the young Cambodian genocide survivor, who, until viewing Louise’s sculpture, wondered why artists were so important to eradicate. Walter tells Louise, “Art held a fascination for [Vann] because very few Cambodian artists survived the genocide.” He continues, “… your art inspired Vann, but it was his decision to act in the way that he did. Just as you interpret history and make art, he interpreted your art to make history.”

The Listener begins with Vann’s inspired act of corporate defiance which ultimately cost him his life. It continues with Louise’s existential angst as she travels through Europe, visiting its museums and art galleries, meeting its residents and seeking sources of inspiration to fill the void that ensued after learning about Vann’s death and the role her art had in it. She listens to stories about the second world war and the Nazi propaganda machine told to her by Marie and Rudolph, who greatly influence the conceptualization of her latest sculpture that ends the narrative, a larger than life work about Nestor Ivanovych Makhno, the Ukranian anarcho-communist guerrilla.

Page 17 from the graphic novel, The Listerner by David Lester © 2011

Art inspires art. It is often inspired by memory and is a reminder of the past. Art is also about history and its transformation through imaginative conceptualization by the artist and inspired contemplation by the observer, who may be roused toward grotesque acts of brutality or who may, preferably, be moved to perform exceptional acts of bravery.

Montreal anarchist poet, Norman Nawrocki expresses the role of art which is appropriately quoted in the book, “Spread the word, write it, sing it, shout it out, whisper it, type it, paint it, draw it, dance it, jiggle it, shake it up and down … don’t be afraid, experiment, practice, agitate, organize, resist … do something intelligent, somewhere, something new and exciting that will bring us one step closer to where we all want to go: a healthy planet, without exploiters and exploited, here and now.” I’m sure this is what Vann had in mind.

I readily add David Lester’s The Listener to my graphic novel collection and place it appropriately beside Jason Lutes’ Berlin: City of Stones.

This review will appear in the next issue of the Fifth Estate.

The Institut du Nouveau Monde and Minalliance: A Disingenuous Alliance

Open Letter

by Collective of Authors

by Joe Ollmann

There are times when credulousness becomes guilty and there are times when false pretense looses its ability to convince. The collaboration announced between the Institut de nouveau monde (INM) and Minalliance, to organize public “conversations” about the future of mining in Québec, is clearly one of these times.

What are these organizations? The Institut du nouveau monde, primarily funded by the Government of Québec, presents itself as an organization that favours civil society participation in all types of debates of social importance. As for Minalliance, it is nothing more and no less than the public relations arm of the mining industry, mandated to charm the people of Québec with their aromatic “positive contributions” to the development of Québec in a way that oddly reminds us of what the father of public relations, Edward Bernays, called “propaganda”.

In March, the two groups are organizing a tour of Québec to hold public consultations about our mining future… funded entirely by Minalliance. Nothing, these days, escapes private sponsorship, not even processes of public deliberation on the future of our collective resources and wealth. In this context, the very notion of what can be regarded as public territory is financed by private mining corporations, which have the most to gain by influencing the debate in their favour. On the one hand, it is very disconcerting that the industry defines — through Minalliance — the boundaries of political debate, for which it is directly concerned. On the other, the Institut du nouveau monde’s endorsment of the process in the name of civil society leaves us further perplexed. This initiative takes on false pretenses of a formal public commission, that would we would otherwise expect to be sanctionned by the state, if only the Government of Québec could accept to be compromised by the fact that it is itself the promoter of the “Plan Nord”.

The Canadian Association of Petroleum Producers recently influenced the content of an exhibition at Continue reading →

Anonymous Takes on US Anti-copyright Law with “Operation Blackout”

[Montréal, Québec, Canada -14°C] Yesterday, January 19, 2012, the “group” Anonymous (twitter: @anonops) returned to the public scene in response to the US Department of Justice shutting down of file-sharing MegaUpload’s website. They didn’t just shut down and disrupted a few minor websites, they went after the Department of Justice, Motion Picture Association of America, Universal Music, Belgian Anti-Piracy Federation, Recording Industry Association of America, Federal Bureau of Investigation, HADOPI law site, U.S. Copyright Office, Universal Music France, Senator Christopher Dodd, Vivendi France, The White House, BMI, Warner Music Group.

Why were these particular sites targeted? Because of their support or influence toward the US Congress vote for the Stop Online Piracy Act, or SOPA and the Senates vote for the Protect IP Act (PIPA). The online protest movement against these two pieces of legislation was massive on January 18, when websites like Wikipedia, Google, WordPress, and many others went on strike to voice their opposition to the proposed censorship laws.

Mapping Occupy Montreal’s Indignation

[Montréal, Québec, Canada -3°C] Occupy Montréal is not in its 35th day with below zero temperatures. As other occupations in other Canadian and American cities get violently evicted from their encampment, Montréal’s “indignated” continue onward. Support from people who are not actively living on-site is evident in the postcard below. the Occupy Montreal have also mapped out their encampment revealing an organized collectivity, despite the challenges.

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