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An opinion on Canada’s new email / spam law

I thought I would let the noise and chatter die down a bit before offering my take on the new anti-spam law passed by the current Conservative government of Canada.

As an arts and culture marketer, I did not participate in sending out emails asking for consent to keep on sending on emails. Nor did I answer these emails requesting permission to keep sending me emails I had already given permission for because it is, frankly, none of the government’s business who is communicating with me or with whom I am communicating with.

There is no difference between a hand written letter, a postcard, a messenger pigeon or a telephone call and an email. Though it may be the law, it is not moral to comply with this intrusive oversight of my relationship with other people. Period.

Most Canadians seem to interpret this law as curbing the annoying, unsolicited, commercial based emails that come to mind when you hear the word “spam”. Fair enough but what has that got to do with me as an artist, writer or with a gallery or charity sending me press releases? Most unsolicted email is not from reputable organizations, or even Canadian ones. They are, by nature, beyond accountability for their practices. So what that leaves are a handful of legitimate, Canadian based businesses that have real addresses and real people who are the only ones who will be left to be punished by this new law.

So what is really going on here? This law was apparently 10 years in the making and it certainly seems that much out of date. Anyone who knows anything about using email and the internet knows how to deal with real spam without any real effort or time so obviously there is not a technical limit which our government is attempting to address on our behalf. This law seems like it written by and for cranky senior citizens who are still using dial-up and are worried about the time it takes to read everything everyone sends them. From what I’ve heard and read, the majority of supporters are just such people who are frustrated with spam and think this will address their problem. It won’t. But that won’t stop people from trying to change the democratic world around them to adjust one minor irritation that could be fixed easily in many other ways.

This law is so ridiculous and limited in its purported purpose that I don’t think spam is the real purpose behind it. What I can tell you is that email is, bar none, the single best channel for communicating effectively with someone else. Better than social media, better that direct mail and oodles more affordable and manageable than traditional mass media such as radio or TV. This is a powerful tool for charities, activists and non-profits who want to deliver a message and spread information and our socially conservative government is infamous and well-documented in labelling opposition to their agenda as “radicals” or worse.

This new law will give the government real teeth in shutting down organizations they don’t like. All this complaint based process needs is one political patsy on an email list, along with the usual conservative base of well-meaning but angry and mis-informed citizens, to start the ball of punishment rolling over everyone else.

No more fundraising – it’s spam. No environmental news – it’s spam. No critical gathering of minds or art – it’s spam. No more dignity in the privacy of your communications – it’s spam. This reminds me of when I heard about a former dictator in a former east block communist regime who had only one photocopier in the country, in a government building, in order to stop the spread of information and stifle dissent.

Unfortunately in Canada there is a culture of uncritical complicity and this law will probably work well because we won’t be able to hear about how it is not working well. But the empty simulacrum of the government dealing with someone that annoyed you is now out there. Now go shopping and sign up for great deals by email at your local big box store. I promise you this law was never intended to interfere with that relationship.

© BrokenSphere / Wikimedia Commons

A dissenting opinion about selling Detroit’s public art collection

My initial gut feeling and my enduring general position is that the City of Detroit should sell off its art collection.

Strictly speaking, what the City of Detroit decides to do with its public art collection is none of my business as I’m Canadian. However, the phenomenon of large and valuable public art collections is universal across much of the world. As such there are some common characteristics that I do feel comfortable commenting on.

The problem with large valuable art collections is that they are tombs for the collected works. You the public will ever only see the very tip of the iceberg, even if you attend every exhibit at one of these large institutions during your entire life. A public art institution buying your work is most likely a death sentence for that work, but a nice addition to your pedigree. The worth through this relationship is thus largely removed from reality — conceptual and abstract for the artist and the public. To me, this is the same kind of instability produced through the financial system on perceived worth of bonds, stocks and futures. At some point, for the institution, the physical cost of housing, maintaining and documenting a large amount of work increased the value of a few works and the others depreciate because no one has ever heard of these artists or seen their work.

What selling this collection would do is allow most of this work to see the light of day again. This work could be disseminated across the world, allowing people to see it who would never have been able to see it otherwise. This is great news for the work and the artist(s) who made the work. It is not such great news for the institution that was hoarding it but how does or how should that affect our opinion? I feel it does affect most people’s perspective on this situation but I also think most people do not realize they are associating the art with an institution. An organization’s ambitions are not the same thing as important art works, though I think they want to be and we want somebody to be taking collecting art works seriously on our behalf. That’s cool but if we believe in collecting works we would be disingenuous to deny the collection of collections.

Another benefit would be the absence created by selling off an entire collection as presumably the institution would need to start collecting again. This is a great opportunity for artists and a great opportunity for cultural institution workers. Imagine the activity and spending that would happen that could be spun into economic feel good indicators.

In principle I also like the idea of demonstrating the worth of collecting art by selling it and paying off the debts incurred by business-oriented ideology. I think the US, as with many countries, already gets this idea and accepts the worth of art in society. Sadly, this last point may be a more useful albeit basic lesson for Canadian arts funding models.

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Unsafe Alighting into Audio / Visual Art [New Work]

Alighting: An audio visual textural exploration of the King Street bus lane in Hamilton, Ontario, Canada

An Action-Research Collaboration between Christopher Healey & Ryan Price.

Running west on the north side from Mary Street to New St, the King Street dedicated bus lane is a pilot project for the City of Hamilton. Since it’s launch in October 2013 this project has proven to be a source of public debate among business owners, car drivers, transit riders and cyclists who depend on King Street to travel west.

We decided to research this sphere of public discourse through a series of investigations along the entire length of the bus lane. Our methodology consisted of walking the route with a sound recording device, identifying and collecting sounds that were specific to this routes space. Different sections of the route contained different audio environments: the ambient sounds of traffic near Dundurn Street could be defined as light (cars, mopeds, and motor bikes) and heavy traffic (trucks, buses, and tractor trailers), the audio space around Jackson Square was defined by community (sounds of pedestrians, street buskers, children and even a policeman on a horse), the space east of John, while less dense in terms of pedestrians, also contained less voracious audio characteristics in contrast to the Dundurn traffic (simply because it was only two lanes at that point).

After some reflection, our next cycle of research consisted of capturing visuals along the length of the route. What symbols, signs and textual objects could we identify that reflect public opinion and subsequent debate regarding the dedicated bus lane pilot project? To answer this, we captured visual elements of the bus lane itself: the buses, cyclists, vehicular traffic and pedestrians who all share this common space, the storefronts, both occupied and empty and in various states of upkeep, and bus lane propaganda. These images help support an overall narrative of the problematic nature of this street’s community history and uncertain future direction. For example, our research raised the question of who these businesses purporting to be suffering were actually serving — local communities or commuters from the surrounding suburbs?

Now that we had a soundscape and visual data to compare and contrast, we desired more layers to reveal greater insights into this dynamic space. We decided to seek out opinion from both those opposed to the bus lane project and those who support it.
We created another research cycle to repeat the last observation process with our sound recorder and camera while riding the bus along the dedicated transit lane. This resulted in a soundscape that we used as a baseline for the project. This research cycle acts as a constant throughout the entire work and defines the length and undergirds the textual fabric of the work.

Loosely keeping a narrative based on time, location and proximity to the bus lane we have layered our collected sets of audio and visual data into a holistic artwork that explores many of the dynamic and rich variables of this urban space. We observed from the whole of our work in the field and reflection of our collected resources that there are rhythms of traffic, conversations, and foot traffic. Using these elements of a busy urban street we reflected this repeated, familiar codes of traffic sounds and imagery into loops and staggered patterns. We also incorporated the two conversations (as well as some tertiary dialogue from ambient streetscape recordings) about two thirds into the work, giving each some prominent amplification and overlapping the two together to reflect the competing, noisy environment that this space reflects both physically and politically.

Next, we created an audio/visual work attempting to encapsulate many of the elements that define the community surrounding the bus lane, the inside of a bus, and the civic debate. The video displayed here was created as a real-time process, with both artists sharing the controls of a midi mixing controller, adjusting aspects of the source videos, such as speed, direction, zoom, contrast, saturation, and brightness, among other properties. Our manipulation of the video was done while listening to the soundtrack, making on-the-fly decisions based on the the actions of the the sound, the video, and each other’s actions.

The combination of layering and texturing gradually after establishing a normalized sound environment indicates for the audience a deliberate and composed work that leads to several perspectives which may be shared or not shared. Hopefully there are opportunities of discovery and familiarity embedded in the work for the audience. The artwork itself renders these perspectives in new ways allowing for unconsidered entry points into the issues of the dedicated bus lane pilot project. We’ve attempted to construct the work to peak in activity, noise and movement and eventually crescendo into a combination of all the elements, then concluding with the simple sounds of disembarking from the bus. Or, as the sign says, alighting safely.

 

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My first magazine website gig and the bastard print baby that followed…

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I left the shallow salt plains of being a web designer and into the muddy tide pool of CMS and web development when I started working at Ottawa indy magazine Guerrilla. Tony was kind enough to give me a chance to reflect on this experience, and about print and the web, and with the magazine’s 10th anniversary edition. You can read my article here.

For the record, the current Guerrilla website is not the website I built.

 

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A walk through east Barton

Windshield needed replacement. There was no getting around it – I had to spend three hours walking through industrial lands surrounded by big box stores. This was where nature was left in the parts these worlds had no use to sculpt … yet. This was a place that did not expect pedestrians and surly middle aged men and women in trucks big and small challenged me with glances as they left and arrived to do their dirty and serious business. These men and women are competing to be heroes, and their enemy is people who walk instead of drive. I was hung over from my grad class end of year party. It was sunny and I have no idea where in this city I can buy a hat without a logo on it. These people see this space, our space, as a different world serving a entirely different purpose than I do. They truly live in the present and all the riches it brings and I live in a future that may never actually come to be because I won’t be there.

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Incident at the Brick Yard [Video study]

Low definition & no audio composition of videos and stills of a train in front of the Brick Yards here in Hamilton, Ontario. Some of these are auto-treated by Google+ and this gave me the idea for this experiment. I like it. I think I’ll keep messing around with the multiple split screen work – especially since I _finally_ figured out how to do this in Premiere! I may re-do this one in high def if I get an opportunity to show it somewhere.

A man from a white BMW SUV looked to see what I was taking a picture of after this.

Spring in Ward 3: More Walk, more black & white photos

This is a good time of year for a critical reading of the landscape in my neighbourhood, and particulariy into the industrial section just north of here. The trees have no leaves and the snow is (mostly) gone leaving the curves of the land and the angles of the industrial structures bare.  The snow makes the dirt go away and now detritus is everywhere before the green veneers over it.

I was wrong about nature seeping into cracks of our urban environment – at least in this place. It’s as manufactured as anything spit out from one of these plants. Trees are there to obfuscate the view from the strips of public still left in this area. Where we are supposed to look, how we look and what we see from a passing car has been organically reacted, funnelled and appeased to.  Right now, the constant burned mechanical tinge in the air is stronger than usual. The wind, usually a force in the lower city, is even more pronounced during the early, dirty Hamilton spring.

 

artist interviews self and sometimes others

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