Color Xerox — The color Xerox machine in the ECCA library will be available mornings only, from 10:00 am. until noon, until further notice. GRADUATING STUDENTS For help with job search, resume development, educational or career planning, or just to dis- cuss the anxieties of leaving Aunt Emily, come on in and see me. Eva Allan The following definitions are taken from ‘Chapter C-30, An Act respecting copyright’. We will print more on this topic later. CHAPTER C-30 An Act respecting copyright SHORT TITLE 1, This Act may be cited as the Copyright Act. R.S., ¢. 55, s. 1. INTERPRETATION 2. In this Act “architectural work of art” means any building or structure having an artistic character or design, in respect of such character or design, or any model for such building or - structure, but the protection afforded by this Act is confined to the artistic character and design, and does not extend to processes or methods of construction; “artistic work” includes works of painting, drawing, sculpture and artistic craftsman- ship, and architectural works of art and engravings and photographs; “book” includes every volume, part or division of a volume, pamphlet, sheet of letterpress, sheet of music, map, chart, or plan separately published ; “cinematograph” includes any work produced by any process analogous to cinematogra- phy ; “collective work” means (a) an encyclopaedia, dictionary, year book, or similar work, (b) a newspaper, review, magazine, or similar periodical, and (c) any work written in distinct parts by different authors, or in which works or parts of works of different authors are incorporat- ed; “delivery,” in relation to a lecture, includes delivery by means of any mechanical instrument ; “dramatic work’ includes any piece for recitation, choreographic work or entertain- ment in dumb show, the scenic arrangement , Published by Student Services 249 Dunsmuir Street V6B 2X2 Emily Carr College of Art Vancouver, B.C. Vol. 2, No. I = Page four of this issue has been given over to ROSS MUIRHEAD, who asked for the oppor- tunity to present some of his ideas through this medium. Any person or group wishing to utilize the newsletter in a similar manner may contact Michael Lawlor or Ed Ivsins at the office in the back of the Helen Pitt Gallery on Tuesdays at noon, or by leaving a letter for us in the main office of the college. Ist to 18th. An exhibition of prints, using various media, by printmakers from the Emily Carr College of Art. PRODUCTIONS from April Vancouver Art Gallery — Thirty-three multi- disciplinary works by Michael Snow. Until April 13th. Cancelled — The performance of the Paula Ross Dance Company in the Candance series scheduled for March 28th and 29th has been cancelled. The company will present performances, including the Vancouver premiere of two new works by Paula Ross, in their studio at 3488 West Broadway, from March 24th to 29th and from March 31st to April 5th at 8:30 pm. Greater Vancouver Artists’ Gallery — An exhi- bition by Doug Bidden ‘Work of Nature — Nature of Work’ from March 11th until March 28th. or acting form of which is fixed in writing or otherwise, and any cinematograph pro- duction where the arrangement or acting form or the combination of incidents represented give the work an original character ; “engravings” includes etchings, lithographs, woodcuts, prints, and other similar works, “literary work” includes maps, charts, plans, tables, and compilations; “Minister” means the Minister of Consumer and Corporate Affairs; “musical work’? means any combination of not being photographs; “every original literary, dramatic, musical and artistic work” includes every original production in the literary, scientific or artistic domain, whatever may be the mode or form of its expression, such as books, pamphlets, and other writings, lectures, dramatic or dramatico-musical works, musi- cal works or compositions with or without words, illustrations, sketches, and plastic works relative to geography, topography, architecture or science ; “Her Majesty’s Realms and_ Territories” includes any territories under Her Majesty’s protection to which an order in council made under the provisions of section 28 of the Copyright Act, 1911, passed by the Parliament of the United Kingdom, relates; “infringing”, when applied to a copy of a work in which copyright subsists, means any copy, including any colourable imita- tion, made, or imported in contravention of this Act; “lecture” includes address, speech, and ser- mon; : “Jegal representatives” includes heirs, execu- tors, administrators, successors and assigns, or agents or attorneys who are thereunto ‘duly authorized in writing; melody and harmony, or either of them, printed, reduced to writing, or otherwise graphically produced or reproduced; “performance” means any acoustic represen- tation of a work or any visual representation of any dramatic action in a work, including a representation made by means of any mechanical instrument or by radio com- munication; “photograph” includes photo-lithograph and any work produced by any process analogous to photography ; “plate” includes any stereotype or other plate, stone, block, mould, matrix, transfer, or negative used or intended to be used for printing or reproducing copies of any work, and any matrix or other appliance by which records, perforated rolls, or other contriv- ances for the acoustic representation of the work, are or are intended to be made; “work” includes the title thereof when such title is original and distinctive ; “work of joint authorship” means a work produced by the collaboration of two or more authors in which the contribution of one author is not distinct from the contri- bution of the other author or authors; “work of sculpture” includes casts and models. RS., c. 55, s. 2; 1966-67, c. 25, s. 38; 1967- 68, c. 16, s. 10. Masks Masks . . . Every picture of a face, from a two line cartoon to a painting by Dali, is a mask. And now | must argue within Oxford’s definition of a mask. A mask is defined: as something that hides. A face is hidden by a mask. The immobility of the mask covers up the fluxing expressions normally associated with the human visage. Our knowledge of other people, of what they are about, or about to be about, is received vis a vis our perception of, not the expression on their face and body, but from the constantly fluxing, ever changing flow of expres- sion from expression and into expression as the situation changes. The flow informs. But note that often the power of a river is not realized until it is dammed. A mask seems to stop this flow of information, hence the feeling of dis- comfort generated by the lack of a flow to help analyze a situation. (Lawlor’s Theory: Our comfortability within a society is in direct proportion to our ability to predict behaviour of others within that society, or situation. This can be known as the theory of social predictability.) The mask, because it halts the external flow, that is, the flow of impressions created by the flux as perceived by vision and interpreted by the mind — the mask emphasises the internal flow, but with a constant reference to draw one back. Instead of a reaction to and/or with the changing external. stimuli, the constancy of the mask forces an internal reaction with the constantly changing internal stimuli. (This is assuming that the mask is good enough tO; by its stillness, create movement. If the mask moves too much it will not create movement and will be dead rather than still.) Thus, the viewer becomes responsible for what he sees, seemingly. But the person who creates the picture is the person responsible for the particular direction this internal reaction starts out from, and as such, they have the responsibility to be as concise and clear as possible without bracketing or stopping the internal flow. (An analogy: Consider the sentence, ‘The water flows down into the valley.”” There is only one word in this sentence, which, if considered and meditated on, isolate from the collection of words which have been organized to form the word flow which created the sentence, can reasonably be expected to eventually lead the meditator back to the. visual picture created by the sentence. Contemplate “FLOW ... FLOW... Flow...” and estimate how many places in your mind you can travel before reaching a place with a picture of a stream or river flowing into ... Now contemplate “WATER...WATER...Water... water ...’ in the same way and decide which word more clearly directs your thoughts ‘through the pathways in your mind to a picture of a setting as described in the above sentence. Now contemplate the pictures you missed seeing because you were given the whole sentence. Those visions, or thoughts, are all understood when the flow of the whole sentence is expressed, but they are so ingrained and under- stood that they: are not often noticed The mask, or picture, is the word extracted from the visual sentence and repeated. Chris Fitzgerald Throughout the centu- ries, to this very day, people have taken paper for granted. It is re- garded as one of the givens of so- ciety, as ubiquitous as rain, smog, motherhood, or oleomargarine. Be- ing so obvious, it has long been in- visible. If requested to “think pa- per,” most individuals will meditate on a sheet of white paper. Further, itis widely believed that pure, white paper (as with a certain brand of well-advertised soap) is the omega of papermaking. ~ How do you define the color, white? What images, what associa- tions come to mind? The albumi- nous material surrounding the yolk of an egg; the fifth circle of an archery target; the purity and cleanliness of a well-scrubbed, white-enameled kitchen sink; the virgin-whiteness of a wedding gown; great masses of flour;sugar, ‘and snow; Snow White and her seven little men; the white part of the eyeball; hooking a good-sized white bass; the silvery white of the birch; whitecaps on duck-egg blue water; whitewash (political and the Mark Twain variety); white ele- phants, both literal and figurative; the white-face of mimes and 2P.8L. _clowns; whitefish (smoked) for | CON'T ON PAGE THREE | Color Xerox — The color Xerox machi ECCA library wil GRADUATING STUDENTS For help with job search, resume development, educational or career planning, or just to cuss the anxieties of leaving Aunt Emily, come on in and see me. Eva Allan The following definitions are taken from ‘Chapter 30, An Act respecting copyright’. We will print more on this topic later. CHAPTER C-30 An Act respecting copyright SHORT TITLE 1, This Act may be cited as the Copyright Act. RS., ¢.55, 8.1 INTERPRETATION 2. In this Act “architectural work of art” means any building or structure having an artistic character ot design, in respect of auch character or design, or any model for such building or structure, but the protection afforded by this Act is confined to the artiste character and design, and does not extend to processes or methods of construction; “artstie work” includes works of painting, drawing, sculpture and artistic crafteman- hip, and architectural works of art and engravings and photographs; “ook includes every volume, part or division of a volume, pamphlet, sheet of letterpress, sheet of misic, map, chart, or plan separately published “inematograph’ includes any work produced hy any process analogous to einematogra- phy; “eollective work” means (@) an encyclopaedia, dietiona or similar work, (© a newspaper, review, similar periodial, and (9 any work written in distinet parts by different authors or in which works or parts of works of different authors are ineorporat- a “delivery,” in relation to a lecture, includes delivery’ by means of any mechanical instrument “dramatic work” includes any piece for recitation, choreographic work or entertain- ment in dumb show, the scenic arrangement or acting form of which is fixed in writing or otherwise, and any cinematograph pro- duction where the arrangement or acting form or the combination of incidents represented give the work an original character; = “engravings” includes etchings, lithographs, ‘woodcuts, prints, and other similar works, not being photographs: “every original literary, dramatic, musical ‘and artistic work’ inciudes every original production in the literary, scientific or Artistic domain, whatever may be the mode ‘or form of its expression, such as. books, pamphlets, and other writings, lecture dramatic or dramatico-musical works, musi cal works of compositions with or without words, illustrations, sketches, and plastic works relative to geography, topography, architecture or science “Her Majesty's Realms and Territories” includes any terstories under Her Majesty’s protection to which an order in council made under the provisions of section 28 of the Copyright Act, 1911, passed by the Parliament of the United Kingdom, relates; “infringing”, when applied to copy of a work in which copyright subsists, means Any copy, including any colourable imi tion, made, oF imported in contravention of this Act; ““ecture” includes address, speech, and ser- “egal representatives” includes heir, execu- tors, administrators, successors and assigns, or agents or attorneys who are thereunto duly authorized in writing; yearbook, the be available mornings only, from 10:00 am. until noon, until further notice, Serves Published by Studen 249 Dunsmuir Street 6B 2x2 Emily Care College of Art Vancouver, 8. Vol. 2, No. Ht ROSS MUIRHEAD, who asked for the oppor- tunity to present some of his ideas through this medium. Any person or group wishing to utilize ‘the newsletter in a similar manner may contact Michael Lawlor or Ed Ivsins at the office in the back of the Helen Pitt Gallery on Tuesdays at noon, or by leaving a letter for us in the main office of the college. Greater Vancouver Artists’ Gallery — GRANK PRODUCTIONS from April 1st to 18th. An exhibition of prints, using various media, by printmakers from the Emily Carr College of Art. Vancouver Art Gallery — Thirty-three multi- wary works by Michael Snow. Until April 13th, Cancelled — The performance of the Paula Ross Dance Company in the Candance series scheduled for March 28th and 29th has been cancelled. The ‘company will present performances, including the ‘Vancouver premiere of two new works by Paula Ross, in their studio at 3488 West Broadway, from March 24th to 29th and from March 31st ‘to April 5th at 8:30 pm. Greater Vancouver Artists’ Gallery — An exhi- bition by Doug Bidden ‘Work of Nature — Nature of Work’ from March 11th until March 28th. “literary work” includes maps, charts, plans, tables, and compilations; “Minister” means the Minister of Consumer and Corporate Affairs; “musical work” means any combination of melody and harmony, or either of them, printed, reduced to writing, or otherwise graphically produced or reproduced “performance” means any acoustic represen: tation of a work or any visual representation, of any dramatic action in a work, including. f representation made by means of any mechanical instrument or by radio com- munication; “photograph” includes photo-lithograph and any work produced by any process analogous to photography ; “plate” ineludes any stereotype or other plate, stone, block, mould, matrix, transfer, oF negative used or intended to be used’ for printing or reproducing copies of any work, and any matrix or other appliance by which records, perforated rolls, or other contri ances for the acoustic representation of the work, are or are intended to be made; “work” includes the title thereof when such title is original and distinctive; “work of joint authorship” means a work produced by the collaboration of two ot more authors in which the contribution of one author is not distinet from the contri- bution of the other author or authors; “work of sculpture” includes casts and models, aN ul, Su Masks Masks . . . Every picture of a face, from a two line cartoon to a painting by Dali, is a mask. And now | must argue within Oxford's definition of a mask. A mask is defined as something that hides. A face is hidden by a mask. The immobility of the mask covers up the fluxing ‘expressions normally associated with the human visage. ‘Our knowledge of other people, of what they are about, fr about to be about, is received vis a vis our perception of, not the expression on their face and body, but from the constantly fluxing, ever changing flow of expres sion from expression and into expression as the situation ‘changes. The flow informs. But note that often the power Of a river is not realized until it is dammed. A mask seems to stop this flow of information, hence the feeling of dis. comfort generated by the lack of a flow to help analyze a situation. (Lawior's Theory: Our comfortabilty within a society is in direct proportion to our ability to predict behaviour of others within that society, or situation. This ‘ean be known as the theory of social predictability.) The ‘mask, because it halts the external flow, that is, the flow of impressions created by the flux as perceived by vision and interpreted by the mind — the mask emphasises the internal flow, but with a constant reference to draw one back. Instead of a reaction to andjor with the changing ‘external. stimuli, the constancy of the mask forces an internal reaction with the constantly changing internal stimuli, (This is assuming that the mask is good enough to, by its stillness, create movement. If the mask moves too much it will not create movement and will be dead rather than stil.) Thus, the viewer becomes responsible for what he sees, seemingly. But the person who creates the picture is the person responsible for the particular direction this internal reaction starts out from, and as such, they have the responsibility to be as concise and clear as possible without bracketing or stopping the internal flow. (An analogy: Consider the sentence, “The water flows down into the valley.” There is only one word in this sentence, Which, if considered and meditated on, isolate from the collection of words which have been organized to form the word flow which created the sentence, can reasonably be expected to eventually lead the meditator back to the visual picture created by the sentence. Contemplate "FLOW ... FLOW... Flow...” and estimate how many places in your mind you can travel before reaching a place with a picture of a stream or river flowing into . Now contemplate “WATER ... WATER ... Water... water . «im the same way and decide which word more clearly directs your thoughts through the pathways in your mind to a picture of a setting as described in the above sentence. Now contemplate the pictures you missed seeing because you were given the whole sentence. Those visions, ‘or thoughts, are all understood when the flow of the whole sentence is expressed, but they are so ingrained and under- stood that they: are not often noticed The mask, of picture, is the word extracted from the visual sentence and repeated. Charis Fitzgerald Throughout the centu Ties, to this very day, people have taken paper for granted. Itis re garded as one of the givens of so- Ciety, as ubiquitous as rain, smog, ‘motherhood, or oleomargarine. Be- ing so obvious, ithas long been in- visible. If requested to “think pa- per,” most individuals will meditate on a sheet of white paper. Further. itis widely believed that pure, white paper (as with a certain brand of well-advertised soap) is the omega of papermaking, How do you define the color, ‘white? What images, what associa- tions come to mind? The albumi- ‘ous material surrounding the yolk of an egg; the fifth circle of an archery target; the purity and Cleanliness of a well-scrubbed. white-enameled kitchen sink; the virgin-whiteness of a wedding ‘gown; great masses of flour, sugar, and snow; Snow White and her seveniittie men; the white part of the eyeball; hooking a good-sized white bass; the silvery white of the birch; whitecaps on duck-egg blue water, whitewash (political and the Mark Twain variety); white ele- phants, both literal and figurative, the white-face of mimes and RS, c. 55, s. 2; 1966-67, c. 25, s. 38; 1967- 68, c. 16, . 10. ‘clowns; whitefish (smoked) for CON'T ON PAGE THREE