Planet of the Arts Volume 7 Issue 3 The Cafeteria Committee Update I am not pleased with the current situation in the cafeteria. The committee has asked for some changes with menu items and food prices from Forster’s, the school’s new catering company. They have said they will provide more fresh, made on the premises food items, but the quality hasn’t changed much so far. I know that it takes time to change, but I’m hoping it will be sooner rather than later. The prices are too much for my budget, especially when you consider that they don’t have to pay rent here. Their food should be cheaper, not more expensive than other localsources. For example, Pepsi (in a can) costs 95 cents here at the caf, while at Mr. B’s it will cost you 80 cents for the same tin. What’s going on here? In my opinion, they should make everything a little bit more edible and affordable without sacrificing the quality that we expect from any catering company. Editor’s note: See elsewhere in this issue for two local restaurant reviews, by Rich... Thuis nota Poem AS aN by John Wertschek May 22, 1991 Tonight, my friend Roberto and I, {(after playing aspirited game) (and, yes, we are both competitive) of racquetball (we laugh a lot, too)} We went out for dinner Now, I’ve always trusted Roberto and, are now, with our com- petitive laughter walking through Strathcona in search of food. As we walked, talking of this and dat ar- chitecture, art, history and the grass and the sun and how we we both glad we had brought our sweaters We came upon some young boys leaning on a car watching two other boys fighting. They were not scruffing, rolling, clinging, Afraid of letting go of each other (like hockey players often do) these kids were fighting! With fists and feet soundly connecting each other in the face, chest, legs, face and again in the chest. A moment after I said “Do you think they’re playing or is this real?” (Since they were too competent too passionate for ten- year-olds.) both of us crossed the street with great concern and we stopped the fight and tried to reason with them. One boy had an entourage of nine others dressed with the stylish symbols of sports paraphernalia the other had his brother and two dogs. So we tried to reason with them or rather reason at them, then since bother Roberto and I are passionate men tried to mother them and then we tried to man them... {The braver man is the first to admit they might be wrong et’s shake hands and make up) (But, make up what? What fantasy could they make up?} I think we made a small difference a small connection a small pause of in that cycle that repeated pattern Roberto and I talked about the fight over dinner his stomach still felt raw he understood and even admired their intensity and those kids knew how to fight. Well Judy, they were both Vietnamese boat people boat boys And the reason for the fight? The boy with the “gang” said “I don’t like his face”* No Heroes ek? A collaborative collaboration by Jill Fraser I was honoured to be part of the student collabora- tion show No Heroes, Eh, at ECCAD, NOV 4-10, 1991. It became an exploration of collaboration on many levels. Laurney Nevers and Maureen Gaffney had a vision to curate a collaboration show. They were the glue. Their process was a fine example of collaboration. Iliken it to a dinner party (or to a John Wertschek Creative Processes class). You invite guests, you sit around a table and you begin. There is the percep- tion of a common desire to do something. With no particular agenda you trust that something will hap- pen but you do not know what. Sure enough, something does happen. ; Visible and invisible, a space was created for people to participate in the spirit of collaboration. And spirited it was. People participated. Process out- shone product, while maintaining a high standard of product. The whole gallery space was active and relatively inclusive. The distinction between maker and viewer was explored as people drew, talked around kitchen tables, experimented with instru- ments and even played ping pong. Installing, main- taining and dismantling the show was a collaborative performance in itself. Recently I read an interview in which David Bohm, a quantum physicist, described his theory of an “implicate order” - a hidden order at work under the seeming chaos of individual particles of matter. In this theory every part unfolds into the whole and the whole enfolds into every part. The “implicate order” is the enfolded order, the source of all visible matter and infinite. It unfolds into the 3D world of objects, space and time, which he calls the explicate order. Here we perceive everything as separate. This theory helps me understand my experience with collaboration. I sense myself unfolding into the whole and the whole enfolding into me. It is a fluid participation with a continuous creation and de- struction of structures as they are needed. Edges, beginnings and endings blur and shift. Independ- ence and interdependence are realised simultane- ously. Itis vital to pay attention to the self, the parts and to the whole. A oneness and a separateness occurs which I participate in yet, find difficult to articulate. Bohm talks about the need for dialogue in our culture “to talk while holding your opinions in front of you while neither suppressing them or insisting upon them. Not trying to convince but simply to understand.” A dialogue where the essence means flowing through rather than exchange. I call this participation and engagement in “the between”. As Gary Coward, Foundation technician, said to me recently, “It is time to look for the important questions. There are no answers anyway.” If we admit we do not know what the questions are and we begin talking maybe we will find something. This show was an example of the way people can work together. Geoff Rees, teacher, talks about our “common wealth”. Iam hopeful that this exploration of collaboration will continue because in participa- tion potential, within our common wealth, may be realised. p-s- thanks for typing this for me, Paul. * 6 Rich Wong, Student Union Rep Lue EU Part-time frustration By Carll Oleinyk In the words of that rogue of rogues, Yosemite Sam, “I paid my four bits to see a high divin’ act, and I’m a gonna see a high divin’ act!”’. I’mshocked. Dismayed. Displaced. At odds. I could just stamp my little feet. I’m a part- time student who has just discovered that I have no say in the day to day, running/scuttle- butt/say what of this school. I pays no four bits so I get not high divin’ act. Hey, how can They do this? I live and breathe as all persons wandering these halls. I scrape and gouge my canvas like all the other full timers. | rub my charcoal on everything I can, raising images and passions. I do it all. And there are twice as many of “us as there are of “them”. Let’s get together. Take our money, please. Let us be a part of this whole being called ECCAD as everyone else is in other places. Think of the revenue alone. And include me in on any b board, committee, square dance whatever needs to be done to make Emily Carr a sound running machine. I offer my services without restrictions. There’s more of us out here. Let’s get everyone in under the tent and watch that rabbit jump. * prices from Forster Planet of the Arts Volume 7 Issue 3 The Cafeteria Committee Update {Lam not pleased with the current situation in the eafete ‘The committee has asked for some changes with menu items and food the school’s new catering company. They have said they will provide more fresh, made on the premises food items, but the quality hasn’t changed much so far. [know that it takes time to change, but I'm hoping it will be sooner rather than later. The prices are too much for my budget, especially when you consider that they don’t hay should be cheaper, not more expensive than other local sources. For example, Pe} ‘at Mr. Bis it will cost you 80 cents for the same tin. What's going on her: to pay rent here. Their food ina can) costs 95 cents here at the caf, while In my opinion, they should make everything a litle bit more edible and affordable without sacrificing the quality that we expect from any catering company. Editor's note: See elsewhere in this issue for two local restaurant reviews, by Rich. by Join Werschek. May 22, 1991 ‘Tonight, my friend Roberto and I, (after playing aspirited game) (and, yes, weare both competitive) of racquetball (we laugh a lot, t00)} We went out for dinner Now, I've always trusted Roberto and, are now, with our com- petitive laughter walking through Stratheona Inaearch of food. ‘As we walked, talking of this and dat ar- chitecture, art, history and the grass and the tun and how we we both glad we had brought ‘ur sweaters ‘We came upon some young boys leaning on a.car watching two other boys fighting. ‘They were not scruffing, rolling, clinging, Afraid of leting go of each other (lke hockey players often do) these kids were fighting! With fists and feet soundly connecting each ‘other inthe face, ches, logs, face and again in the cheat. ‘A moment after I sald “Do you think they're playing oF is this real?” (Since they were too competent too passionate for ten year-olds.) both of us crossed the street reat concern and we stopped the fight and {tied to reason with them. ‘One boy had an entourage of nine others ressed with the stylish symbols of sports paraphernalia the other had his brother and two dogs. ‘So we tried to reason with them or rather reaon at them, then since bother Roberto ‘and I are passionate men tried to mother them and then we tried to man them... (The braver man isthe fist to admit they might be verong et’s shake hands and make up) (But, ‘make up what? What fantany could they make up?) T think we made a mall difference a small connection a small pause of in that eyele that repeated pattern Roberto and I talked about the fight over ‘inner his stomach til felt raw he understood and even admired their intensity and thove ids knew how to fight. ‘Well Judy, they were both Vietnamese boat people boat boys ‘And the reason for the fight? The boy with the “gang” sald “I don’t like his face”* No Heroes aif ‘A collaborative collaboration by Jill Fraser Iwas honoured tobe part ofthe student cllabors tion thow No Heroes, Eh, at ECCAD, NOV 410, 1991. It became an exploration of collaboration on many level [Laurney Nevers and Maureen Gaffney hada vision tocurate collaboration show. They were the glue. ‘Their process was afine example of collaboration. liken it to dinner party (orto a John Wertschek "You invite tion of a common desire to do something. With no particular agenda you trust that something will hap: ppen but you do not know what. Sure enough, something does happen. Visibleand invisible, a space was created for people to participate in the spirit of collaboration. And spirited it was. People participated. Process out- shone product, while maintaining. high standard of product. The whole gallery space was active and relatively inclusive. The distinction between maker and viewer was explored as people drew, talked around kitchen tables, experimented with instru- ments og pong. Installing, main iothow wat a collaborative idoven played dismantling performance in itself Recently I read an quantum phys implicate order” -a hidden order at work under the ‘coming chaos of individual particles of matter. In this theory every part unfolds into the wh: the whole enfolds into every part. ‘The ‘order isthe enfolded order, the source of al vis ‘matter and infinite. It unfolds i ‘objects, space and time, which he calls the explicate ‘order. Here we perecive everything ax separate. ‘This theory helps me understand my experience ‘with collaboration. [sense myself unfoldinginto the whole and tl e whole enfolding into me. Itis.a uid participation with a continuous ereation and de- action of structures as they are needed. Edges, beginnings and endings blur and shift. Independ: ‘ence and interdependence are realised simultane: ously. Iti vital to pay attention tothe self, the part fand to the whole. A oneness and a separatencss foceurs which I participate in yet, find difficult 19 articulate Bohm talks about the need for dislogue in our culture ine in front ‘to talk while holding your opi of you while nether suppressing them or ‘upon them. Not trying to convince but simply to understand.” A dialogue where the essence means ary Coward, Foundation technician, said to ‘me recently, “It is time to look for the i que ‘Admit we do not know what the questions are and we begin talking maybe we wll find something, “This show was an example of the way people can work together. Geoff Rees, teacher, talks about our “common wealth”. Lam hopeful that thisexploration ‘of collaboration will continue because in participa- tion potential, realised. ions. There are no answers anyway. hin our common wealth, may be ps thanks for typing this for me, Paul. 6 Rich Wong, Student Union Rep Part-time frustration By Carll Oleinyk Inthe words ofthat rogue of rogues, Yosemite ss paid my four bits to see a high divin’ act, and I'm a gonna see a high divin’ ac Imshocked. Dismayed. could just stamp my time student who has just discovered that I hhave no say in the day to day, running/seuttle- butsay what of this school. I pays no four bits so I get not high divin’ act. Hey ‘They do this? Ilive and breathe as all persons ‘wandering these halls. Iscrape and gouge my ‘canvas like all the other full timers. [rub my how ean ‘charcoal on everything I can, raising images land passions. Ido it all. And there are twice ‘as many of “us as there are of “them”. Let's get together. Take our money, please. Let us be a part of this whole being called ECCAD as ‘everyone ele is in other places. Think of the revenue alone. And include me in on any b board, committee, square dance whatever needs to be done to make Emily Carr asound running machine. [offer my services without ‘There's more of us out here. Let's get everyone in under the tent and wateh that rabbit jump.*