2 Planet of the Arts / October 1996 Volume XIl / Issue 1 Contributors ALAN hoffman ALAN so ALASTAIR wood BRIAN gallant BROCK ellis CINDY spence CARMEN morrow CAROLYN ashmore CELEST brown CRAIG stewart DAWN buie DENISE cordrey DYLAN surridge ELANA lupis ERIN gillgannon GALIN akin GLEN black GRACE salez ISAAC king JASON mclean JAY isaac JASON beange JENNIFER gottesman JONATHAN middleton JOSH aronovitch JOSHUA cohen JULIE marr KAREN myskiw KATE macintosh KYATH battie LARS cuzner LOUISE thornton MAEVE doyle MARK curry MARLENE madison plimley MICHAEL shigas PATRICK gunn PAUL morstad RAND berthaudin RICHARD sinclair RON henshaw RON holmes RYAN tunnicliffe SALEEM khattak SHANNON mendez SHAWN nygren SHEILA turner STEVE brekelmans SUE holland SUSAN coward TANIA conley TERRY dawes WENDY nishimura XERO ZORAN dragelj Feature Writer LING chiu Facilitators HARALD gravelsins JONATHAN lander Disclaimer Planet of the Arts is an independent student- run newspaper at the Emily Carr Institute of Art and Design. It is funded through student registration levies and advertising sales. We welcome unsolicited contributions provided they include the contributor’s real name. Articles should be legible (preferable typed, and on diskette). Submissions can be placed in the Planet of the Arts mailbox (via ECIAD reception desk) or sent via é-mail. Planet of the Arts reserves the right to edit submissions for clarity, length and inappropriate content, and we welcome discussion and comment on our editorial decisions. The views expressed in this newspaper are not necessarily those of our funds providers. Address Planet of the Arts 1399 Johnston Street Vancouver, British Columbia Canada V6H 3R9 tel: (604) 844-3861 fax: (604) 844-3801 e-mail: poa@eciad.bc.ca world wide web: http://www.eciad.bc.ca/~poa/ The Commentary on Page Two: Trouble-Maker By Harald Gravelsins Art work goes up in elevators at Emily Carr. It isn’t supposed to but it does. Graffiti goes up on our walls. It isn’t supposed but it does. Something is going on here that reflects on Emily Carr’s uniqueness, and why most students, staff and faculty find Emily Carr such a good school. Emily Carr is a different kind of school. There is a price to pay for our difference but, more importantly, something worth defending. How can the Emily Carr difference be described? It’s difficult to put into words but for one thing, we're small — about 830 day students and 450 evening/weekend students. These numbers allow for a sense of com- munity. Face-to-face, trusting rela- tionships are available and indeed flourish across organizational divi- sions and personality types. This applies as much to a first-time non- diploma registrant as to our chief executive artist. That said, we're not utopia. After all, we are sandwiched between pricey waterside condominiums, a cement factory, and hordes of tourists. The world encroaches upon Emily Carr and sets up hurdles to our activ- ities. Safety regulations stipulate that art in elevators is a fire hazard. Ministry of Education budgets stipu- late a 3% decrease in operating “ass. Especially when regulation resources. The Societies Act insists on single-person directorships for the Students’ Union. Framework collec- tive agreements, CMHC lease covenants ... the documents ordain- ing how we conduct ourselves are numerous. The legal basis of these doc- uments has a general useful- ness. But the law can be an collides with creative and com- munity endeavour. At Emily Carr, the clash between the Word (of the law) and the Deeds (of cre- ative people) is frequent and often unsettling. It’s not some- thing that will go away either, because the world is notsome- thing we can leave at the doorstep of 1399 Johnston Street. So does this mean that we, the creative people of Emily Carr, should take our marching orders from politicians, bureaucrats, and resource managers — whether they work at Emily Carr, in govern- ment, on the Students’ Union Executive, or within industry? How should the Emily Carr com- munity govern itself within the security of is own walls and in rela- tion to the wider community? | think the following anecdote illustrates what makes Emily Carr dif- ferent.and points to some of the reasons this difference is worth defending. Following a flurry of art work in the school’s elevators last Cards+ Letters Open letter to the Canadian Federation of Students: The International Student Identity Card (ISIC) entitles all full-time students to discounts on the purchase of airplane and railway tickets, among other things. The Canadian Federation of Students (CFS), of which all full- and part-time ECIAD students are members, subsidizes the full cost of the ISIC card to full-time students only. Why are part-time students paying fees to the CFS if we are being excluded from these benefits? I recommend that the CFS take another look at part-time students’ contribution. We pay the same fee per credit as full-time students, but don’t appear to have equal status. Signed, Alison Keenan ECIAD part-time diploma student FRESH FROM Terry Dawes graduated from Emily Carr (Film/Video) in May 1996 Spotting spring, our Facilities Department posted signs in the elevators that read: PLEASE DO NOT INSTALL ART WORK IN THE ELEVATORS Thank you for your cooperation! Someone’s response to this sign in the North Building eleva- or has been to turn it upside down. Not rip it down. Not deface it. Just re-orient it. What is remarkable about | this simple act is how it balances a defiant attitude with a con- structive approach. Whoever did this is a compassionate and socially engaging “trouble- maker.” It is worth noting that the Facilities Department did not threaten reprisal for those not cooperat- ing. They tactfully advocated cooperat- ing by using an exclamation mark _ and upper case } typography. : So what are some of the things this can tell us about how to govern ourselves as the community of A UNIVERSE OF POSSIBILITIES AWAITS YOU AT POA... ¢ Contribute to the life of the | school by writing for the newspaper. e Help reflect Emily Carr Institute of Art and Design to itself and to others. If you have any interest whatsoever in being a PoA contributor or know someone who might, then let’s talk. Call 844-3861 or drop off a note to Jonathan Lander or Harald Gravelsins, and we will facilitate getting you into orbit in the Planet of the Arts universe. MEET THE FACILITATORS: every Wednesday and Thursday 4:30 -— 5:00 p.m. in Room 242. e Trust and respect are as elusive as the nature of art, and fortunately we have all three in abundance at Emily Carr. Let’s, as a community, cultivate them more self-consciously in times of cut-backs. ¢ Pointy-fingered self-righteousness gets nothing done. And there’s plenty to do. e Let’s say you were elected, acclaimed, appointed or whatever. So what! Are you contributing tangi- bly to the Emily Carr community? Or are you playing out your status and ideology hang-ups. e Tolerance helps discussion and creativity manifest themselves. Ideology displaces them. Toning down ideology can be a good thing — and maybe even a radical stance — at an art school. e There is enough physical and social space at Emily Carr to accom- modate the practical work of diver- gent groups. The hierarchical, command-model of control should be a regrettable last resort and not a first-order response. e Wisdom and subtlety are not on the official curriculum at Emily Carr but they do abound and are easily located elsewhere in our community. ¢ Compassionate and socially- engaging “trouble-makers” would be great role models but they usually don’t want the profile or the mind- numbing politics of committees. If you know such people, be kind enough not to expose them. =@s RD ISLAND : PRINCE EDWA! ae = , Rerex) wine wh whey {r's hard to avoid sai are available and rare! oe ae he ocean A gourmet foo : se TER jobster isa standard part 0 : a reliet it is +o Piast on j Surt and Arie, Ov We ; oan anne on, A, 1A YT, Dovsias Dow's ro opgoi7 07:04 I y more than anjhour or two oy pHRRETISAT ION i Whew! Wha D fed myself Frome posT CAR we aoa e. ye eeple = t 0° 4th Avts ae ee sevtelon of AM lane msi Male rll yo ECL AD a ow '‘ ame ae + big 1399 Jolmsten Cards+ 1 2 Planet of the Arts / October 1996 Volume XII / Issue 1 Contributors ALAN hotfman AIAN so ALASTAIR wood BRIAN gallant BROCK ells CINDY spence ‘CARMEN morrow ‘CAROLYN ashmore ‘CELEST browo, CRAIG stewart DAWN buie DENISE cordrey DYLAN surge ELANA lupis ERIN gilgannon CGALIN akin GLEN black GRACE sale ISMAC king JASON mclean JAW isaac JASON beange JENNIFER gottesman JONATHAN middleton JOSH aronovitch JOSHUA cohen JUUE marr KAREN myakive KATE macintosh KYATH batt LARS curner LOUISE thornton ‘MAEVE doyle MARK curry MARLENE maclion plimley MICHAEL shigas PATRICK. gunn | PAUL morstad RAND berthaudin RICHARD sinclar RON henshaw. RON holmes RYAN tunnicife SALEEM Khattak SHANNON mendes SHAWN nygren SHEILA turner STEVE brekelmans SUE holland SUSAN coward TANIA conley TERRY dawes WENDY nishimura XERO ZORAN dragel Feature Writer LUNG chi Facilitators HARALD gravelsins JONATHAN lander Disclaimer et fe need en ‘erneonpap tt uy arte ‘en Gg ned rset ‘oven tes nd avert | vans ney meuse econ ea ‘one Aes ds be eee rere ‘ype aon art) Sobran be cedin Pont fu es manor ok [EO wcpion so eet tal Pt he a ses at oy ng roi mcosy oe of Roe oes, Address Planet of the Arts 1399 johnston Street Vancouver, Bish Columbia Canada V6H 3R9 tel (604) 844-3861 fax: (604) 844.3801 eal poa@eciad.be.ca word wide webs hutpi/fwwweciad.beca/-poa/ The Commentary on Page Two: Trouble-Maker Spotting sources. The Societies Act insists on By Harald Gravelsins Single-person directorships forthe Students Union. Framework collec: tive agreements, CMHC lease covenants. the documents ordain ing how we conduct ourselves are The legal bass ofthese doc ‘uments has a general ust ness But the law can be an '8.Especally when regulation ‘oles with creative and com munity endeavour ‘AL Emiy Car, the clash between the Word (ofthe law) and the Deeds (of cre ative people) sequent and ‘often unsettling. I's not some- thing that wil go away ether, because the word is not some thing we can leave atthe doorstep (0f 1399 johnston Street So does this mean that we, the creative people of Emily Cart, should take our marching der rom politicians, bureaucrats, and Fesource managers - whether they ‘work at Emily Cat in govern- ‘ment, onthe Students Union Executive, or within industey? How should the Emily Carr com. ‘munity govern iel within the secur of own walls and in rela- tion to the wider community? think the following aneedote ‘tustrates what makes Emily Carr i ferent and points to some ofthe reasons thi difeence is worth ‘elending, Following a Muy of art ‘workin the schoat’s elevators lst Art work goes up in elevators at Emily Car Ist supposed to but itdoes ‘Graft goes up on our wal. It Isnt supposed but it dos. Something i going on here that feflecs on Emily Car's uniqueness, and why most students, staff and faculty find Emily Cae such a good school Erily Cae isa diferent kind of School. Thee sa price to pay for our diference but, more imporant, Something worth defending, How can the Emily Carr difference bbe described? It's dificult to put into words but for one thing, wee smal about 830 day students and 450, ‘evening/weekend students. These ‘numbes alow fora sense of com- ‘munity. Face-to-face, trusting rela Uonships are avallabie and indeed flourish acros organizational di sions and personaly types. This applies as much to a fist-time non. ‘iploma regitrant as to our chet executive artist. “That sid, we're not vopia. After al, we are sandwiched between pricey waterside condominiums, ‘cement factory, nd hordes of “The world encroaches upon Emily Car and sets up hurdles to our activ ities. Saety regulations stipulate that arin elevators is fre hazae. Ministry of Education budgets tpu Tate a 3% decrease in operating Cards+ Letters ‘Open letter to the Canadian Federation of Students: ‘The International Student Identity Card (ISIC) entitles al fulltime students to discounts on the purchase of airplane and ralway tickets, among other things. The Canadian Federation of Students (CFS), of which all full- and parttime ECIAD students are members, subsidizes the full ‘ost of the ISIC card to full-time students only. ‘Why ate parttime students paying fes to the CFS if we are being ‘excluded from these benefits? | recommend that the CFS take another look at part-time students’ contribution. We pay the same fee per credit as full-time students, but ‘don’t appeat to have equal status, Signed, ‘Alison Keenan ECIAD parttime diploma student spring, our Faces Deparment + Trust and respect areas elusive as Posted signs in the elevators that the nature ofa, and fortunately we Fead: have all thre in abundance at Emily Car ets 35 a community, cultivate them more sl-consciousyin times of cut backs, * ointy-fingered seltsighteousness {gets nothing done. And there's Plenty to do Let's say you were elected, ‘acclaimed, appointed or whatever. So what! Are you contributing tangi bly tothe Emily Carr community? Or ‘are you playing out your status and ‘ideology hang-ups. Tolerance helps discussion and