Argos could be in play for Canadian QB

It’s really, really hard to be a Toronto Argonauts fan right now.

The team, still reeling from their latest campaign under an unpopular import coach, boasts an awful 7-29 record over the past two seasons and was recently sold to BC Lions owner David Baley because, well, no one else would take them.

Talk about a team you can get behind.

To make matters worse, up until three days ago there was not a single person listed as a quarterback with the Toronto Argonauts. Not one.

The Argos have been very quiet about their plans at the, um, pivotal position after releasing incumbents Cody Pickett and Kerry Joseph last month.

They settled some of the mystery earlier this week when they traded for the Saskatchewan Roughriders’ Dalton Bell and signed former Buffalo Bills pivot Gibran Hamdan. But neither of those two can be considered a lock as the Argo’s number one starter and there still remains one quarterback spot on the Argonaut’s roster. That could leave the door open for one of the highly talented class of quarterbacks coming out of Canadian Interuniversity Sport competition this year.

Queen’s Danny Brannagan, Guelph’s Justin Dunk, Western’s Michael Faulds and Calgary’s Erik Glavic all had stellar campaigns in 2009 and have all garnered some serious interest from Canadian Football League teams.

Toronto has the first pick in the CFL’s entry draft on May 2 and have the most picks overall with 10. Don’t expect the Argos to take a quarterback with their first overall pick — Concordia LB Cory Greenwood or Nevada OL John Bender are the most likely, it says here — but there is a good chance they could be in the market for a Canadian quarterback in one of the later rounds.

Interestingly, this year the CFL made it clear that any Canadian quarterbacks invited to training camp would not count against a team’s training camp roster, which is capped at 75.This means teams can invite as many quarterbacks to camp as they please, as long as they’re Canadian. The league hopes this will level the playing field for Canadian quarterbacks and help them crack a team’s roster by simply having the chance to show their stuff at training camp.

The first test the Canadian quarterbacks will have to pass comes this weekend at the CFL’s annual evaluation camp in Toronto, where they will run through a series of drills and interviews with the CFL’s eight teams.

Unfortunately for Mustangs fans, Faulds — who set a CIS record for passing with 3,033 yards in 2009 — won’t be taking part in the weekend’s festivities. He’s still recovering from a torn ACL he suffered at the end of the Mustangs season and played on throughout the playoffs.

Nevertheless, three other standout CIS quarterbacks will be showing their stuff this weekend:

Danny Brannagan

Brannagan had a phenomenal final season for the Queen’s Gaels, leading the team to its first Yates Cup in more than 30 years and its first Vanier Cup since 1992. Brannagan picked up MVP honours in both those games, although his 515 yard, five touchdown performance against the Mustangs in the Yates Cup was one of the greatest feats by a CIS quarterback in recent memory.

Brannagan is undersized — listed at a generous 6-0 on the Gaels website — which may scare off some teams. However, Brannagan proved time and again with Queen’s that he has no problem operating if he’s given a solid offensive line in front of him. Brannagan’s stellar performances in big games make him an attractive option as well.

Erik Glavic

The University of Calgary’s Glavic is arguably the most talented of the three CIS pivots being looked at this weekend and has the most impressive resume, boasting two Hec Crighton trophies as the top player in the CIS. He threw for 2,186 yards last season and came within two points of winning the first Vanier Cup for Calgary in 15 years. He’ll be the most likely candidate to hear his name called early on draft day.

Glavic doesn’t have the size issue Brannagan does — he’s only 6-foot-6 — and showed he can run the ball well last season, picking up 508 yards on the ground. Glavic has another year of CIS eligibility left and is expected to return to an extraordinarily strong 2010 Calgary team that will bring back every single starter on their offence which scored just under 40 points a game in 2009.

Justin Dunk

Guelph’s Dunk has the steepest hill to climb when it comes to impressing the CFL scouts. He was serviceable for the Gryphons this year, putting up decent numbers— 1,897 yards, 13 TD, 7 INT — but his attitude and temper have been repeatedly questioned over the course of his career. His on field antics this season — remember “fuck western” — didn’t do him any favours.

One of Dunk’s strongest assets is his legs — he piled up 423 rushing yards in 7 games this year and is always a threat to scramble. In fact, Dunk’s athleticism means he can audition as a wide receiver and a quarterback. Dunk has already worked out as a receiver for the BC Lions — hat tip to The Ontarian’s Mike Treadgold for that one — and certainly several teams will be interested in his multi-position versatility.

McGill follows Ivey’s lead

It turns out Ivey is not the only school for rich kids.

The Desautels Faculty of Management at McGill University has followed Ivey’s lead and increased its tuition nearly sixfold by switching from a government-funded to a self-funded tuition structure.

The change to a self-funded tuition structure means Desautels will rely on an increase in student tuition fees, alumni donations and sponsors to fund their program. The change will provide the school with additional funds to revamp their MBA program.

“The current cost to run the program is $22,000 per person per year, of which students are only paying $4,675. Even with government funding, the current tuition structure is forcing McGill to subsidize over $10,000 per student each year,” Ron Duerksen, director of marketing and communications at Desautels, said.

“Our new tuition fee will be set at $29,500 per year. This will allow for improvements throughout the program while retaining a lower cost than other top-rated business schools in the country,” Duerksen continued.

MBA tuition fees at Western’s Richard Ivey School of Business are $64,000 and fees for the University of Toronto’s Rotman School of Management sit at $67,000.

The increase in tuition fees raises the issue of affordability for talented students who may not be able to come up with the funds. However, Niki da Silva, MBA admissions and recruiting co-ordinator, said self-funded tuition structures are irrelevant when considering an applicant pool.

“Typically, half of Ivey MBA students receive scholarship funding, ranging from $5,000 to half-tuition. A small number of full tuition awards are also available. All domestic candidates may also apply for OSAP, and for line-of-credit programs at all the major Canadian banks, so funding is accessible to all students interested in pursuing the MBA.”

The increase in tuition fees has allowed Desautels to extend its faculty by 30 new professors, renovate its MBA facilities and increase student services.

USC passes 2010/11 budget unanimously

Sacha Kumar couldn’t believe what happened at the council meeting Wednesday night.

“I was shocked. I really was shocked,” the vice-president finance for the University Students’ Council recalled.

Kumar stood at the podium inside council chambers on Mar. 10 to present the 2010/11 budget. He gave a brief introduction, answered a few questions, and passed two amendments.

Then, without any fuss, the budget was approved.

“I was surprised that it went through so quickly and so unanimously,” he said.

The swift budget approval was a change from previous years, where councillors aired grievances late into the night.

Last year’s VP finance, Matt Kington, faced lengthy debate and criticism from council when he presented the budget in 2009.

“I remember Kington just slugging it out with people about his projections. There were things in there that people were just hammering him on,” Kumar recalled. “It was a two or three hour debate.”

Kumar said he spent hours preparing for a tough question period and created a package of information to have on hand just in case.

But he never needed it.

The difference this year came from hosting three budget information sessions with councillors prior to the meeting, each lasting an hour and a half. Councillors had a chance to learn more about the budget and criticize Kumar’s projections without the cumbersome structure that comes with council meetings.

“If I didn’t have the budget briefings […] it probably would have turned into a four hour debate in council,” Kumar said.

Kumar was also surprised there was no protest against cutting tvWestern.ca. In the budget, the USC recommended ending the student fee collected for the 20-year-old campus television station.

“I was expecting them to do a ‘Save tvWestern’ thing,” he said, adding councillors approached him over the past two weeks to discuss the station. “I didn’t know that they were that okay with it, that they wouldn’t raise a concern at all.”

The station wasn’t mentioned at all at Wednesday’s meeting.

“That was a win for us as well, I think. Because that was unanimous. Nobody protested.”

Look for our feature about tvWestern.ca on Tuesday.

The art of cooking

If you avoid paint, crayons or graphics like the plague because you just don’t think you’re capable of mastering those arts, you can develop your artistic side by capturing some creativity in the kitchen.
By following some simple principles and letting your imagination flow, it’s possible to present food beautifully. Cooking at home doesn’t have to feel like a chore — it can be an experience. Eating is both a necessity and an enjoyable activity, so why not put in a little effort and make it look as good as it tastes?

Garnish

Garnish is a fantastic way to easily add visual appeal to a meal, but there are a couple of rules to follow. Most importantly, garnishes should always be edible. If a flower looks delightful but it can’t be eaten, look for something else. Also, only use relevant or complementary ingredients or flavours. Just because parsley is a great garnish doesn’t mean that it should be used to top vanilla ice cream.
It’s also wise to invest in a zester. It’s a great tool for adding flavours like chocolate, lemon and orange in a visually interesting way. When using a zester, it should be pressed against the fruit and drawn across its peel. The rims of the tool cut the zest into ribbons, which can be sprinkled on top of food.
In general, fresh herbs are a beautiful and easy way to add visual interest, fragrance and mouth-watering flavour. When making spinach dip, I like to add a sprig of fresh parsley or cilantro to add a new and interesting texture.

Portion Sizes

Laying out a plate can be related to the design of a magazine page. In a good magazine layout, there should always be a focal point. On a plate, this is the main item — this is the centre of attention and is larger than the other items.
Just like a magazine page, there should also be a sufficient amount of white space — empty space — on the outer edges of the plate to make items stand out. At the same time, too much white space makes the product look empty and uninteresting. Keep in mind that people can always go back for seconds, so it’s not necessary to overcrowd a plate in the initial serving.
Ratatouille can be a difficult to present because there isn’t a natural focal point in the veggie medley. A sprig of parsley creates a focal point, and using a plain white plate with extra space around the edges adds white space.

Drizzle and Sprinkle

Sprinkle herbs, vegetables, breadcrumbs, powdered sugar or cocoa, chopped nuts, fruit rind or chocolate shavings to add interest to a dull presentation or to hide imperfections. When plating ice cream, it looks awesome to drizzle chocolate, caramel or strawberry sauce on a plain white plate before doing anything else. Another option is sprinkling cocoa powder on white dishes or icing sugar on a coloured plate.
Make sure that everything that is seen is supposed to be there — if a glob of ice cream is on the wrong part of the dish, it should be wiped off.

Numbers and Shapes

Odd numbers are more appealing to the eye, so avoid using an even amount of items. When plating appetizers, I often use several small plates and stick to three items.
Another tip is to plan for a variety of shapes and forms. Picture this: a plate with brussel sprouts, cherry tomatoes, meatballs and round potatoes. Even if these flavours were complimentary, the presentation would look extremely strange. Mashed potatoes and asparagus would be better choices.
It’s also smart to manipulate the shape of vegetables by cutting them up. Carrots can be diced, cut into rounds, or sticks, which can be used to contrast the shape of the main item.
When using bread for dip, I like to chop the bread into the opposite shape of the bowl to form contrast.

Colour

Colour is one of the most exciting parts of food presentation. There are a wide assortment to choose from — the deep purple in eggplant, vibrant red of tomatoes, the goldenness of cheddar cheese, refreshing pink in grapefruit and the dark green in leafy spinach. Just like a painter’s palette, food has an endless amount of options for combining different colours to create a masterpiece.
Trifle is one of the most beautiful desserts when it comes to colour. Chocolate trifles can be a little trickier because of the dark browns, but using whipped cream and strawberries is an excellent way to add a splash of colour.
Choosing specific dishes is an effective way to make colour pop. Clear glass bowls and glasses are perfect when making foods with layers like trifle, ice cream sundaes, or specialty drinks.

Student budgets don’t leave much wiggle room, but it’s totally possible to create beautiful food with a small amount of money. The most important thing to realize is whipping something up in the kitchen can be an enjoyable experience rather than simply an unconscious process to satisfy your hunger pangs.
To see the recipes for the pictures shown as well as multiple others and video instructions, visit the Cooking With Grace blog at www.westerngazette.ca.

Take a break and unleash your creative side

Take a chance and get in touch with your inner artist.
In the midst of exams and essays, many students find little time for artistic endeavours. However, while it may seem daunting to seek out an outlet for your creativity, finding a venue to draw, paint, sculpt or play can be beneficial to both your mind and soul. For students looking to find their inner Picasso or Rembrandt, you need not look further than the streets of London.
Below are a few opportunities where you can test your artistic skills and refine your talents.

Art Classes
Located on Aldersbrook Road, ArtVenture Art Studio offers drawing, painting and clay sculpting classes. ArtVenture is especially suited to individuals who crave freedom of direction, allowing artists to work alone during Open Studio time. This is particularly advantageous for students looking to develop a portfolio with the help of instructor feedback. ArtVenture Art Studio also takes submissions from local artists to showcase in its gallery space.
Other art studios in London: Forest City Gallery, the Arts Project, IMAGINE

Dance Classes
Students who want to venture into the more interpretive style of the arts can do so within the Western gates. Campus Recreation offers a variety of fitness classes, and also a number of dance classes. Whether you’re an intermediate dancer or a beginner who just feels the need to express yourself with your body, Campus Rec offers classes ranging from ballet and tap to modern dance and belly dancing. While students will get a small discount for these classes, be prepared to pay a fee.
Other dance studios in London: Dance Steps, Ballroom Blitz dance studio, Swan Studio Dance.

Writing Consultation
Penn Kemp, the Canada Council writer-in-residence at Western, holds weekly office hours for any writer from the university or the London community looking for feedback or consultation. Kemp requests works be submitted at least one week prior to your appointment, and accepts works of poetry, fiction, creative, non-fiction and drama.
Other writing opportunities: look around campus for publications that offer student submissions — you’ll be surprised to discover the number of avenues open to students.

Photography
Shutterbug — Western’s photography club — is a good opportunity for budding photographers looking to learn their way around a lens. The club welcomes students from a range of backgrounds, providing opportunities for even the most experienced to learn from their peers.

Cooking Classes
Creativity need not be confined to an easel — instead of mixing paints, you can mix ingredients to create a beautiful final product. Kiss the Cook on Richmond Street sells every utensil necessary to accommodate your cooking needs. For students willing to spend the dough, you can learn how to make a classy dish to impress your roommates in the cooking classes offered several times a week.
Other cooking lesson locations: Jill’s Table, specialty grocery stores such as Loblaws and your own kitchen with a group of friends and a cookbook.

If you’re looking for ways to get creative, your options do not end here. The city of London has a number of locations where any photographer, musician, artist, filmmaker or writer can thrive. Keep an ear out for speaker series, such as those offered at Museum London, or poetry jams and performances at various venues around London. After all, it is through appreciation of other people’s art that you can learn your own identity as an artist.

Reading into film

According to most recent evidence and adjusting for inflation, the Hollywood classic Gone With the Wind has grossed approximately $1.5 billion over the years.
That fact alone should tell you everything you need to know about Hollywood’s history of adapting literary works.
While critics in recent years have attacked Hollywood for being overly reliant on “sequelitis,” the constant pilfering of material from books and graphic novels is a time-honoured tradition in Tinsel Town that receives very little attention.
In many respects, the decision to lift characters and plots from the pages is a natural one for directors and screenwriters. Increasing costs have meant films now cost tens of millions of dollars to make, and being able to show a proposed film already has a large fan base can mean the difference between getting a movie approved.
Consider the Harry Potter series: the books alone have sold over 400 million copies in 67 different languages worldwide. Thus it should come as no surprise the film series has grossed over $5.4 billion globally. It’s also a cycle that feeds into itself: because the books are popular, they are approved for bigger and bigger budgets, which results in a more faithful adaptation, which translates into more popularity.
If one were to look at the top-10 movies over the last decade, there isn’t a year where there haven’t been at least two adaptations making the cut.
But for every batch of successful adaptations, there are countless box-office flops in the genre of adaptive works. There is no better example of this than John Travolta’s Battlefield Earth — a film intended to be a faithful adaptation of scientologist L. Ron Hubbard’s science-fiction novel. Barely making back a third of its total budget, the film serves as an example of how adaptations do not always translate into financial successes.
Critically speaking, there are many great examples of films adapted from books which aim to exist as a separate entity. Author Chuck Palahniuk has always claimed the film version of his novel Fight Club provided an equally elegant ending to his work. Similarly, the violent Bret Easton Ellis novel American Psycho provided the base for actor Christian Bale to launch his career.
Whether you love them or hate them, the inexorable grind of turning books into movies is sure to continue. With works like Max Brook’s World War Z and a Peter Jackson directed Hobbit hitting the screens in the next few years, adaptations are here to stay.

So you want to get published?

You’ve spent months or perhaps years drafting and rewriting what you consider a work of literary genius. But after all the blood, sweat and tears that went into your piece, you’re left asking yourself the age-old question:
“How the heck do I get published?”
“You have to develop strategies for getting published,” explains Penn Kemp, a local poet, playwright and novelist and the English department’s writer-in-residence. “If you want to be a professional you have to work at it constantly, with as much diligence as you would any other job.”
Although competition is stiff in the literary world, it doesn’t mean hopeful writers should put their pens down just yet. There are many tips and tricks professional writers use to help them get ahead.

Get involved
“Networking is huge,” Melanie Chambers, who teaches a class in writing for publication, assures. “You can be the best writer in the world, but if you don’t know how to market and sell yourself, then you won’t be successful.”
However, making the necessary connections needed to break through can be intimidating.  Kemp insists getting involved with local writing groups is the best first step a young writer can make.
“Get to know as many writers as possible, start up your own zine with like-minded people,” Kemp says. “Think of yourself as an apprentice [and] you have to have a long apprenticeship. Any kind of mentoring is fabulous — you never know what opportunities will present.”

Look online
The World Wide Web creates vast opportunities for those starting out. Many websites, magazines and corporations hire writers to update and contribute to their website.
“Many new writers can break into a magazine’s web content first and then work their way up to print” Chambers adds.
The Internet has not only changed the way writers get published, but it has also changed way writers get noticed.
“I would tell new writers to start a blog, create a Facebook page, anything to promote yourself and get your work out there,” Kemp adds.

Do your homework
Don’t think you already know it all — there is always room for improvement. On top of taking advantage of the numerous professional writing classes Western has to offer, young writers are advised to read as much possible on their chosen field and subscribe to any magazine they are hoping to write for.
“Get and read traditional industry standard guides, such as the latest edition of The Canadian Writer’s Market or How to be Your Own Literary Agent. These can prevent you from heading down dozens of blind alleys,” Terence Green, a writing, rhetoric and professional communication professor at Western, instructs. “They can also teach you manuscript preparation and professional expectations and protocol. Too many would-be writers never do enough preparatory research into the field they propose to enter, handicapping themselves unnecessarily.”

Be realistic
“Like everything, if it were easy everyone would do it,” Green assures.
Few writers start off earning enough to make a living and often times writers have to seek other employment to support their craft.
“It can be very tough to make money as a full-time writer early in your career,” Mark Kearney, who also teaches writing for publication, adds. “Be open to writing on just about anything. The key is getting your foot in the door. The more you and your work get known, the more likely you are to continue to be successful.”
“It’s not easy to get published, and there are so many reasons why a work might not be accepted. Some literary journals will send you a note explaining why they’ve decided not to publish you — most will not.  If you continue to send good, polished work, editors will come to know your name and eventually find a spot for your piece,” Claudia Manley, who teaches in the writing, rhetoric and professional communication program at Western, insists. “If you get rejected once, try again [and] keep trying.”

Extra Content: From the experts

We know how hard it can be getting your work published — so let us help.  Our experts continue to share some tips, tricks and misconceptions of the industry to help you get your foot in that door.

Making a living

It is very difficult to plan to make a living writing, just as it is very difficult to plan to make a living in any of the Arts (music painting, acting, etc.). It can happen. It’s just difficult to plan it. For this reason, the mantra has always been keep your day job, get organized, have fun — see what happens.
—Terence Green

Don’t give up. I was making peanuts when I first started out but I surrounded myself with people who were also struggling and I made it work. I love—no, adore, what I do. I believe anything worth doing is worth the sacrifice and struggle.
At first I worked part time jobs as a host for Canadian Blood Services and I waited table in between writing; now, I write, teach and travel.
—Melanie Chambers

My first year as a freelancer, I probably made about $10,000.  Not bad for back in those days but still pretty hard to live on — and that was in Toronto.  You’re usually not known to a lot of editors at that point so you’re kind of starting from scratch — that can be difficult.
You need to be open to all kinds of markets and topics you might not normally consider.  Also, be open to writing some of those really short — under 200 words, stories in magazines that are often a way in for beginning writers.  They can be a really lucrative way to earn money.  You don’t always need to be writing the grand opus. And always, always meet your deadline.  Editors will love you for it.
—Mark Kearney
Know your market

Know the publications you in which you want to see your work.  Figure out what kind of work they publish by reading them.   Know when their reading periods are and what their parameters for submission are.  Keep updated.  Literary journals are often run by a university’s English department, and the editorial staff can change from year to year, which means that the editorial focus could change as well.
—Claudia Manley

As a new writer, it’s really important to develop a relationship with an editor. After you’ve written a few stories for them—ideas that you’ve pitched, then they start to trust you and send you ideas.
—Chambers

On average fiction — and particularly poetry, doesn’t pay as well as non-fiction, although if you hit big with a novel you can do really well.
I think, on the whole, that non-fiction work is a bigger marketplace in Canada than fiction.  Most magazines out there are focused on telling stories about people, events, news, trends, society etc.  The market for fiction in magazines (short stories, poetry etc.) has probably shrunk over the past 20 or 30 years.
—Kearney

The truth about the web

Newspapers have content just for the web that doesn’t appear in their print edition. This is true for many magazines as well.
—Chambers

The Internet has been huge in changing the industry.  Not only the wealth of information that’s out there and easily accessible, but the way that newspapers and magazines have changed how they deliver news.
Most publications have some sort of web presence.  Many use that to provide information on breaking stories or other information that doesn’t fit into the printed publication.  Those publications that are strictly online can certainly be a good way to get your work noticed given that so many people go online for their information now.  But at the same time, I generally find that online only publications don’t pay very well, if at all.  That’s a problem. If you want to be a successful writer you have to be able to earn a living.  Still, those online, possibly lower paying publications might be more open to new writers trying to break in.
The Internet is also a great, fast way to do initial research for stories. Finally it’s changed the whole thinking around copyright. Publications that take your work and then put it online without your permission not only cut into your potential way to earn money through re-selling stories, they also may be violating the copyright you own to your stories.
—Kearney

Edit, edit, edit—and then edit some more…

No one wants to waste their time proofreading your piece.  Publications get far more submissions than you might imagine.
Also, the publishing world can be very small, and the people in that world talk to each other.  If you become known as someone who sends unpolished pieces, editors may be disinclined to read future work no matter how good.
—Manley

Every little detail counts — meaning a simple spelling mistake can turn off an editor. First impressions are everything.
—Chambers

Misconceptions

I think one misconception is that they think they should just go out and write a story and then hope someone will be interested.  That can work at times, but usually the process involves coming up with a story idea that would work for a specific magazine and then pitching the idea to the magazine before you start doing too much work on it.
New writers think that magazine writing is glamorous and that there is a lot of money to be made.  It can be [glamorous] down the road, but often, new writers will find themselves writing stories about subjects they may not know much about or be too interested in. Sometimes those un-glamorous stories are the best way to break into the market.
As much as there is that sense that being a writer is all about creativity and being artistic, there’s a really strong business side to it.  Most writers want to make money [but] need to know how to negotiate their best rates and keep track of all the financial aspects that go into being a writer.  It is a business [after all].
—Kearney

The New Dimension of Film

About one year ago, the Gazette wrote an editorial about the future of 3-D entertainment. At the time, we argued the technology was doomed to remain a gimmick as long as it was solely associated with children’s films. Well, it looks like we’ll have to eat our words, as the success of Avatar has established 3-D as a bankable commodity.

Even though 3-D technology has been around since the 50s, it has been repeatedly pegged as a novelty style, suited for a niche market rather than widespread application. Although Avatar brought in more money than most countries’ gross domestic product, it is still difficult to imagine this year’s Best Picture recipient — Hurt Locker — being shown in 3-D.

As it stands, there are numerous benefits to having more 3-D movies. In addition to providing a new innovative channel to filmmakers, the new technology means less people will be pirating films and more will be going to the theaters, since a true 3-D experience cannot be replicated at home— barring substantially expensive equipment.

One may even wonder how much of a future home 3-D systems have. While a movie theatre’s large viewing area may be a little easier on your eyes, the close setup of a home system would be likely to cause migraines.  Beyond that, the isolation brought on by the 3-D experience has the potential to remove much of the social aspect watching a movie at home can have.

Despite obstacles, the home theatre industry has boomed over the last few years, and 3-D technology is becoming a tantalizing new area for manufacturers and directors.

The true test of 3-D will be how it is used by filmmakers. In 1939, when colour film was still in its infancy, director Victor Fleming brought The Wizard of Oz to a new level by draping the fantastical land in bright colours.

Only time will tell how instrumental such techniques will be in the coming years. There is potential for contemporary directors to try their own hand at experimenting with the range of possibilities brought on by 3-D and increased CGI, especially if they feel they have reached their artistic limits with current technology.

Currently 3-D technology is an expensive novelty, so the barrier of cost   will have to be removed before we can truly stretch the limits of filmmaking. With Avatar clocking in at well over the $300-million mark, budgets for 3-D films remain far out of reach for the vast majority of filmmakers.

Looking back, it’s interesting to note this time last year our editorial board wrote that it was “unlikely we will see a 3-D movie winning an Oscar anytime soon.”

While we are as equally uncertain as to where 3-D is going in the future as we were a year ago, the potential such technology brings is undeniable and something we will all hopefully be able to take advantage of.

Food for thought on OSAP funds

To the Editor:

While I think what the Food for Thought campaign is trying to do is valuable, I also think we are missing the other side of the story. I share groceries with a roommate, we take turns cooking to save time and with the occasional meal purchased on campus we spend about $250 a month combined. That’s about half of the OSAP allowance. We also frequently feed our friends, who almost without exception comment on how well we eat. It is abundantly possible to eat well on a small budget. So buy a cookbook from Amazon and start developing a valuable life skill.

Also, when I hear the stories of how my parents lived when they were in university, I can’t help but consider how fortunate we are. Inflation aside, the average standard of living for students today is pretty luxurious compared to what my parents endured, thanks largely to OSAP and other government loan programs. I also wonder if people fully realize that as we demand more money, we also increase our debt load — and we love to complain about that too.

Andrew Beach would be wise to consult a registered dietician. The university employs one that meets with students for free, a valuable service that many don’t even know about. Since it seems that this is an area students seem to struggle with … perhaps a helpful Gazette article is in the works?

—Katie Bestvater

Master’s Music Performance

Food for thought on OSAP funds

Re: “Biting the Hand that Feeds” Mar. 9, 2010

To the Editor:

I found your editorial on the Ontario Undergraduate Student Alliance’s Food for Thought challenge to be well-intentioned, but misinformed. While any shock campaign needs to be examined to see if it holds ground, I think this one passes that test. While I have been lucky enough to not need help from the Ontario Student Assistance Program, too many of my friends have required assistance from the program and found it lacking.

The logic proposed by the Gazette editors is flawed, insofar as the premise that one can work to supplement OSAP income is incorrect. After $1,700, or about $50 per week for the eight months, any income made in a part–time job is clawed back by OSAP, creating a disincentive to earn $50 per week, which must be spread around all the cost categories OSAP provides.

Work Study, while also a valid option, maxes out at $1,000 per semester. One could work outside the system, but the necessity of doing so, only further reinforces the point that the system is broken. As for students who may abuse OSAP, that is the unfortunate reality of many government programs — assistance which should be going to help people learn is going to a resort in Cancun. However, this is not reason enough to write off the genuine need of many of those in our own student body.

So long as we hold to the notion that anyone who earns admission to one of Ontario’s post-secondary institutions deserves to go, we must ensure that the system supports this.

Fundamentally, the OSAP allowance estimate is inaccurate and Andrew Beach as well as the other students from across Ontario are going to be trying to prove that point through the Food for Thought campaign. I hope they are successful, and that the system gets its needed reforms, like greater allowances for working while in school, easier repayment plans, and/or the whole slew of well-researched policies OUSA has proposed for the government of Ontario.

—Ben Singer
Political Science IV

SFU goes digital

Simon Fraser University’s Surrey campus is expanding into the third dimension.

SFU unveiled their new digital theatre last Thursday, with $400,000 worth of equipment, software and installation donated by Surrey-based Lightyear Digital Theatre.

“We were actually approached by Lightyear who were looking for somewhere they could show off their technology,” Terry Lavender, communications manager for SFU Surrey, said. “[Lightyear] offered to build the theatre free of charge on the condition they could use it occasionally to showcase the technology to business partners.”

Lavender mentioned SFU’s reputation for being on the cutting edge of technology is ultimately what made the collaboration between SFU and Lightyear such a good fit.

In addition, SFU’s theatre is fairly new, having been built in 2005. This meant it was fairly easy for Lightyear to retrofit.

The theatre features include an active 3-D display, surround sound and digital broadcast technologies.

While Lavender noted faculty will be able to take advantage of the theatre’s 3-D capabilities in lecture, it will ultimately be the students who benefit the most.

“Students in SFU’s school for interactive arts and entertainment will be able to [produce 3-D] movies themselves and showcase them,” Lavender said.

Michael Stevenson, SFU president, agreed all students will be able to take advantage of the new technology.

“SFU students will benefit from being able to create exciting new content, whether movies or digital effects, pushing them and their works to new limits as they learn to overcome the challenges of working in high-definition and 3-D,” Stevenson said in a press release. “SFU faculty will also use this platform for their research.”

SFU has yet to realize the possibilites the new theatre will open up for students and staff.

“We’re not going to be able to find out what it will be used for until people start using it,” Lavender concluded. “Staff and students are really excited about the prospect of [using the theatre], but we won’t really know what people can do with it until they are able to use it.”

—Meagan Kashty

Infection spreads to campus

With the H1N1 scare behind us, Western students should be wary of other, more common infectious diseases.

Following the detection of meningococcal disease in a Western student, Middlesex London Health Unit is urging students to take precautions to prevent the illness from spreading.

Symptoms of meningococcal include fever, stiff neck, severe headaches, nausea, vomiting and sometimes a red pinpoint rash. The disease can lead to meningitis, a swelling of the spinal cord and lining of the brain, or meningococcemia, an infection of the blood.

“There is a vaccination program for the most common strain of meningococcal bacteria circulating in the province,” Cathie Walker, manager of infectious diseases for the Middlesex London Health Unit, explained. “But the strain that has been circulating most recently in London is not vaccine-preventable.”

Walker noted young adults are among those at the highest risk, due to students living in close quarters and sharing belongings.

“We would advise that students keep their hands away from their faces, not share food, drinks, lipstick or mouthpieces of musical instruments. Keep your distance from people,” Walker said. “We don’t think the no-kissing rule would fly at all.”

—Gloria Dickie