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a, Opinion

When, if ever, can speech be sanctioned?

Is there free speech on our campus? That depends on who’s talking. According to the libertarian Justice Center for Constitutional Freedoms (JCCF), when it comes to protecting controversial speech, McGill University—like most Canadian universities—fails miserably. In the wake of these accusations, we must rethink the boundaries we set between offensive speech and simply controversial speech.

It’s worth noting that the report has received sparse coverage in campus media. Aside from an editorial the Tribune ran last week (“Safe Spaces on campus do not repress free speech”), there has been no mention from the other two main English campus outlets—the McGill Daily and the Bull and Bear. Nor did the news sections of any of the major campus papers reach out to either the Students Society of McGill University (SSMU) or the McGill administration for comment.

While the JCCF report devotes a significant portion of the report to discussing onerous protest regulations imposed by the administration, it reserves particularly pointed criticism for SSMU.

Upon looking at SSMU’s Equity Policy, we are confronted with the clash of good intentions and good policy. Intended to create a safe and accepting campus environment for historically disadvantaged groups, the policy is criticized by the report for employing an overly broad definition of “oppression”—allegedly broad enough for the speech of students and clubs to be chilled because of nebulous conceptions of ‘offence.’

On its face, the Equity Policy, and the broader concept of a speech code, is incongruous with our conceptions of free speech.  In the ‘real world,’ while there are sanctions for libelous speech and active incitements to violence against groups, we generally see speech as something that can and should be equally accessible to everyone regardless of one’s political views.

However, one of the major differences between the university and the outside world is the fact that a person can walk away from hateful, prejudiced, or simply hurtful speech, in a way that one can’t meaningfully do on a university campus. On the university campus, one can’t meaningfully feel whole or accepted if there are not norms of tolerance.

This is why there was a justified uproar about some costumes worn at SSMU’s Four Floors Halloween party several weeks ago. The focus of the controversy was the appearance of costumes depicting blackface. This particular costume is uniquely problematic because of its origins in minstrel shows—plays shown in the Jim Crow South that depicted blacks as generally inferior. This is a case in which it is fair to declare something ‘out of bounds,’ not simply because it references such hurtful history, but also because it does not provide any redeeming intellectual value.

On the other hand, the party also featured costumes invoking Mexican stereotypes. When the Latin American students’ organization on campus was asked to comment on these costumes for a piece in the McGill Daily, they responded that while the stereotypes were bad, they did not constitute an offence because the mockery was “not intentional.” This response was not printed in the paper, but it reveals the dilemma in trying to make campus a safe space for the marginalized; offence and oppression are all in the eyes of those who feel offended or oppressed.

This is the crux of the question. As the Equity Policy stands, any perceived slight upon one’s identity can become grounds for sanction—as we saw in several incidents last year, such as with respect to a pro-Israel event where organizers were sanctioned as “oppressive” because of the title of their event, “Israel A-Party.” The challenge is to create a policy that limits discriminatory speech in circumstances when there is clear intent to harm—or actual harm—and to err on the side of free speech in cases in which the offence is less clear.

To this effect, the least disruptive solution might lie in simply interpreting the policy correctly and as written. There are two key questions on SSMU’s page for potential complainants: first, “Is the issue an interpersonal or political one that may not require SSMU involvement?”; second,  “Is there an imbalance of power involved?” Several of the more controversial applications of the Equity Policy, from the earlier-mentioned sanction against the pro-Israel event, to intra-executive disputes inside student organizations, would not have merited serious consideration under a more literal interpretation of those sections. SSMU, for example, was under no ‘requirement’ to involve itself in the complaint over the Israel event, as the dispute was not even that the event’s content was discriminatory, but rather that its original title, “Israel A-Party”—which intended to counter-message Israeli Apartheid Week—did not sufficiently adhere to the political views of the complainant.

The pursuit of free speech and the pursuit of a tolerant campus are not inherently conflictual ideals.  What the JCCF report reminds us is that, while our campus is generally well-intentioned when it comes to student expression, it is too willing to craft vague, nebulous regulations that are used by some to stifle the speech of others. Solving this issue could come in the form of a rewritten Equity Policy, but the most immediate solution is to simply interpret the policy more strictly than it has been.

a, Arts & Entertainment

Frances Foster: dream catcher extraordinaire

Frances Foster’s paintings are a look through the eyes of another—an exploration of mind and memory. The Montreal-born artist and Dawson college alumna has received much praise for her work, on display in U.S. and Canadian collections throughout the past 20 years. Her solo painting exhibit Selective Memory marks Foster’s return to Montreal.

Selective Memory showcases Foster’s talent for conveying the ephemeral. The exhibit’s title alludes to Foster’s statement that her work is a “study in memory and dream fragments threaded back together.” Drawing upon old memories, dreams, and daydreams, the exhibition explores the residue and impressions of past events, kept on as snatches of image and feeling.

Like half-forgotten dreams, Foster’s paintings are blurred, subdued, fragmented, but oddly and strikingly beautiful. Greens and blues dominate, undercut by neutrals that ground the fleeting images presented by the artist. Forms—faces, heads, bodies, landscapes—emerge from the colours like tendrils emerge from steam. It seems effortless, and as dream-like as the artist intends.

Oil paint is supplemented by beads, gold leaf, feathers, jewel fragments, and glass. In addition, a number of techniques are put to outstanding use, adding to the show’s intriguing nature. Foster employs impasto, the technique of thickly layering paint to add a 3D effect, sometimes sparingly, sometimes with abandon. The palette knife seems to be one of her tools of choice, seen in her application of paint to imitate plaster. With thick and smooth brush strokes, as well as cracked paint, Foster adds to the impression of ancient, forgotten memory.

Though all her paintings are beautiful and engaging, one is particularly striking: blues, pinks, and yellow-greens are blended together to bring to mind a Renaissance painting of sky and cloud near sunset. A small bald head, with empty background for eyes, thickly and Impressionistically pasted on with khaki paint and dabs of gold, adorns the centre of the canvas. The empty eyes stare out at the viewer, the implied nose and mouth stubbornly set. A feather is placed to the right of the head, stark white in contrast to the rest of the painting.

Foster’s show is impressive: multi-media, multi-dimensional, multi-faceted, as well as deeply, remarkably, and gracefully layered. She takes a great deal of the good in contemporary art and makes it even more emotive, even larger than life. Yet she also translates it into something intrinsically human and makes it accessible, understandable, and meaningful. Everyone can relate to these paintings and that feeling of déja-vu, of trying to desperately grasp on to the memory of last night’s dream the moment you wake up, of trying so hard to remember that one little detail that someone said happened last night. Foster takes those feelings, paints them, and then shares them.

Selective Memory runs until Jan. 11 at the Wilder & Davis Gallery (237 Rachel est). Free admission.

a, Arts & Entertainment

Could Be Good

Comedy: Mike Delamont at the Mainline Theatre

Comedian Mike Delamont, who has sold out performances from coast to coast, brings a trio of shows to Montreal this week. Mike Delamont: Husky Panda, as well as the acclaimed God Is a Scottish Drag Queen and its sequel, will enjoy a four-day run.

Nov. 14-17, Mainline Theatre (3997 St-Laurent Blvd.) Single tickets $17.

Theatre: Di Komedyantn (The Sunshine Boys)

Yiddish is dwindling, but the Segal Centre is keeping the language alive with its Dora Wasserman Yiddish Theatre series. This week, viewers have a chance to see Neil Simon’s comic tale of two estranged vaudevillians brought together once more, translated to Yiddish.

Nov. 13, Segal Centre (5170 Côte-Ste-Catherine). Tickets starting from $12. 

Music: Hip Hop Karaoke at Le Belmont

Every third Thursday of the month, amateur rappers and karaoke buffs converge on Le Belmont. Pick a song from the event’s playlist or send your favourite track to the organizers, and rock the mic like Run, DMC, or Jam-Master Jay.

Nov. 15, Le Belmont (4483 St-Laurent Blvd.).  Doors at 10 p.m., admission is $10 after 11 p.m.

Dance: Aszure Barton & Artists: Busk & Awáa

The renowned Aszure Barton, former Alberta native, brings two dynamic dance productions to Montreal this week. With Busk attracting worldwide acclaim, this is a rare chance to see one of contemporary dance’s master at work.

Nov. 16 and 17, Theatre Maisonneuve (Place-des-Arts, de Maisonneuve Blvd). Tickets starting from $30.60. 

Music: HODIE (This Day)

Musica Orbium, together with the I Medici di McGill Orchestra (McGill Medicine’s own staff and students) and the Concerto Della Donna women’s choir, presents several choral pieces,  including Ralph Williams’ HODIE (This Day).

Nov. 18, 7:30 p.m. Notre-Dame-de-Lourdes Church (4949 De Verdun St.) Student and unemployed tickets are $20.

Brandon Vickerd - Chopper. (K. Jennifer Bedford / Courtesy of Art Mûr)
a, Arts & Entertainment

The introspective and the aesthetic

The temptation to force similarities is there, but the styles and aesthetics seem decidedly different.

Upstairs, blurred dreamlike photographs of the Danish landscape are in a room adjacent to motorcycle-inspired sculptures. A floor below, photographs with sharp geometric angles hang across from colour-coded diagrams with a sociopolitical focus. Similarities between these four pieces are few and far between.

“These are four solo shows in one single space,” notes Ève De Garie-Lamanque, a curator at the Montreal gallery, Art Mûr. Though its November exhibition might be without a unifying theme, all four pieces adhere to the gallery’s general philosophy—that is, aesthetics alone do not suffice; art also needs to provoke thought.

This is particularly clear in Nicolas Grenier’s exhibition: Proximities. His oil paintings explore the dystopia in society by showcasing the absurdity behind its current structure. After spending four years in Los Angeles, Grenier grew increasingly aware of the city’s strong social contrast. His studio was located in Skid Row, where the visible presence of a large homeless population served as a stark contrast to the city’s more affluent regions.

“Many people associate L.A. with Hollywood and celebrities,” comments Grenier. “They often overlook the working class.”

In his piece, We Enjoy the Proximity of Others, a colour-coded diagram depicts the division of society through political affiliation. Though the categorization seems neatly organized, the piece’s irreconcilable tone mocks the strain of integrating a broad socio-political spectrum into a simple diagram to create “a well balanced community.” The diagram serves as a legend to a larger oil painting of urban arrangements. The desolate landscape guides the viewer’s attention to the shell and structure of society, leading the viewer to question the ideas of integration and mindless adherence to the current societal framework.

Next to Grenier’s work is Jakub Dolejš’ The London Set. His photographs hold an enigmatic quality: sharp angles composed of glass, mirrors, lights, and occasional chromatic bursts all twist perceptions. Photographs like Smoke and Mirrors hint at deception, but Dolejš suggests that his work is more about empowering the viewers. His images carry clues to render his work less abstract and more contextual, but the opus requires the viewer to unravel its mystery. The observers themselves choose what to see, depending on their mental and physical state.

Ewa Monkia Zebrowski’s en passant also features photographs, though largely of a different nature. In contrast to Dolejš’ strict, static structures, Zebrowski endows her images with a natural fluidity and dreamlike movement that resemble distant memories. Soft, blurred hues of the Northern Danish landscape mimic a half-painting half-photographic appearance, creating an image that seems equal parts memory and reality. Time, travel, and impressions all merge to create a sense of self against barren and powerful countryside scenery. Pinned to the wall on thin paper, her photographs evoke a different feeling from those of Dolejš’ that rest behind shiny glass and dark frames.

In addition to paintings and photographs, Art Mûr’s exhibition also includes a sculptural installment. Brandon Vickerd’s Chopper features sculptures inspired by the mechanics of the motorcycle. Having shared a studio with a custom bike shop, Vickerd noticed how many of the bikes remained “unrideable, yet beautiful.” The artist explained “in art, there’s often the debate between form versus function.” Vickerd’s work mainly centers on the former, with a whisper of the latter. The bare essentials of his abstract works diverge from their motorcycle origins, but the metals, steels and car paint still possess a dormant speed and power reminiscent of the sculptures’ ancestry. The sleek elegance of his work captures a craftsmanship that, in our age of disposables, seems too often forgotten.

With four distinctively different styles, Art Mûr’s November exhibition caters to diverse artistic tastes. However, each show relies on a combination of thought and sight that supports Art Mûr’s philosophy. The enjoyment of the exhibition not only depends on the visual experience, but on the questions and ideas that each work stimulates.

Art Mûr’s fall/winter exhibition line-up runs until Dec. 22 (5826 rue St. Hubert). 

a, Arts & Entertainment, Music

The Coup: Sorry to Bother You

The outspoken, openly communist The Coup did not produce their sixth album, Sorry to Bother You, with easy-listening in mind. Rather than concerning themselves with typical hip-hop mainstays like money and women, The Coup use music to disseminate ideology

The album keeps its distance  from the over-produced hits often popular today, and offers a refreshing escape from mainstream radio. Sorry to Bother You doesn’t stick to conventional ideas of rap. The Coup’s front man and producer, Boots Riley, chose unusual instrumentation to vary the band’s genre-blending pieces. The album has a wide variety of musical contributors as well, from instrumentalists to groups like Das Racist.

“The Magic Clap” uses a signature clapping rhythm to drive speedy lyricism. The song’s original touch, however, comes with the accordion in the background. “Strange Arithmetic” is a catchy combination of synth and repetitive verse, forming Riley’s call for teachers to show students “how to fight for what’s needed.” “Your Parents’ Cocaine” would resemble a cheeky schoolyard chant with its heavy employment of kazoos if it wasn’t criticizing the aristocratic one per cent. “Violet,” on the other hand, is a more low-key affair. It feels intimate, and the call and response between Riley and Silk-E, alongside its addition of classical string instruments, makes it an interlude for the rest of the album. Another highlight is “The Guillotine” which has a memorable melody and enticing group chanting.

Sorry to Bother You’s title itself is, perhaps, a nod to listeners’ reactions to the album. As a creative effort, it dutifully delivers its message over, and over again. In combination with its heavy political views, however, it could alienate or attract on its views alone. Either way, one can’t help but notice that Riley wants more than to sell records.

a, Arts & Entertainment, Music

Donald Fagen: Sunken Condos

If one had to sum up Donald Fagen’s latest offering, Sunken Condos, in a single word, it would unquestionably be ‘smooth.’ From the funky five-minute opener “Slinky Thing,” the album establishes a mood of sultry reverie that holds (although admittedly not always so effectively). Nevertheless, the nine tracks constitute an accomplished, confidently suave release .

The album’s strength is Fagen’s lucid lyricism. He avoids the abstract un-interpretability of some former works, instead offering a series of insightful witticisms and enjoyable allusions (“Memorabilia” is a standout on this front).

Some tracks, “Slinky Thing” notable amongst them, exude the chilled-out jazz ambiance one may have come to expect from a Fagen album. The proficiency with which this is accomplished legitimizes the release as an evolution, rather than a mere continuation, of Fagen’s work. Others—try “Miss Marlene” for a falsetto-heavy example—go further toward stretching the man’s repertoire, in this case through their dramatic emotional intensity.

‘Smooth’ is, however, by no means synonymous with interesting. The album, while remaining innocuously enjoyable throughout, falls short of the originality or creativity  that one hopes for, and expect, from such a mature and accomplished musician. The end result is somewhat uninspired, and comes across as perfunctorily lacklustre more than flawlessly mellow.

Despite this, Sunken Condos  is an enjoyable and thoroughly listenable work from a man, whose impact on today’s music scene is undeniable. It’s worthy of at least a few spins, if only to experience just how ‘groovy’ a 64-year old can be.

Senta (Maida Hundeling) charms the audience with a soaring Montreal debut. (Yves Renaud / Opéra de Montréal)
a, Arts & Entertainment

The phantom menace, Wagner style

Written in 1841, The Flying Dutchman tells the story of a man condemned to roam the sea for all eternity, until he finds a woman who remains faithful to him until her death. Paired with a celebrated musical score, this dark love story requires virtuosic performances from the entire cast. Opéra de Montréal rose to this challenge with a group of extraordinarily talented soloists whose pronounced level of musical ability and acting prowess are rarely seen in the world of opera.

As the curtains rise at the beginning of Act I, the audience is confronted with a world that appears tipped on its side. The large set rests at an angle inclined from the stage, creating the illusion of a boat rolling on the sea. This unconventional staging works well for the opera’s visual aspect; the chorus members stumble and fall over each other on the unbalanced stage, creating a believable portrait of the sea torrents. The confines of the set, however, hamper the performance’s acoustics. Just as the pit orchestra is muffled when located below stage, the soloist’s voices are smothered by the box wherein they perform. As a consequence, the audience pines for the glowing and sonorous acoustics characteristic of the hall, and the soloists struggle with projection.

Soprano Maida Hundeling, however, remains one of the few cast members unaffected by the constraints of the set. While the Dutchman (Thomas Gazheli) struggles to project his voice above the orchestra, Hundeling, as the phantom sailor’s love interest Senta, has a voice that resonates across the hall in all registers. From her dark and rich low notes, to her sparkling highs, she delivers a masterful and convincing performance, easily the highlight of the evening.

Throughout the opera, Gazheli walks with the weight of a man who has endured a thousand years of suffering, and his voice quavers under the heavy burden of the Dutchman’s sentence. While he proves to be a sympathetic character, Gazheli’s performance feels tired at times, and slows the pace of the piece. However, in comparison to Erik (Endrik Wottrich), a hot-blooded huntsman in love with Senta, Gazheli’s minimalist acting draws the audience’s attention. Gazheli captures the Dutchman’s lack of hope for salvation and his fatigue after years of torment, making for a convincing and powerful performance.

In working around their stage set as well as the constraints of time, Opéra de Montréal  is forced to make certain adaptations to the ending of the original opera. Although this modern interpretation may seems abrupt to the unsuspecting audience member, the performance was compelling and artistically refined—nothing short of Opéra de Montréal’s global reputation.

The Flying Dutchman can be seen at Place des Arts, Salle Wilfrid-Pelletier, Nov. 13, 15, and 17 at 7:30 p.m. Tickets from $50.

a, Science & Technology

This Week in Research

HIV Vaccine

Researchers at the University of Western Ontario and Sumagen Canada are one step closer to creating a marketable HIV vaccine. Last week, Dr. Chil-Yong Kang successfully completed the first phase of human clinical trials. The vaccine SAV001-H, is a genetically modified, killed whole-virus vaccine. First, the virus is genetically altered so that it does not cause disease, and then inactivated with chemicals and radiation before it enters the body.

The human immune system works by producing cells that recognize and destroy invaders. When you contract a new virus, it takes time for the body to react and the delay results in illness. However, the virus will be destroyed immediately the next time it enters your system. The closer a vaccine is to the real virus, the more effectively it will prepare the body to defend against that particular attack. The advantage of a whole-virus vaccine like SAV001-H is that it closely mimics the real HIV virus. Because HIV mutates quickly, vaccines containing only parts of the virus are unsuccessful in guarding against the disease.

Patients participating in the phase I trial were already HIV-positive, so the test only proved that the vaccine does not produce adverse side-effects. The next two phases of the trials will test whether the vaccine effectivly prevents HIV infection. Dr. Kang’s lab will conduct the next test phases on volunteer patients who are HIV negative, but who are at high risk of contracting the disease. The researchers will give half the group a placebo, and the other half the vaccine. After several years, researchers will take stock of how many from each group contracted the disease.

Spanish researchers are currently developing another HIV vaccine—MVA-B. Scientists there say that the MVA-B vaccine has the potential to reduce the disease to a chronic mild infection, on par with the herpes virus.

‘Quantum weirdness’ in computer chips

As electronic devices like cell phones shrink every year, the computer chips inside them are shrinking too. Physicists at McGill and General Motors R&D recently published a study in the Proceedings of the National Academy of Sciences on stretching the limit of this trend. Computer chips have gotten so small that some circuits are merely atoms in thickness, and these thin strips of metal are subject to strange phenomena.

McGill researchers measured the changes in current flowing between two types of metal—tungsten and gold. As the connection between the metals got smaller and smaller, they found that current losses were unexpectedly high after a certain point—a sign that there are challenges ahead for ultra-tiny electronics.

In a recent interview with the McGill Reporter, McGill Professor Peter Grütter, who worked on the experimental side of the research, described the behaviour with an analogy of water flowing through a hose.

“If you keep the water pressure constant, less water comes out as you reduce the diametre of the hose. But if you were to shrink the hose to the size of a straw just two or three atoms in diameter, the outflow would no longer decline at a rate proportional to the hose cross-sectional area; it would vary in a quantized ‘jumpy’ way.”

Researchers often find unusual behaviour as they zoom in on tiny processes; this phenomenon is called ‘quantum weirdness.’ Jesse Maaseen, who works with a McGill Physics research group, used cutting-edge electrical modeling to back up Grütter’s experimental results.

While there are ways to work around quantum weirdness, by carefully choosing materials for example, this research sheds light on a host of new challenges that will face computer designers as we enter the age of nanotechnology.

75-year-old track stars

McGill researchers are in the process of studying elite athletes over the age of 75 for clues on how they have managed to maintain fitness. Tania Taivassalo and Russell Hepple, both associate professors in McGill’s Department of Kinesiology and Physical Education, are in the process of studying athletes like Olga Kotelko—a 93-year-old track star who holds 17 world records in the 90-95 age group. Taivassalo and Hepple will then measure the athletes’ aerobic power (VO2 max), bone density, fat content, and muscle strength and endurance, comparing them with non-athletes in the same age range. The researchers will also measure cognitive ability, hoping to build on recent research that suggests a link between exercise and mental longevity.

Taivassalo and Hepple are interested in discovering how athletes like Kotelko have managed to retain impressive muscle mass. Usually, muscle fibres and the neurons that activate them deteriorate as part of the aging process. It’s possible that Kotelko’s body has a natural resistance to this deterioration that could provide important advances in anti-aging medicine. Using samples of thigh muscles, the researchers will be testing the participants’ mitochondrial function (mitochondria are responsible for energy production at the cellular level), as well as their fat content. Researchers are also combining the athletes’ blood serum with non-athlete muscle, to see if it will improve regeneration.

Athletes from around the world will be participating in the ongoing study, and Taivassalo and Hepple are also looking for non-athletes to continue their work.

Photos: a syringe (blog.timesunion.com), a wormhole (quantumweird.wordpress.com), Olga Kotelko (canadianmasters.ca).

Mozart may have had an ASD. (www2.bon.de)
a, Science & Technology

The tentative link between autism and genius

Jacob Barnett is only 13, but he is set to become a paid atrophysics researcher at Indiana Unversity-Purdue University Indianapolis. He believes that he is close to disproving Einstein’s theory of relativity.

Matthew Savage is now 20, but he was solving complex mathematical problems at the age of six, and by the age of 12 had released five jazz albums. Although neither of their parents had experience in mathematics, astrophysics, or music, both of these wunderkinds developed talents in these fields at very young ages. Both have been diagnosed with Autism Spectrum Disorder (ASD).

ASD is an umbrella term for a wide number of developmental disorders. Most common amongst them are autism and Asperger’s syndrome, which are characterized by limited social interaction and communication, as well as repetitive patterns of behaviour.

A genius, on the other hand, is traditionally defined by extraordinarily natural intellectual or creative ability.

On the surface, there doesn’t seem to be an overlap between ASD and genius. However, many have speculated that some of the world’s greatest geniuses—from Einstein to Newton, Michelangelo to Mozart—had autism spectrum disorders such as Asperger’s syndrome.

Can special insight or genius arise from the inability to form strong social connections? Do attention to detail and constant repetitive patterns of behaviour result in genius when applied to music or to memorizing mathematical formulae at a young age? Is there really a link between autism and genius? Not all geniuses have autism, and not all autistic individuals are geniuses.

A study by Joanna Ruthsatz and Jourdan Urbach, published June 2012 in the peer-reviewed journal Intelligence, examines eight child prodigies, ranging from six to 23 years of age. These prodigies had a variety of specialties, ranging from cooking to computer programming, music to mathematics. They were tested on the Stanford-Binet intelligence scale, a measure of both verbal and non-verbal intelligence, and also took the Autism-Spectrum Quotient (AQ) test. The results were surprising: generally, the prodigies’ IQs were only slightly higher than normal, ranging from 108-142 (the US average is 100), but they all had excellent working memories—an ability to store and sort information—in the 99th percentile.

Of the eight prodigies, only three of the eight had been diagnosed with ASD, but nearly all had family members with ASD. When tested for autism, however, these prodigies consistently displayed only one autistic trait: attention to detail.

The origin of childhood genius is part of a long-standing debate over development: nature vs. nurture. Individuals like Savage and Barnett, as well as Mozart, appeared to have an inborn talent at music or mathematics.

Others are prodigies and geniuses because they worked at it. In his book Outliers, Malcolm Gladwell provides numerous examples of individuals who became exceptionally skilled after working for 10,000 hours.

Autistic children appear to have an upper hand in both cases: their brains may be better designed for certain tasks (nature), and an affinity for constant repetition is an important trait in the 10,000 hours it requires to perfect a task (nurture).

However, many prodigies, such as Alexander Prior (who became conductor at the Seattle Opera at the age of 17) and Andre Agassi (who was playing tennis by the age of 2) that do not fit within the diagnoses of autism. The link between autism and genius remains ambiguous.

There has been a dramatic increase in ASD across the U.S. according to the Centers for Disease Control and Prevention. The National Epidemiologic Database also reports increases in at least three Canadian provinces. Current prevalence in the U.S. stands at one in 88 children, a 79 per cent increase in ASD since 2002. The reasons for this increase are not yet known, but  they are at least partly due to increased knowledge and diagnosis by physicians. Whether this result in a generation with more geniuses remains to be seen.

Guelph’s men and women teams claim their seventh and eighth straight CIS championship, respectively. (Geoff Robins)
a, Sports

McGill runs to respectable finish at Nationals

On Saturday, members of McGill men’s and women’s cross country teams participated in the 2012 national championships at Western University. The event featured 17 female and 18 male teams from across the country. When the dust settled, the Martlets had finished seventh overall in their 5km race, while the Redmen, who ran 10km, finished 17th.

Guelph University’s Andrea Seccafien took home the gold and the women’s Athlete-of-the-Year award with a blistering time of 17:23. The Martlets’ top finisher was Jessica Porfilio, who capped off a strong campaign, and placed 24th with a time of 18:16. She was followed shortly thereafter by teammate Sarah McGuaig at 18:45, good for 39th place. Julien Flynn rounded out the top fifty performances for McGill, crossing the line at 18:51 in 44th place.

The seventh-place finish may come as a slight disappointment for the Martlets, who entered the tournament as the fifth-ranked team. However, the real story of the championships was the Guelph Gryphons, who claimed the top two spots, as well as an additional three in the top eight, en route to their record eighth-straight banner in women’s cross country. Joining Guelph in the top three were the McMaster Marauders and the Western Mustangs.

Over their season, the Martlets won three meets. The first came at the McGill Open, and the others  at the Vert-et-Or, and University of New Brunswick Invitational, respectively. In addition, they claimed fourth at the Western International.

Guelph runners stole the show once again, this time on the men’s side. They claimed second, third, and fourth place. This performance ensures them another national banner, to add another to their previously established CIS record total of seven straight national championships. Individually, University of Regina star Kelly Wiebe dominated, claiming first place in a course record time of 30:21, beating the previous record set in 1997 by 36 seconds. Unsurprisingly, he claimed the men’s Athlete-of-the-Year nod.

For the Redmen, rookie Benjamin Raymond from Laval ran to a team best 56th place finish, coming across the line at 33:27. Rookie Charles Litwin joined Raymond in the top 100, finishing 91st.

The Redmen put forth strong performances all year. They finished second at the McGill Open, and recorded a pair of fifths in the Sherbrooke and New Brunswick meets. The exciting, young speed of Raymond and Litwin bodes well for the future of the team, as they will be back next year for their sophomore campaigns.

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