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a, Opinion

Why I remember

Today marks the 11th anniversary of the attacks on September 11th, 2001. On that day, I was a fifth grader in downtown Manhattan. I remember that day, and I remember every September 11th after that. Every year, I’m shocked by the strength of my feelings. Every year, I feel the need to say something, though it seems I don’t have anything new to add.

It still jars me to hear ‘September 11th’ being used  as regular date—to mark the due date of a class assignment or an album release. To me, it should be retired and hung up on the rafters next to Patrick Ewing’s jersey in Madison Square Garden.

But I hear it used often enough to think that the rest of the world is beginning to move on. 9/11 is slipping from immediate tragedy backwards into history. In the generations to come, the bottomless pit-in-stomach feeling will be absent from the narratives of the textbooks that record it. It’s impossible to keep this feeling as fresh as it was when the towers fell, when the numbness abated, and the fires finally died out. Its potency will dilute with time, and I think that is good and normal.

This is important, because I understand now what I couldn’t before: to appreciate the irrational feelings of others that are born of their own traumas. Death happens in such magnitudes, and at what feels like such an accelerating rate, that it’s easy to become desenstized to it. HIV/AIDs claim one hundred times the causalities of 9/11 every year, globally. The recent series of mass shootings in Montreal, Virginia, Norway, and Colorado are both shocking and numbingly familiar.

It’s understandable that 9/11 isn’t as fresh in everyone’s minds as it is for most New Yorkers.  But my own experience with a tragedy of such magnitude has given me a deeper insight into the pain and tragedy of others. I don’t understand, in a profound way, the feelings that compel others to mark the events of the Holocaust or the bombing of Hiroshima and Nagasaki.  However, because I instinctively, irrationally, quietly—and in my own admission, shamefully—celebrated Osama Bin Laden’s death, I can begin to approach a comprehension of the strong emotions that follow such tragedies, and the terrible acts of revenge that continue fuel more.

But that’s why, one day a year, it’s important for me to give September 11th its due. Remembrance is a human act. We do it to make sense of tragedy, to try against odds to keep history from repeating itself. It’s important to remember this event even though we will end up forgetting the feelings that make it necessary to remember: the shock, the horror, the loss that would prevent it from happening again. This is impossible, because each tragedy will lose its power for those who haven’t lived it. It will happen again, and we’ll get over it again. But it’s these shared feelings in the wake of horror that connect us across the gaps of time, location, identity.

If anything, the act of marking a date is a social signal to the victims of the next horror. That way, we at least live in a world that choses to remember.

It’s the an impossible goal that needs to persist: it’s a constant process of learning, unlearning, and relearning through the dynamic channels of history.

“What do I do?” the dust-covered ghosts asked my mother as they passed her vantage point on a broad downtown avenue that pointed directly towards the black, billowing, smoldering impossible. When in doubt, when the world has ended and you are somehow still standing, remember.

a, Opinion

For whose sake anyway?

In his talk at the 1992 Rio Earth Summit, Fidel Castro labeled the year the “hottest [one] in recorded history.” This was the very year that I was born. Hotter years have since been recorded; the last six months were the warmest ever. Castro’s speech was one that shone light on an imminent environmental crisis that looms larger with each passing day—20 years and two Earth summits later.

That same year, just as I turned one-week-old, a little known but now infamous part of Canada called Oka stole the limelight. Misguided motives, misplaced trust and missing priorities strained relations between the Mohawk people and the riverside town of Oka.

These two seemingly unrelated events are connected by two words: Plan Nord. Introduced in the Quebec Assembly last summer, Jean Charest’s swan song was pitched as an “economic development strategy” to inject benefits of industrial growth in Northern Quebec. This $80 billion investment has been since mired in controversy. Even among the aboriginal residents, voices of dissent were not heard in unison, as the Inuit and Crees supported the plan.

I side with the environmentalists. The plan is too deeply rooted in the capitalist notion that the aboriginals will lose their land—and the little livelihoods they make off it—to a distant promise of secure jobs. It bodes ill to dwell on hopes of a castle in thin air. Take for instance the claim of ‘developing boreal forests.’ The very idea of developing a forest seems specious. In this case, ‘development’ happens to comprise—amongst other activities—logging. The government’s Plan Nord document  claims that logging in the area would account for 53 per cent of Quebec’s annual wood production while supplying wood to 32 plants—only 11 of which happen to be in the area marked for Plan Nord.

If the irony of those figures don’t hit home, here’s another: $15.9 million has been granted to develop the ports in the region. Freely translated, this means the cost of recovery of this capital will involve a huge influx of foreign tourists into a fragile ecosystem. With an understanding of the impact of ecotourism on the Tibetan Plateau, I can safely vouch for the inefficacy of such a plan.

“Quebec and it’s northern zone are indissociable,” wrote Louis Edmond Hamelin in the government’s Plan Nord action plan. Yet, indissociability doesn’t lie in its geographical boundaries, but in the unity of the people who inhabit them. Design of developmental projects demand a social conscience to augment the numbers. Recent shift in power will, if anything, see faster spurts of “development and growth” driven by higher royalty percentages. The need of the hour is an unassuming mind—engaging in a dialogue—that is not disillusioned by the choices it has to make.

Two decades ago, American president George H.W. Bush declared at the Summit that “the American way of life is non-negotiable.” Today, such snobbery won’t get anyone very far in a planet that is common to all. Sooner rather than later, the shadows of our past will come to haunt us while the solution that lies in our hands today slips away. Pablo Neruda said that “…if we want to establish lands of dignity and integrity, lands where people can live in light and justice, then our guiding stars must be struggle and hope.” So, with stubborn hope, earnest desire, and unshaken patience, I wait.

 

a, Opinion

The numbing absurdity of fact-checks

In a US presidential campaign full of unremitting stupidity, the ‘fact-check’ has claimed the crown of the most tedious journalistic device used during this news cycle. Instead of raising the tone of the presidential debate by defending the truth, the fact-check has become another cudgel to be used in the partisan blame-game.

Originally designed to merely check the accuracy of facts and figures mentioned in speeches, the fact-check has now mutated into a shrill, subjective analysis of what can loosely be called facts, all in an attempt to receive page-views.

While the fact-check has proved its worthlessness for the past few months, the recent Republican and Democratic National Conventions really brought the shallowness of this industry to the forefront. For example, did you know that Paul Ryan, Mitt Romney, Bill Clinton, and Barack Obama are liars? They are not even normal liars, but pants-on-fire liars, judged by the number of ‘Pinocchios’ they have received in accordance with ABC’s fact-checking system.

A statement that Paul Ryan made on Mitt Romney’s website last week offers a look at fact-checking at work: “In July of 1980, the unemployment rate was 7.8 per cent. For the past 42 months, it’s been above 8 per cent under Barack Obama’s failed leadership. In 1980, under Jimmy Carter 330,000 businesses filed for bankruptcy. Last year, under President Obama’s failed leadership, 1.4 million businesses filed for bankruptcy.”

This is pretty standard campaign rhetoric, and anyone with less than half a brain can see that Ryan is simply trying to tie Obama to someone commonly thought of as a failed Democratic President. Yet ABC news in all of its wisdom dinged Ryan for failing to mention that when Ronald Reagan was president unemployment was once 9.8 per cent, all but forgetting his accurate statement of what the unemployment rate is under the Obama presidency. ABC further claimed that Ryan fudged his numbers about businesses filing for bankruptcy, because actually 331,264 businesses filed for bankruptcy under Carter, and 1,410,653 filed for bankruptcy under Obama. ABC news is against the practice of rounding. Expect an equally vigourous look into Obama’s claim in his speech last night, that he could create 600 000 jobs—a suspiciously exact number—in the natural gas sector.

Also note that, in fact-checking land, whenever Obama compares the economy under his administration to the economy under Bush, he is omitting the fact that the economy was much worse under FDR; thus, he is a liar for not providing proper context.

Partisan websites can then spin this lacking analysis into ‘gotcha’ headlines. Daily Kos used the ABC article to title a post called ‘Paul Ryan lying again. And again. And again,’ and then claimed that on the basis of these ‘faulty’ numbers that Paul Ryan is a “lying sack of [you-know-what].”

Unfortunately, the above fact-check is not an outlying example. Both campaigns have called the other a liar, using these ‘objective’ facts as evidence of their own chastity and the other side’s wonton neglect of the truth. It’s no surprise that the presidential campaign has morphed into an immature shouting match between two highly polarized sides.

Recently, the Romney campaign said that it would not let fact-checkers dictate the direction of its campaign. To that I say bravo, because what the fact-check websites are checking is nothing you and I would recognize as fact.

Matthias Schoenaerts stuns with a forceful, courageous, breakout performance. (collider.com)
a, Arts & Entertainment

Beast of burden

If a script can be personified, Bullhead needs but one word: cruel. Not because it mistreats its audience—on the contrary, the film is as beautiful as it is miserable; dazzling as it is horrific. The sheer amount of sadness that writer-director Michael R. Roskam packs into two hours is so penetrating, so concentrated, and so visceral, that the experience is utterly exhausting. But I’m no masochist. So, it should also be said that Bullhead is assuredly one of the most raw, profound films you will see this year.

Set in Belgium, the story centres on a group of individuals involved in the trade and use of illegal growth hormones in the cattle industry—“the hormone mafia underworld,” as one ambitious reporter states. The subject is idiosyncratic, but the treatment is dead serious. A noir-ish atmosphere is maintained throughout, and the film opens with intimidation and murder.

Though a number of characters are involved in the plot, there is only one star of the show: Jacky Vanmarsenille (Matthias Schoenaerts). This is not because secondary characters were underserved by the script, nor because the actors portraying them were unskilled; rather, it is due to the breathtaking performance by Schoenaerts in the lead role. Channelling a mixture of brutality and vulnerability, and eliciting a contradictory combination of fear and concern, Schoenaerts utterly dominates his scenes and the film as a whole. The plot brims with originality and suspense, skillfully interweaving Flemish-Walloon tensions with memorable, dynamic characters. The fact that all this becomes a sideshow to Jacky’s personal narrative is a testament to Schoenaerts’ unbridled virtuosity.

The cattle are not the only ones juicing. Early on, we see Jacky injecting what we later understand as a cocktail of testosterone and various growth hormones. The reason for this is soon revealed via flashback, and in undoubtedly one of the most brutal scenes I’ve witnessed this year. The emotion one feels is nothing less than pure, unadulterated horror. What follows is scene after scene of wrenching pain, as the happiness forever stolen from Jacky is trotted out by the screenplay and paraded in front of his eyes. This is what is meant by the cruelty of the script. What must it feel like to be incomplete, broken, and condemned to perpetual deficiency?

Schoenaerts crafts a character reminiscent of the Minotaur: half-man, half-beast, trapped by circumstance, a creature for which one feels unspeakable dread and endless pity. On more than one occasion, Jacky snatches defeat from the jaws of victory; at these moments, the cosmic injustice permeating his storyline becomes unbearable. Right up until the end, the only happiness Jacky sees is that of others. It is a reflected living, which is not living at all. His is a life wholly devoid of pleasure.

Through Bullhead, Roskam and Schoenaerts gift the world with a modern day mastering of the tragic form. The story of Jacky Vanmarsenille ends as it begins: alone, abandoned, and in the throes of violence and pain. Bullhead paints a vision that is bleak and uncompromising, a dizzying array of sorrow and rage and anguish. At the same time, it is a cinematic triumph, a reminder of the raw emotional potential of the medium—for from suffering comes glory.

—Bullhead opens this Friday, September 14th at Cinema du Parc, 3575 Avenue du Parc.

Riding the boundary between punk and pop, Topanga lives to play. (myspace.com/musicoftopanga)
a, Arts & Entertainment

Topanga, meet world

A little under two years ago, four childhood friends started making music in a Toronto basement. They dubbed themselves ‘Topanga’ either after the character on the popular television show Boy Meets World, or a canyon in California—take your pick. They had few expectations and no goals in mind—just a shared love of punk rock. The band produced a four-track EP titled Lionheart in 2011 as a result of this common enthusiasm; though they describe themselves as a “punk band,” a pop influence is hard to deny. However, the band strives to differentiate itself from the whiny, power-chord ridden stereotype of punk rock, using the term “punk-pop” to break away from some of the former genre’s connotations.

“We like to play aggressive music and push the boundaries without losing that catchiness element,” says lead singer Stefan Babcock. “We try to use interesting time signatures and stuff like that, but also [try to] write memorable hooks that people can sing along to.”

For a while, Topanga remained just a group of friends without any concrete musical aim. They were serious about staying together as a band, but largely in order to satisfy their personal desires to play, rather than take their music to the next level. This all changed when producer John Drew—who has worked with the likes of Tokyo Police Club and Fucked Up—came into the picture, and gave the four the push they needed.

“We owe a lot to that guy [John Drew],” Babcock says. “He made us realize, maybe there is something there and we should maybe work a little harder, have a go at music as a career.”

The band sent Drew a few tracks, which he loved, and together, they produced a 7-inch record titled Oceans, released in early 2012.

Only a year and a half old, Topanga plans to re-enter the studio following their current tour and stay in Montreal to record a full length album. They will be collaborating with Dave Schiffman, who has worked with bands like The Bronx—a favourite of the four. The album is expected to debut in the spring of 2013.

As a testament to the group’s dedication, all four have recently quit their jobs. The band is still  fledgling; youthfulness permeates every aspect of their approach. This freshness, which comes out in their recordings, is ingrained in their style as musicians and is palpable in the atmosphere of their live shows.  They admittedly like to jump around, and rowdiness is encouraged at their performances.

“We started out pretty much exclusively playing house parties, so that has informed a lot of how we are on stage,” Babcock explained. “The four of us are best friends and we just try to have the best time ever no matter what we are doing, including playing shows.”

The group plans to play at POP Montreal again this year, performing with bands such as Hollerado and Born Ruffians. They will also be playing on October 16 at Casa del Popolo along with The Pack A.D., a garage punk duo from Vancouver.

Those even mildly interested in rip-roaring, youthful, and catchy punk-esque music will enjoy listening to Topanga’s newest single “Guilt Trip.” The band’s musical future holds a good deal of promise—check them out, and get caught up in the fervor.

Music and tour info are available at musicoftopanga.tumblr.com.

a, Arts & Entertainment, Music

Patrick Wolf – Sundark and Riverlight

Although just 29 years old—by many standards a “young” artist—Patrick Wolf’s repertoire speaks beyond his age. After 10 years and five studio albums later–including the much acclaimed Wind in the Wires and the recent 2011 release Lupercalia–the English singer-songwriter has become synonymous with melodic,  haunting lyrics, and musical progressions on ukulele, piano, and viola. His vast repertoire, and the recognition he has gained amidst folk, indie, pop, and electronica fans alike, undoubtedly justifies the release of a “best of” compilation.

Sundark and Riverlight features exquisite acoustic re-recordings of songs that, despite escaping the commercial success they merit, have mesmerized listeners. Though perhaps not the most engaging album for first-timers­ as a result, it is an impressive showcase of Wolf’s musical talent and growth, and new listeners may find themselves charmed over time.

The surprisingly deep voice you’ll hear is rife with honest emotion and rich in tonality, singing enchanting lyrics such as “But I’m going nowhere fast/A darker day has holed at last/Deep in this dream I set the calmness to spinning.” Wolf’s lyricism can only be described as poetry set to music. If you are unfamiliar with Patrick Wolf, this musical biography will present you with the best of the best. In today’s world of autotune, this show of acoustic talent is a pleasure to experience.

Sundark and Riverlight is due out on October 16th. Patrick Wolf will perform at the Astral, September 23.

a, Arts & Entertainment, Music

Klarka Weinwurm – Continental Drag

Klarka Weinwurm’s newly released full length album, Continental Drag, attempts to demonstrate a folksy ambiance with the precision and steady rhythm of traditional indie-rock. With lyrics resembling the scattered verses of Kimbya Dawson and endowed with an odd feminine huskiness, one is prone to think that the album fits the bill for a great listen. However, in what I have come to describe as “gloom country,” her work left me in a confused state of audio limbo.

Perhaps Weinwurm’s relocation to Nova Scotia from her native Toronto sparked a transition in the young artist’s creative flow. Her latest release strikes one as a cacophony of changes compared to her earlier work. The tracks fluctuate from catchy beats to overdrawn guitar solos; frin steady whisper singing to drowned-out lyrics–all the while bouncing back and forth between classical instruments, solid drums, and the ukulele. Weinwurm leaves you with the impression that she either wasn’t able to make up her mind musically, or struggled with the confidence to more directly channel a genre.

While I admire her chops in testing a broad array of instruments and vocals in the same compilation, the listener may feel lost amidst this collection of risky experimentation. There is a lot to work with in this album—but then again, there is a lot to work on as well.

Heat stroke and perpetual thirst–all in a day’s work for Kumaré. (filmswelike.com)
a, Arts & Entertainment

New take on ancient wisdom

From terse, academic upbraidings by Richard Dawkins, to the wit and eloquence of Christopher Hitchens’ broadsides, the past decade has witnessed a surge in public cries challenging the power of organized religion. Amid the continual talk of misconduct and immorality in the halls of self-proclaimed holy men, several unbelievers simultaneously began a multi-pronged offensive against theism. Recently, a young filmmaker named Vikram Gandhi nimbly joined the campaign in the documentary Kumaré: The True Story of a False Prophet.

Gandhi, who plays Kumaré’s eponymous hero, is the real-life, religiously wayward son of devout Hindu parents. After skeptically observing the growing American love affair with yoga and its tinge of eastern mysticism, Gandhi decided to document the many gurus associated with the practice and assess their claims of transcendent power. Gradually, the project evolved. Unable to find support for this profusion of supernatural claims, Gandhi decided to see whether it was possible for anyone, even himself, a former Columbia University student with a minor in Religion, to gain followers as a guru. Thus Kumaré was born.

The documentary follows Gandhi in the role of the ever-smiling Kumaré, as he teaches his disciples that the answers they seek require no guru save themselves, while Socratically insisting on his own ignorance. Rather than preaching piffle, Gandhi simply tells those looking for guidance that they must act in accordance with the way they imagine their ideal selves: cookie-cutter self-help seminar ideas rendered occult—and therefore alluring—by means of a few yoga poses and an Indian accent. Ghandi’s prescience in choosing a valid gospel is central to the film, and the measured thoughtfulness with which he emphasizes the universal accessibility of self-improvement is apparent.

To his credit, and in no small part due to his own upbringing, Gandhi is a good deal more delicate in his treatment of mysticism and religion than some of his contemporary atheists. Throughout the film, he respectfully listens to self-proclaimed spiritual practitioners, ranging from psychics to proponents of the Law of Attraction. Rather than ridiculing these outlandish beliefs (“We are from different planets,” says one woman matter-of-factly when introducing her partner), Gandhi seems to adopt a kinder, almost paternal approach: if a belief doesn’t affect others, and gives some hope in the struggle with grief or substance abuse, what’s the harm? The point of the matter, then, is to demonstrate that the edicts of a gatekeeper, like Kafka’s fierce guardian in Before the Law, are a dead letter. Neither priest, nor rabbi, nor imam hold the sacred wisdom necessary for enlightenment. While it’s not evocative or insightful enough for a second look, this idea is certainly salient enough to deserve greater public attention.

Don’t expect cinematographic miracles­—the film consists of sober camerawork with the expected abundance of close-up shots, rightly making way for the discussion of the religious question. The score, which consists of Kumaré’s chants and drumming, is similarly forgettable. The final sequence, however, which deals with Kumaré’s unmasking, is impressive in spite of a modicum of cheesy slow-motion scenes.

Altogether, Kumaré is a sensible look at the cult of personality that invariably permeates all mystical traditions, suffused with Gandhi’s equable humour. Of all the gurus documented in the film, Kumaré seems to have the best approach.

a, Arts & Entertainment

Hip-Hop vs. Homosexuality: Is the rap game becoming self-aware?

This piece contains language used by others that some may find offensive and hurtful. These quotes do not reflect the views of the Tribune.

Had the Beastie Boys gotten their way, their iconic 1986 release, License to Ill, would have been called Don’t Be A Faggot.* Big Daddy Kane, widely regarded as one of hip-hop’s most virtuosic MCs, issued a like-minded edict on “Pimpin’ Ain’t Easy” three years later: “the Big Daddy law is anti-faggot. That means no homosexuality.” Twenty years since, against the background of a piecemeal legalization of gay marriage and the abrogation of Clinton’s Don’t Ask Don’t Tell policy, hip-hop fans don’t bat an eye at homophobia.

Nonetheless, the times they are a-changin’. The metamorphosis ostensibly began in 2005, when Kanye West spoke out against homophobia after learning that his cousin was gay (incidentally, West later told the New York Daily News that it was the bravest thing he did that year). By 2011, a new generation of rappers had begun to express a laissez-faire attitude to sexual orientation, with the then 21-year-old California rapper Lil B releasing a mixtape titled I’m Gay (I’m Happy). Earlier this year, Frank Ocean’s admission to falling in love with a man met with overwhelming support from industry and fans alike, while Azealia Banks’ confirming her bisexuality was (rightly) treated as a non-event.

In part, the change stems from a growing acceptance of homosexuality in culture at-large. Russell Simmons, co-founder of the infamous Def Jam Records, has frequently stated that hip-hop is a reflection of the events occurring within the wider community. Indeed, a celebrity’s emergence from the closet makes a considerably smaller splash than it previously did—contrast the blasé reaction to Anderson Cooper’s admission with the furor that would have erupted had a news anchor come out in the ‘70s—while support for gay marriage extends as high up as the Oval Office.

In the meantime, the emerging generation of rap artists still reliant on violently homophobic lyrics, such as LA’s breakout Odd Future Wolf Gang Kill Them All (OFWGKTA) collective, is adopting a curiously contradictory attitude. While many weaker rappers use homophobia as a lyrical crutch, Tyler the Creator, OFWGKTA’s most visible and arguably most talented member, frequently employs it in his verses. Despite this apparent animosity, which seems to be rooted in Tyler’s desire for attention, he is an outspoken supporter of his fellow OFWGKTA members Frank Ocean and the openly bisexual Syd Tha Kyd. Whereas some older rappers seem genuinely disturbed by homosexuality (in an obnoxious display of atavism, Beanie Sigel told XXL Magazine “You gay, go ahead, do you… Keep that shit all the way in the closet around me. For any people who look into it any other way, go into the Bible and look up the story”), younger artists seem to employ homophobia with the same degree of posturing evident in the violent bravado characterizing ‘90s gangster rap.

Historians believe that the vicious braggadocio permeating much of hip-hop stems from its origins in the Bronx. Between the ‘40s and the ‘60s, the impoverished Bronx experienced the destruction of residential neighbourhoods to make room for the Cross-Bronx Expressway and their replacement with densely crowded housing projects. By the ‘70s, hip-hop emerged as an expression of the borough’s frustrations, reinforced by a dense layer of blunt machismo in response to the threatening environment that shaped it. Rap’s growth into a lucrative business throughout the ‘90s dulled many artists’ emphasis on social injustice, while keeping the lyrical vituperation and materialism—both marketable elements—sharply honed. Thus, commercial rap became the medium of inane and violent bark.

In the meantime, the intellectual bite emerged in the backstreets of  “conscious” hip-hop—a genre eschewing the tripartite model of ostentatiousness, drugs, and sex (exemplified by tracks like Jay-Z’ “Money, Cash, Hoes”), in favour of more reflective rhymes. Not surprisingly, artists under the “conscious” moniker—many rappers oppose the term due to its association with the proselytization of overly-political themes—are also leading the charge against homophobia. This summer, Seattle-based rapper Macklemore released the touchingly honest “Same Love” in support of gay marriage. Meanwhile, Brother Ali—who has been one of rap’s most honest and contemplative MCs for the past decade—has written an eloquent piece in the Huffington Post, denouncing homophobia. Of course, these efforts may be less noticeable than endorsements by Kanye or Obama. Such lyricism, however, articulates the sentiment with more aggressive panache than other forms of music, and does double-duty by working on hip-hop’s home turf.

The current generation of hip-hop artists appears to be on track to accepting homosexuality, as are the rest of their peers. In addition to a growing general repudiation of homophobia, conscious artists are steering hip-hop culture towards the rejection of vacuous asperity. Even Tyler’s frequent penning of homophobic verses, alongside those describing rape, suicide, or drug abuse, seems more like an immature attempt to garner the public eye and demonstrate his belletristic skill rather than a nod to the hate-filled attitudes of the past; as he matures, one hopes he will distance himself from such hateful slurs. For rap fans, this change is nothing if not auspicious – fewer inanities used as filler, tighter rhymes, and wittier verses. Hip-hop can’t wake up soon enough.

*They’ve since issued an embarassed apology.

 

Hackers at work during the all-day event (Alexandra Allaire / McGill Tribune)
a, Science & Technology

Open source urban planning

Last  Saturday, over 100 hackers gathered in the Shatner Ballroom for Hack Ta Ville. They were drawn by the chance to comb through freshly released data—everything from the location and age of Montreal trees to the legal parking times in spots all over the city—to use as building blocks for smart phone applications and websites to improve the average Montrealer’s life. Hackers used the data to write handy programs, including one that locates available parking spots in specified areas and timeframes.

The event was organized by the Community-University Research Alliance (CURA)—a project of the McGill School of Urban Planning, École Polytechnique de Montréal, and SSMU. Its partners included Living Lab de Montréal, Open North, and YellowAPI.

(Alexandra Allaire / McGill Tribune)
(Alexandra Allaire / McGill Tribune)

Jason Prince, director of CURA, helped organize the event. Prince said the idea for the event came from attending other hack-a-thons and a recent trip to Toronto, where finding a swimming pool to take his kids to proved to be a surprisingly difficult task.

Events like Hack Ta Ville give hackers the chance to solve problems like the swimming pool search.

“Think of [hack-a-thons] as just breaking ice. We’re just breaking ice and trying to get through; we don’t know where exactly, but we’re going somewhere,” he said.

Breaking the ice means making more data available to developers, which Prince thinks will lead to better, more user-friendly cities. Data sets, like the real-time locations of Montreal buses, could mean a more convenient public transport experience, and thus, a more sustainable city.

After a full day of brainstorming, workshops, and programming, the clatter of keyboards fell silent for the presentation of eight projects. These ranged from a smart phone application that aims to replace flyers to an interactive website that cyclists can use to learn of biking hazards around the city.

The latter, called Vélobstacles, won the event’s prize for “best data mash-up,” awarded to the project with the best use of city and user data to creatively solve a problem. On the website, a map of Montreal depicts bike accident sites with red dots of various sizes. The number of accidents in an area are inscribed in the dot—the higher the number, the larger the dot.

Cyclists can use the site to spot dangerous intersections on their routes, or to report locations of hazards, including close calls with vehicles or rough road conditions. Another tool on the site allows users to find bike shops and collectives.

(Alexandra Allaire / McGill Tribune)
(Alexandra Allaire / McGill Tribune)

Most of the projects were built over the course of the day by groups of hackers from different disciplines and parts of the city.

George Parker, a second-year masters student in the school of urban planning at McGill, was working on a project called ‘Suggestions à la carte.’

“It’s a special kind of fun,” he said of the time-pressured brainstorming environment.

Many of the projects at Hack Ta Ville were focused on transportation.

Prince said that transportaion projects resonate with hackers. “To me, that’s an obvious [area in which…] opening the data would make the city better.”

An upcoming hack-a-thon will focus on that theme: Living Lab de Montreal, a social technology research project, will host TranspoCamp on No Car Day, September 21.

As for the role of hack-a-thons at McGill, Prince sees them as an important chance for students to get real-world experience lacking in their classes. “This world is rapidly evolving around us. We have to at least try to plug into it.”

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