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Ecosystems degrade while human well-being improves

by Kyla Mandel on

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The Tribune sat down with environmentalist Ciara Raudsepp-Hearne to talk about her recent publication “Untangling the Environmentalist’s Paradox: Why is Human Well-Being increasing as ecosystems degrade?” The author spoke about the impact that environmental degradation brings to human well-being.

What was the aim of your paper?

We, as environmentalists, assumed that ecosystem services would be degraded but that human well-being would be impacted by that degradation. The Millennium Ecosystem Assessment [found] the opposite: that human well-being was improving across all measures. And so we thought that we’d investigate that diversion trend a little bit more. So we set out to understand what the important links [are] between ecosystem services and human well-being.

 

What were your findings?

We found that we know a lot about how humans have impacted the environment but we know very little about how ecosystem change, mostly [through] degradation, affects human well-being. That is actually a very important thing to realize, because many people are not convinced that it is important to conserve the environment. They look around and they say, ‘We’re all doing very well, why should we care about the environment?’ We’re not trying to say that a concern for ecosystems is overblown. Our position is that risks to human well-being are increasing and so we may or may not have the capacity to adapt fast enough to rapid environmental change.

 

Could you explain the environmentalist’s paradox?

The environmental paradox is simply that ecosystem services are degrading across the board while human well-being is increasing. Our paper tries to explain why that may be. We have four hypotheses. One of them is that human well-being must be increasing. We discarded that hypothesis. The other three [all have] elements of truth to them. The second one, that food is the most important ecosystem service [and] is much more important to human well-being than any other service, is being degraded. There is some truth in that, but there is no evidence that the other services are not important. The third hypothesis is that technology and human ingenuity are enabling us to decouple ourselves in the environment—that because of medicine and technology and global trade we can adapt to environmental change and degradation and get past that. And there is some truth to that too, but it really is only staving off the effects. Whereas, the fourth hypothesis sort of explains the other three a bit better: that there is a time lapse between which ecosystem services are degraded and the impact actually occurs to human well-being. There is a lot of truth to that but we don’t know very much about where or when the impacts may occur in the future, how big they’ll be and how well we’ll be able to adapt to them.

 

Is there a lot more exploration and investigation that needs to be done into the specifics?

Definitely. We say very specifically where the investigation should occur and it has to do with the fact that we don’t need any more assessments that are showing what humans have done to the planet, we know that already. What we need to know is why ecosystems are very important for humans. We need to be able to make a better case for the better management of ecosystem services.

 

What are some examples of events lead people to think  things are not as bad as they really are?

A very easy example is climate change. We’re having a huge impact on the climate and the ability of ecosystems to regulate the climate, but people look around and they see, ‘Well no, we seem to be growing enough food, we have enough water, it’s not too uncomfortable to live, so why should we act?’ Another example is fisheries. The global fish stocks are decreasing in almost all oceans and we see the limits now. We see collapses of particular fish species but because of global trade we are able to import fish from other parts of the world and an average person in Montreal can get as much fish as they want, so they don’t really see a problem. Whereas on the global scale, we see that in the next ten to twenty years there will be some major collapses in the fisheries.

 

What are some immediate signs that the average person can look to that shows how, in reality, the environment is doing?

The problem is that it is obvious when you look at any of the data that the environment is degrading. That is not really the issue. The issue is more how people interpret that degradation themselves. So the questions are about the human well-being not the degradation. In terms of an everyday sign of how the environmental degradation may affect an average person’s human well-being, it depends on where you live. A person in Montreal may feel hotter weather, some days they might be subjected to more storms, more natural disasters, but Montreal is quite protected. If you live near the Gulf of Mexico or in Sub-Saharan Africa, that’s already very subject to desertification, you’ll feel that much more strongly. So that’s one of the issues that the paper is really focused on. It’s the fact that those immediate signs are not right in front of your face if you live in a place like Montreal. But people all over the world are currently being affected [but] mostly the poor and the rural.

Arts & Entertainment, Music

Pop Montreal

by Ryan Taylor & Alexander Hamilton on

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With hundreds of performers gracing more than 50 stages across the city, Pop Montreal can be downright overwhelming. The good news? That means there’s something for everyone. The full schedule can be found online (popmontreal.com), but here’s a list of some big names, up-and-comers, and special events worth checking out.

Hollerado

With their catchy pop-rock and ridiculously fun stage presence, very few bands put on a show quite like Hollerado. Always ones for audience participation, these boys from Manotick, Ontario are inviting everyone to paint their van after the show. Paint and paint brushes will be provided. With Uncle Bad Touch, English Words, Molly Rankin, and Giant Hand. October 1, 9 p.m., Le Divan Orange.

Karkwa

Often called Quebec’s answer to Radiohead, these guys won almost every Quebec music award imaginable before gaining the attention of Anglo Canada by winning the Polaris Music Prize last week. And what serendipitous timing: Karkwa will play their first show since the big win on Friday, in their hometown no less. Expect an added Anglo presence as we try and figure out what we’ve been missing all these years. Leif Vollebekk opens. September 30, 7:30 p.m., Metropolis, $24.83.

Out of This Spark Showcase

In just a few years, Out of This Spark has become home to some of Toronto’s—and Canada’s—most promising young bands. You’ll get to see just about all of them at this showcase. Headlined by the D’Urbervilles and with sets from Forest City Lovers, Light Fires (the new beats duo of Gentleman Reg Vermue and Ohbijou’s James Bunton), Evening Hymns, and Tasseomancy, it’ll be an evening of all around good times. October 2, 9 p.m., Le Divan Orange, $8/$10.

The xx, Warpaint, Zola Jesus

Perhaps the biggest show of the festival, the xx are the kind of band you need to listen to closely to fully appreciate—something that’ll be easy to do in the pristine acoustics of Place des Arts. They were just awarded the Mercury Prize (Britain’s version of the Polaris) for album of the year, so take this opportunity to judge for yourself. Buzz bands Warpaint and Zola Jesus open. October 1, 8 p.m., Place des Arts, $20/$30.

Bonjay

Given that their name is spice island slang for “Good God!” Bonjay’s mix of R&B rhythm, dancehall grooves, and indie aesthetic should come as no great surprise. Born in a basement at Ottawa’s legendary DISORGANIZED parties, this duo has generated a lot of media hype, playing at South by Southwest this year to great acclaim. Pink Skull’s electrofied psychedelia opens. September 30, 9 p.m., Jukebox, $10/$13.

Budos Band

If you’re wondering how funky and soulful this band is, the fact that they’re on Daptone Records (home of Sharon Jones and the Dap-Kings) is a pretty good indication. Playing instrumental music combining Ethopian influences with jazz and afro-beat, these guys know how to get groovy. Dancing shoes are a must. The Sway Machinery and The Youjsh open. October 2, 10:30 p.m., Club L’ambi, $17.

Holy Fuck

Torontonians Holy Fuck make experimental electronic music, sometimes without instruments. Known for using miscellaneous items like toy keyboards and phaser guns to create some of their effects, these guys are also known for their ability to whip up a very sweaty dance party. Seizure-inducing noise rockers Indian Jewelry and the infamous Bad Tits (featuring former Death From Above 1979 drummer Sebastien Grainger) are the opening acts. September 30, 11 p.m., Little Birgundy POP loft, $15

Radio Radio

Fresh from the release of their second album Belmundo Regal, this acclaimed Acadian-French trio was shortlisted for the Polaris Prize this year and nominated for a handful of other awards. On stage, they serve up a mix of electro-pop and bilingual hip-hop. Isis—of Toronto-based electro-hop duo Thunderheist— opens. October 2, 8:45 p.m., Club Soda, $24.83.

Patrick Watson’s Sacred Sunday

What better way to nurse those ringing ears and throbbing heads than to listen to beautiful gospel music played by some of Montreal’s most talented artists? Featuring Patrick Watson, Katie Moore, The Barr Brothers, and others, this is one musical event that can truly be described as ethereal. October 3, 3:30 p.m., Ukranian Federation, PWYC (suggested $15).

Shonen Knife

When you hear that Shonen Knife are an all-girl pop-punk trio formed in Osaka, Japan in 1981, you may be taken aback. But their music is a heady combination of ‘60s Beach Boys pop and early punk acts like the Ramones. Opening are all-girl garage rockers The Peelies, Indonesia’s Malaikat Dan Singa, and Dadaist-influenced Mavo.

September 30, 9:30 p.m., Cabaret Mile-End, $15.

The Dears

The Dears will be playing their new, as-of-yet untitled album in its entirety during a three-night residency at Mission Santa Cruz. Be one of the first people in the world to hear the new material and help a good cause; proceeds from merch sales will go to War Child Montreal. September 29-October 1, 9:30 p.m., Mission Santa Cruz, $15/$20.Hollerado

With their catchy pop-rock and ridiculously fun stage presence, very few bands put on a show quite like Hollerado. Always ones for audience participation, these boys from Manotick, Ontario are inviting everyone to paint their van after the show. Paint and paint brushes will be provided. With Uncle Bad Touch, English Words, Molly Rankin, and Giant Hand. October 1, 9 p.m., Le Divan Orange.

Karkwa

Often called Quebec’s answer to Radiohead, these guys won almost every Quebec music award imaginable before gaining the attention of Anglo Canada by winning the Polaris Music Prize last week. And what serendipitous timing: Karkwa will play their first show since the big win on Friday, in their hometown no less. Expect an added Anglo presence as we try and figure out what we’ve been missing all these years. Leif Vollebekk opens. September 30, 7:30 p.m., Metropolis, $24.83.

Out of This Spark Showcase

In just a few years, Out of This Spark has become home to some of Toronto’s—and Canada’s—most promising young bands. You’ll get to see just about all of them at this showcase. Headlined by the D’Urbervilles and with sets from Forest City Lovers, Light Fires (the new beats duo of Gentleman Reg Vermue and Ohbijou’s James Bunton), Evening Hymns, and Tasseomancy, it’ll be an evening of all around good times. October 2, 9 p.m., Le Divan Orange, $8/$10.

The xx, Warpaint, Zola Jesus

Perhaps the biggest show of the festival, the xx are the kind of band you need to listen to closely to fully appreciate—something that’ll be easy to do in the pristine acoustics of Place des Arts. They were just awarded the Mercury Prize (Britain’s version of the Polaris) for album of the year, so take this opportunity to judge for yourself. Buzz bands Warpaint and Zola Jesus open. October 1, 8 p.m., Place des Arts, $20/$30.

Bonjay

Given that their name is spice island slang for “Good God!” Bonjay’s mix of R&B rhythm, dancehall grooves, and indie aesthetic should come as no great surprise. Born in a basement at Ottawa’s legendary DISORGANIZED parties, this duo has generated a lot of media hype, playing at South by Southwest this year to great acclaim. Pink Skull’s electrofied psychedelia opens. September 30, 9 p.m., Jukebox, $10/$13.

Budos Band

If you’re wondering how funky and soulful this band is, the fact that they’re on Daptone Records (home of Sharon Jones and the Dap-Kings) is a pretty good indication. Playing instrumental music combining Ethopian influences with jazz and
afro-beat, these guys know how to get groovy. Dancing shoes are a must. The Sway Machinery and The Youjsh open. October 2, 10:30 p.m., Club L’ambi, $17.

Holy Fuck

Torontonians Holy Fuck make experimental electronic music, sometimes without instruments. Known for using miscellaneous items like toy keyboards and phaser guns to create some of their effects, these guys are also known for their ability to whip up a very sweaty dance party. Seizure-inducing noise rockers Indian Jewelry and the infamous Bad Tits (featuring former Death From Above 1979 drummer Sebastien Grainger) are the opening acts. September 30, 11 p.m., Little Birgundy POP loft, $15

Radio Radio

Fresh from the release of their second album Belmundo Regal, this acclaimed Acadian-French trio was shortlisted for the Polaris Prize this year and nominated for a handful of other awards. On stage, they serve up a mix of electro-pop and bilingual hip-hop. Isis—of Toronto-based electro-hop duo Thunderheist— opens. October 2, 8:45 p.m., Club Soda, $24.83.

Patrick Watson’s Sacred Sunday

What better way to nurse those ringing ears and throbbing heads than to listen to beautiful gospel music played by some of Montreal’s most talented artists? Featuring Patrick Watson, Katie Moore, The Barr Brothers, and others, this is one musical event that can truly be described as ethereal. October 3, 3:30 p.m., Ukranian Federation, PWYC (suggested $15).

Shonen Knife

When you hear that Shonen Knife are an all-girl pop-punk trio formed in Osaka, Japan in 1981, you may be taken aback. But their music is a heady combination of ‘60s Beach Boys pop and early punk acts like the Ramones. Opening are all-girl garage rockers The Peelies, Indonesia’s Malaikat Dan Singa, and Dadaist-influenced Mavo.

September 30, 9:30 p.m., Cabaret Mile-End, $15.

The Dears

The Dears will be playing their new, as-of-yet untitled album in its entirety during a three-night residency at Mission Santa Cruz. Be one of the first people in the world to hear the new material and help a good cause; proceeds from merch sales will go to War Child Montreal. September 29-October 1, 9:30 p.m., Mission Santa Cruz, $15/$20.

 

Music gets most of the attention at Pop, but there are a multitude of interesting art and film events equally worthy of your time.

Everything Outta Sight

Curated and performed by The Luyas, Everything Outta Sight aims to “create a fictional ecosystem in an audience space to enhance a musical experience, so that life can be beautiful and weird and better than usual.” What exactly does that mean? Who knows? But featuring visual artists, dancers, actors and new music from The Luyas, it’s going to be weird, wild, and most likely wonderful. October 2, 8 p.m. and 11 p.m., Redbird, PWYC (suggested $12).

Look At What The Light Did Now

Making its world premiere at Pop, this documentary chronicles everything surrounding Feist’s mega-successful album The Reminder, from the recording sessions on the outskirts of Paris to the stadium tours that followed its release. Featuring candid interviews with Feist and her many collaborators, Look At What The Light Did Now gives an intimate look into the creative process one of Canada’s most celebrated musicians. September 29, 9 p.m., Ukranian Federation, $8.

No Fun City

A look at Vancouver’s vibrant—if troubled—punk music scene, No Fun City examines those determined to keep underground music alive as they clash with police and city codes. Sticking it to the man has never sounded so good. Featuring interviews with Japandroids, D.O.A., Skinny Puppy, and 3 Inches of Blood. October 2, 8 p.m., Blue Sunshine, Price TBD.

Not So Silent Nights

Silent films have almost always been accompanied by live music, but never quite like this. Featuring live soundtracks from lo-fi, glitchy, electro artists the Montreal Nintendo Orkestar and Grimes, and movies like Haxan: Witchcraft Through the Ages and The Cabinet of Dr. Caligari, this series sounds bizarre and totally entertaining. September 30 (8 p.m.) and October 2 (9:30 p.m.), Studio Off Interarts, PWYC.

The Birth of Art

Concert posters have been around almost as long as there have been concerts, and this exhibition features some of the best. From metal to folk to psychedelic, see new and old works from Dominique Pétrin, Nomn Ryn, Dirty Donny, Day Gristle, Sweet Grognasse, Aimée Van Drimelen, Alan Forbes and Marielyne Tarabulsy. September 29-November 1, Death of Vinyl.

 

Cheap Thrills

Money a little tight? Fear not, there’s still plenty to do during Pop without lightening your wallet.

If you’re looking for shows, Divan Orange is hosting a series of free afternoon performances Thursday to Saturday, featuring Think About Life (Saturday, 4 p.m.), Oberhofer (Thursday, 4 p.m.), No Joy (Friday, 3 p.m.), Black Feelings (Friday, 4 p.m.), and The Golden Dogs (Saturday, 2 p.m.). Phonopolis will also be holding free shows in its basement on Thursday from 5 p.m. to 8 p.m. (Dog Day, Shotgun Jimmie, Baby Eagle, Charlotte Cornfield) and Friday from 2 p.m. to 5 p.m. (Braids, Gobble Gobble, Long Long Long, Hunter-Gatherer).

If you’re a budding musician, manager, or just a fan, check out the free conferences happening during the Pop Symposium at Agora. Discover how to improvise Romanian gypsy-style with the Mahala Rai Band (September 29, 2:30-4:30 p.m.), take in composition and arranging tips from the master Van Dyke Parks, who has worked with Brian Wilson and Joanna Newsom (September 20, 1:00-2:30 p.m.), find out what it takes to Make it in Montreal (October 1, 1:00 p.m.), or even how to Get Your Music Played (September 30, 2:30 p.m.). There’s plenty to learn outside of the venue.

Arts & Entertainment

Drinking in the footsteps of Richler

by Theo Meyer on

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Alice Walker
Alice Walker

Mordecai Richler never attended McGill University, but it’s likely the university’s administrators wish he had.

Richler, the acclaimed Montreal novelist whose works depict the city in gritty detail, is the namesake of McGill’s new writer-in-residence program, which will bring two authors—one Anglophone, one Francophone—to McGill to teach one class each and deliver periodic lectures. The first two writers-in-residence will start next year.

Last week, McGill hosted a pub crawl at two Crescent Street bars Richler used to frequent. The event, a fundraiser for the writer-in-residence program, started at Winnie’s Bar before moving across the street to Ziggy’s, and hosted several of Richler’s friends and former drinking buddies, who told barroom tales about the writer.

“To me, he was a friend first and writer second,” said Jack Rabinovitch, the real estate magnate who attended Baron Byng High School on St. Urban Street with Richler in the 1940s.

Other speakers included two longtime Gazette contributors: Bill Brownstein, a city columnist, and Terry Mosher, who has penned cartoons for the newspaper under the “Aislin” moniker since the 1970s.

“I was very fond of Mordecai,” said Mosher, who noted that he’d drawn 50 to 60 cartoons featuring Richler. “He was at his best when you met him alone.”

As he showed Richler cartoons to the crowd, Mosher recalled going to Montreal Expos games with the author. After hanging out for years, Mosher discovered both of them had snuck into Canadiens’ games at the Forum as teenagers.

Rabinovitch and the other speakers, who were almost all Anglophone Montrealers, spent as much time discussing Richler’s politics as his literary output.

In the decades following Quebec’s Quiet Revolution, Richler became an outspoken critic of French language laws and other nationalist measures, drawing the ire of the province’s political leadership. Years ago at the Ritz-Carlton in Toronto, Rabinovitch said he and Richler sat drinking for three hours because the writer refused to leave the bar before Bernard Landry, the Quebec nationalist and future premier, who hated Richler.

Richler lived in Paris and London as a young man, but he spent most of his life in Montreal, despite his frustrations with what he perceived as the province’s growing hostility toward Anglophones. As he grew older, he found Quebec somewhat more inhospitable.

“He was a lot more comfortable on the streets of London than on the streets of Quebec City,” Mosher said.

Richler loved talking about politics and baseball at the Crescent Street bars where he hung out, several speakers noted, but he disliked discussing his novels. But more than his political commentary, the novels—especially The Apprenticeship of Duddy Kravitz, his breakout success in 1959, and Barney’s Version, the film of which premiered earlier this month at the Toronto International Film Festival—are what Richler is most remembered for.

Speaking at Ziggy’s at the end of the pub crawl, Brownstein, the Gazette columnist, called Barney’s Version one of his “favourite books of all time.” Richler, he said, taught him that writers didn’t need to wallow to produce meaningful work.

“You didn’t have to starve in a garret,” Brownstein said with a laugh. “You could have a good time.”

 

Arts & Entertainment, Film and TV

Like daughter, like mother

by Lea Choukroun on

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You Again could have been written by a group of moms to convince their daughters that they can move past high school trauma. Successful publicist Marni (Kristen Bell) comes back home to finally meet her beloved brother’s bride-to-be, and finds that it’s her old high school bully Joanna (Odette Yustman).  

The movie opens with a flashback of Marni as a bespectacled, acne-covered, and friendless teenager. Although Marni is now beautiful and successful, when she sees Joanna after all these years, she begins to re-enact her awkward high school self. Not surprisingly, Joanna is still as ruthless as she was in high school.  

This movie is certainly not an intellectual indie flick, nor a halting suspense thriller. But it has all the ingredients for the standard American teen comedy, and masters them fairly well. While predictable and cheesy, the movie is funny for the most part. And though Bell is used to playing the bitchy hot chick, she is quite convincing in the role of an ex-loser still being outshined by the popular girl.

You Again manages to take a slightly different turn from the standard trope when it turns out that Joanna’s aunt Ramona (Sigourney Weaver) is Marni’s mother’s (Jamie Lee Curtis) high school nemesis as well. This sub-plot is probably what saves the movie as both Weaver and Curtis are skilled comedic actresses. Of course when history begins to repeat itself, they become as juvenile as their children.

The film also departs from the standard mean-girl-who-has-everything character by giving Joanna a few sympathertic aspects to her own life. Both her parents died, and she is now a nurse who gives to charity. Though she continues to bully Marni, you genuinely feel a bit sorry for her, making it a slightly less black-and-white portrayal of a clichéd scenario. In the end, she even manages to turn around her “mean girl” ways and face adulthood.

You Again preaches the familiar message that while old habits die hard, people can change.

Arts & Entertainment, Music

In Concert: The Tallest Man On Earth

by Gabriela Gilmour on

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The Tallest Man On Earth (Kristian Matsson) returned to Montreal Saturday night to play a sold out show at Le National. With the crowd in the palm of his hand, he stalked the stage performing songs from his recently released album The Wild Hunt and EP Sometimes the Blues Is Just a Passing Bird. Songs new and old were met with rapturous applause and Matsson profusely thanked the audience for their kindness.

Arts & Entertainment, Music

Blonde Redhead – Penny Sparkle

by Carolyn Gregoire on

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In their 17 years as a band, New York indie veterans Blonde Redhead’s unique and mesmerizing sound has taken on a number of permutations. Their eighth full-length album, Penny Sparkle—the culmination of a musical evolution which began with the gritty art-rock of their 1995 self-titled debut—is testament to the trio’s protean nature. Lacking the indie rock edge of Misery is a Butterfly and 23, Penny Sparkle’s mellowed out and melancholy electro-pop is a positive maturation for the trio. Lead singer Kazu Makino and twin brothers Simone and Amadeo Pace have evolved from loud and rough around the edges to smooth trip-hop, and the result is arguably their best album.

Penny Sparkle is an album to listen to from start to finish without interruption. Transitioning seamlessly from one downhearted love song to the next, the album is cohesive, but each track stands alone as a unique achievement. “Here Sometimes,” the intro track, lures its listeners into a dark dream world with Makio’s wistful crooning: “I’m only here sometimes / Under the tree of life.” The trance-y “Will There Be Stars” is a highlight of the album, along with the hauntingly beautiful “My Plants are Dead.” The breathy vocals and lo-fi ambience of “Love or Prison” showcase the best of the trio’s matured sound. The album’s sole flaw is that it ends too soon after just 10 tracks, with “Spain” leaving its listeners reluctant to leave the darkly alluring sonic world that Makino and the Pace brothers have created.

Arts & Entertainment, Music

Robyn – Body Talk Pt. 2

by Alexander Hamilton on

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Part two of three in Swedish singer-songwriter Robyn’s Body Talk project continues what one can only assume is her mission to bring class and quality back to mainstream pop music. How is she doing this? The magic of Robyn’s music lies not in its form but in its execution. With the range and volume one would expect from an experienced pop singer, she is also a lyricist with unexpected depth and intensity.

Behind this formidable front-woman is an equally impressive production crew. The success of the first Body Talk installment was in no small part due to veteran Swedish producer Klas Åhlund and contributors Röyksopp and Diplo. Åhlund takes the wheel again on the second part of Body Talk with a fresh set of collaborators: Kleerup (who has worked with Robyn before), Diplo (again) and strangely enough, Snoop Dogg. Fresh from working with another pop star, Katy Perry, Snoop throws down a few verses on “U Should Know Better,” one of Body Talk’s best efforts. Also notable is the album’s first single “Hang With Me,” a love ballad discouraging heartbreak, which showcases Robyn’s production team at its best, creating gorgeous, layered electro tracks for Robyn to sing over. Throughout the rest of the album, robotic symphony of thumping bass lines and synth arpeggios abound, always crowned by Robyn’s distinctive and seductive vocals.

There can be only one conclusion when listening to Body Talk—this is what good pop music should sound like.

News

Safety Week Delights

by Maria Flores on

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Starting as “Safety Day” at McDonald Campus and continuing downtown over the next four days, the second annual Safety Week took place at McGill last week. The event was opened by Principal Heather Munroe-Blum, and included a series of presentations, games, and a closing barbecue.

“Safety Week’s purpose is really to get as much of our information out to the community, and for the community members to know exactly what we do, and who we are,” said Pierre Barbarie, associate director of university safety.

A Safety Week tent was located on Lower Field where tables representing security, emergency measures and fire prevention, and environmental health and safety were accessible to students and staff.

In addition, some student clubs, such as McGill First Aid and McGill Walksafe, were at the tent, as well non-McGill organizations like the Commission for Health and Security at Work (CSST), who showcased what they do for the university community.

“That was a positive for us too, to really get our partners involved in Safety Week,” Barbarie said.

Issues including hostile intruder, ergonomics (health and safety), and self-defence were among the topics of the presentations. Ten different sessions were held throughout the week, which people could attend by registering online.

While last year’s concept was kept the same in terms of what McGill Security offers to the community, Barbarie explained the marketing and advertising aspects were done differently this time around. Emails in the form of “All-notes” to students and staff were used as an attempt to attract more people, and the registration was done through myMcGill, which brought a lot of positive feedback.

“We tried to get out there a little more in terms of trying to attract more people, so we did a little more advertising,” Barbarie said.

On average, attendance increased to 25 people per presentation compared to six or seven last year according to Barbarie. The number of people who came into the tent and stopped at the tables was also greater than it was last year.

“We really want to keep this an annual thing [and] visibility is huge, so we definitely want to increase the numbers,” Barbarie said.

News

TaCEQ Gears up for a Second Year

by Noah Caldwell-Rafferty on

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The Quebec Student Roundtable (QSR, or TaCEQ in French), a provincial student lobbying group, is gearing up its campaign for the coming school year.

TaCEQ represents the student associations of the undergraduate and graduate students of Laval University, the graduate students of the University of Sherbrooke, and the Students’ Society of McGill University. According to SSMU Vice-President External Myriam Zaidi, the organization represents roughly 65,000 students in total.

“We’ve been working already in conjunction with these associations that are a part of TaCEQ right now,” Zaidi said. “We meet once a month, at a roundtable of the associations.”

TaCEQ, which was started last fall, spent much the last year drafting its bylaws and campaigning to introduce paid practicums for Education students. This year, however, TaCEQ plans on tackling a number of issues facing Quebec universities, including the tuition hikes scheduled to be rolled out in 2012.

“We are trying to get different actors in Quebec to endorse alternative solutions to underfunding instead of tuition increases, whether it’s businesses, university administration, or the government,” Zaidi said.

The coming tuition hikes are being approached in different ways by the different student lobby group, throughout the province. Others include the Quebec Federation of University Students (FEUQ), and the Student Union Solidarity Association (ASSE).

“They all go at it differently to a certain extent just to make sure that they offer something different to their constituents,” Zaidi said. “We will be going at it in the sense that we really want increased government funding for universities.”

This differs from FEUQ’s campaign, which, according to their website, is focused largely on the management of finances in university administrations.

However, there is some overlap when these different groups come together at the Table of University Partners (TPU). “It’s a roundtable of all the partners in Quebec universities. That includes student groups, professors’ unions, teaching assistant unions, and others,” said Zaidi.

TaCEQ is in the process of obtaining recognition by the Quebec government, which would allow them to get government funding. Zaidi is also working on increasing the group’s visibility at McGill by promoting TaCEQ’s English-language acronym, QSR.

News

In Italy, Patients Anaesthetized by Doctors an Ocean Away

by Anne Haldane on

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You are about to undergo invasive surgery, and the anaesthesiologist begins to administer the drugs that will put you to sleep while he sits in a lab 8,000 kilometres away.

This situation is now a reality thanks to an interface developed by Dr. Thomas Hemmerling and his team from McGill’s department of anaesthesia.

Several years ago, Hemmerling created McSleepy, a software system that automatically infuses anaesthetizing drugs into patients. On August 30, his team operated the software remotely, using an Internet connection to monitor patient body signals, transmit system commands, and video chat with doctors performing the surgery abroad.

“It’s an extraordinary technological development that could be enormously useful to help with anaesthesia in remote locations,” said Fernando Cervero, director of McGill’s Anaesthesia Research Unit.

Collaborating with Dr. Cedrick Zaouter’s team at the University of Pisa, Hemmerling’s group sat at their “anaesthesia cockpit” in Montreal and anaesthetized 20 patients undergoing thyroid surgery in Italy. In addition to using automated systems, Hemmerling conducted a preoperative assessment of the patients using Skype video conferencing, including discussion of patient history and measurement of patients’ airways using rulers held by staff in Italy.

“We had two automated systems communicating with each other [and] communication was controlled through an automated system with us here in Montreal,” Hemmerling said.

From the cockpit, Hemmerling’s team gave the system commands to administer the drugs for general anaesthesia.

“The systems are specifically designed so that they deliver anaesthesia in the safest possible way, probably even safer than if you do it manually. There are many, many safety checks,” he said.

During surgery, laptops showed four video screens monitoring the surgery and various biological signals of the patients, providing doctors with the same information they would have if they were present in the room.

“If for some reason the local doctors don’t like what the automated system is doing, they can always stop it or override it,” Hemmerling said. “Even if communication breaks down, the local automated system would still function during our re-establishment of the connection.”

A particular focus of the test procedure was to determine the frequency of manual overrides or Internet misconnections. Neither problem occurred in any of the surgeries, though.

Hemmerling and other anaesthetists envision multiple potential uses for the combined technology of video conferencing and automatic anaesthesia.

“There is big incentive from the World Health Organization to develop more and more of what we call ‘telemedicine,” he said. “Transcontinental anaesthesia is definitely part of this.”

Many countries in Africa have very few anaesthesiologists. An automated system, Hemmerling said, could make anaesthesia more accessible even in remote areas.

“At this point, we do not have enough specialists in remote areas, even in Canada when you go to rural areas up north,” Hemmerling said. “Even if you are a specialist, you might have to deal with very complicated cases where you would prefer to have an automated system helping you and an expert team as a backup, with whom you can consult in real time.”

Besides helping isolated doctors, Hemmerling said he foresees the possible use of the technology as a teaching tool for training residents and for providing preoperative assessments remotely without having patients travel to the hospital.

Groups in the military and space industries have also expressed an interest in making use of the technology for surgery in locations with few or no specialist doctors available.

Steven Backman, chair of McGill’s department of anaesthesia, emphasized the novelty of Hemmerling’s process.

“You are able in real time to get a lot of biological information about the patient and also control the delivery of drugs over a long distance,” Backman said. “It’s important to bear in mind that it doesn’t replace the anaesthesiologist, but it certainly allows you to provide anaesthesia care with the input from doctors over any distance.

“We’re very excited about this,” he added. “We look forward to seeing how this is going to evolve. It’s very, very new technology.”

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