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a, Editorial, Opinion

Editorial: Dalhousie’s restorative justice – Just in theory, not in practice

Dalhousie University has opted for a restorative justice process to address a scandal in which a group of 13 male dentistry students posted misogynistic comments and photos about several of their female classmates in a Facebook group. The 13 men embroiled in the conflict are now back from suspension, but are being taught in separate classes. Dalhousie administrators have also rejected a formal complaint filed by four professors, which expressed their discontent that the disciplinary process will be handled inside the Faculty of Dentistry. The administration has decided to keep the disciplinary process as localized within the Faculty of Dentistry as possible, which has been met with criticism from both the media and the female students themselves.

Richard Florizone, president of Dalhousie University, has repeatedly asserted that the university is pursuing a “just process” that will serve the interests of all those involved. The most widely proposed alternative has been to forward the case to the police and take it out of the university’s hands. Unless the victims in question file formal criminal complaints, it should be the university’s job to handle incidents involving its students. Universities have the responsibility to provide a safe environment for their students and to handle incidents brought to the administration. Simply delegating the job to the Canadian justice system would disregard the responsibility that universities have in fostering a sense of safety and positive culture on their campuses.

The priority, especially for an educational institution, should be to teach wrongdoers about how their actions were oppressive and contributed to a culture of misogyny. More preventative programs focused on ethics and respect should be implemented within universities to dismantle the systemic sexism that is present not only on university campuses, but broadly throughout society. If this results in even a minor change in the existing culture, it will have been more effective than a purely punitive measure such as expulsion. The goal must be to prevent occurrences such as these from happening in the future, not simply giving a retroactive slap on the wrist and moving on without addressing the pervasive sexism that is at the root of scandals such as these.

Restorative justice gives a voice to those involved in the conflict and requires wrongdoers to truly consider their actions and acknowledge their mistakes.

The formal justice system does not seek to achieve the same rehabilitation as a restorative justice process does. Restorative justice gives a voice to those involved in the conflict, and requires wrongdoers to truly consider their actions and acknowledge their mistakes.

One legitimate critique of the restorative justice process is that it cannot be forcefully implemented, and one of the men involved in the scandal has in fact opted-out of participating. The administration’s inability to force all of the wrongdoers to cooperate in the restorative justice process undermines Dalhousie’s efforts to remedy the situation.

The main way in which Dalhousie University has floundered in its response to this scandal, however, was its failure to consult the victims and tailor a plan catered to their desires. Several of the female students whom the Facebook comments were about even wrote a letter to Florizone condemning the University’s decision to pursue a restorative justice process without first consulting them. Florizone himself, though, maintains that a restorative justice process was the path chosen by the women most involved in the Facebook scandal. Regardless of which specific women were involved in selecting the restorative justice process, it could result in uncomfortable situations in which female students involved in the incident could feel compelled to sit down and engage in discussions with classmates who made very explicit comments about them. Although the restorative justice system may have indeed been a means through which to address the situation, the administration’s unilateral decisions were too paternalistic. This only further reinforces the inherent discrimination that was already present, and perpetuates a culture that belittles and silences women. Although Florizone may have had been able to justify opting for a restorative justice system, the women affected by the Facebook posts should have been consulted in the decision to adopt restorative justice, and the final process that was selected should have gone farther to implement mandatory disciplinary measures that would provide greater accountability.

Universities should bear the ultimate responsibility in determining the proper method of handling incidents on campus. Promoting proactive changes that will address the underlying social issues is the main goal of university administrations facing campus conflicts. Nevertheless, this must be balanced with the need to respect the desires of the victims. In Dalhousie’s case, restorative justice may work well in theory, but the university ignored the many negative impacts that such a process could have on its students.

a, Arts & Entertainment, Film and TV, Music

Wrapping Up the Holidays

The McGill Tribune arts team presents an overview of the movies and music you may have missed over the break.

  • Nicki Minaj | The Pinkprint

    Since her verse in “Chi-Raq” where she promises to give her audience “a new trick every week until this album drops,” anticipation has been high for Nicki Minaj’s The Pinkprint. Nonetheless, there are a few disappointments. Fans are tired of “these girls/boys is my sons I’m just not showing yet” and any other variations where Nicki Minaj refers to other rappers in the game as her sons. Another trend that needs to stop is her frequent mention of pills. It makes one wonder if her endorsement with Beats Pills™ pays her for just mentioning the word. The most horrendous thing on this album is bad collaborations— who approved of any of Lil Wayne’s verses. But things get better. “Get on Your Knees” is a melodic mix of rap and pop featuring powerful and harmonic vocals from Ariana Grande and a catchy chorus. “Only” ft. Drake, Lil Wayne, and Chris Brown puts all rumours to rest about any relationships between Nicki and the aforementioned. “Trini Dem Girls” is dancehall track that provides that island vibe and really makes you want to wine to it. The album blends ego-stroking lyrics and self-assurance with the turbulent experiences of love and loss. Upon listening, the album name becomes self-explanatory. The Pinkprint, unlike a blueprint, is not a design plan of her final path, but rather, the shaping of her destination and insight to her initial trajectory. The Pinkprint is a journey of self—the self-evolution and self-reflection of a woman striving for success, intertwined with self-love and self-empowerment.

    -Tiffany Okotako

  • D’Angelo | Black Messiah

    It’s no secret that D’Angelo’s been off the map for a while. Until his long-awaited Black Messiah dropped last December, D’Angelo hadn’t released an album since 2000’s Voodoo. With such a long layoff, many worried that a new D’Angelo album would be nothing more than a self-indulgent mess, à la Guns and Roses’ Chinese Democracy (2008). Fortunately, nothing could be further from the truth. Black Messiah is a triumph, one of the best albums of 2014. With the help of his backing band The Vanguard, D’Angelo has produced yet another stunning R&B opus. Enlisting the help of Pino Palladino and Questlove on bass and drums respectively, D’Angelo provides some of the deepest grooves since, well, Voodoo. That isn’t to say that Black Messiah is simply a Voodoo redo. The former is much more stylistically diverse, shifting from Voodoo-esque funk jams such as “Sugar Daddy” and “Ain’t That Easy” to more experimental and psychedelic work on tracks like “1000 Deaths” and “The Charade.” Always aware of his influences but never derivative, D’Angelo in Black Messiah is more than worth the wait.

    -Eric Noble-Marks

  • Kanye West | Only One

    Kanye West blessed us into the new year by releasing his first track since dropping Yeezus (2013). “Only One,” featuring Paul McCartney on organ, is a quasi-lullaby, supposedly sung to Kanye West by his late mother in a dream. While the idea of Kanye West serenading himself may seem off-putting (particularly considering the fact that West’s musical talents do not extend into the world of singing—cue autotune), the sincerity of the lyrics make it a worthwhile listen. While many detractors will want to illuminate this song as being just another of West’s egotistical romps set to a gentler rhythm, it cannot be denied that this track succeeds in showing off the versatility of West as an artist, both lyrically and through collaboration with artists outside of his usual genre.

    -Morgan Alexander

  • Inherent Vice

    Snarky internet denizens have taken to referring to Paul Thomas Anderson’s latest film as “Incoherent Vice,” and they’re not totally wrong. The adaptation of Thomas Pynchon’s 2009 picaresque, stoner-noir novel is challenging to follow when trying to keep track of the myriad of ways in which the protagonist Doc Sportello (Joaquin Phoenix) encounters neo-Nazis, prostitutes, drug dealers, and cops along his journey to track down his ex-girlfriend Shasta Fay (Katherine Waterston). Still, a thorough comprehension of the film’s many details appears to be far from the rambling narrative’s primary aim. Much more pressing is its vibrant array of characters (played by actors such as Josh Brolin, Reese Witherspoon, and Michael Williams), beautiful colours (see it in theatres if you can), and gorgeous soundtrack (which is an idiosyncratic compilation of older pop songs and some of the most romantic music Johnny Greenwood has written in ages). As with any work of art, the viewer must acquiesce to the film’s internal logic rather than impose his values on it in order to appreciate it, and Inherent Vice operates under a singular rationale that’s well worth accepting.

    -Max Joseph

  • The Imitation Game

    The best actors are masters of performance styles that distinctly render their personalities transparent to their audiences. Benedict Cumberbatch’s portrayal of tortured genius Alan Turing in Morten Tyldum’s The Imitation Game is an example of such a superlative performance. Cumberbatch has proven he has the talent to express bizarre personalities, particularly after seeing him excel as the eponymous hero of the hit series Sherlock, but The Imitation Game proved just how cultivated of a skill set he has in his arsenal. This film explores Turing’s development of a code during WWII that deciphered the Nazi’s encrypted communication system, Enigma, and the backlash he faced from the government for his homosexuality. Cumberbatch’s brilliance comes out in his ability to capture both Turing’s genius and the repressed side of the character. The film also features a strong supporting cast, including Keira Knightley and Matthew Goode. Considering all of this year’s Oscar buzzed films, it seems that Cumberbatch has a strong chance to win Best Actor.

    -Clark Bray

  • Rob Delaney | Mother. Wife. Sister. Human. Warrior. Falcon. Yardstick. Turban. Cabbage.

    The funniest man on Twitter has surpassed his character count in his latest novel, a less-than pithy review of his life before he reached comedic fame. Delaney expresses in unabashed detail his introduction to drugs, his descent into alcoholism, and his near-twenty-year bedwetting stint. The novel is undeniably raw, and it is Delaney’s self-criticism and consistently honest outlook on his past that makes for a read that is both superficially humourous and deeply moving. The biggest failure of this book is, surprisingly, the cover, which misrepresents a book full of insight and ingenuity as one of cheap jokes and forgettable chuckles. Thankfully, Delaney manages to set the darkly humourous tone of the book in the first page, and by the end of the opening chapter confirms that he is a force to be taken seriously in the world of comedy and introspection.

    -Morgan Alexander

a, Arts & Entertainment

Album Review: Smashing Pumpkins – Monuments to an Elegy

The Smashing Pumpkins’ latest studio effort, Monuments to an Elegy, comes in as the fourth and penultimate installment of the group’s ongoing project Teargarden by Kaleidyscope. Given the album’s unconventional release—technically existing as an album within an album—and Billy Corgan’s incessantly vocalized desire to be appreciated as a brilliant artist prior to the album’s release, Monuments to an Elegy comes off as a conscientious stab at high art. But it ultimately flops.
Though the album features an abridged, three-piece lineup with only Jeff Schroder on guitar, Tommy Lee of Mötley Crüe on drums, and Billy Corgan manning everything else, it is very solid instrumentally. The guitar riffs and drums, for the most part, deliver a resounding, edgy punch in a style reminiscent of their 1995 release, Mellon Collie and the Infinite Sadness, as is most evident on the raw opening track “Tiberius.” This edge is nicely counterbalanced with various spacy and rather low-key synthesizer and keyboard parts skillfully mixed in tracks such as “Monuments” and “Being Beige.” The highlight of this album, though, is “Anaise!”, which pushes the band into new funk/space-rock directions, yet still delivers a solid groove.
The vocals, however, kill this album. Disregarding the love-hate relationship one may have with Billy Corgan’s (in)famous wails, the vocal melodies and lyrics themselves are the real problem here. Numerous tracks, notably “Dorian” and “Run2me”, are lyrically sparse and melodically repetitive. A drinking game could easily be made by merely counting the obscene amount of times the word ‘lover’ is used. Monuments to and Elegy clearly demonstrates a genuine change of sound for The Smashing Pumpkins; however, much to the dismay of Billy Corgan, change itself does not equate to brilliance.

a, Campus Spotlight, Student Life

Campus Spotlight: Heart City Apparel

In preparation for the camera crew, Matt Dajer and D’Arcy Williams had rearranged the furniture in Dajer’s small studio apartment. The bed went into the kitchen, and the desk was shifted to create a frame with Heart City Apparel’s merchandise in the background. Dajer and Williams, the two co-founders of the organization, had to ensure that the camera captured the company’s professionalism. By the time the reporters had finished framing the shot, the scene resembled that of a businesslike workspace. Dajer and Williams had, after all, invited the CBC reporters to Heart City Apparel’s office.

As young entrepreneurs without any financial backers, Dajer and Williams have had to work with their limited resources. When the duo launched Heart City Apparel in May 2014, Dajer had just graduated from McGill, and Williams was about to enter his last year as an international development studies major. The idea for the organization grew out of their appreciation for Montreal’s colourful street art, and their recognition of Montreal’s widespread homelessness.

“Heart City [Apparel] started from […] the beautiful street art of Montreal—which is just so plentiful—[combined] with a social cause that both [Dajer] and myself find truly important, and is usually overlooked a lot of the time,” Williams said. “When [Dajer] approached me with the idea, I couldn’t help but love the fact that it was a more local approach to giving back and helping.”

The company purchases designs from local street artists in cities around the world, and uses them to create clothing—at the moment, the organization offers sweatshirts and t-shirts—which are then sold to raise money for local charities that combat homelessness. Within Montreal, the company has worked with three artists, with money going towards Dans La Rue, a charity that provides resources for homeless youth. According to their website, Heart City Apparel has raised over $3,300 to date.

“Our main focus is on the youth, especially on the homeless youth,” Dajer said. “Dans La Rue has a cafeteria for the homeless [and] they have education for the homeless [….] I’ve gone to talk to the people who run Dans La Rue, and they say that even a couple thousand dollars can [help.]”

So far, the company has partnered with 10 artists from around the world, hailing from cities such as Chicago, Stockholm, and New Delhi. However, as a small organization that began without any credibility, Dajer and Williams had to start local by focusing on the talent within McGill and Montreal.

“In the beginning, we had a really good break where one of our first artists was Sarah Mehta, who’s a McGill student and a good friend of ours,” Williams said. “The second was Waxhead, [who] is one of the largest street artists in Montreal. That really boosted our legitimacy.”

In keeping with the company’s local identity, Dajer and Williams have also focused on marketing Heart City Apparel to local university students.

“Our entire market is pretty much 18- to 25- year- old college students who like social awareness campaigns […] fresh clothing, and affordable clothing,” Williams said.

At McGill, Heart City Apparel’s “College [Representative]” program has become a core part of the organization’s marketing and outreach efforts. As young entrepreneurs in their early 20s with minimal financial flexibility, Dajer and Williams’ marketing efforts have relied almost entirely on word of mouth initiatives and the efforts of their campus representatives. Tessa Battistin, a Heart City Apparel representative at McGill, cited the organization’s charitable focus and opportunity for marketing experience as reasons for her continued support of the company.

“I like how [Heart City Apparel] is helping charities, as well as doing something artistically,” Battistin said. “[As a representative,] you get experience if you like marketing, art, design, and any type of startup interest. It’s really good to learn from [Dajer and Williams]—they have a really good clue about what’s going on.”

With the organization expanding across the globe, Dajer and Williams are preparing to continue building their base of artists and charities, while further establishing Heart City Apparel’s brand.

“It’s been pretty fast growth so far,” Dajer said. “We’re considering eventually becoming more of a brand, so […] wherever our garment is made we give back to that city for example.”

“Going into the [U.S.] is really important,” Williams added. “I have so many friends from schools across the country that are interested. There is so much potential that is untapped—we just need to find a way to get there.”

In the midst of Heart City Apparel’s continued growth, both Dajer and Williams caution that they are focused on maintaining the company’s core vision.

“We’re trying to change the clothing industry […] for the better,” Dajer said. “It’s generally a pretty selfish industry, so it’s good to see more and more companies come up like this that are giving back.”

a, Opinion

Commentary: The inadequacies of a restorative justice process

In response to a sex scandal at Dalhousie University, in which 13 male dentistry students posted explicit sexual and misogynist comments about their female peers on social media, the university opted for a restorative justice process in an effort to curtail flaws in the traditional judicial process. Despite its theoretical benefits, however, restorative justice alone is just as ineffective as the Canadian justice system in delivering proper solutions.

Many universities, like Dalhousie, have begun to favour restorative justice because it solves problems not addressed in the punitive Canadian justice system, such as recidivism, lack of victim input in the justice process, and minimal peace restoration in the community. Attributing the benefits of restorative justice processes to its focus on communication, the president of Dalhousie University remarked that he was “struck by the horror and regret he heard from some of the men involved.” Through directly instigating victim and offender discourse, the restorative justice process exposes offenders to the transgressions of their actions, and thus encourages rehabilitation.

Moreover, the formal justice system can also be intimidating for victims to navigate when they are at their most vulnerable emotional states. It is a less complicated and traumatic avenue for victims who do not press charges, but instead want apologies from offenders and a better learning environment.

Although it sounds favourable on paper, restorative justice can only be realistically operational if the third party administering it, in this case Dalhousie University, has trust from students involved in the scandal and is well-equipped to handling traumatic issues that require a high degree of sensitivity and professionalism. Due to the university’s inadequate treatment of the issue so far, which has incited enormous public outcry, Dalhousie’s qualification as a trustworthy and operational system has not been demonstrated.

This issue was exacerbated from the very beginning when Dalhousie failed to immediately take action when it came to light. According to the vice-president of the Dalhousie Student Union, “The president of Dalhousie University knew about sexism complaints against the Faculty of Dentistry in the summer.” Since the university neither prioritized nor respected the safety and well-being of its female students, it is difficult for students to have faith in the administration system.

It is a less complicated and traumatic avenue for victims who do not press charges, but instead want apologies from offenders and a better learning environment.

Furthermore, even with prevalent misogyny on campus, the university protected the offenders by not expelling them, but merely suspending their clinical privileges temporarily, thus still allowing them to have accreditation. This decision endangers the psychological well-being of not only the women involved, but also every student on campus. “Imagine sitting in a classroom and trying to focus on studying […] when you’re sitting in a room with people that have talked about raping you”, said Jennifer Nowoselski, a female dentistry student. Even more angering was when the university recently rejected a request from the licensing body that governs Ontario’s dentists to hand over the names of the 13 offenders. The prioritization of the offenders’ privacy rights disproportionately harms the entire dentistry class, who will all face more unnecessary scrutiny when applying for licenses and employment opportunities.

Lastly, it is ambiguous whether the university actually allowed the female dentistry students to fairly consent to this justice process. Recently, in an anonymous letter to the President of Dalhousie University, four female dentistry students wrote that this form of punishment is inadequate and unfair: “Telling us that we can either participate in restorative justice or file a formal complaint is presenting us with a false choice. We have serious concerns about the impact of filing formal complaints on our chances of academic success at the Faculty of Dentistry, and believe that doing so would jeopardize our futures.” If Dalhousie University chose to operate restorative justice without clear permission from the students involved, it is highly likely that the process will fail.

Although restorative justice may provide greater focus on rehabilitation, it must work hand in hand with the already existing justice system to deliver adequate restitution. The sexual assault scandal at McGill and the Facebook harassment incident at Dalhousie expose greater problems within the internal university systems that are ill-equipped to deal with student issues. The solution is to not only improve the judicial process, which would be a long and arduous process, but to push universities to provide a more professional restorative justice process, counselling services, experienced professionals to aid victims in dealing with the justice system, and a more supportive and non-discriminatory campus. These changes combined can not only help victims have a smoother psychological transition back into their learning environments, but also lessen social stigmas against victims of sexual assault and encourage more survivors to come forward.

a, Off the Board, Opinion

Off the board: Seinfeld, a show about everything

People are always saying Seinfeld is a show about nothing. Each episode is centred on the mundane, such as parking garages, rye bread, and fruit. (The peach, cantaloupe, and mango are all important actors in the show). But for a show so famous for its humdrum storylines, Seinfeld managed to tackle a host of wildly controversial issues in its time. From racism and interracial relationships to rape culture and abortion, the show used its signature shallow detachment to provide comedic and insightful commentary on these issues that often goes unnoticed by critics today.

In “The Couch,” Jerry is in the market for a new couch. After Elaine—who is strongly pro-choice—falls madly in love with one of Jerry’s moving men, Jerry slyly asks Elaine what the guy’s stance is on abortion with the hopes of forcing her to dump him on her moral principles. The moving man, of course, is pro-life, and the pained look on Elaine’s face when she finds out and has to break it off is priceless.

Meanwhile, Kramer starts a “make your own pizza” business, (yes, Kramer invented Pannizza), with Poppie, a pro-life restaurateur, but things go sour when the two can’t agree on when a pizza becomes a pizza.

“It’s not a pizza till it comes out of the oven,” Kramer says.

“Issa pizza the moment you put your fists in the dough!” Poppie responds.

The episode tackles the abortion debate head on, and pokes fun at the self-serious sacrifices that people who take religious stances on polarizing issues are forced to make. In trademark fashion, whatever gravity the central narrative manages to build is deflated by a ludicrous meta-narrative in the sub-plot. It’s hilarious, but it’s also provocative—suggesting your stance on abortion has about as much to do with your love life as your definition of when a pizza is ‘born’.

For a show so famous for its humdrum storylines, Seinfeld managed to tackle a host of wildly controversial issues in its time.

Over its nine seasons, Seinfeld’s treatment of racism was as refreshing as a Junior Mint to the abdominal cavity. In an era when Rodney King and O.J. Simpson were digging up skeletons long thought to be buried in America’s closet, Seinfeld managed to synthesize the nation’s attitude towards race in a perceptive, tongue-in-cheek manner.

In “The Wizard,” Elaine dates a racially ambiguous man, and spends the entire episode trying to find out if he’s actually black in order to make sure she’s reaping the ‘liberal prestige’ from being in an interracial relationship. In the end, we find out that he is in the relationship for the same reason—he thought Elaine was Hispanic. When they find out they’re “just a couple of white people,” they quickly break things off—but not before heading to the Gap. In other episodes, Jerry fails to navigate the minefield of missteps that can come with dating a Native American woman, and Jerry and Elaine elevate the black-and-white cookie to a symbol of post-racial America.

While the show feels ahead of its time with regards to race, it comes across as dated on one of today’s most controversial issues: Rape. Originally aired in 1997, “The Merv Griffin Show” sees Jerry ‘drug’ his girlfriend, Celia, with boxed wine and turkey in order to play with her sacred toy collection. When Celia finds out, she confronts Jerry.

“If you think you can drug me and play with my toys, you’ve got another thing coming!”

Jerry, though, gets the last line in.

“What kind of a woman drinks an entire box of wine?”

Then the laugh track is cued, signaling to the viewers that yes, this is funny. The analogy to date rape is whimsical in itself, but the broader commentary is in line with the form of microaggression that rape culture is built on.

It’s hard to imagine Seinfeld fitting into today’s television landscape, but its influence can be seen in the way many contemporary shows comment on society, from South Park’s false sincerity (“I’ve learned something today”) to It’s Always Sunny In Philadelphia’s self-involved friend group. In order to avoid the sentimentality so prevalent in many ’90s sitcoms, Larry David and Jerry Seinfeld wrote each episode with one cardinal rule: “No hugging, no learning.” The characters cling to their narcissistic ways even after being thrown in jail for their collective wrongdoings in the finale. There are no cathartic moments in Seinfeld, only Jerry reflecting for a second before sighing: “That’s a shame.” From this mantra flowed a unique brand of commentary that was sharp, unexpected, and forced the viewers, not the characters, to ‘deal with it’.

a, Editorial, Opinion

PGSS Special Referendum endorsement: CFS

The Tribune gives its endorsement for the Post-Graduate Students’ Society of McGill University’s (PGSS) Special Referendum.

Referendum to Consider Membership in the Canadian Federation of Students – “No”

This referendum question is being held following a prolonged legal battle between the Post-Graduate Students’ Society of McGill University (PGSS) and the Canadian Federation of Students (CFS). The Tribune strongly endorses a “No” vote for this referendum question. The PGSS has been attempting to terminate its membership with the CFS since 2010. The CFS has shown a lack of commitment to Quebec universities—it has not advocated for students in front of the Quebec National Assembly or the Quebec Education minister in the past three years. Should this referendum question pass with a majority “No” vote, $400,000 in membership fees that were taken by the CFS in the past five years will be reimbursed to the PGSS. As such, the Tribune supports PGSS’ attempt to disassociate from the CFS.

 

a, McGill, News

McGill Administration, SSMU responds to University’s low ranking on journalistic freedoms index

In October 2014, McGill was placed poorly on the Justice Centre for Constitutional Freedoms’ annual ranking of free expression at Canadian universities. The Students’ Society of McGill University (SSMU) was also ranked as one of the  10 worst university unions. (more…)

a, Science & Technology

Vegas’ consumer electronics show

Thousands of journalists, tech enthusiasts, and PR managers gathered in the Las Vegas strip for the Consumer Electronics Show (CES)  from Jan. 6 to 9, the world’s largest technology trade show. CES is known for showcasing the upcoming year’s biggest and brightest technology, and this year was no exception. Here are the top three trends of 2015.

1. The Internet of Things

The idea is basic: collect data from the objects we use in our daily lives to then be sent to cloud servers to be analyzed—known as the Internet of Everything. At CES, the Internet of Everything was everywhere—from remote-controlled guns to exercise chairs. In the future, according to The Verge editor Dieter Bohn, “Doors will lock themselves, thermostats will program themselves, cameras will monitor your home for intruders, [and…] most importantly, [things] will talk to each other.”

Samsung put the most emphasis on the Internet of Things in  ‘connected cars.’ Automakers such as BMW showcased new self-parking and self-braking cars, while Hyundai showed off a smartwatch that could start a car. Chevrolet announced that its cars can now predict when parts need to be replaced.

2. Body gadgets

The price of sensors, processors, and chips have plummeted over the last few years, allowing companies to integrate them into other objects. Wearable gadgets were another dominant theme at CES this year. Garwin and LG displayed smartwatches that could control music, track steps, and monitor fitness. HTC and Under Armour announced a partnership that would develop ‘smart’ clothing to track heart rate and other fitness measurements. A motorized belt named ‘Belty’ was also introduced by the start-up Emiota, which automatically adjusts the belt for user comfort, while also acting as a fitness tracker.

3. Intel innovates

“We are moving from a two-dimensional world to a three-dimensional world,” stated Intel CEO Brian Krzanich in his presentation on Jan. 6, 2015. The reason for this shift, according to Krzanich, is Intel’s RealSense technology, a camera that senses depth. At its most basic level, it allows a picture to be refocused after it is taken. Other applications include 3D printing, 3D displays, and computers that will recognize gestures—a user interface where taps on a touchscreen are replaced by hand waves. While useful to consumers, this technology has potential elsewhere too. Drones will be able to use the cameras to map out the world around them; during the keynote, a group of them navigated an obstacle course without any remote control. RealSense would even able to give the blind a way to ‘see’ the world around them through haptic feedback.

Intel’s Broadwell battery range was the other important announcement from the processor goliath. Promising 20 to 30 per cent better battery life than current generation chips and 35 percent more transistors (for a total of 1.3 billion), these processors and the PCs that house them would be dramatically more power efficient, thin, and powerful.

a, Art, Arts & Entertainment

What’s Happening In Montreal

THEATRE — The 24 Hour Plays

Watch performers perform in French and English for one full rotation of the earth.

Saturday, Jan. 17, Théâtre Sainte-Catherine (264 Sainte-Catherine E). Admission is $10.

LITERATURE — Steps Magazine Open Mic

Join one of McGill’s own publications for a night of poetry and prose reading.

Thursday, Jan. 22, 4152 Saint-Laurent apt. 401. See Facebook event for further information.

MUSIC — Cult Classic and Fleece

Make a trip out to the heart of the Plateau for these McGill/Concordia musicians.

Friday, Jan. 23, 8:30 p.m., La Vitrola (4602 Saint-Laurent). Admission is $5.

MUSIC — The Dustbowl Revival

Because why not see an eight-piece folk/roots/jazz collective on a Sunday night?

Sunday, Jan. 25, 8 p.m., Petit Campus (57 Prince-Arthur). Admission is $15.

COMEDY — Sugar Sammy

His “You’re Gonna Rire” show is guaranteed to deliver the bilingual laughs.

Thursday, Jan. 29 to Saturday, Jan. 31, 8 p.m., Olympia (1004 Sainte-Catherine E). Tickets are $32.90-$52.90.

MUSIC — Ben Howard

The talented British singer-songwriter caps off the month with a visit to one of Montreal’s best venues.

Saturday, Jan. 31, 8 p.m., Métropolis (59 Sainte-Catherine E). Tickets are $32-$38.30.

DANCE – Le Patin Libre

Sashay off the cold with this free outdoor dance performance.

Saturday, Jan. 31, 2 p.m., Parc Saint-Viateur. Free.

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