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a, Opinion

Information sharing merits transparency

by Helin Azizoglu on

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On Jun. 30, Canadian border officials plan to enact an extended data-sharing program with the United States in which more information from travellers at the U.S.-Canada border will be recorded and shared with other federal departments. These measures, which will serve as an expansion of the current “Entry-Exit Initiative,” will use the information-sharing procedures already in place for third-country nationals and permanent residents, and apply them to travelling citizens. The Canadian Border Services Agency (CBSA) confirmed the implementation of the program, which will be used to track abuses of various benefit programs and potential security threats.

These measures raise new questions about privacy rights and the extent of federal power in these zones. Both countries’ constitutions contain fundamental privacy clauses, which detail the right of the individual to be free from unwarranted search or seizure. The 4th Amendment of the American Bill of Rights and Section 8 of the Canadian Charter of Rights and Freedoms are not entirely straightforward in applicability, however, and have unique implications at the border. In the U.S., a “border search exception” allows officers to conduct non-invasive searches without a warrant or probable cause, as McGill student Pascal Abidor learned in 2011 when his belongings were searched after border officials asked him about his Islamic Studies program and his travels to the Middle East. Citizens and tourists alike have a reduced reasonable expectation of privacy at the border, and, alarmingly, officials are not required to err on the side of caution.

What differentiates this issue from other privacy concerns, however, is the fact that the Entry-Exit Initiative involves the use of information obtained at the border in other government agencies. The CBSA has declined to share which federal officials specifically will receive the information, but commented that the practices will follow stringent policies narrowly curtailed to security purposes. Nevertheless, in an area as contentious as border security, the public deserves more transparency on this issue.

This can be better observed by noting the potential consequences of the expanded program.  On the one hand, it could be used to generate more effective security measures and track potential terrorist activities abroad. The CBSA has emphasized that this will be the primary purpose of the program, stating that “access to information will be limited to designated users with an operational requirement”. According to a CBSA briefing note,  “information could be disclosed to the Royal Canadian Mounted Police (RCMP) and Canadian Security Intelligence Service (CSIS) to support law enforcement and national security operations. This is of particular interest given the recent media attention on Canadians travelling abroad to engage in terrorist activities.”

The initiative could also be used to track those who may be skimping on social benefit programs by spending long periods of time outside of Canada and thus failing to meet eligibility criteria.

While these are both important causes to address, the measure is also susceptible to potential abuse. Because so many taxation, health services, and citizenship laws are based on residency, some advocates are worried that government officials could use personal information to shape policymaking and legislative initiatives, which would certainly be an exploitation of power.

Because of the far-reaching nature of this program, Canadians deserve to have more explicit information about its implications. This includes knowing exactly what information will be shared with government officials, which departments will have access to the information, how long the data will be kept, and whether personal information will be used for policy purposes beyond straightforward border security. If these details are elucidated, the program has potential to enormously improve national security and make both Canada and the U.S. safer places to live. Until then, however, border officials have some work to do.

a, Arts & Entertainment

POP RHETORIC: Grammys take the easy route instead of going Mackleless

by Max Bledstein on

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Awards shows inevitably feel designed to frustrate fans. The very concept of a group of industry insiders picking a single album, movie, or TV show as the best from a given year almost guarantees that a large swath of people will be unhappy with their choice. However, certain snubs carry a broader cultural connotation, which makes them feel all the more egregious—and the 2014 Grammy for Best Rap Album belongs in that category.

Macklemore’s The Heist—the eventual winner—and prominent challengers Yeezus by Kanye West, and Kendrick Lamar’s good kid, m.A.A.d City were all nominated for the award. Each of the albums’ content deals with various social issues, though they all use different rhetorical styles to address them; Macklemore raps from a more detached perspective, while the other emcees address struggles that have been applicable to a certain degree to their own lives. Upon examining songs from each of the albums, it’s evident why Macklemore’s message was more palatable to Grammy voters than West’s or Lamar’s.

On Macklemore’s hit single “Same Love,” he explores the homophobia that continues to plague the hip-hop world and society as a whole. Though his decision to raise awareness around these issues is undoubtedly a positive thing, Macklemore comes across as detached from the people he claims to be trying to help. In the song’s opening verse, he explains how he himself is not gay, as if to suggest that him recording the song will lead listeners to be suspicious of his sexual orientation. His lack of empathy limits the capabilities of his advocacy.

By contrast, on good kid, Lamar presents the voice of those who actually experience oppression and discrimination. On “Sing About Me, I’m Dying of Thirst,” Lamar writes from the perspectives of three different people who have all grown up in a poor African-American community. “This orphanage we call a ghetto is just a routine,” one of them says. His use of the word “we” situates his song in a totally different context than Macklemore’s. Whereas Macklemore only associates himself with the oppressed when describing how he wants to help them, Lamar expresses the strife he’s actually been through. Writer Ta-Nehisi Coates praises Lamar’s approach in his New York Times op-ed column “Hip-Hop Speaks to the Guns,” in which he calls good kid “an album that people grappling with policy desperately need to hear,” and praises it for showing “how gun violence extends out beyond the actual guns.” Rather than criticize injustice from a distance, Lamar shows what it feels like to experience it first-hand.

West takes the opportunity on Yeezus to speak through the voice of an African-American man who doesn’t have to deal with the horrors Lamar describes, but still faces systemic racism in other ways. On “New Slaves,” West says of his oppressors, “They throwin’ hate at me / Want me to stay at ease.” Once again, unlike Macklemore in “Same Love,” West writes from the point-of-view of someone who has to face injustice rather than someone who chooses to try and combat it. Whereas Macklemore decides to help people whom he deems in need of his assistance, West is the one who has people “throwin’ hate at” him and desire for him “to stay at ease” rather than fight back. In Tessa Brown’s recent essay “Yeezy Rising” in The American Reader, she describes West as “A black man [….]who has refused to stay in his lane.” She also refers to his music to be “calling out that there are lanes,” which she pronounces “an offense punishable by media death.” While Macklemore also acknowledges “that there are lanes,” he doesn’t explain how it feels to be put in one.

Clearly, Macklemore’s distanced confrontation of difficult issues played better with Grammy voters than West and Lamar’s accounts of their experiences. Though questionable decisions in awards shows are nothing new, some awards or snubs—such as The Wire never winning an Emmy, or Driving Miss Daisy winning Best Picture over Do the Right Thing—bring with them sad truths about the state of cultural affairs. By granting a Grammy to Macklemore over both Kanye West and Kendrick Lamar, the voters have shown that they’d rather hear about someone condemning discrimination than face the bleak reality of its effects.

a, Martlets, Sports

Basketball: Martlets end losing skid at two

by Elie Waitzer on

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6’1” sophomore Mariam Sylla posted 13 points and grabbed 11 rebounds for her seventh double-double this season in just 20 minutes to lead McGill to a 66-43 win over last-place Bishop’s at home on Thursday.

Sylla—the reigning CIS Player-of-the-Year—had help conquering the Gaiters as freshman forward Jennifer Silver emerged as a sparkplug with 11 points off the bench. Silver went an impressive five of six from the free throw line as McGill coasted in the final quarter.

Coming off a rough stretch in which the squad dropped its first two games of the season, Martlet Head Coach Ryan Thorne said his team was thinking solely about the future.

“It’s a different team [than last week],” Thorne explained. “We weren’t concerned and we went after them from the beginning. We knew what our issues were over our last couple of games and worked on them.”

The string of strong practices paid off for the Martlets as they led by as many as 29 points and had three players in double-digits. The story of the game was the lights-out perimeter shooting that sent dagger after dagger into the visitors’ defence.

“The plan was to play inside out,” said Sylla. “I tried to keep the ball deep in the paint and then kick it out to them; and when they’re knocking those shots down, [Bishop’s] is going to move out of the post, so we had a nice balance inside and out.”

After going a dismal five of 17 from three-point land in the first two quarters, the home team found their stroke, raining threes from all over the floor in the final two frames.

Of the Martlets’ 26 attempts from beyond the arc, none was more important than the backbreaker by Marie-Pier Bastrash, a 5’8” shooting guard from Trois-Rivieres, Quebec.  With Bishop’s threatening to close the gap on a 9-0 run late in the second quarter, Bastrash stepped up and swished a three from the top of the key to squash any chance of a comeback.

Hustling down the floor after her shot, Bastrash picked off an errant pass by Bishop’s backup point guard Catherine Rondeau to set up another three—this time by third-year point guard Dianna Ros.

Ros, who had been sidelined for the past two games by a leg injury, contributed 16 minutes off the bench.

“She’s one of our top ball-handlers [and] she understands what I want, so to have her back was big,” Thorne said. “We got an extra shooter [and] an extra playmaker that we’ve been missing.”

In their own end, the Martlets played aggressive defence, disrupting the Gaiters’ attack by forcing heavily contested jump shots and shot clock violations on consecutive possessions.

“We know they like to penetrate, so we tried to get in the gaps and not let them get there,” Thorne said.

The Martlets dominated the boards all night, out-rebounding Bishop’s 51-39. However, according to Sylla, the key to the game was the Martlets’ ball security.

“[The] last few games, we were giving up a lot of turnovers. Tonight, we were able to run our offence and still take care of the ball,” she said.

Beyond cutting down on their turnovers, McGill was able to capitalize on sloppy play by the Gaiters, turning 16 steals into 20 quick points.

Following their win Thursday evening, McGill faced off against Bishop’s once again on Saturday and cruised to a 71-42 win in Mitchell Gym in Lennoxville. The Martlets were buoyed by Gabriela Hebert’s 16 points and 7 rebounds as they maintained their position atop the RSEQ. McGill’s next game is against UQAM on Thursday, Feb. 6 in Love Competition Hall at 6:00 p.m., in what will be a decisive match for first place in the conference. A loss for McGill would mean losing their uncontested hold on first place.

a, News

Holiday Inn to be transformed into privately-owned student residence

by Eman Jeddy on

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Plans to convert the Holiday Inn hotel on Sherbrooke Street into a private student residence were announced last week.

Campus Crest Communities Inc., a student housing developer; and Beaumont Partners SA, a real estate investment company, acquired the hotel located at 420 Sherbrooke on Jan. 15th. The joint venture partnership plans to convert the building into student housing by Fall 2014.

According to a report by Business Week, the acquisition is worth approximately $65 million, and gives Beaumont Partners SA 65 per cent ownership of the venture and Campus Crest 35 per cent. In addition to the acquisition, the two companies secured financing for renovations through a loan deal with the Royal Bank of Canada, Bank of America, and Raymond James.

According to the report, leasing is set to begin in Fall 2014.

While Beaumont Partners SA manages the acquisition of real estate, Campus Crest will serve as a property manager for the residents and provide a staff that includes a general manager, leasing manager, and courtesy officer for security purposes for the building.

Ted Rollins, Chairman of the Board and CEO of Campus Crest Communities Inc., said the new residence would provide a high-end housing option unlike currently available student housing.

“Once completed, the property will include a broad array of high-end apartments and expects to attract undergraduate and graduate students by offering an upscale housing alternative with modern, attractively furnished rooms and a range of amenities,” Rollins said. “The property will also offer residents an engaging lifestyle program with an array of fun, diverse activities and events.”

The cost of rent for the new residence has not yet been announced.

McGill’s undergraduate enrollment rose from 24,025 in 2008 to 26,725 in 2013. As McGill continues to experience a gradual increase in student population, the residence may provide an alternative private accommodation for incoming students.

Harris Waqar, a U3 Arts student living at Varcity515—another similarly-designed, privately-owned student residence located on Ste. Catherine St.—was not offered a space in a McGill residence during his first year. He said private residences could provide advantages in light of the increased demand for McGill residence space.

“McGill doesn’t have enough residences to accommodate all their students; they weren’t able to accommodate me,” Waqar said. ‘From that perspective, it can be pretty intimidating and confusing when you come here [to Montreal] for the first time and have to look for an apartment and all that [….] So all these places like Varcity515 will be in a sense a secondary choice or a backup option.’’

The acquisition may also alleviate the pressure on the university’s Student Housing and Hospitality Services (SHHS) unit, which opened a new hotel residence, La Citadelle in Fall 2013 to accommodate increasing demand for student housing. The new building was formally a Courtyard Marriott hotel located next to the Holiday Inn, as it’s newest residence to accommodate the increasing demand for student housing in Fall 2013.

Although SHHS signed a lease agreement with Varcity515 this year due to overbooking of incoming students, Interim Director of Residences Janice Johnson, said there are no current plans to sign such an agreement with the newly acquired residence.

“We are certainly aware of the Campus Crest/Beaumont developments, as well as other similar projects, and are monitoring them closely,’’ Johnson said.

a, Arts & Entertainment, Music

Hospitality—Troubles

by Cristian Hertzer on

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There’s something to be said about female vocalists and indie pop, a match so perfect and compatible, that it can usually intrigue the ear no matter how respectable the music really is. Luckily in the case of Amber Papini, lead vocalist of Hospitality, her stylings are both intriguing and respectable.

On their sophomore album, Troubles, Papini and her crew explore emotional complexities and haunting landscapes while moving through decades of pop influence. This time, Hospitality opts for complexity and seriousness when compared with their self-titled debut, which was lauded for its catchy toe-tapping indie-pop sunshine. Haunting yet catchy riffs weave effortlessly through the tracks, naturally complimenting Papini’s prowess.

Troubles is a wistful amalgam of varied inspirations. “It’s Not Serious” adopts a Norah Jones-esque jazz-pop feel, while syncopated pop gem “I Miss Your Bones” reminisces the early workings of Canadian indie heroes Tegan & Sara. The song absorbs—maybe even too wholeheartedly—’80s new wave pop. Riding a buzzing synth, Papini’s airy vocals, and the chorus signifying claps, “Last Words” evokes a desire to star in a hilariously dream filtered ’80s music video featuring Morrisey’s hair. The track may as well be a cut from The Cure or Joy Division. Oddly following this ’80s-style tune is the mystical storytelling ballad “Sunships,” where Amber Papini croons over a crescendo of acoustic guitar and softly spoken trumpet. Lastly, with album highlight “Sullivan,” Hospitality unites with this codeine-drenched loose jazz jam that encapsulates both pop elements as well as technical musicianship.

Although it lacks cohesiveness, Troubles offers an interesting flashback into pop history and never fails to surprise the ear. The album is a definite worthwhile listen and has established Hospitality’s ability to write both young ephemeral pop hits as well as meaningful technical pieces.

a, Arts & Entertainment, Music

Gramatik—The Age of Reason

by Cristian Hertzer on

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Among today’s monotonous, often regurgitated world of electronic music, it is difficult to find something genuinely fresh. Despite this, Gramatik has harnessed the ability to supply interesting, novel sounds in the realm of electronic music. His most recent effort, The Age of Reason, is no exception.

Trading slower, swung electro jazz pieces for grime, grunge, and a plethora of distortion, Gramatik offers up a heavy-hitting banger of an album. Relentless blues and hard rock improvisations are shoved through your consciousness, washed down with all the glitches, wobs, and drill bit noise of a dubstep album. The album demonstrates Gramatik’s skill as a truly inspired producer, but the endless guitar riff motif becomes tired as the album drags on. That being said, The Age of Reason does not fail to deliver with a surprise when it needs to—just as you thought there was no hope.

One song in it becomes clear that Gramatik is turning up. The Billy Squire-esque glam-dripping banger “Torture” sets the tone for the front end of the album and has you head banging as if you were front row at a Sabbath show. Next, the aptly named “Bluestep” delivers an amalgam of improvised blues riffs and high BPM (beats per minute)-drenched dubstep grime. Stepping into more melodic domain, “Pardon my French” refreshingly delivers a funky hook that sends ethereal grooves through your spine, unconsciously making you squirm in your seat.

Despite all the BPMs and grit at the front end of the album, songs like “We Used to Dream” and “Just Jammin’ NYC” allow for a quick breather and a chance to bask in the brilliantly swung electro jazz styles more reminiscent of Gramatik’s earlier work. On album standout “Get a Grip,” Gramatik recruits vocalist Gibbz for a bass-slapped Disclosure-does-electro-funk track that has you tapping your foot and singing along in an instant. As a whole, The Age of Reason is slightly tired in its monotonous use of droning electro rock, but makes up for this through truly brilliant, catchy productions that prove Gramatik is a leading innovator in the electro scene.

a, Student Life

Le Chop: Restaurant reviews

by Anina Ratjen and Alycia Noë on

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The only thing better than a delicious dinner out is dishing out less money for the same meal.  For that, there’s Le Chop—an event that has hit Montreal’s restaurants for its second year, where restaurants owned by Tom Nacos Group offer fixed price multi-course menus at reduced prices, ranging from $19 to $27 a person. 

With the exception of the Valentine’s Day weekend–when you’ll have to look elsewhere for a destination to take your sweetheart–the event runs from Jan. 6 until Feb. 28. Here’s a sneak-peak of what to expect from the chopped-cost cuisine. For more information click here. 

Wienstein and Gavino’s

Wienstein and Gavino’s (W&G) lies in the midst of the bars and clubs lining Crescent Street. Although it’s inconspicuous from the exterior, stepping inside the restaurant is like travelling into the heart of Italy. Rustic decor, including brick walls and wooden tables, gives this upscale restaurant a personal, European feel.

The service at W&G never fails to impress, and wait times for tables are rare. Within a matter of minutes one is seated and indulging on bread with what is arguably the best pesto in town.

As part of Le Chop, W&G offers a three-course menu for $23. Their discount menu offers a choice between three appetizers, six entrees, and two deserts, with a vegetarian—but unfortunately no vegan—option for each. Appetizers include classic meatballs, a fennel salad, and calamari. The calamari is soft, with just the right amount of crunchy batter, and is served with two types of Diablo sauces and lemon.

With the main courses ranging from fresh cod to pizzas topped with Italian sausage, roasted red peppers, and oven roasted Roma tomatoes, the menu encompasses a variety of fresh spins on Italian classics. Sticking with a seafood theme, the linguini al gamberi fra diavola, is absolutely delicious. This pasta, with shrimp, tomatoes, chili peppers, and a garlic white wine sauce, is bursting with flavour.

The Capri Cake, a chocolate almond dessert, is a sublime way to top off a meal. It’s basically Nutella in cake form; the dish is served with a side of Nutella and hazelnuts—every chocolate lover’s dream.

Including tax and tip the meal comes to $30.42—a little more than an average student meal out, but worth every penny.  Since every course is practically a meal in itself, the portions are more than ample, and are sure to result in a food-induced coma.

With a couple of weeks of Le Chop left, W&G is worth trying out. It’s the perfect place to take your parents the next time they are in town, or to reward yourself after finishing lengthy papers and midterms.  For those on a tighter budget, W&G also offers a selection of entrees for $10 after 10 p.m. (until 1 a.m.).

1434 rue Crescent
(514) 288-2231
Hours of Operation:
Sun to Wed: 11 a.m. to 11 p.m.
(kitchen) & 3 a.m. (bar)
Thurs to Sat: 11 a.m. to 12 a.m. (kitchen)  & 3 a.m. (bar)

—Anina Ratjen

Newtown Restaurant

Newtown Restaurant. (lenewtown.com)
Newtown Restaurant. (lenewtown.com)

Located in the heart of downtown Montreal on the popular Crescent Street, Newtown Restaurant has gained acclaim partly due to its famous owner, ex-Formula One driver Jacque Villeneuve.

The restaurant’s sleek and trendy style attracts many young costumers looking for a posh atmosphere. Newtown has three different areas, each with its own unique personality. The lounge and balcony are more focused on drinks, while the restaurant serves up classics done well, such as my personal favourite, Le Newtown Burger.

Le Newton Burger is a riff on the Big Mac from McDonalds, where the chef has managed to elevate a fast-food favourite. The massive Angus beef burger arrives at the table topped with oozing sharp cheddar cheese, bacon, crisp lettuce, and the Newtown’s very own special sauce.

Although Le Newtown Burger isn’t included on the special menu for the Le Chop event, students on a tight budget can still enjoy quality food for significantly less money. For a measly $19, you can indulge in one starter, one main course, and one dessert.

While the calibre of the cuisine is the same, the options are somewhat limited. There are two choices for each course. For a starter, you can choose either a tossed salad with a shallot vinaigrette, or lentil soup topped with grilled chorizo. Following the starters, options for the main course include a rich veal blanquette served atop wild rice, or oven-baked cod topped with an onion compote. For a sweet finish, you can treat yourself to crêpes Suzette, which are crêpes flambéed in orange juice; or a classic banana split.

Overall, Newtown offers a crowd-pleasing atmosphere and serves as a reminder as to why classic dishes are classics. Although the restricted choices pale in comparison to the regular menu, if you’re looking for a cheaper option, the Le Chop menu is the way to go.

1476 rue Crescent
(514) 285-6555
Hours of Operation:
Mon to Wed: 11 a.m. to 1 a.m.
Thurs to Fri:  11 a.m. to 3 a.m.
Sat: 2 p.m. to 3 a.m.

—Alycia Noë

 

a, Arts & Entertainment, Music

Barely two years since formation, Kodaline goes global

by Hilary Storm on

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The name Kodaline is enough to stop most people for a second or two as they ponder the possible meaning of this neologism that is pronounced “code – ah – line,” but the word actually represents two distinct things. In the World of Warcraft, it’s the name of the computer game’s “Night Elf Restoration Druid”; in the real world, Kodaline is the made-up title of Steve Garrigan, Mark Prendergas, Vinny May, and Jason Boland’s Irish rock band—which they arrived at independently before hearing of its gaming significance.

Kodaline is signed to RCA records and has been spreading their bizarre name and sentimental sound to all corners of Europe since they founded in late 2011—although they’re still in the new-kids-on-the-block role as far as North America is concerned. This small group of down to earth musicians started off locally in Dublin, but with the major success of their debut album In a Perfect World (2013) and the popularity of their “All I Want” music video, Kodaline is now taking off for a world tour that will make stops in the Netherlands, Switzerland, Germany, Canada, United States, Ireland, United Kingdom and Australia over the next few months.

Lately, waiting for their big musical adventure to begin, the group has been working on developing the sound for their new album while hiding out in rural Ireland. Luckily, I was able to catch an interview with founding member Steve Garrigan during this busy time, in advance of their Montreal shows on Feb. 9 and 10.

After a day of listening to their album on repeat, I gathered that Kodaline has a very raw, emotional, and empathetic trend to their music. Songs such as “All I  Want” and “The Answer” provide a platform for inner reflection and release, as the group uses guitar crescendos and deep percussions with inflections of traditional Irish choruses to map the course of an emotion’s journey through time.

“We really focus on the muses of daily life and struggles,” explains Garrigan. “If one of us is going through a break-up, we write about it; if one of us is having a good day, we write about it. We want people to feel the same emotion we are experiencing in the words and notes of our songs.”

Though Kodaline is working to ensure that their music always retains its honest vulnerability, it doesn’t mean they can’t experiment. Garrigan remarks that the band will be trying new things on their next album such as changing their instrumentals to create a more “diverse vibe.”

“Our goal is [to be appreciated from ages] eight to 80, we think everyone can benefit from our songs,” says Garrigan.

While many young musicians who start to make it in the music industry go full-throttle into all the glitz and glam of the fast-paced scene, this small group of Dubliners—whose growing list of accolades includes selling out their hometown’s O2 amphitheatre, Ireland’s largest venue—have retained their wholesome roots. With other young stars facing DUI charges and other misdemeanours, these young 20-somethings are setting an example of the more stable behavior new social figures should mimic.

When asked about any pre-performance rituals or pick-me-ups, Garrigan responded, “We just sit around drinking Irish tea.” Although I have personally never tried this Gaelic beverage, all members of Kodaline are fanatics and remark that the “lack of properly prepared Irish tea” is their least favourite thing about being on tour. But this small detail is lost as soon as the band gets on stage and begins their performance—the impetus behind their hard work and travel.

“Our favorite part of being on tour is the chance […] to play live every night,” says Garrigan. “Our live shows are our strength, and we love the chance we have to connect to audiences all over the world.”

Needless to say, not only because of their sexy Irish accents and charming sense of humour, but because of their integrity as musicians and sentimentally-packed songs, Kodaline has an appeal to music audiences everywhere who wish to get back to the untainted, community-driven movement of music known by honest self-expression.

Kodaline plays on Feb. 9 at 8 p.m. at La Salla Rosa (4848 St. Laurent). Tickets are $20.93 including fees. They also play on Feb. 10 at 8 p.m. at Corona Theatre (2490 Notre-Dame W). Tickets are $28.15 including fees.

a, Science & Technology, Student Research

Memory-making in action: researchers film brain activity

by Abhishek Gupta on

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This January, scientists at the Albert Einstein College of Medicine of Yeshiva University captured on screen the process of the brain making memories. Using mice to perform their experiments, researchers added fluorescent tags to mRNA (messenger ribonucleic acid) molecules that helped them track these molecules as the brain underwent the active process of creating memories. mRNA carries copies of instructional materials for the formation of proteins from the cell’s DNA.

“It’s noteworthy that we were able to develop this mouse without having to use an artificial gene or other interventions that might have disrupted neurons and called our findings into question,” said Robert Singer, author of the two papers published in the journal Science, to Science News at the Albert Einstein College of Medicine.

This development is crucial because neurons are inherently sensitive and can be damaged easily if the experiments are not performed carefully.

The mRNA molecules that the researchers tracked help control the direction of another class of molecules called beta-actin proteins that are essential for making memories. By ‘tagging’ the mRNA molecules, the researchers were able to observe the movement of these proteins in real-time inside a functioning brain to look deeper into how the brain works and stores memories.

“Having a long, attenuated structure means that neurons face a logistical problem,” Singer said. “Their beta-actin mRNA molecules must travel throughout the cell, but neurons [also] need to control their mRNA so that it makes beta-actin protein only in certain regions at the base of dendritic spines.”

The first paper out of the two focused on the work conducted by Hye Yoon Park, who is a PhD instructor at the Albert Einstein College and  Singer’s former student. It explains how the researchers developed the mouse model and how the stimulation of the neurons in the hippocampus—the part of the brain responsible for making memories—shed light on the travel paths of the beta-actin proteins to their destinations.

The second paper showed that stimulating the neurons caused beta-actin protein to accumulate precisely in the location needed to form memories.

Researchers watched as flourescent beta-actin mRNA molecules formed in the nuclei of neurons—the control centre of these cells—and travelled within dendrites—projections of the neurons.

“This observation that neurons selectively activate protein synthesis and then shut it off fits perfectly with how we think memories are made,” Singer said.

The results from this study open a window into the intricate inner workings of the brain and spark a further interest in this field that may accelerate our understanding of the human brain.

a, Arts & Entertainment, Film and TV

Oscar shorts

by Morgan Alexander and Mira Sharma on

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For most Academy Awards viewers, the two short film categories represent a void in the ceremony that lacks the familiarity of the other televised fields. To help you avoid the otherwise inevitable unpreparedness, the Tribune compiled cheat sheets that will provide all the knowledge you need to fill out an informed ballot—or you can just see the films yourself. They’ll be screening at Cinema du Parc (3575 Parc) until Feb. 6. Screenings take place at 1:45 and 8:15 p.m. Student tickets are $8.50.

Oscar-Shorts-Live-Action-Ribbon

Live action:

As attested to by famed directors, producers, and actors, the short film is a highly underappreciated art in the world of cinema; short films allow for a purely cinematic experience that forces the viewer to see, hear, and feel in rapid succession.

The five live-action short films nominated for the 2014 Academy Awards ranged from funny to suspenseful; politically-charged sermons to thought-provoking cliff-hangers; but all of them remain unified in their ability to utilize poignant dialogue and meaningful camerawork to display a message far beyond the half-hour time frame.

Anders Walter’s Helium tells the story of a young dying boy, Alfred (Pelle Falk Krusbaek), who is given hope through the stories of a hospital janitor, Enzo (Casper Crump), about the world of Helium, “where sick kids go to get their strength back.” Of all the nominated films, Helium is the most visually striking as it displays in vibrant, fast-moving colors the imaginations of a young-boy. Where Helium falls flat was in its failure to develop the storyline of Enzo, whose fairy tale drives the plot. Despite this oversight, Helium’s strong dialogue makes for an emotionally stirring piece that’s well balanced in humour, seriousness, and childlike wonder.

The Voorman Problem, a UK film from Mark Gill, tells the tale of a psychiatric doctor’s (Martin Freeman) encounter with a prisoner (Tom Hollander) who claims to be God. Overall, this is the most interesting of the five films, somewhat like a psychological thriller without any jump-scares. It’s designed to leave you mouth-agape, wondering what just happened. What I liked most about The Voorman Problem was that it kept me wanting more, as if it was a sneak preview to a new reality TV show. However, in comparison to the other nominated features, it lacks an emotional link.

Avant Que De Tout Perdre (Just Before Losing Everything) tells the story of a young wife, Miriam (Léa Drucker) who escapes with her two children from her abusive husband. Director Xavier Legrand’s film stands out as a result of its suspenseful nature, depicted atypically through images rather than music. The set-up of the movie has the plot unravel slowly, showing a frantic woman who is revealed through context clues to in fact be a victim of spousal abuse. This film leaves you on the edge of your seat up until the last moment; and while its fast-paced camera work keeps viewers on their toes, it allows some thematic concepts to get muddled and be left unfinished.

Selma Vilhunen’s subtitled Finnish film Pitääkö mun kaikki hoitaa? (Do I Have To Take Care Of Everything) tells the story of a family rushing to make it on time to a wedding. This film is the shortest of those nominated, clocking in at seven minutes, and is also the funniest, making good use of visual and situational humour. While it’s a welcome relief to watch in regards to some of the heavier films featured alongside it, this short film fails to rank with its competitors in terms of visual dynamism and thought-provoking story lines. Despite this, it’s still a heart-warming film with a happy, carefree message of love and acceptance.

My pick for the Academy Award goes to Esteban Crespo’s Aquel No Era Yo, the tale of a young boy (Mariano Nguema) and his experience as a child soldier in Africa. Aside from being an emotional rollercoaster and a cinematic attack on the senses, this film provides a no-holds-barred look into the world of a child soldier. This film is produced in collaboration with multiple projects that aim to help children around the world live safer, healthier, happier lives. By providing a raw, unedited look into the world of a child soldier, this film makes a powerful and lasting statement.

—Morgan Alexander 

Oscar-Shorts-Animated

Animated:

A children’s bedtime story, a phantasmagorical dream, and everything in between make up this year’s animation shorts Oscar nominee pool.

Disney delivers Lauren MacMullan’s Get a Horse, featuring Mickey Mouse (using the archived voice of Walt Disney) and the gang—Minnie, Peg-Leg Pete, Horace Horsecollar, and Clarabelle Cow—in an oddly self-reflective narrative about the evolution of animation. Stylized in their two-dimensional 1928-esque black-and-white renderings, Mickey Mouse and his friends engage in a raucous, simplistic comedy. The film takes an unexpected turn when Mickey is thrown out of ‘the screen,’ landing in the theater’s venue and converted into a colored three-dimensional cartoon. The gang constantly crosses between the 2D and 3D worlds, and even goes so far as ‘rewinding’ and ‘fast-forwarding’ segments of their ‘film’ by using the screen as a vintage flip book.

Mr. Hublot, a French short from Laurent Witz and Alexandre Espigare, tells a heart-warming story of a peculiar obsessive-compulsive man, outfitted in mechanical parts, living alone and adopting a robotic dog from the streets that turns his ordered environment upside down. Set in a steampunk-esque environment, the man comes to cherish his adopted pet and learns to make room in his ‘tin’ heart and ordered living space. Using stop-motion and computer animation, Witz and his team produce a visually intricate feast for the eyes. Yet more compelling is the story of this man and his dog filled with belonging, friendship, and love. You can’t help but root for the tiny robotic puppy we first encounter on the streets.

A Japanese contender, Possessions, directed by Shuhei Morita, is the oddball of the bunch. An 18th century traveling ‘fix-it’ merchant takes shelter from a storm in an abandoned hut filled with discarded possessions that are fittingly ‘possessed.’ The items come to life and break out in song-and-dance in creepy fashion; it makes for some puzzling questions as to Morita’s vision regarding the plot. Though the conclusion leaves more questions than answers, the colours in the animation are vibrant and distinct.

Max Lang and Jan Lachauer bring together the stellar voice talents of Simon Pegg, Gillian Anderson, and Sally Hawkins in Room on the Broom. This children’s bedtime story is distinguished by its simple, bright colours and animation, along with the poetic rhyming narration. Though overly extensive in length, the film does possess the makings of a perfect children’s tale through its delightful humor and morally-sound happily-ever-after ending.

American director Daniel Sousa, along with composer Dan Golden, brings us Feral. Out of all the nominees, this one is the hardest to define. This poetic film tells a story about a wild boy living in the wilderness among wolves who is taken by a hunter to live among a human society. With stark colours and absent dialogue, it’s a visual essay examining the brutalities of nature and human society for an innocent boy, left to navigate both worlds on his own. The entirely hand-drawn animation depicts an expressionistic, surreal reality with its muted sound and metaphorical imagery. Accused of having a vague, inclusive ending, the narrative is poignant and effective in its examination of the binary realities of light and dark; wild nature and civilization; and child and man.

Though it would be thrilling to see Mr. Hublot take the win for Best Animated Short, it would be surprising if the poetically beautiful Feral does not bring the Academy Award home. But in Oscar tradition, Get a Horse, may surprise audiences and take the golden statuette home for its self-reflective examination of the art of animation.

—Mira Sharma

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