The City Living Room: Connection and the City

by Katie Mah

Katie recently launched Library on the Street, (a pilot project for the City Living Room) at the West End Farmer’s Market. It’s a partnership between Katie and Vancouver Public Library, generously funded by Libraries and Literacy and a Vancouver Foundation Small Neighbourhood Grant from Gordon Neighbourhood House. It started late September and will continue through the Winter. For more information, check outwww.facebook.com/libraryonthestreet

Abstract

This paper presents a concept for a mobile satellite library designed to solve two key problems libraries face today:

1. How to present or store digital collections in combination with books.

2. How to re-envision the librarian’s role in light of the Internet and the democratization of publishing. The paper recounts key elements of my design process including research, expert interviews, surveys, systems thinking and prototyping, and lays out future possibilities.

Introduction

The public library is in flux. It’s not just about books anymore. The library is changing from a product to a service model.^[1] As William J. Mitchell puts it, digital technology has “dramatically transformed conditions for the reproduction and transmission of information.”[2] Bookshelves may have been sufficient for storing and displaying books in the past, but growing collections and the advent of digital media, such as e-books, are forcing libraries to adapt very quickly.[3] From the card catalogue to the online catalogue, organization and search-ability have been greatly improved; however, many current systems are still linear.[4] Libraries face another problem—a decline in youth attendance.[5] Youth have grown up with the idea of being creators. They want to participate.[6] Web-based creative outlets, such as YouTube, encourage active roles, but interaction at the library is still largely passive. At the same time, there is personal isolation in many cities and communities. One key growth area for libraries is as a third place—third place being public places on neutral ground for informal community interaction.[7] How can we re-inspire our communities? How can we reconnect them?

Thesis Statement

The public library is in transition. What is the role of a physical library in a world where access to information is constant and mobile? What is the librarian’s role when there is too much information?[8] What is the role of a librarian in a world of democratized publishing?[9] How can we combine curation with public input in a digital and physical setting? How can I explore these questions through a satellite library that is an alternate library space in the West End of Vancouver?

Research

I placed my project in the West End of Vancouver because the West End is one of the most population dense neighbourhoods in North America with one of the smallest libraries in the Vancouver Public Library system. Residents use two libraries: the Vancouver Central Library and Joe Fortes Library in the West End itself, but both the Vancouver Public Library and the City of Vancouver’s Planning department acknowledge that even this is inadequate.[10]

I spoke to thought leaders of the International Federation of Library Associations in several countries, including Denmark and the Netherlands, to architects designing libraries, to Vancouver Public Library senior staff, to university librarians, and to interaction design researcher Kirralie Houghton in Australia. They told me that libraries need to reach out to people in ways that are relevant to their daily lives; that to solve any of the current problems we have to look to the future; and that we need to connect digital and physical sources of information.[11] The Vancouver Public Library technology and resources director told me that mobility and access are key issues.[12] They told me libraries are responding to change by exploring play, way-finding, and social space.[13] In fact, many libraries in the Western developed world are reducing library collections in favor of social space.[14] Many libraries in the U.S. are adopting the Makerspace model and providing 3D printers, cameras, programs, and mentoring for people to create their own material.[15] Libraries are valuable not only for their academic ambience, but as a “forum for engagement with others, and a flexible space.”[16] In the Seattle Library, the Mixing Chamber located between the virtual and physical collections functions as a communication hub between librarians and users, “with skilled support on hand and a wealth of information sources available”.[17] I attended a number of workshops and conferences in which I learned about library innovation and creating public spaces, and in one workshop I developed a business plan for my idea of a satellite library. I approached and have been fortunate enough to gain the support of the Vancouver Public Library and the City of Vancouver’s West End Community Planning Team. My project has received a grant from the Vancouver Foundation.

Public Space and Libraries

Libraries are trying to meet people in the stream of daily life. As Nancy Courtney puts it, “the focus is shifting away from the traditional library as place and toward a more ubiquitous presence”.[18] This has resulted in the emergence of pop-up libraries all over the world, from Sweden to Germany to the United States. Pop-up libraries are outdoor bookshelves located on private or public property, which are open to the public and arranged by the public. Some pop-up libraries include programming, such as New York’s Uni Project, a modular library-based intervention which has been traveling throughout the U.S..[19] Regularly accessed public spaces, such as shopping malls, public squares, train stations, and coffee shops provide great opportunities for library extensions, bringing the library and librarians into daily life.[20]

My Assumptions

To me, the library is a place for finding inspiration and sharing ideas. The medium doesn’t matter, whether it’s books, e-books, DVDs, or person to person. Accessibility is important. Flexibility is necessary because the library changes so quickly. Individuals want to feel connected. A study by the Vancouver Foundation reports that social isolation is Vancouver residents’ greatest worry [3].[21]

Surveys

I surveyed 45 patrons at the Vancouver Central Library and the Joe Fortes Library, and when asked what three words came to mind when they think of a library, they answered “books”, “librarians”, and “bookshelves”. Their responses indicated that they still view the public library in stereotypical terms. When prompted about the future, they answered “interaction”, “24/7 access”, “accessibility”. Of a future library, 78% wanted staff and 70% wanted the library to foster community. I also spoke with West End residents and the leader of the West End Community Planning Team. I identified stakeholders and categorized users by age, background, borrowing habits, and location.

The Site

I chose Nelson Park because of its high traffic, central location between the Joe Fortes Library and the Central Library, and proximity to the heart of the West End. It is within walking distance for many local residents, and during the summer it is the site of a weekly Farmers’ Market.[22] Convenient access was critical.

Prototyping

I started prototyping. What would a library look like in a park? What would be approachable, comfortable, inviting, and flexible? How could I explore how interactions happen in both digital and physical space? One of my concepts, an interactive flowing walkway, encouraged passersby to interact with stories and ideas as they walked through the park.

Findings

Through conversations with West End residents and the West End Community Planning Team leader, I concluded that the West End has a well-used library that needs to expand, it is home to a large population, and it needs more informal meeting spaces. The benefits of a mobile library are low cost, low maintenance, community oriented, small, mobile, scale-able, and repeatable. A mobile library creates a hub for discussion and community, uses city-owned park space, and encourages interaction on an approachable scale.

Concept

My concept is a mobile outdoor Living Room designed for park or urban settings. It is a mobile third place that brings library services into the stream of urban life by placing itself in the daily paths of residents for a month at a time. It will include an interface to allow patrons to build a community collection of knowledge on relevant neighbourhood topics curated by a librarian. What I am proposing is a new framework for finding material which will visually display a stream of thought. The collection will consist of a physical installation that grows and changes according to community input. It will exist in physical space so it can be seen and touched, but also online so it can be accessed at other locations. As Mitchell notes, “digital information has only a tenuous and fleeting relationship to its material substrates”[23]. At the same time, tangibility gives libraries “an advantage over purely online environments”.[24] This concept aims to bring together both physical and digital interactions. The result: a physical manifestation of the collective creative input of a community. The librarian acts as catalyst and curator, while the community provides the body of the library collection via links, videos, text, images, and sketches. The interface will be a physical “chandelier” with multiple screens presenting a real-time visual collage.

Oldenburg writes that great third places are relatively plain, which discourages pretention.[25] The living room theme presents a comfortable place that stimulates open and informal conversation. The structure becomes a hub which extends into its surroundings, but closes up for security and transportation. It will be constructed of locally sourced Cross Laminated Timber (CLT) for its low carbon footprint, formaldehyde-free adhesives, and stability. CLT is prefabricated, doesn’t require a foundation or steel supports, has high insulation qualities, and is reasonably fire-retardant. For ease of cross-country travel, a durable, standard shipping container would substitute the CLT. The space will be staffed during opening hours, with opportunities for workshops and “Lectures in the Park”.

The City Living Room will also host donated theme material from the community as well as selected library material chosen by the curator. Digital content will be accessed via e-readers, digital tablets or personal smart phones. Devices and physical media will be RFID tagged for security. Further prototyping and testing of the City Living Room will continue this Spring 2013. 

---

^[1] Monika Antonelli, Mark McCullough. Greening Libraries (Los Angeles: Library Juice, 2012).

[2] William J. Mitchell. Placing Words Symbols and the City. (Cambridge, MA: The MIT Press,  2005), p.15.

[3] Vancouver Public Library Staff. Free-for-all Reimagining Your Library. (Vancouver: Vancouver Public Library, 2011).

[4] Shirley Lew, Coordinator at Library Systems at Vancouver Community College, personal communication, October 4, 2012.

[5]Bente Dahl Rathje, Former IFLA Chairperson and Former Chief Consultant at Nota, Danish National Library for Persons with Print Disabilities, personal communication, September 5^th, 2012.

[6] Nancy Courtney. Library 2.0 and Beyond: Innovative Technologies and Tomorrow’s User. (Westport, CT: Libraries Unlimited, 2007).

[7] Ray Oldenburg. The Great Good Place. (Cambridge, MA: Da Capo Press,1999).

[8] Courtney, Library 2.0 and Beyond.

[9] Dave Parkes, Geoff Walton. Web 2.0 and Libraries: Impacts, Technologies and Trends. (Oxford, UK: Chandos Publishing, 2010).

[10]Holly Sovdi, Leader of the West End Community Planning Team, City of Vancouver, personal communication, November 7^th, 2012.

[11] Christina de Castell, Director of Resources and Technology at Vancouver Public Library, personal communication, October 18^th, 2012.

[12] Ibid.

[13] Lew.

[14] de Castell.

[15] Michelle Hublinka, “Makerspace,” 2013, http://makerspace.com/

[16] Paul McNamara, “Teaching and Learning Spaces; Refurbishment of the WK Hancock Science Library at the Australian National University 2011,” Australian Academic and Research Libraries 43, no. 1 (2012): 48.

[17] Karen Latimer, “Redefining the Library: Current Trends in Library Design,” Art Libraries Journal 35, no. 1 (2010): 30.

[18] Courtney, Library 2.0 and Beyond,.p.82

[19] Street Lab, “What is the Uni?” The Uni Project, http://www.theuniproject.org/

[20] Antonelli & McCullough, Greening Libraries.

[21] Catherine Clement, Denise Rudnicki, Paul Heraty, “Connections and Engagement: A Survey of Metro Vancouver” (Vancouver Foundation, 2012).

[22] Oldenburg, The Great Good Place.

[23] Mitchell, Placing Words Symbols.

[24] Kirralie Houghton, Marcus Foth, Evonne Miller. “The continuing relevance of the library as a third place for users and non-users of IT : the case of Canada Bay,” Australian Library Journal (2013).

[25] Oldenberg, The Great Good Place.

What do I even do with this degree?

image by See-Ling Lee http://www.flickr.com/photos/seeminglee/

What do I even do with this degree?
By Jessica Molcan

Most of us usually hear nay-sayers when we enter into art school: “You won’t make any money,” they say, “do something practical.”

They’re not always right, but even the best of us have doubts at time. Sometimes it’s hard to see potential careers when you’re majoring in something other than communication design, or maybe it’s daunting to know the level of competition in the film industry outside of school. Here are some careers and their corresponding education that can get your foot in the door, get your wheels turning.

Video Game Designer

Designing a game from scratch and inventing an incredible alternate universe. Great for animation majors, and can ward away that “starving artist” stereotype. Video game designers can make $80,000+ a year.

Film Editor


Working behind the scenes can allow you to flex your creativity and still afford to do your own art films on the side. If you’re into film, video or dynamic media, this may be a job for you.

Marketing Manager


Leaping outside the graphic designer box, communication design majors can become marketing managers. Well versed in design, you can be the brains behind the spotlight falling on your company.

Creative Director


A career found in most creative fields, the creative director is responsible for overseeing all of the creative projects in a company from start to finish. If you have strong management skills and can sell yourself, you could take your creative degree from Emily Carr and get your foot in first as a junior creative director. Great for illustration, photography, communication or industrial design, visual arts or media degrees.

Art Therapist


A little more education will be on the horizon in order to get into art therapy, but the good news is that you’ll be able to use your artistic ability to help those who are struggling through traumatic events. If you’re in painting or drawing and considering graduate studies, you can also look at art therapy post-bachelor degrees. A good place to start is the Vancouver Art Therapy institute: http://www.vati.bc.ca

Writer


Specifically, writing about art. Art criticism, gallery reviews, first hand experience in the art world or specific assignments from creative magazines. Several contemporary artists use this in conjunction with their art practice to produce additional income. Not just for Critical and Cultural Studies major, but anyone who is passionate about the art world and possess strong writing skills can submit written work to publications. If you’re looking to get your feet wet, become a contributor for the WOO.

Curator/Gallery Director

With the new curatorial practices minor, you can prepare to work in a gallery, write grant proposals and discover the ins and outs of curatorial work. Curatorial practice takes the right kind of eye, and someone able to prepare an exhibit that speaks to the history of art or the contemporary state of the art world.

The best part of being a creative thinking is getting outside the box. Can you think of any other careers for Emily Carr students?

A Short Musing on Kimsooja's Bottari

By Areum Kim

Sprawled on the second floor of the Vancouver Art Gallery are colourful bundles called bottari. Bottari is a Korean word for a bundle wrapped with a square cloth, usually containing clothes and personal belongings. You spread out the cloth flatly and put your object in the center; then hold each pair of diagonal corners together to tie a knot. The bundle is now sealed, with knots formed on the top to grab onto. Kimsooja creates variations of this bottari using abandoned Korean bed cloths, colourful and embroidered, all of which contain specific symbolisms of well-wishes. (Symbolism is an important part of Korean culture. Traditional fabrics have coloured bands, fields, and embroidery that represent something. Even the national flag is rife with much symbolism.) There is something universal about this form of package that transcends cultural specificity. They recall packing up crudely and leaving; they imply a future destination, mobility, movement. They embody both the scraps of the past that we pack into our containers and the new site they will be moved to. Kimsooja’s bottari are connotative of the body as a container for a biological mechanism as well as for memory, history, souls; in her own words, “the body is the most complicated bundle.” Bottari is analogous to a husk of the body.

Kimsooja, a Korean-born artist based in New York and Paris, is best known for these bottari sculptures/installations. She has garnered international attention since her first series of bottari during her residency at PS1 MoMA in the 90’s. What was so potent about these simple recreations of a culturally-specific object? Her work produces two reactions: one gravitates towards the exotic, aestheticized object as Kimsooja makes bottari, which is  usually plain and utilitarian, with colourful, embroidered fabric. Another part of the reaction is the incredible matrix of connotations bottari holds, linking it to the body, nomadic life, flight, plight, movement, personal belongings, memory, mystery of the wrapped and enclosed… Even those who are not Korean can easily identify with this somewhat fragile package.

While bottari may be celebrated by its beauty and poetic possibilities, I would like to bring it back to its specific Korean context. If objects reach out to an incredible matrix of connotations and associations, it seems fruitful to add another image to the constellation: the flight of refugees in the Korean War. To a Korean, one of the most frequent scenes bottari evoke are images of the Korean War. If there were a time when bottaris were the most mobilized it was during the 1950-53Korean War, which positioned this tiny peninsula as a scapegoat of the power poles of the Cold War. This war resulted in hundreds of thousands of civilian deaths and mass shootings of people swept by the two poles of politics not by their ideological beliefs but solely by their geographical location. If you lived north of Kyeong-Ki-Do, you were automatically a “Red”; and if you were south, a democrat. With this additional historical specificity in mind, one might go and look at Kimsooja’s work. 

fig.1 a line of refugees with bottaris. credits: Looking at Korean War Through Photographs (http://www.ohmynews.com/NWS_Web/View/at_pg.aspx?CNTN_CD=A0000178309)

Kimsooja’s retrospective at the Vancouver Art Gallery, Kimsooja: Unfolding,includes other works that depart from this bottari motif  into other areas; still, the artist explores a similar concern of the body in relation to the space and the self in constant flux. Her explorations manifest both beautifully and powerfully. The exhibition runs until January 26th, 2014.

Spotlight on Katie Courson

by Farrah Olegario Nazareth

When I think of Katie Courson, I think of sweetness; a funny lady with a dry sense of humour. She is kind, compassionate, and loving. Her sense of aura is very compelling; you have to meet her.

            Photo credit: Elaine Innes

Her passion is photography.

Through her practice as a freelance photographer she has developed a distinct style; it is all sorts of “dreamy, clean, and candid.” As she sets up photo shoots, traces of her personality and talent shine. When asked about how she established her style, we discussed her interests. She is a blues kind of girl. “I love the old men” she says and laughs but immediately lets me know she was joking. She loves vintage shopping trips and knitting. A pattern lies in all her interests. She enjoys everything that has taken time, love, and patience to develop, “I like things with history. The story behind who used to own an item, the craftsmanship, and what it takes to make some of these old and unique things.”

Katie’s photography practice seems to have developed by her ability and skills to capture the unseen storyline and history among her subjects. Her photographs encapsulate an authenticity that portrays more than just her subjects in a space; they capture an underlying emotion, expression, and story that makes her work desirable.

Photo credit: Katie Courson

Although Canadian born, Katie maintains ties to her Norwegian culture. A recent photo shoot was inspired by her trip to Vancouver’s Scandinavian Midsummer Festival. She describes the experience as walking through the entrance gates and being in awe of the women—young and old—wearing beautifully crafted crowns. As a viewer it is hard to expect photographs to live up to one’s imagination, but Katie  re-envisioned her experience at the festival into an ethereal set of photographs (shown below).

Photo credit: Katie Courson

Her process of setting up a photo shoot begins with finding a location that is suited to her concept. It is further developed into the making or purchasing of props, in this case she made the crown from flowers in her garden, and had a friend model her vision. “It all came together perfectly.” The photographs showcase a striking yet delicate feel.

For more information and photographs by Katie Courson, visit

http://www.katiecourson.ca

or her facebook page: Katie Courson Photography

Watch Out #2: Audiovisual Media Events October and November 2013

by Omar Linares

Life after VIFF holds a few surprises for fall. October and November present us with events both in and out of Emily Carr; here are some of them, in chronological order:

October 25 to 27

Vancouver International South Asian Film Festival

The festival opens this Friday is at 7 pm with a gala night. For more details visit their website at:

http://www.visaff.com/

Monday, October 28 7:30 pm

PRIME THE ANIMATION!

In celebration of International Animation Day

Featuring works by students from Emily Carr and Spain and England

Room 301

Friday, November 1st

5:00 & 7:00 pm

The Animation Show of Shows Vancouver

Student Screening & Regular Screening

Curated by Ron Diamond, this year the show will stop at Capilano University’s Bosa Centre for Film and Animation. The first screening is free for animation students, all other attendants are prompted to register for the 7pm screening. For registration and full program visit:

http://animationshowofshowsstudent-eanrec101.eventbrite.com/

Monday, November 4

Final registration deadline for the 2014 Crazy8s 8 day filmmaking challenge

with final video pitches on November 10

Quoting their website:

“Aspiring filmmakers are invited to present their short film idea in a 5-minute video. Every year over one hundred teams apply.

40 semi-finalists are chosen to pitch in person to a jury of industry professionals.

12 finalists workshop their script with a professional story editor.

6 winners receive $1,000 and a production package provided by sponsors in the local production community with everything they need to make their short film in just 8 days.

Finished films are screened at a gala event to the who’s who of the Vancouver film industry.”

For more details visit:

http://www.crazy8s.cc/

November 15 to 16

2013 Vancouver Short Film Festival

Tickets are on sale in the 14th of November. For more details consult the festival’s website:

http://www.vsff.com/

November 2, 16 & 23

10:00 am to 5:00 pm

The Canadian Cinema Editors association will be hosting editing workshops at VIVO Media Arts Centre. For prices and more details visit their website:

http://www.cceditors.ca/workshops/

Suggestions for more events are welcome, just comment below or email at olinares@ecuad.ca

Here are some dates to be aware of in and around Emily Carr!

The Emily Carr Students’ Union is proud to present…

YOUR VOICE MATTERS!  STUDENT ADVISORY WEEK

This week long event will be held at various locations around the school to get you informed and involved with shaping the new campus and the 

 Emily Carr University experience!

Kick-off Event:

Thursday, October 24th  11:30AM - 12:20PM

Room 301, South Building

University President, Dr. Ron Burnett and Vice President Academic, Dr. David Bogen get feedback from you on important questions like:

• What does it mean to be a 21st Century learner, and what should the new campus look like to them? 

• What technical skills do you need throughout your education and how do you want to develop them? 

• How can we build a successful co-operative education program with professional application into the Emily Carr curriculum? 

They will also give an update about what is going on with the new campus project, expand upon the guiding principles of Emily Carr University 

going forward and offer opportunities for you to help build the future of the school over the next couple years.

Kick-off Social:

Student + Faculty Ice Breaker

Thursday, October 24th  5:00PM-6:00PM

Agro Cafe

Come have a tea, coffee or beer and get to know the Emily Carr faculty better!

YOU’RE IN CHARGE!  STUDENTS PUSHING THE CURRICULUM FORWARD!

Your Emily Carr Students’ Union Student Representatives and the University Deans are hosting a series of dialogue sessions during the week to hear more from you about what you want out of your education.  The doors are open to all students in all majors and programs AND lunch will be provided!

Space Minor Session

Thursday, October 24th 4:00PM-5:00PM

Room 390, South Building

with Dean of Culture + Community Susan Stewart and Justin Langlois

Design + Dynamic Media Advisory Session

Monday, October 28th  12:00PM-12:50PM 

Room 247A, North Building

with Dean of Design + Dynamic Media Bonnie Zabolotney 

Visual Art + Material Practice Advisory Session

Tuesday, October 29th  11:30AM-12:20PM 

Room 245, North Building

with Dean of Visual Art + Material Practice Aoife MacNamara

Critical and Cultural Studies Advisory Session

Wednesday, October 30th  4:00PM-5:00PM

Room 301, South Building

with Dean of Foundation & Culture + Community Susan Stewart

MOVING STUDENTS TO THE CENTER

This is your chance to bring forward anything about studying at Emily Carr that is not necessarily academic related and help make the services offered by the school better.  We’re looking to start a new student advisory panel with Student Services and would like you on the team.  Come see if you have what it takes!

Student Services Advisory Session

Thursday, October 31st  11:30AM-12:20PM 

Room 301, South Building

with Vice President Student Services, Jennifer DeDominicis

HALLOWEEN PUB NIGHT!

Thursday, October 31st  7:00PM-10:00PM

The Cafeteria

Live DJ and prizes for best costumes!

Writing a Proposal

By Jessica Molcan

By the time you arrive to your third or fourth year of university, chances are you’ve had to write a proposal—or will have to. This is an invaluable skill to develop since most creative fields require written proposals when applying to galleries, grants, projects, or workplaces. Here are some things to consider before you start writing.

Your Audience

Who is your proposal directed to? This will change the type of language and presentation you use when expressing the direction for your project. Depending on the nature of your submission, general guidelines for what’s required may be provided. For instance, a gallery or grant proposal will outline guidelines for any public calls for artists; a client will express what they’re looking for; other projects will be outlined through an employer or university professor.

General Content

A proposal is a blend of both a resume and an essay. A detailed explanation to convince the reader why they should endorse the proposal is sandwiched between a cover letter and supporting documents, such as a timeline, budget, qualifications, and/or portfolio. The project description is structured similarly to an essay as its primary function is to argue for the project and the reasoning behind it. The supporting materials are to assist in showing why you’re the person capable of achieving the end result.

Finishing Touches

Proofread, proofread, proofread. You don’t want the meaning behind your proposal to become twisted simply because of one typographical error or a misplaced decimal point in your budget section. It doesn’t hurt to have someone else take a look at it as well. As a final tip, remember to tailor your proposal to your audience, address the organization, client, or gallery directly in your cover letter. Your proposal shouldn’t come across like a formal letter, but rather it should be considerate of who it’s directed at.

Eighty-Seven Years: A Review of the Emily Carr Student Publication Archives II

By Omar Linares

Part II: Towards Editorial Autonomy

In contrast to what could be termed institutional student publishing, 1957 saw another attempt of student autonomy in the magazine Toucan. Like its predecessors, Toucan was artisanal in craft but had a more economic format that suggests its student manufacture; amidst its typewritten, hand bound, and hand printed illustrations the involvement of faculty and staff seems limited to the role of advisors; this while the bulk of Toucan’s content appears to respond to student concerns. For instance, opinion articles on art co-existed with those of leisure travel, whilst the majority of texts were creative writing; and although criticism of school policies was yet to appear, proselytism for the institution was absent; additionally, advertisements were few, discreet, and typewritten at the end.

As the editorial and a two-part essay suggest, there were plans for a second issue of Toucan; however, there are no more copies, and it is here that a two decade gap marks the archives until the late 70’s. What happened between these key years (60’s and early 70’s) is currently unknown, but it would seem logical to expect student publishing in an era when young people became prominent and highly active. The dynamics of subsequent archived publications attests to such change of attitudes.

X: Student Newsletter (also referred as X [1978-1981]) begun as a project derived from plans for a broader “intercollege” “arts oriented” student publication (vol.1 #1); it not only presented an emerging editorial autonomy but also marked a shift from the display of student artwork towards critical student journalism. Such critical stance is all the more interesting considering X’s ties to the institution. Founded in 1978 by the Publication Research Group of alumni Jill Tebbitt, Eric Parker, and student Robert Reid; the newsletter’s funding came from the office of Student Services and had frequent contributions by faculty and staff, notably from then director of Student Services Tom Kowall; nonetheless, from its first volume X served as a forum of critique for the school’s policies, faculty, and administration, including its own sponsor Tom Kowall.

The varying editors accentuated such criticism through X’s thirty issues that, despite the newsletter’s irregular layout, were constant in publishing frequency, scope of content, and range of opinions. Thus it allowed for debate and controversy. Such diversity of views can be found in the Design Research Program polemic and the interview with its faculty Stephen Harrison (vol.1 #13-16), whose firing along the termination of the program was later reported in X’s second volume (vol.2 #1). But even more significant than the Design polemic were the attempt of censorship and the defense of freedom of expression in volume two. The case began by a letter from a Student Society member who sourly criticized the school’s administrative staff, including Tom Kowall (vol.2 #9); an issue later (#10), editor Michael C. Lawlor denounced an attempt to cease the publication of X: Student Newsletter and pledged to keep it as a “student service” and not a “a Student Services publication” (qtd. in vol.2 #10), following the original mandate of its founders (vol.1 #1). Indeed, in these and other controversies X: Student Newsletter attested to its role as the first space for student criticism, communication, and debate among a student community scattered through the different campuses of the recently named Emily Carr College of Art and Design (vol.1, #1).

Many other discussions featured in X revolve around this transition of name and place; as the school prepared to move to the new Granville Island campus, the adoption of the name “Emily Carr College of Art and Design” was opposed by many, the preference being the title “British Columbia College of Art and Design” (vol.1, # 2 & 11). For instance, X’s volumes covered news on the Helen Pitt Gallery (until then the official student gallery) and other concerns on the transition to the Granville Island campus. After the move to the new campus was completed in 1980, X was relieved by WOO (1980-1981), which would take a step further towards autonomy.

By adopting the name of painter Emily Carr’s pet monkey, WOO implicitly accepted the school’s new name and ended the polemic sustained through X; nonetheless, the new student newsletter ceased dependence on the school’s administration by acquiring its funding from the Student Society. Despite this proximity with the official student representatives, the promotional efforts of editors Laiwan Chung (contributor of X volume two) and Arni Haraldsson were met not only with apathy from the students but even with hostility from the Student Society; as early as its second issue the publication narrowly survived cancellation by the Student Society. However, efforts to keep the publication afloat were made and the last two issues saw a more or less successful revitalization by editor David Rayfield. Still, when compared to X, WOO’s publication frequency, scope of content, engagement with the school community, and contributions by faculty and staff were more limited than those of X; perhaps all due to unfavourable conditions of the recent change of campus.

The year following the bitter reception of WOO, the Student Society closed ties with some former editorial members (some of them Student Society representatives themselves), and thus The Paper (1981-1983) came to be published.

(to be continued…)