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Showing posts with label Canada. Show all posts
Showing posts with label Canada. Show all posts

To the Best of Our Knowledge: Arts Education

Arts Education
To the Best of Our Knowledge (Wisconsin Public Radio)

SEGMENT 1:



Eric Booth is one of America's leading teaching artists and trainer of teaching artists. He's also the author of "The Music Teaching Artist's Bible: Becoming a Virtuoso Educator." He talks to Steve Paulson about the current state of arts education in American schools and shares his thoughts on how to engage children through arts education.

SEGMENT 2:



Michael Doucet is the founder of the pioneering, Grammy Award-winning Cajun band, BeauSoleil. The band recently released its 29th album, "Alligator Purse." Doucet also has an extensive background in arts education. He talks to Steve Paulson about educating people about Cajun culture through Cajun music. We also hear some music from BeauSoleil's "Alligator Purse" album.

Katie Salen is a game designer, interactive designer, animator and design educator. She's also the editor of "The Ecology of Games: Connecting Youth, Games, and Learning." Salen talks to Anne Strainchamps about what children can learn from designing and playing games.

SEGMENT 3:



David Gilmour is a Canadian film critic and novelist. He's also the author of a memoir called "The Film Club." In the book, Gilmour writes about his decision to let his son, Jesse, drop out of school, provided that he agrees to watch three movies a week with his father. Gilmour talks to Jim Fleming about the experience. We also hear clips from a few of the films that Gilmour watched with his son

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Joan Baxter: How corporate tax breaks hurt humanity

How corporate tax breaks hurt humanity. Truth be told: taxation is only certain for the ordinary law-abiding citizen, the non-rich
By Joan Baxter
Rabble (Canada)



Benjamin Franklin once wrote that nothing is certain in this world except death and taxes. That was in 1789. Mr. Franklin might be surprised to learn that today his axiom no longer holds, at least not for the rich and powerful among us. Truth be told -- as it is in British investigative journalist and author Nicholas Shaxson's meticulously researched and riveting book, Treasure Islands: Tax Havens and the Men Who Stole the World -- taxation is only certain for the ordinary law-abiding citizen, the non-rich. The wealthy and the ultra-wealthy can quite easily get by paying little or even no tax, thanks to the shadowy spider webs of tax havens and secrecy jurisdictions that span the globe.

Shaxson's aims in the book, he says, are to challenge the common idea that it is acceptable for a place to get rich by undermining the laws of other places and to offer a lens through which to view the history of the modern world. "Offshore business," he writes, "is, at heart, about artificially manipulating paper trails of money across borders." It is not a "colourful outgrowth of the global economy, but instead lies right at its centre." It's not about efficiency or any genuine production or real economic growth -- it's about people and corporations making vast amounts of money through tax evasion.

Hiding the world's wealth

This book is a jaw-dropper of an exposé of how the moneyed elites use offshore to hide and grow their wealth and of how this affects the rest of humanity. Shaxson travels the world and delves into archives and financial reports to offer up some mind-boggling facts and figures. More than half of world trade passes, at least on paper, through tax havens. The balance sheets of small island finance centres alone add up to 18 trillion dollars, about a third of the world's GDP -- and that is probably an underestimate. Wealthy individuals hold over 11.5 trillion dollars offshore. That's about one quarter of the world's wealth.

It seems that just about everyone who is anybody is in on the act. Media baron Rupert Murdoch's News Corporation (which owns Fox News, HarperCollins, MySpace and Sun newspapers), for example, uses 152 offshore subsidiaries and so pays an estimated rock bottom six per cent tax rate. Even Bono, writes Shaxson, who "browbeats western taxpayers to boost aid to Africa, shifted his band's financial empire to the Netherlands [an important European tax haven] in 2006 to cut its tax bill." Eighty-three of the U.S.'s 100 biggest corporations have subsidiaries in tax havens. The Tax Justice Network, an organization that works to research and raise awareness of the secretive world of offshore finance, discovered that 99 per cent of Europe's hundred largest companies used offshore subsidiaries, and the largest users of those were banks.

Shaxson takes an extremely complex issue, how vast amounts of money are shifted into tax havens or secrecy jurisdictions where no one can tell who really owns the shell banks and corporations, and renders it all comprehensible, with lively, precise and sometimes very witty prose. It can be agitating reading about how multinationals, banks and the global oligarchy (including not just despots who have robbed their own countries but also some of the world's most respected and prominent citizens) use the offshore system to hide their wealth to avoid paying their share of taxes, which our governments, our schools, our universities, our healthcare systems, our institutions and ordinary people, so sorely need. It can be an especially disturbing read for those of us struggling right now to fill out our tax forms.

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Alternatives: Steve Hounsell -- Biodiversity Primer

Biodiversity Primer
Alternatives (Canada)

Everything you ever wanted to know about Biodiversity, sustainability and fighting the good fight from the inside, with Steve Hounsell of Ontario Power Generation.

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Michael Thorn: Television Discourse and Governmentality: Considering Da Vinci's Inquest and Da Vinci's City Hall as Citizen Projects

Television Discourse and Governmentality: Considering Da Vinci's Inquest and Da Vinci's City Hall as Citizen Projects
by Michael Thorn
Cineaction #82/83 (Hosted on Free Library)

...

This analysis will use a Foucauldian governmental approach that borrows from political economy. A governmental approach is a context-specific approach that analyzes cultural institutions, products, and discourses in terms of tactics and strategies of influence and control where power and knowledge work together to regulate, manage, problematize, and maintain and/or change behaviour and thought. (3) This approach assumes that "discourses structure action, belief and conduct" (4) and it has been applied to both film and television. (5) It also assumes that discourses compete with each other as "wills to knowledge" and "wills to power" in what Foucault calls "truth games." (6) Understood in this way, discourse is both more and less than ideological. That is, this approach understands that tactics and strategies can be resisted, rejected, and contested both by those addressed and by others seeking to address the same audience. As Foucault says, "[t]he power relationship and freedom's refusal to submit cannot ... be separated." (7) However, this approach also understands that the types and forms of knowledge and power used to underlie the "truth" of any particular discourse will still have an impact on that text's ability to maintain, control, or change thought. A governmental analysis of discourse in film, television, and new media, then, is not so much concerned with how the spectator is hailed to accept as true, uncritically, a certain ideology, or, alternatively, how a certain discourse can be deconstructed to reveal its inherent contradictions, or even how a multiplicity of spectator positions can frame a text in different ways; rather, this approach is concerned with the methods, practices, and knowledges used to try to persuade spectators to accept as valid particular perspectives--perspectives seeking to maintain, control, or change enough thought about an issue or problem so as to have an impact on that problem. As such, this approach should also work to uncover the political, economic, and institutional influences reinforcing these discursive tactics and strategies. This is why the discipline of political economy is perfectly suited to dovetail with a governmental analysis. According to Vincent Mosco, political economy is the study of "the social relations, particularly the power relations, that mutually constitute the production, distribution, and consumption of resources." (8) How discourses, especially media discourses, are constituted politically and economically prior to and during distribution and consumption have definite effects on their governmental influence. For Mosco, the key entry point for political economy is the process of commodification, but this process must also be understood in relation to processes of spatialization and structuration. (9) While this paper does refer to the profit-driven commercialization of Canadian television, a process of commodification, and also to the relationship between the regional politics of Vancouver and the national politics of Canada, a spaclalized relationship, the political economic emphasis in this paper will be on how the discourse of the Da Vinci series participates in structuring and promoting certain kinds of social relations, particularly power relations; in this case, as they pertain to the relationship between certain governmental institutions (the police and coroner's office) and certain vulnerable populations in Vancouver's Downtown Eastside (drug users and sex-trade workers). Of course, for Foucault, technologies of power intersect with technologies of production, technologies of sign systems, and technologies of the self. (10) As such, the Foucauldian emphasis here will be on how the narrative sign system of the show is constituted with the power to influence and change thought and action (or the self) on the issue of harm-reduction through productive influences. In other words, this paper will use as its entry point that intersection where the show's explicit textual meaning meets both its socio-political context and (some of) the creative elements of its production. 1 am using this as my entry point to highlight the show's obvious political agenda, which seems to operate above and beyond any desire of the show's producers to generate profit.

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Who's Counting? Marilyn Waring on Sex, Lies and Global Economics

NFB (Canada)

In this feature-length documentary, Marilyn Waring demystifies the language of economics by defining it as a value system in which all goods and activities are related only to their monetary value. As a result, unpaid work (usually performed by women) is unrecognized while activities that may be environmentally and socially detrimental are deemed productive. Waring maps out an alternative vision based on the idea of time as the new currency.



More:

"Author/Entrepreneur Tara Hunt on the influence of Marilyn Waring"