03 - Technology

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1219 2012

N O I ASH OGY F L T O R N A H C E &T

FEMMELDEHYDE 1

in this issue 2

CONTENTS FIVE editors’ note

SEVEN photography feature: nate kogan

EIGHT readers’ submissions

TEN seeking a hipster for the end of the world by contributing writer: dayna jones

TWELVE fashion feature: nowhereland

TWENTY art feature: lily butter

TWENTY-­SIX gallery review:

TWENTY-­EIGHT music feature: prince innocence

THIRTY literature feature: the 7 signs robots are taking over by tristan douglas

THIRTY-­TWO closing remarks: what’s next? 3

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editors’ notes

to our readers, Technology is a logical next step from nature, and is also a theme that we were really excited to work with. ,W¡V SURYHQ FKDOOHQJLQJ WR ORRN DW WKH LQWHUVHFWLRQ between the arts and technology in an original way, VLQFH WHFKQRORJ\ VHHPV WR SHUPHDWH HYHU\ VLQJOH DVSHFW RXU GDLO\ OLYHV LW¡V OLNH WKLV HYHU SUHVHQW entity that we totally embrace, while simultaneously KDWLQJ DQG HYHQ IHDULQJ LW :KDW UHĂ HFWV RXU FXUUHQW cultural condition is the exponential acceleration RI WHFKQRORJLFDO DGYDQFHPHQWV DQG LQIRUPDWLRQ H[FKDQJH DQG KRZ WKLV PDQLIHVWV LQ RXU VRFLDO OLYHV The features in this issue all seem to respond to this, to different extents, offering up bodies of work that ZH FDQ DOO UHODWH WR RQ DQ LQWLPDWH OHYHO 2XU WKHPH also echoes the format of this publication, and as , ZULWH WKLV ,¡P VWDULQJ LQWR P\ 0DFERRN PRQLWRU ferociously Googling and Facebooking, whilst VWUHWFKLQJ P\ FUDPSLQJ Ă€QJHUV $QG LQHYLWDEO\ \RX¡YH DUULYHG DW WKLV WKURXJK FOLFNLQJ RQ D OLQN QDYLJDWLQJ RXU ZHEVLWH DQG SHUKDSV GRZQORDGLQJ as a pdf (we hope!). So without further ado, here it is: the technology issue, and our last of the 2012 year.

, WKLQN ,¡YH KDG WKH WHQGHQF\ WR UHJDUG DUW DQG WHFKQRORJ\ DV VRPH W\SH RI )DXVWLDQ EDUJDLQLQJ in the process of integrating technology with art, SHUKDSV VRPH LQWURVSHFWLRQ LV ORVW )RU HYHU\ WHFKQRORJLFDO GHYHORSPHQW LW VHHPV WKDW VRFLHW\ may lose an aspect of social prosperity. But I was PRUH WKDQ UHDG\ WR KDYH WKHVH WKHRULHV RI PLQH challenged and this is surely what has happened. 7KH DUWLVWV ZH GLVFRYHUHG WKURXJK WKH FUHDWLRQ RI WKLV LVVXH DUH NLQG RI OLNH WRGD\¡V PDG VFLHQWLVWV LQ D ZD\ ² XWLOL]LQJ UHOHYDQW WHFKQRORJ\ DV WKH PDLQ IDFHW IRU WKHLU ZRUNV $QG WKH UHVXOWV DUH VRPHWKLQJ UHDOO\ TXLWH VXEOLPH ² WKRXJKW SURYRNLQJ DQG HHULO\ ERDVWIXO RI PRGHUQ QDUUDWLYHV :KDW ,¡YH FRPH WR realize that much more lies beneath such thematic works. This realization in itself speaks heaps to me – it seems that prior to this, I stopped at only what I VHH ZLWKRXW TXHVWLRQLQJ IXUWKHU DQ LQKHUHQW VRFLHWDO issue of our times. So please take a journey through technology as art – or is it art as technology? – and GRQ¡W EH DIUDLG WR DVN TXHVWLRQV

Thanks for reading! Erika xx

Enjoy, Lindsey xx

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photography feature

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* all photography in this issue are by nate kogan unless otherwise credited

submissions

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SUBMISSIONS FROM OUR READERS 1. contingency 2. a town calmer than a few days 3. ,路P UHDOO\ JODG , VDZ PH LQ \RX %< .,0 .8.25$,7,S

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2O¡ +RW 'DPQ , ZDQQD JR WR DQ RO¡ KRW GDPQ GRQ¡W QHHG WR JR UHDUUDQJH P\ PDQ SROLVK P\ VKRHV WKDW¡V WKH PDVWHU SODQ , ZDQQD JR WR DQ RO¡ KRW GDPQ No need to cry like a Siamese I got one, got two good knees +H PDNHV PH ULJKW PRYHV PH ZLWK HDVH 3LFNLQJ SHDV KH¡V WKH PLJKWLHVW WHDVH tells me my eyes are like the azure seas. ,¡OO OHDYH WKH GLVKHV DQG WKH URDVWLQJ SDQ ,COO FXW WKH à RRU ZLWK WKDW ROG PDQ Take a quick swig from your cold beer can , ZDQQD JR WR DQ RO¡ KRW GDPQ 'RQ¡W GULQN WKH UXP WLO LW¡V FRRO DV VQRZ :DON WR WKH /HJLRQ WKURXJK WKH KLJKV DQG ORZV FLUFOLQ¡ WKH à RRU ZLWK WKH IRONV ZH NQRZ arms round his neck, circles smooth, and slow DQG KH VD\V ZK\ WKHUH¡V P\ JLUO DOO DJORZ

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photography by hannah pruden

contributing writer

Seeking a Hipster for the End of the World :KHQ KXQWLQJ IRU KLSVWHUV \RX QHHGQ¡W ORRN IDU ´7KRVH KLSVWHUV Âľ ´WKDW KLSVWHU EDUÂľ WKH KLSVWHUV DUH DOZD\V WKHUH EXW QHYHU H[DFWO\ here ,W WDNHV Ă€QJHU SRLQWLQJ WR Ă€QG D KLSVWHU DQG LI \RX WUDFN RQH DQG IROORZ KLV Ă€QJHU SRLQWLQJ DQG WKDW RQH¡V DQG PD\EH HYHQ WKDW RQH DIWHU WKDW \RX¡UH OLNHO\ WR Ă€QG WKH PRWKHUORDG of hipsterdom. 2U MXVW PRUH SHRSOH ZKR MXVW ORRN DOPRVW H[DFWO\ OLNH HYHU\RQH HOVH ,W¡V HDV\ HQRXJK WR SRLQW RXW D KLSVWHU EXW VWLFNLHU EXVLQHVV WR GHĂ€QH H[DFWO\ ZKDW WKDW QRZ PHDQV 7KH DUFKHW\SH RI WKH OD]\ FUHDWLYH LQ D SODLG VKLUW DQG VWDWHPHQW JODVVHV EDQJV RU LURQLF IDFLDO KDLU YHJDQ RUJDQLF LV LW ORFDO KLSVWHU VHHPV GDWHG DQG ZLWK WKH demise of early 21st century hipster touchstones like $PHULFDQ $SSDUHO DQG 9LFH 0DJD]LQH WKH ZRUG KLSVWHU VHHPV WR KDYH RXWOLYHG LW¡V RZQ DHVWKHWLF $V 0DUN *UHLI ZURWH LQ 1< 0DJ LQ ´7KH WHUP KDV DOZD\V SRVVHVVHG DGHTXDWHO\ OXFLG GHĂ€QLWLRQV WKH\ just happen to be multiple.â€?1 But hipster is, more often WKDQ QRW D SHMRUDWLYH WHUP WKDW VODSV WKH UHFLSLHQW ZLWK WKH ZRUG¡V VDOLHQW RQH KXQGUHG VRPH RGG \HDU KLVWRU\ LQ ZKDW *UHLI FDOOV ´WKH RXWĂ DQNLQJ PDQHXYHU SDU H[FHOOHQFH ZLWKLQ D FRPPRQ Ă€HOG RI FRRO Âľ2 It denigrates WKH UHFLSLHQW ZKLOH HOHYDWLQJ WKH ODEHOOHU WR WKH FUqPH GH OD FUqPH RI KLSQHVV KH ZKR LV KLS HQRXJK WR LGHQWLI\ hipsters without carrying the stigma of actually being a hipster – the essential paradox of hipsterism. 7KH WHUP¡V LQKHUHQW LURQLF YHQRP LV GHSOR\HG DW JURXQG OHYHO EHWZHHQ FLYLOLDQV EXW SHUKDSV PRUH LQMXULRXVO\ LQ WKH SUHVV +LSVWHUV DUH ODXGHG DW EHVW DV ´QHRSK\WH slackersâ€?3 DQG DW ZRUVW ´WKH HQG RI :HVWHUQ &LYLOL]DWLRQ ² D FXOWXUH ORVW LQ WKH VXSHUĂ€FLDOLW\ RI LWV SDVW DQG XQDEOH 1   http://nymag.com/news/features/69129/ 2 http://nymag.com/news/features/69129/ 3 http://www.timeout.com/newyork/things-­â€?to-­â€?do/why-­â€?the-­â€? hipster-­â€?must-­â€?die

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BY DAYNA M JONES to create any new meaningâ€?4 D JHQHUDWLRQ VWHHSHG LQ VHOI DZDUHQHVV DQG XQDEDVKHG FRQVXPHULVP OHDYLQJ QR concrete contributions and passing away without legacy. But the histrionic glee with which the hipster epoch was SURQRXQFHG GHDG DURXQG PD\ KDYH GLVWUDFWHG IURP WKH KRDUG RI VXUYLYRUV WKDW VWDJJHUHG RXW IURP XQGHU D SLOH RI JROG ODPH ERG\VXLWV DQG 9DPSLUH :HHNHQG YLQ\O ORRNLQJ IRU D TXLHW SODFH ZLWK D UHOLDEOH ZLUHOHVV FRQQHFWLRQ ,W¡V KHUH WKDW ZH FDQ EHJLQ WR SLHFH WRJHWKHU ZKDW KLSVWHUV EHFDPH DIWHU WKHLU LQLWLDO Ă RXULVK DQG IDOO RI the 2000s. 7KH KLSVWHU ZDV QRW WKH FUDIW\ FRQVXPHULVW LQYHQWLRQ RI 'RY &KDUQH\ DQG 'DYH (JJHUV WKH KLSVWHU ZH QRZ NQRZ LV WKH HVWUDQJHG JUHDW JUDQGFKLOG RI WKRVH Ă€UVW GHVFULEHG E\ $PHULFDQ ZULWHU $QDWROH %UR\DUG LQ 5. These ZHUH \RXQJ SHRSOH ² SDUWLFXODUO\ $IULFDQ $PHULFDQV MD]] PXVLFLDQV ZULWHUV HWF ZKR IRXQG SODFH DQG VHOI DFWXDOL]DWLRQ LQ SRVW ::, $PHULFD WKURXJK MLYH WDON D system of language and expression that more accurately GHVFULEHG WKH $PHULFD WKH\ NQHZ ,Q 1RUPDQ 0DLOHU FRQFHLYHG RI WKH KLSVWHU DV D SV\FKRSDWK Ă€QGLQJ FRPPXQLW\ LQ UHODWLYH DOLHQDWLRQ DQG REVFXULW\ DV D PHDQV to cope with the constant threat of nuclear destruction. 0DLOHU¡V KLSVWHUV ZHUH .HURXDFLDQ GLOHWWDQWHV ZKR LQKHULWHG WKH OLVWOHVV GLVLOOXVLRQPHQW RI WKH V FR RSWHG MD]] DQG MLYH DFFHSWHG GHDWK DV LQHYLWDEOH DQG OLYHG DJJUHVVLYHO\ IRU RQHVHOI DV D FUHDWXUH 0DLOHU FDOOHG ´7KH :KLWH 1HJUR Âľ6 It was through this semantic rebellion that early hipsters created a rich counterculture that would HYHQWXDOO\ EHFRPH DV ULJLG DQG V\VWHPDWLF DV WKH FXOWXUH it was meant to criticize, and was ultimately adopted EDFN LQWR WKH SRSXODU $PHULFDQ FRQVFLRXVQHVV $QG VR 'RXJODV +DGGRZ ZDVQ¡W HQWLUHO\ RII EDVH ZKHQ LQ KH DOOHJHG LQ ´+LSVWHU 7KH 'HDG (QG RI :HVWHUQ &LYLOL]DWLRQÂľ WKDW KLSVWHULVP LV PHUHO\ ´D \RXWK VXEFXOWXUH that mirrors the doomed shallowness of mainstream VRFLHW\ Âľ %XW ZKDW +DGGRZ VXUHO\ PHDQW WR EH D Ă€QDO EORZ WR DQ DOUHDG\ SXQFK GUXQN VXEFXOWXUH ZDV UHDOO\ MXVW DQ HIIHFWLYH VXPPDU\ RI KLSVWHU KLVWRU\ DQG D FRJHQW IRUHFDVW RI KRZ KLSVWHULVP ZRXOG OLNHO\ DGDSW WR VXUYLYH the coming age. If hipsterism were truly in straits as GLUH DV ZH ZHUH OHDG WR EHOLHYH LW ZRXOG VHHP Ă€WWLQJ IRU WKH ZRUG WR KDYH DOUHDG\ WDNHQ LWV SODFH DPRQJ ÂśEHDW¡ ÂśHPR¡ ÂśGHDG KHDG¡ ÂśZDVWHU¡ ÂśJUHDVHU¡ DQG ÂśUDYHU¡ IRU DOO eternity. 6R ZKHUH DUH KLSVWHUV QRZ" +LQW WKH\¡UH SUREDEO\ QRW 4   http://www.adbusters.org/magazine/79/hipster.html 5   http://staff.oswego.org/ephaneuf/web/Beat%20Miscellany/ Broyard,%20Anatold%20-­â€?%20A%20Portrait%20of%20the%20 Hipster.pdf 6   http://staff.oswego.org/ephaneuf/web/Beat%20Miscellany/ Mailer%20%20Norman%20-­â€?%20The%20White%20Negro.pdf

John Leland, author RI ´+LS 7KH +LVWRU\ Âľ suggests the next iteration of hipness will Ă€QG SRZHU LQ FROOHFWLYLW\ online: “I think there is an opportunity for weirdness QRZ DQG FROOHFWLYH ZHLUGQHVV WKDW PD\EH ZDVQ¡W SRVVLEOH LQ WKH SDVW ,W GRHVQ¡W VHHP WR PH LW¡V GHDG EXW LW QHHGV WR take a slightly different form. -XVW GUHVVLQJ XS ZDV QHYHU enough, but now it seems HYHQ PRUH REYLRXV Âľ8 So while the economic future for young people is irrefutably bleak, the new hipster – the community KLSVWHU 0 $ ² LV RQ WKH JURXQG Ă RRU RI D VXEFXOWXUH WKDW responds to alienation and XQUHVW ZLWK FROOHFWLYLW\

buying anything. Just as Broyard described early hipsters as amputees who “localize their strongest sensations in their missing limb,â€? hipsters remain in search of place just outside and MXVW DKHDG RI PDLQVWUHDP FXOWXUH 2QO\ WRGD\¡V \RXWK hipster or otherwise, are now coming of age in a time RI ORZ ZDJH VKRUW WHUP HPSOR\PHQW ZLWK OLWWOH KRSH IRU SHQVLRQHG UHWLUHPHQW DQG LW¡V WKLV SHUIHFW VWRUP RI HFRQRPLF VHWEDFNV WKDW DUH OHDYLQJ &DQDGLDQ \RXWK LQ WKH GXVW ZKLOH FRPSURPLVLQJ WKH SURVSHULW\ RI &DQDGD¡V QDWLRQDO HFRQRP\ ORQJ WHUP 8QOLNH WKH KLSVWHUV RI WKH V ZKR EDODQFHG legitimate employment with rebel subculture, hipsters QRZ OLNH PRVW \RXQJ &DQDGLDQV DUH XQGHUHPSOR\HG RYHUHGXFDWHG GLVLOOXVLRQHG DQG OHIW ZLWK WLPH UDWKHU WKDQ money. :LWKRXW Ă€QDQFLDO VHFXULW\ D VHQVH RI SXUSRVH or formal mentorship, more and more hipsters are DGRSWLQJ DQ HQWUHSUHQHXULDO VSLULW WR Ă€QG PHDQLQJ JDLQIXO HPSOR\PHQW DQG D VHQVH RI SXUSRVH LQ QRQ WUDGLWLRQDO SODFHV ² DQG FKDQJLQJ WKH YHU\ GHĂ€QLWLRQ RI ÂśKLSVWHU¡ itself.

7KLV LVQ¡W WR VXJJHVW WKDW KLSVWHULVP EHJDW VRPH QHZ school of stylish philanthropists, but in a market with IHZ DYDLODEOH MREV IRU \RXQJ SHRSOH ² DQG IHZHU VWLOO WR VXLW WKH HGXFDWLRQ OHYHO RI WKH DSSOLFDQWV ² FRPSHWLWLRQ ultimately seems less rewarding than pooling resources RU EHWWHU \HW FUHDWLQJ QHZ RQHV ,W¡V DQRWKHU FDVH RI VLWXDWLRQ EUHHGLQJ VW\OLVKQHVV RI Ă€QGLQJ OLIH LQ D phantom limb. ´7KRVH KLSVWHUV Âľ FRXOG VWLOO UHDOLVWLFDOO\ EH WKRVH :HV $QGHUVRQV H[SRXQGLQJ WKH VXSHULRULW\ RI YLQ\O DW KRXVH SDUWLHV EXW DUH QRZ PRUH WKDQ HYHU EHKLQG SURMHFWV OLNH 6KDQQRQ 6LPPRQV¡ 1HZ 6FKRRO RI )LQDQFH DUW DQG EDUWHULQJ FROOHFWLYHV +RRW8SV RU HYHQ WKLV IUHH GLJLWDO SXEOLFDWLRQ \RX¡UH UHDGLQJ QRZ 7KH QHZ KLSVWHU Ă€QGV VXVWHQDQFH ² Ă€QDQFLDOO\ HWKLFDOO\ VSLULWXDOO\ RU otherwise – in building new systems of exchange for those sentenced to an anxious purgatory between student life and adulthood simply because they came RI DJH LQ WKH ZURQJ \HDU (QWUHSUHQHXULDO FRPPXQLW\ PLQGHG DGDSWLYH WKH QHZ KLSVWHU FDQ¡W KRSH WR DGYDQFH if she continues to allow herself to be denied. 6R XQWLO ZH KDYH D PRUH VRSKLVWLFDWHG V\VWHP RI KLSVWHU WD[RQRP\ OHW¡V UHVHUYH ÂśKLSVWHU¡ IRU ZKHQ LW WUXO\ FRXQWV and not risk wasting it on just anyone wearing skinny jeans. * illustration by colin smith

7   http://www.theglobeandmail.com/report-­â€?on-­â€?business/ economy/jobs/generation-­â€?nixed-­â€?why-­â€?canadas-­â€?youth-­â€?are-­â€?losing-­â€? hope-­â€?for-­â€?the-­â€?future/article4705553/?page=all

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8 http://www.pbs.org/newshour/art/blog/2010/06/the-­â€?hip-­â€? ster-­â€?in-­â€?the-­â€?age-­â€?of-­â€?online-­â€?ridicule.html

fashion feature

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12:+(5(/$1' So, one Sunday morning, I groggily met up with the three behind Nowhereland – whom, might I add, were VHHPLQJO\ LQ WKH VDPH VWDWH RI PLQG DV , :H ZHUH PXWXDOO\ XQGHUVWDQGLQJ RI RXU SUHYLRXV ODWH ODWH QLJKWV DQG SXVKHG WKURXJK WKH LQWHUYLHZ DQ\ZD\ ZLWK D ERWWOH RI DOPRVW HPSW\ UHG ZLQH DQG IUXLW Ă LHV LQFHVVDQWO\ VZDUPLQJ the parameters. The girls were looking bomb and I felt my cool factor immediately threatened upon meeting up ZLWK WKHP \RXQJ KLS HQWUHSUHQHXUV ZLWK DQ H\H IRU WUHQGV EHIRUH WKH\ WRXFK GRZQ LQ 7RURQWR :LWK VXFK IDVKLRQ DQG EXVLQHVV VDYYLQHVV WKH\¡YH FUHDWHG D QHZ VKRSSLQJ UHDOP SXWWLQJ ´WKH EDG DQG EHDXWLIXO Âľ DW WKH IRUHIURQW RI their target market. [lindsey omelon] LO: There seems to big such a big issue in Toronto. Like, we have all of these little communities and it’s unsettling to go outside of our own comfort zones. So in starting up a business such as this, it can be difficult to force consumers to break their habits.

LO: So you’re going to have your own shop in shop?

TP: Oh yeah, it can be difficult to break those boundaries!

LO: So, why Nowhereland? What’s up with that name?

TP: Yeah. They’re trying to do this thing right now that’s similar to Opening Ceremony but on a much smaller level where they have stores inside of stores.

LO: Nope.

TP: You know what‌we were like, just in the park hanging out and I came to Andrea and Jess with the idea and we didn’t really have a name. At the time, I was sitting on some other names because I’ve been thinking about doing online stuff for a minute. And then I just said Nowhereland and Jess was like ‘No‌let’s think about it’ and Andrea was just like ‘I like it!’ And so, it was two against one.

TP: Oh, umm, it’s like lower Augusta. Well do you know Cold Tea?

LO: Are you still unsure about it? Are you still bitter?

LO: So is this physical location permanent here? I know that Nowhereland began as only an online store. TP: Actually no, this isn’t going to be permanent. Do you know Pretty Freedom in Kensington?

photography: rick indeo // makeup: diana mejia // model claudia stone

JST: No, no I love it! LO: Sure do. Was there last night! TP: Haha! Really? I just saw the people from Cold Tea. JST: Yeah! We saw them all last night. TP: Oh, oh, oh Cold Tea on Friday. JST: No, that was yesterday. TP: Oh, oh Anyways, sorry- we digress. What were talking about? Pretty Freedom. We’ll be there in January! They’re a cool little vintage clothing store and Jody and Helena used to be Regional Managers for AA and then moved on to open their own little store. So we’re going to move into the back of their store.

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TP: Jess is like our logistics person, right? So she’s always questioning our actions. So that’s her role in this. And I’m just like, the spontaneous one. That’s how this happened [points to rack of seemingly randomly chosen pieces]. So yeah, Jess kind of reels us in. LO: Is that then how it all got started? Kind of just like, ‘I feel like opening a store’ and then just‌did it? TP: Yeah, pretty much. JST: I think it was like, the next day we went and got a business license...

photography: rick indeo // makeup: diana mejia // model claudia stone

TP: Yeah, we did it in thirty days. We’re just like, you know, we’ve got to do this. Let’s set up the website, let’s do all of this stuff. And we did. In thirty days. AC: I was actually on the phone requesting about the license and was learning about all of the other stuff we needed to do to open the business like during that conversation. LO: That is crazy. TP: We had to do it! We had to, sooner or later. Because, you know what, ever since we opened, there have been so many other online stores opening that are similar in concept, like, just after us. The retail community is quite small and there’s many other business with a similar idea. LO: Yeah, you definitely have to act fast when you have a good concept before it is done first by someone else. TP: For sure. Like, Toronto moves in waves. Like, charcuterie, or like…tacos. And now like all of these bars that seem like 416 Snack Bar and Brooklyn kind of bars. So, you know, everything moves in waves here. LO: Where do you guys usually find your product? JST: Well, most of our stuff we usually bring in from New York, LA…we’ve brought in a lot of stuff from Asia…a few things

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coming from Australia. And actually some kind of branded stuff. But, yeah we basically scour all of the wholesalers across the world and then whenever we find something we love, we just bring it in. LO: Do you find you are constantly on the prowl for new product? JST: Oh yeah! LO: I can imagine. Because it’s a super competitive market and ever-changing, right, so… TP: Before we were doing a lot of stuff outside of Canada, just because it is expensive here to manufacture and do all of that stuff, unless you’re doing it yourself. But, we found some really cool people from Montreal called Yard666sale? Have you heard of Mykki Blanco? LO: Yeah! Saw Mykki Blanco just a little while ago. TP: We were there! LO: The Death Grips show? TP: Oooh, no. We went to the other one. At that…place. It’s beside that sex club…and yeah, anyway, he wears Yard666Sale stuff all the time.

photography: rick indeo // makeup: diana mejia // model claudia stone

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photography: rick indeo // makeup: diana mejia // model claudia stone

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LO: Oh, nice! That stuff seems really fitting for the store. Anyway, is it just you three that work here? TP: Yeah. LO: So I can understand it can get kind of hard sometimes. TP: Yeah and we all have other jobs! LO: Really?! And you’re in school still? JST: Well, no… I am taking a course right now. But on top of that I have another job, another business, and this. So it’s like a 7 day a week schedule.

You know that you are hustling and these types of things aren’t just given to you. You work hard and so you understand the type of work other entrepreneurs put into what they do.

LO: Do you sleep? JST: Nope. Can’t you tell? TP: No man. I went to sleep at seven in the morning this morning! JST: And that’s why we are like this, haha! TP: Yeah, like today, I came here in my pyjamas and then was like ‘okay well maybe this isn’t appropriate’ for like, doing this interview right now. LO: Have you noticed that like, when you opened up the store it was the same following you had already created from the online store or did you find an increase/change in your shoppers? TP: Honestly, we didn’t really have much of a following when we opened the site. Before we started doing pop-ups and all of that, it was difficult to be found out about other than through media such as Instagram and that stuff. Like, even at our first pop-up, which we had at an afterhours in Kensington Market. So, after that we definitely saw some momentum. At that time we only had about 100 followers on Instagram… we didn’t have that many and a lot of them were our friends. So, I think we definitely developed more of a following from having those pop-up shops. We didn’t build that much from just being online. LO: So when did you actually open the store? The online store. TP: We launched the website May 15th, 2012. And then we did our first pop-up at the end of May. Then we moved into Love of Mine in July… JST: No, no, no. May 15th was the day we got the idea. TP: Oh! Okay, so…sorry! Actually, we launched on June 15th.

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Had our first pop-up shop at the end of June… JST: Yeah, see? It just all happened so fast it’s even hard to remember when it all happened… TP: And we didn’t stay as just an online store for very long… JST: Yeah, we quickly progressed. LO: Did you always know you were going to become a real store or… AC: Yes! That was the plan. TP: Yeah, it was always the idea. AC: But maybe only over the course of a year. LO: Do you find a lot of support in the retail community? TP: Oh yeah! I mean, a lot of our customers are just like you. Like, they’re also trying to start their own thing and therefore can understand where we’re coming from. And it seems like people can appreciate this sort of stuff more because of that. Because, you know that you are hustling and these types of things aren’t just given to you. You work hard and so you understand the type of work other entrepreneurs put into what they do. LO: Oh, definitely. There’s all of these, like, young guns popping up all over Toronto and they are certainly more supportive and encouraging of those in the same boat. It’s not so much about competition but supporting one another. TP: But yeah, owning a store is a lot of work and a lot of money to invest. But we are genuine about it. LO: How has technology helped motivate the concept and

where do you think you’d be without it? TP: Well, we started off as an online store. And we already knew right from the beginning that Instagram was going to be our biggest marketing tool. Free, marketing tool. LO: Oh yeah! Like, Instagram was almost instantly integrated into businesses, especially like this, as a huge driver in marketing. TP: Yeah! It’s like almost crucial now for these kinds of businesses. LO: Do you guys use it for like, ‘street style-esque’ posts? AC: Oh yeah, definitely. AC: And I mean like, Instagram is like a purely visual medium. So it is definitely really important…especially for things like retail. LO: And I guess it also gives you an opportunity to be more inclusive of your customers and more involved. And like, photography: rick indeo // makeup: diana mejia // model claudia stone people like to see themselves. We can be a pretty narcissistic society! TP: Oh yeah! Haha. Instagram is like, food, cat, and clothes. And, hey! Have you heard of that new GIF one? I want to get

on that! JST: It’s basically just like, moving Instagram. TP: Our last lookbook is GIFS, actually! We just put it up a few weeks ago. It’s called Cyber. Umm, and that’s mostly just because well, first we’re an online store, and secondly, it suits our aesthetic. Like, our aesthetic is pretty tumblr-influenced. So our site is pretty tumblr, and a lot of our following is because of Instagram. LO: That’s a huge trend too, right now, right? The tumblr trend? TP: Yeah, totally. LO: Do you think that having the store online has in any way helped globalize your products/concept? TP: Well, we only ship within North America right now. Actually, at first, we were basically personally delivering products! I would literally drive orders to peoples’ work, to somewhere on the street… JST: Yeah just like hand off a bag and be like ‘So, do you have the money?’ TP: Cash only, take the bag!

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art feature

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7HFKQRORJ\ DQG WHFKQRORJLFDO DGYDQFHPHQWV DUH PDGH SRVVLEOH WKURXJK WKH PDJLF RI VFLHQFH RI FRXUVH 6R ZKHQ D IULHQG UHIHUUHG PH WR WKH YHU\ WHFKQRORJLFDO DQG KLJKO\ UHYHUHG 6FLHQWDUWLVW /LO\ %XWWHU , WKRXJKW ZKR EHWWHU WR FRQVXOW IRU WKLV LVVXH" 0LVV %XWWHU QRW RQO\ PDNHV VFLHQWRORJLFDO DUW EXW LV DOVR GHHSO\ LPPHUVHG DQG DIĂ XHQW LQ WKH GLVFLSOLQH WKDQNV WR 3RSXODU 6FLHQFH PDJD]LQH 6KH ZDV ´SHUIHFWO\ DUWLFXODWHG HOXFLGDWLQJ KHU YHUELDJH ERUGHULQJ RQ ORJRSKLOLD Âľ DQG , HPHUJHG IURP WKH LQWHUYLHZ IHHOLQJ UDWKHU HQOLJKWHQHG DQG D OLWWOH PHQWDOO\ GUDLQHG +HU GHOLJKWIXO GUDZLQJV DUH DQ appropriate intersection of art and technology in form and process as well as subject matter, which directed the dialogue WKDW \RX ZLOO Ă€QG KHUH >HULND EDOLQW@ EB: So were did Lily Butter come from?

in the computer, printed out in these sheets (about 7 inches),

LB: Ottawa. Sometime in the 80s or 70s or 60s or something like that ‌ I’ve just turned 70 this summer, and I just perfected vacuuming right now. In fact I even own a vacuum.

and I just did the math for how it would sit on this thing.

EB: And how did you go from “Sybilâ€? to Lily? LB: Haha, well I am a sibilant. A sibilant, I think, is – I’m gonna quote from the Oxford English dictionary, which I do not own a copy of at the moment – a sibilant is someone who seems to speak prophetically- however calling someone a sibilant is not a judgement on whether their sibilantism is any good or not. It’s just that they say things that seem to forebode of the future. So they seem to know something about precognition maybe, and, I try and totally own that. But yeah, Lillian‌ Lillian is just my middle name. And I stay under the middle name and Butter is a joke about... remember the movie Paris is Burning? No no its not that one it’s the other one- Last Tango in Paris! (it’s not as good as Paris is Burning) but it has a scene with butter in it. And that’s sort of a joke. But I just tell everybody my last name is Bloodgoat. Which you can kinda shorten to Butter. Bloodtter. [We talked a lot about Butter from here, which lead into speaking of her artmaking process (but don’t ask me how), and we looked at an enormous gel-medium collage piece as example.] LB: This is a collage of about 8 different illustrations – most of which are hanging up around here – and then I take all of the drawings in the computer, stick ‘em all together into one giant epic piece, and at the same time just keep drawing. Both of these started out with me printing out a giant piece like this – which once again, is like 8 different drawings all stuck together

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I’m pretty sure a lot of people’s techniques in arts these days are – you know, you get a bunch of images by just typing into Google what you’d like a picture of, you get it, and you can kinda just flip ‘em together – and yes, there’s art with seams – and people are like printing their art out or getting it at the print shop, and your task as the artist is like, framing it and getting a really good coat of protective spray. And that’s the stuff that sells, too. The work that I throw into these pieces – the goal isn’t to complete this giant 11 foot painting and sell it, but just to keep shopping it. Keep shopping it and working it and having new permutations of stuff coming out. And its fun to go back into my catalogue and use all these reproduction techniques, and like, slop chemicals around in my kitchen and make a mess. And it’s just fun to pull out a drawing from 5 or 10 years ago and work it over again and give it a new body over and over again. EB: Do you often manipulate digitally, or do you just take the digital reproduction and manipulate from there? LB: I do a bit of my work digitally. I’m doing more and more digital refinements too. I have a lot of images online – collections of images that have I’ve created, that I’ve been stockpiling online – and I consider the images constantly evolving, and the image becomes what I push it to; give or take how good the backups of the previous image are. Like, almost everything I have from before 2007 I don’t have a hi-res copy of, I’m lucky to have a colour copy of. Once we got to the end of the 90’s the Internet started getting

[We then went on to look at an instructional booklet created by Lily herself.] LB: This is a self-promotional piece about how I’m scientological, but it’s disguised as an informative little handbook on how to build your own inter-dimensional modulator. Which I totally know how to do. As you see, this is an interdimensional modulator. And this is a bunch of junk from around the house. You could do this, and this would work! EB: Can you sub things in if you don’t have those exact items?

good for something. Previous to that, you had to log onto something, it was all in green calculator font, and you’d get onto your like, list server or directory of text files on how to make a bomb…. [We then discussed an image of Lily’s giant spaceship, made from a giant landmine the size of a house that runs on clockwork and crystals. This lead us into our discussion of Scientart, and the tremendous influence of publications like Popular Science and Popular Mechanics.] EB: Would you consider yourself well versed in scientart history? LB: Hmmmm…. Well, I’m a voracious consumer of it, but I don’t know if I’m completely well versed. EB: Who are your scientarthistorical influences? LB: I am very enamored of Mr. Hogarth, I believe that’s his name – the guy who invented Tarzan, and the whole Tarzan drawing technique. Burne Hogarth: he is a scientological expert of the human form, and he’s all about applying theory and graphics to the human form, and he’s got like 6 or so books out. And you can get anything – like this, (flipping through one of his books) just the science of how an eye lines up. Also, Popular Science – they had a some great full colour drawings on their covers for a bunch of years. I self taught a lot of technical drafting by getting hold of a bunch of books from Goodwill at some point.. circa the 70’s. Mostly instructions like “so you want to be a radiotron designer”

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LB: Yeaaah, well, depending. You don’t need the super abilities of any kind of physics, or a degree to build one of these. But if you can assemble Ikea furniture, and kind of get it together without the plans… that’s about what I’m offering here. Except for the part where you need a hexahydronomical space radio. But if you had that, it would work. And these things were very big back in the 1920’s. If you got a hold of that, and an alarm clock, a pink rock, a jar with a jar inside of it, a roll of string, a watch, an apple, and some pins, and about a handful of wire, we could punch a hole in space-time. In the interdimensional modulator, there’s a pink rock because you’re creating a reference for yourself in relation to the rest of the world, otherwise, if you went back in time like 6 months, earth would be like 270,000 miles from here on the other side of the sun! And if you add onto that time and the whole universe shifting around… So it’s all in relation to the pink rock. And this thing is built for travelling within the life span of the pink rock. And you can travel to near either end of it’s life span and then get yourself a new rock.

Did you hear that everyone’s favourite thing in science right now is that we might not be real and we might be a computer simulation? EB: And is this all explained in your guide? LB: No! It’s not explained very well… this is all just secret stuff. EB: Have you built many yourself? LB: I’ve built plenty of these- how do you think I got here? The first version of this that we got working… we had as many watches as we could get off of people, and we just sandwiched them all. So, you’d put a dime and a nickel, or a dime and a penny, in between every one – so then you’d have 2 different kinds of metal. So the metal becomes di-electrical, and what

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that does is it creates a different metal for the electrons – or in this case, tachyons – from a whole bunch of watches. So it polarizes it. I forget how tachyons are positively and negatively polarized to copper versus nickel. Did you hear that everyone’s favourite thing in science right now is that we might not be real and we might be a computer simulation? EB: I hope that’s the case. LB: Aaah, I dare them. And they’re starting to think right now that they have compelling evidence that nothing is real because we can’t get past the bottom layers of the universe. And they found the smallest unit of measurement: the smallest length of measurement is the planck length which is something like 1.0 × 10 -35 meters across. And nothing is smaller than that. That’s it. Beyond that space and matter falls apart. And space creates itself around matter and matter is energy… And then there’s the smallest unit of time too which is the amount of time it takes for light to travel planck length. So if I took my sock, and thought why is this even here, and then threw it across the room… you could take a photo of that sock half way across the

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room, and then you could take between me throwing the sock halfway across the room, and it being halfway across the room, and get pictures of it a quarter of the way, until you got these tiny little pictures of it moving all the way…. Well basically there’s a lot of plancks between here and there. Plancks are smaller than angstroms.. I have a book coming out soon- The Lily Butter Land book. Art books are gonna be my new focus for the year. EB: It’s kind of funny that you’re moving in the direction of books and publishing, just cause we often think of books as these very physical, tactile objects that are kind of oldworldly in a sense. LB: Totally. Well you know, with Internet and as mobile as we are, you’ll still never get rid of the metro magazine, and the tabloid magazines we read. A form of the paper will always prevail.

check out more lily butter at KWWS OLO\EXWWHUODQG FRP

photography by daniel faria gallery

‘the beginning is the end is the beginning’ // acrylic on gessoboard 16” x 20” // by tara krebs

26 photography by mariam matti c/o blogto.com // douglas coupland @ daniel faria gallery

artist review

'28*/$6 &283/$1' , WKLQN LW¡V VDIH WR VD\ WKDW PRVW RI XV DUH IDPLOLDU ZLWK 'RXJODV &RXSODQG DQG KLV ZRUN VR , ZRQW JR LQWR PXFK LQWURGXFWLRQ %XW &RXSODQG ² &DQDGLDQ DUWLVW QRYHOLVW DQG FXOWXUDO FULWLF ² JDYH D WDON DW WKH 3RZHU 3ODQW RQ 1RYHPEHU DV D SDUW RI WKHLU ,QWHUQDWLRQDO /HFWXUH 6HULHV FRQYHQLHQWO\ FRLQFLGLQJ ZLWK WKLV LVVXH DQG PDNLQJ IRU D JUHDW VXEMHFW IRU UHYLHZ (YHQ ZKLOH RYHUORDGHG ZLWK FROG PHGLFDWLRQ &RXSODQG PDQDJHG WR JLYH D FRPSHOOLQJ WDON DURXQG WKH QRWLRQV RI WLPH WHFKQRORJ\ DQG SULYDWH SXEOLF +H RSHQHG E\ WDONLQJ about “zeitlessness: new permanent atemporalityâ€?. %\ WKLV KH PHDQV WKDW DV D FXOWXUH ZH KDYH ORVW RXU ability to perform in a way that is characteristic of our WLPH 7KH ¡V WKH ¡V WKH ¡V WKH\ DOO KDG D VKWLFN EXW RXU FRQWHPSRUDQHLW\ GRHVQ¡W VHHP WR KDYH DQ\ UHDO VLJQLĂ€HUVÂłH[FHSW IRU WKLV QHZ SKHQRPHQD WKDW VHHPV WR KDYH HPHUJHG WKH DFFHOHUDWLRQ RI DFFHOHUDWLRQ +H WRXFKHV RQ VRPHWKLQJ , WKLQN ZH FDQ DOO UHODWH WR WKDW LQ WKLV WRUQDGR RI LQIRUPDWLRQ H[FKDQJH RYHUORDG ZH KDYH QHYHU IHOW VWXSLGHU DQG \HW KDYH QHYHU EHHQ smarter.

photo c/o terrance dick photo c/o richard rhyme

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photo c/o richard rhyme

&RXSODQG DOVR UHIHUV WR KLV FRQWULEXWLRQ WR WKLV \HDU¡V 1XLW %ODQFKH LQ 7KH 0XVHXP IRU WKH (QG RI WKH :RUOG ZKLFK included a series of tableaus of people left behind after WKH UDSWXUH +H VSHDNV WR WKH YHU\ IULJKWHQLQJ QRWLRQ WKDW ZH KDYH EXLOW RXU FRQWHPSRUDU\ OLYHV DURXQG WKHVH YHU\ unstable and contingent matters – afforded to us by our ORYH DIIDLU ZLWK WHFKQRORJ\ ² DQG DVNV ZKDW KDSSHQV LI and when those foundations collapse? This rather bleak thought is nicely framed by the proclamation: “I miss my SUH LQWHUQHW EUDLQÂľ 6R IRU &RXSODQG WKLV ´DFFHOHUDWLRQ RI DFFHOHUDWLRQÂľ PLJKW DFWXDOO\ EH ZKDW FKDUDFWHUL]HV RXU WLPH +H DVVHUWV WKDW HYHQ WKRX JK FXOWXUDO SDWWHUQV DUH KLVWRULFDOO\ F\FOLFDO ZH KDYH QHYHU EHIRUH NQRZQ D WLPH WKDW LV DV UDSLGO\ HYROYLQJ DV KHUH DQG QRZ :H VHHP WR EH WUDSSHG LQ D state of constantly regurgitating what has come before, ZKLOH VLPXOWDQHRXVO\ ERXQGLQJ IXOO VSHHG LQWR WKH XQNQRZQ $QG ZH DOO NQRZ WKLV %XW WKH TXHVWLRQ ZH DOO VHHP WR EH DVNLQJ LV ZKDW DUH ZH PRYLQJ WRZDUGV" :KDW DUH ZH VXSSRVHG WR DUULYH DW ² LI DQ\WKLQJ" [erika balint]

music feature

photography: petra collins for oyster mag

35,1&( ,112&(1&( 3ULQFH ,QQRFHQFH ZLWK -RVK 0F,QW\UH DQG 7DOYL )DXVWPDQQ DUH DQ DPD]LQJ V\QWK SRS GXR KDLOLQJ IURP 7RURQWR 0RQWUHDO \RX PD\ KDYH KDG WKH SOHDVXUH RI KHDULQJ WKHP SHUIRUP DPLGVW WKLV VXPPHUV 1;1( IHVWLYLWLHV 7KHLU VRXQG LV LQ ODUJH SDUW DQ RGH WR WKH ¡V EXW ZLWK D PRUH FOHDQ DQG UHĂ€QHG RXWSXW EOHQGLQJ WHFK\ WXQHV ZLWK VPRRWK LQVWUXPHQWDOV DQG VLPSOH KDUG KLWWLQJ O\ULFV *LYH WKHLU EDQGFDPS D YLVLW KWWS SULQFHLQQRFHQFH EDQGFDPS FRP DQG SXW D VRQJ RQ QLFH DQG ORXG ZKLOH \RX UHDG WKLV ,I \RX KDYHQ¡W DOUHDG\ KHDUG WKHP \RX¡OO WKDQN XV >HULND EDOLQW@ EB: Tell me about the birth of Prince Innocence. How did where I befriended a guy named Prince Innocence he looked you guys come together musically, and how did the name like Biggie but wore a purple crown. arise? JM: Prince Innocence started out as an idea I came up with in EB: Which came first: your musical relationship, or your early 2012. Originally it was supposed to be a synth based side personal relationship? And how do you reconcile between project to my other band Little Girls. I Started working on a the two? Do you see bits and pieces of your relationship few demos with plans to record my own vocals over top. After manifest in your music, or do you try to separate the two? completing a few songs on my own I realized they sounded to similar to Little Girls songs. After a few weeks of convincing Talvi to take a shot at singing, she finally did and we recorded our first song ‘Night People’. As for the name, I had a dream

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TF: We have actually known each other since high school and have been friends until we started dating a couple of years ago. We have a couple of songs that I think mirror the things that were going through as a couple. It’s pretty impossible to

separate the two because we spend so much time together. Luckily we work well together! EB: I often think that many of the people I know today were born in the wrong era - myself included. The sounds of the 80s seem to be prevalent in your music, which is in part why I love it so much: where does your affinity for this time stem from? JM: I was born in 1988 but as much as I love the 80’s and an inspired by the sounds, I’m equally interested in 90’s culture. A lot of my favourite music comes from the 80’s. Everything from Early Rap to French Cold Wave. But a big part of my love for 80’s sounds probably comes from when I was young driving around with dad. He’d always be playing Elvis Costello and Miles Davis’ Tutu which are both filled with classic 80’s sounds. EB: I love your cover of Cheree- perhaps more than the original. Does the song have any particular importance to you guys? Are there any specific songs that impacted your music in a big way? JM: Thanks! Suicide have been one of my favourite bands for a long time. I had planned on releasing a cover of Cheree as Little Girls back in 2009 but never really got around to recording it. I’m glad I waited because if I had recorded it myself I don’t think it would have had the same impact. As for songs/records that have had a big impact on me: Deux - Decadence; J Dilla - Donuts; LCD Soundsystem - Sound of Silver

A big part of my love for 80’s sounds probably comes from when I was young driving around with dad...playing Elvis Costello and Miles Davis’ Tutu TF: We had a few songs we were considering covering for a long time, and I think they all had a particular feel to them. I think we are both drawn to a kind of song that has a kind of weird off kilter beauty to it that isn’t totally obvious. When it came on one of our iTunes one day we both just knew immediately that we could do something cool with it because it does have these really pleasing melodies that maybe aren’t completely obvious. I love songs that find that manage to be beautiful without being cheesy or overly sweet. My Bloody Valentine does this really well. EB: While your songs sound - on the surface - very simplistic, they seem to come together in a number of layers. Can you describe your process for making music? Is it more systemic and structured, or more spontaneous?

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photography: petra collins

JM: I’d probably say it’s a combination of both. Usually I’ll sit down for a few hours and work on an instrumental. The process really depends on whether Talvi and I are in the same city. But usually it consists of sending files back and forth until we have a solid idea down. EB: What direction are you guys headed in? Do you see your sound undergoing any major changes as you progress? What are the two of you working towards, and where do you hope to be a year from now? JM: I’ve been really into 80’s and 90’s pop and R&B lately. Specifically Janet Jacksons’ Rhythm Nation. I foresee that record having a big impact on my song writing and production. In Early Spring we are releasing a new EP on Pretty Pretty Records. After that we are heading to London to start work on our debut album and playing a few shows in London and Paris and ideally heading out on tour in the summer. EB: And finally (and completely unrelated): Do you have a favourite spot for coffee in Toronto? And is it because the coffee tastes the best, or because it’s a good spot to sit and muse? JM: White Squirrel in the summer. Great place to kill time. <RX FDQ YLVLW WKHLU VRXQGFORXG # KWWSV VRXQGFORXG FRP SULQFH LQQRFHQFH $QG NHHS XS WR WKH PRPHQW KWWSV WZLWWHU FRP PrinceInnocence

literature feature

The 7 Signs Robots Are Taking Over

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by tristan douglas

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'R \RX KDYH D SHVN\ VFUHZ LQ WKH PLGGOH RI \RXU VWRPDFK" 'LG \RX HYHU try to open it? If you were successful, did you notice a absence of organs WKDW DUH YHU\ QRUPDO IRU D KXPDQ WR SRVVHVV" 'RHV KXPDQ Ă HVK GLVJXVW you? Is there a switch clearly labeled ´21 2))Âľ VRPHZKHUH RQ \RXU ´ERG\Âľ" ,QVWHDG KDYLQJ PRWKHUERDUGV FLUFXLW chips, and “fancyâ€? things in their place? You are probably a robot (if you notice any of these symptoms, consult your doctor). <RX ZHUH UHFHQWO\ LPSULVRQHG E\ D URERW /HW¡V IDFH VRPH IDFWV 6FDUIDFH LVQ¡W D JRRG PRYLH 3HRSOH ZKR WDNH XS the entire sidewalk are annoying. Eliminating humans is going to be D SUHWW\ HDV\ WDVN $V KXPDQV ZH ORYH SOD\ EDVHEDOO HDW GHOLFLRXV PRQNH\ EUDLQ DQG KDYH Ă€QJHUQDLOV DPRQJVW RWKHU KXPDQ \ WKLQJV ,W PDNHV QR VHQVH ZK\ SHRSOH ORYH Scarface so much. The amount of PHUFKDQGLVH IURP WKDW PRYLH LV completely unnecessary and alone ZDUUDQWV VRPHWKLQJ WR HQVODYH XV <RX NQRZ ZKDW ZKHQ ZH Ă€QDOO\ KDYH D UHVLVWDQFH IRUFH WR Ă€JKW EDFN against the robots, anyone who RZQHG 6FDUIDFH PHUFKDQGLVH SUH robot wars will be kept refrigerated and will become the sustenance for WKH RWKHU VXUYLYRUV

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closing remarks

ZKDW·V QH[W" )(00(/'(+<'( 0DJD]LQH LVVXH ´QHLJKERXUKRRGVµ ZLOO EH DYDLODEOH RQ )HEUXDU\ WK :H ZLOO EH VHHNLQJ RXW DUWLVWV WR UHS WKHLU 7RURQWR KRRG ,Q WKH PHDQWLPH ZH XUJH \RX WR VHQG LQ \RXU ZRUN WR VXEPLW#IHPPHOGH hyde.com. until next time...

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