By Keiko Honda, Ph.D., MPH   What is the value in learning to draw portraits? This question goes, unexpectedly, to the heart of the shared roots of art and science. In this essay, I aim to fertilize the soil for growing a new dialogue on the role emotional engagement plays in the relationship between art and science. I have recently been watching YouTube videos on portraiture. It is fascinating to watch master artists create portraits out of a blank sheet of paper, with only a pencil or stick of charcoal. If done well, the artists can explore their own feelings about the human condition. I always wonder how these artists acquired their skills. “Open your feeling, Open your senses! The first step is the conversation,” says a passionate YouTube artist who teaches portraiture. At the instant he is rhythmically drawing a large, very loose shape on a blank sheet of paper, he exclaims, “This [his arm movement] is emotional engagement.” Right there, I paused the YouTube video I was watching and replayed that part again and again. There was some dissonance between what I heard and what I saw. I did not expect to harvest deep insight when watching a rudimentary shape being drawn on a large black sheet of paper by the artist I chanced upon on the Internet. What is he talking about? The YouTube artist explains, “Enjoy drawing. Rather than rushing into getting drawings done quickly, you need to take your time to know how to see and understand how abstract elements work together to create an art form,” Simultaneously glancing at his live model, he continues, “No need to do the proportions yet…… When you are working on composition, it is very important at the beginning to open your feeling...

By Keiko Honda It is not a coincidence that during the lockdown in the face of the pandemic, most of us looked for new ways to maximize the functionality of our home space, then found ourselves feeling more independent, competent, and comforted, despite the challenge. As many activities are happening in our homes and proximity, we have invested our practices and developed an emotional sense of deep connection with particular places – a sense of “rootedness”.  Place becomes an extension of the self.  That’s called place attachment, the concept which scholars in environmental psychology, sociology, anthropology, and human geography consider an essential element in understanding identity, human well-being and sociality, memory formation, community participation, and environmental responsibility and advocacy for the environment.   “Place makes memories cohere in complex ways. People’s experiences of the urban landscape intertwine the sense of place and the politics of space,” says architectural historian Dolores Hayden. Similarly, psychologists postulate that we lock ideas and objects by linking them to a place: integrating many stimuli together helps us remember something particularly important, called episodic memories. This pandemic has disrupted our physical connections to many familiar social places like offices, cafes, schools, gyms, restaurants, community centres, movie theaters and many more, keeping almost everyone, especially seniors and those who are at higher risk of severe illness from COVID-19, at home for seemingly endless time (until the pandemic will come to an end).  How does supposedly immobilized life imposed by the pandemic affect the way we store memories and the way we create meaning in our lives? What do large groups of people remember – and forget? It is an intriguing question for future historians. Social memory is at stake and thus deeply pertinent here. As reminded by WHO’s Healthy Ageing, being...

By Eileen Chen Photo courtesy of Pille Bunnell *Permission to reprint granted by the Vancouver Arts Colloquium Society What does an intersection between poetry and science mean? Does it relate to poems that talk about science or scientists that speak in verse? These were the questions that plagued me when I was preparing an interview with Dr. Pille Bunnell – an ecologist and cyberneticist – to discuss the topic of integrating poetry and science, as well as her experiences and fields of study. Before diving into discussions of what systems ecology and cybernetics are, I had the pleasure of hearing Dr. Bunnell relate a beautifully personal tale. In the year 2002, Dr. Bunnell attended a course at the University of Tartu during a visit to her mother country, Estonia, which she left as a refugee when only eight months old. There, she joined a field trip to an ancient raised bog, where the peat moss had built up several meters above the surrounding area. It was a chilly November day, with a smatter of snow on the ground. After receiving a bog-walking lesson, she had a chance to explore the ancient landscape herself. Pausing to look around, she was suddenly overcome with a striking sense of awe and familiarity: “I am home!” The emotional intensity of this experience was evident, even when retelling her story. After long reflection on that impactful experience, Dr. Bunnell came to the conclusion that language links people with their ancestry through its connection with the land. I was surprised to see language brought into the equation like this, but through Dr. Bunnell’s explanation of how the grammar, intonation, and flow of language arises from how people relate within the landscapes they live in, I eventually became convinced. To apply...

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Photo from news.ok.ubc.ca ARTICLE BY ADELE MCCANN Creativity is an illusive and mysterious thing. It is difficult to pinpoint where a great idea comes from and the process by which it comes into being. I had the pleasure of a conversation with UBC Okanagan Professor Liane Gabora to discuss her theory of creativity and her exploration into this area. She stated that creativity is best known as the process that fuels the evolution of culture. We might consider that a flower could inspire a song, which in turn might inspire a painting, which then goes on to inspire the invention of a certain kind of paintbrush, and so on. Creativity is a constantly evolving and adaptive thing that is constantly driving humanity’s evolution and adaptation to the world. However, Liane’s Honing Theory posits that it is not the creative outputs of a painting or a song that comprise this evolutionary process, but rather our own worldviews that give rise to creative processes. It is our perspectives that are evolving and regenerating and art is a visible manifestation of this underlying internal change. There are two components of the process by which these worldviews evolve: communal exchange and self-organisation. Communal exchange involves interaction with other elements of your world – very often people. You assimilate these interactions and that affects your worldview – your internal web of understandings about the world and your place in it, the driving force behind your creative output. Consider you might see a monkey eating a banana at the zoo and are inspired to create a cartoon about monkeys. You cannot create anything new for the world until you have interacted with what is already there. It is in this way that we can evolve a creative idea by talking...

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By Sean Yoon Photos by Noriko Nasu-Tidball Born and raised in Kerrisdale through the late 70s, Dr. Krishna Pendakur can be described as someone whose work speaks about his passion towards helping this country, this city he grew up in and this world in which economic inequality represses the poor. Dr. Krishna Pendakur is currently a professor of economics at Simon Fraser University. His work in economics fundamentally seeks to develop a toolkit to describe and measure efficiently the landscape of social issues impacting our well-being such as economic inequality, discrimination, and poverty.   It was during his bachelor studies in sociology at UBC when Krishna ventured towards a 4th year course title in economics which was welfare economics. This course introduced the economic aspects to the issues of social welfare and economic inequality that Krishna had been interested in for a long time. His interest in economics grew, eventually leading to his doctoral studies at UC Berkeley. Krishna’s research at the time was focused on the distribution of income vs. the distribution of consumption and on the measurement of household characteristics such as the cost of raising children, which you need to know in order to measure the distribution of income or consumption. In particular, if you want to measure inequality and the data you have is household-level data, then you need to have some way of comparing apples and oranges, like families with children to families without children. They have different needs so if they have more money it doesn’t mean that they’re better off; you have to have a way to scale or deflate household incomes per household characteristics.   Much of Krishna’s research was done in collaboration with his brother Dr. Ravi Pendakur, a professor in the Department of Public...

By Katherine Dornian Photo Courtesy of Bhavna Solecki Therapist, businesswoman, activist, healer, philosopher – it’s difficult to pin down an exact title for what Bhavna Solecki does, since her work is all-encompassing enough to defy simple description. As the founder of Inner Evolution Healing Centre and now as a member of the planning committee for the Kerrisdale Permaculture Garden, Bhavna seeks to foster mental, spiritual and community balance in everything she does. For the past 15 years, Bhavna has run her holistic practice with the goal of building communities around the pursuit of “mindfulness” – the harmony of the mind, body and soul achieved through healing foods, meditation, exercise, and other curative pursuits. Though she holds a BA in psychology, her practice is primarily based upon Shiatsu and ancient Indian and Chinese medicine. It also features a significant amount of spiritual counselling, which she believes is directly linked to mental and physical health. “Doctors may try to take away pain,” she tells me. “But you cannot do that unless you first identify its source.” Because of this, Bhavna finds that therapy becomes a very immersive experience; she cites the paramount importance of fostering relationships with her clients, putting empathy at the forefront of her approach to healing. “If you don’t feel it, you can’t help,” she says, and makes a point of telling me that she uses the word “help”, not “treat”. Her process must be team effort with the individual, who must be willing to fully participate. Since she gives full autonomy to her patients, she trusts that they will take that step towards healing when they are ready, at which point she is truly able to help them. It is this act of trust that Bhavna states is one of the most...