This practicum paper looks at the work of contemporary artists: Char Davies, Jen Southern, Wolfgang Laib, Pierre Huyghe and Max Neuhaus. From examining the artists ideas on perception many links and ideas are drawn out. From this examination the author plays with the idea of perception and the training of the senses. Sound becomes an important element. In the end the author designs a strike walk. The strike walk is focused on the Winnipeg General Strike of 1919. / October 2008

This practicum paper looks at the work of contemporary artists: Char Davies, Jen Southern, Wolfgang Laib, Pierre Huyghe and Max Neuhaus. From examining the artists ideas on perception many links and ideas are drawn out. From this examination the author plays with the idea of perception and the training of the senses. Sound becomes an important element. In the end the author designs a strike walk. The strike walk is focused on the Winnipeg General Strike of 1919.

This practicum paper looks at the work of contemporary artists: Char Davies, Jen Southern, Wolfgang Laib, Pierre Huyghe and Max Neuhaus. From examining the artists ideas on perception many links and ideas are drawn out. From this examination the author plays with the idea of perception and the training of the senses. Sound becomes an important element. In the end the author designs a strike walk. The strike walk is focused on the Winnipeg General Strike of 1919.

This thesis analyzes the Seattle and Winnipeg general strikes of 1919, and represents them as two analogous ideological struggles for national hegemony in the post-First World War period. It argues that a comparative analysis of the pro- and anti-strike press during these two strikes reveals that the “form” of nationalism enveloped the “content” of each group’s ideological foundations, conceptions of class, and conceptions of justice, and that this “content” – when extracted from its national “form” – reveals a shared sense of progressive vision among the two groups of strikers, and a shared sense of conservative vision among their opponents. / Graduate / 0578 / 0615 / vanmull@unbc.ca

“The Proletarian Prometheus: Socialism, Ethnicity, and Revolution at the Lakehead, 1900-1935” is an analysis of the various socialist organizations operating at the Canadian Lakehead (comprised of the twin cities of Port Arthur and Fort William, Ontario, now the present-day City of Thunder Bay, and their vicinity) during the first 35 years of the twentieth century. It contends that the circumstances and actions of Lakehead labour, especially those related to ideology, ethnicity, and personality, worked simultaneously to empower and to fetter workers in their struggles against the shackles of capitalism. The twentieth-century Lakehead never lacked for a population of enthusiastic, energetic and talented left-wingers. Yet, throughout this period the movement never truly solidified and took hold. Socialist organizations, organizers and organs came and went, leaving behind them an enduring legacy, yet paradoxically the sum of their efforts was cumulatively less than the immense sacrifices and energies they had poured into them. Between 1900 and 1935, the region's working-class politics was shaped by the interaction of ideas drawn from the much larger North Atlantic socialist world with the particularities of Lakehead society and culture. International frameworks of analysis and activism were of necessity reshaped and revised in a local context in which ethnic divisions complicated and even undermined the class identities upon which so many radical dreams and ambitions rested. / Thesis (Ph.D, History) -- Queen's University, 2007-12-14 20:26:40.652