Guerilla Gardening this May in Toronto


Interested in guerilla gardening? Be there Sunday at 2pm at the 519 Community Centre to make seed bombs. The event will be on the second floor. Prospective guerilla gardeners are asked to bring any seeds that you have to donate.

We’ll be throwing the seed bombs on Thursday May 7th at 7pm. The location is yet to be determined. (Top secret for now)

If you know of any spots that could use a seed bombing please email gardeners@publicspace.ca

Bread and Roses Life, L. Rogers

Wanted! Musical Ensemble or Presenting Organization for Second Life Collaboration(s)


For two years I have been presenting concerts in the virtual world of Second Life developing my series of live concerts at Music Island into one of the virtual worlds’ hot spots and attracting attention of both online and traditional journalists.

Now, having recently stepped down from my position as Executive Director of the Toronto Philharmonia, I would like to find ways to make my avocation part of my vocation. I am actively looking for (preferably Canadian) ensemble(s) or presenters that would be interested in partnering with me for a series of concerts/audience development activities in virtual reality.

I would see this collaboration as involving me in developing a budget and proposal and seeking funding for an artistic project we would jointly develop. I am an experienced proposal and grantwriter. I would also be able to supply the inworld expertise in streaming, coordinating the event and promotion.

One model that has occured to me would be a series of concerts in a Toronto venue that would be streamed into Second Life with streaming video from both worlds. The Toronto live audience would see the virtual performance/audience on big screen and the international virtual audience would see the Toronto audience on an inworld media viewer. There are other ideas that might fit. I see this as being of interest to local ensembles & presenters, individual musicians and also with some appeal to a venue or destination wishing to promote itself to international tourism.

You can contact me via a comment left here, or inside of Second Life by IM’ing Kate Miranda.

Bread and Roses Life, L. Rogers

The purpose of the Arts

As I conclude my three years with the Toronto Philharmonia, I am led to consider again the purpose of a live performing arts organization in this time of electronic media. Why have a professional orchestra performing in our community when we can listen to such great music on CD, on our televisions or via online podcasts?

Some will say that the social experience of sharing a live performance in a great hall is, in itself a reason to support our orchestras and chamber ensembles. I agree that it is one reason. But is it enough?

If we make our musical organizations simply museums for the display of works by composers long dead and gone, we have no one to blame but ourselves when other citizens find what we are doing irrelevant to their daily lives, or who feel that what we do can easily be replaced by electronic records of performances by a very few orchestras worldwide.

An art form is alive, growing, challenging our assumptions, involving us, and provoking debate or it is dying. Performing the best of music from the past should always be a part of what an orchestra does, but if it is not also encouraging students, new musicians, community artists, collaborating with living composers, creating opportunities for its own musicians to learn, grow, explore new collaborations then it is irrelevant to the artistic life of its own community. It is my view that this is at the core of the mission of any orchestra in today’s society, and not the after-thought, or add-on that so very many organizations regard the role of education and professional development.

Organizations that view contributions to music development, education and professional development as hoops they must jump through in order to succeed with funding applications are unlikely to priorize these activities. Unfortunately it is a common view. I would challenge them to put the musical life of their community at the core of their Mission and view concert presentation as but one way to contribute to that Mission.

Bread and Roses Life, L. Rogers

Virtual Praxis: A Conference on Women's Community in Second Life

(yours truly will be a presenter at the Ohio State University Conference, as detailed below, November 15, 2008)

Saturday, November 15, 2008
To be held on Minerva, the teaching and research space in Second Life maintained by The Department of Women’s Studies, Ohio State University.

As teachers, librarians, artists, health care workers, and as volunteers in the many charitable and activist organizations of Second Life, women are a very visible element of our virtual community. The number of women’s groups and community centers is increasing, supported by an informal network of committed individuals. Those who come here out of curiosity often find themselves involved in these community activities, and those who came for professional reasons often find that their interests have widened and diversified as they have come into contact with Second Life society. Is what we do here just relaxation, a metaphor for what we do in real life, or do our Second Life activities have importance for our home communities and for society in general?

Virtual Concerts in the Park
Linda Rogers (Second Life: Kate Miranda)
Executive Director, Toronto Philharmonia
There was a time when orchestras wanted to reach out to new audiences, they would go out and play in public parks or shopping malls. These days people are increasingly gathering on the internet and in virtual reality to play and shop. As an arts administrator I have been curious about the possibilities of audience development within Second Life. Who are the musicians that are active in Second Life? Why are they performing there? And who makes up the audience?
Virtual Praxis: In the Director’s Chair
Phylis Johnson, Ph.D. (SL: Sonicity Fitzroy)Associate Professor & Interim Chair, Department of Radio-Television
Southern Illinois University
This paper looks at women involved in the creation, production, and distribution of news and entertainment content, and provides a wide scan of their contributions in-world. This content is created for and distributed to radio streams and news and entertainment cable services, and printed in magazines and newspapers in Second Life. The discussion specifically investigates the role of “media” women in SL content creation, and the potential impact on the larger media industry. SL users, internationally, are becoming notable media makers, and HBO featured the first documentary produced inside this digital community in early 2008. This paper attempts to create a portrait of an emerging woman producer who resides in this hall of media mirrors, and subsequently considers how much originality is realistically possible during construction in this parallel mediated universe.
The Women of Chilbo
Chris Collins (Second Life: Fleep Tuque)Instructional & Research Computing, University of Cincinnati
Chilbo is a community of artists, architects, educators, musicians, parents, hobbyists, students, and people from around the world who share a common vision that our interactions and experiences in virtual worlds can have a positive impact on our real world and our real lives. The Chilbo sim in Second Life is the cultural center of our community, but neither physical nor virtual location limits our ability to collaborate and share resources with one another.
A Village of our Own
Leta Hendricks, MA, MS (Second Life: Tamu Oh)
Librarian, The Ohio State University
“A Village of our Own” is a discussion of womanist resources available in Second Life. The Discussion will include a review of Second Life contacts, landmarks, and other womanist sources.
Gender and Race in Ultra-Conservative Groups in Second Life
Randolph Hollingsworth, Ph.D. (Second Life: Bella Yan)
Assistant Provost, University of Kentucky
My presentation will focus on the role of female avatars in racist right-wing groups in Second Life. Why would a right-wing group choose to use Second Life for communication and outreach – and especially in regards to women? Katherine Blee’s Inside Organized Racism (2002) states that women are heavily sought after by American hate groups, making up half of all new recruits. Second Life is ideal for imagining and practicing gender and race, and ultra-conservative groups have found land, groups and events in Second Life that match their needs. There is a clear connection between some white power, nationalist websites and groups in Second Life. Individuals identified in fascist discussion groups and MySpace profiles sometimes post their Second Life avatar names. Portraits of female avatars participating in right-wing groups in SL will be described. Attendees will be given a party favors bag with hyperlinks to important rightwing groups’ websites and SL landmarks to interesting sites. Attendees may wish to be teleported to one particular site to see and discuss the symbolic structures present. In this session, as Ingeborg Reichle wrote in her 2004 essay “Remaking Eden,” (Cyberfeminism. Next Protocols): “the observer is no longer merely an observer, but rather becomes a participant.” The presenter will facilitate a short discussion on the role of gender and race in rightwing groups in Second Life.
Performing Virtual Women’s Community
Lea Popielinski (Second Life: Lette Ponnier / Laertes Parx)
Ph.D. Candidate, Department of Women’s Studies
The Ohio State University
This paper will explore the ways in which the concept of “women” in Second Life shapes the building of women’s homosocial environments within SL through an examination of the concept in terms of gender performance. The facility of constructing an SL avatar that is, by conventional definitions of sex and gender, incongruent with one’s physical body, is enough to place such concepts as “women’s community” in tension. This paper will explore the meaning of the phrase “women’s community” through the concept of performativity as it is understood through the work of Judith Butler. I will argue that the physical sex of SL users is filtered through the SL medium to obligate avatars in presumptively all-female spaces to perform “women’s community.” The creation of “women’s communities” in SL is a practice in referentiality wherein tropes that take their meaning in users’ understanding of women’s community come to be recognized and reiterated in the virtual context, but with a latent awareness that gender performance takes precedence over physical sex in the creation of such spaces. One SL space I particularly wish to examine is the Joyous Harmonious Park, formerly known as the Baths of Sisterhood, a women-only relaxation park with a history that seems to involve several characteristics stereotypically associated w
ith the creation and dissolution of women’s spaces.
Panel discussion: Is Second Life a welcoming space for women?

As educators, business people, community activists, artists and musicians, women make a strong contribution to Second Life society. According to the last published metrics from Linden Lab, 40% of user hours in Second Life are spent by people who self-report as female. While their achievements are to be seen everywhere in our virtual world, the energy and creativity of women in our community may face obstacles. Although no formal studies have been published, there is anecdotal evidence of harassment and intimidation. This panel will be one of the first attempts to assess the problem, beginning with a discussion our own personal experiences.

Bread and Roses Life, L. Rogers

Rally to save the CBC Orchestra

HUGE RALLY TO SAVE CBC RADIO ORCHESTRA
SUNDAY APRIL 20 AT 2 P.M. AT THE CHAN CENTRE AT UBC

Wednesday April 16, 2008 … Standing on guard for the CBC Radio Orchestra, April 20 at 2:00 pm CBC Radio Two listeners are following up on last week’s successful staging of a coast to coast National Day Of Action to demand CBC brass back down on their apparent systematic destruction of the Radio 2 network and their decision to replace it with programming completely foreign to its core audiences. The rally Sunday is a call to the CBC Board and Management to restore the CBC Radio Orchestra within a revitalized CBC Radio Two.

The rally on Sunday starting at 2:00 pm is an hour before the orchestra’s regularly scheduled, and nearly sold-out, performance at 3:00 pm.

The natural amphitheatre at the Chan entrance is a dramatic location, which will accommodate an impressive number of supporters, while allowing the 1,200 concert-goers easy access.

“It’s not the usual sort of prelude to an afternoon of live music at the Chan” said Canadian Music Centre head Colin Miles. “This situation has become a flashpoint for the general downgrading of CBC by the people who have been entrusted with our precious public broadcasting system.”

“We are seeing the end of a cultural treasure that serves Canadians coast to coast and is an essential player in our musical exports to the world. Elimination of the CBC Orchestra is the destruction of our ability to tell our stories. It amounts to censorship and stifling of free expression of our composers” he stated.

“At 2 cents per year per person, how can CBC management, the board and Parliament agree to this? The issue has now been raised on the floor of the House of Commons and we will be keeping the pressure up.” added Colin Miles.

Three years ago CBC management stopped the CBC Orchestra from working in the studio to record music for broadcast and CDs and told they could only give public performances. Renting concert halls and paying for publicity to promote concerts is expensive. This orchestra has a recording studio that was built for them and well trained creative producer, recording engineer and orchestra librarian on staff. CBC management needs to be reminded what power in creating programming they have by keeping their orchestra. We are calling on CBC to restore the orchestra and get the musicians back into the studio to do what they do best for the benefit of all of Canada. As the CBC Radio Orchestra’s own webpage states “With an audience as diverse as the Canadian experience, we create engaging musical radio programs, commission and perform new works as well as established classics, and showcase exceptional Canadian performers and conductors.”

Rally organized by:
Save the CBC Orchestra Committee
Based in Vancouver, Reaching Across the Country

For more information:
Joan Athey 250-294-6040 to April 18; 604-908-9124 April 18, 19 & 20.
Laurie Townsend 604-822-9161
www.StandOnGuardforCBC.ca

Bread and Roses Life, L. Rogers

Benito Flores; another real musician in Second Life!

Benito Flores in Second Life, known as Alessandro Marangoni, here in real life, has been generously sharing his time and talents with SL audiences over the past few months.
The real life pianist can be viewed here, performing with the Malaga Philharmonic:

YouTube – Malaga Phil. Orchestra – Aldo Ceccato, Alessandro Marangoni

Benito Flores was recently was interviewed and performed on the Second Life cable networks, Music Academy Online program on his life and work as both a real and virtual musician.

Benito also has a blog!

Bread and Roses Life, L. Rogers

Akito Kuramota, a real musician in Second Life

Anyone interested in learning more about classical music in Second Life might by interested in visiting the new My Space page of Akito Kuramoto. There is a little about the artist, but best of all some truly delicious recordings of some selections from his popular recitals in Second Life.
Bread and Roses Life, L. Rogers

Classical Music in Second Life

Pictured above, is a “live” concert by British community orchestra Sinfonia Leeds in the virtual world of Second Life. The concert appeared in virtual reality within an open-learning community Cedar Island, where I reside in my Second Life identity as Kate Miranda. Organizing and presenting concerts Music Island is part of my work and play within Second Life.

People unfamiliar with virtual reality usually have a few main questions:

1. How does it work?
2. Why present classical music in Second Life?
3. Who is performing in Second Life and what is there motivation?

How it works:

The performer or ensemble use microphones or instrument pickups to capture a live performance. That performance is encoded as an MP3 stream (usually using one of three popular programs Winamp, Simplecast, or SAM) and uploaded to a ShoutCast server on the Web. Meanwhile in Second Life, a venue owner tunes the media channel the URL to the streamed music.

At the same time the performers are using their computers to position their Second Life avatars to “play” virtual instruments, in fact triggering animations. Performers also can use the stream to introduce their works by speaking into a computer head set microphone or by using their avatars to text introductions.

Why present classical music in Second Life?

Well first let’s deal with the principal objections. The sound is no better than any podcast on the internet and the animations are not really linked with sound production in any way–something some consider a bit of a sham.

Both true.

The principal reason for presenting classical music in Second Life, for me, revolves around the quality of the audience experience. Listening to a podcast or recording is a solitary experience. By contrast, concerts in Second Life are joyfully social, audience members are joyfully celebratory in their anticipation and appreciation of the music in a way rarely matched in real life orchestras. Unique to the medium, listeners silently text appreciative comments, hurrahs, and questions that they hope someone more informed will be able to answer. Sometimes Second Life avatars even decide to dance to the music in the manner of small children at a summer concert at the park.

Conversations quickly reveal that many of those attending classical concerts in Second Life have little or no experience of live classical music. While classical music series are having trouble attracting new audiences to conventional concert stages, it seems that the internet virtual audience is open to the experience of art music. It seems worth it to step into the virtual world to reach out to this new audience.

The other unique element to the SL live concert experience is the accessibility of artists. Performers can view texted messages and questions. They usually engage the audience before and after concerts and sometimes at breaks in the program. This accessibility is as rewarding to the performer as to the audience.

Not to be minimized is the “fun” factor. Even audience members and performers who are regulars in the real world concert hall are amused, engaged and refreshed by the experience of classical music in the context of virtual reality.

Who is performing in Second Life and what is their motivation?
Classical performers in second life range from competent amateurs, music students, music educators, plus emerging and mid-career professional musicians.

Love of the music and interest in virtual reality is common to everyone performing in second life. You have to think it’s just a gas to be bothered. Those without a sense of humour will not be amused.

Some performers find it is a good way to work up new material and play it before a live audience before facing an audience in the concert hall. For students it is a way to get more live concert experience. For educators, a way to keep performance skills sharp.

Performers are warmed by the appreciation of the audience and the sense that they are reaching new audiences.

While some hope to promote real life careers and boost earnings, this last goal is more difficult. The requirement to have a pseudonym in Second Life hobbles name recognition. As Second Life evolves into a serious platform for art, corporations, and learning, this role-play with fictional names seem more and more out-dated.

On Music Island we have been getting around the name recognition issue with posters, T-shirts and even virtual CD stands with links to performers’ real world websites.

Anyone interested in learning more about classical music in Second Life should join the Classical Group in-world. Please contact me–Kate Miranda–if I can help you or answer your questions.

Bread and Roses Life, L. Rogers

Restoring trust in the charitable sector.

If the recently announced self-governing code of ethics proposed by Imagine Canada is not enough to restore confidence in the transparency of the Canadian charitable sector—and I don’t believe it is–what additional steps could realistically be taken?

Set fair guidelines for administrative and fundraising costs varied by sector and type of charity:

The first step that everyone seems to miss is that we need to establish what is a fair expectation of the percentage of funds needed for administration and fundraising. No non-profit can function without paying the rent, insurance, office supplies and staff salaries. And to be fair, it has to be noted that the percentage of the budget spent on administration and fundraising can vary widely in different charitable sectors. We want to remove any excuse for obfuscation in reporting by allowing adequate costs for legitimate administration and fundraising costs. Consider these two scenarios:

Charity A runs musical after-school activities for children. The charity has one paid staff member who does grant-writing, foundation appeals and writes letters to private donors for donations to support the work of the program. The bulk of the staff members time is spent in organizing the programs, contacting schools, preparing program materials. The charity operates out of donated school space. Less than 20% of the charitable organizations budget is spent on administration and fundraising.

Charity B exists to organize one annual high profile special event to raise money for a health related charitable purpose. Special Event fundraising is the most expensive method of fundraising. All of Charity B’s staff are involved in fundraising and organizing the charitable fundraising event itself. Charity B provides no direct charitable programming but transfers profits to charitable organizations that do. In a good year, the large fundraiser realizes 40% profits on the investment in the event. In a bad year, only 20% may be available for transfer. Arguably it may be money that could not be obtained any other way.

These are extreme examples of the apples and oranges that make up the charitable sector. Too often unrealistic goals of lean administration and fundraising costs are expected by donors, foundations and government programs, without any consideration of sectoral differences or other factors affecting a non-profit corporations real costs. These unrealistic expectations by some funders leads to a certain climate of obfuscation in the charitable sector. If a good organizational leader knows that showing an administration cost low enough to qualify for project support is impossible, she/he will naturally think of ways of funding the extra very real administrative costs from another program. The administrator thinks “it’s all in a good cause”. Volunteer Boards become used to hearing that we have to “rob from Peter to pay Paul” because the portion allocated to be spent on administration and fundraising is just too low. And Boards will be tempted to think “everyone’s doing it”. In such an atmosphere it becomes hard to draw the line and know just what are the real programming expenses and just how high is your fundraising and administrative costs.
Funding bodies, sectoral umbrella/advocacy groups, and non-profit administrators have to come clean with each other and set realistic standards for administrative and fundraising costs in order to set realistic benchmarks that organizations can then measure themselves by going forward.

Introduce standardized accounting systems that are geared to non-profit management

If it is all about the numbers, then how we count and what we count becomes very important.

Current systems of accounting only make donors aware of the hard dollar costs and benefits of non-profits without offering any other tangible cost/benefit analysis. There are some huge misses as a result. One of the most obvious is the benefit to the community when huge groups of volunteers are involved in a charitable activity. The volunteers benefit in training and a sense of well-being. They take skills back to their jobs and communities. Their work gives huge benefits to the charity whom they work for. Conversely what are the costs when a non-profit turns over its full staff almost annually because of poor management? Donors are funding unnecessary staff training and potential law suits when human resources practices are below par. But that’s not on the balance sheet either. A charity that is creating great work in the community with a mainly volunteer force supervised by a few paid workers may look identical on the books with a floundering charity with the same number of staff and little real activity.

We also need standard accounting practices to separate project versus operating expenses because so many of us are paying operating expenses out of portions of project funds. This is a legitimate practice when a number of project budgets have small amounts of administrative costs factored in. Keeping track of what is allowable becomes complicated as number of project streams increases. Having worked in one charity where large sums of project funds were allocated to administrative and fundraising costs, while being posted as program costs, I have seen that it can be done without ringing alarm bells at audit time.

Professor Jack Quarter, at the Ontario Institute of Studies in Education, Social Economy Centre, has been doing some ground-breaking work on Social Accounting that should prove useful in any initiative to restore public trust in our charitable sector.

Once new non-profit accounting standards are adopted it will be necessary to communicate these new standards through professional accounting bodies to assure that accountants, bookkeepers and auditors are aware of the new practices.

Accounting professionals to be held accountable

When things go off the rails in the corporate world, everyone looks to the corporate auditors. How did they miss this? Was there collusion? Should the auditing firm be punished?

But does this happen when it is disclosed that charitable funds have been misallocated to admin and fundraising in charitable institutions? Why not?

In the past I have attempted to make an auditor aware of deceptive practices in an organization I was employed by and was frozen out. I reported the auditor and the Board Treasurer ( a chartered accountant) to their professional regulating organization and got no response. Why? The rationale I received was that they were volunteers or working below the usual fee, doing a good deed, and therefore couldn’t be expected to give the due diligence of a professional accounting job. This didn’t strike me then or now as acceptable.

Should accounting professionals be held accountable when private donations and public charitable funds are misused? That’s a question for the profession and the public to consider.

Sharing of information among charitable funders

Currently in researching information about a charitable institution you can find their charitable return information online which gives you broad categories of where they receive their funding from. You can also access information from some of the big foundations and government programs and discover the size of their program contributions to the char
ity.

What you can’t find out and what isn’t shared between funding bodies is what they have actually funded. This results in charities being able to double-fund activities and staff salaries with impunity while channelling the dollars into those administrative costs and fundraising costs that they really don’t want to report.

More information has to be publically available.

Volunteer Board Training and Information

In theory all non-profits and charities are governed by a volunteer Board of Directors who exercise a stewardship function within the organization. In actual practice, the Board is often comprised of very busy people with good hearts who really want to believe that their charity is doing the good job. Most of the time they are right.

Unfortunately, the main source of information and training on Board functions is often a non-profit manager who could have a vested interest in making the charity look more successful than it is. Boards need some measure of independence and Board members really need training and information on charitable standards of business practice that comes at least in part from somewhere outside their organization. As all charities have to provide a list of Directors as part of their annual information return, Revenue Canada could serve as a source to send all Directors a regular update on industry standards and provide the means for Board Members to be alerted to the tell tale signs that something might not be quite right in their organization.

Providing Disincentives for Breaking Ethical Standards

There are currently few mechanisms in place to deal with organizations that break existing ethical standards in raising charitable funds or who misallocate charitable funds. While it may be difficult for the small donor to trace the use of their funds, the same is not true of government programs that make tax dollars available for charities. When a public funder discovers a major breach of ethics, there should be repercussions and disclosure.

It is in the interests of all ethical and hard-working charities to see charitable licenses revoked for those that don’t play by the rules and contribute little or no social good.

Whistle-blowers

Almost everyone who has worked in the charitable and non-profit sector has had at least one horror story about unethical practices. Most never get reported. One simple reason is that there simply is no one to report the situation to outside of the organization’s own Board of Directors. Plus there is a lot of pressure to disregard the accounting irregularities on an “ends justifies the means” argument. Employees who take the step of going to the Board can find themselves jobless and without a reference, often not listened to at all. I know of one instance where a loyal staff member stealed themselves to take a troubling set of facts to a Board Member. The next day the manager came to her office and said, “Everything you tell a Board Member will come back to me in a few hours and if you ever do this again you will be fired and you will never get a job in this sector again.” Even when groups of staff go to Boards of Directors, they are often simply labelled troublemakers. One of the first things a non-profit manager with something to hide does is try to isolate the Board from the Staff and discredit any staff member who might have knowledge of misdeeds. Boards should be highly suspicious of managers who inform them that direct communications between organization staff and Board is “inappropriate”. After seeing this suppression of staff in organizations I’ve worked with in the past, I’ve come to the conclusion that we need a Canadian tip line for charitable and non-profit wrong-doing and whistle-blowers need protection from reprisals in the workplace. We can’t solely depend on over-worked, under-informed volunteer Board members. Imagine Canada has taken the lead in formulating a new ethical standard for charities. They may the be the logical body to administer a tip line on charitable fraud and other unethical practices.

With all these steps in place, we can establish what the standards are, communicate those standards and weed out the few bad apples. The result will be restored public trust, an end to misallocation of charitable dollars, and a better working climate for some of the most idealistic and selfless workers in the Canadian workforce.

Bread and Roses Life, L. Rogers