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Alberta

Lieutenant Governor of Alberta celebrates ten emerging artists for 2020

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Lieutenant Governor of Alberta celebrates ten emerging artists for 2020

Alberta’s 2020 Emerging Artists named

Edmonton (June 4, 2020)

The Lieutenant Governor of Alberta Arts Awards Foundation today announced awards totaling $100,000 to the 10 recipients of its 2020 Emerging Artist Award.  More than 60 invited guests joined the Zoom awards show, which is now public, and available on the Youtube link above.

“We are pleased to be able to invest in advancing the careers of these outstanding artists at the early stages of their professional development” says Foundation Chair, Arlene Strom. “When economic times are tough, our artists are particularly vulnerable. And in the midst of societal change and upheaval, ensuring our artist voices and perspectives are heard is critical.”

Here are this year’s awardees:

  • Kablusiak, visual, multidisciplinary artist, Calgary
  • Amy LeBlanc, writer, Calgary
  • Luc Tellier, theatre, Edmonton
  • Carlos Foggin, music, classical, Calgary
  • Lauren Crazybull, visual, Edmonton
  • Evan Pearce, multi-media, music, new technology, Edmonton
  • Molly Wreakes, music, French Horn, Edmonton
  • Bruce Cinnamon, writer, Edmonton
  • Tamara Lee-Anne Cardinal, visual, multimedia, Calgary
  • Griffin Cork, theatre and film, Calgary

Her Honour, the Honourable Lois E. Mitchell, CM, AOE, LLD, Lieutenant Governor of Alberta congratulated the awardees on a Zoom meeting June 4, 2020. Each awardee receives a $10,000 cash award, a handcrafted medal and 2020 Emerging Artist certificate.

The 10 recipients were selected from 160 applications in a two-tiered adjudication process overseen by The Banff Centre. The adjudication panel included: Denise Clarke, associate artist, One Yellow Rabbit, 2007 Distinguished Artist awardee;  Adam Fox, Director of Programs, National Music Centre; Lindsey Sharman, curator, Art Gallery of Alberta; Alice Major; writer, poet, 2017 Distinguished Artist awardee.

Here is some background the each of the artists:

Kablusiak (they/them) is an Inuvialuk artist based in Mohkinstsis/Calgary and holds a BFA in Drawing from the Alberta University of the Arts.  Recognition for Kablusiak includes the Alberta Foundation for the Arts Young Artist Prize (2017) and the Primary Colours Emerging Artist Award (2018), and short-list nominee for the Sobey Art Awards (2019).  A multi-disciplinary artist, they imbue a variety of mediums with their trademark ironic humour to address cultural displacement. 

Amy LeBlanc is the author of three books: her debut poetry collection, I know something you don’t know, was published with Gordon Hill Press

in March 2020.  Her novella, Unlocking, will be published by the UCalgary Press in 2021. Pedlar Press will publish her short story collection, Homebodies, in 2022. Her very timely master’s thesis is a work of fiction examining pandemics and chronic illness.

Luc Tellier is a theatre actor, director, and educator from Amiskwaciy Waskahikan, colonially known as Edmonton. He’s been seen in over twenty-five professional productions since graduating from MacEwan University’s Theatre Arts Program in 2014. As an arts educator and through his own freelance workshops, he mentors hundreds of students every year – sharing his belief that the arts are for everyone!

Carlos Foggin is driven by his passion to share live orchestral music with as many Albertans as possible! In 2016, he founded the Rocky Mountain Symphony Orchestra which has since performed to more than 30,000 Albertans in over 50 concerts in small southern communities. He is a celebrated pianist, organist and improviser and has performed internationally on some of the world’s greatest organs.

Lauren Crazybull is a Blackfoot Dene artist living in Edmonton.  In 2019, Lauren was selected as Alberta’s inaugural artist in residence and was long listed for the Kingston Portrait Prize. Through her art, Lauren is asking poignant questions about how Indigenous identities can be represented, experienced, celebrated and understood through portraiture.

Evan Pearce began his career by editing music videos using found footage for local bands, but he’s now on the leading edge of two new emerging technology art forms: VJ-ing and New Media – working at the intersection of music, video, and leading-edge technology. Evan is fascinated with incorporating XR (Extended Reality) and AI (Artificial Intelligence) in a live performance setting while VJing – and beyond.

Molly Wreakes is a classical french horn player originally from Edmonton, who has performed internationally as both a chamber and orchestral musician.  Molly served as the academist with the Royal Stockholm Philharmonic Orchestra In 2018/19 – performing with the orchestra and training with their horn section and orchestra members. Molly is also an avid chamber musician who is inspired to explore community outreach opportunities through music and musical creativity.

Bruce Cinnamon is a writer whose creative work thrives in the radiant sunshine of the gigantic Alberta sky, twisting and bending the familiar prairie landscape into carnivalesque fantasies.  Bruce won the 2015 Alberta Views short story contest; his first novel, The Melting Queen, was published by NeWest Press in 2019. He is currently working on his second novel, a fantasy story about a small Alberta town which suddenly vanishes when it is torn into a parallel universe by a predatory City.

Tamara Lee-Anne Cardinal is a multi-media artist, community activist, and perpetual learner. She is a recipient of the National BMO 1st Art! Competition Award, and of the 2017 Alberta Foundation for the Arts Young Artist Award. Cardinal has been an active member in the urban Indigenous community in Treaty 7 Territory. Her work reflects the teachings she receives along her journey – and invites  others to become a part of the process, to partake in its making.

Griffin Cork is a Calgary-born actor and producer in the film and theatre industries. He is co-founder and Artistic Producer of Hoodlum Theatre, a small collective dedicated to creating disruptive and unabashed work. His company Numera Films took home an AMPIA Rosie Award for Best Web Series – Fiction in 2019 for Abracadaver. Griffin is committed to telling engaging, Albertan stories and strives to merge the mediums of film and theatre.

Backgrounder: About the awards

The late Fil Fraser, the late Tommy Banks, the late John Poole and Jenny Belzberg (Calgary) established the Lieutenant Governor of Alberta Arts Awards Foundation in 2003 to celebrate and promote excellence in the arts. The endowments they established were created with philanthropic dollars and gifts from the Province of Alberta and Government of Canada.

Since its inception in 2003, the Foundation has awarded $1,230,000 to 20 Distinguished Artists and 63 Emerging Artists, all Alberta affiliated.

The Foundation administers two awards programs:

  • The Emerging Artist Awardsprogram, established in 2008, gives up to 10 awards of $10,000 each to support and encourage promising artists early in their professional careers. Emerging Artist Awards are given out in even years.
  • The Distinguished Artist Awardsprogram, begun in 2005, gives up to three awards of $30,000 each in recognition of outstanding achievement in, or contribution to, the arts in Alberta. Distinguished Artist Awards are given in odd years. The 2019 Distinguished Artist Awards celebration will be in Maskwacis, Battle River region in September 21, 2019.

Todayville’s President Lloyd Lewis is a Board Director of the Foundation and was the Master of Ceremonies for this year’s online awards show.

Read more on Todayville.

Todayville is an independently-owned digital media company. We specialize in helping community groups, local businesses and organizations tell their story. Our team has years of media and video production experience. Talk to us about advertising, brand journalism stories, opinion pieces, event promotion, or other ideas you have to make our product better. We also own and operate Todayville Red Deer and Todayville Calgary.

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Alberta

Oil and gas in the global economy through 2050

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From the Canadian Energy Centre

By Ven Venkatachalam

The world will continue to rely on oil and gas for decades to come, according to the International Energy Agency

Recent global conflicts, which have been partly responsible for a global spike in energy prices, have cast their shadow on energy markets around the world. Added to this uncertainty is the ongoing debate among policymakers and public institutions in various jurisdictions about the role of traditional forms of energy in the global economy.

One widely quoted study influencing the debate is the International Energy Agency’s (IEA) World Energy Outlook, the most recent edition of which, World Energy Outlook 2023 (or WEO 2023), was released recently (IEA 2023).

In this CEC Fact Sheet, we examine projections for oil and natural gas production, demand, and investment drawn from the World Energy Outlook 2023 Extended Dataset, using the IEA’s modelled scenario STEPS, or the Stated Policies Scenario. The Extended Dataset provides more detailed data at the global, regional, and country level than that found in the main report.

The IEA’s World Energy Outlook and the various scenarios

Every year the IEA releases its annual energy outlook. The report looks at recent energy supply and demand, and projects the investment outlook for oil and gas over the next three decades. The World Energy Outlook makes use of a scenario approach to examine future energy trends. WEO 2023 models three scenarios: the Net Zero Emissions by 2050 Scenario (NZE), the Announced Pledges Scenario (APS), and the Stated Policies Scenario (STEPS).

STEPS appears to be the most plausible scenario because it is based on the world’s current trajectory, rather than the other scenarios set out in the WEO 2023, including the APS and the NZE. According to the IEA:

The Stated Policies Scenario is based on current policy settings and also considers the implications of industrial policies that support clean energy supply chains as well as measures related to energy and climate. (2023, p. 79; emphasis by author)

and

STEPS looks in detail at what [governments] are actually doing to reach their targets and objectives across the energy economy. Outcomes in the STEPS reflect a detailed sector-by-sector review of the policies and measures that are actually in place or that have been announced; aspirational energy or climate targets are not automatically assumed to be met. (2023, p. 92)

Key results

The key results of STEPS, drawn from the IEA’s Extended Dataset, indicate that the oil and gas industry is not going into decline over the next decade—neither worldwide generally, nor in Canada specifically. In fact, the demand for oil and gas in emerging and developing economies under STEPS will remain robust through 2050.

Oil and natural gas production projections under STEPS

World oil production is projected to increase from 94.8 million barrels per day (mb/d) in 2022 to 97.2 mb/d in 2035, before falling slightly to 94.5 mb/d in 2050 (see Figure 1).

Source: IEA (2023b)

Canadian overall crude oil production is projected to increase from 5.8 mb/d in 2022 to 6.5 mb/d in 2035, before falling to 5.6 mb/d in 2050 (see Figure 2).

Source: IEA (2023b)

Canadian oil sands production is expected to increase from 3.6 mb/d in 2022 to 3.8 mb/d in 2035, and maintain the same production level till 2050 (see Figure 3).

Source: IEA (2023b)

World natural gas production is anticipated to increase from 4,138 billion cubic metres (bcm) in 2022 to 4,173 bcm in 2050 (see Figure 4).

Source: IEA (2023b)

Canadian natural gas production is projected to decrease from 204 bcm in 2022 to 194 bcm in 2050 (see Figure 5).

Source: IEA (2023b)

Oil demand under STEPS

World demand for oil is projected to increase from 96.5 mb/d in 2022 to 97.4 mb/d by 2050 (see Tables 1A and 1B). Demand in Africa for oil is expected to increase from 4.0 mb/d in 2022 to 7.7 mb/d in 2050. Demand for oil in the Asia-Pacific is projected to increase from 32.9 mb/d in 2022 to 35.1 mb/d in 2050. Demand for oil from emerging and developing economies is anticipated to increase from 47.9 mb/d in 2022 to 59.3 mb/d in 2050.

Source: IEA (2023b)

 

Source: IEA (2023b)

Natural gas demand under STEPS

World demand for natural gas is expected to increase from 4,159 billion cubic metres (bcm) in 2022 to 4,179 bcm in 2050 (see Figures 6 and 7). Demand in Africa for natural gas is projected to increase from 170 bcm in 2020 to 277 bcm in 2050. Demand in the Asia-Pacific for natural gas is anticipated to increase from 900 bcm in 2020 to 1,119 bcm in 2050.

Source: IEA (2023b)

 

Source: IEA (2023b)

Cumulative oil and gas investment expected to be over $21 trillion

Taking into account projected global demand, between 2023 and 2050 the cumulative global oil and gas investment (upstream, midstream, and downstream) under STEPS is expected to reach nearly U.S.$21.1 trillion (in $2022). Global oil investment alone is expected to be over U.S.$13.1 trillion and natural gas investment is predicted to be over $8.0 trillion (see Figure 8).

Between 2023 and 2050, total oil and gas investment in North America (Canada, the U.S., and Mexico) is expected to be nearly U.S.$5.6 trillion, split between oil at over $3.8 trillion and gas at nearly $1.8 trillion (see Figure 8). Oil and gas investment in the Asia Pacific, over the same period, is estimated at nearly $3.3 trillion, split between oil at over $1.4 trillion and gas at over $1.9 trillion.

Source: IEA (2023b)

Conclusion

The sector-by-sector measures that governments worldwide have put in place and the specific policy initiatives that support clean energy policy, i.e., the Stated Policies Scenario (STEPS), both show oil and gas continuing to play a major role in the global economy through 2050. Key data points on production and demand drawn from the IEA’s WEO 2023 Extended Dataset confirm this trend.

Positioning Canada as a secure and reliable oil and gas supplier can and must be part of the medium- to long-term solution to meeting the oil and gas demands of the U.S., Europe, Asia and other regions as part of a concerted move supporting energy security.

The need for stable energy, which is something that oil and natural gas provide, is critical to a global economy whose population is set to grow by another 2 billion people by 2050. Along with the increasing population comes rising incomes, and with them comes a heightened demand for oil and natural gas, particularly in many emerging and developing economies in Africa, the Asia-Pacific, and Latin America, where countries are seeing urbanization and industrialization grow rapidly.


References (as of February 11, 2024)

International Energy Agency (IEA), 2023(a), World Energy Outlook 2023 <http://tinyurl.com/4nv9xyfj>; International Energy Agency (IEA), 2023(b), World Energy Outlook 2023 Extended Dataset <http://tinyurl.com/3222553b>.

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Alberta

Calgary judge rules against father opposing euthanasia of autistic non-terminally ill daughter

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From LifeSiteNews

By Clare Marie Merkowsky

On March 25, Justice Colin C.J. Feasby of the Alberta Court of King’s Bench overturned an injunction sought by the 27-year-old autistic woman’s father which previously prevented her from being killed via Canada’s Medical Assistance in Dying (MAiD) euthanasia program.

A Calgary judge has ruled that an autistic, non-terminally ill young woman can be put to death via euthanasia despite objections from her father, claiming that inhibiting her death could cause her “irreparable harm.”  

On March 25, Justice Colin C.J. Feasby of the Alberta Court of King’s Bench overturned an injunction sought by the 27-year-old autistic woman’s father which previously prevented her from being killed via Canada’s Medical Assistance in Dying (MAiD) euthanasia program.

“I do not know you and I do not know why you seek MAID. Your reasons remain your own because I have respected your autonomy and your privacy,” Justice Feasby wrote in his decision.  

“My decision recognizes your right to choose a medically assisted death; but it does not require you to choose death,” he added.  

Due to a publication ban, the young woman in the case is identified as MV while her father is listed as WV.  

MV, who is diagnosed with both autism and attention deficit hyperactivity disorder (ADHD), was approved for MAiD by two doctors and planned to end her life through euthanasia.  

However, according to court documents, her father argued that she is vulnerable and “is not competent to make the decision to take her own life.” Notably, MV still lives at home under the care of her parents.  

He also argued that she does not qualify for MAiD, pointing out that “she is generally healthy and believes that her physical symptoms, to the extent that she has any, result from undiagnosed psychological condition.”  

According to Feasby, his decision weighed the “harm” of preventing MV from having herself “medically” killed and her parent’s suffering while watching their daughter be killed.  

“The harm to MV if an injunction is granted goes to the core of her being,” he argued. “An injunction would deny MV the right to choose between living or dying with dignity [sic]. Further, an injunction would put MV in a position where she would be forced to choose between living a life she has decided is intolerable and ending her life without medical assistance.”

Feasby claimed that allowing MV to be euthanized is a better choice because “attempting to end her life without medical assistance would put her at increased risk of pain, suffering and lasting injury.” 

The ruling allows 30 days before MV can receive MAiD for her father to appeal the decision. So far, WV has not announced if he plans to appeal.  

Notably, MAiD does not yet apply to the mentally ill, as the Liberal government decided to delay the expansion of euthanasia to those suffering solely from such illnesses until 2027 following backlash from Canadians and prominent doctors.   

In January, provincial health ministers went a step further than seeking a delay in the provision, asking for the measure to be “indefinitely” postponed.  

The provincial health ministers’ appeal echoes that of leading Canadian psychiatrist Dr. K. Sonu Gaind, who testified that the expansion of MAiD “is not so much a slippery slope as a runaway train.”  

Similarly, in November, several Canadian psychiatrists warned that the country is “not ready” for the coming expansion of euthanasia to those who are mentally ill. They said that further liberalizing the procedure is not something that “society should be doing” as it could lead to deaths under a “false pretence.”   

The expansion of euthanasia to those with mental illness even has the far-left New Democratic Party (NDP) concerned. Dismissing these concerns, a Trudeau Foundation fellow actually said Trudeau’s current euthanasia regime is marked by “privilege,” assuring the Canadian people that most of those being put to death are “white,” “well off,” and “highly educated.”  

The most recent reports show that MAiD is the sixth highest cause of death in Canada. However, it was not listed as such in Statistics Canada’s top 10 leading causes of death from 2019 to 2022. When asked why MAiD was left off the list, the agency explained that it records the illnesses that led Canadians to choose to end their lives via euthanasia, not the actual cause of death, as the primary cause of death. 

According to Health Canada, in 2022, 13,241 Canadians died by MAiD lethal injections. This accounts for 4.1 percent of all deaths in the country for that year ,a 31.2 percent increase from 2021.     

While the numbers for 2023 have yet to be released, all indications point to a situation even more grim than 2022.  

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