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Research labs must support students over artificial intelligence

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a robot, dressed in a lab coat, and standing next to a table with a microscope on top of it.
ILLUSTRATION: Stella Laurino / The Peak

By: Noeka Nimmervoll, Staff Writer

Research assistant positions in labs are a key entry job for students looking to enter research. These positions are critical for a student’s career development, and to maintain the quality of academic research; without them, both students and the research ecosystem suffer. These paid opportunities provide hands-on experience, which may help open up the opportunity to be a lead researcher. Now, in the age of generative artificial intelligence (GenAI), some research labs are integrating GenAI into their toolkit. Will this lead to a decline of entry-level research jobs, or eliminate some altogether? The speculative answers are worrying, at best. Let me be clear: the integration of GenAI in entry-level positions should be treated with caution, and its users should always have its future impacts in mind. 

The basic steps of an experimental research process can be as follows: identify a specific topic, research it, select a niche, design and conduct an appropriate experiment, analyze findings, and write a paper to summarize this process. This work requires a combination of technical knowledge, creativity, and interpersonal skills — which is not yet replicable by GenAI. Moreover, these skills take time to develop by researchers, and the use of GenAI undermines this learning experience for budding professionals by removing the steps of data analysis. Companies claim that GenAI is skilled at identifying correlations and clusters of data, sorting large amounts of data quickly, and providing predictions based on the data it’s fed. Still, it will not have the ability to interpret the root cause of data from a culturally sensitive perspective, identify the causes of clear outliers in data, or problem solve when faced with complications. Other than that, there are issues that may arise related to research integrity due to concerns of ethics. 

Currently, approximately 76% of researchers have admitted to using AI in some capacity in their research — according to a survey by the Oxford University Press. Even in other contexts, it seems that researchers are increasingly integrating GenAI in ways that may change the research assistant’s role, shown by the growing number of artificial intelligence (AI) tools designed for research, and the increasing AI use guidelines provided in research companies’ websites. As AI adoption grows, the question of the displacement of students from these positions becomes more concerning. Some suspect it is likely these assistant positions will be limited if AI is used widely, since AI is more efficient than humans with certain tasks, and can produce helpful analyses in short periods of time. 

However, other than the impact on students’ careers, it’s also important to note the environmental impacts of AI. By 2040, it is anticipated that the AI industry will produce 14% of the global emissions of greenhouse gases. A student in the research assistant role will consume roughly the same amount of water they would have without this opportunity; whereas AI will consume fresh non-renewable water to cool off its data centres while occupying a student’s potential work experience position. 

Moreover, it is already understood that AI poses high levels of privacy breach risks. Which sounds frightening in general, but is even more problematic in research. For one, protection of data guarantees the protection of participants of any given study. But, would a participant be willing to share their answers if there’s a possibility their answer wouldn’t remain confidential? No, they wouldn’t be as willing to answer truthfully when the answer is related to sensitive topics. Which poses a significant issue, considering how important it is to provide rigorous literature that represents marginalized communities. There’s a valid reason why standards regarding privacy and confidentiality are considered a cornerstone of ethical research. 

Which takes us back to the relevance of having ample opportunities for students to enter research. The quality of future research depends on the quality and quantity of entry-level positions now. Students pursuing a career require relevant experience in research to qualify for more ambitious research positions. While in school, it is imperative that these paid opportunities remain an option for students with limited time and finances. Financial hardships are already a prominent problem for students in the current economy and housing markets. Taking away another opportunity is not a good way to go from here. 

Budding researchers are the next generation, and it is the responsibility of all education institutions to ensure the protection of entry-level positions.

Institutions need to remain vigilant of the importance of research, and remember that their research exists in an ecosystem of past, present, and future academics. Ultimately, maintaining these entry-level roles is about both supporting students and preserving the integrity of the research field.

Spotlight on SFU Vocal Jazz

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A photo of Kiara Bender and Sage Fleming smiling by the railing by the staircase in MBC. Kiara is wearing a brown shirt and Sage is wearing a bright green shirt.
PHOTO: Audrey Safikhani / The Peak

By: Julia Nijjar, SFU Student

For the past few years, I’ve felt like a soprano singer trapped in the body of a student. How wondrous would it be to sing again like I once did in the good old choir days of high school? My longing to sing again sent me on a quest. I began my expedition at the SFSS club directory, searching for information about the SFU Choir when I stumbled across another choir, the SFU Vocal Jazz

I reached out for an interview to find out more. “We’re getting bigger every year but we’re still smaller than the SFU Choir,” Sage Fleming, the co-marketing coordinator for the club, told The Peak. “Our choir is completely comprised of SFU students, which is not the case for the SFU Choir. So, we are a club run by students for students.” 

Kiara Bender, the club’s president, shared that

“SFU Vocal Jazz is like “a get-together of friends, and we all sing together.” 

 — Kiara Bender, club president

“You need no experience to join,” adding, “that’s what I appreciate the most about this club.”

The SFU Vocal Jazz is the perfect opportunity for those who don’t just love music, but, more specifically, adore the genre of jazz. Fleming said, “We do some choral holiday songs. And then there’s some variation; there’s some more bossa nova jazz, some more swing jazz, upbeat, slow.” Fleming later shared, “I have fun every time. It’s also not too stressful. We’re all busy with school so we’re coming in to learn and we do hope that members learn and practise a little bit outside of rehearsal with some of the tools we give them, but everyone’s stressed, so it’s not like we come to choir and stress about not practising. It’s a chill environment.”

The SFU Vocal Jazz typically holds rehearsals once a week, at a time that works best for members each semester. When asked about rehearsals, Fleming said, it’s a “It’s very supportive. We are very open to members with all experience levels, so some people have taken music lessons and have really learned how to sing, and some people have never done it before.” Bender added, “If you can’t read music, that’s fine. We have ways to work around that and we really just try to get as many people as we can to just come sing with us.”

The SFU Vocal Jazz comprises around 50 students. It’s divided into sopranos, altos, tenors, and basses. Bender explained the leaders “talk people through” the various vocal ranges and get them to self-assess and place themselves in the vocal range they think would suit them best. “We tell them, ‘Try it out for our first rehearsal. If you find that you’re singing too high of a range, or too low of a range, next rehearsal, you’re free to switch to another one that you think you might do better in.’ Usually, by the second rehearsal, people will have sorted themselves out.”

When asking Bender about her favourite thing about working with the SFU Vocal Jazz, she said, “I love how passionate everybody is about music and I think I really enjoy the dedication everybody has to the club. You know, people have really busy lives and everybody’s studying.

Whether it’s midterms or final season, people choose to come to my club and people choose to be involved and have fun and make friendships. It makes me so happy to see people just enjoy, enjoy singing and enjoy music.”

Fleming said her favourite song the club has performed is “You’re Looking at Me” by Nat King Cole. “I didn’t like it when we first started doing it. But then I just came to love doing it so much that it’s one of my favourites now. So that’s what I think is so special about the choir too. If you don’t like jazz that much, you might discover some songs that you actually do from the jazz repertoire.”

You can see the talented SFU Vocal Jazz for yourself, as they perform their Christmas concert on Saturday, November 29 at 6:00 p.m. on Burnaby campus in the Diamond family auditorium! Tickets are $10. “I love our concerts because we work with the SFU Jazz Band and usually have a joint piece. So, just having the dynamics of singing and live instruments — it’s like a whole band — is pretty phenomenal,” said Bender. “It’s one of the most magical fun things ever to do a joint piece with them.” The concert will also include some solo pieces sung by vocal jazz members.

 

SFYou: Dr. Shivaji Mukherjee

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A photo of Dr. Shivaji Mukherjee.
PHOTO: Harmeet Gill / The Peak

By: Niveja Assalaarachchi

Editor’s note: In the printed version of this article, The Peak mistakenly noted that Mukherjee is an assistant professor at SFU. This is incorrect, as he is an associate professor at SFU, and the piece has been updated accordingly. 

Dr. Shivaji Mukherjee is an associate professor in the department of political science here at SFU. He’s focused on South Asian politics, specifically political violence and colonial legacies. This fall, he’s teaching POL 339, a selected topic course on South Asia’s political environment. In it, he takes a look at the colonial period of the Indian subcontinent and its impact on conflict and struggle, such as the Sri Lankan Civil War

As a former student of his, I regard Mukherjee as passionate about what he teaches and helping his students. He also has sly humour and brought his students sugary treats to every class. 

He sat down for an interview to recount his personal and academic journey, as well as hopes for South Asian politics at this university. Mukherjee was born in the city of Kolkata, in India’s West Bengal state. The state was ruled by the Left Front, a coalition of left-leaning parties which formed the world’s longest, democratically-elected communist government until 2011.

He described the “revolutionary imagination” of that time and place:

“[revolutionary imagination” is well known in folklore and a part of our culture, through movies and literature amongst Bengalis.”

— Dr. Shivaji Mukherjee, associate professor of political science at SFU 

The West Bengal village of Naxalbari is also the origin point of the Maoist-Naxalite insurgency, which would become a focus of Mukherjee’s research. He explained this movement is a “radical leftist insurgency” aiming to topple the Indian government, which began in 1967 and continues today. It also “fights for the rights of lower castes and Indigenous Peoples” of India, he continued, known as Adivasis. Inspired by the communist Maoist principles of peasant alliances against state power, the Naxalite revolt set off a chain of armed insurgencies across Eastern India, fighting for things like economic equality and land ownership.

“In Kolkata itself, there was a lot of violence. I heard stories from my school teachers about when they were young and the police and the Naxalites fighting each other. So, I’ve grown up and all Bengalis grew up hearing this. I don’t know if that really led me to study the Naxalite movement, but probably it was in my subconscious.” 

Growing up, Mukherjee went to Catholic school. He said the general message of “good moral character building, being honest and hard-working” shaped him. The ethnic diversity of his school also helped him believe in a “secular vision of Indian politics,” he said. He explained how India has many ethnic groups that have long co-existed; however the rise of Hindu nationalism and the idea of the “nation state” is detrimental to peace.

“It’s possible to have a multi-ethnic society where minority ethnic groups are given the necessary empowerment,” 

— Dr. Shivaji Mukherjee, associate professor of political science at SFU 

Mukherjee’s tertiary education at Delhi University exposed him more to the political realities of India, one of which was caste. 

“I was in economics, but I was sitting in the residences, the halls, and there was ragging so I could not study initially,” he said. “But, I learned a lot about politics in an indirect way because in the [residences] there were a lot of different people there from different parts of India. I could clearly see the influence of caste for the first time and there used to be all these tensions and conflicts between students.” 

Caste is a system of social categorization that originated thousands of years ago in Hinduism, intending to determine working roles, and abilities that people could do in society. When I took this course with Mukherjee, we learned about how British colonization impacted the caste system. Previously, caste included thousands of different categories and allowed people to move between said categories. The British used caste as a codified social categorization during their rule and made it difficult to change. The changes made caste more salient and controversial in India, leaving millions shunned from interacting with one another. Despite being illegal in India since 1950, caste still plays an important role in Indian society today. 

Mukherjee sought his master’s in international relations at Jawaharlal Nehru University (JNU), also in New Delhi. JNU considerably impacted his political viewpoint, where he became more involved in student politics. “There were a lot of these left-based as well as right-wing groups there, and it was very politically active at that time,” he said. “I used to help support the candidates in indirect ways. I used to know some student political leaders there, then I was urged to run for office, but I refused because I wanted to study.” 

At JNU, Mukherjee interacted with some notable figures in Indian society. His friend at JNU was future actor Sujith Shanker, who is the grandson of E.M.S. Namboodiripad, the first communist Chief Minister of an Indian state in history. He also interacted with prominent Indian Supreme Court attorney Sunil Fernandes, at JNU. He viewed his time at the institution positively; doting on the teaching staff, stating they greatly influenced his views and the way he teaches. 

Following this, Mukherjee went abroad to the US to pursue further studies. He initially studied at the University of Michigan-Dearborn but later transferred to Yale University. It was at Yale where he developed an interest in insurgency movements. This was due to the influence of Dr. Elisabeth Wood, a senior scholar at Yale who specializes in them, particularly in the Latin American and African context. Mukherjee said taking her class on the FMNL Maoist insurgency in El Salvador, helped him draw links to the Naxalite movement, which was expanding during 2005–2006, coinciding with his stay at Yale.

Mukherjee first began his teaching career at the University of Toronto’s Centre for South Asian Studies, serving as a faculty associate. He would later become an assistant professor at the UofT department of political science, as well as be a part of the graduate faculty and other institutions. 

His previous research and work at the university would eventually lead him to publishing a book, Colonial Institutions and Civil War: Indirect Rule and Maoist Insurgency in India. He did extensive fieldwork in two Indian states, Chhattisgarh and Andhra Pradesh, researching the effects of Maoism there. He wrote about how “historical legacies of British colonial indirect and direct rule created land qualities and how that persists,” he said. “But the book is more qualitative research, where I’ve analyzed various interviews I did in the field with bureaucrats, politicians, human rights activists,” and even “Maoist leaders in jail.” He also noted several times where he faced interference, phone-tapping, and other threats. For example, police commanders misled him in pursuing interviews with Maoist leaders, in an attempt to prevent his research.

He was at UofT when he saw an opportunity to come to Vancouver to teach. SFU’s Somjee chair of Indian political development was vacant at the time. The position is named after A.H. Somjee, a professor emeritus at SFU department of political science, who has been pivotal in teaching South Asian politics at the university. However as Mukherjee noted, his absence left a void in the university. “He retired in the 1990s and after that SFU political science [had] never had a faculty working on India or South Asia, so he created an endowed chair and they were trying to hire someone. I saw the job and I applied for it and luckily, I got it,” he said. The position entails not only conducting research on South Asia, but also teaching it, which is what he’s been doing since 2023.  

Mukherjee also noted the importance of teaching South Asian politics to students at SFU. Since Metro Vancouver has a large South Asian international student population and diaspora, they should have the opportunity to learn about their cultures. “I can always sense that they feel very enthused and excited to learn about it and I’ve had students tell me ‘Oh, now I can go and have discussions with my uncle or father.’” He also noted that with globalization, learning about Asia, especially countries like India and China, is important, this is because they are “large market economies, so it is necessary to understand the politics, economics, and societies of these member-nations to engage with them effectively.” 

When he’s not deep in research and academia, you may find Mukherjee watching cricket and European soccer, with FC Barcelona being his favourite team.

“Anyone who supports Real Madrid, they go from A to A-,” 

 — Dr. Shivaji Mukherjee, associate professor of political science at SFU 

Mukherjee also shared his current favourite work of literature on South Asian Politics: Theft of an Idol: Text and Context in the Representation of Collective Violence by Paul R. Brass.

VIMFF draws inspiring speakers and energetic crowds

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PHOTO: Ali Kazal / Pexels

By: Jonah Lazar, SFU Student

The Vancouver International Mountain Film Festival (VIMFF) ran its hit Fall Series from November 12 to 19 across Vancouver and Squamish, before expanding their tour across Canada until April.

VIMFF, which has been running since 1998, showcases short films relating to mountain adventure sports, such as climbing, skiing, cycling, and even kayaking, while also promoting messages of environmental sustainability and inclusivity in the mountains. 

The Fall Seriesa mini-festival featuring select speakers and films”was celebrated across four venues in Vancouver and Squamish, with a total of 11 in-person shows; multiple of which sold out in the weeks leading up to the festival. These shows also featured acclaimed guest speakers such as four-time rock climbing world champion Jakob Schubert and Himalayan alpinist Mingma Tsiri Sherpa.

I attended the Rock Climbing Show at the Rio Theatre, where an excited crowd of hundreds of rock climbing enthusiasts welcomed films from Chile, France, Switzerland, and, of course, Canada. These films, through their inspiring narratives, revealed deeply personal experiences of the climbers featured. Notable screenings included A Guide’s Book — a short film which followed the life of a mountain guide in Chamonix, France, revealing the pressure and responsibility surrounding the guides tasked with ensuring the safety of people in the high alpine, and the years of training and discipline required to do so. 

Another film presented was Zahir, which follows Katherine Choong and Eline Le Menestrel, who embarked together on a quest to climb a highly-respected route in the Swiss Alps named Zahir, while getting there only using sustainable modes of transportation to raise awareness about fossil fuel consumption. 

For me, the highlight of this show was guest speaker Sonnie Trotter, a world-renowned Canadian rock climber famed for his plethora of first ascents — the first ever time a mountain has been successfully climbed — in Squamish, BC. Trotter shared stories from his new book Uplifted: The Evolution of a Climbing Life, a memoir recounting his many experiences earned through climbing, all the while reflecting on how his relationship with the sport has evolved as he juggles family life and adventure. 

In his presentation, he recalled stories of climbing routes with legendary figures in the sport such as Tommy Caldwell, along with the star of the Oscar-winning documentary Free Solo, Alex Honnold. Through these stories, he explained the importance of enjoying the process of working towards achieving a goal, rather than obsessing over the end results. He also pondered how his objectives in climbing have changed now that he has a family, making him more cautious in the face of risk.

While this year’s Fall Series has wrapped up, the VIMFF will return for their international 10-day line-up in February, undoubtedly with more breathtaking films.

Hung Dance’s Birdy soars to the world stage

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PHOTO: Courtesy of MPMG Media Relations Campaigns

By: Heidi Kwok, Staff Writer

Birdy is a dance performance created by Hung Dance, a Taiwanese contemporary dance company founded in 2017 with the belief that “movement can transcend limitation.” The Mandarin character “” (Hóng), which means “to soar,” inspired the name of the group. The production follows eight dancers who draw on elements from traditional and modern dance styles, cultural symbols, Chinese opera, and martial arts. Birdy will make its local debut at the Vancouver Playhouse on November 28 and 29. The Peak corresponded with Hung Dance’s artistic director and choreographer, Lai Hung-Chung, to learn more.

What is Birdy about? 

Birdy is about freedom — about the desire to fly beyond the boundaries that try to contain us. At its core, the work examines how individuals and communities navigate the tension between restraint and liberation.

The piece explores freedom on multiple levels: the freedom of the body, the freedom of the mind, and the freedom of a society searching for its own sense of balance. It asks a simple but urgent question: how do we keep moving when the world around us is full of uncertainty?

Through a language that blends stillness and turbulence, softness and strength, Birdy reveals the quiet resilience that lives inside all of us. 

— Lai Hung-Chung, Artistic Director and Choreographer at Hung Dance

It isn’t about a single narrative — it’s about the universal human instinct to transcend limitations, to find grounding amid chaos, and to breathe fully even in moments of struggle.

​​Where did the inspiration for the choreography, sound design, and use of the “Ling Zi” and rattan poles come from? Was the dance informed by any other artistic influences? 

The creative inspiration came from many layers — from my memories of Taiwanese temple festivals, where Taiwanese opera troupes perform on the streets as offerings to the gods, and from the physical discipline I received through my dance education.

The Ling Zi (pheasant feathers) and rattan poles come directly from traditional Chinese opera imagery. Traditionally, the feathers represent authority and power. I wanted to deconstruct that symbol — to let every dancer hold a Ling Zi as an extension of the spine, a physical and energetic continuation of both alignment and strength, so it becomes a channel for emotion rather than dominance. The rattan poles, once spears, have lost their sharp tips and have been transformed into something softer, more reflective — symbols of both limitation and support.

Beyond traditional roots, Birdy was also influenced by Sir Alan Parker’s film Birdy and by Francis Bacon’s paintings. The film’s exploration of trauma and liberation resonated deeply with me, while Bacon’s treatment of distorted bodies and stark lines inspired elements of our lighting design. These artistic references shaped the emotional landscape of the piece — its fragility, its tension, its unspoken humanity.

Musically, the work blends electronic soundscapes with simulated textures of traditional instruments, creating a sonic world that reflects Taiwan’s unique convergence of Eastern and Western cultural influences.

What was the extent to which Taiwan’s history and ongoing political instability shaped the performance?

I think it might be the other way around. It’s not that Birdy was directly shaped by history — rather, when people look back at this work years later, they might see in it the emotions and tensions of our time.

I don’t intend to make political statements. What I want to express is the feeling of uncertainty — the kind that comes from living in a place constantly shifting between identities, realities, and futures. That sense of instability seeps into the movement, the breath, and the silence between gestures.

Birdy reflects how we find calm amid turbulence — how we, as individuals and as a society, seek grounding when everything seems to be in motion.

See Birdy at the Vancouver Playhouse on November 28 and 29.

 

The dialectic nature of brunch as a form of resistance in a post-constructivist, Maoist, anti-rhizomatic context, as prescribed by bottomless Buddy Burgers

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ILLUSTRATION: Cliff Ebora / The Peak

By: Mason Mattu, Critical Brunch Scholar 

Acknowledgements: Thank you to A&W Canada for sponsoring this delicious research paper. You can buy a Buddy Burger for only a penny with the coupon code: TheA&WGuySentMe.

To brunch is to rebel. To eat eggs at 1:00 p.m. is to dismantle the hegemonic influence of the big breakfast industry. To sip orange juice steeped within a tang of radicalism associated with post-Marxist thought is to perform a silent revolution against the linear progressionism of the digestive system. 

In this paper, the nature of brunch, viewed as a form of resistance, will be explored in relation to several very prominent political theories. In completing this research through the historical archives, I have consulted with many important people who use important words. My motivation for this paper is to seek to understand the historical origins of post-constructivist, Maoist, anti-rhizomatic brunch theory. According to dictionary.net, dialectical means “many very different dialects.” The result of my study is very dialectical. 

Under the societal guise of preconceived notions, we can attest to the primordial and definitive standard the lack of nuance in the field of archaic nourishment studies. 10,000 years ago, humans lived in rice fields, covered in grains of anti-urbanized rain — that in which could have thus, therefore, and hence, led to the unequivocal presence of delicious Buddy Burgers, mixed with expired mimosas, upon one’s breakfast table. This is the historical foundation of the concept of brunching. Buddy Burgers were never present upon the tables of the peasants. One can observe that this is because anti-urbanized rain did not come into the academic realm of understanding until about the early 2000s. Thus, it did not exist. It was a social construct. 

When Marx spoke about alienation in direct response to the shocking event of Jesus’ crucifixion, he did not mention the nature of brunch that the English serfs were exploring. Marx often spoke about the landless serfs, but never mentioned the brunchless and Buddy Burger-lacking proletariat. While the wealthiest of English noblemen enjoyed dried bacon fat, the corpses of dead popes, and the blood of their mistresses’ fish (all common brunch delicacies, even today), the serfs were denied their rights to such food. If one was a serf and did not eat brunch, as we now know, Marx would certainly have indulged in their practices. Thus, did Marx really know serfs? Was he even there? Was he too busy enjoying a brunch of Buddy Burgers himself? As we all know, Marx was an incredibly wealthy man who looked up to Scrooge McDuck and his swimming pool of gold. Perhaps a more interesting conversation to have is whether or not Marx, who claims he was not a Marxist, suffered from amnesia. This is very anti-rhizomatic of me. Very anti-rhizomatic of me indeed. Very anti-rhizomatic. 

If Marx, who we have now concluded was indeed not even a real person through constructivist interpretation, did not write about brunch behaviour amongst peasants, who did? Who created anti-urbanized rain as a causal root of access to brunch and bottomless Buddy Burgers? 

Through my archival research, I have tracked the access to brunch of the peasantry to one man — Mao Zedong. The Chinese Revolution of 1949, which saw the emergence of communism, was fuelled by brunch. I spent hours analyzing PDFs of ration tickets from Mao’s digital outreach team, and found over 300,000 given out for traditional brunch meals. Very important sources tell me that Mao thoroughly enjoyed quarter pounders and Buddy Burgers that he would steal from Plato’s library as a child in Ancient Greece.   

This jaw-dropping discovery has led me to conclude that the role of brunch for communist revolutionaries is even more prominent than my colleagues have suggested. After ethnographic interviews with Mao’s closest confidants, I have narrowed down the role of brunch to the following statement: “Brunch (including delicious Buddy Burgers) assisted in winning the hearts and minds of villagers to prepare them for revolution.

An entry from Mao Zedong’s personal diary, obtained from sourcesforhistoriansthataretotallyreliable.net, corroborates this statement: 

Today, I shared a meal of Buddy Burgers with potential communist revolutionaries. Wow, they sure love the taste of a great deal! Why didn’t I think about brunch before? What a great thing — brunch! Take that, Bill Gates. Let the people eat!” 

What is, of course, jarring about the statement is Mao’s reference to Bill Gates, who actually had been a close confidant of Mao’s. After learning the lessons of communism, Gates created Microsoft, a company who actively seeks to dismantle the capitalist system. He did this because of Mao’s brunch. 

After unveiling this shocking revelation, we can reveal the dialectical nature of brunch as a tool of resistance. I am more familiar with a Yin and Yang kind of definition, but I submit to the definition as proposed by my colleagues at dictrionary.net (recall: dialectical means “many very different dialects”). I can see brunch as a form of translation between complicated language forms — brunch is a dialectical dialect of lunch, and lunch relating to communist revolutionary theories from the time of the Virgin Mary. In conclusion, yes, yes indeed. I believe that — (GODDAMN IT, MASON. FINISH THIS SENTENCE BEFORE YOU SUBMIT IT TO THE A&W SCHOLARS’ JOURNAL! COME ON, I BELIEVE IN YOU! YOU’LL FINISH YOUR SENTENCE!)

 

The Peak makes record-breaking sales after adding 43 variants of their editions, including the ultra-fan-favourite: Rare glitter edition

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ILLUSTRATION: Sonya Janeshewski / The Peak

By: Veronica Richards, SFU Student

Why read the news when you could collect it? The Peak is coming off the press with 43 new variants of next week’s edition, and you could get your hands on an exclusive version. Don’t worry, the content is the same, but everyone knows that how it looks on your display shelf is what matters most. Check out our “ALL CAPS,” splurge on BOLD, or maybe our italic version, and so many more. Rumour has it, a secret 🕈︎♓︎■︎♑︎♎︎♓︎■︎♑︎’⬧︎ (Wingdings’) version is hidden in The Peak’s office (luckily, a video tutorial exists so you don’t accidentally walk into a jazz choir’s practice. Oops). The infamous glitter issue comes with loose glitter haphazardly thrown in by The Peak’s production team, providing a fun surprise when opened. What a great way to show everyone how special you are!

We heard about a guy who got into “reading” The Peak two months ago and now has over 500 copies. “Yeah, I took 10 stacks of last week’s issue,” the dude said. “It’s the biggest thing since $LOP NFTS, Rug Tug™ crypto, and Silicon Valley’s subscription-based bread-slicing machines.” When asked if the rumour that he knocked over a University Highlands Elementary student who got too close to the newsstand at Nester’s was true, he dismissed it by saying, “It’s not like a kid could understand the true value of it. Who cares about reading when I can resell on Ebay?” We got an exclusive view on how much his collection was worth. “See, this is a C-grade paper. Corner’s folded, only worth a dime. Here’s a B-grade, because the evaluator scribbled ‘CAN YOU PLEASE STOP TURNING EVERY HOBBY INTO CONSUMERISM’ on the back, so it’s only worth two dimes. Now this version is worth $500, because it has the signature of a Peak writer I chased down in the academic quadrangle.” 

In a rather innovative fashion, The Peak has also upgraded their digital presence. On their website, instead of a simple black or white background, there are an infinite number of digital reading experience variations. It now plays your choice of Subway Surfers, oddly satisfying videos, Minecraft parkour while an AI crunchily parrots the article, and so many more. Readership is up 300,000%, there are 5.5 billion more page refreshes a day, and 67 more statistics that their business manager loves. 

The Peak’s next big goal is, apparently, to be the first on The Newer York Times’ or New York Smartwatch’s bestseller list. “We could be the first newspaper that breaks into this untapped cesspool of collectors,” opinions editor Zainab said. “Don’t you just love capitalism?!”

The Peak paves the way. We follow the light of the dollar signs,” news writer Lucaiah added. 

You can find the next Peak issue at any newsstand around campus. “I’m sat,” said a fan waiting beside an empty newsstand, handing out wristbands. “They’re telling me the next issue of The Peak doesn’t come out until Monday, but I’m simply too excited. I can’t wait to do the Moto Moto-themed crossword.” Stay tuned to keep up with current events, or for when they inevitably start adding collectible cards. 

I give a guy a chance . . . and look what happened

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ILLUSTRATION: Olivia Blackmore / The Peak

By: Noeka Nimmervoll, Staff Diva

I just got back from a date, and . . . wow. There might be a lot of fish in the sea, but damn, the sea is POLLUTED. This guy was a nightmare! He picked me up, and girl, he didn’t even look like his Tinder profile pic — but I wanted to give it a chance. 

FIRST MISTAKE. He had a cute butt, but he looked like a surfer with his too-tight t-shirt and cargo shorts. Babes, it’s November. Get yourself a jacket. And comb your hair! The surfer look hasn’t been in since, like, Jaws 2. But you know, he was kinda cute. He had these big buck teeth that peeked out even when he wasn’t talking. I like that.

He picks me up in his beat-up Toyota Corolla. He tells me he’s gonna make me dinner, which I love. I love myself a guy with a plan — I’m totally jiving with his energy at this point! We’re chatting, laughing while he drives us to Superstore. He tells me to wait in the car, and five minutes later — GET THIS — comes back with a frozen pizza. A FROZEN PIZZA? Honey, I love frozen pizza. But DON’T PRETEND like that is cooking me dinner! At least he paid for it.

Anyways, we go to his place because we’ve been talking about Clueless, and he’s like, “I’ve never seen it,” and I’m like, “Gag, you’ve gotta watch it.” So we’re en route for a cute evening, right? Frozen pizza and my favourite movie. The night’s not exactly what I expected, but we roll with it, y’know. 

So we get inside. His place is pretty decent, actually. We get the movie all set up and the pizza’s in the oven. Clueless is playing, Cher is her fabulous self, then the timer on the oven beeps. The boy looks straight at me, and says, “This is the worst part.” He goes to the oven and pulls out the pizza with his bare fucking hands, RACK AND ALL, screaming at the top of his lungs. He runs all across the room, with the rack still in his hands, and takes it into his washroom. There, still screaming, he applies toothpaste all over his hands and pizza. He then comes running back, panting like a dog, and says, “You want some pizza, baby girl? It’s all chill now! Can’t have you eating scorched pizza and cuddling with burnt hands. Hehehehehe-hahahaha-hehehe.”

Jesus motherfuckin’ Christ. This is what I fucking get for being open-minded.

I told my girlfriend about this guy and she said, “What did you do after??” I said, “Girl, I got the hell out of there!” She said, “Well, you could’ve at least eaten the pizza. It’s dinner, ain’t it?” So, I don’t talk to that bitch anymore either. She doesn’t get it!!!

Is the bar in hell? Is that not unbelievable behaviour? Girls, what are you putting up with? ‘Cause personally, I am SICK of these silly men ruining my peace. This time tomorrow, if you need me, you can find me in the local nunnery. It’s not “Baby, where the hell is my husband” anymore. Now, it’s “Baby, I Don’t Need a Husband.” I might not even be joking. Stay single, ladies.

How long will Carney’s government last? We asked a tea leaf reader

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ILLUSTRATION: Yan Ting Leung / The Peak

By: Ashi, Multiverse 538.10.1.4’s top-grossing divinator 

How long will this government survive? Read on to find out! Remember to follow my TikTok for exclusive digital palm reading. 

Hiiii, lovelies! Welcome back to my Federal Future Forecast Series, where I ask Spirit to guide us on matters of federal governance. Remember to take what resonates, leave what doesn’t, and follow my TikTok to claim unexpected abundance

As always, I’m broadcasting from my yacht near my West Van home. Not flexing. I’m just so grateful, you guys! My cat-flatmate, Sir Meowmixx (I let TikTok name him), is also participating in this reading. I know SFU students, like many in this city, are struggling to manage rising living expenses, and I relate to you guys so deeply. This is why Sir Meowmixx now contributes to rent through a separate “pet fund” that my dad set up. I mean, we all got to stick together in these difficult times, you know? 

On with the ritual! As I place the tarot deck under my ring light, I gently ask the Spirit to show us Canada’s future. But my spiritual companion, Sir Meowmixx, immediately body-slams the deck. Uh-oh! Cards go flying everywhere, but as divinely guided, what lands in front of me is the Death card. In divination terms, this indicates a massive transformation, aka Carney’s recently passed austerity budget. Honestly, the haunted vibes from political economy analysts are clouding my connection to Harper’s ghost, but he does send his nod of approval. Yay! 

I reshuffle for clarity and pull out The Lovers card. Spirit tells me this budget comes from a karmic entanglement between Carney’s banker friends and the poor public, and who am I to question cosmic truth? It is a promising time, a sacred union between Carney and the country’s richest men.

Meanwhile, I know you’re worried that the House of Commons must decide between another election or cutting essential services. But Spirit is clear: this is the right time to buy more flying machines that go pew-pew. How about critiquing messed up government policy, dearest Spirit? Or Asking the minority government to negotiate so we avoid an election? Apparently, it’s not allowed. According to Carney, if you don’t agree with the budget, you hate your country and want to watch Trump stomp on every single grandma (and her bingo group) over and over again. Phew, good thing we prevented that. What about the Canada Public Transit Fund cuts? Honestly, I guess no one takes the bus anymore anyways? 

Now, let’s read some tea leaves, shall we? At the bottom of the cup, I also see . . . a gopher? This symbolizes Poilievre’s loss of control over his party. And next to it is the silhouette of a traitor? Seems like the Conservatives can’t decide whether they’re ghosting Carney or soft-launching a collab. 

I mean, given that five planets are in retrograde right now, the stars do show unimaginable success — for Carney and his polycule. Less so for workers already hit by tariffs, single mothers hunting for childcare, overworked healthcare staff, and like honestly, anyone with internal organs. But don’t worry! The universe is so magical, and you too can manifest your dream life with my new online manifestation course. 

Full disclosure, learning from Uncle Carney, this course is co-designed by AI. This is how I plan to “supercharge” and streamline my practice, something we planned over a family dinner with my mother’s cousin’s college roommate’s brother, who just happens to be one of the founders of the AI company, Cohere. Such a small world, right? 

For the final prediction, the tea leaves twist into a double helix: a sacred symbol of the longevity of this glorious government. Apparently, we won’t have to worry about an election before Christmas, because the budget passed . . . but who knows? Elizabeth May might decide to become a Conservative! Thank you, Spirit, for this beautiful reading. Don’t forget to tune in next week, where I ask the Spirit what Justin Trudeau and Katy Perry’s relationship means for Canadians. Billing this to taxpayers, as per federal protocol. To claim blessings from this reading, don’t forget to somersault three times and whisper “Carney” into a teacup at 4:00 a.m. Toodaloo, darlings! 

Art exhibition protests Canada’s oil industry on campus

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George Rammell and another man stand on ladders next to a tall piece of art. The art is a map with the title “The Trans Mountain Pipeline Expansion Fiasco: Mapping the Tipping Point, Fort McMurray to the Salish Sea” at the bottom. The map covers most of BC and features numerous photos, descriptions, and a snake as the Trans Mountain Pipeline.
PHOTO: Audrey Safikhani / The Peak

By: Niveja Assalaarachchi, News Writer

On November 6, the “Banks Off Campus Day of Action” art exhibition was held at the Student Union Building social stage to showcase George Rammell’s art. Rammell is a Gambier Island-based artist whose work focuses on climate activism and collaboration with Indigenous artists. The exhibit centred resistance to new fossil fuel projects in BC, and was organized by SFU350, Change Course, and Simon Fraser Public Interest Group.

On Instagram, the organizers wrote that the event comes amid growing enthusiasm for fossil fuel projects in the country, with major Canadian banks having increased their investments in the sector. Additionally, the federal government has passed legislation like Bill C-5, which helps streamline project permits, raising doubts about Canada’s climate change commitments. The Peak attended the event and spoke with Rammell for more information.

Rammell, who graduated from Emily Carr University in 1975, said his art was a “combination of old worldmaking and conceptual ideas about our current world.” Though not Indigenous himself, he has worked extensively with Indigenous artists such as Haida artist Bill Reid. Rammell mentioned that Reid hired him in 1979 to help sculpt pieces such as The Raven and the First Men and The Spirit of Haida Gwaii.

Rammell, though noting his art always highlighted cultural issues, said his experience of being arrested in 2018 fighting the Trans-Mountain pipeline highly influenced his artistic outlook.

“I saw the inside of the justice system when I was in front of a judge. I saw how these judges are really acting as legal billy clubs for the oil and gas industry and how you don’t get real justice in the so-called justice system.” 

 — George Rammell, artist 

His experience with the judicial system inspired another piece featuring three Supreme Court justices as ventriloquist dummies sitting under a satirized version of the Canadian coat of arms. The sculpture, which also included the portraits of former prime ministers Justin Trudeau and Stephen Harper, was photographed and displayed at the art exhibit.

The exhibition also displayed a modified version of the Royal Bank of Canada’s logo, featuring a lion breathing fire on the earth.

The main piece of art on display was a map of Western Canada depicting injustices by the oil industry. Rammell said the map was initially centred around the Trans Mountain Pipeline route. However, in order to fully display the effects of the petroleum industry on the region, he expanded the map. The map was littered with different examples of environmental degradation, such as the depiction of oil and gas wells, which have continued to leak methane emissions despite being abandoned

Rammell included examples of advocates and education resources that have helped reveal the scale of ecological harm caused by the oil industry. Overall, he described his map as a “compendium of contradictions, illegalities, environmental infractions, and government cover-up.”

He noted this form of art was therapeutic for him. “I find that art is a kind of release for me. It feels like I’m doing something. I’m inciting a dialogue, I’m inciting a discussion about where we go from here.”

However, he noted he wished to see more action from fellow artists on this issue. “A lot of my friends that I went to art school with are making very tasteful work that’s very collectable and very tasteful. It’s not offensive in any way, it’s not political, and I feel like shaking them and telling them, ‘come on people, let’s take a year off and do some work that would speak to the immediacy of the times.’”