Essay: Representations Of Reality: Comparing Photographs To Traditional Artistry Editorial Content • Long-Form Writing • Photography Theory • Art Criticism • 2021 Photography is a combination of both science and art. The public may be unaware that the process of photography is scientific in nature. Whereas a painter needs to use paint, brushes, canvas and physically combine them, photography requires meticulous levels of chemicals and chemical reactions to achieve an image. Artists who use oil paintings utilize various forms of brushes, pick from a variety of canvases, mix paints with paint thinners, and physically combine them to achieve their masterpiece; on the other hand, photographers require meticulous levels of chemicals and have to use a darkroom for specific chemical reactions to occur. Only then is a masterpiece created. That aspect has ensured that photography is seen as much closer to reality than traditional art. Photography is not as precise as other scientific fields. On the other side of the scale, photography is an art because it has variations within a single image. Photographers from the same genre of work will have their own style, even if they are taking a photo of the same subject. Within the hands of a single photographer and camera, the composition, lighting, subject, and positioning will change from image to image. Those are the operator’s choices, which are completely subjective for the image. That subjectivity is what makes photography an artistic medium as well as a scientific one. Photography is a juxtaposition of an imperfect science with the abstraction of art, lending a more objective lens to the unfoldment of the human condition. Critics in the art and photography worlds argue over where photography lies in the art and science spectrum; Holmes describes photography as both as a technical advancement and as an artistic medium. However, Holmes and other artists disagree that photography is the same as its traditional and earlier counterparts in the artistic world. As Holmes describes, the daguerreotype, the daguerreotype, or an early photography process that used mercury vapour to bring forth an image from its silver plating, can appear, can appear like a mirror and remain like a memory forever on a photograph. Photography is a more exact representation of the world around us, as compared to that of a painting or a sketch. A photographic image is impossible for a human hand to reproduce simply because of the level of separation that the artist has from the subject, and not the artist’s skill itself. Film critic, Andre Bazin agrees with Holmes’s sentiment on the exactness of photography as compared to artistry, which is argued by Bazin to be synonymous with copies, or duplication, or imitation. Art is not the object itself, nor can it ever be but it’s not even a direct or exact replica of the original. Photography, on the other hand, isn’t a mere representation but instead a mirror image of the subject. ‘Vulgar’ is the term that Holmes uses to describe photography and, more specifically, stereoscopic pictures as “vulgar repetitions of vulgar models, shamming grace, gentility, and emotion, by the aid of costumes, attitudes, expressions, and accessories worthy only of a Thespian society of candlesnuffers”. Yet, A photograph can capture the small, extensive details that the eye and the hand of an artist are simply unable to. Those details have the potential to ruin the perception of a subject that an artist would be able to capture. Both agree that photography is more exact because of the scientific method used to create the image. Bazin explains that “Originality in photography as distinct from originality in painting lies in the essentially objective character of photography.” One example that shows the difference between traditional art and photography is the genre of war depictions. Wars have been recorded in all forms of genres, from textiles of ancient Greece depicting the mythic Trojan war to photographs of the Second World War. If these works are used for record-keeping and accountability, accuracy is important. Artistic representations of war are just that – representations. Traditional arts are merely imitations of the real world. They are filtered through the mind of the artist; meaning, that the artist’s sensibilities, opinions, and biases are put into the artwork regardless of intention. If an artist is squeamish about blood and gore, they may intentionally or otherwise limit the content of gore that they insert into their work. On the other hand, photographs take an exact picture of what’s in front of the lens. Bazin explains that “The photographic image is the object itself, the object freed from the conditions of time and space that govern it… by virtue of the very process of it becoming, the being of the model of which it is the reproduction; it is the model.” As an example, the Crimean war was one of the first wars that employed the use of photography while still using the work of traditional artists. Roger Fenton, a photographer, and Franz Rouband, a panoramic painter, both gave their depictions of areas of the war. Franz Rouband created the panorama painting called The Siege of Sevastopol in 1904. Painting, regardless of its historical accuracy, doesn’t allow for the instantaneous image of photography that gives a moment in time. To compare, Fenton took photographs of the settings of the war, as well as the individuals within the war. Fenton’s photographs allowed there to be a specific moment captured in a single image with all the details as exact as they were in that moment. Regardless of the apparent differences between photography and traditional art, depictions of war are a good example to exemplify and contrast claims of photographic precision. In expanding upon Bazin’s work, Hansel Chew mentions, “No matter how skillful the painter, his work was always in fee to an inescapable subjectivity. The fact that a human hand intervened cast a shadow of doubt over the image”. Chew brings up an accurate counterpoint when discussing Bazin’s work; even photographs aren’t exact because they are a form of artistic expression which is never as particular as reality. Even in photography, there is a bit of doubt because there is a human element to the work. It’s less than that of photography, but there is still a subjective element to this that can’t be ignored. Elements such as blur, motion, lighting, and even the subject matter is all human choice. Thus, influences by the photographer himself. Photos are more precise than paintings but aren’t as precise as the subjects they are photographing; they are still a kind of copy or imagination of life. Earlier, Holmes was quoted to describe photography as “vulgar” and “by the aid of costumes, attitudes, expressions, and accessories worthy only of a Thespian society of candlesnuffers”.This leads to the idea of photography being more exact than artistry but not as exact as reality itself. There are several examples where photographs are not able to show the whole truth, as they are easy to stage before exposure and manipulate afterward. Fenton’s work is a great example of this. At the time, photography wasn’t able to capture an image of movement. The subjects would need to sit still as if they were the subject for a portrait painting. Even without discussing the intention behind it or how the depth pre-production manipulation was, it still required a kind of specific composition. Another example of this staging and manipulation is a photo from 2003 during the beginning of the Iraq War. Brian Walski is a veteran photographer for the Los Angeles Times and submitted a photograph to the Los Angeles Times. This image depicts a British soldier warning Iraq civilians to take cover from the nearby fire. Frank Van Riper, a writer for the Washington Post describes it as a photograph that could win a Pulitzer. It’s not a surprise that it ran in several other newspapers such as the Chicago Tribune and the Hartford Courant. In reality, the image Walski presented wasn’t what it seemed, as it was a composite image of two photos to improve the composition. He takes two separate images and combines them to make the image appear more interesting and thought-provoking. Even without the manipulation, this photograph shows the staging that occurs in pre-production, even if unintentionally and in a journalistic nature. The aspects of photography that aren’t chemical reactions are choices made by the camera operator. Walski chose that photo to submit, with those specific angles, positions, lighting, and so on. It was a choice that adds to the subjectivity of the image. Beyond that, there’s the element of post-production manipulation. At its very base, it encourages a lack of trust in the truth of photographs and their apparent information. The lack of trust branches out not only to the specific journalist but to photojournalism in general. When confronted, Walski confessed, admitting that he had tarnished the reputation of the Los Angeles Times, as well as fellow photojournalists. Van Riper comments that credibility is vital, and manipulation negatively affects it, “the key elements of a news photograph, like the keywords in a direct quote, simply are off-limits to manipulation”. Walski was terminated as a result of his choices. People have trust in photography because of its accuracy and details. That accuracy is obviously not always the case. There is a chance that the truth seen through a photograph isn’t the truth actually seen. As Holmes said, photographs are precise, but they aren’t completely realistic, nor are they objective. They are more accurate than traditional art, but they are still not the object itself; it is still a kind of degree of separation from the event or subject. Photography is a range of both an exact representation of reality and artistic representations of reality. It’s that range and versatility that allows it to be an artistic medium. As realistic as photography is compared to traditional artwork, it still can be manipulated. That aspect of it needs to be understood and actively applied by the viewer of the image. Individuals need to use discretion with photographs. Sources Bazin, André, “The Ontology of the Photographic Image.” Trans. Hugh Grey. Film Quarterly 13, no. 4 (1960): 4-9. doi:10.2307/1210183. Carlson, Matt “THE REALITY OF A FAKE IMAGE: News norms, photojournalistic craft, and Brian Walski’s fabricated photograph”, Journalism Practice, 3, no. 2, (February 2009). 125-139. DOI: 10.1080/17512780802681140 Chew, Hansel. “The Realism of André Bazin: A Question of Ontology and Aesthetics in Cinema”. 2014. Holmes, Oliver. “The Stereoscope and the Stereograph.” The Atlantic (June 1859). Van Riper, Frank. “Manipulating Truth, Losing Credibility.” Camera Works. Walski, Brian. Warning: A British soldier manning the Azubayr Bridge orders fleeing Basra residents to hit the dirt as Iraqi forces open fire, March 2003, Photograph, Los Angeles Times cover Read this essay on Creative Dreamer: https://creativedreamers.wordpress.com/2021/01/06/representations-of-reality-comparing-photographs-to-traditional-artistry/

Removing the Gag: Literary Journalism & BDSM | Medium Literary Journalism • Long-Form Writing • Media Criticism • BDSM & Sexuality • 2021 Essay: Removing the Gag to Talk About BDSM; Literary Journalism's Effect on Destigmatizing BDSM Stereotypes Kinky. Exciting. Sensual. Perverted. Secretive. Mentally Ill. Each of these words describes BDSM (bondage-discipline, dominance-submission, and sadism-masochism) and its stereotypes. The community and its members have been stigmatized because of their sexual and atypical nature. In the past decade, BDSM has become more mainstream with accurate and inaccurate media representations. Because of its emergence into the public eye, journalists have taken to exploring and, as a result, demystifying the topic. Compared to traditional journalism, literary journalism is better able to destigmatize BDSM. Its subjective style and personable approach can expand the audience's knowledge and empathy toward the subject. Academic journalism articles on the BDSM community provide an open discussion, thus lessening its stigma and stereotypes. Literary Journalism began as a shift from the normality of typical journalism to follow a style more akin to that of novelists or biographers (Wolfe, 1973; Hartsock, 2002). Tom Wolfe describes it as "like a novel" because it's precisely that, but not exactly a novel (Wolfe, 1973, p. 9). Literary journalism combines a book's stylistic writing and a newspaper article's reporting. The stylistic report allows a literary flair to otherwise bland, straight-to-the-point "hard-knack" journalism. Hartsock explains that one of the results of this new form of journalism was usually a kind of social allegory "with potential meanings beyond the literal in the broadest sense an allegory's meaning. Largely, although not exclusively, that allegory is about embracing an understanding of the social or cultural other" (Hartsock, 2002, p. 22). This other is someone or a group that is separate from the audience. This shows social distance, described as how intimately one interacts with and understands a social group (Akerlof, 1997). It's easier to view a minority with over-generalizations. If there is a significant social and contextual distance, that results in those terms being "more abstract, schematic, and decontextualized terms" (Yang, 2015). This distance creates difficulties in altering inaccurate stereotypes of BDSM, as those with a significant social space tend to "ignore individual differences and, as a result, make it difficult, if not impossible, to illustrate the existence of subgroups that behave differently from the majority of the population" (Akerlof, 1997). Literary journalism provides a sympathetic connection between the subject and the reader that works to lessen this social distance. Media can offer representations that reinforce and maintain stereotypes, or counter-stereotypes that challenge and alter existing views (Yang, 2015). Having the BDSM group as part of a vastly distant "other" merely reinforces the stereotypes and limits sympathy for them as the other, thus further reducing individuals' motivation to seek out accurate information on them (Yang, 2015). This lack of contact between the viewer and the stereotyped minority limits the chance for people to change their stereotypical views and gain an accurate representation of the minority. By portraying minorities in a counter-stereotype framework, the authors provide a new context. Regarding literary journalism, the 'other' is given additional context with each article that shifts how they're viewed. The BDSM community allows people to explore sexuality, sexual identity, and sexual inclination in a comfortable and safe environment (Brown, 2010). A specific description of the community is complex because each fetish is diverse and individual. "If one is fascinated with dressing like a panda bear and rolling around in public to be petted, that person can find a place in the BDSM community" (Brown, 2010, p. 7). This group is not a tiny minority. One study shows that as far back as 1953, people were interested in BDSM (Kinsey 1998). Men (50%) and women (55%) reported responding erotically to being bitten, as well as men (22%) and women (12%) said they had an erotic response to a sadomasochistic story (Kinsey, 1998). In the 2005 Durex Global Sex Survey, 33% of Canadian adults have had sex using masks, blindfolds, or other forms of bondage (p. 15). Human sexuality expert Dr. Lehmiller published a study over two years that found 47% of women and nearly 60% of men interviewed fantasized about being sexually dominant (2018). Despite these numbers, stereotyping, stigmatization, and discrimination persist (Richters et al., 2008; Wismeijer & van Assen, 2013). Stereotypes cause the entire community to be seen as dangerous, sick, and immoral. One of the most prevalent stereotypes is that BDSM is harmful, abusive, sexual, or otherwise. In reality, the one overarching rule in the community is "safe, sane and consensual" (Zambelli, 2013). Typical and proper BDSM relationships are thoroughly negotiated. Safety, sanity, and consent are constantly present. As Sarah Beall, the Madam Curator at Make Love Not Porn, explains in an interview, "In order to have a truly safe, consensual, and sexually satisfying kinky sex life, they have to learn to communicate more than the average bear" (Rinzler, 2015, para. 6). As in every community, however, some outliers don’t adhere to the rules and cross the fine line into abuse. As a result, they give the rest of the community a bad name. In an interview with BBC's Soraya Auer, a sex blogger, podcaster and author, Girl on the Net explains that "BDSM is to abuse what boxing is to being punched by surprise. The former is done with consent and an understanding of risks. The latter isn't and is assault" (2018). Another prominent stereotype is the assumption that they have something psychologically wrong with them, anxiety, PTSD, depression, or a history of abuse. This stereotype has been perpetuated by the psychoanalysis and psychopathologizing of psychologists like Richard von Krafft-Ebing and Sigmund Freud (Brown, 2010). Krafft-Ebing discussed the types of "perversions" to diagnose "sexual degenerates" in his novel Psychopathia Sexualis (1886). Freud continued the psychoanalysis of "sexual deviants" and renamed all sexual deviation under sadomasochism (1906). They had a tremendous effect on BDSM and the stereotypes of deviancy and perversion. Later those psychoanalysts affected how the medical world sees BDSM. The DSM5 considered sadism and masochism, along with other BDSM kinks, as a disorder under the definition of paraphilia (American Psychiatric Association, 2013). Thus, it furthers the mentally ill or unfit stereotype. This diagnosis has been misused to persecute and prosecute sexual minorities and BDSM subcultures (Brown, 2010; Moser & Shindel, 2010; Reiersøl & Skeid, 2006). As of 2015, adults consenting to atypical sexual behaviour are no longer considered mentally ill under paraphilia (American Psychiatric Association, 2013). This has changed because of the massive effort of the National Coalition for Sexual Freedom (NCSF), a sexual advocacy group. However, there isn't any defence or legal protection for those who engage in BDSM from being outed and having that used against them in court or for blackmail (Mincer, 2018). Being in the BDSM community comes with risks within the courtroom in cases of consent, assault, child custody, domestic violence, property rental, job termination, and employment discrimination (Brown, 2010; Moser & Shindel, 2010; Reiersøl & Skeid, 2006). Those psychological illness stereotypes are not accurate. A study from the Journal of Sexual Medicine found that the results were more favourable for BDSM practitioners compared to the control group in terms of neuroses, rejection sensitivity, extraversion, open-mindedness, conscientiousness, and subjective well-being, yet were less favourable in terms of being less agreeable (Wismeijer & van Assen, 2013). Studies tend to agree that BDSM is simply a sexual preference or interest, a subculture for sexual exploration and not an unhealthy practice resulting from a mental illness or abuse or difficulties with 'normal sex' (Richters et al., 2008; Wismeijer & van Assen, 2013; National Coalition for Sexual Freedom, 1999). Regardless, these stereotypes persist. Although these are difficult to overcome, there has been increasing awareness of BDSM within media such as advertisements, billboards, film, television, and news. It's been diversified and prominent throughout media and is "no longer confined to Haute fashion or the occasional reference; SM has saturated popular culture" (Weiss 2006, p. 108). The film 50 Shades of Grey is one recent and well-known example. Although it wasn't the first, BDSM appeared in films as early as the early 20th century. Regardless, 50 Shades of Grey helped bring BDSM to mainstream media arguably more than others that came before because it went viral. These media representations of BDSM are no longer just sexualized, shocking, exotic, and thrilling depictions but showcase the kink community in more of a mundane context. Within television programs, "viewers are offered not only sexy and scandalized depictions on late-night cable television shows, docudramas, or prime time crime dramas, but also friendly and upbeat depictions on prime-time situation comedies, soap operas, and home and garden shows" (Weiss, 2006, p. 109). Within the community, it's debated whether these film and television representations are more beneficial or harmful. There hasn't been a clear shift in terms of stereotyping. Instead, it is simultaneously a mixture of "mocking and sincere, normalizing and pathologizing" (Weiss 2006, p. 121). On the one hand, these portrayals of BDSM bring them into the public conversation, allowing them to be more normalized. As BDSM is represented more and within more contexts than before, "it has also come to signify something more mainstream and more conventional, something less exceptional, extreme, or unusual" (Weiss 2006, p. 111). Simply, it makes the topic more mundane and thus comfortable to discuss. On the other hand, it's not as beneficial as it could be. More representations of BDSM in media are not necessarily progressing, as there's no straightforward way to determine the correlation between increased visibility and acceptance. Many media examples are inaccurate portrayals of healthy BDSM relationships, further reinforcing the existing stereotypes. The community is often inaccurately portrayed as it only receives attention in limited quantity, where it's often shown negatively and commonly limited to crime drama (Brown, 2010). For example, 50 Shades of Grey received backlash from the BDSM community for its inaccuracy more than any other film (arguably because of its popularity and not its comparable inaccuracy). In an article by Anna Smith, Jon Blue, a BDSM practitioner, was quoted as saying, "Christian is manipulative, controlling, and has all the characteristics of a psychopath. In the end, he proved his point by beating her up, then being charming again" (2015). E. L. James' novel may be significant as erotica, but it's an inaccurate and unhealthy BDSM relationship. Although it gives an incorrect and poor description of consent and a negative exploration of feminism, it offers discussion openings (Moen, 2015). BDSM in the mainstream media allows people to look at it without being considered taboo. Those stereotypes can be rewritten with an open discussion to show accurate representations. Literary journalism is at the personal level, one that immerses the audience in highlighting the "importance of honouring and valuing sexual subcultures, seeking research funding and community support systems, and fighting for the political necessity of diverse forms of sexual expression" (Fahs, 2009, p. 422). The subjectivity of literary journalism takes the heart of the story and makes it relatable instead of an article that states what's happening. Katie Van Syckle's "A Crash Course in Kink" introduces the kink community in a first-person personal feature (2018). She puts her writing in the framework of exploration and curiosity instead of accusing or pathologizing. The BDSM community's most prevalent stereotype is that of danger and abuse. Articles outlining the "safe, sane, and consensual" motto counteract that stereotype. Valeriya Safronova and Syckle authored another piece for the New York Times called "The Boundary Between Abuse and BDSM." This article outlines the fine line between BDSM and abuse while contrasting BDSM practices to sexual assault allegations (2018). Soraya Auer, a BBC journalist, continues this sentiment and discusses consent with sex experts and prominent community members, such as sex coaches, bloggers, researchers, and business owners (2018). This is an important topic as there have been several sexual assault allegations against people, such as Eric Schneiderman and Jian Ghomeshi, who try to excuse their behaviour as a part of a BDSM relationship (Mayer & Farrow, 2018; Stryker, 2014). Whether these allegations are true, these examples negatively impact BDSM as they reinforce the stereotype of BDSM being a cover for abuse. As well, it highlights the difference between BDSM and abuse. Several articles, like Safronova, Syckle, and Auer, argue that the fine line is consent. Literary and journalistic articles allow a better sense of understanding of the world of BDSM. Tina Horn has authored several articles highlighting the community, such as "Why Are People into That?!" a current column podcast written for the establishment, covering a range of specific kinks (2016). A seemingly endless list of kinks and fetishes exists, adapted to the individual(s) engaging in them. James Nichols, a writer for Huffington Post, explores one such kink; puppy play (2016). This form of kink is often a subcategory of a power dynamic where one roleplays the pet or puppy mentality while the other takes on the role of owner. From there, the rest is up to the people within the relationship, leading to a lot of subjectivity and variety. Puppy play is one example of a subculture within the BDSM community based around pet play and was formed from the leather scene (Nichols, 2016). The leather scene is another subculture and kink that focuses on leather. Matt Baume, a Rolling Stone writer, discusses the leather scene as "thought to have grown out of the post-World War II biker scene, which tended to be dominated by uniforms, buzz cuts, and military honour codes. It was an aesthetic that resonated with gay men who couldn't identify with the more effete stereotypes of the time" (2017). Horn, Nichols, and Baume are just a few examples. Articles focusing on specific interests show that the community's preferences are as diverse as the individuals'. Literary journalism articles destigmatize even more by writing features that focus on specific individuals. In part, the readership gets to know the people personally, thus limiting the social distance and the stereotyped view of them. Amanda Duberman writes about Mistress Velvet, a professional dominatrix who requires clients to read black feminist theory to emphasize the power dynamic between men and women, specifically, submissive white men and dominant black women (2018). Tina Horn has interviewed and featured many members of the BDSM community, including actor James Franco and Christina Voros, the producer and director of Kink, a documentary about the fetish pornography website Kink.com (2014). Jamie Feldman visually outlines the lives of BDSM practitioners by comparing them in and out of their kink attire (2018). These photos weren't merely about the depth of human sexuality but of self-expression. The photographer, Michael Topolovac, explained, "There was a common thread of, 'Hey, this is us. We're complicated. We're diverse. We're expressive'" (Feldman, 2018). A counter-stereotype reduces stigmatization and counters the stereotype by providing broader context (Yang, 2015). These articles highlight people within BDSM and show they're social advocates, directors, documentarians, actors, producers, writers, and photographers. Stereotypes of the BDSM community are incorrect, resistant, and commonly shared within the majority. Destigmatization is essential regardless of the group, as it demystifies aspects of the human condition and allows people within BDSM to be accessible without fear of stigmatization or discrimination. The connection between BDSM subjects and the audience limits social distance and lessens inaccurate stereotypes. With the increasing representation of real BDSM relationships, views will change from false stereotypes. References American Psychiatric Association. (2013). Paraphilia. In Diagnostic and Statistical Manual of Mental Disorders (5th ed.). DOI:10.1176/appi.books .9780890425596.744053 Akerlof, G. A. (1997). Social Distance and Social Decisions. Econometrica, 65(5), 1005.https://doi.org/10.2307/2171877 Auer, S. (2018, May 13). BDSM and consent: How to stop rough sex crossing the line into abuse BBC. Retrieved from www/bbc.com Baume, M. (2017, August 18). Inside the Changing Leather Scene: As the stigma against BDSM and kink subsides, how does a long-underground culture move into a new era? Rolling Stone. Bogardus, E. S. (1933). A social distance scale. Sociology & Social Research, 17, 265–271. Brown, T. (2010). "If Someone Finds Out You're a Perv:" The Experience and Management of Stigma in the BDSM Subculture. (Electronic Thesis or Dissertation). Retrieved from https://etd.ohiolink.edu/ Duberman, A. (2017, February 13). What You Won't Learn About Bondage In 'Fifty Shades Of Grey.' Huffington Post. Duberman, A. (2018, February 13). Meet the Dominatrix Who Requires The Men Who Hire Her to Read Black Feminist Theory. Huffington Post. Durex (2005). Give and receive. 2005 Global Sex Survey results. [online] Durex. Retrieved from http://www.data360.org/pdf/20070416064139.Global%20Sex%20Survey.pdf Fahs, B. (2009). A Review of "Safe, Sane, and Consensual: Contemporary Perspectives on Sadomasochism," Journal of Sex & Marital Therapy, 35:5, 420–422, DOI: 10.1080/00926230903196404 Feldman, J. (2018, January 26). These Intimate Portraits Bring BDSM Out of The Bedroom And Into The Streets. Huffington Post. Retrieved from www.huffingtonpost.com Freud, Sigmund. [1906] 1953. My Views on the Part Played by Sexuality in the Etiology of the Neuroses. Standard Edition. VII. London: Hogarth. 105 trans. [1938] 1995. The Basic Writings of Sigmund Freud (Psychopathology of Everyday Life, the Interpretation of Dreams, and Three Contributions to the Theory of Sex). New York: Modern Library. Hartsock, J. C. (2002). Locating the emergence of modern narrative literary journalism. In Tamara Baldwin, A History of American Literary Journalism: The Emergence of a Modern Narrative Form, University of Massachusetts Press, 2000. 294 pp, American Journalism, 19:4, 123–124, DOI: 10.1080/08821127.2002.10677906 Horn, T. (2018). Why are people into that?! [video podcast] Retrieved from https://www.acast.com/yapit Horn, T. (2014). Exclusive Interview with Kink producer James Franco and director Christina Voros. Kinky. Retrieved from www.kinky.com Kinsey, A. (1998). Sexual behaviour in the human female. Bloomington, Ind: Indiana University Press. Krafft-Ebing, R. v. 1., & Rebman, F. J. 1. (1906). Psychopathia Sexualis: With especial reference to the antipathic sexual instinct; a medico-forensic study. New York: Rebman. Lehmiller, J. (2018). Tell me what you want: the science of sexual desire and how it can help you improve your sex… life. S.l: ROBINSON. Mayer, J. and Farrow, R. (2018, May 7). Four Women Accuse New York's Attorney General of Physical Abuse, The New Yorker. Retrieved from www.newyorker.com Mincer, E. (2018). Fifty Shades and Fifty States: Is BDSM a Fundamental Right? A Test for Sexual Privacy, William & Mary Bill Of Rights Journal, 26 (3). Retrieved from http://scholarship.law.wm.edu/wmborj/vol26/ iss3/9 Moen, E. (2015). Oh, Joy Sex Toy: 50 Shades of Grey. [webcomic] Retrieved from https://www.ohjoysextoy.com/50shadesofgrey/ National Coalition for Sexual Freedom (2008). NCSF Violence and Discrimination Survey. National Coalition for Sexual Freedom. Retrieved from https://ncsfreedom.org National Coalition for Sexual Freedom (1999). NCSF Violence and Discrimination Survey. National Coalition for Sexual Freedom. Retrieved from https://ncsfreedom.org/component/k2/item/452-ncsfs-violence-and-discrimination-survey.html Nichols, J., M. (2016, October 3). Get A Glimpse into The World of Puppy Play: "[It's] a rejection of the human and an adaptation of the primal." Huffington Post Retrieved from www.huffingtonpost.ca Odd R. PhD & Svein S. (2006) The ICD Diagnoses of Fetishism and Sadomasochism, Journal of Homosexuality, 50:2–3, 243–262, DOI: 10.1300/J082v50n02_12 Richters, J., De Visser, R., Rissel, C., Grulich, A. and Smith, A. (2008). Demographic and Psychosocial Features of Participants in Bondage and Discipline, "Sadomasochism" or Dominance and Submission (BDSM): Data from a National Survey. The Journal of Sexual Medicine, 5(7), pp.1660–1668. Rinzler, L. (2015, February 21). How Many People Are Doing S&M? We Decided to Find Out: Sex surveys are the best surveys. Marie Claire. Retrieved fromwww.marieclaire.com Safronova, V & Van Syckle, K. (2018). The Boundary Between Abuse and BDSM: Politicians accused of abusing their sexual partners have put the community's practices in the news. The New York Times. Retrieved from www.nytimes.com Shindel, A., & Moser, C. (2010). Why Are the Paraphilias Mental Disorders? The Journal Of Sexual Medicine. 8. 927–9. 10.1111/j.1743–6109.2010.02087.x. Smith, A. (2015, February 15). Fifty Shades of Grey: what BDSM enthusiasts think. The Guardian. Retrieved from www.theguardian Stryker, K. (2014). The claims against Jian Ghomeshi show we still need to talk about sexual consent. The Guardian. Retrieved from www.theguardian Van Syckle, K. (2018, May 25). A Crash Course in Kink. The New York Times. Retrieved from www.nytimes.com Weiss, M. D.. (2006). "Mainstreaming Kink: The Politics of BDSM Representation in US Popular Media." Journal of Homosexuality 50(2/3): 103–130. Wismeijer, A. and van Assen, M. (2013). Psychological Characteristics of BDSM Practitioners. The Journal of Sexual Medicine, 10(8), pp.1943–1952. Wolfe, T., & Johnson, E. W. (1973). The new journalism: With an anthology edited by Tom Wolfe and E.W. Johnson. New York: Harper & Row. Yang, A. (2015). Building a Cognitive-Sociological Model of Stereotypes: Stereotypical Frames, Social Distance and Framing Effects. Howard Journal of Communications, 26(3), 254–274. https://doi.org/10.1080/10646175.2015.1049757 Zambelli, L. (2013). Safe, sane and consensual. Contemporary perspectives on sadomasochism, Psychology & Sexuality, 6:2, 212–215, DOI: 10.1080/19419899.2014.948038

Essay: From Anselm to Aquinas: Philosophical From Anselm to Aquinas | Philosophical Arguments on Christian Theism Philosophy • Christian Theology • Philosophy of Religion • Argumentative Writing • 2020 Schrödinger's Cat, a thought experiment, is an example of questioning our knowledge of something without validation. For this experiment, the physicist Erwin Schrödinger pictures a box containing a radioactive particle detection device, a living cat, and a container of poison. Without lifting the lid to observe the Cat, one cannot know if it is dead or alive (Schrödinger, 1935). Thus, a paradox is presented that the Cat is alive and dead, as both are equally true and false until it is validated. Consider the idea that philosophers have God within a box, discussing whether God is in the box or not. It is plausible that God is in the box and not in the box simultaneously. The idea of God, Christian Theism, or the belief in the Christian God is interesting and quite debated by philosophers even today. Unfortunately, philosophers cannot merely look into the heavens like the box to see if God exists. Unlike Schrödinger, nobody is sure what is in the box, if any one thing or really anything at all . While everyone is discussing the existence of God, few stop to consider essentially what God is. As arguments of Aquinas's arguments and my argument suggest, there is proof of something that humans don't necessarily understand and have, for centuries, called God, which, despite all of the arguments for the evidence of God's existence, it is not necessarily a divine being. Arguments using a definition of divinity appear unstable as the definition of divinity is vague enough to denote a wide range of possibilities. A religious professor at Boston University, Stephen Prothero, agrees, "Today it is widely accepted that there is no one essence that all religions share" (2010). Christianity, Judaism, Baha'i, and Religious Satanism are monotheistic, while Greek and Roman religions, Wicca and Maya, have multiple deities. Pantheistic religions consist of God as a part of the whole of everything, such as voodoo and Taoism. There are religions without any deity, such as Confucianism, Buddhism, and Philosophical Satanism. With these differences in specifics, proving God is complex and arguably impossible. As to what God is, there are several different concepts. Firstly, God can be defined as a moral guide seen within religions such as Buddhism, Baha'i, Judaism, Christianity, and Satanism. This creates issues, as morality is often interpreted differently depending on the circumstances and the people involved. As Cockerill discusses in the article Definition of God, "the supreme ethical authority of the prophets was not God, but the opinion held by each as to what course of conduct was best for his followers and the human race" (1905). It's also an issue, as different religions provide different moral guides. Prothero writes that even the essence of religion and its central moral teachings aren't similar (2010). He simplifies the main issues within the eight major religions: Islam, Christianity, Confucianism, Hinduism, Buddhism, Yoruba, Judaism, and Taoism (Prothero, 2010). Prothero states they are similar in the concept that there are issues that the religion seeks to solve with their teachings (2010). Problems may overlap, such as within Taoism's way of flourishing and Buddhism's way of awakening, but where Taoism wants to solve lifelessness, Buddhism wants to solve suffering (Prothero, 2010). It is also arguable that a divine does or does not have any moral authority, as reasoned by Plato's Euthyphro. It claims that God's whim chooses morality or is not within God's control. To explain this further, if God says murder is wrong because it is morally wrong, then morality is not God's design. Thus, there is a force higher than God. If God designs morality, then anything could be morally wrong or right based on his word alone. Although several philosophers take up this argument and create variations, including Rene Descartes, Kurt Gödel, Mulla Sadra, and Gottfried Leibniz, the original is provided by Anselm. Anselm's ontological argument begins by defining God as a being in which nothing more significant can be conceived (Perry, Bratman & Fischer, 2016). The premise that follows claims that this being, or God, is a conceivable idea and exists within the understanding. It is understood that there is a difference between existing as an understanding and existing as a reality. The concept within the imagination is not as good as it would be. The being cannot exist in the understanding alone, for if it exists in the understanding alone, that would contradict the first premise. Therefore, the being than which nothing greater can be conceived must exist in both understanding and reality to be greater than everything else in existence (Perry, Bratman & Fischer, 2016). My main objection to Anselm's argument is the definition of God. He is arguing for the existence of a God that he defines as the being than which none greater is possible. Anselm claims that this is the lord, most likely of the Christian religion, as Anselm was a Christian philosopher and a saint. Yet, there is not any proof provided that this being is Christ. He may have proven that there is a being greater than all of the universe, but there aren't any aspects of the being that attribute to Christ specifically. This being could be another divinity. Anselm may respond that there is proof that the being argued for is indeed Christ. He argued that his idea of divinity is Christ itself, that Christ is the being in which nothing can be greater. The omnipotence and all presence of the Christian divinity are essential to the definition of a being that is greater than all. However, this rebuttal needs to include the point. To say that Christ is the greatest being in the world would require the conclusion of the Christian divine existence to be true. Anselm's only claim in the first premise is that a being can be conceived, which means that anything greater cannot be conceived. Anselm claimed that this being is Christ, but there is no proof. Since Anselm's first premise claims for a being of that which none can be greater, it fundamentally argues for a concept of that kind of being. It doesn't argue that one can conceive of Christ as the only being of which nothing can be greater than. It could be a divinity other than Christ, as the premise is based on infinite greatness, unfortunately not profoundly defined. Greatness doesn't seem to mean the minor aspects of god, such as the promised afterlife, moral teachings, the number of followers, or rewards of devotion. Consider that Anselm's infinite greatness is defined as unlimited power for creation, destruction, interference and so on. In this case, each religion's deity could be said to exist with equal probability. Thus, a being of some sort exists, but there is no definition beyond the ideology that they are great. There is no proof of identity. Some could argue that even this infinite greatness may not take the form of divinity. The most logical argument within the realm of religion is that of Thomas Aquinas. He brings forward the cosmological argument, providing five proofs to prove God's existence. The first three are arguments that avoid an infinite regress. The first is the argument from change, which argues that things change and must be changed by something else. Thus, something is required to start the chain reaction. The second is the argument from efficient causation, which argues that there are cause and effect, and thus an initial cause is required. The third argument is from necessity, which claims that things have the potential to not exist and, therefore, there must be a being that exists out of necessity to exist in a time, even if nothing else exists. These lend themselves to the creation of Earth, Humans, the Universe etc. Aquinas is saying that nothing happens spontaneously. There is always a cause. Thus, what is the cause of the universe's beginning? This is an argument that many religious believers share that divinity created the world as we know it. The fourth is the argument of gradation, stating that every finite thing has degrees of perfection. Thus, there needs to be a maximum perfection example that not only is perfect but causes perfection. The fifth is the argument from design, which is similar to Paley's design argument. It claims the world is so complex and intricate that it could not have been created by chance. Aquinas agrees with Paley that the universe requires a creator. Aquinas provides a sound argument for the existence of God. However, the conclusion that it is indeed God isn't sound. Even within his findings for each of his arguments, he ends with similar phrases: "and this everyone understands to be God" or "and this we call God" (Perry, Bratman & Fischer, 2016). The thing Aquinas proves to be true may be interpreted as God but isn't necessarily the divine. Like Aquinas's argument, I focus on observable results and question their beginnings, referring to the following argument as the inspiration argument. This considers the enormous amount and diversity of the world's religions. They all agree that there is more to this world than human beings and evolutionary instincts. Beyond that, there are similarities across religions that focus on specific stories, moralities, and ideals. The inspiration argument's first premise is that every culture has spirituality in one way or another. The next premise states that each culture has striking similarities among one another between traditions, stories and teachings. The third premise states that these similarities can be explained by human activity and human similarities. The next premise reveals that each religion's cores and subjective aspects are similar; there is something beyond humans. It expresses that there must be a similar starting point for religions and their traditions based upon the similarities. The conclusion states that for all religions, there needs to be a common starting point at which the story of the religion begins. Although, even this does not denote the existence of God. This argument implies that God may not even inspire the basis of religion and religious faith. One objection is that the second premise, similarities between traditions, stories and teachings, are easily explained by aspects of human history such as colonization, exploration, missionaries, cultural interactions and so on. This continues to the beginning of core ideals as well. Thus, the conclusion may not be as mysterious as it could, as it may merely arise from human cultural activities. There are explanations for the start of religion from a psychological, anthropological, sociological, and evolutionary position. To respond to this objection, various human activities undoubtedly influence religions. There is proof of that very thing. While these are proven and observed phenomena, people are still determining strictly how religious core values began and why they began so similarly. It denotes a subjective inspiration upon which all religions and their stories are based. Humans only see the constant conjunctions of supposed divinity, such as miracles, prophecies, creation, natural laws and so forth. However, the necessary connection or reason they go together is unobservable. Humans presume various explanations without understanding a topic or knowing the explanation behind an action. All of them have a degree of probability until one of them is proven for sure. The concept is the same for God. God is not the only option for the presented arguments. God is only a possibility and, arguably, not the most probable candidate. Citations Cockerill, R. (1905). Definition of God. Monist, 15(4), 637–638. http://dx.doi.org/10.5840/monist190515410 Perry, J., Bratman, M., & Fischer, J. (2016). Introduction to Philosophy (7th ed.). New York: Oxford University Press. Prothero, S. (2010). God is not one (1st ed.). New York: HarperOne. Schrödinger, E. (1935). Die gegenwärtige Situation in der Quantenmechanik. Die Naturwissenschaften, 23(50), 844–849. http://dx.doi.org/10.1007/bf01491987

Good Neighbour | Aurore Creative Writing • Erotica • Author Profile • Literary Media • 2025 Here's a snippet of the erotica written for Aurore: It’s only 11 a.m., and I’m already feeling overwhelmed and stressed. I’m making another coffee in hopes of turning the day around, as if the combination of caffeine and sugar is some sort of magic. Just as I’m hoping for a change, I hear a knock on the door. I swear, if this is my landlord, I’m going to need all the strength I can muster to pretend to care. When I open the door, the first thing I notice is one of my thongs—it’s the one with the coffee mugs on it. Oh my God, why is my thong not inside my house? I brace myself for embarrassment as I see the hands holding onto the soft fabric. They look strong and tan, worn and wrinkled from work and labour. Wait, I recognize those hands. Oh my God. I look up, and it’s one of my neighbours—a lovely gentleman who always has a smile on his chiselled face and frequently goes golfing. I assume he’s retired; he seems to be about the right age and packs up his car with golfing gear at least three times a week to enjoy the outdoors and annoy random geese. I blink back to reality and say hello. He replies with a cheerful and knowing "Good morning." “I’m sorry to bother you this morning,” he says, holding up the scrap of fabric with an amused smile. “I was doing laundry and found this in my clothes while folding them. I think it may be yours since we were both doing laundry around the same time.” Looking at the bundle of coffee-themed fabric in his hands, it is indeed mine. I'm too embarrassed to speak and I just nod. Typical of my luck, it seems. I set my mug down and reach for the thong. My hand brushing against his...... Read the full spicy content on Aurore!

Spurs & Stripes: Cowboys, Art & Queer Romance | Comicosity Arts & Culture • Artist Interview • Webcomic Review • LGBTQ+ Media • 2020 "Spurs & Stripes: Cowboys, Art, and a Love for Both", Webcomic review originally published through Comicosity.com “Can two dudes ride the same horse?” she asked into the phone. Adding it to her mental list of research questions she’s already asked. Red didn’t know if two people could ride on one horse or what happens when someone is bucked off a stallion or what the typical schedule is for a ranch hand or when the appropriate time to say ‘Yee-Haw’ is. She isn’t a cowboy but one of her characters is. Her questions caused some confusion when this punk artist suddenly began asking for country music recommendations, attending rodeos, and even buying those sexy cowboy calendars. Spurs and Stripes is what she said to explain to her friends and family why she’s so interested in the western lifestyle. This gay webcomic brings together two characters: an emo and a cowboy. Their lives and hearts intertwine throughout the slice-of-life webcomic. As a punk and horror lover, webcomic creator RedHerring (or just Red) received some raised eyebrows — which rose even higher when she explained that it’s for a gay webcomic. While she was growing up, Red had a phase of reading cowboy romance novels. As a fan of the genre, she knew that it did exist, such as Brokeback Mountain. But it didn’t seem like the genre had caught on in webcomics. Venturing into an entirely different genre, as she is primarily a horror writer, she wanted to create her own cowboy romance webcomic. Red created the world of Spurs and Stripes with some hot and heavy country romance. She added Kylee, a young emo, as a fish out of water to spice things up. This NC-17 webcomic is full of romance, drama and sexual tension. The story follows Kylee, an emo delinquent caught selling drugs in Texas, and Kimrick, the no-nonsense cowboy in charge of Kylee’s community service. Kylee follows the stereotype of a 19-year-old punk, including rock music, eyeliner, and angst. Kimrick follows the stereotype of a 27-year-old cowboy: country music, plaid, and a strong work ethic. What they have in common is their sexuality and their stubbornness, resulting in a love interest between a rebellious teen and a stoic cowboy. Red’s art is more of a traditional anime style which shows in her work. With sketchy linework instead of one-pass outlines, she gives more character to her characters. That’s one example of how she sets herself apart from other artists. It’s been a style she’s been building on for decades. As long as Red can remember, she’s been an artist. It runs in her genetics, after all. With a successful graphic designer as a father and endless support from him and her family, art was always a prominent part of her life. During her childhood, she drew and drew. Her school notebooks were always filled with artwork. As a kid, the subjects were cats and Pokémon, for example. Now her notebooks are filled with artwork of a cowboy persuasion. Thinking back to 2015, the start of Spurs and Stripes, this isn’t where Red expected to be, even though she isn’t quite sure where she is at the moment. It’s wonderful, though, she thinks. Spurs and Stripes is her passion. This is a project that she’s worked on for nearly 5 years, posting artwork of her characters each week. Knowing that one day it’ll end is bittersweet for both her and her audience. Read from the first page here: spursandstripescomic.com/comics/first!

Fandoms Saving the World One Altruistic Step at a Time | Supernatural Fandom Media Studies • Fandom Studies • Audience Engagement • Online Activism • Altruism & Fundraising • 2019 Fandoms Saving the World One Altruistic Step at a Time: Online Activism Within the Supernatural Fandom, originally written for the MacEwan University journalism program and published on Medium in 2021. Project Summary This essay, published in 2021 through MacEwan University, examined how media influences audiences to form communities around shared interests and values. It focused on how fandoms can promote altruism, volunteering, and fundraising. By studying fan organization around shared causes, the project explored how media inspires audiences to donate, volunteer, and support charitable organizations and social causes. Essay Supernatural by C.W. "[The characters] stand for the idea that making a difference — doing something, however great or small, to help others and make the world a better, safer place — gives meaning to life. They haven't been able to save everyone they set out to help, but that hasn't stopped them from trying, and in the show, their selflessness and sacrifice have saved the world." (Dominiak, 2011, p. 95) Fandoms are a necessary and well-known part of popular culture. They're more than consumers; they engage with the original content beyond simply enjoying it. As a community, they share creativity, connections and, in some cases, altruism. Fan activism is more than online activism since it combines the community of fans with the motivation of online activism. Supernatural fans, or the SPN Family, work together in a crew, cast-led, and fan-led projects. Online activism is, by definition, based on the Internet, and its share of benefits and drawbacks come with that. The Internet provides a lower cost, increased efficiency, improved community creation and upgraded community mobilization. On the other hand, the disadvantages include overwhelming content, online disassociation, lack of tangible impact, and the controversial importance of awareness. Through Supernatural Fandom's activism projects, the fans show that they are a beneficial source of activism despite the drawbacks of the medium. Bronies, Browncoats, Potterheads, Schwifties, Whovians, and X-Philes are all examples of fandoms or communities based on a single work. The list contains the names of self-identifying fans of specific shows and fandoms. These communities can also be involved in activism. Activism has a broad definition, both connotative and denotative. For this paper, activism is an umbrella term for actively attempting to improve the world, including fundraising, events, petitions, and awareness (Jackson, 2015, p. 27–28). Fan activism has nearly endless examples. Fandoms exist in every creative work. Each fandom can potentially have several activism projects occurring all at the same time. This paper focuses on one fandom: Hunters, the SPN Family. This fandom is based on the C.W. television series, Supernatural. Airing its first season in 2006, it's currently in season 13. Though it's difficult to measure the actual size of the Supernatural Fandom, its online and offline impact is evident (Casper, 2014, p. 77). As a fandom, the SPN family is highly active. Random Acts, GISHWISES, Always Keep Fighting, T-Shirt Campaigns, and the SPN Family Crisis Support Network are the most notable projects. Online activism differs from traditional activism because it's online (Jones, 1997, p. 10). The Internet offers lower costs, greater efficiency, and improved community engagement. Regardless, there are always drawbacks. The controversy around online activism is that it needs to function more effectively. This is because of the content, online disconnection, the need for tangible impact, and the controversial importance of awareness. Although online activism may not provide immediate solutions to solve all the world's problems, using activism within the Supernatural Fandom, for example, has an undeniable positive impact. Literature Review Many websites encourage social change through political change or pedagogy, which aims to change the world or raise awareness (Banaji and Buckingham, 2013, pp. 20–23). In a technological utopian ideal, the Internet is considered a revolution and a catalyst for social change (Hill, 2013; Banaji and Buckingham, 2013). Instead, the Internet is simply a tool for people, which is neither binary, utopian, nor dystopian (Hill, 2013, p. 13). Activism merely uses the Internet. In its essence, activism and activists themselves are essentially unchanged. The difference is that online activism provides them with an updated form of communication. Fan activism is the fusion of two distinct groups: fans and activists (Jackson 2015, p. 6). Fandoms are audiences that engage after they finish watching, through fan-made artwork, including music, art, fiction, compilation videos, etc. Activists are those who actively try to make the world a better place. Fan activism differs from typical online activism because of "its unique use of media narratives and its ability to tap into the Fandom subculture" (Jackson, 2015, p. 30, 36–37). The SPN Family specifically is known for being active. This fan community is more like a family. This sentiment started when Jared Padalecki referred to the fandom as his family (Fitzpatrick, 2017, para. 9). Several authors are writing about how the Supernatural Fandom is as close-knit as a family, including Mary Frances Casper, Zubernis, and Katherine Larsen. These authors argue that the fandom is akin to a family because of the interactions and connections not only among fans but also between fans and the cast and crew (Casper, 2014; Zubernis and Larsen, 2012). Those interactions and relationships have become stronger as the show continues (PicklePegg, 2011, ch. 5, para. 32). The SPN Family is described affectionately and accurately as the SPN Family. Compared to others, the Supernatural Fandom goes beyond and has become an altruistic force in a way that other fan cultures haven't (Casper 2014, Jackson 2015; PicklePegg, 2011, ch. 5, para. 31–32). The ideals of the show Supernatural transfer to the fans, "It's this unshakeable commitment to family, regardless of circumstance, that resonates with fans and creates the fandom's underlying personality" (Casper 2014, pg. 79). The SPN Family is active online for its charity work, with each project typically having its own website and Twitter handles. Many cast and crew use social media to further activism campaigns. Social media is an excellent platform for both fandoms and activists. It's natural that when they combine, social media is again a powerful platform (Jackson 2015, p. 19; Wilkinson, 2014, p. 47). As a collective, the SPN Family has a solid online presence and is active on various platforms, including Tumblr, LiveJournal, FanFiction.net, Twitter, and Archive of Our Own.com (Wilkinson, 2014). One example of their prominent presence is Tumblr. The joke is that the Supernatural Fandom has a GIF for everything, regardless of its relevance to the fandom. This is an infamous phenomenon throughout Tumblr, whether or not people are Supernatural fans (Lewis, 2014). For Supernatural activism, there has been a lot of media coverage. It's a topic that has pertinence to the SPN Family and fans in general. This topic is discussed throughout entertainment media, including The Odyssey, Nerdist, People, Variety, Entertainment Weekly, BuzzFeed, and Den of Geek. Supernatural Discussion Fan activism has three primary purposes: to gain awareness, raise funds and organize action (Jackson 2015, 36). Several activism projects exist throughout the Supernatural Fandom. The more widely known projects, led by the cast, include Random Acts, GISHWISHES, Always Keep Fighting, T-Shirt Campaigns, and the SPN Family Crisis Support Network. Random Acts Misha Collins started the charity Random Acts in 2009, an organization dedicated to encouraging acts of kindness worldwide (Fitzpatrick, 2017, para. 11–12; PicklePegg, 2011, ch. 5, para. 15; RandomActs.org). It started as "Minion Stimulus," a project to get U.S. government stimulus money for non-profit "minion" initiatives.' (PicklePegg, 2011, ch. 5 para. 15). It eventually became Random Acts with the cheeky and altruistic mission "to conquer the world one random act of kindness at a time" (Jackson 2015; PicklePegg, 2011, ch. 5 para. 16). "I think that the most efficacious way of making a difference is to lead by example, and doing random acts of kindness is setting a perfect example of how to behave in the world," Collins tells Laura Prudom in an interview with HuffPost U.S. "While it seems small, it can ultimately be somewhat profound in various people's lives. I know that when people have perpetrated such acts against me, it has had a lasting effect on me, so I like to return the favour" (Prudom, 2012). GISHWISHES The Greatest International Scavenger Hunt the World Has Ever Seen (GISHWISHES) is a campaign through Random Acts (gishwishes.com). GISHWISHES is an annual competitive scavenger hunt (Jackson, 2015, p. 35). It is one of the largest donors of Random Acts (Jackson, 2015, p. 35; Ratcliffe, 2015). According to Collins, "We're finding a way to making doing good things also very fun and playful. We're getting people to do good things at the same time as they're doing artistic things" (Ratcliffe, 2015, para. 6). This has gotten quite a lot of interest. Dan Casey, a writer for Nerdist.com, referred to it as an "avalanche of awesomeness" (Casey, 2013). In 2020 alone, GISH players and their completed challenges raised enough for over 1,000,000 meals for kids in need, fundraised almost $350,000 for criminal justice reform and the fight for racial equality, funded over $60,000 through RandomActs.org, and provided tens of thousands of anti-insecticidal nets to prevent malaria in Africa (Gish, 2021). SPN Family Crisis Support Network Started in 2016 by Ackles and Collins, The SPN Family Crisis Support Network is a way to support those in the fandom (Highfill, 2016, para. 5). It's not just a crisis line for those in immediate need; it's a network that provides community resources, and training for volunteers to be crisis responders in their spare time (Highfill, 2016, para. 5,7). In an interview with Entertainment Weekly, Collins explains, "We have this interesting exposure to our fandom in the form of conventions, where we go and meet fans face-to-face almost every other weekend. And we have to meet thousands and thousands of Supernatural fans. At every event, every one of us encounters as many as a dozen people who share heart-rending stories about self-harm or addiction or depression or suicide attempts. We see a lot of people with tattoos of semicolons on themselves — the semicolon is where the author could've chosen to end a sentence but instead chose to carry it on, so it's a very potent symbol for somebody who's struggled with near-death situations and forged on." (Highfill, 2016, para. 3). Pros of Online Activism of Supernatural As seen in the few examples of the Supernatural Fandom, there's an obvious intent to do good. The Internet makes that intention a reality with the advantages of improved technology. Lowered Costs Compared to traditional methods of dissemination, the Internet is relatively free. It's cheaper to spread information. All online activists need is a computer and internet access (Damberger, 2013, p. 18). Instead of spending money on advertising, press releases, television spots, and radio broadcasts, those resources can be used elsewhere. Furthermore, it's cheaper to access. The lower cost provides access to those who are socioeconomically disadvantaged or can't access other forms of information. (Cohen and Luttig, 2016, para. 4). This improves the level of access and, thus, representation since anyone can take part in online activism. Using the Internet to spread information, "young people are bypassing traditional gatekeepers and mobilizing informal connected networks to make social change" (Cohen and Luttig, 2016, para. 18). Random Acts can donate thousands of dollars to its programs, including Acts of Kindness ($128,948), Dreams to Act ($87,580), Crisis Support Network ($175,610), Change a Life ($397,903), Stronger than Storms ($259,654), and Childhood Hunger Act ($147,044), while their supporting administrative services only amount to $105, 283 in 2019 (Random Acts, INC., 2019). T-Shirt Campaigns are a way to raise funds and awareness for many charities (Jackson, 2015, p. 34). The charity they fundraise for corresponds to a specific t-shirt design with 35 distinctive styles. For example, Misha's Random Act T-shirt raises funds for Random Acts, Jim Beaver's "Family Don't End with Blood" fundraises for the Rainbow House, and Jensen and Misha's "You Are Not Alone" T-Shirt raises funds for SPN Family Crisis Support Network (Jackson, 2015, p. 34). In an interview with People, Jensen Ackles said, "We've changed a lot of lives doing this… It inspired us to see how far the helping hand of the Supernatural family can reach" (Steiner, 2015, para. 6). Always Keep Fighting is one of the first T-Shirt Campaigns started by Padalecki that focuses on mental illness awareness and fundraising (Jackson, 2015, p. 34; Steiner, 2015, para. 3). Padalecki wanted to bring more awareness of mental health and raise funds to help those dealing with those illnesses (Jackson, 2015, p. 34; Prudom, 2015, para. 8). There have been seven "Always Keep Fighting" T-Shirt Campaigns donating to To Write Love on Her Arms, Attitudes in Reverse, Random Acts, The Wounded Warrior Project, and St. Jude's (Jackson, 2015, p. 34; Fitzpatrick, 2017, para. 8). #AlwaysKeepFighting went viral and raised $250,000 (Jackson, 2015, p. 34; Fitzpatrick, 2017, para. 7). Increased Effectiveness The Internet provides an improvement in communication. Activists can communicate with people worldwide regardless of location or time, as they can branch out in real-time (Damberger, 2013, p. 23). Unlike other traditional methods of communication, the Internet can spread a near-infinite amount of information through a variety of channels around the globe for a relatively low cost (Maratea, 2014; Damberger, 2013, p. 20–21). Using the Internet, they can spread their message through nearly endless forms on the Internet; videos, music, comics, podcasts, articles, photographs, and infographics. Gishwishes volunteers and participants have cleaned up 1,000s of beaches worldwide, donated through over 2,000 blood drives, presented over a million dollars to charity, held over 1,400 winter coat drives, and broke the world record for photos of hugs (108,000) (Gish, 2021). With Gishwishes as a yearly event, these numbers only continue to grow. Community Creation Creating a community on the Internet is simpler. It has a broader reach since it's not limited by the traditional methods for building community, such as geographical location, time zone, language, or religion (Jones, 1997, p. 104; Hill, 2013). Instead, online community membership is determined by the degree of engagement. Being in a community is "fundamentally (1) a collective of (2) members that have feelings of belonging and (3) who actively engage with the community through (4) the sharing of resources" (Jackson, 2015, p. 17). Members and non-members depend on the level of engagement within the community. Membership is also more accessible online because people find the Internet socially liberating since they can participate without direct consequences (Jackson, 2015, p. 18; Damberger, 2013, p. 25). Online action requires a lower threshold of participation, which encourages people to participate as much as they can without the obligation to fulfill a specific quota of participation (Damberger, 2013, p. 25). This doesn't negate the sense of community but shows there isn't an obligation to participate. Add to that that social interaction is more manageable on the Internet. The stigma of the Internet and fandoms are that both are incredibly isolating, which isn't always the case (Damberger, 2013, p. 23). The Internet allows you to expand and reach out to people you wouldn't have the chance to meet otherwise (Damberger, 2013, p. 24). It gives people a voice if they are part of a marginalized or disabled group (Hill, 2013, p. 111). Having that separation between someone and their online activities makes it easier for people to start small and gradually increase their level of participation. As lazy or 'handholding' as it is, this allows those limited in their participation to engage with the potential for more while the more engaged activists actively participate. This disconnection between the users and between the users and their actions allows projects to reach members of all levels of engagement without limiting the progress of the overall group. Gishwishes has mobilized countless people and rallied enough of them to break several world records, including the Largest Photo Scavenger Hunt (2011), the Largest Media Scavenger Hunt (2012) — 14,580 participants, Most Pledges for a Campaign/to Complete a Random Act of Kindness (2012) — 93,376 pledges, Largest Online Photo Album of Hugs (2013) — 108,121 hugs, Largest Chain of Safety Pins (2013) — 3,583 feet/1,802 meters long, Largest Gathering of People Dressed as French Maids (2014) — 695 participants, Most People in a Decorated Hat Competition (2014), Longest Human Chain to Pass Through a Hula Hoop (2014) — 572 participants (Barrett, 2013; Highfill, 2014; Mandy, 2012; Prudom, 2013; Romano, 2012). This creates a deep bond for everyone who participated. Community Mobilization Fandoms existed before the Internet but were less collectively engaged than they are now, meeting in very localized settings, annual conventions, or living room clubs (Jackson 2015, p. 18). The mobilization of communities is far more accessible through the Internet by sharing information and collaborating on events on an array of platforms (Damberger, 2013, p. 22). Supernatural fans have freedom in how they engage in activism on the Internet. The activists aren't limited to one way of engagement. Instead, they can inform, discuss, or debate and do so creatively. This makes it easier for people to connect and engage. In an interview with People, Ackles admits, "If we can help in any way, then I believe it's our duty as human beings and as people who are in a position to do so. There are people out there fighting who could use the help, encouragement, and inspiration, and those are the people we're trying to reach" (Steiner, 2015, para. 8). Their current campaigns include the Random Acts Support Program (COVID-19), which provides support and financial aid to local organizations helping their community during the Covid-19 pandemic. Another one is the Childhood Hunger Campaign, which aims to eradicate children's hunger worldwide. These campaigns and many like them are supported by Random Acts, with more having the chance to be sponsored by the organization in the future. This organization offers up to $499 for first-time applicants and over that price for continuing applicants. Cons of Online Activism As with anything, there are drawbacks. In the case of online activism, the concerns include issues related to content, disconnection, impact and awareness. Content There is overwhelming content on the Internet (Banaji and Buckingham, 2013, p. 15). Despite all good intentions, someone can only engage in some kind of activism projects on the Internet or even be aware of them all. Granted, the Internet makes it easier to organize information and counter misinformation, but there is still a large quantity of it. There are countless examples of fan activism. Potterheads, or fans of the Harry Potter franchise, have The Harry Potter Alliance, which works on activism for equality, human rights, and literacy (www.thehpalliance.org). Racebending is a grassroots organization that started after a negative response to the lack of representation in the film, The Last Airbender, which aims to improve representation within entertainment media (racebending.com). Even within the Supernatural Fandom, this paper should have discussed numerous activism projects. Most of the cast and crew fundraise for various charities on their own. Through their online communities, the SPN Family engages in online activism in both small-scale and large-scale ways. Beyond the celebrity-endorsed campaigns, there are projects started by the fan base themselves, such as Sweet Charity, SPN Survivors, and Operation Winchester Or Support Supernatural (Jackson, 2015, p. 35–36). Online activism intends to make a difference, even if it's a minor or only one issue. There are issues of overwhelming content, and a solution lies in the growing awareness of issues through social activism. As more people become aware of the problems, more people and organizations can collaborate their efforts for a solution. Disconnection Being online provides a disconnection between the individual and the activism in two main ways. First, it provides anonymity. Being a faceless user doesn't contribute to the traditional sense of community since it allows people to be distant. Even though it doesn't strengthen the community in the same ways that an offline community does, it does enhance it by making it easier to become involved in activism (Damberger, 2013, p. 25). Individuals can put only their ideas out there and nothing else. Those are the only things being considered instead of their age, appearance, economic stature, gender, race, and so forth. This "depersonalized" group emphasizes the issues at hand more than interpersonal similarities and differences, making for a more logical discourse (Damberger, 2013, p. 24–25). If a person chooses to disclose personal details, that's up to them. Secondly, it provides a disconnection between the person and their actions. The downfall is that disengagement's easy, limiting the campaign's effectiveness, which will be discussed in the next section. Participation in online activism has a shallow threshold (Damberger, 2013, p. 25). Impact One of the most prominent issues with online activism is the doubt that it impacts anything beyond making an individual feel like they contributed. Within social activism, the term "slacktivism" or "clicktivism" arises to criticize others for online actions considered to be lazy or uninformed (Damberger, 2013; Jackson, 2015, p. 27–28). Petitions and awareness are simplistic compared to fundraising or rallies because their impact isn't as immediate or obvious. (Jackson, 2015, p. 27–28). That could be caused by the definition of activism being too narrow. Seeing the progress possible through online activism is challenging if only the tangible is considered. Online activism may not be able to fundraise millions of dollars in a single day, but it's regardless impressive the kind of effort that fans put forward. There have been several Supernatural projects that have provided tangible outcomes. At the start of Random Acts in 2009, it fundraised $30,000 to help UNICEF's work in the wake of the Haiti disaster (PicklePegg, 2011, ch. 5 para. 16). Collins announced on September 5, 2010 that would run as far as he could to raise money to help support aid efforts in both Haiti and the recently flood-stricken Pakistan (PicklePegg, 2011, ch. 5 para. 17). He ran for 52 miles and raised $84,664.62 (PicklePegg, 2011, ch. 5 para. 17). In the fall of 2015, fans raised $1,500 for Attitudes in Reverse at a Supernatural convention in New Jersey (Fitzpatrick, 2017, para. 10). The SPN Family Crisis Support Network used the slogan You Are Never Alone, and at the end of the campaign, over 10,000 shirts had been sold and 1,500 fans had volunteered to be trained as mental health crisis supporters (Fitzpatrick, 2017, para. 8). Ackles' 'Stronger Than Storms' campaign fundraised for the communities affected by Hurricane Irma and Maria and fundraised over $358,000 (Fitzpatrick, 2017, para. 14). In the case of the Supernatural Fandom, online activism does have an impact on raising funds along with increasing the amount of interaction with the world. Awareness However, not all campaigns fundraise thousands of dollars. If the world could be solved by money alone, the world would be much more straightforward. One of the significant benefits of online activism is sharing information, sharing stories, and creating awareness about issues. Though, some argue that understanding more than is needed. When millions of people are engaged in a problem, and the tangible outcomes are minor in comparison, it isn't easy to see what's enough (Lewis, Gray, and Meierhenrich, 2014). There's doubt that online activism is effective outside of the virtual environment (Lewis, Gray, and Meierhenrich, 2014, p. 4). It is challenging to know how active online activists are. As shown in the example of a Save Darfur case study, the activism wasn't considered adequate since the number of people outnumbered the corresponding actions (Lewis, Gray, and Meierhenrich, 2014, p. 6). Like many other campaigns, many people know the problem, but only a few contribute. Over a million people were knowledgeable and discontent with the situation in Darfur and fundraised only $100,000 (Lewis, Gray, and Meierhenrich, 2014, p. 2). Despite the potential lack of tangible changes, the awareness-raising benefits of online activism must be addressed (Damberger, 2013; Jackson, 2015, p. 25). As another example, the KONY 2012 video campaign was "able to engage more of the general public with their initiative in a matter of days than some organizations can over months or years" (Damberger, 2013, p. 60). In the cases of Safe Darfur and KONY 2012, awareness in itself is a benefit. As more people become aware, the more they can have an impact. Simple awareness shouldn't be taken for granted, however. Even though there isn't an exact tangible change, "social reality is in a perpetual state of negotiation" (Maratea, 2014, p. 14). Awareness leads people to talk about the issues and their surrounding circumstances. The Internet influences political issues by informing the public and contributing to popular opinion on political matters (Maratea, 2014, p. 14). Throughout the Supernatural Fandom, mental illness awareness is an effective activism campaign supported by Always Keep Fighting, The SPN Family Support Network, and SPN Survivors Support Supernatural. The Always Keep Fighting campaign was inspired by Padalecki's fight with depression (Jackson, 2015, p. 34; Prudom, 2015, para. 3). It went beyond just a mere fundraising campaign. Fans used #AlwaysKeepFighting to talk about their struggles (Fitzpatrick, 2017, para. 7). For the SPN Family Crisis Support Network; it's allowed a place that those in the fandom could turn to. Collins admits, "I think one of the big problems that people face when they're struggling with these things is not knowing where to turn" (Highfill, 2016, para. 6). These help with awareness and make it possible for more people to talk about mental illness. Talking about mental illness itself removes the stigma and shame around mental illness. Thus, awareness alone impacts taking mental illness out of the proverbial shadows. Although there aren't immediate changes, people are becoming increasingly aware of current issues. Where awareness starts, action follows. Those involved in online communities become engaged in politics as they're exposed to more political content (Bowyer and Kahne, 2016, para. 2). The action may not be immediate. Still, the awareness is, which is why awareness is easily spread and the resulting steps aren't. Conclusion The Supernatural Fandom is a creative and engaged source of online altruism with real-world impacts. The Internet is a tool for activism, and fandoms utilize it for successful activism campaigns. Despite the argued shortcomings of online activism, it has the apparent potential to continue to aid in solutions and improve the world. The Supernatural Fandom has a substantial number of activism projects that are both large and small-scale, with ever-increasing awareness and collaboration. The disconnection many faces through online communities and activism provides the potential for everyone in the SPN family to participate. The SPN family has actively had an impact by rallying the support of their fandom to go beyond the community's creative side, resulting in hundreds of thousands of dollars for charities. Awareness through these campaigns is profound and even as simple as letting their fans know they are not alone. Other kinds of research could look deeper at the phenomenon of fan activism by a longitudinal study of Supernatural-specific charity projects or even an ethnography of the individual fans and cast and crew involved in the activism. One could analyze other fandoms' activism to branch to broader topics, such as Harry Potter, Star Trek, and Doctor Who. Fan activism will be around for a long time as it's a way to feel a part of a family and contribute to that family. References Banaji, S., & Buckingham, D. (2013). The civic web: Young people, the Internet and civic participation (1). Cambridge, Massachusetts: MIT Press Barrett, Dan (March 7, 2013). "Misha Collins and GISHWHES: the world's largest media scavenger hunt!". Guinness World Records. Bowyer, B. and Kahne, J. (2016, October 21). When young people get involved in online communities, it leads them toward politics. Washington Post. retrieved from www.washingtonpost.com Casey, D. (July 25, 2013). "Join the Hunt with GISHWHES 2013 and Misha Collins" Casper, M. F. (2014). Family doesn't end with blood: Building the Supernatural family. Zubernis, L. And Larsen, K. (Eds), Fan phenomena: Supernatural (76–87). Bristol, England: Intellect. Retrieved from https://bit.ly/2v2T5ia Cohen, C. J., and Luttig, M. D. (2019, September 9). Social media helps young people — especially minorities and people experiencing poverty — get politically engaged. Washington Post. retrieved from www.washingtonpost.com Damberger, S. A. (2013). Activism or Slacktivism?: Evaluating the effectiveness of online activist movements through an analysis of KONY 2012. (Unpublished undergraduate honours dissertation). University of Calgary, Calgary. Retrieved from https://bit.ly/2HnSYR6 Dominiak, M. F, [Bardicvoice]. (2014). Supernatural: Making a difference is the meaning of life. In Zubernis, L. And Larsen, K. (Eds), Fan phenomena: Supernatural (88–99). Bristol, England: Intellect. Retrieved from https://bit.ly/2GLxXyG Fitzpatrick, H. (2017, October). Supernatural stars blow mental health stigma out of the water. Odyssey, Retrieved from www.theodysseyonline.com GISH: The Greatest International Scavenger Hunt. 2021. Charity & Impact — GISH: The Greatest International Scavenger Hunt. Highfill, S., (2016, February). Supernatural: Misha Collins on launching a support network for fans. Entertainment Weekly. Retrieved from http://www.ew.com Highfill, S. (July 23, 2014). "Here's how 'Supernatural' star Misha Collins is breaking world records." Entertainment Weekly. Hill, S. (2013). Digital revolutions: Activism in the Internet age (1st) [Ebook Central Academic Complete]. Retrieved from https://ebookcentral-proquest-com.ezproxy.macewan.ca Huffington Post (2021) https://www.huffingtonpost.ca/entry/supernatural-misha-collins charity_n_1845655?ri18n=true Jackson, E. (2015). #FanActivism: Exploring Fan Activism as the Convergence of Social Activism and Fandom Communities in Online Spaces (Graduate Dissertation). Available from Academia Database. Retrieved from www.academia.edu Jenkins, Henry. 2012. "'Cultural Acupuncture': Fan Activism and the Harry Potter Alliance." In "Transformative Works and Fan Activism," edited by Henry Jenkins and Sangita Shrestha, the special issue is Transformative Works and Cultures, no. 10—doi:10.3983/twc.2012.0305. Jones, S. (1997). Virtual Culture: Identity and Communication in Cybersociety. London: SAGE Publications Ltd. Retrieved from https://bit.ly/2Jwp7q4 Lewis, K., Gray, K., & Meierhenrich, J. (2014). The Structure of Online Activism. Sociological Science, 1(1): 1–9. DOI: 10.15195/v1.a1 Lewis, M. (2014, June). Definitive proof that the Supernatural Fandom has a gif for everything: How do they do it?. Buzzfeed. Retrieved from www.buzzfeed.com Mandy, Chaos (October 11, 2012). "GISHWHES — International Scavenger Hunt." Wired. Maratea, R. J. (2014). The politics of the Internet: Political claims-making in cyberspace and its effect on modern political activism (1). Lanham: Lexington Books. Retrieved from https://ebookcentral-proquest-com.ezproxy.macewan.ca PicklePegg. (2011). A critical analysis of modern fan cultures attached to television texts and the participatory nature of their activities, with a specific focus on the fan culture of Supernatural (undergraduate dissertation). Available from LiveJournal. Retrieved from www.livejournal.com Prudom, L. (2015, March). 'Supernatural' star Jared Padalecki talks about depression and why you should 'Always Keep Fighting.' Variety. Retrieved from www.variety.com Prudom, L. (July 26, 2013). "'Supernatural' Season 9: Misha Collins Talks Castiel's Human Side, Sex Scenes, Random Acts And GISHWHES". The Huffington Post. Random Acts (2020) Annual Finance Report available at https://www.randomacts.org/pdf/reports/RA_Annual_Report_2019.pdf Romano, Aja (October 22, 2012). "Supernatural" star's Greatest International Scavenger Hunt attracts 10,000 contestants. The Daily Dot. Retrieved October 29, 2013. Ratcliffe, A. (2015, July). Misha Collins is on the epic scavenger hunt that is GISHWISHES. Nerdist. Retrieved from www.nerdist.com Steiner, A. M., (2015, May). Jensen Ackles teams up with Supernatural co-star Jared Padalecki to raise mental health awareness (plus what's in store for the finale). People. Retrieved from www.people.com Wilkinson, J. (2014). Post, reblog, follow, tweet: Supernatural Fandom and social media. Zubernis, L. And Larsen, K. (Eds), Fan phenomena: Supernatural (46–55). Bristol, England: Intellect. Retrieved from https://ebookcentral-proquest-com.ezproxy.macewan.ca Zubernis, L. & Larsen, K. (2012). Fandom at the crossroads: Celebration, shame, and fan/producer relationships (1) [Cambridge Scholars' pub]. Retrieved from https://ebookcentral-proquest-com.ezproxy.macewan.ca

2018 Graduation Photoshoot, Private Client Photography • Portrait Photography • Graduation Photography • 2018 Project Summary Graduation marks the end of one chapter and the beginning of another. This portrait session was created to celebrate her accomplishments and to capture the excitement, confidence, and optimism that come with reaching such an important milestone. The goal was to create timeless images that reflected her personality and preserved this moment for family, friends, and future memories. My Role During this moment, I captured professional graduation portraits that celebrated an important milestone through polished, client-focused photography. I planned the session, photographed the graduate and professionally edited the final portrait collection. Key Contributions include the following: Planned and organized the graduation photo session. Directed posing throughout the shoot. Captured professional graduation portraits. Edited and retouched final images. Delivered a polished client photo gallery. Samples of Work Outcome The finished gallery celebrates an important milestone in one's life with a collection of professional portraits that commemorate her graduation and the exciting opportunities ahead. By focusing on genuine emotion, thoughtful composition, and authentic moments, I aim to create images that families will treasure long after graduation day. The images serve as lasting memories for both the student and her family, marking the transition to the next stage of her journey. By focusing on genuine emotion, thoughtful composition, and authentic moments, I aim to create images that families will treasure long after graduation day. Skills Used Portrait Photography • Client Communication • Photo Editing • Lighting • Composition Tools Used DSLR Camera • Adobe Lightroom • Adobe Photoshop Congratulations! Good luck on your future endeavours!

Marketing & Event Management | Westlock Memorial Hall Events & Hospitality • Marketing • Event Management • Community Engagement • 2017–2020 Project Summary Westlock Memorial Hall offers a community gathering space with a commercial kitchen, impressive stage, and supportive staff, ensuring each event is unique. I was an employee of the board. there wasn't a lot of staff so it meant a small tight knit team. Working in a smaller team meant wearing many hats. Beyond marketing, I contributed to event planning, graphic design, photography, and social media management. I led marketing campaigns and event promotion for a community venue, helping increase bookings, support fundraising initiatives and strengthen community engagement. My Role At Westlock Memorial Hall From 2017 to 2020, I served as the Marketing and Event Manager for the Westlock Memorial Hall, a historic community venue at the heart of Westlock, Alberta. I was responsible for promoting events, growing community engagement, increasing attendance, and strengthening the community hall by providing events and a rental space to bring people together. Key Contributions include the following: Managed marketing campaigns for community events. Coordinated event planning and logistics. Created print and digital promotional materials. Increased venue bookings through strategic marketing. Supported fundraising and community engagement initiatives. Maintaining consistent branding across both print and digital materials Project Details Client: Westlock Memorial Hall Industry: Events • Community • Nonprofit Project Type: Marketing • Event Management • Community Engagement Role: Marketing Coordinator Timeline: September 2014 – February 2020 Project Scope: Managed marketing campaigns, coordinated community events and promoted venue rentals while supporting fundraising and public engagement initiatives. Audience: Community organizations • Event organizers • Local residents • Businesses Tools Used: Facebook • Canva • Google Business Profile • Microsoft Office • Adobe Creative Suite Skills Used: Event Marketing • Community Engagement • Graphic Design • Marketing Strategy • Sponsorship • Event Coordination • Communications Project Reach: Supported dozens of community events, fundraising campaigns and venue marketing initiatives over six years. Challenge The Westlock Memorial Hall serves a rural Alberta community where marketing budgets were limited, and audiences relied heavily on traditional advertising alongside growing digital channels. The challenge was finding creative, cost-effective ways to increase attendance, encourage repeat visitors, and attract new audiences while understanding the hall's long-standing community identity. Approach I developed integrated marketing campaigns that combined traditional community outreach with digital marketing techniques. Promotional materials were designed to be visually engaging while remaining accessible to a broad audience. Each event also required its own specific strategy, balancing the expectations of longtime attendees with opportunities to reach younger community members and families. Event Photography Photography became an important part of documenting and promoting the Westlock Memorial Hall. Rather than relying on stock imagery, I photographed the venue, community events, performers, and attendees to create authentic marketing materials that captured the hall's welcoming atmosphere. Outcome During my time with the Westlock Memorial Hall, my marketing initiatives contributed to increased community engagement and stronger event promotion. Through strategic marketing and audience-focused campaigns, the hall experienced approximately $2,000 in annual profit growth, helping strengthen its long-term sustainability. Beyond financial results, the role allowed me to build experience in event marketing, community engagement, graphic design, photography, and project management while supporting an organization that continues to serve as an important gathering place for the community. Skills Used Community Marketing • Event Planning • Graphic Design • Photography • Social Media Marketing • Branding • Content Creation • Audience Engagement • Print Design • Campaign Strategy Tools Used Canva • Adobe Creative Suite • Facebook • Microsoft Office • DSLR Photography • Google Workspace

Editorial Photoshoot, Misplaced Intentions Photography • Editorial Photography • Portrait Photography • 2019 Project Misplaced Intentions Photoshoot Summary Misplaced Intentions is an Edmonton-based heavy rock band aiming for the stars. They have a few cover songs but aim to release more original songs in the future. The band is made up of Matthew Lindholm (vocals and guitar), Tyler Baker (lead guitar), Landon Berezanski (bass), and Keilan Thompson (drums). I produced a conceptual editorial portrait series that combined fashion photography with narrative visual storytelling. My Role I developed the creative direction, photographed the session and completed all post-production editing. Key Contributions include the following: Planned an editorial portrait concept. Directed photography sessions. Captured high-quality fashion imagery. Edited photographs for publication. Produced a cohesive creative portfolio. Samples of Work Below is a photo shoot while the band was jamming during practice. Read more about this #YEG metal band on Switching Styles. Skills Used Portrait Photography • Client Communication • Photo Editing • Lighting • Composition Tools Used DSLR Camera • Adobe Lightroom • Adobe Photoshop

Switching Styles | Digital Publication Development & Canada Music Journalism | Founder, Editor & Publisher Digital Media • Editorial Operations • Music Journalism • Online Publishing • Reviews & Features • 2017–Present Project Summary Switching Styles is an independent Canadian online music publication that I founded in 2017 to celebrate the creativity behind covers, remixes, mashups, parodies and emerging artists. What began as a passion project evolved into a full-scale digital publication featuring music journalism, artist interviews, festival coverage, reviews, opinion pieces and industry news. Since its launch, the publication has grown to include more than 460 original articles and has attracted readers from around the world through a strong organic search strategy. Google Analytics shows readers across Canada, the United States, the United Kingdom and Europe, with Google Organic Search serving as the site's largest source of traffic. This blog focuses on music on both a grand scale and a special look at parodies, remixes, mashups, and the like. It’s a broad online magazine that publishes content twice weekly. Publishing twice a week (for now). Switching Styles releases new and exciting content every Sunday. This includes reviews, opinion pieces, interviews, features, Q&As: the list goes on! My Role As the Founder, Editor-in-Chief, and Digital Content Strategist, I am responsible for developing the publication's editorial vision and content strategy, and managing publication schedules, editorial calendars, and overall operations and logistics. Key Contributions include the following: Founded and managed an online publication. Published more than 460 articles. Built editorial workflows for remote contributors. Increased reader engagement through SEO optimization. Managed editing, publishing and content strategy. Led and coordinated a remote team of more than eight volunteer contributors Project Details Client: Switching Styles Industry: Digital Publishing • Music Journalism Project Type: Editorial Operations • Content Strategy • SEO Role: Founder • Editor • Publisher Timeline: September 2017 – Present Project Scope: Built and managed an independent digital publication from the ground up, overseeing editorial strategy, publishing operations and audience growth. Audience: Music fans • Artists • Entertainment industry • Global readers Tools Used: WordPress • Google Analytics • Search Console • Canva • Adobe Creative Suite • SEO Tools Skills Used: Editorial Management • SEO • Content Strategy • Publishing • Journalism • Team Leadership • Digital Marketing Project Reach: Published 460+ articles with readers across Canada, the United States, Europe and Asia. Samples of Switching Styles Marketing Canada Music Journalism Published on Switchingstyles.ca Live Music & Event Coverage “Riot City, The Convalescence, Squidhammer, Famous Strangers Performing At Decimate Metalfest 2026”, Switching Styles (2026) Reviews "Osheaga Music and Arts Festival 2026" Switching Styles (2026) Festival Coverage "Mac Sabbath: Fast-food Fun for the Whole Franchise”, Switching Styles (2026) Concert Review "The Hands of Orlac; Halloween at the Winspear Centre", Switching Styles (2019) Live Orchestral Performance Review Video Game & Pop Culture Content “Song Suggestions From Switching Styles”, Switching Styles (2026) Music Article “A Fresh Spin on Classic Songs”, Switching Styles (2026) Music Article “Don’t Text Your Ex!! Listen to These Breakup Cover Songs Instead”, Switching Styles (2026) Music Article “Bear And Breakfast Review”, Switching Styles (2024) Video Game Review "Laughing while Farming; Stardew Valley Parodies”, Switching Styles (2021) Video Game Parody Songs “Gameboy Jones: A Rapper of the Geek Genre”, Switching Styles (2018) Artist Feature "Simlish Cover Songs", Switching Styles (2018) Video Game Cover Songs Album & Song Reviews “POWERLÖAD Drops a New Music Video ‘Drunk in a Taxi Cab’ for their New Album ‘In The Pocket’ Out End of June 2026”, Switching Styles (2026) Review Article “Chopping Mall (1986): Soundtrack Review”, Switching Styles (2025) Review Article “Canada’s Famous Strangers Unveil Haunting New Single”, Switching Styles (2025) Press Release "An Interview with Degenerator, Edmonton’s alt-rock sensation" , Switching Styles (2025) Press Release Band & Tour Releases “Edmonton's Famous Strangers Unveils Single ‘Ghosts of Men’”, Switching Styles (2026) Press Release "Myles Lloyd Unveils Captivating Voodoo Music Video from His New Album I’m Still Thinking", Switching Styles (2026) Press Release “Montréal singer-songwriter releases new single: ‘Make Me Lose Control’ by Silka Weil”, Switching Styles (2026) Press Release “POWERLÖAD Drops a new Music Video ‘Drunk in a Taxi Cab’ for their New Album ‘In The Pocket’ Out End of June 2026”, Switching Styles (2026) Press Release “Bubblegum Breakdown Release Single ‘Sanctuary.’”, Switching Styles (2026) Press Release “French cosmic death-metallers Breeding Chaos re-released their debut album ‘Distant Planets’.”, Switching Styles (2026) Press Release “Parallel Minds Unleashes Powerful New Music Video ‘Sekigahara’”, Switching Styles (2026) Press Release Music Industry & B2B Content “Common Scams Targeting the Music Industry”, Switching Styles (2026) Industry Article “Mental Health Study Reveals Crisis in Canadian Music Industry”, Switching Styles (2026) Blog Article “Maximize Your Brand Visibility by Hyperlinking to Our Engaging Content”, Switching Styles (2026) Marketing Article “How to Support Your Favourite Local Artists For Free”, Switching Styles (2026) Industry Article Skills Used Content Strategy • Editorial Management • Music Journalism • SEO • Content Writing • Copy Editing • Interviewing • Digital Marketing • Website Management • Google Analytics • Audience Development • Project Management • Social Media Marketing • Brand Development • Editorial Planning • Team Leadership Tools Used Wix CMS • Google Analytics 4 • Google Search Console • Canva • Google Workspace • Microsoft Office • Grammarly • Adobe Express • Meta Business Suite • X (Twitter) • Facebook • Instagram

The Tainted H2O Investigation | Institute for Inclusive, Investigative and Innovative Journalism Canadian Journalism • Investigative Reporting • Public Health Reporting • Journalism Fellowship • 2019–2020 Project Summary I contributed to one of Canada's largest collaborative investigative journalism projects examining lead contamination in drinking water through research, interviews and field reporting. The investigation focused on identifying at-risk communities, raising public awareness, and providing Canadians with practical information on protecting themselves from lead exposure in drinking water. Lead in drinking water usually originates from the leaching of metal pipes and fixtures, not from the water source itself. We gathered thousands of undisclosed results and tested water from hundreds of homes across 11 cities. The report found that lead levels surpassed national safety standards. It stated that one-third of the tests exceeded the federal guideline of 5 parts per billion of lead, with some of the highest concentrations found in Montreal, Gatineau, Regina, and Saskatoon. My Role As an Investigative Reporter with the Institute for Investigative Journalism (I3J) during a summer fellowship at MacEwan University, I participated in collaborative journalism projects investigating lead contamination in drinking water across Canada. Working alongside journalists, researchers, scientists, universities, and major media organizations, our team travelled across Canada to interview people, search through public records, analyze water-testing data, and uncover more information about lead in Canadian drinking water. I conducted interviews, collected field data, researched public records and co-authored nationally published investigative stories. Key Contributions include the following: Researched municipal records, government documents, and scientific studies Conducted interviews via cold calling, email outreach, and in-person fieldwork Performed door-to-door reporting and community engagement across Alberta Assisted with water sample collection and field data gathering Verified data through fact-checking and cross-referencing multiple sources Contributed to a national database of lead testing results Collaborated with journalists, editors, scientists, and researchers across Canada Supported chain-of-custody protocols and data integrity standards The Tainted H2O Investigation Project Details Client: Institute for Inclusive, Investigative and Innovative Journalism (I3J) Industry: Journalism • Public Interest Reporting Project Type: Investigative Journalism • Data Journalism Role: Investigative Reporter Timeline: February 2019 – September 2019 Project Scope: Conducted investigative reporting, interviews and field research for Canada's largest collaborative investigation into lead contamination in drinking water. Audience: Canadian public • Government • News organizations Project Reach: Published nationally through major Canadian media organizations including The Toronto Star and Global News. Outcome The investigation resulted in a series of nationally published stories that brought greater public attention to lead contamination in Canadian drinking water. The project contributed to a broader national conversation about drinking water safety, public infrastructure, and government transparency while demonstrating the impact collaborative investigative journalism can have on public awareness and accountability. Skills Used Investigative Journalism • Research • Data Collection • Interviewing • Fact-Checking • Public Records Research • Collaborative Reporting • Data Analysis • Source Development • Evidence-based storytelling • Plain language communication • Data validation • Cross-functional collaboration • Documentation management • Critical thinking • Tools Used Microsoft Excel • Google Workspace • Public Records Databases • Municipal Archives • ) Publication Links “If You Live in Alberta, Here’s What You Can Do to Have Your Water Tested for Lead”, Global News (2019) Investigative News Article “Edmonton Residents Exposed to High Lead Levels in Water Over Last Decade, Investigation Finds”, Toronto Star (2019) Investigative News Article “Edmonton Residents Have Been Drinking Tap Water with Lead Levels as High As 120 Times the Federal Limit”, Toronto Star (2019) Investigative News Article Learn more about the Tainted H2O project below. Here is a list of coverage about both myself and the project. Journalism students discover something sinister in Canada's drinking water | Education News Canada (2019) Concordia’s Institute for Investigative Journalism earns national recognition for the Tainted H20 project | Concordia University (2019) Inside the investigation that exposed lead-laced drinking water in Canada | Global News (2019) Visit here to find the listing of publications, including other articles by the IIIJ team published at the same time, ensuring a national release of information. Below is all the published content from the project: Do you have lead in your tap water? What you can do to find out in Quebec | Global News What do you do if you find lead in your tap water in Canada? | Global News Children in schools and daycares across Canada are exposed to unsafe water | Global News Do you have lead in your tap water? What you can do to find out in Ontario | Global News Is Canada’s tap water safe? Thousands of test results show high lead levels across the country. Canadians exposed to high levels of lead in drinking water, investigation finds—The Guardian, Nov. 4, 2019. Lead levels in Canadian water ‘exceed safe limit’ in a third of cases. BBC, Nov. 4, 2019. Parched: Experts urge transparency on lead-tainted water in some homes in Regina, Saskatoon and Moose Jaw. Regina Leader-Post, Nov. 4, 2019 Saskatchewan residents have some of the highest levels of lead in their water in Canada. Global News. Nov. 4, 2019. Canada-wide investigation reveals dangerous levels of lead in tap water. Toronto Star, Nov. 4, 2019. Is Canada’s tap water safe? Thousands of test results show high lead levels across the country. Global News. Nov. 4, 2019 Edmonton residents exposed to high lead levels in water over last decade, investigation finds. Global News. Nov. 4, 2019 Calgary doesn’t know how many homes have lead pipes that could make water unsafe. Global News. Nov. 4, 2019 Lead levels in Prince Rupert drinking water could point to province-wide problems. Global News. Nov. 4, 2019 Thousands of Nova Scotians at risk of lead exposure from wells. Global News. Nov. 4, 2019 Quebec says it will pay for daycares to test tap water for lead. Global News. Nov. 4, 2019 Is Montreal’s lead problem worse than Flint, Michigan’s? Global News. Nov. 4, 2019 The secrets of Canada’s tap water explained. Global News. Nov. 4, 2019 ‘I don’t want citizens to be worried’: Montreal Mayor Valerie Plante insists water is safe to drink. Global News. Nov. 4, 2019 ‘There is lead in our water … Don’t doubt it, just start flushing,’ says Prince Rupert resident whose water tested three times the national guideline. Vancouver Star, Nov. 4, 2019. It would cost just $11 million for Calgary to replace all its public lead service lines. So why hasn’t the city acted? Calgary Star, Nov. 4, 2019. Edmonton residents have been drinking tap water with lead levels up to 120 times the federal limit. Edmonton Star, Nov. 4, 2019. A third of Halifax tests for lead in water exceed the federal guideline. Halifax Star, Nov. 4, 2019. More than half of Nova Scotians on wells are at risk of having lead in their water. Halifax Star, Nov. 4, 2019. Her landlord didn’t tell her the home she rented had lead pipes — and he didn’t have to. Toronto Star, Nov. 4, 2019 Removing lead pipes is the only way to eliminate risk. But it’s expensive for cities and homeowners. Toronto Star, Nov. 4, 2019 Flushing taps before testing for lead produces misleading results. So why is Toronto telling residents to do it? Toronto Star, Nov. 4, 2019 Investigation: Lead in some Canadian water worse than Flint. Associated Press. Nov. 4, 2019. Investigation: Lead in some Canadian water worse than Flint. Washington Post, Nov. 4, 2019 Investigation: Lead in some Canadian water worse than Flint. ABC News, Nov. 4, 2019. Investigation: Lead in Some Canadian Water Worse Than Flint. US News, Nov. 4, 2019. Ce plomb que Québec refuse de voir. Le Devoir. 2019-10-16 Les malades invisibles du plomb. Le Devoir. 2019-10-1 Petit guide citoyen contre le plomb. Le Devoir. 2019-10-16 Le Québec sous-évalue le plomb dans l’eau. Le Devoir. 2019-10-16 Quebec to review how it tests drinking water following investigative report. Global News. 2019-10-16 Investigation reveals dangerous lead levels in some Quebec drinking water. Global News. 2019-10-16 Montreal Mayor Valérie Plante will require households to replace lead water pipes. Global News. 2019-10-22 Montréal revoit son plan de lutte contre le plomb. Le Devoir. 2019-10-23 Quebec to adopt national standard for testing lead in drinking water. Global News. 2019-10-23 Montréal a longtemps fait fi des solutions contre le plomb. Le Devoir. 2019-10-23 Chaos et opacité dans les municipalités du Québec. Le Devoir. 2019-10-24

Published Photography Portfolio, Freelance Photography • Editorial Photography • Published Photography • Since 2017 Project Summary Photography has been a constant throughout my career as a journalist, marketer, and content creator. My photography collection combines journalistic storytelling with commercial usability and a creative aesthetic, offering authentic, high-quality images that businesses, publishers, nonprofits, creators and art collectors can use across print and digital media. I have built a collection of published photography showcasing portrait, editorial, event and lifestyle work across multiple publications and creative projects. My Role I photographed, edited and delivered professional images for publication and client use. My work spans landscapes, architecture, travel, community events, nature, lifestyle, and everyday moments, with an emphasis on creating genuine, versatile imagery that tells a story. Key Contributions include the following: Planning and capturing original commercial and editorial photographs Editing and colour-correcting images for publication Preparing photographs for stock licensing platforms Organizing image metadata, keywords, and descriptions for discoverability Managing my photography portfolio across multiple platforms Producing imagery suitable for marketing, editorial, educational, and commercial use Photography Strategy Creating successful stock photography requires more than taking beautiful photographs. Images need to be technically strong, commercially versatile, and relevant to a wide variety of industries and audiences. Every photograph must balance artistic composition with practical usability while meeting licensing and platform standards. Drawing on my background in journalism and visual storytelling, I focus on creating authentic photographs that feel natural rather than staged. Whether documenting Canadian landscapes, local communities, architecture, wildlife, or everyday life, I carefully consider lighting, composition, and subject matter to produce images that can serve a wide range of creative purposes. Animal Photography Urban Photography Stock Photography Nature Photography Portrait Photography Event Photography Skills Used Photography • Photo Editing • Visual Storytelling • Composition • Digital Asset Management • Metadata Optimization • Keyword Research • Commercial Photography • Editorial Photography Tools Used DSLR Camera • Adobe Lightroom • Adobe Photoshop • Canva Photography Links Redbubble Shutterstock Pixabay Flickr DreamsTime Instagram

Crafting Connections Between Humanity & Nature | Marianne Chénard Arts & Culture • Feature Article • Artist Profile • Creative Writing • 2024 Project Summary I interviewed, researched and wrote an artist feature profiling ceramic artist Marianne Chénard, exploring the relationship between nature, materiality and contemporary ceramic practice. Marianne Chénard’s innovative approach to art integrates natural elements and challenges viewers to contemplate their connection to the environment, fostering a deeper appreciation of the interdependence between humanity and nature. This article was fantastic to work on. My Role: I interviewed the artist, conducted background research, and wrote the published feature article. Key Contributions include the following: Featured Marianne Chénard, a Canadian artist. Conducted interviews with ceramic artist Marianne Chénard. Researched contemporary ceramic art practices. Wrote a long-form artist profile. Edited content to publication standards. Delivered photography and supporting editorial materials. Read the story at Ceramics Networks. Learn more about Marianne Chénard's work and background in the arts on her website.

Graphic Design & Social Media Assets | Pixie Bee Cleaning Home Services • Graphic Design • Social Media Marketing • Brand Identity • 2023–2025 Project Summary This project involved developing a cohesive set of graphic design assets for Pixie Bee Cleaning, a women-owned cleaning service based in Edmonton, Alberta. I collaborated directly with the owner, Brittany Sontag, to create branded visuals that showcase the company’s services across digital platforms, including social media, advertising, and client communications. The goal was to strengthen the company’s online presence while clearly communicating service offerings in a visually engaging way. My Role I created graphics, marketing materials and digital content that aligned with the company's brand and promotional goals. Key Contributions include the following: Designed branded social media graphics. Created promotional marketing materials. Maintained visual brand consistency. Produced digital assets for multiple campaigns. Supported business marketing through graphic design. Project Details Client: Pixie Bee Cleaning Industry: Residential Cleaning • Small Business Project Type: Graphic Design • Branding • Social Media Marketing Role: Graphic Designer & Content Creator Timeline: 2023–2025 Project Scope: Designed promotional graphics, social media content and branded marketing materials supporting business growth and customer engagement. Audience: Residential homeowners • Local customers Tools Used: Canva • Adobe Creative Suite • Facebook • Instagram Skills Used: Graphic Design • Branding • Social Media Marketing • Marketing Design • Content Creation Project Reach: Multi-year marketing support across digital channels. Skills Used Graphic Design • Visual Communication • Social Media Content Creation • Client Collaboration • Readability optimization • Copy Editing • Interviewing • Digital Marketing • Website Management • Google Analytics • Audience Development • Project Management • Social Media Marketing • Brand Development • Editorial Planning • Team Leadership Tools Used Canva • Google Analytics 4 • Google Search Console • Canva • Google Workspace • Microsoft Office • Grammarly • Adobe Express • Meta Business Suite • X (Twitter) • Facebook • Instagram •

Creative Non-Fiction Storytelling | Edmonton Story Slam Literary Arts • Creative Non-Fiction • Storytelling • 2017 - 2019 Project Summary Edmonton Story Slam is a grassroots, volunteer-run storytelling event series that features an open-mic competition format for writers and performers to share five-minute personal stories. This project involved developing clear, engaging, and SEO-aware content that reflects the organization’s inclusive mandate, event structure, and community-driven identity. The content was designed to support audience growth, improve clarity for first-time attendees, and strengthen brand storytelling within Edmonton’s arts and culture scene. This organization gave me a chance to share my work. I created a personal narrative for live performance that combined journalism-inspired storytelling with creative nonfiction techniques. My Role I created, revised, and delivered an original nonfiction story to a live audience. The project emphasized improving written messaging, engaging the audience, and enhancing projection and volume when speaking to a crowd. Key Contributions include the following: Wrote an original creative nonfiction story. Researched and developed authentic personal narratives. Edited content for live performance. Delivered engaging storytelling for a public audience. Strengthened narrative voice through spoken-word presentation. “Long Long Legs”, Story Slam Edmonton (2019) Long Long Legs By Dylanna Fisher for The Edmonton Story Slam I can’t really remember where we were on the highway between home and camping. It doesn’t really matter though. I guess location didn’t have much relevance. We were a few yards away from it, and I could tell what it was. This was one of the first times, I’d actually caught a good look at a dead animal. I’m not saying I’ve never been around dead animals, but for whatever reason, I was never able to actually see them. Though here I was. Those first moments were filled with a mutual silence as we both noticed it at the same time. The carcass was subtle like smoke against a cloudy sky. You could barely see the difference, but you couldn’t see it at the same time. I’m not sure if that makes sense, but it did when you saw our reactions. Even as we stopped laughing, the music faded behind us. The sounds of our voices and the tunes of the radio were left to hang in the air to become thin. Then came the moment that we were side by side. The driver stared ahead. Focusing on the road, the trees on either side of us. The living trees. I instead stared at the body on the road. It was just lying there. As still as death and as dead as the stillness around it. I continued to stare at it, at the long legs covered in soft pale fur. To call the legs white would be too harsh and beige too mundane. Its legs extended parallel to the road. Beautifully parallel. I could see a coat under the carcass. It looked like a pool of caramel hidden under a grave. That’s all I saw, and it was over. Too soon, it was the moment after. We were driving away and began talking about something irrelevant to the concepts of life and death. We didn’t talk about the corpse and probably never would. I’m sure that if we had stopped, we would have been able to find out what colour it was. To find out if the coat was really the colour of caramel, or if it was a mere trick of the sun or autumns leaves. I would have noticed the gore if there was any. The trauma of death. Some telltale sign as to how or why this animal had to die. I’m sure I would be able to see its eyes. Whether the shine within our eyes abandons us upon death or if it lingers as a remnant to what was lost. At the very least I would know what kind of animal I was mourning. I guess it could’ve been a deer. But during that moment, all I saw were the legs. What a funny thing to focus on. I think back and can only associate those legs with freedom. What a notion to connect freedom with a creature that wouldn’t move again. Throughout the day, those white legs followed me. I couldn’t help but think about them. Until I wasn’t thinking about them. We arrived at the campsite and the distraction began. Those legs, once bright in the front of my mind, were soon pale and fading to the back of my skull. It didn’t seem like long, but the distractions lasted until night fell. As the last glimpse of the sun left our campsite, we sat around the campfire. It only took one person to look ,up and soon everyone was star gazing. I tore my eyes away from the pinpoints of light to look at who I was sharing the sight with. My sister, father, uncle, and cousin, all circled around burning wood to gaze at something burning light-years away. I looked around the fire and just took a moment to appreciate the ones around me. It was peaceful, and for whatever reason, which triggered the memory of the animal’s legs. I felt my eyebrows furrow, but it was invisible to the others. As I returned my focus to them, I heard my uncle chastise my cousin, Brody, for getting too close to the fire. Brody was the youngest of the campers still awake, the youngest of the ones sleeping too, come to think of it. Seconds passed, and like many young kids, he did it again. This time he went too far and fell forward. My uncle didn’t miss a beat and pushed him back against his little Pixar camp chair. It teetered slightly before bringing the panicked little boy to a stop. I could hear his breath snagging as he cried. He had tears running down his face. Although I couldn’t see them, I could feel the echo in my chest. His father repeated Are you okay until he got an answer. My knee is all that the poor kid could get out. My uncle asked again if he hit it on the ground or the fireplace. Understandable because one was a simple booboo while the other might mean a bad burn. He didn’t answer the question, instead, he answered with hysteria. I don’t wanna die. I don’t wanna die. I don’t wanna die. I don’t want to die. After some artificial light, we learned that Brodie wasn’t hurt, merely terrified. I couldn’t help but think about that animal in the middle of a highway. It must have been both hurt and terrified as it died alone. Forgotten, save for its long pale legs. I wonder if the animal was thinking the same thing as Brody. I don’t want to die. I don’t want to die. I don’t want to die. But it did die. “My Purpose in a Single Gasp”, Story Slam Edmonton (2017) My Purpose in A Single Gasp By Dylanna Fisher For The Edmonton Story Slam My first time reciting a short piece of fiction in front of an audience was nerve-wracking and exhilarating, all wrapped into one. I had shared a story before but never in front of strangers. Never had I shared a story in front of people that I couldn't gauge their reactions. Yet there I was with my hands sweaty, but my mouth so dry I couldn't swallow. Standing on stage in a darkened café, I stood there telling a tale about a simple camping trip, providing a deeper glimpse into what life is and that it one day ends. It started with the death of a deer. Being hit by a car means that it didn't have much of a chance. The deer was dead and alone while I was going camping to be surrounded by life and love, and light. And that moment impacted me so much, I felt the need to share it with strangers. I couldn't see the audience, not because of the darkness but because I couldn't see past my knuckles growing white from gripping the paper. At that moment, there were only the recounts of the story; A story of death, and of death being so close yet so unfathomable. I spoke with a clarity that I didn't know I possessed. "As I returned my focus to my family, I heard my uncle chastise my cousin, Brody, for getting too close to the fire. Brody was the youngest of the campers still awake. youngest of the ones sleeping too, come to think of it. Seconds passed and like many young kids, he did it again. I said, pausing to catch my breath and the audience's attention, "This time he went too far and fell forward." I paused again. But something other than my heartbeat filled the silence. Without being able to see her reaction, I could hear one of the audience members gasp while leaning forward in her chair. Her gasp was so audible, I swore I could feel her exhale against my cheek. The chair legs scraped against the concrete floor, proving that she wasn't the only one on the edge of her seat. Her gasp is the best inspiration and advice, I've ever gotten because it's always stayed with me. I'll never forget that moment, that connection with my audience. That's the point of all of this, of all my writing, of all my content. Connecting with people is why I write and why I love to write. Writing is subjective. Everything is different for each writer and each specific work. The ways we get inspiration, the ways we maintain inspiration, the ways we construct prose, the ways we proofread, the ways we publish, the ways we maintain ourselves as writers are different. The ways we continue as writers differ with each word, with each sentence. What works for James Rollins won't work for Ross Campbell and vice versa. The advice given to writers is amazing and helpful but isn't universal because writers aren't universal because writing isn't universal. That's the point of literature. That single gasp is one of my proudest singular moments as an author. I was able to make someone feel something. My words brought forth more than just a logical reaction but an emotional one. One that's more than a facial expression but an expression through her entire body. I connected with my audience that night, and I want to do that every single day. “Pigs”, Story Slam Edmonton (2017) Here’s a story about one of God's creatures that in its lifetime goes from cute to cuisine. From Stuttering Porky Pig to pink pork sausages too quickly. When one thinks of pigs, images of Miss Piggy, Piglet, holiday ham, and back bacon flood to their mind. They ponder the differences between Canadian bacon and American bacon, between a pet pig and a non-pet pig. I remember the day when the word pig was no longer innocent. I was seven. I was seven the first time somebody called me a pig, and I knew they were not referring to a cartoon, home cooking or anything I could be proud of. Instead, they shot me at point-blank range with a single bullet, a single word: pig. It left an entrance wound to my heart, rattled up my throat, choking me until finally planting itself in my brain. Without an exit wound. From there, they watched my tear-soaked face mimic a draining carcass of pork. The tears ran red as it filled the empty tray in my chest. The pig carcass looked as if it were crying, but it was only meat meant to live then die. It's funny how the flesh of a pig and the flesh of a little girl look the same sometimes. I began to see myself as a pig’s peer. I sympathized with Porky Pig and his stutter. I flinched every time someone commented on the amount of fat on an Easter ham. Every picture of a wild boar being roasted over a spit made my skin burn as if licked by a campfire. In their mouths sat an apple to keep its squeals internal. I felt myself choking on that apple, unable to cry out, unable to squeal. Always the boar came to look like a mirror. The mirror I look in every day shows Wilbur without Charlotte's webs. I looked into that mirror, and it was clear. A Sow's ear can’t make a silk purse, and neither can pork make a princess. The clothes I put on my body, this body suffocates me like a pig in a blanket too tight. My feet seem like hooves being forced into ladies' fashion. As the seeds of the apple cut my throat, I continue the persona of the pig. I remain silent and seemingly ignorant. To this day, I can’t talk to a doctor without hearing them mocking me. I fake a smile as my teacher mutters to themselves, a confirmation that the torture of my childhood never left. I pretend that I don’t notice how people look at me as I walk past them. That I don’t see how she looks at the body hidden under these clothes. I’ve seen the mixture of disgust and pity so often; they are inseparable, combined in my mind forever. To this day, that word, pig, has never been delicious. My stomach churns as I even think of placing it on my tongue. I can’t take another serving; I refuse to get force-fed this holiday ham. I rip at the label on my jacket. It reads a fully cooked boneless smoked ham. It doesn’t say anything about less fat, but it says 25% less sodium. Fuck that. Fuck what they say. I’m still raw. The blood pumping through these veins hasn’t been spilled yet, and my spine. I try to reject the persona of a pig placed upon me without my knowledge. I am not a pig. I am not a bacon trend. I am not a helpless piglet being slowly led to your slaughterhouse. I am not something to come out at your beck and call when you want something to roast over an open fire. My flesh is not for your consumption or amusement. I am not a pig. I am a human being, not Wilbur, not piglet, not bacon, not ham. I’m not a pig. Oink oink. "The Last Life Is Blood Red", Story Slam Edmonton (2018) I am Mario. I was a plumber, a hero on a grand, noble adventure. I lived in a different world, an endless galaxy. Everything was so simple. I knew what I had to do and how to do so. The mistakes I made never ever hurt me. Not really. Upon any level, I could try again. I wondered intensely but rarely if there was something more. I quickly ignored my subconscious and soon found another distraction. I triumphed over levels, fights and foes. I was unstoppable. With the help of a star, I was invincible. I thought that my life was complete. Then I found a purpose: a gorgeous princess to rescue. The levels now meant nothing. Even though she wasn’t at the end of each level, I fought for her and her alone. Princess Peach was the fruit to my Yoshi, my damsel in diamonds. Rapunzel had nothing on the lovely locks of my dearly beloved. Ariel’s melody wavered to noise when the charm of my princess spoke but a word. And forget Snow White; the apple of my eye is, and only is, Princess Peach. Oh, I should add that it wasn’t an apple that caused Snow white’s beauty to wither; it was a peach, my peach. The only princess that could even compare to mine truly was Cinderella. Compared with her grace and elegance, Cinderella had nothing. Only in aloofness are they similar. Like my princess, Cinderella evaded her prince, taunted him, left him wondering and yearning and swooning with nothing but a fleeting glimpse of her beauty fading away into the night. This gave me hope that eventually the prince won her heart with the return of her shimmering glass slipper. He proved to her that he loved her because he fought not only to reach her but also brought her that which she lost. She fell into his arms with such grace and admiration. I would lay at night dreaming about the moment. The moment that I would finally have Peach in my arms. But I didn’t have a glass slipper. Though I came to learn the contrast between them and us, between him and me, between a plumber and a prince. The fact that he was a grand prince and I was a lowly plumber hit me like a grand piano from the fucking sky. It hit me and hit me hard. Not to mention, that all the wealth, stars, and powers I could muster would never amount to a glass slipper enchanted in the moonlight. Not only did the elegance of my offerings falter but the romantic notions behind them. Those attempts combined almost killed me. No matter how hard I prayed or cried, or how hard I forced myself, it was never good enough. I was never good enough. I felt sometimes as if she was toying with me. At the end of every level, I no longer celebrated a successful level. The only times I would see here was the images of her going away. I knew she saw me. At first, I thought that it was the timing of it all as if the cosmos and their grand design would reward me for my patience. I was mourning another failed attempt to gain the love, nay even the warm acknowledgement of Princess Peach. But it wasn’t timing. Was it? She saw me. She knew I was there. She knew everything. and she still left. At least Cinderella had a curfew to explain her chase. What was Peach’s excuse? I thought it wouldn’t get worse. I pictured myself as a dying mouse and her a sadistic cat without mercy. She reached in and worsened my agony by gripping my heart. It stayed in her palm for a moment, sometimes hours, as she watched it pathetically attempt to circulate blood through a body lying two feet from it. My princess didn’t even have the mercy to rip out the traitor organ away completely. She left it, placed it beside me on my sleeve. I bared my heart on my sleeve to her, and in a cruel twist of fate, she did the same. She laughed as she walked away. As I watched her, my heart pumped blood into the ground. It poured out as my fingers went numb and my eyes wept. This didn’t even end the pathetic suffering. No, I patched myself up and carried on. After this, I tried once more. My mistress of misery, I owed it to my muse to try once more. I carried on to the next castle, praying that she would see how I care, how much I love her. I’m begging that it’ll all change. I sobbed as I continued, realizing that I couldn't save her. That was never how it was supposed to be. I realized that she can save me, but she never will. I reached the castle. I reached my princess. But this time will be different. This time I’m not going to save her. I’m going to save myself. I arrive, and the door shuts behind me. There is no going back now,z but I don’t think there ever was. The first blow stung a bit. I put up no resistance to the blows. Soon it all became numb. I looked up pitifully as the giant fist crushed me for the last time. Goodbye, my princess. If I can’t have you, I will have nothing, not even life. Learn more about the Edmonton Story Slam by visiting their website.