"Unfortunately, this glaring issue did not seem to percolate into the wider Canadian consciousness, and many people remain unaware of it. In 1999, the Supreme Court passed down another judgement confirming that the Peace and Friendship Treaties of 1760-1761 did not cede land or resources. This cannot be emphasized strongly enough: the Mi’kmaq never gave up legal rights to their land or resources. Canada does not own the land that the people of Elsipogtog are defending.

This is not conspiracy theory, or indigenous interpretation. This is Canadian law, interpreted by the Supreme Court of Canada, applying Canadian constitutional principles. Yet somehow, this most important fact is left out of most reports on Elsipogtog as though it is barely relevant."

it's not left as irrelevant; this interpretation is simply not correct. what this is is a fantastical interpretation that certain activist groups are holding to, and no court has ever upheld.

the 1760/1761 treaties are less important in canadian law than the 1763 declaration. treaties or not, extinguished rights or not, imperial decree has unilaterally annexed the land. empires speak with guns, not courts.

the document must be referring to marshall, which discussed rights to land/resource use. this is a question of a positive economic right, not a negative ecological right. one is an individual right, the other is a community right. there's no constitutional protection for group rights in canada. there's consequently no connection there, except in the eyes of some ignorant activists.

if they could show in court that the fracking infringed on some individual right - like the security of the person - then they may have an argument that the court might take seriously. but they do not have the legal capacity to control what happens on crown land. that's just how it is with our law, currently. sorry.

http://www.thestar.com/opinion/commentary/2013/11/14/the_oftenignored_facts_about_elsipogtog.html

the frustrating part about this is that people don't understand that our legal system is a farce designed to protect powerful interests. it's like a cult that preys on people's psychological weaknesses; the weakness here is people's desire to solve things through peaceful means. so many wasted hours, so much wasted effort....all of it could be prevented if people just looked at the court system for what it is - a farce - and stopped wasting their time with it.

again: the court will acknowledge individual rights. it does not have the framework to acknowledge group rights. there's no connection between marshall and elsipogtog. no matter how much you wish there was.

the relevant jurisprudence in the area is related to the duty to consult, which subsequent rulings have indicated do not imply a duty to listen. farce.

there's of course the possibility that all my ramblings about the court system being a farce could work in the protestor's favour. there are some "activist judges" out there willing to twist the law around to get some positive results. this is what these glimmers of hope are based around.

but the interpretation here by chelsea vowel remains a naive projection of what she wants the law to say rather than what the law actually says.

...and one should expect the court to rule in favour of capital.

“I don’t want to move this motion but I have to move this motion,” Ford told council. “I’m not a rat.”. ?.
http://www.edmontonsun.com/2013/11/13/mayor-ford-wants-mandatory-drug-tests-for-councillors

https://www.facebook.com/JusticeForMuhammed

but, if you piss us all off at the same time, might we react all at the same time?
http://therealnews.com/t2/index.php?option=com_content&task=view&id=31&Itemid=74&jumival=11025

http://wikileaks.org/tpp/

inri (original album mix) (inri015) now fully uploaded

my first cd demo represents a dramatic shift in sound that, at the time, was meant to be permanent but that ended up being merely a step in a long journey. on one hand, the shift in sound reflected my changing tastes away from alternative rock and towards industrial music. on another level, it was a return to my childhood roots in 80s synthpop. i was also expanding my tastes into glitch, noise and what could be called "musique concrete".

the shift to using drum machines was dominant in the new sound, as was the reality that i had a synthesizer available to me starting in the beginning of 1998. another major factor was the use of a pc. however, my main songwriting tool remained the guitar and these are still mostly guitar-driven pieces.

the guitar work is one of the things that separates the sound from a typical industrial aesthetic. i've never been a fan of heavy metal and largely shied away from creating that kind of thing. yet, i found myself connecting more with psychedelic guitar at this point than punk rock. industrial psych generally implies something like trance, but it need not to. industrial hendrix? well, maybe it ends up sounding more like synth pop, which has historical roots in psychedelic music and progressive rock. the point is that the music does manage to carve out a unique space between industrial music and synth pop that i don't know of any clear comparisons to. people have suggested mid-period swans, the legendary pink dots and nine inch nails - only the last of which was a significant influence, and none of which are really that close. a better comparison, although still not a significant influence at this time, would be joy division - who would become a significant influence after this phase. my actual influences at the time would have been more like brian eno (through his 70s and 90s work with david bowie, as well as his work with u2), early prog (genesis/floyd/crimson), peter gabriel, the beatles, radiohead, the smashing pumpkins, REM, sonic youth, the tea party and a bit of contemporary electronic music (prodigy, nin, coil, foetus, autechre, nitzer ebb, ministry, econoline crush, gravity kills, stabbing westward, skinny puppy and side projects). the sense of humour is coming from frank zappa and matt groening, if they are not actually the same person. i wasn't listening to much tears for fears, i don't think, but you can hear them lurking underneath everything.

some of these songs are reworked versions of tracks i had recorded previously. in almost all cases, i consider the versions here (and on the follow-up demo, inriched) to be the authoritative versions of these tracks.

the demo is consciously constructed to alternate between "conventional songs" and "experimental pieces", although both definitions are stretched. it generally takes the form of connecting passages. it's meant to give the record the feel of a cohesive work rather than a collection of songs.

lyrically, i'm still a teenager, but i'm starting to grow into myself a little more. there are still some points of embarrassment, but it's really only the 8th track that is causing me any serious grief. my singing style has changed quite a bit though - most of the lyrics here are in a spoken word style, rather than sung. it's partially the result of insecurities with my voice, but it's mostly due to the shift to something electronic. i found the dead pan vocal delivery more appropriate. it's something that stuck with me though until relatively recently.

some of this material was written as far back as 1994, but was only sequenced in the second half of 1997 and recorded in the first half of 1998. unfortunately, i decided that the songs sounded better in mp3 and consequently compressed everything before burning. i understand now that i was hobbling together a crude mastering process, but it means (unfortunately) that the closest thing i have to the finished tracks are low quality mp3s and a cd-r. these tracks were taken off of a cd-r and edited mildly (mostly the removal of badly placed simpsons samples) over the second week of november, 2013. this is my first official record; as always, please use headphones.

credits:
j - guitars, effects, bass, synthesizers, drum programming, sequencing, sampling, vocals, cool edit synthesis, windows 95 sound recorder, found sounds, strategies, soundraider, hammerhead, sound design, metronome, digital wave editing, production

released june 20, 1998

https://jasonparent.bandcamp.com/album/inri-lp

abusive (original album mix)

the first half of this is something sound raider spit out. the samples are from a harrison ford film; i had put them aside with the intent of doing something gruesome with them, then decided against it; sound raider got to the files before i deleted them.

i got a lot of concerned questions about this, but the truth is i just thought it was twisted.

the second half is the beginning of the next song and is generally attached to it in mp3s from the period. iirc, this was an actually an error on my behalf that i never corrected.

recorded in june, 1998.

https://jasonparent.bandcamp.com/track/schizoid-terrorist-original-1998-cd-mix

happiness is a harsh gun (original album mix)

this is what it sounds like when you open dlls with a wave editor. there was some strategic reshaping, but that's where the bulk of the sound comes from.

recorded in june, 1998.   

http://jasonparent.bandcamp.com/track/03-happiness-is-a-harsh-gun