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HOME > ISSUES

22/23: Cities / Scenes

23
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| Fall 2001 |

Editors: Janine Marchessault and Will Straw

Contents:

  • ‘Scenes’, Alan Blum
  • ‘Weekday Matinée: The Scene of the Daydream in Workaday Life’, Paul S. Moore
  • ‘Film Scenes: Paris, New York, Toronto’, Janine Marchessault
  • ‘Window Lights’, Jonathan Gainer
  • ‘Tracing out an Anglo-Bohemia: Musicmaking and Myth in Montréal’, Geoff Stahl
  • ‘Biennialism in Montréal’, Johanne Sloan
  • ‘Adiaphora: The New Culture of Russians and Eastern Jews in Berlin’, Brian Poole
  • ‘Intentional Disturbances: Making the Toronto Movement Scene’, James N. Porter
  • ‘At the Scene of the Crossroads,’Somewhere in this Silvered City:’ Diasporic Public Spheres in Toronto’, Jenny Burman
  • ‘An Interview with Wajdi Mouawad’, Jean-François Côté
  • ‘Setting the Stage for a New Germany: Architecture and the Scene of Berlin’, Elke Grenzer
  • ‘photographs’ by Peter Shevlin
  • ‘Scenes and Sensibilities’, Will Straw

Artists’ Projects:

  • ‘The Real Thing’, Janet Jones
  • ‘A photo-archive of The Funnel Experimental Film Theatre’, John Porter
  • ‘Castle for Pony’, Margaux Williamson and rYAN kAMSTRA
  • ‘Study for “Garbage: Toronto/2001″’, Kelly Wood
  • ‘Evicted May 1, 2000’, Adrian Blackwell
  • ‘Metro’, Kathryn Walter
  • ‘Battery Park, New York, 1986’ (cover photo), Tom Taylor

Excerpt:

Janine Marchessault, “Film Scenes: Paris, New York, Toronto”:

“It has been argued that the greatest invention of the Industrial Revolution was not the steam engine but the clock. Its abstract specialization of duration functioned to keep track of hours and to synchronize human actions in a way that inadvertently served capitalistic ends. This choreography gives the industrial city the semblance of a theatre stage, fostering a unity of experience and an internalization of abstract time that runs backwards and forwards ‘like hands of a clock or the images of a moving picture’ (Mumford 1956, 7). This is what gives the diversity and heterogeneity of city life its structure.” (59)

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