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29: Localities


| Spring 2004 |

Editors: Saara Liinamaa, Janine Marchessault and Christine Shaw


  • ‘Hombre & Camina’, Manuel Piña
  • ‘Listening: Viaduct’, David Harris Smith
  • ‘Phantom Images’, Harun Farocki
  • ‘Cinema, or an Art of Urban Memory in an Age of Forgetting’, Fuyuki Kurasawa
  • ‘Swingsite’, Corwyn Lund
  • ‘On Being Shallow: A Rather Breathless Theoretical Mashup’, Dominic Pettman
  • ‘Migratory Studies of the North American Chinatown’, An Te Liu
  • ‘Collective Proximities: an urban mind map’, project3media
  • ‘Awaiting the Disaster: Olafur Eliasson’s The Weather Project’, Saara Liinamaa
  • ‘Bollywood/Toronto: Transnational Spectatorship’, Brenda Longfellow
  • ‘Lands of Fire and Ice: An Exploration of Death Metal Scenes’, Sam Dunn
  • ‘Scouting for Indians’, Jeff Thomas
  • ‘Indians on Tour (or Scouting for Monias)’, Richard William Hill
  • ‘“Whose Streets?”: Urban Social Movements, and the Politicization of Space’, Christopher Smith
  • ‘The Décor Project’, Hadley Howes and Maxwell Stephens with Christine Shaw
  • ‘placing the unknown image: the intervention’, Bryce Goebel
  • ‘A New Role for Cities?’, an interview with Jane Jacobs by Charles Finley
  • ‘1:1 over 1:300’, Kika Thorne and Adrian Blackwell
  • ‘Singapore, Variability, and the Exhaustion of the Local’, Alex Ferentzy
  • ‘counterpublic’, Kirsten Forkert
  • ‘The Image of the Local in Early Modern Canadian Poetry’, Pierre Ouellet
  • ‘Dark Ladies’, Steve McCaffery


Kika Thorne & Adrian Blackwell, “1:1 over 1:300” (3 of 160 slides – 10 minute, 10’ x 15’ floor projection):

“The urban space we described in 1:1 over 1:300 was one we knew well: the zone between our two homes, former sites of the Massey Harris and Inglis Plants. Marked for new building, the area was a terrain vague, an empty forgotten space that fed our imaginations. Since then, condominium town houses and towers have overwritten the emptiness with heterogeneous forms of homogeneous social groups. For better or for worse, galleries have filled Queen West with diverse, but limited, forms of culture. The Drake Hotel descends like a deathstar of gentrification sapping this scene for its credibility. We made 1:1 over 1:300 to argue that lived experience can contest strategic manipulation of space by city planners and property developers, but from our vantage point today, we realize that it also serves as an allegory for the worst function of artists.” (209)