BOOK 2: METHOD

a thesis study of memory, ephemera, & cityscape by Heather Fulton

|1

CONTENTS
INTRODUCTION / 4 PROPOSAL / 6 GOALS / 8 RESEARCH / 13 PRODUCTION / 24 POSTERING / 35 BRANDING / 43 CONCLUSION / 51 WORKS CONSULTED / 52

2|

|3

THE WALK UP TO THE MOUNTAIN TO THE RUINS IS ALSO PART OF THE RUIN
-FLORENCE M. HETZLER
4|

INTRODUCTION
Like most thesis projects, Forget to Remember began with an idea. I've learned that Ideas are flexible and impressionable and it is these qualities that allow ideas to grow. My thesis project is a testament to this. Since last September when I first started it, this project has endured pushing and pulling from every direction in attempt to ultimately finish it in confidence that it would be as successful and fine tuned as I could make it.
Looking back, there were many days spend both researching and designing things that inevitably never made it into the final project. If someone had told me in October at the time, that the research I was working on for days at the Toronto Reference Library would have no direct attachment to the final product, then perhaps I would have left the library and gone back to the drawing board. However, it is now April, and upon reflection, I believe every action I took played a large role in shaping this project, either directly or indirectly. It this through this kind of self directed exploration that I've learned the value of process. In an article about ancient ruins, author Florence M. Hetzler illustrates this by writing, "The walk up to the mountain to the ruins is also part of the ruin". This book serves to document and illustrate that walk up the mountain.

|5

PROPOSAL
WRITTEN IN SEPTEMBER, THIS PROPOSAL ILLUSTRATES THE EARLY FOUNDATION OF THE PROJECT AS WELL AS THE PROGRESSION THE PROJECT UNDERWENT

Abstract This thesis project will explore the theme of memory, specifically how it relates to the idea of the ephemeral and of the monument. It will involve graphic design as a means of an expression of the findings, as well as subject of research itself within the spectrum of the topic. Rationale The basis of this project stems from my own experience of the perception of the urban environment around me, and of my own experiences with memory and the documented experiences of others. Its purpose is to explore an area of humanity that has been only minimally researched. I will use the practice of Graphic Design
6|

to create printed work that will serve as commentary and a catalyst of thought, as well as express my research findings in the end. Context This project sits in relatively uncharted territory, in terms of research done on memory in its relation to the ephemeral and to the monument. However, there is a fair, but certainly not abundant, amount of research and commentary done around the topic of memory as a concept (as opposed to scientific and medical research about memory). Of the sources I have already consulted, there are a few artists and authors that have touched on similar ideas such as collective memory, memory

and mourning, memory and trauma, etc. A perfect example of a benchmark project that can inform my project is one particular piece out of Stefan Sagmeisters series of Things I Have Learned. This series contains personal thoughts of Sagmeister as spelled out using materials that will eventually fade, disintegrate or disappear. The particular piece that resonates the most with my project is his billboard in Lisbon, Portugal that reads Complaining is silly. Either act or forget. It was created by affixing many sheets of newsprint together, creating a stencil of the text and placing it on top of the newsprint. The sheets were left on a rooftop and within a week, the words had been burnt into the image in relief. When the billboard was erected

in Lisbon, the sun made the entire thing fade away completely within a week. This draws on my subject of the ephemeral, as well as memory- both fleeting and flawed in quality. Though it does not encompass the whole of my projects proposed subject matter, it is a good example to draw from. Audience Demographic The audience I am attempting to reach is quite broad. As a graphic design project, de- signers themselves are an audience of its own. Aside from that, the subject matter of this project will often involve the public. To narrow that down, it is the people of large urban cities, specifically those who surround themselves with the cityscape on a daily basis. For ex- ample, those who

are immersed in the urban environment (ie: take public transit, attended public events), those who are consumers of their environment (ie: see/read street posters, free newspaper publications, advertisements, etc. These are people who may have not ever thought on a critical or conceptual level about their environment. This audience would capture more of my focus, as they possess the potential for a more meaningful response. User/Audience Benefits Generate critical thought in the areas of memory. Spark discussion and questioning of urban environment & how its used to facilitate memory and heritage.

Interrupt the publics daily routine by using posters or some type of printed matter to create a thought-provoking change in surroundings . Showcase an alternative means of communicating a message.

|7

PROJECT GOALS
Memorialize past places and identities that have been since lost to the specific aspects of city life that mirror the same characteristics as specific aspects of memory Expose the flaws, intricacies, and unpredictable nature of human memory through the environment we live in Juxtapose the decay and ever-changing properties of memory, both personal and collective, with the decay and and ever-changing landscape of Toronto

8|

|9

RESEARCH

10 |

| 11

RESEARCH
Almost the entirety of the first semester was spent on research. From September to December, the time I spent on this project was mostly put towards searching through libraries, databases, and archives. I absolutely scoured the Toronto Stars online newspaper archive, collecting reproductions of anything that alluded to the pieces of Toronto that are no longer here. I avidly searched for publications that reflect the same ideas as I did, in hopes to gain insight on what was already out there. I read a great deal of work that dealt with the theoretical and philosophical aspects of memory, and learned that many writers as well as philosophers from centuries ago shared many of the same ideas around the topic that I did, such as Nietzsche and Henri Bergson. I had already decided that I wanted to memorialize pieces of Toronto through posters, but the specific scope of the project remained unclear. What or who was I going to memorialize? This question fuelled the research process, as I explored various pockets of Torontos past.

12 |

| 13

QUESTIONS
HOW DOES COLLECTIVE MEMORY AFFECT CITYSCAPE? DOES THE EFFORT OF RECALL AFFECT THE WAY WE REMEMBER? HOW MUCH OF HERITAGE LIES IN THE IMAGINATION VERSUS IN RECORDED HISTORY? WHAT IS THE RELATION BETWEEN PLACE AND MEMORY? WHAT IS INVOLVED IN THE PROCESS OF A SOCIETY OR COMMUNITITY COLLECTIVELY FORGETTING SOMETHING/SOMEPLACE/SOMEONE? WHAT ARE THE IMPLICATIONS OF THIS? HOW DOES A CITYS CONNECTION TO ITS PAST INFORM ITS FUTURE?

KEYWORDS
memory, witness, mourning, shrines, recollection, collective memory, collective witness, archives, dead languages, fragmentary memory, dissociative amnesia, functional amnesia, obituaries, time based art, ephemera, collecting, memorials, social disintegration, landscape and memory, disappearances, murders, remorse as a form of death, decay theory, false memories eyewitness accounts, the magical #7 plus or minus 2, missing persons, constructed memory, unexposed narratives, remains, ruins, in absentia, history of Toronto, presence after death, decay, injustices, moral decay, public space, public space intervention, generations, guerilla art, artistry, integrity, forgiveness, tradition, heritage, time as a medium, urban memory, interactive posters, interactivity in print, archiving, documenting history, meditative memory...

14 |

| 15

TOPIC 1: MEMORY
Memory was the theme that bound the project. If my research ever strayed off track, I would know because I would find myself having a hard time relating it back to the theme of memory, which was my foundation. I began my research by delving deeply into the often dense publications that dealt with this topic. I noticed that there were usually two schools of thought. There were those that wrote
about memory within scientific thought such as mnemonics, or studies on how to improve short term memory, and then there were the group of publications whose authors dissected the idea of memory in more theoretical terms. Surprisingly, the two thought streams rarely crossed. Searching through online journal databases yielded some incredibly in depth sources which I printed and catalogued by theme in a folder that hardly left my side for months. There were a few books in print I found either by searching library collections or through tips from the bibliographies of other useful sources. Finally, there were two films I watched whose images and dialogues both informed and inspired the project.

MEMORY & MIGRATION EDITED BY JULIA CREET & ANDREAS KITZMANN, 2011
This publication features essays from scholars of various disciplines, providing the reader with a multidisciplinary span of ideas on memory., and more specifically how memory ties to place in the event of migration or some form of departure. This book was integral to my understanding of how memory ties to landscape, and played a huge role in the creating the foundation of the project.

HISTORY, MEMORY, FORGETTING PAUL RICOEUR, 2004

This sizable 642-page book was a research staple to this project. Paul Ricoeur was a French writer and philospher, and though his other works touch on the theme of memory, this one in particular had memory as its focal point. It is a densley written publiction that covers the theme of memory from all angles. Ricoeur compares and contrasts spontaneous recollection versus the forced effort of recall. This comparison was an invaluable tool in my research. He also covers the theme of heritage, stating that a sense of debt is always associated with heritage and it is that debt that draws us back to the past. Ricoeur states Pay the debt, but inventory the heritage.
16 |

LA JETE A FILM BY CHRIS MARKER, 1962

La Jete is a 28 minute long film made entirely out of still images and narration. It was written and directed by Chris Marker, whose own writings and interviews were also a very informative source of inspiration and knowledge surrounding the topic of memory. The film features a man who is a prisoner of a ficitonal world war, and must use his memory to go back in time and stop the war from happening. However, the man is constantly stuck in one personal memory about an incident he witnesses as a child at an airport. The film and even the script alone is directly related to the heart of memory studies, and of this project.

| 17

TOPIC 2: RUINS & EPHEMERA

This second topic encompasses three closely related themes that dominated much of my research. Juxtaposing memory & ephemera was always my main goal, though rather broad. I have long been mesmerized by the fleeting qualities of ephemera. For example, how the purpose of a photograph is often to preserve, however, a photograph representing a
memory will fade over time, just as the memory does. Researching ephemera was difficult, as it a term that can apply to a vast range of things. This is what lead me to the study of ruins, and what was ultimately a huge cornerstone in the development of my project. The term ruins applies to vacated spaces or structures that are in the process of decay. It can be something as well known as Stonehenge or the Egyptian pyramids, or the term can apply to more urban spaces such as condemned or abandoned buildings. This is what helped me narrow in my focus on the connection between memory and place.

THE RUINS OF MEMORY: ARCHEOLOGICAL FRAGMENTS & TEXTUAL ARTIFACTS EUGENIO DONATO, 1978
This article, published by the John Hopkins University Press, also deals with archeological ruins and memory. Donato begins the article with a comparison of Freuds work on the human conscience with how this relates to a collective conscience and how it experiences ruins. His piece delves into work by Paul De Man, John Locke, Jacques Derrida, and Georg Wilhelm Friedrich Hegel, comparing the work of these great philosophers to the study of memory in the context of ruins.

IRRESISTABLE DECAY: RUINS RECLAIMED EDITED BY MICHAEL S. ROTH, 1998

Irresistable Decay discusses both archaeological and urban ruins as a metaphor for memory and the disintigrative qualities they share. Specifically, the decay of an object or a place is discussed at great length. Roth states in his introduction that, all ruins are reclaimed, at least in part, because they are vulnerable to the irresistable threat of decay and the uncanny, vertiginous menace of the forces of forgetting. I read this publication early on in the research phase, and this quotation alone provided me with a major stepping stone in reaching my own conclusions and comparisons around memory,
18 |

CAUSALITY: RUIN TIME AND RUINS FLORENCE M. HETZLER, 1988

Florence M. Hetzlers article speaks in depth about archeological ruins as objects of contemplation. She believes that ruins should be considered works of art on their own. I consider her article to be influencial on this project, even simply in how she defines a ruin: A ruin is the disjunctive product of the intrusion of nature upon the human-made without loss of the unity that our species produced. Hetzler discusses at great length the idea of time as a medium or tool that is there for the artist to manipulate.
| 19

TOPIC 3: TORONTO & CITYSCAPE

This last major topic provided the project with context and setting. I wanted to explore memory and ephemera and search for answers to my questions within a space that was emotionally and physically close to me, and that was Toronto. The resources provided by the city both in public libraries and the Toronto Archives were abundant and diverse. I was truly astonished by the sheer
volume of archived history that I had access to, much of which I could reach online from my own bedroom. I also researched urban landscape in general in order to gain some insight on how cities function. This research lead me to resources that pertained to sub-topics such as public memorials within cities, media consumption habits of urban dwellers, and many areas specific to the urban landscape. Through this, I learned to think of the city as a structure of its own, made up of intangible layers that I intertwined. Isolating the city, and thinking of Toronto from an external perspective allowed me to relate it back to memory and ephemera with greater depth.

THE CITY OF TORONTO ARCHIVES 255 SPADINA ROAD

The Toronto Archives were a resource I used on a steady basis throught this whole project. Much of their photo and map collection is available for use online, and I used those databases frequently. However, after I signed up as a researcher, I was also able to enter the actual archives building and actually physically search through pieces of Torontos past. Many of the photographs Ive used come from the archives.

A GLIMPSE OF TORONTOS HISTORY: OPPORTUNITIES FOR THE COMMEMORATION OF LOST HISTORIC SITES TORONTO HISTORICAL ASSOCIATION, 2001
This lengthy report by the Toronto Historical Association provides a huge quantity of information about specific sites in Toronto that have historical value but are currently not being commemorated. Details are given about what site was, why its value is important, and what it currently is now. Because of it, I learned that many of the parking lots, gas stations, parks, and buildings that people use every day actually sit on top of rich heritage. Many of the sites in the report included Aboriginal burial grounds, where fragments of bone have been found & graves exhumed before a thick layer of pavement was placed to build a parking lot.

TORONTO STAR: PAGES OF THE PAST PAGESOFTHEPAST.CA

Pages of the Past is the name of the Toronto Stars archive. It contains high resolution scans of every single page of every newspaper theyve published since the late nineteenth century. To be able to browse through it chronologically was almost eerie. I was able to read about the specific details of some of the locations I covered, seeing articles detailing their impending closure until the date they actually closed. It felt like I was using a time machine.

20 |

| 21

PRODUCTION

22 |

| 23

PRODUCTION
The production phase of the project began in January. Through this phase I spent a lot of time experimenting with materials, testing and selecting which ones would ultimately be used in the production of the posters. As well, more research was completed but this time focused on materials and the actual designing of the poster. I wanted it to be interactive in some way that would lead you to more information, specifically, the website. Most of all, I wanted it to be time-based. I specifically wanted to create something that would be even more vulnerable to the winter weather
than a regular paper-based poster is when taped to a telephone pole on the streets of Toronto. My goal was to find the right materials that would enable the poster to decay quicker, and have its content lose meaning with the effects of time and weather. Orchestrating this was difficult as I had control over the posters, but not the weather. The difference in damage between rain, snow or sleet meant that I had to find a marriage of materials that provided the most consistent results possible.

24 |

| 25

PROTOTYPES
I HAD ALWAYS NOTICED THAT AFTER HEAVY RAIN FALL, CERTAIN FLYERS POSTED IN MY NEIGHBORHOOD WOULD FADE FAR MORE QUICKLY THAN OTHERS.
SPRAY VARNISH & STENCIL / INKJET / MYLAR
home inkjet printer, where the ink is water soluble. If it was posted with clear packing tape, whatever area the tape covered would still be sharp and in tact, as it provided a protective barrier. This minute observation lead be to creating my first prototypes. I chose to have the main portion of the

It was always the ones printed on a

poster include an image of each respective location, and to include a quote extracted from my research that epitomized each locations situation. The goal was to have the quote remain permanent, but have the image of the lost site printed in a manner that would make the image extremely vulnerable to precipitation. It took the

testing of many materials and substrates to figure out what combination would achieve the most successful results. The first phase of the prototyping was controlled. I would test different materials and methods by spraying a mock-up with water. The second phase involved posting a mock-up outdoors and observing the progress.

Mylar as a substrate worked extremely well. It held the printer ink, but did not soak it in, leaving it sitting lightly on the surface of the page but at the same time held it in place strongly enough to be functional

Spraying varnish through a stencil was much more time efficient and had greater capacity for detail and fine lines. The spray test yielded the most successful results yet.

SIGN VINYL LETTERS / INKJET / UNCOATED PAPER

Uncoated paper was too porous, trapped too much ink Vinyl had good adhesion, very little bleeding when sprayed with water

ADHESIVE DURALAR LETTERS / INKJET / PHOTO PAPER

An accidental print on the reverse side of photo paper yielded best results as surface was impermeable Strength of adhesive in the duralar did not meet that of the sign vinyl

26 |

| 27

FEBRUARY 12

FEBRUARY 14

FEBRUARY 15

FEBRUARY 17

uncontrolled, and involved a rough mockup being posted outdoors. I documented the process of its disintegration throughout the week. The mock up was made with the combination of inkjet printing on mylar with type sprayed on with varnish through a stencil. I had naively expected
28 |

The second prototype phase was

to see similar results as I had seen in the controlled version. However, I underestimated the inconsistencies and unpredictable nature of weather. The results of this experiment did not meet my expectations and I had to figure out a different solution.

| 29

THE FINAL DESIGN OF THE POSTER WAS A PRODUCT OF EVERYTHING I HAD LEARNED THROUGH PREVIOUS EXPERIMENTATION

The final posters were made out of various materials. Mylar was used as the substrate for the inkjet print. As opposed to spraying varnish through a stencil, the type was created by spraying white spray paint through the stencil. Judging by the results of the prototype, I realized that the results would not be consistent enough, which would run the risk of the typography portion of the poster getting lost and never seen. This was a risk I did not want to take. Replacing the use of spray varnish with white spray paint ensured that the quotations I had chosen would be clear and present in the beginning. The process of disintegration would still occur,

only differently. A white bristol backing was placed behind the mylar so that when the ink was to run, the white spraypaint would fade into the white background. The printed mylar was adhered to this backing with spray adhesive, and a white bristol frame was adhered on top of that. Finally, the projects logo was silkscreened onto the frame, and tear-away tags featuring the URL of the website were adhered to the bottom edge. This frame and backing structure provided the poster with some physical stability as well as an aesthetic different from the norm which allowed the posters to attract an audience.

30 |

| 31

POSTERING

32 |

| 33

POSTERING
The first poster I posted for this
project left my heart racing. I knew that there were by laws and specific rules that the city has placed for postering, and I knew that I was breaking them in some cases. But although I had no experience in postering from a direct perspective, I did have a solid foundation of observations Ive made through the perspective of a viewer. I did not go into the process uninformed. I did some observational research by walking around the areas I would soon target and make note of the state of the posters there. Are there many? Are there none? Is it a quick turnaround? How old is the oldest looking poster I can find? Are there specific spots to avoid? Spots to aim for? All these questions helped me assess the life span of my posters with respect to their specific areas. Research was also done through reading the postering by laws as written by the city of Toronto, as well as the by laws of any significant Business Improvement Areas. Though nerve wracking at times, the preparation I did in advance was very helpful, and in the end I was able to shed my nerves and thoroughly love the process.

34 |

| 35

BY-LAWS
Recognizing and understanding
Torontos postering by-laws was an essential preparatory step. It gave me the advantage of knowing specific dos and donts to remember while I posted the posters. I read through the by-laws via a document that the city of Toronto provides for download on their website. The removal of flyers is certainly not one of the citys top priorities or areas of expenditure. This is made obvious by the abundance of them, especially in Torontos downtown core. Therefore, when reading of the by-laws I knew it was also a game of chance. There were obvious laws, such as no posters on traffic signage and fire hydrants. But there were also many restrictions that I found to be rarely enforced. Such as no postering on payphone booths, utility poles, and newspaper boxes. I began the postering process knowing that those spaces were restricted, but those bylaws are so loosely enforced that I made the informed choice to ignore them.

BUSINESS IMPROVEMENT AREAS

Business Improvement Areas, also known as BIAs, are formed when commerical property owners band together and work towards improving the look and function of their neighborhood in hopes of attracting customers and business. Two of the areas I was to poster were within two respective Business Improvement Areas. The Runnymede Theatre location was located in Canadas first ever BIA, entitled the Bloor West Village and the Sam the Record Man location was located within the boundaries of Downtown Yonge. Some BIAs arent as vigilant about postering, such as the Queen Street West BIA. However, there are some BIAs that are strict enough about it that its almost impossible to locate a flyer within immediate view. Unfortunately for my project, the two BIAs I was dealing with are incredibly attentive to this and, despite my best efforts in finding discrete spots to place the posters, many of them were taken down. However, the research I completed into this before hand helped me prepare, and I create extra back up posters for those two locations. I ended up using them all.

36 |

| 37

SECONDARY POSTERS
AFTER THE POSTERS WERE UP AND I WAS UPDATING THE BLOG, I NOTICED I WAS GETTING A SIGNIFICANT AMOUNT OF TRAFFIC TO THE SITE.
BlogTO.com, and promotion via Twitter, I realized that many people were coming to the website but they werent interacting. I was able to track the use and see that all the photo galleries were being viewed, and the blog was being read, but the discussion forum I had set up wasnt being used at all. Public discourse and exchange was always a goal for this project. With that in mind, I created a second set of posters. Productionwise, these were created on a much smaller scale, simply photocopied on plain paper and posted in bulk. Each poster asked an incomplete question, with white space and instructions inviting the public to complete

Especially after some exposure from

the question as they wish. I wrote on a few myself, hoping that it would look more inviting. They were posted in high traffic Toronto neighborhoods: Queen Street West and the Annex. My goal was to return to them after a few days and photograph the comments that had been written on them, but to my disappointment, I could not find one that had even a mark. It was this stage of the project that I realized just how difficult it can be to spark visible discourse within a public setting. It could be a thesis project unto itself. I am confident judging by the website traffic and the comments received after the project gained some brief exposure that this type

of discourse did happen, just not in front my eyes. Internal reflection and private conversation are also forms of discourse I was hoping to achieve, and I believe I did. However, the nature of it is not often measurable or visible to the eye.

38 |

| 39

BRANDING

40 |

| 41

BRANDING
From the beginning, this project
always evoked a specific feeling in me, and until I began working on the visual identity for it, it was that feeling alone that served as the closest thing possible to an identity. After the early stages of branding were complete, I was able to breathe a sigh of relief knowing and seeing that Forget to Remember had a face. It was like being able to finally shake the hand of someone I had been speaking to for ages, but had never actually met. A lot of thought and work was put into capturing the visual aesthetic of this project and projecting it into a system that would eventually bind the various pieces together. Branding was an integral and invaluable tool to the success of this project.

42 |

| 43

LOGO
I WANTED TO ENSURE THE LOGO WOULD VISUALLY JUXTAPOSE THE IDEAS OF PAST AND PRESENT, OLD AND NEW.
I chose a contemporary sans serif
not appear as polished as those of Miso, and thus provide that polarity between the two typefaces that I was looking for. To complete the aesthetic, I silk screened the logo onto paper, scanned it into my computer, and used that file as the logo. The intricate ways the silk screen process had affected the letterforms proved to be visually more successful than the initial vectorized logo. The dripping circle was created to isolate the word to, in order to emphasize the projects setting of Toronto.

typeface called Miso to represent the present. Its strokes are thin and uniform in weight through the type face. In contrast, I chose a typeface called Fairfax Station to represent the aesthetic of the past. It is a serif typeface whose strokes vary greatly between thick and thin. Its letterforms do

THE DRIPPING CIRCLE WAS CREATED BY HAND USING INK AND A BOTTLE CAP. THE DRIPPING TIES THE LOGO WITH THE RUNNING INK OF THE POSTERS.
PRIMARY MARK SECONDARY MARK

44 |

| 45

TYPOGRAPHY
MISO ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 !@#$%^&*() ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 !@#$%^&*()
MISO WAS RESERVED FOR HEADLINES. BOTH WEIGHTS, LIGHT & REGULAR, WERE USED.

COLOUR & TEXTURE

The visual identity of this project did
not have a concrete color scheme similar to what brands use. However, the use of black, white and grey was consistent enough to justify it as a piece of the identity system. Many of the photographs that appear in print and on the internet are in grayscale. I found much of the subject matter I was photographing was incredibly rich in texture- telephone poles full of rusty staples, crumpled paper, and cracked concrete, to name a few. The use of greyscale and heightened contrast made the textures pop out of the photograph. This visual effect became a part of the face of the project.

MINION PRO ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 !@#$%^&*()

MINION PRO WAS USED FOR BODY COPY WITHIN THE PUBLICATION.
46 | | 47

WEBSITE

WWW.FORGETTOREMEMBER.CA
The purpose of the website was to
provide a platform capable of delivering more in depth information as well as updates on the project. Each poster I posted had tear-away tags with the websites URL in order to give the viewer the opportunity to learn more about that specific site, and about the project itself. The website featured a page for each location that outlined the history and the details of each spot. The blog section was updated each time I checked on the posters and often featured slideshows from the gallery. The gallery section housed all the photographs in folders so that the viewer could see the chronological decay of one specific locations poster. There was also a contact page should anyone want to directly contact me.

BETWEEN FEBRUARY AND MID-APRIL...

THERE WERE 367 UNIQUE VISITORS THERE WERE 2660 TOTAL PAGE VIEWS 60% OF USERS ARRIVED VIA DIRECT URL (THE MAJORITY OF THESE WERE MOST LIKELY VIA THE POSTERS) THE LOCATION THAT TRACKED THE MOST HITS WAS THE ODETTE HOUSE
48 | | 49

CONCLUSION
Before this project, I had never put
posters up in public space. In fact, other than writing my name in wet cement when I was a kid, I hadnt ever really physically and purposely imposed myself or anything Ive done into public space. But I believe the reason why I felt so nervous after the first poster was not entirely because of this, rather because of the nature of what I was doing. Suddenly something I had been working on for months was taped to a telephone pole at a busy intersection in Toronto. Over the course of the project, those nerves changed to excitement. The more tags I had seen torn from the posters, the more hits I saw the website recieve, and the more positive feedback I was recieving from passers-by reassured me about what I was doing. It excited me to be able to see a measurable radius of impact that this project had created. I have no doubt that the process I experienced in creating this project will be more valuable to me in the future than any of the physical outcomes. I have learned from every mistake as much as I have learned from every success, and I believe that is the nature of experimentation, and the heart of creativity.

50 |

| 51

WORKS CONSULTED
Bergson, Henri, and Arthur Mitchell. Creative Evolution,. New York: Modern Library, 1944. Print. Blustein, Jeffrey. The Moral Demands of Memory. Cambridge: Cambridge UP, 2008. Print. Creet, Julia, and Andreas Kitzmann. Memory and Migration: Multidisciplinary Approaches to Memory Studies. Toronto: University of Toronto, 2011. Print. Donato, Eugenio. The Ruins of Memory: Archeological Fragments and Textual Artifacts. MLN 93.4 (1978): 57596. JSTOR. Web. <http://www.jstor.org/discover/10.2307/2 906595?uid=3739448&uid=2129&uid=2&uid=70&uid=37 37720&uid=4&sid=56006785663>. Duras, Marguerite. Hiroshima Mon Amour. New York: Grove, 1961. Print. Fleming, Marnie. Regan Morris : In Absentia /. Oakville, 1992. Print. French, Sarah. From History to Memory: Alain Resnais and Marguerite Duras Hiroshima Mon Amour. Electronic Melbourne Art Journal 3 (2008). Web. <http://www. melbourneartjournal.unimelb.edu.au/E-MAJ/pdf/issue3/ french.pdf>. Galloway, Anne. Collective Remembering and the Importance of Forgetting: A Critical Design Challenge. Purse Lips Square Jaw. Dr Anne Galloway, 2011. Web. <http:// www.purselipsquarejaw.org/papers/galloway_chi2006. pdf>. Guerin, Frances, and Roger Hallas. The Image and the Witness: Trauma, Memory and Visual Culture. London: Wallflower, 2007. Print. Harbord, Janet, and Chris Marker. Chris Marker, La Jete. London: Afterall, 2009. Print. Hetzler, Florence M. Causality: Ruin Time and Ruins. Leonardo 21.1 (1988): 51-55. Web. Hiroshima, Mon Amour. Dir. Alain Resnais. By Marguerite Duras, Sacha Vierny, Takahashi Michio, Henri Colpi, Jasmine Chasney, Georges Delerue, Giovanni Fusco, and P. ,. Calvet. Prod. Samy Halfon and Esaka. Perf. Emmanule Riva, Eiji Okada, Stella Dassas, Pierre Barbaud, and Bernard Fresson. [Zenith International Film Corp. Presents], 1959. DVD. La Jetee ; Sans Soleil. Nouveaux Pictures, 2003. DVD. Lau, Beth. Wordsworth and Current Memory Research. Studies in English Literature 1500-1900 42.4 (2002): 67592. JSTOR. Web. <http://www.jstor.org/discover/10.2307/ 1556291?uid=3739448&uid=2129&uid=2&uid=70&uid= 3737720&uid=4&sid=56006785663>. Lauterwein, Andra. Anselm Kiefer/Paul Celan: Myth, Mourning and Memory. London: Thames & Hudson, 2007. Print. Lupton, Catherine. Memorys Apostle: Chris Marker, La Jete and Sans Soleil. 2007. Print. Merrick, Jay. Heritage and Heresy. Architects Journal 233.13 (2011). Web. <http://www.architectsjournal.co.uk/ critics/cronocaos-heritage-and-heresy/8613616.article>. Nietzsche, Friedrich. The Genealogy of Morals. New York: Dover Publications, 2003. Print. Nora, Pierre. Between Memory and History: Les Lieux De Memoire. Representations 26 (1989): 7-24. Web. Ricur, Paul. Memory, History, Forgetting. Chicago: University of Chicago, 2004. Print. Roth, Michael S., Claire L. Lyons, and Charles Merewether. Irresistible Decay: Ruins Reclaimed. Los Angeles, CA: Getty Research Institute for the History of Art and the Humanities, 1997. Print. Sinha, Amresh. The Intertwining of Remembering and Forgetting in Walter Benjamin. Connecticut Review 20.2 (1998). Print. Toronto (Ont.). Urban Development Services. City Planning Division. A Glimpse of Torontos History : Opportunities for the Commemoration of Lost Historic Sites. Rep. Toronto, 2001. Print. Zucker, Paul. Ruins- An Aesthetic Hybrid. The Journal

52 |

| 53