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Elinor Whidden

ELINOR WHIDDEN is a Settler of British, Irish, Scottish and Huguenot descent. (That’s a Protestant French person persecuted for not being Catholic. Most converted or fled as refugees, like her ancestor Jean Geunon who ended up in Flushing, Long Island in 1657.) Whidden is likely descended from even more European places: research pending. She has always considered herself a Heinz 57 of European flavours, but most closely identifies with the British flavour because of her Grammie, Monty Python, and the family tradition of stifling emotions with dry humour. Whidden currently lives in Toronto, part of the Dish With One Spoon Territory. Toronto is the traditional territory of the Wendat, Haudenosaunee, and Anishinaabe peoples (and likely many other Nations - recorded and unrecorded - who she will never know). The Mississaugas of the Credit First Nation are the current treaty land holders through the Toronto Purchase settlement in 2010.

Irish

Collection · 11 items

Settler

Collection · 2 items

Toronto

Collection · 9 items

Related

Walking piece

In Search of the Miraculous (One Night in Los Angeles)

In Search of the Miraculous (One Night in Los Angeles) (1973) is a series of fourteen photographs documenting a walk by the artist into the LA night.

Bas Jan Ader
Sound walk

Piteå Open Form Pavilion of Air / Piteå Öppen Form Paviljong av Luft

A floating roof of sound in Piteå, GPS-triggered & accessed by headphones & Echoes app to playfully reframe public space as an essential community engagement. One of 15 in an international series drawing on Oskar & Zofia Hansen’s Open Form concept.

Robert Curgenven
Sound walk

Struer Open Form Pavilion of Air / Struer Åben Form Pavillon af Luft

A floating roof of sound in Struer, GPS-triggered & accessed by headphones & Echoes app to playfully reframe public space as an essential community engagement. One of 15 in an international series drawing on Oskar & Zofia Hansen’s Open Form concept.

Robert Curgenven

pedestrian acts

By de Certeau: In “Walking in the City”, de Certeau conceives pedestrianism as a practice that is performed in the public space, whose architecture and behavioural habits substantially determine the way we walk. For de Certeau, the spatial order “organises an ensemble of possibilities (e.g. by a place in which one can move) and interdictions (e.g. by a wall that prevents one from going further)” and the walker “actualises some of these possibilities” by performing within its rules and limitations. “In that way,” says de Certeau, “he makes them exist as well as emerge.” Thus, pedestrians, as they walk conforming to the possibilities that are brought about by the spatial order of the city, constantly repeat and re-produce that spatial order, in a way ensuring its continuity. But, a pedestrian could also invent other possibilities. According to de Certeau, “the crossing, drifting away, or improvisation of walking privilege, transform or abandon spatial elements.” Hence, the pedestrians could, to a certain extent, elude the discipline of the spatial order of the city. Instead of repeating and re-producing the possibilities that are allowed, they can deviate, digress, drift away, depart, contravene, disrupt, subvert, or resist them. These acts, as he calls them, are pedestrian acts.

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