The Self, the Grid and the Rhetoric
by
Melany Nugent

A THESIS ESSAY SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE OF
MASTER OF APPLIED ARTS
in
Visual Arts
EMILY CARR UNIVERSITY OF ART + DESIGN
2015

© Melany Nugent, 2015

Abstract

This thesis outlines the various approaches, processes, and works that I used throughout an ongoing
negotiation between my professional routine as an employee with the Government of British
Columbia and my work as an artist. The process of negotiation is actualized within what scholar
Michel de Certeau has termed ‘grids of control’ and makes use of tactics (as opposed to strategies)
that are negotiated through a practiced based on walking, interactive installations, and text that aim
to collate, destabilize and amplify everyday repetition and patterns.
Within an artistic discourse where the context ―social, political or otherwise― is of primary concern,
my practice neighbours that of artists including as Francis Alÿs, Barbara Kruger, Cathy Busby, and
Jenny Holzer, who each deploy a variety of methods and tactics that disrupt social spaces and textbased rhetoric.
Detailed in a series of chapters, the works Thread (2013), Walking & Writing (2014), Doppelgänger
(2013-14), Stalemate (2014), and You Just Never Quite Know (2015) are outlined as important
exploratory steps towards the use of various tactics to create an idealized opposition, and a way to
subvert control from the ‘disciplinary powers’ embedded in the patterns of everyday routine, and
Speech from the Throne (2014) and (2015) as the cumulative works of this process and my graduate
research.

ii

Table of Contents

Abstract

ii

Table of Contents

iii

Acknowledgements

iv

Dedication

v

Negotiating Roles

1

Walking the Grid

4

The Self: Inventing and Encountering a Narrative

10

Feeding the Machine

13

Things and words/People and words through presence and
words

21

Call and Response

31

Works Cited

33

Works Consulted

35

Appendix A: Doppelgänger Chapter 1

37

Appendix B: Speech from the Throne , 2014

39

Appendix C: Speech from the Throne , 2015

49

Appendix D: Stalemate, Video

59

Appendix E: Stalemate, Video

60

Appendix F: You Just Never Quite Know, Video

61

iii

Acknowledgements

First and foremost, thank you to Justin Langlois. This was an incredibly challenging, yet rewarding
process, and I am thankful that I had his guidance and thoughtful advice to help me navigate the
way. Thank you to the faculty and staff of Emily Carr University of Art + Design involved the
program, summer intensives and exhibits, especially to Chris Jones, for his early feedback and
encouragement. Finally, thank you to Christann, Galan, Dionne, Trevor, Troy and Val for their
bluntness and honesty; I am grateful that I was able to share this experience with such a diverse and
brilliant collection of artists.

iv

For Noble.

v

Negotiating Roles

Knowledge is in a constant state of negotiation with fixed values, expressions of power, and political
contestation. This negotiation is facilitated through everyday actions, words and behaviours, wherein
the avenues of mobilization and exchange are under constant transformation and adaptation.
Seeking out ways to understand what these negotiations mean to the ways that the collective ‘we’
relate and build culture together is a subject that has been broached by a range of disciplines ―from
the arts, to science, to social and political sciences― and which results in a number of approaches
and theories that can be used as platforms for further queries and expansion of such ideas.
My interests in concepts of identity and culture as an artist reflects an ongoing negotiation with my
professional routine working for the Government of British Columbia, previously as Public
Education Coordinator, and now Program Advisor for Multiculturalism and Anti-Racism. My
professional experience is linked to a trajectory of priorities and alignments that demonstrates a shift
in thinking around culture and diversity. For instance, within the Ministry of Attorney General (now
Justice), there was an overarching focus placed on law and supporting victims of discrimination;
alternately, within the Ministry of International Trade, cultural diversity is positioned as an asset that
helps attract economic investment to the province. 1
Specifically, in these roles, I support and implement strategies that affirm political discourse and
disseminate cultural information. It involves implementing strategies that promote and reinforce
institutional values such as diversity and inclusion, for which there is an expectation that they will
filter into the everyday, either first hand through an event, education, or alternately, through
behaviours of others that are shared through communities in ways that could be seen as rhizomatic. 2
This work takes various forms, including ministry-led educational resources used in schools,
1

Additional ministries that the Multiculturalism and Anti-Racism unit have been under include Social Development,
Citizen Services, Jobs, Tourism and Immigration, and Advanced Education.
2
As a philosophical concept, the rhizome, which was developed by Gilles Deleuze and Félix Guattari in Capitalism
and Schizophrenia, provides a model from which to understand the movement of knowledge and development of
culture in which such patterns and repetition are embedded: “Rather than narrativize history and culture, the rhizome
presents history and culture as a map or wide array of attractions and influences with no specific origin or genesis,
for a 'rhizome has no beginning or end; it is always in the middle, between things, inter-being, intermezzo” (25).

1

engagement initiatives, public installations and events, as well as providing funding for communities
and organizations to do their own multiculturalism and anti-racism projects. This type of work done
within institutions such as government creates a duality of roles. On one hand, the anti-racism work
that I am part of requires me to be critical of the static structures that maintain power and privilege,
and on the other hand, it is done as part of an institution with authority that maintains symbols and
meaning and that still holds such power.
Strategies that are designed to achieve absolute inclusiveness are an exercise in the impossible―like
chasing a mirage. As such, I like to think this work is a form of ongoing maintenance and a practice
of adaptation within the constant flux of variables such as economic or political motivations. The
expectations associated with this type of work are best captured by art historian Grant Kester in
From Text to Action: “The realm of political actions is always characterized by compromise and failed
ideals” (42). By contextualizing questions of identity and culture through art rather than
maintenance, I have gained a distance from which I can take an alternate perspective and cultivate
an autonomy that allows for me to embrace a process that is wholly different than that which I take
through government.
The constant negotiation between my professional work and as an artist is actualized within what
scholar Michel de Certeau has termed ‘grids of control’. In The Practice of Everyday Life, de Certeau
argues that there are ‘disciplinary powers’ embedded in the patterns of our everyday routines that
steadily infuse society with their control and operate within these ‘grids of control’. By
contextualizing questions of identity and culture through these ‘grids’, I have agency to examine my
own professional routine with the Government of British Columbia, and to make use of repetition
of symbol and meaning that maintains stasis of the institution, and following this, have become
paramount in introducing questions about what role patterns and repetition have in defining a sense
of self, and directed my practice. After all, we are creatures of habit, and patterns and routine remain
our default.
The cumulative results of this negotiation include replacing strategies with tactics that are in
opposition to the ‘grids of control’, and that can subvert power for brief moments as described by
de Certeau:

2

"To accept the chance offerings of the moment, and seize on the wing the possibilities that may offer themselves
at any given moment. To make use of the cracks that particular conjunctions open in the surveillance of the
proprietary powers. It poaches in them. It creates surprises in them. It can be where it is least expected. It is a
guileful ruse"(37).
In my thesis research, there emerged two streams of work that explored forms of opposition to the
grid and the ‘disciplinary powers’ embedded in the patterns of everyday routine. The first stream of
practice considers walking in public or within the gallery space as a form of writing and the
collective potential of bodies in institutional spaces as a critical negotiation of a contingency of
political and economic systems. The second stream of practice was a direct response, or
counterpoint, to my professional work and experience within government that leverages the
vulnerability of text as an entry point to examine the reliance of print and the stasis of the institution
and its culture, and is embodied in the works Speech from the Throne (2014) and (2015).
These streams of practice are supported by a lineage of neighbouring practices, drawn from artists
such as Francis Alÿs, Cathy Busby, and Jenny Holzer, who each deploy a variety of methods and
tactics that disrupt social spaces and text-based rhetoric.
In the same ways that text is used in works by Holzer and Busby, I use it to invite further
consideration of the dynamics of power by manipulating the source and complicate its original
sentiment. I ultimately aim to renegotiate the power of the typographical world and the rhetoric that
it maintains through the manipulation of pre-existing text and speech from various sources, and
drawing inspiration from the writings of artist Barbara Kruger, I explore how categorization through
words and phrases removed from their context can confuse and destabilize an established meaning
and currency of the text.

3

Walking the Grid

De Certeau states in The Practice of the Everyday Life that walking remains “a space of enunciation”
(98): “The act of walking is to the urban system what the speech act is to language or statements
uttered” (97). I consider my own, and other’s acts of walking to be acts of writing, like that of the
Wandersmänner: “whose bodies follow the thicks and thins of an urban ‘text’ they write without
being able to read it” (93). As such, feet on pavement, grass and soil, has meaning attached to it that
can be disrupted by tactics that interrupt one’s walk or routine in public spaces.
Specifically, I do this by employing the tactic of dérive, a Situationist term for a walk based on the aim
of exploring something new or unexpected in the urban environment, rather than movement that
simply fulfills everyday routine. A dérive is determined by chance decisions and personal inclination,
suggesting that ways of being in physical space (particularly in the cities) are political acts.
What is ‘written’ by walking and wandering in this manner does not subscribe to one particular
person’s narrative, but rather, as described by de Certeau, “the networks of these moving,
intersecting writings compose a manifold story that has neither author nor spectator, shaped out of
fragments of trajectories and alterations of spaces: in relation to representations, it remains daily and
indefinitely other” (93). The directions of the walks that I take are unplanned. In many ways, they
may closely follow the routes that I take as part of my everyday routine, I rely on the literal grids of
streets, paths and neighbourhoods that I occupy in both Kelowna and Vancouver, Canada, and
where the works Thread (2013), and Walking & Writing (2014) were ‘written’.
For Thread (2013), during the early morning hours, I randomly walked through Vancouver's West
End neighbourhood unravelling a spool of bright orange thread behind me for approximately four
kilometers. The path that I chose was not predetermined, but rather was decided moment by
moment, and guided by a playful desire to remain furtive and unnoticed. My path took me through
streets, back alleys, and paths along the edges of Stanley Park before I looped back to the place
where I started (Fig 1-2). Once I completed the loop, I followed the path in reverse, and observed
some of the reactions of individuals whose routines were disrupted once they noticed the thread, as
4

well as evidence of an un-witnessed interaction where a one block section of the thread had been
broken away and had been detoured down the street in a different direction than it was originally
placed.

Fig 1:Thread (2014) Vancouver, B.C. Photo: Melany
Nugent

Fig 2: Thread (2014) Vancouver, B.C. Photo: Melany
Nugent

Later, I transcribed my route through a series of GPS coordinates, as follows:
Start: lat: 49.286382, lon: -123.1449
Walk 0.11 km west, turn right.
Walk 0. 6, km north, turn left.
Walk 0.62, km west, turn left.
Walk 0.13, km south, turn right.
Walk 0.13, km west, slight left, follow path.
Meander west for .29 km to lat: 49.228038, lon: -12345689, turn left.
Walk 0.19 km northwest, turn left.
Walk 0.22 km southwest, turn left.
Walk 0.11 km north, turn right.
5

Walk 0.13 km east, turn left.
Walk 0.27 km north, turn right.
Walk 0.84 km east, turn left.
Walk 0.11 km north, turn right.
Walk 0.12 km east, turn right.
Walk .26 km south, and stop.
End: lat: 49.286382, lon: -123.1449.
Walking & Writing is an ongoing project that I contribute to regularly. I wander around
neighbourhoods, making observations such as the number of people walking by or notable people
that I see, and record them on plain, pale yellow sticky notes and leave them for others to find (Fig
3). Sometimes, I will leave notes for imaginary people, pretend that I was waiting for someone but
had to leave, and other times I record a spontaneous observation (Fig 4). Each has the date and the
intersection recorded, and each have remained in place for a range of time, from less than a day to
over a month. I have yet to witness the removal of a note; however, on subsequent walks I have
found that some of the notes have been physically removed rather than falling off or being
inadvertently displaced.

Fig 3: Walking & Writing (2014), Cardero Street, Vancouver, B.C. Photo: Melany Nugent.

6

Fig 4:Walking and Writing (2014), Comox Street, Vancouver, B.C. Photo: Melany Nugent.

Both Thread and Walking and Writing are reminiscent of Francis Alÿs' pedestrian wanderings (paseos),
which art critic Holland Cotter has characterized as “a form of performance art, and art of symbolic
gesture, a kind of acted-out metaphor” (Cotter). Alÿs’ works such as Paradox of Praxis 1 (Sometimes
Making Something Leads to Nothing) (1997) and The Loser | The Winner (1999), are only two of many
examples of his use of walking to address urban spaces as political spaces.

7

Fig 5: Paradox of Praxis 1 (Sometimes Making Something Leads to Nothing)
Mexico City 1997. 4:59 min.
(Click image to play:
http://francisalys.com/sometimes-making-something-leads-to-nothing/)
For Paradox of Praxis 1 (Sometimes Making Something Leads to Nothing), Alÿs pushed a large block of ice
through the street of Mexico City for nine hours ―the approximate time that it took to melt (Fig 5).
In a similar mode of performance, for The Loser | The Winner, he walked between the Stockholm
Museum of Science and Industry and the Nordic Museum allowing the blue sweater he was wearing
unravel behind him. After the performance, at each location, postcards were left that showed an
enhanced image of the performance ―Alÿs walking away from the camera, and his bright blue
sweater unravelling from the left sleeve. On the back of the postcard was written:
Here is a fairytale for you
Which is just as good as true
What unfolds will give you passion
Castles on hills & also treason
How, from his cape a fatal thread
To her window the villains led.
— Francis Alÿs

8

Through these works, Alÿs does not attempt to represent politics through language or imagery, but
rather, enacts the performance and plants the seed of myth that responds to the socio-political,
economic, or cultural context of the site in which he performs. For instance, Paradox of Praxis 1 was
an activity intended to pay homage to street vendors in Mexico city, and to be a reflection of
political realities of the labour, as described by Chloe Johnston: “At the end of the piece there was
nothing left to show for it but an anonymous puddle of water, one that would (as though belaboring
the metaphor of the ephemerality of performance) itself eventually evaporate” (5).
I attempt to subtly disrupt a passerby’s structure of daily life through the chance encounter with an
out of place object ―in these instances, the thread or the sticky notes― that they may happen across
during their daily routine and to encourage a trespass into alternate paths, and to elevate the
opportunity for happenings that would otherwise be limited under the influence and structure of
routine. The tactics of disruption that I have employed become a small source of curiosity. The role
of the passerby is necessarily passive, and as such, maintains the potential for future affirmation as
an idea, or continued narrative beyond the encounter.
Compared to Alÿs’ paseos, which he performs, remaining present to audiences to witness his walks,
and for resulting documentation, I try to be as furtive as possible both with the documentation as I
am when I place the string or leave a note. This is not a performance, as artist and philosopher
Adrian Piper states of such tactics, it is an effort to “avoid the production of an audience-versusperformer separation” (Doherty 17), as my actions mimic and exaggerate those of the commuters,
tourists or the like going about their daily routine and who take their opportunities to capture
various moments as they see fit. Many people don’t notice me, and those who do, glance, but don’t
seem to care.
And yet, the question that remains is how to chart or map the circulation of chance or happenings
that take place as a result of the tactics employed? Beyond a reminisce of the objects used in the
works, they are dependent on the rhetoric of narrative that comes out of disruption of the passerby,
which is singularly their own, and not credited to witnessing of a performance, or of an act by a
stranger.

9

The Self: Inventing and Encountering a Narrative

Similarly to walking, during the act of running one continues to enact and contribute to the urban
text of de Certeau’s Wandersmänner, remaining responsible for collating and representing their own
experience. Running is a habit that is part of my regular routine, and that I take advantage of to
wander and explore freely. Often, I do not have a planned route, but an intended direction and
general area and distance, and running becomes an activity from which an art experience can emerge
from.
Once while out for a run in Kelowna, I had a chance interaction that presented a scenario that
elevated the concept of the Wandersmänner that was a catalyst to consider the situation in itself as
an art experience or something that an art experience could emerge from: I was out for a run in a
neighbourhood in Kelowna that was empty with the exception of one other person who was
running towards me. As we approached each other, we simultaneously realized that we were dressed
identically ―the same blue BMO Marathon T-shirt, grey Lululemon running pants and Adidas
Adizero Boston II runners in fluorescent yellow with blue detail and black Adidas stripes. This
moment passed with a quick acknowledging smile to each other and nothing else.
This event, which was seemingly small and insignificant, provided a platform for the development of
a series of five discursive works or chapters that respond to this coincidental intersection, and the
amplification of daily patterns that occur under the guise of chance. The chapters represent a
counterpoint to works such as Thread or Sticky Notes, in that rather than creating instances, they are
in response to a situation and act to fulfill the potential for the creation of myth regarding my sense
of autonomy and self, and what choices were in fact my own, as opposed to being a product of the
grid. For instance, why specifically was I in that neighbourhood, in the habit of running, or choosing
that particular outfit that day?

10

The first chapter consists of a text that I developed shortly after the event occurred. 3 My original
motivation for the writing was to develop an advertisement, such as a missed connection that I
posted publicly on Craigslist in an attempt to reach out to my doppelgänger. Through the writing, I
expanded the scenario to a playful, fictional event, in which my doppelgänger and I become trapped
in a continuous relational loop in attempts to simultaneous side step the other.
From Chapter 1:
...At first, we were awkward and apologetic in our unsuccessful attempts to step around each other, but it did
not take long for us to fall into our accepted pattern of comfortable, anticipated steps.
Left. Right. Left. Right.
Our corrective loop continued like this for hours.
When people walked passed us, they would pretend not to see us. Cars would need to drive around us, but no
one seemed to notice or to care.
Hours turned into days, which turned into weeks.
It didn't take long before the birds and animals were used to our presence. Families of deer would regularly
come and lick the salt off of our skin, which was nice because it kept us clean...
Chloe Johnston states in Wandering Through Time: Francis Alÿs’ Paseos and the Circulation of Performance:
“By choosing an everyday activity, Alÿs makes the story accessible; by using an unusual object, he
makes it noteworthy” (5). Similarly, through each of the chapters, I am also employing everyday
activities, objects, and an unusual event. I have married devices familiar to the broad questions and
context of self by relying on tropes established and associated with existential context of self,
including mirrors, loops and patterns in combination with each other with the material blue shirt,
grey pants and shoes.

3

See Appendix A

11

Fig 6: Doppelgänger (2013-2014) Chapter 4.

Fig 7: Doppelgänger (2013-2014) Chapter 5.

The remainder of the chapters make use of photo and video, and continue to use repetition and
multiples (Fig 5-6). The supposed normal scenes represented in each chapter include fractured
glitches and messy abnormalities, misalignment of the reflections in the mirrors, or the repetition of
materials and clothing. In each, these tactics work to hollow out and dilute the need for my presence
as I become less imperative to the narrative.

12

Feeding the Machine
The phrase ‘feeding the machine’ is one that I often hear as a rationale for the work that I do within
government, and it is also a process that I am regularly engaged in; the routine of moving
information up and down a system whereby governance, authority, and policy are weighed,
considered and recorded, at which point it becomes the fuel for the machine.
In The Alphabet and the Algorithm, architectural historian Mario Carpo writes that “the typographical
man is so integral to the modern state that the modern state, even after adopting electronic
technologies, is forced to perpetuate a mimesis of the typographical world” (10). The ‘typographical
world’ relies on repetition to provide meaning which comes not only through the text, but also the
repetitive process and reliance of printing onto paper ―maintenance of the form as a symbol of the
institution. Carpo’s ‘typographical man’ is familiar to me as an embodiment of the process of
‘feeding the machine’, as it is at the point at which (figuratively) pen is put to paper, that speech
becomes text, ideas are formalized as deliverable actions and processes. The typographical man
regulates that which goes in and that which is spit out of the other end, he greases the wheels and
maintains the mechanics.
Each February, the Province of British Columbia officially opens a new session of Parliament with
The Speech from the Throne. This speech functions to outline the decisions of government and
speaks to the social, political, and economic actions that will be taken over the year, but it is also the
annual apex for the ‘typographical man’ as the language and rhetoric from each Provincial ministry is
copied and reiterated throughout the year is filtered, and that which is most perpetuated remains to
be included into the speech.
Each word is carefully considered and collated in the creation of this document, which goes through
the following process: First, it is spoken in the house (it is a speech, after all), then its written form is
made available online, it is then embedded into the government’s archive, and finally, it is published
into a printed document, stylized by including the official Provincial Crest, Georgia font (elegant but
legible), with ample page real estate dedicated to the margins. The aesthetic of this final document is
reinforcing acculturation and existing Commonwealth identity.
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It is this written and stylised form that I have employed for the past two consecutive years ―2014
and 2015― in works of the same name. For The Speech from the Throne (2014) 4 and (2015) 5 I have
translated the text from the documents into paragraphs of repetitive words and patterns in language.
The process that I have adopted includes the identification of similar words or phrases within the
document, collecting them in would-be paragraphs, and returning it visually to its original
government aesthetic ―a numbered document, printed on 8.5 x 11 sheets of paper, complete with
the appropriate Crest, font, and margins. Each word from the original text is used, and there is never
a loss or an addition in text. When I print the document, I do so from a government printer, on
government paper ―the thick, brown, official paper that is reserved for proclamations and such (Fig
8). By using a government printer, I am paying homage to both an institution that maintains reliance
on print, and the existence of a paper copy as an authenticating quality of the speech, rather than
method of transmission; and to the typographical man, by feeding back into the machine that which
came out of the machine.
Artist Barbara Kruger states in her 1994 collection of essays Remote Control that “we seem intent of
labeling and ordering. It’s how we get on with our lives, how we proceed. It’s all in a day’s work:
from the maintenance of homes and offices to the supposedly loftier pursuits of arranging history
and conducting diplomacy, easing us into understanding but also showing us what to know and how
to know it” (2).
In both iterations of Speech from the Throne, the filtering and reordering of the original priorities and
important moments in history outlined in the documents are re-categorized to challenge what we
know based on how the information is presented. By taking license with the arrangement of the
words and phrases into paragraphs and sections, I am altering the potential for understanding what
information is presented in the original Speech from the Throne and how to know it. Once I have
the patterns and repetitions of language loosely collated and grouped, I make associations between
various groupings based on what is readily available in the document. For instance, although
‘infrastructure’ and ‘transportation’ are not explicitly linked in the original document, all instances of
those words appear together in one of Speech from the Throne (2014) because they are linked by the
4
5

See Appendix B
See Appendix C

14

phrases ‘the biggest ever improvement in transportation infrastructure’ and ‘road infrastructure’, as
demonstrated in the following passage:

They are travelling, commuting, getting their goods to market
Those about to enter the workforce, the hard work is paying off. Those already in the workforce, the
hardworking men and women, women, for youth and older workers, those who have never been in the
workforce – but because it is hard, continue to work, working collaboratively, work together, full participants
and beneficiaries.
Across the Pacific, Asia, in Asian countries, the People’s Republic of China, China, the China RMB
market, on the horizon, that are coming, will lay out an overall framework.
Having the physical infrastructure, Infrastructure, infrastructure may command the most attention, the biggest
ever improvement in transportation infrastructure.
Re-engineering, our road infrastructure, driven by, transportation plan, look forward to enhancements, our
bridges, ports and airports. Major expansions, and expanding, with major hubs.
We have shown the world, continues to rank among the highest in the world.
I attempt to maintain a process that is guided by repetition and established links in the language, but
in an effort to re-inject a speech-like cadence and tone of the document, I attribute editorial license
with the arrangement of the words and phrases to the agency that I have as an artist rather than my
role as a public servant. Following the tactics of furtiveness first explored in Thread and Walking &
Writing, I become covert and unassuming, and invoke de Certeau’s tactic of ‘la perruque’, a
diversionary practice of using an employer’s resources for activities that are "free, creative, and
precisely not directed toward profit" (25). In Performance: Media and technology, Philip Auslander
describes the act of ‘la perruque’ as an interruption of normal space and time within the grid:
“The minor practice of ripping off (de Certeau’s) la perruque may be the inevitable and perpetual
encroachment of symbolic exchange and meaning onto the dominant, hegemonic territory of sign-exchange and
signification. Time and space are crucially coordinated in the bureaucratized world of cellular grids, and
15

bodies become social embodiments of, and the temporary anchors for, the social grids by locating themselves
appropriately in space and time - by staying in their space over time.” The rip off appropriates the space of
another for a time; it is the operation of the symbolic exchange system in codified, shifting circuits of time value
(93).”
As such, I am enacting a social exchange, and creating an invisible, insulating boundary between
myself and my everyday work routine. I sit at my desk and concentrate on the screens in front of
me, although the document looks like it belongs while I arrange the text, print it, or make revisions,
it is an imitation (Fig 9).
Finally, the work was exhibited as a framed document 10 pages across that is accompanied by the
Provincial Crest of British Columbia placed in the centre with printed copies available for people to
take (Fig 10).

Fig 8: The Speech from the Throne (2014-15). Photo:
Scott Massey

Fig 9: Throne Speech/La Perruque. Photo: Melany
Nugent

From Speech from the Throne (2014):
When our resource industries thrives, our resource industries, our resource industries, natural resources,
surging natural resource industries, the mining and agriculture industries, In natural resource development,
expanded heavy oil pipeline, forestry and mining, lumber exports to China. Natural gas is the world’s
cleanest non-renewable fuel, third largest industry, LNG is, LNG, LNG, LNG, LNG, of LNG, LNG
demand, we are unwilling to postpone, the Industry Training Authority, to create a corresponding demand
for, LNG industry, with LNG investors and projects, has established, establishing the LNG.

16

Rely on coal, opening of, two new mines, another six mines, the first metals mine, approved for another six.
This has created more, nine more, supply for more, employ more, more than, that is more, can and will do
more.
From Speech from the Throne (2015):
For the mining and energy sector, B.C.’s mining and energy sectors. Working in diverse sectors, across the
eight sectors, across eight key sectors of our diverse economy, and green economy sectors, in fields as diverse as
biofuels, as diverse as mining. For major mines, five new mines have opened, to the mining division, and seven
major expansions of existing mines, we expect the Red Chris mine to open, a global mining hub.
As the economy grows, at a time when the US economy, and the Green Economy, grow our economy,
GROWING THE ECONOMY, and grow the economy, a growing economy, to grow a diverse economy,
to strengthen our diverse economy, we need to grow our diverse economy, that we have a diverse economy. Our
economy has grown.
Documents such as the original Speech from the Throne derive from an English colonial tradition
and reliance on text and books, and as expressed by post-colonial theorist Homi Bhabha in The
Location of Culture, their “presence [is] wondrous to the extent to which it is repeated, translated,
misread, displaced… [it is] an insignia of colonial authority and signifier of colonial desire and
discipline” (146). And yet, text is acknowledged as a fertile site to challenge power, as described by
post-structuralist philosopher Jean-François Lyotard: “language and linguistic communication can
only ever be a field of battle, populated by “opponents” engaged in a series of strategic “moves” and
“countermoves” intended to advance their position relative to the “balance of power” (48).
Applying Lyotard’s analogy, the Speech from the Throne, as written by the institution is the initial
move, and the rearrangement of the text is a counter-move that reframes the document as a forum
for a different type of political discourse; the focal point is no longer about the specific issues
outlined in the speech, but about the institution as a whole, and the capacity to create slippage and
displacement of the symbols that support it through categorization.
Speech from the Throne also follows the trajectory of artists such a Jenny Holzer and Cathy Busby, who
have previously used found government text to confront power through their works EndGame
(2012) and We Are Sorry (2009-2013). Holzer’s EndGame (2012) consists of a series of paintings that
use heavily redacted (censored) US Government documents generated during both the wars in Iraq
and Afghanistan as found text. The blank, black spaces of the redaction process are colourfully
painted by Holzer in an act intended to “exploit power via absence rather than presence” (57), and
17

in an effort to question the trust that is placed in elected leaders and the political system that they
embody and sustain.
Alternately, Busby’s We Are Sorry, which is composed of excerpts from both the apologies for
historical wrongs to the Aboriginal Peoples of Canada for the Canadian Indian Residential School
System and Australia for The Stolen Generations, was created with the intent to encourage dialogue
between Aboriginal and non-Aboriginal citizens in each country. The source text was edited down
from its original form by Busby, reproduced and displayed in a large formats intended to provide “a
renewed and sustained presence while suggesting a space of contemplation” (Busby). Also, this work
operates within a Canadian political context and provides commentary on political power dynamics
that are a legacy of colonial institutions.
Similar to these works by Holzer and Busby, Speech from the Throne also leverages formalized public
texts and blank spaces to amplify what is said and what is not said, and offers a nod to power via
absence rather than presence. However, when compared to the works of these artists, it does not
directly critique specific political acts, or point towards feelings of contemplation, trust or
encouragement that can often surround and motivate art that grows from political discourse, but
leaves room for individuals to take from, or respond to selections of text that reflect political
sentiments that they may find particularly provocative. In this regard, the broadness in content of
Speech from the Throne ―the everyday economic, social and environmental concerns and
achievements― could be considered benign in comparison.
In tandem, the repetition of both versions of Speech from the Throne operate as relational checkpoints
at the beginning and end of a year in time, offering a direct comparison between the socio-political
values and goals, as demonstrated by the excerpts above. The text and phrases that are prioritized in
the current ideology are repeated more, as such, the year that is encompassed between the two
documents is telling of the changes and priorities. For instance, in the 2014 iteration, ‘LNG’ (Liquid
Natural Gas) was prominent, but less prominent in 2015, and more language around the promotion
of small business and diversification of the economy has been included. In addition, in the 2015
speech, the mention of ‘First Nations’ occurred almost exclusively in tandem with the word
‘partnership’. In 2014, mention of First Nations was limited and aligned to language of social
support initiatives. Such changes in language could provide a quantitative measure or proof that ‘your
18

government is working. British Columbians are working’, but it is not supported by any reason or defence.
The intent of the original speech as outlined is overwhelmed with verbose redundancy, which acts to
amplify the rhetoric of the original to a level of absurdity. 6
The elevation in absurdity of the text brings with it a level of humour that that further distinguishes
it from the heavy tone of many political text works, including EndGame and We Are Sorry,
respectively of Holzer and Busby. And yet, the work strongly lends itself to political discourse and
various issues of concern such as the economy, the environment and social justice that should not
be taken lightly. As such, I question to what end this work will make a difference regarding these
issues, if at all?

Fig 10: The Speech from the Throne 2015, Charles H. Scott Gallery, Vancouver. Photo: Scott Massey

And yet, the possibilities that were introduced as a result of this work were twofold: First, I was able
6

Aristotle’s definition of absurdity is realized when a number of conditions of speech are met, including: one being
unable to match their speech with reason; one being able to defend themselves through speech and reason; or if the
speech sounds too poetic.

19

to develop personal agency not available within the institution by using tactic of ‘la perruque’ and
through the choices that I made in the collating of words and phrases together. It was created in
response to the grid of power that I have been most personally involved in, and is a way to create a
disruption of my own routine and perspective of the work that I do on a day-to-day basis. Secondly,
it works to simultaneously galvanize resistance or inspire promotion for the sentiments being
expressed, and by extension, the work being undertaken by the institution. Collating the language
provides a function of, and makes the intent ―which is often embedded in political jargon―
transparent and accessible, and increases the potential for interest and participation in the
democratic system which is often seen as opaque and intimidating.

20

Things and words/People and words through presence and words

In his 1944 book of poems, William Carlos Williams referred to the poem as “a small (or large)
machine made of words” (54). Williams writes of the need for efficiency in language, the specific
purpose that is required of each word, and how together words fit like gears to build components
such as composition and cadence that function to add dimension to plain language and text. To
make such a machine, one can design it to use any number of working parts, each of which ―alone
or in tandem― can begin a process of linguistic play that fragments words and opens them up to
new meanings.
I have created my own machine in the tradition of concrete poetry in that it relies on elements other
than its text, and requires that it be completed or activated by the reader. It has been installed twice
―in July, 2014, and in March, 2015― and in each iteration, made use of a collection of words
organized into four paragraphs of black League Gothic text projected on a large, white gallery wall.
The words and phrases were found in various sources, including pronouncements from others, or
political and academic jargon, and lines first used in popular political works in an effort to force the
intersection of all and interchange and connect meanings between them. The words remain static,
but are triggered into a state of instability by the collective movements of individuals captured by
sensors within the projection’s space, thus forcing the passive observer(s) to become participant(s)
in determining what combinations of the below text can be seen:

Construction / Production / Reproduction
moral pollution / effective progressive politics
neutral / boundaries
borders / defence
heat / crack
develop / perfect
practice / makes / perfect.

21

Exchange / Rearrange / Maintain
migration / be a tourist
migration patterns / mark the world / mark the word
making place / taking space
origin / unity
simple / pure / (any adjective).
Elusive / Peripheral vision / Recognition
collective / counter
judgement of strangers / one size fits all.
Maintenance / Magic
erosion / power
assemble / disassemble / reassemble
reinforced plastics / concrete vision
balance / flinch / fracture
the future will always have / us in it
if you want it.
Only one word of a line that is separated by a forward slash (/) is visible at once; alternately, lines of
text may be revealed when triggered by more people in the space, as compounded, simultaneous
movements of individuals can trigger the entire line of text to appear. For instance:
the future will always have
the future will always have us in it
the future will always have us in it
if
the future will always have us in it
if you
the future will always have us in it
if you want
the future will always have us in it
if you want it.
22

Alone, each word or phrase has a relatively benign meaning and associations, but in tandem with its
binary pair, the object of the language ―intentions, motives, and responses to a contingency of
political and economic systems― becomes evident and is confronted with a specific association that
is evoked through its pairing. This also echoes Kruger’s sentiments on categorization: “If we
experience life only through the filters of rigid categorization, and binary opposition, things will
definitely be business as usual” (5). However, the specific pairing of binaries that I have chosen for
the work ―for instance, the pairing of borders with defence or moral pollution with effective progressive
politics― confuses the ‘business as usual’, clean and uncomplicated approach to the more complex
ways that ‘we’ define self in relation to others, either in terms of spaces that we occupy or processes
and the political discourse and rhetoric that reinforce relationships with others.
The associations of words and phrases are again confronted in the same manner through their
arrangement into paragraphs and varying cultural channels of place ―locality, belonging, visiting,
staying, being present, and going. As part of a larger collection of language, there is instability and
dimension to words and phrases that are again skewed, confused and fragmented by the countless
number of permutations and combinations that may occur. The language of shared space,
relationships and the governance of such operates in tandem with the interactivity, and provides a
background or stage for social exchange enacted by the participants.
This work does not ever reach a ‘finished’ state, but rather, is active during periods of installation, in
which, through, the contributions or interferences of others, the meanings and relationships with the
words is reinvented in accordance to the moment.
The text is visually referential of concrete poetry, which is pattern or shape poetry that depends on
the visual arrangement of the words to convey the intended effect and meaning. Collectively, the
textual and interactive components that I attempt to create are useful in the same way that Edwin
Morgan describes works of concrete poetry: “The chance juxtaposition ... seems at once to be
interesting and on the verge of meaningful” (E.M.). In many ways, this work does the opposite of
Speech from the Throne; it confuses the rhetoric of the text, and attempts to create multiple degrees of
meaning.

23

The first time that this work was installed in July 2014, it was in the Concourse Gallery at Emily Carr
and it was called Manifest/Manifesto ―a name that spoke to the origins of the original concept for the
work and the textual elements. The projection was approximately ten feet wide and six feet tall, and
was placed strategically so that the regular flow of those walking would be forced into participation
(Fig 11). There was a single sensor ―a camera― installed to take in a bird’s eye view directly in front
of the projection space and sets the boundaries within which participation would be captured to be
processed.

Fig 11: Manifest/Manifesto (2014). Concourse Gallery,
Emily Carr University, Vancouver. Photo: Trevor
Van den Eijnden.

Fig 12: Manifest/Manifesto (2014). Concourse Gallery,
Emily Carr University, Vancouver. Photo: Trevor
Van den Eijnden.

The typographical man has no control here. There is constant flux and evolution to decentralize the
jargon and nothing is static. Using a single camera meant that movements captured were not seen as
individual actions, but rather, provided a general reading of the space; the text was triggered when a
specific threshold that was set differently for each line of text was reached (Fig 12). This process
ensured that the individual movements could not be selective, but rather that there was a collective
contribution and responsibility for what text was being displayed. Although there was understanding
from the participants that their movements were influencing the text it was not possible to replicate
or stabilize it in any way, which elicited varied feelings of frustration, or lack or control for
participants.
Theoretically, the greater the number of people that are expected to be encompassed by a statement,
the more difficult it may be to satisfy, or to speak to the preferences of all. Language and text
becomes generalized or it breaks. By processing the movements in this way the text shown
represents a generalization of the movements in the space, and lends itself to be an analogy for the
24

structures of government or like institutions that often respond to the various needs of many with a
singular blanket approach of policy. The power of words is diluted to satisfy the masses.
The second iteration of this work was installed in the Member’s Space at the Alternator Gallery in
Kelowna, British Columbia, in March 2015 under the name Stalemate. In this installation, multiple
photo resistors distributed throughout the space captured changes in light from the shadows cast by
participants moving through the space. Whereas the camera used in the first iteration allowed for a
more general capture of movement, the use of multiple sensors allowed for the participants to have
substantially more control over what text was displayed based on their movements. Also, the
complete text was printed in full on cardstock and made available as a reference point for
collaborators to place their movements in relation to the projected text. The participants had
control, could be strategic and make movements with intention; the successive flinches of binary
text and adaptation to the participation became less random and the punctuation (/) enacted.

Fig 13: Stalemate (2015). Installed in the Alternator
Gallery, Kelowna, B.C. Participants working
together to trigger text. Photo: Melany Nugent.

Fig 14: Stalemate (2015). Installed in the Alternator
Gallery, Kelowna, B.C. Participants using printed
text to navigate projection. Photo: Melany Nugent.

Individual participants would test the technology and specifically try and trigger a word to appear
and to maintain it, map out the language, and reconcile what was projected to what text was printed
on the card. 7 Collectively, the sensors and the printed materials motivated the participants to play
with the text and enacted patterns and organization.

7

See Appendix D

25

Additional observations were that those who were alone were more exploratory than when
surrounded by others in the space, but when confronted by the presence of others, they would often
temper, or make accommodations with their movements. When a crowd of participants were in the
space, social order was defaulted to, and dictated the movements (Fig 13 -14). For instance, by
taking turns as participants or observers, groups or waves of people would work together to test
limits and accuracy, and simultaneously be witness to the tests. 8
In both iterations of the work, the projection remained the same, with minor adjustments to the size
of the projection and the organization of the paragraphs of text as per what the spaces would allow.
The projection mimics the approximate dimensions of the common billboard, simultaneously
reinforcing the materiality of language and commodification of communication and type that occurs
when it is taken out of the horizontal ―the bookish and literary― and placed into the vertical, to
become part of the language of economics and of advertising. The monumental characteristics of
language of this work are again referential of Busby’s We Are Sorry (2019-2013) (Fig 15) making use
of a larger scale of text, and therein also aligned to Holzer and her text-based works Projections (19962011) and Truisms (1977-84). Both works comprise of bold, all caps text made accessible in public
space. They work to leverage the broadcast value of language to commemorate while simultaneously
critiquing its ability to control and contain.

8

See Appendix E

26

Fig 15: Cathy Busby, We are Sorry (2010) Winnipeg Art Gallery, 2010. Photo: Ernest Mayer

In equal parts to the text and projection of Stalemate is the technology that facilitates participation. In
this regard, Stalemate follows the trajectory of interactive artist Rafael Lozano-Hemmer, who
frequently depends on his work being activated by people in a space by channeling their movements
or pulse in various combinations with technology, sensors, and architecture. For instance, in works
such as People on People (2010), Lozano-Hemmer relies on technology to create relationships between
people in the same space, but across time, and is described as follows:
“As people walk around the room they see inside their shadow the live and recorded image of other visitors,
while their own image is recorded for live or delayed playback inside the shadow of someone else. The piece
includes high resolution surveillance cameras with face recognition and 3D tracking, turning the exhibition
room into one of the world’s most advanced scanners” (R.L.H).
As is often the habit with interactive works, individuals that interacted with the Stalemate enacted
elements of play through their movement and engagement with strangers, as well as an eagerness to
test the technical limits of the work. However, my intent with Stalemate was not to forefront
technology, but rather to stimulate alternative movements and patterns of individuals in the gallery
space. In this respect, the printed cards used in Stalemate provided a counterpoint to the technology
27

that helped to maintain the focus and interest of participants on the projected text rather than the
technology.
And yet, the cards led me to question the reliance that was had on them to navigate the space and as
a tactic to confuse or break the language or to challenge the normal patterns of routine. For
instance, in tandem with the projection reinforced its own structure to adhere to, the cards set out
the guidelines or rules for the structure, and the projection provided confirmation to the
collaborator that their movements were incorporated. There is no exchange of ideas, but a
conversation that is made up of an initial gesture and the response of the machine.
You Just Never Quite Know, which was installed in the Charles H. Scott Gallery, Vancouver in July
2015, was conceptualized as a way to continue the trajectory that I had already outlined with
repetition and interactivity with Stalemate, but to remove tactics or visual cues that may reinforce a
structure and guide an individual’s expected movements and patterns through the space (Fig 16). It
consists of a large pillar that was built in, and camouflaged as an existing part of the gallery space.
Embedded in the pillar was photo sensors and speakers and individuals moving within proximity of
the pillar would trigger the words (in no particular order) “you, just, never, quite, know” to be
recited. The unnatural repetition of the female voice enticed people to take a second look or to
spend time exploring what was moments before an innocuous and unassuming object, often leading
to moments of play and exploration that was similar to the movements and curiosities as those
witnessed and documented with Stalemate.

28

Fig 16: You Just Never Quite Know (2015). Charles H. Scott Gallery,
Vancouver. Photo: Scott Massey

This work is a translation of Emmett Williams’ 1957 poem “A Four Directional Song of Doubt for
Five Voices” and was guided by Hanna B. Higgin’s following description of the work:
There are five gridded cards, each representing one word of the statement “you just never quite know”. The
cards are distributed to and read by five performers whose meter is regulated by dots placed within the gridded
“score” and a metronome.
It is theoretically possible that the grammatical sequence “you just never quite know” will assemble itself
during the performance, but instead the words assemble themselves in a sequence of “you knows” “quite justs”
and “never nevers” that demonstrate how indeed, we just never do quite know, do we? (197).
29

You Just Never Quite Know privileged the tactics of play through interactivity by downplaying visual
cues that would be normal of a work in a gallery space, through the ambiguity regarding the intent of
the work that the audience is confronted with, and the title, You Just Never Quite Know. In attempts to
make sense of the work, some would playfully move or dance around it, while others would quickly
disregard expected rules of not touching work in a gallery space by touching or place their ears
against it to listen. Alternately, for some, the lack of clear intent or never being able to resolve the
statement created frustration, and confirms that the work does not seem to have a productive role
except for being an artifice of play and to disrupt the normal behaviour expected in the gallery space.
However, the most common response to You Just Never Quite Know was to renew interest in Speech
from the Throne. The tactic of repetition used in both works and their proximity to each other within
the gallery space worked to invent a connection between them that helped to reinforce
counterpoints of gravitas and humor or absurdity in each. As such, although the works were
intended as distinct, interactions that individuals had with You Just Never Quite Know were often
accompanied by interactions with Speech from the Throne. On several occasions, I was able to witness
or document visitors to the gallery, and I found that people who had given a passing glance at the
Speech from the Throne, walk past the pillar and trigger a series of words, which acted as a prompt to
return to the speech 9. Witnessing this many times made me think that as an object, the pillar had its
own gravity that adapted the intended pattern of movement through the space to propel people
back to revisit Speech from the Throne.

9

See Appendix F

30

Call and Response

Through the process of negotiation, the assumptions that I upheld about the institution of translated
government became uncertain, as I was challenged to expand thinking from ways of producing
culture or information that moves between the two institutions to become about the value or
meaning of the negotiation taking place. Following this, what we know, (or think we know) and why.
For instance, I previously regarded text and language as a nominal consideration of my professional
day-to-day, but that I now recognize that it is vulnerable; it is an entry point to the underlying the
static structure of the institution, and one in which the dominant structure of government is reliant.
The various tactics of transgression that I have employed has prompted questions regarding the
dependency of dominant structures of government on text. Artistic acts explored through this
program primarily through the use of text provided me with a sense of agency as a counterpoint to
the institution and provides a means to channel and address such questions of autonomy from it.
The conflict being assumed is between the everyday patterns instituted and maintained by the
dominant structures, and the individual agency and autonomy that one has to inform it themselves
seemingly revolves around text. And yet, beyond the potential for change, or leading to broader
capacity to challenge assumptions, what practical change could these works enact?
The most prominent possibility for practical change comes from Speech from the Throne via awareness
of the digression of language from the issues being addressed, or for increased accountability for
what information is relayed to the public and how. In regards to iterations of Speech from the Throne in
relation to each other over time, the change that occurs from year to year through government is
demonstrated through the quantity of repetition made apparent by bringing it into an artistic
discourse. In this respect, the work may have broader, systemic influence and provide a larger
visualization or sorts, to progress made, or alternately, failures.
Just as text is vulnerable and an entry point to stasis of the institution, the patterns and routines of
the everyday can be where vulnerabilities to the grid exist; memories and cumulative layers of
31

association with space become part of the grid. The change brought about that may be subtle, more
poetic, rather than a complete divergence from routine, fractures and gaps, spaces and pockets can
be found and made my own. The future potential of my practice exists in these created fractures,
spaces and pockets, and the capacity to affirm their limits and boundaries opposed to that which is
bound by government.
Further, I also see a potential in exploring performance in my practice in ways that would build off
of my existing work. For example, whereas Speech from the Throne first existed as a speech, it has yet to
be returned to this form, and I can envision a number of opportunities to explore this aspect of that
series. The proposed method of performing Speech from the Throne done by me or others, is new, and
would provide alternate entry points through which to understand and interrogate the stasis of the
government institution and its culture. The methods and tactics that I hope to pursue will inevitably
continue to make use of text and much of my practice will continue to be centred on printed matter.
In particular, I plan to continue to develop annual Speech from the Throne iterations and exploring what
potential lies in alternate government texts that represent different times, different places -―both
within Canada and abroad― and those that are attached to specific agendas and ideals.
The intersection and relationship of my government experience with my artistic practice is
uncommon, and as such, carries with it privilege that transfers from one institution to the other. For
instance, in my government role, my work as an artist provides alternative perspectives and a lens to
approaching various initiatives and bureaucracies-at-large. Alternately, my work with government
has provided subject matter for my artistic research and practice that was paramount to my Masters
experience and continues to be an exciting avenue for further inquiry and new artworks. However, I
am also interested applying the experience that I have gained working with government to new work
created at a distance from that position and by removing myself from the process and work
environment. While doing so will certainly limit the intimacy I have from the subject matter and the
potential for making work embedded in the government, the distance gained also opens up the
possibility for new forms of inquiry that can best build upon my thesis work, the neighbouring
practices that have come to inform my practice, and a research process that continues to interweave
and intersect with my everyday life.

32

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Burnett, Ron. How Images Think. Cambridge, MA: MIT, 2004. Print.
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36

Appendix A: Doppelgänger, Chapter 1
Early September, Labour Day long weekend. Possibly the Sunday, mid-morning.
I was walking on Knox Mountain (Magic Estates) and we passed each other at the intersection of
Magic Drive and Camelot Crescent, in the middle of the street, in front of the large house with the
rock garden and the yappy dogs.
The street was empty of any other people or cars, so I noticed you immediately when you came into
view walking towards me, likely from off of the same trails that I was on my way towards for a run.
From a distance, I recognized of your bright blue t-shirt with white lettering as that which was given
to participants of the previous spring’s Vancouver BMO half-marathon, as it was a shirt that I also
received for participation, and it was the shirt that I was also wearing.
In Vancouver it is not uncommon to pass other people running as I do through the streets of the
West End or in Stanley Park wearing this identical BMO shirt. Usually when this happens, I will
share a mutual nod of recognition and accomplishment with the other runner. However, here in
Kelowna it was less expected, and I found this to be a nice little coincidence that made me smile.
By the time that we were within 30 feet of each other, I realized that in addition to our matching
shirts, we were also both wearing in the same grey Lululemon crop pants and Adidas Adizero
Boston II runners in fluorescent yellow with blue detail and black Adidas stripes.
With each step I took towards you, I tried to think of something to say that would be appropriate in
this situation - perhaps I should say something like ‘nice shoes’ as I passed you to commemorate this
synchronous glitch in the system, but that would mean drawing attention to the miscalculation. I
decided that the safer thing to do would be to just pretend that I did not notice you at all and to
keep walking.
Within 10 feet, I noticed that you were also wearing the same grey headband as I was - also from
Lululemon.
Within five feet it was clear that in addition to our analogous running gear, that our steps and
movements were mirrored precisely. I hesitated (as you did) as I stepped closer to you, and we
stopped facing each other briefly before I stepped to the right as to not walk into you, and you
simultaneously stepped to your left to avoid me. This happened again as we each try to correct
ourselves a second time - my right, your left - and again - my left, your right.
At first, we were awkward and apologetic in our unsuccessful attempts to step around each other,
but it did not take long for us to fall into our accepted pattern of a comfortable, anticipated steps.

37

Left. Right. Left. Right.
Our corrective loop continued like this for hours.
When people walked passed us, they would pretend not to see us. Cars would need to drive around
us, but no one seemed to notice or to care.
Hours turned into days, which turned into weeks.
It didn’t take long before the birds and animals were used to our presence. Families of deer would
regularly come and lick the salt off of our skin, which was nice because it kept us clean.
The weeks turned into months, which turned into seasons. I became familiar with the nuances of
your body language, and learned from that you were comforted by the sounds of snow being
shoveled in the winter and lawns being mowed in the summer. I think that I almost saw you crack a
smile at the sound of a leaf blower one day.
The months and seasons turned into years. One day, I decided to try and count each time you
blinked before losing count and made it to somewhere in the high ninety millions.

38

Works Cited
Auslander, Philip. Performance: Media and Technology. Performance. Vol. 3. London: Routledge,
2003. N. page. Print. Media and Technology.
Bhabha, Homi K. The Location of Culture. London; New York: Routledge, 2004. Print.
"Cathy Busby - We Are Sorry." Cathy Busby - We Are Sorry. N.p., n.d. Web. 25 Feb. 2015.
<http://cathybusby.ca/galleries/wearesorry_winnipeg/images/we-are-sorry_panels.pdf>
Cathy Busby. We Are Sorry. 2010. Winnipeg Art Gallery, Winnipeg.
Certeau, Michel De., Luce Giard, Pierre Mayol, and Timothy J. Tomasik. ""Making Do": Uses and
Tactics." The Practice of Everyday Life. Minneapolis: U of Minnesota, 1998. 37+xiv. Print.
Carpo, Mario. The Alphabet and the Algorithm. The MIT Press, Cambridge, MA. 2011. Print.
Debord, Guy-Ernest. "The Situationist International Text Library/Theory of the Dérive." The
Situationist International Text Library/Theory of the Dérive. Nothingness.org, n.d. Web. 27 Apr.
2015. <http://library.nothingness.org/articles/SI/en/display/314>.
Deleuze, Gilles, and Félix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. Minneapolis: U of
Minnesota, 1983. Print.
Doherty, Claire. Situation. London: Whitechapel Gallery, 2009. Print.
Edwin Morgan. Eugen Gomringer Press. Frauenfield. 1965. Print.
Higgins, Hannah. The Grid Book. Cambridge, MA: MIT, 2009. Print.
Holzer, Jenny., Levine, Cary. Endgame. N.p.: n.p., 2012. Print.
"Jenny Holzer, 'Truisms' 1984." Tate. Tate Collection, Oct. 2000. Web. 29 Mar. 2015.
Kester, Grant H. "From Text to Action." The One and the Many Contemporary Collaborative Art
in a Global Context. Durham: Duke UP, 2011. 48. Print.
Kruger, Barbara. Remote Control: Power, Cultures, and the World of Appearances. Cambridge, MA:
MIT, 1993. Print.
Liminalities: A Journal Of Performance Studies, and Vol. 6, No. 2, October 2010. Wandering
Through Time: Francis Alÿs’s Paseos and the (n.d.): n. pag. Web.
Paradox of Praxis 1 (Sometimes Making Something Leads to Nothing). Dir. Francis Alÿs. Perf.
Francis Alÿs. 1997. Web.<http://www.francisalys.com/public/hielo.html>
"Rafael Lozano-Hemmer." Rafael Lozano-Hemmer. N.p., n.d. Web. 29 Mar. 2015.
33

Smith, Kiki. "Jenny Holzer." Interview Magazine. Interview Magazine, n.d. Web. 29 Mar. 2015.
Stevens, Quentin. "Play and the Urban Realm." The Ludic City: Exploring the Potential of Public
Spaces. London: Routledge, 2007. N. pag. Print.
"Theory of the Dérive." Theory of the Derive (Debord). N.p., n.d. Web. 15 Apr. 2015.
"Translation in Visual Arts | MODESTA DI PAOLA." Interactive Contemporary Art + Thought
Translation in Visual Arts MODESTA DI PAOLA Comments. N.p., n.d. Web. 16 Aug. 2015.
Williams, Emmett. An Anthology of Concrete Poetry. New York: Something Else, 1967. Print.
Williams, William Carlos, and Christopher J. MacGowan. The Collected Poems of William Carlos
Williams: Volume II 1939-1962. New York: New Directions, 2001. Print.

34

Works Consulted
Alberro, Alexander, and Blake Stimson. Institutional Critique: An Anthology of Artists' Writings.
Cambridge, MA: MIT, 2009. Print.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso,
2012. Print.
Burnett, Ron. How Images Think. Cambridge, MA: MIT, 2004. Print.
Burke, Peter J, and Jan E Stets. Identity Theory. Oxford; New York: Oxford University Press, 2009.
Print.
Bishop Claire. Participation. London: Whitechapel : The MIT Press; 2006.
Bourdieu, Pierre. Distinction: A Social Critique Of The Judgement Of Taste. Harvard University
Press, print. 1984.
Bourriaud N. Relational Aesthetics. [Paris]: Les Presses du Réel; 2002
Deleuze, Gilles. Difference and Repetition. New York: Columbia UP, 1994. Print.
Evans, David. The Art of Walking: A Field Guide. N.p.: n.p., n.d. Print.
Gomoll, Lucian. Posthuman Performance: A feminist Intervention. Total Art Journal, Vol. 1, No. 1,
Summer 2011.
Hayles, Katheryn. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and
Informatics. University of Chicago Press, 1999.
Hood, Bruce. The Self Illusion: How the Social Brain Creates Identity. Oxford University Press,
New York, 2012.
Iversen, Margaret. Chance. London: Whitechapel Gallery, 2010. Print.
Jean Paul Sartre. No Exit. N. p. Web. 8 Nov. 2013.
Lacy S. Mapping the terrain: new genre public art. Seattle, Wash.: Bay Press; 1995
Thompson, Nato, and Arjen Noordeman. Interventionists: Users' Manual for the Creative
Disruption of Everyday Life. North Adams, MA: MASS MoCA, 2004. Print.
Thompson, Nato. Living as Form: Socially Engaged Art from 1991-2011. New York, NY: Creative
Time, 2012. Print.
Nietzsche, Friedrich, and Reginald John Hollingdale. Human, All Too Human. Cambridge:
35

Cambridge UP, 1996. Print.
Reas, Casey, Chandler McWilliams, and LUST. Form + Code in Design, Art and Architecture. New
York: Princeton Architectural, 2010. Print.
Roelstraete, Dieter. Richard Long: A Line Made by Walking. London: Afterall, 2010. Print.

36

Appendix A: Doppelgänger, Chapter 1
Early September, Labour Day long weekend. Possibly the Sunday, mid-morning.
I was walking on Knox Mountain (Magic Estates) and we passed each other at the intersection of
Magic Drive and Camelot Crescent, in the middle of the street, in front of the large house with the
rock garden and the yappy dogs.
The street was empty of any other people or cars, so I noticed you immediately when you came into
view walking towards me, likely from off of the same trails that I was on my way towards for a run.
From a distance, I recognized of your bright blue t-shirt with white lettering as that which was given
to participants of the previous spring’s Vancouver BMO half-marathon, as it was a shirt that I also
received for participation, and it was the shirt that I was also wearing.
In Vancouver it is not uncommon to pass other people running as I do through the streets of the
West End or in Stanley Park wearing this identical BMO shirt. Usually when this happens, I will
share a mutual nod of recognition and accomplishment with the other runner. However, here in
Kelowna it was less expected, and I found this to be a nice little coincidence that made me smile.
By the time that we were within 30 feet of each other, I realized that in addition to our matching
shirts, we were also both wearing in the same grey Lululemon crop pants and Adidas Adizero
Boston II runners in fluorescent yellow with blue detail and black Adidas stripes.
With each step I took towards you, I tried to think of something to say that would be appropriate in
this situation - perhaps I should say something like ‘nice shoes’ as I passed you to commemorate this
synchronous glitch in the system, but that would mean drawing attention to the miscalculation. I
decided that the safer thing to do would be to just pretend that I did not notice you at all and to
keep walking.
Within 10 feet, I noticed that you were also wearing the same grey headband as I was - also from
Lululemon.
Within five feet it was clear that in addition to our analogous running gear, that our steps and
movements were mirrored precisely. I hesitated (as you did) as I stepped closer to you, and we
stopped facing each other briefly before I stepped to the right as to not walk into you, and you
simultaneously stepped to your left to avoid me. This happened again as we each try to correct
ourselves a second time - my right, your left - and again - my left, your right.
At first, we were awkward and apologetic in our unsuccessful attempts to step around each other,
but it did not take long for us to fall into our accepted pattern of a comfortable, anticipated steps.

37

Left. Right. Left. Right.
Our corrective loop continued like this for hours.
When people walked passed us, they would pretend not to see us. Cars would need to drive around
us, but no one seemed to notice or to care.
Hours turned into days, which turned into weeks.
It didn’t take long before the birds and animals were used to our presence. Families of deer would
regularly come and lick the salt off of our skin, which was nice because it kept us clean.
The weeks turned into months, which turned into seasons. I became familiar with the nuances of
your body language, and learned from that you were comforted by the sounds of snow being
shoveled in the winter and lawns being mowed in the summer. I think that I almost saw you crack a
smile at the sound of a leaf blower one day.
The months and seasons turned into years. One day, I decided to try and count each time you
blinked before losing count and made it to somewhere in the high ninety millions.

38

SPEECH FROM THE
THRONE
The Honourable Judith Guichon, OBC
Lieutenant-Governor

at the
Opening of the Second Session,
Fortieth Parliament

of the
Province of British Columbia
February 11, 2014
~1~

Life for British Columbians, convenience
for British Columbians
In British Columbia, In British Columbia, British Columbia British
Columbia British Columbia British Columbia British Columbia British
Columbia British Columbia British Columbia British Columbia, British
Columbia’s, BC, B.C., B.C., B.C., B.C., B.C.’s, B.C.’s, B.C.’s, B.C.’s, in
B.C., in B.C., a violence-free B.C, throughout B.C., our province, across
our province, this province, to this province, to this great province, across
the province, right across the province, different parts of the province.
In the Okanagan, in small communities, and municipal, community and,
Municipal and regional governments, On Vancouver Island, in West
Vancouver, Victoria, Vancouver and Kelowna, at Grassy Point, with
Aurora and Woodside, respectively. For this country, as a nation, and
several provinces, around the world, jurisdictions in the world, abroad
today, for Canada’s Pacific Gateway, every region of our province.
This government, this government, this government, this government, this
government, and this government, the government, your government’s,
your government, your government, your government, your government,
your government, your government, your government, your
government, your government, government, your government,
government, and keeping government small, expect the government, they
expect no less from their government, it is your government’s task to
deliver, government policies, make sure your government is efficient, is
already one of the most efficient in the country, the provincial
government, the first foreign government, the governments of California,
Oregon, and Washington states, one of the hallmarks of your government,
a ministry, its determination to eliminate unnecessary and duplicate
regulations in government, unnecessary red tape, tasked specifically with
and to, the Core Review.
A mandate, is ready to introduce, we will introduce a long-term, detailed
consultations, will introduce a motion, legislation will be passed. No
meaningful legislative reform.
To maintain the institutions: Order of British Columbia, Queen’s
Diamond Jubilee Medal the throne, the chamber, the house, the sector
and the sector.

~2~

I want to acknowledge some of them today
People across British Columbia, fellow British Columbians, beloved
British Columbians, fellow British Columbians, all British Columbians,
all British Columbians. Team British Columbia, British
Columbians, British Columbians, British Columbians, British
Columbians, British Columbians, British Columbians, British
Columbians, British Columbians, British Columbians, British
Columbians, British Columbians, for British Columbians, British
Columbians, British Columbians, British Columbians, British
Columbians, with British Columbians, over 76,000 British Columbians,
86,000 British Columbians.
Our People, citizens, citizens, all citizens, the middle class, consumers,
newcomers to our province, educators and parents, students, for every
student, for every single student, and technical graduates.
Leaders, leaders, leaders from every sector, followed our lead, a national
leader, one great leader, an international leader, has traditionally been led,
to lead a Blue Ribbon Panel.
The Premier, the members, Members of the Legislative Assembly,
Members of this Legislature, the Member for Abbotsford South,
Parliamentary Secretary to the Minister of Justice, Attorney General,
Member of Parliament, Members of this house.
First Nations leaders, First Nations, First Nations, and First Nations, and
First Nations, and First Nations benefits.
Many of these men and women, private sector labour unions, all other
public sectors, ready to be first-in-line, to be first-in-line, lesser known
citizens, victims of crime, victims of crime, missing and murdered women,
those raising young families, the families, the youngest, our children, our
children, every child, every child, our parents and grandparents, 34 public
service employees, 1.7 billion people, especially the disabled, single
parents, and First Nations, including Aboriginal and vulnerable women.
People like, Nelson Mandela, Harry de Jong, Agnes Kripps, Newell
Morrison, George Whittaker, Jack Barnett, husband of MLA Donna
Barnett; Ken Dix, father of The Leader of the Opposition; and Rosa
Coleman, mother of Minister Coleman; Gene Rheaume, Dr. Alfred
Joseph, Chief John McIntyre, Chief Bruce Point, Chief Joe Mitchell, and

~3~

Chief Ernie Campbell. Tim Jones and Jack Munro, Muriel Dove, Tom
Cove, or Gim Wong, Louis Beglaw, Terry Albrecht, Naguib Damji, and
Julie Paskall, John F. Kennedy.
Our cornerstone communities, into communities, First Nations
communities, self-sustaining communities, healthy, safe, wealthy
communities, South Asian community, communities, the Chinese
community, the Chinese Canadian community. For communities, for
smaller communities, schools and communities, each and every one of
you.
On duty, continues to engage, as activists, recipients, journalists, labour
leaders, with unions, union members, including the negotiators and
labour leaders, commissioned officer, for female officers, everyone
involved in this process, and the veterans, on veterans, law enforcement
officers, or police officers, and firefighters, Canadian Forces members,
trade unions.

A better place to live
Their leaders envision – democratic, safe, and prosperous – cleaner, safer,
safe and caring places, will improve safety, who led their communities,
protect health and safety, safety of our communities, improving quality of
life, to realize their full potential.
We also have a great responsibility – responsibly, to reflect the way actually
live, to give greater convenience, continue to stand up for, to account for,
to organize and measure, means making sure, to ensure, to ensure, to ensure,
to make sure, and ensure, ensuring that, and to help ensure, but also
ensures, an agreement to ensure, our capacity to ensure, to help prevent
violence.
This will help them, confront them, in the global fight.

This is particularly important to remember
Tributes – they lived, we lost, we lost, their loss, the loss, the loss of, as we
mourn, mourned the passing of, mourn the passing, suffered personal
losses, we pause to reflect, we take a moment, pause to remember, honour

~4~

their memory. We are saddened by, who passed away, like who died, who
died, under tragic circumstances.

They are travelling, commuting, getting their
goods to market
Those about to enter the workforce, the hard work is paying off. Those
already in the workforce, the hardworking men and women, women, for
youth and older workers, those who have never been in the workforce –
but because it is hard, continue to work, working collaboratively, work
together, full participants and beneficiaries.
Across the Pacific, Asia, in Asian countries, the People’s Republic of
China, China, the China RMB market, on the horizon, that are coming,
will lay out an overall framework.
Having the physical infrastructure, Infrastructure, infrastructure may
command the most attention, the biggest ever improvement in
transportation infrastructure.
Re-engineering, our road infrastructure, driven by, transportation plan,
look forward to enhancements, our bridges, ports and airports. Major
expansions, and expanding, with major hubs.
We have shown the world, continues to rank among the highest in the
world.

Social Infrastructure, social infrastructure is no
less important, but it is no less important
Who have lived here, they helped to build, to help make, they all helped
make, who ran the poppy drive, here at home.
There truly is strength in diversity. Leverage Our Strengths: Leverage Our
Strengths: Leverage Our Strengths: Leverage Our Strengths: to leverage
our existing strengths, greatest strength has always been from different
backgrounds, and different walks of life, from all walks of life, as diverse as
the province.

~5~

Each has made contributions, made contributions, has made significant
contributions, their contributions were, who have lived and made
contributions here. The services, of those who served us all, selfless service
to others, because it will serve one.
To have the courage, who risked their lives, who blazed a trail in her
profession, who inspired people, and inspired, they created, to manage,
making decisions, making decisions, injecting new revenues, which would
make an appreciable difference.
In education, public education system, education, and educational
institutions, post-secondary education, secondary and post-secondary
institutions, in our classrooms, build a personalized education, creating a
personalized education plan, a great education, will meet them, and learn
from them, to learn from us.
Generate power, for future generations, that generation, the generation,
our generation, the next generation, as each generation should, energy,
energy, clean energy, to embrace clean energy, we need to improve,
improve carbon pricing programs, the real cost of carbon, the world’s
carbon emissions, to cut emissions, our total provincial emissions, lowcarbon fuels, reduce emissions, a new Water Sustainability Act, the
Pacific Coast Action Plan, a carbon tax, that includes taxation, protect our
precious groundwater, to help ensure that our water stays healthy and
secure, protect our environment, the world’s cleanest-burning nonrenewable resource, the cleanest in the world, environmental actions, and
a Prosperity Fund.
From vineyards, to craft breweries, liquor laws, to reform liquor policy.
In health care, health, health care, for patients. will improve patient care,
finding new ways to care for those who need it, our health care remains
the best in Canada.
Bringing new problems, especially violent crime, crime rates, reducing
crime, domestic violence, to escape from violent situations, discriminatory
policies of the past, historical wrongs, Komagata Maru Incident. We
cannot undo these wrongs, we also have to make amends, but we have to
acknowledge them, to formally apologize.

~6~

The postwar world
Since was last addressed, since we last met, last year, last year, last year, last
year, over the past year, over the past number of years, in 1943, 50 years
ago, for almost 40 years, that was a generation ago, the 100 years since, a
decade of labour peace, was different, in a different time.
In a year and a half, after four years, in ten years, 10 year, over the next
decade, as we move into the next decade, in a decade, a century, the
100tth anniversary, in 2013, in 2014, by 2015, by 2020, by 2030, for 25
years, for a lifetime, at the age of 97, at the age of 22, have been for too
long.
Former, and former, That starts with, today, this year, this year, in this
coming session, in this session, this spring, in June, in June, and in
November, over the coming year, too often, too often, or just starting,
immediately after the provincial election, for millennia, to move towards,
looked to the future, in a period of incredible growth.

Plan to grow the economy
The Choice, Face a stark choice, make choices, making common sense
changes, enact the changes, confront the reality of our own times, to
follow through you need a plan. To give the chance, must have the best
chance possible, the plan, the plan, comprehensive strategy, cutting edge
strategy, ERASE, our ERASE strategy, the only path to a secure tomorrow,
we choose to do this.
The central challenge, the challenge, and the challenge, and a unique
challenge, because that challenge is one we are willing to accept, those are the
challenges of our time. Responding to challenges, reflect the reality of the
times, have to prioritize, continue to remain a dynamic, we must continue
to innovate, will continue to negotiate, will not spiral out of control.
Western economies, Western governments, growing the economy,
growing the economy, grow our economy, it is a growing economy, for
economic growth, the new economic growth, and new economic growth.
Enabling, which enables, enabled economic growth and, a path to new
economic growth, an integral part of that growth, lies in a strong
economy, have been growing, a strong economy, generate billions of
dollars.

~7~

Left out of economic growth, growth can be rough around the edges.
Economic development, economic development, economic development,
on economic development, economic activity, and revenue, in favour of
economic development, the world’s fastest-growing economy, highest
quality of we can afford, They could afford to go to the moon.
Building on the BC Jobs Plan, the BC Jobs Plan, creates jobs, and create
jobs, thousands of new jobs, to create 100,000 new jobs, over 90 megatons
per year, with trade and jobs, preparing for the jobs, for the jobs of the
future, a wave of retirements, million job openings, the new jobs that
come with it.
We need to do a better job, find new ways to grow the economy,
government spending, to control spending, controlling spending, control
spending, controlling spending, is committed, and remain committed to
fiscal responsibility, fiscal responsibility, and spend themselves into
bankruptcy, and balance their own budgets, the balanced budget, to
eliminate the provincial debt.
The second lowest costs per capita, cost, and reduce costs, and its cost in
our province, have a direct financial stake, pay dividends, the number,
remains too high.
Open new markets and attract new investment, Open New Markets /
Investment, opening up new markets, the areas of greatest need for
investment, attracting new investors, to continue to make investments, the
investment necessary, invest every health dollar, Important investments
have been made.
Skills training is a Canadian issue, the best of our energies and skills, through
skills training, through seeking to retrain, need to upgrade skills, we
launched a Skills and Training Plan, our students have the skills, on skills
training, skills training, ensure we train the talent to meet its needs, trade
with the growing economies, the number and quality of trades, and to
solidify trade relationships, fourth international trade mission.

The joint efforts of industry
When our resource industries thrives, our resource industries, our
resource industries, natural resources, surging natural resource industries,

~8~

the mining and agriculture industries, In natural resource development,
expanded heavy oil pipeline, forestry and mining, lumber exports to
China. Natural gas is the world’s cleanest non-renewable fuel, third largest
industry, LNG is, LNG, LNG, LNG, LNG, of LNG, LNG demand, we are
unwilling to postpone, the Industry Training Authority, to create a
corresponding demand for, LNG industry, with LNG investors and
projects, has established, establishing the LNG.
Rely on coal, opening of, two new mines, another six mines, the first
metals mine, approved for another six. This has created more, nine more,
supply for more, employ more, more than, that is more, can and will do
more.
Technology is, technology, we were among the first, growing the
technology industry, a thriving technology ecosystem. Business, and give
business, to small businesses, private sector businesses, businesses, small
and large, it is an articulation of the way we do business.
Here in B.C., this has resulted in cutting over 150,000 regulations.

This model is a blueprint for success
Modernization, about modernizing, modern rules, antiquated rules. The
first step is, has five points, our Five Conditions, first, second, third,
fourth, and fifth, for fully one quarter, a small percentage - 2 or 3 per cent
per year – or less, triple to, for the two parcels, increase two and a half
times.
The greatest single step we can take, the next step is, will identify further
steps to, is taking steps toward, and this is taking steps.
We must find new ways to achieve the best outcomes, outcomes, and
productivity, outperforms expectations, and deliver the best outcomes, bar
none.
Agreements have been reached, a remarkable transformation is taking
place, this transformation has already started.
We have the opportunity, the incredible opportunity, to realize this
opportunity, presents with a unique opportunity, connect with
opportunities, to grasp the opportunity, create new opportunities, a once-

~9~

in-a-lifetime opportunity, more opportunities for everyone, the job
opportunities, for job opportunities, new opportunities to grow.
With a potential to become, is forecasted to, is projected to, to prepare, to
realize, creating, and allowing, it will allow, an equal opportunity for a
prosperous future, lifting people out of poverty, will develop, we will help
them develop, to reach their enormous potential, longer term labour
peace, a secure tomorrow, build our future, A better future, a brighter
future, to fight climate change, A more prosperous and greener future, the
future, and structured for success, to succeed, they must be safe, to
succeed and surpass us, labour stability for taxpayers, four labour
agreements, the public sector, a vote of confidence, a vote of confidence,
that will not soon be forgotten.
Thank you.

~ 10 ~

SPEECH FROM THE
THRONE
The Honourable Judith Guichon, OBC
Lieutenant-Governor

— at the —
Opening of the Fourth Session,
Fortieth Parliament

— of the —
Province of British Columbia
February 10, 2015
~1~

Before I look forward, let me review what we
have accomplished in our recent past.
Members, members, members, members, members, members of the
Legislative Assembly, Her Majesty Queen Elizabeth II, Queen of Canada,
from the throne, our longest-reigning monarch, the reign, her Majesty, the
mayors, Her Majesty, the Premier, her, her great-great-grandmother, or
parents, their kids, with hotspots in Victoria, after whom this city is
named. Truckers, dedicated public servants and their unions, the
descendants, our craft beer and wine producers, beer, wine and
spirits, immigrants from Asia, stakeholders, and proponents.
Each of you, your constituents, your predecessors, Pat Quinn and Ted
Harrison – Dr. Jasbinder Sanghera, and Sergeant Mike Lawless, Simma
Holt, Jack Adelaar, Jack Talstra, Gordon Harris, Maurice Chazottes, and
Allan Hustwick.
We live in uncertain times, and market conditions, with our Five
Conditions. Unnecessary, outdated regulations, needless regulations, have
been approved. The lessons from the Macatee Report and, the Coroner’s
Report into the Babine and Lakeland tragedies, Supreme Court decision,
the permitting process, the plebiscite, which will provide independent, a
full and independent review, and impartial advice.
As discussions move, on, and learning from past tragedies, with ongoing
initiatives like, the Taxpayer Accountability Principles, a comprehensive
LNG tax framework, critical LNG training seats, the LNG-Buy BC
program, the, Buy Local program, a seven-year tree fruit replant program,
the BC Venture Acceleration Program and Broadband Satellite Initiative,
the Skills for Jobs Blueprint, Malahat Safety Improvement Project, to
pursue their proposed projects, government has a role to play, necessary to
bring these projects to life.

One with no insiders and outsiders, with no
winners and losers.
Events around the world, on the world map, on the world stage, more
than 140 countries, a chance, to dine with, countries on promoting,
promote their, products, for, healthy food products, that we do not, rely
on one commodity. On the horizon is India – trade with India – China
has grown rapidly, in China, China is now. Our trading relationship with
Japan, by supplying, between Canada and South Korea, across the Pacific,
British Columbia’s sister province of Guangdong, from Lima to Paris, at

~2~

Mount Polley, from Ottawa to Sydney to Paris, our fellow provinces, and
the IMF, every one of its targets. The global economic recovery, is globally
competitive.
The world’s third-largest economy, in the world, from around the world,
are ready for the world. But the world does not stand still. In Canada, how
we define ourselves as Canadian, that have become part of, that have
defined us as Canadians: To represent, only too well, not only to
represent, but also to represent, represented the very best, are among the
best, bringing some of the best thinking on learning, volunteering their
time, shared their input on, on our shared priorities: to share best
practices, and best wishes.
Just British Columbians, British Columbians, and thousands of British
Columbians, my fellow British Columbians, beloved British Columbians.
We are fortunate, that there is no need to choose, to recognize the men,
two men, a Medal of Good Citizenship, MEDAL OF GOOD
CITIZENSHIP, but their accomplishments, contributions, to contribute
to Confederation, extraordinary contributions, money and talents, one of
our greatest strengths, to strengthen, propose changes, made changes,
these changes were also made, who have made, inspired us and made us
proud.
It will not always be easy, yet our, our task is, the Assembly’s task, I know
you are up to the task, and, is done for its own sake. I ask you to join me, I
ask you to remember.…we have a proud history, and historic ties. A
historic meeting, with a similar meeting, the longest in British Columbia
history.
While we may disagree with the person speaking, we must always
recognize, that recognizes, respect and defend their right to speak. To
thank them for making a difference, who took different approaches to,
and tolerant society, and tolerance for differences, over colonial affairs.
“Let them look to the past,” with looking, will look, but let them look, let
them look to the land of their ancestors, for land-based tenure
applications, and processing times, and our land, also to the land of their
children, but let them also look to the future…”

Communities are defined not by bricks and
mortar.
In this house, housing starts are on the rise, with our fiscal house in order,
at, the Ceremonial Home of all British Columbians, on the, container,
are, returning to, workers return home to their families, across the
province, and raise families, and raised here.

~3~

Coming back home from away, here at home, closer to home. Beyond
what we can do at home, when the dam failed, while never losing sight of
what got us here, our clean air, our clean water, democratic values,
acceptance of diversity, of religion or political beliefs, to respect, respect
for each other, our cultural, a culturally rich, linguistic, VIOLENCE FREE
BC. The Violence Free BC Strategy, it aims to prevent violence, a
comprehensive strategy to end violence against women, and give women
the supports they need to rebuild their lives. We can put an end to
violence against women, and women. This strategy has paid off.
The minister of technology and citizens’ services, social services, how
citizens interact, government services…your government is delivering, for
your government. At that time, at the same time, to deliver services well,
deliver the services, serving Port Metro Vancouver, in smaller towns, in
smaller centres, of Metro Vancouver, in Metro Vancouver, the thriving
startup culture in Vancouver, on Tsilhqot’in title, the new Okanagan
Centre for Innovation, in different venues, neighbourhood pub, at the
grocery store, at Government House, between the cabinet, on Vancouver
Island, our Asia-Pacific gateway, that deliver services affordably, your
government is delivering. It will deliver a balanced budget, and delivered,
has declined, and delivered.

To build a better, more fair and sustainable
province.
To build a more prosperous province, of, more than two-thirds, to build
our future, to build careers, that builds on the recent success, progress we
made, is positioned for continued success, and, builds the foundation for
growth. As one nation builder said: Not to build walls against
development, build stronger communities.
And lead the way, environmental leaders, will continue to lead, is also
making stride, and lead the development and implementation. Protecting
the environment, THE ENVIRONMENT, by continuing to protect, a
plan to protect, while protecting, the harmful effects of protectionism.
Leadership means striving to leave a better legacy. It means sticking to the
plan, and to stick to it – but it also, but it is also means making change. It
means staying true to our principles. Now more than ever – we have the
foundation, provide a positive example, and inspire others to follow their
example, to the world, provides an example, provide the services, service to
us all, and the world, means setting world-leading standards, holding
employers to the highest standards, world-leading environmental
standards, the world’s cleanest fossil fuel. embrace the world, and more
worldwide recognition.

~4~

Your government is delivering innovative change.
As Sir Wilfrid Laurier knew, in addition to delivering, there is an
opportunity, increasing opportunities, is an opportunity to build a better
partnership. Building partnerships, continue to build strong progressive
partnerships with First Nations, for, our second-largest trading partner,
but the second was to order, the third will be to take those findings, with
our fourth-largest trading partner, with our municipal partners, in
partnership with Alberta and Saskatchewan, and we now have an
opportunity to improve, to be a champion, to improve. First Nations must
be our partners, must. Ensuring First Nations are full partners is
crucial, in, over 250 significant agreements with First Nations, First
Nations, First Nations, FIRST NATIONS, including many First Nations
workers, and leaders of First Nations, leading the way.
Before, today, today, today, today, every day, step by step, step by step,
right first step, we will negotiate a new agreement, to reach agreements, to
reach a negotiated agreement. and reconciliation agreements, the recently
ratified free trade agreement, the Softwood Lumber Agreement, has,
signed from treaties.
Your government will continue to lead, lead on responsible economic
development, between economic growth, to support economic growth,
from economic growth, an emerging economic giant. To economic
development agreements, with a real stake in economic growth and
development, of growers replanting low-value orchards, in growth.
See the benefits of growth, manage growth, with, the benefits of a growing
economy, with record-setting growth, meaning more growth, growth
within our own country, meet the challenges that growth can sometimes
bring, to the growing economies of Asia.
Through the New West Partnership, through partnerships with overseas
institutions, through research, through fundraising. Throughout the
province, throughout the province, in our province, throughout Canada,
British Columbia, British Columbia’s destinations and, through
Destination BC, through 2020, By 2022. Last September, In September
2011, in October, in 2013, In February 2014, in 2014, in 2014, In 2014, –
and in 2015, In 2015, In 2015, In 2015, will start 2015 – 2015 will be a
turning point.
That’s why it is important, it starts with a special focus, on, focused, on,
have brought the importance of democracy into sharp focus, and focusing
on feedback on,, on forging relationships with new markets, and
developing and marketing, or buying local wine at a farmers’ market.

~5~

Responsibly. Safely. With social license.
Our first responsibility, was, fiscal responsibility, neither fiscal
responsibility – fiscal responsibility, in terms of debt management, because
sound fiscal management. CHARTING THE COURSE, to eliminating
the provincial debt, MANAGING COSTS, to eliminate our debt. The,
Provinces and indeed our federal government, with the federal
government, are forced to respond to the sudden fiscal impacts, respond
when it takes place.
It is my privilege, to encourage another year of strong growth in tourism,
B.C.’s world-class tourism products, tourism, with more than 19,000
tourism businesses. B.C.’s agrifoods sector is famous, the tourism sector
continues to grow. To help farmers and food processors, to help a thriving
sector, on helping rural B.C., especially those that help us, and help build
this great nation, greater convenience. Your government is committed to
help them, helped make B.C., your government is committed. To health
care, infrastructure, new public transit infrastructure, and public safety,
takes the same approach to worker safety, and enhancing health and
safety.
This year in international education, in international education, as,
international education, global companies, the national and international
companies, received significant international recognition, but
international governments, for all levels of government, your government
took, your government has, or your government, your government is, your
government will, your government will, has strong prospects for
industries.
In education, the Ministry of Education, on education and education,
bilingual education programs, SKILLS TRAINING AND EDUCATION,
is a model, that begins with skills training and education. They have the
training and skills required, to provide skills training, and training, extend
beyond skills training. They extend, must extend beyond, extending to our
congratulations, and apply the lessons learned.

We are ready to walk the long road ahead of us.
A vital resource industry - Mining and Energy, Technology - in
transportation, transportation, transportation is crucial, to ease, to ease
traffic congestion, reduce emissions. Forestry, forestry, in forestry, our
B.C. forest Industry, amendments to the Forest Act, a renewed Forest
Sector Competitiveness Strategy, including, includes, including a new Fish
and Seafood Strategy, forest product exports, and export in exports to,

~6~

B.C. lumber products, for its fresh, and high-quality varieties. In all these
sectors, from the tech sector, of the agrifoods sector, the, Agrifoods, the
Agrifood Advisory Committee, for the broader public sector, of public
office, of B.C.’s public sector workers, Responsibly across all our sectors,
perhaps no sector.
The mutual benefits, the opportunities to benefit, they will benefit, benefit
from the abundant natural gas resource they own, they made their, they
will inherit, they have come up with a realistic way to pay for it. The one
taxpayer, ONE TAXPAYER - there is only one taxpayer that pays.
Whether they were born, will establish, was accelerated, has met or
exceeded, and meet its full potential, the results speak for themselves, in
their, CONCLUSION, and, will expire.
Revenue has increased steadily, in annual revenue, and the revenues, has
increased by 103 per cent, than 1,400, has increased by 157 per cent, have
increased by 63 per cent, is up by 166 per cent, 44 per cent, 1.7 percentage
points, has increased by 20 per cent in just five years, and, have already
agreed to five-year contracts.
Now there is an opportunity, is a generational opportunity to grow. To
reduce red-tape, reducing red tape, RED TAPE REDUCTION, by cutting
red tape. By further reducing the cost and burden, of, burdens –
sometimes contradictory, we lost some, is often burdensome, it allows us
to attract investment, to attract investment, and invest in, in new
investment, enables us to continue to make investments, to make
affordable investments in our future, of, affordably, which gives certainty
to investors, and expanding our client base, and adapt to a changing
world, have already invested dollars.
As opportunities increase, increase opportunities, new opportunities, the,
new arrivals, have increased steadily, will increase funding, over a third of
all B.C. exports, and increase staff and inspections, and increase our trade.
That’s the only way, of trade that is free and unhindered, that hinder,
TRADE, will be in trades and technical professions, trade with, outdated
trade barriers, because our trade depends on it.
Opportunities for B.C. students, B.C. students, to B.C. students, teachers
and parents, the number of students, the number of aboriginal students,
the number of international students. B.C. offshore schools, a new
offshore school, to study abroad, in B.C. schools, to make sure our
students, students and student outcomes, our student outcomes, with
special needs graduating, graduating from our schools, top-ranked in
reading and science, and second in math.
That is the central principle behind, on small business, to connect B.C.
businesses, gives B.C. businesses, making it easier to do business, and a
secure place to do business, small business employs across our
province, many of them small businesses, has led the country in

~7~

supporting small businesses, to articulate the way we do business in B.C.
They are: set aside, are treated fairly, under the new mandate, have
developed a vision, and in some cases, add capacity and resolve
bottlenecks.
It was controversial, would lose half of its value, but, unemployment has
dropped. Since the chamber, Since then, since 2001, Since 2002, Since
2006, Since 2011, Since 2011, since the launch of the BC Jobs plan – to
have a plan, on the Jobs Plan, the BC Jobs Plan, the Jobs Plan, with our
BC Jobs Plan, the BC Jobs Plan. Update to the 10-year skills training plan,
a new transportation plan, on a new action plan.

This year will be transformative.
Most notably, will bring forward, during the same period, this coming
year, this year, this year, this year, this year, over the next few years, who
this year, was last addressed, last year, last year, last year, last year’s, in just
the past year, last fall, last week, this year, later this year, later this year, at
the end of their shift, over the last three years, in the last three years, will
open three new, first five years, more than 30 years of discord, 150 years
ago this month, a hundred years old, in a matter of months.
Who could have credibly predicted, over the past decade, in the coming
weeks, we will, will embark, on all these commitments, and committed for,
one-stop shopping, has attracted more excitement and investment, attract
more, and more - more efficient, more ambitious: save time and make
things.
But we need collective action, when needed, with purposeful
determination. Fighting cancer, for lowering, and fighting climate change.
To ensure, while ensuring, while ensuring, we must ensure, we must
ensure British Columbians have, to ensure, to ensure, to ensure, to
ensure, will help to ensure, will continue to find, with several ways to
ensure, has worked to ensure, to ensure this never happens again. We can
never forget: we must never forget…like never.
THE PLAN, provide good-paying jobs across the province - more than any
other province, surpassing of, compared to other provinces - and to create
jobs across the province, and the jobs that come with them. To create
thousands of new jobs, could create a hundred thousand jobs, voted to
create, to create jobs, creating over 1,300 new jobs, and supporting almost
25,500 jobs, more than 70,000 jobs have been created, for the jobs of the
future, over a million job openings are expected.
For the mining and energy sector, B.C.’s mining and energy sectors. The
B.C. carbon tax, and carbon capture, our carbon tax. Heavy oil pipelines were brought in line - that oil, dependence on oil, with oil-based

~8~

economies, considering, consider the price of oil. Working in diverse
sectors, across the eight sectors, across eight key sectors of our diverse
economy, and green economy sectors, in fields as diverse as biofuels, as
diverse as mining, proves we can do both. For major mines, five new
mines have opened, to the mining division, and seven major expansions of
existing mines, we expect the Red Chris mine to open, a global mining
hub, has the cleanest LNG, B.C.’s clean-tech industry, clean tech
entrepreneurship, clean tech and digital media, and natural gas. Liquefied
natural gas, LNG, than natural gas, on natural gas development, and
Natural Gas.
As the economy grows, at a time when the US economy, and the Green
Economy, grow our economy, GROWING THE ECONOMY, and grow
the economy, a growing economy, to grow a diverse economy, to
strengthen our diverse economy, we need to grow our diverse economy,
nor growing the economy, that we have a diverse economy, to provide
better wages.

Our economy has grown, our population has
grown, more than one million people.
With how people actually live, But the people must have their say, people
will have their say, for real people, and the people., but the people within
them.
Your government is working, – especially is starting to rebound, has
started this work, with, British Columbians are working, which already
employs 13,000 British Columbians, with, British
Columbians, employing another 300 British Columbians, of British
Columbia, with, British Columbia. British Columbians have, British
Columbians go the extra mile, across British Columbia. If we work
together, we are working, continue to work – but will continue, will
continue to work, continue to work, will continue to work, was
completed, will continue to work with, to work together, together, to
undertake the work, and continue to work. It will take a lot of hard work
– from everyone in British Columbia.
And B.C. will continue, a more prosperous province, B.C. will continue
to, and B.C. will continue to stand strong in an exclusive club. We
continue to, we will continue to build, and it will continue to grow. And
they continue, we will continue to, we will also miss, we will continue to
stand up for B.C., not just for, B.C., to assert, B.C.’s laws, B.C.’s
technology, in B.C., with B.C.’s, are putting B.C. that B.C. we are
fortunate in B.C. B.C.
Technology contributes $23 billion, with one billion dollars, to invest
billions of dollars, and billions more, and now account for, accounting for
$6.5 billion, more than $8 million, a near-record 2.3 million, with $2.7

~9~

billion more than 7 billion – up $10 billion in just 10 years. To control
spending, spending $2.3 billion, $7.5 billion every year.
This spring, your government promised to present, as promised
consistently by this government, has consistently taken, has earned a
sacred trust – by proposing a balanced budget, your government proposed
a balanced budget, your government proposed a balanced budget, and that
allows government to, that allows government to, that allow us to
implement, implement application process, to, set out clear expectations.
Following a comprehensive Core Review of provincial government, core
provincial government, the provincial government, and around this great
province, the Province, with the provincial government, the provincial
government and teachers’ federation, your government, your government,
your government, your government, remains fragile, remain unstable, your
government, your government, your government, your government, your
government, your government, your government, our government, our
government, Your government, your government expanded, when it was
launched nearly seven years ago, seventh international trade mission, your
government pledged to launch, your government launched, high-demand you all know the demands.
With that mind, many said this was impossible.

~ 10 ~

Appendix D: Stalemate
https://vimeo.com/123257541
Documentation of participant interacting with work at the Alternator Gallery in Kelowna, B.C. The
participant is attempting to trigger the text ‘judgement of strangers’ to appear.

59

Appendix E: Stalemate
https://vimeo.com/122900587
Participants interacting with work at the Alternator Gallery in Kelowna, B.C.

60

Appendix F: You Just Never Quite Know
https://vimeo.com/133952974

Participants interacting with the work at the Charles H. Scott Gallery, Vancouver, Canada.

61