These renderings offer themselves as contexts alternate to the proscenium, and sometimes alternate to objects within the film frame itself, thus continuing the pattern of substitutions, but it is here that the strategy shifts.
- Erik Loyer, Designer's Statement
All info and conversations from this project page
RSS feed of the conversations from this project page
XML feed that drives Critical Sections
Also of note here are the historiographical implications of Smith's project. As a contribution to the Memory issue of Vectors, Critical Sections proceeds from an already problematized approach to both history and remembering. As cultural historian Norman Klein (who wrote the project's peer response) has long argued, Los Angeles is a city notorious for its troubled relationship to the past, in no small part due to the omnipresence of the film and television industries. Architecture in Los Angeles likewise seems constantly to be in the process of reinventing itself, erasing past styles, buildings, even entire neighborhoods. But as Klein points out, Critical Sections is engaged not with the city of Los Angeles that is inhabited by real people of extraordinary economic, social and ethnic diversity, but with the "L.A." that emerges from an amalgam of fact, fiction, memory, dreams and imagination. Where are the bounds between real and imagined histories in a city such as this? And what is the proper form for thinking critically about the city and its past. In addressing such a well-worn topic that has already been theorized, criticized and historicized by some of today's most esoteric and incisive thinkers, Smith and Loyer manage to create a point of entry to thinking about the city that is both fresh and imaginative.