Table of Con­tents | Arti­cle doi: 10.17742/IMAGE.SA.12.1.9 | PDF

This image is neither decorative nor strictly available for simple denotative description. Our project rejects captions altogether. The spirit of this project is very much one of uncertainty and imagination. We hope that anyone with visual impairments will glean information from the written compositions.

Struc­tures of Antic­i­pa­tion exper­i­ment­ed with method­olog­i­cal and tem­po­ral con­straints. It also cou­pled geo­graph­i­cal and cul­tur­al speci­fici­ty to cre­ate an ethos of the con­cept of ter­roir. In this brief essay, I will stretch ter­roir beyond the par­tic­u­lar­i­ty of culi­nary appli­ca­tions to include social-spa­tial-geo­graph­i­cal fla­vors that nour­ish a loca­tion-based cultural-psycho-geography.

Ter­roir is a term that refers to how cer­tain places pro­duce cer­tain iden­ti­fi­able qual­i­ties in wine and agri­cul­tur­al pro­duce, to the cli­mate that makes par­tic­u­lar types of this pro­duce pros­per there and nour­ish its human and oth­er inhab­i­tants and give it a dis­tinc­tive taste or flavour based on the nat­ur­al con­di­tions of soil and topog­ra­phy (Bar­ber, 2006). (Cit­ed in Hur­ren and Has­be-Ludt 2011, 18. Jour­nal of Cur­ricu­lum The­o­riz­ing. Vol­ume 27, Num­ber 2, 2011).

Before I arrived in Wind­sor, I want­ed to inves­ti­gate the com­plex­i­ties of pow­er, colo­nial­ism, and place. How­ev­er, once the hour­glass began to count down, and time became finite and scarce, I sim­ply max­i­mized oppor­tu­ni­ties that exist­ed at hand. The out­come was five images that com­pressed every extra­ne­ous arti­fact, sense, and affect to sim­ple ges­tur­al draw­ings. The group’s sup­port let me exceed expec­ta­tions and dis­cov­er an urgency in the unexpected.

To describe the out­put as mag­ic is too holis­tic. Per­haps the more appro­pri­ate word is design.

Ger­man-born Cana­di­an graph­ic design­er Rolf Hard­er says, “to pro­duce good design you must aban­don every­thing that is not sup­port­ing the mes­sage” (from the film, Design Cana­da, 2018, Greg Dur­rell). I’m struck by the idea that, as the sand passed through the hourglass’s neck, the Struc­tures of Antic­i­pa­tion col­lec­tive pro­duced works of immense clarity.

Artis­tic pro­duc­tion is gru­elling. It induces pan­ic. It is exhaust­ing. Yet cre­ative flow emerged from the stress. I imag­ine that the aban­don­ment of expec­ta­tions and the embrace of the sen­so­r­i­al gave me pres­ence with ter­roir. The place­ness of the place and affec­tive ener­gy in a moment let me con­nect to his­to­ry, peo­ple, and mem­o­ry. The image is almost sac­ri­fi­cial. In the still­ness of the moment, ener­gy became still. There was a heav­i­ness of a qui­et anticipation.

All the while, the ground where I found place shakes as trains trun­dle between Wind­sor and Detroit.

Flow is some­thing I dis­cuss with my under­grad­u­ate stu­dents. It has the pow­er to guide peo­ple to a place that seems mys­te­ri­ous, per­haps even unknown. But my own expe­ri­ence, a his­to­ry laid out across a lin­ear stretch of time, reminds me that, the flow is only accessed when I press into the unchart­ed, uncom­fort­able, and unknown.

Struc­tures of Antic­i­pa­tion is where I accessed the flow. I con­nect­ed with it. I felt it. The expe­ri­ence remind­ed me that my own pho­to­graph­ic and walk­ing method of research depend on an enforced pres­sure. I learned that I must find the time for flow. And Wind­sor is where I merged with place.

Works Cited

Design Cana­da. Accessed July 27, 2019. http://​www​.imdb​.com/​t​i​t​l​e​/​t​t​7​1​2​5​7​48/.

Hur­ren, Wan­da, and Eri­ka Hasebe-Ludt. “Bring­ing Cur­ricu­lum Down to Earth: The Ter­roir That We Are.” Jour­nal of Cur­ricu­lum The­o­riz­ing 27, no. 2 (Octo­ber 1, 2011). http://​jour​nal​.jcton​line​.org/​i​n​d​e​x​.​p​h​p​/​j​c​t​/​a​r​t​i​c​l​e​/​v​i​e​w​/​345.