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From the archives

Football Fables

The beautiful game bestrides the world like a colossus

But Blind They Were

The fallacy of an empty continent

Alberta and Me

From a land of oil, true enough

Welcome to the Machine

The surprising political and cultural legacy of the photocopier

Alison Lang

Adjusted Margin: Xerography, Art and Activism in the Late Twentieth Century

Kate Eichhorn

MIT Press

216 pages, hardcover

ISBN: 9780262033961

There are few things more disheartening for a young do-it-yourself enthusiast than to have her posters unceremoniously torn down. I experienced this mini-war of attrition several years ago in Halifax. My friend and I had launched an all-female DJ night and I ran excitedly through the streets late one night, plastering our bright photocopied posters over streetlamp poles and on cable boxes, taping and stapling with impunity—or so I thought. A few days later I strolled through the city’s north end with a friend to point out my handiwork—and to my shock only scraps and tattered corners remained. Someone had methodically torn down our handiwork, one photocopied sheet at a time. I was aghast.

And so I was introduced—however unwillingly—to the politics of photocopied media. As long as DIY promoters, artists, writers and creators have embraced the cheap freedoms of photocopied print media...

Alison Lang is the editor of Broken Pencil magazine, She has written for the Toronto Star, Rue Morgue, Aux, THIS Magazine, Quill & Quire, and Weird Canada. She recently contributed to the Spectacular Optical anthology Satanic Panic: Pop Culture Paranoia in the 1980s.

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