This dissertation examines the articulation and reconfiguration of locality inOttawa's independent (indie) rock scene. It argues that styles of producing and relating to indie music that have been traditionally embedded in local scenic activity and practices of "do it yourself" (DIY) have been translated into more ubiquitous, quotidian, and valuable metadata and labour that organizes and powers the operations of disparate digital media sites, including digital music services like Bandcamp, CBC Radio 3, and Wyrd Distro.This argument is developed through closer analyses of the following case studies: the entrepreneurial strategies and musical focuses of Ottawa-based independent record labels Kelp and Bruised Tongue Records; scene-bound media like zines, blogs, music video and campus/community radio; the re-articulation of local regions as metadata that organize the search and retrieval functionalities of the digital music streaming services CBC Radio 3 and Bandcamp (a particular iteration of local regions I dub the "indexi-local"); and the concurrent incorporation of DIY labour and reconfiguration of the business of independent music evident in the digital music retailers Bandcamp and Wyrd Distro.This project contends that in the midst of digitization, the media sites, entrepreneurial strategies, and subcultural practices traditionally folded into the production of independence in local indie music scenes persist. This not only nuances narratives of upheaval advanced about digital media technologies, but also challenges narratives of decline and compromise recurrently articulated to the field of independent music. Contra academic and popular discourse that valorizes independent music for its ability to circulate outside of the "mainstream" musical, media, and cultural industries, this dissertation contends that independent music is entangled within these industries.iii Moreover, the persistence of local music scenes across the sites examined in this dissertation signals the continued value, power, and allure of independent music's activities, subcultural commodities, and grassroots media sites to both scene participants and digital music services alike.

This article is divided into two main sections. The first section exposes the ways in which the work of Shepperson mobilises the concept of communication, while the second focuses on the concept of collaboration. First, we want to show how the work of Shepperson tackles the study of communication, by paradoxically adopting and rearticulating at the same time the theoretical linearity of the sender-receiver model, which was then the widely accepted canonical model for the study of communicative processes. Second, we will illustrate how the concept of collaboration appears in the works of Shepperson as both a cornerstone theme as well as a methodology orienting his critical discourses. In this second section, we approach Shepperson's critical discourses from a different critical purview by highlighting how exactly he deploys the theme of collaboration. With this emphasis, it becomes evident that collaboration is not only constitutive to the (re)production of knowledge in the world but, concurrently, becomes his representation of worldly experiences as well.

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Keyan G. Tomaselli's book Encountering Modernity: Twentieth Century South African Cinemas (Rozenberg UNISA Press, 2006) is an effective and incisive summary of the various theories, ideas and analytical frames that have characterized how Tomaselli has continued to approach the study of South African cinemas throughout a period of 25 years. Not content to merely provide readers with a collection of previously published writings, Tomaselli has extensively revised and reworked the essays and book chapters contained in this collection as a means to (re)write South Africa into modernity and provide South African cinema with a history, resulting in a theoretical undertaking that is part intellectual autobiography and part critical attempt to frame South African cinemas in African historical, narrative and theoretical terms. It is indeed within these lines blurring the conceptual and epistemological tension between the concepts of historicity, modernity and autobiography if not subjectivity that we formulate our critical analysis of this review-essay. This review-essay includes two main sections. First, we critically look at the ways in which Tomaselli writes and rewrites theoretical articulation making possible his analyses of South African cinema. Second, we engage in a short dialogue with him, asking him to clarify some of the conceptual tensions we found in his book.

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