Postcolonial discourse is incredibly diverse and postcolonial art in Australia has numerous critical modes. This paper describes an approach in Contemporary Indigenous art that attempts a critique of the law from within the law rather than outside of it. It takes a radical form of over-proximity, rather than avant-garde distance, and finds the gap and failure in law’s attempt at creating legal subjects of us all. In the work of Gordon Bennett, Danie Mellor and the duo Adam Geczy and (...) Adam Hill, there is a working through the political and legal ramifications of the Indigenous subject in contemporary Australia. The focus on processes of initiation and subjectivization, or what Althusser called “interpellation” and show the effects of this interpellation in the Indigenous subject and offer modes of resistance. The artists are informed by Lacanian notions of subjectivization and utilise this approach to semiotics and power as the starting point for their critique. (shrink)

Canadian landscapes on gallery walls in art museums serve as a primer for understanding the nation. Visitors cannot easily escape the purposeful emptiness of rugged scenes meant to visually assure them of the nation’s right to colonial possession. Most viewers respond positively to these pretty pictures because such ways of seeing the art history of Canada has been naturalized and normalized, appearing politically neutral.Ubiquitous Canadian landscape paintings also reinforce colonial claiming of land and authorize erasure of Indigenous relations with (...) the land. Understanding the noted landscapes as something other than part of a national narrative, however, has not been widely accepted, even as a sanctioned mandate to broaden art historical narratives has resulted in displaying additional Indigenous art in galleries. In an analysis that considers ways to re-vision the privileged colonial narrative present in Canadian art museums, deeper ethical issues arise in relation to institutional structures. Here the analysis focuses on three projects in and around Canada 150, including examples such as Shame and Prejudice: A Story of Resilience, the rehanging of Norval Morrisseau’s Artist and Shaman between Two Worlds at the National Gallery of Canada, and the Michael Belmore and A. J. Casson: Nkweshkdaadiimgak Miinwaa Bakeziibiisan/Confluences and Tributaries exhibit at the Ottawa Art Gallery. This essay explores questions regarding whether ways of seeing land differently come about simply by hanging Indigenous art on institutional walls or whether more systemic change is required. (shrink)

In this paper, we present a review of research on the role of traditional and indigenous forms of visual artistic practice in promoting physical health and psychosocial well-being, particularly as it relates to the discipline of art therapy. Using extant literature we present an overview of how art making has historically had a therapeutic role in human lives and how it can inform the modern interpretation and profession of art therapy. Thereafter, we provide a critical review of specific studies (...) that reference traditional and indigenous art forms in art therapy in order to invite discussion, dialogue, and awareness of the role of the arts in human development and the therapeutic role of the arts. Gaps in research areas for further study are proposed. Implications for clinical practice including expanding the scope of traditional forms of creative self-expression and promoting an informed and respectful understanding of the role of these artforms in the profession of art therapy worldwide, are also discussed. (shrink)

Ontologies of Rock Art is the first publication exploring a wide range of ontological approaches to rock art interpretation, constituting the basis for ground-breaking studies on Indigenous knowledges, relational metaphysics, and rock imageries. The book contributes to the growing body of research on the ontology of images by focusing on five main topics: ontology as a theoretical framework; the development of new concepts and methods for an ontological approach to rock art; the examination of the relationships between ontology, images (...) and Indigenous knowledges; the development of relational models for the analysis of rock images; and the impact of ontological approaches on different rock art traditions across the world. Generating new avenues of research in ontological theory, political ontology and rock art research, this collection will be relevant to archaeologists, anthropologists, and philosophers. In the context of an increasing interest in Indigenous ontologies, the volume will also be of interest to scholars in Indigenous Studies. (shrink)

The last 20 years have seen the development of a new form of therapy, compassion focused therapy. Although CFT has a growing evidence base, there have been few studies of CFT outside of an Anglo-European cultural context. In this paper, we ask: Might a CFT-based approach be of value for Indigenous Australians? If so, what kind of cultural adaptations might be needed? We report the findings from a pilot study of an arts-based compassion skills training group, in which usual (...) CFT group processes were significantly adapted to meet the needs of Indigenous Australians. At face value, CFT appeared to be a promising approach to enhancing the social and emotional wellbeing of Australia’s Indigenous peoples. However, despite initial consultations with Indigenous health professionals, the first attempts to offer a more conventional group-based CFT to Indigenous clients were largely unsuccessful. Following a review and advice from two Indigenous clients, we combined elements of CFT with visual arts to develop a new approach, “arts-based compassion skills training”. This paper reports an evaluation of this pilot ABCST group. The group had 6 × 4 h sessions of ABCST, facilitated by two psychologists and two artists. There were 10 participants, who attended between 2 and 6 sessions: five were clients, five were health professionals. Between 1 and 3 months later, six of the participants were interviewed. Qualitative analysis of interview data identified that two key processes—creating a positive group atmosphere and channeling compassion skills training through the medium of visual arts—led to four positive outcomes for participants: planting the seeds of new understandings, embodying the skills of compassion, strengthening relationships with others, and evolving a more self-compassionate relationship. We suggest that the preliminary results are sufficiently encouraging to warrant further development of ABCST in Indigenous communities. (shrink)

This article seeks to advance connecting the two societal priorities of environmental protection and what has been called ‘Indigenous reconciliation’ through arts-based communication (and particularly arts-based research), to help engage and inspire people towards sustaining a healthy planet and a just society. Through lenses of social justice, decolonizing critique and holistic environmental ideologies, this work explores theoretical and practical, real-world intersections of environmentalist, Indigenous and arts-based imperatives and ways of knowing. The goal is twofold: first, to seek to (...) engage readers in viewing the colonization of the planet and its First Peoples as intimately related, and ultimately, to bring together diverse literatures to suggest ideas, language and a model to foster communication aimed at redressing both of those colonialist evils. To acknowledge this intersection of environmental and Indigenous approaches in arts-based settings, the term ‘environmental conciliation’ is proposed and defined as ‘environmental protection in ways that acknowledge, address, and aim to redress imbalances in power among Indigenous people and non-Indigenous settlers honestly, respectfully, openly, creatively and positively. (shrink)

This article assesses some recurrent criticisms based on respect for traditional culture levelled at artworks that thematise non-heteronormative gender positionalities in South Africa. More specifi...

Since all theories of knowing deal with the being of subjects, objects, instruments and environments, they can be viewed as onto-epistemological. This chapter examines key ideas that emerge from the work of Julia Kristeva – 'the speaking subject', 'materiality of language' and 'heterogeneity' – to demonstrate how ontology and epistemology are inextricably entwined in knowledge production. Kristeva also affirms both the agency of matter and the dimension of human/subjective agency implicated in cultural production. This is contrasted with Gilles Deleuze and (...) Felix Guattari’s account creative practice. The article also draws on the artistic work of researcher-practitioner Brian Martin, and his account of the relationship between Indigenous Australian art and culture to demonstrate that in an Indigenous world view, the real, the immaterial, the imaginary and the representational occur concurrently. (shrink)

This paper offers a close reading of PAW Media animation My Name is Danny. Drawing across a growing body of recent Central and Western Desert experimental cinema, this paper asks what is at stake in the turn to animation. Rather than escapism or otherworldly fabrications which have little to do with lived experience of the “real,” animation in this context has potent everyday exigencies and politics. The capacity for bringing to life literally – animate – is here linked to the (...) primacy of a sentient landscape; an object world already alive and enlivened with motion, movement, sensation. The question for contemporary filmmaking is how to engage country and its viscera today. How to keep country/ancestor/story alive literally through sentient forms of affective exchange; a project which animation, as this paper will explore, uniquely provides. Drawing on the phenomenology of Merleau-Ponty and Deleuze, as well as the animation theory of Cholodenko, Lemarre and others, this paper argues for a radical reconsideration of animation not as incompatible with tradition but in fact as facilitating traditional ontologies of affect and sensation in a national context of remote Aboriginal Australia “under occupation.”. (shrink)

The belief held by Aboriginal people that their art is ultimately related to their identity, and to the continued existence of their culture, has made the protection of indigenous peoples' art a pressing matter in many postcolonial countries. The issue has prompted calls for stronger copyright legislation to protect Aboriginal art. Although this claim is not particular to Australian Aboriginal people, the Australian experience clearly illustrates this debate. In this work, Elizabeth Burns Coleman analyses art from an Australian Aboriginal (...) community to interpret Aboriginal claims about the relationship between their art, identity and culture, and how the art should be protected in law. Through her study of Yolngu art, Coleman finds Aboriginal claims to be substantially true. This is an issue equally relevant to North American debates about the appropriation of indigenous art, and the book additionally engages with this literature. (shrink)

Indigenous Sustainable Wisdom: First Nation Know-How for Global Flourishing’s contributors describe ways of being that reflect a worldview that has guided humanity for 99% of human history; they describe the practical traditional wisdom stemming from Nature-based relational cultures that were or are guided by this worldview. Such cultures did not cause the kinds of anti-Nature and de-humanizing or inequitable policies and practices that now pervade our world. Far from romanticizing Indigenous histories, Indigenous Sustainable Wisdom offers facts about (...) how human beings, with our potential for good and evil behaviors, can live in relative harmony again. Contributions cover views from anthropology, psychology, sociology, leadership, native science, native history, native art. (shrink)

There is a growing interest in fungi and mycelium as a material, the ever-branching connecting threads of the fungal world. The entanglements and how this rhizomatic network functions is not just a fascinating ecological system and material, but carries a profound usefulness as a metaphor for our potential new systems, ways of thinking and behaviors. Let's Become Fungal! takes its inspiration from the world of art and mycology and shares innovative practices from Latin America and the Caribbean that are rooted (...) in multispecies collaboration, symbiosis, alliances, non-monetary resource exchange, decentralization, bottom-up methods and mutual dependency all in line with the behavior of the mycelium. Every chapter is phrased as a question. They do not lead to answers, but to twelve teachings addressing for instance collaboration, decoloniality, non-linearity, toxicity, mobilization, biomimicry, death, and being non-binary. Simultaneously it ventures deeper into the world of fungi. The teachings from the fungus may inspire artists, collectives, organizations, educators, policy-makers, designers, scientists, anthropologists, change-makers, curators, urbanists, activists, gardeners, community-leaders, farmers, and many others, to become more fungal in their ways of working and being. (shrink)

Indigenous-led activism against proposed oil pipelines has relied heavily on social media, as in the #NoDAPL campaign against the Dakota Access Pipeline. This paper explores affective engagement in online activism, including the Standing Rock ‘check-in’ campaign on Facebook. Moving beyond dichotomous understandings of embodied vs digital activism, Cannupa Hanska Luger’s Mirror Shields Project employs digital media in order to support direct action at Standing Rock. Patricia Clough draws a direct link between affect and technoscientific understandings of the body in (...) her concept of biomediated bodies. This helps explain how physical and digital activism are linked: the digital and the physical cannot be understood as independent of each other, since online engagement always has an embodied aspect as well. Luger’s Mirror Shields Project functions as a form of alterlife, in resistance to biopower, recognizing historical and ongoing harms while also creating new possibilities for resistance. (shrink)

This special issue is the outcome of a collaborative venture – a three-day workshop between La Trobe University and Ateneo de Manila University, held in Manila. It brought together indigenous and non-indigenous researchers from both the Philippines and Australia and included aboriginal researchers in business studies, history, literature and anthropology, and non-indigenous researchers working on themes of indigenous history, material culture, film studies, literature, the visual arts, law and linguistics. The ‘indigenous’ peoples of the Philippines (...) are very different to Australian Aborigines or Torres Strait Islanders. Nevertheless, they have common quests for political autonomy, protection of indigenous customary laws, traditions and knowledge, biodiversity, and development of independent self-governance structures for health, education and community development. These concerns involve analogous and overlapping political struggles with nation-states and in the forums of the UN, regional associations, global consortia, and the international courts. The papers in this issue are based on a roundtable in which the participants showcased their own research projects and interests on indigenous pathways, cultural pluralism and national identities; socio-economic development; and representation of indigenous identities in creative and visual arts. (shrink)

It is the nature of the earth to lie ‘wholly spread out under the sky’: hapasê hê hupo tô kosmô keimenê (Isocrates); and the sky determines the World. Indeed it is the same as the World, as Plato states in the final words of Timaeus: ‘the World was born: it is the Sky, which is one and alone of its race’ (ho kosmos … gegonen heis ouranos hode monogenês ôn). What is thus clearly ‘one and alone of its race’ dominates (...) by its very nature what is subjected to it: the earth. With the coming of the age of modernity, and today more than ever, the West has indeed subjected the Earth and its peoples by imposing its World on them. But it is the nature of worlds, as it is of heavens, to be limited by a horizon; and there is no sky, nor world, that is not supported by an earth. By the Earth, we mean to say nature. This ancient certainty, this primary metaphor, has been inscribed in us since the first creatures to become human, standing with both feet on the ground and head turned towards the sky, first saw the horizon. As paleo-anthropology tells us, it is in effect in the same movement that they began to create technical and symbolic systems from which the ecumene would spring; and this prime metaphor that was the basis for the ecumene and its worlds has continued to work on the generation of secondary metaphors that govern the history of human thought through the unconscious - from Aristotle when, inventing the notion of subject, he called it hupokeimenon, ‘what lies below’ (as the earth lies below the sky), to Heidegger when he imagined The Origin of the Work of Art as a ‘dispute’ (Streit) between a world and the earth. Indeed there is Streit because the earth denies itself and withdraws into its interior, in the very exteriorization that opens it into a world. (shrink)

Country constitutes the very anchor of life for many Aboriginal and Torres Strait Islander people in Australia. It is central to Indigenous identities and history, and is a powerful signifier of overall health and well-being; yet, the significance of country to Indigenous people living in large urban localities such as Sydney, Australia, remains an enigma. Through the production of a series of three murals on a university campus, this project was designed to explore the significance of country for (...) three Darug artists working alongside 90 pre-service teachers enrolled in teacher education. The authors were working with the notion that Aboriginal art comes from country and should stay on country; hence, the painting was directed by Darug artists because we were teaching and learning on Darug country. Our objective, though, was to explore through practice how country teaches in the city, and to produce new stories of coexistence. Narratives developed around terms of engagement and the relationships that developed through project partnerships. (shrink)

This paper, based on a talk given at the Art Gallery of New South Wales, is presented as an example of philosophy done in an art gallery. Its subject is Tom Roberts’ painting Holiday Sketch at Coogee (1888), and as well as responding directly to the painting in the environment of the gallery, it draws on the author's memories of seeing that painting in other times and places. It draws on these personal experiences to relate Roberts’ painting to a controversial (...) idea laid out by art historian Heinrich Wölfflin, and to more recent conventionalist and resemblance theories of pictorial representation. It finishes by affirming one of Roberts’ important achievements: his discarding of inherited European ways of picture‐making, and his place among the first generation of non‐indigenous artists to represent the real colours of the Australian landscape. (shrink)

Like philosophy itself, Dune explores everything from politics to art to life to reality, but above all, the novels ponder the mysteries of mind. Voyaging through psychic expanses, Frank Herbert hits upon some of the same insights discovered by indigenous people from the Americas. Many of these ideas are repeated in mainstream American and European philosophical traditions like pragmatism and existential phenomenology. These outlooks share a regard for mind as ecological, which is more or less to say that minds (...) extend beyond the brain into the rest of the body and the surrounding environment. -/- The cross-cultural strands in Dune tie closely to Herbert’s life and interests. An outdoorsman born in the Pacific West, he had an abiding bond with a friend from the Quileute tribe, Howie Hansen. Herbert advocated for aboriginal rights and crafted well-intentioned if slightly stereotypical tales about indigenous characters, partly based on his visits with Northwest tribes. Carl Jung (1875-1961), whose idea of collective consciousness echoes aboriginal views, was among Herbert’s European influences. So was existential phenomenology, especially as developed by Martin Heidegger (1889-1976). The names of characters in one of Herbert’s novels—The Santaroga Barrier—in fact coincide with terms that Heidegger used to articulate how emotionally colored coping with our environment defines our existence. Many indigenous philosophers have treated phenomenology and its American cousin pragmatism in approving ways. Indeed, the ideas of North America’s first inhabitants seem to have been absorbed by pragmatists and even earlier by transcendentalists like Ralph Waldo Emerson (1803-1882) and Henry David Thoreau (1817-1862). -/- These different philosophies all advance a place-based psychology. Anne Waters, herself of mixed tribal heritage, generalizes the mindset of her people this way: “American Indian consciousness, and hence American Indian identity is … interdependent with our land base.” Lee Hester, a Choctaw thinker, adds that practices—not mere beliefs—are most important for native thought. American transcendentalists and pragmatists, as well as European phenomenologists, similarly see hands-on practices and environmental interactions as the core of experience. Extending this a little, they sometimes suggest experience isn’t individual but instead cultural. “Culture” is here understood as interactions within communities that define our worlds and experiences, as when we talk about the “French experience,” “culture” or “world,” or the “experience of parenthood.” This theme also shows up in indigenous thought. -/- Exploring the Dune universe, we find everything from land-based concepts of personal identity, to the idea of sharpening the mind through hands-on training, to collective notions of experience in cooperative tribes or through the genetic memory of central characters. The stories explore fate versus free will in cosmic contexts, introducing views from indigenous thought and the pragmatic philosophy of William James (1842-1910). Different forms of spiritualism mingle to shape minds and cultural mixtures around the globe, and the same occurs in the Dune series. The customs and personalities of characters fuse elements from Buddhism, Christianity, Hinduism, Judaism, Taoism, and especially Islam. The series not only highlights that religion shapes psychology, but also that faith connects to place, especially paralleling Judeo-Christian-Islamic desert faiths. In capturing these points, the Dune novels show that “our values, our lifestyles and even the ways we think and feel have been strongly influenced by our locations in history and geography. The study of the human mind is fundamentally the study of place.”. (shrink)

It is popularly believed that British anarchism underwent a ‘renaissance’ in the 1960s, as conventional revolutionary tactics were replaced by an ethos of permanent protest. Often associated with Colin Ward and his journal Anarchy, this tactical shift is said to have occurred due to growing awareness of Gustav Landauer's work. This article challenges these readings by focusing on Herbert Read's book Education through Art, a work motivated by Read's dissatisfaction with anarchism's association with political violence. Arguing that aesthetic education could (...) remodel social relationships in a non-hierarchical fashion, Read pioneered the reassessment of revolutionary tactics in the 1940s that is associated with the 1960s generation. His role in these debates has been ignored, but the broader political context of Read's contribution to anarchist theory has also been neglected. The reading of Read's work advanced here recovers his importance to these debates, and highlights the presence of an indigenous strand of radical thought that sought novel solutions for the problems of the age. (shrink)

I do not understand painting very well, and especially not Australian Indigenous painting, the dot painting of Western and Central Desert artists such as Kathleen Petyarre. I grew up without art on the wall, among gum trees, red dirt, dying wattle, and ‘two thirds sky’. While this might suggest that I inhabit the same landscape as Petyarre, I also grew up without ‘the Dreaming’, the meaning that this dot painting is said to be about. How and why then can (...) this painting have the impact on me that it does? And, given the history of colonisation in Australia, including the colonisation of Indigenous meanings, what is the politics of the impact of that painting? (shrink)

This article is a collective discussion with undergraduate students about their work in a second-year gender studies course. The discussion shares how active engagement in collective art production for social change can provide the seeds for decolonial, anti-racist and anti-ableist pedagogical practice. The course encourages students to actively engage in the classroom, raise questions and concerns about social justice, and implement ways to challenge social relations of power. Students work collectively on projects using a range of alternative ways of knowing, (...) including sensory, heart, intellectual, and spiritual knowledge, to connect with the course material in creative ways. The article is a conversation with three students in the course and the work they produced. They discuss the various mediums they used, including poetry, collaging, and a case study of artists’ street art. The students touch on the politics of joy, self-care, heart knowledge, politics of suffering, and accessibility, illustrating how combining art with various ways of knowing has helped them develop deeply analytic, compassionate, and relational work for social change. The work affirms ways of knowing that have often evolved outside the colonial academic institution. The anti-racist, anti-colonial, anti-ableist, feminist and Indigenous pedagogies used in the course help to pluralize constructive capacities for more decolonizing, equitable, inclusive, anti-racist and expansive educational futures. (shrink)

Este trabajo presenta una propuesta biologizada del arte y la Filosofía Indígena desde el pueblo kichwa Saraguro, con el fin de discutir especialmente los fundamentos de los derechos de la naturaleza. Aunque, hay que resaltar que, el sitio de enunciación no es estrictamente el lugar descrito; porque la matriz de discusión es el Sumak Kawsay que involucra a Latinoamérica en general. La metodología que se usa es la transdisciplinar. El orden de desarrollo está enmarcado en una primera parte que desarrolla (...) a modo teórico la presencia del arte y la estética en el mundo indígena. Luego, se presenta un breve análisis de campo, específicamente una discusión con el artista kichwa Saraguro Luis Antonio Lozano. Se concluye que existe un contenido religioso, espiritual o Trascendental en el arte y la estética kichwa Saraguro, que puede aportar para el desarrollo del fundamento filosófico de los derechos de la naturaleza y el Sumak Kawsay. (shrink)

We describe our attempts at curriculum development at the undergraduate level working within the constraints of a large traditional university system. Curriculum reform is described as a three-step process of product innovation, accommodation and assimilation. In a dual-pronged strategy, students are constructively engaged, first, in investigative projects and assigned specific tasks, giving them a flavour of creative research, and, second, in development of curricular products. The process of transfer of pedagogic innovations into the formal classroom is enhanced by a teacher (...) training programme that aims to provide experiential learning of research-based innovative teaching practices, catalyse a process of reflection through classroom research and establish a collaborative network of teachers. (shrink)

Frida Kahlo (1907–1954) was a Mexican artist who is remembered for her self-portraits, pain and passion, and bold, vibrant colors. This work aims to use her life story and her artistic production in a longitudinal study to examine with quantitative tools the effects of physical and emotional pain (rage) on artistic expression. Kahlo suffered from polio as a child, was involved in a bus accident as a teenager where she suffered multiple fractures of her spine and had 30 operations throughout (...) her lifetime. She also had a tempestuous relationship with her painter husband, Diego Rivera. Her physical and personal troubles however became the texture of her vivid visual vocabulary—usually expressed through the depiction of Mexican and indigenous culture or the female experience and form. We applied color analysis to a series of Frida's self-portraits and revealed a very strong association of physical pain and emotional rage with low wavelength colors (red and yellow), indicating that the expression of her ailments was, consciously or not, achieved by increasing the perceived luminance of the canvas. Further quantitative analysis that used the fractal dimension identified “The broken column” as the portrait with higher compositional complexity, which matches previous critical acclaim of this portrait as the climax of her art. These results confirm the ability of color analysis to extract emotional and cognitive features from artistic work. We suggest that these tools could be used as markers to support artistic and creative interventions in mental health. (shrink)

In _Beyond the Sovereign Self_ Grant H. Kester continues the critique of aesthetic autonomy begun in _The Sovereign Self_, showing how socially engaged art provides an alternative aesthetic with greater possibilities for critical practice. Instead of grounding art in its distance from the social, Kester shows how socially engaged art, developed in conjunction with forms of social or political resistance, encourages the creative capacity required for collective political transformation. Among others, Kester analyzes the work of conceptual artist Adrian Piper, experimental (...) practices associated with the escrache tradition in Argentina, and indigenous Canadian artists such as Nadia Myer and Michèle Taïna Audette, showing how socially engaged art catalyzes forms of resistance that operate beyond the institutional art world. From the Americas and Europe to Iran and South Africa, Kester presents a historical genealogy of recent engaged art practices rooted in a deep history of cultural production, beginning with nineteenth-century political struggles and continuing into contemporary anticolonial resistance and other social movements. (shrink)

"[A] positive contribution to the discourse on aesthetics from a cross-cultural perspective. It should be required reading for any academic who teaches and writes on aesthetics and the philosophy of art... There is much to be inspired by, and to learn from."- The Journal of Aesthetics and Art Criticism The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art provides an extensive research resource to the burgeoning field of Asian aesthetics. Featuring leading international scholars and teachers whose work (...) defines the field, this unique volume reflects the very best scholarship in creative, analytic, and comparative philosophy. Beginning with a philosophical reconstruction of the classical rasa aesthetics, chapters range from the nature of art-emotions, tones of thinking, and aesthetic education to issues in film-theory and problems of the past versus present. As well as discussing indigenous versus foreign in aesthetic practices, this volume covers North and South Indian performance practices and theories, alongside recent and new themes including the Gandhian aesthetics of surrender and self-control and the aesthetics of touch in the light of the politics of untouchability. With such unparalleled and authoritative coverage, The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art represents a dynamic map of comparative cross-cultural aesthetics. Bringing together original philosophical research from renowned thinkers, it makes a major contribution to both Eastern and Western contemporary aesthetics. (shrink)

This paper presents a novel methodology for integrating indigenous knowledge systems into AI development to counter cognitive imperialism and foster inclusivity. By critiquing the dominance of Western epistemologies and highlighting the risks of bias, the authors argue for incorporating diverse epistemologies. The proposed framework outlines a participatory approach that includes indigenous perspectives, ensuring AI benefits all. The methodology draws from AI ethics, indigenous studies, and postcolonial theory, emphasizing co-creation with indigenous communities, ethical protocols for indigenous (...) data governance, and adaptation of AI algorithms. Case studies in natural language processing, content moderation, and healthcare demonstrate the methodology’s effectiveness and importance. By offering a concrete methodology for decolonizing AI, this paper contributes significantly to AI ethics and social justice, providing a roadmap for equitable, culturally respectful AI. (shrink)

Investigating the concepts and material realities of energy coursing through the arts: a foundational text. This book investigates energies—in the plural, the energies embedded and embodied in everything under the sun— as they are expressed in the arts. With contributions from scholars and critics from the visual arts, art history, anthropology, music, literature, and the history of science, it offers the first multidisciplinary investigation of the concepts and material realities of energy coursing through the arts. Just as Douglas Kahn's earlier (...) books helped introduce sound as a category for study in the arts, this new volume will be a foundational volume for future explorers in a largely uncharted domain. The modern concept of energy is only two hundred years old—an abstraction grounded in extraction—but this book takes a more expansive view. It opens with a clap: the sonic energies in a ceremony of the indigenous Goolarabooloo people of Australia. Other chapters explore the energies of photography; responses of artists in the early twentieth century—including Marcel Duchamp—to scientific discoveries in electricity and electromagnetism; the aestheticization of entropy in works by Hans Haacke and Robert Smithson; free-jazz musician Milford Graves's cross-cultural engagement with music, science, and spiritualism; energy field performance; and the self-generating energy of rumor and gossip as artwork. Contributors include such leading scholars as Linda Dalrymple Henderson, John Tresch, and Caroline A. Jones. Practicing artists and students of art history will find Energies in the Arts an essential work. Contributors Susan Ballard, Jennifer Biddle, Marcus Boon, Joan Brassil, Steven Connor, Milford Graves, Daniel Hackbarth, Linda Dalrymple Henderson, Caroline A. Jones, Douglas Kahn, David Mather, Stephen Muecke, James Nisbet, Daniela Silvestrin, Michael Taussig, John Tresch, Melissa Warak. (shrink)

The article provides an overview of arts-based research within social work and general healthcare practice in Canada, and how it can be used to uncover racism within vulnerable populations, particularly youth, women, immigrants and refugees, the lesbian, gay, bisexual, transgender, queer, and intersex community, and Indigenous peoples. This is a general review of the literature. A literature search was conducted using the University of Western Ontario’s Summons database, with coverage from January 2000 to February 2019. Data exploring participant experiences, (...) personal identity, voice, and invisible powers were extracted, and analyzed using a critical race lens to examine the intersection of societal and cultural practice with race and power.Results indicate that ABR can support therapeutic recovery from oppression by enhancing self-expression of feelings and thoughts, and affording participants the agency to reclaim and reframe their personal narrative. ABR can further generate a sense of community by creating connections between participants with similar oppressions to overcome disconnection and marginalization. Within a broader community context, ABR permits the sharing of stories and insights with others, which can generate dialogue on important social issues to expose areas of social inequity and oppression alongside potential solutions for transformative social action. This dialogue can also extend to discussions with policy makers on the impact of social inequities to guide recommendations that address system gaps for broader community-level change. The paper concludes that ABR can move beyond merely reflecting on social conditions toward actively addressing them by promoting sustainable social change. The voices expressed through ABR illustrate possible solutions to overcome racism through inclusive social practice, deconstruction of the racial status quo, and movement toward an equitable distribution of power. (shrink)

At the centre of Kant’s “Critique of Aesthetic Judgment” lies a tantalising relation, the reciprocal semblance between nature and art, upon which the entire text pivots. With this thought, Kant suggests a critically licensed blurring of some of the defining presuppositions of critical philosophy and reconfigures the ancient problematic of mimesis. This paper will offer a sketch of how some of Kant’s key successors attempt to extend his project of ‘transcendental critique’ in the field of aesthetics by exposing and challenging (...) the residual pre-critical assumptions underpinning such a conception of the relation between nature and art. The possibility thereby arises of liberating critique from the restraints of the Kantian ‘as if’ without relapsing into a pre-critical naivety. In this respect the important notion of ‘auto-poiesis’, the indigenous artistic creativity of nature, will be considered in its phenomenological and materialist guises. (shrink)

The democratic backsliding that has accelerated across the globe over the past decade has included a rollback of liberal arts and sciences (LAS) as a system of university education. This essay explores the origins and goals of the global LAS education reform movement. I argue that while the movement is under threat largely due to its principled value of educating democratic citizens, it still has powerful potential and global impact; in part because LAS education is primarily an indigenous phenomenon (...) adapting to local circumstances. I also argue that U.S. universities could contribute more constructively to the movement if they conceived of their role as global civic actors that conduct themselves in the spirit of mutuality and reciprocity, not as multinational corporations that channel neoliberal tendencies to maximize revenue. U.S. critics of the global LAS movement should also pay heed to the United States’ own history. Specifically, they can learn from historically Black colleges and universities how, operating under the extreme authoritarianism of the Jim Crow era, they managed to produce leaders who shaped a more democratic country. Liberal arts education produces short term benefits for students and alumni, but in the democratic context it is a long-term wager. (shrink)

Abstract:The article presents a phenomenological-hermeneutic account of everyday aesthetics based on the Playful Eye, an experiential method for encountering the "Other" through contemplative, somatic, and embodied practices informed by the concept of play. The experiences co-curated with participants—illustrated here by a Playful Eye event held in Osh, Kyrgyzstan—are grounded in an understanding of the relationship between the self and Other, cultivating a sense of inner truth that is unconcealed when the sensing agent experiences itself through being sensed. It is contended (...) that everyday aesthetics provides a muted, fleeting experience of the Other, the seamless and ceaseless succession of the parts that constitute the totality of engagement with the world. This transformative understanding as "extended self," also evident in many Indigenous traditions, can provide the common ground for dialogue, empathy, and compassion in contexts where conflicting values and beliefs might otherwise result in indifference or hostility. (shrink)

As AI technologies are increasingly deployed in work, welfare, healthcare, and other domains, there is a growing realization not only of their power but of their problems. AI has the capacity to reinforce historical injustice, to amplify labor precarity, and to cement forms of racial and gendered inequality. An alternate set of values, paradigms, and priorities are urgently needed. How might we design and evaluate AI from an indigenous perspective? This article draws upon the five Tests developed by Māori (...) scholar Sir Hirini Moko Mead. This framework, informed by Māori knowledge and concepts, provides a method for assessing contentious issues and developing a Māori position. This paper takes up these tests, considers how each test might be applied to data-driven systems, and provides a number of concrete examples. This intervention challenges the priorities that currently underpin contemporary AI technologies but also offers a rubric for designing and evaluating AI according to an indigenous knowledge system. (shrink)

This two‐part article examines the very limited engagement by philosophers with museums, and proposes analysis under six headings: cultural variety, taxonomy, and epistemology in Part I, and teleology, ethics, and therapeutics and aesthetics in Part II. The article establishes that fundamental categories of museums established in the 19th century – of art, of anthropology, of history, of natural history, of science and technology – still persist. Among them, it distinguishes between hegemonic (predominantly Western) and subaltern (minority or Indigenous) museums (...) worldwide. It argues that relations between hegemonic and subaltern museums are often agonistic, and are compromised by claims of universalism on the part of proponents of the former. The article observes that most discussion of museums focuses exclusively and misleadingly on their public exhibition function, and contends that scholarship – not exhibition – is central to all museums. However, that predominantly taxonomic scholarship, while innovative and central to a dominant epistemology based on the observation of tangible things in the 19th century, was compromised by the epistemic shift to abstraction and experimentation in the 20th, which resulted in a loss of initiative and authority. Although epistemological changes currently in progress favor a renewed attention to tangible things as complex matrices to which museums ought to contribute significantly, the fundamental taxonomy of museums by collection type is a clog on the ability of museum scholars to engage with and themselves produce big ideas. In order to function well as sites of scholarship in the future, museums will have to be far more adaptable and attentive to a wider range of things and ideas (including Indigenous ideas incompatible with Western assumptions) than their existing collection divisions permit. (shrink)

Decolonizing aesthetics requires a philosophical reexamination of art and cultural representation to address ethical conflicts and the legacy of colonial biases. This study explores the suppression and marginalization perpetuated by colonial aesthetics, with a focus on gender, race, and cultural diversity. Drawing on postcolonial theories, the research highlights the disparities and systemic exclusions within artistic traditions, advocating for decolonized practices that restore and celebrate suppressed cultural expressions. Case studies such as Indigenous Futurism and exhibitions promoting the art of formerly (...) colonized communities illustrate the practical application of decolonization efforts. Using primary data analyzed through Smart PLS software, the study examines correlations and causal relationships between decolonization initiatives and shifts in aesthetic valuation. The findings reveal both challenges and opportunities in dismantling colonial legacies, emphasizing the role of art education, public workshops, and community engagement in fostering awareness and inclusivity. Artists and institutions play a pivotal role in promoting decolonized aesthetics by addressing historical biases and amplifying marginalized voices. Decolonization emerges as an ongoing ethical and cultural practice aimed at dismantling colonial power structures in art and aesthetics, ensuring a more equitable representation of global artistic traditions. (shrink)

The current trajectory of artificial intelligence development suffers from fundamental epistemological shortcomings, resulting in the systematic operationalization of bias against non-white, non-male, and non-Western peoples. We argue that these failings are, in part, the result of certain Western rationalist epistemologies that exclude many ways of knowing about the world, and therefore they cannot provide a sufficient foundation on which to adequately, robustly, and humanely conceptualize intelligence. We present a new research agenda, Abundant Intelligences, an Indigenous-led, Indigenous-majority international, interdisciplinary (...) research program that imagines anew how to conceptualize and design artificial intelligence (AI) based on Indigenous knowledge (IK) systems. Abundant Intelligences draws on the rich plurality of Indigenous knowledge systems, bringing together diverse sets of thought, culture, and protocol together. We show IK systems provide one way to rebuild AI’s epistemological foundations and transform these tools’ current role in reinforcing colonial practices of exclusion, extraction, manipulation, and eradication into engines of abundance that enable us to care better for ourselves, our communities, and our world. Our proposition is to fully engage with AI to explore how different conceptions of intelligence could be embodied in these technologies. In this paper, we present the tenets of the research program in detail, account for our methodological approach, describe the impact and limitations, and conclude on a discussion of the implications of the program. (shrink)

Numinous Fields has its roots in a phenomenological understanding of perception. It seeks to understand what, beyond the mere sensory data they provide, landscape, nature, and art, both separately and jointly, may mean when we experience them. It focuses on actual or potential experiences of the numinous, or sacred, that such encounters may give rise to. This volume is multi-disciplinary in scope. It examines perceptions of place, space, nature, and art as well as perceptions of place, space, and nature in (...) art. It includes chapters written by art curators, and historians and scholars in the fields of landscape, architecture, cultural geography, religious studies, philosophy, and art. Its chapters examine ideas, objects, and practices from the ancient time of Aboriginal Australians' Dreaming through to the present. The volume is also multi-cultural in scope and includes chapters focussed on manifestations of the sacred in indigenous culture, in cultures influenced by each of the world's major religions, and in the secular, contemporary world. Contributors: Samer Akkach, James Bennett, Veronica della Dora, Alasdair Forbes, Virginia Hooker, Philip Jones, Russell Kelty, Muchammadun,Tracey Lock, Ellen Philpott-Teo, John Powell, Rebekah Pryor, Wendy Shaw. (shrink)

This article explores what it can mean to navigate notions of productive idiocy with aspects of mātauranga Māori (Māori knowledge), through some recent art-as-activism practices of the author, Aotearoa/New Zealand artist Mark Harvey. The works explicated include Waitākere Drag and Auau in the Te Wao Nui ā Tiriwa forest ranges and Productive Promises, which was part of TEZA (Trans Economic Zone of Aotearoa) in Ōtautahi/Christchurch. Avital Ronell’s Nietzschean-influenced perspectives on idiocy are drawn from in relation to Western and Māori perspectives, (...) along with Roger Sansi’s work on idiocy as dissent. From this aggregation of epistemologies, it is proposed that idiocy can be productive through art as activism and that this can align with Indigenous Māori perspectives on playing the fool as a form of resistance and refusal. Examples of Māori concepts engaged with here include perspectives on relationship building, human relationships with forests and the environment, and sovereignty under Te Tiriti o Waitangi (The Treaty of Waitangi). These art-activism projects promised micro-attempts at making positive changes for the communities in which they were situated through performatively generated actions from a Māori perspective within the shroud of ongoing colonization and capitalism. (shrink)

How can cross-disciplinary speculative narratives give us insights and open new paths of research? Borrowing from a number of disciplines, from Anthropology to Psychology or Art history, I will draw a hypothetical blueprint of processes that possibly led to the creation of the Ainu people’s patterns, an indigenous tribe from north Japan. From some particular key points I will narrate a speculative tale giving us possible insights about those specific patterns, as well as about the questions encapsulated in the (...) split representation in the art of Asia and America, questions that were raised by various anthropologists, from Franz Boas to Claude Levi-Strauss. I will demonstrate that those pattern-making habits were inherent to human being as a species until very recently. What kind of unconscious purpose or meaning they could have had and what it could mean in terms of the evolution of consciousness. (shrink)

This note introduces the biography and the activities of Moodibbo Bello Aamadu, a Muslim scholar based in northern Cameroon who has invented an original alphabet for the writing of Fulfulde. Although Moodibbo Bello’s Fulfulde alphabet has not been in use beyond a restricted circle of his students, this attempt constitutes an important addition to our knowledge of indigenous African writing systems. The apparently curious record of Fulfulde, a language for which at least three different alphabets (besides ‘ajamī) have been (...) already documented in the literature, can be explained by the historical role of the Fulfulde-speaking Muslim scholars as vehicles of literacy across the western, central and eastern Sudan. [This is the abstract which accompanies the essay]. (shrink)