En el marco de los 800 años de la celebración del encuentro de San Francisco y el Sultán, convocado por la Orden Franciscana, el presente artículo pretende indagar sobre la concepción de la imagen del moro en la sociedad colonial y, particularmente reflejados en la serie de 54 cuadros de la vida de san Francisco del Museo de Arte Colonial de San Francisco, Santiago de Chile, confeccionada en el siglo XVII en un taller del Cuzco y cuyo destino (...) fue el Convento homónimo para la formación y contemplación de los religiosos, que nos permite descubrir su representación. El moro representa el signo del individuo o del territorio pagano, en acción o contexto de violencia, pero capaz de la conversión. Estos aspectos son comunes a los prejuicios traídos por los colonizadores, marcados por la larga lucha en la península contra ellos y las políticas de expulsión de esta comunidad desde España. El arte colonial, a su vez, fue un ejercicio de diálogo cultural que adaptó la cultura hispánica a la realidad del nuevo mundo, y, por tanto, permitió la lectura del moro trasladada a las dificultades y éxitos de la evangelización y a la violencia ejercida por los conquistadores. (shrink)

This paper considers recent experiments in art and artificial intelligence that crystallize around training algorithms to generate artworks based on datasets derived from the Western art historical canon. Over the last decade, a shift towards the rejection of canonicity has begun to take shape in art historical discourse. At the same time, algorithmically enabled practices in the US and Europe have emerged that entrench the Western canon as a locus and guarantor of aesthetic value. Operating within the epistemic framework of (...) a “view from nowhere,” this tendency in generative art inherits the coloniality of both art history and artificial intelligence. Producing “art histories from nowhere,” this tendency conflates the conceptual category of visual art with the histories of Western cultural production. It reproduces a set of aesthetic values that entrench the mythology of the artist-genius and his imputed whiteness and masculinity; the extolment of innovation and novelty as self-evident virtues; disembodied Cartesian models of knowing and sensing; and the erasure of contributions that have been occluded from canonical visibility. As we encounter systems trained on particular visions of art history and of the artist, how might we remain attentive to the specific lens through which they are taught to see? This essay addresses that question by bringing the coloniality of recent experiments into view, bridging data feminisms and decolonial studies to formulate alternative visions of encounters between art and AI. (shrink)

Since the 19th century, artist colonies around the world have provided solitary time and space for creative individuals to work, often surrounded by inspiring natural beauty and, alternatively, the stimulating company of other artists. A brief discussion of five such colonies in the United States—Yaddo, MacDowell, Hambidge Center, Dorland Mountain Arts Colony, and the Vermont Studio Center—reveals that, for all the differences, each is the legacy of visionary founders who believed it essential for society to ensure creativity by supporting creative (...) individuals, a need more urgent the less other social institutions call us to our highest selves. (shrink)

We’ve been led to believe that museums are temples of knowledge. The historical ideal of the European museum has been to improve us morally by educating us about the globe’s myriad different cultures, creative practices, and belief systems. We’re taught that museum spaces are neutral: that they represent the world from an ‘objective’ point of view. But we have been lied to.As art historian Alice Procter shows in this incisive book, Western museums fall devastatingly far from this ideal. They do (...) not merely represent the harms done by colonialist forces; they perpetuate them. Museums tell us stories about their objects on display—many stolen from their original homes—and push narratives which, often subtly, express harmful ideologies about cultures ‘discovered’ in the Age of Imperialism. As viewers, our perception is narrowed and moulded while the voices of the displayed marginalized identities are silenced.Procter takes us on one of her ‘Uncomfortable Art Tours’, guiding us through four types of museum, presenting a selection of objects ranging from a Gweagal Shield to art performances of human zoos, each with their own sobering story. Procter sensitively reveals the histories and meanings behind these pieces, which are often obscured or overlooked, to highlight the imperial and colonial reality of our art collections. Part 1 opens with the ‘Palace’; spaces which functioned as homages to a collector’s taste, often an aristocrat or royal, who displayed their private collections in an attempt to shape the taste of elite audiences. Part 2 takes us to the ‘Classroom’, a didactic space which sees the origin of categorization—taxonomy sinisterly extended to notions of race, pre-empting nineteenth-century eugenics. Part 3 presents the solemn ‘Memorial’ space, a site for remembrance and display of human remains. Part 4 closes with the ‘Playground’, a self-reflexive space of activism and social art, which challenges the museum institution itself. (shrink)

Black Art and Aesthetics comprises essays, poems, interviews, and over 50 images from artists and writers: GerShun Avilez, Angela Y. Davis, Thomas F. DeFrantz, Theaster Gates, Aracelis Girmay, Jeremy Matthew Glick, Deborah Goffe, James B. Haile III, Vijay Iyer, Isaac Julien, Benjamin Krusling, Daphne Lamothe, George E. Lewis, Sarah Elizabeth Lewis, Meleko Mokgosi, Wangechi Mutu, Fumi Okiji, Nell Painter, Mickaella Perina, Kevin Quashie, Claudia Rankine, Claudia Schmuckli, Evie Shockley, Paul C. Taylor, Kara Walker, Simone White, and Mabel O. Wilson. The (...) stellar contributors practice Black aesthetics by engaging intersectionally with class, queer sexuality, female embodiment, dance vocabularies, coloniality, Afrodiasporic music, Black post-soul art, Afropessimism, and more. Black aesthetics thus restores aesthetics to its full potential by encompassing all forms of sensation and imagination in art, culture, design, everyday life, and nature and by creating new ways of reckoning with experience, identity, and resistance. Highlighting wide-ranging forms of Black aesthetics across the arts, culture, and theory, Black Art and Aesthetics: Relationalities, Interiorities, Reckonings provides an unprecedented view of a field enjoying a global resurgence. Black aesthetics materializes in communities of artists, activists, theorists, and others who critique racial inequities, create new forms of interiority and relationality, uncover affective histories, and develop strategies for social justice. (shrink)

In this paper I work through an Antipodean phenomenon; the prevalence of copying or mimesis in processes of organising. Rejecting claims for a more authentically Antipodean way of organising, I argue that we need to properly understand the weight of the copy through philosophical inquiry into mimesis. I begin this inquiry with neo-institutional theoretical insights into mimesis. I then sketch out a short history of the emergence of the original and the copy. This Platonic distinction is then elaborated upon to (...) open up the copy with reference to Nietzsche’s concept of the eternal return, Benjamin’s analysis of the work of art in the age of mechanical reproduction, and Taussig’s analysis of mimesis. I draw these together to argue that processes of copying are singular and in fact central to the continual coming into being of organisation. (shrink)

This paper explores the relationship between the development of art and sport in the Arabian Peninsula. In particular, it will be argued that both sport and art can be understood in terms of a trajectory from the ‘modern’ to the ‘contemporary’. Modernity and modernism are introduced through an interpretation of Paul Delaunay’s series of paintings ‘The Cardiff Team’ (1912–22) which may be read as an expression of modernity. The content of the paintings documents core elements of European modernist culture, including (...) technology and science, leisure, consumerism and advertising, and crucially (international) sport. Delaunay’s work provides a background from which to reflect upon the development of sport into something like its contemporary form, in early 20th Europe. By drawing on Terry Smith’s analysis of the difference between modern and contemporary art, and applying this to sport, in order to suggest that there is a distinctive contemporary form of sport, the core tensions within both artistic and sporting practices are argued to lie in the movement from a conception of sport as an expression of modernity, where this is conceived as a universal movement, exemplified by Western humanism, towards a conception of sport as something particularised, expressive of local cultures. The promotion of art institutions and sports events within the Arabian Peninsula highlights the resultant tensions between the neo-colonial influence of Western culture and the reinterpretation of that culture, locally, in order to reflect upon and articulate communal identity within the contexts of globalism and transnationalism. (shrink)

Starting from an implicit quotation from Machiavelli’s Discourses on the Ten Books of Titus Livy contained in the Tractatus politicus, we would like to show that the Spinozian idea of democracy is aporetic, because the strategies that Spinoza suggests for the establishment of a democratic regime contrast with his ontology of conservation. Thus, we believe that the absence of the part on democracy in the Tractatus politicus represents an opportunity to rethink politics as the art of understanding and managing social (...) conflicts rather than neutralizing them. In this sense, democracy for Spinoza is the manifestation of the natural conflictuality of society, a request for equality between men that leads to the permanent questioning of private rights and property, as well as of every institutionalized State form. (shrink)

This essay investigates the development of seeing as an affective, political and potentially transformative practice across the course of John Kinsella’s poetic career. It analyses how seeing becomes a means for Kinsella to apprehend the relationship between self and environment and to consider how local-scale is tied to broader-scale change. At the same time, it traces Kinsella’s concern at the ways in which Western theories of vision shape and reinforce structures of power, particularly in terms of gendered and colonial (...) violence. Moving through and then past ekphrastic debates, I argue that Kinsella considers how poetry and art might, in their own ways, ethically engage with both the human and more-than-human and actively navigate and reflect upon states of connection. (shrink)

When the American colonists crossed, first the Atlantic, and then the mountains and the prairies, on their way westward they tended to leave certain things behind: the fine arts most obviously, but also theoretical science. Three things, however, were not left behind, at least not for long: the art of government, religion, and philosophy. The first could not be dispensed with, nor the second; and indeed, the very reasons for leaving the Old World were often intensely religious. Also philosophizing, like (...) religion, is almost native to man as such. Moreover, the diversity of religions favored philosophical reflection, and it led to the early establishment of freedom of thought to a degree which had been uncommon in western civilization generally. So we need not be surprised that Jonathan Edwards was far better as a theologian and philosopher than any of the colonists was as a scientist. Down to the end of the nineteenth century the country produced only one natural scientist of superb quality, Willard Gibbs, and it is typical of the situation that few U.S. citizens have even heard of him. Pure scientific theory was not greatly encouraged in a land where the need was for applications of existing knowledge to transform a wilderness into farms, habitations, roads, railroads, and other means of communication. The inventor, not the scientist, was most honored. Practicality was in order. But the political and religious questions were not to be evaded, and reflection upon them could be accepted as practical enough. Such reflections easily led into the depths of philosophy. Thus it was perhaps almost predictable that Gibbs should have been followed by a half-dozen philosophers of great distinction, and many others of only lesser merit. Europe does not yet quite realize it, but this was one of the supreme philosophical flowerings of all times and all lands. (shrink)

In all the Alien films, the environments are gloomy settings originally inspired by Gothic architecture, but it's the creature design, which leaves the most profound mark on us. The interaction between these art‐horror monsters and the sterileturned‐ grotesque environments of the Alien films can produce disgust or revulsion in the viewer. In Alien a fair amount of time is spent on the relationships between the crew members. One of the most horrific moments of the series is the cry of “kill (...) me” that emerges from the half‐conscious hosts as the space Marines explore the former colony of Hadley's Hope. Central to Carroll's theory on art‐horror is revulsion at the suggestion of physical contact with the fusion‐figures. At the end of Alien: Resurrection, Ripley lies in the middle of the Queen's huge mass. It is the most striking image in an otherwise cartoonish film. (shrink)

This article examines scientific transnationalism as an art of engagement with, and avoidance of, the threats and promises of what was foreign to the nation. Portuguese racial anthropologists experienced a tension between remaining imperial-nationalistic in character, and internationalist in their activities simultaneously. They struggled to exclude foreigners from colonial field sites; they aimed at nativist authority based on total control of colonial data. Yet, they eagerly sought connections with foreign experts to capitalize provincial scientific authority within Portugal’s colonies. (...) The essay conceptualizes this mode of transnationalism as also a kind of isolationism, an inward oriented form of engaging with foreign sciences and scientists as ambivalently powerful and threatening strangers. (shrink)

During the colonial contact and especially after the 2nd World War in the Solomon Islands local communities various traditions of woodcarving and other handicrafts have transformed from religious and ritual objects to commercial 'tourist arts' that have become economically important for local communities. In the course of culture change Western concepts such as art and culture have been adopted to local languages and they have replaced local terminologies and classifications in various ways. These processes may be described as 'conceptual (...) colonialism'. The meaning shifts and emerging new conceptual categories produce homogenising effects that transform the local ways of cultural thinking towards the direction of hegemonic Western interpretations of socio-cultural phenomena. The concept of art should be treated as one major element in this linguistic power play between the local and the global. (shrink)

Contrary to conventional accounts, critical knowledge of the cultural differences of Amerindian peoples was not absent in the early Conquest of the Americas. It was indeed a constitutive element of that process. The knowledge, strategies, and institutions of early Conquest relied on, and reproduced, Amerindian difference within the Spanish Empire as an essential element of that empire’s continued claims to legitimate authority. I demonstrate this through a focus on three parallel and sometimes overlapping texts: Ramón Pané’s Indian Antiquities; Peter Martyr (...) d’Anghierra’s First Decade; and the first systematic attempt to govern colonized populations in the Americas, the Laws of Burgos. Not only did each text furnish the necessary material upon which the claims to intellectual, and so civilizational, superiority that were central to the justification of empire could be sustained. What is more, they transformed Amerindian difference from an object of knowledge into a subject of governance. (shrink)

In this paper, I argue that the concept of culture industry developed by Max Horkheimer and Theodor W. Adorno had a decisive influence on Jean Godefroy Bidima’s critique of black African modernity. Drawing on some of his writings, I seek to demon- strate how Bidima’s philosophical endeavor inherits the concept of culture industry and applies it to the modern context of black Africa, where it is transformed into the concept of colonial industry. In both cases, the same critical perspective (...) is at play, namely to formulate a broad critique of how cultural products (artworks in Horkheimer and Adorno, and philosophy in Bidima) are deprived of their substance to align with the mystification of the masses. The critique of the culture industry, which serves in Adorno as a fundamental criticism of the production of modern art and its decadence into mass production serves, revisited in Bidima, as a critique of the modern black African philo- sophical discourse. With the light provided by this connection, I propose a rereading of Bidima’s critique of Fabien Eboussi Boulaga, the latter being presented as a promoter of a “discourse of mastery” in black African modern philosophy. (shrink)

The Qing dynasty scholar Wang Guowei 王國維 (1877–1927) has received little recognition in the English-speaking world, and even less in the philosophical community. Raised to be a Ruist (or Confucian) scholar official, he gave up this path to pursue the study of the “new learning” (xīnxué 新學) from the West and became enamored with German aesthetic philosophy, especially the works of Kant, Schiller, Schopenhauer and Nietzsche. However, by the start of the modern Republic period in China, Wang had denounced all (...) his previous research interests and dedicated himself to “old learning” (jiùxué 舊學), fearing for the future of China’s traditions and cultures. Taking Wang Guowei as a case study, my dissertation functions as an exercise in decolonial philosophy, highlighting the impacts of coloniality on his thinking while attempting to revitalize his theories from the perspective of decoloniality. -/- The Introduction sets up this case study by clarifying the points laid out in the title: Who is Wang Guowei, what is coloniality, and why is this case study “philosophical?” To begin, it details the specifics of Wang’s life and explaining his approach to comparative thinking, which became a target of criticism for later Chinese thinkers, including Qian Zhongshu. Next, it offers an overview of the concept of coloniality, referring to thinkers such as Aníbal Quijano, Maria Lugones, Walter Mignolo and Nelson Maldonado-Torres. From this point, this chapter moves into the literature on colonialism in China, emphasizing Anne Reinhart’s understanding of China’s situation as one of “semi-colonialism.” To end, it briefly outlines the earliest and latest periods of Wang’s life, in order to bookend my own discussion, which focuses on the period after he became invested in new learning and before he abandoned it for old learning. -/- Part I centers on Wang’s philosophical essays, all of which were published in the journal Education World between 1903 and 1908. Chapter 1 focuses on Wang’s earliest writings on “philosophy” (zhéxué 哲學), wherein he aims to properly introduce this imported discipline to his peers and make them aware of its value. Chapter 2 concentrates on the earliest of Wang’s major philosophical influences: Kant and Schopenhauer. Although Wang was attracted to Kant’s demarcation of the limits of reason, he could not accept his reimagining of the demands of reason as regulative principles. And while he sympathized with Schopenhauer’s criticisms of Kantian philosophy, he eventually came to regard metaphysical pessimism and the will to life as flawed theories. Chapter 3 deals with the two thinkers who shaped Wang’s views the most in his later philosophical essays: Nietzsche and Schiller. After rejecting Schopenhauer’s metaphysics, Wang came under the influence of Nietzsche and adopted a psychophysiological worldview. However, even though he accepted Nietzsche’s conception of the will to power, he could not accept Nietzsche’s view of overcoming. For Wang, consolation is all we can hope for in this life, and the best means to attain it is through the creation and appreciation of art, which prompts him to look to Schiller and his doctrine of aesthetic education. -/- Part II revolves around Wang’s mature aesthetic writings, specifically his Remarks on Lyrics in the Human World (1908–1909), a work in the “remarks on lyrics” (cíhuà 詞話) genre of literary criticism, which he published just before the Qing dynasty fell in 1911. Under the influence of decoloniality, Chapter 4 examines this work through the lens of praxis, highlighting the specifics of the traditional “remarks on lyrics” genre. After discussing the unique praxical features of this work, Chapter 5 analyzes it through the lens of theory, discussing its most significant ideas, such as its reimagining of the beautiful and the sublime, and the concept of “poetic worlds” (jìngjiè 境界). -/- The Conclusion examines everything discussed in Chapters 1 through 5 from the perspective of coloniality. It begins by determining how, and to what extent, colonial modernity impacted Wang’s thinking, in terms of both theory and praxis. It then provides some ways in which Wang’s theories and practices can contribute to the development of intellectual “worlds otherwise.” Beyond this, it aims to demonstrate how investigating the scholarly endeavors of non-Western thinkers caught in confluence of tradition and modernity can give us glimpses of alternatives to our modern intellectual and ontological modalities, thereby furthering the movement of decoloniality. (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)

How can we imagine a future not driven by capitalist assumptions about humans and the wider world? How are a range of contemporary artistic and popular cultural practices already providing pathways to post-capitalist futures? Authors from a variety of disciplines answer these questions through writings on blues and hip hop, virtual reality, post-colonial science fiction, virtual gaming, riot grrrls and punk, raku pottery, post-pornography fanzines, zombie films, and role playing. The essays in Art as Revolt are clustered around themes (...) such as technology and the future, aesthetics and resistance, and ethnographies of the self beyond traditional understandings of identity. Using philosophies of immanence – describing a system that gives rise to itself, independent of outside forces – drawn from a rich and evolving tradition that includes Spinoza, Nietzsche, Deleuze, and Braidotti, the authors and editors provide an engrossing range of analysis and speculation. Together the essays, written by experts in their fields, stage an important collective, transdisciplinary conversation about how best to talk about art and politics today. Sophisticated in its theoretical and philosophical premises, and engaging some of the most pressing questions in cultural studies and artistic practice today, Art as Revolt does not provide comfortable closure. Instead, it is understood by its authors to be a “Dionysian machine,” a generator of open-ended possibility and potential that challenges readers to affirm their own belief in the futures of this world. Contributors include Timothy J. Beck, Mark Bishop, Dave Collins, David Fancy, Veronica Pacini-Ketchabaw, Malisa Kurtz, Nicole Land, Eric Lochhead, Douglas Ord, Joanna Perkins, Peter Rehberg, Chris Richardson, Hans Skott-Myhre, and Kathleen Skott-Myhre. (shrink)

La presente investigación pretende hacer un análisis histórico sobre la figura de San José y sus diferentes manifestaciones en la cultura y sociedad hondureña, como consecuencia de su culto, creación artística y devoción popular. Este culto tiene su origen en la época colonial, específicamente en el s. XVI, con los Concilios de Trento (1545 – 1563), Nueva España (1555, 1565, 1585) y Lima, Perú (1556 y 1561), los cuales contribuyeron a expandir el evangelio desde la iconografía hasta la fundación (...) de poblados que adoptaron esta imagen como Santo Patrón. También, se analiza esta imagen en el imaginario hondureño durante la secularización del Estado, su adopción y creación como un ideal de paternidad que simboliza protección, sustento y responsabilidad en la construcción de la organización familiar, finalizando con la vinculación de San José como patrono de la clase obrera en el siglo XX. (shrink)

At a time when monuments are falling, learning processes and discourses accelerating, it seems apposite to pay attention also to artworks commissioned by established institutions in order to give form to good intentions. This essay focuses on a commissioned portrait of female professors, on art education, Dutch art policy / politics and the former colonial site that the University of Amsterdam occupies, in order to aide this institution’s desired process to become more inclusive. It proposes Art Research as a (...) realm that can contribute a differentiated and thoughtful positioning of research and universities in visual and public domains: a necessary ally. Since the essay was written in Summer 2019, much has happened: the Faculty in question has been found to be the locus of ongoing sexual harassment. The student victims did not feel that the complaints procedures were safeguarding them sufficiently. They went to the media. The university’s ombudsperson asked to investigate found no systemic deficiencies. Since George Floyd’s death, such a conclusion is no longer possible, and the Board of the university has admitted shameful and systemic failures.[1] We now know better what “systemic” means. This essay’s case study is meant to show that art and philosophy can jointly analyze systems and organizations as a basis for necessary conversations, followed by a broad range of people taking responsibility and acting accordingly. In Covid lock-down times, it became deceptively obvious how unimportant art is. Through an essay such as this, it is hopefully also evident how art can be an indicator of institutional culture: e.g. in relation to how embedded the principle to consult specialists is, even if this seems to be unimportant. And that is a matter of life and death. [1] https://www.folia.nl/actueel/138876/fred-weerman-en-geert-ten-dam-dit-is-ongehoord-beschamend. (shrink)

Congo Style presents a postcolonial approach to discussing the visual culture of two now-notorious regimes: King Leopold II's Congo Colony and the state sites of Mobutu Sese Seko's totalitarian Zaïre. Readers are brought into the living remains of sites once made up of ambitious modernist architecture and art in Kinshasa, Democratic Republic of the Congo. From the total artworks of Art Nouveau to the aggrandizing sites of post-independence Kinshasa, Congo Style investigates the experiential qualities of man-made environments intended to entertain, (...) delight, seduce and impress. In her study of visual culture, Ruth Sacks sets out to reinstate the compelling wonder of nationalist architecture from Kinshasa's post-independence era, such as the Tower of the Exchange (1974), Gécamines Tower (1977), and the artworks and exhibitions that accompanied them. While exploring post-independence nation-building, this book examines how the underlying ideology of Belgian Art Nouveau, a celebrated movement in Belgium, led to the dominating early colonial settler buildings of the ABC Hotels (circa 1908-13). Congo Style combines Sacks's practice as a visual artist and her academic scholarship to provide an original study of early colonial and independence-era modernist sites in their African context. (shrink)

Monique Roelofs offers a pathbreaking systematic model of the field of address and puts it to work in the arts, critical theory, and social life. She shows how address props up finely hewn modalities of relationality, agency, and normativity. Address exceeds a one-on-one pairing of cultural productions with their audiences. As ardently energizing tiny slippages and snippets as fueling larger impulses in the society, it activates and reaestheticizes registers of race, gender, class, coloniality, and cosmopolitanism. In readings of writers and (...) artists ranging from Julio Cortázar to Jamaica Kincaid and from Martha Rosler to Pope.L, Roelofs demonstrates the centrality of address to freedom and a critical political aesthetics. Under the banner of a unified concept of address, Hume, Kant, and Foucault strike up conversations with Benjamin, Barthes, Althusser, Fanon, Anzaldúa, and Butler. Drawing on a wide array of artistic and theoretical sources and challenging disciplinary boundaries, the book illuminates address's significance to cultural existence and to our reflexive aesthetic engagement in it. (shrink)

The patterns of ecological devastation that mark the present unexpectedly enable an ancient and many-storied question to resurface with renewed force: the question of the arts of living — that is, of learning how to live and die well with others on a precarious Earth. Modernity has all but forgotten this question, which has long been buried under the dreams of progress and infinite growth, colonial projects, and the enthroning of technoscience. But what might it mean to reclaim the (...) question of the arts of living today? In this article Martin Savransky reclaims the connection between pragmatism, education, and the arts of living by proposing both that (1) William James's pragmatist philosophy can be read as an ongoing and unfinished experiment in weaving a certain art of living, and (2) James's pragmatism might provide us with uniquely generative elements to begin to experiment with the profoundly educational and ecological challenge of learning to inhabit the Earth otherwise. (shrink)

How can we rethink anthropology beyond itself? In this book, twenty-one artists, anthropologists, and curators grapple with how anthropology has been formulated, thought, and practised 'elsewhere' and 'otherwise'. They do so by unfolding ethnographic case studies from Belgium, France, Germany, Italy, the Netherlands, and Poland - and through conversations that expand these geographies and genealogies of contemporary exhibition making. This collection considers where and how anthropology is troubled, mobilised, and rendered meaningful. 'Across Anthropology' charts new ground by analysing the convergences (...) of museums, curatorial practice, and Europe's reckoning with its colonial legacies. Situated amid resurgent debates on nationalism and identity politics, this book addresses scholars and practitioners in fields spanning the arts, social sciences, humanities, and curatorial studies."--Page 4 of cover. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Graffiti and Colonial Unknowing:A Comment on Mishuana Goeman's "Caring for Landscapes of Justice in Perilous Settler Environments"Anna Cookin "caring for landscapes of justice in Perilous Settler Environments," Dr. Goeman shows how the NDN Collective's initiatives, Chemehuevi photographer Cara Romero's Tongvaland project, and the works of Gabrieliño Tongva artist Mercedes Dorame "exemplify communities of care" that work toward "the unmapping of settler terrains" ("Caring for Landscapes" 51). Her address (...) highlights how these cartographic art productions are processes of (re)mapping that challenge colonial spatialities. Drawing on Michi Saagig Nishnaabeg scholar Leanne Betasamosake Simpson's poem "i am graffiti," Goeman frames these art works as Indigenous graffiti, insofar as they are everyday acts of resurgence1 that resist erasure and enact rematriation.My comments aim to articulate how Romero's and Dorame's works both reveal and disrupt a colonial unknowing by showing the cracks of settler colonial spatiality. I take Goeman's address to illustrate that the changing of minds and unsettling of settler identity will not occur through argumentation, facts, and figures alone, but rather through aesthetic and cartographic practices that "provide a way of seeing Indigenous futurities and relationalities" ("Caring for Landscapes" 52).Maps as Tools of Settler ColonialismIn order to highlight how these art practices enact a kind of (re)mapping that breaks through the veneer of colonial permanence, we first need to consider the way mapping transforms land into property in the service of Indigenous erasure and land dispossession. In her address, Goeman offers a short history of what is now called Los Angeles through the lens of dispossession that occurs through "international claiming of property and burgeoning US property law" ("Caring for Landscapes" 53). Tovaangar was divided into Spanish (and [End Page 64] then Mexican) land grants that, after 1846, were "registered under the US as property" (Goeman, "Caring for Landscapes" 53; emphasis added). The Land Act of 1851 "established the domestication of the California landscape under US governance" by legitimating existing Mexican land rights and mapping out territory yet "unclaimed" ("Caring for Landscapes" 54). The mapping of this so-called "unclaimed" territory propelled a violent erasure of California Indians by "establishing new and ongoing commerce centers" ("Caring for Landscapes" 53). Land was transferred into property—as a thing owned—without "the consent of those who … lived on the land since time immemorial, following the settler structure of passing land between Christian nations" ("Caring for Landscapes" 53). By showing how property rights legitimate conquest and violence, Goeman illustrates how mapping has been (and continues to be) an "essential settler-colonial tool to domesticate land in Southern California and propel development" ("Caring for Landscapes" 54). While she demonstrates how the mapping of Tovaangar using 493 hand-drawn Diseños maps served to sever Indigenous communities (and their relationships with land, such as the Gabrieliño Tongva with the San Gabriel Mountains), she emphasizes that this is an ongoing process that has not been left in a distant past. Newer maps that may seem more objective and scientific with "better models of scale or a more realist representation" remain, at their core, maps of dispossession ("Caring for Landscapes" 54).The very desire to objectively determine location by assigning latitude and longitude reveals a colonial spatiality, which "territorialize[s] the physical landscape by manufacturing categories and separating land from people" and conceives of space in terms of property logics (Goeman, "[Re]Mapping Indigenous Presence" 296). In addition to Indigenous land dispossession, this colonial spatiality rejects relationality by creating dualist boundaries between human and non-human, in which land is the raw material for human development and the creation of culture. Cherokee philosopher Brian Burkhart speaks of relationality in terms of locality, which he defines as "being-fromthe-land, knowing-from-the-land, and meaning-from-the-land" (Indigenizing Philosophy xvii). The severing of locality can be understood in terms of the transformation of land as relative to inert matter to be acted upon. Mapping serves as a tool of settler colonial erasure insofar as it delocalizes "land as the relational ground of kinship" into "land as a mere object that only has meaning or value in relation to people" ("Indigenizing Philosophy... (shrink)

Zusammenfassung Das Thema dieses Aufsatzes ist die Art und Weise, in der Religion auf der Weltausstellung 1883 in Amsterdam repräsentiert wurde. Zuerst wird die facettenreiche Komplexität der Weltausstellungen umrissen, um dann den Aufbau der Amsterdamer Kolonial- und Exportausstellung zu beschreiben. Solche Ausstellungen waren heterogene Mischungen aus Erbauung und Unterhaltung, aus nationalem Stolz und internationaler Verbundenheit, aus Bewunderung für die Handarbeit der kolonialen Bevölkerung und westlichem Superioritätsbewußtsein. Die religiöse Dimension der Amsterdamer Ausstellung wird dann besonders anhand der Auseinandersetzungen über den – (...) arabischislamischen – Stil des niederländischen Kolonialgebäudes und an der Art und Weise, in der hier religiöse Objekte der Kolonialvölker zur Schau gestellt wurden, gezeigt. Besondere Aufmerksamkeit gilt weiter der ethnographischen Sektion und den begleitenden wissenschaftlichen Konferenzen. Zum Beispiel begrüßte die Tagung der Orientalisten ohne zu zögern die Eroberung der Kolonien ‘au profit de la science’. Zum Schluß wird – in Anlehnung an das von Michel Foucault geprägte Konzept des Heterotopia – die komplexe Beziehung zwischen Repräsentation und ‘abgebildeter’ Wirklichkeit erkundet. Religion ist nicht an einem bestimmten Ort lokalisiert, sondern “durchdringt” sozusagen das diffuse Ganze der Weltausstellung als solcher. (shrink)

Time, precarious lives and memories and multiple narrations related to crossing borders constitute the key meanings of a series of contemporary pieces of works produced by migrant artists and writers. Through an analysis of some of their works, this article focuses on some spatio-temporal images, actions and metaphors related to movement. Then it questions the exploration of narratives in visual arts, especially the relationship between imaginary fiction and reality stories. Theatre may become the very place where contemporary tales of migrant (...) people are translated, told, performed. The very meaningful notion of hospitality becomes a theatrical practice in one of the most relevant spectacles of the Théâtre du Soleil, Le Dernier Caravansérail. Another aspect of this creative hospitality — Leïla Sebbar’s Mes Algéries en France — concerns the interweaving of memories belonging to opposite sides of divided countries, after the colonial wars. This work of collection, transcription, translation from one to another gives an example of writing as a repairing work but also of revelation of unknown connections. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Mapping Beyond Measure: Art, Cartography, and the Space of Global Modernity by Simon FerdinandDavid TooheyMapping Beyond Measure: Art, Cartography, and the Space of Global Modernity BY SIMON FERDINAND Lincoln: University of Nebraska Press, 2019Mapping Beyond Measure is a geographical and theoretical critique of map art and the tradition of modern mapmaking. The book focuses in depth on a few related examples of map art and departs from critical (...) theory and post-Marxist readings of space. Simon Ferdinand emphasizes fine art and art-film as appropriate counterweights to the authoritarian calculation in modern cartography and, unexpectedly, map art’s critique of mapmaking.Mapping Beyond Measure follows the well-trodden path of critiquing a medium, mapping, and map art as irredeemably authoritarian.1 Situated in this approach, Ferdinand argues that map art reproduces modernist cartography’s assumptions even while critiquing mapping. Aiming to subvert this shortcoming, Ferdinand explores Peter Greenway’s semi-abstract map art films that do not prioritize science over artists. Greenway’s films, especially A Walk Through H, are shown as being as close to an idea of mapping beyond calculation as possible. Indeed, for Ferdinand, Greenway’s map art films are an improvement on “postmodern” theorists.Mapping Beyond Measure explores a small, though logically (and practically) related group of map artists. The first three chapters explore differing approaches to map art, from Soviet painting that unintentionally [End Page 126] heralds globalization and map art’s latent desires to dominate the world, to more contemporary map art about looming societal collapse through the death of nature and mass casualties from aerial bombardment of cities. The following two chapters focus on how mapping creates nation-states. These chapters elucidate the tragic inability of map artists to escape globalization and calculation, the latter exasperated by G.I.S. techniques. These map artists serve as an ensemble that spotlights what, to Ferdinand, are inevitable difficulties that ethical practitioners of map art face in escaping the pitfalls of calculation in mainstream mapping.In chapter 6 Ferdinand explains how Greenway’s film A Walk Through H gets as close as possible to challenging map art through semi-abstract, two-dimensional additions to maps and using movie cameras to create an illusion of movement. Thus, the hierarchy of scientists over artists is partially dismantled. Indeed, Ferdinand lauds Greenway for creating alternatives to established political theorists. Interestingly, Ferdinand replaces ontology with the concept of “chorein” suggesting a more fluid conception of mapping that is not available in theories of space or cartographic practices of calculation. Nonetheless, compared to one of the articles referenced, Ferdinand downplays the destructive nature of chorein as a militaristic, colonial use of maritime space to emphasize its creative potential.2Ferdinand’s examples are primarily Eurocentric, even, surprisingly, in the exception: his focus on Japanese map artist Satomi Matoba. Here Ferdinand departs from Eurocentric examples only to focus on Japan—the most privileged nation-state in Asia. Even in this focus on Japan, which also includes Hawai‘i, Ferdinand does not depart from a frame familiar to Europe: World War II. Indeed, the discussion of Pearl Harbor (a U.S. military base) focuses on U.S. foreign policy, not on Hawai‘i. This thematic choice is relevant to other map artists in Ferdinand’s book. Ferdinand’s critique of calculability is based mainly on the consequences of Nazism, as theorized by Stuart Elden. However, Ferdinand’s theoretical interventions on uneven development in maps and map art would have been more substantial with the addition of detailed, localized, narrative accounts of violence suffered by non-white populations in Hiroshima, Nagasaki, and various European cities. Instead, we get an anonymous logic of maps that uses the idea of the past and potential [End Page 127] future destruction of cities to assume that everyone suffered to the same extent in World War II.While I am reluctant to criticize a book for not offering a solution to what it critiques, to a certain extent, the solution offered by Ferdinand contradicts his normative critique of calculability. In exploring Alison Hildreth’s map art, Ferdinand praises nuanced, temporally layered artistic explorations of ecological destruction and extinction. Likewise, A Walk Through H, is... (shrink)

El blanco y el negro son más que colores, son claves de un contraste simbólico en islas que montaron su estructura social –desde los tiempos coloniales– sobre la esclavitud que racializó las relaciones sociales y generó con ellas modos diversos de discriminación que llegan hasta nuestros días. Uno de los importantes aportes del negro a las artes plásticas del Caribe, es su color, un signo visual en el universo de las tensiones raciales, nacidas en el seno mismo de la sociedad (...) moderno–colonial. Este trabajo se propone distinguir esa trayectoria de significaciones visuales, a través de una selección de obras que emplean el blanco y el negro a partir del soporte físico del cuerpo con todas sus capacidades expresivas. Uno de los textos más significativos del siglo XX sobre la cuestión, Piel negra, máscaras blancas (1952) de Frantz Fanon, será asumido como un recurso de interpretación crítica para el estudio de la selección de obras y autores del Caribe insular que se inscriben en los conflictos de la racialización e inferiorización de las corporalidades, para explorar formas de un humanismo decolonizador, devolver el hombre a su lugar, resituar su “yo” y revalorizar su sitio en la historia. (shrink)

The core concept of ‘the human’ that anchors so many humanities disciplines – history, literature, art history, philosophy, religion, anthropology, political theory, and others – issues from a very particular modern European definition of Man ‘over-represented’ as the human. The history of modernity and of modern disciplinary knowledge formations are, in this sense, a history of modern European forms monopolizing the definition of the human and placing other variations at a distance from the human. This article is an interdisciplinary research (...) that decenters Man-as-human as the subject/object of inquiry, and proposes a relational analytic that reframes established orthodoxies of area, geography, history and temporality. It also involves new readings of traditional archives, finding alternative repositories and practices of knowledge and collection to radically redistribute our ways of understanding the meaning of the human. (shrink)

The complex interaction between colonizer and colonized has attracted increasing attention among historians in the post-colonial period of the last fifty years. This perspective is also adopted by Maria Georgopoulou (hereafter: M. G.) in her treatment of the encounter between Venice and the Byzantine heritage of the territories the latter occupied shortly after the Fourth Crusade. M. G's. main thesis may be summarized as follows. Venice manipulated Crete's Byzantine heritage and assimilated it into her own rhetoric in order to (...) undermine the Byzantine presence in the island and to support and legitimize her own colonial rule. This was achieved mainly by the appropriation of Byzantine traditions in civic and religious ceremonies and the symbolic colonization of urban space, expressed in architectural designs, the use of buildings and spatial patterns. All these served as bold statements of control over the local Greek population and the Jewish communities. The same strategy of urban planning was implemented in the other main cities of the colonial empire (26). In addition, M. G. argues that there was yet another channel of appropriation of Byzantine culture, art and imperial heritage by Venice, resulting from the Byzantine impact of the Venetian colonial territories on the political and cultural identity of the Adriatic city. Until now this issue has been examined in numerous studies primarily focused on the relationship between Constantinople and Venice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Art of Interpreting Art PAUL BAROLSKY “The quality of the prose is just as important in nonfiction as in fiction.” —Robert Caro If as Horace famously wrote in the Ars poetica the aim of poetry is to instruct and delight, why shouldn’t the goal of all writing be the same? Why should all readers not enjoy as well as learn from what they read? In the realm of (...) academe, however, although much writing instructs, far too little delights. This is so because the goal of academic writing is primarily that of conveying information and knowledge or of developing new ideas. Delight or pleasure are not of primary academic concern. Too few scholars care sufficiently about how they write. Too many academics write in unreadable prose. Often their writing is ponderous, indeed pompous, because they are insecure in the face of theoretical, philosophical or scientific writing. The outcome can be quite hideous. Sometimes, dare I say often, their writing is dreadfully dry and dull. In the Humanities, the arts, by which I mean those that have been called the spatial arts, that is, architecture, sculpture, and painting, can be studied from a wide variety of perspectives. As some observers have noted, however, frequently in the academic study of art and its history, art as such recedes from view and drops out of the discussion. Art becomes primarily the illustration of something else, something other than itself. It comes to be the illustration of the global, colonial, sexual, political, theological, social, economic, religious, anthropological, philosophical, technological, scientific, or theoretical. It is too often not sufficiently appreciated for its own sake as art. Do I sound as if I am writing about the much-scorned notion of “art for art’s sake?” Yes, but not exactly. Since the arion 28.1 spring/summer 2020 102 the art of interpreting art nineteenth century, when Gautier wrote, l’art pour l’art meant just that, the celebration of art for its own sake. Eventually, however, that notion came to be disparaged as too limited, since it supposedly failed to address the various kinds of associations between art and the other phenomena listed above. The notion of art for its own sake unfortunately came to be seen as a manifestation of aestheticism or formalism— both often regrettably terms of opprobrium. Not long ago a graduate teaching fellow in a prestigious art history program had her students read my essay on the role of writing about art which was published in the spring/ summer 2018 issue of this journal. The first part of that essay concerned atrocious writing, which, our teaching fellow said, made her students laugh—yes, laugh! They presumably laughed because the prose of scholars was so very bad—ridiculous in the root sense of the word, laughable. One example of pompous diction that I have cited often because it is so laughably absurd, is the definition one art historical scholar has given of sex as “inter-corporeal relationality.” No wonder the students laughed! With considerable amusement, the graduate teaching fellow to whom I have just referred told me that she rather doubted her students bothered to read the second part of the essay she assigned, even though it included some exemplary writing about art. Why should they have bothered to read examples of excellent writing? After all, their teachers, who too often do not themselves write well, do not encourage students to think sufficiently about their prose. Let me add to the cluster of grotesque writing illustrated in the Arion article to which I have referred one more example of how bad academic writing about art can be in order to remind the reader of the kind of absurd nonsense or blather that one encounters throughout the Humanities. It comes from a highly esteemed author who “describes influence as a notion which provides a support—of too magical a kind to be very amenable to analysis—for the facts of transmission and com- Paul Barolsky 103 munication; which refers to an apparently causal process (but with neither rigorous delineation nor theoretical definition) the phenomena of resemblance or repetition; which links, at a distance and through time—as if through the mediation of... (shrink)

Se é difícil pensar em um significado para a expressão “filosofia brasileira”, pensar o que possa signficar uma “filosofia colonial brasileira” torna-se ainda mais desafiador. Para isso, necessário será justificar tanto o significado quanto o alcance da questão no período. Neste artigo o faremos em três passos: o primeiro situa a relação entre filosofia e colonialidade na constituição da América Portuguesa, considerando as escolas e o alcance do ensino na colônia, e traz um breve estado da arte da pesquisa; (...) o segundo elenca os corpora philosophica provenientes dos colégios do Maranhão, Pará, Rio de Janeiro, Minas Gerais e Mato Grosso; o terceiro caracteriza as formas dos escritos, os níveis de ensino dos colégios e professores-autores e, por fim, as principais matrizes filosóficas reconhecíveis nos escritos coloniais. Enfim, não obstante a dificuldade geral da questão, propomo-nos a afrontar diretamente a hipótese: o que significa uma filosofia colonial brasileira? (shrink)

"Directly following the internationally acclaimed Art & Discontent, Thomas McEvilley argues in Art & Otherness for an advanced anthropological perspective that contravenes conventional thinking in the visual arts, and leads to a concept of artistic globalization. The description of Western culture as superior and in opposition to other cultures of the world preoccupied our aesthetic philosophy for at least 200 years, whether or not explicitly stated. That argument was undertaken in various guises, especially as the historical determinism of Hegel which (...) proposed to quantify human "progress." Recently, however, the term "multiculturalism" has come to signify a post-Modern understanding of how visual arts transgress artificial boundaries, and of how there may now exist, perhaps for the first time in history, a post-colonial globalism in the arts freed of ethnocentric value judgements. In these ten crucial essays, McEvilley clarifies how the presentation of art can determine its reception, how "influence" can be bi-directional, how "otherness" serves to define "self," and how art need not necessarily lose its meaningfulness when stripped of badges of universality. Once again illustrating his argument by drawing upon an array of sources and cultures, Thomas McEvilley demonstrates that the post-Modern crisis in cultural identity demands an imaginative, integrating response."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

This book interprets relationships among art and ethics in the context of contemporary South African art. Nearly three decades after inaugurating political freedom in a democratic form, the infrastructure of South Africa faces palpable issues and challenges to the social fabric. The social tension involves painful struggles for decolonization and violent debates about the removal of colonial statues, change of colonial names, transformation of universities, and curriculum change. This book does critical work in art history, theory, criticism, and (...) visual culture by looking from and looking after social differences to interpret the potential impact of contemporary media and mediation. Artists examined include Zanele Muholi, Mohau Modisekeng, Dineo Seshee Bopape, Hasan and Husain Essop, and Kemang Wa Lehulere. The book will be of interest to scholars working in art history, contemporary art, visual culture, art theory, ethics, aesthetics, philosophy of art, and African studies. (shrink)

The essay attempts to offer an alternative genealogy of aesthetics from the perspective of a post-colonial history. Here a painting from the Philippines, Juan Luna's Spoliarium (1884), is reworked to offer insights into this possible operation that exceeds the typical methods of relativization and the exclusively nationalist anti-colonial critique. It focuses on both art and the discourse about it, including the oration of the National Hero Jose Rizal, and how these intersect with the end of the colony and (...) the compelling emergence of the aesthetic in eccentric grounds. (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)

Carnal Aesthetics presents a phenomenological study of aesthetics grounded in the creative practices of Latinx artists and individuals. For Mariana Ortega, carnal aesthetics offers a way to think about the affective and bodily experiences of racialized selves in their engagements with art and photography. Ortega looks primarily at Latinx photography and Latinx subjects, tracing the transformative potential of artmaking for the self's liberatory growth. Ortega draws heavily on the work of Gloria Anzaldua as well as critical phenomenologists and queer of (...) color theorists such as Linda Martin Alcoff, Helen Ngo, and Jose Esteban Munoz. Ortega explores how creative practices stage encounters with the carnal, ending with an intimate reading of photography through a reflection of her own crossing from Nicaragua to the United States in 1979. Motivated by her own experiences of loss and exile, Ortega argues for the importance of carnal aesthetics in destabilizing and transforming practices of normative, colonial, and decolonial subjects, imaginaries, and structures. (shrink)

In the early 1990s, Microcebus murinus, a small primate endemic to Madagascar, emerged as a potential animal model for the study of aging and Alzheimer’s disease. This paper traces the use of the lesser mouse lemur in research on aging and associated neurodegenerative diseases, focusing on a basic material precondition that made this possible, namely, the conversion of a wild animal into an experimental organism that lives, breeds, and survives in the laboratory. It argues that the “old” mouse lemur model (...) can be considered as an eco-zootechnical acquisition. This is shown by examining how, since the early 1970s, French mouse lemur researchers have articulated colony productivity and viability with the influence of environmental factors on the demographics and physiology of the species. The appearance and maintenance of a growing number of old mouse lemurs in French research facilities are related to three developments: the application of the ecological notion of “social stress” to the understanding and management of the behavior of the captive population; the experimental demonstration that a variety of seasonal physiological changes in the species were influenced by the photoperiod; and the related attempt to accelerate aging in mouse lemurs through the manipulation of annual light conditions. (shrink)