This book offers an Indigenous supplement to the rich and growing area of visual legal scholarship. Organized around three narratives, each with an associated politico-poetic reading, the book addresses three major global issues: climate change, the trade in human body parts and bio-policing. Manifesting and engaging the traditional storytelling mode of classical Indigenous ontology, these narratives convey legal and political knowledge, not merely through logical argument, but rather through the feelings o
Is South a Northern Thing?
Artists and writers from the colder climes of northern Europe have long felt the lure of the South of the continent. Goethe was revitalised by his encounters with Mediterranean culture on his journey to Italy. Nietzsche took flight to the south to begin his life anew. D H Lawrence sought the health-giving southern sun in Sicily and Sardinia.
A new issue from South Africa on South, Indian Ocean, whiteness, silence and flowers.
JWTC, Johannesburg Workshop in Theory and Criticism
In fall 2015, we created a new book series on Decoloniality, which was supported with conference panels and mini-conferences in 2015 and 2016.
We want to take this opportunity to invite book proposals from this community by officially announcing the launch of this new book series DECOLONIAL OPTIONS FOR THE SOCIAL SCIENCES. Information about the series, which is published with Lexington/Rowman, can be found at our web-site, which will also increasingly be used to publish additional content: https://decolonialsocialscience.wordpress.com/
ABOUT THE SERIES
More than being just an ‘emerging paradigm’, decoloniality is a troubling and troubled conversation that does more than just cross the boundaries of disciplines, geo-polities, time frames, cultures, and identities. Interrogating the acts and gestures of crossing borders as events that simultaneously also make borders, decolonial perspectives have opened the possibility for border thinking and border existences that challenge the social sciences at their core.
The book series seeks proposals that consider in all aspects the gesture of sociological delinking from the coloniality of power, being, knowledge and life itself. All contributions should aim to consider themselves as interventions to answer this challenge: “Projects aimed at ‘ decoloniality ,’ understood as the simultaneous and continuous processes of transformation and creation, the construction of radically distinct social imaginaries, conditions, and relations of power, knowledge.” Our main aim with series is to consider, discuss, and develop ideas and questions that represent an epistemic de-linking that challenges sociology.
A SERIES EDITED BY : Alexander I. Stingl (IAM FAU Erlangen – Nürnberg), Oyeronke Oyewumi (Stony Brook), Nicholas Rowland (Penn State), and Sabrina M. Weiss (RIT)
The series is co-supervised by an editorial advisory board, comprised of both well-established senior researchers and promising junior scholars from all over globe.
Alexander Stingl serves as corresponding editor and can be reach via email at [email protected]
You are invited to celebrate the launch of a new publication from the Aboriginal Humanities Project in association with Discipline
The People’s Tribunal: An Inquiry into the ‘Business Improvement Program’ at The University of Melbourne
The book will be launched by Helen Johnson
on Thursday 18 February from 6 to 8 pm at West Space, Level 1, 225 Bourke Street, Melbourne, Vic, 3000
Source: Women in Academia Crossing North–South Borders: Gender, Race, and Displacement, Edited by Zuleika Arashiro and Malba Barahona – Contributions by Zuleika Arashiro; Malba Barahona; Eugenia Demuro; Rosalba Icaza; Sara C. Motta; Marisol Reyes and Jeanne Simon,
You can download this important new publication (in Spanish):
Desde 1960, se reconoce la presencia de una estructura internacional desigual en la producción y circulación del conocimiento en el sistema científico internacional, fenómeno que se ha denominado dependencia académica. Esta realidad motivó acciones para promover la formación de cuadros científicos y estimular el vínculo entre instituciones y académicos de la periferia. Esto, teniendo en cuenta que las estructuras de producción de conocimiento de la periferia se veían comprometidas por el colonialismo y sus efectos perdurables.
McGaw, Janet, and Anoma Pieris. 2014. Assembling the Centre: Architecture for Indigenous Cultures: Australia and Beyond. 1 edition. New York: Routledge.
A new book looks at issues around the architecture of Indigenous cultural centres. It confronts the challenge of de-colonising architecture through a methodology of mutual engagement. This includes discussion of the possum-skin cloak, which has been used by members of the Kulin nation in south-east Australia as a way of representing the gathering of communities. This form of mapping is related to the Deluezian concept of striated representation of space.
Below is the opening of the chapter ‘Skin’ (pp. 152-3) which discusses this form of representation:
At the same time, a parallel architectural discourse influenced by post – structural literary and feminist theory (by scholars such as Michel Foucault, Julia Kristeva, Luce Irigaray and Hélène Cixous), has called into question other aspects of the surface. Architectural theorists and philos ophers Elizabeth Diller, Jennifer Bloomer, Elizabeth Grosz and others, have challenged architecture to consider the inscriptive practices perpetuated by a male-dominated profession on the gendered body. Their work drew out similarities between architectural and urban surfaces and bodily skins. The third wave of feminist discourse, through the work of bell hooks, Chandra Talpade Mohanty and Trinh T. Minh-ha has extended the critique to include other ‘minored’ bodies. Relatively few Indigenous cultural centre designs have been informed by these critiques, and yet Indigenous place-making practices have a long-standing relationship with surfaces – both ancient and modern.
We chose the term ‘skin’ – a term commonly substituted with ‘surface’ in architectural discourse – to frame our discussion for its more immediate bodily connotations. Interestingly, skins are at once material and expressive surfaces, a site of inscription and marking. As a vehicle for assembling and
stabilising social identity, the skin has a significant history. In this chapter, we explore the importance of skin as a site of place-making through three historic periods. The connections between inscriptive practices and Storyplaces in pre-colonial Indigenous culture are addressed first. We argue that painting, etching, and other kinds of surface markings in pre-colonial culture were not purely decorative; they had particular symbolic content that some scholars have likened to text. However, we prefer the term ‘(s)crypts’ coined by Jennifer Bloomer, as it alludes to writing (script) that has both spatial (crypt-like) and enigmatic (encrypted) qualities, about Stories that are often sacred (scriptural) (Bloomer 1993).
During the colonial period, new motifs were introduced. The rock art of this period – an early graffiti written over Story-places – reveals the social upheaval that took place as a result of colonisation. The moment of colon – isation signals a process of de-territorialisation enacted through a range of bodily inscriptions by settlers and instituted by the colonial authorities. Thus, the social and physical bodies of Indigenous people were transformed: tradi tional possum skin cloaks were replaced with Western clothes and woollen blankets; initiation ceremonies involving scarification were abruptly ceased; the protective surfaces of ethno-architecture were replaced with institutional buildings. Western garb and architecture became new ‘skins’ that de-territorialised Indigenous social identity. Contemporary Indigenous artists’ responses to these inscriptions include new expressions on the surfaces of the city and the body. They range from the overt, such as stencil, street and body art, to the covert, such as enigmatic inscriptions that retain secret knowledges. Alongside Indigenous voices in this chapter, we include images of surfaces, (sc)rypts and other inscriptions by Indigenous artists. We ask how knowledge of these contemporary practices of re-territorialising Indigenous identity through surface markings might inform a new practice of making Indigenous cultural centres. In particular, we consider how attending to the specificities of Indigenous surface inscriptions might lead Indigenous cultural centre design to eschew aesthetics in favour of politics.
This chapter considers two case studies that do display an overt interest in the surface. The first is international: the Musée du Quai Branly, Paris, designed by Jean Nouvel, incorporates a vertical garden on its exterior skin, thus melding living and constructed environments into the fabric of an architecture that explores material innovation in cladding design. However, the Musée du Quai Branly has also been widely critiqued for its application of Indigenous artwork to its interior surfaces as a decorative tool, without reference to the artworks’ cultural contexts or the practices of inscription from which they arise. The second case study is Australian. The National Museum of Australia, Canberra, designed by ARM is a building that engages productively with formal and inscriptive possibilities of the surface to critically challenge political orthodoxies. However, it has also been critiqued as ‘populist’.
By Peter Beilharz
To be launched by Nikos Papastergiadis at 7pm on 9 March, 2015
Greek Centre, 168 Lonsdale Street, Melbourne, Mezzanine level
Please RSVP to Monash University Publishing at [email protected] by 4 March Co-sponsored by The Greek Centre, Melbourne, and the Thesis Eleven Centre, La Trobe University
In 1956 Bernard smith wrote that we in Australia were migratory birds. This was to become a leading motif of his own thinking, and a significant inspiration for sociologist peter Beilharz. Beilharz came to argue that the idea of the antipodes made sense less in its geographical than its cultural form, viewed as a relation rather than a place. Australians had one foot here and one there, whichever ‘there’ this was. This way of thinking with and after Bernard smith makes up one current of Beilharz’s best Australian essays.
Two other streams contribute to the collection. The second recovers and publicises antipodean intellectuals, from Childe to Evatt to Stretton to Jean Martin, who have often been overshadowed here by the reception given to metropolitan celebrity thinkers; and examines others, like Hughes and Carey, who have been celebrated as writers more than as interpreters of the antipodean condition.
The third stream engages with mainstream views of Australian writing, and with the limits of these views. if we think in terms of cultural traffic, then the stories we tell about Australia will also be global and regional in a broader sense. Australia is the result of cultural traffic, local and global.
Chapters consider what design means in different cultural contexts. Perera and Gillet seek to go beyond the colonial school of Lusotropicalism in African design to consider local practices, such as Luanda’s taxi system. Fry’s own chapter on East Timor champions the embedded knowledge in traditional crafts otherwise eclipsed by the technologies brought in by Western specialists.
From the Middle East, Samer Akkach considers the various ways that design can be understood in an Arabic context. He elaborates the concept of ‘sana’ associated with craftsmanship and its eventual replacement by ‘tasmin’ which associates design with an elite skill influenced by Western models.
To extend this approach to political action, Paul James presents a manifesto of urban design from an ontological perspective. This includes principles of action such as ‘Urban settlements should come to terms with the uncomfortable intersections of identity and difference:’
Design in the Borderlines is an essential link between southern theory and design. It offers the conceptual architecture necessary to connect pluralist epistemology with the practice of design across the South.
Can it be applied in the South? This presents a significant challenge. Its publication reminds us how much more there is to be done. There are many more steps necessary before we can get beyond design philosophy to the practical business of design in the ground, including the concrete ethics of relations between designers and their world.
Echoing Raewynn Connell’s call in Southern Theory for a ‘dirty theory’, we need to hit the road to work out how a new design approach might intersect with daily life. Design in the Borderlines is resolutely anti-development in its crude capitalist sense. Yet there may be situations where local communities might resist a call to return to their craft roots. There needs to be dialogue between the practical aspirations of communities in the South and the political values common in southern thinking. The issue of neo-extractivism in Bolivia is an example of this kind of debate. While Design in the Borderlands is an excellent platform, a dialogical approach seems important to reflect the multilateral nature of the South.
Kalantidou, E & Fry, T 2014, Design in the Borderlands 1 edition., Routledge, New York, NY.