The Green Frog and Desalination: A Nyungar Metaphor for the (Mis‐)Management of Water Resources,Swan Coastal Plain,Western Australia

ABSTRACT In common with Aboriginal groups around Australia, the indigenous people, or Nyungars, of Perth adopt a holistic attitude towards groundwater resources. Of cultural significance are lakes, springs, soaks and watercourses that feature in Dreamtime creation narratives. Perth is experiencing major water shortages and many Nyungars feel that the degradation of the freshwater supply is a result of mismanagement and unsustainable development by non‐Aboriginal people. Proposals for dealing with the issue are seen as equally out of balance with the natural order of things. Water regulators have much to learn from indigenous Australians about water and environmental management. Although water continues to be central to Nyungar identity, the study on which this article is based found evidence of attenuated knowledge about the Dreaming, with discontinuities evident in the way significance is increasingly being read in everyplace rather than in specific ‘story places’.     

A Critical Reappraisal of Eustathios Makrembolites’ Hysmine and Hysminias

Abstract

Despite the massive amount of scholarly literature on Iconoclasm and its aftermath, there are really only two major publications that deal specifically and synthetically with ninth-century art. One of these is André Grabar's magisterial L'iconoclasme byzantin, a chronological analysis of monuments and texts; the other is Robin Cormack's short but insightful essay in Iconoclasm, the collection of papers originally presented at Birmingham in 1975, which asks ‘whether the discussion of religious images stimulated by Iconoclasm changed the nature of Byzantine Art’. My aim is rather different. Rather than presenting an encyclopedic overview, this article attempts to crawl into the fabric of Byzantine culture: to see and understand Byzantine art of the ninth century as the Byzantines saw and understood it. It follows that the material presented has not been segregated into the familiar (and often useful) categories of style, iconography, and context, for, to the Byzantines, the three were neither exclusive nor separable. For similar reasons, I have deemphasized any linear progression that might imposed with art historical hindsight on the distant past, and have thereby underplayed the flashes of innovation, novelty and erudition that such detachment allows. These sparks are probably more visible (and certainly more appealing) to twentieth-century art historians than they were to the ninth-century Byzantines, for whom, as we shall see, the power of tradition militated against individual creativity, and artists on the whole remained anonymous artisans. In my attempt to look at Byzantine art from the inside rather than from the outside I have, in other words, concentrated on the fluid interface between objects, and the shifting dialogue between objects and context. This is because what interests me here is how Byzantine ideas about art (their theories), Byzantine perception (how the Byzantines saw), and the artifacts themselves (the practice) come together in the ninth century: how art, that preeminent social construct, worked in the years after Iconoclasm.     

Essentialism and Historicism in Danto's Philosophy of Art

Arthur C. Danto has long defended essentialism in the philosophy of art, yet he has been interpreted by many as a historicist. This essentialism/historicism conflict in the interpretation of his work reflects the same conflict both within his thought and, more importantly, within modern art itself. Danto's strategy for resolving this conflict involves, among other things, a Bildungsroman of modern art failing to discover its essence, an essentialist definition of art provided by philosophy which is indemnified against history, and a thesis about the end of art once it has been defined. Is this strategy successful, or does it result, as I argue, in a philosophical disenfranchisement of art of precisely the type that Danto himself has criticized?     

Modern Őmie Women: Virtual Indigeneity and Intimations of Empowerment

The women of ?mie Artists, a cooperative that produces original bark cloth paintings for the global indigenous art market, are described in contemporary ethnographic publications as ranked into a hierarchy of chiefs on the basis of their ‘wisdom’ which is expressed in their paintings. This depiction of the ?mie, who comprise a marginalized population of less than 2000 in Oro Province of Papua New Guinea, is dramatically different from what was known of their culture several decades ago. An assessment of the likelihood of this virtual depiction reflecting the social empowerment of ?mie women is undertaken. Although the impact of missionization and entry into capitalist markets is recognized, it is the interpellation of the art market of the ‘indigenous artist’, working within a traditional mystical tie with the land and the ancestors, which must be seen as precipitating what appears in virtual form an amplification and cultural embellishment of women’s traditional knowledge and practices. This process is foregrounded against the historical change in valuation of women’s cultural contributions by the discipline and the art world.     

The Ainu of Japan: an indigenous people or an ethnic group?

Abstract

In 1997 the Japanese Parliament ratified the Act for the Promotion of Ainu Culture and the Dissemination and Advocacy for. the Traditions of the Ainu and Ainu Culture; this act officially designates Ainu culture and language for restoration and promotion in Japan. However, despite demands from Ainu people to be recognized as an indigenous group, the Japanese government designates the Ainu only as an ‘ethnic minority’. Generally, the Japanese define Ainu people as descendants of those. who assumed Ainu culture in Hokkaido during the period of Japanese colonization (from the 13th/14th centuries to the middle of the 19th century). A primary consideration today is to identify and date the origins of Ainu culture (which can then be conserved in accordance with the 1997 Act). Most Japanese academics agree that the Ainu people are the prior inhabitants of Hokkaido, but they also consider Hokkaido ‘Japan's inherent territory’. At present, the Japanese authorities seem to consider the term ‘indigenous’ to mean a population who had prior possession of land, but who now have no right to it or its natural resources. However, many Ainu continue to demand recognition as an ‘indigenous people’, rather than an ethnic minority.     

Christianity and Indigenous Peoples: A Personal Overview

This article summarizes its author's response over more than 30 years to the various arguments advanced against the possibility of the appropriation of Christianity by indigenous peoples. It sets out the intellectual and evidential reasons for rejecting these arguments. However, it admits that while indigenous appropriation of Christianity is always possible, under some circumstances it has been improbable. Many indigenous peoples have made use of Christianity but in the past there has been comparatively little appropriation by Native Americans or Australian Aborigines. This article explores the reasons for this. When the factors that have accounted for resistance and rejection rather than adaption no longer exist, it may be expected that Aborigines will indeed appropriate Christianity. The article concludes with a brief examination of academic work on African appropriations and suggests that new developments in Aboriginal Christianity will reveal how far comparisons can be made.     

Danto and the Pale of Aesthetics

Arthur Danto’s Transfiguration of the Commonplace is a new theory of art, seeking to catch the flavour and essence of its contemporary phenomenology. It is obliged, however, to pit itself in toto against aesthetic philosophy, leaning on the derivatives from deuteropraxis and institutional definition while committing itself to a concept of arthood extracted from exoteric ideas, which are held to comprise the artworks’ individuation and identity. This paper examines the principal notions in support of his contentions and contrasts them to the chief principles of aesthetic philosophy. In this juxtaposition, it transpires that conviction eludes Danto, as his suppression of aesthetic criteria yields unsuspected aporias from a disconjugate amalgam of inherence, ontology, epistemology and concept integration. Thus the leap from “mere real things” to the plateau of arthood is never accomplished, as it falters at the step where a perceiving subject has a stake in, and the power of authorisation, of this conception of art.     

Contained within history

What a macro-history of containers look like? Containers are not really a bounded category of thing; they are a relational technology which transforms things into assemblages. Their history is thus that of an unbounded history of relations between things, rather than a bounded history of discrete objects.     

Populism,Hegemony, and the Politics of Natural Resource Extraction in Evo Morales's Bolivia

Is populism necessary to the articulation of counter‐hegemonic projects, as Laclau has long argued? Or is it, as ?i?ek maintains, a dangerous strategy, which inevitably degenerates into ideological mystification and reactionary postures? In this paper, I address this question by exploring the politics of discourse in Evo Morales's Bolivia. While, in the years leading to the election of Morales, a populist ideological strategy was key to challenging neoliberal forces, once the hegemony of the new power bloc was stabilised, indigenous demands for emancipatory socio‐environmental change began to be perceived as a threat to resource‐based accumulation. In this context, the populist signifiers that originated in indigenous‐popular struggles were used by the Morales government to legitimise repression of the indigenous movement. I argue, therefore, that ideological degeneration signals a problem not with populism per se, but rather with the class projects and shifting correlations of forces that underpin it in changing conjunctures.     

HEIDEGGER,LATOUR AND THE REIFICATION OF THINGS: THE INVERSION AND SPATIAL ENCLOSURE OF THE SUBSTANTIVE LANDSCAPE OF THINGS – THE LAKE DISTRICT CASE

“Thing” has undergone reification, and it has done so together with its linguistic “conjoined twin” – “landscape”. Whereas thing once was the name for meetings where people assembled to treat common things that matter, things, in the modern sense, have become physical objects (things as matter). Likewise, landscape's meaning has been reified from being a polity constituted by common thing meetings treating substantive things that matter, to becoming a spatial assemblage of physical things as matter. To fully grasp the contemporary meaning of both things and landscape it is necessary to understand the way in which those meanings are the intertwined outcome of a process of revolutionary inversion, or turning inside–out, by which the meaning of things has been spatialized, enclosed, individualized, privatized, scaled and reified as a constituent of the mental and social landscape of modernity. The potentiality of the concept of thing lies, it will be argued, in its continued containment of older, subaltern meanings that can work to empower an alternative “non‐modern” understanding of things along the lines of, but distinct from, Bruno Latour's notion of Dingpolitik, which will be termed “thing politics” here. This argument is analysed in relation to Martin Heidegger's concept of the “thing”, and exemplified by the mandate of the European Landscape Convention, and the modern planning usage of Landscape Character Assessment and Ecosystem Services, as applied to England's Lake District.     

Antipodeans Abroad: Trends and Issues in the Writing of New Zealand Mission History

There has been a paucity of reflective and contextual analysis of New Zealand's historical involvement in the international missionary movement. This article suggests that existing literature falls into four categories: denominational/organizational histories; biographies and personal narratives; unpublished university theses; and a small body of more reflective and contextual works. Historical analysis since 1990 reflects wider historical discourses, rather than being the specific product of mission history. Valuable analysis has focused on women's involvement, culture contact, and the relationship between New Zealand missions, European colonialism and indigenous nationalist movements. Yet the theological nature of missionary involvement has been less extensively understood, obscuring the nuanced nature of things like missionary motivation and the relationship with colonialism. A lacuna still exists with respect to: a comprehensive and comparative analysis of post‐1945 missionary involvement; micro and macro‐historical analysis of missionary support; the gendered nature of missionary support; and the role of children and young people in missionary structures and discourse.     

Geographies of Indigenous Identity: Spatial Imaginaries and Racialised Power Struggles in Bolivia

This article examines racial power struggles in Bolivia through a spatial lens. It analyses the process of resistance to the oligarchic elites mounted by indigenous‐popular sectors in Bolivia in the first decade of the 21^st century as well as the subsequent eruption of conflicts between different indigenous sectors, and argues that political conflicts in Bolivia in the 21^st century are, among other things, also conflicts over spatial imaginaries and the different territorialising and (re)territorialising projects corresponding to them. Social movements against racial neoliberalism challenged the colonial spatial imaginary. The partial success of those struggles brought into relief two distinct indigenous spatial imaginaries, one rooted in the defence of ancestral territory and indigenous autonomy, and the other based on a redefinition of territoriality as centrality within the state and society at large. The article reads contemporary inter‐indigenous conflicts as manifestations of the differences between these two spatial imaginaries.     

Visual and aural intellectual histories: an introduction

ABSTRACT

If the subject matter of intellectual history is the study of past thoughts, the intellectual history of the visual arts and music may be characterised as the study of past thoughts as they were expressed visually and aurally. Yet this is not always how an intellectual history of art and music has been practiced. More attention is often paid to verbal texts about art or music, rather than to the visual or the aural per se. If we accept that ideas can have visual and aural, as much as verbal form, then the histories of art and music are significant repositories of thoughts of individuals and networks of individuals (creative artists, patrons, institutions) within a given culture and period. But the ways in which those thoughts are articulated as aural or visual “texts”, and the ways in which they can be accessed by those who seek to understand them, will be specific to each art form, and represent a distinctive kind of intellectual activity in each field.     

We are never alone: a conversation on bio art with Eduardo Kac

Brazilian-born artist Eduardo Kac’s (Rio de Janeiro, 1962) work has raised eyebrows especially for his ‘transgenic art’ projects, among others: Genesis, 1999; GFP Bunny, 2000; The Eight Day, 2001; Natural History of the Enigma, 2003/08. In all of these, Kac and his scientific collaborators realize genetic interventions into living organisms at the same time as they trigger audience reactions to these from playful kinds of interaction that is integrated into the works’ open and dynamic creative process. Yet whereas the ethical and political challenges Kac’s work poses have sparked lively debates within and beyond the realm of the arts – can and must art engage with the ‘creative’ potentials of biotechnology and genetics? Do these not in fact (as Vilém Flusser and others have suggested) hold the key to realizing the vanguardist dream of merging art and life? Or should the artist, from the vantage point of his own creative practice, not rather warn us against the ethical and political risks involved in genetic engineering? – much less attention has been paid to the way Kac’s art also continues and transforms a particular legacy of post-concretist, ambient and performance art in Latin America.

Kac himself has referred to Brazilian artists Flávio de Carvalho, Hélio Oiticica and Lygia Clark as informing his interest in open, participative forms, which characterize both his transgenic and his earlier ‘tele-presence’ art projects. Other Latin American artists of the late twentieth and early twenty-first century have been producing intriguing engagements with living materials, multispecies habitats and organic remains, including such diverse names as Luis Fernando Benedit, Nicola Constantino, Nuno Ramos, or Teresa Margolles. In a conversation with Jens Andermann and Gabriel Giorgi at the University of Zurich’s Center of Latin American Studies on March 12, 2015, Kac addressed the way in which his work might be seen as continuing or challenging long-standing representations of the New World as a repository of ‘nature’, from colonial chronicles of discovery to contemporary discourses of biodiversity and conservation. To what extent is bio art – and the questions it raises about the Anthropocene as a threshold of radical biopolitical convergence between ‘history’ and ‘nature’ – necessarily ‘transcultural’ and planetary in its extension?     

The Ideologization of the Child: Zdeňka Bezděková and Marie Majerová

Abstract

This article traces the changes in two novels, Zdenňka Bezděková’s ?íkali mi Leni and Marie Majerová’s Bruno, made once the Communist-Party regime in Czechoslovakia was firmly established. For example, German paedophilia is changed to bullying in Bezděková and pre-war Czech political antisemitism deleted from Majerová. In both works Czech nationalist misoteutonism is changed into internationalist Communism. The author pays close attention to changes in language and style in both works. Though Majerová’s novel seems no longer to be read, Bezděková’s remains standard reading for adolescents, and in the twenty-fi rst century continues to be read with its somewhat rabble-rousing afterword by the novelist Karl Nový. The essay demonstrates how children can be made into things rather than people for the sake of a political ideology.     

Motifs Utilitaires et Autonomie Artistique la Forme Architecturale et Ses Fonctions

In the late 19^th century, authors writing on aesthetics often referred to architecture to justify establishing a new hierarchy between things beautiful and things useful, a change underwritten by the rising sociological and anthropological perspectives on art. Meanwhile, architects debated the origins and evolution of artistic styles from the earliest forms of art to the most advanced monumental art works, a debate that fundamentally transformed the relationship between artistic expression and material determinism.     

The Idea of Indigenous Knowledge

The idea of ‘indigenous knowledge’ is a relatively recent phenomenon that, amongst other things, constitutes part of a challenge to ‘western’ thinking and conceptualization. Advocates of indigenous knowledge maintain that its study has profound educational and ethical relevance and also emphasise its significance in antiracist, antisexist and postcolonialist discourse, in general, and in terms of the ‘African Renaissance’, in particular. This paper argues the following: (1) ‘indigenous knowledge’ involves at best an incomplete, partial or, at worst, a questionable understanding or conception of knowledge; (2) as a tool in anti-discrimination and anti-repression discourse, ‘indigenous knowledge’ is largely inappropriate. I show, further, that in the development of ‘knowledge’, following some necessary conceptual readjustments in our understanding of this term, there is considerably greater common ground than admitted by theorists. It is this acknowledgement, not adherence to a popular concept of debatable plausibility that has profound educational, ethical and political consequences.     

Institutions and Falsified Culture in the Novel Evening Act by Croatian Writer Pavao Pavličić

`In one area of his prose work, the Croatian writer Pavao Pavli?i? belongs to a group of writers in the 1970s who used a fantastic narrative model and thematized irrational parallel worlds as opposed to a realist model of narration. Pavli?i?’s novel Evening Act (published as Ve?ernji akt in 1981) has a realistic beginning, but it slips into fantastic narration when the main character, a young man called Mihovil, discovers his ability to falsify documents and works of art. At the same time, he is capable of recognizing falsified art works and documents that are accepted as an integral part of social, cultural, and historical memory. When this ability becomes dangerous, Mihovil falsifies his own body to escape from his unbearable reality. This paper will analyse the function of the fantastic model in Pavli?i?’s novel as a postmodern play with traditions of Croatian and world literature and culture. The ludic layer of the novel has a highly symbolic value: it draws attention to the relationship of cultural institutions and society to the authenticity of art works, the role of art, and ways of preserving (or destroying) cultural memory.     

Remembrance of Things Passed: Memory,Body and the Politics of Feasting in New Ireland,Papua New Guinea1

This paper explores the connection between body and memory for the people of the Lelet Plateau of central New Ireland. Through an examination of the processes by which memories of mortuary feasts are created and circulated, I draw attention to the embodied nature of memory as a central facet in the politics of feasting. The approach taken here differs from other prevailing approaches to the body and memory in its exploration of the ways in which memories are created through and within the body, rather than seeing the body, or things representing the body, as signs that are utilised for remembering. In particular, I examine the forms of sorcery which target the participants' bodies, making them experience diarrhoea as a mnemonic process. It is through this that a significant memory of the feast is created, one which stands out notably from numerous other memories, and is the means by which remembrance of the event is transformed into fame for the host.     

Comparative History and Ethnography in William Ellis’s Polynesian Researches

ABSTRACT

This article develops recent scholarly efforts to take seriously the scientific work of evangelical missionaries in the South Pacific. Ellis’s Polynesian Researches gives us an insight into the broader issue of the way in which theological concepts could inform the framework of missionaries’ observations of the traditions, manners and functioning of human societies. Central to Ellis’s observations was the idea of idolatry. I argue that Ellis brought together a theological definition of idolatry – in which idolatry represented the sinful worship of created things rather than the creator God – with an Enlightenment idea that polytheistic idolatry was a universal stage in the historical development of civilization. Ellis’s Polynesian Researches gives us a point of entry into understanding some of the ways that European theological ideas were put to new uses in the South Pacific, against the backdrop of the increasingly global exchange of people, goods and ideas.