Design for the contact zone. Knowledge management software and the structures of indigenous knowledges

This article examines the design of digital indigenous knowledge archives. In a discussion of the distinction between indigenous knowledge and western science, a decentred perspective is developed, in which the relationship between different local knowledges is explored. The particular characteristics of indigenous knowledges raise questions about if and how these knowledges can be managed. The role of technology in managing indigenous knowledges is explored with examples from fieldwork in India and Kenya and from web-based databases and digital archives. The concept of contact zone is introduced to explore the space in which different knowledges meet and are performed, such as indigenous knowledge and the technoscientific knowledge of the database. Design for the contact zone, this article proposes, is an intra-active and adaptive process for in creating databases that are meaningful for indigenous knowers. The meta-design approach is introduced as a methodology, which may provide indigenous knowers tools for self-representation and self-organisation through design

The potential hazard of staphylococci and micrococci to human subjects in a life support systems evaluator and on a diet of precooked freeze dehydrated foods

Distribution, and hazards of indigenous microbial populations in humans during prolonged space flight simulatio

Determination of the Indigenous Microflora of Men in Controlled Environments Final Report, Jul. 1964 - Nov. 1965

Determination of indigenous microflora in man during simulated space travel for establishing personal hygiene and sanitation criteri

Subversive: Space as a Movement-Making Tool

By exploring placemaking and indigenous memory, this paper argues that space can and should be utilized in movements against oppression. Grassroots resistance is increasingly necessary as the globally marginalized face the constant threats of colonization, incarceration, and fascism. With a grounding in memory studies and a transnational perspective, I analyze Maori movements in Aotearoa New Zealand and American Indian movements in North America in tandem with each other. Charting the histories of dominant space production in these twin contexts allow for a witnessing of each harmful nation-building project. This informed my conclusion that both global solidarities and place-based movements are critical tools for survival for marginalized communities. In practice, and in the tradition of indigenous struggles, these tactics can be liberatory in their reclamation of land and memory

Biocultural Community Protocols: Dialogues on the Space Within

This paper starts by explaining "the space within" -- the ethical grammar and code by which indigenous peoples use and steward nature. It then explains the inextricable links with nature demonstrated by a number of communities with which we have worked, and their experiences in the ABS context. It discusses the importance of processes of prior informed consent, before then discussing the possibility of "tools of conviviality" that may act as bridges between the fundamental ecological principals of indigenous peoples, and the researchers and companies that seek to utilize biodiversity and knowledge within community control.In the final sections, we explore the use of both community protocols and Ethical BioTrade, with some examples, and their potential role as tools of conviviality -- opening up dialogues between actors from vastly different worldviews. While we do not see community protocols as a panacea for the rights of indigenous peoples and local communities, we have seen them act as an important step towards the protection of indigenous knowledge and the recognition of legal pluralism

The Cosmological Liveliness of Terril Calder\u27s The Lodge: Animating Our Relations and Unsettling Our Cinematic Spaces

I first saw Métis artist Terril Calder\u27s 2014 stop-frame feature, The Lodge, an independently made, relatively small- budget film, at its premiere at the ImagineNative Film + Media Arts festival, held annually in Toronto, Canada. The feature-length animation played to a full house at the Light-box Theater downtown. Many were there to attend the five-day festival, which is dedicated to Indigenous media made by and for Indigenous people. Others were there because as members of Toronto\u27s general public they wanted to catch a movie during a night out in the city. Since then The Lodge has shown at various other independent venues. It isn\u27t what you might think of as commercial fare. Its audiences are not huge. However, for those who do view The Lodge, the film presents a creative space to rethink our sense of boundaries in a number of ways: boundaries between human/nonhuman, white/Indigenous, male/female, spectator/film-object. In this essay, I argue that the film is thus an invitation to question the naturalness of hegemonic identity assumptions that demarcate such boundaries. I interviewed Calder (via Skype and subsequent email correspondence) soon after I saw the film, and I situate a close textual analysis of the film within the context of her intent and the burgeoning scholarly dialogue between Indigenous studies and ecocritical studies. The scholarly dialogue, as Joni Adamson and I write in the introduction to our recent anthology, Ecocriticism and Indigenous Studies: Conversations from Earth to Cosmos (2016), argues for clear sighted understandings of multi-faceted human/more-than-human relationships that exist outside of binaries imposed by Western notions of progress . Similarly, Steven Loft, coeditor of Coded Territories: Tracing Indigenous Pathways in New Media Art, writes of an Indigenous media cosmology that is replete with life and spirit, inclusive of beings, thought, prophecy, and the underlying connectedness of all things and that is not predicated on Western foundations of thought (xvi). Calder extends such Indigenous worldviews of connectedness to cinema and animation in particular

The Power of Visual Art in Indigenization Abstract

We spent our time in the Head and Heart Fellowship learning about the importance of Indigenous art, with a focus on murals, and their meanings for indigenizing space. Through the Head and Heart Fellowship, we connected with Indigenous artists and community spaces to learn about local murals and their impact. We met with artists to learn firsthand about their inspirations, methods, and experiences. This immersive experience supported our academic and personal growth as Indigenous researchers. This Fellowship enhanced our understanding and appreciation of the ways Indigenous artists use their art to enhance Indigenous representation and storytelling in public space. Working with Indigenous community provided us learning opportunities that demonstrate how and why key principles such as reciprocity, respect, and representation matter for Indigenous researchers. Finally, this fellowship has provided us with a stronger connection to each other and our identities. Our learning journey was both introspective and community engaged. The Head and Heart Fellowship cultivated in us a deep passion for Indigenous arts and the significance of indigenizing space

The nature of habitat

The protection of significant habitats of indigenous fauna is a matter recognised by the Resource Management Act 1991 as one of national importance. The aim of this article is to investigate the nature of the term habitat as applied by the RMA. The context of the enquiry is the natural and physical environment of New Zealand, with a particular focus on habitats of avian fauna. A central question raised by the research, is whether or not air space used by birds can be considered habitat in terms of s 6(c) of the RMA. This issue is of contemporary importance, due to the advent of wind farms to the New Zealand environment. The compass of the term habitat has yet to receive full scrutiny by New Zealand courts and it is timely to give consideration to the nature of habitat. International approaches to habitat are also examined. The article concludes that where a regime such as the RMA prioritises habitat protection as a national goal, a lesser result for indigenous avian species will be achieved, if areas of air space expertly identified as significant to the survival of the species, cannot be defined as constituting significant habitat within the meaning of s 6(c)