2,963 research outputs found

    Information actors beyond modernity and coloniality in times of climate change:A comparative design ethnography on the making of monitors for sustainable futures in Curaçao and Amsterdam, between 2019-2022

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    In his dissertation, Mr. Goilo developed a cutting-edge theoretical framework for an Anthropology of Information. This study compares information in the context of modernity in Amsterdam and coloniality in Curaçao through the making process of monitors and develops five ways to understand how information can act towards sustainable futures. The research also discusses how the two contexts, that is modernity and coloniality, have been in informational symbiosis for centuries which is producing negative informational side effects within the age of the Anthropocene. By exploring the modernity-coloniality symbiosis of information, the author explains how scholars, policymakers, and data-analysts can act through historical and structural roots of contemporary global inequities related to the production and distribution of information. Ultimately, the five theses propose conditions towards the collective production of knowledge towards a more sustainable planet

    Planetary Hinterlands:Extraction, Abandonment and Care

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    This open access book considers the concept of the hinterland as a crucial tool for understanding the global and planetary present as a time defined by the lasting legacies of colonialism, increasing labor precarity under late capitalist regimes, and looming climate disasters. Traditionally seen to serve a (colonial) port or market town, the hinterland here becomes a lens to attend to the times and spaces shaped and experienced across the received categories of the urban, rural, wilderness or nature. In straddling these categories, the concept of the hinterland foregrounds the human and more-than-human lively processes and forms of care that go on even in sites defined by capitalist extraction and political abandonment. Bringing together scholars from the humanities and social sciences, the book rethinks hinterland materialities, affectivities, and ecologies across places and cultural imaginations, Global North and South, urban and rural, and land and water

    Displacement and the Humanities: Manifestos from the Ancient to the Present

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    This is the final version. Available on open access from MDPI via the DOI in this recordThis is a reprint of articles from the Special Issue published online in the open access journal Humanities (ISSN 2076-0787) (available at: https://www.mdpi.com/journal/humanities/special_issues/Manifestos Ancient Present)This volume brings together the work of practitioners, communities, artists and other researchers from multiple disciplines. Seeking to provoke a discourse around displacement within and beyond the field of Humanities, it positions historical cases and debates, some reaching into the ancient past, within diverse geo-chronological contexts and current world urgencies. In adopting an innovative dialogic structure, between practitioners on the ground - from architects and urban planners to artists - and academics working across subject areas, the volume is a proposition to: remap priorities for current research agendas; open up disciplines, critically analysing their approaches; address the socio-political responsibilities that we have as scholars and practitioners; and provide an alternative site of discourse for contemporary concerns about displacement. Ultimately, this volume aims to provoke future work and collaborations - hence, manifestos - not only in the historical and literary fields, but wider research concerned with human mobility and the challenges confronting people who are out of place of rights, protection and belonging

    Experience, evidence and what counts in UK music therapy – an arts-based autoethnographic study

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    The field of music therapy is not bland: therapists train because of deep belief in the dignity of people and the power of music; participants begin therapy because something significantly challenging is present in their lives; fundraisers share stories which are painful, life affirming, uncomfortable; receptionists juggle quiet spaces with loud spaces with stimulation without sensory triggers; carers listen, absorb, give and give some more, often beyond the limits of their energy. And pulse and meter and melody and dynamics and bodies and voices and wood and skin and metal are the raw materials.However, it might be argued that the search for evidence in music therapy has led to something akin to a parallel reality, - one in which measured, analytical reporting of certain aspects of the work is shared, often in official documents. The vital, sensory, embodied, relational experience which is music making, and which lies at the heart of the therapy is rendered in careful and dispassionate text. There are good reasons for this, and for the steady growth of ‘evidence-based practice’, which lie in the history of the profession and its search for validation. Yet the evidence which is shared in these texts has tended to become increasingly disconnected from many features of the musical therapeutic encounter that music therapists value.In this study, conceived from a critical realist perspective, I ask ‘what is experience in music therapy’, ‘what is evidence in music therapy’, ‘are evidence and experience in fact the same thing, or could they be’? I look at my own experiences, and evidencing of these experiences, gained across 24 years of working as a music therapist. In so doing, I find I cannot maintain a single role or persona. Unexpectedly, in the course of this reflexive exploration, four Roles arrive noisily and will not go away (Music Therapist, Researcher, Musician and Carer). They debate, argue and probe at the heart of what counts, and at the cultures of music therapy which systematise and perpetuate what counts. They consider the turn to evidence-based practice in music therapy and ask ‘what is the evidence of’, and ‘does this make sense to insiders, outsiders, either, both’?This multivocal, dialogical approach allows me to adopt the different positions taken by each of the four Roles as they ask ‘does this make sense to me’, and to advocate for culture change in both music therapy and academia. It resonates with the focus of this research – experience, evidence and what counts in music therapy, and invites various different methodological approaches - autoethnography, arts-based research, phenomenology, and Aesthetic Critical Realism which is introduced to the field of music therapy for the first time. A complex web of different kinds of experience and evidence emerges through poems, stories, vignettes, images and mobile making and results in a concept of four phases of experience, leads to defined categories of different kinds of experience, and to the proposition that in music therapy, experience is evidence of personhood.The thesis is relational: those engaging with it are part of the network of experiences in the field of music therapy, because I conceptualise this field as including all musical, logistical, contractual, academic, public and informal encounters of all stakeholders, from participants to next-door neighbours. Because you are engaging with this thesis, I regard you as a Collaborator, but it is not necessary for you to be familiar with the field. Thank you for your involvement

    More-than-words: Reconceptualising Two-year-old Children’s Onto-epistemologies Through Improvisation and the Temporal Arts

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    This thesis project takes place at a time of increasing focus upon two-year-old children and the words they speak. On the one hand there is a mounting pressure, driven by the school readiness agenda, to make children talk as early as possible. On the other hand, there is an increased interest in understanding children’s communication in order to create effective pedagogies. More-than-words (MTW) examines an improvised art-education practice that combines heterogenous elements: sound, movement and materials (such as silk, string, light) to create encounters for young children, educators and practitioners from diverse backgrounds. During these encounters, adults adopt a practice of stripping back their words in order to tune into the polyphonic ways that children are becoming-with the world. For this research-creation, two MTW sessions for two-year-old children and their carers took place in a specially created installation. These sessions were filmed on a 360˚ camera, nursery school iPad and on a specially made child-friendly Toddler-cam (Tcam) that rolled around in the installation-event with the children. Through using the frameless technology of 360˚ film, I hoped to make tangible the relation and movement of an emergent and improvised happening and the way in which young children operate fluidly through multiple modes. Travelling with posthuman, Deleuzio-Guattarian and feminist vital material philosophy, I wander and wonder speculatively through practice, memory, and film data as a bag lady, a Haraway-ian writer/artist/researcher-creator who resists the story of the wordless child as lacking and tragic; the story that positions the word as heroic. Instead, through returning to the uncertainty of improvisation, I attempt to tune into the savage, untamed and wild music of young children’s animistic onto-epistemologies

    Fictocritical Cyberfeminism: A Paralogical Model for Post-Internet Communication

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    This dissertation positions the understudied and experimental writing practice of fictocriticism as an analog for the convergent and indeterminate nature of “post-Internet” communication as well a cyberfeminist technology for interfering and in-tervening in metanarratives of technoscience and technocapitalism that structure contemporary media. Significant theoretical valences are established between twen-tieth century literary works of fictocriticism and the hybrid and ephemeral modes of writing endemic to emergent, twenty-first century forms of networked communica-tion such as social media. Through a critical theoretical understanding of paralogy, or that countercultural logic of deploying language outside legitimate discourses, in-volving various tactics of multivocity, mimesis and metagraphy, fictocriticism is ex-plored as a self-referencing linguistic machine which exists intentionally to occupy those liminal territories “somewhere in among/between criticism, autobiography and fiction” (Hunter qtd. in Kerr 1996). Additionally, as a writing practice that orig-inated in Canada and yet remains marginal to national and international literary scholarship, this dissertation elevates the origins and ongoing relevance of fictocriti-cism by mapping its shared aims and concerns onto proximal discourses of post-structuralism, cyberfeminism, network ecology, media art, the avant-garde, glitch feminism, and radical self-authorship in online environments. Theorized in such a matrix, I argue that fictocriticism represents a capacious framework for writing and reading media that embodies the self-reflexive politics of second-order cybernetic theory while disrupting the rhetoric of technoscientific and neoliberal economic forc-es with speech acts of calculated incoherence. Additionally, through the inclusion of my own fictocritical writing as works of research-creation that interpolate the more traditional chapters and subchapters, I theorize and demonstrate praxis of this dis-tinctively indeterminate form of criticism to empirically and meaningfully juxtapose different modes of knowing and speaking about entangled matters of language, bod-ies, and technologies. In its conclusion, this dissertation contends that the “creative paranoia” engendered by fictocritical cyberfeminism in both print and digital media environments offers a pathway towards a more paralogical media literacy that can transform the terms and expectations of our future media ecology

    “So what if ChatGPT wrote it?” Multidisciplinary perspectives on opportunities, challenges and implications of generative conversational AI for research, practice and policy

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    Transformative artificially intelligent tools, such as ChatGPT, designed to generate sophisticated text indistinguishable from that produced by a human, are applicable across a wide range of contexts. The technology presents opportunities as well as, often ethical and legal, challenges, and has the potential for both positive and negative impacts for organisations, society, and individuals. Offering multi-disciplinary insight into some of these, this article brings together 43 contributions from experts in fields such as computer science, marketing, information systems, education, policy, hospitality and tourism, management, publishing, and nursing. The contributors acknowledge ChatGPT’s capabilities to enhance productivity and suggest that it is likely to offer significant gains in the banking, hospitality and tourism, and information technology industries, and enhance business activities, such as management and marketing. Nevertheless, they also consider its limitations, disruptions to practices, threats to privacy and security, and consequences of biases, misuse, and misinformation. However, opinion is split on whether ChatGPT’s use should be restricted or legislated. Drawing on these contributions, the article identifies questions requiring further research across three thematic areas: knowledge, transparency, and ethics; digital transformation of organisations and societies; and teaching, learning, and scholarly research. The avenues for further research include: identifying skills, resources, and capabilities needed to handle generative AI; examining biases of generative AI attributable to training datasets and processes; exploring business and societal contexts best suited for generative AI implementation; determining optimal combinations of human and generative AI for various tasks; identifying ways to assess accuracy of text produced by generative AI; and uncovering the ethical and legal issues in using generative AI across different contexts

    Plant Ontology, The Amazonian Yachag and the Artist in Trance

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    The commonalities that plants, shamans and artists share may not be evident at first glance, nevertheless, if we search for uncomfortable entanglements and difficult questions, we may find that for centuries the voice with which plants speak has been the Amazonian yachag and the chamana or healer. Furthermore, who has invariably accompanied different plateaus along humanity’s convoluted becomings, has been what I have called the artist in trance. This artist is a concoction born from Walter Benjamin’s notion of ecstatic trance and Nietzche’s tragic artist. In this research I have investigated the being of plants or plant ontology and how they may be others who we may learn from in order to relate to Earth in a better way. The artist-yachag or artist philosopher as we may call her, is the one who bridges disparate conocimientos or knowledge, those of plants and those of shamans and translates them into our own words and worlds. What for? To learn to inhabit this planet in a softermood, in a weak mood as Gianni Vattimo and Santiago Zabala would say, stemming from other visions and other perspectives. The interconnectivity that plants generate, as well as the idea of them being a world in themselves allied with the yachag or shaman and the artist, may lead humanity towards the understanding of a world to come. Applyingand expanding the notion first posited by Levi-Strauss and then contested by Viveiros de Castro that the relation between nature and culture is one of“metonymic contiguity rather than metaphoric resemblance”, I argue that the same kind of contiguity exists between plants,the Amazonian yachag and the artist in trance. The trope ofmetonymic contiguity serves to connect in a continuum these three entities one after the other in a nature-culture effervescent symbiosis. ‍https://digitalmaine.com/academic/1047/thumbnail.jp
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