The notion of scenes has helped frame how particular clusters of cultural activities, practices, and "happenings" simultaneously replicate and transform global practices in specific localities. The study of scenes has aided us in examinations of how geographic and virtual localities create and shape global industries, movements, and genres. In this article, I focus on the Toronto game production scene to examine how it replicates and transforms the wider cultural norms, working conditions, and genre productions of the global game industry. Based on a two-year ethnography of the scene, I survey how gamemakers maintain and challenge the expected norms and practices of industry and platforms in the production of local games. To identify these clusters of cultural activity, I develop the notion of scenes as palimpsests to trace how gamemakers replicate and transform industry cultural norms and practices in the local scene. The last decade has seen the emergence of social media platforms as a venue for participants of scenes to discuss, create, and disseminate their works with geographically local and global audiences. The textual spaces of these platforms connect participants of local production scenes to a global community defined by geography, industry, and genre. By tracing scenes through its inscriptions, I examine how these platforms are centers for encounters between the values and practices of the Toronto game production scene and the wider industry. This article is about how the geographical cultural activities of scenes are shifting into virtual environments, and how these virtual spaces are transforming the cultural norms and practices of gamemaking and its associated activities, such as socials, game jams, and "talking shop." I argue that analyses of globalization must consider the wider physical and virtual infrastructures of local production to understand how cultural media are produced and circulated around the globe.
{"title":"Scene Tracing","authors":"Christal Young","doi":"10.25158/l11.1.4","DOIUrl":"https://doi.org/10.25158/l11.1.4","url":null,"abstract":"The notion of scenes has helped frame how particular clusters of cultural activities, practices, and \"happenings\" simultaneously replicate and transform global practices in specific localities. The study of scenes has aided us in examinations of how geographic and virtual localities create and shape global industries, movements, and genres. In this article, I focus on the Toronto game production scene to examine how it replicates and transforms the wider cultural norms, working conditions, and genre productions of the global game industry. Based on a two-year ethnography of the scene, I survey how gamemakers maintain and challenge the expected norms and practices of industry and platforms in the production of local games. To identify these clusters of cultural activity, I develop the notion of scenes as palimpsests to trace how gamemakers replicate and transform industry cultural norms and practices in the local scene. The last decade has seen the emergence of social media platforms as a venue for participants of scenes to discuss, create, and disseminate their works with geographically local and global audiences. The textual spaces of these platforms connect participants of local production scenes to a global community defined by geography, industry, and genre. By tracing scenes through its inscriptions, I examine how these platforms are centers for encounters between the values and practices of the Toronto game production scene and the wider industry. This article is about how the geographical cultural activities of scenes are shifting into virtual environments, and how these virtual spaces are transforming the cultural norms and practices of gamemaking and its associated activities, such as socials, game jams, and \"talking shop.\" I argue that analyses of globalization must consider the wider physical and virtual infrastructures of local production to understand how cultural media are produced and circulated around the globe.\u0000","PeriodicalId":7777,"journal":{"name":"Amyotrophic Lateral Sclerosis","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83465020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I use alter egoing as a heuristic, a method for solving the problem of the evolving alter egos of Black women in popular music. When alter egos are analyzed through this lens, the refashioning of artistic imaginaries become legible as intellectual labor. The intellectual labor that Janelle Monáe primarily provides are critiques of notions of womanhood and Blackness in the United States. I understand Monáe’s alter egoing as a reaction to the affective political strategies mobilized in US electoral politics. Former President Barack Obama developed an affective strategy based on his personal brand of optimism, first presented in his book 'The Audacity of Hope' (2006). He developed his signature optimistic politics while he was a senator and he continued to promote his “audacious hopefulness” into his 2008 presidential campaign. Former President Donald Trump’s 2016 presidential campaign also utilized an affective political strategy, as he rallied his supporters around culturally white (male) nostalgia with the cry, “Make America Great Again.” I track the affective evolution of Monáe’s alter egoing from pessimism to optimism in the context of the anti-Black populisms of the post-Obama era (2016–), culminating in a close reading of her 2018 album, 'Dirty Computer.' In identifying Monáe's troubled relationship with notions of normative identity through her first alter ego, I evaluate the relevance of posthumanism and Afrofuturism, which scholars have used to critique American notions of race, gender, and sexuality. In analyzing the shift in affect from her first alter ego to her most recent, I detect in Monáe's alter egoing a critical optimism, a disidentifying strategy that begins to take shape in 'Dirty Computer.'
在这篇文章中，我将改变自我作为一种启发式的方法，来解决流行音乐中黑人女性改变自我的演变问题。当通过这个镜头分析另一个自我时，艺术想象的重塑就变成了智力劳动。Janelle Monáe主要提供的智力劳动是对美国女性和黑人观念的批判。我理解Monáe的改变是对美国选举政治中调动的情感政治策略的反应。美国前总统巴拉克•奥巴马(Barack Obama)根据他个人的乐观主义品牌制定了一种有效的策略，这一策略首次出现在他的著作《无畏的希望》(The Audacity of Hope, 2006)中。他在担任参议员期间形成了他标志性的乐观主义政治，并在2008年的总统竞选中继续宣扬他的“大胆的希望”。前总统唐纳德·特朗普在2016年的总统竞选中也使用了一种情感政治策略，他以“让美国再次伟大”(Make America Great Again)的口号，将自己的支持者团结在白人(男性)怀旧情绪周围。我追踪了Monáe在后奥巴马时代(2016 -)的反黑人民粹主义背景下从悲观到乐观的情感演变，并在仔细阅读她2018年的专辑《Dirty Computer》时达到高潮。在通过她的第一个自我来确定Monáe与规范性身份概念的麻烦关系时，我评估了后人类主义和非洲未来主义的相关性，学者们用它们来批评美国的种族、性别和性观念。在分析她从第一个自我到最近一个自我的情感转变时，我在Monáe的自我中发现了一种批判的乐观主义，一种在《肮脏的电脑》中开始形成的不认同策略。
{"title":"Alter Egoing","authors":"Larissa A. Irizarry","doi":"10.25158/l11.1.5","DOIUrl":"https://doi.org/10.25158/l11.1.5","url":null,"abstract":"In this article, I use alter egoing as a heuristic, a method for solving the problem of the evolving alter egos of Black women in popular music. When alter egos are analyzed through this lens, the refashioning of artistic imaginaries become legible as intellectual labor. The intellectual labor that Janelle Monáe primarily provides are critiques of notions of womanhood and Blackness in the United States. I understand Monáe’s alter egoing as a reaction to the affective political strategies mobilized in US electoral politics. Former President Barack Obama developed an affective strategy based on his personal brand of optimism, first presented in his book 'The Audacity of Hope' (2006). He developed his signature optimistic politics while he was a senator and he continued to promote his “audacious hopefulness” into his 2008 presidential campaign. Former President Donald Trump’s 2016 presidential campaign also utilized an affective political strategy, as he rallied his supporters around culturally white (male) nostalgia with the cry, “Make America Great Again.” I track the affective evolution of Monáe’s alter egoing from pessimism to optimism in the context of the anti-Black populisms of the post-Obama era (2016–), culminating in a close reading of her 2018 album, 'Dirty Computer.' In identifying Monáe's troubled relationship with notions of normative identity through her first alter ego, I evaluate the relevance of posthumanism and Afrofuturism, which scholars have used to critique American notions of race, gender, and sexuality. In analyzing the shift in affect from her first alter ego to her most recent, I detect in Monáe's alter egoing a critical optimism, a disidentifying strategy that begins to take shape in 'Dirty Computer.'\u0000","PeriodicalId":7777,"journal":{"name":"Amyotrophic Lateral Sclerosis","volume":"62 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90516020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hil Malatino’s short book 'Trans Care' critiques the heteronormativity of dominant theorizations of care. By taking trans lives seriously, he shows how trans care webs form the basis of trans survival. Malatino deftly weaves together the insights of trans studies and activism with care feminism to explore the archive, cultural production, healthcare, and politics. He broadens feminist and left perspectives on care and brings care from the margins into the center of trans studies. 'Trans Care' is a plea for stronger, more egalitarian, and solidaristic relations of care.
{"title":"Review of Trans Care by Hil Malatino (University of Minnesota Press)","authors":"Alex C. Barksdale","doi":"10.25158/l11.2.22","DOIUrl":"https://doi.org/10.25158/l11.2.22","url":null,"abstract":"Hil Malatino’s short book 'Trans Care' critiques the heteronormativity of dominant theorizations of care. By taking trans lives seriously, he shows how trans care webs form the basis of trans survival. Malatino deftly weaves together the insights of trans studies and activism with care feminism to explore the archive, cultural production, healthcare, and politics. He broadens feminist and left perspectives on care and brings care from the margins into the center of trans studies. 'Trans Care' is a plea for stronger, more egalitarian, and solidaristic relations of care.\u0000","PeriodicalId":7777,"journal":{"name":"Amyotrophic Lateral Sclerosis","volume":"140 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75696010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This collaborative essay takes up three pungent streams of wastewater to address how environments, politics, communities, and power are mediated by liquid waste: urine, feces, and everything else recklessly flushed down toilets, washed down drains, stored in pits, and dumped in the ocean. “Wasted” looks to the multi-scalar worlds of wastewater by centering waste sites and COVID-19 concerns regarding wastewater virality. First, our tour of Santa Barbara’s El Estero Water Resource Center brings us to the variegated, embodied, multi-sensory, and multispecies communities of wastewater. El Estero provides an odoriferous infrastructural current through which we follow wastewater and the socialites and environments it mediates on California’s Central Coast. We then move to the ways wastewater has been interwoven with global pandemic fears to address how human waste retains infectious COVID-19 viral material even after it has been flushed away. COVID-19, in other words, haunts the infrastructural ports through which wastewater is funneled. We conclude with wastewater’s epochal effects within the Anthropocene. Throughout, we offer the term “hygiene theatrics” to identify how the performance of hygiene, cleanliness, and purity rely on dichotomous constructions of dirtiness and cleanliness that reinforce structural power dynamics including racism and homophobia. “Wasted” is a collaborative feminist and queer experiment in form and methodology that explores wastewater as both a material reality and a theoretical apparatus that is informed by and contributes to the environmental humanities, infrastructure studies, and feminist and queer science studies.
{"title":"Wasted: Wastewater, Hygiene Theatrics, and Contaminated Imaginaries","authors":"J.Y.F. Chow, S. Gerson","doi":"10.25158/l11.1.2","DOIUrl":"https://doi.org/10.25158/l11.1.2","url":null,"abstract":"This collaborative essay takes up three pungent streams of wastewater to address how environments, politics, communities, and power are mediated by liquid waste: urine, feces, and everything else recklessly flushed down toilets, washed down drains, stored in pits, and dumped in the ocean. “Wasted” looks to the multi-scalar worlds of wastewater by centering waste sites and COVID-19 concerns regarding wastewater virality. First, our tour of Santa Barbara’s El Estero Water Resource Center brings us to the variegated, embodied, multi-sensory, and multispecies communities of wastewater. El Estero provides an odoriferous infrastructural current through which we follow wastewater and the socialites and environments it mediates on California’s Central Coast. We then move to the ways wastewater has been interwoven with global pandemic fears to address how human waste retains infectious COVID-19 viral material even after it has been flushed away. COVID-19, in other words, haunts the infrastructural ports through which wastewater is funneled. We conclude with wastewater’s epochal effects within the Anthropocene. Throughout, we offer the term “hygiene theatrics” to identify how the performance of hygiene, cleanliness, and purity rely on dichotomous constructions of dirtiness and cleanliness that reinforce structural power dynamics including racism and homophobia. “Wasted” is a collaborative feminist and queer experiment in form and methodology that explores wastewater as both a material reality and a theoretical apparatus that is informed by and contributes to the environmental humanities, infrastructure studies, and feminist and queer science studies.\u0000","PeriodicalId":7777,"journal":{"name":"Amyotrophic Lateral Sclerosis","volume":"94 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79218169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A characteristic frequently glossed over in scholarly examinations of the online electronic music genre vaporwave is its use of East Asian cultural imagery in its paratexts. One exception is a piece by musicologist Ken McLeod, who connects vaporwave’s use of visual references to Japanese culture to techno-Orientalism, a term that describes how paranoia around Japanese economic expansion in the late twentieth century manifested in American and European cultural products. This article extends McLeod's argument to show how the uses and reproductions of East Asian cultural elements in vaporwave serve to reinforce stereotypes consistent with histories of techno-Orientalist representations, particularly with regard to gender. This article elaborates on the anonymous nature of the vaporwave scene to complicate approaches to techno-Orientalist analyses of digital artifacts. In doing so, this essay contributes to the growing body of scholarly literature addressing the roles representation, aesthetics, and affect play in the formation of communities around music genres online.
{"title":"Satisfaction Guaranteed: Techno-Orientalism in Vaporwave","authors":"Lucy March","doi":"10.25158/l11.1.3","DOIUrl":"https://doi.org/10.25158/l11.1.3","url":null,"abstract":"A characteristic frequently glossed over in scholarly examinations of the online electronic music genre vaporwave is its use of East Asian cultural imagery in its paratexts. One exception is a piece by musicologist Ken McLeod, who connects vaporwave’s use of visual references to Japanese culture to techno-Orientalism, a term that describes how paranoia around Japanese economic expansion in the late twentieth century manifested in American and European cultural products. This article extends McLeod's argument to show how the uses and reproductions of East Asian cultural elements in vaporwave serve to reinforce stereotypes consistent with histories of techno-Orientalist representations, particularly with regard to gender. This article elaborates on the anonymous nature of the vaporwave scene to complicate approaches to techno-Orientalist analyses of digital artifacts. In doing so, this essay contributes to the growing body of scholarly literature addressing the roles representation, aesthetics, and affect play in the formation of communities around music genres online.\u0000","PeriodicalId":7777,"journal":{"name":"Amyotrophic Lateral Sclerosis","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88545605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
'The Aesthetics of Excess' by Jillian Hernandez is a dazzling and provocative book that deploys the aesthetic as a category to grasp with great care the lives and representations of Black and Latina women whose performance of gender exceeds the white middle class norms of feminine comportment.
{"title":"Review of The Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment by Jillian Hernandez (Duke University Press)","authors":"Iván A. Ramos","doi":"10.25158/l11.1.13","DOIUrl":"https://doi.org/10.25158/l11.1.13","url":null,"abstract":"'The Aesthetics of Excess' by Jillian Hernandez is a dazzling and provocative book that deploys the aesthetic as a category to grasp with great care the lives and representations of Black and Latina women whose performance of gender exceeds the white middle class norms of feminine comportment.\u0000","PeriodicalId":7777,"journal":{"name":"Amyotrophic Lateral Sclerosis","volume":"85 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73132299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 'The Long Emancipation: Moving Toward Freedom,' Rinaldo Walcott argues, through the use of short essays, that the Black experience can be understood through the lens of the constant struggle for emancipation. For Walcott, true freedom for Black people was never attained with emancipation and in fact, emancipation is still an ongoing process. Each chapter interrogates an aspect of Black life and death that according to Walcott create the space for Black freedom to exist.
{"title":"Review of The Long Emancipation: Moving Toward Freedom by Rinaldo Walcott (Duke University Press)","authors":"Shauna Rigaud","doi":"10.25158/l11.1.12","DOIUrl":"https://doi.org/10.25158/l11.1.12","url":null,"abstract":"In 'The Long Emancipation: Moving Toward Freedom,' Rinaldo Walcott argues, through the use of short essays, that the Black experience can be understood through the lens of the constant struggle for emancipation. For Walcott, true freedom for Black people was never attained with emancipation and in fact, emancipation is still an ongoing process. Each chapter interrogates an aspect of Black life and death that according to Walcott create the space for Black freedom to exist.\u0000","PeriodicalId":7777,"journal":{"name":"Amyotrophic Lateral Sclerosis","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90710299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 'History on the Run: Secrecy, Fugitivity, and Hmong Refugee Epistemologies,' Ma Vang deftly answers the question of how one can "recount a history that has systematically been kept secret" by centering Hmong refugees as sources of knowledge and critique (7). Her book scrutinizes the refugee archive to draw out stories that have been secreted away in other places: in a missing baggage claim, in the neutralization of Laos, in redacted documents, in the figure of the uncivilized Hmong soldier, in the naming of a war as "secret," in the silenced bodies of Hmong women. Her central concept of "history on the run" refers to a form of fugitive knowledge that "does not remain still and cannot easily be found" (8). Vang's book makes explicit the forms of knowledge that travel with and within refugee bodies, rather than the "official" history of the archive.
{"title":"Review of History on the Run: Secrecy, Fugitivity, and Hmong Refugee Epistemologies by Ma Vang (Duke University Press)","authors":"A. Lo","doi":"10.25158/l11.1.11","DOIUrl":"https://doi.org/10.25158/l11.1.11","url":null,"abstract":"In 'History on the Run: Secrecy, Fugitivity, and Hmong Refugee Epistemologies,' Ma Vang deftly answers the question of how one can \"recount a history that has systematically been kept secret\" by centering Hmong refugees as sources of knowledge and critique (7). Her book scrutinizes the refugee archive to draw out stories that have been secreted away in other places: in a missing baggage claim, in the neutralization of Laos, in redacted documents, in the figure of the uncivilized Hmong soldier, in the naming of a war as \"secret,\" in the silenced bodies of Hmong women. Her central concept of \"history on the run\" refers to a form of fugitive knowledge that \"does not remain still and cannot easily be found\" (8). Vang's book makes explicit the forms of knowledge that travel with and within refugee bodies, rather than the \"official\" history of the archive.\u0000","PeriodicalId":7777,"journal":{"name":"Amyotrophic Lateral Sclerosis","volume":"79 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83780952","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Erin Suzuki's 'Ocean Passages' is a sustained analysis of how various narratives of "ocean passages" disrupt and revise hegemonic constructions of the Pacific. Through analyses of contemporary Indigenous Pacific and Asian American literatures, Suzuki demonstrates what new paradigms can emerge by bringing Asian and Pacific Islander passages across the same sea into critical relationality.
{"title":"Review of Ocean Passages: Navigating Pacific Islander and Asian American Literatures by Erin Suzuki (Temple University Press)","authors":"Sandra S. Kim","doi":"10.25158/l11.1.10","DOIUrl":"https://doi.org/10.25158/l11.1.10","url":null,"abstract":"Erin Suzuki's 'Ocean Passages' is a sustained analysis of how various narratives of \"ocean passages\" disrupt and revise hegemonic constructions of the Pacific. Through analyses of contemporary Indigenous Pacific and Asian American literatures, Suzuki demonstrates what new paradigms can emerge by bringing Asian and Pacific Islander passages across the same sea into critical relationality.\u0000","PeriodicalId":7777,"journal":{"name":"Amyotrophic Lateral Sclerosis","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80778818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Employing the teachings of Indigenous cartographic practices to trouble the Western epistemologies of subdivision that underpin private property development, Candace Fujikane's 'Mapping Abundance for a Planetary Future' charts out an unabashedly hopeful vision for futures that exceed the dictates of capitalist accumulation. Abundance, as Fujikane shows throughout, is not an ungrounded future wish, or a hazily-defined otherwise that we must collectively imagine. It has already been mapped out for us by Indigenous peoples—in her example, Kanaka Maoli—who have long thrived according to fundamental philosophies of cultivation and relationality.
坎迪斯·藤凯恩(Candace Fujikane)的《为地球的未来绘制丰富的地图》(Mapping Abundance for a Planetary Future)一书利用土著制图实践的教导，对支撑私有房地产开发的西方细分认识论提出了质疑，该书毫不掩饰地描绘了一幅超越资本主义积累支配的充满希望的未来图景。正如《藤游》贯穿始终所展示的那样，富足不是毫无根据的未来愿望，也不是我们必须共同想象的模糊定义。它已经被土著人民为我们规划好了——以她为例，卡纳卡·毛利——他们长期以来一直根据培养和关系的基本哲学而蓬勃发展。
{"title":"Review of Mapping Abundance for a Planetary Future: Kanaka Maoli and Critical Settler Cartographies in Hawai'i by Candace Fujikane (Duke University Press)","authors":"H. Hobart","doi":"10.25158/l11.1.9","DOIUrl":"https://doi.org/10.25158/l11.1.9","url":null,"abstract":"Employing the teachings of Indigenous cartographic practices to trouble the Western epistemologies of subdivision that underpin private property development, Candace Fujikane's 'Mapping Abundance for a Planetary Future' charts out an unabashedly hopeful vision for futures that exceed the dictates of capitalist accumulation. Abundance, as Fujikane shows throughout, is not an ungrounded future wish, or a hazily-defined otherwise that we must collectively imagine. It has already been mapped out for us by Indigenous peoples—in her example, Kanaka Maoli—who have long thrived according to fundamental philosophies of cultivation and relationality.\u0000","PeriodicalId":7777,"journal":{"name":"Amyotrophic Lateral Sclerosis","volume":"284 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80229207","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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