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This volume presents a series of papers concerned with the interrelations between the postmodern and the present state of art and design education. Spanning a range of thematic concerns, the book reflects upon existing practice and articulates revolutionary prospects potentially viable through a shift in educative thinking.

his thesis documents and explores community-based and socially engaged art by Indigenous women artists. Their artwork is impacting and strengthening communities in Manitoba. The Thesis explores the use of dialogical aesthetics in performance and socially-engaged art by Indigenous women artists in rural and remote areas of Manitoba, and relates these aesthetics to the concept of activism through their art and relationship to their community. The aim of this research and this paper is to document, support and expose the work of a small pocket of Indigenous women artists in Manitoba who are acting as activists or social change agents based on their artwork. I have arrived at this conclusion first by their personal testimonies, second, by their art being socially conscious and lastly, by their art practices entrenched in the framework of dialogical aesthetics, community-based and site-specific ideologies.

En este artículo, se aborda la temática del video como tecnología de género. El video es el medio de creación artística que algunas mujeres están utilizando para crear lo que se puede llamar imá genes en femenino. Se hace un acercamiento al discurso feminista y los presupuestos teóricos que se han tomado para el análisis del discurso videográfico de las mujeres. Se presenta un breve análisis de los trabajos de las videastas Pola Weiss y Pilar Rodríguez.

Questions about the meanings of racialized representations must be included as part of developing an ethical game design practice. This paper examines the various ways in which race and racial contexts are represented in a selected range of commercially available e-games, namely war, sports and action-adventure games. The analysis focuses on the use of racial slurs and the contingencies of historical re-representation in war games; the limited representation of black masculinity in sports games and the romanticization of ‘ghetto play’ in urban street games; and the pathologization and fetishization of race in ‘crime sim’ action-adventure games such as True Crime: Streets of LA. This paper argues for, firstly, a continuous critical engagement with these dominant representations in all their evolving forms; secondly, the necessary inclusion of reflexive precepts in e-games development contexts; and thirdly, the importance of advocating for more diverse and equitable racialized representations in commercial e-games.

Indigenous peoples are making their own spaces online, using art as the backdrop for cross-cultural dialogue. Cyberspace—the websites, chat rooms, bulletin boards, virtual environments, and games that make up the internet—offers Aboriginal communities an unprecedented opportunity to assert control over how we represent ourselves to each other and to non-Aboriginals. This article introduces the concept of Aboriginally determined territories in cyberspace and discusses how these can be defined, maintained, and expanded. We will do this within the Canadian context, though much of the discussion is pertinent to Aboriginal communities in other parts of the world. We draw on lessons learned from creating and curating CyberPowWow, an Aboriginally determined online gallery, to propose Aboriginal Territories in Cyberspace, a series of initiatives to expand Aboriginal presence online. These include expanding CyberPowWow into an ongoing community of new media artists addressing Aboriginal issues; developing Skins, a project in which elders work with youth to explore tribal stories through the use of online virtual environments; and laying the foundations for Within Reservations, which will function as a blueprint for equipping Aboriginals for full participation in the ongoing revolution in networked information technologies.

Inventions have their greatest impact when they go beyond their possible practical applications and act upon the imagination. When Martin Behaim invented the first globe in 1490, a functionally useless object consisting mostly of terra incognita, he was widely ridiculed; but somehow the ideas that his globe represented stuck, and within a few decades the basic validity of his construction was confirmed by the voyages of Columbus, Cabot, Vasco de Gama, Magellan, and others. Today, with efforts to situate the rapid growth of information and communication technologies (ICTs), especially the Internet, in the context of globalization, there is a similar division between those who dismiss it as being of no importance and those who see in it a looming (for good or ill) global revolution. But, as with Behaim's globe, the imaginary possibilities of these innovations are important in determining how and to what extent human existence is to be transformed by them

Transference, Tradition, Technology explores Canadian Aboriginal new media and references the work of artists within a political, cultural and aesthetic milieu. The book constructs a Native art history relating to these disciplines, one that is grounded in the philosophical and cosmological foundations of Aboriginal concepts of community and identity within the rigour of contemporary arts discourse. Approachable in nature but scholarly in content, this book is the first of its kind. A text book for students and teachers of Canadian Aboriginal history and visual and media art, and a source for writers, scholars and historians, Transference, Tradition, Technology is co-produced with the Art Gallery of Hamilton, Hamilton; and Indigenous Media Arts Group, Vancouver.

Globalization has intensified interconnectivity among television industries worldwide. Interconnectivity happens through structural and institutional linkages among television systems and industries worldwide, resulting in an increasingly integrated global business governed by similar practices and goals. The dynamics are reflected in the popularity of television formats. On the surface, global dissemination of formats may suggest not only the global integration of the economy of the industry but also the standardization of content. A dozen media companies are able to do business worldwide by selling the same idea, and audiences seem to be watching national variations of the same show. At a deeper level, however, formats attest to the fact that television still remains tied to local and national cultures. Bringing up examples of Latin American cases, this article argues that television is simultaneously global and national, shaped by the globalization of media economics and the pull of local and national cultures.

Conçu comme un discours et non comme un simple référent géographique, le Nord se déploie dans des formes littéraires et culturelles qui en déterminent les particularités. Pluriculturel, variable selon les époques, les lieux et les points de vue, le Nord ouvre des problématiques sur les liens entre le référent et la représentation, entre le discours et l'imaginaire. Qu'il soit scandinave, québécois, finlandais, inuit ou européen, qu'il se manifeste dans les récits, les films, les romans, la poésie, la photographie ou les arts visuels, qu'il soit le lieu d'une dénonciation post-coloniale ou d'un discours impérialiste, d'une recherche formelle ou de l'expression de la culture populaire, le discours du Nord et sur le Nord converge en des paradigmes et des problématiques qui lui sont propres. Dans ce recueil, issu des travaux du Laboratoire international d'étude multidisciplinaire comparée des représentations du Nord et initié par la tenue d'un colloque organisé en décembre 2003 par Joël Bouchard et Amélie Nadeau, le lecteur trouvera quelques pistes d'analyse pour saisir la complexité du système discursif du Nord, réparties en trois sections intitulées: «Formes et intertextualité», «Territoires», ainsi que «Iconographie, voyages, et cinéma».

This article begins with an analysis of the problems of ‘physical repatriation’, as I review the case of the return of a First Nations mask to its community of origin. First Nations struggle to fit their concepts of ownership into western ones, where objects are viewed as alienable. As an alternative, the art of John Powell and Marianne Nicolson depicts a ‘figurative repatriation’ that does not rely on either the courts or museums to recognize legal or moral ownership. I argue that these contemporary artworks are social agents, which bring First Nations cultural objects home by staking out territory within museums. These ‘artist warriors’ forcibly recover (both literally and metaphorically) First Nations objects on display in foreign settings and reinscribe meaning at the level of the personal and the communal. They make objectified assertions of native identity that reclaim the right to self-definition. Moreover, these claims are made all the more powerful through their conscious location within an oppositional discourse framed by the Canadian western art world.

« Tantôt présents ou documents figurés, tantôt considérés comme de la monnaie, les wampums sont des colliers de perles fabriquées de coquillages marins qui étaient utilisés par les Indiens du Nord-Est de l'Amérique et les Européens. Si des milliers de wampums sont cités dans les archives coloniales, peu d'entre eux sont parvenus jusqu'à nous et la tradition de leur échange a depuis longtemps cessé d'être pratiquée. Les wampums du Musée de la civilisation de Québec ont été acquis à la fin du XIXe siècle dans un contexte particulier où collectionneurs et numismates s'arrachaient les objets amérindiens et où ceux-ci, pour diverses raisons, acceptaient de s'en départir. Cette collection n'avait jamais été étudiée, ni par les historiens, ni par les ethnologues ou par les muséologues. Par un raisonnement critique, en avançant toujours avec prudence et sans jamais céder à la simplification, Jonathan C. Lainey soulève les difficultés et les problèmes reliés à leur étude et à leur interprétation. Il reconstitue méticuleusement les différentes étapes de la vie des objets, leur muséification et le sens qu'on peut leur donner aujourd'hui. Plus qu'une simple étude sur les wampums, cet ouvrage a le mérite de porter un regard sur certaines réalités historiques relatives à la culture matérielle d'un groupe amérindien de la région de Québec, les Hurons de Lorette. Ce sont le rapport à l'Autre, les processus d'appropriation et les transferts culturels qui sont abordés par l'étude de la transformation de l'usage des wampums, devenus aujourd'hui objets de musée. Reposant sur une ethnographie et une iconographie riches et détaillées, ce livre constitue une contribution importante aux études ethnohistoriques et aux études amérindiennes de l'Amérique du Nord-Est. »-- Résumé de l'éditeur.

"By bringing together a provocative selection of essays and images, Only Skin Deep: Changing Visions of the American Self addresses the issues of nation, race, and selfhood and how they are depicted in ways that are challenging and informative, prompting readers to consider the impact of photography on our everyday lives." "If photographs are chiefly responsible for perpetuating myths of American identity, can a different reading of these representations break down distorting stereotypes? This is the central question posed by Only Skin Deep. The authors in this book forcefully argue that race and nation - and, indeed, photography itself - are fictions, cultural constructions that shape our social interactions. Even as symbols, these photographic depictions of ethnic difference and cultural superiority have very real consequences. This collection of works and essays addresses, for example, the lingering consequences of American colonial expansion; the conflict between public and private visualizations of individuals; the role of commercial imagery in shaping gender roles; the impact of fantasy in ethnic or ethnographic photography; and the uses of science to provide justification for politicized depictions of "race."" "Accompanying a major exhibition of the same name, Only Skin Deep offers a critical rereading of the archive of the history of photography. This applies to the works of famous photographers - such as Dorothea Lange, Walker Evans, Ansel Adams, and Edward Steichen - as well as lesser-known historical figures, including Charles Eisenmann, Frances Benjamin Johnston, Will Soule, and Toyo Miyatake. A substantial part of the book is devoted to contemporary artists and photographers who have moved beyond the multicultural approach to representations of "race" and have made an investigation of the semiotics of cultural identity a prevalent theme over the past decade. Among the recent photographers included are: Nancy Burson, Nikki S. Lee, Glenn Ligon, Paul Pfeiffer, Hulleah Tsinhnahjinnie, Cindy Sherman, Lorna Simpson, and Andres Serrano."--(BOOK JACKET)

Samella Lewis has brought African American Art and Artists fully up to date in this revised and expanded edition. The book now looks at the works and lives of artists from the eighteenth century to the present, including new work in traditional media as well as in installation art, mixed media, and digital/computer art. Generously and handsomely illustrated, the book continues to reveal the rich legacy of work by African American artists.

The US Army developed multiplayer online First Person Shooter video game, America's Army, was examined as the first instance of an entirely state-produced and directed enterprise leveraging video game popular culture. Specifically, this study is concerned with the potential of the America's Army gamespace as a US civilian-military public sphere of the Information Age, as assessed through Habermasian theories of democratic communication. Interview fieldwork was carried out in several America's Army game communities including those of real-life military personnel, Christian Evangelicals, and hackers. The political activities of these exceptional game communities are considered for the ways they escape and transcend current critical theories of Internet-based public spheres.

According to the 2000 census, Latinos/as have become the largest ethnic minority group in the United States. Images of Latinos and Latinas in mainstream news and in popular culture suggest a Latin Explosion at center stage, yet the topic of queer identity in relation to Latino/a America remains under examined. Juana María Rodríguez attempts to rectify this dearth of scholarship in Queer Latinidad: Identity Practices, Discursive Spaces, by documenting the ways in which identities are transformed by encounters with language, the law, culture, and public policy. She identifies three key areas as the project’s case studies: activism, primarily HIV prevention; immigration law; and cyberspace. In each, Rodríguez theorizes the ways queer Latino/a identities are enabled or constrained, melding several theoretical and methodological approaches to argue that these sites are complex and dynamic social fields. As she moves the reader from one disciplinary location to the other, Rodríguez reveals the seams of her own academic engagement with queer latinidad. This deftly crafted work represents a dynamic and innovative approach to the study of identity formation and representation, making a vital contribution to a new reformulation of gender and sexuality studies.

Ainsi en fut-il de la restitution en août 1999 par le Royal Ontario Museum des ossements des quelque cinq cents ancêtres wendats, illégalement extirpés en 1947 de la fosse commune d'Ossosané par les anthropologues du Musée, ceux-ci ayant retracé le site du dernier grand festin collectif en Huronie en 1636 (alors décrit par le père Brébeuf), ce qui a donné lieu à la résurgence d'une nouvelle grande fête des Morts, célébrée de de manière privée par les quatre nations de la diaspora wendatte, sous les offices d'un chamane iroquois traditionnaliste parlant encore le huron ; - la réactivation de ces types de créations comme manifestation authentiquement artistique autochtone et surtout comme mécanismes culturels de transmission aux jeunes générations. Bien que l'habitation nomade de la tente, sous la forme de tipi, fût celle qui a été la plus diffusée médiatiquement (entendre le cinéma hollywoodien et les séries de télévision des cow-boys et des Indiens des années cinquante et soixante pour identifier ceux qu'on appelle, depuis l'erreur d'identification du continent par Christophe Colomb, les « Indiens »), sa stylisation par une découpe moderne se démarquait des nombreuses reproductions kitsch. La performance An Indian Act Shooting the Indian Act (1997) de l'artiste Lawrence Paul Xuweluptun, dont rendait compte une projection vidéo accompagnant son exposition « Coulour Zone », en avril 2000, au Centre Saydie Bronfman de Montréal, et l'installation multimédia Resig/Nation (1999) de l'artiste saulteux et métis Edward Poitras au Lieu, Centre en art actuel, à Québec à l'hiver 2000, étaient radicales

This essay examines the cultural specificity of the gangster genre. In hip-hop gangsta films, the inclusion of black women as central to the gangster business not only transforms the gangster genre but, more important, adheres to black cultural norms. The films New Jack City, Sugar Hill, and Set It Off serve as case studies.

Coverage of Mexican-American youth gangs has been a staple of local television news in the United States for decades, and its form and content have come to embody many journalistic cliches: the rising tide of violence, the spread of drug addiction, the alienated minority youth. But as this bold new study argues, these stories contain gross exaggerations that lead to the reinforcement of stereotypes about Mexican-American young people and the Mexican-American community in general. Indeed, the police and community leaders greatly influence the content of this coverage by deciding what information to make available to the news media, while reporters select certain sources and ignore others, thus slanting the story even further. Source: Publisher

"This dissertation traces the presence of installation-based practices among artists of Aboriginal ancestry via selected exhibitions across Canada. It begins with a methodological perspective on Canadian art history, federal law, and human science, as a means of establishing a contextual backdrop for the art under consideration. The rise of an Indian empowerment movement during the twentieth century is then shown to take on an international voice which had cultural ramifications at the 1967 Canadian International and Universal Exhibition. Nascent signs of a multi-mediatic aesthetic are distinguished in selected works in Canadian Indian Art '74, as well as through Native-run visual arts programs. First Nations art history is charted via new Canadian art narratives starting in the early 1970s, followed by the development of spatial productions and hybrid discourses in New Work By a New Generation in 1982, and Stardusters in 1986. The final chapter opens with a history of installation art since the Second World War, as related to the pronounced presence of multi-mediactic works in Beyond History in 1989. Post-colonial and postmodern theories are deployed to conclusively situate both the artistic and political concerns featured throughout this study, and lead into the analysis of selected installations at Indigena: Contemporary Native Perspectives and Land, Spirit, Power: First Nations at the National Gallery of Canada. These 1992 shows in the national capital region ultimately confirm the maturation of a particular socio-political aesthetic that tested issues of Canadian identity, while signifying Aboriginal sites of difference."--