dc.contributor.author |
Harvey, Mark |
|
dc.date.accessioned |
2023-07-19T03:41:43Z |
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dc.date.available |
2023-07-19T03:41:43Z |
|
dc.date.issued |
2023-06-09 |
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dc.identifier.citation |
(2023). Journal of Aesthetics and Art Criticism, 81 / XX(2), 1-11. |
|
dc.identifier.issn |
0021-8529 |
|
dc.identifier.uri |
https://hdl.handle.net/2292/64884 |
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dc.description.abstract |
<jats:title>Abstract</jats:title>
<jats:p>This article explores what it can mean to navigate notions of productive idiocy with aspects of mātauranga Māori (Māori knowledge), through some recent art-as-activism practices of the author, Aotearoa/New Zealand artist Mark Harvey. The works explicated include Waitākere Drag and Auau in the Te Wao Nui ā Tiriwa forest ranges and Productive Promises, which was part of TEZA (Trans Economic Zone of Aotearoa) in Ōtautahi/Christchurch. Avital Ronell’s Nietzschean-influenced perspectives on idiocy are drawn from in relation to Western and Māori perspectives, along with Roger Sansi’s work on idiocy as dissent. From this aggregation of epistemologies, it is proposed that idiocy can be productive through art as activism and that this can align with Indigenous Māori perspectives on playing the fool as a form of resistance and refusal. Examples of Māori concepts engaged with here include perspectives on relationship building, human relationships with forests and the environment, and sovereignty under Te Tiriti o Waitangi (The Treaty of Waitangi). These art-activism projects promised micro-attempts at making positive changes for the communities in which they were situated through performatively generated actions from a Māori perspective within the shroud of ongoing colonization and capitalism.</jats:p> |
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dc.language |
en |
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dc.publisher |
Oxford University Press (OUP) |
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dc.relation.ispartofseries |
The Journal of Aesthetics and Art Criticism |
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dc.rights |
Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. |
|
dc.rights.uri |
https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm |
|
dc.rights.uri |
https://creativecommons.org/licenses/by/4.0/ |
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dc.subject |
1901 Art Theory and Criticism |
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dc.subject |
2202 History and Philosophy of Specific Fields |
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dc.subject |
2203 Philosophy |
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dc.title |
Te heahea me ngā toi, te hikohiko: Productive Idiocy, mātauranga Māori and Art-activism Strategies in Aotearoa/New Zealand |
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dc.type |
Journal Article |
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dc.identifier.doi |
10.1093/jaac/kpad013 |
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pubs.issue |
2 |
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pubs.begin-page |
1 |
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pubs.volume |
81 / XX |
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dc.date.updated |
2023-06-13T05:37:47Z |
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dc.rights.holder |
Copyright: The authors |
en |
pubs.author-url |
https://academic.oup.com/jaac/advance-article/doi/10.1093/jaac/kpad013/7192913?utm_source=authortollfreelink&utm_campaign=jaac&utm_medium=email&guestAccessKey=673c20bb-f461-48c3-b510-3622dc01d726 |
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pubs.end-page |
11 |
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pubs.publication-status |
Published online |
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dc.rights.accessrights |
http://purl.org/eprint/accessRights/OpenAccess |
en |
pubs.subtype |
Article |
|
pubs.elements-id |
964839 |
|
pubs.org-id |
Creative Arts and Industries |
|
pubs.org-id |
Dance Studies Programme |
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dc.identifier.eissn |
1540-6245 |
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pubs.record-created-at-source-date |
2023-06-13 |
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pubs.online-publication-date |
2023-06-09 |
|