Stephanie Springgay’s research while affiliated with McMaster University and other places

The focus of this edited book is to evoke and provoke conceptual conversations between early a/r/tographic publications and the contemporary scholarship of a/r/tographers publishing and producing today. Working around four pervasive themes found in a/r/tographic literature, this volume addresses relationality and renderings, ethics and embodiment, movement and materiality, and propositions and potentials. In doing so, it advances concepts that have permeated a/r/tographic literature to date. More specifically, the volume simultaneously offers a site where key historical works can easily be found and at the same time, offer new scholarship that is in conversation with these historical ideas as they are discussed, expanded and changed within contemporary contexts. The organizing themes offer conceptual pivots for thinking through how a/r/tography was first conceptualized and how it has evolved and how it might further evolve. Thus, this edited book affords an opportunity for all those working in and through a/r/tography to offer refined, revised, revisited or new conceptual understandings for contemporary scholarship and practice. Part of the Artwork Scholarship: International Perspectives in Education series.

The focus of this edited book is to evoke and provoke conceptual conversations between early a/r/tographic publications and the contemporary scholarship of a/r/tographers publishing and producing today. Working around four pervasive themes found in a/r/tographic literature, this volume addresses relationality and renderings, ethics and embodiment, movement and materiality, and propositions and potentials. In doing so, it advances concepts that have permeated a/r/tographic literature to date. More specifically, the volume simultaneously offers a site where key historical works can easily be found and at the same time, offer new scholarship that is in conversation with these historical ideas as they are discussed, expanded and changed within contemporary contexts. The organizing themes offer conceptual pivots for thinking through how a/r/tography was first conceptualized and how it has evolved and how it might further evolve. Thus, this edited book affords an opportunity for all those working in and through a/r/tography to offer refined, revised, revisited or new conceptual understandings for contemporary scholarship and practice. Part of the Artwork Scholarship: International Perspectives in Education series.

The focus of this edited book is to evoke and provoke conceptual conversations between early a/r/tographic publications and the contemporary scholarship of a/r/tographers publishing and producing today. Working around four pervasive themes found in a/r/tographic literature, this volume addresses relationality and renderings, ethics and embodiment, movement and materiality, and propositions and potentials. In doing so, it advances concepts that have permeated a/r/tographic literature to date. More specifically, the volume simultaneously offers a site where key historical works can easily be found and at the same time, offer new scholarship that is in conversation with these historical ideas as they are discussed, expanded and changed within contemporary contexts. The organizing themes offer conceptual pivots for thinking through how a/r/tography was first conceptualized and how it has evolved and how it might further evolve. Thus, this edited book affords an opportunity for all those working in and through a/r/tography to offer refined, revised, revisited or new conceptual understandings for contemporary scholarship and practice. Part of the Artwork Scholarship: International Perspectives in Education series.

As an expression of the “right to go anywhere,” walking or hiking in settler states, particularly on recreational infrastructures such as the Trans Canada Trail, can be understood to support a form of white settler emplacement that is contingent on Indigenous displacement. These infrastructures and activities also contribute to assumptions of settler-state sovereignty over Indigenous lands common to the contemporary settler colonial project. In this article, I consider these conditions alongside arts-based methodologies I have developed from a critical white settler perspective to reveal, challenge, and subvert them. A discussion of my video, l i s t e n, demonstrates how one such methodology, unsettling depremacy, critically contends with specific interactions with place. I conclude by proposing walking unsettling depremacy as methodology in development that can be deployed to interfere with the ways white settler walking and its recreational infrastructures assert colonial claim.

In this Editorial, we discuss WalkingLab’s approach to critical walking methodologies grounded in queer-feminist, anti-racist praxis, and argue for the need to critically account for understandings of place in times of ongoing crises. We then introduce the articles featured in this special issue. Authored by international scholars, each article in the special issue engages critically with walking methodologies and the concept place from oblique angles.

This paper engages with the artistic practice and work of Vanessa Dion Fletcher (Potawatomi and Lenapé) from my perspective as a non-Indigenous academic and curator. Dion Fletcher and I have worked together over the past several years through discussions about her work, studio visits, and various events. In her art practice, Dion Fletcher uses porcupine quills and menstrual blood to inquire into a range of issues and concepts including Indigenous language revitalization, feminist Indigenous corporeality, Land as pedagogy, decolonization, and neurodiversity. In particular her work confronts the ways that Indigeneity, the queer and gendered body, and disability are rendered expendable. In this paper I engage with Dylan Robinson’s “sovereign sense”: a transcorporeal mode of perception that is affective, land-based, and formed through relations between human and non-humans. Dion Fletcher’s work makes palpable this sense of sovereignty through its unruly and mutating feltness. Further, her work makes visible feminist Indigenous artistic acts of resurgence alongside the frictions at the intersections of settler colonialism and disability. Following Karyn Recollet, I contend that Dion Fletcher’s work activates an Indigenous affective experience of futurity and creative intimacy that in turn imagines disability and Indigeneity as sites through which new pedagogical relations can be formed.

The following roundtable conversation, initiated by Sarah E. Truman activates a discussion on research-creation’s potential and limitations as a research method/methodology, complicates cursory references to it, and demonstrates the already robust and nuanced theorizations of research-creation within Canada.

At the invitation of Professor Carlson, this paper responds to his questions regarding the meaning, value, and the future of (post)qualitative research, and takes up some of the issues and provocations I raised with his graduate students: reciprocity, relationality, stewardship, and an ethics of care. These conditions, or what I call feltness, are deeply embedded and entwined in my doings of research, or more specifically the practice of research-creation. This feltness shifts research to become a practice of intimacy. The paper commences with a brief introduction to research-creation which is potentially a parallel methodological intervention to (post)qualitative research, as it challenges what counts as disciplinary and academic knowledge, and inherited forms of value in the institution.