Multiple Sites of Enunciation: Difference between revisions

Latest revision as of 14:56, 18 July 2025

The landmark, as a figure, has itself lots to teach us about how to acknowledge and relate to the tension of our differences, when it comes to our entanglements within the overarching polar bear management and monitoring apparatuses

The point here is not to argue whether or not we are looking at the same rock formation, and to agree on how it has changed over time. Neither is it the point that our subjective views change the way that the rocks present themselves to us.

The point here is that the rocks can are not determinable as separate from ourselves, our position in the landscape, where we have been and where we are going, when we consider ourselves part of the everchanging landscape. A practice of lateral movement unfixes the rocks as not just something than can be located out there, but rather as something that can also locate us, and the many other other material agencies that make it possible for us to encounter the rock formation.

"Return" to Cut 1 to learn more about how our co-creative practices around the "Voices of Thunder" testimonies, helped us (re-)locate our bodies on such lateral tracks.

Return to Cut 1: Voices of Thunder

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-[[File:Landmark.png|thumb]]
+[[File:Landmark small.png|thumb]]
-The concept of an emergent landmark can be helpful in terms of understanding redirecting  our perspective away from objective truth,
+The landmark, as a figure, has itself lots to teach us about how to acknowledge and relate to the tension of our differences, when it comes to our entanglements within the overarching polar bear management and monitoring apparatuses
-ICC's Protocol 2 calls for the recognition of Indigenous Knowledge in its own right. Its third directive states that "Indigenous Knowledge must not be translated, integrated into, or validated by science – Recognition, trust and respect must be given to the unique contributions of Indigenous
+The point here is not to argue whether or not we are looking at the same rock formation, and to agree on how it has changed over time. Neither is it the point that our subjective views change the way that the rocks present themselves to us.
-Knowledge as a way of knowing. With a clear understanding that Indigenous Knowledge holds its own methodologies and objectives, one can begin to appreciate the importance of not attempting to translate or integrate one source of knowledge into the other."
-This aligns with the principles of ethical engagement, that guide willing partners to ‘appropriately, correctly, and respectfully acknowledge the "that's me" and the "that's you" of their differentiated worldviews' as a crucial requirement to ethically engage with each other (Institute for Integrative Science & Health, 2013b). It enables parties to respects the integrity of each voice and avoid 'cultural confusion'. Cultural confusion is a state in which ‘we no longer know what informs each of our identities and what should guide the association with each other’ (Ermine, 2007 p. 197 ; see also Blackfoot elder Reg Crowshoe in AER, 2014).
+The point here is that the rocks can are not determinable as separate from ourselves, our position in the landscape, where we have been and where we are going, when we consider ourselves part of the everchanging landscape.
+A practice of lateral movement unfixes the rocks as not just something than can be located out there, but rather as something that can also locate us, and the many other other material agencies that make it possible for us to encounter the rock formation.
-When it comes to the "Voices of Thunder" and its anticipated forms of different outputs, we therefore decided it is important to make explicit who "speaks", and how our collaborative authorship is navigated across different ouputs. Based on the tension of our differences, rather than attempting to erase them, we have sought to create multiple sites of enunciation, while maintaining a pragmatic collaboration across them.
+<div class="next_choice">
+'''"Return"''' to Cut 1 to learn more about how our co-creative practices around the "Voices of Thunder" testimonies, helped us (re-)locate our bodies on such lateral tracks.</div>
-The recognition of multiple sites of enunciation allows us to not only conduct a ‘negotiation of voice’(Jones and Jenkins, 2008)- as we make explicit who speaks, and how our collaborative authorship is navigated - it allows for multiple perspective that understands voices and meaning to be deeply entangled with
-Taking our cues from , we conduct a Such visible differentiation and shifting of perspectives, avoid speaking from one harmonized voice both challenging the impression that the "Voices of Thunder" address phenomena that are completely disconnected from the academic authors, while it also seeks to avoid speaking from one harmonized voice.
+<small><references /></small>
+<span class="return to-cut-1 link" data-page-title="Multiple Voices" data-section-id="2" data-encounter-type="return">[[Multiple Voices#Voices of Thunder Testimonies|Return to Cut 1: Voices of Thunder]]</span>
-<span class="next_choice"> Return to Cut 1 to learn more about what a "testimonial reading" is.</span>
-<span class="return to-cut-1 link" data-page-title="Multiple Voices" data-section-id="1" data-encounter-type="return">[[Multiple Voices#Testimonial Reading|Return to Cut 1: Voices of Thunder]]</span>