Art

I want you to feel what I felt. I want you to know why story-truth is truer sometimes than happening truth. —Tim O’Brien[1] Given law’s position as a mechanism of social control and organisation, along with its inherently persuasive focus, it follows that studying effective storytelling can enhance law’s power.[2] However, a successful narrative is seldom strictly factual. In literature, this is where persuasive and rhetorical devices often enter: to convince a reader to beli

She envelops man in darkness, and urges him constantly to the light. She makes him dependent on the earth, heavy and sluggish, and always rouses him up afresh (Goethe, Nature Aphorisms ) Abstract [1] The extensive and in large parts forensic Newton-Goethe scholarship notwithstanding, one conjecture, teeming with possibilities, appears yet to have been sufficiently explored. It is that of a closer connection between Newton and Goethe, explored through the liminal figure of

Uncle Sam points an accusatory finger directly at the viewer, his expression stern and uncompromising. Behind him, the Statue of Liberty appears damaged, her torch dimmed, and surrounded by text reading ‘Protect Her’ and ‘Restore America’. Another post lists crimes attributed to undocumented migrants alongside the slogan ‘Report Foreign Invaders’.[1] Uncle Sam’s pointing finger does not invite. It demands. The damaged Liberty does not welcome but calls for protection. Nothing

In recent years, many Queer and / or Indigenous, Black, and other racialized artists, writers, and scholars have exposed the relationship between colonialism, climate change, and environmental issues around the world. These discourses point to the need for highlighting and resisting the colonial undertones and structures embedded in climate change policy or future environmental planning. Some artists have even stepped outside of conventional ways of thinking through climate c

Introduction It is easy to overlook the endurance of British imperial structures in its former colonies, particularly in the legal and moral frameworks that govern gender and sexuality. Despite the formal end of the British Empire in the twentieth century, colonial legislation that criminalises same-sex relationships and / or gender variance continues to serve as the legal foundation for the persecution of LGBTQ+[1] people throughout the former colonies and prolongs their m

In a 1967 interview, Marcel Duchamp, one of the key figures of the early twentieth-century avant-garde and an artist who drew extensively on contemporary science, declared that ‘the public always needs a banner; whether it be Picasso, Einstein, or some other’.[1] In naming these individuals, Duchamp was responding to the emergence during the 1940s-60s of the popular perception of Picasso and Einstein as the archetypal modern artist and scientist of the twentieth century. Pica

Introduction Western thought can be pervasive. It has spread from Europe outwards, often to the detriment of other ways of knowing, supplanting preexisting bases. Some post-colonial authors have explored these cultural encounters and clashes through literature and critical theory. In his Globalectics , Ngũgĩ explored how, in the period prior to the colonial encounter, autochthonous thought and knowledge existed and thrived.[1] This is in contradiction to the dominant Wester

Both art and science have been cornerstones of western society for millennia, yet their synthesis—artistic research—has yet to achieve widespread acceptance in European […] academies. Samuel Penderbayne[1] Artistic Research Artistic research has many faces. [2] For some it is research ‘about’ art (art as research object : art history [3] as well as artists’ self-exploration into their own body of work). [4] For others it is research ‘for’ art (art as research objective