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In this paper, I discuss Michel-Rolph Trouillot’s argument (2003) that the enduring relationship between the “Savage slot” and anthropology produces a self-authenticating kind of settler mythopoetic, and that jolting the discipline from the West’s geospatial imaginary involves both the notion of (ethnographic) refusal, and a psychoanalytic approach to anthropological writing, form, and encounter.
Le texte porte sur la méthode de travail de deux artistes, soit Caroline Laurin-Beaucage, professeure de danse à l’UQAM, et son collaborateur Erneste, artiste venu du Brésil, alors qu’iels montent un film documentaire sur leur performance commune effectuée sur trente jours consécutifs, 4 ans auparavant.
In this paper, I examine how imperial motifs endure across eras and genres, and how these aesthetic forms mediate memories of mass violence. Taking a viral YouTube video of the abandoned mining town of Akarmara in the partially recognized state of Abkhazia (de jure considered part of Georgia) as my point of departure, I trace a diachronic constellation of aesthetic strategies that frame landscapes of conquest as sites of sublime transcendence.
In our search for oases in the desert from which human life can once again flourish, this article turns to a poetic reason as an alternative form of cognition. I argue that the paradoxical tension between the formal and mimetic poles in unclosed systems of expressive signs, such as the arts, harnesses the potential to know worlds in the act of their unfolding. In doing so, they acknowledge the fundamental alterity of the world and allow space and silence for the rifts and fissures that provide shelter for meaningful inhabitation.
This review examines Sophia Stamatopoulou-Robbins’s Waste Siege: The Life of Infrastructure in Palestine, an ethnography of waste and infrastructure in the occupied West Bank. The book shows that waste is not only something left over, it is a part of the infrastructure through which power, responsibility, sovereignty, and everyday life is shaped.
This work analyzes Claudia Andujar's Marcados (1981-1983) series by exploring the tension between the archival form and colonial failure. Composed of portraits of Yanomami people wearing numbered tags, this study demonstrates how Andujar transforms these instruments of state control into a strategic "counter-archive."
This article stems from the proceedings of a roundtable session at the Perimeters graduate student conference at McGill University in March 2026 that explored what happens to our understanding of failure when we defy the tempting, negative connotations of failure and instead choose to define it as the broken relationship between expectation and outcome.
Upcoming essay, commenting on drawings by Benoît Codère.
Cover Photo "flourishing without completeness"
by Aleyna Irem Karacan
