Our built world, our policies, our institutions, and our relationships to and with anyone and anything result from a series of micro and macro decisions rooted in a mix of affective and cognitive paradigms, found at the individual and collective levels.
Being born at the crossroads of three cultures, I have travelled to and lived in different cultural regions. Those paradigms, I think, are mostly unconscious, and not up for debate. When different unexamined paradigms end up existing in the same space due to immigration, for instance in Tkaronto, misunderstandings and even conflicts might ensue.
Speaking of Nature, we have here a conflict between the Western concept of Nature as other than human and the idea of Nature as family, a concept associated traditionally with First-Nations, Metis, and Inuit world perspectives. Those ideas and beliefs become perceptible to us through tangible and intangible cultural artifacts like architecture and art.
Nytha Oronga
(She/Her/Elle)
At the confluence of analogue and digital technologies and media, with a strong interest for an aesthetic of recycling, I strive to create safe spaces where meaningful human encounters can happen. In this regard, the recorded multidisciplinary performance The Visitors by Icelandic artist Ragnar Kjartansson is a source of inspiration: this 45-minute multi-channel musical performance created moments in museums where people were expressing mutual affection.