Experientially connective ecologies of creativity, culture, and archiving are explored to elaborate the world-involving, embodied bases of cognition, and how materiality, empiricism, emotions and value are entangled. Chapter 3: Curatorial Responsibility and the Imagination of Culture ..................................60! Introductory Thoughts on an Integrative, Ethical Conception of Culture ....................... My heartfelt and abundant gratitude to you, thank you!

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That doesn’t mean I don’t respect the players’ efforts, or that I’m in a state of permanent frustration. But I always want to go further.” what is a good alternative to ativan Using the sexual favours of his female followers as bait, Manson insinuated himself into the musical circle of the Beach Boys’ Dennis Wilson (who actually persuaded the group to record a Manson composition, the eerily prophetic Cease to Exist, though under a different title), and Terry Melcher, the son of Doris Day and producer of rock acts including the Byrds.

In my dissertation, I uniquely and through sustained public reasoning develop a rationale and vision for curation as an ethic of care and connectedness responsive to the transformative and ethical power and potential of creativity.

Parts of a version of Chapter 2 have been published: Rajdeep Singh Gill, ? Participatory Knowledge and Consciousness as Methodology and the Correlative Forging of Transformative Curatorial Practice......................................................................... I would also like to extend a big thank you to Peter Cole and Jennifer Kramer for being such responsive and engaged university examiners. New Castle Upon Tyne: Cambridge Scholars Press, 2008.

Ethical Re/orientings and Re/memberings of Curatorial Practice,? Ethical Ecology of Relationship: Re/Locating Interrelationships of Creativity, Archiving, and Ethics.................................................................................................................................. It was such a pleasure to dialogue and exchange with both of you.

Teaching considerably enriched my research and thinking and kept restoring my faith in the need and purpose of my project and ideas.

I would like to especially thank Arlene Cotter for her multifaceted support of my pedagogy as well as research.

I envision and illuminate my ethical re/membering and re/orienting of curation beyond the dictates of the artworld-academic post/industrial complex while critically and creatively addressing many of its narratives, practices and formations.

I delineate connectedness as reverence for creative-archival intelligence and preciousness of our shared humanity with the earth and cosmos—all life. Unnayan Bikalper Nitinirdharoni Gobeshona (UBINIG) (Policy Research for Development Alternative)....................................................................................................... vii Chapter 7: Conclusion...............................................................................................................173! Bibliography ...............................................................................................................................182! viii List of Tables Table 1 Mapping a Different Techno(eco)logical Worldview ................................................... ix List of Figures Figure 1 Fabiola Nabil Naguib, Archives Re/Imagined (No. x List of Abbreviations UBINIG Unnayan Bikalper Nitinirdharoni Gobeshona (Policy Research for Development Alternative) FINNRAGE Feminist International Network of Resistance to Reproductive and Genetic Engineering SANFEC South Asian Network on Food, Ecology, and Culture xi Acknowledgements I would like to warmly acknowledge and thank the Coast Salish peoples whose territories I reside on and create from.

Through connectedness as an ethic and framework, I open up the experiential and epistemic bases of curation, from artworld and scientism-shaped grounds of thought to narratives of culture and technology. Chapter 6: Cosmopolitical Ecologies of Technology ..............................................................145! Notes on Technology and Transformative Curatorial Practice...................................... 1 of 5 in Series I), 2005/07, Montreal/Cairo Installation Series, Large-scale Mixed Media Panels with Accompanying Text Panels. Figure 2 Community Seed Wealth Centre, Ishwardi, Bangladesh, 2008. Figure 3 Fabiola Nabil Naguib, The Heart of Beauty Series, 2011. I would like to express my gratitude to Fabiola Nabil Naguib, my fabulous wife, radiant partner in life, love, and work. Nayakrishi Andolon: Cultivating Ananda: Planting the Seed of Joy.

I illuminate curatorial processes and relations pertaining to internal journeying, relations with others, and the earth, inclusive of and going far beyond museological and art historical concerns, by expanding contexts and modes of personal and social cognition of creativity, culture, and archiving. Erotic Morality and Archival Materialization................................................................ ........................................................................................................................................... Photograph by Fabiola Nabil Naguib............................................................................................................................... Fabiola, my humsafar and farishta, without your unconditional love and support, your creative and intellectual inspiration, your phenomenonal editing, and your unwavering faith in me, I never could have persisted and completed this thesis.

This illumination is achieved by holding together participatory understandings of consciousness and ethics and interrelational conceptions of creativity and archiving. I do not have words to express my gratitude for your patience, brilliance, and generosity, day in and day out. Barbara, thank you for your deep care for Fabiola and I, including my doctoral success.