Walking with God through Nature: An Examination of John Flavel’s Behavioural Instructions on Matters Related to Christian Piety

John Flavel was a Reformed Puritan of the seventeenth-century who wrote a series of devotional guides that offered instructions drawn from Christian mystical traditions on how to improve religious activities as a means of ecstatically encountering God. Evaluating the efficacy of these instructions from a scientifically-based behavioural perspective, this study has found that Flavel’s techniques were likely helpful to his readers in facilitating socially normative ecstatic experiences through ordinary Christian practice. Furthermore, discovering that Flavel promoted the use of these techniques for engaging with ecological materials in the wilderness and country-side, this essay proposes that Flavel introduced his readers to effectual manners that could help them ecstatically encounter God during the practice of meditational nature-based walks.

Amorous Ex/Incursions: Love in Writings of Badiou, Weil, Fromm, and Barthes

My dissertation explores the enabling contributions of love to the practice of ethico-political and cultural critique. Engaging with the work of Alain Badiou, Simone Weil, Erich Fromm, and Roland Barthes, I examine love in terms of the following modalities: waiting, giving, and looking. I place the aforementioned thinkers in dialogue with selected literary and cinematic texts to explicate and interrogate the meaningful possibilities of their discourse on love. In my chapter on Alain Badiou, I discuss his ontology, which I draw upon heavily to set the theoretical parameters of my study. I also discuss the logic of love that he develops in his philosophy. Speaking to the problem of pre-Evental agency that critics of his work identify, I suggest that waiting as attention, as theorized by Simone Weil, might be the closest form of agency that a pre-Evental (amorous) being can experience. In my discussion of Erich Fromm, I reevaluate his “art of loving” within the constellation of late capitalism. Reading his work through a Lacanian lens, I explore the utility of his prescriptions by examining Chuck Palahniuk’s controversial novel Fight Club. In my chapter on Roland Barthes, I theorize the possibility of cinematic looking that does not depend on the antagonism inherent in the binaries masculine/ feminine and (Gazing) spectator/ (to-be-looked-at) image. Towards this objective, I propose the “amorous look,” a mode of viewing occasioned by cinematic punctual encounters, that I contend is beyond the domain of desire and perversion. I deploy the “amorous look” as I reflect on Aureus Solito’s film Ang Pagdadalaga ni Maximo Olivares (The Blossoming of Maximo Olivares) and its representations of love and waiting.

Disability in the Digital Age: Reconfiguring Access, Inclusion and Equality

There is an abundance of research that examines disability and technology in the context of computers and the Internet, however few have examined disability and mobile devices. Also largely absent from existing literature are the voices of disabled people themselves. This dissertation draws upon science and technology studies (STS) and disability studies to address these gaps by conducting in-depth qualitative research that examines disabled people’s experiences using smartphones and tablets. At its core, this dissertation aims to provide insight on the following: 1) an understanding of how disability is perceived in the digital age and the subjective meanings of access, inclusion and equality; 2) the ways in which mobile devices impact the lived experience of disability; and 3) how perspectives in disability studies and STS can be applied to understand the relationship between the body, disability and technology. The empirical contribution of this research draws from participant diaries and interviews with disabled people, as well as from open-ended questionnaires completed by mobile app developers. The concept of ‘subjectivities of disability’ is introduced to refer to the uniquely personal and individual experience of disability. Findings reveal that mobile device use amongst disabled people redefines their subjectivities of disability through socio-technical interactions whereby disabled people use their devices in ways that are integrated into their everyday lives and positively shapes how they view themselves in relation to their experience of disability. The responses from app developers reveal that there is a place for disability in the mobile market and that disabled people play a key role in making apps accessible. The data suggests that mobile devices facilitate access, inclusion and equality by integrating the body in ways that recognize and accommodate diversity. The results furthermore make it clear that the interaction between disabled people and mobile devices takes on an embodied and social characteristic. This research concludes that both on an individual level and collectively, disabled people are engaging with digital artifacts in ways that promote agency and independence as well as reshaping how disability is experienced and perceived in the digital age.

(Re)Imagining Relationality: Brad Isaacs and The Map of the Empire

The exhibition, The Map of the Empire (30 March – 6 May, 2016), featured photography, video, and installation works by Toronto-based artist, Brad Isaacs (Mohawk | mixed heritage). The majority of the artworks within the exhibition were produced from the Canadian Museum of Nature’s research and collections facility (Gatineau, Québec). The Canadian Museum of Nature (CMN), is the national natural history museum of (what is now called) Canada, with its galleries located in Ottawa, Ontario. The exhibition was the first to open at the Centre for Indigenous Research Creation at Queen’s University under the supervision of Dr. Dylan Robinson. Through the installment of The Map of the Empire, Isaacs effectively claimed space on campus grounds – within the geopolitical space of Katarokwi | Kingston – and pushed back against settler colonial imaginings of natural history. The Map of the Empire explored the capacity of Brad’s artistic practice in challenging the general belief under which natural history museums operate: that the experience of collecting/witnessing/interacting with a deceased and curated more-than-human animal will increase conservation awareness and facilitate human care towards nature. The exhibition also featured original poetry by Cecily Nicholson, author of Triage (2011) and From the Poplars (2014), as a response to Brad’s artwork. I locate the work of The Map of the Empire within the broader context of curatorship as a political practice engaging with conceptual and actualized forms of slow violence, both inside of and beyond the museum space. By unmapping the structures of slow, showcased and archived violence within the natural history museum, we can begin to radically transform and reimagine our connections with more-than-humans and encourage these relations to be reciprocal rather than hyper-curated or preserved.