Und warum ist das wohl so?
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Und warum ist das wohl so?
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Ngā tohu kotahitanga Signs of a Nation display at Te Papa, 19 December 2023. Photo by MurielMary, public domain https://commons.wikimedia.org/wiki/File:Ng%C4%81_tohu_kotahitanga_Signs_of_a_Nation_display_at_Te_Papa,_19_December_2023.jpg
"Originally part of a museum display in the Signs of a Nation (Ngā tohu kotahitanga) exhibition dating from Te Papa's 1998 opening, the panel was 'altered' in place on 11 December 2023 by Te Waka Hourua, a social-justice oriented collective. The panel was admitted into the museums' collection in 2025.
Physically, the panel is large segmented wooden panel with metal fixings and the English language text of the Treaty of Waitangi printed on it which hung in a central multi-story area of the museum. The alteration primarily involved black spray paint covering most of the text, leaving the words "No. Her Majesty the Queen of England is the alien. ration the Queen’s veges." (via)
Eiter, Empire und Autismus
Dienstag, 9. Juni 2026————————————— Der Held erwacht um sieben. Er wankt ins Badezimmer, tut, was er tun muss, bereitet sich sein Frühstück. Nimmt das Tablet zur Hand, um die Tagespresse zu studieren. Wirft zuvor noch einen Blick aus dem Fenster. Wolkensuppe und ein bisschen Regen. Der Sommer hat sich einstweilig wieder verabschiedet. Die Wunde im Nacken schmerzt nicht, aber suppt ein wenig.…
Hai-hai-hai, yang suka cerita historical bisa nih mampir ke wattpad aku, sebenernya cerita ini udah numpuk di draft laptop, terus aku lupa kalo punya akun wattpad karena udah lama uninstal, jadi yaa uji nyali aja, siapa tau banyak yang suka wkwk
" Bastiaan Van Rijck " oleh violett_skye di Wattpad https://www.wattpad.com/story/412172106?utm_source=android&utm_medium=com.tumblr&utm_content=story_info&wp_page=story_details_button&wp_uname=violett_skye
"Aku mendengar suaramu dari masa lalu, sementara takdirmu telah lama menjadi abu." Sebuah piringan hitam tua tanpa label membawa Sekar pada
UN Vote Condemning Enslaving Africans and the Transatlantic Slave Trade. 2026

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The archival frameworks of digital and web archiving are cogent with colonial epistemology, who sees itself as the sole judge of what knowledge should be, how it should be done, and for what purpose. The practice of web archiving is descendant from Eurocentric academic practice and as a result, the language, philosophies and set of behaviours have carried over to the internet age unchallenged. This is evident in even the lexicon of web archiving itself, the ‘capture’ of a web page is an uncritical utilisation of generations of colonialist fascination with the Other, capturing and storing objects far from their context and without the consent of those subjected to the capture
Memory in Uncertainty: Web Preservation in the Polycrisis. A New Design Congress Report, Cade Diehm, Benjamin Royer, November 2022. p. 33 https://digital.library.unt.edu/ark:/67531/metadc2143916/m2/1/high_res_d/IIPC_WAC2023-REPORT-CADE_DIEHM_BENJAMIN_ROYER-Me.pdf
"Alongside having non-Western contributors lead collaborations, research should be conducted by design teams on how to cultivate greater awareness of the potential unintended consequences of the practice of web archiving. There is a significant opportunity to continue developing alternative first principles for digital systems, and many of these should be Indigenous led. Redefining ownership, connectivity and permanence beyond their Eurocentric status-quo should be a priority for new and evolving archive tools. A lot of care needs to be taken by tool designers to cultivate archive practices that minimise the potential threats inherent in the power imbalance of Indigenous user bases." p. 77
Nailed it too !
The International Inventories Programme achieved its technical goals—documenting tens of thousands of displaced cultural objects and making this information accessible to the National Museums of Kenya. But its deeper legacy lies in exposing the limits of institutional solutions to colonial and neo-colonial injustices. True reconciliation requires more than databases and exhibitions; it demands an honest reckoning with both the material and emotional debts of colonialism. The project revealed how restitution debates often serve as diplomatic theatre, allowing Western institutions to appear progressive while maintaining fundamental power imbalances. Until we address the emotional disparity between those who hold these objects and those who lost them, initiatives like IIP can document injustice but cannot heal it.
Jim Chuchu: International Inventories Programme (2018-2021)
Tracking and documenting Kenyan cultural objects in global institutions