The systems, conceptions, and histories we apply as universal norms today remain largely tied to one dominant paradigm of thought. Consequently, perimeters of creative inquiries are often pegged to what is in vogue within these presumed centers; artists/theorists feel the pressure to legitimize their practice through fashionably-Western philosophies; the study of other indigenous traditions are circumscribed to disciplinary silos; and cultural specificities existing beyond the dominant worldview are often flattened or glossed-over during theoretical expositions.
My doctoral research therefore advocated for a decentralized and ontologically pluralistic art-world, while envisioning experimental art praxis as a laboratory to reflect, experiment with, and nurture practices and theories from alternative metaphysical worldview. To be clear, these efforts to surface metaphysical orientations that became exoticized and overlooked in discourse is neither an attempt to eulogize their idiosyncrasies, nor to merely emancipate them from subjugation. Rather, it is to bring these discussions into the capacitating context of experimental art for critical evaluations, towards shaping a more judicious body of discourse that is better aligned to local realities, as well to expand future possibilities of our shared world.
Based on this starting point, I take an interdisciplinary, medium-agnostic, and hands-on experimentation towards building concrete ways in which this advocacy may take shape, not just within academic discourses but in our daily lives.
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