Capitalism, Indigenous Cosmology, and the Art of Justice

Key Themes and Arguments

• Violence Underpinning Capitalist “Freedom”

  • Speaker claims that the “vicious moves” (i.e.a0genocidal wars, forced removal of children, cultural erasure) are not aberrations but structural foundations of capitalist freedom.

  • The phrase “underwrite the so-called freedoms of capitalism” positions exploitation and violence as the hidden cost or collateral that makes capitalist liberties possible.

• Historical Continuities & Indigenous Temporalities

  • Reference to an “ancient philosopher, Clyde and Elder” (possibly a phonetic rendering of another historical figure) to underline that debates on freedom, justice, and violence reach back nearly 2,000 years.

  • In the installation’s cosmology “there is no unreachable gulf between past and present,” echoing Nick Estes’ view that Indigenous notions of time see the present as inseparable from ancestral experience.

• Art Installation as Doorway & Cosmology

  • The “installation” is more than a static exhibit; it is:

  • “A peek into an unnerving past.”

  • “A doorway to a future of shared quest, of freedom, and of harm.”

  • Establishes a living cosmology that enlists viewers in an ongoing struggle for justice.

• Survivance & Living Indigenous Knowledge

  • After “genocidal wars” and “brutal separation of children,” Bender maintains that Indigenous knowledge is still “alive and needed.”

  • Insists on survivance (Gerald Vizenor’s term combining survival + resistance) rather than victimhood.

• Mystical / Spiritual Dimensions

  • When questioned about the mystical aura of the Hampton Project, Wings replies: “Perhaps what she sensed is the spirit of justice the world seeks.”

  • She frames her life practice: “I fight for what I believe to be right … This is my spiritual challenge always … even when it hurts.”

  • Mystic experience is thus inseparable from political-ethical commitment.

• Global Quest for Justice

  • The installation’s spirituality is “anchored in a global quest for justice.”

  • “In freedom’s journey, the dead still have their hope and beauty,” suggesting ancestral presence as moral impetus.

• Contemporary Activism Linkage

  • Nick Estes’ temporal model is invoked “to help out the students … involved in protests around the country,” likely referencing Black Lives Matter or Standing Rock.

  • Encourages students to see their activism as historically rooted and ancestrally endorsed.

Detailed Breakdown & Explanations

1. Violence and Capitalism

• Key Claim: Capitalist freedoms are predicated on historical violence (colonization, forced labor, dispossession).

• Significance: Challenges mainstream narratives that separate free-market ideals from colonial atrocities.

• Ethical Implication: Justice requires confronting and redressing those foundational harms.

2. Installation as Temporal Bridge

• Past–Present Unity: Viewers are positioned inside a cosmology where ancestral suffering and contemporary resistance co-exist.

• Educational Function: Serves as a “doorway” prompting reflection, empathy, and future-oriented action.

3. Indigenous Knowledge & Survivance

• Definition: Indigenous knowledge = ecological, spiritual, and communal understandings developed before and beyond colonial contact.

• Why “needed”? Offers alternative paradigms for living sustainably and ethically after systemic violence.

• Connection to Clyde/Elder: Long philosophical lineage affirms that wisdom persists across millennia.

4. Mysticism, Justice, and Responsibility

• Personal Vocation: Wings’ “duty” to embrace “the breadth of our humanity” even when painful.

• Mysticism ≠ Escapism: Directly tied to material struggles—justice, freedom, anti-racist activism.

• Practical Takeaway: Spiritual practices should generate tangible commitments to equity.

Illustrative Metaphors & Quotes

• “Spirit of justice the world seeks” → justice portrayed as an almost palpable, universal force.

• “Doorway to a future” → installation isn’t just retrospective; it is an entry point to collective transformation.

• “Dead still have their hope and beauty” → ancestral spirits as ongoing co-participants.

Connections to Other Lectures / Foundations

• Temporalities: Links to prior discussions on cyclical vs. linear time in Indigenous cosmologies.

• Capitalist Critiques: Supplements earlier analyses of settler colonialism and racial capitalism (e.g.a0Cedric Robinson, Jodi Byrd).

• Art & Activism: Resonates with previous lecture on social practice art (Suzanne Lacy, Theaster Gates) as community-engaged change.

Real-World Relevance

• Student Protests: The talk explicitly encourages student activists to see themselves in continuity with historical movements.

• Policy Debates: Reparations, land back movements, and curriculum reform reflect the justice vision invoked here.

Ethical & Philosophical Implications

• Acknowledging complicity in capitalist structures requires both historical literacy and present-day action.

• Spirituality is portrayed not as private solace but as collective responsibility.

Quick Reference Bullet List

• Capitalist freedoms built on systemic violence.

• Art installation = temporal bridge + call to justice.

• Indigenous knowledge alive post-genocide; essential today.

• Mystical dimension rooted in ethical struggle.

• No gulf between past and present; ancestral guidance for activists.

Exam Tips

• Be prepared to trace how the installation functions simultaneously as history lesson, spiritual ritual, and activist toolkit.

• Know Nick Estes’ concept of Indigenous temporalities and how it informs protest strategy.

• Articulate the argument that freedom without justice is structurally violent.

Here are some questions you can ask about the provided notes:

1. How does the speaker argue that violence and exploitation are fundamental to "capitalist freedom" rather than mere side effects?

2. Explain the concept of Indigenous temporalities as described in the note, and how it challenges traditional linear views of time.

3. In what ways does the art installation function as a "doorway to a future" and establish a "living cosmology"?

4. Define "survivance" as used in the note, and explain its significance in the context of Indigenous knowledge persisting despite historical trauma.

5. How is the mystical or spiritual dimension of the Hampton Project connected to political and ethical commitments, particularly through Wings' perspective?

6. What does the phrase "In freedom’s journey, the dead still have their hope and beauty" signify regarding ancestral presence and the global quest for justice?

7. How does Nick Estes' temporal model encourage contemporary student activism, and what is the implied connection between historical movements and current protests?

8. According to the note, what are the ethical implications of acknowledging complicity in capitalist structures, and how does spirituality play a role in this?

9. What makes Indigenous knowledge "alive and needed" in the contemporary context, beyond its historical significance?