Courtesy of ‘Between Two Worlds’, Australian Archives. Reproduced in Human Rights and Equal Opportunity Commission Bringing Them Home: Report of the National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from Their Families (1997).

In the Uluru Statement from the Heart, Aboriginal and Torres Strait Islander people sought Makarrata as ‘the culmination of our agenda’. They spoke of their ‘aspirations for a fair and truthful relationship with the people of Australia’, capturing and highlighting the central importance of ‘truth-telling about our history’. The Statement connected the structural and representative reform of Voice to truth, in that the Voice was to be empowered to drive the design and conduct of truth processes, and then to be an authoritative body to ensure any resulting recommendations or calls to action were taken forward. In the wake of the referendum loss, and without a nationally representative First Nations body, truth-telling must be approached with some caution. But rather than give up hope of an honest and truthful account of Aboriginal and Torres Strait Islander Peoples’ experiences, drawing on national, sub-national and local attempts and initiatives, I argue that what is needed is truth listening. Truth listening will enable truth-telling to be meaningful, to inspire and drive change rather than being merely performative. Drawing on my analysis of Australian and international truth experiences, I identify a set of ten best practice methods that can be used, not necessarily by government-led or authorised processes, but by many diferent institutions and individuals, which I term ‘memory holders’.

Expanding its perspective, this chapter places fitness technology in the context of the broader digital health movement, analyzing its social ramifications and ethical dilemmas. This chapter delves deeper into individual-level perspectives by examining the impact of fitness technology on social norms, attitudes toward health, and body image at a broader level, connecting the micro-level effects to larger societal trends.

The swift growth of fitness technology reflects a wider change in how people interact with health and wellness in the digital era (Woessner et al., 2021). As dedicated devices and apps for tracking, optimizing, and sharing fitness progress become more widespread, the impact of these technologies extends beyond individual fitness objectives to shape societal perspectives on health, body image, and self-esteem. This section contextualizes the outcomes of the research within the broader scope of digital health, delving into the societal implications of fitness technology, its correlation with mental health, and the ethical and psychological factors that emerge as fitness technology is increasingly incorporated into everyday routines (Limone & Toto, 2022). Furthermore, it delves into potential paths for future research, pinpointing areas where additional investigation can enhance a more detailed comprehension of the psychological impacts of digital health tools.

European Studies, often belonging to the broader discipline of Comparative Politics, has become synonymous with two simultaneous processes: (1) the usage of economic incentives to garner support among both political elites and citizens in the member states; and (2) the simultaneous geographical widening (i.e., adding more member states over time) and institutional deepening (i.e., successive treaties allocating ever more powers to European institutions) of essentially the same scheme—slight consecutive name chances notwithstanding (Niemann 2006; Reid 2004).

In the previous chapter, I argued songs have a more complex function than simply heightening the emotion: they can shift the personal to the public/social. This too must be acknowledged as a cinematic crux. In other words, the emotional crisis contained in a song can also be emblematic of a larger social crisis. The lover rejected, or the lover forlorn, metaphorically reflects on a world that has become weary and has lost its way. The Hindi film auteur, as director and actor, not only imposes his special style on his films but is visible on the screen itself. Guru Dutt is an auteur who was as visible on the screen as Raj Kapoor but his visibility went beyond his role as a kirdār, a character, because his personal life and bouts of depression entered his cinema and gave his emotionally charged songs an added dimension. The sense of emotional crisis that Dutt's films frequently presented was particularly evocative of a man lost in despair. This chapter examines three of Dutt's films to highlight the ways in which his auteurship connected self-weariness and world-weariness. And here too the sonic entry point was melodramatic songs of sentimentality, but not simply as a conventional algorithm. Guru Dutt offered new ways in which to think through the place of songs in Hindi cinema, even as he too relied on songs to underpin the melodramatic voice.

In his short life, Guru Dutt made films that re-defined the genre of Hindi films. He worked on a number of films, but only ten films may be fully attributed to him as director and/or producer. Out of the ten, three – Pyaasa, Kaagaz Ke Phool and Sahib Bibi Aur Ghulam – are considered Guru Dutt's classic corpus. In these films, several features come together: the autobiographical, the use of the melodramatic popular for high aesthetics, the use of songs as an integral part of the narrative, the role of sentimentality, the deployment of the melodramatic mode towards a social imperative and the sense of exhaustion with the world.

Now that this journey has come to an end, it is impossible for me to look at the objects preserved in the museums of Lisbon and Vienna with the same eyes. Immersed in the silence of the halls and storerooms, I watch them, and the longer I stare, the more I see their shapes changing: stretching, expanding, enveloping themselves in time, space and through the lives of the people with whom they have interacted. But it is a slow transformation, like the clouds in the sky that change shape through constant, imperceptible movement. I set off on this journey with a suitcase full of questions, the first of which was: ‘How do ethnographic objects preserved in Western museums speak about who made, collected and handled them? And why do they say what they say in a particular way?’

As with any journey worth taking, the luggage is unpacked and repacked several times, and the contents change. Some things are kept and others are given away along the way. Among the latter are new questions and some answers. For example, it has become clear that objects do not say anything a priori – or at least should not be considered capable of doing so (cf. Crew and Sims 1991). There's always someone who makes them speak through their own interpretation, almost as if they were used as megaphones to make one's voice heard over the voices of others. In the chapters of this book, we have tried to highlight this process and to show how objects have acquired different meanings and values according to different political, economic, ideological and epistemological backgrounds.

On a Saturday afternoon in November 2018, I attended the play The Gods of Strangers by Elena Carapetis at the Dunstan Playhouse, Adelaide. The trilingual performance, set in 1947 Port Pirie, South Australia, portrayed an ethnically diverse world, where Greek, Cypriot, Italian, and Anglo-Celtic Australian lives converged. Carapetis, of Ikarian, Anatolian Greek, and Cypriot descent, presented a world she had reconstructed from oral histories and no doubt her own family history. Of Ikarian and English descent myself, and my wife is of Greek and Cypriot descent, I could not help but identify with the world Carapetis portrayed, despite being a third-generation Australian born in the 1990s, never having experienced migration frst-hand.

The study of how migrants emigrated, settled, and built communities is both diverse and inexhaustible, as the world is ever more geared towards constant fows of people. In recent decades, the stories of post-World War II (WWII) migrants to the Anglosphere have guided the migration discussion, as it is one of the most profound and accessible migrations. The unmistakable efects of post-War migrations are observable in the large number of surviving migrants, existing community structures, recent family histories, and even many aspects of day-to-day life, such as schools, cuisines, and places of worship. Earlier migrations to the West do not ofer as many tangible signals of their presence, giving them a seemingly ‘silent’ image – the early Ikarians of South Australia fall into this ‘silent’ category.

Australia stood at a crossroads in October 2023. Before Australians lay a proposal in which First Nations people would have a representative voice in decisions made about them in this country. After months of an informal campaign and a six-weeklong referendum campaign, the proposal was rejected in every Australian state and nationally.

The referendum campaign was Australia's frst since the republic referendum in 1999. The political and media environment in which the Voice referendum campaign would unfold was materially diferent to that campaign. These changes included the advent of social media, record-level distrust of major political parties, and the rise of ‘fake news’ and populist politics. How would a referendum campaign on a highly political contentious issue unfold in this environment? In this book, we explore the many and complex political, social and historical factors that infuenced the conduct of the campaign and resulted in the defeat.

We do not believe there was a single reason for the defeat, and nor was it inevitable that the referendum would fail. Rather, the Voice proposal was a real opportunity for constitutional reform that was undone by a complex amalgam of lack of government preparation and genuine engagement with the First Nations leadership, who had been progressing this reform for years, which combined with a No campaign spearheaded by key opposition spokespeople that ran an openly deceptive campaign based on misinformation and conspiracy assertions.

On 1 September 1783, the first official scientific expedition organised by the Portuguese Crown left the port of Lisbon. It was the beginning of the Viagem Philosophica, a nine-year journey across Brazil that brought back to Europe thousands of natural specimens and ethnographic artefacts. Among them was the bamboo board used to flatten the heads of the Kambeba. Its leader was Alexandre Rodrigues Ferreira, a brilliant student of natural history, who graduated from the University of Coimbra in 1778 (Horch 1989) and was commissioned in 1783 to explore the Captaincies of Grão Pará, Rio Negro, Mato Grosso and Cuiabá (Corrêa Filho 1939). The purpose of this enterprise was to ‘perlustrate, study, figure and collect animals and plants, rocks and minerals, as well as to observe the geography and geomorphology, the settlements, towns and cities, in order to collect documents for the compilation of the economy and history of Amazonia and Mato Grosso’ (Cunha 1991, 15), as well as to enrich the collections of the Real Museu da Ajuda of Lisbon – an imperial cabinet created in 1768 to entertain Prince João, son of Maria I (Felismino 2014).

Of course, Ferreira did not travel alone, but was accompanied by a large contingent of other participants. The best known are the two draftsmen, José Joaquim Freire and Joaquim José Codina, and the botanist, Agostino Joaquim do Cabo, who were officially assigned to accompany the naturalist (Horch 1989), and Ferreira's Indigenous helpers in preparing the animals, Cipriano de Souza and Joseph da Silva (Lima 1953). In their wake, however, hundreds of Indigenous and black slaves, whose presence is usually silenced, accompanied the expulsions as labourers or participated as informants on geographical, ecological and socio-cultural aspects (Silva 2006).

This chapter commences by shifting from methodology to findings, focusing on the positive psychological effects of fitness technology. It explores how characteristics such as self-monitoring and feedback aid in users’ physical self-perception and intrinsic drive, in accorDoğance with Self-Determination Theory. By highlighting the advantages of fitness technology, it paves the way for the forthcoming conversation on its divergent impacts.

The findings of this study demonstrate a notable favorable influence of fitness technology on users’ physical self-concept and intrinsic motivation (Codina et al., 2024). Fitness technology functioned as a potent tool for selfenhancement for numerous participants, enabling them to establish personal objectives, monitor advancements, and observe tangible proof of their accomplishments. The organized, data-focused aspect of fitness technology promotes the establishment of goals, offering users precise, measurable indicators that encourage them to maintain regularity in their fitness regimens (Oginni et al., 2024). This section delves into the factors that contribute to this beneficial impact, connecting the results to pertinent theoretical frameworks and demonstrating the ways in which these effects are reflected in the daily lives of users.

Anthem of the Free State of Ikaria, titled The Hymn of Ikaria, attributed to Ionian Island poet Freiderikos Carrer, 1912. It was set to music by the Anatolian composer Konstantinos Psachos.

In The World Viewed, Stanley Cavell famously conceives the world on flm as “a world past” and flm itself as “a moving image of skepticism.” Retrospectively we can see that such qualifcations are premised on flm as an analog medium, and also on the exclusion of cartoons from the medium. In this chapter I discuss how recent digital animations (and what I call re-animations) challenge Cavell's conceptions, categories, and “ontological refections” on the medium of flm, even as the latter help us understand the stakes of the former. More specifcally: based on a 17-minute Tv episode from Tim Miller and David Fincher's Netfix anthology Love, Death & Robots—Alberto Mielgo's “Jibaro” (2022)—I will argue that a shift is occurring in flm's intrinsic relation to skepticism. In the process, I will conduct a philosophical investigation into the concept of projection in The World Viewed so as to project the idea of a world past into our future.

Introduction

When, after a decade-long conception, The World Viewed was published in 1971 (wrapped by its non-academic press in a cheap paperback cloak), it was critically received as an anachronistic, if not retrograde book, a thing belonging to a world past. In an interview given many years later, at the threshold of the twenty-frst century, Cavell himself proclaimed about the book's composition: “[M]y sense was of writing as an emissary from another, foreign time, whether from the past or from a missed future is not clear […]” To be sure, the comment (which serves as the epigraph to this edited volume) is part of Cavell's response to a critic's sense that flm as we had known it had essentially come to an end by the millennial turn; an idea Cavell countered by saying that this sense of discontinuity is essential to the history of modern art, and that the sense of a break in his own relation to the movies is precisely what had inspired him to write The World Viewed in the frst place.