* If only I ran the funding of research grants, Part 1:
This is receiving a lot of mocking on Twitter, and when you go read the article at the link, it's thoroughly deserved:
“What the general public think of as mathematics tends to be whatever they learned (or, more likely, did not learn) at school. But in many Indigenous societies, mathematics is lived from when you are born to when you rejoin your ancestors,” Professor Ball says.Her big example of this is aborigines knowing how to signal with differing smoke spirals. She gushes into a wild extrapolation that is, as with most guff of this type, pretty obvious "cope" for getting no respect for being hunter gatherers for 60,000 years by pretending they were not really hunter gatherers but technologists and engineers and farmers, just like the rest of the world. (See "Dark Emu"):
“It’s about formalised relationships within human society and with every element of the environment. Everyone is taught them. And the levels go up from birth to adulthood, as you are ready for more knowledge. This mathematics permeates every aspect of life.”
Numbers and arithmetic and accounting often are of secondary importance in Indigenous mathematics.
“In fact, as most mathematicians know, mathematics is primarily the science of patterns and periodicities and symmetries − and recognising and classifying those patterns.”
Indigenous societies often excel at non-numerical mathematics, she says.
“One interesting example that we are currently investigating is the use of chiral symmetry to engineer a long-distance smoke signalling technology in real time,” Professor Ball says. “If you light an incense stick you will see the twin counter-rotating vortices that emanate − these are a chiral pair, meaning they are non-superimposable mirror images of each other.”
A memoir by Alice Duncan Kemp, who grew up on a cattle station on Mithaka country in the early 1900s, vividly describes the signalling procedure, in which husband-and-wife expert team Bogie and Mary-Anne selected and pulsed the smoke waves with a left to right curl, to signal "white men", instead of the more usual right to left spiral.
Mithaka country is southwest Queensland − Kurrawoolben and Kirrenderri (Diamantina) and Nooroondinna (Georgina) river channel country − and for thousands of years this region was a rich, well-populated cultural and trade crossroads of the Australian continent.
To create and understand these signals, you have to be a skilled practical mathematician, Professor Ball says.
“Theory and mathematics in Mithaka society were systematised and taught intergenerationally. You don’t just somehow pop up and suddenly start a chiral signalling technology. It has been taught and developed and practised by many people through the generations.”
At that time in the early twentieth century, British meteorologists were just beginning to understand the essential vortical nature of atmospheric flows.
“Imagine if the existing Indigenous Mithaka knowledge of vorticity had been recognised, nurtured and protected? In what ways may it have fed into the high performance, numerical weather forecasting capabilities that we all rely on now?” she asks.
Yeah, sure, Prof.
She's an interesting case: a list of her published papers to which she has contributed indicate a wide range of interests in various things that are pretty hard science-y. But then again, she did much of her study at Macquarie University, so that probably explains a lot!
She seems to have a fair amount of money for this feel good work:
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Mind you, I don't know how many people share in that funding, but still...
* If only I ran the funding of research grants, Part 2:
Yes, maybe I target poor old grievance vortex Professor O'Sullivan too much, but here's a tweet about an article explaining her work:
%20Prof%20Sandy%20O'Sullivan%20(Wiradjuri)%20%F0%9F%87%B5%F0%9F%87%B8%F0%9F%87%B5%F0%9F%87%B8%F0%9F%87%B5%F0%9F%87%B8%20(@sandyosullivan)%20_%20X.png)
From the paper:
The background to Queer As . . . is complex and focused on representation of gender, sexuality, Indigeneity and other intersecting complexities. In 2020, substantial funding was secured from the Australian Research Council in the form of a 4-year Future Fellowship in a programme called Saving Lives. The programme, staffed by the authors of this article, comprises component projects in service of mapping the impact of queer Indigenous representation, with Queer As . . . a deep dive into representation on TV forming a central part of this work. During the development of Queer As . . . audit, we narrowed to focus to TV rather than other screen forms for a few reasons. The first is the capacity for the development of long-form characters, whose arc has potential for greater complexity through the time they spend onscreen. In addition, television represents a relatively accessible availability, while noting that subscription services have limited access to these forms. Television has a long history of entering our homes and allowing individuals and families to engage and learn diverse worlds outside of their own, and despite other forms of screen-based engagement, still represents a high volume of drama and story-based representations. For Indigenous viewers, we were interested in the impact of learning of local and international queer Indigenous representation across this accessible form.
And the waffle continues. One of Sandy's co-authors has a CV that is pure arts woke of the kind which makes any lasting career outside of introspective academia (that's a nicer way of saying "sheltered workshop") rather improbable:
Han Reardon-Smith (they/them) is a flutist, electronic musician, improviser, radio producer, community organiser, writer, researcher, and thinker living on the unceded land of the Jagera, Yuggera-Ugarapul, and Turrbal Peoples. Their work and thinking are rooted in queer and feminist collaborative and contaminative co-creation with other “holobionts with history”—soundmakers and artmakers, physical and social environments, ecologies, histories, and narratives, exploring the emergent possibilities of making-kin and finding agency within community (soundmaking as kinmaking: musickin). After completing their doctorate at the Queensland Conservatorium, Griffith University (2021), Han is now Postdoctoral Research Associate at Macquarie University, supporting Wiradjuri trans/non-binary Professor Sandy O’Sullivan’s Senior ARC Future Fellowship project, "Saving Lives: Mapping the influence of Indigenous LGBTIQ+ creative artists". They are an active experimental musicker in the Magan-djin/Brisbane scene, playing with Matt Hsu’s Obscure Orchestra, It’s Science And Feelings, The Flowers of Evil, Rogue Three, and as a soloist under the moniker cyberBanshee.
Oh look, here is an example of the "soundmaking" she participates in:
* Look, I'm really sorry my third example is also a woman:
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Many funny tweets follow:
%20Dr.%20Laura%20Robinson%20on%20X%20Naomi%20Wolf%20has%20evolved%20into%20her%20final%20form%20a%20seminarian%20with%20six%20weeks%20of%20Greek%20who%20thinks%20the%20entire%20New%20Testament%20has%20been%20translated%20wrong.%20_%20X.png){kind=spacer}
%20Dr.%20Laura%20Robinson%20on%20X%20Naomi%20Wolf%20has%20evolved%20into%20her%20final%20form%20a%20seminarian%20with%20six%20weeks%20of%20Greek%20who%20thinks%20the%20entire%20New%20Testament%20has%20been%20translated%20wrong.%20_%20X.png){kind=spacer}
%20Dr.%20Laura%20Robinson%20on%20X%20Naomi%20Wolf%20has%20evolved%20into%20her%20final%20form%20a%20seminarian%20with%20six%20weeks%20of%20Greek%20who%20thinks%20the%20entire%20New%20Testament%20has%20been%20translated%20wrong.%20_%20X.png){kind=spacer}
That is all. For now.
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