Abstract: Israeli innovations in “green” technology are ostensibly aimed at sustainable resource management and climate change mitigation. But sustainable development and environmental (in)justice in Palestine/Israel need to be examined through interdisciplinary perspectives that account for the broader settler colonial and neoliberal contexts in which they occur. Taking into account the historical and geographic context of Israel’s scientific development, we argue that Israel’s green technologies are fundamentally structured by the Zionist project of appropriating Palestinian lands. Within settler colonial analysis, environmental injustice comprises part of a broader pattern of settler domination of Indigenous ecological relations, requiring attending not to ‘equity’ in relations with the state and environment but a reckoning with settler privilege and the return of land to Indigenous communities. We analyze the use of environmental infrastructures—specifically in the areas of waste management, renewable energy, and agricultural technologies (“agritech”)—as mechanisms for land appropriation and dispossession in Palestine/Israel. Our analysis of ‘greenwashing’ as a rhetorical strategy asserts that regardless of the ecological impact of individual technologies, in Israel’s settler colonial context they further indigenous dispossession and elimination and are therefore incommensurable with long-term socio-ecological resilience. Through this analysis of Israeli greenwashing, we discuss Israeli sustainability initiatives and technological innovations not as ahistorical discourses, commodities, or technologies, but as elements of a historically situated settler colonial project.

Abstract: This dissertation examines how settlers came to terms with the landscape and the peoples in the areas in which they were based, from the last third of the nineteenth century to 1945. Focusing on museums and art galleries in Australia, New Zealand, South Africa, and Canada, as well as on the scientists, philanthropists, and artists who gravitated around them, it develops a comparative and connected understanding of these institutions. More largely, it offers a characterisation of the intellectual underpinnings of settler colonialism in what historians label the ‘British world.’ This dissertation makes two arguments. Firstly that settler colonialism, as violent as it was and remains, is also an intellectual process that requires the aesthetic and cognitive appropriation of space and peoples. Secondly, that the development of proto-nationalist sentiments across Britain’s settler colonies is best understood in relation to these appropriative practices. The first two chapters focus on the early development of colonial museums and galleries. They highlight how they were central to the emergence of developmentalist visions of nature and of imperially-minded historical sensibilities. The second chapter concludes with a consideration of Indigenous relationships with museums as examples of historical reinscribing. The third and fourth chapters complicate the boundaries of the ‘British world’. They consider the involvement of the Carnegie Corporation of New York in museum practices across the dominions during the interwar period. Fears of white degeneration pushed the Corporation to invest in colonial museums as a means to uplift settler populations. This set the table for future interconnections, notably in the realm of the fine arts. As Chapter Four highlights, Carnegie money brought about an intra-Empire Commonwealth exchange of exhibitions that sought to buttress national art schools inspired by the landscape paintings of the Canadian Group of Seven. The final chapter emphasises the incorporation of Indigenous peoples and their material culture within settler nationalisms. It compares and connects the careers and ideas of the South African Irma Stern, the Canadian Emily Carr, and the Australian Margaret Preston. It argues that the three absorbed and shared museum and anthropologically-inflected conceptions of the Other.

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