The Touchstone of Vision

Remembering the Indigenous Gaze in 'Stones have Laws'




decolonial, pluriversal, aesthesis, opacity, collaboration


This article looks at the Dutch and Surinamese Maroon film Stones Have Laws (Dee Sitonu a Weti, 2018), as an example of unlearning colonial modes of perception, authorship, participation, and framing reality, through transcultural collaboration. Exploring the tension between the image as document and as medium, I look at the ways this project interacts with the history of ethnographic filmmaking in its observational, reflexive, and participatory forms, and the postcolonial notion of the returned gaze. Connecting Indigenous, decolonial and phenomenological theories of the reciprocity of vision and plurality of lifeworlds, I argue that this work demonstrates how the image can act as a reminder of the ways our senses and conceptions of reality are interrelated with that of more-than-human beings and environments. Translocal collaborations call on both filmmakers and viewers to co-create a vision that is shaped by multiplicity, consent, temporal commitment, and contextual grounding.


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Author Biography

Astrid Korporaal, Kingston University

Astrid N. Korporaal is completing an AHRC-funded PhD at Kingston University, in partnership with the Institute of Contemporary Arts, researching experimental collaborative practices in contemporary moving image production and presentation. The research project is linked to the Frames of Representation Festival. Previously, she was Curator of Education Partnerships at the ICA, Co-Founder and Director of Almanac Projects in London and Turin, and Assistant Curator of nomadic curatorial collective FormContent.


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How to Cite

Korporaal, A. (2023). The Touchstone of Vision: Remembering the Indigenous Gaze in ’Stones have Laws’. Archivo Papers, 3(1), 51–68.