This project brings together the diverse contexts of Indigenous Practices, Quantum Theory, Electronic Art and the Anthropocene, to provide a decolonised approach contributing to resolving human-forced climate change issues. Three important contributions are made, the first of which is (following Zoe Todd, 2016), a statement of intent to cite Indigenous Practices (Wilson, 2008; Wilson-Hokowhitu 2019; Reynolds & Wheeler, 2022) first wherever reasonable ground for precedence to the West can be located. This is strictly followed.

The second contribution is to cross-reference Polynesian philosophy with DNA (Ionnadis et al, 2020) and radiocarbon dating records (Wilmshurst, Hunt, Lipo & Anderson, 2011), to provide a precise timing of when aspects of Māori and Moana world view were in place. As such 1190-1290CE – the period of the settlement of Eastern Polynesia provides a firm date for when the notion of Interconnection (Waikerepuru, 2011) was with Moana peoples. This is seven hundred and ninety years before similar concepts entered Western academic discourse (Deleuze & Guattari, 1987; O’Sullivan, 2001).

The third contribution is to provide a basis for bringing Indigenous Practices into dialogue with Western Science outside of a Western knowledge framework, applying a diffractive method to intercultural dialogue, and basing a discussion of Indigenous Practices on a notion of knowledge as dimensional. This enables the unlocking of Indigenous Practices in a way the Practices unfold for the reader, without necessarily requiring the dissemination of sacred knowledge itself. Following Smith (2012), Colonial bias in Western academic method is acknowledged, before using a Ngaru Whenua diffractive method to diffract the Samoan concept of Vā and Quantum Theory. Ngaru Whenua method maintains the mana of Samoan voices (Wendt, 1996; Refiti, 2014; Lopesi, 2021)and Barad (2007) on Quantum Theory, by using block quotes and directly aligning text using quotations rather than author composed summaries.

This forms background to diffracting Electronic Art and the Anthropocene, leading back to Moana cosmology for important pointers. In pursuing a trajectory of creative wayfinding based on the contexts given above, extraordinary results were attained. The creative project culminated in the placement of an etch Kohatu on Taputapuatea Marae, Ra’iatea.