I am an Afro-Indigenous Trinidadian world-building curator known for working with futuristic AI tools such as VR, AR and Game Engines in order to develop a decolonial approach to contemporary art. I am based in London where I focus on integrating diverse voices, challenging dominant narratives, and exploring the intersections of technology, culture, and identity. I have a keen interest in the ethical implications of digital technologies and their impact on marginalised communities. Through my work, I try to create inclusive and engaging art experiences that foster critical reflection and promote cultural equity. My collaborations with artists often emphasise the importance of preserving cultural heritage and exploring alternative epistemologies. I would like to say that my time spent with these four artists—Rebecca Shapass, Chris Le Messurier, Bianca Salvo, and Agnieszka Rayss—has deepened my understanding and critique of Western technological determinism. Technological determinism posits that technology shapes society in a deterministic manner, often at the expense of human agency and complexity. Post-photographic practices, emerging from cybernetics developed as a tool for war, reflect how technologies incorporated into artworks are not autonomous forces but tools used by people with diverse motivations and contexts. As someone who relies on artists for my curatorial practice, it was a privilege to be part of these artists' developmental processes. Their works align with the need for ethical, inclusive, and human-centric approaches to technology, offering a visceral and raw form of communication that differs from the more logocentric methods such as text and debate. Visual art communicates through images, forms, colours, and compositions, engaging viewers on a sensory and emotional level. It can convey complex ideas, emotions, and narratives without relying on words, allowing for a more immediate and visceral experience. While text and debate depend on language and structured arguments, visual art can transcend linguistic barriers and offer multiple interpretations, making it a powerful medium for expressing nuanced and multifaceted concepts. This non-verbal form of communication often resonates deeply and intuitively with audiences. Engaging with Post-photographic practices in a post-digital world allows us to receive information in an embodied way, bypassing logical debates and touching on deeper human truths. The broken detritus of Ukraine in “Postcards from the War” by Agnieszka Rayss bypasses all logic, focusing on the human cost of conflict rather than dry border debates. Bianca Salvo's "When Statues Fall," including "Unsolved Problems of Gravity" and "On Heroes and Free Fall," challenges the narrative of dead heroes immortalised in stone, breaking down these myths. Sylvia Wynter reminds us that humans are not just biological beings but are also made of myths: "Human beings are magical. Bios and Logos. Words made flesh, muscle and bone animated by hope and desire, belief materialised in deeds." This idea is reflected in Rebecca Shapass’s "Sudden Occlusion," which critiques data mining and surveillance, showcasing how these practices perpetuate colonial logics and reduce individuals to mere data points, stripping away personal agency. Chris’s "Beyond the Sea" responds to the expanding influence of Big Tech by paralleling data exploitation with historical imperialism. Using an image generator to question the meaning of appropriated images, his work critiques archival homogenization in the digital age and highlights how AI and data serve as new forms of colonisation. Raised in Australia with its colonial past, this work reflects on the role of a photographer and collector, delving into the opaque workings of AI systems that require deep scrutiny. When I integrate the indigenous AI protocols of my people into these critiques, the need for consent, respect for cultural heritage, and sustainable practices in technology development rises to the surface. And not just for indigenous people, but for all the peoples of the world who will struggle with the extractive nature of digital system design. This approach challenges the perpetuation of colonial logics by digital technologies and advocates for an ethical, inclusive technological landscape that values human agency and cultural diversity. By incorporating these protocols, we can create a technological landscape that serves the interests of all communities rather than perpetuating exploitation and inequality. Through the works of Rebecca, Chris, Bianca and Aga, we see the potential for technology to be reimagined in ways that honour and respect diverse cultural perspectives, fostering a more equitable future. —