Holy Terrain Art

Holy Terrain Art
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Holy Terrain Art is a philosophy podcast, sometimes taken for university-level course credit and always available for free at HillJ.net/hta/. Teacher exemplary annotations of the relevant primary sources are available at HillJ.net/annotations/, which are also linked in the episode descriptions; you can follow along with these annotated readings during the lectures as I break them down via the guiding questions, also restated in the episode description. In addition, visual art and lecture notes are available at Instagram.com/HolyTerrainArt/. Episodes are numbered via canons of base-ten for each lecture series; in practice, this numbering system means that, when the podcast starts reading a new primary source, the episode numbers reset at the next base-ten, e.g., 11, 21, 31, 41, etc., each base-ten of which corresponds with the series numbers 1, 2, 3, 4, etc., respectively; base-ten episode numbering allows sub-series to be organized like decimals even though some platforms require episodes be numbered using only integers; sometimes this numbering system results in not all episode numbers being utilized in a base-ten set before starting a new series and before jumping ahead to the next base-ten; e.g., HTA Series 1, on Henri Bergson's 'Introduction to Metaphysics,' is seven episodes, so 18-20 are skipped, holding space to add more later.

  1. Jun 21

    HTA 29.4; hooks, Belonging [2009]; Second Leg_ Ch. 8-17; Part Four

    Abstract This episode is part four of six of the lecture series [HTA 29] on the ‘second leg’ of bell hooks’s Belonging_ A Culture of Place [2009]. Primary Source (missing reference) HillJ_ Teacher Exemplar Annotations. Guiding Questions Chapter Eight___ Explain the “representations of whiteness in the Black imagination and the causal histories which make this a direct consequence of white supremacy itself. How is terror weaponized in the Black imagination and how does hooks’s childhood home and grandparents, with Baba and Daddy Gus, provide a site of resistance for hooks? Chapter Nine___ What different roles did tobacco play in hooks’s upbringing? Chapter Ten___ Explain “backwoods” or “earthbound” sensibilities as fruitful practices for resistance to intermeshing oppressions. Chapter Eleven___ Explain the relationship between Black experience, aesthetics, histories of trauma, and modes of resistance in terms of what hooks calls “an aesthetic of blackness.” Why might this “strange and oppositional” mode of being reach far beyond just the Black community with its specific history? Chapter Twelve___ How did Baba and Daddy Gus teach hooks to be “strange and oppositional?” How did their eccentricity afford hooks a freedom to practice her own ways of being that were otherwise colonized out of her? Chapter Thirteen___ How do porches provide sites of resistance against white supremacy “owning” the streets and forcing, through hatred and violence, Black people to “go back inside” and not be seen? Lugones will develop this to her awareness of the problem of the white male “folding away” the others whom he depends on for his survival and needs to be met. Chapter Fourteen___ Again, how did Baba teach hooks to resist racial domination and white supremacy through artmaking? How are crazy quilts related to urgent, survivalist mentalities for practicing sites of creation and resistance against colonizers? Chapter Fifteen___ Similar to the last question, how do quiltmaking and imagination provide sites of resistance? How does Gee’s Bend provide a different set of practices and insights for hooks to draw upon compared to Baba? Chapter Sixteen___ How is writing informed by the specific place and culture of one’s upbringing? Which other writers and key ideas does hooks draw upon to articulate a Kentuckian sensibility in particular? Chapter Seventeen___ Who was Wendell Berry, as hooks describes him, and why was his work so important to her? YouTube Lecture YouTube: HTA 29.4; hooks, Belonging [2009]; Second Leg_ Ch. 8-17; Part Four.

  2. Jun 21

    HTA 19.6; PHIL 4390_ Wild Horses In My Head / Fire Horse Stories [Bear-Camping Philosophy]; Fourth Intermission

    Abstract This episode is part six of six of the lecture series [HTA 19] launching a five-week bear-camping philosophy lectureship. Course Page PHIL 4390: Special Topics in Philosophy Wild Horses in My Head: Indigenous, Environmental, Rural, Place-Based, Pilgrimage, and Transit Philosophies PHIL 4390_ v2026-05&06_ Syllabus, see reading list nested in-page, linked above. YouTube Lecture YouTube: HTA 19.6; PHIL 4390_ Wild Horses In My Head / Fire Horse Stories [Bear-Camping Philosophy]; Fourth Intermission.

  3. Jun 20

    HTA 29.3; hooks, Belonging [2009]; Second Leg_ Ch. 8-17; Part Three

    Abstract This episode is part three of six of the lecture series [HTA 29] on the ‘second leg’ of bell hooks’s Belonging_ A Culture of Place [2009]. Primary Source (missing reference) HillJ_ Teacher Exemplar Annotations. Guiding Questions Chapter Eight___ Explain the “representations of whiteness in the Black imagination and the causal histories which make this a direct consequence of white supremacy itself. How is terror weaponized in the Black imagination and how does hooks’s childhood home and grandparents, with Baba and Daddy Gus, provide a site of resistance for hooks? Chapter Nine___ What different roles did tobacco play in hooks’s upbringing? Chapter Ten___ Explain “backwoods” or “earthbound” sensibilities as fruitful practices for resistance to intermeshing oppressions. Chapter Eleven___ Explain the relationship between Black experience, aesthetics, histories of trauma, and modes of resistance in terms of what hooks calls “an aesthetic of blackness.” Why might this “strange and oppositional” mode of being reach far beyond just the Black community with its specific history? Chapter Twelve___ How did Baba and Daddy Gus teach hooks to be “strange and oppositional?” How did their eccentricity afford hooks a freedom to practice her own ways of being that were otherwise colonized out of her? Chapter Thirteen___ How do porches provide sites of resistance against white supremacy “owning” the streets and forcing, through hatred and violence, Black people to “go back inside” and not be seen? Lugones will develop this to her awareness of the problem of the white male “folding away” the others whom he depends on for his survival and needs to be met. Chapter Fourteen___ Again, how did Baba teach hooks to resist racial domination and white supremacy through artmaking? How are crazy quilts related to urgent, survivalist mentalities for practicing sites of creation and resistance against colonizers? Chapter Fifteen___ Similar to the last question, how do quiltmaking and imagination provide sites of resistance? How does Gee’s Bend provide a different set of practices and insights for hooks to draw upon compared to Baba? Chapter Sixteen___ How is writing informed by the specific place and culture of one’s upbringing? Which other writers and key ideas does hooks draw upon to articulate a Kentuckian sensibility in particular? Chapter Seventeen___ Who was Wendell Berry, as hooks describes him, and why was his work so important to her? YouTube Lecture YouTube: HTA 29.3; hooks, Belonging [2009]; Second Leg_ Ch. 8-17; Part Three.

  4. Jun 20

    HTA 29.2; hooks, Belonging [2009]; Second Leg_ Ch. 8-17; Part Two

    Abstract This episode is part two of six of the lecture series [HTA 29] on the ‘second leg’ of bell hooks’s Belonging_ A Culture of Place [2009]. Primary Source (missing reference) HillJ_ Teacher Exemplar Annotations. Guiding Questions Chapter Eight___ Explain the “representations of whiteness in the Black imagination and the causal histories which make this a direct consequence of white supremacy itself. How is terror weaponized in the Black imagination and how does hooks’s childhood home and grandparents, with Baba and Daddy Gus, provide a site of resistance for hooks? Chapter Nine___ What different roles did tobacco play in hooks’s upbringing? Chapter Ten___ Explain “backwoods” or “earthbound” sensibilities as fruitful practices for resistance to intermeshing oppressions. Chapter Eleven___ Explain the relationship between Black experience, aesthetics, histories of trauma, and modes of resistance in terms of what hooks calls “an aesthetic of blackness.” Why might this “strange and oppositional” mode of being reach far beyond just the Black community with its specific history? Chapter Twelve___ How did Baba and Daddy Gus teach hooks to be “strange and oppositional?” How did their eccentricity afford hooks a freedom to practice her own ways of being that were otherwise colonized out of her? Chapter Thirteen___ How do porches provide sites of resistance against white supremacy “owning” the streets and forcing, through hatred and violence, Black people to “go back inside” and not be seen? Lugones will develop this to her awareness of the problem of the white male “folding away” the others whom he depends on for his survival and needs to be met. Chapter Fourteen___ Again, how did Baba teach hooks to resist racial domination and white supremacy through artmaking? How are crazy quilts related to urgent, survivalist mentalities for practicing sites of creation and resistance against colonizers? Chapter Fifteen___ Similar to the last question, how do quiltmaking and imagination provide sites of resistance? How does Gee’s Bend provide a different set of practices and insights for hooks to draw upon compared to Baba? Chapter Sixteen___ How is writing informed by the specific place and culture of one’s upbringing? Which other writers and key ideas does hooks draw upon to articulate a Kentuckian sensibility in particular? Chapter Seventeen___ Who was Wendell Berry, as hooks describes him, and why was his work so important to her? YouTube Lecture YouTube: HTA 29.2; hooks, Belonging [2009]; Second Leg_ Ch. 8-17; Part Two.

  5. Jun 19

    HTA 29.1; hooks, Belonging [2009]; Second Leg_ Ch. 8-17; Part One

    Abstract This episode is part one of six of the lecture series [HTA 29] on the ‘second leg’ of bell hooks’s Belonging_ A Culture of Place [2009]. Primary Source (missing reference) HillJ_ Teacher Exemplar Annotations. Guiding Questions Chapter Eight___ Explain the “representations of whiteness in the Black imagination and the causal histories which make this a direct consequence of white supremacy itself. How is terror weaponized in the Black imagination and how does hooks’s childhood home and grandparents, with Baba and Daddy Gus, provide a site of resistance for hooks? Chapter Nine___ What different roles did tobacco play in hooks’s upbringing? Chapter Ten___ Explain “backwoods” or “earthbound” sensibilities as fruitful practices for resistance to intermeshing oppressions. Chapter Eleven___ Explain the relationship between Black experience, aesthetics, histories of trauma, and modes of resistance in terms of what hooks calls “an aesthetic of blackness.” Why might this “strange and oppositional” mode of being reach far beyond just the Black community with its specific history? Chapter Twelve___ How did Baba and Daddy Gus teach hooks to be “strange and oppositional?” How did their eccentricity afford hooks a freedom to practice her own ways of being that were otherwise colonized out of her? Chapter Thirteen___ How do porches provide sites of resistance against white supremacy “owning” the streets and forcing, through hatred and violence, Black people to “go back inside” and not be seen? Lugones will develop this to her awareness of the problem of the white male “folding away” the others whom he depends on for his survival and needs to be met. Chapter Fourteen___ Again, how did Baba teach hooks to resist racial domination and white supremacy through artmaking? How are crazy quilts related to urgent, survivalist mentalities for practicing sites of creation and resistance against colonizers? Chapter Fifteen___ Similar to the last question, how do quiltmaking and imagination provide sites of resistance? How does Gee’s Bend provide a different set of practices and insights for hooks to draw upon compared to Baba? Chapter Sixteen___ How is writing informed by the specific place and culture of one’s upbringing? Which other writers and key ideas does hooks draw upon to articulate a Kentuckian sensibility in particular? Chapter Seventeen___ Who was Wendell Berry, as hooks describes him, and why was his work so important to her? YouTube Lecture YouTube: HTA 29.1; hooks, Belonging [2009]; Second Leg_ Ch. 8-17; Part One.

  6. Jun 19

    HTA 28.6; hooks, Belonging [2009]; First Leg_ Ch. 1-7; Part Six

    Abstract This episode is part six of six of the lecture series [HTA 28] on the ‘first leg’ of bell hooks’s Belonging_ A Culture of Place [2009]. Primary Source (missing reference) HillJ_ Teacher Exemplar Annotations. Guiding Questions Chapter One___ What main themes does hooks introduce in this chapter to get the reader familiarized with the rest of her discussion in the text. Be specific. Chapter Two___ Where does hooks travel across her life and why does she return to her native Kentucky eventually? Chapter Three___ What role do mountains and hills play in identity formation; what is mountaintop removal; why is mountaintop removal motivated by profit; and how does it harm the rest of the ecology and the people who live there? Chapter Four___ How does city life, and especially the force migration of Black peoples from the agrarian south, estrange one from the land and from the earth? How does this estrangement further our alienation from not only the Divine but also other members of our community, including humans, animals, and land? Chapter Five___ What role does farming play in anti-racism and resistant to rural racism? Relate this to self-sustainability and to having higher powers than white supremacy. How also do Black farmers offer a more ecological, environmentally-friendly, and interdependent mode of farming and caregiving of the land? What might anti-racist modes of resistance teach us about anti-dominator modes of resisting ecological and environmental colonization by profiteering corporations? Chapter Six___ How does racism in hooks’s native Kentucky teach anti-racist structures? How does white supremacy reinscribe systems of hatred, domination, and hierarchy? Why are hierarchies always the issue at stake in decolonization? How does hooks describe the relationship between prejudice against race and prejudice against poverty? What similarities does she see between poor Black people and poor white people, or “hillbillies?” How does racism, prejudice, and anti-poverty hostility estrange our own selves from God? How does hooks notice different but similar prejudices the world over, even as she traveled to New York and California, and to urban city centers in general? Chapter Seven___ Explain the modes, histories, practices, and examples of segregation mentioned by hooks in Chapter Seven. YouTube Lecture YouTube: HTA 28.6; hooks, Belonging [2009]; First Leg_ Ch. 1-7; Part Six.

  7. Jun 17

    HTA 28.4; hooks, Belonging [2009]; First Leg_ Ch. 1-7; Part Four

    Abstract This episode is part four of six of the lecture series [HTA 28] on the ‘first leg’ of bell hooks’s Belonging_ A Culture of Place [2009]. Primary Source (missing reference) HillJ_ Teacher Exemplar Annotations. Guiding Questions Chapter One___ What main themes does hooks introduce in this chapter to get the reader familiarized with the rest of her discussion in the text. Be specific. Chapter Two___ Where does hooks travel across her life and why does she return to her native Kentucky eventually? Chapter Three___ What role do mountains and hills play in identity formation; what is mountaintop removal; why is mountaintop removal motivated by profit; and how does it harm the rest of the ecology and the people who live there? Chapter Four___ How does city life, and especially the force migration of Black peoples from the agrarian south, estrange one from the land and from the earth? How does this estrangement further our alienation from not only the Divine but also other members of our community, including humans, animals, and land? Chapter Five___ What role does farming play in anti-racism and resistant to rural racism? Relate this to self-sustainability and to having higher powers than white supremacy. How also do Black farmers offer a more ecological, environmentally-friendly, and interdependent mode of farming and caregiving of the land? What might anti-racist modes of resistance teach us about anti-dominator modes of resisting ecological and environmental colonization by profiteering corporations? Chapter Six___ How does racism in hooks’s native Kentucky teach anti-racist structures? How does white supremacy reinscribe systems of hatred, domination, and hierarchy? Why are hierarchies always the issue at stake in decolonization? How does hooks describe the relationship between prejudice against race and prejudice against poverty? What similarities does she see between poor Black people and poor white people, or “hillbillies?” How does racism, prejudice, and anti-poverty hostility estrange our own selves from God? How does hooks notice different but similar prejudices the world over, even as she traveled to New York and California, and to urban city centers in general? Chapter Seven___ Explain the modes, histories, practices, and examples of segregation mentioned by hooks in Chapter Seven. YouTube Lecture YouTube: HTA 28.4; hooks, Belonging [2009]; First Leg_ Ch. 1-7; Part Four.

  8. Jun 17

    HTA 28.3; hooks, Belonging [2009]; First Leg_ Ch. 1-7; Part Three

    Abstract This episode is part three of six of the lecture series [HTA 28] on the ‘first leg’ of bell hooks’s Belonging_ A Culture of Place [2009]. Primary Source (missing reference) HillJ_ Teacher Exemplar Annotations. Guiding Questions Chapter One___ What main themes does hooks introduce in this chapter to get the reader familiarized with the rest of her discussion in the text. Be specific. Chapter Two___ Where does hooks travel across her life and why does she return to her native Kentucky eventually? Chapter Three___ What role do mountains and hills play in identity formation; what is mountaintop removal; why is mountaintop removal motivated by profit; and how does it harm the rest of the ecology and the people who live there? Chapter Four___ How does city life, and especially the force migration of Black peoples from the agrarian south, estrange one from the land and from the earth? How does this estrangement further our alienation from not only the Divine but also other members of our community, including humans, animals, and land? Chapter Five___ What role does farming play in anti-racism and resistant to rural racism? Relate this to self-sustainability and to having higher powers than white supremacy. How also do Black farmers offer a more ecological, environmentally-friendly, and interdependent mode of farming and caregiving of the land? What might anti-racist modes of resistance teach us about anti-dominator modes of resisting ecological and environmental colonization by profiteering corporations? Chapter Six___ How does racism in hooks’s native Kentucky teach anti-racist structures? How does white supremacy reinscribe systems of hatred, domination, and hierarchy? Why are hierarchies always the issue at stake in decolonization? How does hooks describe the relationship between prejudice against race and prejudice against poverty? What similarities does she see between poor Black people and poor white people, or “hillbillies?” How does racism, prejudice, and anti-poverty hostility estrange our own selves from God? How does hooks notice different but similar prejudices the world over, even as she traveled to New York and California, and to urban city centers in general? Chapter Seven___ Explain the modes, histories, practices, and examples of segregation mentioned by hooks in Chapter Seven. YouTube Lecture YouTube: HTA 28.3; hooks, Belonging [2009]; First Leg_ Ch. 1-7; Part Three.

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About

Holy Terrain Art is a philosophy podcast, sometimes taken for university-level course credit and always available for free at HillJ.net/hta/. Teacher exemplary annotations of the relevant primary sources are available at HillJ.net/annotations/, which are also linked in the episode descriptions; you can follow along with these annotated readings during the lectures as I break them down via the guiding questions, also restated in the episode description. In addition, visual art and lecture notes are available at Instagram.com/HolyTerrainArt/. Episodes are numbered via canons of base-ten for each lecture series; in practice, this numbering system means that, when the podcast starts reading a new primary source, the episode numbers reset at the next base-ten, e.g., 11, 21, 31, 41, etc., each base-ten of which corresponds with the series numbers 1, 2, 3, 4, etc., respectively; base-ten episode numbering allows sub-series to be organized like decimals even though some platforms require episodes be numbered using only integers; sometimes this numbering system results in not all episode numbers being utilized in a base-ten set before starting a new series and before jumping ahead to the next base-ten; e.g., HTA Series 1, on Henri Bergson's 'Introduction to Metaphysics,' is seven episodes, so 18-20 are skipped, holding space to add more later.

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  • Creator
    Holy Terrain Art
  • Years Active
    2025 - 2026
  • Episodes
    119
  • Rating
    Explicit
  • Copyright
    © 2026 Holy Terrain Art
  • Show Website
    Holy Terrain Art

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