Knowing Tomorrow 2.0:Native North American Archives of Futurity

从j·f·库珀的《高贵的野蛮人》到j·卡梅隆的《阿凡达》，在西方的话语中，美国土著文化总是被怀旧的过时所取代，因此在西方文化中被剥夺了未来。与这些过时的代码相反，土著文化表现形式在文本叙述、数字媒体、视觉艺术和博物馆或网站等公共空间中充斥着对未来的想象。从接触前的预言到当代土著电子游戏，作家、艺术家和策展人，如Gerald Vizenor、Kent Monkman、Elizabeth lapens<s:1>、Skawennati和Danis Goulet，对土著未来做出了巨大的贡献，这些未被充分研究的材料蔑视殖民的暂时性，赋予知识的替代模式，设想可持续的社会，因此为全球未来的设计提供了高度相关的文化资本。该项目依托于土著文学和（科幻）小说领域的先前研究，在博物馆和数字环境中对北美土著对时间和未来的参与进行了系统的探索。由于“未来”、“现代性”和“土著”等概念的意义是通过叙事、视觉媒体、博物馆展览和虚拟世界的文化产品传播和产生的，《知道明天2.0》将在土著“档案”的概念框架内分析这些概念——雅克·德里达的意义是“未来的不可简化的经验”——抵制线性的历史概念，并为知识问题提供更大的理论矩阵。文化差异，政治和社会认同。通过案例研究(1)华盛顿特区、北卡罗来纳州、亚利桑那州和俄克拉何马州的特定国家和泛部落博物馆，(2)土著数字媒体、虚拟现实项目、视频游戏和在线呈现，“知道明天2.0”致力于以下四个互补的研究目标：-通过外推叙事、视觉、以及博物馆和数字平台的代表性档案中的虚拟模式-探索未来和“时间主权”（Rifkin 2017）与历史的公共表征产生共鸣的方式-在更大的替代知识系统矩阵中定位时间和时间性的土著表征-确定这些替代知识模式在文化和国家边界内和跨越文化和国家边界的沟通策略研究不仅是关于未来的主题，而且还寻求创造对未来时间的跨文化敏感理解。因此，“知道明天2.0”承诺为当前对未来和时间性的理解开辟新的领域，跨越文化界限；它将允许对霸权史学的修订，扩展北美的经典，并为土著研究和美国研究开辟新的走廊。

In Western discourse from J.F. Cooper’s 'noble savages' to J. Cameron’s Avatar, Indigenous American cultures have always been displaced into nostalgic obsolescence and thus deprived of a future in Western culture. In contrast to these codes of outdatedness, Indigenous cultural expressions abound with imaginaries of the future in textual narratives, digital media, visual arts, and public spaces, such as museums or websites. From pre-contact prophecies to contemporary Indigenous video games, writers, artists, and curators such as Gerald Vizenor, Kent Monkman, Elizabeth LaPensée, Skawennati, and Danis Goulet have contributed to a vast, underresearched corpus of Indigenous futurity that defies colonial temporality, empowers alternative modes of knowledge, envisions sustainable societies and thus harbors highly relevant cultural capital for designs of a global future.Relying on previous research from the fields of Native literatures and (science) fiction, this project instigates a systematic exploration of Indigenous North American engagements of temporality and the future in museums and digital environments. Since the meanings of such concepts as "future", "modernity", and "indigeneity" are circulated and generated through the cultural products of narratives, visual media, museum exhibitions, and virtual worlds, Knowing Tomorrow 2.0 will analyze these within the conceptual framework of an Indigenous “archive”—in Jacques Derrida’s sense as “an irreducible experience of the future”—that resists linear concepts of history and provides a larger theoretical matrix for questions of knowledge, cultural difference, political and social identities.With case studies on (1) nation-specific and pan-tribal museums in Washington, D.C., North Carolina, Arizona, and Oklahoma and (2) Indigenous digital media, virtual reality projects, video games, and online presences, Knowing Tomorrow 2.0 is dedicated to the following four complementary research objectives: - to establish a semantics of Indigenous futurity by extrapolating narrative, visual, and virtual patterns in the representational archives of museums and digital platforms- to explore the ways in which futurity and “temporal sovereignty” (Rifkin 2017) resonate with public representations of history- to locate Indigenous representations of time and temporality within a larger matrix of alternative systems of knowledge - to identify the strategies by which these alternative modes of knowledge are communicated within and across cultural and national boundariesThis project’s research is not only thematically about the future, but it also seeks to create interculturally sensitive understandings of time for the future. Knowing Tomorrow 2.0 thus promises to break new ground for current understandings of futurity and temporality across cultural boundaries; it will allow for revisions of hegemonic historiography, expand North American canons, and open new corridors for Indigenous studies and American studies.