Concepts Have Teeth, And Teeth That Bite Through Time: digital imaging and Blackfoot material culture in UK museums.

历史洞察力被用来，并且仍然被用来，宣称，定义自治的能力，分配社会和政治可能性，实际上，赋予和剥夺当前土著人民的权力。这种绝对形式的认识和错误认识都归功于深刻的观察和认识的哲学史[…]因此，概念是有牙齿的，而且牙齿可以穿透时间。（Audra Simpson，《人种学的拒绝》，《关头》，2007年，第69页）“概念有牙齿”网络将艺术家、考古学家、人类学家、数字技术专家、历史学家、博物馆专业人士、土著研究学者和加拿大/美国黑脚联盟的知识持有者聚集在一起，重新考虑英国博物馆里的文物。该网络由一所艺术学院（伦敦艺术大学中央圣马丁学院）领导，将通过跨学科的技术和理论实践和观点，探讨美术艺术家的批判方法和创新实践的潜力，为未来应用于文化遗产收藏的数字成像提供信息，并支持文化参与和振兴。该网络建立在加拿大和英国的Blackfoot研究项目（加拿大莱斯布里奇大学的新前沿研究项目和英国博物馆网络中的Blackfoot收藏）的基础上，但构成了一个扩展的网络，通过重新考虑最近开发的数字技术（包括动态结构摄影测量（SFM）），将新的技能集合在一起，开辟新的领域。反射变换成像（RTI）和虚拟和增强现实-从不同学科的角度。成像技术的进步促进了对获取、有形性、物质性和自我表现等问题的新调查，该项目将探索艺术实践与考古学中开发的数字技术的新结合的潜力，通过重新阅读或对现有材料进行反映射，开放藏品的获取，并建立新的背景和联系。通过Blackfoot Knowledge Holders机构，该网络将访问英国各地博物馆收藏商店中的物品，包括大英博物馆、惠康收藏馆；阿伯丁大学博物馆；苏格兰国家博物馆，那里的藏品从未被黑脚知识持有者参观过。对这些藏品中的例子进行检查将为网络提供机会，探索博物馆文物的数字成像如何提供接近物质文化的潜力，从而可以仔细回应黑脚人对其搁浅物品中所蕴含的濒危文化知识的关注，并调查通过数字方法提供的自我表现的可能性，以标记生活经历，生活和重新生活的记忆和未来，并揭示濒临灭绝的知识（例如制作技术）。网络参与者将尝试使用不同的方法来创建3D数字模型，利用黑脚人的世界观，建模方法，以嵌入他们的文化背景，分层的历史和故事，声音和元数据的方式与黑脚人进行接触。现有的知识结构，无论是当地的黑脚人，网络成员的技能还是既定的历史叙述，都将成为在英国和加拿大举行的一系列四个网络活动中集体分享和发展新知识的起点，最终在伦敦举行的以事件为基础的公共展览中达到高潮，该展览是根据第一民族协议作为一个圆圈召集的：互动，共同创造和对话的模式。该网络跨越了与数字图像制作相关的考古分析方法和艺术实践之间的界限，将体现土著文物收藏数字成像能力的独特视角

Historical perceptibility is used, and is still used, to claim, to define capacities for self-rule, to apportion social and political possibilities, to, in effect, empower and disempower Indigenous peoples in the present. Such categorical forms of recognition and mis-recognition are indebted to deep philosophical histories of seeing and knowing [...] And so it is that concepts have teeth and teeth that bite through time. (Audra Simpson, 'Ethnographic Refusal', Junctures, 2007, p.69).The Concepts Have Teeth network brings together artists, archaeologists, anthropologists, digital technologists, historians, museum professionals, Indigenous studies scholars and Knowledge Holders of the Blackfoot Confederacy of Canada/USA to reconsider artefacts held in UK museums. Led by an art school (Central Saint Martins, University of the Arts London), the network will investigate the potential of critical approaches and innovative practices of fine artists, in conversation with a transdisciplinary range of technical and theoretical practices and perspectives, to inform the future of digital imaging applied to cultural heritage collections, and to support cultural engagement and revitalisation. The network builds on Blackfoot research projects in Canada and the UK (New Frontiers research project at University of Lethbridge, Canada, and Blackfoot Collections in UK Museums Network), but constitutes an expanded network, bringing new skill-sets together to break new ground by reconsidering recently developed digital technologies - including structure-from-motion photogrammetry (SFM), Reflectance Transformation Imaging (RTI) and virtual and augmented reality - from diverse disciplinary perspectives. Advances in imaging technology facilitate a novel investigation into issues around access, tangibility, materiality and self-representation, and the project will explore the potential for a new conjunction of art practices with digital technology developed in archaeology to open access to collections and develop new contexts and associations by re-reading or counter-mapping existing material. Through the agency of Blackfoot Knowledge Holders, the network will access objects held in collection stores in museums across the UK, including the British Museum, the Wellcome Collection; University Museums, University of Aberdeen; and National Museums Scotland, where the collection has never before been visited by Blackfoot Knowledge Holders. Examination of examples within these collections will offer the network opportunities to explore how digital imaging of museum artefacts might offer the potential for approaching material culture in ways which can respond carefully to Blackfoot concerns relating to the endangered cultural knowledge immanent in their stranded objects, to investigate the possibilities for self-representation afforded by digital methods to mark lived experience, lived and re-lived memories and futurities, and to reveal endangered knowledges (of crafting techniques, for example). Network participants will experiment with alternate methods for creating 3D digital models harnessed to the Blackfoot worldview, modelling approaches for engaging with the Blackfoot objects in ways which embed their cultural context, layered histories and stories, sounds and metadata. Existing knowledge structures, be they local to the Blackfoot, the skills of network members or established historical narratives, will be starting points for collective sharing and developing new knowledge over a series of four network events in the UK and Canada, culminating in an event-based public exhibition in London convened under First Nations protocols as a Circle: a model for interaction, co-creation and dialogue. Crossing boundaries between archaeological analytical approaches and artistic practices associated with digital image production, the network will embody unique perspectives on the capabilities of digital imaging for Indigenous artefact collections