Knowing Tomorrow 2.0:Native North American Archives of Futurity

在J.F.从库珀的“高贵的野蛮人”到卡梅隆的“阿凡达”，美国土著文化总是被怀旧的过时所取代，从而被西方文化剥夺了未来。与这些过时的代码相反，土著文化表现形式在文本叙事、数字媒体、视觉艺术和公共空间（如博物馆或网站）中充满了未来的象征。从接触前的预言到当代土著视频游戏，作家，艺术家和策展人，如杰拉尔德·维泽诺，肯特蒙克曼，伊丽莎白·拉彭塞，斯卡维纳蒂和丹尼斯·古利特，为一个庞大的，未被充分研究的土著未来语料库做出了贡献，这些语料库无视殖民时间性，赋予替代知识模式，设想可持续发展的社会，从而为全球未来的设计提供高度相关的文化资本。依靠以前的研究，从本土文学和（科学）领域小说，这个项目煽动在博物馆和数字环境中的时间性和未来的土著北美订婚的系统探索。由于“未来”、“现代性”、“独立性”等概念的意义是通过叙事、视觉媒体、博物馆展览、虚拟世界等文化产品循环生成的，《认识明天2.0》将在一个土著“档案”的概念框架内分析这些问题--在雅克·德里达的意义上，这是“一种不可还原的未来经验”--它抵制线性的历史概念，并为知识、文化差异、政治和社会身份等问题提供了一个更大的理论矩阵。通过对（1）华盛顿，华盛顿特区的民族和泛部落博物馆的案例研究，北卡罗来纳州，亚利桑那州和俄克拉荷马州和（2）土著数字媒体，虚拟现实项目，视频游戏和在线存在，了解明天2.0致力于以下四个互补的研究目标：- 通过外推叙事、视觉、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）与历史的公共表现产生共鸣-在知识的替代系统的更大矩阵中定位时间和时间性的土著表现 - 确定这些替代知识模式在文化和国家边界内和跨文化和国家边界传播的策略。该项目的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的理解。因此，了解明天2.0有望为当前跨文化边界对未来性和时间性的理解开辟新天地;它将允许修改霸权史学，扩展北美经典，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.