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

历史的可知性被用来，也仍然被用来声称，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今土著人民的权力。这种直截了当的认识形式和误认是由深厚的看到和认识[...]的哲学史造成的因此，概念有牙齿和牙齿，可以咬住时间。(Audra Simpson，《民族志拒绝》，Juctures，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、博物馆专业人员、土著研究学者和加拿大/美国黑脚邦联的知识持有者聚集在一起，重新考虑英国博物馆持有的文物。该网络将由一所艺术学校(伦敦艺术大学中央圣马丁分校)领导，通过与一系列跨学科的技术和理论实践和观点的对话，调查优秀艺术家的批判性方法和创新做法的潜力，为应用于文化遗产收藏的数字成像的未来提供信息，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New Frontiers研究项目和英国博物馆网络中的BlackFoot收藏品)的基础上，但构成了一个扩展的网络，将新的技能集合在一起，通过从不同学科角度重新考虑最近开发的数字技术-包括运动结构摄影测量(SFM)、反射变换成像(RTI)以及虚拟和增强现实-来开辟新的天地。成像技术的进步促进了对获取、有形、实质性和自我表现问题的新调查，该项目将探索将艺术实践与考古学中开发的数字技术新结合的可能性，以打开获取收藏品的途径，并通过重新阅读或反绘制现有材料来发展新的背景和联系。通过BlackFoot知识持有者的代理，该网络将访问英国各地博物馆的收藏品商店中持有的物品，包括大英博物馆、威康收藏、阿伯丁大学的大学博物馆和苏格兰国家博物馆，这些藏品以前从未被BlackFoot知识持有者参观过。对这些藏品中的实例进行审查将为网络提供机会，以探索博物馆文物的数字成像如何能够以能够认真回应黑脚人对其搁浅文物中固有的濒危文化知识的关切的方式提供接近物质文化的潜力，调查数字方法所提供的自我表现的可能性，以标记活的经验、活的和重生的记忆和未来，并揭示濒危知识(例如手工艺技术)。网络参与者将试验其他方法来创建与黑脚世界观相适应的3D数字模型，以嵌入其文化背景、分层的历史和故事、声音和元数据的方式与黑脚对象互动的建模方法。现有的知识结构，无论是黑脚人的本地知识结构、网络成员的技能还是既定的历史叙事，都将是在英国和加拿大的一系列四个网络活动中集体分享和发展新知识的起点，最终在伦敦根据第一民族协议作为一个圈：互动、共同创造和对话的典范而举行的基于事件的公开展览。跨越考古分析方法和与数字图像制作相关的艺术实践之间的界限，该网络将体现对土著文物收藏品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