On Borinquén/Puerto Rico

In February, Postdoctoral Fellow Léuli Eshrāghi and Undergraduate Research Assistant Lucas LaRochelle attended the Sites Queer: Technologies, Spaces, and Otherness conference in Borinquén (Puerto Rico) at the University of Puerto Rico.

It was a gift to take part in the Sites Queer conference at the University of Puerto Rico – Río Piedras School of Architecture, organized by Dr. Regner Ramos.

The informal space around the panels and presentations yielded the most fruitful dialogue—in turn generating new, and likely longlasting, kinship networks. The house that we cohabitated became a site of queer kinship that wasn’t predicated on transactional sex but rather a space of mutual support, encouragement. I was especially grateful for this when the digital project I had come to present crashed unexpectedly as a result of receiving 3000 new submissions in a period of 6 hours. What would have otherwise resulted in a lonely anxiety spiral was softened by words of encouragement and the physical closeness of nènè and Léuli as we convened around the dining room table.

On the final day of the conference, nènè myriam konatè and I led our workshop Prototyping for Emergent Queer Spaces with a group of about 14 new kin from Borinquén/Puerto Rico, Tiohtià:ke/Montreal, Tkaronto/Toronto, Mannahatta/New York, Shawmut/Boston, Checaugou/Chicago and London. We began the workshop by collectively sharing stories of queer experience with particular attention to the role of place within these narratives. What was intended to be a one-hour storytelling session extended laterally into a three hour outpouring of queer feeling, traversing intergenerational care, non-sexual intimacies, family, death, racialization, diasporic identity, sexual harassment, transhumanist becoming, among other tentacles of experience. From here we moved into the prototyping session of our workshop, in which we reframed our stories through nènè’s yes and also… methodology, which encourages us to come to new understandings of our self-concepts by replacing negations with affirmations. Drawing from our reframed personal narratives, we prototyped speculative queer futures composited from our experiences of joy, pain and resistance.

Our final day in Borinquén/Puerto Rico was spent at El Yunque, a rainforest in the northeast of the island. Jason Baerg shared with us the proper protocol to thank the Taíno, on whose territory we had stayed the past five days. We reflected on the imposition of the poured concrete path that structured our movement through the rainforest, and the ways in which it inhibited the kinds of relations were possible with all of the non-human life that enveloped us. That the concrete path functioned as an infrastructural tool that drew a harsh line between the human and the non-human – the rainforest as something to be looked at, consumed and contained rather than something to form an equitable relationship with.  The colonial implications of these architectural interventions came into sharper focus upon seeing bright orange plastic barriers littered throughout El Yunque. Bearing the insignia of the US Forestry Department, the barriers route flows of human and non-human life and underscore Borinquén’s continued occupation by the American Empire.

Lucas LaRochelle

The specificities we were learning on each day of the conference about the  colonization of Borinquén by the United States after Spain struck and stuck with us. On the periphery of the American Empire, the tropical heat was so familiar and encompassing whilst still a departure for our sensibilities from the winter wonderland of the Canadian Shield and its cities. Compellingly, the generosity between and beyond the two languages occupying space in the same place at the same time in the Sites Queer conference—Puertorriqueñx Spanish, American English—also enabled the francophone delegates to converse freely without the usual defensiveness of anglophones in Canadian contexts.

The parallels also between processes of recovery and resurgence in queer Indigenous practices, networks of care, histories embodied and enlivened within Jason Baerg and my own presentations—and nascent conversations and aesthetic interventions into Puertorriqueñx Indigeneity—were emotionally and spiritually important. The intervention into the Euro-American theoretical and historical dominance of capitalized Queer Theory and Queer Art History that networked global Indigenous artistic and curatorial practices bring into being was another welcome departure from United States-specific discourses. These fail to link Indigenous resurgence and peripheral American territories’ claims to self-determination as being interlinked with queer freedoms embodied and socialized. Indeed, the illegal overthrow of Queen Liliʻuokalani in the sovereign Hawaiian Kingdom in the 1893-1898 period and the seizing of Borinquén/Puerto Rico, Cuba and the Philippines from the Spanish Crown are integral points in the development of the armature of empire—this time a carceral settler-colonial state that punishes perceived deviance from Caucasian heteropatriarchal norms.

New sustained relationships with kin from near and far garnered through all our presentations, participation in the workshop, and hanging out—particularly the queer architectures exhibition opening on campus curated by convenor Dr. Regner Ramos, the Drag King night at a local queer bar, the unexpected gift of a free Princess Nokia concert in support of the brutalized local trans queer non-binary community following a savage murder weeks earlier, and time visiting in Old San Juan, the beach, and the forest in El Yunque proved this journey to be much more than salvatory, but a transformational experience. Muchísimas gracias a todxs.

Léuli Eshrāghi

Tsi Tiotonhontsatáhsawe: The Creation Story Project

Rate’seróntie’s and his sister enter longhouse.

My name is Dion Smith-Dokkie and I’m AbTeC/IIF’s social media coordinator!

For nearly a year, our team has been collaborating with the Kanien’kehá:ka Onkwawén:na Raotitióhkwa Language and Cultural Center (KORLCC). Together, KORLCC and AbTeC/IIF are creating an animated version of the Rotinonhsión:ni (Haudenosaunee/Iroquois) Creation Story in Kanien’kéha (the Mohawk way, i.e. language). The section we are currently working on is expected to be a fully-animated 30 minutes in length and will be the shortest of three sections—in other words, this project is huge!

After months of curious listening and brief updates, I had the chance to sit in on one of our monthly meetings—I was absolutely thrilled! First, some context.

Editor’s view of Adobe After Effects. Waylon composes multiple 2D layers into a 2.5D scene.

The Initiative for Indigenous Futures has institutional and community-based partners throughout Canada, whom we collaborate with on many great projects. One of our local community partners is the Kanien’kehá:ka Onkwawén:na Raotitióhkwa Language and Cultural Center (KORLCC). Based in Kahnawà:ke Mohawk Territory, which is on the south side of the Kaniatarowanénhne (St. Lawrence River) across from Montreal, KORLCC works to preserve and promote the language and culture of the Mohawks of Kahnawà:ke.

We joined the project at the end of the writing phase. KORLCC Curriculum Resource Director Trina Stacey oversees the creation of Kanien’kéha language learning materials, which range from books to audiovisual materials to real-world activities. This animated version of the Tsi Tiotonhontsatáhsawe (the Creation Story, “when the earth began”) in Kanien’kéha will be used as a multimedia language-learning tool!

Trina and KORLCC Graphic Artist and Cultural Liaison, Teiowí:sonte Thomas Deer have spent over a decade developing the script and art for this project. By the time we joined forces, Trina had meticulously combined and adapted a number of oral and written versions of the Tsi Tiotonhontsatáhsawe into a three-part script. Simultaneously, Teiowí:sonte  worked with Trina to create concept art for the characters, settings, and scenes described in the script.

A sample of Kaia’tanó:ron’s artwork.

Enter AbTeC/IIF! We’re very proud of our team whose expertise, experimentation, and dedication are making for an electric and exciting process. In her role as IIF Partnership Coordinator and as an artist who has directed her own machinima, Skawennati connects us with KORLCC and, as the project develops, provides advice and feedback. Nancy Elizabeth Townsend is mentoring and assisting Waylon with project management, deadlines and workflow optimization.

Last summer, Research Assistant Kaia’tanó:ron Dumoulin Bush worked with AbTeC/IIF to create an initial version of the animatic—a motion storyboard—for the first installment of the Creation Story. She currently works with Teiowí:sonte to make edits, compile assets, fill in gaps in the original animatic, and prepares the environment of each scene.

Graduate Research Assistant Waylon Wilson is the lead project manager, handling the organizational aspects of the project; he also turns the motion storyboard into an animatic by layering each scene’s image-files, determines camera movements and angles—this way of working is known as 2.5D animation since a number of flat, unique images (assets) create a dynamic, deep space where components can move individually. At this point, the 2.5D animation is ready to get moving! Undergraduate Research Assistant Ray Tqogweg Caplin is the main animator. One of Ray’s most demanding tasks is the creation of character puppets. Ray takes the character artwork and segments the bodies based on where joints are and the range of movement required by each character.

While 2.5D animation is not new, we’re proud to have developed an innovative workflow adapted to the needs of this project. By using Duik 16 (Bassel), a free open-source After Effects plugin, After Effects’s capacity to support puppets has drastically improved. This reduces the number of platforms required to produce the animation and creates reusable, interchangeable character puppets. .

By making space in the workflow for character modification and the reuse of character puppets and animations, our process is streamlined! But let’s not forget about environments and camera movements. The many layers that form each scene are constructed to move in relation to the camera, which creates depth of field (perspective) in the animation. The joint AbTeC/IIF-KORLCC team reviews each final-draft scene together in which they approve the draft or return it for further adjustment.

Left: Teiowí:sonte’s concept art. Right: The adapted character art in a scene.
This is what it looks like when Ray constructs character puppets.

My head was spinning at our most recent meeting. Above all, I was totally absorbed in seeing how the team works together. These meetings create an exciting space where we make the visual elements and Kanien’kéha storytelling resonate with one another.

Scenes must reflect the deeper symbolic meaning of the script. For instance, determining the layout of the village in Karonhià:ke (Sky World) aligns with the responsibility described in the name of Rarón:tote, the Guardian of the Standing Tree.

Our meetings are opportunities to identify inaccuracies. One assumption was that, like on Earth, the sky in Karonhià:ke would also appear blue. This is not true in the context of the Creation Story since the sky, as we know it, appears much later in the narrative. Together, we decided to use a half-twilight, half-galaxy sky to be more faithful to the story.

The team also worked through technical uncertainties. For example, how could we, with our restriction to 2.5D animation, establish 3-point geometric perspective inside of a longhouse? We wanted to avoid the need to re-draw the interior each time we moved the camera. Instead, Ray proposed that we create a 3D rectangular prism in which we could insert existing concept art of the longhouse interior (imagine wallpapering the inside of a virtual box). The scene’s layers, such as the puppets, could then be placed on top of this environment and the camera movements would then create the illusion of dynamic space!

Getting to see the thought process behind certain creative choices was fascinating. The collaboration ensures that deeper meanings and connotations are embedded in the visual elements. With this in mind, it was energizing to think about how the Creation Story shapes and is reflected in the lives of people today.

The 2.5D scene and the multiple 2D layers that form it—the red box and lines indicate the camera’s field of vision.

At one point, Trina Stacey explained the deeper meaning of a scene in the story. Rate’seróntie’s (The Uncle) has received a premonition of Iottsi’tsíson (Sky Woman) descending into our world. The premonition is jarring because it shows the Uncle a thought that has never existed before. The Uncle’s dream initiates a sequence of events that will create Turtle Island!

As someone looking in from the outside, I felt a beautiful resonance between this idea in the Creation Story—the idea of how momentous a new way of thinking can be—and the process and purpose of the Tsi Tiotonhontsatáhsawe project: to facilitate Kanien’kéha language learning so that students can see the world in a new way, through the lens of their language.

 I would like to thank Skawennati, Nancy Elizabeth Townsend, Sara England, Trina Stacey, and Waylon Wilson for their help in preparing this introduction.

Introducing Jesse Tungilik, IIF + Inuit Futures Artist-in-Residence

Photo credit: Lee Narraway.

Jesse Tungilik is an Inuit interdisciplinary artist based in Iqaluit, Nunavut. He is primarily interested in conceptual sculpture blending traditional and contemporary materials and themes that explore social and political issues faced by Inuit today. He started his artistic journey as a ceramicist at the Matchbox Gallery in Rankin Inlet, Nunavut at 8 years old and had his first public show of his artwork at a bank lobby in Yellowknife when he was around 11 years old. He has also worked as a jewellery artist under the mentorship of Mathew Nuqingaq at the Aayuraa Studio in Iqaluit.

Jesse spent much of his young adulthood in the civil service working for the newly formed Government of Nunavut where he became an arts administrator eventually becoming the Manager of Cultural Industries for the Government of Nunavut and then the Executive Director of the Nunavut Arts and Crafts Association. He currently is chair of the board of trustees of the Nunatta Sunakkutaangit Museum in Iqaluit and member of the Inuit Leadership Group of the SSHRC grant funded Inuit Futures in Arts Leadership Project.

Many of his conceptual sculptures of late have been inspired by and explore the intersection of government policy and legislation and their adverse impacts on Inuit culture and language, as well as the continued colonization and assimilation of the Inuit into the Canadian body politic. He draws from his experience in government, and from the intergenerational trauma inherited by his father who was an outspoken Residential School survivor to create his art partly as a means to facilitate his own healing and to reconcile his frustrations from working from within and working against government agencies throughout his life.

As Artist-in-Residence at Concordia he will continue his artistic practice focusing on contemporary and conceptual sculpture and design. He has a number of creative projects that he is very excited to pursue while in Montreal.

Kaia’tanó:ron Dumoulin Bush is back at AbTeC/IIF!

Kaia’tanó:ron Dumoulin Bush. Ribbon Dress. Acrylic on panel. 2018.

Hello there!

I am back at AbTeC after completing my BFA in Indigenous Visual Culture at OCAD University. In December, my first solo exhibition TOO MUCH NOT ENOUGH opened and closed successfully, ending a chapter in my academic journey. I showed eight paintings and one sculpture that combined the artistic practices of the Onkwehonwe and French-Canadian sides of my family in different ways. In these works, I reject and question quantifications of worth applied to me by others, society, and myself—such as blood quantum—and in turn, disrupt expectations imposed on Indigenous women and makers. I will be showing select works from this exhibition at GRAD EX 104 from May 1st to 5th OCAD University. Hopefully, I can maintain a painting practice now that I am out of school!

Kaia’tanó:ron Dumoulin Bush. Starbucks White Boys. 96 inches by 36 inches. Acrylic and fringe on canvas. 2018.

Otherwise, I’ve been keeping busy! I am currently part of the Encore! Sistema team at the Karonhianonhnha and Kateri schools in Kahnawake. We have a concert at Oscar Peterson Hall on March 31st if you want to check us out. The kids are working so hard! I am also working on a short graphic novel anthology for Feathers of Hope and the-now-decommissioned Ontario Children’s Advocate called Blueberries; Healing the Circle, which will be published online near the end of the month.

Kaia’tanó:ron Dumoulin Bush. Garbage Bag Ribbon Dress. 36 inches by variable. Calico, garbage bag, ribbon. 2018.

At AbTeC, I am honored to be working on the Kanien’kehá:ka Onkwawén:na Raotitióhkwa Language and Cultural Centre Creation Story project. I am painting backgrounds and assets that will showcase great animation work and tell the Kanien’kehá:ka creation story. This is my first time painting to accompany animation and it is a great learning experience for me. Having worked on the first draft of the animatic this past summer, it is great to see the awesome job Ray Caplin did adding his magic touch, fleshing out and tidying up my (very) rough work— making it more cinematic. The prolific Teiowí:sonte Deer created the concept art for the project; learning to emulate his aesthetic and artisanship has become a fun challenge for me. I find myself tuning into stylistic details that I would have never noticed before. On top of this, I get to do my work on my new Cintiq Pro 16 that I got over the holidays, it is super portable and it is really speeding up my working processes!

I can’t wait to see what the rest of 2019 brings. Keep making!

You can learn more about Kaia’tanó:ron’s work here!

Maize Longboat and the Contact project: Indigenous-led videogame development

Photo by Vjosana Shkurti


(2019-03-05): We have some exciting news to share! As of today, the Contact project has been given a new title: Terra Nova. The decision to give the game a more formal name came from the project team’s desire to better encapsulate the meaning of what this game is about. Although the main conflict of the game’s narrative is indeed first contact, Terra Nova is truly about its two main characters, the worlds that have shaped them, and the future worlds yet to come.

Terra Nova also has its own website! There you can sign-up to receive updates on future play tests and release dates. Visit www.terranovagame.com to learn more.

She:kon! Maize Longboat and creating contact:

My name is Maize Longboat and I’m a graduate research assistant with the Initiative for Indigenous Futures (IIF) and in my second-year of the Master’s in Media Studies program at Concordia’s Department of Communication Studies. Presently, I’m in the middle of working on the “creation” half of my research-creation thesis project that explores Indigenous videogame development. To do this, I’m making my very own game, from start to finish, to respond to the following research question:

“What makes Indigenous videogames and how will the game created as part of this project be informed by my own experience as an Indigenous person?”

I found a number of videogames made by or in consultation with Indigenous people that I will discuss in my research, all of which are unique in their own ways. It proved to be a challenge when my supervisor asked that I offer a hypothesis on what actually makes a videogame Indigenous. Indigenous identities are vastly diverse, so defining what is and what is not Indigenous is something that I alone cannot determine. However, I can offer what I feel are the most important qualities that an Indigenous videogame might carry with it. The following lines from my proposal clearly state where I stand:

“Whether an Indigenous videogame is made by an individual or team of Indigenous developers, or by non-Indigenous developers working in consultation with an Indigenous community, it is determined by Indigenous peoples. The development process, from beginning to end, must be Indigenous-led.”

This is exactly what I set out to do in creating my own game. The only challenge was that I had never actually made a videogame before. Instead of beginning with a game mechanic like running, or jumping, or shooting projectiles, I started with a central scenario that I frequently come across while studying Indigenous histories. I wanted to make a game out of a moment of first contact between an Indigenous and Settler peoples. These moments of encounter and communication are always the spark of larger events; only recalled to frame larger, more important narratives that come after. This game focuses on the lead-up and moment of first contact between Indigenous characters and Settler characters and how they react to one another’s presences.

Thanks to the generosity of the Hexagram Network and Social Science and Humanities Research Council, I have the funds to hire a small team to help fill in for my technical shortcomings. I brought in a Lead Developer, Mehrdad Dedashti (mdehdashti.com), to handle programming and integration tasks, an artist, Ray Caplin (portfolioofraycaplin.tumblr.com), to create visual assets and animations, and a sound designer, Beatrix Moesrch (framingnoise.com), to bring the game-world to life. It was really important for me to get people who not only had strong technical skills, but who also cared about working on an Indigenous-led project. I had to go through a few interviews before I could settle on a team that I could trust to support my research in that very specific way.

As I assembled the team, I was also designing a narrative that would speak to my central game scenario of first contact. The story takes place on Earth far in the future, long after an environmental catastrophe forced a number of humans to abandon the planet in an attempt to settle somewhere better out in space. The humans that were forced to stay on Earth adapted to their new environment and eventually forgot about the ones that had left them behind. Earth is still healing and high-water levels from melted polar ice caps cause erratic weather patterns. Earthborn humans live high atop the overgrown, ruined city-structures built ages ago to escape these unpredictable tides.

View of overgrown structures from high-ground.

After several millennia of attempting to locate a habitable planet, Starborn humans have now unknowingly returned to their ancestral homeland to finally settle.

View of the Starborn spaceship from an overgrown structure.

This moment of first contact between Earthborn and Starborn humans is experienced through the eyes of Terra, an elder Earthborn landkeeper, and Nova, a Starborn youth.

Early concept art for Nova (top) and Terra (bottom) with size and height ratios.

Final player character sprites for Terra (left) and Nova (right).

The game will offer a two-player, cooperative experience where each player plays as either Terra or Nova simultaneously. Both players can interact with each other, non-player characters, and objects in the environment to progress through the narrative. At first, each player starts in their own specific zones before the Starborn spaceship crash lands on Earth. The crash separates Nova from his community, while Terra witnesses the crash and sets out to investigate. The two eventually come across one another, sharing that moment of first contact between Indigenous and Settler peoples, and must then cooperate to help Nova find his people and ensure that Terra can find out what the Starborn people want.

I’ll be working with my team for the next several weeks to finish the game so that we can move into the playtesting phase. (Stay tuned in to AbTeC social media feeds for the exact date and time!) After the playtests I will be taking the reflections provided by players and making final changes right before I dive headfirst into the writing process.

Wish us luck!

A year in review with Suzanne Kite

Since beginning my PhD and starting as an IIF Research Assistant I have been super busy. 2018 was full of so many collaborations, performances and travels.

My 2018 began with a panel at the Philbrook Museum of Art in Tulsa, Oklahoma. I participated in a lot of inspiring panels such as Traveling Against the Current at Concordia University, Artificial Imagination symposium with Artengine in Ottawa, the Material Turn Symposium at Concordia, MUTEK Montréal’s Keychange Panel , Punctures Convening performance and panel at Squeaky Wheel Film & Media Art Center in Buffalo, Performance and Panel with Raven and Laura at Plug In Institute of Contemporary Art in Winnipeg, and the Immersed panel in Montreal.

At the beginning of the year, I began a new artwork called Listener, which developed from my research and conversations at AbTeC. Listener was premiered at SAW Video Knot project space / espace projet Nœud in Ottawa, Ontario, and performed at Concordia as an Indigenous Futures Cluster Presents event. I am most proud of having performed and installed Listener at Racing Magpie in Rapid City, South Dakota to an audience of Lakota friends and family. Later in the year, I performed Listener at Ars Electronica in Linz, Austria and at 24 Hour Drone Hudson Basilica in New York. Since then a video version of Listener was screened at Echo Park Film Center in LA as a part of Art at Tongva. Listener was also installed as a video in the “Live Long and Prosper” exhibition at New Mexico State University in Las Cruces.

I made a second new work called Better Off Alone, an installation and internet chat room, where the typing of the audience is sonified into drum n bass. This piece was installed at InterAccess in Toronto, curated by former AbTeC RA Lindsay Nixon. I closed out the installation with a performance of a work addressing imagined and real space through jungle sample sounds in a piece titled, junglejungle at InterAccess.

I collaborated extensively last year with Nathan Young, who came to Montreal as an artist-in-residence at the Indigenous Futures Cluster, resulting in a completely new project called something is coming. In the fall, Nathan and I participated in a residency at the M:ST Performative Art Festival in Calgary, where we created and performed 12 new sound works for the project, all focusing on sonifying the electricity grid.

I also collaborated with my friends Adam and Zack Khalil and Jackson Polys as a part of the New Red Order. We participated as The Informants at Images Festival in Toronto and Human Resources Los Angeles. I wrote a new piece, for their project, The New Red Order Presents: The Savage Philosophy of Endless Acknowledgement, at Whitney Museum of American Art. My piece, Brighter than the Brightest Star You’ve Ever Seen, is a lecture on Lakota phrases, aliens, and murder.

Finally, my research into American mythologies of Indians and aliens was published by Un Projects, titled “Who Believes in Indians”. The research into Lakota ontology and Lakota concepts of nonhuman animacy, which I first lectured about at the Zooetics Symposium talk and panel at MIT, was then published in collaboration with Jason Lewis, Noelani Arista, and Archer Pechawis as “Making Kin with the Machines” published in MIT Journal of Design and Science. In a similar vein, I am now the Coordinator for the upcoming Indigenous Protocol and Artificial Intelligence workshops!

2018 was a super productive year, and I am glad for my role as an RA for the Initiative for Indigenous Futures.

Leveling Up! with Waylon Wilson

Waylon Wilson, Tuscarora Nation

MDes Student, Master of Design Program

Department of Design and Computation Arts

Waylon Wilson at Concordia University, 2018

It was in the last few years of my Bachelor of Arts at the University at Buffalo (UB) that I really began exploring interactive forms of media. I discovered the digital world of 3D environments, video games, mobile applications, 3D printing, and even dabbled in wearable electronics. I come from a vast digital media background, but before UB I mainly focused on digital video and audio production. Now that I’m entering my second semester as a Master of Design student here at Concordia University, I’ve really begun to  focus on experimental game development and to explore the outcomes of designing for this technology as Indigenous people.

Gameplay Screenshot of Cawak, 2016

My work aims to embed critical Indigenous thought into interactive media by exploring various realms of technology and what these tools have to offer us as Indigenous media makers and consumers. The digital flood of technology immerses us daily in wave after wave of new gadgets and applications and it is up to us whether we want to embrace this technology or not. Indigenous people often have stigmas associated with using digital technology, especially when it comes to our more traditional knowledge and practices. I’m exploring how these technologies can enhance our ways of thinking as Indigenous people. My goal is to find useful ways to integrate this technology into our lives to as an ongoing practice of our traditional knowledge rather than have it act as an intrusion or hindrance to these ways of knowing.

Character Design for Ekwehewe The Real People, 2017

Gameplay Screenshot of Ekwehewe The Real People, 2017

In order to better understand where Indigenous-determined uses of technology can take us, I look to the ways Indigenous peoples have always engaged with media and technology. As a citizen of the Tuscarora Nation, I draw on the visual and interactive designs in our Haudenosaunee beadwork, wampum, carvings, and other objects used to embed our stories and teachings. The media we use to document our teachings are never only media objects, but are used on a daily basis and meant to be interacted with. Some of these designs are kept with us on a daily basis such as the beadwork we wear or etchings carved into pottery. Other media forms such as wampum belts include more complicated interactive designs and can be interacted with in different ways; they can be read from the front, the back, upside down, and even looped around to connect back to itself in an infinite cycle.

Gameplay Screenshot of Nuya! NuYa! A Tuscarora Exploratory Game, 2018

Our grandmothers and grandfathers were intuitive visual and interactive designers. I often find myself referencing their complex work and the ongoing critical thinking and practices of our Indigenous peoples to ground myself and inspire my thinking as well. Working as a Research Assistant for the Initiative for Indigenous Futures has been a big help in directing my recent work. I hope that all of us as Indigenous media makers across Turtle Island can begin to level up this digital era we live in together.

Find more information on Waylon and his practice at www.waylonwilson.com

Waylon Wilson at Meaningful Play Conference, Michigan State University, 2018

Introducing Léuli Māzyār Lunaʻi Eshrāghi, AbTeC/IIF’s new Postdoctoral Fellow!

Tālofa lava ʻia ʻoutou, Bonjour à tous, Hello everyone.

Je suis passionné des langues, de la bonne nourriture, de l’océan, de la science-fiction et du futurisme autochtone. Je suis artiste, commissaire et chercheur australien issu d’origines samoanes, persanes et chinoises entre autres. J’ai terminé mon doctorat en histoires intellectuelles et esthétiques (pratiques de commissariat d’exposition) du Grand Océan en août. Je suis ravi de pouvoir travailler à l’élaboration d’une collection d’œuvres vidéo par artistes autochtones traitant ou s’imaginant les avenirs, des Amériques et du Grand Océan. Je crée des performances, installations, écrits et projets d’exposition centrés sur les savoirs incorporés, les structures cérémonielles-politiques, le renouveau des langues et les avenirs porteurs d’espoir. J’expose et publie régulièrement et sers de liaison entre nos zones au sein du comité d’administration du Collectif des commissaires autochtones du Canada. Je suis diplômé en commissariat d’exposition, histoire de l’art, cinéma et littérature comparé francophone et gestion culturelle autochtone. À bientôt au labo ou ailleurs !

I’m passionate about languages, good food, the ocean, science fiction and Indigenous futurisms. I’m an Australian artist, curator and researcher from Sāmoan, Persian, Chinese and other ancestries. I completed by PhD in intellectual and aesthetic histories (curatorial practice) of the Great Ocean in August. I’m thrilled to be able to work on creating a collection of video works by Indigenous artists set in or imagining futures, from the Americas and the Great Ocean. I make performances, installations, writing and curatorial projects centred on embodied knowledges, ceremonial-political structures, language renewal and futures that bring hope. I exhibit and publish widely and serve as a link between our regions on the board of the Aboriginal Curatorial Collective of Canada. I hold qualifications in curatorial practice, art history, comparative Francophone cinema and literature, and Indigenous arts management. See you soon in the lab or around!

(You can find more information about Léuli here)

Léuli Eshrāghi, vaimea_tuna, for Lukautim Solwara (look out for the ocean) project. Photo: Steven Rhall.


Léuli Eshrāghi, paper_s_kin gesture (2018), un Magazine 12.1 launch, Footscray Community Arts Centre, May 2018. Photo: Daniel Gardeazabal.



Aboriginal Territories in Cyberspace wishes you a magical holiday season ✿❤❄✳

What a year!

Aboriginal Territories in Cyberspace sends you our warmest wishes this holiday season. Both in the studio and out in the world, 2018 was a phenomenal year for us! We wanted to take a moment to share some of our accomplishments and activities with you.

The new year began with AbTeC co-founder Jason Edward Lewis offering a brand new course, a graduate seminar on the Future Imaginary, in which students thought about what Indigenous life would look like in the future and the implications of this question. Students produced research papers and creative projects to articulate their own future imaginaries. Undergraduate research assistant Dion Smith-Dokkie’s contribution to our Illustrating the Future Imaginary series, Figure 4. Exclusion Zone Radioactivity, developed from this course.

In February, graduate RA Maize Longboat and co-founder Skawennati gave two workshops at the Good Hearts, Good Minds conference in Maple Ridge, British Columbia, showing over 30 Indigenous youth how to tell traditional stories in digital media and introducing them to the basics of Second Life. Skarù:re’ Awekwehstá:θe:’ founder Mia McKie and graduate research assistant Waylon Wilson joined in to help. Back in the studio, we were paid a visit by students from OCADU’s Indigenous Visual Cultureprogram, who came to learn about our research and ongoing projects. Through this, we reconnected with Illustrating the Future Imaginary contributor Kaia’tanó:ron Dumoulin Bush. Kaia’tanó:ron joined us as an RA over the summer, offering her expertise in digital painting and design.

AbTeC and IIF hosted a number of other workshops this year too! In April, Maize and Skawennati, this time with Producer Nancy Townsend, went to Saskatchewan to give a machinima workshop at the Regina Public Library in partnership with the MacKenzie Art Gallery. Over the course of the week, participants created a short machinima based on a Nehiyȃw (Cree) story: How the Loon Got Its Walk. Find Maize’s account of the workshop here.

From March to May, AbTeC and IIF collaborated with the Kahnawake Survival School to offer an in-depth version of our 7th Generation Character Design Workshop. In this five-week workshop, our team worked with high school students to help them imagine a descendant or community member at least seven generations in the future. Working with paper and pen, participants sketched their designs under the guidance of Jason Edward Lewis and Skawennati. Following this, undergraduate RAs Raymond Tqoqweg Caplin and Kahentawaks Tiewishaw gave lessons in 3D modelling, UV unwrapping and skin creation. Participants then created their own characters. Our lessons were punctuated by a visit from industry professionals Dominick Meissner and Vivian Herzog of Behaviour Interactive. We concluded the workshop with an in-community exhibition of 3D printed versions of the participants’ digital models! In one of our prototype Seventh Generation Character Design Workshops, graduate RA Suzanne Kite (aka Kite) developed the concept for her performance artwork Listener. An image from this piece, entitled L-Sys (Lakȟóta System), was added to the Illustrating the Future Imaginary series.

In July, IIF collaborated with Kanaeokana and Kamehameha Schools to facilitate He Au Hou 2, the sixth version of our Skins Workshops on Aboriginal Storytelling and Video Game Design. Taking place in Honolulu, Hawai‘i, our team of seasoned pros and bright newbies worked with a marvellous cohort—who named themselves Ka Lei Milikaʻa—to transmediate Kanaka Maoli stories and knowledge into a video game format. A number of research assistants acted as facilitators and instructors—you can check out the test game they created in preparation for the workshop here. After three weeks of intense learning (and laughter), the cohort created Wao Kanaka, I ka Wā Mamua, i ka Wā Mahope. You can download the game for free at the Skins 6.0 website, as well as our curriculumblogdocumentation and participant bios.

Both AbTeC and undergraduate RA Lucas LaRochelle an Honourable Mention in the Digital Communities category of the Ars Electronica Festival! Additionally, Kite took part in the Hexagram Network’s Campus Ars Electronica group exhibition, Taking Care, with three performances of her iterative, multimedia performance artwork, Listener. Research assistant Sam Bourgault collaborated on Design and Computation Arts Masters student Augustina Isidori’s SOLA as the Unity Developer.

 In 2017, the Milieux Institute for Arts, Culture and Technology introduced its Undergraduate Fellowship Program. Through this program, Milieux’s eight clusters nominate students to conduct personal research and contribute to its community. RA Dion Smith-Dokkie was our Fellow in the 2017-18 year. Currently, undergraduate research assistants Kahentawaks Tiewishaw and Rudi Aker are our Milieux Undergraduate Fellows.

The studio was abuzz with anticipation for the 19th edition of the imagineNATIVE Film + Media Arts Festival in Toronto, Ontario! AbTeC and our affiliates submitted four works. For our part, AbTeC and the Skins 5.0 cohort, Nā ‘Anae Mahiki, submitted He Ao Hou, the video game made during the Skins 5.0 Workshop, our first in Honolulu, Hawai‘i. Skawennati submitted her sci-fi machinima retelling of the Haudenosaunee confederation story, The Peacemaker Returns. Our research assistants were in on the action too! RA Waylon Wilson, along with his collaborator Mia McKie, exhibited their game, Nu:ya! Nu:ya! A Tuscarora Exploratory Game. And, RA Travis Mercredi’s virtual-reality walking sim, ~2700, was also featured in this year’s festival!

In November, a bunch of us attended the Indigenous Comic Con—we had a blast! Jason Edward Lewis, Nancy Townsend, Suzanne Kite, Maize Longboat, Ray Tqoqweg Caplin, Valerie Bourdon and Kahentawaks Tiewishaw all flew to Albuquerque, New Mexico for the three-day event. We connected with fellow Indigi-nerds and met cool artists! We even took part in the Cosplay Contest. An AbTeC team put together a beautiful costume which Kahentawaks wore, playing Otsitsakaion from Skawennati’s She Falls For Ages!

All year long, at our virtual headquarters, AbTeC Island, we have been researching what it means to create Indigenously determined cyberspaces—and what it means to be Indigenous online. A number of guests have come to our weekly visiting hours to explore and talk about Indigeneity, virtual worlds and the future. In October, we hosted a Halloween party, and just last week, a Winter Solstice Wonderland party to bring virtual and real-world guests into our little slice of virtual paradise. The project has appeared on platforms like Canadaland’s The IMPOSTER and CBC Unreserved with Rosanna Deerchild.

The studio has been bustling with residents and special guests over the past 12 months! Artist-in-residence Scott Benesiinaabandan has been working on a variety of projects over the year; his virtual-reality artwork, Blueberry Pie Under a Martian Sky, toured Canada with the 2167 project. We have also welcomed a host of guests for briefer stays. Lenape-Kiowa artist and IIF artist-in-residence Nathan Young collaborated with Suzanne Kite on a site-specific digital listening artwork. He also gave an artist’s talk, and was interviewed for our Future Imaginary Dialogues series. Filmmaker Adam Khalil and MIT Arts, Culture and Technology Masters student Erin Genia also visited us in studio! During the summer, Achimostawinan Games joined us to create a prototype version of their forthcoming, Indigenous Cybernoir video game, PURITY & decay. Meagan Byrne, Tara Miller, Travis Mercredi, Colin Lloyd and Gabriela Kim Passos were in the studio in various capacities in May and June, pushing the project forward with the support of our team. Finally, Anishinaabe comedian, writer, media maker and community activator Ryan McMahon gave an Indigenous Futures Cluster Presents public talk where he shared experiences gained through his podcast, Red Man Laughing.

This is just a sampling of our projects throughout 2018. If you would like to see a full overview of our activities in 2018 and years previous, click here to access our IIF Partnership Activity Interactive Timeline.

As you can see, 2018 was a magical and hectic year! Aboriginal Territories in Cyberspace looks forward to some regenerative rest and to a fruitful 2019. We thank you for your continuing support and interest in our mission and wish you the happiest of holiday seasons and a wonderful New Year!

Aboriginal Territories in Cyberspace

Kahentawaks Tiewishaw, Milieux Undergraduate Fellow!

My name is Kahentawaks Tiewishaw-Poirier and I am grateful to have been awarded one of the 2018-19 Milieux Undergraduate Fellowships. I come from the Kanehsatake Mohawk Territory, and I am a third year Computation Arts student at Concordia University. My research interests lie in exploring how Indigenous communities can use technology in an artistic way to pass on their respective cultures. I am primarily interested in the transmediation of traditional stories and legends.

As the use of mobile screens becomes an increasingly integral part of our lives, the way our children learn and play is changing. In order for our culture to be passed on successfully to future generations, we must invent new and interesting ways to engage with it. In a world where all media is grappling for a few seconds of our attention, we must remain relevant.

My expectation for this experience is that I will learn quite a bit about asset creation for mobile applications. Although the project that I have in mind is still a bit unrefined, I know for sure that it involves making an app that engages with my culture’s traditional stories.

My primary artistic practice is 3D modeling and I have both academic and professional experience in the field. My first professional experience came from teaching in the Seventh Generation Character Design Workshop that was offered by the Initiative for Indigenous Futures (IIF) at the Kahnawake Survival School in the spring of 2018. In this workshop, participants imagined a character that is from a world seven generations in the future. The character was drawn, 3D modeled, textured, posed, and eventually…3D printed!

The second instance of my professional experience was in preparation for my role as 3D Lead for IIF’s Skins 6.0 Workshop on Aboriginal Storytelling and Video Game Design, which took place in Honolulu, Hawai‘i, this past summer. My fellow technical instructors and I were mandated to create a mini game of our own design as a test run … If we were going to teach other people how to make a video game, we had to be sure we could make one ourselves! Consequently, my last big project was my instructor role in this workshop. I taught participants all about 3D asset creation for video games.

I look forward to the things I will learn while utilizing this Fellowship!