Book contents
- The Cambridge History of Native American Literature
- The Cambridge History of Native American Literature
- Copyright page
- Contents
- Figures
- Contributors
- Introduction: What Was Native American Literature?
- Part I Traces and Removals (Pre-1870s)
- Part II Assimilation and Modernity (1879–1967)
- Part III Native American Renaissance (Post-1960s)
- Part IV Visions and Revisions: 21st-Century Prospects
- 23 Native American Horror, Fantasy, and Speculative Fiction
- 24 Charting Comparative Indigenous Traditions
- 25 The Global Correspondence of Native American Literatures
- 26 Indigenizing the Internet
- 27 Indigenous Futures beyond the Sovereignty Debate
- 28 The Leftovers
- 29 Can You See the Indian?
- Index
- References
26 - Indigenizing the Internet
from Part IV - Visions and Revisions: 21st-Century Prospects
Published online by Cambridge University Press: 18 September 2020
Edited by
Book contents
- The Cambridge History of Native American Literature
- The Cambridge History of Native American Literature
- Copyright page
- Contents
- Figures
- Contributors
- Introduction: What Was Native American Literature?
- Part I Traces and Removals (Pre-1870s)
- Part II Assimilation and Modernity (1879–1967)
- Part III Native American Renaissance (Post-1960s)
- Part IV Visions and Revisions: 21st-Century Prospects
- 23 Native American Horror, Fantasy, and Speculative Fiction
- 24 Charting Comparative Indigenous Traditions
- 25 The Global Correspondence of Native American Literatures
- 26 Indigenizing the Internet
- 27 Indigenous Futures beyond the Sovereignty Debate
- 28 The Leftovers
- 29 Can You See the Indian?
- Index
- References
Summary
This chapter engages with the Internet as a discursive realm where the profound conflicts generated by settler-colonialism continue to be played out. In the dynamic space of the Internet, Indigenous digital storying is a claim to rhetorical sovereignty that articulates Native self-determination through specific ways of knowing and being. A powerful statement of Indigenous self-determination is the use of mobile locative media – “Mapping Indigenous LA” (Gabrielino/Tongva and Tataviam), Knowing the Land beneath Our Feet (Musqueam), and Finding Sacred Ground (Lakota) – to create a digital remapping of Native geography, denaturalizing settler cartographies and restoring Native storying to the land, while two dominant “digital Native” forms of storying that use the capabilities of virtual media in conjunction with traditional literary genres to instantiate Indigenous cosmologies are the digital film-poems or “poemeos” exemplified by Heid Erdrich’s Anishinaabe storying, aas well as Elizabeth LaPensée’s Anishinaabe/Métis storying through Indigenously-determined digital narrative or videogames.
Keywords
- Type
- Chapter
- Information
- The Cambridge History of Native American Literature , pp. 481 - 500Publisher: Cambridge University PressPrint publication year: 2020
References
Anon. 2017. “Sen. David Osmek: MN Taxpayers Should Not Be Funding Angry Birds for Eco-terrorists.” Minnesota State Republican Caucus. October 26. www.mnsenaterepublicans.com/sen-david-osmek-mn-taxpayers-not-funding-angry-birds-eco-terrorists/ (accessed April 26, 2018).Google Scholar
Baca, Damián. 2008. Mestiz@ Scripts, Digital Migrations, and the Territories of Writing. New York and Basingstoke: Palgrave Macmillan. Print.Google Scholar
Benton-Banai, Edward. [1988] 2010. The Mishomis Book: The Voice of the Ojibway. Repr. Minneapolis: University of Minnesota Press.Google Scholar
Bernardin, Susan. 2017. “‘There’s a River to Consider’: Heid E. Erdrich’s ‘Pre-Occupied’.” Studies in American Indian Literatures 29, 1 (Spring): 38–55.Google Scholar
Blair, R. J. R. “Responding to the Emotions of Others: Dissociating Forms of Empathy through the Study of Typical and Psychiatric Populations.” Consciousness and Cognition 14 (2005): 698–718. DOI:10.1016/j.concog.2005.06.004CrossRefGoogle Scholar
Brings Plenty, Trevino. 2016. Moosewolf. IktomiFilms. 27:43. June 11. youtube.com/watch?v=mwIo5THOPNA (accessed August 17, 2017).Google Scholar
Byrd, Jodi. 2014. “Tribal 2.0: Digital Natives, Political Players, and the Power of Stories.” Studies in American Indian Literatures 26, 2 (Summer): 55–64.Google Scholar
Cummings, Denise K. 2014. “Indigenous American Cinema.” In The Oxford Handbook of Indigenous American Literature, ed. Cox, James H. and Justice, Daniel Heath, 284–98. Oxford: Oxford University Press.Google Scholar
Erdrich, Heid E. 2016a. “It Was Cloudy: Aabjito’ikidowinan 2 / Used Words 2.” Moving Poems. September 20. http://movingpoems.com/2016/09/it-was-cloudy-aabjitoikidowinan-2-used-words-2-by-heid-e-erdrich/ (accessed August 23, 2017).Google Scholar
Erdrich, Heid E. 2016b. “Od’e Miikan / Heart Line (Moose Version).” Moving Poems. November 19. http://movingpoems.com/poet/heid-e-erdrich/ (accessed August 15, 2017).Google Scholar
Erdrich, Heid E. 2016c. “Od’e Miikan / Heart Line (Wolf Version).” November 10. www.youtube.com/watch?v=0RSugAbmXJY (accessed August 15, 2017).Google Scholar
Erdrich, Heid E. 2017a. Curator of Ephemera at the New Museum for Archaic Media. East Lansing: Michigan State University Press. Print.Google Scholar
Erdrich, Heid E. 2017b. “Mino Miinikaan/Good Seeds; Ode’ Miikana/Heart Line.” Wasafiri 32 (2): 57–59. DOI:10.1080/02690055.2017.1290940.Google Scholar
Erdrich, Louise. 2015. “Advice to Myself 2: Resistance.” https://vimeo.com/127847220 (accessed August 15, 2017).Google Scholar
Haas, Angela M. 2007. “Wampum as Hypertext: An American Indian Intellectual Tradition of Multimedia Theory and Practice.” Studies in American Indian Literatures 19, 4 (Winter): 77–100.Google Scholar
Hearne, Joanna, and Elizabeth, LaPensée. 2017. “‘We All Stand Side by Side’: An Interview with Elizabeth LaPensée.” Studies in American Indian Literatures 29, 1 (Spring): 27–37.Google Scholar
Henry, Jr., Gordon, Jr. 2017. “Anishinaabeskinuk: Writing Over Skins, Writing Over Imagi(natives).” Wasafiri 32 (2): 32–40. DOI:10.1080/02690055.2017.1293951.CrossRefGoogle Scholar
Howe, LeAnne. 2015. “Noble Savage Learns to Tweet.” Moving Poems. May 7. http://movingpoems.com/2015/05/noble-savage-learns-to-tweet-by-leanne-howe/ (accessed August 15, 2017).Google Scholar
Hunt, Dallas, and Stevenson, Shaun A.. 2017 . “Decolonizing Geographies of Power: Indigenous Digital Counter-Mapping Practices on Turtle Island.” Settler Colonial Studies 7 (3): 372–92. DOI:10.1080/2201473X.2016.1186311 (accessed June 3, 2017).Google Scholar
LaPensée, Elizabeth. 2011. “Indigenous Game Design in Invaders.” Proceedings of DiGRA 2011 Conference: Think Design Play. www.digra.org/digital-library/forums/6-think-design-play/ (accessed April 30, 2018).Google Scholar
LaPensée, Elizabeth. 2012. The Nature of Snakes. Anishinaabemowin translations by Perry Bebamash. www.survivance.org/ginebigoog/bezhig.html (accessed April 30, 2018).Google Scholar
LaPensée, Elizabeth.2014a. “Indigenously-Determined Games of the Future” kimiwan zine, no. 8: “Indigenous Futurisms.” www.abtec.org/blog/?p=449 (accessed January 15, 2016).Google Scholar
LaPensée, Elizabeth. 2014b. “Survivance among Social Impact Games.” Loading: The Journal of the Canadian Game Studies Association 8 (13): 43–60.Google Scholar
LaPensée, Elizabeth. 2015. We Sing for Healing/Ninagamomin ji-nanaandawi’iwe. www.survivance.org/wesing/.add (accessed April 30, 2018).Google Scholar
LaPensée, Elizabeth. 2017a. “The Internet Has Been Colonized.” Twitter. December 7. https://twitter.com/odaminowin (accessed December 7, 2017).Google Scholar
LaPensée, Elizabeth. 2017b. “They Who Walk as Lightning.” In MOONSHOT: The Indigenous Comics Collection, ed. Hope Nicholson, Vol. II, 10–18. Toronto: AH Comics.Google Scholar
LaPensée, Elizabeth. 2017c. Thunderbird Strike. iPad. www.thunderbirdstrike.com/. iOS.Google Scholar
LaPensée, Elizabeth. 2017d. “Transformations and Remembrances in the Digital Game We Sing for Healing. Transmotion 3 (1): 89–108. www.survivance.org/wesing/ (accessed April 30, 2018).Google Scholar
LaPensée, Elizabeth, and Moulder, Vicki. 2017. “Walking and Wiring the Land: Indigenous Art Practice in Games.” Interactions 24 (1): n.p. http://interactions.acm.org/archive/view/january-february-2017/walking-and-wiring-the-land (accessed April 9, 2016).Google Scholar
Lee, A., Wilson, W., and Gawboy, C.. 2012. “Ojibwe Giizhig Anung Masinaaigan – Ojibwe Sky Star Map.” http://nativeskywatchers.com/wpcontent/uploads/2016/06/NSW_OjibweNorth.pdf (accessed April 30, 2018).Google Scholar
Legislative Coordinating Commission. 2017. “Clean Water Fund.” www.legacy.mn.gov/clean-water-fund (accessed April 23, 2018).Google Scholar
Ling, Sarah, and Lindsay, Spencer. 2017. Knowing the Land Beneath Our Feet. http://fnsp.arts.ubc.ca/research-resources/knowing-the-land-beneath-our-feet/ (accessed April 29, 2017).Google Scholar
Machkovech, Sam. 2015. “The Post-Apocalyptic Dimensional Space of Native Video Game Design: First-Ever Summit Explores How Games Can Preserve Cultural Stories, Languages.” Ars Technica, June 6. http://arstechnica.com/gaming/2015/06/the-post-apocalyptic-dimensional-space-of-native-video-game-design/ (accessed January 15, 2016).Google Scholar
Madsen, Deborah L. 2017. “The Mechanics of Survivance in Indigenously-Directed Videogames: Invaders and Never Alone.” Transmotion 3 (2),: 79–110.Google Scholar
Manafy, Michelle, and Gautschi, Heidi. 2011. Dancing with Digital Natives: Staying in Step with the Generation That’s Transforming the Way Business Is Done. Medford, NJ: CyberAge Books.Google Scholar
Martinson, Patti. 2017. “Expressing Herself in Design and Art: Elizabeth LaPensée.” Sequential Tart 16 (January), n.pag. www.sequentialtart.com/article.php?id=3021 (accessed January 19, 2017).Google Scholar
Moniz, R. Jr. Vincent, Jr. 2013. “Braided and Unbranded.” December 23. www.youtube.com/watch?v=LNmXrqHTJgc (accessed August 15, 2017).Google Scholar
Never Alone (Kisima Ingitchuna). 2014. Upper One Games & E-Line Media, developer; E-Line Media, publisher. Microsoft Windows.Google Scholar
Nichols, John, and Nyholm, Earl. 1995. A Concise Dictionary of Minnesota Ojibwe. Minneapolis: University of Minnesota Press. Print.Google Scholar
Osmek, Sen. David. 2017. “MN Taxpayers Should Not Be Funding Angry Birds for Eco-Terrorists.” October 26, 2017. www.mnsenaterepublicans.com/sen-david-osmek-mn-taxpayers-not-funding-angry-birds-eco-terrorists/ (accessed December 17, 2017).Google Scholar
Prensky, Marc. 2001. “Digital Natives, Digital Immigrants.” On the Horizon 9, 5 (October): 1–6.Google Scholar
Romero, Channette. 2017. “Toward an Indigenous Feminine Animation Aesthetic.” Studies in American Indian Literatures 29, 1 (Spring): 56–87.Google Scholar
Sacred Land Film Project. n.d. Finding Sacred Ground. iPad. https://sacredland.org/standing-on-sacred-ground/.Google Scholar
Shamay-Tsoory, Simone G., Aharon-Peretz, Judith, and Perry, Daniella. 2009. “Two Systems for Empathy: A Double Dissociation Between Emotional and Cognitive Empathy in Inferior Frontal Gyrus versus Ventromedial Prefrontal Lesions.” Brain 132: 617–27. DOI:10.1093/brain/awn279CrossRefGoogle ScholarPubMed
Starkey, Daniel. 2017. “No, This Video Game Is Not ‘Eco-terrorism’.” The Verge. November 1. www.theverge.com/2017/11/1/16588166/game-ecoterrorism-politics-thunderbird (accessed April 26, 2018).Google Scholar
- 1
- Cited by