detail of ᓂᑯᓯᐢ nikosis (Luke)
©2015 Jon Michael Corbett
ᓂᑖᓂᐢ nitânis Alexi
©2018 Jon Michael Corbett
ᑭᐢᑭᓇᐧᐦᐊᒪᑯᓯᐃᐧᐣ • kiskinwahamakosiwin • Research Interests
Indigenous Digital Media Toolkit
My current focus is on developing a computer programming language for Indigenous languages (currently Cree). This programming language uses the natural language and cultural perspectives of Cree directly in the interface with the computer. My goal is to provide a digital art platform that can be written in any given Indigenous language's orthography.
In more general terms - Imagine being able to tell a story in (your) Indigenous/Aboriginal langauge and have that story be interpreted by the computer which in turn produces a digital picture that represents the contents of that story. THAT is what my Indigenous Media Toolkit is going to do. There are a number of topics that this inquiry encompasses including Ethnocomputing, Digital Encoding and Archiving of Indigenous knowledge, Indigenous Language Revitalization, and Human-Computer Cultural Interfacing.
I recently present my research posterIndigenizing Computer Programming for Cultural Maintenance at the ACM's
Indigenous Media Artists' Database
Working as the technical Research Assistant with Stephen Foster, the Indigenous Media Artists' Database involves the temporal mapping of Indigenous (primarily media-based) artists. This database is aimed to be an online archive of Indigenous Media Artwork, showcasing Indigenous Artists worldwide, their artwork, and their critical/creative obvervations of their worlds. This project is supported by a grant from SSHRC, and Canada Council for the Arts.
60s Scoop Mapping
I am very active in exploring opportunities for re-indigenizing, de-colonizing, and restoring Indigenous cultural practices. Among the activities I am involved with is the project "60's Scoop Mapping" in collaboration with my fellow namesake and colleague "the other" Dr. Jon Michael Corbett. This project involves not just the geographic mapping of Indigemous children who were "scooped" up by the Canadian Government and placed into foster care for adoption between the 1950s to the 1980s, but also the temporal tracking of what these individuals endured over the past 50 years and where they are now.
Of course, I am still very active in making digital work. Though there is still plenty of activity with my current Four Generations work at the Smithsonian, but I am working on new digitally beaded works that make use of sacred shapes and symbols to further explore the relationships between (Indigenous) spirit, symbolism, and identity representation.
Prior to my current work with digital beading, I was exploring image fracturing-reconstructing, and using symbols as components for image construction. In December 2013, I presented "Apophenia and Celestial Bodies: Ancient Origins of the Pixel" at GA2013: XVI Generative Art International Conference in Milan, Italy. This paper and presentaion provides a historical outlook of the psychological phenomena of apophenia and pareidolia in visual image construction that is rooted in the makeup of celestial objects (i.e. constellations).