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research team includes noted scholars and artists, including Inuk scholar and independent curator Heather Igloliorte and Anishinaabe, Métis, and Irish scholar, artist, and game designer Elizabeth LaPensée. Through his projects, Lewis considers how to be Indigenous and current and how to make the future “imaginary.” Lewis wanted to build the system rather than let others build it, so that “Indigenous knowledge, languages, and protocol will be served.” 9 He sees using a computer to build a model for the future that fits into Indigenous perspectives. Lewis observes that Native cosmologies often describe rela- tionships between humans and non-humans—for example, the Blackfoot learning from stones. Using computers and computer programs, AbTeC has created a number of projected designed to encourage more Native presence online, including teaching Indigenous youth to use digital media for storytelling. Both Skawennati and Lewis note the benefits of working in Canada since, in their perspectives, “the political discus- sions are farther along. For many years, the contemporary art world in Canada has been led by Indigenous artists.” Major museums have collections that are more diverse. There is more funding for Indigenous studies in Canada as well as funding for experimental art than in the United States, where the market funds more historic forms of art. “A significant factor in us being able to do all that we do is substantial funding opportu- nities in Canada.” Four years ago, the IIF received a seven-year grant to bring artists and scholars to visit, which has led to a number of workshops, symposia, and art projects, including paying for Scott Benesiinaabandan (Wasauksing Ojibwe) and Postcommodity to create art in virtual environments. For artists like Skawennati, Indigenous Futurisms offers a means to explore the Native identity in the present. “I ask myself, Why be Indigenous? How do I know that I’m Mohawk? It’s about stories and values, the original thinking, and teachings. It is necessary to make an Indigenous space in the cyberworld, to make it part of our natural habitat. It’s a place where many people are going, and I don’t want to be left out.” For Dillon, Indigenous Futurisms is as much about the past as it is about the future. She writes, “All forms of Indigenous futurisms are narratives of biskaabiiyang, an Anishinaabemowin word connoting the process of ‘returning to ourselves,’ which involves discovering how personally one is affected by coloni- zation, discarding the emotional and psychological baggage carried from its impact, and recovering ancestral traditions in order to adapt in our post-Native Apocalypse world.” 10 SELECTED BIBLIOGRAPHY Dillon, Grace, ed. Walking the Clouds: An Anthology of Indigenous Science Fiction. Tucson: University of Arizona Press, 2012. Farrell Racette, Sherry, ed. Close Encounters: The Next 500 Years. Winnipeg, MB: Plug In Editions, 2011. Fricke, Suzanne Newman, “The Force Will Be With You … Always: Science Fiction Imagery in Native American Art,” First American Art Magazine, no. 12, Fall 2016): 34–39. Gaertner, David. “Traditional Innovation: The Turn to a Decolonial New Media Studies.” Novel Alliances (November 25, 2014), web. Hopkins, Candice. “Skawennati: A Wrinkle in Time: On Indians and the Future.” In We Are Here: The Eiteljorg Contemporary Art Fellowship, 2011, 47–58. Edited by Jennifer Complo McNutt and Ashley Holland. Indianapolis: Eiteljorg Museum of American Indians and Western Art, 2011. LaPensée, Elizabeth, and Jason Edward Lewis. “TimeTraveller™: First Nations Nonverbal Communication in Second Life.” In Nonverbal Communication in Virtual Worlds, 105–19. Pittsburgh, PA: ETC Press, 2014. Lempert, William. “Decolonizing Encounters of the Third Kind: Alternative Futuring in Native Science Fiction Film.” Visual Anthropology Review 30, no. 2, (2014): 164–76. Lempert, William. “Navajos on Mars: Native Sci-fi Film Futures.” Medium. September 21, 2015. Web. Lewis, Jason Edward, and Skawennati Tricia Fragnito. “Aboriginal Territories in Cyberspace.” Cultural Survival Quarterly 29, no. 2 (June 2005): 29. Lewis, Jason Edward. “A Brief (Media) History of the Indigenous Future.” PUBLIC 27, no. 54 (December 2016): 36–50. 9. All quotes by Dr. Jason Lewis are from communication with the author, September 10, 2018. 10. Dillon, Walking with the Clouds, 10. WINTER 2018/19 | 23