FAQ
Who is artinjun.ca?
Ultimately artinjun.ca will be anyone who wants to
register their site. At this point though, due to funding and time
constraints it is based on my selection and knowledge of aboriginal
net.art and artists' sites I have researched over the past two
years.
Okay, but what is it?
artinjun.ca is a net.art intervention and an homage
to aboriginal artists on the net. The site is based on the design of
Artengine who also host the
project on their server. Most of the code and images are theirs -
the code copied using a browser or with More, then altered using
Pico on my secured space on their server with images from their site
downloaded and initially altered using some crackd software - then
most recently through a residency at
Centre for Art Tapes
in Halifax NS.
Though the domain name was secured/purchased in the
fall of 2003, artinjun.ca was browser ready and presented originally
in Dakar, Senegal at the Dakar Biennale, during
Dakart_Lab in may of 2004.
So how about a little background as to why an homage to
aboriginal artists on the net using what looks like
appropriation of others ideas, images, code and design?
Firstly, I am grateful for all who have made a good
path by the work that was launched into cyberspace before I came to
situate myself or inhabit space in this domain and to the amazing
work that is in process and is still to be realised. Secondly,
artinjun.ca is a project of
ndnnrkey, a series of net.art projects and performative
activities investigating my interests and commitment to nêhiyawin
(Cree worldview) based on values, roles and responsibilities and a
relational existence with the natural laws and a less proprietary
view of existing in proximity to beings and things; and correlations
to that of anarchy, infiltration, intervention, open source,
copyleft and piracy. With ndnnrkey, I have also been investigating
different ways of relating to and interacting with audience/vidience
through less prescribed and random forums and venues - the internet
being an obvious choice.
To jump a bit - if an artist is creating something
for the web to be accessible on peoples' computers, they have little
control or licence over how that audience/vidience member is going
to view or interact with it. The capability of browsers leads to
many possibilities depending on how adept the user is. A
relationship is being forged between the artist/designer/programmer
and the audience/vidience that could lead to future collaborations
and a stronger web if one can remain open to the fact that this
domain is more flexible and endurable (and not isolating) if shared.
To me, it is always a high honour if someone wants to riff off of
what I am putting out there - it makes the communication of realised
ideas and concepts more intrinsic and connected and less fragmented
and abstract.
As aboriginal artists, our ability to find shelter,
food and materials is mediated mostly via capitalism. While we may
feel enslaved or co-opted by this experience, our ingenuity gives us
the skills to succeed and know how to play this to our benefit. I
think though to live relative of or to the capitalist and possibly
imperialist practice of single author ownership and copyright, the
patenting of everything from ideas to living organisms and all the
man-made laws that enforce these binds also doesn't necessarily mean
to be censored or immobilised in the process. From the standpoint of
the sneakup, and as marginalized beings who continue to survive, we
can infiltrate these systems, get what we need and retain our sense
of sovereignty - but this requires us to question and even break
rules.
It felt an important alternative and statement that
I make a work directly from that of my contemporaries who continue
to be a vital part of my inspiration and motivation, specifically
not trying to set myself apart from this discourse by including my
projects. In this way artinjun is really about a collected
brilliance and ingenuity and poses questions such as - Who owns
and/or receives copyright/permission for everything that inspires us
moment to moment? Are we stealing, appropriating, using without
permission or withholding credit by all that leaves an impression
during our process, practice, daily rituals and travels? How can we
somehow acknowledge and pay tribute to those that move us even in an
act of piracy or infiltration?
artinjun in this way is an offering of gratitude to
all my colleagues. Even the fact that I am seemingly appropriating
Artengine's code and design is an homage to their existence - would
I have thought the very idea for the site's name if they hadn't
named theirs first? The fact Artengine offers server space (for a
modest fee) made it much more the feasible concept/pun/infiltration
that it is. Also, artinjun then is also a commentary on our
continued relationship with the fort - or mistahêy waskahikan (big
house). Since the arrival of Europeans, many of our ancestors chose
to have a relationship with those who dwelt in the fort. I don't
think the exchange was all one sided or colonizing - there have
always been survival techniques, materials and ideas that have been
stolen, shared, bartered and/or purchased. If one can see things and
experience outside of the jurisdiction of imposed and limiting
rules, then we can imagine new possibilities and innovation - and
hence new, enhanced and even remembered ways of relating.
One last question: How will artinjun remain interactive?
My intent is that I will continue to develop the
site so it is more aesthetically pleasing and efficient by adding
features such as a comments section, a registration form so anyone
can add their projects. I like collaborating and would welcome
anyone who wants to assist me/work with me to accomplish this task
;-).
~shoutouts~ to all who have supported me in doing this work!
cheryl l'hirondelle, March 2005
Biography
cheryl l'hirondelle (aka cheryl l'hirondelle waynohtew, cheryl
koprek) is an alberta born but currently a vancouver based,
halfbreed (metis/cree-non status/treaty, french, german, polish)
multi/interdisciplinary artist. since the early 80's she has
created, performed, collaborated and presented work in a variety of
artistic disciplines: performance art, music (voice, percussion),
theatre (actor/writer), performance poetry, storytelling, video and
new media. since the early 90's she has also worked as an arts
programmer, cultural strategist/activist, arts consultant and
producer independently and within the national artist-run network,
first nations bands and tribal councils, and government agencies
(provincial & federal). she is currently developing performative
physical endurance interventions and producing interactive net.art
projects (www.ndnnrkey.net),
still performs with her singing duo nikamok (with joseph naytowhow)
and is teaching first nations net.art and digital storytelling at
Emily Carr Institute of Art and Design. |