In terms of the future, my Anishinaabemowin language has a word, kobade—a very small word, but in reality an extremely sophisticated concept. The idea is that everything that’s in the past and the future is also in the now, but it’s not as simplistic as that. It’s more like there exists a spiral of intergenerational connections, so that even if you are in the present you have spirit persons at your side; they can be ancient spirits, considered to be from the past or from the future. Kobade is the recognition of all persons, not just human persons, and of all the intergenerational connections that we have, which are never linear, but spiral.

Inaate/se may not be the most obvious example of the science-fictional aesthetics of “Indigenous Futurism,” a term coined by Anashinaabe scholar Grace L. Dillon to describe Native artists who work with science fiction to both refuse the representational expectations of “the Great Aboriginal Story” and play with boundary crossings, claiming the spaces of science, technology, and futurity as their own. Nonetheless, the film employs certain key strategies Dillon finds in such authors, from what she terms “Contact” and “Native Apocalypse” to “Biskaabiiyiang,” an Anishinaabe word “connoting the process of ‘returning to ourselves.’” In so doing, Inaate/se promises an ethics founded on an inhabited futurity, which, no matter how many blows it has suffered, still manages to survive. The Khalils do not attempt to surpass the trauma of erasure; they inhabit and politicize it for a new world to come. In this way, they make the dystopia lived through seven generations a starting point for livelihood.

I’ll put it differently this time: the sovereignty of survivors.

What is ending is the modern world—a very particular world invented in 1492, animated by a naturalist ontology inside of which nature and culture were not to be confused. Which is to say that humanity can no longer be taken as the solution to anything—at least not alone, in its enlightened cosmo-ecological ignorance. On the contrary, from the perspective of the earth, humanity looks increasingly like the problem.

Many Amerindians believe that animals have descended from humans rather than humans from animals. Within these cosmogonies, in the beginning everything was human. Then the world ended and from that cataclysm the many species, forests, rivers, stars, and minerals were formed. This dispersion ended the mythic state of primordial cannibalism, when everything was undifferentiated and thus ate its own kin in order to feed itself. All these entities, regardless of their species or form, remain...

Enunciation The following speculative exercise aims at surveying the impact of current Aesthetic Theory, of a certain Contemporary Aesthetics in particular which proposes as fundamental the denomination of what is Art, in its application to History; to, that is, the re-evaluation of past events, eventually to the re-evaluation of incidents whose occurrence is considered solely possible in the Past and from whence a political and social significance could emerge. The present...