#ndn academia

[qhariwarmi]

screw it, NDN* academia

welcome to my blog, here I'm gonna blog about dark academia stuff but with a Native American twist. Stuff that may or may not include:

book/movie/show recommendations revolving around NDN actors/stories/issues

reblogging posts about NDN issues and activism, big and small

posts about academic/historical/anthropological topics revolving around NDN culture (both reblogs and original posts)

general dark academia stuff

honestly just anything that involves dark academia and/or NDN stuff, it's my blog I make the rules

also will include occult/witchcraft/pagan stuff

Feel free to suggest/tag me in stuff, trying to start an NDN academia movement

*NDN (not dead Native) = the original peoples of North, Central, and South America, and the Caribbean

More about me and some boundaries under the cut if you wanna read that

About HYENA:

22 y/o

he/him mostly

mixed Quechua and 2spirit (qhariwarmi)

aspiring Grass Dancer

current undergrad history major with Native American studies and archaeology minors

future archivist and (hopefully) academic

attending school/living on Haudenosaunee land

speaker of English (fluent), Quechua (conversational), and learning Spanish

interested in all things NDN, but especially NDN spirituality/religion

gonna try my best to balance this blog, my other blogs/socials, school, work, and a semi-active social life, with time for hobbies

BOUNDARIES:

You don't have to be Native to follow/interact, just don't speak over NDN voices about important issues

any age can follow/interact, I just would rather minors not DM me

Speaking of DMs, I'm open to them, I'm always done to talk to people about whatever

No real specific DNI, just don't be gross/rude (some people are an automatic block, i.e maps, terfs, any bigot honestly)

With all that said, you can follow if I don't like you, I can't control who interacts with me, but I do block liberally

CURRENTLY READING:

Religion and Magic in Ancient Egypt by Rosalie David

The Spirit and the Flesh: Sexual Diversity in American Indian Culture by Walter L. Williams

Seventy Eight Degrees of Wisdom: A Tarot Journey to Self-Awareness by Rachel Pollack

Needful Things by Stephen King

The Walking Dead Compendium #1 by Robert Kirkman

CURRENTLY WATCHING/LISTENING:

Welcome to Night Vale

Fear the Walking Dead

Carol & the End of the World

[ladyimaginarium]

wigwamcore & longhousecore....

[olowan-waphiya]

So for my final semester before I get my BA, I am doing an unofficial study!! If you have any kind of knowledge or experience with eagles, eagle feathers or just have an opinion on them, please consider filling out my questionnaire. I would be so, so thankful for any insight. I am interested in the power and meaning given to the eagle and their feathers---especially by Indigenous peoples but I am also open to responses from non-natives if you feel compelled to respond.

Please share this if you're not able to respond! I would so so appreciate it!

[witchofthewild]

Also! Ndn tumblr - if anyone wants help finding language resources, feel free to reach out. I've spent five years in academia digging through indigenous language resources, and I know it's a common experience to feel like there isn't anything out there, especially with smaller languages. There's often so much out there that's buried or esoteric or locked behind paywalls! Always always always happy to help connect relatives with them <3

[mamaangiwine]

I can't speak for Hoodoo, but I can tell you from my experience as an Ndn- it's not about skin color. It's about community.

One of the reasons talking about "closed practices" with people is so frustrating is because it seems to trigger an immediate defensiveness, which often leads to a break down of communication when poc are simply trying to be informative. People are allowed to learn about closed practices in a respectful way. People are allowed to be, and are urged to be, curious and ask questions. I personally wouldn't call that being "exclusive"; it simply means that, depending on the practice, your role is that of an observer and not a participant.

Tbh, there are many people who participate in closed practices who are not of the closed practice's culture or heritage- but they were invited. They were taught. It was consensually shared.

I've met many white people who had a better understanding of my Native heritage than I did, because they grew up in close proximity to the reservation and I did not. When I lived in Wyoming I met white people who knew Shoshone and Lakota stories by heart. Who knew how to skin and cure a buffalo hide. Who knew how to sing and dance in a circle because they were taught by a tribal elder. I've met white people who were, in a sense, considered "honorary" tribal members. Granted, this didn't give them legal tribal membership, but it did mean that they were loved and respected by the tribe.

But they also understood what that meant.

They understood that, if they were taught anything of spiritual value, it was a gift. A tool they had been given out of respect and friendship, and that it wasn't their's to share with others without permission. That it didn't entitle them to be a teacher, or to play the part of the sage.

It is completely possible for an outsider to become a participant in some closed practices- but they have to be invited and understand the nature of their participation. They have to undersatnd that they now have a huge responsibility to be respectful, and a caretaker of what was gifted to them.

It also means that there is one very important step before anyone can learn anything-

One must be an ally. They must care about the issues that these groups face. The problems that they are experiencing on a day to day basis. They must become an advocate- because sometimes that struggle is inherent to the spirituality.

However, even then, people must understand that doesn't entitle them to a culture's spiritual heritage or methods. An individual must be an ally selflessly. They must do it while truly expecting nothing in return.

As a syncretic practicioner, I completely understand that cultures don't live in sealed off vacuums. The march of time effects all things. Academia, intermarriage, friendship, and yes, even violence and hatred, can cause the lines of one faith to blur into another. As a person of mixed heritage, I understand this as a complicated truth of my mere exisistence; one I struggle with daily.

But I am tentatively hoping that we can live in more enlightened times. I'm hoping that if some practices and traditions are to intermingle they can do so through mutual respect and sharing; rather than stealing and violence. That there can finally be agency, education and good faith behind our motivations and intentions as practicioners- but that does mean respecting a community's agency and accepting when you are told 'no'.

"Lol Who cares if it's a closed practice? Who's gonna stop me? Who's gonna know? 🤣😝"

The gods.

The gods will know.

[native-academia]

a love letter to the ndn graffiti on alcatraz

[mysexretspace]

Native American Academia

Based on myself*

• Beaded earrings and barrettes

• Learning your tribe's language

• Always having coffee

• Reading authors like Vine Deloria and N Scott Momaday

• Remembering that you belong at this University

• Decolonizing Academia

[anaelwings]

Yup'ik Hawks 👉🏽👈🏽

[shadeslayer]

@wigwamcore said: Oh goddddd. It really depends for me on who is doing them and what’s the context. I’ve swung back and forth over the years from when they were rare in the US and it was like fuck yes acknowledge us! And then they got institutional and it was like ok ur just saying shit, but now people are talking more about them being bad and while I soooo get it from an ndn perspective I’m worried white ppl will just stop doing ANYTHING rather than actually pivoting to real action

YEAH its definitely something where my feelings on it have shifted a lot over time, i remember when they first became a thing at all and i was like huh thats a really cool thing and then seeing how it became another way to just say words and then do nothing in actuality with that and now that theyre being criticized more and i dont like them really but also they are.. Something. even if its a small something

@mathosapa said: seconding wigwamcore, like sometimes using them for the most random shit feels weird (ive seen them done at bar events which is a weird vibe) but i think it’s worth it in more academic settings or poc focused spaces. what i like is when instead of saying “hello (city) we are on the land of (tribe)” just introducing it as “we are in (ndn place name) unceded land of (tribe), known also as (city)” the other thing is tho so many white dominated spaces start looking for any random ndn to do land acknowledgments, when i was in high school the school district made me come in to do a land acknowledgment for them, even tho i told them i wasnt from here, and im only here bc of the relocation program. and at my last job we constantly had people asking for random employees to come do land acknowledgments for them. they thought we were rent-a-ndn or something and not a social service provider sorry to add another comment but i also find it worrying to see so many white people now making jokes about land acknowledgements and its like the joke to talk about it almost

ok thats like so wild to see it at bar events, in my memory ive only encountered them irl (1) in oklahoma at the conference about repatriation legislation, (2) in a syllabus or two of mine in NAS classes taught by native teachers, so while i didnt really get it personally i liked that they did it bc it was important to them and it makes sense with the class context too, (3) in illinois at an art performance night themed around roots/land/ancestry. so even while the IL one i found a bit eye-rolling in how it was done, its definitely an event that sort of calls for something like that. academic spaces as a whole is interesting to bring up bc i think its an important place to talk abt that stuff, it also dredges up how often in academia ive felt that theres a lot of praising of decolonialism as an idea but only when it stays in its lane and no one ever tries to apply decolonial ideas/perspective/approach to anything not explicitly about nativeness (bc when ive tried to do that in multiple philosophy classes, ive gotten pretty soundly shut down no matter how nice the professor was). academia really frustrates me with its love of saying a lot of nice words about progressiveness and then pretty soundly making sure theres no room for you and that you have to fight tooth and nail for all your breathing room if you want to challenge its colonial imperial foundations

ooo yes though, i definitely prefer the second style of doing it. they are definitely something that depends So much on the minutia of how its done and by who, which is why it gives me such mixed feelings.

that is so utterly fucked that people were trying to use you as a fuckin rent-a-ndn. ive never encountered that before personally since OK never really did them/if they did, there were much more popular and involved ppl to ask than me, but now im in IL which is more into them + i really dont see many ntvs around, and if i start doing more academic work and work with the art and cultural orgs i have my eye on, i wonder if ill end up like that. it must be such a bitch bc i know if that happens to me itll be like. well i dont really *like* land acknowledgements & i dont want to encourage this tokenization so i want to say no, but if theyre done i want them to be done *right* so i would probably say yes in the end :(

YEAH OK REALLL THOUGH. YEAH. like i thought of it too with what wigwamcore said, but its just. ugh. theres this element to being native (and im sure other poc feel it too w their cultures, and it happens w marginalized ppl in general but i digress) where our internal arguments over things become like. public spectacle. and not even in a way where people know theres a big argument about it and theres different sides, but that they see a ntv or two post something about the situation and then go "ok thats the true fact of the situation and now i know that i completely understand this and can speak on it and can start fights with people to fight for this perspective ^_^" and its like. fuck off lol? like these discussions are not for white people but bc they involve things that happen in 'mixed company' as it were white people are aware of the fringes of it and then get all on their high horses about it. and its just. angering but also, idk, heartbreaking? it hurts that you cant just disagree about and talk abt this stuff without having to be aware of all these eyes on you that are going to assume so much and take so much and you have to watch yourself and watch everything you do and say so intensely for fear someone Completely Fucking Uninvolved will take it as something else

like just. UGH! like the woman i met who did the acknowledgement wasnt native but she was an immigrant whos very involved one of the only local native orgs which is itself native run and she talked abt being taught by native elders and while that itself can be a suspect phrase im taking her on good faith with it - and it just kind of hurts. that i disagree with how it was done but she learned from ppl who are native so i dont want to embroil her in this disagreement bc its a disagreement between me and those teachers she had about internal community stuff. and its so frustrating bc outsiders want to just know what the "right answer" is but there is no right answer, its an ongoing exploration, and theres no way to be involved that wont give mixed messages bc we dont even know where we stand with it and everyone has their own opinion and some ppl get that but a lot of people Dont

and then you get white people thinking theyre being great allies and super helpful by making jokes abt our internal politics that from us would be amusing but from them just end up being straight up racist . -_-

but this is great bc this is very much how i feel on it - mixed feelings changed over time with the political landscape, and from my exp of not having dealt w them much i prefer not having them but i also understand why theyre important to people and i do Not like the cavalier attitude not ntvs have started taking against them bc its not their fucking place to talk like that abt smth that oftentimes is being done by or was implemented by natives

ive seen arguments for and against them so im curious what the vibe is for yall bc i know My thoughts but im curious what mutuals/followers think. feel free to reply/inbox me further thoughts. no neutral option i want the bitchy opinion u have in ur heart of hearts

[qhariwarmi]

that NDN academia feel when your school does a land acknowledgement before every event, saying how the school wouldn't be where it's at without the indigenous people of the land, yet enrolls less than ten indigenous students a year, does almost nothing to help the people of that land, and has a very small and non extensive Native American studies program

[ladyimaginarium]

on plains indigenous sign language / hand talk.

[bryanharryrombough]

by Lindsay Nixon

In September 2016, I was asked to present on a student panel at the second annual “Building Reconciliation” conference at the University of Alberta in Edmonton. It was your usual suit-and-tie, fancy NDNs-only affair. Branding with feathers and images of happy, traditionally dressed First Nations people draped every corner of the university gym where the conference was held. Of course, these images consisted solely of First Nations peoples in regalia. Notably absent was any semblance of Inuit representation. The catering, over two days, no doubt cost thousands of dollars. There was the usual mess of useless conference swag, such as pens and notepads bearing the conference’s logo, strewn across the tables and stuffed into cheap tote bags handed out at registration—tote bags that likely ended up in trash cans, destined for landfills. And trash waste from the conference was just one small addition to its overall carbon footprint, which also included the moral, environmental and financial cost of supporting the crude-oil industry to fly in conference participants.

There was the usual fancy NDN drama too: a kind of drama that reminded me the Indigenous community present was one ultimately disconnected from the most marginalized among us. OG capitalist NDN daddy Phil Fontaine showed up hours late, the day’s agenda was delayed and the student panel was cut short. There was a rumour that Wab Kinew got paid thousands of dollars to speak. The students were paid $150 and, even then, I wasn’t paid for more than a year. When I was eventually paid, it was taxed, taking a rather large chunk of an already small honorarium. I was too exhausted from the process to follow up. Before being paid, I was accused of lying—all the students got paid the day of, the administrator argued, without even bothering to look into my request. Cool…cool…cool, cool, cool. I’m used to people in the prairies presuming I’m a lying, begging NDN, and other forms of colonial affect naturalized in the structures of those hallowed marble halls we call the academy and art gallery. But being presumed a lying, begging NDN by reconciliation conference administrators, well, that’s a whole new level of comic absurdity that so frequently mars Kafkaesque Canadian institutional attempts at this thing so lovingly called reconciliation.

But art institutional reconciliation is exactly what I want to discuss here. Because, for however many tens of thousands of dollars were dumped into that conference, a conference supposedly meant to strategize pathways to institutional reconciliation between universities and Indigenous communities, there were so many Indigenous peoples not present that day as speakers—noticeably, Inuit. The erasure of Inuit is widely overlooked in Indigenous thought (industries that sustain the dissemination of Indigenous knowledge and truth such as publishing, academia and not-for-profits). Inuit are often missing from Indigenous art, academic departments and other Indigenous institutions, as academic and curator Heather Igloliorte has prolifically argued. A predominate focus on relationship-building between universities and reserve communities—relationship-building that excludes Inuit—that best mirrors respectable institutional politics, and a politics of resurgence and nationalism within the Indigenous art canon in Canada and Indigenous studies departments, make Inuit seldom present at the table of reconciliation discussions. Ironic considering that they were one of the communities most pressed for testimony when the Truth and Reconciliation Commission began interviewing residential school survivors.

Overwhelmed, and forever an ever-sick, ever-bad NDN, I ducked out of the event a few times to smoke weed with my dirtbag Métis friends. A bad city-NDN coping mechanism, sure, but that was, that is, my medicine—how I survive spaces of institutional reconciliation. Universities have always been a weird space for me. I come from a prairie city-town: small, quaint, classless, unassuming and, yes, a little basic and naive, perhaps. Even Edmonton was the big city for me. And these slick-talking institutional NDNs—holay. I didn’t know I was a classless NDN until the fancy institutional NDNs told me so. But, you know what, we prairie city-town Natives know how to kin up, how to really show up for family in the city in the same ways others performatively show up for community only through land-based forms of activism—the loudest, sexiest form of Indigenous resistance those institutions and institutional NDNs so love. I’ve always felt a little too city-poor, too loud, too brown, too fucked up, for these spaces of reconciliation. I ducked out right before my panel, and I’m not ashamed to say so. To say that Indigenous people who choose supposedly dark medicines to alleviate that pain of colonialism are somehow lesser than, to sweep their stories under the bearskin rug, is the same manifestation of shame and upward racial and class mobility they infected our parents and grandparents with in residential schools.

When I returned to the conference, and it was finally my turn to speak, I looked out into the crowd and saw some of the most respected tribal leaders in Alberta alongside high-earning Indigenous celebrities and academics. But I saw the students too. This was during the first year of my master’s, where my funding was barely enough to cover my tuition and it came from a personal grant, generously awarded to me by the only Indigenous professor in the department (and one of the only Indigenous professors at the university, at that). I would later find out that virtually everyone else in my completely non-Indigenous cohort had received departmental entrance scholarships. I rolled up to the conference with around $300 in my bank account. I mean, I had just used the food bank at my school only a few weeks before, during a delay in getting my first payout from that grant and after quitting my job to start grad school. Having heard my other Indigenous peers’ stories about living in poverty while attending university, I knew many of the other students in the audience were likely in the same position as I was. And here we were, discussing reconciliation among those perhaps most disconnected from what a healing community would entail. I remember feeling angry.

“Annie Pootoogook is arguably one of the most famous Inuk artists in Canada,” I said to the crowd. “She won many prizes and was shown in national galleries, yet still lived in the street economies of Ottawa.” I paused. “Recently, her body was found in the Rideau River.” Following Pootoogook’s death, a forensic officer from the Ottawa Police made derogatory comments about her on a public Facebook post, igniting national outrage about racist Canadian institutions that have a negative impact on the dignity and lives of Inuit. News articles circulated with images of Pootoogook in the streets of Ottawa creating her drawings. These images perpetuated the white saviour mythos that follows Pootoogook’s work—a narrative that settlers project on many urban Inuit, as if to say, Look at all Pootoogook has overcome! She has been street-involved and, despite it all, possesses this beautiful, creative universe within her mind. Of course, the white saviour gaze is dehumanizing and exploitative. It’s not concerned with oh, say, organizing for the livelihood, secure housing or continued well-being of street-involved Inuit in Ottawa, including Pootoogook. The white saviour gaze is only concerned with creating a romanticized vision of Inuit artists, one they may discursively exploit and circulate forevermore, to serve their agenda of psychic conquest. Thus spoke the pseudo-logic that is white liberalism.

My friend, with whom I had taken my medicine break, projected an image of Annie Pootoogook’s Sobey Awards (2006) on a screen behind me as I spoke. I remember tearing up knowing there were so many Inuit and street-involved people like Pootoogook missing from the table that day. I had questions: What is reconciliation? Reconciliation to whom? Who is benefiting from all the money spent on the conference? Who does institutional reconciliation support, if not Indigenous students and other peoples most vulnerable within our communities?

These are the stories we don’t tell about Inuit art, about reconciliation, even among First Nations and Métis peoples, whom I’ve found can be ignorant about the divides between Inuit and other Indigenous communities. Because they are too dangerous to tell: the stories of exploited communities voyeuristically propped up to serve industries dominated by white people and a few good (nationalist) NDNs. Inuit have experienced exploitation by art industries since James Houston implemented the first Inuit art co-op with the intention of exploiting Inuit makers and artists for a burgeoning art industry dominated by the desires of settler collectors. Houston even handed out instructional pamphlets describing what artists should make to serve the curiosity of a voyeuristic and othering white Canadian viewer. Pootoogook loved her co-op. She talked about the co-op with warmth and generosity in an interview before her death. Many Inuit still view their co-op as supportive to Inuit makers and artists in the north of Canada. It’s important to talk about co-ops without erasing the agency and truths of Inuit who still value the system. But there is a difference between recognizing settler industry–led exploitation and erasing agency. I would argue that it’s not Inuit who are profiting most from the co-op system. This is best represented by an industry standard of not giving artists resale fees on works of sold art, a practice that overwhelmingly disadvantages Inuit working in the co-op system: only the collector and perhaps the private galleries holding the work profit, as artist and curator Kablusiak has stated.

I see the same industry cultures that formed within the co-op model in the National Gallery’s destructive history of curating a specific “look” to the Inuit art collected, and discarding anything that didn’t fit this image. And it’s not just galleries that sustain an exploitive environment toward Inuit in Canadian art industries: publications, dealers, collectors, not-for-profits and more all aid in promoting an industry standard that denies resale rights to Inuit artists. When an Inuit art figure or institution is silent about the exploitative nature of the Inuit art industry, trust that their silence is driven by self-protection. Trust that it is silent complicity. This is the legacy of Inuit art in Canada, as told through the work of Annie Pootoogook. This is the legacy we, as Canadians, as non-Inuit Indigenous peoples, must contend with. And, with Isuma representing Canada at the Venice Biennale this year, it feels important to ask if Inuit art is being jettisoned onto the international stage as a continued form of white liberal voyeurism: positioned as Canada’s pretty distractions to Trudeau’s anti-Indigenous liberal policies, meant to represent the supposedly kind and diverse histories of Canada. Is this what Inuit art is, Canada? Your pretty distraction that hides, and continues, centuries of violent colonial policies and trauma?

Back at the conference, I was still trying to get my words out. My voice was shaking. But I wanted to push forward and honour Pootoogook’s legacy and, perhaps, to implicate the Inuit art industry in Canada in Pootoogook’s death. Even if what I was about to say was dangerous. I was emotional, feeling unsafe in an environment I was told I should feel safe in, and, well, a little bit high. I never met Pootoogook but I missed her, like I miss all kin who left us too soon because of the impact of colonialism on their bodies and lives. I continued to speak about my own perceptions of Pootoogook’s life and legacy, posing a rhetorical experiment about this thing we were all there to talk about: institutional reconciliation.

“The art world was a community that well-exploited Annie…then, in turn, probably walked past her in the streets in Ottawa,” I told the crowd. I wondered how it was possible that one of the highest-grossing Inuit artists in Canada, in one of Canada’s most profitable arts industries, which contributed 87.2 million dollars to Canada’s GDP in 2015 alone, died street-involved and in poverty. Who is profiting off the Inuit art industry, if not Inuit artists themselves? Pointing to the projection of Sobey Awards, I continued, “What does institutional reconciliation in the arts mean if people like Annie can’t even access so-called reconciliatory efforts because of bureaucratic and institutional barriers? To me, reconciliatory efforts in the arts seem to be little more than lip service right now.” This was an industry utterly fascinated with the propagation of her image, of what she represented to the Inuit art industry and Canada. In Sobey Awards, she depicted Canadian publics as crowding her, viewing her through literal lenses of othering and voyeuristic pleasure. Where was the Inuit art industry when she was living street-involved in Ottawa? I believe this is an industry that cherry-picked the parts of Pootoogook’s life and work that they could exploit, without offering enough support to survive the realities they saw her living every day, in Ottawa, where they centralized the operations of the same industry that functioned to exploit her. What grounds the Inuit art industry, if not ethical and responsible relationship building with Inuit artists themselves?

Some might say that we shouldn’t talk about Pootoogook as street-involved, or about the violent way she died. Some would say that talking about Pootoogook’s life and death on the streets of Ottawa is a dishonour to her legacy and memory. But this kind of judgment, which degrades people who use substances and drink, is merely a holdover of colonial Catholicism masked as “tradition.” City-kid coping mechanisms, just like Kablusiak depicts with their soapstone sculptures. Working as a community street-outreach worker in Montreal, I met many street-involved Inuit deserving of dignity and respect. There is no dishonour in being Inuit and street-involved in a world that functions to eliminate Inuit life to make way for a colonial order. Thinking about the mind-boggling figures that went into putting on the reconciliation conference, and thinking about when I was an outreach worker and the small funds we had to stretch to support as many people as we could—to prevent the deaths of street-involved Indigenous peoples who are never present or represented in (performative) spaces of reconciliation—I would argue that the dishonour lies in industry alone. And, in the case of Pootoogook’s profound work, legacy and life, the dishonour certainly lies in the Inuit art industry.

“I implore all administrators in this room to stop caring only when we die, or when there is a flashy conference about the Indigenous topic du jour. You need to start caring now,” I finished.

This is the skewed legacy we, the next generation, inherit. How do we reconcile performative attempts to make the Inuit art industry more ethical with the fact that Inuit continue to experience economic and social disparity because of that very industry? Confronting dangerous truths means confronting an art industry, and all the actors within it, that has long been exploitative of Inuit. For “SPACETIME” editors asinnajaq and Kablusiak, Inuit futures are ensuring that all their kin’s truths are heard, and that any industry profiting from Inuit art is responsible to Inuit communities.

[arecybersecurity]

NDN Community Meeting

Named Data Networking Community Meeting 2019 will be hosted by the National Institute of Standards and Technology (NIST) on September 5 and 6, 2019. The organizing committee cordially invites you to participate in and contribute to the event! 

NDNComm is an annual event that brings together a large community of researchers from academia, industry, and government, as well as users and other…

[inhandnetworks-blog]

Consortium to Focus on Developin fcc certified  g a New Architecture for the Internet

www.inhandnetworks.com

NDN leverages evidence about what has worked on the Internet over the past 30-plus years.

UCLA will host a consortium of universities and leading technology companies on September 4 and 5 to promote the development and adoption of Named Data Networking (NDN) – an emerging Internet architecture that promises to increase network security, accommodate growing bandwidth requirements and simplify the creation of increasingly sophisticated applications.

The consortium is being organized by a team of NDN researchers at the UCLA Henry Samueli School of Engineering and Applied Science. Other founding academic members of the NDN project are UC San Diego, Colorado State University, the University of Arizona, the University of Illinois Urbana–Ch Dual SIM M2M router ampaign, the University of Memphis, the University of Michigan and Washington University in St. Louis.

The first NDN community meeting will be held September 4 and 5 at UCLA’s School of Theater, Film and Television, which has played a key role in envisioning the future of human communication over NDN since the project’s origins in 2010.

Among the industry partners planning to participate are Verisign, Cisco Systems and Panasonic. They will be joined by representatives from Anyang University (Korea), Tongji University and Tsinghua University (China), the University of Basel (Switzerland) and Waseda University (Japan).

“Collaboration with industry is an important step toward bringing Future Internet Architectures out of the laboratory and into the real world,” said Darleen Fisher, the NSF program officer who oversees the Future Internet Architectures program supporting NDN.

The NDN team’s goal is to build a replacement for Transmission Control Protocol/Internet Protocol, or TCP/IP, the current underlying approach to all communication over the Internet. The consortium aims to generate a vibrant ecosystem of research and experimentation around NDN; preserve and promote the Industrial 3G Router   openness of the core NDN architecture; and organize community meetings, workshops and other activities.

“NDN has built significant momentum through a commitment to an open approach that aims to limit proprietary intellectual property claims on core elements of the architecture,” said Lixia Zhang, UCLA’s Jonathan B. Postel Chair in Computer Science and a co-leader of the project.

“This has spurred substantial interest from both academia and industry. Our goal with the consortium is to accelerate the development of architecture that will lift the Internet from its origins as a messaging and information tool and better prepare it for the wide-ranging uses it has today and will have tomorrow,” Zhang said.

NDN leverages empirical evidence about what has worked on the Internet and what hasn’t, adapting to changes in usage over the past 30-plus years and  da monitoring  simplifying the foundation for development of mobile platforms, smart cars and the Internet of Things — in which objects and devices are equipped with embedded software and are able to communicate with wireless digital networks.

Since 2010, the National Science Foundation’s Future Internet Architectures program has provided more than $13.5 million to the NDN project led by UCLA, including a grant of $5 million that was announced in May.

“Cisco Systems is enthusiastic about the formation of the NDN community,” said David Oran, a Cisco Fellow and a pioneer in Internet Protocol technologies. “It will help evolve NDN by establishing a multifaceted community of academics, industry and users. We expect this consortium to be a major help in advancing the design, producing open-source software, and fostering standardization and adoption of the technology.”

The NDN project is co-led by Zhang and Van Jacobson, a UCLA adjunct professor and member of the Internet Hall of Fame. UCLA became the birthplace of the Internet in 1969, when a message from the lab of UCLA computer science professor Leonard Kleinrock was sent to the Stanford Research Institute — the first-ever message transmitted over the network that later became known as the Internet.

Image: UCLA newsroom

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[qhariwarmi]

Regalia Making Tutorial Videos

As someone who's completely on its own when it comes to making regalia, here are some Youtube videos I think can be helpful for other NDNs in the same boat

Making Regalia (Cheyenne and Araphano Productions) - pretty long playlist of tutorials for different aspects of making regalia

The Grass Dance Chronicles (Chelsey Moon) - this person has lots of NDN craft videos but I've only checked out the Grass Dancer ones so far which have been helpful

These are the only ones I found helpful (so far), but if you have any additions feel free to add them!