“As you are falling, your sense of orientation may start to play additional tricks on you. The horizon quivers in a maze of collapsing lines and you may lose any sense of above and below, of before and after, of yourself and your boundaries”

—Hito Steyerl, In Free Fall: A Thought Experiment on Vertical Perspective

Looking Down From Up Gallery 44 x Inuit Art Quarterly

SEPTEMBER 2019

ᑕᐅᑐᖕᓂᖅ ᑕᐅᓄᖓ ᑕᑉᐸᖓᑦ

ᑎᑎᕋᖅᑕᐅᓯᒪᔪᓂᒃ ᐱᖓᔪᐊᓂᑦ ᑕᕙᓂ A maze of collapsing lines, ᒐᕋᓕ 44-ᒥᑦ ᐱᓕᕆᖃᑎᒋᓐᓂᕐᒥᑦ ᑕᑯᒃᓴᐅᓂᖃᖅᐳᖅ ᑕᒃᑯᓇᓂ ᐃᓄᐃᑦ ᓴᓇᐅᒐᓕᕆᔨᖏᓐᓂᑦ, ᑕᑯᒃᓴᐅᓂᖃᖅᖢᑎᒃ ᓴᓇᖑᐊᓂᒃ ᐊᔾᔨᓕᐅᖅᓯᒪᔪᓂᒃ, ᐊᒻᒪᓗ ᐃᓄᐃᑦ ᐃᓕᓐᓂᐊᕐᓂᖏᓐᓄᑦ ᐊᔾᔨᓕᐅᕐᓂᕐᒥᒃ. ᑕᓐᓇ ᑐᒃᓯᕋᐅᑕᐅᔪᖅ ᑐᑭᒧᐊᖅᑎᑕᐅᓯᒪᔪᖅ ᖃᕆᓴᐅᔭᑎᒍᑦ ᐱᔪᓐᓇᕐᓂᕐᒥᒃ ᖃᓪᓗᓇᑦ ᓄᓇᖓᓂᕐᒥᐅᑕᐅᔪᓂᒃ ᐊᒻᒪᓗ ᐃᓄᐃᑦ ᓄᓇᖏᓐᓂᑦ, ᐊᒻᒪᓗ ᐱᓗᐊᖅᑐᒥᒃ, ᐅᑭᐅᖅᑕᖅᑐᒥᑦ ᓄᓇᓕᕋᓚᑦ ᐊᒃᑐᕈᕐᓇᖅᑐᒥᒃ ᐱᔭᐅᓯᒪᓂᖏᓐᓂᒃ ᓱᒃᑲᐃᑦᑐᒻᒪᕆᖕᒥᑦ ᖃᕆᓴᐅᔭᒃᑯᕈᑎᖃᕐᓂᖏᓐᓂᒃ.


ᖃᕆᓴᐅᔭᒃᑯᖅᑎᑦᑎᔨᐅᔪᑦ ᐱᕙᓪᓕᐊᑎᑦᑎᖏᒻᒪᑕ ᑐᓴᐅᒪᖃᑦᑕᐅᑎᓂᕐᒧᑦ ᑕᒪᒃᑯᓂᖓ ᓄᓇᖃᖅᑐᓂᒃ ᐅᖓᓯᒃᑐᒥᒃ ᓱᕐᓗ ᐅᑭᐅᖅᑕᖅᑐᒥᑦ, ᓱᖃᐃᒻᒪ ᐃᓄᒋᐊᖏᓐᓂᖅᓴᐅᔪᓂᒃ ᑭᓇᐅᔭᓕᐅᖏᓐᓂᖅᓴᐅᕙᖕᒪᑕ ᑕᒪᒃᑯᓂᖓ ᐃᓄᒋᐊᓂᖅᓴᐅᔪᓂᑦᑐᓂᒃ, ᓱᕐᓗ ᐃᒪᓐᓇ ᓄᓇᓕᖕᒥᐅᑕᓂᒃ ᐃᓄᒋᐊᖕᓂᖅᓴᐅᔪᓂᑐᓂᒃ ᐊᑭᓕᖅᑎᑦᑎᕙᖕᒪᑕ ᐅᓄᕐᓂᖅᓴᐅᔪᓂᒃ ᖃᕆᓴᐅᔭᒃᑯᕈᑎᒋᓂᐊᖅᑕᖏᓐᓂᒃ. ᑕᐃᒪᐃᓐᓂᖓᓄᑦ ᓱᕋᒍᑕᐅᕗᖅ ᖃᕆᓴᐅᔭᒃᑯᕈᑕᐅᔪᓐᓇᖅᑐᒃᑯᑦ ᐊᑐᖅᑕᐅᕙᒻᒪᕆᖕᒪᑕ ᐃᓕᓐᓂᐊᕐᕕᖕᒥ, ᐊᓐᓂᐊᕐᓇᖏᑦᑐᓕᕆᔨᒃᑯᓐᓂᑦ ᐊᒻᒪᓗ ᐊᑦᑕᓇᖅᑕᐃᓕᒪᓕᕆᔨᒃᑯᓐᓂᑦ ᑕᒪᓂ ᐊᓐᓂᐊᖅᑐᓕᕆᔨᓂᒃ ᐱᑕᖃᓗᐊᖏᑎᓪᓗᒍ. ᑕᒃᑯᐊ ᖃᕆᓴᐅᔭᒃᑯᕈᑎᑦ ᐊᑐᖅᑕᐅᒻᒪᕆᒃᐸᖕᒪᑕ ᑕᒪᓂ ᐅᐊᓕᓂᕐᒥᐅᑕᐅᔪᓂᑦ ᓄᓇᕐᔪᐊᕐᒥᑦ. ᖃᕆᓴᐅᔭᑎᒍᑦ ᑲᑎᓯᒪᓂᐅᕙᒃᑐᖅ ᑕᒪᒃᑯᑎᒍᓇᖅ ᐅᐊᔭᑎᒍᑦ ᑕᒪᒃᑯᓄᖓ ᓄᓇᓕᕐᔪᐊᓄᑦ ᐊᑐᖅᑕᐅᕙᒃᑐᑦ ᓄᓇᕐᔪᐊᕐᒥᑦ ᐅᑭᐅᖅᑕᖅᑐᐊᓂᑦ. ᑭᓯᐊᓂᑦᑕᐅᖅ ᓇᒻᒪᑦᑎᐊᖁᔨᒐᓗᐊᖅᖢᑎᒃ ᑕᒃᑯᐊ ᖃᕆᓴᐅᔭᑎᒍᑦ ᐊᒻᒪᓗ ᐊᓯᔾᔨᖅᑕᐅᔪᓐᓇᖏᑐᑎᒍᑦ ᐃᑲᔪᕈᑕᐅᕙᒃᑐᖅ (ᓱᕐᓗ ᑕᐅᑐᒃᖢᒋᑦ) ᐃᓄᐃᑦ ᓄᓇᓕᖏᓐᓂᑦ, ᐊᔪᕐᓇᕈᑕᐅᓕᓱᖑᕗᖅ ᑕᒪᓐᓇ ᑐᒃᓯᕋᐅᑕᐅᔪᖅ. ᑕᐃᒪᓕ ᐱᒋᐊᓕᖅᖢᑕ ᑕᓱᒥᖓ ᑎᑎᕋᖅᑕᑦᑎᓐᓂᒃ, ᐅᕙᒍᑦ ᑎᑎᕋᖅᑎᐅᔪᑎᒍᑦ ᐊᐱᖅᓱᓚᐅᖅᐳᒍᑦ ᐃᒪᓐᓇ: ᖃᓄᕐᓕ ᑕᒪᒃᑯᐊ ᓇᒻᒪᖏᑦᑐᑦ ᐊᒃᑐᕈᑕᐅᕙᒃᐸᑦ ᐱᕙᓪᓕᐊᑎᑕᐅᔪᒃᑯᑦ ᐊᒻᒪᓗ ᐊᔾᔨᓕᐅᖅᑕᐅᕙᒃᑐᑦ ᖃᕆᓴᐅᔭᒃᑯᕈᑕᐅᔪᓐᓇᖅᑐᒃᑯᑦ ᐅᑭᐅᖅᑕᖅᑐᒥᑦ, ᐊᒻᒪᓗ ᖃᓄᖅ ᐱᔪᓐᓇᕋᔭᖅᐱᑕ, ᑲᓇᑕᒥ ᖃᓪᓗᓇᑦ ᓄᓇᖓᓂᕐᒥᐅᑕᐅᓪᓗᑕ ᐱᓕᕆᐊᖃᕐᓂᑦᑎᓐᓂᒃ ᑕᒪᒃᑯᓂᖓ ᐊᔾᔨᓕᐅᖅᓯᒪᔪᓂᒃ ᐃᓄᐃᑦ ᐃᓕᖅᑯᓯᑐᖃᖏᓐᓂᒃ ᐱᓯᒪᔪᓂᒃ, ᖃᓄᕐᓕ ᑕᒪᒃᑯᐊ ᐱᔪᓐᓇᕋᔭᖅᐱᑎᒍᑦ?

ᑕᒃᑯᐊ ᐊᐱᖅᑯᑕᐅᔪᑦ ᑭᐅᑦᑎᐊᕈᒪᓪᓗᒋᑦ, ᑕᕙᓂ ᑎᑎᕋᖅᑕᐅᓯᒪᔪᒥᑦ ᐊᕕᒃᓯᒪᓂᐅᔪᖅ ᑕᑯᒃᓴᐅᓂᖃᖅᐳᖅ ᐱᓕᕆᐊᖑᔪᓂᒃ ᑎᓴᒪᐅᔪᓂᒃ ᐃᓄᐃᑦ ᐊᔾᔨᓕᐅᖅᓯᒪᔭᖏᓐᓂᒃ. ᐃᓚᖏᑦ ᐊᑐᖅᖢᑎᒃ ᖃᖓᑦᑕᖅᑎᑕᐅᓯᒪᔪᑎᒍᑦ ᖁᓚᒍᓕᖑᐊᑎᒍᑦ ᐊᔾᔨᓕᐅᖅᓯᒪᔪᓂᑦ ᐊᑐᖅᑕᐅᕙᒃᑐᑎᒍᑦ ᓄᓇᖑᐊᓕᐅᖅᑐᓄᑦ, ᐊᒻᒪᓗ ᐊᑐᖅᐸᒃᖢᑎᒃ ᐊᔾᔨᓕᐅᕐᓂᒃᑯᑦ ᓱᕐᓗ  ᑐᓴᐅᒪᖃᑦᑕᐅᑎᕙᒃᖢᑎᒃ ᑕᒪᓂᖢᑎᒃ ᐅᑭᐅᖅᑕᖅᑐᑉ ᓄᓇᓕᖏᓐᓂᑦ ᐊᑐᖅᖢᑎᒃ ᓱᒃᑲᐃᑦᑐᒃᑯᑦ ᑲᕆᓴᐅᔭᒃᑯᕈᑎᓂᒃ. ᑕᐅᑐᒃᖢᑕ ᖃᖓᑦᑕᖅᓯᒪᔪᑎᒍᑦ ᐊᒻᒪ ᖁᓚᒍᓕᖑᐊᑎᒍᑦ ᐊᔾᔨᓕᐅᖅᑕᐅᕙᒃᑐᓂ ᑕᒃᑯᓇᖓᑦ ᐃᐊᓪᑐᕆᑦ ᐊᓕᓐᒧᑦ (ᕆᒍᓕᑦ ᓄᓇᑦᓯᐊᕗᒥᐅᑕᖅ) ᐊᒻᒪᓗ ᕋᐳᑦ ᑲᐅᑐᒃᒧᑦ (ᑲᖏᖅᑐᒐᐱᖕᒥᐅᑕᖅ, ᓄᓇᕗᒻᒥᑦ) ᑕᐅᑐᓕᓚᐅᖅᐳᒍᑦ ᖃᓄᖅ ᑕᒪᒃᐊ ᐃᓄᐃᑦ ᐃᓕᖅᑯᓯᑐᖃᖏᑦ ᐊᔾᔨᓕᐅᖅᑕᐅᓯᒪᔪᑦ ᖃᐅᔨᔭᐅᑎᑦᑐᓐᓇᕐᓂᑦᑎᓐᓂᒃ. ᑕᕙᖓᑦ ᐱᒋᐊᖅᖢᑕ, ᒪᐅᖓᓕᓚᐅᖅᐳᒍᑦ ᒥᐊᓕ ᒍᐊᑕᓐ (ᑯᔪᐊᕐᒥᐅᑕᖅ, ᓄᓇᕕᒃᒥᑦ) ᐊᒻᒪᓗ ᓚᐃᓴ ᐊᐅᑦᓚᓗᒃ-ᐅᐊᑦᔅᑯ (ᐊᐅᓱᐃᑦᑐᒥᐅᑕᖅ, ᓄᓇᕗᒻᒥᑦ) ᐊᔾᔨᓕᐅᖅᑕᖏᓐᓂᒃ ᑕᒪᒃᑯᓂᖓ ᐃᓄᐃᑦ ᓴᓇᔪᑦ ᐊᒻᒪᓗ ᑕᐅᑐᒃᖢᑎᒃ ᖃᐅᔨᓴᖅᑐᓂᒃ, ᒐᕋᓕ 44 ᐊᑭᑦᑐᖃᒻᒪᕆᓕᖅᐳᑦ ᑕᒪᒃᑯᓂᖓ ᐃᓄᖕᓂᑦ ᓴᓇᐅᒐᓕᐅᖅᑎᐅᔪᓂᒃ ᓴᓇᔭᒥᓂᒃ ᑕᑯᒃᓴᐅᑎᑦᑎᕙᖕᒪᑕ, ᐊᒻᒪᓗ ᑕᒃᑯᐊ ᐃᓄᐃᑦ ᓴᓇᐅᖓᓕᕆᔨᑦ ᖃᐅᔨᓴᑦᑎᐊᓱᖑᖕᒪᑕ ᑕᒻᒪᓗ ᑎᑎᕋᖅᑕᒥᓂᒃ ᑕᑯᒃᓴᐅᑎᑦᑎᐊᖅᐸᖕᒪᑕ ᑕᒪᒃᑯᓂᖓ ᓴᓇᐅᒐᕐᓂᒃ.


ᐊᑐᓂ ᓴᓇᐅᒐᓕᐅᖅᑎᑦ ᓴᓇᔭᖏᑦ ᑕᑯᒃᓴᐅᑎᑕᐅᕙᒃᐳᑦ ᐊᒻᒪᓗ ᑕᑯᔭᐅᔪᓐᓇᖅᖢᑎᒃ IAQ-ᑯᑦ ᐊᒻᒪᓗ ᓴᓇᐅᒐᓕᐅᖅᑎᐅᑉ ᐊᐱᖅᓱᖅᑕᐅᓂᖏᑦ ᑕᔅᓱᒪ ᔭᓐ ᔨᐅᒋᒐᓐ, IAQ ᑎᑎᕋᖅᑎᐅᔪᓄᑦ ᑲᒪᔨᒻᒪᕆᒃ ᑎᑎᕋᖅᑕᐅᓯᒪᔪᖅ ᑕᕙᓂ IAQ-ᑯᑦ ᖃᕆᓴᐅᔭᑎᒍᑦ ᑕᑯᔭᐅᔪᓐᓇᖅᑐᖅ.


ᐃᐅᑐᕆᑦ ᐊᓕᓐ, ᐱᖃᑎᖃᖅᖢᓂ ᓄᓕᐊᕐᒥᓂᒃ ᑯᕆᔅᑎ ᓴᐅᑦ, ᓇᖕᒥᓂᖃᖅᐳᑦ Birds Eye Inc.-ᒥᑦ, ᐃᓄᖕᒥᑦ ᓇᖕᒥᓂᕆᔭᐅᓪᓗᓂ ᐊᒻᒪᓗ ᐊᔾᔨᓕᐅᖅᓯᒪᔪᓂᑦ ᑕᑯᒃᓴᐅᑎᑦᑎᕙᒃᖢᑎᒃ ᐊᔾᔨᓕᐅᖅᓯᒪᔪᓂᒃ 3D scans-ᓂᒃ, ᐊᒻᒪᓗ ᐊᐅᓚᔪᓂᒃ ᐊᔾᔨᓕᐅᖅᓯᒪᔪᓂᒃ ᐱᖃᖅᖢᑎᒃ, ᑕᒪᕐᒥᒡᓗ ᖁᓚᒍᓕᖑᐊᑎᒍᑦ ᐊᔾᔨᓕᐅᖅᑕᐅᓯᒪᓪᓗᑎᒃ. ᑕᒪᒃᑯᐊ ᖁᓚᒍᓕᖑᐊᑎᒍᑦ ᐊᔾᔨᓕᐅᖅᑕᐅᓯᒪᔪᑦ ᖃᐅᔨᓴᕈᑕᐅᔪᑎᒍᑦ ᐊᒻᒪᓗ ᓄᓇᖑᐊᓕᐅᕈᑕᐅᔪᑎᒍᑦ ᐊᑐᖅᑕᐅᕙᒃᑐᑦ ᓱᕐᓗ ᐱᖓᓱᓕᖓᔪᓂᒃ ᑕᐅᑐᒃᑕᐅᔪᓐᓇᖅᑐᓂᒃ. ᐊᓕᓐ ᐱᓕᕆᔨᑕᖅᐸᒃᑐᖅ ᐊᔪᖏᑦᑐᓂᒃ ᐊᔾᔨᓕᐅᖅᓯᒪᔪᓂᒃ ᓱᕐᓗ ᐃᓚᒋᓕᐅᑎᑦᑎᔪᓐᓇᖅᑐᒥᒃ ᐊᒥᓱᒻᒪᕆᖕᓂᒃ ᖁᓚᒍᓕᖑᐊᑎᒍᑦ ᐊᔾᔨᓕᐅᖅᑕᐅᕙᒃᑐᓂᒃ ᐊᒻᒪᓗ ᐱᒐᓱᓕᖓᔪᓂᒃ ᑕᐅᑐᒃᑕᐅᔪᓐᓇᖅᑐᓂᒃ ᓄᓇᒥᑦ ᑕᕙᓂ ᓄᓇᖓᓂᑦ ᕆᒍᓕᑦᒥᑦ ᓚᐸᑐᐊᑉ ᓯᒡᔭᖓᓂᑦ, ᐃᓄᐃᑦ ᓄᓇᖁᑕᓂ ᓂᒋᖅᐸᓯᒻᒪᕆᐊᓂᑦ.


ᑕᓐᓇ ᐊᔾᔨᓕᐅᕆᔨ ᑐᖅᑯᖅᑐᐃᕙᒃᐳᖅ ᐊᔾᔨᓕᐅᖅᓯᒪᔪᓂᒃ ᐃᓄᐃᑦ ᓄᓇᓕᕕᓂᖏᓐᓂᒃ ᐅᐸᒃᓯᔪᓐᓇᖏᑦᑐᑦ ᑕᒪᒃᑯᓂᖓ ᐃᓄᐃᑦ ᓄᓇᓕᖁᑎᕕᓂᖏᓐᓂᒃ, ᐊᒻᒪᓗ ᑭᖑᓕᒃᓴᑦᑎᓐᓄᑦ ᑕᑯᔭᐅᔪᓐᓇᕋᔭᖅᑐᓂᒃ. ᑕᐃᒪᓕ ᐱᑕᖃᑦᑎᐊᖏᒃᑲᓗᐊᖅᑎᓪᓗᒍ ᑕᒪᒃᑯᓂᖓ ᐊᔾᔨᓕᐅᖅᑕᐅᓯᒪᔪᑎᒍᑦ ᑕᑯᔭᐅᔪᓐᓇᖅᑐᓂᒃ ᑕᕙᓂ ᕆᒍᓕᑦᒥᑦ ᑕᐃᒪᓕ ᒪᓐᓇᐅᔪᖅ ᐱᑕᖃᓕᖅᐳᖅ ᖃᕆᓴᐅᔭᑎᒍᑦ ᑕᒪᒃᑯᓂᖓ ᐊᔾᔨᓕᐅᖅᑕᐅᓯᒪᔪᓂᒃ ᑕᑯᔭᐅᔪᓐᓇᕐᓂᐊᖅᑐᓂᒃ, ᐊᓕᓐ ᓴᓇᒻᒪᕆᒃᐸᒃᐳᖅ ᑕᒪᒃᑯᓂᖓ ᐊᒻᒪᓗ ᓄᓇᖓᓂᑦ ᓄᓇᖑᐊᑎᒍᑦ ᐃᓕᓯᓚᐅᖅᐳᖅ; ᑕᐃᒪᓕ ᑕᑯᔪᓐᓇᖅᐳᓯ ᐊᑕᐅᓯᑯᓗᖕᒥᑦ ᐱᓱᒃᓗᒍ ᐊᑐᖅᑕᐅᔪᓐᓇᖅᑐᒥᒃ ᑕᑯᒃᓴᐅᔪᖅ ᑕᕙᓂ ᕆᒍᓕᑦᒥᑦ ᑕᑯᔪᓐᓇᖅᑕᑦ ᖃᕆᓴᐅᔭᑎᒍᑦ ᓄᓇᖑᐊᑎᒍᑦ/Street View. ᐊᓕᓐ ᐊᖅᑭᒃᓯᓚᐅᖅᐳᖅ ᖃᕆᓴᐅᔭᑎᒍᑦ ᑕᑯᔭᐅᔪᓐᓇᖅᑐᒥᒃ ᑕᒪᐃᓐᓂᒃ.


ᐊᓕᓐ ᖁᕕᐊᒋᔭᖃᒻᒪᕆᒃᐳᖅ ᐊᔾᔨᓕᐅᕆᓂᕐᒥᒃ ᐱᓕᕆᐊᖃᒻᒪᕆᒃᖢᓂ ᐊᔾᔨᓕᐅᕆᓂᕐᒥᒃ ᓄᓇᖑᐊᓕᐅᕐᓂᕐᒧᑦ; ᑕᐃᒪᓕ ᖃᐅᔨᓕᓚᐅᖅᐳᖅ ᑕᒪᒃᑯᐊ ᖁᓚᒍᓕᖑᐊᑦ ᐊᔾᔨᓕᐅᕆᔪᓐᓇᕐᑕᒪ ᓱᓇᑐᐃᓐᓇᕐᓂᒃ ᖃᖓᑕᓪᓗᑎᒃ, ᑕᐃᒪᓕ ᐊᔾᔨᓕᐅᕆᖃᑦᑕᓕᓚᐅᖅᐳᖅ ᖃᖓᑕᔪᒃᑯᑦ ᐊᒻᒪᓗ ᓄᓇᒥᑦ ᑕᑯᒃᓴᐅᔪᑎᒍᑦ ᐊᐅᓚᖏᑦᑐᒃᑯᑦ ᐊᒻᒪᓗ ᐊᐅᓚᔪᒃᑯᑦ ᐊᔾᔨᓕᐅᕆᕙᒃᖢᓂ. ᓯᕗᓪᓕᖅᐸᒥᑦ ᐊᔾᔨᓕᐅᕆᖃᑦᑕᓕᖅᑎᓪᓗᒍ, ᐊᓕᓐ ᖃᐅᔨᓕᓚᐅᖅᐳᖅ ᐊᔾᔨᓕᐅᖅᑕᖏᑦ ᑕᑯᒃᓴᐅᔪᓐᓇᕐᓂᖏᓐᓂᒃ ᖃᕆᓴᐅᔭᑎᒍᑦ, ᑕᑯᔭᐅᔪᓐᓇᕐᓂᐊᖅᑐᓂᒃ ᐊᐅᓚᔪᑎᒍᑦ ᐊᒻᒪᓗ ᐃᓕᓐᓂᐊᖅᑎᑦᑎᔾᔪᑎᒋᔪᓐᓇᖅᖢᓂᒋᑦ, ᐊᒻᒪᓗ ᑕᐅᑐᒃᑎᑦᑎᓪᓗᓂ ᓄᓇᒥᑦ ᐊᔾᔨᓕᐅᖅᓯᒪᔪᓂᒃ ᓄᓇᖓᓂᑦ. ᑕᐃᒪᓕ ᐊᓕᓐ ᐱᓕᕆᕙᒃᑲᓗᐊᖅᖢᓂ ᖃᕆᓴᐅᔭᑎᒍᑦ ᑐᓴᐅᒪᖃᑦᑕᐅᑎᓂᕐᒥᒃ - ᐊᑐᖅᖢᓂ ᑐᓴᐅᒪᖃᑦᑕᐅᑎᓂᕐᒥᒃ ᐊᒻᒪᓗ ᑕᑯᒃᓴᐅᑎᑦᑎᕙᒃᖢᓂ ᐊᔾᔨᓕᐅᖅᑕᒥᓂᒃ, ᐊᑐᕆᓪᓗᓂ ᖁᓚᒍᓕᖑᐊᓂᒃ -ᓱᓕ ᖁᕕᐊᒋᔭᒥᓂᒃ ᐱᓕᕆᕙᒃᑐᖅ ᑕᑯᒃᓴᐅᑎᑦᑎᕙᒃᖢᓂ ᐊᔾᔨᓕᐅᖅᑕᒥᓂᒃ ᐊᒻᒪᓗ ᐊᐅᓚᔪᓂᒃ ᐊᔾᔨᓕᐅᖅᑕᒥᓂᒃ ᐊᑐᖅᖢᓂ ᓱᒃᑲᐃᑦᑐᒻᒪᕆᖕᒥᑦ ᖃᕆᓴᐅᔭᒃᑯᕈᑎᓂᒃ. ᐃᒪᓐᓇ ᐅᖃᖅᐸᒃᑐᖅ,


ᐅᓇ ᒥᑭᒃᑐᑯᓗᒃ ᑕᑯᓂᐊᖅᑕᓯ, ᐃᒻᒪᖃ 57MB ᑕᐃᒪᓐᓇ ᐊᖏᓂᖃᖅᑐᖅ, ᐃᑲᕐᕋᓂᒃ ᒪᕐᕈᓪᓗᐊᓂᒃ ᐅᖓᑕᓂᓗᓐᓂᑦ ᖃᕆᓴᐅᔭᒧᑦ ᐃᓕᓇᓱᒃᐸᒃᑕᕋ. ᐱᓗᐊᖅᑐᒥᒃ ᐊᑯᓂᐅᓂᖅᓴᖅ ᐃᓕᓇᓱᒃᐸᒃᑕᒃᑲ ᖃᕆᓴᐅᔭᒧᑦ, ᐊᒻᒪᓗ ᐃᓚᓐᓂᒃᑯᑦ ᐱᔪᓐᓂᖅᐸᒃᖢᑎᒃ ᑕᐃᒪᓕ ᑕᑯᒃᓴᐅᑎᒃᑲᓐᓂᕆᐊᖃᕐᓂᐊᖅᑕᓯ.1


ᑕᐃᒪᓕ ᑐᓴᐅᒪᖃᑦᑕᐅᑎᓂᒃᑯᑦ ᐊᔪᓐᓇᓗᐊᕈᓐᓂᖅᐳᖅ ᑕᒪᒃᑯᐊ ᐊᔾᔨᓕᐅᖅᑕᖏᑦ ᑕᑯᒃᓴᐅᔪᓐᓇᕐᓂᐊᒃᒪᑕ ᖃᕆᓴᐅᔭᑎᒍᑦ; ᐊᐅᒍᔅ 2019-ᖑᑎᓪᓗᒍ ᐊᓕᓐ ᖃᕆᓴᐅᔭᑎᒍᑦ 
ᑕᑯᒃᓴᐅᑎᑦᑐᓚᐅᖅᐳᖅ ᐊᕐᕕᖕᓂᑦ ᑕᒪᓂᑦᑐᓂᒃ ᕆᒍᓕᑦᒥᑦ ᑕᑯᔭᐅᓪᓗᓂᓗ ᑲᓇᑕᒥᐅᓕᒪᓂᒃ ᐊᒻᒪᓗ ᑕᑯᔭᐅᒋᓪᓗᓂ ᓯᐱᓯᒃᑯᑦ ᓂᐅᕙᓐᓚᓐᒥᑦ, ᓚᐸᑐᐊᕐᒥᑦ.


ᕋᐳᑦ ᑲᐅᑐᒃ ᖁᕕᐊᒋᔭᒥᓂᒃ ᐱᑕᖃᓗᐊᖏᑎᓪᓗᒍᑦ ᐊᔾᔨᓕᐅᕆᓂᕐᒧᑦ ᐱᓕᕆᐊᖃᒻᒪᕆᓕᓚᐅᖅᐳᖅ ᓄᓇᓕᖓᓂᑦ ᑲᖏᖅᑐᒐᐱᒥᑦ. ᒪᒃᑯᒃᑐᑎᓪᓗᒍ ᐊᔾᔨᓕᐅᕆᕙᓕᓚᐅᖅᐳᖅ ᐃᒋᑕᐅᓱᓂᒃ ᐊᔾᔨᓕᐅᕈᑎᒥᒃ ᐊᑐᖅᖢᓂ ᐊᒻᒪᓗ ᐊᐅᓪᓚᖅᑎᑉᐸᒃᖢᓂᒋᑦ ᑎᑎᖅᑲᒃᑯᕕᒃᑎᒍᑦ. ᒪᓐᓇᓕ ᖁᓚᒍᓕᖑᐊᑎᒍᑦ ᖃᖓᑕᔪᒃᑯᑦ ᐊᔾᔨᓕᐅᕆᕙᓕᖅᑐᖅ ᖁᕕᐊᒋᔭᒥᓂᒃ ᐱᔪᓐᓇᖅᓯᒃᑲᓐᓂᕐᓂᐊᓕᕐᒪᑦ ᐊᔾᔨᓕᐅᖅᑕᒥᓂᒃ ᖃᖓᑕᔪᒃᑯᑦ ᑕᑯᔭᐅᔪᓐᓇᕐᓂᐊᓕᖅᖢᑎᒃ, ᐊᔾᔨᐅᖏᑦᑐᓂᒃ ᑕᑯᔭᐅᒐᔪᖏᑦᑐᓂᒃ ᐅᑭᐅᖅᑕᖅᑐᒥᑦ ᐃᓄᓯᕆᔭᐅᔪᓂᒃ. ᑲᐅᑐᑉ ᐊᔾᔨᓕᐅᖅᑕᖓ ᓱᕐᓗ ᐅᓇ ᑕᑯᔭᐅᓯᒪᓕᖅᑐᖅ, ᒪᕐᕈᓐᓂᒃ ᐊᐅᕕᕐᓂᒃ ᐱᓚᒃᑐᐃᓚᐅᖅᖢᑕ, ᐃᒡᓗᓕᒃᒥᑎ (2016) ᑕᑯᒃᓴᐅᓂᖃᖅᐳᖅ; ᐊᒥᐊᕐᒥᑦ ᑐᓚᒃᓯᒪᔪᒥᒃ ᓯᑯᒥᑦ ᑕᑯᒃᓴᐅᓂᖃᕆᓪᓗᓂ ᐊᖑᑎᓂᒃ ᒪᕐᕈᓂᒃ ᓯᑯᑉ ᖃᖓᓂᑦᑐᑦ ᑕᑯᒃᓴᐅᓂᖃᖅᖢᑎᒃ ᓯᓇᖓᓂᒃ ᐃᒪᐃᑉ ᖃᓂᒋᔭᓂᑦᑐᒥᒃ, ᐊᒻᒪᓗ ᓯᑯᐃᑦ ᐊᒻᒪ ᐃᒪᖅ ᑕᑯᒃᓴᐅᓂᖃᖅᖢᑎᒃ ᐊᐃᕕᐅᑉ ᐊᐅᖓᓂᑦ.


ᑲᐅᑐᒃ ᑐᓂᓯᖃᑦᑕᕆᕗᖅ ᑕᒃᑯᓄᖓ ᑲᖏᖅᑐᒐᐱᖕᒥᐅᓂᑦ ᖃᐅᔨᒪᔭᐅᔪᓂᒃ ᓄᓇᖑᐊᑎᒍᑦ, ᑕᒃᑯᐊ ᓄᓇᓕᖕᒥᐅᓂᑦ ᐱᓕᕆᐊᖑᔪᑎᒍᑦ, ᐊᔾᔨᓕᐅᖅᑕᒥᓂᒃ ᐃᓐᓇᐃᓪᓗ ᖃᐃᔨᒪᑦᑎᐊᖅᑕᖏᓐᓂᑦ ᓄᓇᓂᒃ. ᑕᓐᓇ ᐊᔾᔨᓕᐅᖅᓯᒪᔪᑎᒍᑦ ᑕᑯᒃᓴᐅᓂᖃᖅᐳᖅ ᓄᓇᓂᒃ, ᓂᐱᓂᒡᓗ, ᐊᒻᒪᓗ ᐊᐅᓚᔪᒃᑯᑦ ᐊᔾᔨᓕᐅᖅᓯᒪᔪᓂᒃ ᖃᐅᔨᒪᔭᐅᓂᐊᕐᒪᑕ ᓄᓇᐃᑦ ᐊᑎᖏᓐᓂᒃ, ᐊᕕᒃᓯᒪᓂᐅᔪᓂᒡᓗ ᓯᓚᐅᑉ ᖃᓄᐃᑉᐸᓪᓕᐊᓂᖏᓐᓂᒃ ᐊᒻᒪᓗ ᓯᑯᐃᑦ ᖃᓄᐃᑦᑐᓂᖏᓐᓂᒃ, ᐊᒻᒪᓗ ᓂᕐᔪᑎᑦ ᓇᒧᖓᐅᖃᑦᑕᕐᓂᖏᓐᓂᒃ ᐅᖃᐅᓯᖃᖅᖢᑎᒃ. ᑕᓐᓇ ᓄᓇᖑᐊᖅ ᐱᑕᖃᕆᕗᖅ ᑲᖏᖅᑐᒐᐱᒃ ᓇᓂᓐᓂᖓᓂᒃ, ᑲᓇᑕᐅᑉ ᒐᕙᒪᒃᑯᖏᓐᓂᒃ ᐱᕙᐅᓚᐅᖅᓯᒪᔪᖅ. ᐃᓄᐃᑦ ᐃᒻᒥᓂᒃ ᐱᔪᓐᓇᕐᓂᖏᓐᓂᒃ ᖃᐅᔨᓴᕐᓂᕐᒧᑦ, ᓄᓇᖑᐊᓕᐅᕈᓐᓇᕐᓂᖏᓐᓄᑦ ᐊᒻᒪᓗ ᖃᐅᔨᓴᕈᑕᐅᕙᒃᑐᓄᑦ  ᐊᑐᖅᑕᐅᔪᓐᓇᖅᖢᑎᒃ ᑎᑎᕋᖅᑕᐅᕙᓪᓕᐊᓂᒃᑯᑦ, ᐱᓯᒪᐃᓐᓇᕐᓂᐊᕐᓗᒋᓪᓗ, ᐊᒻᒪᓗ ᓇᓪᓕᐅᓐᓂᖅᓯᐅᕐᓂᒃᑯᑦ ᖃᐅᔨᒪᔭᑐᖃᒥᓂᒃ ᐊᑐᖅᖢᑎᒃ ᖃᔨᓴᕈᑕᐅᕙᖕᓂᐊᕐᒪᑕ ᓄᓇᓕᖓᓐᓂᑦ. ᑲᐅᑐᒃ ᑐᓂᓯᓯᒪᕗᖅ ᐊᔾᔨᓕᐊᒥᓂᒃ ᐊᒻᒪᓗ ᓂᐱᓕᐅᖅᓯᒪᔪᓂᒃ ᑕᕗᖓ ᐱᓕᕆᐊᖑᔪᒧᑦ, ᐃᓚᒋᔭᐅᓪᓗᓂ ᑲᓄᖅ ᑕᐃᔭᐅᓂᖏᑦ ᓄᓇᐃᑦ ᓇᓗᓇᕈᓐᓂᒻᒪᕆᒃᐳᖅ ᑕᒪᒃᑯᐊ ᓄᓇᖑᐊᑦ ᖃᕆᓴᐅᔭᑎᒍᑦ ᑕᑯᒃᓴᐅᑎᑕᐅᕙᖕᓂᐊᓕᕐᒪᑕ ᑕᒃᑯᑎᒍᓇ ᖃᖓᑦᑕᖅᑎᑕᐅᓯᓚᔪᑎᒍᑦ ᖃᕆᓴᐅᔭᒃᑯᑦ ᐊᑐᖅᑕᐅᕙᒃᑐᑎᒍᑦ.


ᑲᐅᑐᑉ ᒪᓐᓇᐅᔪᖅ ᐱᓕᕆᐊᕆᕙᒃᑕᖏᑎ ᐃᓚᖃᖅᐳᖅ ᐊᔾᔨᓕᐅᖅᐸᒃᑕᖏᓐᓂᒃ ᑕᒪᒃᑯᓂᖓ ᐊᖅᓴᕐᓂᕐᓂᒃ. ᑕᑯᒃᓴᐅᑎᑦᑎᓱᖑᕗᖅ ᐱᓕᕆᐊᒥᓂᒃ ᖃᓄᖅ ᐊᔾᔨᓕᐅᕆᕙᖕᓂᕐᒥᓂᒃ ᐊᖅᑭᒃᐸᓪᓕᐊᓪᓗᓂᒋᑦ ᐊᒻᒪᓗ ᑕᑯᒃᓴᐅᓂᖃᑦᑎᐊᖅᖢᑎᒃ ᖃᐅᒪᓂᐅᔪᓂᒃ ᐊᖅᓴᕐᓂᐅᔪᓂᒃ ᑕᑯᒃᓴᐅᕙᒃᑐᓂᒃ ᐅᓐᓄᒃᑯᑦ. ᑕᐃᒪᓐᓇᑐᑦ ᐊᔾᔨᓕᐅᕆᔨᐅᔪᑎᑐᑦ ᐱᓕᕆᐊᖃᖅᐸᒃᑐᖅ ᐊᖅᑭᒃᓱᖅᖢᓂᒋᑦ ᓱᒃᑲᐃᑦᑐᒥᑦ ᖃᕆᓴᐅᔭᑎᒍᑦ, ᐊᒻᒪᓗ ᐊᑐᖅᐸᒃᑭᓪᓗᓂ Facebook-ᒥᑦ.


ᒥᐊᓕ ᒍᐊᑕᓐ ᐊᔾᔨᓕᐅᖅᐸᒃᑕᖏᑦ ᑕᑯᒃᓴᐅᕙᒃᑭᕗᑦ ᑕᑉᐸᖓᑦ ᖁᑦᑎᒃᑐᒥᑦ ᐊᔾᔨᓕᐅᖅᓯᒪᓪᓗᑎᒃ. ᖁᕕᐊᒋᔭᖃᒻᒪᕆᒃᑐᖅ ᒪᓐᓇᑲᐅᑎᒋᒥᑦ ᐊᔾᔨᓕᐅᖅᓯᒪᔪᓂᒃ ᓱᕐᓗ ᓄᓇᒥ ᐃᓯᒐᖏᑦᑕ ᐊᑕᓂ ᐊᔾᔨᓕᐅᖅᓯᒪᔪᓂᒃ, ᒍᐊᑕᓐ ᐊᔾᔨᓕᐅᕆᕙᒃᑐᖅ ᐊᑐᖅᖢᓂ ᐊᔾᔨᓕᐅᕈᑎᕋᓚᓂᒃ ᐅᖃᓚᐅᑎᕋᓚᓂᒃ, ᑕᐃᒪᐃᑦᑐᑦ ᐊᔾᔨᖃᑐᐃᓐᓇᕆᕗᑦ ᐊᓕᓐ ᐊᒻᒪ ᑲᐅᑐᑉ ᐊᔾᔨᓕᐅᖅᐸᒃᑕᖏᓐᓂᒃ.


ᒍᐊᑕᓐ ᐊᔾᔨᓕᐅᕆᕙᒃᑐᖅ ᓄᓇᒥᑦ ᑕᑯᕙᓪᓕᐊᔭᒥᓂᒃ: ᓱᕐᓗ  ᓱᕐᓗ ᐃᖃᓗᖕᓂᑦ, ᐸᐅᕐᖓᓂᑦ, ᐊᒻᒪᓗ ᓄᓇᒥᑦ ᐃᓯᒐᖓᑕ ᐊᑕᓂᑦᑐᓂᒃ. ᐃᓯᒐᖏᑦ ᐱᕋᖓᑕ ᑕᑯᒃᓴᐅᓂᖃᓱᖑᕗᖅ ᑐᒥᖓᓂᑦ ᑕᒪᓂ ᓯᑯᒥᑦ ᑕᐃᒪᓐᓇ ᑕᑯᔭᐅᔪᓐᓇᖅᐳᖅ ᑕᑉᐸᖓᑦ ᐊᔾᔨᓕᐅᖅᑕᐅᓯᒪᔪᒥᒃ, ᐊᔾᔨᓕᐊᖏᑦ ᑕᒪᒃᑯᓂᖓ ᐸᐅᕐᖓᓂᒃ ᐊᕗᖅᑕᐅᔪᓂᒃ ᐃᓕᔭᐅᓯᒪᓪᓗᑎᒃ ᓄᓇᒥᑦ ᑕᑯᔭᐅᔪᓐᓇᕆᕗᑦ ᑕᒪᒃᑯᓂᖓ ᑕᖅᓴᖏᓐᓂᒃ - ᐊᑐᖅᖢᓂ ᑕᖅᓴᖃᕈᓐᓇᖅᑐᒥᑦ, ᑎᐱᐊᓂᒡᓗ ᓇᐃᔪᓐᓇᒃᓗᑎᒃ ᐊᒻᒪᓗ ᖃᓂᒃᑯᑦ ᓇᐃᔪᓐᓇᕐᓗᒋᑦ. ᒍᐊᑕᓐ ᐊᔾᔨᓕᐅᕆᕙᒃᑐᖅ ᐊᕙᑎᒥᓂᑦᑐᓂᒃ, ᓱᕐᓗ ᖃᓂᑦᑐᑎᓪᖢᓂᒋᑦ, ᐃᒻᒥᒃᑯᑦ ᑕᑯᔭᒥᓂᒃ ᓄᓇᒥᑦ. ᑕᒪᒃᑯᐊ ᐊᔾᔨᓕᐊᖏᑦ ᑕᑯᒃᓴᐅᑦᑎᐊᕐᓂᖃᖅᐳᑦ ᖃᓄᐃᑦᑐᓂᖏᓐᓂᒃ ᐊᕙᑎᖓᓂᑦᑐᓂᒃ.


ᐊᐱᕆᔭᐅᑎᓪᓗᒍ ᑕᑯᒃᓴᐅᑎᑦᑎᖃᑦᑕᕆᐊᒃᓴᒥᓂᒃ ᐊᔾᔨᓕᐅᖅᐸᒃᑕᖏᓐᓂᒃ, ᒍᐊᑕᓐ ᑭᐅᓚᐅᖅᐳᖅ: “ᐊᒃᑲ, ᑕᐃᒪᓐᓇ ᑕᑯᒃᓴᐅᑎᑦᑎᕙᖏᑦᑐᖓ ᐅᓄᖅᑐᓄᑦ ᐃᓄᖕᓄᑦ, ᖁᕕᐊᒋᑐᐃᓐᓇᖅᖢᒋᓪᓕ ᐊᔾᔨᓕᐅᕆᕙᒃᑐᖓ, ᐅᕙᓗᓐᓂᑦ ᑕᑯᕙᓪᓕᐊᔭᒃᑲ ᐱᐅᓗᐊᕐᓂᖏᓐᓄᑦ ᐊᔾᔨᓕᐅᖅᐸᒃᑕᒃᑲ. ᐅᕙᓐᓄᑐᐊᖅ ᐊᔾᔨᓕᐅᕆᕙᒃᑐᖓ.”2


Facebook-ᑯᑎᒍᑦ ᐊᔾᔨᓕᐅᖅᑕᖏᓐᓂᒃ ᑕᑯᒃᓴᐅᑎᑦᑎᓱᖑᔪᖅ, ᑕᐃᒪᐃᓐᓂᖓᓄᑦ ᐊᔾᔨᓕᐅᖅᑕᖏᓐᓂᒃ ᑕᑯᑎᑕᐅᓚᐅᖅᓯᒪᕗᒍᑦ ᐊᒻᒪᓗ ᑕᕗᖓ ᐱᓕᕆᐊᕆᔭᑦᑎᓐᓄᐊᖅᖢᑎᒍᑦ (ᑕᒃᑯᑎᒍᓇᖅ IAQ ᑎᑎᕋᖅᑎᒧᑦ ᖃᐅᔨᒪᔪᒧᑦ, ᑕᕋᓕᒃ ᐸᕐᑐᕆᑦᔾ ᐊᐱᕆᓚᐅᖅᑐᖅ ᒍᐊᑕᓐᒧᑦ ᐊᔾᔨᓕᐊᖏᑦ ᑕᒃᑯᒃᓴᐅᑎᑕᐅᔪᓐᓇᕐᒪᖓᑕ). ᒍᐊᑕᓐ ᑭᐅᓚᐅᖅᑐᖅ ᑕᑯᒃᓴᐅᑎᑕᐅᔪᓐᓇᕐᓂᐊᖅᑐᑦ ᖃᐅᔨᑎᑦᑎᔪᒪᓪᓗᖓ ᖃᓄᖅ ᖃᐅᑕᒪᑦ ᐃᓄᓯᕆᔭᑦᑎᓐᓂᒃ ᑯᔪᐊᕐᒥᑦ, ᐱᓗᐊᖅᑐᒥᑦ “ᖃᓄᖅ ᐃᖃᓗᒃᓯᐅᖅᐸᖕᓂᑦᑎᓐᓂᒃ, ᖃᓄᕐᓗ ᓂᕆᕙᖕᓂᑦᑎᓐᓂᒃ ᓂᕿᖁᑎᑦᑎᓐᓂᒃ, ᖃᓄᕐᓗ ᓂᕿᕗᑦ ᐱᔭᐅᕙᖕᓂᖏᓐᓂᒃ.”  ᑕᒪᒃᑯᐊ ᐃᒻᒥᒃᑯᑦ ᑕᑯᕙᓪᓕᐊᔭᖏᑦ ᐊᔾᔨᓕᐅᖅᐸᒃᑕᖏᑦ ᑕᑯᒃᓴᐅᓂᖃᑦᑎᐊᕐᒪᑕ ᐱᑕᖃᖅᑐᓂᒃ ᖃᐅᑕᒪᑦ ᐃᓄᖕᓄᑦ ᑕᑯᔭᐅᕙᒃᑐᓂᒃ.


ᓚᐃᓴ ᐊᐅᑦᓚᓗᒃ-ᐅᐊᑦᔅᑯ ᓄᓇᖃᖅᑐᖅ ᑕᕙᓂ ᐊᐅᓱᐃᑦᑐᒥᑦ, ᓄᓇᕗᒻᒥᑦ, ᑕᒪᓂᑦᑐᖅ ᐃᐅᓪᓴᒥᐅᑦ ᕿᕿᖅᑕᖓᑕ ᓂᒋᖅᐸᓯᐊᓂᑦ, ᖁᑦᑎᖕᓂᖅᐸᒥᐅᖃᑕᐅᔪᖅ ᐊᒥᐊᓕᑲᐅᑉ ᐅᑭᐅᖅᑕᖅᑐᐊᓂᑦ. ᑕᓐᓇ ᓄᓇᖓ ᐊᑎᖅᑕᐅᓚᐅᖅᓯᒪᔪᖅ ᓄᕕᔭᓐᒥᐅᑎᑐᑦ Grise Fiord-ᒥᑦ 1950-ᖑᑎᓪᓗᒍ, ᒪᓐᓇᓕ ᓄᓇᓕᒃ ᓴᖅᑭᑎᑕᐅᓚᖅᓯᒪᔪᖅ ᑲᓇᑕᐅᑉ ᒐᕙᒪᒃᑯᖏᑦᑎᒍᑦ ᐅᑭᐅᖅᑕᖅᑐᖅ ᓇᖕᒥᓂᕆᔭᐅᓂᖓᓂᑦ ᐅᑭᐅᖅᑕᖅᑐᒥᐅᓄᑦ. ᑕᒃᑯᐊ ᑲᓇᑕᐅᑉ ᒐᕙᒪᒃᑯᖏᑦ ᑕᑯᒃᓴᐅᓂᖃᖅᐳᖅ ᐃᓄᖕᓂᒃ ᓄᑎᑦᑎᓚᐅᖅᓯᒪᓂᖏᓐᓂᒃ ᐃᓄᔾᔪᐊᕐᒥᐅᓂᖓᖅᖢᑎᒃ, ᑯᐸᐃᒥᑦ ᖃᐅᔨᒪᖏᑦᑎᐊᖅᑕᖓᓄᑦ ᕿᓚᒥᑯᓗᒃᓗ ᖃᐅᒪᓂᖃᓱᖑᓪᓗᓂ, ᓂᒡᓚᓱᒃᖢᓂᓗ ᐊᖑᓇᓱᒡᕕᖃᑦᑎᐊᖏᖢᓂᓗ ᐃᖃᓗᖃᑦᑎᐊᖏᖢᓂᓗ. ᑕᓐᓇ ᐊᐅᓱᐃᑦᑐᖅ ᑎᑎᕋᖅᑎᐅᔪᓄᑦ ᐅᖃᐅᓯᐅᓚᐅᖅᐳᖅ ᕿᑭᖅᑕᓂ ᑭᒡᓕᓯᒋᐊᖅᑎᑦᑎᔨᐅᔪᓄᑦ ᐃᒪᓐᓇ:


ᑕᒪᓐᓇ ᓄᓇ ᐊᕙᑕᓗ, ᑕᑯᒃᓴᐅᓂᖓ ᐱᐅᒐᓗᐊᖅᖢᓂ, ᑭᓯᐊᓂᓕ ᐊᔪᕐᓇᖅᑐᐊᓗᒃ. ᐊᐅᓕᓱᖑᓪᓗᓂᓗ ᓯᑯ ᐊᐅᒍᔅ ᕿᑎᐸᓗᐊᓂᑦ. ᑕᒪᓐᓇᓗ ᖃᖅᑲᐃᑦ ᐃᑲᔪᕈᑕᐅᖏᒻᒪᕆᒃᐳᖅ ᐅᒪᔪᓄᑦ ᓂᕐᔪᑎᓄᑦ. ᐊᒻᒪᓗ ᓄᓇᒃᑯᑦ ᐊᐅᓪᓚᕋᓱᒃᖢᓂ ᑕᒪᒃᑯᑎᒍᓇᖅ ᐊᔪᕐᓇᕈᑕᐅᓗᐊᖅᐸᖕᒥᔪᖅ ᑕᒪᐅᖓᕋᓱᒃᖢᓂ ᒪᓂᕋᐅᓂᒃᑯᑦ ᐊᒻᒪᓗ ᐃᒪᕐᒧᑦ ᑕᒪᐅᓇᖓᔪᒃᑯᑦ ᖃᖅᑲᐃᑦ ᐊᑯᓐᓂᖏᑦᑐᒍᑦ ᐱᓯᒪᔪᓂᒃ. ᐱᒋᐊᖅᖢᓂ ᒪᐃᒥᑦ ᐊᐅᒍᓯᒧᑦ, ᓯᕿᓂᖃᐃᓐᓇᓱᖑᔪᖅ, ᐊᒻᒪᓗ ᐊᒃᑐᐸᒥᑦ ᕕᕗᐊᕆ ᕿᑎᐸᓗᐊᓄᑦ ᑎᑭᓗᓂ ᓯᕿᓂᖅ ᑕᑯᒃᓴᐅᔪᓐᓂᓱᖑᔪᖅ. ᓯᓚᕐᔪᐊᕐᒥᐅᓂᑦ (ᐊᐅᓱᐃᑦᑐᖅ) ᖃᐅᔨᒪᔭᐅᔪᖅ ᐃᒃᑭᖑᓚᖑᓂᖓᓂᒃ ᓄᓇᓕᐅᓪᓗᓂ, ᐊᕐᕋᖑᓕᒪᒥᑦ ᐅᖅᑯᓂᖅᐸᕆᕙᒃᑕᖓ -16-ᒥᑦ ᓯᐊᓪᓯᐅᔅ.4


ᐊᐅᑦᓚᓗᒃ-ᐅᐊᑦᔅᑯᑉ ᐊᑕᑕᖓ, ᓕᐅᕆ ᐊᐅᑦᓚᓗᒃ ᑕᕙᓂ ᓯᕗᓪᓕᖅᐸᐅᖃᑕᐅᓪᓗᓂ ᓄᓇᖃᓕᓚᐅᖅᓯᒪᔪᖅ, ᐃᓚᒋᔭᐅᓪᓗᓂ 87-ᖑᔪᓂᒃ ᐃᓄᖕᓂᑦ ᑕᒪᐅᖓᖅᑎᑕᐅᓚᐅᖅᓯᒪᔪᓂᒃ  ᐃᒪᓐᓇ ᐅᖃᐅᓯᐅᕙᒃᑐᑦ “ᐅᑭᐅᖅᑕᖅᑐᒧᐊᕈᔭᐅᔪᑦ” ᓯᕗᓪᓕᐸᖑᓚᐅᖅᓯᒪᖕᒥᔪᖅ ᐃᓄᓪᓗᓂ ᑐᓂᓯᓪᓗᓂ ᐸᓂᖕᒥᓄᑦ ᐊᔾᔨᓕᐅᕈᑎᒥᑦ.


ᐊᐅᑦᓚᓗᒃ-ᐅᐊᑦᔅᑯ ᐊᔾᔨᓕᐅᕆᕙᓪᓕᐊᓕᓚᐅᖅᓯᒪᔪᖅ 35mm-ᒥᑦ ᐊᑐᖅᖢᓂ ᐅᑭᐅᖃᖅᖢᓂ 7-ᓂᒃ 8-ᓂᒃᓗᓐᓂᑦ ᐊᒻᒪᓗ ᐊᔾᔨᓕᐅᖅᑕᒥᓂᒃ ᐱᓕᕆᖃᑦᑕᖅᐸᓪᓕᐊᓕᖅᖢᓂ ᐅᑭᐅᑦ 15 ᐊᓂᒍᖅᓯᒪᓕᖅᑎᓪᓗᒋᑦ ᖃᐅᔨᓪᓗᓂᓗ ᑕᒪᒃᑯᐊ ᖃᕆᓴᐅᔭᑎᒍᑦ ᐱᔭᐅᔪᓐᓇᕐᓂᖏᓐᓂᒃ ᖁᕕᐊᓇᕐᓂᖏᓐᓂᒡᓗ. ᑭᓯᐊᓂᓕ ᖃᐅᔨᓕᓚᐅᖅᑐᖅ ᐊᔾᔨᓕᐅᖅᑕᖏᓐᓂᒃ ᐊᖅᑭᒃᓱᐃᓇᓱᒃᖢᓂ ᖃᕆᓴᐅᔭᒃᑯᑦ ᓱᒃᑲᐃᑦᑐᒃᑯᑦ ᖃᐅᔨᒪᔭᐅᓪᓚᕆᒋᐊᖃᕐᓂᖓᓂᒃ ᐊᒻᒪᓗ ᖃᓄᖅ ᐊᑯᓂᐅᑎᒋᓂᐊᕐᓂᖓᓂᒃ ᖃᐅᔨᒪᑦᑎᐊᕐᓗᑎᒃ ᐊᑭᑐᔪᓪᓗᓂᓗ.ᖃᐅᔨᓕᓚᐅᕐᒥᔪᖅ ᐊᔪᓐᓇᕐᓂᖓᓂᒃ ᐊᔾᔨᓕᐅᖅᑕᖏᑦ ᐃᓕᓇᓱᒃᖢᒋᑦ Facebook-ᑯᑎᒍᑦ ᐱᓕᕆᐊᕆᔭᖏᑦ ᑕᑯᔭᐅᔪᓐᓇᕐᓂᐊᕐᒪᑕ ᐃᓄᖕᓄᑦ. Facebook-ᑯᑦ ᐃᓕᓯᓇᓱᒃᖢᓂ ᓱᕐᓗ ᒪᓕᒐᖃᕐᒪᑕ ᐊᔪᕐᓇᕈᔪᒃᑐᓂᒃ ᐊᒻᒪᓗ ᓂᕐᔪᑎᑦ ᐊᐅᖏᓐᓂᒃ, ᐊᒥᖏᓐᓂᒡᓗ ᐊᓯᔾᔨᔪᓐᓇᕐᒪᑕ. ᑕᐃᒪᐃᓐᓂᖓᓄᑦ ᐊᔪᕐᓇᓗᐊᖅᐸᖕᒪ ᐊᔾᔨᓕᐅᖅᑎᐅᔪᓄᑦ ᐊᑐᖅᖢᑎᒃ ᐊᔾᔨᓕᐊᒥᓂᒃ ᑕᑯᒃᓴᐅᑎᑦᑎᓇᓱᒃᖢᑎᒃ ᐱᐅᓯᑐᖃᕐᒥᓂᒃ ᖃᕆᓴᐅᕙᑎᒍᑦ. ᐊᐅᑦᓚᓗᒃ-ᐅᐊᑦᔅᑯ ᐱᓕᕆᐊᖏᑦ ᑕᑯᒃᓴᐅᓂᖃᖅᐳᑦ ᐱᒻᒪᕆᐅᓂᖓᓂᒃ ᐅᑭᐅᖅᑕᖅᑐᒥᑦ: ᐊᒃᓱᕈᕐᓇᕋᓗᐊᖅᑎᓪᓗᒍ ᐊᒻᒪᓗ ᐱᓕᕆᔾᔪᑎᖃᓗᐊᖏᒃᑲᓗᐊᖅᖢᓂ, ᐊᐅᑦᓚᓗᒃ-ᐅᐊᑦᔅᑯ ᑕᑯᒃᓴᐅᑎᑦᑎᑦᑎᐊᖅᐳᖅ ᐱᓕᕆᐊᒥᓂᒃ ᖃᐅᑕᒪᑦ ᐃᓄᓯᕆᔭᒥᓂᒃ ᐃᓄᓪᓗᓂ.


ᐃᓱᓕᓐᓂᖓ
ᑕᒪᕐᒥᒃ ᑕᒃᑯᐊ ᑎᓴᒪᐅᔪᑦ ᐊᔾᔨᓕᐅᕆᔨᑦ ᐱᓕᕆᐊᒥᓂᒃ ᑕᑯᒃᓴᐅᑎᑦᑎᐊᖅᐸᒃᐳᑦ ᑐᓴᐅᒪᖃᑦᑕᐅᑎᓕᕆᔨᒃᑯᑎᒍᑦ ᑕᒪᒃᑯᐊ ᐊᔾᔨᓕᐅᖅᑕᖏᑦ ᑕᑯᔭᐅᔪᓐᓇᕐᓂᐊᕐᒪᑕ ᖃᓄᐃᑦᑐᓂᖏᓐᓂᒃ ᓄᓇᓕᖏᓐᓂᒃ. ᑕᒃᑯᐊᒃ ᐊᓕᓐ ᐊᒻᒪᓗ ᑲᐅᑐᒃ ᑕᑯᒃᓴᐅᑎᑦᑎᕗᒃ ᓄᓇᖑᐊᑯᑦ ᐱᓕᕆᐊᕆᕙᒃᑕᖏᓐᓂᒃ ᐊᒻᒪᓗ ᓄᓇᒥᑦ ᖃᐅᔨᓴᕈᑕᐅᕙᒃᑐᓂᒃ ᖃᕆᓴᐅᔭᑎᒍᑦ ᐃᓕᕙᒃᑕᖏᓐᓂᒃ ᑕᑯᔭᐅᔪᓐᓇᕐᓂᐊᕐᒪᑕ ᓇᖕᒥᓂᖅ ᐅᑭᐅᖅᑕᖅᑐᒥᑦ ᓄᓇᖏᓐᓂᒃ. ᑕᐃᒪᓐᓇᑦᑕᐅᖅ ᑕᒃᑯᐊᒃ ᐊᐅᑦᓚᓗᒃ-ᐅᐊᑦᔅᑯ ᐊᒻᒪᓗ ᒍᐊᑕᓐ ᐊᑐᖅᖢᑎᒃ ᐊᔾᔨᓕᐅᕈᑎᓂᒃ ᑕᑯᒃᓴᐅᑎᑦᑎᔪᓐᓇᕐᒥᖕᒪᑕ ᖃᐅᑕᒪᑦ ᐊᑐᖅᐸᒃᑕᒥᓂᒃ ᐃᓄᓪᓗᑎᒃ, ᑕᒪᒃᑯᐊ ᐊᔾᔨᓕᐅᖅᑕᖏᑦ ᑕᑯᔭᐅᔪᓐᓇᕐᒥᖕᒪᑕ ᐅᑭᐅᖅᑕᖅᑐᒥᐅᑦ ᐃᓄᖏᓐᓂᒃ ᖃᓄᕐᓗ ᐃᓄᓯᖃᕐᓂᖏᓐᓂᒃ. ᑕᒃᑯᐊ ᑕᒪᕐᒥᒃ, ᐊᓕᓐ, ᐊᐅᑦᓚᓗᒃ-ᐅᐊᑦᔅᑯ, ᒍᐊᑕᓐ ᐊᒻᒪᓗ ᑲᐅᑐᒃ ᑕᑯᒃᓴᐅᑎᑦᑎᓱᖑᕗᑦ ᐊᔾᔨᓕᐅᖅᑕᒥᓂᒃ ᓄᓇᓕᖏᓐᓂᑦ ᐅᖓᓯᒃᑐᑕᐅᒐᓗᐊᖅᖢᑎᒃ ᑕᑯᔭᐅᔪᓐᓇᕐᓂᐊᕐᒪᑕ ᖃᓄᖅ ᐃᒻᒥᓂᒃ ᑕᑯᔭᒥᓂᑦ ᐅᑭᐅᖅᑕᖅᑐᒥᑦ ᐅᓪᓗᒥᐅᔪᖅ.



—Sophia Oppel and Alana Traficante





1 ᐊᓕᓐ, ᐃᐅᑐᕆᑦ, ᐊᐱᖅᓱᖅᑕᐅᔪᖅ ᔭᓪ ᔨᐅᒋᒐᓐᒧᑦ, ᐃᓄᐃᑦ ᓴᓇᐅᖓᓕᕆᔨᑦ ᖃᕆᓴᐅᔭᑎᒍᑦ, 2019

2 ᒍᐊᑕᓐ, ᒥᐊᓕ ᐊᐱᖅᓱᖅᑕᐅᑎᓪᓗᒍ ᔭᓐ ᔨᐅᒋᒐᓐᒧᑦ, ᐃᓄᐃᑦ ᓴᓇᐅᒐᓕᕆᔨᑦ, ᖃᕆᓴᐅᔭᑎᒍᑦ, 2019

3 Ibid.

4 ᕿᑭᖅᑕᓂ ᐃᓄᐃᑦ ᑲᑐᔾᔨᖃᑎᒋᖏᑦ, “ᕿᑭᖅᑕᓂ ᓱᓕᔪᓐᓂᐊᖅᓯᐅᖅᑎᑦ, ᓄᓇᓕᖕᓂ ᖃᐅᔨᒪᔭᐅᒋᐊᓕᑦ 1950-1976: ᑲᖏᖅᑎᒐᐱᒃ” ᐃᓐᕼᐊᐱᑦ, 2013.

Rigolet, Nunatsiavut

ᐃᐅᓪᑐᕆᑦ ᐋᓕᓐ


ᐃᐅᓪᑐᓂᑦ ᐊᓕᓐ ᐊᔾᔨᓕᐅᕆᔨᐅᔪᖅ ᕆᒡᒍᓕᑦ ᓄᓇᑦᓯᐊᕗᒻᒥᐅᑕᖅ ᓂᐅᕙᓐᓚᓐᒥᑦ, ᐊᔾᔨᓕᐅᕆᕙᒃᑐᖅ ᐊᕙᑎᒥᓂ ᑕᑯᕙᓪᓕᐊᔭᒥᓂᒃ ᐊᑐᖅᖢᓂ ᑎᒍᒥᐊᕆᐊᓕᖕᒥᒃ ᐊᔾᔨᓕᐅᕈᑎᒥᒃ 360, ᖁᓚᒍᓕᖑᐊᒃᑯᒃ ᐊᔾᔨᓕᐅᖅᐸᒃᖢᓂ ᐊᒻᒪᓗ 3D modeling. ᑕᕙᓂ ᑎᑎᕋᖅᑕᐅᕙᒃᑐᒥᑦ ᑕᐃᔭᐅᔪᖅ “ᓄᓇᑦᑎᐊᕙᒃᐳᑦ” (2019) ᓇᓗᓇᐃᖅᓯᒪᕗᑦ ᓯᕗᓪᓕᖅᐸᒥᒃ ᑕᑯᒃᓴᐅᑎᑕᐅᓂᐊᕐᒪᑕ ᑕᕙᓂ ᐊᔾᔨᓕᐅᖅᑕᐅᓯᒪᔪᓂᒃ.

ᐃᐅᓪᑐᕆᑦ ᐋᓕᓐ


ᐃᐅᓪᑐᓂᑦ ᐊᓕᓐ ᐊᔾᔨᓕᐅᕆᔨᐅᔪᖅ ᕆᒡᒍᓕᑦ ᓄᓇᑦᓯᐊᕗᒻᒥᐅᑕᖅ ᓂᐅᕙᓐᓚᓐᒥᑦ, ᐊᔾᔨᓕᐅᕆᕙᒃᑐᖅ ᐊᕙᑎᒥᓂ ᑕᑯᕙᓪᓕᐊᔭᒥᓂᒃ ᐊᑐᖅᖢᓂ ᑎᒍᒥᐊᕆᐊᓕᖕᒥᒃ ᐊᔾᔨᓕᐅᕈᑎᒥᒃ 360, ᖁᓚᒍᓕᖑᐊᒃᑯᒃ ᐊᔾᔨᓕᐅᖅᐸᒃᖢᓂ ᐊᒻᒪᓗ 3D modeling. ᑕᕙᓂ ᑎᑎᕋᖅᑕᐅᕙᒃᑐᒥᑦ ᑕᐃᔭᐅᔪᖅ “ᓄᓇᑦᑎᐊᕙᒃᐳᑦ” (2019) ᓇᓗᓇᐃᖅᓯᒪᕗᑦ ᓯᕗᓪᓕᖅᐸᒥᒃ ᑕᑯᒃᓴᐅᑎᑕᐅᓂᐊᕐᒪᑕ ᑕᕙᓂ ᐊᔾᔨᓕᐅᖅᑕᐅᓯᒪᔪᓂᒃ.

Kangiqtugaapik, Nunavut

ᓚᐃᓴ ᐊᐅᓚᓗᒃ-ᐅᐊᑦᔅᑯ


ᓚᐃᓴ ᐊᐅᓚᓗᒃ-ᐅᐊᑦᔅᑯ ᐊᔾᔨᓕᐅᕆᔨᐅᔪᖅ ᐊᐅᓱᐃᑦᑐᒥᐅᑕᖅ, ᓄᓇᕗᒻᒥᑦ. ᐊᔾᔨᓕᐅᖅᑕᖏᑦ ᓄᓇᒥᒃ ᐃᓄᓯᕐᒥᑦ ᐊᒻᒪᓗ ᐊᔾᔨᓕᐅᕆᕙᒃᖢᓂ ᐃᓕᓐᓂᐊᕐᕕᖕᒥ ᑲᑎᒪᔨᖏᓐᓂᒃ ᑲᑎᒪᑎᓪᓗᒋᑦ ᐊᒻᒪ ᐊᓯᖏᓐᓂᒃ ᐅᓪᓗᒥᐅᔪᖅ ᐃᓄᓯᕆᔭᐅᔪᓂᒃ, ᑭᓯᐊᓂᓕ ᐊᔾᔨᓕᐅᕆᕙᒃᑐᖅ ᖃᐅᒪᓂᕐᒥᒃ ᐊᑐᖅᖢᓂ. ᐊᐅᓚᓗᒃ-ᐅᐊᑦᔅᑯ ᓂᕈᐊᖅᑕᐅᓚᐅᖅᑐᖅ ᓄᓇᓕᖓᓂᒃ ᑲᑎᒪᔨᖏᓐᓂᒃ 2014-ᖑᑎᓪᓗᒍ.

ᓚᐃᓴ ᐊᐅᓚᓗᒃ-ᐅᐊᑦᔅᑯ


ᓚᐃᓴ ᐊᐅᓚᓗᒃ-ᐅᐊᑦᔅᑯ ᐊᔾᔨᓕᐅᕆᔨᐅᔪᖅ ᐊᐅᓱᐃᑦᑐᒥᐅᑕᖅ, ᓄᓇᕗᒻᒥᑦ. ᐊᔾᔨᓕᐅᖅᑕᖏᑦ ᓄᓇᒥᒃ ᐃᓄᓯᕐᒥᑦ ᐊᒻᒪᓗ ᐊᔾᔨᓕᐅᕆᕙᒃᖢᓂ ᐃᓕᓐᓂᐊᕐᕕᖕᒥ ᑲᑎᒪᔨᖏᓐᓂᒃ ᑲᑎᒪᑎᓪᓗᒋᑦ ᐊᒻᒪ ᐊᓯᖏᓐᓂᒃ ᐅᓪᓗᒥᐅᔪᖅ ᐃᓄᓯᕆᔭᐅᔪᓂᒃ, ᑭᓯᐊᓂᓕ ᐊᔾᔨᓕᐅᕆᕙᒃᑐᖅ ᖃᐅᒪᓂᕐᒥᒃ ᐊᑐᖅᖢᓂ. ᐊᐅᓚᓗᒃ-ᐅᐊᑦᔅᑯ ᓂᕈᐊᖅᑕᐅᓚᐅᖅᑐᖅ ᓄᓇᓕᖓᓂᒃ ᑲᑎᒪᔨᖏᓐᓂᒃ 2014-ᖑᑎᓪᓗᒍ.

Kuujjuaq, Nunavik

Mary Gordon



Gordon captures images of her environment by removing or reducing distance, creating a singular and highly personal view infused with her first-person connection to the land.

Mary Gordon



Gordon captures images of her environment by removing or reducing distance, creating a singular and highly personal view infused with her first-person connection to the land.

Ausuittuq, Nunavut

Laisa Audlaluk-Watsko



Audlaluk-Watsko’s work proves testament to her resilience in the High Arctic; despite challenging conditions and limited infrastructure, Audlaluk-Watsko sustains a productive career that illustrates the daily life of a contemporary Inuk.

Laisa Audlaluk-Watsko



Audlaluk-Watsko’s work proves testament to her resilience in the High Arctic; despite challenging conditions and limited infrastructure, Audlaluk-Watsko sustains a productive career that illustrates the daily life of a contemporary Inuk.