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What We Can Learn from the Inuit Mapping of the Arctic
This excerpt is from RADICAL CARTOGRAPHY by William Rankin, published by Viking, an imprint of Penguin Publishing Group, a division of Penguin Random House, LLC. Copyright © 2025 by William Rankin.
In 1994, the Berkeley geographer Bernard Nietschmann made a famous claim about the power of mapping in the global struggle for Indigenous rights. It was a claim about how the tools of historical oppression could be reclaimed by the oppressed: “More Indigenous territory has been claimed by maps than by guns. This assertion has its corollary: more Indigenous territory can be defended and reclaimed by maps than by guns.” The idea was that by putting themselves on the map—documenting their lives and their communities—Indigenous peoples would not be so easy to erase. Nietschmann was working in Central America, often heroically, during a time of violence and displacement, and he inspired a generation of researchers and activists interested in flipping the power structure of state-centric cartography on its head.
But despite the spread of bottom-up mapping projects in the past 30 years, perhaps the most successful example of Indigenous mapping actually predates Nietschmann’s call to action. Just one year prior, in 1993, the Inuit of northern Canada signed a treaty creating the territory of Nunavut—the largest self-governing Indigenous territory in the world—and mapping was central to both the negotiation and the outcome. It remains one of the rare cases of Indigenous geographic knowledge decolonizing the world map.
So why hasn’t the Inuit project been replicable elsewhere, despite decades more work on Indigenous mapping? The answer lies in the very idea of territory itself, and in particular in one of the most threatened parts of the Inuit landscape today: ice. The winter extent of Arctic sea ice reached a record low earlier this year, and a new low is predicted for the winter ahead. Yet the shrinking ice isn’t just an unshakable sign of Arctic warming; it’s also a poignant reminder of what Nietschmann got right—and what he missed—about the relationship between cartography and power. In particular, it shows how Inuit conceptions of space, place, and belonging are rooted in a dynamic, seasonal geography that’s often completely invisible on Western-style maps.
The story begins in the 1970s, when the young Inuit leader Tagak Curley, today considered a “living father” of Nunavut, hired the Arctic anthropologist Milton Freeman to lead a collaborative mapping project of unprecedented scope and ambition. Freeman taught at McMaster University about an hour outside Toronto; he was white, but his wife, Mini Aodla Freeman, was Inuit (she was a translator and later a celebrated writer). Freeman assembled a team of other anthropologists and Arctic geographers—also white—to split the mapping into regions. They called their method the “map biography.” The goal was to capture the life history of every Inuit hunter in cartographic form, recording each person’s memories of where, at any point in their life, they had found roughly three dozen species of wildlife—from caribou and ptarmigan to beluga, narwhal, and seaweed. Each map biography would be a testimony of personal experience.
After the mapping was split into regions, about 150 field-workers—almost all Inuit—traveled between 33 northern settlements with a stack of government-issued topographic maps to conduct interviews. Each hunter was asked to draw lines or shapes directly on the maps with colored pens or pencils. The interviewers stayed about 10 weeks in each settlement, visiting most hunters in their own homes, and the final participation rate was an astonishing 85 percent of all adult Inuit men. They collected 1,600 biographies in total, some on maps as large as 10 feet square.
Then came the cartographers, back in Ontario: one professor and a team of about 15 students. The first map below (Figure 1) shows how the individual map biographies were transformed into summary maps, one for each community. For every species, the overlap of all hunters’ testimony became a single blob, and then blobs for all species were overlaid to make a complete map. The second map (Figure 2) shows one of the finished atlas pages along the Northwest Passage. The immediate impression is that the Arctic is in no way an empty expanse of barren land and unclaimed mineral riches. It is dense with human activity, necessary for personal and collective survival. The community maps combined to show almost uninterrupted Inuit presence stretching from northern Labrador to the Alaska border.

Figure 1: Top left is a simplified version of a “map biography” from a single Inuit hunter, showing his birthplace and the places he hunted caribou, fox, wolf, grizzly bear, moose, and fish at various points in his life. (The original biography would have been drawn over a familiar government-issued topographic map.) The other three maps show how multiple biographies were then combined into patterned blobs for all hunters and all species. (Map courtesy of William Rankin/ Penguin Random House LLC.)

Figure 2: A two-page spread from the finished atlas showing the seven kinds of animals hunted from the settlements of Igloolik and Hall Beach, in an area about 500 by 300 miles: caribou, polar bear, walrus, whale, fish, seal, and waterfowl. (Because of the large number of individual species recorded in the map biographies, some species were grouped together in the final maps.) The blobs are a strong, even overpowering figure atop an unusually subtle ground. Notice in particular how difficult it is to distinguish land and water areas, since the dark shading extends beyond coastlines even for individual species. This map in fact includes the Northwest Passage—the famous sea route around the tip of North America—but the crucial Fury and Hecla Strait (named after the two British ships that first learned of, but did not navigate, the passage in 1822) is almost entirely obscured. (Map courtesy of William Rankin/ Penguin Random House LLC.)
Nothing about the cartography was meant to be subversive—or even controversial. For the cartographers, the only message was that the Inuit hunted a variety of species over large areas. But look again at the finished map in Figure 2. Yes, a foreground is layered over a background in the usual way, but the visual argument is strikingly different from a typical layered map in, say, a census atlas, where the foreground data doesn’t stray beyond crisp pre-existing borders. Here, in contrast, even the basic distinction between land and water is often obscure. The maps’ content is the facts of species and area; the maps’ argument is that Inuit culture is grounded in a substantially different understanding of territory than the one Western cartography was designed to show.
As a result, this new atlas shifted the negotiations between the Inuit and the Canadian government decisively. Not only did the maps provide a legal claim to the Inuit-used land, documenting 750,000 square miles—an area the size of Mexico—but also a claim to the sea, showing an additional 325,000 square miles offshore.
It took many years for the full implications to play out, but the erosion of the land–water boundary became central to the Inuit vision. At the time, wildlife on land was managed by the regional Northwest Territories government, while offshore marine species were the responsibility of centralized federal agencies. The Inuit used the atlas to win agreement for a new agency with equal responsibility over both. At the same time, the Inuit also improved their position by offering their offshore claims as evidence the Canadian government would use—not just in the 1980s, but even as recently as 2024—to resist foreign encroachment in the Northwest Passage. The final agreement in 1993 granted the Inuit $1.15 billion in cash, title to about 17 percent of the land in the “settlement area,” representation on several new management agencies, a share of all natural-resource revenue, broad hunting and fishing rights, and a promise that the territory of Nunavut would come into being on April 1, 1999.
It’s easy to count this project as a success story, but it’s also important to remember that it depended both on the government’s own interest in negotiation and on the willingness of Indigenous peoples, or at least their leadership, to translate their sense of space onto a map, solidifying what had previously been fluid. It also meant abandoning claims to ancestral lands that had not been used in living experience and provoking new boundary disputes with neighboring, and previously amicable, Indigenous groups. These tradeoffs have led some scholars to critique mapping as only “drawing Indigenous peoples into a modern capitalist economy while maintaining the centrality of state power.” But for the Inuit, the alternatives seemed quite a bit worse.
With the more recent proliferation of Indigenous mapping initiatives elsewhere—in Latin America, Africa, and Asia—the tradeoffs have been harder to evaluate. Most governments have shown little interest in addressing Indigenous claims, and when bottom-up mapping has been pushed instead by international nonprofits interested in environmental conservation, the downsides of mapping have often come without any of the upsides.
Yet it’s not just the attitude of the state that’s been different; it’s also the cartography. In nearly all these other cases, the finished maps have shown none of the territorial inversion of the Inuit atlas. Instead, Indigenous knowledge is either overlaid on an existing base map in perfectly legible form, or it’s used to construct a new base map of a remarkably conventional sort, using the same visual vocabulary as Western maps.
Did the Inuit project just show the data so clearly that its deeper implications were immediately apparent? No, not really, since the great irony here is that the cartographers were in fact quite dissatisfied. Follow-up surveys reached the conclusion that the atlas was only “moderately successful” by their usual mapmaking standards.
The Inuit atlas was a kind of happy accident—one that doesn’t conform to any of the usual stories about Indigenous mapping, in Canada or elsewhere. The lesson here isn’t that maps should be as Indigenous as possible, or that they should be as orthodox as possible. These maps were neither. My take is simpler: the atlas shows that maps can, in fact, support alternative conceptions of space—and that showing space in a different way is crucial.
The possibilities aren’t endless, but they’re broader than we might think. Plotting different sorts of data is a necessary step, but no less important are the relationships between that data and the assumptions of what lies below. For the Inuit, these assumptions were about land, water, and territory. These were in the background both visually and politically, and they were upstaged by an unexpectedly provocative foreground. The layers did not behave as they were meant to, and despite the tradeoffs, they allowed an Indigenous community to fight for their home and their way of life.
{
"article":
{
"title" : "What We Can Learn from the Inuit Mapping of the Arctic",
"author" : "William Rankin",
"category" : "excerpts",
"url" : "https://everythingispolitical.com/readings/inuit-mapping-arctic",
"date" : "2025-12-02 12:49:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Template-Inuit_Map.jpg",
"excerpt" : "This excerpt is from RADICAL CARTOGRAPHY by William Rankin, published by Viking, an imprint of Penguin Publishing Group, a division of Penguin Random House, LLC. Copyright © 2025 by William Rankin.",
"content" : "This excerpt is from RADICAL CARTOGRAPHY by William Rankin, published by Viking, an imprint of Penguin Publishing Group, a division of Penguin Random House, LLC. Copyright © 2025 by William Rankin.In 1994, the Berkeley geographer Bernard Nietschmann made a famous claim about the power of mapping in the global struggle for Indigenous rights. It was a claim about how the tools of historical oppression could be reclaimed by the oppressed: “More Indigenous territory has been claimed by maps than by guns. This assertion has its corollary: more Indigenous territory can be defended and reclaimed by maps than by guns.” The idea was that by putting themselves on the map—documenting their lives and their communities—Indigenous peoples would not be so easy to erase. Nietschmann was working in Central America, often heroically, during a time of violence and displacement, and he inspired a generation of researchers and activists interested in flipping the power structure of state-centric cartography on its head.But despite the spread of bottom-up mapping projects in the past 30 years, perhaps the most successful example of Indigenous mapping actually predates Nietschmann’s call to action. Just one year prior, in 1993, the Inuit of northern Canada signed a treaty creating the territory of Nunavut—the largest self-governing Indigenous territory in the world—and mapping was central to both the negotiation and the outcome. It remains one of the rare cases of Indigenous geographic knowledge decolonizing the world map.So why hasn’t the Inuit project been replicable elsewhere, despite decades more work on Indigenous mapping? The answer lies in the very idea of territory itself, and in particular in one of the most threatened parts of the Inuit landscape today: ice. The winter extent of Arctic sea ice reached a record low earlier this year, and a new low is predicted for the winter ahead. Yet the shrinking ice isn’t just an unshakable sign of Arctic warming; it’s also a poignant reminder of what Nietschmann got right—and what he missed—about the relationship between cartography and power. In particular, it shows how Inuit conceptions of space, place, and belonging are rooted in a dynamic, seasonal geography that’s often completely invisible on Western-style maps.The story begins in the 1970s, when the young Inuit leader Tagak Curley, today considered a “living father” of Nunavut, hired the Arctic anthropologist Milton Freeman to lead a collaborative mapping project of unprecedented scope and ambition. Freeman taught at McMaster University about an hour outside Toronto; he was white, but his wife, Mini Aodla Freeman, was Inuit (she was a translator and later a celebrated writer). Freeman assembled a team of other anthropologists and Arctic geographers—also white—to split the mapping into regions. They called their method the “map biography.” The goal was to capture the life history of every Inuit hunter in cartographic form, recording each person’s memories of where, at any point in their life, they had found roughly three dozen species of wildlife—from caribou and ptarmigan to beluga, narwhal, and seaweed. Each map biography would be a testimony of personal experience.After the mapping was split into regions, about 150 field-workers—almost all Inuit—traveled between 33 northern settlements with a stack of government-issued topographic maps to conduct interviews. Each hunter was asked to draw lines or shapes directly on the maps with colored pens or pencils. The interviewers stayed about 10 weeks in each settlement, visiting most hunters in their own homes, and the final participation rate was an astonishing 85 percent of all adult Inuit men. They collected 1,600 biographies in total, some on maps as large as 10 feet square.Then came the cartographers, back in Ontario: one professor and a team of about 15 students. The first map below (Figure 1) shows how the individual map biographies were transformed into summary maps, one for each community. For every species, the overlap of all hunters’ testimony became a single blob, and then blobs for all species were overlaid to make a complete map. The second map (Figure 2) shows one of the finished atlas pages along the Northwest Passage. The immediate impression is that the Arctic is in no way an empty expanse of barren land and unclaimed mineral riches. It is dense with human activity, necessary for personal and collective survival. The community maps combined to show almost uninterrupted Inuit presence stretching from northern Labrador to the Alaska border.Figure 1: Top left is a simplified version of a “map biography” from a single Inuit hunter, showing his birthplace and the places he hunted caribou, fox, wolf, grizzly bear, moose, and fish at various points in his life. (The original biography would have been drawn over a familiar government-issued topographic map.) The other three maps show how multiple biographies were then combined into patterned blobs for all hunters and all species. (Map courtesy of William Rankin/ Penguin Random House LLC.)Figure 2: A two-page spread from the finished atlas showing the seven kinds of animals hunted from the settlements of Igloolik and Hall Beach, in an area about 500 by 300 miles: caribou, polar bear, walrus, whale, fish, seal, and waterfowl. (Because of the large number of individual species recorded in the map biographies, some species were grouped together in the final maps.) The blobs are a strong, even overpowering figure atop an unusually subtle ground. Notice in particular how difficult it is to distinguish land and water areas, since the dark shading extends beyond coastlines even for individual species. This map in fact includes the Northwest Passage—the famous sea route around the tip of North America—but the crucial Fury and Hecla Strait (named after the two British ships that first learned of, but did not navigate, the passage in 1822) is almost entirely obscured. (Map courtesy of William Rankin/ Penguin Random House LLC.)Nothing about the cartography was meant to be subversive—or even controversial. For the cartographers, the only message was that the Inuit hunted a variety of species over large areas. But look again at the finished map in Figure 2. Yes, a foreground is layered over a background in the usual way, but the visual argument is strikingly different from a typical layered map in, say, a census atlas, where the foreground data doesn’t stray beyond crisp pre-existing borders. Here, in contrast, even the basic distinction between land and water is often obscure. The maps’ content is the facts of species and area; the maps’ argument is that Inuit culture is grounded in a substantially different understanding of territory than the one Western cartography was designed to show.As a result, this new atlas shifted the negotiations between the Inuit and the Canadian government decisively. Not only did the maps provide a legal claim to the Inuit-used land, documenting 750,000 square miles—an area the size of Mexico—but also a claim to the sea, showing an additional 325,000 square miles offshore.It took many years for the full implications to play out, but the erosion of the land–water boundary became central to the Inuit vision. At the time, wildlife on land was managed by the regional Northwest Territories government, while offshore marine species were the responsibility of centralized federal agencies. The Inuit used the atlas to win agreement for a new agency with equal responsibility over both. At the same time, the Inuit also improved their position by offering their offshore claims as evidence the Canadian government would use—not just in the 1980s, but even as recently as 2024—to resist foreign encroachment in the Northwest Passage. The final agreement in 1993 granted the Inuit $1.15 billion in cash, title to about 17 percent of the land in the “settlement area,” representation on several new management agencies, a share of all natural-resource revenue, broad hunting and fishing rights, and a promise that the territory of Nunavut would come into being on April 1, 1999.It’s easy to count this project as a success story, but it’s also important to remember that it depended both on the government’s own interest in negotiation and on the willingness of Indigenous peoples, or at least their leadership, to translate their sense of space onto a map, solidifying what had previously been fluid. It also meant abandoning claims to ancestral lands that had not been used in living experience and provoking new boundary disputes with neighboring, and previously amicable, Indigenous groups. These tradeoffs have led some scholars to critique mapping as only “drawing Indigenous peoples into a modern capitalist economy while maintaining the centrality of state power.” But for the Inuit, the alternatives seemed quite a bit worse.With the more recent proliferation of Indigenous mapping initiatives elsewhere—in Latin America, Africa, and Asia—the tradeoffs have been harder to evaluate. Most governments have shown little interest in addressing Indigenous claims, and when bottom-up mapping has been pushed instead by international nonprofits interested in environmental conservation, the downsides of mapping have often come without any of the upsides.Yet it’s not just the attitude of the state that’s been different; it’s also the cartography. In nearly all these other cases, the finished maps have shown none of the territorial inversion of the Inuit atlas. Instead, Indigenous knowledge is either overlaid on an existing base map in perfectly legible form, or it’s used to construct a new base map of a remarkably conventional sort, using the same visual vocabulary as Western maps.Did the Inuit project just show the data so clearly that its deeper implications were immediately apparent? No, not really, since the great irony here is that the cartographers were in fact quite dissatisfied. Follow-up surveys reached the conclusion that the atlas was only “moderately successful” by their usual mapmaking standards.The Inuit atlas was a kind of happy accident—one that doesn’t conform to any of the usual stories about Indigenous mapping, in Canada or elsewhere. The lesson here isn’t that maps should be as Indigenous as possible, or that they should be as orthodox as possible. These maps were neither. My take is simpler: the atlas shows that maps can, in fact, support alternative conceptions of space—and that showing space in a different way is crucial.The possibilities aren’t endless, but they’re broader than we might think. Plotting different sorts of data is a necessary step, but no less important are the relationships between that data and the assumptions of what lies below. For the Inuit, these assumptions were about land, water, and territory. These were in the background both visually and politically, and they were upstaged by an unexpectedly provocative foreground. The layers did not behave as they were meant to, and despite the tradeoffs, they allowed an Indigenous community to fight for their home and their way of life."
}
,
"relatedposts": [
{
"title" : "Narrative Sovereignty in the American Wing of The Met: Don't Miss ENCODED at the MET",
"author" : "",
"category" : "",
"url" : "https://everythingispolitical.com/readings/narrative-sovereignty-in-the-american-wing-of-the-met",
"date" : "2025-12-22 12:58:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Hidden_Exhibition.jpg",
"excerpt" : "As artists and multicultural activists, we did not come to the Metropolitan Museum of Art’s American Wing seeking permission, instead we showed up to the work with intention, responsibility, and a commitment to truth. ENCODED: Change the Story, Change the Future exists because silence is not neutral, presence without agency is insufficient and solidarity across values-based creativity is essential for liberation.",
"content" : "As artists and multicultural activists, we did not come to the Metropolitan Museum of Art’s American Wing seeking permission, instead we showed up to the work with intention, responsibility, and a commitment to truth. ENCODED: Change the Story, Change the Future exists because silence is not neutral, presence without agency is insufficient and solidarity across values-based creativity is essential for liberation.The American Wing is often described as a celebration of American art, yet it also functions as a carefully curated archive of colonial mythology and westward expansion propaganda. Its paintings and sculptures rehearse familiar narratives: conquest framed as destiny, extraction framed as progress, whiteness framed as purity, Indigenous absence framed as inevitability. These works are not merely historical artifacts; they are instruments of narrative power. They encode ideas about belonging, legitimacy, and nationhood, ideas that continue to shape cultural consciousness and public policy today. ENCODED intervenes in this institutional space not to negate history, but to complicate it. Using augmented reality, the exhibition overlays Indigenous artistic expression and counter-narratives directly onto famous works in the American Wing, reframing them through Indigenous epistemologies, lived experience, and historical truth. This is not an act of erasure. It is an act of expansion and an overt insistence that American art history is incomplete without Indigenous voice, presence, and critique.At its core, ENCODED is grounded in the principle of narrative sovereignty. Narrative sovereignty asserts that communities most impacted by historical and ongoing harm such as Indigenous peoples, Afro-descendant people, Palestinians, Pacific Islanders, Trans folks and the working class all must have the authority to tell their own stories, in their own words, and within the institutions that have historically excluded or misrepresented them. This is not a symbolic gesture. It is a democratic imperative.Democracy depends on access to truth. When museums present a singular, sanitized vision of history, they do not merely reflect power, they reinforce it. The American Wing has long upheld myths of “taming the West” and the so-called exhaustion of empire, narratives that obscure the violence of settler colonialism, normalize Indigenous dispossession and chattel slavery. ENCODED challenges these myths by making visible what has been omitted: resistance, survival, continuity, solidarity and accountability. For me, I also hope this intervention reflects back to museum goers and viewers the perils of authoritarianism, fascism and ongoing colonial projects such as legacy media consolidation, rapid creation of datacenters to produce AI, cutting access to healthcare, education, rights, or the current US regime’s attempt to erase history by any means necessary.The artists participating in ENCODED are not responding nostalgically to the past. They are engaging the present. Their work examines how colonial narratives persist in contemporary systems including environmental destruction justified by extraction, racial hierarchies reinforced through cultural storytelling, and institutions that benefit from the aesthetics of inclusion while resisting structural change. These are not abstract critiques; they are lived realities and for me deep lessons that have been shaped by having formerly worked at a neocolonial conservation nonprofit ran by wealthy cis wyt men and their enablers for nearly five years.Artistic integrity, in this context, cannot be separated from ethical responsibility. For too long, the art world has upheld a false binary between aesthetics and politics, suggesting that rigor diminishes when artists engage power directly. ENCODED rejects this premise. Integrity is not neutrality. Integrity is the willingness to tell the truth, even when it destabilizes comfort or prestige. Walking with integrity can be painful and takes courage.Importantly, ENCODED is not positioned as a protest staged outside the institution, nor as a request for institutional validation. It is an act of presence with agency. The project uses accessible technology to meet audiences where they are, inviting participation rather than reverence. Viewers scan QR codes and encounter layered narratives that ask them to look again, listen differently, and question inherited assumptions. Except for a few organized tours, the experience is self-guided, decentralized, and deliberately democratic. It’s also fun, and it is so special to hear the familiar sounds from the ENCODED pieces ring throughout the galleries signalling that kin is close by.This kinship network and accessibility is central to the work. Cultural literacy should not be gated by academic language, curatorial authority, white exceptionalism or economic privilege. By operating through personal devices, ENCODED rejects the museum’s traditional hierarchy of knowledge and affirms that interpretation is a shared civic space. The exhibition does not dictate conclusions; it creates conditions for reckoning and deep dialogue.Solidarity is another foundational principle of the project. ENCODED brings together Indigenous artists across nations and disciplines, in relationship with Black, Brown, and allied communities who recognize that colonialism is not a single-issue structure. The logics that dispossessed Indigenous peoples are the same logics that underwrote slavery, environmental exploitation, the seizing of Palestine, forced child mining labor of cobalt in Congo and in general global empire. Working in solidarity does not collapse difference; it honors specificity while resisting division and acknowledging historic patterns of systemic oppression.In a cultural landscape shaped by scarcity and competition, ENCODED models an alternative, one rooted in collective presence, shared resources, and mutual accountability. The project refuses the extractive norms of both empire and the contemporary art economy, offering instead a relational approach grounded in care, collaboration, and long-term impact on community.The decision to situate ENCODED within the American Wing was deliberate. Indigenous art has too often been confined to anthropological contexts or framed as premodern, separate from the narrative of American art. ENCODED asserts what has always been true: Indigenous peoples are not peripheral to American history; we are foundational to it. Our stories do not belong on the margins, nor do they belong solely to the past or through a white gaze.Yet presence without counter-narrative risks assimilation. ENCODED insists that visibility must be accompanied by authorship. By intervening directly within the American Wing, the project challenges the authority of colonial framing and invites institutions to reckon with their role in shaping public memory. Our hope is that eventually the Met will see this as an opportunity to engage in discussion and support its presence well into 2026.There is risk in this work. Naming colonial propaganda within revered institutions invites discomfort, defensiveness, and critique. But risk is inseparable from integrity. Artists and cultural workers are accountable not only to institutions and audiences, but to future generations. The question is not whether institutions will change, but whether artists will continue to lead with courage when they do not.ENCODED is an offering and a provocation. It asks what it means to inherit a cultural legacy and whether we are willing to transform it. Empire is not exhausted; it is contested. And art remains one of the most powerful sites of that contestation. When we change the story, we do change the future. Not through erasure, but through expansion. Not through dominance, but through relationship.Ultimately, ENCODED affirms that art is not merely a reflection of society, but a tool for shaping it and that when artists from the margins claim space at the center, together and with integrity, we open pathways toward a more honest, inclusive, and democratic cultural future. Join us.To access ENCODED review the exhibit website for instructions. While at the Met scan the QR code and click through the prompts for the self guided tour.https://www.encodedatthemet.com"
}
,
{
"title" : "The Aesthetics of Atrocity:: Lockheed Martin’s Streetwear Pivot",
"author" : "Louis Pisano",
"category" : "",
"url" : "https://everythingispolitical.com/readings/the-aesthetics-of-atrocity",
"date" : "2025-12-20 10:30:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Lockheed_StreetWar.jpg",
"excerpt" : "On December 12, The Business of Fashion published an article titled “The Unlikely Rise and Uncertain Future of Lockheed Martin Streetwear,” detailing the world’s largest arms manufacturer’s entrance into casual apparel.",
"content" : "On December 12, The Business of Fashion published an article titled “The Unlikely Rise and Uncertain Future of Lockheed Martin Streetwear,” detailing the world’s largest arms manufacturer’s entrance into casual apparel.Through a licensing deal with South Korea’s Doojin Yanghang Corp., Lockheed turns fighter jet graphics, corporate slogans, and its star logo into gorpcore staples. Oversized outerwear, tactical pants, and advanced synthetic fabrics sell out at Seoul pop-ups like the Hyundai department store with young Korean consumers chasing the edgy, functional vibe. Andy Koh, a Seoul-based content creator, tells BoF that while arms manufacturing is, in theory, political, he has never encountered widespread discomfort among Korean consumers. “As long as it looks cool and the product functions as expected,” he says, “they seem okay with it.”This trend aligns with a broader South Korean fashion phenomenon: licensing logos from global non-fashion brands to create popular streetwear lines. Examples include National Geographic puffers, Yale crewnecks, Kodak retro tees, CNN hoodies, Discovery jackets, Jeep outdoor wear, and university apparel from institutions like Harvard and UCLA. These licensed collections, often featuring media, academia, sports leagues, or adventure themes, have become staples on online retailers like Musinsa and in brick-and-mortar stores, propelled by K-pop influence and a tech-savvy youth market that make these odd crossovers multimillion-dollar successes.Lockheed, however, is categorically different. Its core business is not exploration, education, or journalism. It is industrialized death, and its arrival in fashion forces a reckoning with how far commodification can stretch.Having spent years in the military, maybe I’m the wrong person to critique this. Or maybe I’m exactly the right one. I know what weapons are for, how they’re used, and the human cost they carry. Lockheed manufactures F-16 and F-35 fighter jets, Hellfire missiles, and precision-guided systems that human rights organizations have repeatedly linked to civilian casualties across multiple conflicts. In Yemen, U.S.-supplied weapons incorporating Lockheed technology contributed to thousands of civilian deaths since 2015, most notoriously the 2018 airstrike on a school bus in Saada that killed dozens of children. In Gaza, since October 2023, Lockheed-supplied F-35s and munitions have formed the backbone of air operations that Amnesty International and other watchdogs have flagged for potential violations of international humanitarian law, cases now under examination by the International Court of Justice.In 2024, the company reported $71 billion in revenue, almost entirely from military contracts, with more than 1,100 F-35s already delivered worldwide and production lines running hotter than ever. That staggering scale is the reality lurking beneath a logo now casually printed on everyday apparel.So why does the planet’s largest arms manufacturer license its brand to streetwear? The answer seems to be twofold: easy money and sophisticated image laundering. Licensing delivers low-risk royalties from Korea’s reported $35-40 billion apparel market with virtually no operational headache. Lockheed simply collects checks while a third-party manufacturer handles design, production, distribution, and deals with all the mess of retail.The far more ambitious goal, however, is reputational refurbishment. Doojin deliberately markets the line around “future-oriented technical aesthetics” and “aerospace innovation,” leaning on cutting-edge fabrics to conjure high-tech futurism instead of battlefield carnage. By late 2025, as U.S. favorability in South Korea continued to slide amid trade tensions and regional geopolitical shifts, the brand quietly de-emphasized its American roots, according to Lockheed representatives. The strategy clearly tries to sever the logo from political controversy and plant it firmly in youth culture, where aesthetic appeal routinely outmuscles ethical concern.Lockheed has honed this kind of rebranding for decades. Their corporate brochures overflow with talk of “driving innovation” and “advancing scientific discovery,” spotlighting STEM scholarships, veteran hiring initiatives, and rapid-response disaster aid. The clothing itself carries the same sanitized messaging. One prominent slogan reads “Ensuring those we serve always stay ahead of ready”, euphemistic corporate-speak that sounds heroic until you remember that “those we serve” includes forces deploying Hellfire missiles against civilian targets. Other pieces feature F-35 graphics paired with copy declaring the jet “strengthens national security, enhances global partnerships, and powers economic growth”. It’s textbook PR varnish. Instruments designed for lethal efficiency, now rebranded as symbols of progress and prosperity.We’ve also seen this trick before: Fast fashion brands that slap “sustainable” labels on sweatshop products. Tech giants that fund glamorous art installations while they harvest user data. Oil companies that rebrand themselves as forward-thinking “energy” players as the Earth’s climate burns. Lockheed, though, traffics in something uniquely irreversible: export-grade death. By licensing its identity to apparel, multibillion-dollar arms contracts are reduced to mere intellectual property; civilian casualties dissolved into, simply, background static.In other words, vibes overpower victims. And when those vibes are stamped with the logo of the planet’s preeminent death merchant, resistance feels futile.Gorpcore has always drawn from military surplus for its rugged utility: endless cargo pockets, indestructible nylons, tactical silhouettes born in combat and repurposed for city streets. Brands like Arc’teryx, The North Face, and Supreme mine that heritage for authenticity and performance. After World War II, army fatigues became symbols of genuine rebellion, worn by anti-war protesters as an act of defiance against the establishment. Today, the dynamic threatens to invert entirely. The establishment itself, the world’s preeminent arms dealer, now supplies the “authentic” merchandise, turning subversion into subtle endorsement.Streetwear grew out of skate culture, hip-hop, and grassroots rebellion against mainstream norms. Importing the aesthetics of atrocity risks converting that legacy into compliance, rendering militarism the newest version of mainstream cool. For a generation immersed in filtered feeds and rapid trend cycles, Lockheed’s logo can sit comfortably beside NASA patches or National Geographic emblems, conveniently severed from the charred wreckage in Saada or the devastation in Gaza. Research on “ethical fading” demonstrates how strong visual design can mute moral alarms, a phenomenon intensified in Korea’s hyper-trendy ecosystem, where mandatory military service may further desensitize young consumers to defense branding while K-pop’s global engine drives relentless consumption.If the line proves durable, escalation feels inevitable. Palantir, another cornerstone of the defense-tech world, has already gone there, hyping limited merch drops that sell out in hours: $99 athletic shorts stamped “PLTR—TECH,” $119 nylon totes, hoodies emblazoned with CEO Alex Karp’s likeness or slogans about “dominating” threats. What’s to stop Northrop Grumman from launching its own techwear line? Or BAE Systems from dropping high-end collaborations?Lockheed already licenses merchandise worldwide through various agencies; broader international rollouts beyond Korea seem only a matter of time. Backlash is possible, boycotts from ethically minded buyers, perhaps even regulatory scrutiny as anti-militarism sentiment swells. Gorpcore’s longstanding flirtation with military aesthetics could calcify into outright fetish, obliterating whatever daylight remained between practical function and state-sanctioned propaganda.Yet, history suggests that in oversaturated markets, “cool” almost always trumps conscience. Lockheed’s streetwear pivot is a stark illustration of how fashion and culture launder raw power, enabling the machinery of war to conceal itself among hype, hoodies, and sold-out drops."
}
,
{
"title" : "Our Era of Insecurity: How Unaffordability and Uncertainty Became Our Monoculture",
"author" : "Alissa Quart",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/our-era-of-insecurity",
"date" : "2025-12-16 11:56:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Unaffordability.jpg",
"excerpt" : "In 2025, I’ve interviewed a number of people who saw themselves as living in “survival mode.” At first, their professions might surprise you. They are government contractors, public broadcasters, and tech workers, formerly safe professions. And some of their jobs disappeared this year due to DOGE “efficiency” cuts, the dismantling of the Corporation for Public Broadcasting, and AI acceleration. They are among the millions now living through an experience that I call terra infirma, a new level of economic and social uncertainty.",
"content" : "In 2025, I’ve interviewed a number of people who saw themselves as living in “survival mode.” At first, their professions might surprise you. They are government contractors, public broadcasters, and tech workers, formerly safe professions. And some of their jobs disappeared this year due to DOGE “efficiency” cuts, the dismantling of the Corporation for Public Broadcasting, and AI acceleration. They are among the millions now living through an experience that I call terra infirma, a new level of economic and social uncertainty.It’s the mood that encapsulates so much of Trump 2.0. A November 2025 Pew study found that almost half of U.S. adults are uncertain about having enough retirement income. When it comes to health insurance, they may be waiting for their ACA health subsidies to sunset or for their partner’s premiums to skyrocket. Addressing unaffordability and uncertainty is even the newest theme song in politics, most recently in the Maine campaign of gubernatorial candidate, oyster farmer and military veteran Graham Platner.Seventy years ago, the critic Raymond Williams used the term “structure of feeling” to describe a collective emotion that is tied to a time and place, as well as social and economic conditions. Today, our “structure of feeling” is uncertainty. You could even take it further, and call “precarity” the last monoculture as it’s a condition shared by so many Americans. As Astra Taylor, author of The Age of Insecurity: Coming Together as Things Fall Apart, says, insecurity is a “defining feature of our time.”As far as mass moods go, “insecurity” is certainly a disconcerting one. The economist Pranab Bardhan writes in A World of Insecurity, that “insecurity, more than inequality, agitates people.” What makes 2025 different from other years, however, is the degree to which we all experienced this precarity. The usual uncertainty level has been turned up from a whine to a 135-decibel air raid scream.What’s happened? Tariffs have raised our costs. Medicaid will be scaled back over the next decade by a trillion dollars. Meanwhile, dozens of Venezuelan fishermen have been exploded by our armed forces. And while two-thirds of Americans are already living with economic insecurity, their feelings about it don’t necessarily involve the discrepancy between their lot and those of the very rich. As Steven Semler, the co-founder of Security Policy Reform Institute (SPRI), explains it to me, these Americans have a mindset that “is more fearful of poverty than aspirations of being a millionaire.”The people of terra infirma do describe such fears. In the words of one, they’ve experienced a “mental health decline and a loss of purpose” and in another, “a serious financial pinch”, because they are their family’s main breadwinner. Uncertainty is the common refrain of the growing number of laid-off software workers, according to Human-Centered Design scholar Samuel So. In addition to feeling destabilized about their professional security for the first time, software workers have experienced disillusionment and alienation from the technology industry’s “military and police partnerships.” Jobs themselves are part of this insecurity, with never-ending hiring processes, the race of automation, and ghost jobs, the twisted contemporary version of the perished Russian serfs of Nikolai Gogol’s Dead Souls, except now professional opportunities are offered that don’t actually exist. People are also nervous about their future, because insecurity is a temporal emotion, as much about the future as the present. Many of us wonder how our security will further erode, as our health plan premiums soar, or as our subways catch on fire, or as ICE comes to our cities. This causes not only stress in the moment, but discomfort about what lies ahead.Of course, it’s not just Trump 2.0 alone that has caused this. The forces behind Trump’s win in 2024—and the anger at the traditional Democratic party—have something to do with this disposition, as well. In the weeks leading up to Trump’s election, people surveyed by the Federal Reserve Board ranked one of their top concerns as pricing and their top concern as inflation. Disparate phenomena—AI slop, job cuts, relentless and confusing cutbacks in crucial academic research—are entwined. It’s as if they were all figures in a paranoiac Thomas Pynchon novel. In a “world of insecurity,” as economist Bardhan writes, instabilities interlink. In other words, what I think of as “informational insecurity”—bots, false ads, fake news—often joins up with economic instability.These different instances of confusion and instability blend into a gnarly color wheel of distress. Economic distress, sure—that is also accentuated by societal, cultural, environmental, and physical examples of insecurity we see all around us, every day.How do we pick apart these knotted-together insecurities? For starters, we can embrace candidates who address economic uncertainty head-on, including New York’s new mayor, Zohran Mamdani, Seattle’s new mayor, Katie Wilson, and Virginia’s governor-elect Abigail Spanberger. These politicians, as Nicholas Jacobs has written of Maine candidate Platner, are “speaking to grievances that are real, measurable, and decades in the making.”Another line of defense is being brave and grasping for community in any way we can. I think of the ordinary people blowing whistles near Chicago to alert their neighbors when ICE showed up in their suburban towns: they were accidental upstanders, refusing to be part of manufactured uncertainty and instability.One traditional definition of security is “freedom from fear.” And while we are unlikely to experience that freedom from fear as long as the populist American Right continues its goosestep, it’s also important to remember that uncertainty, like any “structure of feeling,” is an unfinished emotion.Yes, insecurity shapes us now. But we, as a collective, are so much more than it. Because even if we are living in a time of such negative uncertainty, it won’t necessarily stay that way. We can still redefine ourselves and, most importantly, recognize we are not alone."
}
]
}