Details
The Black Speculative Arts Movement
Black Futurity, Art+Design
36,99 € |
|
Verlag: | Lexington Books |
Format: | EPUB |
Veröffentl.: | 13.11.2019 |
ISBN/EAN: | 9781498510547 |
Sprache: | englisch |
Anzahl Seiten: | 214 |
DRM-geschütztes eBook, Sie benötigen z.B. Adobe Digital Editions und eine Adobe ID zum Lesen.
Beschreibungen
<span>The Black Speculative Arts Movement: Black Futurity, Art+Design</span>
<span> is a 21</span>
<span><sup>st</sup></span>
<span> century statement on the intersection of the future of African people with art, culture, technology, and politics. This collection enters the global debate on the emerging field of Afrofuturism studies with an international array of scholars and artists contributing to the discussion of Black futurity in the 21</span>
<span><sup>st</sup></span>
<span> century. The contributors analyze and respond to the invisibility or mischaracterization of Black people in the popular imagination, in science fiction, and in philosophies of history.</span>
<span> is a 21</span>
<span><sup>st</sup></span>
<span> century statement on the intersection of the future of African people with art, culture, technology, and politics. This collection enters the global debate on the emerging field of Afrofuturism studies with an international array of scholars and artists contributing to the discussion of Black futurity in the 21</span>
<span><sup>st</sup></span>
<span> century. The contributors analyze and respond to the invisibility or mischaracterization of Black people in the popular imagination, in science fiction, and in philosophies of history.</span>
<span>This collection contributes to Afrofuturism studies by focusing on the Black creative experience. Contributors analyze philosophies of utopia, art, music, and histories of visual resistance, and they critique noted works by authors and artists like Octavia Butler, Ralph Ellison, Kiluanji Kia Henda, Janelle Monae, and Colson Whitehead.</span>
<p><span>Forward: 25 Years in a 500 Year Long Song </span><br><br></p>
<p><span>Sheree Renee Thomas </span><br><br></p>
<p><br><br></p>
<p><span>Introduction: The Year of the Panther </span><br><br></p>
<p><span>Reynaldo Anderson and Clinton Fluker </span><br><br></p>
<p><br><br></p>
<p><span>Part I: Theory and Extra-Planetary Reason</span><br><br></p>
<p><br><br></p>
<p><span>Chapter One: At the End of “Dasein”: An Afro-German Voyage into the Future</span><br><br></p>
<p><span>Natasha A. Kelly</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Two: Avant-Gardes, Afrofuturism, and Philosophical Readings of Rhythm</span><br><br></p>
<p><span>Iain Campbell</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Three: Working on the Other Side of Time: An Interview with Rasheedah Phillips</span><br><br></p>
<p><span>Reynaldo Anderson</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Four: We Speak, We Make, We Tinker: Afrofuturism as Applied Digital Humanities</span><br><br></p>
<p><span>Toniesha L. Taylor</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Five: Forms of Future/Past: Black Kirby Afrofuturism and the Visual Technologies of Resistance</span><br><br></p>
<p><span>John Jennings and Clinton R. Fluker</span><br><br></p>
<p><br><br></p>
<p><span>Part II: Coding Utopia and Dystopia</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Six: “Everything is real. It’s just not as you see it”: Imagination, Utopia, and Afrofuturist Feminism in Octavia E. Butler’s “The Book of Martha”</span><br><br></p>
<p><span>Susana M. Morris </span><br><br></p>
<p><br><br></p>
<p><span>Chapter Seven: African Futurist Themes and Fantasy in Modern African Speculative Fiction </span><br><br></p>
<p><span>Dike Okoro</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Eight: B[l]ack to the Future: Futurism and Blackness in </span><span>Zone One</span><br><br></p>
<p><span>Souleymane Ba</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Nine: Dragons, Vescells, and Writing Afro-Latino Futures: An Interview with Enrique Carrion</span><br><br></p>
<p><span>Stacey Robinson </span><br><br></p>
<p><br><br></p>
<p><span>Chapter Ten: “The Electric Impulse:” The Legba Circuit in Ralph Ellison’s </span><span>Invisible Man</span><br><br></p>
<p><span>Sherese Francis</span><br><br></p>
<p><br><br></p>
<p><br><br></p>
<p><span>Part III: Blackness and Planetary Praxis</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Eleven: Ashes to Ashes: The Second Life of Kiluanji Kia Henda’s Afrofuturist Critique</span><br><br></p>
<p><span>Dariel Cobb </span><br><br></p>
<p><br><br></p>
<p><span>Chapter Twelve: Metropolis 2.0: Janelle Monáe’s Recycling of Fritz Lang</span><br><br></p>
<p><span>Erik Steinskog</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Thirteen: Designing Love: Reimagining Technology and Intimacy </span><br><br></p>
<p><span>Ebony A. Utley</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Fourteen: Performing Black Imagination: The Critical Embodiment of Transfuturism</span><br><br></p>
<p><span>Amber Johnson </span><br><br></p>
<p><br><br></p>
<p><span>Chapter Fifteen: Fabulous Camps of the Black Fantastic: Sylvester James, Queer Afrofuturism, and Black Vernacular Becomings</span><br><br></p>
<p><span>tobias c. van Veen and Reynaldo Anderson</span><br><br></p>
<p><br><br></p>
<p><span>Part IV: Images on the Other Side of Time </span><br><br></p>
<p><span>Chapter Sixteen: Funky Images on the Other Side of Time: Various Artists</span><br><br></p>
<p><span>Wriply Marie Bennet, Tim Fielder, John Jennings, Jessi Jumanji, Amber Johnson, Sheeba Maya, Stacey Robinson, and Quentin VerCetty</span></p>
<p><span>Sheree Renee Thomas </span><br><br></p>
<p><br><br></p>
<p><span>Introduction: The Year of the Panther </span><br><br></p>
<p><span>Reynaldo Anderson and Clinton Fluker </span><br><br></p>
<p><br><br></p>
<p><span>Part I: Theory and Extra-Planetary Reason</span><br><br></p>
<p><br><br></p>
<p><span>Chapter One: At the End of “Dasein”: An Afro-German Voyage into the Future</span><br><br></p>
<p><span>Natasha A. Kelly</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Two: Avant-Gardes, Afrofuturism, and Philosophical Readings of Rhythm</span><br><br></p>
<p><span>Iain Campbell</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Three: Working on the Other Side of Time: An Interview with Rasheedah Phillips</span><br><br></p>
<p><span>Reynaldo Anderson</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Four: We Speak, We Make, We Tinker: Afrofuturism as Applied Digital Humanities</span><br><br></p>
<p><span>Toniesha L. Taylor</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Five: Forms of Future/Past: Black Kirby Afrofuturism and the Visual Technologies of Resistance</span><br><br></p>
<p><span>John Jennings and Clinton R. Fluker</span><br><br></p>
<p><br><br></p>
<p><span>Part II: Coding Utopia and Dystopia</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Six: “Everything is real. It’s just not as you see it”: Imagination, Utopia, and Afrofuturist Feminism in Octavia E. Butler’s “The Book of Martha”</span><br><br></p>
<p><span>Susana M. Morris </span><br><br></p>
<p><br><br></p>
<p><span>Chapter Seven: African Futurist Themes and Fantasy in Modern African Speculative Fiction </span><br><br></p>
<p><span>Dike Okoro</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Eight: B[l]ack to the Future: Futurism and Blackness in </span><span>Zone One</span><br><br></p>
<p><span>Souleymane Ba</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Nine: Dragons, Vescells, and Writing Afro-Latino Futures: An Interview with Enrique Carrion</span><br><br></p>
<p><span>Stacey Robinson </span><br><br></p>
<p><br><br></p>
<p><span>Chapter Ten: “The Electric Impulse:” The Legba Circuit in Ralph Ellison’s </span><span>Invisible Man</span><br><br></p>
<p><span>Sherese Francis</span><br><br></p>
<p><br><br></p>
<p><br><br></p>
<p><span>Part III: Blackness and Planetary Praxis</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Eleven: Ashes to Ashes: The Second Life of Kiluanji Kia Henda’s Afrofuturist Critique</span><br><br></p>
<p><span>Dariel Cobb </span><br><br></p>
<p><br><br></p>
<p><span>Chapter Twelve: Metropolis 2.0: Janelle Monáe’s Recycling of Fritz Lang</span><br><br></p>
<p><span>Erik Steinskog</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Thirteen: Designing Love: Reimagining Technology and Intimacy </span><br><br></p>
<p><span>Ebony A. Utley</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Fourteen: Performing Black Imagination: The Critical Embodiment of Transfuturism</span><br><br></p>
<p><span>Amber Johnson </span><br><br></p>
<p><br><br></p>
<p><span>Chapter Fifteen: Fabulous Camps of the Black Fantastic: Sylvester James, Queer Afrofuturism, and Black Vernacular Becomings</span><br><br></p>
<p><span>tobias c. van Veen and Reynaldo Anderson</span><br><br></p>
<p><br><br></p>
<p><span>Part IV: Images on the Other Side of Time </span><br><br></p>
<p><span>Chapter Sixteen: Funky Images on the Other Side of Time: Various Artists</span><br><br></p>
<p><span>Wriply Marie Bennet, Tim Fielder, John Jennings, Jessi Jumanji, Amber Johnson, Sheeba Maya, Stacey Robinson, and Quentin VerCetty</span></p>
<span>Reynaldo Anderson</span>
<span> is associate professor of communications and chair of the Humanities Department at Harris-Stowe State University.</span>
<br>
<br>
<span> </span>
<br>
<br>
<span>Clinton R. Fluker</span>
<span> is assistant director of engagement and scholarship at the Atlanta University Center.</span>
<span> is associate professor of communications and chair of the Humanities Department at Harris-Stowe State University.</span>
<br>
<br>
<span> </span>
<br>
<br>
<span>Clinton R. Fluker</span>
<span> is assistant director of engagement and scholarship at the Atlanta University Center.</span>
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