By Ytasha L. Womack
Comprising parts of the avant-garde, technological know-how fiction, state-of-the-art hip-hop, black comix, and photo novels, Afrofuturism spans either underground and mainstream popular culture. With a twofold target to entertain and enlighten, Afrofuturists try to collapse racial, ethnic, and all social barriers to empower and loose members to be themselves. This ebook introduces readers to the burgeoning artists growing Afrofuturist works, the historical past of innovators long ago, and the big variety of topics they discover. From the sci-fi literature of Samuel Delany, Octavia Butler, and NK Jemisin to the musical cosmos of solar Ra, George Clinton, and the Black Eyed Peas' will.i.am, to the visible and multimedia artists encouraged by way of African Dogon myths and Egyptian deities, subject matters diversity from the "alien" adventure of blacks in the USA to the "wake up" cry that peppers sci-fi literature, sermons, and activism. Interviews with rappers, composers, musicians, singers, authors, comedian illustrators, painters, and DJs, in addition to Afrofuturist professors, supply a firsthand examine this attention-grabbing stream.
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Additional info for Afrofuturism: The World of Black Sci-Fi and Fantasy Culture
Hypotyposis and specularity. : all of this is logical, the cinema is fascinated by itself as a lost object as much as it (and we) are fascinated by the real as a lost referent. The cinema and the imaginary (the novelistic, the mythical, unreality, including the delirious use of its own technique) used to have a lively, dialectical, full, dramatic relation. The relation that is being formed today between the cinema and the real is an inverse, negative relation: it results from the loss of specificity of one and of the other.
Not here, evidently. But this culture takes place elsewhere, everywhere, nowhere. From today, the only real cultural practice, that of the masses, ours (there is no longer a difference), is a manipulative, aleatory practice, a labyrinthine practice of signs, and one that no longer has any meaning. In another way, however, it is not true that there is no coherence between form and content at Beaubourg. It is true if one gives any credence to the official cultural project. But exactly the opposite occurs there.
Barry Lyndon is the best example: one never did better, one will never do better in ... in what? Not in evoking, not even in evoking, in simulating. All the toxic radiation has been filtered, all the ingredients are there, in precise doses, not a single error. Cool, cold pleasure, not even aesthetic in the strict sense: functional pleasure, equational pleasure, pleasure of machination. , which in certain respects make one think of Barry Lyndon) to grasp the difference, not only in style, but in the cinematographic act.
Afrofuturism: The World of Black Sci-Fi and Fantasy Culture by Ytasha L. Womack