Relevant bibliographies by topics / Afrofuturist

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Afrofuturist'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Afrofuturist"

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Steinskog, Erik. "Fremmede her på jorden - Afrofuturistiske spekulationer." K&K - Kultur og Klasse 43, no. 119 (September 29, 2015): 147–60. http://dx.doi.org/10.7146/kok.v43i119.22249.

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The last couple of decades have seen an increase in research and artistic practices around afrofuturism. Taking the cue from Mark Dery’s article “Black to the Future,” where he coins the term, the article points to different aspects of afrofuturism. The music and philosophy of Sun Ra is an important point of departure, having ancient Egypt and a future outer space as orientation. At the same time there are, as Dery makes clear, other dimensions at stake. Following Dery’s argument that African Americans and other Afrodiasporic citizens in a specific sense are descendent from alien abductees, the article moves into relations between time and history, and employs an afrofuturist lens to discuss how speculative fiction can be used in interpreting history, illustrating a kind of science fiction historiography. As a case in point the Middle Passage, and the chronotope of the ocean, is discussed in tandem with Nnedi Okorafor’s novel Lagoon. Okorafor’s novel also testifies to an expansion of afrofuturism with increasing expressive work coming from the African continent.
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Baas, Renzo. "Travel Beyond Stars: Trauma and Future in Mojisola Adebayo’s STARS." Journal of Contemporary Drama in English 9, no. 1 (May 1, 2021): 95–113. http://dx.doi.org/10.1515/jcde-2021-0007.

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Abstract The article explores Mojisola Adebayo’s two-hander STARS (preliminary workshop performance, Ovalhouse, 2018) through the lens of Afrofuturism. The play will be discussed in regard to future-making technologies. By analysing the overt as well as subtle references to science fiction and its tropes, this article lays out how Afrofuturism informs the play and how it is formative in liberating the main character. Furthermore, questions of violence against women, forms of resistance, and the function of the imagination will be examined. Adebayo deftly weaves Afrofuturist concerns into the everyday experiences of marginalised groups who face discrimination and exclusion, irrespective of whether their marginalisation is based on culture, gender, or age. Through this, the play offers ways of dealing with bodily and historical trauma and exclusion, while simultaneously addressing violent and harmful practices and power relations. The play may be set in the present and deals with current issues, but its performance of the future – in regard to resistance and liberation – proves to be its central feature.
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FitzPatrick, Jessica. "Twenty-First Century Afrofuturist Aliens." Extrapolation 61, no. 1-2 (March 2020): 69–90. http://dx.doi.org/10.3828/extr.2020.6.

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Yaszek, Lisa. "An Afrofuturist Reading of Ralph Ellison'sInvisible Man." Rethinking History 9, no. 2-3 (June 2005): 297–313. http://dx.doi.org/10.1080/13642520500149202.

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Pirker, Eva Ulrike, and Judith Rahn. "Afrofuturist trajectories across time, space and media." Critical Studies in Media Communication 37, no. 4 (August 7, 2020): 283–97. http://dx.doi.org/10.1080/15295036.2020.1820542.

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Aghoro, Nathalie. "Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe." Open Cultural Studies 2, no. 1 (November 1, 2018): 330–40. http://dx.doi.org/10.1515/culture-2018-0030.

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Abstract This article discusses the visual, textual, and musical aesthetics of selected concept albums (Vinyl/CD) by Afrofuturist musicians Erykah Badu and Janelle Monae. It explores how the artists design alternate projections of world/subject relations through the development of artistic personas with speculative background narratives and the fictional emplacement of their music within alternate cultural imaginaries. It seeks to establish that both Erykah Badu and Janelle Monae use the concept album as a platform to constitute their Afrofuturist artistic personas as fluid black female agents who are continuously in the process of becoming, evolving, and changing. They reinscribe instances of othering and exclusion by associating these with science fiction tropes of extraterrestrial, alien lives to express topical sociocultural criticism and promote social change in the context of contemporary U.S. American politics and black diasporic experience.
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Lehnen, Leila. "Decolonizing Fictions: The Afrofuturist Aesthetics of Fábio Kabral." Review: Literature and Arts of the Americas 54, no. 1 (January 2, 2021): 80–89. http://dx.doi.org/10.1080/08905762.2021.1909258.

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Wachira, James. "Wangari Maathai’s environmental Afrofuturist imaginary in Wanuri Kahiu’s Pumzi." Critical Studies in Media Communication 37, no. 4 (August 7, 2020): 324–36. http://dx.doi.org/10.1080/15295036.2020.1820543.

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O’Connell, Hugh Charles. "“We are change”: The Novum as Event in Nnedi Okorafor’sLagoon." Cambridge Journal of Postcolonial Literary Inquiry 3, no. 3 (September 2016): 291–312. http://dx.doi.org/10.1017/pli.2016.24.

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Nnedi Okorafor is a member of a growing vanguard of global SF/F authors who challenge the hegemony of SF as a purely Western genre. This decentering of SF foremost demands a critical engagement with its dominant, operative tropes. In this light,Lagoonsubverts the stock colonial ideology long associated with the first contact alien invasion narrative. Drawing on Afrofuturist criticism, this essay argues thatLagoonutilizes the figure of the alien in order to examine Nigeria as both an object of the neoliberal futures industry and a progenitor of radical anti-neoimperial futurity. Rather than merely incorporating the predominantly Americentric determinations of much Afrofuturist thought wholesale, however, the novel demands a rethinking of the role of the alien from an African-utopian perspective. Ultimately, this requires a reconsideration of the work of the SFnovumitself in line with Alain Badiou’s conception of the event, whereby the introduction of the SF novum of the alien can be seen as a placeholder for the unknowable, unforeseeable eruption of a radical, historical event: the reawakening of a seemingly structurally unrepresentable anticolonial subjectivity that is pitched against the ideological confines of the neoliberal present.
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Fink, Dagmar. "Welche Geschichten Zukunft schaffen. Zwei (afrofuturistische und) feministische Spekulative Fiktionen." FEMINA POLITICA - Zeitschrift für feministische Politikwissenschaft 28, no. 1-2019 (May 21, 2019): 32–45. http://dx.doi.org/10.3224/feminapolitica.v28i1.03.

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Ausgehend von einem Verständnis, das Repräsentationen als Prozesse begreift, in denen Bedeutungen ebenso wie Realitäten produziert werden und folglich als zentrale Schauplätze queer_feministischer Kämpfe gelten können, erkunde ich in diesem Beitrag, welche Geschichten über die Zukunft aktuellen feministischen Politiken den Weg weisen. Im Vordergrund meiner Auseinandersetzung mit Margaret Atwoods aktuell sehr populärem Roman „The Handmaid’s Tale“ und dessen TV-Adaption sowie mit Octavia Butlers Kurzgeschichte „Bloodchild“ stehen folgende Fragen: Wessen Zukunft wird wie erzählt? Wer wird wie, mit welchen Mitteln und in welchem Kontext dargestellt? Und vor allem, wessen Zukunft ermöglichen diese Geschichten? In Anschluss an Donna Haraway argumentiere ich, dass das Erzählen von Geschichten und gerade auch das Neu-Erzählen zentraler Mythen, wirkmächtige Werkzeuge sind, um queer_feministische und dekoloniale Vorstellungen von Verhältnissen zwischen Selbst und Anderem zu entwickeln – und so zur Verwirklichung einer erstrebten Zukunft beitragen können.
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Dissertations / Theses on the topic "Afrofuturist"

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Williams, Jennifer. "The Audacity to Imagine Alternative Futures: An Afrofuturist Analysis of Sojourner Truth and Janelle Monae's Performances of Black Womanhood as Instruments of Liberation." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/390887.

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African American Studies
Ph.D.
I examine Sojourner Truth and Janelle Monáe’s identity performances to identify some strategies and tactics Black women use to transgress externally defined myths of Black womanhood. I propose that both of these women use their identity as a liberation technology - a spiritual, emotional, physical, and/or intellectual tool constructed and/or wielded by Africana agents. They wield their identity, like an instrument, and use it to emancipate Africana people from the physical and metaphoric chains that restrict them from reproducing their cultural imperatives. I argue that both Truth and Monáe consciously fashion complex narratives of revolutionary Black womanhood as a way to disseminate their identities in ways that “destroy the societal expectations” of Black womanhood and empowers women to reclaim their ability to imagine self-defined Black womanhoods. I analyze the performance texts of Truth and Monáe using Afrofuturism, a theoretical perspective concerned with Africana agents’ speculation of their futures and the functionality of Africana agents’ technologies. Its foundational assumption is the pantechnological perspective, a theory that assumes “everything can be interpreted as a type of technology.” When examining Africana agency using an Afrofuturism perspective, the researcher should examine the devices, techniques, and processes – externally or intra-culturally generated – that have the potential to influence Africana social development.
Temple University--Theses
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Spriggs, Bianca L. "Women of the Apocalypse: Afrospeculative Feminist Novelists." UKnowledge, 2017. http://uknowledge.uky.edu/english_etds/56.

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“Women of the Apocalypse: Feminist Afrospeculative Writers,” seeks to address the problematic ‘Exodus narrative,’ a convention that has helped shape Black American liberation politics dating back to the writings of Phyllis Wheatley. Novels by Zora Neale Hurston, Octavia Butler, and Alice Walker undermine and complicate this narrative by challenging the trope of a single charismatic male leader who leads an entire race to a utopic promised land. For these writers, the Exodus narrative is unsustainable for a number of reasons, not the least of which is because there is no room for women to operate outside of the role of supportive wives. The mode of speculative fiction is well suited to crafting counter-narratives to Exodus mythology because of its ability to place marginalized voices in the center from the stance of ‘What next?’ My project is a hybrid in that I combine critical theory with original poems. The prose section of each chapter contextualizes a novel and its author with regard to Exodus mythology. However, because novels can only reveal so much about character development, I identify spaces to engage and elaborate upon the conversation incited by these authors’ feminist protagonists. In the tradition of Black American poets such as, Ai, Patricia Smith, Rita Dove, and Tyehimba Jess, in my own personal creative work, I regularly engage historical figures through recovering the narratives of underrepresented voices. To write in persona or limited omniscient, spotlighting an event where the reader possesses incomplete information surrounding a character’s experience, the result becomes a kind of call-and-response interaction with these novels.
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Ba, Souleymane. "Colson Whitehead : vers une esthétique postraciale?" Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30077/document.

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Cette thèse est une monographie de l'œuvre romanesque de Colson Whitehead (1969– ) replacée dans la perspective de la tradition littéraire noire américaine. Elle pose une question d'ordre esthétique et politique : Whitehead est-il un écrivain postracial ? Dans The Intuitionist (1999), la rivalité entre les personnages noirs et le jeu de masques mettent à mal une politique identitaire qui repose sur la race. La déconstruction du discours mythique qui célèbre le sacrifice d'un travailleur acharné désacralise le héros noir de John Henry Days (2001). Apex Hides the Hurt (2006) offre une réflexion sur le langage, son rapport au pouvoir et à l'appartenance raciale. La deuxième partie explore le paradoxe de l'identité « postblack » face aux stéréotypes raciaux dans Sag Harbor (2009). Enfin, la dernière partie signale un effort de redéfinition de l'humain dans Zone One (2011) où l'invasion des zombies permet de transcender la construction binaire Noir/Blanc dans un monde post-apocalyptique. L'analyse s'appuie sur la critique postmoderne car la notion de « race » et le racisme y sont abordés à travers l'ironie d'un texte qui met en scène et joue avec l'idée d'une société américaine postraciale
This dissertation is a monograph on Colson Whitehead's fiction and nonfiction from the perspective African American literary tradition. It raises an aesthetic and political question: is Whitehead a postracial writer? In The Intuitionist (1999), the rivalry between black characters and the game of camouflage undermine racial identity politics. The deconstruction of the myth celebrating the sacrifice of a relentless worker desacralizes the black hero of John Henry Days (2001). Apex Hides the Hurt (2006) offers a reflection on language, its relationship to power and racial belonging. The second part explores the paradox of a “postblack” identity with regards to racial stereotypes in Sag Harbor (2009). Finally, the last part signals an effort to redefine the human in Zone One (2011) where an invasion of zombies enables the transcendence of the Black/White binary construct in a post-apocalyptic world. The analysis relies on postmodern criticism since the notion of “race” and racism are addressed through the irony of a text that dramatizes and plays with the idea of a postracial American society
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McKinley-Portee, Caleb Royal. "Queering The Future: Examining Queer Identity In Afrofuturism." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2176.

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AN ABSTRACT OF THE THESIS OF CALEB MCKINLEY-PORTEE for the MASTER OF ARTS degree in COMMUNICATION STUDIES, presented on JULY 5TH, 2017 at Southern Illinois University Carbondale. TITLE: QUEERING THE FUTURE: EXAMINING QUEER IDENTITY IN AFROFUTURISM. MAJOR PROFESSOR: Dr. Craig Gingrich-Philbrook This thesis examines the art aesthetic known as Afrofuturism. The research provided examines Afrofuturism in music, art, and literature. This thesis provides an example of applying Afrofuturism to performance studies within Communication Studies. This thesis contains the script to a solo performance art piece which attempts to build a bridge between performance studies and Afrofuturism, while also examining Black, Queer identity.
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Paulin, Jameel Amman. "Congo Square: Afrofuturism as a Space of Confrontation." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu158712552620892.

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van, Veen Tobias. "Other planes of there: the MythSciences, chronopolitics and conceptechnics of Afrofuturism." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=122982.

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"Other Planes of There: the Mythsciences, chronopolitics and conceptechnics of Afrofuturism" explores the becomings, temporalities, and epistemic systems of Afrofuturism. Afrofuturism — a term more complex than it first appears — delineates a counter-tradition of Afrodiasporic media production, thought, and performance that transforms science fictional practices and themes to envision alternate identities, timelines, and counter-realities. Such envisioning operations create startling, creative, and uncanny effects — often, by imaginatively challenging whitewashed futures and colonialist histories with Africentric and futurist revisionings, so as to alter the discriminatory coordinates of the present — while crucially offering ways to subversively transform Afrodiasporic subjectivities denied privileged access to the "human race". Afrofuturism, I contend, postulates the conceptual thoughtware of its own production: its MythScience, chronopolitics, and conceptechnics. By explicating Afrofuturism through its network of concepts, I outline its production of counter-realities and explore its performative unEarthings of the grounds of human being. By tracing the Afrofuturist exodus from the category of the human, I detail how its practices adopt and disseminate alien, android, machinic, and otherworldly becomings.
« D'autres pensées venant de là-bas : les sciences mythiques, les chronopolitiques et les conceptechniques de l'afrofuturisme » explorent les devenirs, les temporalités et les systèmes épistémiques de l'Afrofuturisme. Afrofuturisme - un terme plus complexe qu'il n'y paraît - délimite une contre-tradition de production de médias afrodiasporiques, de pensée et de performance qui transforme les pratiques et les thèmes scientifiques fictifs afin de visualiser des identités, des échéances et des contre réalités alternatives. Ces opérations de visualisation permettent de créer des effets étranges, créatifs et surprenants - souvent, en remettant en cause, à l'aide d'imagination, des avenirs étouffés et des histoires colonialistes avec des reconsidérations futuristes et afrocentriques, de façon à modifier les coordonnées discriminatoires du présent - tout en proposant de manière déterminante des moyens de transformer subversivement les subjectivités afrodiasporiques qui se voient refuser l'accès privilégié à la « race humaine ». Je soutiens que l'Afrofuturisme se donne les moyens de produire sa propre pensée conceptuelle : ses Sciences mythiques, sa chronopolitique et ses conceptechniques. J'explique l'Afrofuturisme à travers son réseau de concepts, soulignant sa production de contre- réalités tout en explorant sa capacité à révéler son humanité. Je trace l'exode afrofuturiste à partir de la catégorie des humains, en détaillant la manière dont elle adopte et diffuse les devenirs étrangers, androïdes, machiniques et autres devenirs fantastiques.
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Schereka, Wilton. "Sonic Afrofuturism: Blackness, electronic music production and visions of the future." University of the Western Cape, 2018. http://hdl.handle.net/11394/6548.

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Magister Artium - MA
This thesis is an exploration and analysis of the ways in which we might use varying forms of Black thought, theory, and art to think Blackness anew. For this purpose I work with electronic music from Nigeria and Detroit between 1976 and 1993, as well as with works of science fiction by W.E.B. Du Bois, Samuel Delany, Ralph Ellison, and Octavia Butler. Through a conceptual framework provided by theorists such as Fred Moten and Kodwo Eshun and the philosophical work of Afrofuturists like Delany, Ellison, Butler, and Du Bois, I explore the outer limits of what is possible when doing away with a canon of philosophy that predetermines our thinking of Blackness. This exploration also takes me to the possible depths of what this disavowal of a canon might mean and how we work with sound, the aural, and the sonic in rethinking the figuring of Blackness. This thesis is also be woven together by the theory of the Black Radical Tradition – following Cedric Robinson and Fred Moten specifically. At the centre of this thesis, and radiating outwards, is the assertion that a set of texts developed for a University of the West – Occidental philosophy as I refer to it in the thesis – is wholly insufficient in attempting to become attuned to the possibilities of Blackness. The thesis, finally, is a critique of ethnomusicology and its necessity for a native object, as well as sound studies, which fails to conceptualise any semblance of Black noise.
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Johnson, Clifton Zeno. "Race in the Galactic Age| Sankofa, Afrofuturism, Whiteness and Whitley Strieber." Thesis, State University of New York at Albany, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13806083.

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Octavia Butler asked if black skin was so disruptive a force that the mere presence of it alters a story? In a post-colonial era, skin color remains a polarizing topic. While humans are still redefining perceptions about race, people across planet earth are opening up to the possibility of the existence of intelligent extraterrestrial life. This paper explores how the acknowledgment of a galactic presence would transform perceptions of whiteness. The experiences of the best-selling author and proclaimed contactee, Whitley Strieber, are used as case studies to analyze if Amero-European ingrained bias toward melanin would influence the western world’s interactions with dark-skinned extraterrestrials species. The white male is portrayed as the prototypical sci-fi nerd in popular American culture; however, the themes and struggles present in science fiction remain deeply connected with those present in African American culture. Despite the presence of extraterrestrials in African centered tradition, Stieber's experience demonstrates that whiteness still holds influence on the dominant cultural position regarding alien contact. I will practice Sankofa to trace African centered histories and traditions designed for communicating with entities from different dimensions, realities or even planets that continue to perpetuate in African American culture. I argue that African American culture has been addressing aspects of reality unacknowledged by the western world. I demonstrate that elements of the cosmic, supernatural, extraterrestrial or superhuman continue to manifest in African centered culture. These continually dismissed observations get lost in a world where the European Enlightenment has led to a culture in which whiteness establishes itself as “a norm that represents an authoritative, delimited and hierarchical mode of thought” as Joe Kinechole notes, limiting Amero-European culture from fully embracing a world view that includes extraterrestrials. Whiteness changes as it interacts in a range of settings and this paper examines the role of whiteness in a galactic environment by exploring how whiteness navigates through alien spaces.

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Bagnall, Imogen. "Afrofuturism and Generational Trauma in N. K. Jemisin‘s Broken Earth Trilogy." Thesis, Stockholms universitet, Engelska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194870.

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N. K. Jemisin‘s Broken Earth Trilogy explores the methods and effects of systemic oppression. Orogenes are historically oppressed and dehumanised by the wider society of The Stillness. In this thesis, I will be exploring the ways in which trauma experienced by orogenes is repeated through generations, as presented through Essun‘s varied and complex relationships with her children, and with the Fulcrum Guardian Schaffa. The collective trauma of orogenes is perpetuated through different direct and indirect actions in a repetitive cycle, on societal, interpersonal and familial levels. My reading will be in conversation with theories of trauma literature and cultural trauma, and will be informed by Afrofuturist cultural theory.  Although science fiction and fantasy encourage the imagination, worldbuilding is inherently influenced by lived experiences. It could thus be stated that the trauma experienced by orogenes is informed by the collective trauma of African-Americans, as experienced by N. K. Jemisin. Afrofuturism is an aesthetic mode and critical lens which prioritises the imagining of a liberated future. Writing science fiction and fantasy through an Afrofuturist aesthetic mode encourages authors to explore forms of collective trauma as well as methods of healing. Jemisin creates an explicit parallel between the traumatic African-American experience and that of orogenes. Afrofuturist art disrupts linear time and addresses past and present trauma through the imagining of the future. The Broken Earth Trilogy provides a blueprint for the imagined liberation of oppressed groups. Using Afrofuturist tropes such as technology, the ―Black Genius‖ figure and alienation, Jemisin demonstrates the power of reclamation and the possibility of a self-created future for oppressed groups.
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Fortier, Rashada N. "Vela & Niyah." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2213.

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In this thesis paper, I will document and analyze the process of making my graduate thesis film, Vela & Niyah. I will start by stating my overall goal of the film, then move into each specific area of the filmmaking process and what was done to accomplish this goal. I will detail my successes and struggles throughout the process. I will analyze my own work, and reflect on the important lessons learned while making my thesis film. In the end, I will determine if my thesis proves true, and if I was successful in the individual aspects of filmmaking, as well as the thesis film as a whole.
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Books on the topic "Afrofuturist"

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Steinskog, Erik. Afrofuturism and Black Sound Studies. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66041-7.

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Mothership: Tales from Afrofuturism and beyond. College Park, MD: Rosarium, 2013.

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Jones, Charles E. Afrofuturism 2.0: The rise of astro-blackness. Lanham, Maryland: Lexington Books, 2016.

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Burton, Justin Adams. Epilogue. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190235451.003.0006.

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Posthuman Rap leads to a posthuman vestibule, connected to and aware of neoliberal humanism but situated just outside of it, in a place where we might imagine other ways of being human. Big K.R.I.T.’s car, quaking with sub-bass blasting from his woofer, is exactly this kind of vestibule. K.R.I.T., working with AfroFuturist materials, uses it to create big bangs and new worlds beyond our own. But before he can call entire planets into being, he must first tune his vestibule to receive and transmit vibrations from beyond the edge of human perception. It’s from this vantage point, staring through the vibrating glass of his car, that he can imagine other ways of being human.
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Keeling, Kara. Queer Times, Black Futures. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9780814748329.001.0001.

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Contestations over “the future” and “futurity” have been central to formulations of time throughout the twentieth century and into the twenty-first. Queer Times, Black Futures considers the implications of scholarly, artistic, and popular investments in the promises and pitfalls of imagination, technology, futurity, and liberation that have persisted in Euro-American culture. Of specific interest are those Afrofuturist cultural forms and logics through which creative engagements with Black existence, technology, space, and time might be accessed and analyzed.Punctuated throughout by meditations on Herman Melville’s story “Bartleby the Scrivener,”his project thinks with and through a vibrant concept of the imagination as a way to open onto perceptions of queer times and black futures, and of the spatial politics that might be associated with them.
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Weinel, Jonathan. Psychedelic Illusions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.003.0004.

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This chapter explores how music technologies and electronic studio processes relate to altered states of consciousness in popular music. First, an overview of audio technologies such as multi-tracking, echo, and reverb is given, in order to explore their illusory capabilities. In the rock ’n’ roll music of the 1950s, studio production techniques such as distortion provided a means through which to enhance the energetic and emotive properties of the music. Later, in surf rock, effects such as echo and reverb allowed the music to evoke conceptual visions of teenage surf culture. In the 1960s and 1970s, these approaches were developed in psychedelic rock music, and space rock/space jazz. Here, warped sounds and effects allowed the music to elicit impressions of psychedelic experiences, outer space voyages, and Afrofuturist mythologies. By exploring these areas, this chapter shows how sound design can communicate various forms of conceptual meaning, including the psychedelic experience.
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Infinitum: An Afrofuturistic Tale. HarperCollins Publishers, 2021.

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Sun Ra's Chicago: Afrofuturism and the City. University of Chicago Press, 2020.

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Sites, William. Sun Ra's Chicago: Afrofuturism and the City. University of Chicago Press, 2020.

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Nelson, Alondra. Afrofuturism: A Special Issue of Social Text. Duke University Press, 2002.

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Book chapters on the topic "Afrofuturist"

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Kaplan, Rebecca G., and Antero Garcia. "Afrofuturist Reading." In Engaging with Multicultural YA Literature in the Secondary Classroom, 180–90. New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429053191-19.

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O’Neill, Caitlin. "Towards an Afrofuturist Feminist Manifesto." In Critical Black Futures, 61–91. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-7880-9_4.

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DeFrantz, Thomas F. "Afrofuturist Remains: A Speculative Rendering of Social Dance Futures v2.0." In Choreography and Corporeality, 209–22. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-54653-1_13.

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Hassler-Forest, Dan. "21. The Politics of World Building Heteroglossia in Janelle Monáe’s Afrofuturist WondaLand." In World Building. Transmedia, Fans, Industries, edited by Marta Boni, 377–92. Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.1515/9789048525317-022.

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Lavender, Isiah, and Graham J. Murphy. "Afrofuturism." In The Routledge Companion to Cyberpunk Culture, 353–61. London; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351139885-42.

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McGee, Ebony O., and Devin T. White. "Afrofuturism." In Handbook of Urban Education, 384–96. 2nd ed. Second edition. | New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429331435-28.

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Steinskog, Erik. "Introduction: Afrofuturism and Black Sound Studies." In Afrofuturism and Black Sound Studies, 1–36. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66041-7_1.

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Steinskog, Erik. "Blackness, Technology, and the Changing Same." In Afrofuturism and Black Sound Studies, 37–74. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66041-7_2.

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Steinskog, Erik. "Space and Time." In Afrofuturism and Black Sound Studies, 75–108. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66041-7_3.

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Steinskog, Erik. "Vibrations, Rhythm, and Cosmology." In Afrofuturism and Black Sound Studies, 109–38. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66041-7_4.

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Conference papers on the topic "Afrofuturist"

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Araújo da Silva, Alexandre. "Por um Afrofuturismo Feminista Interseccional." In V Semana de História. João Pessoa, Paraíba: Even3, 2020. http://dx.doi.org/10.29327/vsdhufpb.242449.

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Bray, Kirsten, and Christina Harrington. "Speculative Blackness: Considering Afrofuturism in the Creation of Inclusive Speculative Design Probes." In DIS '21: Designing Interactive Systems Conference 2021. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3461778.3462002.

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You might also be interested in the extended bibliographies on the topic 'Afrofuturist' for particular source types:
Journal articles Dissertations / Theses Books
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