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Books on the topic 'Afrofuturist'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

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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2

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

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3

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

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4

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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5

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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6

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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7

Infinitum: An Afrofuturistic Tale. HarperCollins Publishers, 2021.

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8

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

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9

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

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10

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

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11

Yaszek, Lisa, and Isiah Lavender III. Literary Afrofuturism in the Twenty-First Century. Ohio State University Press, 2020.

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12

Jones, Charles E., Esther Jones, Qiana Whitted, Ken McLeod, Lonny J. Avi Brooks, Reynaldo Anderson, Andrew Rollins, et al. Afrofuturism 2.0: The Rise of Astro-Blackness. Lexington Books, 2017.

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13

Literary Afrofuturism in the Twenty-First Century. Ohio State University Press, 2020.

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14

Lavender III, Isiah, and Lisa Yaszek, eds. Literary Afrofuturism in the Twenty-First Century. The Ohio State University Press, 2020. http://dx.doi.org/10.26818/9780814214459.

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15

Lothian, Alexis. Old Futures. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479811748.001.0001.

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Old Futures traverses the history of imagined futures from the 1890s to the 2010s, interweaving speculative visions of gender, race, and sexuality from literature, film, and digital media. Centering works by women, queers, and people of color that are marginalized within most accounts of the genre, the book offers a new perspective on speculative fiction studies while reframing established theories of queer temporality by arguing that futures imagined in the past offer new ways to queer the present. Imagined futures have been central to the creation and maintenance of imperial domination and technological modernity; Old Futures rewrites the history of the future by gathering together works that counter such narratives even as they are part of them. Lothian explores how queer possibilities are constructed and deconstructed through extrapolative projections and affective engagements with alternative temporalities. The book is structured in three parts, each addressing one convergence of political economy, theoretical framework, and narrative form that has given rise to a formation of speculative futurity. Six main chapters focus on white feminist utopias and dystopias of the nineteenth and twentieth centuries; on Afrofuturist narratives that turn the dehumanization of black lives into feminist and queer visions of transformation; on futuristic landscapes in queer speculative cinema; and on fan creators’ digital interventions into televised futures. Two shorter chapters, named “Wormholes” in homage to the science fiction trope of a time-space distortion that connects distant locations, highlight current resonances of the old futures under discussion.

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16

Afrofuturism Rising: The Literary Prehistory of a Movement. Ohio State University Press, 2019.

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17

Afrofuturism Rising: The Literary Prehistory of a Movement. Ohio State University Press, 2019.

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18

Womack, Ytasha. Afrofuturism: The World of Black Sci-Fi and Fantasy Culture. Chicago Review Press, 2013.

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19

Sandu. Art in Africa: Afrofuturism in Modern Collage Art and Illustration. Africa World Press, 2020.

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20

Steinskog, Erik. Afrofuturism and Black Sound Studies: Culture, Technology, and Things to Come. Palgrave Macmillan, 2018.

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21

A pure solar world: Sun Ra and the birth of Afrofuturism. 2016.

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22

Afrofuturism and Black Sound Studies: Culture, Technology, and Things to Come. Palgrave Macmillan, 2017.

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23

Jones, Flynn Earl, and Paul Youngquist. A Pure Solar World: Sun Ra and the Birth of Afrofuturism. Audible Studios on Brilliance Audio, 2020.

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24

Black Utopia: The History of an Idea from Black Nationalism to Afrofuturism. Columbia University Press, 2019.

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25

Black Utopia: The History of an Idea from Black Nationalism to Afrofuturism. Columbia University Press, 2019.

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26

Caputi, Jane. Call Your "Mutha". Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190902704.001.0001.

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The proposed new geological era, The Anthropocene (a.k.a. Age of Humans, Age of Man), marking human domination of the planet long called Mother Earth, is truly The Age of the Motherfucker. The ecocide of the Anthropocene is the responsibility of Man, the Western- and masculine-identified corporate, military, intellectual, and political class that masks itself as the exemplar of the civilized and the human. The word motherfucker was invented by the enslaved children of White slave masters to name their mothers’ rapist/owners. Man’s strategic motherfucking, from the personal to the planetary, is invasion, exploitation, spirit-breaking, extraction and toxic wasting of individuals, communities, and lands, for reasons of pleasure, plunder, and profit. Ecocide is attempted deicide of Mother Nature-Earth, reflecting Man’s goal to become the god he first made in his own image. The motivational word Motherfucker has a flip side, further revealing the Anthropocene as it signifies an outstanding, formidable, and inexorable force. Mother Nature-Earth is that “Mutha’ ”—one defying translation into heteropatriarchal classifications of gender, one capable of overwhelming Man, and not the other way around. Drawing upon Indigenous and African American scholarship; ecofeminism; ecowomanism; green activism; femme, queer, and gender non-binary philosophies; literature and arts; Afrofuturism; and popular culture, Call Your “Mutha’ ” contends that the Anthropocene is not evidence of Man’s supremacy over nature, but that Mother Nature-Earth, faced with disrespect, is going away. It is imperative now to call the “Mutha’ ” by decolonizing land, bodies, and minds, ending rapism, feeding the green, renewing sustaining patterns, and affirming devotion to Mother Nature-Earth.

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