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class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="Dr. tobias c. van Veen" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/4150062/10532608/14330355/s200_tobias_c..van_veen.jpg" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">Dr. tobias c. van Veen</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://csun.academia.edu/">California State University, Northridge</a>, <a class="u-tcGrayDarker" href="https://csun.academia.edu/Departments/Communication_Studies/Documents">Communication Studies</a>, <span class="u-tcGrayDarker">Visiting Scholar</span></div><div><a class="u-tcGrayDarker" href="https://questu.academia.edu/">Quest University Canada</a>, <a class="u-tcGrayDarker" href="https://questu.academia.edu/Departments/Humanities_and_Social_Sciences/Documents">Humanities and Social Sciences</a>, <span class="u-tcGrayDarker">Adjunct</span></div><div><a class="u-tcGrayDarker" href="https://ucriverside.academia.edu/">University of California, Riverside</a>, <a class="u-tcGrayDarker" href="https://ucriverside.academia.edu/Departments/Media_and_Cultural_Studies/Documents">Media and Cultural Studies</a>, <span class="u-tcGrayDarker">Post-Doc</span></div><div><a class="u-tcGrayDarker" href="https://questu.academia.edu/">Quest University Canada</a>, <a class="u-tcGrayDarker" href="https://questu.academia.edu/Departments/Humanities/Documents">Humanities</a>, <span class="u-tcGrayDarker">Adjunct</span></div><div><a class="u-tcGrayDarker" href="https://acadiau.academia.edu/">Acadia University</a>, <a class="u-tcGrayDarker" href="https://acadiau.academia.edu/Departments/Politics/Documents">Politics</a>, <span class="u-tcGrayDarker">Adjunct</span></div><div><a class="u-tcGrayDarker" href="https://lakeheadu.academia.edu/">Lakehead University</a>, <a class="u-tcGrayDarker" href="https://lakeheadu.academia.edu/Departments/ReImagining_Value_Action_Lab_RIVAL_/Documents">ReImagining Value Action Lab (RIVAL)</a>, <span class="u-tcGrayDarker">Visiting Scholar</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="Dr. tobias c." data-follow-user-id="4150062" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" 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class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">Dr. tobias c. van Veen is Visiting Scholar in Communications at California State University Northridge (CSUN). He holds doctorates in Communications and Philosophy from McGill University. His research addresses philosophy of technology and race in critical media studies, and he has published widely on Afrofuturism, posthumanism, and Electronic Dance Music Cultures (EDMCs). His first book, Afrofuturism and Abolition: Exodus, Music, and MythScience, is forthcoming from Lexington Books (2024). Tobias is co-founder of the Afrofuturist Studies & Speculative Arts series at Lexington Books; lead editor of the “Black Lives, Black Politics, Black Futures” special issue of TOPIA: Canadian Journal of Cultural Studies (2018); editor of the Afrofuturism special issue of Dancecult: Journal of Electronic Dance Music Culture (2013); and co-editor of the special issue Echoes from the Dub Diaspora (2015). Since 1993 tobias has exhibited with galleries and festivals worldwide as an award-winning media/sound artist, curator, photographer and filmmaker. He is director of the Afrofuturist short film LOST ALIEN (2018), distributed by Cinema Politica, and his sound/video installations have been featured by New York Live Arts and the Black Speculative Arts Movement (BSAM) in the exhibitions Curating the End of the World (2020), Altered-Worlds: Black Utopia and the Age of Acceleration (2021), and The Democracy Project at Carnegie Hall (2024). Tobias hosts the Other Planes: Afro/Futurism Podcast, is creative director of sound-art label IOSOUND.ca, and he spins vinyl on Twitch at http://twitch.tv/pandemixDJs.<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span><a class="ri-more-link js-profile-ri-list-card" data-click-track="profile-user-info-primary-research-interest" data-has-card-for-ri-list="4150062">View All (16)</a></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="4150062" href="https://www.academia.edu/Documents/in/Afrofuturism"><div id="js-react-on-rails-context" style="display:none" 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profile--work_container" data-work-id="28038607"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/28038607/CFP_Black_Lives_Black_Politics_Black_Futures_TOPIA_Canadian_Journal_of_Cultural_Studies"><img alt="Research paper thumbnail of CFP: Black Lives, Black Politics, Black Futures | TOPIA: Canadian Journal of Cultural Studies" class="work-thumbnail" src="https://attachments.academia-assets.com/48345974/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/28038607/CFP_Black_Lives_Black_Politics_Black_Futures_TOPIA_Canadian_Journal_of_Cultural_Studies">CFP: Black Lives, Black Politics, Black Futures | TOPIA: Canadian Journal of Cultural Studies</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://csun.academia.edu/DrtobiascvanVeen">Dr. tobias c. van Veen</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://hssu.academia.edu/reynaldoanderson">reynaldo anderson</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">CFP for TOPIA special issue "Black Lives, Black Politics, Black Futures", edited by tobias c. van...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">CFP for TOPIA special issue "Black Lives, Black Politics, Black Futures", edited by tobias c. van Veen and Reynaldo Anderson.</span></div><div class="wp-workCard_item 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"profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Journal Editor" id="Journal Editor"><h3 class="profile--tab_heading_container">Journal Editor by Dr. tobias c. van Veen</h3></div><div class="js-work-strip profile--work_container" data-work-id="37694278"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37694278/Future_Movements_Black_Lives_Black_Politics_Black_Futures_An_Introduction"><img alt="Research paper thumbnail of Future Movements: Black Lives, Black Politics, Black Futures—An Introduction" class="work-thumbnail" src="https://attachments.academia-assets.com/57685711/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37694278/Future_Movements_Black_Lives_Black_Politics_Black_Futures_An_Introduction">Future Movements: Black Lives, Black Politics, Black Futures—An Introduction</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">2018. van Veen, tobias c. and Reynaldo Anderson. "Future Movements: Black Lives, Black Politics, ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">2018. van Veen, tobias c. and Reynaldo Anderson. "Future Movements: Black Lives, Black Politics, Black Futures—An Introduction." TOPIA: Canadian Journal of Cultural Studies 39(1): 5–21.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4a5be2830701d5ee515d69217d2670f9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57685711,"asset_id":37694278,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57685711/download_file?st=MTczMjQ4NTQ5Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37694278"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span 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text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25641604/Dancecult_5_2_2013_Special_issue_on_Afrofuturism">Dancecult 5.2 (2013): Special issue on Afrofuturism</a></div><div class="wp-workCard_item"><span>Dancecult: Journal of Electronic Dance Music Culture</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This special issue of Dancecult establishes an initial foray into addressing Afrofuturism both wi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This special issue of Dancecult establishes an initial foray into addressing Afrofuturism both within what has become shaped as Electronic Dance Music Culture (EDMC) studies, <br />as well as on its borders. Likewise, its essays often test the limits of what has been previously thought around, and theorised as, Afrofuturism. Afrofuturism and electronic music are more or less impossible to untangle. The imaginative and science fictional worlds wrought in the electronic music of Detroit techno, acid house, jungle, dub and dubstep are all directly (or indirectly) inflected by Afrofuturist concepts and tropes.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9f3bb943b3cd1508f7abbeaf0e4259a8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45978629,"asset_id":25641604,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45978629/download_file?st=MTczMjQ4NTQ5Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25641604"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25641604"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25641604; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25641604]").text(description); $(".js-view-count[data-work-id=25641604]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25641604; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25641604']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25641604, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9f3bb943b3cd1508f7abbeaf0e4259a8" } } $('.js-work-strip[data-work-id=25641604]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25641604,"title":"Dancecult 5.2 (2013): Special issue on Afrofuturism","translated_title":"","metadata":{"issue":"2","volume":"5","abstract":"This special issue of Dancecult establishes an initial foray into addressing Afrofuturism both within what has become shaped as Electronic Dance Music Culture (EDMC) studies,\r\nas well as on its borders. Likewise, its essays often test the limits of what has been previously thought around, and theorised as, Afrofuturism. Afrofuturism and electronic music are more or less impossible to untangle. The imaginative and science fictional worlds wrought in the electronic music of Detroit techno, acid house, jungle, dub and dubstep are all directly (or indirectly) inflected by Afrofuturist concepts and tropes.","publication_date":{"day":null,"month":null,"year":2013,"errors":{}},"publication_name":"Dancecult: Journal of Electronic Dance Music Culture"},"translated_abstract":"This special issue of Dancecult establishes an initial foray into addressing Afrofuturism both within what has become shaped as Electronic Dance Music Culture (EDMC) studies,\r\nas well as on its borders. Likewise, its essays often test the limits of what has been previously thought around, and theorised as, Afrofuturism. Afrofuturism and electronic music are more or less impossible to untangle. 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class="" data-click-track="profile-work-strip-authors" href="https://csun.academia.edu/DrtobiascvanVeen">Dr. tobias c. van Veen</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://lsbu.academia.edu/HillegondaRietveld">Hillegonda C Rietveld</a></span></div><div class="wp-workCard_item"><span>Dancecult: Journal of Electronic Dance Music Culture</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Editors: Hillegonda C. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Journal Articles" id="Journal Articles"><h3 class="profile--tab_heading_container">Journal Articles by Dr. tobias c. van Veen</h3></div><div class="js-work-strip profile--work_container" data-work-id="41562475"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41562475/Afrofutures_of_Cosplay_Deviance_and_DiY_in_Black_Fantastic_Performance"><img alt="Research paper thumbnail of Afrofutures of Cosplay: Deviance and DiY in Black Fantastic Performance" class="work-thumbnail" src="https://attachments.academia-assets.com/61721241/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41562475/Afrofutures_of_Cosplay_Deviance_and_DiY_in_Black_Fantastic_Performance">Afrofutures of Cosplay: Deviance and DiY in Black Fantastic Performance</a></div><div class="wp-workCard_item"><span>Journal of Future Studies</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What might shape the force-political or otherwise-of black cosplay? And how might we read black c...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What might shape the force-political or otherwise-of black cosplay? And how might we read black cosplay, as fandom performance of comix personae, superheroes, and other fantastical forms of the (black) imaginary, as a dimension of black performance that shapes the futures of blackness? What is meant by, and what happens to, or upon, blackness when its force-and how to articulate black force is precisely that which cosplay plays with-shifts between representation and allegory, performance and identity? How might cosplay be thought as furthering, yet pushing the boundaries of the black radical tradition, "that blurring of the clear lines that demarcate[s] black spaces" that, argues Richard Iton (2010), is "one of the legacies of the civil rights movement (p.21)? I situate these questions concerning black cosplay through interviews with black cosplayers at conventions and events, namely Emerald City ComicCon in 2016 and the inaugural edition of the Black Speculative Arts Movement Canada in Toronto, and I pose them by way of artistic collaboration with Los Angeles-based cosplayer, activist, and artist ZiggZagg∑rZ the Bastard. It is to these interviews and this collaborative, artistic praxis that I will turn below as sites in which these questions take shape. These questions seek to address a shifting field in which blackness, the imaginary, and popular culture mix.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="05372acdc3aab04e44403ddd0cce1614" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61721241,"asset_id":41562475,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61721241/download_file?st=MTczMjQ4NTQ5Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41562475"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41562475"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41562475; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41562475]").text(description); $(".js-view-count[data-work-id=41562475]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41562475; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41562475']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 41562475, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "05372acdc3aab04e44403ddd0cce1614" } } $('.js-work-strip[data-work-id=41562475]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41562475,"title":"Afrofutures of Cosplay: Deviance and DiY in Black Fantastic Performance","translated_title":"","metadata":{"doi":"10.6531/JFS.201912_24(2).0010","abstract":"What might shape the force-political or otherwise-of black cosplay? 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I situate these questions concerning black cosplay through interviews with black cosplayers at conventions and events, namely Emerald City ComicCon in 2016 and the inaugural edition of the Black Speculative Arts Movement Canada in Toronto, and I pose them by way of artistic collaboration with Los Angeles-based cosplayer, activist, and artist ZiggZagg∑rZ the Bastard. It is to these interviews and this collaborative, artistic praxis that I will turn below as sites in which these questions take shape. These questions seek to address a shifting field in which blackness, the imaginary, and popular culture mix. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="34721130"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/34721130/2017_Robot_Love_is_Queer_Afrofuturism_and_Alien_Love_Liquid_Blackness_3_6_92_106"><img alt="Research paper thumbnail of 2017. “Robot Love is Queer: Afrofuturism and Alien Love.” Liquid Blackness 3 (6): 92–106." class="work-thumbnail" src="https://attachments.academia-assets.com/54578008/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/34721130/2017_Robot_Love_is_Queer_Afrofuturism_and_Alien_Love_Liquid_Blackness_3_6_92_106">2017. “Robot Love is Queer: Afrofuturism and Alien Love.” Liquid Blackness 3 (6): 92–106.</a></div><div class="wp-workCard_item"><span>Liquid Blackness</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This essay, itself an assemblage of concepts drawn from a constellation of Afrofuturist sources, ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This essay, itself an assemblage of concepts drawn from a constellation<br />of Afrofuturist sources, is about love—about loving the other, and<br />about loving an-other whose otherness transgresses all that is presupposed in the possessive of the “whose”: an-other who is not a who,<br />but a what. These terms, and this fundamental distinction of Western metaphysics—of subject/object, of who/what—are troubled here as a<br />philosophical distinction of the Thing to the thinking Man. A philosophical<br />distinction that masks the racialization of the Thing.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7aa4d3bb956034f484be664caefe2628" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54578008,"asset_id":34721130,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54578008/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34721130"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34721130"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34721130; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34721130]").text(description); $(".js-view-count[data-work-id=34721130]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 34721130; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='34721130']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 34721130, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7aa4d3bb956034f484be664caefe2628" } } $('.js-work-strip[data-work-id=34721130]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":34721130,"title":"2017. “Robot Love is Queer: Afrofuturism and Alien Love.” Liquid Blackness 3 (6): 92–106.","translated_title":"","metadata":{"issue":"6","volume":"3","abstract":"This essay, itself an assemblage of concepts drawn from a constellation\nof Afrofuturist sources, is about love—about loving the other, and\nabout loving an-other whose otherness transgresses all that is presupposed in the possessive of the “whose”: an-other who is not a who,\nbut a what. These terms, and this fundamental distinction of Western metaphysics—of subject/object, of who/what—are troubled here as a\nphilosophical distinction of the Thing to the thinking Man. A philosophical\ndistinction that masks the racialization of the Thing.","page_numbers":"92–106","publication_date":{"day":null,"month":null,"year":2017,"errors":{}},"publication_name":"Liquid Blackness"},"translated_abstract":"This essay, itself an assemblage of concepts drawn from a constellation\nof Afrofuturist sources, is about love—about loving the other, and\nabout loving an-other whose otherness transgresses all that is presupposed in the possessive of the “whose”: an-other who is not a who,\nbut a what. These terms, and this fundamental distinction of Western metaphysics—of subject/object, of who/what—are troubled here as a\nphilosophical distinction of the Thing to the thinking Man. A philosophical\ndistinction that masks the racialization of the Thing.","internal_url":"https://www.academia.edu/34721130/2017_Robot_Love_is_Queer_Afrofuturism_and_Alien_Love_Liquid_Blackness_3_6_92_106","translated_internal_url":"","created_at":"2017-09-29T14:12:04.724-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":4150062,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":54578008,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/54578008/thumbnails/1.jpg","file_name":"RobotLoveIsQueer_LB6_tcV.pdf","download_url":"https://www.academia.edu/attachments/54578008/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"2017_Robot_Love_is_Queer_Afrofuturism_an.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/54578008/RobotLoveIsQueer_LB6_tcV-libre.pdf?1506720106=\u0026response-content-disposition=attachment%3B+filename%3D2017_Robot_Love_is_Queer_Afrofuturism_an.pdf\u0026Expires=1732489097\u0026Signature=aK0xeT2Q4zPuWwhMyjLYn5z4vAL4RUL2PFPL9WAx0vTGmXB519sB5nS0BSRKiQE0srITuAjedxJURbRpezIuwFYiDs6slUTexZJCfp1nbGbDpQhfw6n0idT3H-wIPcnio2vWZkWJAfeGqwm0xeSzou~L9skahA4XMveCVWaAtIAZDAOG6rRcXGHY8YGhDtTki2RdDLe4uGnKDrNQT9AgN10p8L-3GyaV55GPKizbsHYEsH-OAruaIcvPnLwMUgVVQPv42yxuN9IIPSD-24HhlJEi324VjoOMemVDf2UVKVSQrNNr~8FGBV5de~0yl2m8hWWlw-l8x~i67ijCv1n70g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"2017_Robot_Love_is_Queer_Afrofuturism_and_Alien_Love_Liquid_Blackness_3_6_92_106","translated_slug":"","page_count":26,"language":"en","content_type":"Work","owner":{"id":4150062,"first_name":"Dr. tobias c.","middle_initials":null,"last_name":"van Veen","page_name":"DrtobiascvanVeen","domain_name":"csun","created_at":"2013-05-12T14:18:34.458-07:00","display_name":"Dr. tobias c. van Veen","url":"https://csun.academia.edu/DrtobiascvanVeen"},"attachments":[{"id":54578008,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/54578008/thumbnails/1.jpg","file_name":"RobotLoveIsQueer_LB6_tcV.pdf","download_url":"https://www.academia.edu/attachments/54578008/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"2017_Robot_Love_is_Queer_Afrofuturism_an.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/54578008/RobotLoveIsQueer_LB6_tcV-libre.pdf?1506720106=\u0026response-content-disposition=attachment%3B+filename%3D2017_Robot_Love_is_Queer_Afrofuturism_an.pdf\u0026Expires=1732489097\u0026Signature=aK0xeT2Q4zPuWwhMyjLYn5z4vAL4RUL2PFPL9WAx0vTGmXB519sB5nS0BSRKiQE0srITuAjedxJURbRpezIuwFYiDs6slUTexZJCfp1nbGbDpQhfw6n0idT3H-wIPcnio2vWZkWJAfeGqwm0xeSzou~L9skahA4XMveCVWaAtIAZDAOG6rRcXGHY8YGhDtTki2RdDLe4uGnKDrNQT9AgN10p8L-3GyaV55GPKizbsHYEsH-OAruaIcvPnLwMUgVVQPv42yxuN9IIPSD-24HhlJEi324VjoOMemVDf2UVKVSQrNNr~8FGBV5de~0yl2m8hWWlw-l8x~i67ijCv1n70g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory"},{"id":3115,"name":"Posthumanism","url":"https://www.academia.edu/Documents/in/Posthumanism"},{"id":5453,"name":"Race and Ethnicity","url":"https://www.academia.edu/Documents/in/Race_and_Ethnicity"},{"id":8694,"name":"Science Fiction","url":"https://www.academia.edu/Documents/in/Science_Fiction"},{"id":10101,"name":"Critical Posthumanism","url":"https://www.academia.edu/Documents/in/Critical_Posthumanism"},{"id":15312,"name":"Philosophy Of Race","url":"https://www.academia.edu/Documents/in/Philosophy_Of_Race"},{"id":44423,"name":"Afrofuturism","url":"https://www.academia.edu/Documents/in/Afrofuturism"},{"id":59346,"name":"Blackness","url":"https://www.academia.edu/Documents/in/Blackness"},{"id":86637,"name":"Speculative Philosophy","url":"https://www.academia.edu/Documents/in/Speculative_Philosophy"},{"id":216005,"name":"Black Music and Politics","url":"https://www.academia.edu/Documents/in/Black_Music_and_Politics"},{"id":1036133,"name":"Afrofuturism and Science Fiction","url":"https://www.academia.edu/Documents/in/Afrofuturism_and_Science_Fiction"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="25641059"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/25641059/2015_Victims_Themselves_of_a_Close_Encounter_On_the_Sensory_Language_and_Bass_Fiction_of_Space_Ape_in_Memoriam_Dancecult_Journal_of_Electronic_Dance_Music_Culture_7_2_86_115_doi_10_12801_1947_5403_2015_07_02_05_D"><img alt="Research paper thumbnail of 2015. “Victims Themselves of a Close Encounter: On the Sensory Language and Bass Fiction of Space Ape (in Memoriam).” Dancecult: Journal of Electronic Dance Music Culture 7 (2): 86–115. doi:10.12801/1947-5403.2015.07.02.05.D" class="work-thumbnail" src="https://attachments.academia-assets.com/45977764/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25641059/2015_Victims_Themselves_of_a_Close_Encounter_On_the_Sensory_Language_and_Bass_Fiction_of_Space_Ape_in_Memoriam_Dancecult_Journal_of_Electronic_Dance_Music_Culture_7_2_86_115_doi_10_12801_1947_5403_2015_07_02_05_D">2015. “Victims Themselves of a Close Encounter: On the Sensory Language and Bass Fiction of Space Ape (in Memoriam).” Dancecult: Journal of Electronic Dance Music Culture 7 (2): 86–115. doi:10.12801/1947-5403.2015.07.02.05.D</a></div><div class="wp-workCard_item"><span>Dancecult: Journal of Electronic Dance Music Culture</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This text is written in memoriam to dubstep emcee and poet Space Ape (Stephen Samuel Gordon, b. J...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This text is written in memoriam to dubstep emcee and poet Space Ape (Stephen Samuel Gordon, b. June 17th, 1970; d. October 2nd, 2014). In his own words, Space Ape arose from the depths of the black Atlantic, on a mission to relieve the "pressure" through bass fiction. My aim is to explicate Space Ape's bass fiction at the intersection of material and imaginal forces, connecting Space Ape's embodied concept to a broader Afrofuturist constellation of mythopoetic becomings. Memory and matter converge in the affect and sounding of Space Ape as the hostile alien, a virtual body shaped at the intersection of dread bass, riddim warfare and speculative lyricism. Space Ape set out to xorcise that which consumed him from within by embracing the "spirit of change". Turning to process philosophy, I demonstrate how Space Ape's bass fiction—his virtual body—activates the abstract concepts of becoming in the close encounter with the hostile alien.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fe24e5745b65bb8272a02f6407161009" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45977764,"asset_id":25641059,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45977764/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25641059"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25641059"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25641059; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25641059]").text(description); $(".js-view-count[data-work-id=25641059]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25641059; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25641059']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25641059, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fe24e5745b65bb8272a02f6407161009" } } $('.js-work-strip[data-work-id=25641059]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25641059,"title":"2015. “Victims Themselves of a Close Encounter: On the Sensory Language and Bass Fiction of Space Ape (in Memoriam).” Dancecult: Journal of Electronic Dance Music Culture 7 (2): 86–115. doi:10.12801/1947-5403.2015.07.02.05.D","translated_title":"","metadata":{"doi":"10.12801/1947-5403.2015.07.02.05","issue":"2","volume":"7","abstract":"This text is written in memoriam to dubstep emcee and poet Space Ape (Stephen Samuel Gordon, b. June 17th, 1970; d. October 2nd, 2014). In his own words, Space Ape arose from the depths of the black Atlantic, on a mission to relieve the \"pressure\" through bass fiction. My aim is to explicate Space Ape's bass fiction at the intersection of material and imaginal forces, connecting Space Ape's embodied concept to a broader Afrofuturist constellation of mythopoetic becomings. Memory and matter converge in the affect and sounding of Space Ape as the hostile alien, a virtual body shaped at the intersection of dread bass, riddim warfare and speculative lyricism. Space Ape set out to xorcise that which consumed him from within by embracing the \"spirit of change\". 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Memory and matter converge in the affect and sounding of Space Ape as the hostile alien, a virtual body shaped at the intersection of dread bass, riddim warfare and speculative lyricism. Space Ape set out to xorcise that which consumed him from within by embracing the \"spirit of change\". Turning to process philosophy, I demonstrate how Space Ape's bass fiction—his virtual body—activates the abstract concepts of becoming in the close encounter with the hostile alien.","internal_url":"https://www.academia.edu/25641059/2015_Victims_Themselves_of_a_Close_Encounter_On_the_Sensory_Language_and_Bass_Fiction_of_Space_Ape_in_Memoriam_Dancecult_Journal_of_Electronic_Dance_Music_Culture_7_2_86_115_doi_10_12801_1947_5403_2015_07_02_05_D","translated_internal_url":"","created_at":"2016-05-26T17:32:27.880-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":4150062,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":45977764,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45977764/thumbnails/1.jpg","file_name":"VictimsThemselves_Dancecult7.2_tcV.pdf","download_url":"https://www.academia.edu/attachments/45977764/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"2015_Victims_Themselves_of_a_Close_Encou.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45977764/VictimsThemselves_Dancecult7.2_tcV-libre.pdf?1464309903=\u0026response-content-disposition=attachment%3B+filename%3D2015_Victims_Themselves_of_a_Close_Encou.pdf\u0026Expires=1732489097\u0026Signature=Kdw-IA061eLcJrY8EIZNyb1zZeOeio0kvsh98-bsZu5Vbewi2vZy3MRR11fzg~q4q0gQ~3XFCa6HbYtj2~DAjJo6BqdJfgYdketYPcyRXI3ju9pQArAFJCYVCgcywH8jHgUELayzLScRpJD9xbDD62zjbX3LdgiQOfGABlxioeCy11cg0jEQblihXpDvgSUSJ-LUmwLTU0ADRWPPuoJFTaFwtVtIgCEmzKoJR73B9LK2ASYIb5JZbUMz3joWDKyl5ls2voKxTRQlWuSdTQwqE65S7d58UlEtW-KvT70k1hcgutyzrAoc3qxA~UQLNg1kuV4~761WhDTxI9idsl0zbQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"2015_Victims_Themselves_of_a_Close_Encounter_On_the_Sensory_Language_and_Bass_Fiction_of_Space_Ape_in_Memoriam_Dancecult_Journal_of_Electronic_Dance_Music_Culture_7_2_86_115_doi_10_12801_1947_5403_2015_07_02_05_D","translated_slug":"","page_count":30,"language":"en","content_type":"Work","owner":{"id":4150062,"first_name":"Dr. tobias c.","middle_initials":null,"last_name":"van Veen","page_name":"DrtobiascvanVeen","domain_name":"csun","created_at":"2013-05-12T14:18:34.458-07:00","display_name":"Dr. tobias c. van Veen","url":"https://csun.academia.edu/DrtobiascvanVeen"},"attachments":[{"id":45977764,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45977764/thumbnails/1.jpg","file_name":"VictimsThemselves_Dancecult7.2_tcV.pdf","download_url":"https://www.academia.edu/attachments/45977764/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"2015_Victims_Themselves_of_a_Close_Encou.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45977764/VictimsThemselves_Dancecult7.2_tcV-libre.pdf?1464309903=\u0026response-content-disposition=attachment%3B+filename%3D2015_Victims_Themselves_of_a_Close_Encou.pdf\u0026Expires=1732489097\u0026Signature=Kdw-IA061eLcJrY8EIZNyb1zZeOeio0kvsh98-bsZu5Vbewi2vZy3MRR11fzg~q4q0gQ~3XFCa6HbYtj2~DAjJo6BqdJfgYdketYPcyRXI3ju9pQArAFJCYVCgcywH8jHgUELayzLScRpJD9xbDD62zjbX3LdgiQOfGABlxioeCy11cg0jEQblihXpDvgSUSJ-LUmwLTU0ADRWPPuoJFTaFwtVtIgCEmzKoJR73B9LK2ASYIb5JZbUMz3joWDKyl5ls2voKxTRQlWuSdTQwqE65S7d58UlEtW-KvT70k1hcgutyzrAoc3qxA~UQLNg1kuV4~761WhDTxI9idsl0zbQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":2938,"name":"Black/African Diaspora","url":"https://www.academia.edu/Documents/in/Black_African_Diaspora"},{"id":5247,"name":"Critical Race Theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory"},{"id":9041,"name":"Process Philosophy","url":"https://www.academia.edu/Documents/in/Process_Philosophy"},{"id":14796,"name":"Electronic Dance Music Culture (EDMC)","url":"https://www.academia.edu/Documents/in/Electronic_Dance_Music_Culture_EDMC_"},{"id":44423,"name":"Afrofuturism","url":"https://www.academia.edu/Documents/in/Afrofuturism"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17288000"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17288000/2013_Music_is_a_Plane_of_Wisdom_Transmissions_From_the_Offworlds_of_Afrofuturism_Dancecult_Journal_of_Electronic_Dance_Music_Culture_5_2_2_6"><img alt="Research paper thumbnail of 2013. “Music is a Plane of Wisdom: Transmissions From the Offworlds of Afrofuturism.” Dancecult: Journal of Electronic Dance Music Culture 5 (2): 2–6." class="work-thumbnail" src="https://attachments.academia-assets.com/39417435/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17288000/2013_Music_is_a_Plane_of_Wisdom_Transmissions_From_the_Offworlds_of_Afrofuturism_Dancecult_Journal_of_Electronic_Dance_Music_Culture_5_2_2_6">2013. “Music is a Plane of Wisdom: Transmissions From the Offworlds of Afrofuturism.” Dancecult: Journal of Electronic Dance Music Culture 5 (2): 2–6.</a></div><div class="wp-workCard_item"><span>Dancecult: Journal of Electronic Dance Music Culture</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What would the 20th century have looked like without Afrodiasporic music? This evocative question...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What would the 20th century have looked like without Afrodiasporic music? This evocative question—put to me during a late night listening session to the “Annunaki flow” of Killah Priest2—tests the boundaries of even the most dedicated theorist of dystopia. Imagine the alternatives. While the high priests of avant-garde abstraction might have prevailed— satisfying the likes of Adorno, the Frankfurt School critical theorist who notoriously scoffed at jazz—would there have been much good music to dance to?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="bf1ead07a68a990b10c4a782a5680413" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":39417435,"asset_id":17288000,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/39417435/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17288000"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17288000"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17288000; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17288000]").text(description); $(".js-view-count[data-work-id=17288000]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17288000; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17288000']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 17288000, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "bf1ead07a68a990b10c4a782a5680413" } } $('.js-work-strip[data-work-id=17288000]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17288000,"title":"2013. “Music is a Plane of Wisdom: Transmissions From the Offworlds of Afrofuturism.” Dancecult: Journal of Electronic Dance Music Culture 5 (2): 2–6.","translated_title":"","metadata":{"issue":"2","volume":"5","abstract":"What would the 20th century have looked like without Afrodiasporic music? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17287749"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17287749/2013_Vessels_of_Transfer_Allegories_of_Afrofuturism_in_Jeff_Mills_and_Janelle_Mon%C3%A1e_Dancecult_Journal_of_Electronic_Dance_Music_Culture_5_2_7_41_doi_10_12801_1947_5403_2013_05_02_02"><img alt="Research paper thumbnail of 2013. “Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe.” Dancecult: Journal of Electronic Dance Music Culture 5 (2): 7–41. doi:10.12801/1947-5403.2013.05.02.02." class="work-thumbnail" src="https://attachments.academia-assets.com/39417367/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17287749/2013_Vessels_of_Transfer_Allegories_of_Afrofuturism_in_Jeff_Mills_and_Janelle_Mon%C3%A1e_Dancecult_Journal_of_Electronic_Dance_Music_Culture_5_2_7_41_doi_10_12801_1947_5403_2013_05_02_02">2013. “Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe.” Dancecult: Journal of Electronic Dance Music Culture 5 (2): 7–41. doi:10.12801/1947-5403.2013.05.02.02.</a></div><div class="wp-workCard_item"><span>Dancecult: Journal of Electronic Dance Music Culture</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The performances, music, and subjectivities of Detroit techno producer Jeff Mills—radio turntabli...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The performances, music, and subjectivities of Detroit techno producer Jeff Mills—radio turntablist The Wizard, space-and-time traveller The Messenger, founding member of Detroit techno outfit Underground Resistance and head of Axis Records—and Janelle Monáe—android #57821, Cindi Mayweather, denizen and “cyber slavegirl” of Metropolis—are infused with the black Atlantic imaginary of Afrofuturism. We might understand Mills and Monáe as disseminating, in the words of Paul Gilroy, an Afrofuturist “cultural broadcast” that feeds “a new metaphysics of blackness” enacted “within the underground, alternative, public spaces constituted around an expressive culture . . . dominated by music” (Gilroy 1993: 83). Yetwhatpreciselyismeantby“blackness”—theblackAtlanticofGilroy’sAfrodiasporic cultural network—in a context that is Afrofuturist? At stake is the role of allegory and its infrastructure: does Afrofuturism, and its incarnates, “represent” blackness? Or does it tend toward an unhinging of allegory, in which the coordinates of blackness, but also those of linear temporality and terrestial subjectivity, are transformed through becoming?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c283fa1c61dfa0c3bbf4b5963b3cc859" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":39417367,"asset_id":17287749,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/39417367/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17287749"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17287749"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17287749; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17287749]").text(description); $(".js-view-count[data-work-id=17287749]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17287749; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17287749']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 17287749, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c283fa1c61dfa0c3bbf4b5963b3cc859" } } $('.js-work-strip[data-work-id=17287749]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17287749,"title":"2013. “Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe.” Dancecult: Journal of Electronic Dance Music Culture 5 (2): 7–41. doi:10.12801/1947-5403.2013.05.02.02.","translated_title":"","metadata":{"doi":"10.12801/1947-5403.2013.05.02.02","issue":"2","volume":"5","abstract":"The performances, music, and subjectivities of Detroit techno producer Jeff Mills—radio turntablist The Wizard, space-and-time traveller The Messenger, founding member of Detroit techno outfit Underground Resistance and head of Axis Records—and Janelle Monáe—android #57821, Cindi Mayweather, denizen and “cyber slavegirl” of Metropolis—are infused with the black Atlantic imaginary of Afrofuturism. 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Or does it tend toward an unhinging of allegory, in which the coordinates of blackness, but also those of linear temporality and terrestial subjectivity, are transformed through becoming?","page_numbers":"7–41","publication_date":{"day":null,"month":null,"year":2013,"errors":{}},"publication_name":"Dancecult: Journal of Electronic Dance Music Culture"},"translated_abstract":"The performances, music, and subjectivities of Detroit techno producer Jeff Mills—radio turntablist The Wizard, space-and-time traveller The Messenger, founding member of Detroit techno outfit Underground Resistance and head of Axis Records—and Janelle Monáe—android #57821, Cindi Mayweather, denizen and “cyber slavegirl” of Metropolis—are infused with the black Atlantic imaginary of Afrofuturism. We might understand Mills and Monáe as disseminating, in the words of Paul Gilroy, an Afrofuturist “cultural broadcast” that feeds “a new metaphysics of blackness” enacted “within the underground, alternative, public spaces constituted around an expressive culture . . . dominated by music” (Gilroy 1993: 83). Yetwhatpreciselyismeantby“blackness”—theblackAtlanticofGilroy’sAfrodiasporic cultural network—in a context that is Afrofuturist? At stake is the role of allegory and its infrastructure: does Afrofuturism, and its incarnates, “represent” blackness? Or does it tend toward an unhinging of allegory, in which the coordinates of blackness, but also those of linear temporality and terrestial subjectivity, are transformed through becoming?","internal_url":"https://www.academia.edu/17287749/2013_Vessels_of_Transfer_Allegories_of_Afrofuturism_in_Jeff_Mills_and_Janelle_Mon%C3%A1e_Dancecult_Journal_of_Electronic_Dance_Music_Culture_5_2_7_41_doi_10_12801_1947_5403_2013_05_02_02","translated_internal_url":"","created_at":"2015-10-25T17:43:24.433-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":4150062,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":39417367,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/39417367/thumbnails/1.jpg","file_name":"VesselsOfTransfer-Dancecult5.2-Afrofuturism_tcV.pdf","download_url":"https://www.academia.edu/attachments/39417367/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"2013_Vessels_of_Transfer_Allegories_of_A.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/39417367/VesselsOfTransfer-Dancecult5.2-Afrofuturism_tcV-libre.pdf?1445820058=\u0026response-content-disposition=attachment%3B+filename%3D2013_Vessels_of_Transfer_Allegories_of_A.pdf\u0026Expires=1732489097\u0026Signature=War7-D8CK4RQ3YjQSxJI5nEi80bGyPaS8aguQ1cRNq3CHTlVhyHRt1tCuO4uAFtK8L8f566YkbvjsN3AxK2ePK6BDzpAY~hMR9brnkPndrkAAJK0xBTBuQitQSR9APw9KDxCQXDDN9byVQ27pI98Qba3mnJWeGpbGwkOJod10w7JIpiP0hEy2HEihGRoxNXmJxDCAfs77FmvA8UMsXhY9W7Zt3F7ikqNrigwEcmXEv5awIUUw~-3ZjBt45Vh4mS9C4BzsX4CGTzSBLoEtobAaQBsbNtXvdX3WBmf2XvalsiwdgwUmrS5HDGtWx9X9yKZ~fcyzY9D2REtieK-BdZ5xw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"2013_Vessels_of_Transfer_Allegories_of_Afrofuturism_in_Jeff_Mills_and_Janelle_Monáe_Dancecult_Journal_of_Electronic_Dance_Music_Culture_5_2_7_41_doi_10_12801_1947_5403_2013_05_02_02","translated_slug":"","page_count":35,"language":"en","content_type":"Work","owner":{"id":4150062,"first_name":"Dr. tobias c.","middle_initials":null,"last_name":"van Veen","page_name":"DrtobiascvanVeen","domain_name":"csun","created_at":"2013-05-12T14:18:34.458-07:00","display_name":"Dr. tobias c. van Veen","url":"https://csun.academia.edu/DrtobiascvanVeen"},"attachments":[{"id":39417367,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/39417367/thumbnails/1.jpg","file_name":"VesselsOfTransfer-Dancecult5.2-Afrofuturism_tcV.pdf","download_url":"https://www.academia.edu/attachments/39417367/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"2013_Vessels_of_Transfer_Allegories_of_A.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/39417367/VesselsOfTransfer-Dancecult5.2-Afrofuturism_tcV-libre.pdf?1445820058=\u0026response-content-disposition=attachment%3B+filename%3D2013_Vessels_of_Transfer_Allegories_of_A.pdf\u0026Expires=1732489097\u0026Signature=War7-D8CK4RQ3YjQSxJI5nEi80bGyPaS8aguQ1cRNq3CHTlVhyHRt1tCuO4uAFtK8L8f566YkbvjsN3AxK2ePK6BDzpAY~hMR9brnkPndrkAAJK0xBTBuQitQSR9APw9KDxCQXDDN9byVQ27pI98Qba3mnJWeGpbGwkOJod10w7JIpiP0hEy2HEihGRoxNXmJxDCAfs77FmvA8UMsXhY9W7Zt3F7ikqNrigwEcmXEv5awIUUw~-3ZjBt45Vh4mS9C4BzsX4CGTzSBLoEtobAaQBsbNtXvdX3WBmf2XvalsiwdgwUmrS5HDGtWx9X9yKZ~fcyzY9D2REtieK-BdZ5xw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":5247,"name":"Critical Race Theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory"},{"id":5272,"name":"Identity (Culture)","url":"https://www.academia.edu/Documents/in/Identity_Culture_"},{"id":5453,"name":"Race and Ethnicity","url":"https://www.academia.edu/Documents/in/Race_and_Ethnicity"},{"id":9041,"name":"Process Philosophy","url":"https://www.academia.edu/Documents/in/Process_Philosophy"},{"id":14796,"name":"Electronic Dance Music Culture (EDMC)","url":"https://www.academia.edu/Documents/in/Electronic_Dance_Music_Culture_EDMC_"},{"id":18281,"name":"Allegory","url":"https://www.academia.edu/Documents/in/Allegory"},{"id":27510,"name":"Black Atlantic","url":"https://www.academia.edu/Documents/in/Black_Atlantic"},{"id":34327,"name":"Intersectionality","url":"https://www.academia.edu/Documents/in/Intersectionality"},{"id":44423,"name":"Afrofuturism","url":"https://www.academia.edu/Documents/in/Afrofuturism"},{"id":435235,"name":"Janelle Monáe","url":"https://www.academia.edu/Documents/in/Janelle_Mon%C3%A1e"},{"id":1786462,"name":"Detroit Techno","url":"https://www.academia.edu/Documents/in/Detroit_Techno"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17287971"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17287971/2010_Technics_Precarity_and_Exodus_in_Rave_Culture_Dancecult_Journal_of_Electronic_Dance_Music_Culture_1_2_29_49"><img alt="Research paper thumbnail of 2010. “Technics, Precarity and Exodus in Rave Culture.” Dancecult: Journal of Electronic Dance Music Culture 1 (2): 29–49." class="work-thumbnail" src="https://attachments.academia-assets.com/39417426/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17287971/2010_Technics_Precarity_and_Exodus_in_Rave_Culture_Dancecult_Journal_of_Electronic_Dance_Music_Culture_1_2_29_49">2010. “Technics, Precarity and Exodus in Rave Culture.” Dancecult: Journal of Electronic Dance Music Culture 1 (2): 29–49.</a></div><div class="wp-workCard_item"><span>Dancecult: Journal of Electronic Dance Music Culture</span><span>, 2010</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Without a doubt, the question of rave culture’s politics – or lack thereof – has polarized debate...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Without a doubt, the question of rave culture’s politics – or lack thereof – has polarized debate concerning the cultural, social and political value of rave culture not only within electronic dance music culture (EDMC) studies, but in disciplines that look to various manifestations of subculture and counterculture for political innovation. It is time for the groundwork of this debate to be rethought. Ask not what rave culture’s politics can do for you; nor even what you can do for it. Rather, ask what the unexamined account of politics has ever done for anyone; then question all that rave culture has interrogated – from its embodied and technological practices to its production of ecstatic and collective subjectivities – and begin to trace how it has complicated the very question of the political, the communal and the ethical. This complication begins with the dissolution of the boundaries of labour and leisure and the always-already co-optation of culture. To the negation of ethics, community and politics, this tracing calls for the hauntology of technics, precarity and exodus. And it ends with a list of impossible demands demonstrating the parallax gap of rave culture’s politics.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0e7bd898ffa29fec7148e42324755f80" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":39417426,"asset_id":17287971,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/39417426/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17287971"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17287971"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17287971; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17287971]").text(description); $(".js-view-count[data-work-id=17287971]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17287971; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17287971']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 17287971, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0e7bd898ffa29fec7148e42324755f80" } } $('.js-work-strip[data-work-id=17287971]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17287971,"title":"2010. “Technics, Precarity and Exodus in Rave Culture.” Dancecult: Journal of Electronic Dance Music Culture 1 (2): 29–49.","translated_title":"","metadata":{"issue":"2","volume":"1","abstract":"Without a doubt, the question of rave culture’s politics – or lack thereof – has polarized debate concerning the cultural, social and political value of rave culture not only within electronic dance music culture (EDMC) studies, but in disciplines that look to various manifestations of subculture and counterculture for political innovation. It is time for the groundwork of this debate to be rethought. Ask not what rave culture’s politics can do for you; nor even what you can do for it. Rather, ask what the unexamined account of politics has ever done for anyone; then question all that rave culture has interrogated – from its embodied and technological practices to its production of ecstatic and collective subjectivities – and begin to trace how it has complicated the very question of the political, the communal and the ethical. This complication begins with the dissolution of the boundaries of labour and leisure and the always-already co-optation of culture. To the negation of ethics, community and politics, this tracing calls for the hauntology of technics, precarity and exodus. And it ends with a list of impossible demands demonstrating the parallax gap of rave culture’s politics.","page_numbers":"29–49","publication_date":{"day":null,"month":null,"year":2010,"errors":{}},"publication_name":"Dancecult: Journal of Electronic Dance Music Culture"},"translated_abstract":"Without a doubt, the question of rave culture’s politics – or lack thereof – has polarized debate concerning the cultural, social and political value of rave culture not only within electronic dance music culture (EDMC) studies, but in disciplines that look to various manifestations of subculture and counterculture for political innovation. It is time for the groundwork of this debate to be rethought. Ask not what rave culture’s politics can do for you; nor even what you can do for it. Rather, ask what the unexamined account of politics has ever done for anyone; then question all that rave culture has interrogated – from its embodied and technological practices to its production of ecstatic and collective subjectivities – and begin to trace how it has complicated the very question of the political, the communal and the ethical. This complication begins with the dissolution of the boundaries of labour and leisure and the always-already co-optation of culture. To the negation of ethics, community and politics, this tracing calls for the hauntology of technics, precarity and exodus. 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Media Ecology and Autonomy.” InterCulture 6 (1): 51–69." class="work-thumbnail" src="https://attachments.academia-assets.com/46087018/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25733728/2009_No_More_Pirate_Islands_Media_Ecology_and_Autonomy_InterCulture_6_1_51_69">2009. “No More Pirate Islands! Media Ecology and Autonomy.” InterCulture 6 (1): 51–69.</a></div><div class="wp-workCard_item"><span>InterCulture</span><span>, 2009</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Is there autonomy in the 'technological epoch'? Various narratives of philosophy and political th...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Is there autonomy in the 'technological epoch'? Various narratives of philosophy and political theory have long attributed to technology a function of collapse that flattens time and space and reduces the world and its inhabitants to functionaries of an impoverished ontology. Autonomy appears to disappear at this moment. Media ecology proposes that the temporal matter and beings of the world are interlinked in ways that suggest a 'natural technics', suggesting new possibilities for an autonomy that shapes itself in the folds of a mediatized planet.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5338ab32ad61896bd0a6d6040d4ddefa" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":46087018,"asset_id":25733728,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/46087018/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25733728"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25733728"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25733728; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25733728]").text(description); $(".js-view-count[data-work-id=25733728]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25733728; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25733728']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25733728, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5338ab32ad61896bd0a6d6040d4ddefa" } } $('.js-work-strip[data-work-id=25733728]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25733728,"title":"2009. “No More Pirate Islands! 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="25733829"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/25733829/2005_Code_City_Counterstrike_Flow_The_Graduate_Researcher_Journal_for_the_Arts_Sciences_and_Technology_3_1_60_69"><img alt="Research paper thumbnail of 2005. “(Code + City + Counterstrike) ÷ Flow.” The Graduate Researcher: Journal for the Arts, Sciences and Technology 3(1): 60–69." class="work-thumbnail" src="https://attachments.academia-assets.com/46087080/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25733829/2005_Code_City_Counterstrike_Flow_The_Graduate_Researcher_Journal_for_the_Arts_Sciences_and_Technology_3_1_60_69">2005. “(Code + City + Counterstrike) ÷ Flow.” The Graduate Researcher: Journal for the Arts, Sciences and Technology 3(1): 60–69.</a></div><div class="wp-workCard_item"><span>The Graduate Researcher: Journal for the Arts, Sciences and Technology</span><span>, 2005</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">1. The grid of architecture, social planning, movement and bodies finds its isomorphism in comput...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">1. The grid of architecture, social planning, movement and bodies finds its isomorphism in computer circuitry and videogaming. In both cases, architecture (hardware or urban) operates in a feedback relation with flesh (bodies or the software-gamer combo). And, in both cases, a digital condition pervades the general structure of the distinction between material and immaterial experience. 2. Psychogeography-a stroll around and about this organized circuit of movement, urban or digital binarism, whether immersed in the game of real life or "virtual" death. Mediating in and between, also playing the game of academic and artist, theoretical mime, half tongue-in-cheek, I'm drifting through a series of paragraphs.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b655cbeaafb53af4a57894c6d4538473" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":46087080,"asset_id":25733829,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/46087080/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25733829"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25733829"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25733829; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25733829]").text(description); $(".js-view-count[data-work-id=25733829]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25733829; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25733829']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25733829, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b655cbeaafb53af4a57894c6d4538473" } } $('.js-work-strip[data-work-id=25733829]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25733829,"title":"2005. “(Code + City + Counterstrike) ÷ Flow.” The Graduate Researcher: Journal for the Arts, Sciences and Technology 3(1): 60–69.","translated_title":"","metadata":{"issue":"1","volume":"3","abstract":"1. The grid of architecture, social planning, movement and bodies finds its isomorphism in computer circuitry and videogaming. In both cases, architecture (hardware or urban) operates in a feedback relation with flesh (bodies or the software-gamer combo). And, in both cases, a digital condition pervades the general structure of the distinction between material and immaterial experience. 2. Psychogeography-a stroll around and about this organized circuit of movement, urban or digital binarism, whether immersed in the game of real life or \"virtual\" death. Mediating in and between, also playing the game of academic and artist, theoretical mime, half tongue-in-cheek, I'm drifting through a series of paragraphs.","page_numbers":"60–69","publication_date":{"day":null,"month":null,"year":2005,"errors":{}},"publication_name":"The Graduate Researcher: Journal for the Arts, Sciences and Technology"},"translated_abstract":"1. The grid of architecture, social planning, movement and bodies finds its isomorphism in computer circuitry and videogaming. In both cases, architecture (hardware or urban) operates in a feedback relation with flesh (bodies or the software-gamer combo). And, in both cases, a digital condition pervades the general structure of the distinction between material and immaterial experience. 2. Psychogeography-a stroll around and about this organized circuit of movement, urban or digital binarism, whether immersed in the game of real life or \"virtual\" death. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="25733785"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/25733785/2003_It_s_Not_a_Rave_2_0_The_Graduate_Researcher_Journal_for_the_Arts_Sciences_and_Technology_1_2_90_96"><img alt="Research paper thumbnail of 2003. “It’s Not a Rave [2.0].” The Graduate Researcher: Journal for the Arts, Sciences, and Technology. 1 (2): 90–96." class="work-thumbnail" src="https://attachments.academia-assets.com/46087061/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25733785/2003_It_s_Not_a_Rave_2_0_The_Graduate_Researcher_Journal_for_the_Arts_Sciences_and_Technology_1_2_90_96">2003. “It’s Not a Rave [2.0].” The Graduate Researcher: Journal for the Arts, Sciences, and Technology. 1 (2): 90–96.</a></div><div class="wp-workCard_item"><span>The Graduate Researcher: Journal for the Arts, Sciences, and Technology</span><span>, 2003</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Despite a contemporary understanding of "rave culture" as a hedonist, if not consumerist, capital...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Despite a contemporary understanding of "rave culture" as a hedonist, if not consumerist, capitalist, and escapist activity, "rave culture" remixed practices from anarchism to squatting, performance art to immediatism. The liminal edges of rave culture raise a series of questions as to what constitutes the nature of the "political," of the "social" and of the "subject" when such primary models are remixed through sound, movement, and bodily sensation. Rave cuts and filters these practices, strips them down to minimal components, and transforms what cultural studies usually denotes as reactive resistance to an affirmative experience of the sonic body.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8324b07f66b0a379f0c57a6ca76ed625" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":46087061,"asset_id":25733785,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/46087061/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25733785"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25733785"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25733785; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25733785]").text(description); $(".js-view-count[data-work-id=25733785]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25733785; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25733785']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25733785, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8324b07f66b0a379f0c57a6ca76ed625" } } $('.js-work-strip[data-work-id=25733785]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25733785,"title":"2003. “It’s Not a Rave [2.0].” The Graduate Researcher: Journal for the Arts, Sciences, and Technology. 1 (2): 90–96.","translated_title":"","metadata":{"issue":"2","volume":"1","abstract":"Despite a contemporary understanding of \"rave culture\" as a hedonist, if not consumerist, capitalist, and escapist activity, \"rave culture\" remixed practices from anarchism to squatting, performance art to immediatism. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Chapters" id="Chapters"><h3 class="profile--tab_heading_container">Chapters by Dr. tobias c. van Veen</h3></div><div class="js-work-strip profile--work_container" data-work-id="20301477"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/20301477/2016_The_Armageddon_Effect_Afrofuturism_and_the_Chronopolitics_of_Alien_Nation_In_Afrofuturism_2_0_The_Rise_of_Astro_Blackness_edited_by_Reynaldo_Anderson_and_Charles_E_Jones_63_90_New_York_Lexington_Books"><img alt="Research paper thumbnail of 2016. “The Armageddon Effect: Afrofuturism and the Chronopolitics of Alien Nation.” In Afrofuturism 2.0: The Rise of Astro-Blackness, edited by Reynaldo Anderson and Charles E. Jones, 63–90. New York: Lexington Books." class="work-thumbnail" src="https://attachments.academia-assets.com/48449012/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/20301477/2016_The_Armageddon_Effect_Afrofuturism_and_the_Chronopolitics_of_Alien_Nation_In_Afrofuturism_2_0_The_Rise_of_Astro_Blackness_edited_by_Reynaldo_Anderson_and_Charles_E_Jones_63_90_New_York_Lexington_Books">2016. “The Armageddon Effect: Afrofuturism and the Chronopolitics of Alien Nation.” In Afrofuturism 2.0: The Rise of Astro-Blackness, edited by Reynaldo Anderson and Charles E. Jones, 63–90. New York: Lexington Books.</a></div><div class="wp-workCard_item"><span>Afrofuturism 2.0: The Ride of Astro-Blackness</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In 1992, all but the name of Afrofuturism had been elaborated in a detailed and esoteric—if not p...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In 1992, all but the name of Afrofuturism had been elaborated in a detailed and esoteric—if not philosophical and prescient—article in WIRE magazine entitled “Loving the Alien in Advance of the Landing—Black Science Fiction” (Sinker 1992). Though it is Mark Dery who would coin “Afrofuturism” in a roundtable with Tricia Rose, Samuel R. Delany, and Greg Tate in 1993 to name the themes and concerns of twentieth-century African- American speculative fiction, music, comics, film and arts (1994a), Sinker’s essay is deserving of a speculative exegesis for its attention to the conceptual dimensions of the Afrofuturist arts and culture of the black Atlantic. In this chapter, I mobilize Sinker’s nascent concepts to explore Afrofuturist aesthetic praxis, distinguishing at the same time their cultural deployment from—but also entwinement with—Afrocentric usages.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5b192863d7eb81cc3d7b0c6226d7e566" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":48449012,"asset_id":20301477,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/48449012/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="20301477"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="20301477"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20301477; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=20301477]").text(description); $(".js-view-count[data-work-id=20301477]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 20301477; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='20301477']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 20301477, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5b192863d7eb81cc3d7b0c6226d7e566" } } $('.js-work-strip[data-work-id=20301477]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":20301477,"title":"2016. “The Armageddon Effect: Afrofuturism and the Chronopolitics of Alien Nation.” In Afrofuturism 2.0: The Rise of Astro-Blackness, edited by Reynaldo Anderson and Charles E. 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Montréal: McGill-Queen’s University Press." class="work-thumbnail" src="https://attachments.academia-assets.com/45979155/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25642100/2010_Cities_of_Rhythm_and_Revolution_In_Circulation_and_the_City_Essays_on_Mobility_and_Urban_Culture_edited_by_Will_Straw_and_Alexandra_Boutros_153_92_Montr%C3%A9al_McGill_Queen_s_University_Press">2010. “Cities of Rhythm and Revolution.” In Circulation and the City: Essays on Mobility and Urban Culture, edited by Will Straw and Alexandra Boutros, 153–92. Montréal: McGill-Queen’s University Press.</a></div><div class="wp-workCard_item"><span>Circulation and the City: Essays on Mobility and Urban Culture</span><span>, 2010</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this chapter I explicate Henri Lefebvre's "virtual" concept of the urban, further developing h...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this chapter I explicate Henri Lefebvre's "virtual" concept of the urban, further developing his conceptual yet embodied praxis of rhythmanalysis, while engaging in a conversation with Deleuze and Guattari concerning the nature of the State and the City.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f1c14520d0a5014bb7a204b058c6b806" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45979155,"asset_id":25642100,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45979155/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25642100"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25642100"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25642100; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25642100]").text(description); $(".js-view-count[data-work-id=25642100]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25642100; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25642100']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25642100, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f1c14520d0a5014bb7a204b058c6b806" } } $('.js-work-strip[data-work-id=25642100]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25642100,"title":"2010. “Cities of Rhythm and Revolution.” In Circulation and the City: Essays on Mobility and Urban Culture, edited by Will Straw and Alexandra Boutros, 153–92. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Articles" id="Articles"><h3 class="profile--tab_heading_container">Articles by Dr. tobias c. van Veen</h3></div><div class="js-work-strip profile--work_container" data-work-id="25646548"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/25646548/Towards_a_Granular_Study_of_Scenes_at_Vancouver_s_New_Forms_Festival"><img alt="Research paper thumbnail of Towards a Granular Study of Scenes at Vancouver’s New Forms Festival" class="work-thumbnail" src="https://attachments.academia-assets.com/46087355/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25646548/Towards_a_Granular_Study_of_Scenes_at_Vancouver_s_New_Forms_Festival">Towards a Granular Study of Scenes at Vancouver’s New Forms Festival</a></div><div class="wp-workCard_item"><span>Dancecult</span><span>, 2004</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="22def6b886bb27d6c326a506fac11ddb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":46087355,"asset_id":25646548,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/46087355/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25646548"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25646548"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25646548; 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"profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="4887921" id="journaleditor"><div class="js-work-strip profile--work_container" data-work-id="37694278"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37694278/Future_Movements_Black_Lives_Black_Politics_Black_Futures_An_Introduction"><img alt="Research paper thumbnail of Future Movements: Black Lives, Black Politics, Black Futures—An Introduction" class="work-thumbnail" src="https://attachments.academia-assets.com/57685711/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37694278/Future_Movements_Black_Lives_Black_Politics_Black_Futures_An_Introduction">Future Movements: Black Lives, Black Politics, Black Futures—An Introduction</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">2018. van Veen, tobias c. and Reynaldo Anderson. "Future Movements: Black Lives, Black Politics, ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">2018. van Veen, tobias c. and Reynaldo Anderson. "Future Movements: Black Lives, Black Politics, Black Futures—An Introduction." TOPIA: Canadian Journal of Cultural Studies 39(1): 5–21.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4a5be2830701d5ee515d69217d2670f9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57685711,"asset_id":37694278,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57685711/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&st=MTczMjQ4NTQ5Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37694278"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span 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text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25641604/Dancecult_5_2_2013_Special_issue_on_Afrofuturism">Dancecult 5.2 (2013): Special issue on Afrofuturism</a></div><div class="wp-workCard_item"><span>Dancecult: Journal of Electronic Dance Music Culture</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This special issue of Dancecult establishes an initial foray into addressing Afrofuturism both wi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This special issue of Dancecult establishes an initial foray into addressing Afrofuturism both within what has become shaped as Electronic Dance Music Culture (EDMC) studies, <br />as well as on its borders. Likewise, its essays often test the limits of what has been previously thought around, and theorised as, Afrofuturism. Afrofuturism and electronic music are more or less impossible to untangle. The imaginative and science fictional worlds wrought in the electronic music of Detroit techno, acid house, jungle, dub and dubstep are all directly (or indirectly) inflected by Afrofuturist concepts and tropes.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9f3bb943b3cd1508f7abbeaf0e4259a8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45978629,"asset_id":25641604,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45978629/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&st=MTczMjQ4NTQ5Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25641604"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25641604"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25641604; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25641604]").text(description); $(".js-view-count[data-work-id=25641604]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25641604; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25641604']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25641604, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9f3bb943b3cd1508f7abbeaf0e4259a8" } } $('.js-work-strip[data-work-id=25641604]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25641604,"title":"Dancecult 5.2 (2013): Special issue on Afrofuturism","translated_title":"","metadata":{"issue":"2","volume":"5","abstract":"This special issue of Dancecult establishes an initial foray into addressing Afrofuturism both within what has become shaped as Electronic Dance Music Culture (EDMC) studies,\r\nas well as on its borders. Likewise, its essays often test the limits of what has been previously thought around, and theorised as, Afrofuturism. Afrofuturism and electronic music are more or less impossible to untangle. The imaginative and science fictional worlds wrought in the electronic music of Detroit techno, acid house, jungle, dub and dubstep are all directly (or indirectly) inflected by Afrofuturist concepts and tropes.","publication_date":{"day":null,"month":null,"year":2013,"errors":{}},"publication_name":"Dancecult: Journal of Electronic Dance Music Culture"},"translated_abstract":"This special issue of Dancecult establishes an initial foray into addressing Afrofuturism both within what has become shaped as Electronic Dance Music Culture (EDMC) studies,\r\nas well as on its borders. Likewise, its essays often test the limits of what has been previously thought around, and theorised as, Afrofuturism. Afrofuturism and electronic music are more or less impossible to untangle. 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class="" data-click-track="profile-work-strip-authors" href="https://csun.academia.edu/DrtobiascvanVeen">Dr. tobias c. van Veen</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://lsbu.academia.edu/HillegondaRietveld">Hillegonda C Rietveld</a></span></div><div class="wp-workCard_item"><span>Dancecult: Journal of Electronic Dance Music Culture</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Editors: Hillegonda C. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="3842384" id="journalarticles"><div class="js-work-strip profile--work_container" data-work-id="41562475"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41562475/Afrofutures_of_Cosplay_Deviance_and_DiY_in_Black_Fantastic_Performance"><img alt="Research paper thumbnail of Afrofutures of Cosplay: Deviance and DiY in Black Fantastic Performance" class="work-thumbnail" src="https://attachments.academia-assets.com/61721241/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41562475/Afrofutures_of_Cosplay_Deviance_and_DiY_in_Black_Fantastic_Performance">Afrofutures of Cosplay: Deviance and DiY in Black Fantastic Performance</a></div><div class="wp-workCard_item"><span>Journal of Future Studies</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What might shape the force-political or otherwise-of black cosplay? And how might we read black c...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What might shape the force-political or otherwise-of black cosplay? And how might we read black cosplay, as fandom performance of comix personae, superheroes, and other fantastical forms of the (black) imaginary, as a dimension of black performance that shapes the futures of blackness? What is meant by, and what happens to, or upon, blackness when its force-and how to articulate black force is precisely that which cosplay plays with-shifts between representation and allegory, performance and identity? How might cosplay be thought as furthering, yet pushing the boundaries of the black radical tradition, "that blurring of the clear lines that demarcate[s] black spaces" that, argues Richard Iton (2010), is "one of the legacies of the civil rights movement (p.21)? I situate these questions concerning black cosplay through interviews with black cosplayers at conventions and events, namely Emerald City ComicCon in 2016 and the inaugural edition of the Black Speculative Arts Movement Canada in Toronto, and I pose them by way of artistic collaboration with Los Angeles-based cosplayer, activist, and artist ZiggZagg∑rZ the Bastard. It is to these interviews and this collaborative, artistic praxis that I will turn below as sites in which these questions take shape. These questions seek to address a shifting field in which blackness, the imaginary, and popular culture mix.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="05372acdc3aab04e44403ddd0cce1614" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61721241,"asset_id":41562475,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61721241/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&st=MTczMjQ4NTQ5Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41562475"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41562475"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41562475; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41562475]").text(description); $(".js-view-count[data-work-id=41562475]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41562475; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41562475']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 41562475, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "05372acdc3aab04e44403ddd0cce1614" } } $('.js-work-strip[data-work-id=41562475]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41562475,"title":"Afrofutures of Cosplay: Deviance and DiY in Black Fantastic Performance","translated_title":"","metadata":{"doi":"10.6531/JFS.201912_24(2).0010","abstract":"What might shape the force-political or otherwise-of black cosplay? 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I situate these questions concerning black cosplay through interviews with black cosplayers at conventions and events, namely Emerald City ComicCon in 2016 and the inaugural edition of the Black Speculative Arts Movement Canada in Toronto, and I pose them by way of artistic collaboration with Los Angeles-based cosplayer, activist, and artist ZiggZagg∑rZ the Bastard. It is to these interviews and this collaborative, artistic praxis that I will turn below as sites in which these questions take shape. These questions seek to address a shifting field in which blackness, the imaginary, and popular culture mix. ","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"Journal of Future Studies"},"translated_abstract":"What might shape the force-political or otherwise-of black cosplay? 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I situate these questions concerning black cosplay through interviews with black cosplayers at conventions and events, namely Emerald City ComicCon in 2016 and the inaugural edition of the Black Speculative Arts Movement Canada in Toronto, and I pose them by way of artistic collaboration with Los Angeles-based cosplayer, activist, and artist ZiggZagg∑rZ the Bastard. It is to these interviews and this collaborative, artistic praxis that I will turn below as sites in which these questions take shape. These questions seek to address a shifting field in which blackness, the imaginary, and popular culture mix. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="34721130"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/34721130/2017_Robot_Love_is_Queer_Afrofuturism_and_Alien_Love_Liquid_Blackness_3_6_92_106"><img alt="Research paper thumbnail of 2017. “Robot Love is Queer: Afrofuturism and Alien Love.” Liquid Blackness 3 (6): 92–106." class="work-thumbnail" src="https://attachments.academia-assets.com/54578008/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/34721130/2017_Robot_Love_is_Queer_Afrofuturism_and_Alien_Love_Liquid_Blackness_3_6_92_106">2017. “Robot Love is Queer: Afrofuturism and Alien Love.” Liquid Blackness 3 (6): 92–106.</a></div><div class="wp-workCard_item"><span>Liquid Blackness</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This essay, itself an assemblage of concepts drawn from a constellation of Afrofuturist sources, ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This essay, itself an assemblage of concepts drawn from a constellation<br />of Afrofuturist sources, is about love—about loving the other, and<br />about loving an-other whose otherness transgresses all that is presupposed in the possessive of the “whose”: an-other who is not a who,<br />but a what. These terms, and this fundamental distinction of Western metaphysics—of subject/object, of who/what—are troubled here as a<br />philosophical distinction of the Thing to the thinking Man. A philosophical<br />distinction that masks the racialization of the Thing.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7aa4d3bb956034f484be664caefe2628" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54578008,"asset_id":34721130,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54578008/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34721130"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34721130"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34721130; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34721130]").text(description); $(".js-view-count[data-work-id=34721130]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 34721130; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='34721130']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 34721130, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7aa4d3bb956034f484be664caefe2628" } } $('.js-work-strip[data-work-id=34721130]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":34721130,"title":"2017. “Robot Love is Queer: Afrofuturism and Alien Love.” Liquid Blackness 3 (6): 92–106.","translated_title":"","metadata":{"issue":"6","volume":"3","abstract":"This essay, itself an assemblage of concepts drawn from a constellation\nof Afrofuturist sources, is about love—about loving the other, and\nabout loving an-other whose otherness transgresses all that is presupposed in the possessive of the “whose”: an-other who is not a who,\nbut a what. These terms, and this fundamental distinction of Western metaphysics—of subject/object, of who/what—are troubled here as a\nphilosophical distinction of the Thing to the thinking Man. A philosophical\ndistinction that masks the racialization of the Thing.","page_numbers":"92–106","publication_date":{"day":null,"month":null,"year":2017,"errors":{}},"publication_name":"Liquid Blackness"},"translated_abstract":"This essay, itself an assemblage of concepts drawn from a constellation\nof Afrofuturist sources, is about love—about loving the other, and\nabout loving an-other whose otherness transgresses all that is presupposed in the possessive of the “whose”: an-other who is not a who,\nbut a what. These terms, and this fundamental distinction of Western metaphysics—of subject/object, of who/what—are troubled here as a\nphilosophical distinction of the Thing to the thinking Man. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="25641059"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/25641059/2015_Victims_Themselves_of_a_Close_Encounter_On_the_Sensory_Language_and_Bass_Fiction_of_Space_Ape_in_Memoriam_Dancecult_Journal_of_Electronic_Dance_Music_Culture_7_2_86_115_doi_10_12801_1947_5403_2015_07_02_05_D"><img alt="Research paper thumbnail of 2015. “Victims Themselves of a Close Encounter: On the Sensory Language and Bass Fiction of Space Ape (in Memoriam).” Dancecult: Journal of Electronic Dance Music Culture 7 (2): 86–115. doi:10.12801/1947-5403.2015.07.02.05.D" class="work-thumbnail" src="https://attachments.academia-assets.com/45977764/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25641059/2015_Victims_Themselves_of_a_Close_Encounter_On_the_Sensory_Language_and_Bass_Fiction_of_Space_Ape_in_Memoriam_Dancecult_Journal_of_Electronic_Dance_Music_Culture_7_2_86_115_doi_10_12801_1947_5403_2015_07_02_05_D">2015. “Victims Themselves of a Close Encounter: On the Sensory Language and Bass Fiction of Space Ape (in Memoriam).” Dancecult: Journal of Electronic Dance Music Culture 7 (2): 86–115. doi:10.12801/1947-5403.2015.07.02.05.D</a></div><div class="wp-workCard_item"><span>Dancecult: Journal of Electronic Dance Music Culture</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This text is written in memoriam to dubstep emcee and poet Space Ape (Stephen Samuel Gordon, b. J...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This text is written in memoriam to dubstep emcee and poet Space Ape (Stephen Samuel Gordon, b. June 17th, 1970; d. October 2nd, 2014). In his own words, Space Ape arose from the depths of the black Atlantic, on a mission to relieve the "pressure" through bass fiction. My aim is to explicate Space Ape's bass fiction at the intersection of material and imaginal forces, connecting Space Ape's embodied concept to a broader Afrofuturist constellation of mythopoetic becomings. Memory and matter converge in the affect and sounding of Space Ape as the hostile alien, a virtual body shaped at the intersection of dread bass, riddim warfare and speculative lyricism. Space Ape set out to xorcise that which consumed him from within by embracing the "spirit of change". Turning to process philosophy, I demonstrate how Space Ape's bass fiction—his virtual body—activates the abstract concepts of becoming in the close encounter with the hostile alien.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fe24e5745b65bb8272a02f6407161009" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45977764,"asset_id":25641059,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45977764/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25641059"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25641059"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25641059; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25641059]").text(description); $(".js-view-count[data-work-id=25641059]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25641059; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25641059']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25641059, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fe24e5745b65bb8272a02f6407161009" } } $('.js-work-strip[data-work-id=25641059]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25641059,"title":"2015. “Victims Themselves of a Close Encounter: On the Sensory Language and Bass Fiction of Space Ape (in Memoriam).” Dancecult: Journal of Electronic Dance Music Culture 7 (2): 86–115. doi:10.12801/1947-5403.2015.07.02.05.D","translated_title":"","metadata":{"doi":"10.12801/1947-5403.2015.07.02.05","issue":"2","volume":"7","abstract":"This text is written in memoriam to dubstep emcee and poet Space Ape (Stephen Samuel Gordon, b. June 17th, 1970; d. October 2nd, 2014). In his own words, Space Ape arose from the depths of the black Atlantic, on a mission to relieve the \"pressure\" through bass fiction. My aim is to explicate Space Ape's bass fiction at the intersection of material and imaginal forces, connecting Space Ape's embodied concept to a broader Afrofuturist constellation of mythopoetic becomings. Memory and matter converge in the affect and sounding of Space Ape as the hostile alien, a virtual body shaped at the intersection of dread bass, riddim warfare and speculative lyricism. Space Ape set out to xorcise that which consumed him from within by embracing the \"spirit of change\". 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Memory and matter converge in the affect and sounding of Space Ape as the hostile alien, a virtual body shaped at the intersection of dread bass, riddim warfare and speculative lyricism. Space Ape set out to xorcise that which consumed him from within by embracing the \"spirit of change\". 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17288000"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17288000/2013_Music_is_a_Plane_of_Wisdom_Transmissions_From_the_Offworlds_of_Afrofuturism_Dancecult_Journal_of_Electronic_Dance_Music_Culture_5_2_2_6"><img alt="Research paper thumbnail of 2013. “Music is a Plane of Wisdom: Transmissions From the Offworlds of Afrofuturism.” Dancecult: Journal of Electronic Dance Music Culture 5 (2): 2–6." class="work-thumbnail" src="https://attachments.academia-assets.com/39417435/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17288000/2013_Music_is_a_Plane_of_Wisdom_Transmissions_From_the_Offworlds_of_Afrofuturism_Dancecult_Journal_of_Electronic_Dance_Music_Culture_5_2_2_6">2013. “Music is a Plane of Wisdom: Transmissions From the Offworlds of Afrofuturism.” Dancecult: Journal of Electronic Dance Music Culture 5 (2): 2–6.</a></div><div class="wp-workCard_item"><span>Dancecult: Journal of Electronic Dance Music Culture</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What would the 20th century have looked like without Afrodiasporic music? This evocative question...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What would the 20th century have looked like without Afrodiasporic music? This evocative question—put to me during a late night listening session to the “Annunaki flow” of Killah Priest2—tests the boundaries of even the most dedicated theorist of dystopia. Imagine the alternatives. While the high priests of avant-garde abstraction might have prevailed— satisfying the likes of Adorno, the Frankfurt School critical theorist who notoriously scoffed at jazz—would there have been much good music to dance to?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="bf1ead07a68a990b10c4a782a5680413" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":39417435,"asset_id":17288000,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/39417435/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17288000"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17288000"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17288000; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17288000]").text(description); $(".js-view-count[data-work-id=17288000]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17288000; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17288000']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 17288000, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "bf1ead07a68a990b10c4a782a5680413" } } $('.js-work-strip[data-work-id=17288000]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17288000,"title":"2013. “Music is a Plane of Wisdom: Transmissions From the Offworlds of Afrofuturism.” Dancecult: Journal of Electronic Dance Music Culture 5 (2): 2–6.","translated_title":"","metadata":{"issue":"2","volume":"5","abstract":"What would the 20th century have looked like without Afrodiasporic music? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17287749"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17287749/2013_Vessels_of_Transfer_Allegories_of_Afrofuturism_in_Jeff_Mills_and_Janelle_Mon%C3%A1e_Dancecult_Journal_of_Electronic_Dance_Music_Culture_5_2_7_41_doi_10_12801_1947_5403_2013_05_02_02"><img alt="Research paper thumbnail of 2013. “Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe.” Dancecult: Journal of Electronic Dance Music Culture 5 (2): 7–41. doi:10.12801/1947-5403.2013.05.02.02." class="work-thumbnail" src="https://attachments.academia-assets.com/39417367/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17287749/2013_Vessels_of_Transfer_Allegories_of_Afrofuturism_in_Jeff_Mills_and_Janelle_Mon%C3%A1e_Dancecult_Journal_of_Electronic_Dance_Music_Culture_5_2_7_41_doi_10_12801_1947_5403_2013_05_02_02">2013. “Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe.” Dancecult: Journal of Electronic Dance Music Culture 5 (2): 7–41. doi:10.12801/1947-5403.2013.05.02.02.</a></div><div class="wp-workCard_item"><span>Dancecult: Journal of Electronic Dance Music Culture</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The performances, music, and subjectivities of Detroit techno producer Jeff Mills—radio turntabli...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The performances, music, and subjectivities of Detroit techno producer Jeff Mills—radio turntablist The Wizard, space-and-time traveller The Messenger, founding member of Detroit techno outfit Underground Resistance and head of Axis Records—and Janelle Monáe—android #57821, Cindi Mayweather, denizen and “cyber slavegirl” of Metropolis—are infused with the black Atlantic imaginary of Afrofuturism. We might understand Mills and Monáe as disseminating, in the words of Paul Gilroy, an Afrofuturist “cultural broadcast” that feeds “a new metaphysics of blackness” enacted “within the underground, alternative, public spaces constituted around an expressive culture . . . dominated by music” (Gilroy 1993: 83). Yetwhatpreciselyismeantby“blackness”—theblackAtlanticofGilroy’sAfrodiasporic cultural network—in a context that is Afrofuturist? At stake is the role of allegory and its infrastructure: does Afrofuturism, and its incarnates, “represent” blackness? Or does it tend toward an unhinging of allegory, in which the coordinates of blackness, but also those of linear temporality and terrestial subjectivity, are transformed through becoming?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c283fa1c61dfa0c3bbf4b5963b3cc859" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":39417367,"asset_id":17287749,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/39417367/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17287749"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17287749"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17287749; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17287749]").text(description); $(".js-view-count[data-work-id=17287749]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17287749; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17287749']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 17287749, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c283fa1c61dfa0c3bbf4b5963b3cc859" } } $('.js-work-strip[data-work-id=17287749]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17287749,"title":"2013. “Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe.” Dancecult: Journal of Electronic Dance Music Culture 5 (2): 7–41. doi:10.12801/1947-5403.2013.05.02.02.","translated_title":"","metadata":{"doi":"10.12801/1947-5403.2013.05.02.02","issue":"2","volume":"5","abstract":"The performances, music, and subjectivities of Detroit techno producer Jeff Mills—radio turntablist The Wizard, space-and-time traveller The Messenger, founding member of Detroit techno outfit Underground Resistance and head of Axis Records—and Janelle Monáe—android #57821, Cindi Mayweather, denizen and “cyber slavegirl” of Metropolis—are infused with the black Atlantic imaginary of Afrofuturism. We might understand Mills and Monáe as disseminating, in the words of Paul Gilroy, an Afrofuturist “cultural broadcast” that feeds “a new metaphysics of blackness” enacted “within the underground, alternative, public spaces constituted around an expressive culture . . . dominated by music” (Gilroy 1993: 83). Yetwhatpreciselyismeantby“blackness”—theblackAtlanticofGilroy’sAfrodiasporic cultural network—in a context that is Afrofuturist? At stake is the role of allegory and its infrastructure: does Afrofuturism, and its incarnates, “represent” blackness? Or does it tend toward an unhinging of allegory, in which the coordinates of blackness, but also those of linear temporality and terrestial subjectivity, are transformed through becoming?","page_numbers":"7–41","publication_date":{"day":null,"month":null,"year":2013,"errors":{}},"publication_name":"Dancecult: Journal of Electronic Dance Music Culture"},"translated_abstract":"The performances, music, and subjectivities of Detroit techno producer Jeff Mills—radio turntablist The Wizard, space-and-time traveller The Messenger, founding member of Detroit techno outfit Underground Resistance and head of Axis Records—and Janelle Monáe—android #57821, Cindi Mayweather, denizen and “cyber slavegirl” of Metropolis—are infused with the black Atlantic imaginary of Afrofuturism. We might understand Mills and Monáe as disseminating, in the words of Paul Gilroy, an Afrofuturist “cultural broadcast” that feeds “a new metaphysics of blackness” enacted “within the underground, alternative, public spaces constituted around an expressive culture . . . dominated by music” (Gilroy 1993: 83). Yetwhatpreciselyismeantby“blackness”—theblackAtlanticofGilroy’sAfrodiasporic cultural network—in a context that is Afrofuturist? At stake is the role of allegory and its infrastructure: does Afrofuturism, and its incarnates, “represent” blackness? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17287971"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17287971/2010_Technics_Precarity_and_Exodus_in_Rave_Culture_Dancecult_Journal_of_Electronic_Dance_Music_Culture_1_2_29_49"><img alt="Research paper thumbnail of 2010. “Technics, Precarity and Exodus in Rave Culture.” Dancecult: Journal of Electronic Dance Music Culture 1 (2): 29–49." class="work-thumbnail" src="https://attachments.academia-assets.com/39417426/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17287971/2010_Technics_Precarity_and_Exodus_in_Rave_Culture_Dancecult_Journal_of_Electronic_Dance_Music_Culture_1_2_29_49">2010. “Technics, Precarity and Exodus in Rave Culture.” Dancecult: Journal of Electronic Dance Music Culture 1 (2): 29–49.</a></div><div class="wp-workCard_item"><span>Dancecult: Journal of Electronic Dance Music Culture</span><span>, 2010</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Without a doubt, the question of rave culture’s politics – or lack thereof – has polarized debate...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Without a doubt, the question of rave culture’s politics – or lack thereof – has polarized debate concerning the cultural, social and political value of rave culture not only within electronic dance music culture (EDMC) studies, but in disciplines that look to various manifestations of subculture and counterculture for political innovation. It is time for the groundwork of this debate to be rethought. Ask not what rave culture’s politics can do for you; nor even what you can do for it. Rather, ask what the unexamined account of politics has ever done for anyone; then question all that rave culture has interrogated – from its embodied and technological practices to its production of ecstatic and collective subjectivities – and begin to trace how it has complicated the very question of the political, the communal and the ethical. This complication begins with the dissolution of the boundaries of labour and leisure and the always-already co-optation of culture. To the negation of ethics, community and politics, this tracing calls for the hauntology of technics, precarity and exodus. And it ends with a list of impossible demands demonstrating the parallax gap of rave culture’s politics.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0e7bd898ffa29fec7148e42324755f80" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":39417426,"asset_id":17287971,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/39417426/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17287971"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17287971"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17287971; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17287971]").text(description); $(".js-view-count[data-work-id=17287971]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17287971; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17287971']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 17287971, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0e7bd898ffa29fec7148e42324755f80" } } $('.js-work-strip[data-work-id=17287971]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17287971,"title":"2010. “Technics, Precarity and Exodus in Rave Culture.” Dancecult: Journal of Electronic Dance Music Culture 1 (2): 29–49.","translated_title":"","metadata":{"issue":"2","volume":"1","abstract":"Without a doubt, the question of rave culture’s politics – or lack thereof – has polarized debate concerning the cultural, social and political value of rave culture not only within electronic dance music culture (EDMC) studies, but in disciplines that look to various manifestations of subculture and counterculture for political innovation. It is time for the groundwork of this debate to be rethought. Ask not what rave culture’s politics can do for you; nor even what you can do for it. Rather, ask what the unexamined account of politics has ever done for anyone; then question all that rave culture has interrogated – from its embodied and technological practices to its production of ecstatic and collective subjectivities – and begin to trace how it has complicated the very question of the political, the communal and the ethical. This complication begins with the dissolution of the boundaries of labour and leisure and the always-already co-optation of culture. To the negation of ethics, community and politics, this tracing calls for the hauntology of technics, precarity and exodus. 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Rather, ask what the unexamined account of politics has ever done for anyone; then question all that rave culture has interrogated – from its embodied and technological practices to its production of ecstatic and collective subjectivities – and begin to trace how it has complicated the very question of the political, the communal and the ethical. This complication begins with the dissolution of the boundaries of labour and leisure and the always-already co-optation of culture. To the negation of ethics, community and politics, this tracing calls for the hauntology of technics, precarity and exodus. 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Media Ecology and Autonomy.” InterCulture 6 (1): 51–69." class="work-thumbnail" src="https://attachments.academia-assets.com/46087018/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25733728/2009_No_More_Pirate_Islands_Media_Ecology_and_Autonomy_InterCulture_6_1_51_69">2009. “No More Pirate Islands! Media Ecology and Autonomy.” InterCulture 6 (1): 51–69.</a></div><div class="wp-workCard_item"><span>InterCulture</span><span>, 2009</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Is there autonomy in the 'technological epoch'? Various narratives of philosophy and political th...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Is there autonomy in the 'technological epoch'? Various narratives of philosophy and political theory have long attributed to technology a function of collapse that flattens time and space and reduces the world and its inhabitants to functionaries of an impoverished ontology. Autonomy appears to disappear at this moment. Media ecology proposes that the temporal matter and beings of the world are interlinked in ways that suggest a 'natural technics', suggesting new possibilities for an autonomy that shapes itself in the folds of a mediatized planet.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5338ab32ad61896bd0a6d6040d4ddefa" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":46087018,"asset_id":25733728,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/46087018/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25733728"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25733728"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25733728; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25733728]").text(description); $(".js-view-count[data-work-id=25733728]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25733728; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25733728']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25733728, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5338ab32ad61896bd0a6d6040d4ddefa" } } $('.js-work-strip[data-work-id=25733728]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25733728,"title":"2009. “No More Pirate Islands! 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="25733829"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/25733829/2005_Code_City_Counterstrike_Flow_The_Graduate_Researcher_Journal_for_the_Arts_Sciences_and_Technology_3_1_60_69"><img alt="Research paper thumbnail of 2005. “(Code + City + Counterstrike) ÷ Flow.” The Graduate Researcher: Journal for the Arts, Sciences and Technology 3(1): 60–69." class="work-thumbnail" src="https://attachments.academia-assets.com/46087080/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25733829/2005_Code_City_Counterstrike_Flow_The_Graduate_Researcher_Journal_for_the_Arts_Sciences_and_Technology_3_1_60_69">2005. “(Code + City + Counterstrike) ÷ Flow.” The Graduate Researcher: Journal for the Arts, Sciences and Technology 3(1): 60–69.</a></div><div class="wp-workCard_item"><span>The Graduate Researcher: Journal for the Arts, Sciences and Technology</span><span>, 2005</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">1. The grid of architecture, social planning, movement and bodies finds its isomorphism in comput...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">1. The grid of architecture, social planning, movement and bodies finds its isomorphism in computer circuitry and videogaming. In both cases, architecture (hardware or urban) operates in a feedback relation with flesh (bodies or the software-gamer combo). And, in both cases, a digital condition pervades the general structure of the distinction between material and immaterial experience. 2. Psychogeography-a stroll around and about this organized circuit of movement, urban or digital binarism, whether immersed in the game of real life or "virtual" death. Mediating in and between, also playing the game of academic and artist, theoretical mime, half tongue-in-cheek, I'm drifting through a series of paragraphs.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b655cbeaafb53af4a57894c6d4538473" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":46087080,"asset_id":25733829,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/46087080/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25733829"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25733829"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25733829; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25733829]").text(description); $(".js-view-count[data-work-id=25733829]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25733829; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25733829']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25733829, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b655cbeaafb53af4a57894c6d4538473" } } $('.js-work-strip[data-work-id=25733829]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25733829,"title":"2005. “(Code + City + Counterstrike) ÷ Flow.” The Graduate Researcher: Journal for the Arts, Sciences and Technology 3(1): 60–69.","translated_title":"","metadata":{"issue":"1","volume":"3","abstract":"1. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="25733785"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/25733785/2003_It_s_Not_a_Rave_2_0_The_Graduate_Researcher_Journal_for_the_Arts_Sciences_and_Technology_1_2_90_96"><img alt="Research paper thumbnail of 2003. “It’s Not a Rave [2.0].” The Graduate Researcher: Journal for the Arts, Sciences, and Technology. 1 (2): 90–96." class="work-thumbnail" src="https://attachments.academia-assets.com/46087061/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25733785/2003_It_s_Not_a_Rave_2_0_The_Graduate_Researcher_Journal_for_the_Arts_Sciences_and_Technology_1_2_90_96">2003. “It’s Not a Rave [2.0].” The Graduate Researcher: Journal for the Arts, Sciences, and Technology. 1 (2): 90–96.</a></div><div class="wp-workCard_item"><span>The Graduate Researcher: Journal for the Arts, Sciences, and Technology</span><span>, 2003</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Despite a contemporary understanding of "rave culture" as a hedonist, if not consumerist, capital...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Despite a contemporary understanding of "rave culture" as a hedonist, if not consumerist, capitalist, and escapist activity, "rave culture" remixed practices from anarchism to squatting, performance art to immediatism. The liminal edges of rave culture raise a series of questions as to what constitutes the nature of the "political," of the "social" and of the "subject" when such primary models are remixed through sound, movement, and bodily sensation. Rave cuts and filters these practices, strips them down to minimal components, and transforms what cultural studies usually denotes as reactive resistance to an affirmative experience of the sonic body.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8324b07f66b0a379f0c57a6ca76ed625" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":46087061,"asset_id":25733785,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/46087061/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25733785"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25733785"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25733785; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25733785]").text(description); $(".js-view-count[data-work-id=25733785]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25733785; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25733785']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25733785, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8324b07f66b0a379f0c57a6ca76ed625" } } $('.js-work-strip[data-work-id=25733785]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25733785,"title":"2003. “It’s Not a Rave [2.0].” The Graduate Researcher: Journal for the Arts, Sciences, and Technology. 1 (2): 90–96.","translated_title":"","metadata":{"issue":"2","volume":"1","abstract":"Despite a contemporary understanding of \"rave culture\" as a hedonist, if not consumerist, capitalist, and escapist activity, \"rave culture\" remixed practices from anarchism to squatting, performance art to immediatism. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="5282409" id="chapters"><div class="js-work-strip profile--work_container" data-work-id="20301477"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/20301477/2016_The_Armageddon_Effect_Afrofuturism_and_the_Chronopolitics_of_Alien_Nation_In_Afrofuturism_2_0_The_Rise_of_Astro_Blackness_edited_by_Reynaldo_Anderson_and_Charles_E_Jones_63_90_New_York_Lexington_Books"><img alt="Research paper thumbnail of 2016. “The Armageddon Effect: Afrofuturism and the Chronopolitics of Alien Nation.” In Afrofuturism 2.0: The Rise of Astro-Blackness, edited by Reynaldo Anderson and Charles E. Jones, 63–90. New York: Lexington Books." class="work-thumbnail" src="https://attachments.academia-assets.com/48449012/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/20301477/2016_The_Armageddon_Effect_Afrofuturism_and_the_Chronopolitics_of_Alien_Nation_In_Afrofuturism_2_0_The_Rise_of_Astro_Blackness_edited_by_Reynaldo_Anderson_and_Charles_E_Jones_63_90_New_York_Lexington_Books">2016. “The Armageddon Effect: Afrofuturism and the Chronopolitics of Alien Nation.” In Afrofuturism 2.0: The Rise of Astro-Blackness, edited by Reynaldo Anderson and Charles E. Jones, 63–90. New York: Lexington Books.</a></div><div class="wp-workCard_item"><span>Afrofuturism 2.0: The Ride of Astro-Blackness</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In 1992, all but the name of Afrofuturism had been elaborated in a detailed and esoteric—if not p...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In 1992, all but the name of Afrofuturism had been elaborated in a detailed and esoteric—if not philosophical and prescient—article in WIRE magazine entitled “Loving the Alien in Advance of the Landing—Black Science Fiction” (Sinker 1992). Though it is Mark Dery who would coin “Afrofuturism” in a roundtable with Tricia Rose, Samuel R. Delany, and Greg Tate in 1993 to name the themes and concerns of twentieth-century African- American speculative fiction, music, comics, film and arts (1994a), Sinker’s essay is deserving of a speculative exegesis for its attention to the conceptual dimensions of the Afrofuturist arts and culture of the black Atlantic. In this chapter, I mobilize Sinker’s nascent concepts to explore Afrofuturist aesthetic praxis, distinguishing at the same time their cultural deployment from—but also entwinement with—Afrocentric usages.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5b192863d7eb81cc3d7b0c6226d7e566" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":48449012,"asset_id":20301477,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/48449012/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="20301477"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="20301477"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20301477; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=20301477]").text(description); $(".js-view-count[data-work-id=20301477]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 20301477; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='20301477']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 20301477, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5b192863d7eb81cc3d7b0c6226d7e566" } } $('.js-work-strip[data-work-id=20301477]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":20301477,"title":"2016. “The Armageddon Effect: Afrofuturism and the Chronopolitics of Alien Nation.” In Afrofuturism 2.0: The Rise of Astro-Blackness, edited by Reynaldo Anderson and Charles E. 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Montréal: McGill-Queen’s University Press." class="work-thumbnail" src="https://attachments.academia-assets.com/45979155/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25642100/2010_Cities_of_Rhythm_and_Revolution_In_Circulation_and_the_City_Essays_on_Mobility_and_Urban_Culture_edited_by_Will_Straw_and_Alexandra_Boutros_153_92_Montr%C3%A9al_McGill_Queen_s_University_Press">2010. “Cities of Rhythm and Revolution.” In Circulation and the City: Essays on Mobility and Urban Culture, edited by Will Straw and Alexandra Boutros, 153–92. Montréal: McGill-Queen’s University Press.</a></div><div class="wp-workCard_item"><span>Circulation and the City: Essays on Mobility and Urban Culture</span><span>, 2010</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this chapter I explicate Henri Lefebvre's "virtual" concept of the urban, further developing h...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this chapter I explicate Henri Lefebvre's "virtual" concept of the urban, further developing his conceptual yet embodied praxis of rhythmanalysis, while engaging in a conversation with Deleuze and Guattari concerning the nature of the State and the City.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f1c14520d0a5014bb7a204b058c6b806" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45979155,"asset_id":25642100,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45979155/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25642100"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25642100"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25642100; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25642100]").text(description); $(".js-view-count[data-work-id=25642100]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25642100; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='25642100']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 25642100, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f1c14520d0a5014bb7a204b058c6b806" } } $('.js-work-strip[data-work-id=25642100]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":25642100,"title":"2010. “Cities of Rhythm and Revolution.” In Circulation and the City: Essays on Mobility and Urban Culture, edited by Will Straw and Alexandra Boutros, 153–92. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="5283541" id="articles"><div class="js-work-strip profile--work_container" data-work-id="25646548"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/25646548/Towards_a_Granular_Study_of_Scenes_at_Vancouver_s_New_Forms_Festival"><img alt="Research paper thumbnail of Towards a Granular Study of Scenes at Vancouver’s New Forms Festival" class="work-thumbnail" src="https://attachments.academia-assets.com/46087355/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25646548/Towards_a_Granular_Study_of_Scenes_at_Vancouver_s_New_Forms_Festival">Towards a Granular Study of Scenes at Vancouver’s New Forms Festival</a></div><div class="wp-workCard_item"><span>Dancecult</span><span>, 2004</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="22def6b886bb27d6c326a506fac11ddb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":46087355,"asset_id":25646548,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/46087355/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25646548"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25646548"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25646548; 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Butler's Work</span><span>, 2020</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="33bb7247a89c61434f82a98202166e15" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":111407984,"asset_id":47126694,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/111407984/download_file?st=MTczMjQ4NTQ5Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="47126694"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="47126694"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 47126694; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=47126694]").text(description); $(".js-view-count[data-work-id=47126694]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 47126694; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='47126694']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 47126694, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "33bb7247a89c61434f82a98202166e15" } } $('.js-work-strip[data-work-id=47126694]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":47126694,"title":"Of Blood and Blackness in Octavia Butler’s Fledgling: On Post-Racial Utopias in Posthumanist Discourse (2020)","translated_title":"","metadata":{"publisher":"Springer International Publishing","grobid_abstract":"Fledgling is Octavia E. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="47126688"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/47126688/Riddims_and_Routes_Dub_Diaspora_DJ_Mix"><img alt="Research paper thumbnail of Riddims & Routes—Dub Diaspora DJ Mix" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/47126688/Riddims_and_Routes_Dub_Diaspora_DJ_Mix">Riddims & Routes—Dub Diaspora DJ Mix</a></div><div class="wp-workCard_item"><span>Dancecult</span><span>, 2015</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="47126688"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="47126688"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 47126688; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="34721382"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/34721382/Vessels_of_Transfer_Allegories_of_Afrofuturism_in_Jeff_Mills_and_Janelle_Mon%C3%A1e"><img alt="Research paper thumbnail of Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe" class="work-thumbnail" src="https://attachments.academia-assets.com/54578251/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/34721382/Vessels_of_Transfer_Allegories_of_Afrofuturism_in_Jeff_Mills_and_Janelle_Mon%C3%A1e">Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe</a></div><div class="wp-workCard_item"><span>Dancecult</span><span>, 2013</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5081c60094992e82e4b1209bc68b3f26" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54578251,"asset_id":34721382,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54578251/download_file?st=MTczMjQ4NTQ5OCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34721382"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34721382"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34721382; 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