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u-fw700 u-mr5x u-pr5x u-borderColorGrayLight u-borderRight1"><a href="https://csun.academia.edu/"><span class="u-linkUnstyled u-tcGrayDarkest">California State University, Northridge</span></a></span><h1 class="u-m0x u-fw300 u-fs24 u-displayInline">Communication Studies</h1></div><div class="u-floatRight u-mt1x"></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline"><li class="u-floatLeft u-pr5x u-mr5x u-borderColorGrayLight u-borderRight1"><a href="https://csun.academia.edu/"><span><i class="fa fa-arrow-left"></i>  All Departments</span></a></li><li class="u-floatLeft active"><a href="https://csun.academia.edu/Departments/Communication_Studies/Documents">132 Papers</a></li><li class="u-floatLeft"><a href="https://csun.academia.edu/Departments/Communication_Studies">242 Researchers</a></li></ul></div></div></div></div><div class="container"><div class="row"><div 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$(".js-view-count[data-work-id=33168244]").text(description); $(".js-view-count-work_33168244").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33168244").removeClass('hidden') })</script></div></li></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9101058" data-work_id="9101058" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9101058/Police_Free_Gay_Slaves_Consent_Sexuality_and_the_Law">Police Free Gay Slaves: Consent, Sexuality, and the Law</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Left History 10:1 (Fall/Winter 2004)</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div 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Sexuality</a>, <script data-card-contents-for-ri="4917" type="text/json">{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="10453" href="https://www.academia.edu/Documents/in/Feminism">Feminism</a>, <script data-card-contents-for-ri="10453" type="text/json">{"id":10453,"name":"Feminism","url":"https://www.academia.edu/Documents/in/Feminism","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="11927" href="https://www.academia.edu/Documents/in/Michel_Foucault">Michel Foucault</a>, <script data-card-contents-for-ri="11927" type="text/json">{"id":11927,"name":"Michel Foucault","url":"https://www.academia.edu/Documents/in/Michel_Foucault","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="26054" href="https://www.academia.edu/Documents/in/BDSM_Bondage_Discipline_Sadomasochism_Kink_Fetish">BDSM (Bondage, Discipline, Sadomasochism), Kink, Fetish</a><script data-card-contents-for-ri="26054" type="text/json">{"id":26054,"name":"BDSM (Bondage, Discipline, Sadomasochism), Kink, Fetish","url":"https://www.academia.edu/Documents/in/BDSM_Bondage_Discipline_Sadomasochism_Kink_Fetish","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9101058]'), work: {"id":9101058,"title":"Police Free Gay Slaves: Consent, Sexuality, and the Law","created_at":"2014-11-03T07:11:38.642-08:00","owner_id":150051,"url":"https://www.academia.edu/9101058/Police_Free_Gay_Slaves_Consent_Sexuality_and_the_Law","slug":"Police_Free_Gay_Slaves_Consent_Sexuality_and_the_Law","dom_id":"work_9101058","summary":"Left History 10:1 (Fall/Winter 2004)","publication":null,"publication_with_fallback":"Left 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BDSM","url":"https://www.academia.edu/Documents/in/Feminism_gender_relations_BDSM"}],"publication_year":null,"publication_year_with_fallback":2004,"paper_rank":null,"all_time_views":540,"active_discussion":{}}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_23550094" data-work_id="23550094" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/23550094/Authenticity_and_Artifice_in_Rock_and_Roll_And_I_Guess_That_I_Just_Dont_Care_">Authenticity and Artifice in Rock and Roll: " And I Guess That I Just Don't Care "</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Musicians, journalists and academics often hold up the Velvet Underground as the paragon of authenticity in rock music, and the band indeed portrayed itself this way from the outset. While much ink has been spilled explaining the original... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_23550094" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Musicians, journalists and academics often hold up the Velvet Underground as the paragon of authenticity in rock music, and the band indeed portrayed itself this way from the outset. While much ink has been spilled explaining the original and authentic genius that is the Velvet Underground, an equally compelling case can be made that the band’s first album marked a turn towards insincerity and inauthenticity in popular music. This project emerges from the tension between these identities. A close textual analysis of The Velvet Underground & Nico functions as an entry into theoretical arguments about truth and meaning in popular music. I contend that much of the discourse about authenticity in popular music is hampered by the assumption that artifice and authenticity are incompatible. I propose that we instead examine these discourses as themselves signifiers that can be manipulated by artists. The Velvets’ first album produces meaning precisely through this dialectical tension in a manner made possible only through its mediation in the commodity form.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/23550094" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="111e516aeb37f656022790428e5e2aa8" rel="nofollow" data-download="{"attachment_id":43978573,"asset_id":23550094,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/43978573/download_file?st=MTczMjQ3NDk5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="150051" href="https://csun.academia.edu/BernardoAttias">Bernardo Attias</a><script data-card-contents-for-user="150051" type="text/json">{"id":150051,"first_name":"Bernardo","last_name":"Attias","domain_name":"csun","page_name":"BernardoAttias","display_name":"Bernardo Attias","profile_url":"https://csun.academia.edu/BernardoAttias","photo":"https://0.academia-photos.com/150051/39606/36387/s65_bernardo.attias.jpg"}</script></span></span></li><li class="js-paper-rank-work_23550094 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="23550094"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 23550094, container: ".js-paper-rank-work_23550094", }); 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$(".js-view-count[data-work-id=23550094]").text(description); $(".js-view-count-work_23550094").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_23550094").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="23550094"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2858" href="https://www.academia.edu/Documents/in/Popular_Culture">Popular Culture</a>, <script data-card-contents-for-ri="2858" type="text/json">{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5579" href="https://www.academia.edu/Documents/in/Authenticity">Authenticity</a>, <script data-card-contents-for-ri="5579" type="text/json">{"id":5579,"name":"Authenticity","url":"https://www.academia.edu/Documents/in/Authenticity","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8330" href="https://www.academia.edu/Documents/in/Walter_Benjamin">Walter Benjamin</a><script data-card-contents-for-ri="8330" type="text/json">{"id":8330,"name":"Walter Benjamin","url":"https://www.academia.edu/Documents/in/Walter_Benjamin","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=23550094]'), work: {"id":23550094,"title":"Authenticity and Artifice in Rock and Roll: \" And I Guess That I Just Don't Care \"","created_at":"2016-03-22T00:38:53.626-07:00","owner_id":150051,"url":"https://www.academia.edu/23550094/Authenticity_and_Artifice_in_Rock_and_Roll_And_I_Guess_That_I_Just_Dont_Care_","slug":"Authenticity_and_Artifice_in_Rock_and_Roll_And_I_Guess_That_I_Just_Dont_Care_","dom_id":"work_23550094","summary":"Musicians, journalists and academics often hold up the Velvet Underground as the paragon of authenticity in rock music, and the band indeed portrayed itself this way from the outset. While much ink has been spilled explaining the original and authentic genius that is the Velvet Underground, an equally compelling case can be made that the band’s first album marked a turn towards insincerity and inauthenticity in popular music. This project emerges from the tension between these identities. A close textual analysis of The Velvet Underground \u0026 Nico functions as an entry into theoretical arguments about truth and meaning in popular music. I contend that much of the discourse about authenticity in popular music is hampered by the assumption that artifice and authenticity are incompatible. I propose that we instead examine these discourses as themselves signifiers that can be manipulated by artists. The Velvets’ first album produces meaning precisely through this dialectical tension in a manner made possible only through its mediation in the commodity form.\n","publication":null,"publication_with_fallback":"Rock Music 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Press, 2004).</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/23593233" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9235755ae42ef4c5d0b95b263a443d43" rel="nofollow" data-download="{"attachment_id":44013852,"asset_id":23593233,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/44013852/download_file?st=MTczMjQ3NDk5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa 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u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8" href="https://www.academia.edu/Documents/in/Critical_Theory">Critical Theory</a>, <script data-card-contents-for-ri="8" type="text/json">{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3406" href="https://www.academia.edu/Documents/in/Herbert_Marcuse">Herbert Marcuse</a>, <script data-card-contents-for-ri="3406" type="text/json">{"id":3406,"name":"Herbert Marcuse","url":"https://www.academia.edu/Documents/in/Herbert_Marcuse","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5045" href="https://www.academia.edu/Documents/in/Critical_Social_Theory">Critical Social Theory</a>, <script data-card-contents-for-ri="5045" type="text/json">{"id":5045,"name":"Critical Social Theory","url":"https://www.academia.edu/Documents/in/Critical_Social_Theory","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="11927" href="https://www.academia.edu/Documents/in/Michel_Foucault">Michel Foucault</a><script data-card-contents-for-ri="11927" type="text/json">{"id":11927,"name":"Michel Foucault","url":"https://www.academia.edu/Documents/in/Michel_Foucault","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=23593233]'), work: {"id":23593233,"title":"Technology and the Great Refusal: The Information Age and Critical Social Theory","created_at":"2016-03-22T20:52:27.374-07:00","owner_id":150051,"url":"https://www.academia.edu/23593233/Technology_and_the_Great_Refusal_The_Information_Age_and_Critical_Social_Theory","slug":"Technology_and_the_Great_Refusal_The_Information_Age_and_Critical_Social_Theory","dom_id":"work_23593233","summary":"In David Tabachnick 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u-pv7x u-mb0x js-work-card work_23593296" data-work_id="23593296" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/23593296/View_Viewed_and_Viewer_Views_A_Book_Review_of_Trinh_T_Minh_has_Framer_Framed">View Viewed and Viewer Views: A "Book Review" of Trinh T. Minh-ha's Framer Framed</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">(Book Review).  Iowa Journal of Cultural Studies 12 (1993).</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/23593296" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0dea4f2af4e984da39126a56b7c33bc6" rel="nofollow" data-download="{"attachment_id":44013868,"asset_id":23593296,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/44013868/download_file?st=MTczMjQ3NDk5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="150051" href="https://csun.academia.edu/BernardoAttias">Bernardo Attias</a><script data-card-contents-for-user="150051" type="text/json">{"id":150051,"first_name":"Bernardo","last_name":"Attias","domain_name":"csun","page_name":"BernardoAttias","display_name":"Bernardo Attias","profile_url":"https://csun.academia.edu/BernardoAttias","photo":"https://0.academia-photos.com/150051/39606/36387/s65_bernardo.attias.jpg"}</script></span></span></li><li class="js-paper-rank-work_23593296 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="23593296"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 23593296, container: ".js-paper-rank-work_23593296", }); 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We examined two distinct categories of alternative social... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37250473" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This study inquires into the extent to which feminist utopias, imagined and real, can both challenge and consolidate normative sexual stratifications and power dynamics. We examined two distinct categories of alternative social arrangement—fictional "worlds without men" specifically imagined in a feminist utopic context, and existing female-dominant and female-supremacist identified BDSM sexual communities—as feminist-inspired "other spaces", exploring the ways in which such spaces attempt to challenge male supremacy in Western society.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37250473" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="060f17c528d45cb2bd1e691dca2ca884" rel="nofollow" data-download="{"attachment_id":57203220,"asset_id":37250473,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57203220/download_file?st=MTczMjQ3NDk5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="150051" href="https://csun.academia.edu/BernardoAttias">Bernardo Attias</a><script data-card-contents-for-user="150051" type="text/json">{"id":150051,"first_name":"Bernardo","last_name":"Attias","domain_name":"csun","page_name":"BernardoAttias","display_name":"Bernardo Attias","profile_url":"https://csun.academia.edu/BernardoAttias","photo":"https://0.academia-photos.com/150051/39606/36387/s65_bernardo.attias.jpg"}</script></span></span></li><li class="js-paper-rank-work_37250473 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37250473"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37250473, container: ".js-paper-rank-work_37250473", }); 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$(".js-view-count[data-work-id=37250473]").text(description); $(".js-view-count-work_37250473").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37250473").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37250473"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1192" href="https://www.academia.edu/Documents/in/Feminist_Theory">Feminist Theory</a>, <script data-card-contents-for-ri="1192" type="text/json">{"id":1192,"name":"Feminist Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2323" href="https://www.academia.edu/Documents/in/Dystopian_Literature">Dystopian Literature</a>, <script data-card-contents-for-ri="2323" type="text/json">{"id":2323,"name":"Dystopian Literature","url":"https://www.academia.edu/Documents/in/Dystopian_Literature","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3064" href="https://www.academia.edu/Documents/in/Heterotopia">Heterotopia</a>, <script data-card-contents-for-ri="3064" type="text/json">{"id":3064,"name":"Heterotopia","url":"https://www.academia.edu/Documents/in/Heterotopia","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4917" href="https://www.academia.edu/Documents/in/Gender_and_Sexuality">Gender and Sexuality</a><script data-card-contents-for-ri="4917" type="text/json">{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37250473]'), work: {"id":37250473,"title":"Gynaecocracies: Female Supremacy and Feminist Heterotopia","created_at":"2018-08-16T23:05:22.608-07:00","owner_id":150051,"url":"https://www.academia.edu/37250473/Gynaecocracies_Female_Supremacy_and_Feminist_Heterotopia","slug":"Gynaecocracies_Female_Supremacy_and_Feminist_Heterotopia","dom_id":"work_37250473","summary":"This study inquires into the extent to which feminist utopias, imagined and real, can both challenge and consolidate normative sexual stratifications and power dynamics. 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Remixing Feminisms for Social Change Introduction to Special Issue</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Introduction to Special Issue of Women & Language, 40:2 (Spring 2018): "Nasty (Wo)manifestos: Remixing Feminisms for Social Change"</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38257525" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ac93b8ae3d4aef2eeece3391b1a363ad" rel="nofollow" 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Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37179" href="https://www.academia.edu/Documents/in/Manifestos">Manifestos</a>, <script data-card-contents-for-ri="37179" type="text/json">{"id":37179,"name":"Manifestos","url":"https://www.academia.edu/Documents/in/Manifestos","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="82062" href="https://www.academia.edu/Documents/in/%C3%89criture_F%C3%A9minine">Écriture Féminine</a><script data-card-contents-for-ri="82062" type="text/json">{"id":82062,"name":"Écriture Féminine","url":"https://www.academia.edu/Documents/in/%C3%89criture_F%C3%A9minine","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38257525]'), work: {"id":38257525,"title":"Nasty (Wo)manifestos: Remixing Feminisms for Social Change\nIntroduction to Special 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u-mb0x js-work-card work_17287749" data-work_id="17287749" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" 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><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">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... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_17287749" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete 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?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/17287749" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="db95f90fc4004a294273b067d5c7a9fd" rel="nofollow" data-download="{"attachment_id":39417367,"asset_id":17287749,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/39417367/download_file?st=MTczMjQ3NDk5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4150062" href="https://csun.academia.edu/DrtobiascvanVeen">Dr. tobias c. van Veen</a><script data-card-contents-for-user="4150062" type="text/json">{"id":4150062,"first_name":"Dr. tobias c.","last_name":"van Veen","domain_name":"csun","page_name":"DrtobiascvanVeen","display_name":"Dr. tobias c. van Veen","profile_url":"https://csun.academia.edu/DrtobiascvanVeen","photo":"https://0.academia-photos.com/4150062/10532608/14330355/s65_tobias_c..van_veen.jpg"}</script></span></span></li><li class="js-paper-rank-work_17287749 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="17287749"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 17287749, container: ".js-paper-rank-work_17287749", }); 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itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" 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><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">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... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_17287971" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete 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.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/17287971" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ea559e9819a40e171ae4e2ff382f8c38" rel="nofollow" data-download="{"attachment_id":39417426,"asset_id":17287971,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/39417426/download_file?st=MTczMjQ3NDk5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4150062" href="https://csun.academia.edu/DrtobiascvanVeen">Dr. tobias c. van Veen</a><script data-card-contents-for-user="4150062" type="text/json">{"id":4150062,"first_name":"Dr. tobias c.","last_name":"van Veen","domain_name":"csun","page_name":"DrtobiascvanVeen","display_name":"Dr. tobias c. van Veen","profile_url":"https://csun.academia.edu/DrtobiascvanVeen","photo":"https://0.academia-photos.com/4150062/10532608/14330355/s65_tobias_c..van_veen.jpg"}</script></span></span></li><li class="js-paper-rank-work_17287971 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="17287971"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 17287971, container: ".js-paper-rank-work_17287971", }); 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$(".js-view-count[data-work-id=17287971]").text(description); $(".js-view-count-work_17287971").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_17287971").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="17287971"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3351" href="https://www.academia.edu/Documents/in/Subcultures">Subcultures</a>, <script data-card-contents-for-ri="3351" type="text/json">{"id":3351,"name":"Subcultures","url":"https://www.academia.edu/Documents/in/Subcultures","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9041" href="https://www.academia.edu/Documents/in/Process_Philosophy">Process Philosophy</a>, <script data-card-contents-for-ri="9041" type="text/json">{"id":9041,"name":"Process Philosophy","url":"https://www.academia.edu/Documents/in/Process_Philosophy","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14776" href="https://www.academia.edu/Documents/in/Precarity">Precarity</a><script data-card-contents-for-ri="14776" type="text/json">{"id":14776,"name":"Precarity","url":"https://www.academia.edu/Documents/in/Precarity","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=17287971]'), work: {"id":17287971,"title":"2010. “Technics, Precarity and Exodus in Rave Culture.” Dancecult: Journal of Electronic Dance Music Culture 1 (2): 29–49.","created_at":"2015-10-25T17:47:54.676-07:00","owner_id":4150062,"url":"https://www.academia.edu/17287971/2010_Technics_Precarity_and_Exodus_in_Rave_Culture_Dancecult_Journal_of_Electronic_Dance_Music_Culture_1_2_29_49","slug":"2010_Technics_Precarity_and_Exodus_in_Rave_Culture_Dancecult_Journal_of_Electronic_Dance_Music_Culture_1_2_29_49","dom_id":"work_17287971","summary":"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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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... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_17288000" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete 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?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/17288000" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="985ee616e94e2246d41cd1f7c8dfb149" rel="nofollow" data-download="{"attachment_id":39417435,"asset_id":17288000,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/39417435/download_file?st=MTczMjQ3NDk5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4150062" href="https://csun.academia.edu/DrtobiascvanVeen">Dr. tobias c. van Veen</a><script data-card-contents-for-user="4150062" type="text/json">{"id":4150062,"first_name":"Dr. tobias c.","last_name":"van Veen","domain_name":"csun","page_name":"DrtobiascvanVeen","display_name":"Dr. tobias c. van Veen","profile_url":"https://csun.academia.edu/DrtobiascvanVeen","photo":"https://0.academia-photos.com/4150062/10532608/14330355/s65_tobias_c..van_veen.jpg"}</script></span></span></li><li class="js-paper-rank-work_17288000 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="17288000"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 17288000, container: ".js-paper-rank-work_17288000", }); 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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. 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Jones, 63–90. New York: Lexington Books.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">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... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_20301477" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete 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.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20301477" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="28ab53fd2291c49fdff58820274295dd" rel="nofollow" data-download="{"attachment_id":48449012,"asset_id":20301477,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48449012/download_file?st=MTczMjQ3NDk5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4150062" href="https://csun.academia.edu/DrtobiascvanVeen">Dr. tobias c. van Veen</a><script data-card-contents-for-user="4150062" type="text/json">{"id":4150062,"first_name":"Dr. tobias c.","last_name":"van Veen","domain_name":"csun","page_name":"DrtobiascvanVeen","display_name":"Dr. tobias c. van Veen","profile_url":"https://csun.academia.edu/DrtobiascvanVeen","photo":"https://0.academia-photos.com/4150062/10532608/14330355/s65_tobias_c..van_veen.jpg"}</script></span></span></li><li class="js-paper-rank-work_20301477 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="20301477"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 20301477, container: ".js-paper-rank-work_20301477", }); 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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. 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tobias c.","last_name":"van Veen","domain_name":"csun","page_name":"DrtobiascvanVeen","display_name":"Dr. tobias c. van Veen","profile_url":"https://csun.academia.edu/DrtobiascvanVeen","photo":"https://0.academia-photos.com/4150062/10532608/14330355/s65_tobias_c..van_veen.jpg"},{"id":138086,"first_name":"Hillegonda","last_name":"Rietveld","domain_name":"lsbu","page_name":"HillegondaRietveld","display_name":"Hillegonda C Rietveld","profile_url":"https://lsbu.academia.edu/HillegondaRietveld","photo":"https://0.academia-photos.com/138086/36651/9221470/s65_hillegonda.rietveld.jpg"}],"research_interests":[{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music","nofollow":false},{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology","nofollow":false},{"id":7725,"name":"Urban 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u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_25641059" data-work_id="25641059" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" 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><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">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... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_25641059" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete 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.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25641059" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="20c0e55a07434dbc66f8bfc9b59b83f8" rel="nofollow" data-download="{"attachment_id":45977764,"asset_id":25641059,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/45977764/download_file?st=MTczMjQ3NDk5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4150062" href="https://csun.academia.edu/DrtobiascvanVeen">Dr. tobias c. van Veen</a><script data-card-contents-for-user="4150062" type="text/json">{"id":4150062,"first_name":"Dr. tobias c.","last_name":"van Veen","domain_name":"csun","page_name":"DrtobiascvanVeen","display_name":"Dr. tobias c. van Veen","profile_url":"https://csun.academia.edu/DrtobiascvanVeen","photo":"https://0.academia-photos.com/4150062/10532608/14330355/s65_tobias_c..van_veen.jpg"}</script></span></span></li><li class="js-paper-rank-work_25641059 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25641059"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25641059, container: ".js-paper-rank-work_25641059", }); 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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.","publication":"Dancecult: Journal of Electronic Dance Music Culture","publication_with_fallback":"Dancecult: Journal of Electronic Dance Music Culture","downloadable_attachments":[{"id":45977764,"asset_id":25641059,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/45977764/thumbnails/1.jpg","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=1729560308\u0026Signature=G2RLkEZQj23ePBRGAj-m7KtVwIZFkBdSSSTV6-vZtCcKlgn1QdPSeK-gEWHW35LbC0rZHk6MOUrm5TAgdh-W~o0wBMG~DFAAhCSScBxtnscwlvHLH-nRzPmZNSAdIXG1TT~H1z1TdQHMjpjp3~Gu1D0mw9ZKC0aNtPuFfGXuUcYSRQXaN9bXEgBrY~wrMH48U1fYavEpb95EMZEtUfiPJBObD1xMFQofC8caWPGYxrb8QVbz-l5saf8QDDAvSBmQWBvxTxOr6aLNKUq5nSK6rog6G2pHJTz~RCFr~E14hzL2lTL6PmEhaMLy-Cw~xn6LH45fa0F6Mh8Pc03IYDGjkA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/45977764/download_file?st=MTczMjQ3NDk5NSw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/45977764/mini_magick20190210-1694-1vkrsr9.png?1549855022"}],"downloadable_attachments_with_full_thumbnails":[{"id":45977764,"asset_id":25641059,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/45977764/thumbnails/1.jpg","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=1729560308\u0026Signature=G2RLkEZQj23ePBRGAj-m7KtVwIZFkBdSSSTV6-vZtCcKlgn1QdPSeK-gEWHW35LbC0rZHk6MOUrm5TAgdh-W~o0wBMG~DFAAhCSScBxtnscwlvHLH-nRzPmZNSAdIXG1TT~H1z1TdQHMjpjp3~Gu1D0mw9ZKC0aNtPuFfGXuUcYSRQXaN9bXEgBrY~wrMH48U1fYavEpb95EMZEtUfiPJBObD1xMFQofC8caWPGYxrb8QVbz-l5saf8QDDAvSBmQWBvxTxOr6aLNKUq5nSK6rog6G2pHJTz~RCFr~E14hzL2lTL6PmEhaMLy-Cw~xn6LH45fa0F6Mh8Pc03IYDGjkA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/45977764/download_file?st=MTczMjQ3NDk5NSw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/45977764/mini_magick20190210-1694-1vkrsr9.png?1549855022"}],"has_pdf":true,"has_fulltext":true,"page_count":30,"ordered_authors":[{"id":4150062,"first_name":"Dr. tobias c.","last_name":"van Veen","domain_name":"csun","page_name":"DrtobiascvanVeen","display_name":"Dr. tobias c. van Veen","profile_url":"https://csun.academia.edu/DrtobiascvanVeen","photo":"https://0.academia-photos.com/4150062/10532608/14330355/s65_tobias_c..van_veen.jpg"}],"research_interests":[{"id":2938,"name":"Black/African Diaspora","url":"https://www.academia.edu/Documents/in/Black_African_Diaspora","nofollow":false},{"id":5247,"name":"Critical Race Theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory","nofollow":false},{"id":9041,"name":"Process Philosophy","url":"https://www.academia.edu/Documents/in/Process_Philosophy","nofollow":false},{"id":14796,"name":"Electronic Dance Music Culture (EDMC)","url":"https://www.academia.edu/Documents/in/Electronic_Dance_Music_Culture_EDMC_","nofollow":false},{"id":44423,"name":"Afrofuturism","url":"https://www.academia.edu/Documents/in/Afrofuturism"}],"publication_year":2015,"publication_year_with_fallback":2015,"paper_rank":null,"all_time_views":233,"active_discussion":{}}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_25641604" data-work_id="25641604" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" 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><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">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, as well as on its borders. Likewise, its essays often test the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_25641604" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete 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.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25641604" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2e3054626bd21b4652aba26c49d0eb7a" rel="nofollow" data-download="{"attachment_id":45978629,"asset_id":25641604,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/45978629/download_file?st=MTczMjQ3NDk5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4150062" href="https://csun.academia.edu/DrtobiascvanVeen">Dr. tobias c. van Veen</a><script data-card-contents-for-user="4150062" type="text/json">{"id":4150062,"first_name":"Dr. tobias c.","last_name":"van Veen","domain_name":"csun","page_name":"DrtobiascvanVeen","display_name":"Dr. tobias c. van Veen","profile_url":"https://csun.academia.edu/DrtobiascvanVeen","photo":"https://0.academia-photos.com/4150062/10532608/14330355/s65_tobias_c..van_veen.jpg"}</script></span></span></li><li class="js-paper-rank-work_25641604 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25641604"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25641604, container: ".js-paper-rank-work_25641604", }); 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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":"Dancecult: Journal of Electronic Dance Music Culture","publication_with_fallback":"Dancecult: Journal of Electronic Dance Music 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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><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">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... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_25642100" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete 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.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25642100" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5a4dd3d946dec307d5ba0eac8052b585" rel="nofollow" data-download="{"attachment_id":45979155,"asset_id":25642100,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/45979155/download_file?st=MTczMjQ3NDk5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4150062" href="https://csun.academia.edu/DrtobiascvanVeen">Dr. tobias c. van Veen</a><script data-card-contents-for-user="4150062" type="text/json">{"id":4150062,"first_name":"Dr. tobias c.","last_name":"van Veen","domain_name":"csun","page_name":"DrtobiascvanVeen","display_name":"Dr. tobias c. van Veen","profile_url":"https://csun.academia.edu/DrtobiascvanVeen","photo":"https://0.academia-photos.com/4150062/10532608/14330355/s65_tobias_c..van_veen.jpg"}</script></span></span></li><li class="js-paper-rank-work_25642100 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25642100"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25642100, container: ".js-paper-rank-work_25642100", }); 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