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"Black to the Future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose" (FLAME WARS: THE DISCOURSE OF CYBERCULTURE).
Abstract
Seminal essay on Afrofuturism, in which the term is coined and theorized in depth.
... Frente a la tendencia homogeneizadora de la cultura global, que estandariza y opaca la diversidad, la CF latinoamericana plantea estrategias discursivas de resistencia apostando por lo local y reivindicando una mirada propia frente a la cosmovisión de la cultura occidental como lenguaje universal. En este volumen encontramos diversidad en las voces narrativas que nos remiten a diferentes modalidades como la CF neoindigenista 5 , el afrofuturismo (Dery, 1994) 6 o africanofuturismo (Okorafor, 2020). 7 5 Dentro de estas modalidades cabría incluir el amazofuturismo (Gama y García, 2020), definido como un subgénero de la CF ambientado en la región amazónica con una fuerte reivindicación indigenista frente a los estereotipos occidentales. ...
... Ao recorrer às alegorias fantásticas, Dery (1994) iguala a experiência dos escravizados africanos e seus descendentes a um [...] pesadelo sci-fi, em que campos de força invisíveis, mas não menos intransponíveis, frustram seus movimentos; em que histórias oficiais desfazem o que foi feito; em que a tecnologia é frequentemente aplicada em corpos negros (p. 180 -tradução nossa). ...
... Belo Horizonte (MG): Letramento, 2018.Helena Lucas Rodrigues de OliveiraEm 1994, o teórico da literatura Mark Dery editou Flame Wars: the discourse of cyberculture, obra em que explorou como a cybercultura, com o auxílio de uma interface tecnológica e virtual, mobiliza mudanças sociais, culturais e comunicacionais em meio a um contexto globalizado. A partir da realidade estadunidense, a esclarecedora entrevista "Black to the future", que conta com a participação dos escritores Samuel R. Delany, Greg Tate e da socióloga Tricia Rose, inicia-se com uma indagação pertinente: por que há tão poucos escritores afro-americanos escrevendo sobre ficção científica, uma vez que o gênero explora justamente o prisma do Outro em terras desconhecidas, uma experiência tão próxima da realidade da população negra?Ao recorrer às alegorias fantásticas,Dery (1994) iguala a experiência dos escravizados africanos e seus descendentes a um [...] pesadelo sci-fi, em que campos de força invisíveis, mas não menos intransponíveis, frustram seus movimentos; em que histórias oficiais desfazem o que foi feito; em que a tecnologia é frequentemente aplicada em corpos negros (p. 180 -tradução nossa). ...
Reading Deji Bryce Olukotun’s After the Flare (2017) and Lesley Nneka Arimah’s “What It Means When a Man Falls from the Sky” (2017) alongside Emmanuel Dongala’s “Jazz et vin de palme” (“Jazz and Palm Wine,” 1970), this essay begins with the observation that these contemporary works of speculative fiction by writers from the recent African diaspora suggest a sense of crisis about the future. Both Arimah and Olukotun proffer future worlds little different from the present, in which current conditions of exploitation and inequality are magnified. Rather than being the symptom of a creative impasse that cannot imagine a world beyond the domination of capital, however, I argue that these attenuated futures function as counter-futurisms, facilitating critical meditation on the question of freedom in the present in a manner consonant with what Dongala earlier achieved via his more comical approach. For all three writers, freedom is a project that extends beyond the limits of the nation-state and calls for a larger epistemic break along the lines of what Rinaldo Walcott has termed Black freedom—an irruptive force that rejects the linear and entails a fundamental reorganization of what it means to be human.
Inspired by previous research examining the challenges and benefits of Black Twitter (a community gathered on a platform used by Black people but not created by or for them), this design fiction presents a fictional study of a successful yet speculative social media platform named The Stoop. We envision this digital space as one that a Black woman created and a predominantly Black team designed and developed. Imagining what future online communities of marginalized people could be based on current struggles and shortcomings provides the inspiration for this design fiction. Proactively addressing content moderation, harassment, content controls, and the need for reducing appropriation while centering on the lived experiences and preferences of Black people allows this design fiction to joyfully speculate on what it can look like to get it right as a way of thinking through best practices for current technology design.
Film has been the primary way dominant society has consumed inaccurate and problematic symbols, images, and stereotypes of Native peoples for over one hundred years. Indigenous-made films, on the other hand, reclaim Indigenous representational space or ‘visual sovereignty’ through narratives of Indigenous experience that highlight culturally relevant stories and contemporary issues they face. In particular, Indigenous-made speculative fiction inspires contemplations of Indigenous agency in alternative realities. Indigenous futurisms expressed in works of speculative fiction is a rejection of theoretical, institutional, and political projects that imagined Indigenous peoples in the past and excluded them from the future. Through a survey of Neshnabé speculative fiction and other art, this article argues that Indigenous futurisms constitute creative approaches to sovereignty in a multiplicity of potential futures and is an analytical framework that illuminates the ever-expanding contours of Indigenous sovereignty in order to imagine an otherwise to present and past circumstances of Indigenous existence.
As ferramentas desenvolvidas através das novas tecnologias e mídias digitais recebem de um conjunto de organizações sociais uma abordagem metodológica que propõe o seu uso em função de temáticas específicas, sujeitas às suas reflexões e avaliações críticas. Este artigo apresenta uma dessas iniciativas, com o perfil de metodologia comunicativa em prática de educação social, com o viés das plataformas produzidas pelo coletivo kilombagem e a rede Baobáxia, que interagem políticas afirmativas em conexões com soluções tecnológicas em meio digital, a implementar nesta equação inovações em uso de software livre, iniciativas populares socioeducativas e políticas públicas.
The recent efflorescence of fictional writings and artistic works examined under the rubrics of Blue Humanities (Mentz 2009), Critical Ocean Studies (DeLoughrey 2019), Hydro-Criticism (Winkiel 2019), or New Thalassology (Horden and Purcell 2006), testify a recent cultural shift from the land to the sea. In this article, the hydrosphere is analysed in two female Afrofuturist works – Nnedi Okorafor’s Lagoon (2014) and Wanuri Kahiu’s short film Pumzi (2010) – to address the global capitalist order and to imagine an aquafuturist multispecies aesthetics that springs from the countermemory of the Middle Passage and its undersea myths.
Eir ati yn y ddoethuriaeth hon i gyflwyno ffuglen wyddonol drwy gyfrwng y Gymraeg fel
pwnc i’w astudio’n academaidd. Dadansoddir datblygiad y genre yn y Gymraeg, gan
edrych ar y datblygiad hwnnw yng nghyd-destun llenyddiaeth Gymraeg ac yng nghyddestun llenyddiaeth ffuglen wyddonol yn fyd-eang. Yn y bennod gyntaf, cwestiynir pam nad oes yna drafodaethau academaidd yn trafod ffuglen wyddonol yn y Gymraeg eisoes ac ymdrechir i ddiffinio’r genre gan edrych ar waith beirniaid llenyddol sy’n arbenigo yn y maes. Yn y tair pennod ganlynol, archwilir delweddau a themâu ffuglen wyddonol drwy gyfrwng y Gymraeg dan chwyddwydr y damcaniaethau llenyddol canlynol: strwythurol, ôl-strwythurol, ôl-drefedigaethol a ffeminyddol.
Yr hyn a ddaw i’r amlwg yw’r cysyniad o Aralledd (Otherness) sy’n clymu’r gweithiau oll
ynghyd. Trafodir yr Arall o sawl persbectif gwahanol, gan sylwi ar genre ffuglen wyddonol
fel Arall yn y cyd-destun llenyddol Cymraeg. Ynghyd â hynny, sylwn fod ffuglen wyddonol
fel genre yn cynnig cyfle i lenorion o gefndiroedd ac o gyfnodau amrywiol (gyda’r cynharaf
o’r gweithiau a ddarganfyddwyd yn dyddio o 1856) i draethu am eu presennol a chynnig
mewnwelediad o safbwynt dieithr. Cyflwynir ffuglen wyddonol felly fel genre sy’n cynnig
gofod newydd a chyfle arbennig i awduron sy’n llenydda ‘o’r ymylon’.
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