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dionysusapollo:

Jeff Mills
scraaatch:

SCRAAAATCH in North Philly
photo credit: Claire McHale
mocada-museum:

Portland State, “Black Studies Center public dialogue. Pt. 2,” May 30, 1975.Listen to the full audio of the panel.

"None of that is necessary. There will always be one more thing."

All of this is temporary
All of this is temporary
All of this is temporary
All of this is temporary
All of this is temporary
All of this is temporary
All of this is temporary
All of this is temporary
All of this is temporary
All of this is temporary
All of this is temporary
All of this is temporary
All of this is temporary
All of this is temporary
All of this is temporary

(Source: tasnimsmentalroadtrip, via uzowuru)

derica:

Coco Fusco | An Interview with The Black Audio Film Collective: John Akomfrah, Reece Auguiste, Lina Gopaul & Avril Johnson
John Akomfrah: People used the term representation for a number of reasons. The different uses give you a sense of the complexity of the trajectories involved. At one level people used it to simply talk about questions of figuration. How one places the Black in the scene of writing, the imagination and so on. Others saw it in more juridic terms. How one is enfranchised, if you like, how one buys into the social contract. What is England and what constitutes English social life? Some interests were broadly academic, but we were focusing on how to turn our concerns into a problematic, to use an Althusserian term, in the cultural field. We were interested in representation because it seemed to be partly a way of prying open a negative/positive dichotomy. It seemed to be a way of being able to bypass certain binaries.
Coco Fusco: Are you referring now to the negative and positive image debates?
JA: Yes, and its specifically English variant-which is obsessed with stereotypes, with grounding every discussion around figuration and the existence-presence and absence in cinema in terms of stereotyping. It was a way of going beyond the discussions which would start at the level of stereotype, then move on to images, and then split images into negative and positive, and so on. We wanted to find a way to bypass this, without confronting it head on. I think that the lobbies which were really interested in debates around stereotyping were too strong, to be honest. And we were too small to take them head on. In a sense the negative/positive image lobby represented all that was acceptable about anti-racism, multiculturalism, etc. It’s the only thing that united everybody who claimed they were against racism.
Everybody was talking about a non-pathology of racism. The Labor party activists would talk about it. So would the Liberals. For the anti-apartheid groups it was the limit-text, if you like. We sensed that it had political inadequacies, and cultural constraints, and that the theoretical consequences of it hadn’t been thought through. But we didn’t know exactly how to replace it. We did not want to try to set ourselves up as another interest group to combat the multiculturalists or the anti-racists.
click image for full text
chukwumaa, Interrupted Transmission 1 (from The Visitor From Celestial 9-JA), 2014
"The only reason for mastering technique is to make sure the body does not prevent the soul from expressing itself."

— (via columbianights)

emo4keanureeves:

you cut like knives //