Concerning Cindi and the Glow of the Drogon’s Eyes
This painting, which hangs in the foyer of the Royal Black House, is simply called Cindi Mayweather Is Glowing In the Sky Again. Painted in the spring of 2719 by the Good Citizen Samuel Spratt, this painting is evidence of the…
The future is already here — it’s just not very evenly distributed.
—William Gibson, I know he’s not an Afrofuturist per se but its a good quote related to issues of representation, inequality, and the future.
So why try to predict the future at all if it’s so difficult, so nearly impossible? Because making predictions is one way to give warning when we see ourselves drifting in dangerous directions. Because prediction is a useful way of pointing out safer, wiser courses. Because, most of all, our tomorrow is the child of our today. Through thought and deed, we exert a great deal of influence over this child, even though we can’t control it absolutely. Best to think about it, though. Best to try to shape it into something good.
—Octavia Butler, “A Few Rules for Predicting the Future,” Essence 2000. pg 264.
The repost of my “The Mask As Technology” and an #interview I did with Rasheedah Phillips of @afrofuturistaffair is on Atlanta BlackStar’s #blerds series! #atlantablackstar #technology #themask #masks #afrofuturism
"How do we shape minds to think outside of the boxes of the oppressive cultures in which we live and develop responsible technologies? How do we cultivate cultures and critical thinking that will foster new technologies? How do we make available access to information, spaces and tools that will help people to create new technologies?"
…Afrofuturism is a lens that renders reality via a pan-technological perspective. It views everything as a type of technology. Afrofuturism embraces the artifice and fully exploits the fact that all things that we think define us are merely constructions that function as prosthetics that produce various effects relating to their users’ needs. Throughout history, Black people, particularly oppressed Black ￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼people, have instantly noticed the affordances of various types of technology while under various forms of control. The most important affordances of these liberation technologies have always been freedom, equity, and agency.
Afrofuturism is not only a subgenre of science fiction. Instead, it is a larger aesthetic mode that encompasses a diverse range of artists working in different genres and media who are united by their shared interest in projecting black futures derived from Afrodiasporic experiences.
—Lisa Yaszek (2006) Afrofuturism, science fiction, and the history of the future, Socialism and Democracy, 20:3,pg 42.
Part of the story of black music has been this - that losing everything except basic dignity and decency is a potentially survivable disaster. The other part is that staying true to the best in yourself may mean talking in dark, crazed, visionary tongues for a season.
—Mark Sinker, “Loving the Alien: Black Science Fiction” The Wire, 1992.
The actual beginnings of our expression are post Western (just as they certainly are pre-western). It is only necessary that we arm ourselves with complete self knowledge the whole technology (which is after all just expression of who ever) will change to reflect the essence of a freed people. Freed of an oppressor, but also as Touré has reminded we must be “free from the oppressor’s spirit,” as well. It is this spirit as emotional construct that can manifest as expression as art or technology or any form.
—Technology & Ethos 1970 by Imamu Amiri Baraka (LeRoi Jones) from Raise Rage Rays Raze: Essays Since 1965