By Ytasha L. Womack
Comprising components of the avant-garde, technological know-how fiction, state-of-the-art hip-hop, black comix, and photo novels, Afrofuturism spans either underground and mainstream popular culture. With a twofold target to entertain and enlighten, Afrofuturists attempt to collapse racial, ethnic, and all social barriers to empower and loose participants to be themselves. This e-book introduces readers to the burgeoning artists developing Afrofuturist works, the historical past of innovators some time past, and the big variety of topics they discover. From the sci-fi literature of Samuel Delany, Octavia Butler, and NK Jemisin to the musical cosmos of sunlight Ra, George Clinton, and the Black Eyed Peas' will.i.am, to the visible and multimedia artists encouraged by means of African Dogon myths and Egyptian deities, themes diversity from the "alien" event of blacks in the US to the "wake up" cry that peppers sci-fi literature, sermons, and activism. Interviews with rappers, composers, musicians, singers, authors, comedian illustrators, painters, and DJs, in addition to Afrofuturist professors, offer a firsthand examine this interesting move.
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Extra info for Afrofuturism: The World of Black Sci-Fi and Fantasy Culture
There’s no challenge for workers, only speed and exactitude’. qxd 22/8/07 07:51 PM Page 30 The Culture of Speed striking manner some of the core aspects of Taylorism. Even the stress on leadership and teamwork – keeping up with the collective pace of the ‘crew’ – and the quasi-moral coercion which this represents – recalls Taylor’s appeal to the team spirit of the sports field (Taylor, 1967: 13). Whilst there can be no doubt, then, that there is inherent pressure to increase the pace of workplace life in capitalism, there are, however, a number of factors that prevent the realization of a completely Taylorized work regimen across the board.
But where Le Corbusier’s vision is wildly over-optimistic is in his supposition that the combination of speed and planning will deliver quality of life. He predicts that the super-efficiency of the new city will mean a shorter working day, finishing ‘perhaps . . soon after midday. After which, the city will empty as though by a deep breath’ (1971: 191). Although Le Corbusier has been characterized as applying Taylorism to architecture (Mcleod, 1983), in a curious way his attitude to capitalist labour-time is not unlike Arthur Seaton’s.
The city is the place where the forces and fruits of modernity – capitalist enterprise, machine industrialism, the concentration of populations and the energy of their everyday activities, the traffic of crowds and vehicles, the constant encounter with strangers and with cultural difference, and the kaleidoscopic display of commodities and experiences for purchase – all come together. It is in the modern city that the acceleration of cultural pace has its ‘natural’ setting, and the experience of urban life typically displays the classic ambiguities of modernity – simultaneous vivacity and stress – in tempo as in so much else.