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UNIT 1: Speculative Place-making - Coggle Diagram

- - - - "the relationship between fact and truth Ep1"
        
        "Sharee Renee Thomas' call for "more" from our futures"
        
        "Sharee Renee Thomas' call for "more" from our futures"
        
        what "more" might mean for community-building work that encourages sociopoetic truth-telling
        
        The Edge as Conversion Point
        
        "Frontiers" in her text. Gumbs writes:
        
        "Go to the edge.
        
        When you get there, dig your heels in.
        
        Step back, neal down, lean your lungs over the edge, and scream.
        
        Stomach into the void and wretch.
        
        Hands holding rocks, throw them.
        
        Empty out.
        
        Breathe.
        
        Stay there.
        
        Your head as low down as possible, until all you can hear is the sound of your breathing, ragged and loud.
        
        This is how you know that the edge of the world is not the end.
        
        Do you know it?
        
        When you know it, turn around."
        
        the future demands us to scream loudest
        
        what does it mean to turn around now, and what form might your turning take?
        
        This week's assigned materials address that question from a variety of places and "nows."
      - turn around
      - do the unorthodox thing
    - - Anyanwu's efforts to build community after she turns away from physical and mental subjugation in Doro's Wheatley "seed village," back around to her roots as a healer (podcast)ep2
        
        Afrofuturism: From the Past to the Living Present
        
        WILD SEED: A COMMUNITY CELEBRATION OF SCIENCE FICTION AUTHOR OCTAVIA E. BUTLER
      - adrienne maree brown's emergent strategy hones in on Butler's visions of change and turns toward a sort of organic, practicably-connected, intellectualism that "grow(s) our capacity to embody the just and liberated worlds we long for" (24).
      - Hallease Narvaez's short ethnographic documentary turns to her family history to engage with James Baldwin's scathing commentary on the pace of racial progress in the US. She ends with the question: "how are you progressing your community forward?" This provocation invites us to look closely at the work we do within the communities we build, and how that work can invite change--in much the same way Alexis Pauline Gumbs does within the speculative praxis she embraces as an independent scholar.(podcast)
        
        Carolin tells us about the history of Afrofuturism. She says that it is hard to state when Afrofuturism began. Link Title
- - - - "In a country that wishes your children buried, you do not wish a child on your children."
      - Hanif Abdurraqib - The Crown Ain't Worth Much
    - - "I will come and find you my dearest friends after the world has laid its weapons at our feet. After we have run into the streets and bathed ourselves in the moon's slow honey. We'll dig our hands in the dirt and pull the weeds until there's nothing left to love but our unburied selves the halos of an always dying summer above our heads. The way our names unfold in each other's mouth. I have chosen to live whatever time I have left in celebration of this if you will have me. If you will let me again speak of a heaven that is not a reward for dying. And I will, in your hands, place every small grave I have been carrying. I will trust you to wash them all away in whatever the rain has left. I will return to the boy I saw in a dream. Sitting in the yellow glow. A song echoing off of a hot porch. I went to the cross roads, fell down on my knees. Sun's going down, boy. Dark don't catch me here. Sun's going down, boy. Dark don't catch me."
      - "The reason black people love the blues is the way a good song can conjure and undress the devil. A man with a gold tooth and a cigarette swinging from his lips plucks a guitar string and just like that anything that has ever wanted you dead walks into your palm and begs for forgiveness."
  - - - The Undercommons: Fugitive Planning & Black Study, 2013, (coauthored with Stefano Harney); In the Break: The Aesthetics of the Black Radical Tradition, 2003; The Little Edges, 2014; The Feel Trio, 2014; B Jenkins, 2010; Hughson’s Tavern, 2008, Stolen Life, 2018, Black and Blur, 2018, The Universal Machine, 2018)Link Title
      - "with the aesthetic strain of the black radical tradition" Moten
        
        Link Title
      - Poet and a critic
      - Difference between poetry and criticism "difference with inseparability" between poetry and criticism denise faetta de silva
        
        denise faetta de silva
      - A Pitch of Philosophy: Autobiographical Exercises By Stanley Cavell
  - - - SPECULATIVE PLACEMAKING PROJECT
        
        "Every piece of art is someone communicating an idea to you." - Boots Riley
        
        “Caring for myself is not self-indulgence. It is self-preservation, and that is an act of political warfare" - Audre Lorde
        
        “So here is why I write what I do: We all have futures. We all have pasts. We all have stories. And we all, every single one of us, no matter who we are and no matter what’s been taken from us or what poison we’ve internalized or how hard we’ve had to work to expel it—we all get to dream.” N.K. Jemisin
        
        "The world is not white; it never was white, cannot be white. White is a metaphor for power...That is all it means, and the people who tried to rob us of identity have lost their own." — James Baldwin
- - - - Tressie McMillian Cottom uses a metaphor to describe the black feminist position, “Essentially, no one knows best the motion of the ocean than the fish that must fight the current to swim upstream. I study fish that swim upstream.” Nikia
    - - that the only people who care enough about us to work consistently for our liberation are us. Our politics evolve from a healthy love for ourselves, our sisters and our community which allows us to continue our struggle and work” (4)
      - Black feminists “struggle together with Black men against racism, while we also struggle with Black men about sexism” (Collective 5)
    - - Kishonna Gray
        
        Assistant Professor in Communication and Gender and Women’s Studies at University of Illinois in Chicago, and Faculty Associate of Berkman-Klein Center for Internet and Society at Harvard University. She is the author of Race, Gender, and Deviance in Xbox Live (Gray, 2014) and the co-editor of two books on gaming and culture Feminism in Play (Gray, Vorhees and Vossen, 2018) and Woke Gaming (Gray and Leonard, 2018) which looks at the potential of video games for instigating social change and justice. As well as publishing in academic journals, she also has an active blog and a podcast.
      - Kishonna Gray, "Exploring the Black Cultural Production of Gamers in Transmediated Culture"
      - CRITICAL MEDIA STUDIES
        
        TECHNOLOGY
        
        Safiya U. Noble
  - - - Trans of Color Poetics: Stitching Bodies, Concepts, and Algorithms
        by micha cárdenas