frantzfanon   27

La Hora de los Hornos - Parte 1 - Neocolonialismo y violencia : Free Download, Borrow, and Streaming : Internet Archive
“La Hora de los Hornos - Parte 1 - Neocolonialismo y violencia

La Hora de los Hornos, es un film argentino realizado en 1968 por los cineastas Fernando “Pino” Solanas y Octavio Getino, integrantes en ese entonces del Grupo de Cine Liberación.

El film está dividido en tres partes:
1) “Neocolonialismo y violencia”
2) “Acto para la liberación”, dividido a su vez en dos grandes momentos “Crónica del peronismo (1945-1955)” y “Crónica de la resistencia (1955-1966)” [https://archive.org/details/ActoParaLaLiberacion ]
3) “Violencia y liberación” [https://archive.org/details/ViolenciaYLiberacion ]

El narrador es el locutor y actor Edgardo Suárez.

Esta película recién pudo ser estrenada formalmente en la Argentina en 1973 debido al contexto político de aquella época (para entonces ya había ganado varios premios en Europa).

En 1989 fue reestrenada y en 2008 reeditada en una versión extendida.”

[”La Hora de los Hornos, es un film argentino realizado en 1968 por los cineastas Fernando “Pino” Solanas y Octavio Getino, integrantes en ese entonces del Grupo de Cine Liberación.

Este film está dividido en tres partes: “Neocolonialismo y violencia”; “Acto para la liberación”, dividido a su vez en dos grandes momentos “Crónica del peronismo (1945-1955)” y “Crónica de la resistencia (1955-1966)”; “Violencia y liberación”. El narrador es el locutor y actor Edgardo Suárez.

Esta película recién pudo ser estrenada formalmente en la Argentina en 1973 debido al contexto político de aquella época (pero para entonces ya había ganado varios premios en Europa).

En 1989 fue reestrenada y en 2008 reeditada en una versión extendida.”
https://es.wikipedia.org/wiki/La_Hora_de_los_Hornos

“The Hour of the Furnaces (Spanish: La hora de los hornos) is a 1968 Latin American film directed by Octavio Getino and Fernando Solanas. ‘The paradigm of revolutionary activist cinema’,[1] it addresses the politics of the 'Third worldist’ films and Latin-American manifesto of the late 1960s. It is a key part of the 'Third Cinema’, a movement which emerged in Latin America around the same time as the film’s release."
https://en.wikipedia.org/wiki/The_Hour_of_the_Furnaces ]

[via:
(quotes)https://www.instagram.com/p/B3SjqOEgZm2/
(poster) https://www.instagram.com/p/B3SiGr0gCD_/ ]
neocolonialism  violence  latinamerica  1968  fernandosolanas  pinosolanas  octaviogetino  film  documentary  cheguevara  frantzfanon  disobedience  capitalism  cia  us  imperialism  edgardosuárez  thehourofthefurnaces  lahoradeloshornos  revolution  activism  politics  thirdcinema  peronismo  brasil  brazil  argentina  resistance  liberation  freedom  1973  2008  1989  history 
9 weeks ago by robertogreco
Laurence Ralph on Twitter: "1/17 Ever wonder how whiteness is privileged in the social sciences? #anthrotwitter #AnthroSoWhite [A Thread]" / Twitter
“1/17 Ever wonder how whiteness is privileged in the social sciences? #anthrotwitter #AnthroSoWhite [A Thread]

2/17 The Open Syllabus Project (OSP) surveyed over 41,000 anthropology syllabi. https://opensyllabus.org/result/field?id=Anthropology @Beliso_DeJesus and I analyze it. Let’s see how many assigned-texts are authored by Black scholars…

3/17 In the top 1,000 texts taught in anthropology courses, only 9 are authored by Black scholars. Let’s explore what they are, who they’re written by…and what that says about #anthropology

The 1st Black-authored text does not appear until 185 on the list of most assigned texts! #AnthroSoWhite #SMDH [image: The Wretched of the Earth, by Frantz Fanon]

5/17 Then Fanon comes in again! …But not until 312. Anthro loves them some Fanon… [image: Black Skin, White Masks, by Frantz Fanon]

6/17
A dope Nigerian novel at 321…Instead of ethnography? [image: Things Fall Apart, by Chinua Achebe]

7/17
The Black Atlantic comes in at 339.….Still no Black anthropology #AnthroSoWhite [image: The Black Atlantic, by Paul Gilroy]

8/17
Black Britain still shinnin’ at 446.

What this means is: out of 41,000 #anthropology syllabi, Representation by Stuart Hall appears on 59. Looking bad for “signification,” brah… [image: Representation, by Stuart Hall]

9/17
ALL HAIL, QUEEN ZORA,
THE FIRST BLACK ANTHROPOLOGIST TO BE TAUGHT BY ANTHROPOLOGISTS!!

…But not until 486. #AnthroSoWhite [image: Mules and Men, by Zora Neale Hurston]

10/17
Jamaica Kincaid comes in at 560. Who doesn’t love Jamaica? #Anthropology does.
…Just not as much as Malinowski. [image: A Small Place, by Jamaica Kincaid]

11/17
Michel-Ralph Trouillot’s, Silencing The Past, should be required for all #anthropology classes.
Yet it DOES NOT appear until 719…
719!?!
#AnthroSoWhite. This list is #SilencingThePast. [image: Silencing the Past, by Michel-Rolph Trouillot]

12/17 Our run comes to an end with current @ABA_AAA President Lee Baker’s, From Savage To Negro. Thank God it makes an appearance at 835!

FINALLY, a Black Anthropologist who’s actually alive! [image: From Savage to Negro, by Lee D. Baker]

Aug 14
13/17 Takeaways? Sadly, IT IS CLEAR that anthropology does not want to teach or hear from its Black anthropologists. Less than 1% of the assigned texts are authored by Black scholars. Crucially…

14/17
6 of the 9 Black-authored texts are from outside of #anthropology. None are written by a Black anthropologist conducting an ethnography of the contemporary moment!

15/17 BLACK ANTHROPOLOGY IS NOT BEING TAUGHT IN ANTHROPOLOGY. WOW! This blatant silencing points to the need for initiatives like
@CiteBlackWomen. Shoutout to @profsassy for her hard work.

16/17 We address these issues more in #TheAnthropologyofWhiteSupremacy, a forthcoming special section of
@AmAnthroJournal, guest edited by Jemima Pierre and @Beliso_DeJesus

17/17
Contributors to this special section are: @DrJonathanRosa, @vanessajdiaz, Junaid Rana, Shannon Speed, @shalini_shankar, @drkeishakhan.
[END]“
anthropology  race  bias  socialsciences  academia  syllabi  syllabus  teaching  howweteach  frantzfanon  zoranealehurston  laurenceralph  srg  stuarthall  jamaicakincaid  leebaker  paulgilroy  chinuaachebe  michel-rolphtrouillot  whiteness 
august 2019 by robertogreco
GRADA KILOMBA: DECOLONIZING KNOWLEDGE - Voice Republic
"In this lecture performance Grada Kilomba explores forms of Decolonizing Knowledge using printed work, writing exercises, performative narrative, and visual art, as forms of alternative knowledge production. Kilomba raises questions concerning the concepts of knowledge, race and gender: “What is acknowledged as knowledge? Whose knowledge is this? Who is acknowledged to produce knowledge?” This project exposes not only the violence of classic knowledge production, but also how this violence is performed in academic, cultural and artistic spaces, which determine both who can speak and what we can speak about.To touch this colonial wound, she creates a hybrid space where the boundaries between the academic and the artistic languages confine, transforming the configurations of knowledge and power. Using a collage of her literary and visual work, Grada Kilomba initiates a dialogue of multiple narratives who speak, interrupt, and appropriate the ‘normal’ and continuous coloniality in which we reside. The audience is invited to participate, and to re-imagine the concept of knowledge anew, by opening new spaces for decolonial thinking."

[See also: https://de.wikipedia.org/wiki/Grada_Kilomba ]
gradakilomba  performance  decolonization  speaking  listening  2015  knowledge  narrative  art  knowledgeproduction  unschooling  deschooling  colonialism  academia  highered  highereducation  storytelling  bellhooks  participation  participatory  theory  thinking  howwethink  africa  slavery  frantzfanon  audrelorde  knowing  portugal 
october 2018 by robertogreco
Metrograph Celebrates the Inventive Truth-Telling of St. Clair Bourne | Village Voice
"Let the Church is so free of form and spirit that, presented without context, it could easily be seen as a fictional piece. It is not clear how much the scenes are staged, or, indeed, whether they are staged at all. Right from the first interaction, in which what seems to be a religious teacher laboriously explains the purpose of a sermon, there is a distance with the people filmed (broken on occasion by extreme zooming and direct address), as well as a writtenness and theatricality in the dialogue that can be delightfully confusing. What one learns while watching Bourne is that there are many ways to enter a subject, and one mustn’t refrain from exploring them, especially not in the name of nonfiction convention."



"Bourne conveys the collective through the individual: What do these voices reveal of the state of mind of the subject, and how do they mirror that of an entire community?"



"There are individuals who have been burdened with what Frantz Fanon has described, in Black Skin White Masks, as the “colossal task to make an inventory of the real.” Fanon was of course one of them, and so was Bourne.

The task is even more herculean when the reality has been so intensely erased and distorted, including by the very medium in which Bourne decided to express himself. Hence the extreme sensitivity and curiosity that animates his body of work, which belongs — right next to the early literature of enslaved Africans, the films of Oscar Micheaux, the novels and essays of Toni Morrison, James Baldwin, and Zora Neale Hurston — on the shelves of every Black family, its images ornating the minds and memories of every Black child. Much like the Martinican psychiatrist did with philosophy, poetry, and psychoanalysis, St. Clair Bourne utilized the tools of television and cinema to uncover the multitudinous facts of Blackness — and to send his people many love letters."
fantasylla  2018  stclairbourne  film  documentary  blackness  filmmaking  frantzfanon  zoranealehurston  jamesbaldwin  tonimorrison  realism  dialogue  breakingform  form 
february 2018 by robertogreco
CCA Wattis Institute for Contemporary Arts: March 10, 2017
"The writer and theorist Fred Moten once wrote that "to be invisible is to be seen, instantly and fascinatingly recognized as the unrecognizable."

David Hammons is also interested in the nature of invisibility—what it’s made of, how it behaves, what it does to the world, what forms it takes. He keeps the invisible invisible, or, at least, the visible unrecognizable.

There are many (many!) invisible people in the world, but perhaps the most well-known might be Ralph Ellison's Invisible Man (1952). This is the subject of Fred Moten's lecture.

This is the ninth event in our year-long season about and around the work of David Hammons."

[video: https://vimeo.com/214239080 ]
fredmoten  davidhammons  invisibility  ralphellison  2017  wattisinstitute  race  visibility  racism  webdubois  frantzfanon  whiteness  blackness  jazz  milesdavis  louisarmstrong  icebergslim  music  aljarreau  jacoblawrence  wallacestevens  adreinhardt  art  erasure  aesthetics  artworld 
january 2018 by robertogreco
Hapticality in the Undercommons, or From Operations Management to Black Ops | Stefano Harney - Academia.edu
"Fanon begins his conclusion by calling for the rejection of what he calls the ‘European model’ in the coming post-colonial world:

When I search for Man in the technique and the style of Europe, I see only a succession of negations of man, and an avalanche of murders.

But what is this European model, what is at the heart of this model, why the negations, the unending blood-soaked dawns? Here is Fanon’s answer:
But let us be clear: what matters is to stop talking about output, and intensification, and the rhythm of work.

The coming post-colonial nations must break not only with the negations of history, culture, and personality wrought by colonialism but with the ‘rhythm of work’ imposed by the European model. And he clarifies:
No, there is no question of a return to Nature. It is simply a very concrete question of not dragging men towards mutilation, of not imposing upon the brain rhythms that very quickly obliterate it and wreck it. The pretext of catching up must not be used to push man around, to tear him away from himself or from his privacy, to break and kill him.

Here is that word ‘rhythm’ again. ‘Rhythms imposed on the brain’ this time, imposed by a drive to ‘catch up.’ Catching up was a phrase much circulated in the takeoff theories of capitalist development pushed by the United States in the Cold War. But, Fanon points out, this catching up institutes a rhythm that ‘breaks’ and ‘kills’ man. This is a rhythm that ‘tears man away from himself’, that ‘obliterates’ and ‘wrecks’ his brain. Fanon uses the metaphor of the ‘caravan’ for a system that tears man away from himself."



"Fanon feared post-colonial nations would keep the regime and merely erect the outside, with flags, anthems, and new ruling classes. Who can say he was wrong? But Fanon’s warning was more than a post-colonial critique of the idea of the outside. It was an analysis of the European model and its tendency towards producing this rhythm without an outside. Indeed Fanon saw the colony as the first social factory, where worker replaces subject in society as a whole. In the colony, in the first social factory any move to other social being was, as it is today, criminal, conspiratorial. The only sound in the social factory is the rhythm of work because that is what takes place in a factory."



"This is our work today. We take inventories of ourselves for components not the whole. We produce lean efforts to transconduct. We look to overcome constraints. We define values through metrics. These are all terms from operations management but they describe work far better than recourse to the discourse of subject formation. Creativity itself, supposedly at the heart of the battle for the subject today, is nothing but what operations management calls variance in the line, a variance that may lead to what is in turn called a kaizen event, an improvement, and is then assimilated back into an even more sophisticated line. Today ours is primarily the labour of adapting and translating, being commensurate and flexible, being a conduit and receptacle, a port for information but also a conductor of information, a wire, a travel plug. We channel affect toward new connections. We do not just keep the flow of meaning, information, attention, taste, desire, and fear moving, we improve this flow continuously. We must remain open and attuned to the rhythm of the line, to its merciless variances in rhythm. This is primarily a neurological labour, a synaptic labour of making contact to keep the line flowing, and creating innovations that help it flow in new directions and at new speeds. The worker operates like a synapse, sparking new lines of assembly in life. And she does so anywhere and everywhere because the rhythm of the line is anywhere and everywhere. The worker extends synaptic rhythms in every direction, every circumstance. With synaptic work, it is access not subjects that the line wants, an access, as Denise Ferreira da Silva reminds us, that was long at the heart of the abuse of the affected ones, the ones who granted access out of love, out of necessity, out of the consent not to be one, even before that granting was abused."
stefanoharney  frantzfanon  labor  work  leisure  blackops  fredmoten  rhythm  deniseferreiradasilva  information  haptics  hapticality  art  academia  flow  athi-patraruga  zarinabhimji  creativity  flexibility  latecapitalism  capitalism  neoliberalism  society  colonialism  colonization  decolonization  nature  undercommons 
december 2017 by robertogreco
Critical Ethnic Studies: A Reader - Critical Ethnic Studies Editorial Collective - Google Books
"Whereas the positionality of the worker (whether a factory worker demanding a monetary wage, an immigrant, or a white woman demanding a social wage) gestures toward the reconfiguration of civil society, the positionality of the Black subject (whether a prison-slave or a prison-slave-in-waiting) gestures toward the disconfiguration of civil society. From the coherence of civil society, the black subject beckons with the incoherence of civil war, a war that reclaims blackness not as a positive value but as a politically enabling site, to quote Fanon, of 'absolute dereliction'.' It is a 'scandal' that rends civil society asunder. Civil war, then, becomes the unthought, but never forgotten understudy of hegemony. It is a black specter waiting in the wings, and endless antagonism that cannot be satisfied (via refom or reparation) but that must, nonetheless, be pursued to the death."

—frank b. wilderson, iii, The Prison Slave as Hegemony’s (Silent) Scandal"

[via: https://www.tumblr.com/dashboard/blog/fansylla/164215169370 ]
frankwilderson  work  labor  factories  immigrants  society  blackness  slavery  prisons  hegemony  civilsociety  civilwar  frantzfanon 
november 2017 by robertogreco
The endless arguments on social media, during which we all go back and forth with each other like…
"Take for example Jill Filipovic, who remains nothing more than a well-made caricature of every white liberal with a saviour complex. She smugly accused today’s socialist left of being “more 1930s than 60s”. “Remember who was excluded from political participation in the 30s?,” she asked. You could almost taste this patronising, flippant derision that is so common of those who turn out to be nothing more than gentrifying legacy hires with platforms they’ll never deserve. The response Filipovic received in light of this grotesquely ahistorical accusation was swift. Everyone from Corey Robin to local US organisers began chiming in with a blow to her argument more devastating than the last. And among the white socialists were Black, and PoC leftists, of many political affiliations, some of whom began to discuss their frustration with being denied the right to their own historical existence. And of the lucky few that Filipovic decided to respond to a majority of them were white. This is the shtick the rest of us have grown accustomed to. How else are you going to accuse socialists of being white men if you’re made to acknowledge the existence of Black and PoC socialists? Especially those of us who are not a part of the Bernie Sanders coalition, but to their left.

We don’t exist, but for the illustrations of us they use to peddle neoliberal policies, and centrist organising tactics that are about as spineless and cartoonish as their very ideology. Those of us who identify as leftists, who occupy numerous spaces on the margins of society, are made to feel as though we are both imaginated and irrelevant. They’ve chosen to deliberately, and maliciously misrepresent our radicalism for their own benefit. The white, socialist men are hijacking our PoC voices, they say, and yet you will never catch them engaging with us. We are only good enough to exist as garments — worn on occasion when they want to make it known that they are here to save us from this so-called white ideology.

It isn’t just Filipovic, but others, so many others, who choose to communicate and argue almost entirely with white men for the sake of further isolating us. They understand that our identities threaten the very heart of their assertion. So which is it? Are we invented or are we inconsequential? And what about those who came before us, from across the globe, whose battles have made so many aspects of our lives possible — Paul Robeson, Hussain Muruwwah, Frantz Fanon; Grace P. Campbell, Claudia Jones, Louise Thompson; Benita Galeana, Elvia Carrillo Puerto, Elena Torres. And so many others.

How long can you possibly keep this charade going? Soon enough no platform on this earth will be enough to drown out all of our voices."
roqayahchamseddine  2017  politics  poc  jillfilipovic  invisibility  erasure  paulrobeson  hussainmuruwwah  frantzfanon  gracecampbell  claudiajones  louisethompson  benitagaleana  elviacarrillopuerto  elenatorres  misrepresentation  radicalism  socialism  diversity  berniesanders  coreyrobin 
august 2017 by robertogreco
Arash Daneshzadeh on Twitter: "The canon of John Dewey is trash, stop hyping his basicness. Especially when we have far more critical scholars of melanin. [A thread]"
[***d sections, separated out, are those that I retweeted on Twitter]

"The canon of John Dewey is trash, stop hyping his basicness. Especially when we have far more critical scholars of melanin. [A thread]

When I read Dewey (revered as the granddaddy of progressive education) I notice how “white” (read: basic) curriculum studies is.

***There is an expectation that we should all know the authors of school desegregation curriculum (many of whom are white) but no expectation that students know anti-racist and decolonial scholars like Freire, Du Bois or Lorde.***

As I read John Dewey and others, I experience an unenthusiastic physical reaction to their unimaginative words and ideas on education, as they fundamentally contradict the dialectic relationship between learners and systems. Perhaps because their notions of teaching and learning were associated primarily w the reproduction of social hierarchies through models of efficiency and democratic nation-building in order to anchor capitalism—a logic of white supremacy—in place.

Racial hegemony was accomplished not only through relations of accumulation of property and capital, but also through knowledge/knowledge production which caping for dry Dewey analysis advances. As Said highlighted, colonialism was not simply about the removal of ivory and slaves, but also about the need to "improve" populations, an explicit relationship between property and knowledge.

***Ngugi makes similar suggestions, that the colonial improvement project took place through the “cultural bomb” that reshaped existing structures of human knowledge through a misrepresentation of reality and the erasure of memories of pre-colonial cultures and history, a way of installing the dominance of new, more insidious forms of colonialism.***

The issue isn't simply regarding Whitening ed curriculum, but rather privileging this social history in the formation of education, as well as the formulation of a list that articulates which knowledge is most worthy of knowing.

In Democracy and Education, Dewey emphasizes a relationship between schooling and democracy as central to nation-building. For Dewey, democracy meant the development and expansion of the nation, in which schooling (and its democratization) was a site that could further develop the nation. Within liberal democracies, capitalism is the way civilization aspires to organize itself economically, and democracy becomes the model of choice for political power. Such aspirations need to be thought about carefully. This is because the promotion of democracy that Dewey advocated is premised on hierarchical and elective approaches to governance that are inherently linked to the capitalist order, in turn marginalizing other modes of existence.

There is a stark contrast between curriculum that emerges from the work of Black scholars and curriculum that happens to "include" Black scholars.

***Janet Miller writes about working in “communities of dissensus”--the idea that rather than working toward reconciliation we must push discomfort through confronting white fears and insecurities when it comes to dealing with centering Black epistemologies.***

As a doctoral student in Education, I struggled with feelings of belonging and non-belonging, placeness & placelessness like my grad students. Throughout my doctoral journey of critique and resistance, my alienation grew further as my white peers (primarily teachers) all seemed to relate their practice to these theories.

***Anti-colonial thinkers Said, Fanon and Wynter suggest that White epistemologies, ontologies and axiologies created universal values defined what l it meant to be human and who constituted the human through what Wynter calls the "descriptive statement".***

This descriptive statement of the human is based upon the biocentric model to which the name "race" has been given.

Knowledge arrangements have been shaped by the epistemic constitution of caping for liberal multicultural capitalists like Dewey on the basis of the ordering of disciplinary fields. Even the term “canon” itself connotes a certain ideological foundation.

***Since white liberals like Dewey's basic self are some of the primary actors that have served to maintain the Western-bourgeois system of Human-making (through standards, and disciplines), they must radically unlearn by moving beyond schooling to identify "human-ness". Tuck calls this participatory unlearning process via an anti-colonial curriculum, a “methodology of rematriation/repatriation”. ***

Finally, Dewey is basic and his scholarship was trash. But mostly, there is no solidarity w/out curriculum constructed in(not on) communities."

[Response to my retweet (specifically of the Ngugi line): "@A_Daneshzadeh @rogre yes! been teaching this particular aspect for years, powerful & true, was blessed to have Ngugi as prof many yrs ago"
https://twitter.com/DenengeTheFirst/status/810197262311784449 ]
arashdaneshzadeh  johndewey  audrelorde  place  frantzfanon  edwardsaid  janetmiller  canons  education  ngugi  rematriation  repatriation  capitalism  sylviawynter  curriculum  race  racism  resistance  canon  multiculturalism  humanness  unlearning  participatory  values  belonging  civilization  society  schools  deschooling  unschooling  horizontality  hierarchy  marginalization  governance  democracy  evetuck  schooling  sfsh  cv  alienation  webdubois  paulofreire  erasure  reality  whitesupremacy  ngũgĩwathiong'o  ngugiwathiong’o  ngũgĩ 
december 2016 by robertogreco
Fanon 1 trailer on Vimeo
"'Finding Fanon' is the first part in a series of works by artists Larry Achiampong and David Blandy; inspired by the lost plays of Frantz Fanon, (1925-1961) a politically radical humanist whose practice dealt with the psychopathology of colonisation and the social and cultural consequences of decolonisation.

In the film, the two artists negotiate Fanon’s ideas, examining the politics of race, racism and the post-colonial, and how these societal issues affect their relationship.

Their conflict is played out through a script that melds found texts and personal testimony, transposing their drama to a junkyard houseboat at an unspecified time in the future. Navigating the past, present and future, Achiampong and Blandy question the promise of globalisation, recognising its impact on their own heritage.

'Finding Fanon' is supported by Arts Council England. With thanks to Hamish Mckenzie."

[Fanon 2
https://vimeo.com/138951543

"Finding Fanon 2, made by Larry Achiampong and David Blandy, uses the Grand Theft Auto 5 in-game video editor.

Finding Fanon 2 was commissioned by Brighton Digital Festival 2015, supported by Arts Council England.

The Finding Fanon series is inspired by the lost plays of Frantz Fanon, (1925-1961) a politically radical humanist whose practice dealt with the psychopathology of colonisation and the social and cultural consequences of decolonisation."]
frantzfanon  film  larryachiampong  davidblandy  gta  gta5  filmmaking  decolonization  colonization  postcolonialism  globalization  grandtheftauto 
december 2015 by robertogreco
Interviews – Meet Antipode’s new Editorial Collective | AntipodeFoundation.org
[via: https://twitter.com/Keguro_/status/652837835440046081 ]

"Andy Kent: Could you tell us about Dear Science, a project you’ve been working on for a number of years now?

Katherine McKittrick: The title of my next research project and monograph, Dear Science, is borrowed from the musicians TV on the Radio (Interscope, 2008). It is an affectionate invitation to engage science and hold dear creative expressions of scientific knowledge. Dear Science suggests that there exists, between and across the arts and the natural sciences, a promise of intellectual collaboration and emancipatory possibility. The project emphasizes the ways in which the creative texts of those marginalized by social structures—in particular black cultural producers—demand from us an understanding of science and knowledge that challenges biological determinism. The research will look at the ways in which three areas of the natural sciences—biology, mathematics, and physics—emerge in the poetry, music, and visual art of black cultural producers.

I have been thinking about these kinds of questions for some time because I have noticed the ways in which blackness and race—while certainly social constructions—continue to be analysed as sites of degradation and unfreedom. So even as we claim that race is socially constructed, the black body is theorized as a social construction that is biologically inferior. So, I have been interested in how our political commitment to undoing the science of race in fact involves repetitively constituting and naming biologically deterministic categories. Underneath Dear Science, then, is an analytical web that addresses the limits of analysing science and studies of science within a framework that underscores and thus reproduces racial and gendered hierarchies and dichotomies.

These dichotomies and hierarchies do ‘work’ beyond the body and biological determinism, too: through the work of Sylvia Wynter and Aime Cesaire (among others), we can also notice the bifurcation of scientific knowledge and creative knowledge—and how particular communities are said to inhabit either side of this bifurcation. This epistemological splitting has led me to think about how black cultural producers utilize locution, imagery and sound to challenge and recast the colonial underpinnings of scientific knowledge as well as the analytical and interdisciplinary provocations that arise through imagining a black creative science. Early drafts have thought about these questions alongside the long poem Zong! by Nourbese Philip, the musical text Harnessed the Storm by Drexicya, Nas’ Untitled cover art, and two visual pieces by artist Joy Gregory, Memory and Skin and Blonde Collection. I hope to draw attention to the ways in which black creative artists provide a context through which science and creativity are enjoined and thus provoke new analytical challenges for cultural studies, science studies and black studies.

AK: One of the most striking things about your work is its ‘undisciplined’ nature; from your home in gender and cultural studies human geography meets black and anti-colonial studies…And that’s not the only border being trespassed: non-academic ways of imagining and knowing the world play an important role in your scholarship, from literature, poetry and music in Demonic Grounds and the book you co-edited with Clyde Woods, Black Geographies and the Politics of Place, to more recent work focusing on the writers Dionne Brand and Sylvia Wynter. I wonder if you might say something about these boundary-crossings and encounters, and the place of interdisciplinarity and different ‘expressive cultures’ in your research?

KMc: I have found that interdisciplinarity allows one to ask meaningful questions about race and social justice. The possibilities of interdisciplinarity are hopeful and resistant. It is an intellectually rewarding stance, for me—whose undergraduate training was in History and English Literature—to think outside the disciplinary box: this is an exciting analytical space where new ideas can be shared and debated. Methodologically, interdisciplinarity insists that we take a chance on what we do not know while also thinking about how the encounter of various intellectual traditions creates something new. Interdisplinarity and boundary crossing can also be frightening—Dear Science, for example, has brought a lot of new academic challenges to my life—physics, math, science studies—but these areas have pushed me to learn differently. I am not, of course, a physics, math, science studies expert; but engaging deeply with these areas has allowed me to take a chance on what I don’t know in order to think about the poetics of scientific knowledge as a legitimate entry into black and global intellectual history. It seems to me that if black people have been both excluded from and constituted by science—all too often rendered purely biological beings who are unscientific and unintelligent—they definitely have something to say about science that would challenge this worldview.

So how might we, as Edward Said asked, invite worldliness into our intellectual projects and struggles? And thinking with Frantz Fanon, how might we put together different kinds and types of knowledge in order to engender a decolonial perspective? How do we refuse to protect our intellectual property and welcome new ways of thinking? The world, as we know it, insists on encounter (colonialism, transatlantic slavery, and globalization pushed and push us together), and through this encounter something new is made possible. Interdisciplinary thinkers insist that knowledge is relational, multiple and equally valuable to understanding social justice. What I am trying to suggest is that interdisciplinarity, at its best, thinks with and beyond intellectual categories thus forcing us to think about race, gender and sexuality differently. To put it another way, if we breach the barriers between, say, the natural sciences and the humanities, might we also notice a worldview that newly attends to challenging practices of domination? This is, too, about intellectual activism and resistance to normalcy. Interdisciplinarity, at its best, loosens up disciplinary rigor, insists the intellectual histories of nonwhite and other marginalized communities are relevant, and reinvents what it is possible to know and who is a valid intellectual.

AK: Why were you interested in becoming an editor? And how are you finding work as part of an Editorial Collective?

KMc: I have been reading Antipode for a long time; it is a journal that raises important questions about how practices of inequity unfold geographically. The consistency of the journal also appeals to me—while I am an interdisciplinary scholar I like to engage with debates about the production of space precisely because, if I can riff off of Neil Smith, respatialization leads to repoliticization. Antipode has always delivered this kind sustained thinking about space and social justice and the journal is an amazingly comprehensive archive of Left geographic politics. And remember, too, some of the earliest writings on black geographies—I am thinking specifically about the great contributions by scholars such as Bobby Wilson in the 1970s—were published in Antipode. This history, alongside the hard work of the present Editorial Collective—who has maintained the journal’s intellectual integrity while also asking new questions about the place of the production of knowledge—interested me. My work as part of the Editorial Collective has been, to date, very insightful and interesting: each editor’s unique vision and scholarship is coupled with collaborative vision that, as mentioned above, is holding steady Antipode‘s history and positioning the journal as a place where new questions are being asked.

AK: Where, as you see it, is Antipode ‘at’? What do its papers look like? Where do you (want to) see the journal going?

KMc: The papers I have received have been very exciting and, I think, speak to the ‘new questions’ noted above. I have received some excellent papers on race, location and uneven geographies—with themes ranging from hip hop to community farming; all the submissions have focussed on the ways in which nonwhite communities are meaningful spatial actors who are not simply recipients of oppressive practices. This is to say that many of the papers I have engaged with are thinking about racial matters as heterogeneously articulated yet shaped by longstanding and powerful colonial practices. I really like the ways in which the thinking on difference—race, class, sexuality, (dis)ability, and so on—are working through the paradoxes of unfreedom and what is now being called neoliberalism: situating power and knowledge across locations, outside and within the hands of disenfranchised communities (although imagined and articulated differently), and reorienting where social justice and intellectual debate are taking place. For me, I am happy to continue these conversations—to build on intellectual and activist and social justice work that honours different kinds and types of knowledge and engenders new conversations about our collective political futures.""
katherinemckittrick  interdisciplinary  interdisciplinarity  race  geography  interviews  antipode  science  culture  edwardsaid  worldliness  frantzfanon  decolonization  colonialism  globalization  2013 
october 2015 by robertogreco
Concerning Violence Official UK Film Site
"Narrated by Ms Lauryn Hill, Concerning Violence is a bold and fresh visual narrative on Africa, based on newly discovered archive material covering the struggle for liberation from colonial rule in the late ‘60s and ‘70s"

[Trailer: https://www.youtube.com/watch?v=nLmYWL4TIEc
via: http://www.okayafrica.com/news/concerning-violence-goran-olsson-frantz-fanon-lauryn-hill-trailer/ ]
frantzfanon  colonialism  neocolonialism  africa  film  documentary  laurynhill  decolonization  2014 
december 2014 by robertogreco
Frantz Fanon, "Concerning Violence," From THE WRETCHED OF THE EARTH
"In the colonial context the settler only ends his work of breaking in the native when the latter admits loudly and intelligibly the supremacy of the white man's values. In the period of decolonization, the colonized masses mock at these very values, insult them, and vomit them up."
colonization  decolonization  deschooling  unschooling  frantzfanon 
november 2014 by robertogreco

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