utopia   1899

« earlier    

Solarpunk: Notes toward a manifesto | Project Hieroglyph
"Solarpunk is about finding ways to make life more wonderful for us right now, and more importantly for the generations that follow us – i.e., extending human life at the species level, rather than individually. Our future must involve repurposing and creating new things from what we already have (instead of 20th century “destroy it all and build something completely different” modernism). Our futurism is not nihilistic like cyberpunk and it avoids steampunk’s potentially quasi-reactionary tendencies: it is about ingenuity, generativity, independence, and community."
science_fiction  utopia  manifestos 
3 days ago by jbushnell
Solarpunk: Against a Shitty Future - Los Angeles Review of Books
Rhys Williams: "Why is this genre promising? Because in Solarpunk, energy is explicitly political. Solarpunk presents the hope in community, in recognition, and in nourishing the potential of every individual. The solar energy foundation of these worlds is an objective correlative to this simple, clean, frictionless identification and affective flow. Whereas fossil fuels obscure the sun and turn our attention to the ground — contingent upon a rape of the land, a hegemony of extraction, and an emotional structure of dominance and control — solar energy is understood by contrast as gentle, non-centralized, and non-mediated. Solar energy here represents an openness to the outside: a communication and shaking of hands with the universe. It’s not just renewable: solar energy is conversational, loving, full of joy in relating. Solar energy provides a fruitful and flexible ground in the imaginary for experiments in being human and being social while it also preserves the ecological boundary conditions of our own existence. And that is the root of Solarpunk: an energy culture that serves as a platform for experiments in being, rather than a closure of it."
science_fiction  fantastic_literature  energy  utopia 
3 days ago by jbushnell
Always a fan of the marvelous: The hidden history of Anna Adolph
'I traced Anna’s family and friends backwards and forwards across a continent; from Plymouth Rock to the Sierra Nevadas, from water cannons to the atom bomb, and all their voices, all but one, are men’s. For all her faults, her “colossal ignorance” and her crackpot theories, she had a voice, one that she insisted be heard. Thanks to accidents of history and mass digitization, her voice has carried a hundred years forward.'
history  literature  scifi  fiction  utopia 
22 days ago by aparrish
OCCULTURE: 57. John Crowley & John Michael Greer in “The Slow Decline” // Talking Crows, Pocket Utopias & the Future of Storytelling
"John Michael Greer joins the show to chat with author John Crowley about his latest novel, “Ka: Dar Oakley in the Ruin of Ymr”, as well as Frances Yates, creative writing, pocket utopias, the future of storytelling and the slow decline of industrial society."
johnmichaelgreer  ryanpeverly  johncrowley  occulture  decline  2017  crows  corvids  literature  fiction  occult  storytelling  birds  animals  stories  myth  mythology  utopia  pocketutopias  animism 
24 days ago by robertogreco
How Black Panther Asks Us to Examine Who We Are To One Another
"While interviews with Coogler reveal he based Wakanda on Lesotho, a small country surrounded on all sides by South Africa, it has become clear that most discussions about the film share a similar geography; its borders are dimensional rather than physical, existing in two universes at once. How does one simultaneously argue the joys of recognizing the Pan-African signifiers within Wakanda, as experienced by Africans watching the film, and the limits of Pan-Africanism in practice, as experienced by a diaspora longing for Africa? The beauty and tragedy of Wakanda, as well as our discourse, is that it exists in an intertidal zone: not always submerged in the fictional, as it owes much of its aesthetic to the Africa we know, but not entirely real either, as no such country exists on the African continent. The porosity and width of that border complicates an already complicated task, shedding light on the infinite points of reference possible for this film that go beyond subjective readings."

"How then does one criticize what is unquestionably the best Marvel movie to date by every conceivable metric known to film criticism? How best to explain that Black Panther can be a celebration of blackness, yes; a silencing of whiteness, yes; a meshing of African cultures and signifiers — all this! — while also feeling like an exercise in sustained forgetting? That the convenience of having a fake country within a real continent is the way we can take inspiration from the latter without dwelling on its losses, or the causes of them. Black Panther is an American film through and through, one heavily invested in white America’s political absence from its African narrative.

When Killmonger goads a museum curator early on in the film, calling out a history of looting, it is condemnation that falls squarely on Britain’s shoulders. Rarely must the audience think about the C.I.A.’s very real history in Africa. The fact that viewers were steered, at any point, into rooting for Martin Freeman, a British actor playing an American C.I.A. operative who attempts to purchase stolen resources from a white South African arms dealer, means that even a cinematic turducken of imperialist history gets a pass."

"Nonetheless, Black Panther is an undeniable joy to watch, even it if it is, at times, hard to experience. I can tell you that one of the most important things I saw, in a film set in Africa in 2018, wasn’t just the film’s lack of whiteness, but the almost complete absence of China, a country whose economic expansion throughout the continent has been singular and complicated. What’s more, for all of Killmonger’s liberation talk, Black Panther is also about the unrooted feelings of first-generation Americans, which for all intents and purposes Killmonger is. People, who despite knowing their origins, know that they will to some extent always be lost to them. Killmonger’s Wakandan-American rage and potential liberation comes from a uniquely complicated place, but we’ve yet to conjure a word for the pain of that proximity. Understandably, Black Panther only has room for so much politics, but it is important to acknowledge that it is in this selection that it reaches and abandons so many people. The film was never going to be everything to everyone — even if it meant everything to everyone. The film’s righteous anger is grounded in a real America with real problems, while its hopes lie in a fictional country distinctly removed from the reality of Africa.


In Addis Ababa, Ethiopia’s capital, Black Panther spent its opening weekend sold out five times a day out of a possible five showings. A question I repeatedly found myself asking is where Africans watching this film fit within the Afrofuturist possibility of Wakanda? How do you watch the dream of Africa, set within the real Africa, created by filmmakers in the diaspora, and then emerge to martial law? How hollow does Killmonger’s posturing and desire for a bloody uprising of the masses come across to a viewer living in the throes of one?

I know that when I leave my theater in Oakland, a disabled elder and real Black Panther will be on the verge of a no-fault eviction from her home. Five months will have passed since I watched the premiere of an Oakland-based web series about the racialized disaster of gentrification in the Bay Area at the Grand Lake Theater, the same place where Coogler made an appearance on the opening night of Black Panther. It is worth noting, that the word “capitalism” does not appear once in Black Panther, despite its focus on black liberation. Killmonger’s slash-and-burn approach to freedom, and T’Challa’s future coding boot camp for black American youth, both fail to address how oppression, particularly in the 21st century, is systemic."

"Analyzing the film’s antagonist is more complicated. Killmonger is written as pure rage, and it’s hard for a man written as pure rage, however justified, to be a good villain. What’s impressive about Black Panther is that it asks us to examine the grey area of that designator. Unfortunately, the Killmonger we see on screen is one who has read the Baldwin line “To be black and conscious in America is to be in a constant state of rage,” and ignored Audre Lorde’s “The master’s tools will never dismantle the master’s house.” The film is an ode to the exceptionalism of black American rage that, while singular, cannot speak for the majority of the diaspora. There is no precedent for worldwide liberation.

What’s more, Killmonger’s politics completely ignore the ways power structures overlap to oppress individuals. He is the type of man who would shoot down the concept of intersectionality if he met it in the streets. He kills his girlfriend. He brags about killing people of color in Iraq and Afghanistan, as well as his own brothers and sisters in Africa. He is quick to assault an unarmed priestess who questions his orders. He delights in killing one of the Dora Milaje. In truth, I can only see him as a sympathetic victim if I squint hard enough at the past that made him instead of his actions on-screen."

"Black Panther may be a Disney product, but it would be foolish to see a film of this historical significance as intended solely for casual consumption. “This is not just a movie about a black superhero; it’s very much a black movie,” wrote journalist Jamil Smith for TIME. That blackness is global. Its very existence — Coogler’s singular execution of its $200 million budget — is a declaration of self-worth, an act of defiance aimed at an industry that has long undervalued black creatives on both sides of the camera. The film as a statement on black virtue should be celebrated, its examination of black possibility exalted, and its disparate philosophies parsed to the extent the viewer wishes.

The fact that my focus in this piece was less about the film as product and more about its politics is itself an accomplishment, a signifier of its exceptional quality. Every frame in Black Panther felt like a gift. A beautifully lit, well-moisturized, spectacularly choreographed gift. What I will remember about Black Panther’s opening weekend is the tragic relief of arguing the ideological calisthenics of a fictional African country instead of whether it is a shithole.

Black Panther’s audience hears the question “Who are you?” repeatedly over the course of two hours. The Queen-Mother Ramonda (Angela Bassett) shouts at T’Challa, “Show him who you are!” when M’Baku has the upper hand at Warrior Falls. It is the question Killmonger, bound by Wakandan chains, begs the king’s council to ask him when they first meet him. Indeed, it is the line that ends the film, uttered by a young black boy in Oakland peering up at a king no longer in hiding. That we have spent the week that follows asking ourselves the same question is the film’s lasting gift. Not only reflecting on who we are, but who are we to each other. T’Challa never apologizes to Killmonger for what his father did, for everything that was taken from him, and it is the film’s most damning omission. There is no healing that can come without the voiced expression of empathy. And I hope those who navigate the waters of their identity can eventually be greeted at a lasting shore with just that."
rahawahaile  blackpanther  2018  film  africa  utopia  diaspora  us  geopolitics  capitalism 
24 days ago by robertogreco
RT : The PMO is going to have to clear this up before the next season of starts production and the ABC needs its…
Utopia  from twitter
5 weeks ago by kcarruthers
John Perry Barlow, Internet Pioneer, 1947-2018 | Electronic Frontier Foundation
A strong and direct response, which I think is so rare and valuable in a eulogy:
Barlow was sometimes held up as a straw man for a kind of naive techno-utopianism that believed that the Internet could solve all of humanity's problems without causing any more. As someone who spent the past 27 years working with him at EFF, I can say that nothing could be further from the truth. Barlow knew that new technology could create and empower evil as much as it could create and empower good. H...
manifesto  eff  barlow  utopia  technology  internet 
6 weeks ago by npdoty
Living Differently: How the Feminist Utopia Is Something You Have to Be Doing Now
The following is an excerpt from Radical Happiness: Moments of Collective Joy, by Lynne Segal (Verso, November 2017). This essay is recommended by Longreads contributing editor Dana Snitzky.
feminism  utopia  stream 
7 weeks ago by therourke

« earlier    

related tags

*  1970s  1973  1975  1980s  2002  2005  2014  2016  2017-07-31  2017-08-02  2017-08-04  2017  2018-03  2018  2read  abundance  achievement  activism  additivism  africa  agency  ai  alanjacobs  alexispaulinegumbs  algorithm  alt-right  alternative  alternities  altman  america  american  anarchism  animals  animism  annareser  anthopocene  anthropocene  anthropology  architecture  arcology  arizona  art  artificial  artist  artists  aspiration  athi-patraruga  audience  audiences  augmented  austerity  austria  author  autobiography  avantgarde  awesome  barackobama  barlow  basic  basicincome  beast  belief  bernie  berniesanders  between  bge  bicycle  bicycling  big  bigbagofcans  bigdata  biography  birds  blackpanther  blacks  book  borders  brexit  brutalist  california  capitalism  care  caretakers  caring  change  changemaking  charitableindustrialcomplex  charity  chicago  china-mieville  civilization  clairevayewatkins  class  classism  claudeshannon  cli-fi  climate-change  climatechange  clinton  club  co-operatives  colonialism  commons  communal  communism  compassion  composer  comprehension  compromise  computers  conference  conservative  consumer  consumerism  consumption  control  corbyn  corvids  crime  criticaltheory  criticism  crosby  crows  culturalmarxism  culture  currency  cyberspace  dacre  data  database  db  dc:creator=youngegary  dctagged  decline  demagogue  democracy  democrats  dental  depression  deserts  design  despair  diaspora  difference  digital  digitalism  disability  discordianism  domination  donaldjudd  donaldtrump  drseuss  dystopia  earth  economics  eff  election  elite  elon  empathy  energy  engagement  enlightenment  environment  erikdavis  essay  everyday  excess  facebook  failure  fandom  fantastic_literature  far-right  fashion  fatalism  feminism  fiction  film  finance  fiona  firearms  forslack  foucault  frank  freedom  freedomofmovement  future  futurism  games  gaming  ge2017  gender  gentrification  geopolitics  georgesteiner  germany  gesellschaft  ginsberg  government  hapticality  healthcare  hedonism  helenmolesworth  hill  hillary  hillaryclinton  history  homophobia  hope  housing  hrc  humanism  humanities  humanity  humans  hunger  ideology  illustration  immigration  in-group  income  inequality  injustice  innovation  inquiry  int  integrity  intelligence  internet  intersectionality  interview  invention  island  issues  italian  italy  jameson–fredric  jeffvandermeer  jeremy  johncrowley  johnmichaelgreer  judychicago  justice  kennethburke  kimstanleyrobinson  kindness  kitchens  labor  lancashire  language  learning  left  leguin  liberalism  libertarian  libertarianism  liberty  life  list  listening  literature  living  love  luddism  lynton  maintenance  manifesto  manifestos  marginalization  markets  martharosler  marykelly  materialism  may  media  medialandscape  medienlandschaft  megastructures  memoir  michelfoucault  mierleladermanukeles  migrants  migration  miguelclarkmallet  mikhailbakhtin  millennial  moloch  moss  mountain  multispecies  municipal-broadband  murder  murdoch  music  musk  myth  mythology  names  naming  nasty  natue  nature  neighborhoods  neoliberalism  network  networking  newhampshire  nick  occult  occulture  oppression  optimism  organization  paradise  parenting  party  passivity  patterns  paul  performance  personal  pessimism  philanthropicindustrialcomplex  philanthropy  philosophy  photography  pocketutopias  poetry  politics  populism  possibility  posthumanism  postmodernism  postsecularism  potential  poverty  powder  power  preervation  presence  present  presidential  pringles  privacy  privatization  productivity  progress  progressivism  psychology  quark  race  racism  radicals  rahawahaile  rationality  raykurzweil  reading  reality  reason  reference  religion  resistance  revolution  rhythm  richardserr  right-wing  right  righttothecity  robertmacfarlane  rupert  ruthschartzcowan  ruthschwartzcowan  ryanpeverly  salvage  sam  sameness  sanders  sc  science  science_fiction  sciencefiction  scifi  scott  secondlife  sexism  sexuality  sf  short_story  silence  silicon  simulation  singularity  social  socialism  socialjustice  society  solarpunk  sound  southafrica  soziologie  speculativefiction  stefanoharney  stephengrenblatt  stories  storytelling  stream  sustainability  synchronise  systems  sytemsthinking  taisatc  technology-effects  technology  terence  thanksgiving  theresa  thomas  timothy  tolisten  tools  tories  transcontextualism  transformation  transhumanism  trash  ubi  uk  ukip  uncommons  understanding  universal  urban  us  usa  utopian  valley  vi:fantasylla  videogames  violence  visionary  web  weirdness  wertegesellschaft  wilson  witchy  withthelads  wolff  work  xanadu  yasminnair 

Copy this bookmark: