[00:00:04.21]
dr. Susanna Morris is an associate
professor at the school of literature
[00:00:10.05]

[00:00:10.05]
media and communication here at Georgia
Tech she is this color of black feminism
[00:00:15.21]

[00:00:15.21]
black digital media and afrofuturism she
is the author of clothes skin and
[00:00:23.06]

[00:00:23.06]
distant relatives the paradox of
electability in black women's literature
[00:00:28.19]

[00:00:28.19]
she is currently working on her new book
project which explores black women's
[00:00:34.05]

[00:00:34.05]
relationships after future is there dr.
Alex yes is a lecturer in the African
[00:00:42.18]

[00:00:42.18]
Diaspora in the world program and in the
Brickman of world languages literature
[00:00:47.12]

[00:00:47.12]
at Spelman College he is the author of
we managed that I found resistant she
[00:00:54.05]

[00:00:54.05]
kept for almost yet one vision yes a
week to the farm on busy stops she lucky
[00:01:00.05]

[00:01:00.05]
schoolmate seaman's world spotters Toni
Morrison Alice Walker he has recently
[00:01:06.16]

[00:01:06.16]
been appointed as the director of
cultural orientation at Spelman somebody
[00:01:13.05]

[00:01:13.05]
is a lecturer of French at the school of
Modern Languages here at Georgia Tech he
[00:01:18.09]

[00:01:18.09]
combines his interest in political
science French literature and languages
[00:01:22.08]

[00:01:22.08]
by teaching French culture translation
francophone literature as well as wool
[00:01:27.18]

[00:01:27.18]
off every summer he conducts a month
long study abroad in Senegal in which
[00:01:33.20]

[00:01:33.20]
his students live in complete immersion
and get acquainted with
[00:01:37.20]

[00:01:37.20]
literature philosophy culture geography
history business and industry now I'm
[00:01:45.10]

[00:01:45.10]
sorry to tell you that one of our
panelists would not make it tonight
[00:01:48.19]

[00:01:48.19]
professor zoom back exactly the Savior
will not be able to join us she has that
[00:01:54.20]

[00:01:54.20]
she had a last-minute family
[00:01:58.03]

[00:02:04.20]
first of all I would like to thank the
wonderful woman who have made possible
[00:02:12.14]

[00:02:12.14]
this invitation and this evening Pascal
Payet from the cultural department of
[00:02:19.08]

[00:02:19.08]
the consulate of France here
Stephanie Beulah and Giulio journey from
[00:02:26.16]

[00:02:26.16]
Georgia State University dr. Gladys
Francis from Georgia State University
[00:02:34.11]

[00:02:34.11]
and I would like to thank you
each of you for having accepted to
[00:02:42.16]

[00:02:42.16]
participate in this conversation and I'm
glad I'm happy and I'm looking forward
[00:02:49.23]

[00:02:49.23]
to it allow let me start by your brief
overview of my approach as a curator my
[00:03:05.19]

[00:03:05.19]
work as a curator is based on research
at the instance intersection of digital
[00:03:10.16]

[00:03:10.16]
culture Contemporary Arts popular
culture and politics I claim my interest
[00:03:17.07]

[00:03:17.07]
in working on an African scale from a
pan-african perspective but I pay
[00:03:25.21]

[00:03:25.21]
special attention to the local context
of the subject Ghana Kenya Senegal South
[00:03:31.17]

[00:03:31.17]
Africa for instance do not have I do not
have the same history of technology or
[00:03:37.12]

[00:03:37.12]
digital culture I'm interested in blind
spot margins weak signal low-tech
[00:03:44.23]

[00:03:44.23]
exploration finally I value the need to
summon fiction in order to question the
[00:03:51.01]

[00:03:51.01]
present so as a Stephanie as presented
it I will briefly present three project
[00:03:59.07]

[00:03:59.07]
have been working the last eurozone so
Africa is a from Africa itself is a
[00:04:06.01]

[00:04:06.01]
research project I have developed
between 2010
[00:04:09.18]

[00:04:09.18]
and 2016 if we restrict ourself to
science fiction as it emerged in Europe
[00:04:16.06]

[00:04:16.06]
in the 19th century and in United States
in the 20th century the beginning of the
[00:04:21.21]

[00:04:21.21]
21st century clearly marked a turning
point in the development of the wrong on
[00:04:26.16]

[00:04:26.16]
the African continent so I've tried to
set up a couple of works that claim to
[00:04:33.07]

[00:04:33.07]
belong to science fiction I just show a
few example to also show that it's from
[00:04:42.12]

[00:04:42.12]
South Africa to Senegal from Kenya to to
Ghana but I won't comment it it's just
[00:04:50.15]

[00:04:50.15]
you to show allow the senior to film
piccolo Cameroon Africa parody of film
[00:04:59.06]

[00:04:59.06]
also from Sylvester musu Kieran GT
yonder with a contemporary art artist
[00:05:04.11]

[00:05:04.11]
and his photography district 9 which is
quite well known and even if it's a very
[00:05:10.03]

[00:05:10.03]
controversial film it's part of it and
it has also put a focus on this science
[00:05:16.11]

[00:05:16.11]
fiction from the continent when we carry
a short film that has also been a very
[00:05:22.10]

[00:05:22.10]
studied especially also in in the United
States two books that gain awards one
[00:05:30.22]

[00:05:30.22]
the artists o'clock and the word fantasy
for haneda Okafor and you fear death
[00:05:39.09]

[00:05:39.09]
this is a contemporary art artist from
Sierra Leone no short film are
[00:05:47.01]

[00:05:47.01]
confronted by the no live film gonna
live in the u.s. music animation video
[00:05:56.05]

[00:05:56.05]
game it's all Alicante who is an
architect and a graphic designer
[00:06:03.05]

[00:06:03.05]
Mulumba embeds a cartoon and
she has also a short short film on
[00:06:10.21]

[00:06:10.21]
YouTube
Kate Mongo of Francois is a contemporary
[00:06:16.00]

[00:06:16.00]
art artists and copani key manga is very
famous a contemporary artist who made
[00:06:23.23]

[00:06:23.23]
the series of a performance called afro
Galactica
[00:06:28.23]

[00:06:29.20]
in fact my my aim was to blow what this
aesthetic was about and I made a few
[00:06:39.15]

[00:06:39.15]
assumption is a science fiction from the
African continent the aesthetic of a
[00:06:46.08]

[00:06:46.08]
changing continent
it is the aesthetic of a kind of
[00:06:49.22]

[00:06:49.22]
connected youth that look to the future
it is the aesthetic of a society that
[00:06:54.17]

[00:06:54.17]
experience itself as thanks fictional
can we consider that it could be the
[00:06:59.19]

[00:06:59.19]
sociology of a dystopian future could it
be used as a tool or as a potential to
[00:07:05.12]

[00:07:05.12]
imagine different future
so this is the things that I've tried to
[00:07:10.02]

[00:07:10.02]
put in this in this research and to and
to develop but I want go further
[00:07:17.11]

[00:07:17.11]
the second project took place last year
it's a whole cyber of feminism so afro
[00:07:24.02]

[00:07:24.02]
cyber feminism is a cycle I have
developed with the curator Malaysian Air
[00:07:28.16]

[00:07:28.16]
Act legacy lyric in Paris like et lyric
is a media art center the afro cyber
[00:07:34.19]

[00:07:34.19]
feminism cycle was conceived as a
tribute to afro feminism cyber feminism
[00:07:40.13]

[00:07:40.13]
and science fiction as critical tool and
potential space for the invention of
[00:07:46.03]

[00:07:46.03]
different narrative to renew that renew
the view on history of science and
[00:07:51.16]

[00:07:51.16]
technology and reject alignment with a
demonic model a few word about africa
[00:07:58.07]

[00:07:58.07]
feminism since a few year there are a
lot of very active collective researcher
[00:08:04.02]

[00:08:04.02]
artists journalists in Europe in general
and in France in particular that who
[00:08:10.12]

[00:08:10.12]
address of a feminist issue from an
afro-descendant point of view and what I
[00:08:16.17]

[00:08:16.17]
have noticed that
a the enormous issue because the the
[00:08:23.14]

[00:08:23.14]
field is big we have lots of things to
to discuss but cross-references with
[00:08:29.01]

[00:08:29.01]
digital cash question such as that
internet contribute to assignment
[00:08:34.13]

[00:08:34.13]
exclusion stigmatization are rarely
address so this is the site of like
[00:08:43.11]

[00:08:43.11]
Italy Rica
so the proclamation has been built
[00:08:48.11]

[00:08:48.11]
around proposal by researcher activists
artists from different background who
[00:08:53.22]

[00:08:53.22]
share the desire to explore digital
technology through the prism of gender
[00:08:58.15]

[00:08:58.15]
of jaha Raisa and the place of Africa
and it's just Baja so this is some of
[00:09:08.17]

[00:09:08.17]
the guests we have invited during this
this cycle very important we were
[00:09:19.20]

[00:09:19.20]
inspired by the silly the botanist by
the African American sci-fi writer
[00:09:24.06]

[00:09:24.06]
Octavia Butler her novel mind of my mind
seemed particularly relevant for us to
[00:09:31.05]

[00:09:31.05]
support the ambition of our project to
say how to weave the thread of an
[00:09:36.13]

[00:09:36.13]
imaginary and ephemeral community at
legatee lyric afro feminism took the
[00:09:43.02]

[00:09:43.02]
form of several meeting with different
theme at each time we constantly
[00:09:48.03]

[00:09:48.03]
wondered how to make a programming an
open flexible and experimental space for
[00:09:54.10]

[00:09:54.10]
work meeting and production how to
remain vigilant in order to let the
[00:09:59.01]

[00:09:59.01]
individual concern decide and speak on
their behalf and how to avoid any form
[00:10:05.07]

[00:10:05.07]
of appropriation by the institution the
three main axes of the proclamation were
[00:10:11.17]

[00:10:11.17]
first the official history of Science
and Technology promote essentially
[00:10:17.09]

[00:10:17.09]
European and American white man the
history of digital culture which as is
[00:10:22.23]

[00:10:22.23]
emblematic figure in the domain of
research counter culture of
[00:10:26.15]

[00:10:26.15]
entrepreneurship has overshadowed
contribution from black woman Africa and
[00:10:32.04]

[00:10:32.04]
its jasper-howe how to restore
visibility to the presence of black in
[00:10:37.00]

[00:10:37.00]
technology what is the place of Easter
what is the place of Africa in digital
[00:10:42.11]

[00:10:42.11]
technology and what are the story that
repair omission or appropriation the
[00:10:49.10]

[00:10:49.10]
second point was internet broadly
Autopia
[00:10:52.10]

[00:10:52.10]
of a world reconciled by technology more
democratic more egalitarian which would
[00:10:58.15]

[00:10:58.15]
abolish difference in age color gender
and class as the process of
[00:11:03.19]

[00:11:03.19]
massification of the network accelerate
there is illusion need to deconstruct
[00:11:09.02]

[00:11:09.02]
this mythology indeed science technology
and digital technology of gender and
[00:11:15.21]

[00:11:15.21]
racial bias and third but digital
technology can also be used to fight
[00:11:22.11]

[00:11:22.11]
again gender class and race
discrimination I have to say that when
[00:11:28.10]

[00:11:28.10]
we have started this programming we have
quickly realized that this issue was
[00:11:33.19]

[00:11:33.19]
much discussed in the United States
and we have been inspired but lots of
[00:11:39.06]

[00:11:39.06]
african-american artist activist and
researcher in that in that field and it
[00:11:44.04]

[00:11:44.04]
was very important for us in front in
order to extend the recession we have
[00:11:51.23]

[00:11:51.23]
designed a website of whole cyber
feminist org to keep track of the event
[00:11:59.09]

[00:11:59.09]
but also to give the name of researcher
and artist who we couldn't invite due to
[00:12:05.13]

[00:12:05.13]
the lack of time or resources so it's a
place where we have put all the event
[00:12:11.05]

[00:12:11.05]
thus a map of each event and a page of
resources for artists and activists who
[00:12:17.23]

[00:12:17.23]
deal with those issues this is a picture
of what a Bernina in this auditorium
[00:12:26.09]

[00:12:26.09]
there were very interesting moment very
experimental and and
[00:12:33.15]

[00:12:33.15]
it's and all the last project I've
called the non-aligned Autopia
[00:12:41.23]

[00:12:41.23]
non-aligned utopia it's part of a
collective project combining research
[00:12:46.09]

[00:12:46.09]
and production called digital imaginary
ISM it was initiated by Asha Gutenberg
[00:12:53.03]

[00:12:53.03]
researcher at the university of its
veteran visa in Joanna's boom and it
[00:12:58.05]

[00:12:58.05]
took the form of workshop seminar
artists residences lecture debate
[00:13:03.01]

[00:13:03.01]
festival exhibition in Johannesburg and
at the second instar in casco which is a
[00:13:09.12]

[00:13:09.12]
central focused and Technology immediate
Centre in Germany in Dhaka started from
[00:13:16.03]

[00:13:16.03]
the notion of utopia it's elected under
on the background just to have an idea
[00:13:24.02]

[00:13:24.02]
of what we have called the Leapfrog this
is this moment where the issue of
[00:13:31.23]

[00:13:31.23]
technology on the African continent has
been considered as a divide and jump to
[00:13:39.16]

[00:13:39.16]
a leapfrog mainly due to the use of
mobile mobile phone but I want developed
[00:13:47.09]

[00:13:47.09]
because it's it's just to give you an
idea of this issue of digital technology
[00:13:56.15]

[00:13:56.15]
and near African continent
[00:14:00.03]

[00:14:00.16]
so indica extracted from the notion of
utopia and non-alignment the research
[00:14:06.00]

[00:14:06.00]
explore the issue and the critical
position that a confined the development
[00:14:10.07]

[00:14:10.07]
of a digital culture on the continent
one reading of this development is that
[00:14:15.22]

[00:14:15.22]
Africa is arriving in the digital in the
global digital sphere our statement was
[00:14:21.23]

[00:14:21.23]
in parallel or in the fridge in
opposition to these discourses that make
[00:14:28.04]

[00:14:28.04]
Africa the last frontier of the Liebherr
hard techno scientific economy critical
[00:14:33.01]

[00:14:33.01]
analyzes and position of researcher
philosopher artist and micro
[00:14:37.21]

[00:14:37.21]
laboratories of alternative uses are
developing they denounce the Western
[00:14:43.07]

[00:14:43.07]
center character and
technological colonialism of information
[00:14:47.13]

[00:14:47.13]
and communication technology there's a
Ford announced that the devastating
[00:14:52.05]

[00:14:52.05]
effect the most visible of which are the
conflict in the mineral mining area an
[00:14:57.12]

[00:14:57.12]
open-air electronic waste disposal site
and also the digital labor those artists
[00:15:04.13]

[00:15:04.13]
activists researcher call for cultural
revolution advocate for the
[00:15:09.09]

[00:15:09.09]
decolonization of art and knowledge that
involved the identification of local
[00:15:14.23]

[00:15:14.23]
technical knowledge and the archaeology
of ancestral sex scientific knowledge in
[00:15:20.12]

[00:15:20.12]
order to develop new representation
imagine new narrative and regain the
[00:15:26.02]

[00:15:26.02]
future these approaches are developed in
open African perspective and involved
[00:15:31.21]

[00:15:31.21]
jasper ha who wants to be part of the
continents future in dhaka we scratch a
[00:15:38.18]

[00:15:38.18]
son who is a media art center a digital
cool a school or a corporation we it
[00:15:46.18]

[00:15:46.18]
seemed appropriate to us to reactivate a
utopia contemporary to the first
[00:15:51.17]

[00:15:51.17]
researcher on computer machine the
non-aligned movement we wanted to return
[00:15:57.13]

[00:15:57.13]
from this movement with with the first
fruits which appear in april 1955
[00:16:03.22]

[00:16:03.22]
inbounding what we wanted to retain what
it's symbolic power its capacity to
[00:16:10.03]

[00:16:10.03]
federate on the transcontinental scale
and collective principle such as
[00:16:15.14]

[00:16:15.14]
struggle for independence fear desire to
think its own model of emancipation
[00:16:21.17]

[00:16:21.17]
condemnation of all imperialism
intelligent of the marching and
[00:16:26.22]

[00:16:26.22]
solidarity we wanted to read these
question shows such as how can we
[00:16:34.00]

[00:16:34.00]
organize from the south between brigade
a suburb resistance between bracket huh
[00:16:41.08]

[00:16:41.08]
as advocated by the artist arbitrary
Zaya
[00:16:44.15]

[00:16:44.15]
is it possible to design and develop
digital technology and practices
[00:16:49.14]

[00:16:49.14]
non-aligned with a job not aligned sorry
with a germanic and neo-colonialist
[00:16:54.03]

[00:16:54.03]
model our digital technology the product
of
[00:16:58.17]

[00:16:58.17]
only the Western culture other barato
before alternative practices other
[00:17:04.15]

[00:17:04.15]
future our other future possible
can we still think in terms of utopia if
[00:17:11.16]

[00:17:11.16]
we consider like the sociologist Joseph
Tunde that we are under the domination
[00:17:16.21]

[00:17:16.21]
of screen that fascinate and petrified
us just to finish I just present a few
[00:17:29.01]

[00:17:29.01]
artists and work very briefly sorry
so Tabata Reza who has inspired me a lot
[00:17:37.05]

[00:17:37.05]
and has inspired this work a lot I maybe
will add two minutes of presentation of
[00:17:44.14]

[00:17:44.14]
the fit we do it nothing right now okay
hello
[00:17:50.06]

[00:18:15.19]
something
[00:18:18.19]

[00:20:00.18]
this capitalism is a French
danny's and Rianna's artista
[00:20:08.18]

[00:20:08.18]
she is post-internet artist all a film
which are based on long research on the
[00:20:16.18]

[00:20:16.18]
subject are on her web video so it's
very important for her to let people
[00:20:23.13]

[00:20:23.13]
have a look at it and so the film of 20
minutes can I'd go further but it's
[00:20:30.15]

[00:20:30.15]
possible to see this this film and on
her video just to pay tribute to her I
[00:20:38.04]

[00:20:38.04]
just want to read if I have one minute I
think the the feel of research how can
[00:20:46.15]

[00:20:46.15]
technology be articulate with dimension
that are more spiritual more physical
[00:20:51.02]

[00:20:51.02]
more organic how can we trust the long
history of the relationship established
[00:20:55.21]

[00:20:55.21]
by african society between mathematical
knowledge and divination how can we
[00:21:01.01]

[00:21:01.01]
consider the body as a space of
resources and as powerful technological
[00:21:05.23]

[00:21:05.23]
tool that can produce store and transmit
information how can artistic practices
[00:21:11.15]

[00:21:11.15]
become a healing process on the path to
emancipation
[00:21:17.02]

[00:21:20.19]
ha and very rapidly some images of this
digital imaginary project sorry I cannot
[00:21:33.11]

[00:21:33.11]
go further is it a sign no we will not
see it but Vera Francois has worked on
[00:21:47.15]

[00:21:47.15]
services with me in Dakar and developed
this project called M from and the this
[00:21:54.20]

[00:21:54.20]
project was after part of a big
exhibition that took place took place at
[00:22:00.01]

[00:22:00.01]
the same time in class foo and I just
present a few images of the exhibition
[00:22:05.21]

[00:22:05.21]
very a beautiful and important project
from language on Pongal soap
[00:22:11.22]

[00:23:08.07]
okay seriously though we have we have
four panelists and we will start with
[00:23:16.08]

[00:23:16.08]
Alex Pierre and I want to start there
because I think you'll be the only
[00:23:21.17]

[00:23:21.17]
person with a PowerPoint and I'm going
to be sitting and watching the time
[00:23:33.14]

[00:23:33.14]
carefully so we don't for everybody
you're too late but I like these that
[00:23:37.23]

[00:23:37.23]
you're going to enjoy what again I'm
looking forward to it
[00:23:44.00]

[00:24:04.06]
Ventura down to almost the title of my
presentation about because it's the
[00:24:10.00]

[00:24:10.00]
future is the project so French opera
descendants liquid inferences I have one
[00:24:24.08]

[00:24:24.08]
in France photography's parents started
the Africa is the t-shirt an
[00:24:28.18]

[00:24:28.18]
organization that emphasize the positive
image of Africa in 2004 they released a
[00:24:35.18]

[00:24:35.18]
t-shirt to both capital letters that
simply said from Africa is the future
[00:24:41.15]

[00:24:41.15]
and just so you have a visual
[00:24:47.09]

[00:24:47.16]
so August it shows peer group deaths and
income death threats and RCA among
[00:24:55.23]

[00:24:55.23]
others join the campaign in to talk to
the t-shirt ten years later the two
[00:25:01.15]

[00:25:01.15]
partners launched a campaign for a new
project which they explained as scholars
[00:25:06.12]

[00:25:06.12]
imagine it's 2030 for the African
continent has been renamed the United
[00:25:13.20]

[00:25:13.20]
Republic of Africa or you are a and has
become the dominant global power the you
[00:25:20.01]

[00:25:20.01]
are a is a leader and architecture and
more you are aids most when you read
[00:25:29.14]

[00:25:29.14]
most profitable publication is
the ITF magazine as the iconic Life
[00:25:35.21]

[00:25:35.21]
magazine covers illustrated American
world post-world War two it ITF magazine
[00:25:41.20]

[00:25:41.20]
covers covers relate the economic and
political rights of the United Republic
[00:25:46.12]

[00:25:46.12]
South Africa the summers from the era T
of live covers and lomatin of the
[00:25:52.07]

[00:25:52.07]
American Dream beautiful suits this
variety of divergent this is no
[00:25:58.17]

[00:25:58.17]
astronomers inspired effort of the table
future a idea covers are an ironic
[00:26:05.05]

[00:26:05.05]
transposition of the world I was
presented in the International
[00:26:09.18]

[00:26:09.18]
traditional media the head these are
[00:26:16.11]

[00:26:17.06]
these are some luck you know
[00:26:21.16]

[00:26:26.23]
permit who is the photographer explained
that on September 11 2001 he was in
[00:26:33.11]

[00:26:33.11]
Congo Brazzaville a country torn by a
bloody civil war spent clustered and
[00:26:38.16]

[00:26:38.16]
sanctioned by all multinationals and
foreign governments that claims 300,000
[00:26:44.07]

[00:26:44.07]
lives he was shocked by the lack of
international media coverage of the
[00:26:48.20]

[00:26:48.20]
African disaster compared to what was
taking place here in the US the newest
[00:26:53.13]

[00:26:53.13]
tragedy you know the same time here what
I call the double standard caused them
[00:26:58.12]

[00:26:58.12]
to start the African is the future
project / campaign so how should we read
[00:27:04.08]

[00:27:04.08]
this artistic and entrepreneurial
venture in light of the title of the
[00:27:09.09]

[00:27:09.09]
round table what is that word here is a
recon sexual ization of perceptions and
[00:27:16.06]

[00:27:16.06]
representations of an Africa and his
widespread influence to Edwin some of
[00:27:21.10]

[00:27:21.10]
our guests - yes Peter statements
Africa's the future raises several
[00:27:26.20]

[00:27:26.20]
pretty many questions and issues while
authorship agency finding one's voice
[00:27:33.08]

[00:27:33.08]
the position of the annunciation the
construction of knowledge fact making
[00:27:38.15]

[00:27:38.15]
revolutionary pedagogy critical
consciousness and resisting and Calgary
[00:27:43.19]

[00:27:43.19]
with Nigeria novelist a teacher from the
chibi mentor a ghostie called the danger
[00:27:49.10]

[00:27:49.10]
of a single story in the rest there is a
narrative applicators of in in ways for
[00:27:56.10]

[00:27:56.10]
a long time in station title not just an
American problem for work
[00:28:02.10]

[00:28:02.10]
they're living in 1965 Malcolm X faded
until 1959 the image of the African
[00:28:09.19]

[00:28:09.19]
continent was created by enemies of
Africa Africa was a land dominated by
[00:28:14.08]

[00:28:14.08]
outside powers a land dominated by
Europeans in it as these ruby has
[00:28:20.06]

[00:28:20.06]
dominated the continent of Africa it was
they who created the image of Africa
[00:28:25.07]

[00:28:25.07]
that project that was protecting the
bran and it protected African people of
[00:28:29.23]

[00:28:29.23]
Africa in a negative image hateful
hateful image they made us think that
[00:28:35.07]

[00:28:35.07]
altitudes and them jungles and mangrove
animals and them cannibals and savages
[00:28:39.22]

[00:28:39.22]
expose them to say but the image you
created of our motherland and the image
[00:28:45.09]

[00:28:45.09]
you created a bar people have loved that
continent sorry was a trial was the
[00:28:50.08]

[00:28:50.08]
prison was a shame with the worst form
of slavery that has ever been invented
[00:28:55.05]

[00:28:55.05]
by so closely close race and civilized
nations in the beginning of the earth
[00:28:59.04]

[00:28:59.04]
and I would venture to say that this
image is partially students information
[00:29:05.14]

[00:29:05.14]
because of a certain approach to
education as the practice of domination
[00:29:10.03]

[00:29:10.03]
which Oliver area calls the banking
system of education to frere
[00:29:15.04]

[00:29:15.04]
education is never a political or
neutral but rather ideal ideologically
[00:29:21.01]

[00:29:21.01]
charged now this is passed on from a
certain point of view and in certain and
[00:29:25.16]

[00:29:25.16]
goal in mind in pedagogy of the
oppressed Prairie States on quote
[00:29:30.08]

[00:29:30.08]
education is the exercise of domination
stimulates the credit the credulity of
[00:29:35.23]

[00:29:35.23]
students with the ideological intent
often not perceived by educators of
[00:29:41.12]

[00:29:41.12]
indoctrinating them to adapt to the
world of oppression and work in such a
[00:29:47.07]

[00:29:47.07]
context the teacher teaches and the
students are taught
[00:29:53.03]

[00:29:53.09]
the teacher knows everything and
students know nothing the teacher thinks
[00:29:59.00]

[00:29:59.00]
and the students are thought about the
teacher talks and students listen
[00:30:03.02]

[00:30:03.02]
immediately the teacher chooses and
enforces its choices and the students
[00:30:07.20]

[00:30:07.20]
comply the teacher chooses the program
content and the students who had not
[00:30:12.17]

[00:30:12.17]
consulted attack to it the teacher is
the subject of the learning process
[00:30:17.19]

[00:30:17.19]
while the pupils are mere subjects with
an apricot is the future
[00:30:23.01]

[00:30:23.01]
Kamiya and IMM proposed an alternative
to the banking system of education
[00:30:27.20]

[00:30:27.20]
namely a problem posing approach its
present it presents or a african and
[00:30:35.18]

[00:30:35.18]
african descent to men and women as
conscious beings and consciousness
[00:30:40.07]

[00:30:40.07]
consciousness intent upon the world to
call it bravery Africa is the future
[00:30:45.23]

[00:30:45.23]
present the problems of African descent
in their relationship with the world the
[00:30:51.00]

[00:30:51.00]
narrative in which they have been
subjects imagine Africa in Queens
[00:30:56.14]

[00:30:56.14]
34 as the word power instead of the
course in a continent or Nations of
[00:31:03.21]

[00:31:03.21]
enumerated the 54 nations in the word as
it is usually described the following
[00:31:09.18]

[00:31:09.18]
questions are it went up address
squarely whose story from whose point of
[00:31:15.06]

[00:31:15.06]
view with what means to what end the two
partners challenge the practice of the
[00:31:22.00]

[00:31:22.00]
same old story internet talk Nigeria
novelists and each year amendment rosy
[00:31:27.13]

[00:31:27.13]
states the stable sori
create stereotypes and problems with
[00:31:31.21]

[00:31:31.21]
stereotypes is not that they are untrue
but that they are incomplete anymore
[00:31:38.13]

[00:31:38.13]
and I am will sought out to fill the gap
left by the media by the same token they
[00:31:45.07]

[00:31:45.07]
were also attending to the question of
the position of enunciation which goes
[00:31:50.09]

[00:31:50.09]
in and hand practices of representation
just your call they
[00:31:56.07]

[00:31:56.07]
would implicate the position from which
one speaks or writes in cultural
[00:32:01.20]

[00:32:01.20]
identity and cinematic representation
the British cultural theorist declares I
[00:32:07.09]

[00:32:07.09]
quote though we speak soldier state so
to say in our own name of ourselves and
[00:32:14.04]

[00:32:14.04]
from our own experience nevertheless who
speaks and the subject who's spoken up
[00:32:19.16]

[00:32:19.16]
are never exactly in the same place and
quote Africa is the future
[00:32:26.16]

[00:32:26.16]
highlights the agency of the African
subject as well as finding one's voice
[00:32:33.11]

[00:32:33.11]
historiography like education serves
particular ideologies and translate
[00:32:39.10]

[00:32:39.10]
specific workers who gets to write and
teach the history controls the narrative
[00:32:45.09]

[00:32:45.09]
Merc Holland's April there's any mention
of Buland prior she concludes her whoa
[00:32:51.22]

[00:32:51.22]
and I quote until lions have their own
asourian's
[00:32:56.11]

[00:32:56.11]
they say jail is upon t will always
horrify the hundred deals of honey will
[00:33:02.04]

[00:33:02.04]
always go right by the hunter until the
lion s keys were holdin own historian
[00:33:09.03]

[00:33:09.03]
the inclusion let me you know take you
back to the initial statement this is no
[00:33:16.23]

[00:33:16.23]
astronomers remember this is where the
true partner says this is known
[00:33:20.19]

[00:33:20.19]
astronomers inspired effort to predict
the future Africa is the future coppers
[00:33:26.07]

[00:33:26.07]
are in my writing transposition of
well as presented in the international
[00:33:31.04]

[00:33:31.04]
traditional and dominant media landscape
I'd like to put those two issues in
[00:33:36.09]

[00:33:36.09]
conversation with Collins and the
Declaration of the green uh mama in some
[00:33:42.15]

[00:33:42.15]
element of all men and the Greenup says
I am real master of the art of elephants
[00:33:50.13]

[00:33:50.13]
we are vessels of speech we are
positives which Harbor secrets many
[00:33:56.20]

[00:33:56.20]
centuries old the art of eloquence
there's no secrets for us we are the
[00:34:02.01]

[00:34:02.01]
memories of mankind by the spoken word
we bring to light of these and exploits
[00:34:07.13]

[00:34:07.13]
of kings for young generation I teach
the history so the lives of the Ancients
[00:34:13.12]

[00:34:13.12]
might serve as an example or the world
is old that the future screens on the
[00:34:18.13]

[00:34:18.13]
past my world the word of the griot is
pure and free of all untruth royal
[00:34:25.15]

[00:34:25.15]
freedoms
do not know what my name is and quote
[00:34:29.19]

[00:34:29.19]
what is Africa is the future but an
example of an African initiative to
[00:34:37.06]

[00:34:37.06]
think about technologies and sciences
and in our case communication from a
[00:34:42.12]

[00:34:42.12]
perspective of non-alignment with
dominant models and the read
[00:34:47.10]

[00:34:47.10]
appropriations of mutants and actions
[00:34:52.00]

[00:34:54.20]
I out four minutes gonna be that we'll
just have to each panel to speak and
[00:35:12.03]

[00:35:12.03]
when we complete that bit we'll open up
to Q&A so I'm going to give it
[00:35:23.20]

[00:36:03.01]
listen
[00:36:06.01]

[00:36:11.13]
I grew up in the first communion islands
of value when nine sisters did the
[00:36:18.12]

[00:36:18.12]
Middle Passage and which slums are
imaging that the island did not spread
[00:36:24.10]

[00:36:24.10]
open like spread open on the sea like a
water lily there is something about
[00:36:31.16]

[00:36:31.16]
listening together shoulders to
shoulders
[00:36:34.23]

[00:36:34.23]
something about mixing menstrual blood
becoming yours and yours
[00:36:40.09]

[00:36:40.09]
something about smelling together
waiting together dispersing together
[00:36:45.08]

[00:36:45.08]
making sense of our bodies in the new
structural racist and systemic
[00:36:50.00]

[00:36:50.00]
capitalist economies something about
story and permit forms of survival and
[00:36:57.02]

[00:36:57.02]
resistance in our bodies performance is
joy performance of urbanites
[00:37:03.23]

[00:37:03.23]
performances of women not Monsieur
performing to touch the invisible
[00:37:09.12]

[00:37:09.12]
motherland performing to ease the pain
before me because there is no water me
[00:37:15.23]

[00:37:15.23]
is spreading open from the sea of simin
that rates takes students burns destroys
[00:37:23.17]

[00:37:23.17]
and is married to me so that's why I do
I look at the patio aesthetics from each
[00:37:31.18]

[00:37:31.18]
tranche to again women perform their
subjectivity to the literature so many
[00:37:37.08]

[00:37:37.08]
arts performance art digital and visual
arts examine the ways in which bodies
[00:37:44.04]

[00:37:44.04]
body movements are politicized and
images I look at the ways in which
[00:37:49.23]

[00:37:49.23]
virtually began
artists disrupt cultures of silence
[00:37:54.05]

[00:37:54.05]
shame isolation that affect them as well
as the women they make visible and get
[00:38:01.00]

[00:38:01.00]
artists who like to eat either
Linna certain cannot go for us to
[00:38:07.03]

[00:38:07.03]
respond season touch smell and taste the
radical becoming a black women spreading
[00:38:12.15]

[00:38:12.15]
in the world like a magical risin of
water lilies the hispaniola studies to
[00:38:20.15]

[00:38:20.15]
make it clear that this magic life
utopia like image six at some
[00:38:25.19]

[00:38:25.19]
accompanies in fact there's culture of
violence first business modernization
[00:38:33.21]

[00:38:33.21]
and invisibility for black women on the
islands of graduated Martinique who
[00:38:38.12]

[00:38:38.12]
performs love or behave outside
Eurocentric phones unknowns in the first
[00:38:46.05]

[00:38:46.05]
rebellion radical feminism is buried
under the memories feminists led
[00:38:52.02]

[00:38:52.02]
Bernardo sisters oestrogen Cesar took
decades to be touched unburied or we
[00:38:57.10]

[00:38:57.10]
know so that's why I do process that I
turn a corner addressing a give focus to
[00:39:05.07]

[00:39:05.07]
how artists scholars and activists
represent and body transversal black
[00:39:10.20]

[00:39:10.20]
experiences through kinesthetic
tradition suggests
[00:39:14.05]

[00:39:14.05]
serving technology as I explore the ways
in which black communities are affected
[00:39:20.05]

[00:39:20.05]
by melanin in new unionism colonial
nemesis violent Western desires of a
[00:39:26.12]

[00:39:26.12]
Germany racist narratives and inclusion
analyze mainstream practices that
[00:39:33.01]

[00:39:33.01]
continue to achieve negative
characteristics to black people and
[00:39:37.17]

[00:39:37.17]
houses black communities exposure to
such colonies disperses cause pernicious
[00:39:43.09]

[00:39:43.09]
internalization of negative ideas about
themselves and their self
[00:39:48.01]

[00:39:48.01]
objectification I focus on our sister
Jessica Cano who cause choose the see
[00:39:54.12]

[00:39:54.12]
the birdies
spirits and corner lands as monuments
[00:39:58.04]

[00:39:58.04]
and outcomes that just that must be
believed rehearsed performed touched and
[00:40:05.08]

[00:40:05.08]
witness over and over in the French
comedian carnival is an online tool
[00:40:11.12]

[00:40:11.12]
during which black transmissive balance
transfers queer bodies it safely
[00:40:16.07]

[00:40:16.07]
receives equation during carnival we
observe temporally and spatially
[00:40:21.17]

[00:40:21.17]
determined translations or else
anti-aging onyx touch strategies to
[00:40:26.15]

[00:40:26.15]
escape or destabilize hierarchy
mainstream organization of building
[00:40:31.12]

[00:40:31.12]
capitalism heterosexism and betrayal
desires in nominally tortures the
[00:40:38.15]

[00:40:38.15]
woman's body experiments generate a raw
honesty incites
[00:40:42.09]

[00:40:42.09]
of self realization that they're loudly
readers or that allows viewers to touch
[00:40:47.07]

[00:40:47.07]
many touching objects and bodies the
human encounters or real hard not to
[00:40:55.11]

[00:40:55.11]
touch that body in inappropriate ways as
we experiment as we statement yesterday
[00:41:02.01]

[00:41:02.01]
during
odometers workshop when we played Erna
[00:41:07.01]

[00:41:07.01]
Hammond a video game in which a black
woman was constantly fight hands trying
[00:41:13.14]

[00:41:13.14]
touching her hair the construction of
GTP and paternity is super limited by a
[00:41:21.14]

[00:41:21.14]
sacrifice perience
by learning for the pass that allows for
[00:41:25.19]

[00:41:25.19]
the green spaces of liberation it is as
quandary mistakes but shared unity where
[00:41:32.16]

[00:41:32.16]
every county is hybrid in an hour time
missus of burst abilities to code among
[00:41:39.07]

[00:41:39.07]
them through continuous ways to be right
itself this translations challenge
[00:41:44.22]

[00:41:44.22]
borders and boundaries found in what the
West categorizes eye as high culture
[00:41:50.18]

[00:41:50.18]
they serve as a source for reimaging we
imagining for engaging new narratives on
[00:41:57.19]

[00:41:57.19]
the African diaspora
so it would not be shocking that an
[00:42:02.17]

[00:42:02.17]
artist Sephardim cannot often begins her
performances live amidst
[00:42:07.00]

[00:42:07.00]
race of enslaved ancestors based on
colonial archives and also based on
[00:42:13.03]

[00:42:13.03]
names
there are silence within you or no
[00:42:16.18]

[00:42:16.18]
archives that she makes available what
she means for instance she miss Frances
[00:42:23.13]

[00:42:23.13]
Tanisha Anderson
Natasha Makena awesome children can also
[00:42:35.04]

[00:42:35.04]
learn little camp do not come to a
juvenile prisons to history the Credit
[00:42:40.11]

[00:42:40.11]
Valley of Voe is a performance of
spasming out blackness acting out
[00:42:45.20]

[00:42:45.20]
Magnus general is not concerned with
marketing appeal what we call in French
[00:42:51.16]

[00:42:51.16]
Authority for thoroughness practices
contribute to radical politics of
[00:42:57.14]

[00:42:57.14]
teachers alternatives utopias knowledge
making as well as engaging witness into
[00:43:03.06]

[00:43:03.06]
police action and East Virginia's black
women in the context of the after a
[00:43:09.04]

[00:43:09.04]
French Libyan non-aligned we took has
been formed many fragmentation that
[00:43:13.20]

[00:43:13.20]
occurred at the margins of cultural
appropriateness as a counter discourse
[00:43:19.14]

[00:43:19.14]
without the creation of an ecosystem
that disrupt semester in the Quran the
[00:43:25.07]

[00:43:25.07]
mutual respect and engagements of
cultural difference
[00:43:28.21]

[00:43:28.21]
Frances is possible cream and add
management of historical rumors as a
[00:43:34.21]

[00:43:34.21]
result we can finally we fight and in
fancy Potomac politics of cooperative -
[00:43:42.02]

[00:43:42.02]
all types of women mad women all the
women wise women pregnant women whores
[00:43:47.05]

[00:43:47.05]
and virgins mothers and daughters
Maroons and princesses by exposing both
[00:43:53.13]

[00:43:53.13]
the desires of the less desirable bodies
and by defining the boundaries of the
[00:43:57.22]

[00:43:57.22]
acceptable representations of female
characters there is a possibility to
[00:44:02.08]

[00:44:02.08]
sabotage both the very sick case and the
sexualized pages such laws of
[00:44:09.04]

[00:44:09.04]
representing ugly fired spaces
transgressive 3d camera fight female
[00:44:14.18]

[00:44:14.18]
bodies in Maine and explicit corporal
behaviors are the foundation for a
[00:44:19.13]

[00:44:19.13]
politics of negation that serves a
productive purpose in terms of ethics
[00:44:24.06]

[00:44:24.06]
and it beats the memory that can shield
them from commodification this
[00:44:30.08]

[00:44:30.08]
transmissivity main characters our hands
before it with opacity and consciously
[00:44:34.16]

[00:44:34.16]
supersede subjectivities in France black
artists often work in a setting in which
[00:44:40.21]

[00:44:40.21]
their products are expected to be made
from the same recipe the same batter and
[00:44:46.14]

[00:44:46.14]
learned for the same audience in France
that artists must often blend in medium
[00:44:52.21]

[00:44:52.21]
likeness invisible but in industry that
does not know how to define projects for
[00:44:58.06]

[00:44:58.06]
which they don't understand
a message on the aesthetic for them
[00:45:02.16]

[00:45:02.16]
telling stories that respond to not
French aesthetic results in many markets
[00:45:07.21]

[00:45:07.21]
so how do we restitute the voice of a
community that carries the stigmas of in
[00:45:14.09]

[00:45:14.09]
sochi dyskinesias how do we represent
the dreams country her sister we come
[00:45:22.01]

[00:45:22.01]
true how do we show the invisible the
forbidden to secret the hidden the shame
[00:45:27.05]

[00:45:27.05]
and the denial of the son how do we get
rid of could your energies to offer new
[00:45:33.08]

[00:45:33.08]
images as well as new ways to tell her
story
[00:45:36.21]

[00:45:36.21]
how do we represent his complex networks
including in material culture performing
[00:45:44.13]

[00:45:44.13]
inscribing and reiterating open moving
and complex identities becomes crucial
[00:45:50.03]

[00:45:50.03]
artists such as and scholars such as
them resources can love them us tell us
[00:45:57.11]

[00:45:57.11]
that black people had to reach with whom
they were so they would not forget they
[00:46:03.11]

[00:46:03.11]
had to also perform being other so the
movement died again no languages have
[00:46:11.12]

[00:46:11.12]
been spaces of survival and resistance
my research is also concerned with the
[00:46:15.17]

[00:46:15.17]
transformative power of technology
participation and the opportunity of
[00:46:20.08]

[00:46:20.08]
self
addition that constitutes an a
[00:46:23.00]

[00:46:23.00]
bicultural phone or neat experiences
increasingly visibly disabled in this
[00:46:30.04]

[00:46:30.04]
fashion and analyze the subjective
imaginings of the able-bodied about what
[00:46:35.09]

[00:46:35.09]
being disabled constitutes in our era of
global mass media we observe the
[00:46:41.15]

[00:46:41.15]
dominance of sensation or branding shock
driven culture and aesthetics that
[00:46:45.10]

[00:46:45.10]
spread to information entertainment and
facts they create confusing environments
[00:46:51.09]

[00:46:51.09]
the Burley is left read and interpret
this mediated representations are imbued
[00:46:58.03]

[00:46:58.03]
with issues of power and as such their
spectacle affects social relationships
[00:47:03.03]

[00:47:03.03]
between individuals these practices have
become common in contemporary society
[00:47:07.23]

[00:47:07.23]
really limiting our freedom by
supporting and at times reinforcing
[00:47:12.21]

[00:47:12.21]
forms of inequality and racial in fact
star fraud preserves Midland sources on
[00:47:20.10]

[00:47:20.10]
the social impairments of disabled
elderly and poor african-americans as
[00:47:25.19]

[00:47:25.19]
narrative prosthesis in this fashion
african-american lack of is stigmatized
[00:47:32.05]

[00:47:32.05]
as permission eyes and ology their lack
of social mobility be coming from
[00:47:37.09]

[00:47:37.09]
instance the mythology making them
responsible for
[00:47:40.17]

[00:47:40.17]
imagine their homes for Hurricane
Katrina in short african-american
[00:47:46.03]

[00:47:46.03]
suffering is leading to their own fault
in the forthcoming article that I have
[00:47:51.18]

[00:47:51.18]
with Cambridge University Press
I discussed non-aligned adoptions in the
[00:47:56.03]

[00:47:56.03]
seven-line of New Orleans where the
civil bodies systematically excluded
[00:48:01.12]

[00:48:01.12]
discounted and devalued are made visible
analyzed Leoneans brass bands severed
[00:48:08.13]

[00:48:08.13]
lungs as a space in which disability
moves from need of intervention to
[00:48:13.05]

[00:48:13.05]
creative person in fact in this context
disabilities create space for themselves
[00:48:19.15]

[00:48:19.15]
within the urban landscape the agency
set authorization inside system
[00:48:25.01]

[00:48:25.01]
increases policies that he needs and
control how and where they move there
[00:48:30.18]

[00:48:30.18]
with this popular practice in the French
comedian that occurs early one doing the
[00:48:35.22]

[00:48:35.22]
week celebration of people transitioning
as you probably know one missed a
[00:48:42.10]

[00:48:42.10]
transition in the African Diaspora we
often mean that the deceased can now
[00:48:47.10]

[00:48:47.10]
make a utopian return to act too modern
and Africa in the French Caribbean the
[00:48:54.04]

[00:48:54.04]
way is a celebration of life I would
like to share one specific practice
[00:48:58.18]

[00:48:58.18]
during which a storyteller gathers
people in a circle in Creole it has
[00:49:03.21]

[00:49:03.21]
perverts about life t transpose the
audience in another time another point
[00:49:09.07]

[00:49:09.07]
of adventure potential really no space
and the end of this context journey of
[00:49:14.20]

[00:49:14.20]
enigmatic star
sighing laughs he asked us to join our
[00:49:19.07]

[00:49:19.07]
man's hands he approaches every single
one of us and put something in our the
[00:49:27.18]

[00:49:27.18]
woman described mystical because in
reality there is nothing inside our
[00:49:31.04]

[00:49:31.04]
hands the reason being that he simply
gave us back to ourselves as actuator
[00:49:38.11]

[00:49:38.11]
entry who he met again creates similar
species of a pitcher of venality
[00:49:45.00]

[00:49:45.00]
for artists and scholars but also for
everyday people often left aside in
[00:49:50.13]

[00:49:50.13]
academia and ignored by the mainstream I
want to commend him Adam for her ability
[00:49:56.13]

[00:49:56.13]
to provoke together and to create an
inclusive cycle of convergence of
[00:50:02.05]

[00:50:02.05]
discussion and critical thinking
regarding such important ugliness and
[00:50:06.09]

[00:50:06.09]
that's very issues I also want to thank
the table for reading us together to
[00:50:13.07]

[00:50:13.07]
discuss our visions on nonagon utopias I
believe that we need to document archive
[00:50:19.22]

[00:50:19.22]
pedestrian walks and counters and new
transmissions just as we must create
[00:50:25.00]

[00:50:25.00]
space to a people of the African
Diaspora
[00:50:28.16]

[00:50:28.16]
and talk about what is that we carry to
mana utopians of creolized bodies we
[00:50:35.15]

[00:50:35.15]
move beyond blackness or the queer last
body as a fetish on an object for work
[00:50:41.03]

[00:50:41.03]
mass remains a passive dichotomy
colleague for the readers generative an
[00:50:46.19]

[00:50:46.19]
irreducible multiplicity non-linear
tokens are an invitation of modernist
[00:50:52.18]

[00:50:52.18]
cultural mutations pets firming the
embodied knowledge of such a network of
[00:50:59.02]

[00:50:59.02]
course contributes to decolonize in the
ways in which the mainstream of skills
[00:51:03.23]

[00:51:03.23]
and evaluates after the spirit network
intangible traditions and a world
[00:51:09.00]

[00:51:09.00]
knowledge pertaining to the bloom
yourself so who amanda to thank you for
[00:51:14.21]

[00:51:14.21]
the galleries you've provoked over the
past years I was very impressed will be
[00:51:19.14]

[00:51:19.14]
a forcible feeding easement website you
will not see reserved it reminded me of
[00:51:25.09]

[00:51:25.09]
the pretty clear organization in the
camp pretty such spaces for such
[00:51:30.12]

[00:51:30.12]
conversations exchanges and transparency
on African research and grants work in
[00:51:35.20]

[00:51:35.20]
what I call the Eastern Europe archives
of double-click risk thank you for the
[00:51:41.12]

[00:51:41.12]
adventure the tangible regional spaces
in for student technology issues thank
[00:51:47.10]

[00:51:47.10]
you for deconstructing our intricate and
which memory space because in reality as
[00:51:53.23]

[00:51:53.23]
illustrated in the wake of the practice
and those who receive the storytellers
[00:51:58.23]

[00:51:58.23]
gifts what we need to give
my Africa munities we encounter is
[00:52:03.22]

[00:52:03.22]
simple yet tremendous we need to give
them back to themselves
[00:52:19.17]

[00:52:27.23]
good evening
[00:52:30.19]

[00:52:32.23]
I see lots of intense spaces I know
you're thinking orally deeply I'm going
[00:52:37.23]

[00:52:37.23]
to take my full 15 minutes I'm gonna
engage with y'all with some questions
[00:52:41.11]

[00:52:41.11]
and that was a hard act to follow so
here I am so I'm gonna talk a bit and
[00:52:46.17]

[00:52:46.17]
I'm gonna move a little bit I want to
talk about how I came to a core feature
[00:52:51.17]

[00:52:51.17]
Islam and my connection to Apple cycle
feminism so when I see you before their
[00:52:59.19]

[00:52:59.19]
levels of thing I went to a library
every week every weekend got on the bus
[00:53:04.18]

[00:53:04.18]
drunk across Broward County Florida went
to the library and did this to the
[00:53:09.09]

[00:53:09.09]
science fiction show and to the history
show and to the fantasy show and one day
[00:53:14.19]

[00:53:14.19]
I went and I found two important books
to my development one was Julio Alvarez
[00:53:19.02]

[00:53:19.02]
is how the Garcia girls lost their
accents I've never read about Caribbean
[00:53:23.12]

[00:53:23.12]
immigrants in that way as a daughter of
a Caribbean I went to a caring of the
[00:53:27.22]

[00:53:27.22]
country and I also found parable of the
sower and on the cover there is a sort
[00:53:33.13]

[00:53:33.13]
of alien figure who was obviously a
black woman and that changed my life and
[00:53:38.07]

[00:53:38.07]
I like to tell my students you can blame
that book on making evil I am because
[00:53:43.06]

[00:53:43.06]
that's what brought me to this idea that
okay black hope exists in the future
[00:53:48.06]

[00:53:48.06]
maybe that's like an obvious thing but
growing up at the end of the 20th
[00:53:52.15]

[00:53:52.15]
century where I had the jetsons or all
these other pop cultural figures that
[00:53:57.13]

[00:53:57.13]
didn't even show black folk at all you
were not central to visions of the
[00:54:02.02]

[00:54:02.02]
future reading text and lighting race or
completely omitted black phone or
[00:54:07.11]

[00:54:07.11]
included us as dangerous foes that
should be vanquished right in the face
[00:54:12.23]

[00:54:12.23]
of the future reading Octavia Butler's
work although seconds ago it was
[00:54:19.17]

[00:54:19.17]
my life and really saved me in
particular sorts of ways and I think her
[00:54:24.15]

[00:54:24.15]
work as as your work shows is
foundational in the international
[00:54:30.00]

[00:54:30.00]
incident where a conversation about
black feminists are having about what
[00:54:34.19]

[00:54:34.19]
being black and being a black woman a
black person in future meetings
[00:54:38.14]

[00:54:38.14]
I want to invoke our recent ancestor
Toni Morrison and we're a little bit
[00:54:44.03]

[00:54:44.03]
from an essay or a ghost each that she
wrote that she gave in honor of Amnesty
[00:54:51.11]

[00:54:51.11]
International and it's called the war on
terror sworn error
[00:54:56.20]

[00:54:56.20]
Toni Morrison outlines what she sees as
global confusion at the turn of the 21st
[00:55:02.06]

[00:55:02.06]
century a series of twelve social
perversions from inept governments to
[00:55:07.16]

[00:55:07.16]
the media that shills for corporate
interests was about twenty years ago she
[00:55:14.14]

[00:55:14.14]
laments the lack of imagination in
public discourse and I quote a prime
[00:55:18.23]

[00:55:18.23]
example is the inability or
unwillingness to imagine a Juris feature
[00:55:23.18]

[00:55:23.18]
the inability or unwillingness to
contemplate a feature that neither
[00:55:28.06]

[00:55:28.06]
afterlife or the tenure of grandchildren
but time itself seems not to have a
[00:55:34.03]

[00:55:34.03]
feature that equals everybody's
oppressed or sweep or even a fascination
[00:55:38.01]

[00:55:38.01]
of its past infinity is now apparently
the domain of the past and the future
[00:55:45.08]

[00:55:45.08]
becomes discoverable space outer space
which is in fact the discovery
[00:55:49.23]

[00:55:49.23]
PACS time which i think is connected to
what the video that you were signing
[00:55:56.11]

[00:55:56.11]
that talks about cyberspace as in the
colonial States which i thought we
[00:55:59.12]

[00:55:59.12]
talked about billions of years of it
random outbreaks of Armageddon ISM and
[00:56:04.15]

[00:56:04.15]
persistent my Pomeroy junior name
suggests that the future is already over
[00:56:08.23]

[00:56:08.23]
I think that's particularly interesting
and maybe I can evoke Paul Gilroy a bit
[00:56:13.21]

[00:56:13.21]
here thinking about post-modernism right
this idea that whisper nerdini take it
[00:56:19.16]

[00:56:19.16]
out of the road this idea that at the
beginning of the 20th century after
[00:56:25.15]

[00:56:25.15]
World War one after World War two more
specifically that Western subjects
[00:56:30.06]

[00:56:30.06]
really felt like the world was over
burns right trench warfare disappearance
[00:56:35.22]

[00:56:35.22]
of what the British generation and so on
that that reflects our centuries before
[00:56:45.23]

[00:56:45.23]
and so our imaginings of the future have
always been speculative right respective
[00:56:53.07]

[00:56:53.07]
for a longer time than say the 19th
century convention of science fiction
[00:56:57.14]

[00:56:57.14]
would invite sentencer I want to
continue a bit with Morrison she's
[00:57:02.03]

[00:57:02.03]
always good here Morrison clarifies in
his session that the past seen even in
[00:57:07.14]

[00:57:07.14]
our definitions of the present that have
reduced this point point backwards such
[00:57:11.09]

[00:57:11.09]
as post modern post
crystal only lives post-cold-war
[00:57:16.05]

[00:57:16.05]
reflects an anemic understanding at best
or abiding fear at works of both the
[00:57:22.04]

[00:57:22.04]
present and futur