In this case, answering his deceptively simple questions-What do do? What do they mean?-led me to acknowledge the presence of race. Take up the challenge posed by Pursell: to look more at context and impact than at actors and objects. Keywords: digital practice, technology, Black technoculture, Black technocultural theory, modernity, postpresent Black technocultural theory insists that the digital’s virtual separation from the material world still retains ideologies born of physical, temporal, and social beliefs about race, modernity, and the future. These approaches include Afrofuturism but this chapter supplements Afrofuturism by suggesting that Black technoculture is invested in the “postpresent” rather than speculating about Blackness’s future within some yet to be established sociopolitical technological reality. In doing so, it reviews various approaches to theorizing Blackness, Black bodies, Black culture, and technology. Institute of the Arts and Sciences ■ University of California, Santa Cruzġ156 High Street ■ Santa Cruz, CA 95064 ■ chapter closes out Distributed Blackness by extrapolating from Black digital practice to a theory of Black technoculture, examining Black cultural discourses about technology’s mediations of intellect, sociality, progress, and culture itself. “On Decadence: Bling Bling” #79 (February 2017). Newcastle: Cambridge Scholars Publishing, 2008, 395–413. Chryssoula Lascaratou, Annaĭespotopoulou, and Elly Ifantidou. “Vowel Obstruction: (Not) Screamin’ Joy out of ‘Real Pain.’” (Re)Constructing Pain and Joy: Linguistic, Literary, and Cultural Perspectives. Cambridge: Cambridge University Press, 1999. ![]() Cambridge Studies in American Literature andĬulture. Vermont Studio Center, Johnson, VT, Recycled-Artist-in-Residence (RAIR), Philadelphia, PA, and the His select residencies include Skowhegan's School of Painting and Sculpture, Madison, ME, Fulbright Research in the Arts Grant and Virginia Commission for the Arts Fellowship in ![]() Gantt Centerįor African-American Arts + Culture, Charlotte, NC, Museum of African Design, Johannesburg, SouthĪfrica, and, among others, the Institute of Humanities, Ann Arbor, Michigan. His works have been included in exhibitions at the Institute for ContemporaryĪrt at Virginia Commonwealth University, Richmond, VA, BronxArtSpace, Bronx, NY, Harvey B. from the University of Michigan Ann Arbor and his M.F.A. Levester William's work is also featured in the following Barring Freedom study guide: From the Inside Out Biography Heavily on the surface of Tar Ball, as legacies of forced labor, racial terror, prisons, and The history of tarring andįeathering in the United States, and its complex relationship to lynching and racial terror, also lays The work also serves as a reminder of the present-day “state road crews” and prison labor thatĬontinue to maintain the roads, who are now paid between 25 cents to $1.25 an hour. Gangs," the teams of prisoners who in the past labored unpaid to lay the roads that crisscross the U.S. With deadįlies caught in its thick layer of tar coating, the sheets evoke the history of so-called "chain Unclean bedsheets from a Virginia penitentiary, tar, flies, and other mediaįor this four foot sculpture, unwashed bed sheets taken from a Virginia penitentiary are bundled into aīall reminiscent of the iron balls historically used as ankle weights to shackle prisoners. ![]() Sculptures, installations, sound, animations, drawings, and videos.Ĭlick here for an interactive transcript of this interview In his artworks, questions ariseįrom the politics and poetics of identity, space/place, boundaries, and the body congeal into forms of Relationships between objects and beings, language and the world. Levester Williams (based in Philadelphia, PA) creates work that explores the
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