In Media Primitivism Delinda Collier provides a sweeping new understanding of technological media in African art, rethinking the assumptions that have conceptualized African art as unmediated, primary, and natural. Collier responds to these preoccupations by exploring African artworks that challenge these narratives. From one of the first works of electronic music, Halim El-Dabh's Ta'abir Al-Zaar (1944), and Souleymane Cisse's 1987 film, Yeelen, to contemporary digital art, Collier argues that African media must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. Collier reorients modern African art within a larger constellation of philosophies of aesthetics and technology, demonstrating how pivotal artworks transcend the distinctions between the constructed and the elemental, thereby expanding ideas about mediation and about what African art can do.

In Media Primitivism Delinda Collier provides a sweeping new understanding of technological media in African art, rethinking the assumptions that have conceptualized African art as unmediated, primary, and natural. Collier responds to these preoccupations by exploring African artworks that challenge these narratives. From one of the first works of electronic music, Halim El-Dabh's Ta'abir Al-Zaar (1944), and Souleymane Cisse's 1987 film, Yeelen, to contemporary digital art, Collier argues that African media must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. Collier reorients modern African art within a larger constellation of philosophies of aesthetics and technology, demonstrating how pivotal artworks transcend the distinctions between the constructed and the elemental, thereby expanding ideas about mediation and about what African art can do.

Repainting the Walls of Lunda chronicles the publication and dissemination of an anthropology book, Paredes Pintadas da Lunda (Painted Walls of Lunda), which was published in Portuguese in 1953. The book featured illustrations of wall murals and sand drawings of the Chokwe peoples of northeastern Angola. These reproductions were adapted in postindependence Angolan nationalist art and post-civil war contemporary art. As Delinda Collier recounts, the pictorial narrative foregrounds the complex relationships between content, distribution, and politicization. The result is a nuanced look at the practices of art entangled in political economies as much as in issues of aesthetics. After historicizing the drastic changes in media for the Chokwe images, from sand and dwelling to book and from analog to digital, Collier analyzes the formal and infrastructural logic of the two-dimensional images in their subsequent formats, from postindependence canvas paintings to Internet images. Collier does not view any of these iterations as a negation or obliteration of the previous one. Instead, she argues that the logic of reproductive media envelops the past: each mediation adds another layer of context and content. As Collier sees it, the images' historicity is embedded within these media layers, which many Angolan postindependence artists speak of in terms of ghosts or ancestors when describing their encounter with reproductions of the Chokwe art. If, as Collier contends, "Africa troubles media," this book troubles facile theories and romantic constructions of "analog Africa," boundaries between art and cybernetics, and the firewall between the colonial and the postcolonial.

Repainting the Walls of Lunda chronicles the publication and dissemination of an anthropology book, Paredes Pintadas da Lunda (Painted Walls of Lunda), which was published in Portuguese in 1953. The book featured illustrations of wall murals and sand drawings of the Chokwe peoples of northeastern Angola. These reproductions were adapted in postindependence Angolan nationalist art and post-civil war contemporary art. As Delinda Collier recounts, the pictorial narrative foregrounds the complex relationships between content, distribution, and politicization. The result is a nuanced look at the practices of art entangled in political economies as much as in issues of aesthetics. After historicizing the drastic changes in media for the Chokwe images, from sand and dwelling to book and from analog to digital, Collier analyzes the formal and infrastructural logic of the two-dimensional images in their subsequent formats, from postindependence canvas paintings to Internet images. Collier does not view any of these iterations as a negation or obliteration of the previous one. Instead, she argues that the logic of reproductive media envelops the past: each mediation adds another layer of context and content. As Collier sees it, the images' historicity is embedded within these media layers, which many Angolan postindependence artists speak of in terms of ghosts or ancestors when describing their encounter with reproductions of the Chokwe art. If, as Collier contends, "Africa troubles media," this book troubles facile theories and romantic constructions of "analog Africa," boundaries between art and cybernetics, and the firewall between the colonial and the postcolonial.