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Echo - DNA #4 (Paperback)
Nick Houde, Katrin Klingan, Johanna Schindler; Text written by Louis Chude-Sokei, Maya Ganesh, …
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R322
Discovery Miles 3 220
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Ships in 12 - 17 working days
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"The Last "Darky"" establishes Bert Williams, the comedian of the
late nineteenth century and early twentieth, as central to the
development of a global black modernism centered in Harlem's
Renaissance. Before integrating Broadway in 1910 via a
controversial stint with the Ziegfeld Follies, Williams was already
an international icon. Yet his name has faded into near obscurity,
his extraordinary accomplishments forgotten largely because he
performed in blackface. Louis Chude-Sokei contends that Williams's
blackface was not a display of internalized racism nor a submission
to the expectations of the moment. It was an appropriation and
exploration of the contradictory and potentially liberating power
of racial stereotypes.
Chude-Sokei makes the crucial argument that Williams's
minstrelsy negotiated the place of black immigrants in the cultural
hotbed of New York City and was replicated throughout the African
diaspora, from the Caribbean to Africa itself. Williams was born in
the Bahamas. When performing the "darky," he was actually
masquerading as an African American. This black-on-black minstrelsy
thus challenged emergent racial constructions equating "black" with
African American and marginalizing the many diasporic blacks in New
York. It also dramatized the practice of passing for African
American common among non-American blacks in an African
American-dominated Harlem. Exploring the thought of figures such as
Booker T. Washington, W. E. B. Du Bois, Marcus Garvey, and Claude
McKay, Chude-Sokei situates black-on-black minstrelsy at the center
of burgeoning modernist discourses of assimilation, separatism,
race militancy, carnival, and internationalism. While these
discourses were engaged with the question of representing the
"Negro" in the context of white racism, through black-on-black
minstrelsy they were also deployed against the growing
international influence of African American culture and politics in
the twentieth century.
The Sound of Culture explores the histories of race and technology
in a world made by slavery, colonialism, and industrialization.
Beginning in the late nineteenth century and moving through to the
twenty-first, the book argues for the dependent nature of those
histories. Looking at American, British, and Caribbean literature,
it distills a diverse range of subject matter: minstrelsy,
Victorian science fiction, cybertheory, and artificial
intelligence. All of these facets, according to Louis Chude-Sokei,
are part of a history in which music has been central to the
equation that links blacks and machines. As Chude-Sokei shows,
science fiction itself has roots in racial anxieties and he traces
those anxieties across two centuries and a range of writers and
thinkers - from Samuel Butler, Herman Melville, and Edgar Rice
Burroughs to Sigmund Freud, William Gibson, and Donna Haraway, to
Norbert Weiner, Sylvia Wynter, and Samuel R. Delany. The book
includes a specially curated playlist, featuring songs mentioned in
the book, to help contextualize its arguments.
Future Bodies from a Recent Past brings to life a hitherto
little-noticed phenomenon in art and sculpture in particular: the
reciprocal interpenetration of bodies and technology. With 120
works by 59 artists-primarily from Europe, the USA and Japan-the
exhibition is dedicated to the major technological changes since
the post-war period and examines their influence on our notions of
bodies. With contributions on topics such as the influence of
changing production technologies, materialities, and concepts of
the body, but also interdisciplinary considerations of
body-technology relations, a multi-perspective history of
contemporary sculpture will be outlined. German Edition! Exhibition
Museum Brandhorst Munich 2 June 2022 until 15 January 2023
Future Bodies from a Recent Past brings to life a hitherto
little-noticed phenomenon in art and sculpture in particular: the
reciprocal interpenetration of bodies and technology. With 120
works by 59 artists-primarily from Europe, the USA and Japan-the
exhibition is dedicated to the major technological changes since
the post-war period and examines their influence on our notions of
bodies. With contributions on topics such as the influence of
changing production technologies, materialities, and concepts of
the body, but also interdisciplinary considerations of
body-technology relations, a multi-perspective history of
contemporary sculpture will be outlined. English Edition!
Exhibition Museum Brandhorst Munich 2 June 2022 until 15 January
2023
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