Podcasts about Fred Moten

Join me for a conversation with Dr. Seulghee Lee (Assistant Professor of African American Studies and English, University of South Carolina) about his recently published book, Other Lovings: An AfroAsian American Theory of Life (Ohio State UP, 2025). Some topics of our discussion include Adrian Tomine's graphic novel Shortcomings (2007), Gayl Jones' novella Corregidora (1975), and the cultural phenomenon of "Linsanity" and the lasting impact of NBA player Jeremy Lin's rise to fame. In Other Lovings, Seulghee Lee traces the presence and plenitude of love embedded in Black and Asian American literatures and cultures to reveal their irreducible power to cohere minoritarian social life. Bringing together Black studies, Asian American studies, affect theory, critical theory, and queer of color critique, Lee examines the bonds of love in works by Amiri Baraka, Audre Lorde, David Henry Hwang, Gayl Jones, Fred Moten, Adrian Tomine, and Charles Yu. He attends to the ontological force of love in popular culture, investigating Asian American hip-hop and sport through readings of G Yamazawa, Year of the Ox, and Jeremy Lin, as well as in Black public culture through bell hooks, Martin Luther King Jr., and Cornel West. By assessing love's positive function in these works, Lee argues against critical regimes, such as Afropessimism and racial melancholia, that center negativity. In revealing what Black and Asian American traditions share in their positive configurations of being and collectivity, and in their responses to the overarching logic of white supremacy, Other Lovings suggests possibilities for thinking beyond sociological opposition and historical difference and toward political coalition and cultural affinity. Ultimately, Other Lovings argues for a counter-ontology of love—its felt presence, its relational possibilities, and its lived practices. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Join me for a conversation with Dr. Seulghee Lee (Assistant Professor of African American Studies and English, University of South Carolina) about his recently published book, Other Lovings: An AfroAsian American Theory of Life (Ohio State UP, 2025). Some topics of our discussion include Adrian Tomine's graphic novel Shortcomings (2007), Gayl Jones' novella Corregidora (1975), and the cultural phenomenon of "Linsanity" and the lasting impact of NBA player Jeremy Lin's rise to fame. In Other Lovings, Seulghee Lee traces the presence and plenitude of love embedded in Black and Asian American literatures and cultures to reveal their irreducible power to cohere minoritarian social life. Bringing together Black studies, Asian American studies, affect theory, critical theory, and queer of color critique, Lee examines the bonds of love in works by Amiri Baraka, Audre Lorde, David Henry Hwang, Gayl Jones, Fred Moten, Adrian Tomine, and Charles Yu. He attends to the ontological force of love in popular culture, investigating Asian American hip-hop and sport through readings of G Yamazawa, Year of the Ox, and Jeremy Lin, as well as in Black public culture through bell hooks, Martin Luther King Jr., and Cornel West. By assessing love's positive function in these works, Lee argues against critical regimes, such as Afropessimism and racial melancholia, that center negativity. In revealing what Black and Asian American traditions share in their positive configurations of being and collectivity, and in their responses to the overarching logic of white supremacy, Other Lovings suggests possibilities for thinking beyond sociological opposition and historical difference and toward political coalition and cultural affinity. Ultimately, Other Lovings argues for a counter-ontology of love—its felt presence, its relational possibilities, and its lived practices. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Join me for a conversation with Dr. Seulghee Lee (Assistant Professor of African American Studies and English, University of South Carolina) about his recently published book, Other Lovings: An AfroAsian American Theory of Life (Ohio State UP, 2025). Some topics of our discussion include Adrian Tomine's graphic novel Shortcomings (2007), Gayl Jones' novella Corregidora (1975), and the cultural phenomenon of "Linsanity" and the lasting impact of NBA player Jeremy Lin's rise to fame. In Other Lovings, Seulghee Lee traces the presence and plenitude of love embedded in Black and Asian American literatures and cultures to reveal their irreducible power to cohere minoritarian social life. Bringing together Black studies, Asian American studies, affect theory, critical theory, and queer of color critique, Lee examines the bonds of love in works by Amiri Baraka, Audre Lorde, David Henry Hwang, Gayl Jones, Fred Moten, Adrian Tomine, and Charles Yu. He attends to the ontological force of love in popular culture, investigating Asian American hip-hop and sport through readings of G Yamazawa, Year of the Ox, and Jeremy Lin, as well as in Black public culture through bell hooks, Martin Luther King Jr., and Cornel West. By assessing love's positive function in these works, Lee argues against critical regimes, such as Afropessimism and racial melancholia, that center negativity. In revealing what Black and Asian American traditions share in their positive configurations of being and collectivity, and in their responses to the overarching logic of white supremacy, Other Lovings suggests possibilities for thinking beyond sociological opposition and historical difference and toward political coalition and cultural affinity. Ultimately, Other Lovings argues for a counter-ontology of love—its felt presence, its relational possibilities, and its lived practices. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Join me for a conversation with Dr. Seulghee Lee (Assistant Professor of African American Studies and English, University of South Carolina) about his recently published book, Other Lovings: An AfroAsian American Theory of Life (Ohio State UP, 2025). Some topics of our discussion include Adrian Tomine's graphic novel Shortcomings (2007), Gayl Jones' novella Corregidora (1975), and the cultural phenomenon of "Linsanity" and the lasting impact of NBA player Jeremy Lin's rise to fame. In Other Lovings, Seulghee Lee traces the presence and plenitude of love embedded in Black and Asian American literatures and cultures to reveal their irreducible power to cohere minoritarian social life. Bringing together Black studies, Asian American studies, affect theory, critical theory, and queer of color critique, Lee examines the bonds of love in works by Amiri Baraka, Audre Lorde, David Henry Hwang, Gayl Jones, Fred Moten, Adrian Tomine, and Charles Yu. He attends to the ontological force of love in popular culture, investigating Asian American hip-hop and sport through readings of G Yamazawa, Year of the Ox, and Jeremy Lin, as well as in Black public culture through bell hooks, Martin Luther King Jr., and Cornel West. By assessing love's positive function in these works, Lee argues against critical regimes, such as Afropessimism and racial melancholia, that center negativity. In revealing what Black and Asian American traditions share in their positive configurations of being and collectivity, and in their responses to the overarching logic of white supremacy, Other Lovings suggests possibilities for thinking beyond sociological opposition and historical difference and toward political coalition and cultural affinity. Ultimately, Other Lovings argues for a counter-ontology of love—its felt presence, its relational possibilities, and its lived practices. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-american-studies

Join me for a conversation with Dr. Seulghee Lee (Assistant Professor of African American Studies and English, University of South Carolina) about his recently published book, Other Lovings: An AfroAsian American Theory of Life (Ohio State UP, 2025). Some topics of our discussion include Adrian Tomine's graphic novel Shortcomings (2007), Gayl Jones' novella Corregidora (1975), and the cultural phenomenon of "Linsanity" and the lasting impact of NBA player Jeremy Lin's rise to fame. In Other Lovings, Seulghee Lee traces the presence and plenitude of love embedded in Black and Asian American literatures and cultures to reveal their irreducible power to cohere minoritarian social life. Bringing together Black studies, Asian American studies, affect theory, critical theory, and queer of color critique, Lee examines the bonds of love in works by Amiri Baraka, Audre Lorde, David Henry Hwang, Gayl Jones, Fred Moten, Adrian Tomine, and Charles Yu. He attends to the ontological force of love in popular culture, investigating Asian American hip-hop and sport through readings of G Yamazawa, Year of the Ox, and Jeremy Lin, as well as in Black public culture through bell hooks, Martin Luther King Jr., and Cornel West. By assessing love's positive function in these works, Lee argues against critical regimes, such as Afropessimism and racial melancholia, that center negativity. In revealing what Black and Asian American traditions share in their positive configurations of being and collectivity, and in their responses to the overarching logic of white supremacy, Other Lovings suggests possibilities for thinking beyond sociological opposition and historical difference and toward political coalition and cultural affinity. Ultimately, Other Lovings argues for a counter-ontology of love—its felt presence, its relational possibilities, and its lived practices. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

6e émission de la 61e session...Cette semaine, spoken word et jazz moderne! En musique: Jeff Lederer sur l'album Guilty!!! (Little (i), 2024); Damon Locks sur l'album List of Demands  (International Anthem, 2025); Fred Moten, Brandon López & Gerald Cleaver sur l'album The Blacksmiths, The Flowers  (Reading Group, 2024); Ambrose Akinmusire sur l'album honey from a winter stone  (Nonesuch, 2025); Darius Jones sur l'album Legend of e'Boi (The Hypervigilant Eye)  (AUM Fidelity, 2024); Joe McPhee sur l'album I'm Just Say'n  (Smalltown Supersound, 2025)...

This episode begins with a reflection on this podcast project reaching its 50th episode. I share some additional background and future plans, including some of the symbolism behind the WAI logo. This episode introduces some ideas from the article, Indigeneity as a Post-Apocalyptic Genealogical Metaphor, which explores the metaphysics of indigeneity - Indigenous metaphysics through a global Indigenous consciousness. In conclusion, a diverse range of Indigenous experiences are presented in the constellation of Indigeneities identified as Elder/Local, Continental/Regional, Diasporic, Creole, Born-Again, Global/Trans-Indigenous, which are described in the artice, A Wīnak Perspective on Cosmovisíon Maya and Eco-Justice Education. Terms: Yamanik (Green Stone/Jade in K'iche'-Maya), Hoa/Soa (Partner/Companion – Pair in lea faka-Tonga and gagana Sāmoa). References mentioned or inspirational to this episode: ‘Tongan Hoa: Inseparable yet indispensable pairs/binaries', by Lear, Māhina-Tuai, Vaka, Ka'ili, & Māhina Pasifika Webinar Series: Signature Event featuring Dr. Tēvita O. Ka'ili The Polynesian Iconoclasm by Jeffrey Sissons Indigenous science (fiction) for the Anthropocene: Ancestral dystopias and fantasies of climate change crises by Kyle P. Whyte Naming, A Coming Home: Latinidad and Indigeneity in the Settler Colony by Flori Boj Lopez The Apocalypse of Settler Colonialism: The Roots of Slavery, White Supremacy, and Capitalism in Seventeenth-Century North America and the Caribbean by Gerald Horne The Black Shoals: Offshore Formations of Black and Native Studies by Tiffany Lethabo King The University and the Undercommons: Seven Theses by Fred Moten and Stefano Harney The Undercommons: Fugitive Planning & Black Study by Stefano Harney and Fred Moten The Empty Wagon: Zionism's journey from identity crisis to identity theft by Rabbi Yaakov Shapiro The Black Atlantic: Modernity and Double Consciousness by Paul Gilroy Creole Indigeneity: Between Myth and Nation in the Caribbean by Shona N. Jackson Sovereign Embodiment: Native Hawaiians and Expressions of Diasporic Kuleana by Kēhaulani Vaughn Trans-Indigenous: Methodologies for Global Native Literary Studies by Chadwick Allen

Artist and curator Amilcar Packer unpacks ideas of decolonisation and anti-colonialism in education, thinking through the works of Ailton Krenak, a leading activist in the Brazilian indigenous movement. Born in Santiago de Chile, and based in São Paulo, Brazil since the 1980s, artist and curator Amilcar Packer locates his life and work ‘between' the Pacific and Atlantic. An organiser and participant in Episode 11: To End The World As We Know It, five days of revolutionary art, discussions and performances at Tramway in Glasgow, run by Edinburgh-based collective, Arika, he explains the personal connections between South America and Scotland. Amilcar shares the work of Ailton Krenak, a leading anti-colonial activist in the Brazilian indigenous movement, who joins the programme along with transnational thinkers like Denise Ferreira Da Silva, Geni Núñez, and Françoise Vergès. We discuss his practice in popular culture, including literature and radio, and environmental activism, ‘one of the knots in a net' of entangled liberation movements. Drawing on these contemporary thinkers, Amilcar talks about time as a colonial, imperial, and capitalist construct. We consider the temporal othering of indigenous and aboriginal identities in different contexts, from the reclamation of the Americas as Turtle Island, to Karrabing Film Collective from Arson Bay, Darwin, Australia, and their presentation of The Ancestral Present - connecting with Ailton's 2022 book, Ancestral Futures. Challenging the monoculture of Western/European thought - and simplistic understandings of religion and spirituality, sexuality, and gender, which often lack relevance or utility with respect to indigenous worldviews.- Amilcar instead talks about cosmology. We discuss the ‘human archive' of violence and brutality, and ongoing conflicts in Gaza, Palestine, and over the definition of land rights. Amilcar shares where assimilation, making indigenous people Brazilians, has been used to ensure indigenous people lose their relations with their land, which makes it easier to dispossess. We consider whether the decolonisation of institutions like museums or universities is possible, and consider a plurality of approaches to study, learning, and education. Referencing thinkers like Fred Moten, Stefano Harney, we discuss the importance of multiplicity - of constructing and realising other ways of being with the world and each other. Episode 11: To End the World As We Know It, presented by Arika, ran at Tramway in Glasgow and online through November 2024. The full programme, including the conversation with Ailton Krenak, is available online. Hear more about Françoise Vergès with Professor Paul Gilroy, recorded live in conversation at The Black Atlantic Symposium in Plymouth (2023): ⁠pod.link/1533637675/episode/90a9fc4efeef69e879b7b77e79659f3f⁠ For more about the temporal othering of indigenous and aboriginal identities, hear artist and curator Tony Albert in the EMPIRE LINES episode about Story, Place (2023) at Frieze London: pod.link/1533637675/episode/f1c35ebd23ea579c7741305bba2e6c4e PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

In this episode we interview Austin McCoy to discuss his piece “'Disorganize the State': The Black Workers Congress's Visions of Abolition-Democracy in the 1970's", which Austin wrote for the Labor and Employment Relations Association's publication A Racial Reckoning in Industrial Relations: Storytelling as Revolution from Within.  Austin McCoy is a historian of the 20th Century United States with specializations in African American History, labor, and cultural history.  He is currently working on two books:   The Quest for Democracy: Black Power, New Left, and Progressive Politics in the Post-Industrial Midwest and a cultural and personal history of De La Soul. The conversation allows us to once again return to the current of radical anti-imperialist, anti-colonial, anti-racist labor organizing that emanated from organizations like DRUM (the Dodge Revolutionary Union Movement), the League of Revolutionary Black Workers and - the focus of McCoy's essay - the Black Workers Congress.  In this episode we talk about the BWC's radical vision, which McCoy describes as in the tradition of what W.E.B. Du Bois called “abolition democracy.” And we discuss some of the organizing history of the various individuals and organizations associated with the League of Revolutionary Black Workers as well as what happened to their vision over time.  We recorded this discussion on December 18th of 2023 so while we discuss the solidarity that these revolutionary Black organizers had with Palestinians and discuss the UAW's ceasefire call and their proposal to examine divestment, there are some notes that are important to add as we release this discussion almost a year later (a delay that is entirely my fault).  The UAW has endorsed Kamala Harris despite her role in the genocide of Palestinians and her refusal to call for an arms embargo and they did so with no concessions whatsoever on that issue. This stance by the UAW in this moment in many ways reflects the very currents of racist and imperialist union organizing that groups like the League and the BWC were organizing against. So while we can talk about the folks within the UAW who organized for those statements and resolutions within their union as operating within the traditions we discuss in this episode, it is important to note - at least in my view - that the UAW as a whole has ultimately shunned that radical legacy and replicated the historical role of the labor aristocracy in this moment as they and other major unions in the US have done over and over again.  Nonetheless, I do think that it is important to not dismiss the power or potential of labor organizing in moments like this, even if that potential remains unfulfilled. I think about the lessons that Stefano Harney and Fred Moten pull from people like General Baker when they called us to “wildcat the totality” several years ago.  I'd like to send much appreciation to Austin McCoy for this discussion. If you would like to support our work please become a patron of the show for as little as $1 a month at patreon.com/millennialsarekillingcapitalism Links and related or referenced discussions: Our two part conversation with Herb Boyd about this period and the League of Revolutionary Black Workers (Part 1, Part 2)  "Finally Got the News" (film about the League) Some archival documents related to the League of Revolutionary Black Workers (visit FreedomArchives.org for more)  Our discussion with J. Moufawad-Paul on "Economism" which deals with some of the imperialist and racist trends within the labor movement (and within Communist or Socialist approaches to organizing the labor movement within empire at various times). 

5e émission de la 60e session...Cette semaine, nous sommes dans le free jazz! En musique: Guido Manusardi sur l'album Free Jazz  (Electrecord, 1968); Double Helix Quartet sur l'album Double Helix Quartet  (Amalgam, 2024); Frode Gjerstad Trio sur l'album Unknown Purposes  (Indépendant, 2024); Tiger Trio; Roaring Tree; Joëlle Léandre - Fred Moten sur le boîtier Joëlle Léandre - Lifetime Rebel  (RogueArt, 2024)...

Yvette Borja discusses "Black and Blur" by Fred Moten with art history PhD student Jasmine Magaña. They break down Fred Moten's focus on Blackness as "fugitivity," track the humanities' shift from a postcolonial to a decolonial framework, and share the importance of sitting with the "not in between."Read "The Undercommons" by Fred Moten here: https://www.akpress.org/the-undercommons.html Read "Stolen Life" by Fred Moten here: https://www.dukeupress.edu/stolen-lifeFollow @radiocachimbona on Instagram, X, and Facebook Support the podcast and hear more #litreviews like this one by becoming a monthly patreon subscriber here: https://patreon.com/radiocachimbona?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLink

Most widely recognized for his paintings that rigorously combine spray paint, stenciled geometric forms, and brushstrokes, the Brooklyn-based artist Adam Pendleton is also known for his “Black Dada” framework, an ever-evolving philosophy that investigates various relationships between Blackness, abstraction, and the avant-garde. Many will recognize Pendleton's work from “Who Is Queen?,” his 2021 solo exhibition at New York's Museum of Modern Art, which he has said was his way of “trying to overwhelm the museum.” This is a natural position for him: His works in and of themselves are often overwhelming. At once political and spiritual, they provoke deep introspection and consideration, practically demanding viewers to look, and then look again.On this episode, he discusses the elusive, multifarious nature of “Black Dada”; “An Abstraction,” his upcoming exhibition at Pace Gallery in New York (on view from May 3–August 16); painting as a kind of technology; and why, for him, jazz is indefinable.Special thanks to our Season 9 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Adam Pendleton[05:00] Joan Retallack[05:00] Pasts, Futures, and Aftermaths[05:22] “Becoming Imperceptible”[07:41] Ishmael Houston-Jones[07:41] Joan Jonas[07:41] Lorraine O'Grady[07:41] Yvonne Rainer[07:41] Jack Halberstam[14:26] Fred Moten[05:22] “Who Is Queen?”[23:50] Hugo Ball's Dada Manifesto[23:50] Amiri Baraka's “Black Dada Nihilismus”[31:14] Isabella Stewart Gardner Museum[31:14] “System of Display”[31:14] “Reading Dante”[34:40] “Adam Pendleton” at Pace Gallery[34:40] “An Abstraction” at Pace Gallery[34:40] Arlene Shechet[34:40] “Adam Pendleton x Arlene Shechet”[40:30] “Blackness, White, and Light” at MUMOK[45:07] “Twenty-One Love Poems” by Audrienne Rich[50:40] “Occupy Time” by Jason Adams[56:04] “What It Is I Think I'm Doing Anyhow” by Toni Cade Bambara[57:13] “Some Thoughts on a Constellation of Things Seen and Felt” by Adrienne Edwards

In this episode, it's all about the music. Ryan and Jamie are joined by special guest Stevphen Shukaitis from the University of Essex.  They will be taking a short leave from Marx and talk about desire through the art of music.  We got a lot to get through, so on your Marx, get set, let's go!Stevphen is the editor-in-chief of Minor Compositions, a publisher of books and media drawing from autonomous politics, avant-garde aesthetics, and the revolutions of everyday life. Among other works, Minor Compositions has published The Undercommons by Fred Moten and Stefano Harney. For information, dope books and media, check out their website: Minor Compositions.Music · Mckenzie Wark · Stevphen Shukaitis· Desire · Ketamine Standard Time · Consumer Programming ·  Wu-Tang Clan · RZA · Polyphia · Sophia Black · Liquid Swords · Sleater-Kinney

Nesse episódio, Glauber Machado e Gabriel Carvalho recebem Victor Galdino para falar sobre a obra recém-lançada pela editora GLAC, traduzida por ele, Tudo Incompleto, de Fred Moten e Stefano Harney, onde os autores discutem as formas de organização e comunidade que vão na contramão das estruturas de poder dominantes, para pensar visões alternativas de solidariedade e colaboração para a resistência contra o capitalismo. Trilha sonora: Ornette Coleman - Free Jazz The Grey Area - Through the Years Art Blakey's Jazz Messengers - A Night in Tunisia

Acid Horizon continue their conversation with the folks over at Mimbres School by sitting down with Sean Capener, who'll be teaching their "History of Damnation" course. We read Sean's "On the Fall of the Angels: Economic Theology After the Middle Passage". In this paper, Sean shows how St Anselm's Christian theories about the economy of salvation and Man's debt to God can inform a critical view towards our own narratives about debt and credit under racial capitalism through the mediation of figures in contemporary Black Studies such as Saidiya Hartman and Fred Moten.Mimbres School on Twitter: https://x.com/mimbresschool?s=21&t=NfJ9dYuPKzO2YMikAm0wpwSupport the showSupport the podcast:https://www.acidhorizonpodcast.com/Linktree: https://linktr.ee/acidhorizonAcid Horizon on Patreon: https://www.patreon.com/acidhorizonpodcastZer0 Books and Repeater Media Patreon: https://www.patreon.com/zer0repeaterMerch: http://www.crit-drip.comOrder 'Anti-Oculus: A Philosophy of Escape': https://repeaterbooks.com/product/anti-oculus-a-philosophy-of-escape/Order 'The Philosopher's Tarot': https://repeaterbooks.com/product/the-philosophers-tarot/Subscribe to us on Apple Podcasts: https://tinyurl.com/169wvvhiHappy Hour at Hippel's (Adam's blog): https://happyhourathippels.wordpress.com​Revolting Bodies (Will's Blog): https://revoltingbodies.com​Split Infinities (Craig's Substack): https://splitinfinities.substack.com/​Music: https://sereptie.bandcamp.com/ and https://thecominginsurrection.bandcamp.com/

What is the opposite of diversity, equity, and inclusion? Is the MAGA right is fighting for a return to 'whites only' spaces?Plus - Thom reads from "The Undercommons: Fugitive Planning & Black Study" by Fred Moten and Stefano Harney.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Porch Swing Orchestra is an art project that pairs music recorded outside with images made on-site. Performed and recorded at home and away, solo and with others. Our orchestra is comprised of birds, guitars, artists, poets, and passing cars that spontaneously create ephemeral symphonic chance-inspired compositions. The original site and hub for all things PSO can be found at porchswingorchestra.orgThis episode is the first of a mini-series of pods highlighting artists who are presenting in VAST IS THE SEA, a series of live events exploring the interconnections between images and sound curated by PSO and hosted by Co-lab Projects in Austin Texas.The series will take place over 4 Saturdays and feature 2 presentations per evening on Jan 20, 27, and Feb 17 and 24. All presentations are maximally 45 minutes longThere will be a 15-20-minute intermission between presentationsEach presentation is ticketed separately except for the opening night which is one combined ticket. You can purchase tickets on a sliding scale starting at $5 at co-labprojects.org. This is a great way to support PSO.The opening event features San Antonio Artists, Anthony Francis and Xavier Gilmore beginning at 8 and that will followed by yours truly who will be joined by Paul Stautinger to reprise the suite of music we performed in the Turrell Sky space but accompanied by a new video.Co-lab is a legendary art space whose current configuration is a 40 x 10 x 10-foot concrete culvert sitting on an open plot of land just east of the city. The culvert will be awash in projections and stereo sounds on either end of the ceiling. The floor covered in a sea of moving blankets.Viewers/listeners are invited to lay next to the performers occupying the center to become a raft in an ocean of sounds gazing at a visionary sky.(video documentation of Gilmore's architectural sculpture, Between the Lines)In this pod, we will first hear my conversation with Anthony Francis where we cover everything from the poetry of Langston Hughes, Gwendolyn Brooks, Fred Moten, bell hooks, Frank Wilderson, family, community, stillness, and so much more. Our conversation will be followed by an excerpted audio from his piece, All Is which he will present on Saturday. Following that we hear a piece by Gilmore which was originally Shown as part of a sculpture show called Wild Ruins, Wild Orientations in a pop-up in Adkins, Texas. The Piece is a sound element that accompanies an architectural sculpture called Between the Lines which for Gilmore speaks to gathering, community, and privileged space. LINKS and REFERENCESPorch Swing Orchestrahttps://porchswingorchestra.org/Tickets to VAST IS THE SEAhttps://withfriends.co/event/17182339/vast_is_the_seaAnthony Francis:https://www.afrancisart.com/Xavier Gilmore:https://www.xaviergilmore.net/Langston Hughes, Gwendolyn Brooks, Fred Moten, Stefano Harney, bell hooks, Frank Wilderson, Édouard Glissant, Roland Barthes, Walter Benjamin, Get full access to Porch Swing Orchestra at porchswingorchestra.substack.com/subscribe

In this two-part episode, Rachel Zucker speaks with Ronaldo V. Wilson and Fred Moten about poetry as performance, influences and teachers, open field poetics, finding space for listeners and audience to feel welcome, how to define the limits—or lack thereof— of a book and, specifically, the performance they gave the night before at the Poetry Project at St Mark's Church on May 24, 2023. Part one (ep 120) is a conversation about the performance. Part two (ep 121) is a recording of that performance. This reading took place at the Poetry Project at St Mark's Church in New York City on May 24, 2023 and was recorded by the Poetry Project. (Audience audio was recorded on the same night and in the same location by Rachel Zucker.) Mixing and Mastering by Stephen Becker

In this two-part episode, Rachel Zucker speaks with Ronaldo V. Wilson and Fred Moten about poetry as performance, influences and teachers, open field poetics, finding space for listeners and audience to feel welcome, how to define the limits—or lack thereof— of a book and, specifically, the performance they gave the night before at the Poetry Project at St Mark's Church on May 24, 2023. Part one (ep 120) is a conversation about the performance. Part two (ep 121) is a recording of that performance.

Transcript (PDF) available here.Hey kids, we're back to close out the year with a little reflection on the past year season/year and what we have planned for the year/season to come. We recorded this conversation back in September, before the events of October 7th and Israel's ongoing siege on Gaza, as such, they are not mentioned here, but were in our last newsletter with educational resources linked below. We wish you all some much needed rest over this holiday time and a prosperous new year! See you in 2024!ResourcesPoli Ed Palestine (Spotify Playlist)Palestine Academy (online course)Solidarity with Palestine - A Radical Black Feminist Mandate: A Reading ListReading for Palestine (audio recordings of texts on Palestine and reading list)Gaza Fights for Freedom (2019 documentary)Fred Moten on Palestine and the Nation-State of IsraelPalestine Zines and Reading ListSupport the show------ Do The Kids Know? is a monthly series of discussions between community workers and educators, Prakash and Kristen, that unpack race, media, popular culture, and politics in KKKanada (That's Canada spelled with three K's) from an anti-colonial perspective. Our goal is to bring nuance to sensationalist media as well as to uncover the ways in which white supremacy, capitalism, and colonialism is shaping our movements and behaviours. Keep tuning in to be a part of the conversation… don't be a kid who doesn't know! Find us: @dothekidsknow (Instagram, Twitter, Facebook, TikTok)Email us: dothekidsknow@gmail.comTip us: patreon.com/dothekidsknowNewsletter: tinyletter.com/dothekidsknow Artwork by Daniela Silva (instagram.com/danielasilvatrujillo)Music by Steve Travale (https://stevetravale.com) DTKK is recorded on the traditional and unceded Indigenous lands of the Kanien'kehá:ka and Algonquin Nations. We are committed to working with Indigenous communities and leaders locally and across Turtle Island to fight for Indigenous rights, resurgence, and sovereignty. Until next time. Stay in the know~! Support the show

This is the slightly cleaned-up audio of our most recent conversation with Fred Moten. This was recorded on October 25th. Given the evolution of this struggle and the increasingly genocidal character as well as the ongoing resistance, our comments if we were to hold this discussion today on November 11th would undoubtedly be different.  Nonetheless I think a lot of what we cover remains important and we wanted to try to create an audio version of this conversation which held true to the character of the original which we will link in the show notes, but also share it with our broader audience, much of whom prefer the audio format. The audio quality of this version is hopefully also slightly better than the original YouTube version. I would note that we now have fourteen of these livestreams up on our Youtube channel which everyone can check out. All of them are related to this current struggle for Palestinian liberation as well as the struggle against the genocidal settler violence we see unleashed on Gaza with full support material, ideological, military of the US as a settler empire in particular and the institutions and governments so-called Western World writ large.  I want to acknowledge and shout-out everyone who is taking action and trying to deepen and expand their own anticolonial practices in these times until Palestine is free, until we all are free. Once again thank you to Fred Moten for this conversation If you like our work of course you can as always support our work on patreon or by becoming a member of our YouTube channel. Thank you for listening and I hope you are finding new comrades in the streets every day. Fred Moten's conversation with Robin DG Kelley, Aqua Cooper & Rinaldo Walcott that is mentioned in the episode Previous episodes with Fred Moten & Stefano Harney, and his conversation with Hanif Abdurraqib that we've hosted.  

This is a slightly edited audio version of one of the MAKC livestreams we've hosted on our new Youtube channel. We will continue to polish the audio versions of those livestreams and release them as episodes here as well. Due to the amount of labor that goes into making them viable audio podcast episodes there will be a little bit of a delay on that. In the meantime I of course encourage folks to check them out on our YouTube channel and we will play with ways to get audio versions, perhaps even unedited audio versions to our patreons in a more timely manner. Please bear with us as we attempt to meet the importance of this moment with the livestreams and balance that with maintaining the catalogue for our podcast.  I will just note that prior to October 7th we already had 12 episodes of unreleased audio episodes so we will begin to get back to releasing some of those starting next week as well. As far as the livestreams the next one which we will release a properly edited audio version of will be our conversation with Fred Moten, which you can currently watch on Youtube. This conversation is an episode we recorded with the creators of Decolonize Palestine, Rawan Masri and Fathi Nemer from Ramallah in the West Bank. This conversation was recorded on October 19th so any description of current events or predictions made must be understood from that moment in time. It is our duty to continue to resist the genocidal onslaught that the United States and Israel have unleashed upon the Palestinian people, in particular the people of Gaza. I will be in DC tomorrow for the national march, which is a small act, but I look forward to being in the streets with hundreds of thousands of you tomorrow.  We will include links to many of the websites and groups they highlighted in the episode. In some cases they were responding to questions posed by folks in the chat so to that full experience you can watch this stream on YouTube. Another note you can now become a member of our Youtube channel. This will have some perks, basically very similar to being a patron of the podcast. Also we are in the process of finalizing our next study group and will have details on that for Youtube members or for patrons of the show very soon. You can become a patron of the show for as little as $1 a month at patreon.com/millennialsarekillingcapitalism On a more urgent note, there are many ways mentioned in this episode which you can also support Palestinians directly in this time from a humanitarian perspective. In these times of severe crisis caused by the US government and western support for Israeli settler colonialism and its genocidal expressions, there are urgent needs there and there are links where people can support those efforts. See below: Medical Aid for Palestinians Palestine Children's Relief Fund Adalah Articles: "'Operation Al Aqsa Flood' was an act of decolonization" by Rawan Masri (we discuss this piece in the beginning of the episode). This was released after our episode, but expands on themes Fathi touches on in the discussion: "The world would rather show solidarity with our corpses than honor our resistance" - Fathi Nemer Decolonize Palestine & other political education materials: Decolonize Palestine Decolonize Palestine Myth Database Support Decolonize Palestine https://www.1948movie.com Institute for Palestine Studies Palestine Film Institute  Discusses martyr Heba Zagout (mentioned the podcast) Palestine Action US Launches to join global campaign to Shut Elbit Down - YouTube episode    

Markus Floats discusses the lovely Fourth Album, working in Montreal, shifting from solitary to collaborative work with Egyptian Cotton Arkestra, fixed and fluid art, a koan by Fred Moten, problems and solutions, tarot cards and astrology, darkness and hope, playing shows, other future plans, and much more.Supported by you on Patreon, Pizza Trokadero, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S. and Black Women United YEG. Follow vish online.Support this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

THIS WEEK's BIRDS: Smiley Winters; Thurman Barker et al.; Susana Baca; Ana Moura; Rita Payés & Elisabeth Roma; Jovelina Perola Negra; Baden Powell & Vinicius de Moraes; The Barry Harris Sextet; Beaver Harris + Don Pullen 360 ° Experience; May Damba; Kerala Kante; Fred Moten w. Brandon López & Gerald Cleaver ; JazzPoetry Ensemble w. Kidd Jordan; Purnima Chaudhuri,;  much, much more ...! LISTEN LIVE: Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI: 88.1FM Ithaca, 89.7FM Odessa, 91.9FM WINO Watkins Glen. and WORLDWIDE online at WRFI.ORG.  via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLIST at SPINITRON: https://spinitron.com/WRFI/pl/17621152/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com

Poet Roger Reeves calls the essays in his debut book of prose “fugitive essays.” And we explore what it means to write fugitively, to write into and from and toward fugitivity. If, as Fred Moten says, fugitivity is “a desire for and a spirit of escape and transgression of the proper and the proposed. . […] The post Roger Reeves : Dark Days appeared first on Tin House.

LIVE! From City Lights welcomes poet, critic, theorist and McArthur fellow Fred Moten in celebration of his latest poetry collection, “perennial fashion presence falling.” In conversation with award-winning poet Douglas Kearney, Moten shares some pieces from his book, which hold an innate quantum curiosity about the infinitude of the present and the ways in which one could observe the history of the future. Moten approaches the sublime, relishing the intermediary space of microtonal thought. Fred Moten works in the Departments of Performance Studies and Comparative Literature at New York University. He is concerned with social movement ,aesthetic experiment and black study and has written a number of books of poetry and criticism, including National Book Award finalist “The Feel Trio.” Moten is a MacArthur Fellow, a Guggenheim Fellow and a member of the American Academy of Arts and Sciences. You can purchase copies of “perennial fashion presence falling” directly from City Lights here: https://citylights.com/266548/ This was a virtual event hosted by Douglas Kearney and made possible by support from the City Lights Foundation: citylights.com/foundation.

THIS WEEK's BIRDS: Jon Jang resets Chinese love song; vintage  song (ghazal, film music, and more) from India and Pakistan: Runa Laila, Kanika Banerjee (singing a poem of Atul Prasad Sen's), Malika Pukraj;  Fred Moten (poetry) w. Brandon López & Gerald Cleaver; African salsero Laba Sosseh; newly released recording g of Sonny Stitt live (at the Left Bank, Baltimore); Ray Lema;  some Mingus for good measure; Peter Maceachern Trio; legend of Gulf pop, Saudi vocalist Mohammed Abdu, recorded live ca. 1990; Kalaprusha Maurice McIntyre; Bavon Marie Marie & l'Orchestre Negro Succés; Le T.P.O.K. Jazz (w. Franco!); much, much more ...! LISTEN LIVE: Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI: 88.1FM Ithaca, 89.7FM Odessa, 91.9FM WINO Watkins Glen. and WORLDWIDE online at WRFI.ORG.  via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLISTS at SPINITRON: https://spinitron.com/WRFI/pl/17336231/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com

PAGES the Reading Group presents Volume XII: AfropessimismWhat is Afropessimism? What Afropessimism books are on your to be read list (TBR)? What Afropessimism books or thinkers do you recommend?In Black Studies in recent years, scholars like Frank Wilderson III, Jared Sexton, Fred Moten, David Marriott, and others, have been developing insights of thinkers like Frantz Fanon to make claims about ontology and Black existence and have forged a tradition of thought known as Afropessimism. This recently emerging tradition of thought, has also built on and received contributions from others such as Hortense Spillers, Saidiya Hartman, Calvin Warren, and Fred Moten.While the genre's name may be intimidating for some, we discuss how it might be misleading--for example, it doesn't mean being a killjoy or "black sadness," but instead receives is label of pessimism through a kind of pessimism of the intellect and it's orientation(s) toward the future or 'futurity'. In this episode, @Nannearl_  and @Urfavfilosopher chop it up about their experiences with the Afropessimism genre.  Join us as we discuss these questions and more!Follow us across our social media channels:Patreon- patreon.com/pagesTRGIg- @PagestrgTwitter- @PagestrgTikTok- @PagesthereadinggroupWebsite- www.Pagestrg.com

Ben Luke talks to Amy Sillman about her influences—including writers, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Sillman, who was born in 1955 in Detroit, Michigan, grew up in Chicago, and lives and works in New York, is one of the most brilliant and original painters working today. Her art is steeped in the history of painting, but manages to build on traditions while also taking an irreverent and playful approach to the medium's time-honoured qualities: colour, line, scale, shape, figure and ground. She also pushes her painting into experimental territory through animated drawings and zines. Among a wealth of references, she discusses the early influence of Saul Steinberg, her passion for the work of artists as diverse as Prunella Clough, Maria Lassnig and Howard Hodgkin, and the enduring influence of Gertrude Stein and Fred Moten. She reflects on a life-changing trip to India and the diverse cultural landscape of late-1970s New York. Plus, she gives insight into her life in the studio and answers the ultimate question: what is art for?Amy Sillman: Temporary Object, Thomas Dane Gallery, Naples, from 26 April. Faux Pas: Selected Writings and Drawings, After 8 Books, 300pp, €20/£20/£24.95 (pb); amysillman.com Hosted on Acast. See acast.com/privacy for more information.

Professor Alyssa Battistoni joins Charles Smith and Giselle Williams of Columbia's WKCR for a conversation on union organizing and the future of work. This conversation is part of the Utopia 13/13 seminars at the Columbia Center for Contemporary Critical Thought. Professor Battistoni joined us for Utopia 3/13 at the Jerome Greene Annex on October 26, 2022. You can find the full recording from the seminar and additional resources on the Utopia 3/13 page here: https://blogs.law.columbia.edu/utopia1313/3-13/ We discussed Professor Battistoni's essay "Spadework" at Utopia 3/13. You can read her essay here: https://www.nplusonemag.com/issue-34/politics/spadework/ She reflects further on her essay in her blog post here: https://blogs.law.columbia.edu/utopia1313/alyssa-battistoni-on-spadework/ At the seminar, Professors Battistoni and Harcourt discussed “Spadework” and “Labor Without Love” by Alyssa Battistoni and “Debt and Study” in The Undercommons by Fred Moten and Stefano Harney.

Season 9 Episode 14 The Dream Three are back in The Workroom together for this Foursome Finale! Patricia and Nayland and Hernease are all in to talk about word salads, the $500 Mood Assignment, 1950's hemlines and Piperlime conspiracies. Join us and then chime in with your thoughts about the conclusion of our latest Vintage Adventure to 2011, Project Runway Season 9. JOIN US! This Week's Cheatsheet https://www.tumblr.com/theworkroompodcast/702445847510728704/ep172 Special Links - Hernease's podcast project for the The Visual Studies Workshop in Rochester. Episode #1 features artist Granville Carroll, Episode #2 features artists Savannah Wood and Aaron Turner: https://podcasts.apple.com/us/podcast/vsw-project-space-podcast/id1654594948?i=1000586176684 Patricia's show at the Center for Fine Art Photography: (Un)Natural Cycles: https://c4fap.org/unnaturalcycles - Catch Nayland at Howl! Happening, Friday December 2nd 6 East 1st Street, NYC Nayland will be reading during the book launch event for Pathetic Literature
Hosted and Curated by Eileen Myles and Tom Cole. Here's a list of the very heavy hitting roster of readers: Joe Westmoreland, Charles Atlas, Joan Larkin, Precious Okoyomon, Lynne Tillman, Samuel Delany (video appearance), Johanna Fateman, Sini Anderson, Nayland Blake, Moyra Davey, Eliza Douglas, Fred Moten, Tom Cole, Eileen Myles. https://www.howlarts.org/event/pathetic-literaturehosted-and-curated-by-tom-cole-and-eileen-myles/ - Keep a lookout for Nayland on Girls Guts Giallo Podcast chatting about The Eyes of Laura Mars: https://podcasts.apple.com/us/podcast/girls-guts-giallo/id1461424698 We're On Patreon! www.patreon.com/theworkroompodcast Find The Workroom Podcast: The Workroom on FB: facebook.com/theworkroompodcast The Workroom on IG: instagram.com/theworkroompodcast And, keep sending notes, gossip and hot takes to: intheworkroom@gmail.com Find Hernease: Website - herneasedavis.com Twitter — twitter.com/hernease IG - instagram.com/hernease Find Nayland: Website - naylandblake.net Twitter - twitter.com/naylandblake Tumblr - tumblr.com/naylandblake Remember, Nayland is off Instagram! Find Patricia: Twitter - twitter.com/senseandsight IG - instagram.com/senseandsight Find Samilia: texstyleshop.square.site Listen to Linoleum Knife! https://podcasts.apple.com/us/podcast/linoleum-knife/id403079737 Black Lives Matter Initiatives - blacklivesmatters.carrd.co Asian Americans Advancing Justice https://www.advancingjustice-aajc.org/get-involved thelovelandfoundation.org The donation helps to fund the initiatives of Therapy for Black Girls, National Queer & Trans Therapists of Color Network, Talkspace and Open Path Collective. Loveland Therapy Fund recipients will have access to a comprehensive list of mental health professionals across the country.

Usually the things that are the farthest out — that look the least like art to me — are the things that become the most important.   American painter Glenn Ligon is one of the most recognizable figures in the contemporary art scene. His distinctive, political work uses repetition and transformation to abstract the texts of 20th-century writers. In this episode, Ligon talks about childhood and what it means to have a parent who fiercely and playfully supports you. He also discusses the essential lesson that there's value in the things you do differently, and why he won't take an afternoon nap in his own studio.  References: Courtney Bryan Pamela Z  Samiya Bashir Thelma Golden Robert O'Meally Romare Beardon Toni Morrison Lorna Simpson Margaret Naumberg The Walden School Mike D - Beastie Boys Murders of Chaney, Goodman, and Schwerner Davóne Tines Chris Ofili  Henry Threadgill Frédéric Bruly Bouabré “How It Feels to Be Colored Me” Saidiya Hartman Fred Moten Jason Moran

This week, Darren Lesaguis sat down in a deep chat with Andrew Brooks - who's one half of the critical art collective Snack Syndicate - alongside Astrid Lorange. Together, they make texts, objects, installations, and meals. Their collection of essays, Homework, was published in 2021 by Discipline. Andrew Brooks lectures in Media Cultures at UNSW, is a founding member of the Infrastructural Inequalities research network, and the author of poetry collection Inferno (2021). Hear them chat about study as a social practice, love as a political and ways that we can find possibility and hope in unexpected places. Listen in if you want to revel in a conversation with a lot of heart, hope and knowledge.  Readings Mentioned: On anti-colonial radio from Algeria - Frantz Fanon, This is the Voice of Algeria On loving action and love as dis-possession rather than possession -Poetics of Relation, Édouard Glissant On understanding race a shifting construct, not as a fixed marker of identity - Stuart Hall, Race: The Floating Signifier On the important history of Black Feminism and the origins of what we now call "identity politics" - 1977 Combahee River Collective Statement On study as a social practice - Stefano Harney and Fred Moten, All Incomplete (Brooklyn: Minor Compositions, 2021), 26. Image: Andrew Brooks by Jacquie ManningSee omnystudio.com/listener for privacy information.

In this conversation we speak with Robyn Maynard and Leanne Betasamosake Simpson  Robyn is the author of the bestselling and award-winning book Policing Black Lives: State Violence in Canada from Slavery to the Present. She is also an assistant professor of Black Feminisms in Canada at University of Toronto. She also has a lengthy history of writing about and organizing with social movements against borders, state violence and for abolition. Leanne is a Michi Saagiig Nishnaabeg scholar, writer, musician, and member of Alderville First Nation. She is the author of seven books including A Short History of the Blockade and As We Have Always Done: Indigenous Freedom through Radical Resistance. In this conversation we discuss their latest book Rehearsals for Living. This will be part 1 of a 2 part discussion with the authors. Robyn and Leanne discuss world-endings and world-building as realities and practices of Black and Indigenous existence and resistance. They talk about grappling with building a necessary relationality and solidarity between Black and Indigenous movements in so-called Canada as well as internationally against white supremacy, capitalism, settler colonialism and other structures of violence and domination. They also talk about ways of living that are necessary to recall and to continue or renew practices of in the face of already existing climate change and devastation. And they discuss how social movements build upon each other continuing to produce knowledge that grows and sustains and builds their capacity for stronger bonds of solidarity and more effective modes of resistance.  As a note there is a portion of this episode and of Rehearsals for Living that builds on a conversation we published with Stefano Harney and Fred Moten back in July of 2020. Here is a link to that conversation for anyone who wants that context or wants to revisit it after hearing Leanne's reflections. Rehearsals for Living is a really powerful read and we encourage you to pick it up from Haymarket Books or from your local bookstore. This is our fourth episode of the month, we've just hit our goal of adding 25 patrons for the month. We want to thank everyone who signed up to support the show this month. It is only through the support of our listeners through patreon that we are able to sustain this work. If you would like to join them in supporting the show and its hosts and continue to grow our work, you can become a patron of the show for as little as $1 a month at patreon.com/millennialsarekillingcapitalism.

Last week, Graywolf Press released Civil Service, the debut poetry collection by Jewish Currents Culture Editor Claire Schwartz. The book is a daring study of the violence woven into our world, from everyday encounters to the material of language itself. The poems unfold in three main sequences: a quartet of lyric lectures, a fragmentary narrative that follows a cast of archetypal figures named for the coordinates of their complicities with power—the Dictator, the Curator, the Accountant, and so on—and a series of interrogation scenes centered on a spectral, fugitive figure named Amira, who gives us a glimpse of another world. To celebrate the release of Civil Service, Schwartz spoke with Managing Editor Nathan Goldman and the book's editor at Graywolf Press, Chantz Erolin, about the book, as well as poems by Paul Celan and Edmond Jabès that deeply informed it. They discussed dispersed responsibility for state violence, thinking as feeling, and the political possibilities of poetry. Works Mentioned: https://bookshop.org/a/1530/9781644450949 (Civil Service) by Claire Schwartz “https://granta.com/lecture-on-loneliness/ (Lecture on Loneliness)” by Claire Schwartz “https://www.sas.upenn.edu/~cavitch/pdf-library/Freud_MourningAndMelancholia.pdf (Mourning and Melancholia)” by Sigmund Freud “https://apogeejournal.org/2016/09/06/the-felt-house-that-moves-us-a-conversation-with-saretta-morgan/ (The Felt House That Moves Us: A Conversation with Saretta Morgan),” a conversation with Muriel Leung and Joey De Jesus “https://sahityaparikrama.weebly.com/uploads/1/2/0/9/120943912/the_concept_of_character_in_fiction_william_gass.pdf (The Concept of Character in Fiction)” by William H. Gass The Souls of Black Folk by W.E.B. Du Bois “https://poets.org/poem/death-fugue (Death Fugue)” by Paul Celan, trans. Pierre Joris “https://poets.org/poem/stretto (Stretto)” by Paul Celan, trans. Pierre Joris “https://jewishcurrents.org/celans-ferryman (Celan's Ferryman),” a conversation between Fanny Howe and Pierre Joris Voyage of the Sable Venus by Robin Coste Lewis “https://lithub.com/robin-coste-lewis-black-joy-is-my-primary-aesthetic/ (Robin Coste Lewis: ‘Black Joy is My Primary Aesthetic,')” a conversation between Claire Schwartz and Robin Coste Lewis The Book of Questions by Edmond Jabès, trans. Rosmarie Waldrop “https://tinhouse.com/podcast/rosmarie-waldrop-the-nick-of-time/ (Rosmarie Waldrop: The Nick of Time),” a conversation with David Naimon  Austerlitz by W.G. Sebald, trans. Anthea Bell “https://nourbese.com/wp-content/uploads/2020/03/Gasp.pdf (The Ga(s)p)” by M. NourbeSe Philip “https://www.newyorker.com/culture/persons-of-interest/fred-motens-radical-critique-of-the-present (Fred Moten's Radical Critique of the Present)” by David S. Wallace Minima Moralia by Theodor Adorno Reconsidering Reparations by Olúfẹ́mi O. Táíwò “https://jewishcurrents.org/assuming-the-perspective-of-the-ancestor (Assuming the Perspective of the Ancestor),” a conversation between Claire Schwartz and Olúfẹ́mi O. Táíwò “https://lithub.com/perennial-a-poem-by-claire-schwartz/ (Perennial)” by Claire Schwartz Thanks to Jesse Brenneman for producing and to Nathan Salsburg for the use of his song “VIII (All That Were Calculated Have Passed).”

Today we're joined by returning champion Will to discuss the links between the work of Theodor Adorno and Fred Moten on questions of value theory, negative dialectics, and domination. In particular, we're going to be focusing on the violent domination at the heart of the commodity, a violence exemplified in confronting and re-historicizing Marx's notion of the commodity that speaks—a commodity which in the introductory essay to his book In the Break, Moten explores through the enslaved person. Moten not only draws upon a negative dialectic of value and non-value but also from Saussure, Glissant, Hartman, Douglass, and Derrida to conceptualize a commodity which not only speaks, but one which screams—rupturing the erasure of its inherent dignity and value in everyday exchange, and allowing both suffering and resistance to appear in its sonic performance. Support the podcast:Acid Horizon on Patreon: https://www.patreon.com/acidhorizonpodcastMerch: http://www.crit-drip.comPreorder 'The Philosopher's Tarot': https://www.thriftbooks.com/w/the-philosophers-tarot/36283483/item/52275949/?gclid=Cj0KCQjwz96WBhC8ARIsAATR250MN8KEXNTh5DTZGpms3y6aXqQEBMthr2awTrG_UzKJz8X416ebFnEaAs-xEALw_wcB#edition=64288388Subscribe to us on Apple Podcasts: https://tinyurl.com/169wvvhiHappy Hour at Hippel's (Adam's blog): https://happyhourathippels.wordpress.comDestratified (Matt's Blog): https://destratified.com/​Revolting Bodies (Will's Blog): https://revoltingbodies.com​Split Infinities (Craig's Substack): https://splitinfinities.substack.com/​Music: https://sereptie.bandcamp.com/ and https://thecominginsurrection.bandcamp.com/Support the show

In deze speciale bonusaflevering gaan we praten over een aantal voorstellingen die we hebben gezien in opdracht van het Holland Festival, het grootste internationale podiumkunstenfestival van Nederland. Holland Festival bestaat dit jaar al 75 jaar! Anousha ging naar Washington DC en Ebissé en Mariam naar Zwitserland.In deel 1 gaan we het hebben over 3 voorstellingen geïnspireerd door bestaande canoniek zoals Moby Dick, de Kersentuin and Deathbed. In de aflevering bespreken we wat het betekent wanneer kunstenaars van kleur bestaand "wit" werk herinterpreteren en bespreken ook representation done well!In deel 2 praten we het over Yemandja van Angélique Kidjo.Voorstellingen die we hebben gezien en over spreken in deze aflevering zijn:Moby Dick or The Whale:Moby Dick is een roman van Herman Melville uit 1851 en gaat over de jacht op de witte potvis Moby Dick[a] door kapitein Achab van de walvisvaarder Pequod, die in een eerdere confrontatie met het dier zijn been heeft verloren. Deze potvis zou zoveel rampen hebben veroorzaakt voor de walvisvaarders dat het dier uitgroeide tot een mythe. De bewerking van Sophia al Maria en Wu Tsang, verweven met het commentaar van een onderbibliothecaris (Fred Moten), gaat in op de onderaardse stromingen in de roman. Daarbij stuiten ze op een weerspannige sociale orde en saamhorigheid onder zeelieden, overlopers en schipbreukelingen (CLR James). De stomme film, geregisseerd door Wu Tsang en met een live uitvoering van de compositie van Caroline Shaw, Andrew Yee en Asma Maroof door BRYGGEN Bruges Strings volgt de witte walvis boven en onder het wateroppervlak en ontwikkelt een visueel universum dat zich verzet tegen de uitbuiting van de aarde onder het imperiale kolonialisme. Wu Tsang is een transgender regisseur en haar werk verkent de queer-transgendergemeenschap. Haar moeder is Zweeds-Amerikaans en haar vader Chinees. Ze identificeert als transfeminine en transguy.Link: https://www.hollandfestival.nl/nl/moby-dickDe Kersentuin:Voor het eerst werkt Rodrigues, Portuguese director, nu met een bestaande, klassieke tekst. Anton Tsjechov schreef zijn tragikomische klassieker De Kersentuin in 1904. Hoewel het stuk gaat over de opoffering van een eeuwenoude boomgaard tijdens de opkomst van het kapitalisme, gaat het voor Rodrigues in de kern over het begin van een nieuwe wereld die nog niemand begrijpt. De wereld verandert sneller dan de familie kan bijhouden. Ieder personage reageert anders op de situatie. Ljoebov (gespeeld door Huppert) klampt zich vast aan het verleden en is radicaal in haar nostalgie en melancholie, terwijl bijvoorbeeld zakenman Lopachin (een rol van Adama Diop) soepel met de ontwikkelingen meebeweegt.link: https://www.hollandfestival.nl/nl/la-cerisaieDeathbed:ChoreograafTrajal Harrell genaamd Porca Miseria Trajell baseert hij op de verhalen en gevechten van zeer verschillende, maar even sterke vrouwen, zoals Maggie uit Tennessee Williams' Cat on a Hot Tin Roof en de Grieks-mythologische Medea. Via hen verkent hij op een meeslepende manier kwesties van identiteit, gender, seksualiteit en macht. Ook doorbreekt Harrell de grenzen tussen dans, theater en beeldende kunst. Het eerste deel is zowel kunstinstallatie als performance , het middendeel is een film en het derde deel is te zien in een theatersetting.https://hollandfestival.nl/nl/porca-miseriaZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

The Social Listening series created spaces for listening and connecting despite our spatial isolation during the pandemic. This social listening episode features acclaimed poets and scholars, Dr. Nathaniel Mackey and Dr. Fred Moten as they read from poetry which offers profound explorations of the collocations of Black music and experimental poetics, the “freedom drive” of Black life and the “fugitive impulses” in Black performance.

Content Notice: suicide & clinical depression. Also SSRIs twisting minds & flattening affect, ultradian rhythms, nibbling holes, suffering, take the next step, the 10 thousand pound phone, narcissism vs boundaries, oppressor mindset with Fred Moten, and taking space. Moten, Fred; Harney, Stefano. the undercommons: fugitive planning & black study (pp. 86-87). Music by penguinmusic from Pixabay. https://pixabay.com/users/penguinmusic-24940186

This week we discuss Fred Moten's "Blackness and Nothingness," and discuss gas prices, South Korean presidential election results, and Florida's "Don't Say Gay" law. Shout out to @theblacksparkpodcast for the intro/outro music! Please support us by liking, subscribing, and reviewing our podcast as well as visiting our Patreon account (https://bit.ly/32vWe8P).

For guest editor Suzi F. Garcia, getting to know Taylor Johnson's poetry was a highlight of 2021. Garcia says Johnson's debut book, Inheritance, absolutely blew her away. The book is described as a “black sensorium, a chapel of color and sound that speaks to spaciousness, surveillance, identity, desire, and transcendence.” Fred Moten said about the book: “I'm singing. I'm singing with them, about them, because of them.” That's also how Garcia felt reading Johnson's new poem, “Hymn,” which you'll hear Johnson read from today.

We made it! This is the coda podcast for Fred Moten's "In the Break." Not a whole lot of discussion about the actual coda (which is about Adrian Piper) but a lot of thoughts about the book in general. In two weeks we will be back with a new book (a fiction book!) "Noor" by Nnedi Okorafor. If you want to read something I recently had published (or listen to it) below is a link to a piece of creative nonfiction that I wrote: www.ilanotreview.com/ephemeral/the-donut-odyssey/ www.youtube.com/watch?v=QcGMPzwWVtg&t=2s Keep reading!

This episode we took on Chapter 2 of Fred Moten's "In the Break" which is titled "In the Break." Lots to discuss here, so here are some things referenced in the podcast this week: Black Dada Nihilimus - https://www.youtube.com/watch?v=98oK6zZXmQw Nathaniel Mackey's EXCELLENT piece on Cante Moro - https://web.archive.org/web/20050507015349/http://groovdigit.com/authors/mackey/cantemoro.html Billie Holiday's "Don't Explain" - https://www.youtube.com/watch?v=45YPO2FyXVI "Burton Greene Affair" - https://cpb-us-w2.wpmucdn.com/campuspress.yale.edu/dist/1/2391/files/2018/04/Baraka-Apple.Core-2f8ipnd.pdf Chapter 3 and a coda podcast are already in the feed so check them out. If you want to read something I recently had published (or listen to it) below is a link to a piece of creative nonfiction that I wrote: http://www.ilanotreview.com/ephemeral/the-donut-odyssey/ https://www.youtube.com/watch?v=QcGMPzwWVtg&t=2s Keep reading!

Alright, this is Fred Moten III; this was recorded about a week after part 2 and there is a bit of cleanup here but not much. The final part is already in your feed so check it out. It's more of my thoughts and less of what the book is about although there's a brief discussion of the book's coda. If you want to read something I recently had published (or listen to it) below is a link to a piece of creative nonfiction that I wrote: www.ilanotreview.com/ephemeral/the-donut-odyssey/ www.youtube.com/watch?v=QcGMPzwWVtg&t=2s Keep reading!

This week I read and discussed the first 2 sections of Fred Moten's "In the Break: The Aesthetics of the Black Radical Tradition." In two weeks I'll be back with the last two sections of the book. If you would like to read a piece I recently got published that is 100% unrelated to this podcast, click here: http://www.ilanotreview.com/ephemeral/the-donut-odyssey/

Nathaniel Mackey in conversation with Fred Moten, celebrating the launch of his new poetry collection, "Double Trio," published by New Directions. This event was originally broadcast via Zoom and hosted by Josiah Luis Alderete. Nathaniel Mackey was born in Miami, Florida, in 1947. He is the author of several books of fiction of "exquisite rhythmic lyricism" (Bookforum), poetry, and criticism and has received many awards for his work, including the National Book Award in poetry for Splay Anthem, the Stephen Henderson Award from the African American Literature and Culture Society, the Bollingen Prize, and the Ruth Lilly Poetry Prize. Mackey is the Reynolds Price Professor of English at Duke University. Fred Moten is an American cultural theorist, poet, and scholar whose work explores critical studies, black studies, and performance studies. Moten is Professor of Performance Studies at New York University and Distinguished Professor Emeritus at University of California, Riverside and the University of Iowa. His scholarly texts include "The Undercommons: Fugitive Planning & Black Study" which was co-authored with Stefano Harney, "In the Break: The Aesthetics of the Black Radical Tradition," and "The Universal Machine" (Duke University Press, 2018). He has published numerous poetry collections, including The Little Edges, The Feel Trio, B Jenkins, and Hughson's Tavern. In 2020, Moten was awarded a for "[c]reating new conceptual spaces to accommodate emerging forms of Black aesthetics, cultural production, and social life." Sponsored by the City Lights Foundation.

Finishing up chapters 4-6 of Dr. Martin Luther King Jr.'s "Where Do We Go From Here." Next week on the podcast I'll be discussing Fred Moten's "In the Break."

In this trailer I preview the upcoming season of interviews, and I also read a paragraph from Fred Moten and Stefano Harney's All Incomplete (Minor Compositions, 2021). Check out our website for more info about the show, and please do get in touch with any feedback!

Uma conversa entre a investigadora Paula Caspão (organizadora do ciclo Expanded Practices All Over, espaço de reflexão coletiva em torno da expressão “práticas expandidas, no âmbito do qual o poeta norte-americano Fred Moten deu uma conferência no programa digital do TBA) e Francisco Silva, Vitória Auer e Nuno Cerqueira (editora Maio Maio), por um lado, e Luhuna Carvalho (editor independente), por outro. Em causa, um interesse partilhado pela escrita e pensamento de Fred Moten. edição sonora: Sara Morais música do genérico: Raw Forest produção: Teatro do Bairro Alto

Originally produced and aired in 2016...: The great political theorist, cultural philosopher, revolutionary, C. L. R. James once said that he is black, number one, because he is against what they have done and are still doing to us; and number two, he has something to say about the new society to be built because he has a tremendous part in that which they have sought to discredit.— C. L. R. James, C. L. R. James: His Life and Work. In the article The University and the Undercommons: Seven Theses (The—sees), Fred Moten and Stefano Harney start their analysis with this powerful quote: “To the university I steal, and there I steal.” They go on to write that this is the only possible relationship to the university (American) today. In fact, this may be true of universities everywhere. It cannot be denied that the university is a place of refuge, and it cannot be accepted that the university is a place of enlightenment. Their analysis is centered on a sharp critique of how we produce and reproduce a certain forms of knowledge. And the role and responsibility of those who step into this dialectical process of who has the right to know and what they should do with what they know. Moten and Harney go on to suggest that in the face of these conditions one can only sneak into the university and steal what we can. To abuse its hospitality, to spite its mission, to join its refugee colony, its gypsy encampment, to be in, but not of—this is the path of the subversive intellectual in the modern university. The authors are attempting to peel back the cover of knowledge for knowledge sake. They suggest that in this present moment, we must begin to take the path of heretical thinkers. The "maroons knew something about possibility. They are the condition of possibility of production of knowledge in the university—the singularities against the writers of singularity, the writers who write, publish, travel, and speak. It is not merely a matter of the secret labor upon which such space is lifted, though of course such space is lifted from collective labor and by it. It is rather that to be a critical academic in the university is to be against the university, and to be against the university is always to recognize it and be recognized by it, and to institute the negligence of that internal outside, that unassimilated underground, a negligence of it that is precisely, we must insist, the basis of the professions. And this act of against…always excludes the unrecognized modes of politics, the beyond of politics already in motion, the discredited criminal para-organization, what Robin Kelley might refer to as the infrapolitical field (and its music). It is not just the labor of the maroons but their prophetic organization that is negated by the idea of intellectual space in an organization called the university" [31]. Next we will hear an further elaboration of the ideas set out by Fred Moten and Stefano Harney with Dr. Claudrena Harold, author of New Negro Politics in the Jim Crow South from University of Virginia, Dr. Will Boone, Dr. Corey Walker, and myself of Winston Salem State University. Our show was produced today in solidarity with the Native/Indigenous and Afro Descendant communities at Standing Rock, Venezuela, Brazil, Colombia, Kenya, Palestine, South Africa, and Ghana and other places who are fighting for the protection of our land for the benefit of all peoples! Enjoy the program…! Image: Toward a Black University Conference 13-17 November 1968. Hilltop, 8 November 1968...available here: https://www.dc1968project.com/blog/2018/12/27/12-november-1968-amp-toward-a-black-university-conf-hu-begins-tomorrow

Kevin Beasley thinks a lot about objects. In particular, specific objects that relate to notions of American-ness and Blackness—and ones that are often linked, subtly or not, with violence. Whether with a Cadillac Escalade, a pair of Air Jordans, or an N.F.L. helmet, Beasley finds deep connections to each item he chooses to work with, rigorously studying their multifarious contexts, meanings, and histories. Happy to let artifacts sit in his New York studio for long periods of time, the 36-year-old artist allows them to slowly gestate in his mind until he feels ready to express whatever he has deciphered out of their nature. From there, he turns them into exquisite, alchemical works of art, from tightly packed “slab” sculptures—large, flat resin blocks that embody the density of the symbolic articles that comprise them—to evocative sound installations and performances. Beasley's prolonged approach isn't mere research; it's his way of making space to reflect, to pay more attention, and to grapple with the nuances of the complex, loaded subject matter that's embedded in many of the things that permeate our everyday lives. For Beasley, unpacking subjects charged with underlying connotations is a necessary means for transformation. “You don't have to fully understand what it is you're dealing with,” he says. “It takes time. It takes a revisitation. And that's okay, because that speaks very specifically to a process of learning and understanding.”Beasley's work often draws from his personal history, which has included growing up in admiration of the handiwork of his mechanic father, deejaying at house parties at Yale University, and attending annual family reunions in rural Virginia. It was at one such reunion, in 2011, when Beasley came across a cotton field and picked the plant for the first time—an eerie experience that was, as he considered his ancestors and enslaved peoples who once performed the act, all at once distressing, pleasurable, haunting, and illuminating. The following year, Beasley took his fascination with cotton further—and into the deep South. After finding and purchasing a mid-20th-century cotton gin motor on eBay, he drove from New Haven, Connecticut, to a farm in rural Alabama to collect the object. Beginning as part of an M.F.A. project at Yale, the motor would later evolve into an encased artwork, whirling and surrounded by microphones, inside a pristine, clear, soundproof box at the Whitney Museum of American Art—the potent centerpiece of the artist's breakout exhibition “A View of a Landscape” (2018–2019). (The raw, rancorous noises the motor produced were pumped into an adjacent room that served as a listening gallery.) Later this year, Beasley will extend the project further with a monograph and double LP of the same name, which features sound contributions from artists, musicians, and writers such as Kelsey Lu, Jason Moran, and Fred Moten, whose tracks sample recordings that Beasley made of the churning machine.On this episode, Beasley talks with Spencer about contemplating these particular objects, sound as a means for greater understanding, and the role of repetition in reshaping history.

In this episode, I talked with Xat Gómez. Xat works in community and new media integration. Established by an upbringing of communal power and epigenetic trauma, their work is focused on poetic healing. A Gilman Scholar, they conducted undergraduate research in Santiago de Chile, Rapa Nui, and Patagonia. They seek to visually facilitate pragmatic systems of access and dissemination. Graduating with a BFA and a Minor in Women and Gender studies from USF, they served in ArtistYear, an Americorp program in Philadelphia while learning full stack development at the UPenn's Pennovation Center. They are a part of the Colombian diaspora and currently reside in Borinquén. Connect with Xat Gómez: IG @xat.gom Website xatgomez.com Resources Mentioned: Do Better by Rachel Ricketts Homegoing by Yaa Gyasi The Body Keeps the Score by Bessel van der Kolk St. Pete Underground The Communal Gospel Evolving Faith podcast The Undercommons: Fugitive Planning & Black Study by Fred Moten and Stefano Harney Broadening the Narrative "Pastoring in a Pandemic with Rev. Melanie Vaughn-West" It Didn't Start with You by Mark Wolynn The music from this episode is "Raindrops" by Bandy featuring Sedonte Rouland, Vokul, and Gwen T. I want to thank Jordan Lukens for his help with editing and Danielle Bolin for creating the episode graphic. If you like what you hear in this episode, share it with a friend. I really think that little by little, person by person, we can broaden the narrative. In addition, make sure to subscribe so you don't miss an episode. Then, rate and review to help others find the show. Broadening the Narrative blog - broadeningthenarrative.blogspot.com Broadening the Narrative on: IG @broadeningthenarrative Twitter @broadnarrative Facebook - facebook.com/groups/broadeningthenarrative

This is a dialogue between Hanif Abdurraqib and Fred Moten. Hanif Abdurraqib has been on the show twice before, but we really have not done a proper episode to honor his work. So we wanted to figure out a unique way to commemorate the release of A Little Devil In America: Notes In Praise of Black Performance. It dawned on us that a lot of Fred Moten’s work was wrestling with many of the same questions explored in Hanif’s. So we invited both of them to join us in a dialogue, and they both graciously accepted. Due to the improvisational casual nature of the conversation, it did not make sense to edit the episode the way we normally do. Aside from attempting to align the mic levels as much as possible and removing a few minor audio blemishes, what you hear is true to the live discussion. Certainly something is lost in you all not having been there with us, but hopefully something has been found and preserved as well. 

Can art really create political change? What are the conditions that make this possible if and when it happens? What are the social ingredients that make for good art scenes? ...and what the hell was up with the DNC last year? In a sobering interview, Ben Davis, National Art Critic for ArtNet News and self-avowed Marxist, reminds us to be realistic about art's ability to change a world it is only one small part of—but also to rid ourselves of the expectation that to be good, art must change the world. WHERE TO READ BEN'S WORK -https://news.artnet.com/about/ben-davis-93 -Davis, Ben. 9.5 Theses on Art and Class. Chicago, Illinois: Haymarket Books, 2013. WORKS CITED -Mayer, Jane. Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right. Reprint edition. Anchor, 2017. -Thompson, Nato. Seeing Power: Art and Activism in the Twenty-First Century. Brooklyn, NY: Melville House, 2014. -Piketty, Thomas. Capital and Ideology. Translated by Arthur Goldhammer. Cambridge, Massachusetts: Belknap Press: An Imprint of Harvard University Press, 2020. -Harney, Stefano, and Fred Moten. The Undercommons: Fugitive Planning & Black Study. 1st edition. Wivenhoe: Autonomedia, 2013. -English, Darby. Art Historian Darby English on Why the New Black Renaissance Might Actually Represent a Step Backwards. Interview by Folasade Ologundudu, February 21, 2021. https://news.artnet.com/art-world/darby-english-1947080. -Smucker, Jonathan. Hegemony How-To: A Roadmap for Radicals. AK Press, 2017. -Davis, Ben. “Alice Neel’s Communism Is Essential to Her Art. You Can See It in the ‘Battlefield’ of Her Paintings, and Her Cruel Portrait of Her Son.” Artnet News, April 15, 2021. https://news.artnet.com/opinion/alice-neel-was-a-commie-a-battlefield-of-humanism-1958503. -Althusser, Louis. For Marx. Translated by Ben Brewster. London ; New York: Verso, 2006. MUSIC -Theme music and consultation: Georgina Rossi, www.georginarossi.com -Interlude: Béla Bartók, String Quartet No. 1 in A Minor SPONSOR Capital A is sponsored by Shoestring Press: www.shoestringpressny.com --- Send in a voice message: https://anchor.fm/capital-a/message

Harmony Holiday, a writer, dancer, and archivist, joins Nikita Gale and Alexander Provan to speak about Black performers whose songs and struggles reflect the ongoing trauma of the “African holocaust.” They discuss the pressure to pander to white audiences as well as the impulse to seek a form of expression (and of being) that is chosen and not imposed by force. They listen to songs written and recorded by Holiday's father, the soul singer Jimmy Holiday, as well as to Albert Ayler, Thelonious Monk, Billie Holiday, Amiri Baraka, and Kanye West.Holiday's essay “The Black Catatonic Scream,” a meditation on Black silence, was published by Triple Canopy last year. Her book of poems on the “African holocaust,” naming, and erasure, Maafa, is being published by Fence Books in 2021. Holiday is currently working on a biography of the singer Abbey Lincoln and a collection of essays, Love Is War for Miles.In this episode, Holiday, Gale, and Provan speak about Fred Moten's In the Break: The Aesthetics of the Black Radical Tradition (University of Minnesota Press, 2003); Édouard Glissant's The Poetics of Relation, trans. Betsy Wing (University of Michigan Press, 1997); the writer and cultural theorist Sylvia Wynter, whose work is the subject of Katherine McKittrick's Sylvia Wynter: On Being Human as Praxis (Duke University Press, 2014); Mack Hagood's Hush: Media and Sonic Self-Control (Duke University Press, 2019); Amiri Baraka, the poet, author, and luminary of the Black Arts Movement, about whom Holiday has often written.In order of appearance, the music and other recordings played on this episode are: Sonny Sharrock, “Black Woman” (feat. Linda Sharrock), Black Woman (Vortex Records, 1969); a concert by Kanye West as part of his Saint Pablo Tour, 2016; West's “Father Stretch My Hands, Pt. 1,” The Life of Pablo (Def Jam, 2016); Jimmy Holiday, “We Got a Good Thing Goin',” Turning Point (Minit, 1966); Ray Charles, “Somebody Ought to Write a Book About It” (ABC Records, 1967); Thelonious Monk, “You Took the Words Right Out of My Heart,” Thelonious Alone in San Francisco (Riverside, 1959), James Brown, “The Payback,” The Payback (Polydor, 1973); Billie Holiday and Her Orchestra, “A Sailboat in the Moonlight” (Vocalion, 1937); Amiri Baraka reading “Black Art” on Sonny Murray's Sonny's Time Now (Jihad Productions, 1965); Albert Ayler, “Ghosts (Variation 2),” Spiritual Unity (ESP-Disk, 1964); an advertisement for Beats by Dre headphones featuring Colin Kaepernick, 2013. The title of this episode is taken from Albert Ayler's Holy Ghost: Rare and Unissued Recordings (1962–70) (Revenant Records, 2004). Medium Rotation is produced by Alexander Provan with Andrew Leland, and edited by Provan with Matt Frassica. Tashi Wada composed the theme music. Matt Mehlan acted as the audio engineer and contributed additional music.Medium Rotation is made possible through generous contributions from the Andy Warhol Foundation for the Visual Arts and Nicholas Harteau. This season of Medium Rotation is part of Triple Canopy's twenty-sixth issue, Two Ears and One Mouth, which receives support from the Stolbun Collection, the Shelley & Donald Rubin Foundation, Agnes Gund, the National Endowment for the Arts, the New York State Council on the Arts, and the New York City Department of Cultural Affairs in partnership with the City Council.

For many women of colour, life in academia feels like a constant fight. As Dr. Rita Dhamoon writes, racism is a workload issue. So, when do we sit down and when do we fight back? And how do we keep fighting in the face of such intractible systemic hostility? In this episode of Academic Aunties, we talk to https://www.debthompsonphd.com/ (Dr. Debra Thompson) (Associate Professor of Political Science and Canada Research Chair in Racial Inequality in Democratic Societies at McGill University) about the necessity of the fight, the value of stealing your time back, how creating subversives can drive change, and the importance of armour to survive the neoliberal academy.  Follow us on Twitter at https://www.twitter.com/AcademicAuntie (@AcademicAuntie). Mentioned in this Episode and Related Resources:https://www.upress.umn.edu/book-division/books/the-abolition-of-white-democracy (The Abolition of White Democracy) by Joel Olson https://www.akpress.org/the-undercommons.html (The Undercommons: Fugitive Planning & Black Study) by Fred Moten and Stefano Harney https://socialiststudies.com/index.php/sss/article/view/27273 (Racism as a Workload and Bargaining Issue) by Rita Dhamoon article https://osf.io/preprints/socarxiv/6wjxc (Socioeconomic Roots of Academic Faculty) by Allison Morgan, Aaron Clauset, Daniel Larremore, Nicholas LaBerge and Mirta Galesic "CPSA" = Canadian Political Science Association Annual Conference "REP" = Race, Ethnicity and Politics This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy Podsights - https://podsights.com/privacy

Emma Dabiri is a writer, presenter and social historian. Throughout her prolific career across books, television series and radio programmes, Emma has worked to ask some of the most important questions facing the Black British public, most notably in her best selling novels Don't Touch My Hair and What White People Can Do Next. For Talking Tough, she sat down with host Georgia Moot to discuss anti-racism, allyship and deconstructing race. For Emma's recommendations on where this conversation is continued, check out the list below: Books: Futures of Black Radicalism; Edited by Gaye Theresa Johnson and Alex Lubin The Undercommons Fugitive Study and Black Planning; Fred Moten and Stefano Harney Capitalist Realism; Mark Fisher Podcast: The Tightrope Cornell West and Tricia Rose YouTube: Contrapoints

Episode 11: Embodied AnthropologyMuch of the narratives found in rewilding originate from the study of cultures outside of civilization, through the discipline of anthropology. In this episode I chat with two of my friends that dwell in the academic world, around the challenges of navigating the benefits and problems with the institution of anthropology and the practical applications of it outside of academia. We talk about the history of anthropology, contemporary ethics behind it, and the potential for continual cultural transformation. How do we take anthropology beyond the institutions, in order to *do* anthropology in the real world? How do we leverage the study of culture(s), in a just and careful way, to help us understand more about humanity and our place in the world? What are the best practices behind an embodied anthropology?Fern Thompsett grew up in Australia, and is now working on a PhD in cultural anthropology through Columbia University, on Lenape land in New York City. Her research looks at how people define, critique, and live outside of civilization. She is also a co-founder of the Brisbane Free University.Josh Sterlin is working on a PhD at McGill University as part of the Leadership for the Ecozoic program. He is researching how rewilding might help us rethink classic anthropological categories and thinking, and how that might help us change the way we live. He was previously trained in environmental anthropology, and is also a graduate of the Wilderness Awareness School's Anake program. When he's not doing that, he's canoeing across the Quebec wilds. You can get in contact at jsterlin.org.NotesFragments of an Anarchist Anthropology:https://libcom.org/library/fragments-anarchist-anthropologyThe Undercommons', by Stefano Harney and Fred Moten: https://www.minorcompositions.info/wp-content/uploads/2013/04/undercommons-web.pdfKlee Bennally's 'Accomplices not Allies': https://www.indigenousaction.org/accomplices-not-allies-abolishing-the-allSupport the show (https://www.patreon.com/petermichaelbauer)

In this episode, The Believer’s deputy editor and essayist Niela Orr finds a home in Toni Morrison’s words. Then, Vegas-born poet Fred Moten and cultural historian Josh Kun discuss James Baldwin, music, loss, extraordinary listening, and–for Moten–what it was like growing up in Las Vegas.  

Our guest at the table tonight on Into the Absurd was visual artist, poet and founding director of the Institute for Advanced Study in Black Aesthetics, Theodore A. Harris (https://theodoreharris.weebly.com/). Theodore A. Harris – born in 1966 in New York City and raised in Philadelphia, where his art practice is based. Harris is a collagist, poet, curator, and essayist on the intersection of art and politics. His work has been exhibited nationally and internationally in galleries and museums such as The Woodmere Art Museum, Philadelphia Pennsylvania; NeMe in Limassol, Cyprus; The University of Chicago Center in Paris, France; University of Pennsylvania, Philadelphia, Pennsylvania; Hammonds House Museum and Resource Center of African American Art, Atlanta, Georgia; Harmony House Stanford University, Stanford, California.His work is in private and public collections including the Pennsylvania Academy of the Fine Arts, La Salle University Art Museum, Center for Africana Studies University of Pennsylvania, Saint Louis University Museum of Art, Du Bois College House University of Pennsylvania, and Lincoln University. He has held residences at the Ashe Cultural Arts Center (New Orleans); 40th Street A-I-R (Philadelphia); Hammonds House Museum and Resource Center of African American Art (Atlanta, GA); International Festival of Arts and Ideas (New Haven, CT).He has co-authored books with Amiri Baraka, Our Flesh of Flames (Anvil Arts Press); Malcolm X as Ideology, and with Fred Moten: i ran from it and was still in it (Cusp Books). His current book is from the series by the same name Thesentür: Conscientious Objector to Formalism. He is the founding director of The Institute for Advanced Study in Black Aesthetics.

In der ersten Folge des neuen Jahres spricht Katharina Brandl, die künstlerische Leiterin des Kunstraum Niederoesterreich, mit Gastkuratorin Andrea Popelka über die Entstehung der Ausstellung „Life constantly escapes“, über Theorien der Black Radical Tradition, die für sie im Zuge der Konzeption des Projekts wichtig waren, und was es bedeutet, in Zeiten von Covid-19 eine Ausstellung zu gestalten, die auf einem Miteinander der Sinne beruht. Die Folge wird begleitet durch ein Harfen-Stück von Ahya Simone. Wir wünschen viel Spaß beim Hören! Gast: Andrea Popelka Moderation: Katharina Brandl Sound: Ahya Simone, Jinsei no kokoro (Life of the Heart), 2021 Schnitt: Marina Ninić Opener und Mastering: Alexander Wieser | Sonobelle Recordings Bildcredits: © Eva Würdinger 2021 Wenn Sie mehr über das Programm des Kunstraum Niederoesterreich erfahren wollen, folgen Sie uns: https://www.instagram.com/kunstraum_niederoesterreich/ https://www.facebook.com/KunstraumNiederoesterreich/ https://twitter.com/kunstraum_noe www.kunstraum.net

Douglas Kearney discusses recordings that give rise to reflections on human interaction and the potential for both connection and violence held there. Kearney introduces Rosa Alcalá as she uses found text to chart the shape of violence (“Are You Okay?"), Martín Espada as he encounters “reeling hyper-reality” in the courtroom (“City of Coughing and Dead Radiators”), and Ai as she pushes the limits between understanding and sympathizing with cruel narrators (“Abortion”). Kearney ends by reading a poem sparked by Fred Moten’s essay “Black Kant.”Listen to the full recordings of Alcalá, Espada, and Ai reading for the Poetry Center on Voca:Rosa Alcalá (2020)Martín Espada (1992)Ai (1972)You can also find readings by Douglas Kearney on Voca, including his most recent with percussionist/electronic musician Val Jeanty, which was given as part of the Thinking Its Presence conference in 2017.

Say good-bye to 2020 with some favorite interviews, including: Robert Caro, the author, most recently, of Working (Knopf, 2019), shares stories and insights from his work writing Pulitzer Prize-winning biographies of Robert Moses and Lyndon Johnson. Astronaut and rocket scientist Buzz Aldrin is an advocate for the exploration of Mars -- in fact, he hopes people will live on Mars one day. He talks about his vision for a new generation of space explorers and his new children's book, Welcome to Mars: Making a Home on the Red Planet (National Geographic Children's Books, 2015). Michael Curry, presiding bishop of the Episcopal Church, talks about his new book, Love is the Way: Holding on to Hope in Troubling Times (Avery, 2020). Plus, six New York- and New Jersey-based 2020 MacArthur Fellows:  Brooklyn's N. K. Jemisin, science fiction writer and the author of The City We Became: A Novel (Orbit, 2020); Brooklyn's Cécile McLorin Salvant, singer, composer and visual artist; Montclair's Nanfu Wang, documentary filmmaker whose most recent film is "One Child Nation"; Brooklyn's Jacqueline Woodson, the author of the National Book Award-winning Brown Girl Dreaming (Nancy Paulsen Books, 2014) and her latest, Before the Ever After (Nancy Paulsen Books, 2020);  Scientist Mohammad R. Seyedsayamdost, associate professor in Princeton University’s department of chemistry; New York's Fred Moten, cultural theorist, poet and professor in the department of performance studies at NYU's Tisch School of the Arts.   These interviews were edited slightly for time, the original versions are available here:  How Robert Caro Does It (Apr 9, 2019) Buzz Aldrin Wants Us Living on Mars (Sep 10, 2015) Bishop Michael Curry: Love in Troubled Times (Oct 20, 2020) Meet the 'Geniuses': N. K. Jemisin (Oct 19, 2020)                               Cécile McLorin Salvant (Oct 20, 2020)                               Nanfu Wang (Oct 21, 2020)                               Jacqueline Woodson (Oct 22, 2020)                                 Mohammad R. Seyedsayamdost (Oct 23, 2020)                                         Fred Moten (Oct 29, 2020)                                     

We deep dive with Dr. Serena Chopra, a multitalented and multifaceted teacher and artist. Join us for a fascinating and thought-provoking conversation about the different approaches to time, what we mean when we describe something as “queer,” turning our personal trauma into collective defense, and the role of mysticism in creating what comes next. It’s not just about examining the structures we live in, we also have to turn those structures on their heads to approach them differently. We hope you leave this conversation with the same sky-eyed perspective we did. Afterwards, Sarah is all jazzed up on Aquarius vibes and Emily talks about energy, because we’re both kind of hippies. Featured poem is “Seduction After the Great Plains” by Dr. Serena Chopra. Featured music is “Love Yourself” and “The Only Point” by our own Emily Yates - a preview of her about-to-drop new album, Notes to Self and Others. All tracks appear courtesy of the artists. GUEST BIO Dr. Serena Chopra https://www.serenachopra.com/ Dr. Serena Chopra is a teacher, writer, dancer, filmmaker, soundscape designer and a visual and performance artist. She has a PhD in Creative Writing from the University of Denver, an MFA from the University of Colorado at Boulder and was a Kundiman Fellow, a 2011-2013 Redline artist in Residence, a 2016-2017 Fulbright Scholar (Bangalore, India), and received a month-long artist residency at Understudy Denver for September 2020. She has two books, This Human (Coconut Books 2013) and Ic (Horse Less Press 2017), as well as two films, Dogana/Chapti (2018, winner of ArtHyve’s Archives as Muse Film grant, Official Selection at Frameline43, Oregon Documentary Film Festival, Seattle Queer Film Festival, Nahia Film Festival and Cinema Diverse) and Mother Ghosting (2018). She is an 8-year company member with Evolving Doors Dance and was recently a featured artist in Harper’s Bazaar (India) as well as in the Denver Westword’s “100 Colorado Creatives.” She has recent publications in Foglifter, Sink and Matters of Feminist Practice (Belladonna). Serena is Assistant Professor of Creative Writing at Seattle University. EMILY DICKINSON POEM READ IN EPISODE “The Brain is Wider Than the Sky” https://www.bartleby.com/113/1126.html BOOKS MENTIONED IN EPISODE Cruising Utopia: The Then and There of Queer Futurity by José Esteban Muñoz https://bookshop.org/books/cruising-utopia-the-then-and-there-of-queer-futurity/9781479874569 The Undercommons: Fugitive Planning & Black Study by Stefano Harney & Fred Moten https://bookshop.org/books/the-undercommons-fugitive-planning-black-study/9781570272677 A Thousand Plateaus: Capitalism and Schizophrenia by Gilles Deleuze https://bookshop.org/books/a-thousand-plateaus-capitalism-and-schizophrenia/9780816614028 Queer Phenomenology: Orientations, Objects, Others by Sarah Ahmed https://bookshop.org/books/queer-phenomenology-orientations-objects-others-9780822339144/9780822339144 Les Guerilleres by Monique Wittig https://bookshop.org/books/les-guerilleres/9780252074820 The Portable Kristeva by Julia Kristeva https://bookshop.org/books/the-portable-kristeva/9780231126298 Occasional Work and Seven Walks from the Office for Soft Architecture by Lisa Robertson https://bookshop.org/books/occasional-work-and-seven-walks-from-the-office-for-soft-architecture-third-edition-revised/9781552452325 Your Healing Is Killing Me by Virginia Grise https://bookshop.org/books/your-healing-is-killing-me/9780991418398 Ideal Suggestions: Essays in Divinatory Poetics by Selah Saterstrom https://bookshop.org/books/ideal-suggestions-essays-in-divinatory-poetics/9780996922913

This week we discuss Fred Moten and Stefano Harney's "The Undercommons," and discuss the SolarWinds hack, China's weather experiments, and France's cyborg soldiers. Shout out to @theblacksparkpodcast for the intro/outro music! Please support us by liking, subscribing, and reviewing our podcast as well as visiting our Patreon account (https://bit.ly/32vWe8P).

This episode, Maha, Muna, Beverly and Renée talk about abolition as a relational project, and the central role dreaming has in imagining and co-creating futures of collective liberation. The Abolitionist Dream Mappers' website will be live in 2021. Follow us on Instagram @queermuslimresistance for queer muslim content. Email: queermuslimresistance@gmail.com References and further reading: RUTH WILSON GILMORE MAKES THE CASE FOR ABOLITION “Muslim Abolitionists on Islam, Carceral Systems, and the Surveillance State” by Vanessa Taylor The Undercommons: Fugitive Planning & Black Study - by Fred Moten and Stefano Harney

Arion references the book The Undercommons: Fugitive Planning & Black Study, by Stefano Harney and Fred Moten, which criticizes and tries to reform one's relation to the state and avoid being categorized specifically for the ends for state power. Identity is important, and Arion draws on his love of free-form jazz to make the point that we can be in the state of "being unresolved", and by staying in that unresolved state we can thus resist being categorized. He argues that the art he responds to the most is art that allows one to stay in that open-ended way. The idea of being open to possibilities has radical implications. He refers to his experience in spending time in DIY and artists communes, and urges people to make some changes "throw some concerts in your living room, have a bunch of strangers into your house, and use your house into a space for community..." Stay unresolved.Support the show (https://www.patreon.com/talkpopc)

Brandon Lopez is a bassist/improviser/composer who works at the intersection of jazz, free improvisation, noise and new music. He has been an artist-in-residence at Roulette and Issue Project Room, performed as a soloist with the NYPhilharmonic and in ensembles with Fred Moten, Okkyung Lee, Ingrid Laubrock, Tyshawn Sorey and Gerald Cleaver, who is his guest for this episode. TAK commissioned and performed Empty Church of Plenty with Brandon in the fall of 2019 at St. Mary’s Church in Harlem and on the 2020 New Ear Festival. Gerald Cleaver, a drummer/improviser/composer who’s worked with Henry Threadgill, Roscoe Mitchell, Muhal Richard Abrams, and William Parker. He’s the bandleader of Violet Hour, Black Host and he recently released an album of electronic music titled Signs. Gerald Cleaver's Signs: https://577records.bandcamp.com/album/signs Black Host: https://geraldcleaversblackhost.bandcamp.com/releases Brandon Lopez's bandcamp: https://nevernotagravedigger.bandcamp.com/ website: https://www.brandonlopez.nyc/ to learn more about TAK, go to http://takensemble.com

In this episode of the Solecast I speak with author and Indiana University professor, Micol Seigel. This conversation is meant as a primer for the the concepts of destituent power and the under commons. After a year of unimaginable suffering and resistance, the ideas of Destitution and under commons provide us critical tools for building the capacity we need to weather the storm(s) that we find ourselves in. We also talk about the free-to-all virtual conference they are hosting the weekend of 11/13-11/16:   On November 13th-16th, then, Indiana University's 2020 Critical Ethnic Studies symposium brings into dialogue two zones of contemporary insurgent study: the undercommons and destituent power. To explore social life that evades political constraints such as citizenship, sovereignty, and governance, we seek to build upon the work of Fred Moten, Stefano Harney and Giorgio Agamben. Reveling in the fields that ground their work, the Black radical tradition and Italian Autonomia, this forum seeks to collect and share what we've learned from the practices and forms of life that are already breaking free of politics.   To preview Micol's book “Violence Work” you can check it out here   and to learn more/register from the Destituent Power and The Undercommons conference you may do so here

In this episode of Radio ArtEZ, vocalist, movement artist and composer Elaine Mitchener offers background to her work and her ideas. She will focus on the unheard voices of statues, rooms, places. Who do monuments represent and who do they speak for? She will introduce some original voices in philosophy and music that deserve more attention and will guide us into ideas of philosophers Fred Moten and Walter Benjamin about resistance and memory. Central to her conversation will be Benjamin’s concept and practice of memory: Eingedenken, that takes remembrance as an act of responsibility. How do we choose to remember? History is written by the victors, said Benjamin, and the consequences resonate for ages. Links: https://www.elainemitchener.com/ Kitchen Table Conversation with Elaine Mitchener: https://studiumgenerale.artez.nl/nl/agenda/kitchen+table+conversation+with+elaine+mitchener/ Produced by Ondercast for Studium Generale ArtEZ. Studium Generale curator for this episode: Mirjam Zegers Tune: Daan van Haaren

An interview with RA Judy, professor of English at the University of Pittsburgh. The interview focuses on RA Judy's research and writing, in particular his recently published book Sentient Flesh: Thinking in Disorder, Poiesis in Black. The interview with Fred Moten we discuss can be found here: www.boundary2.org/2020/05/of-human…y-by-fred-moten/. A citation and abstract for the boundary2 essay "Restless Flying" can be found here: read.dukeupress.edu/boundary-2/arti…/47/2/91/164269. Professor Judy's interview for the Minneapolis Interview Project can be found here: turtleroad.org/2020/08/02/ronald-judy/.      

We wrap up our series with the local 2020 MacArthur geniuses. Today: New York's Fred Moten, 2020 MacArthur Fellow, cultural theorist, poet and professor in the department of performance studies at NYU's Tisch School of the Arts, who received the honor for "creating new conceptual spaces to accommodate emerging forms of Black aesthetics, cultural production, and social life."

“Wu Tsang” Visionary Company à Lafayette Anticipations – Fondation d'entreprise Galeries Lafayette, Parisdu 21 octobre 2020 au 3 janvier 2021Extrait du communiqué de presse :Commissaires :Rebecca Lamarche-Vadel, Directrice déléguée Lafayette AnticipationsAnna Colin, Curatrice associéeDepuis plus de dix ans, l'artiste américaine Wu Tsang crée des œuvres vidéos, des installations, des évènements et des performances. Ses films, maintes fois primés, associent les registres du documentaire, de la narration et du fantastique pour révéler des histoires individuelles et collectives dissimulées et marginalisées. C'est dans les décors des clubs queer historiques, de vaisseaux qui remontent le temps en mer de Chine méridionale ou encore de voyages mythiques sur l'île grecque de Lesbos que son oeuvre se déploie. Wu Tsang réimagine les représentations racialisées et sexuées pour englober les perspectives multiples et changeantes à travers lesquelles nous faisons société.Pour sa première exposition en France, Wu Tsang transforme Lafayette Anticipations en un lieu hybride qui convoque les mondes de la nuit et du sacré. Métamorphosés, les espaces plongent le.la visiteur.euse dans une atmosphère mystérieuse où sont rassemblées des oeuvres inédites et plus anciennes de l'artiste américaine. Comme autant de réflexions sur les valeurs portées par notre culture, Wu Tsang s'empare des thèmes des perspectives et des points de vue, des rapports de force et de solidarité, pour renouveler le regard porté sur les individus et sur la manière de faire société. Pour son exposition, l'artiste propose une expérience où la musique, la danse, l'architecture, le théâtre ou encore la performance sont autant de disciplines explorées pour célébrer la métamorphose et la fluidité de l'être.Le projet est construit autour de l'installation vidéo monumentale et inédite The Show is Over (2020), forme d'opéra en plusieurs tableaux dans lequel une communauté de danseur.euse.s évolue au rythme du texte Come on, get it! de Fred Moten, poète et académicien africain américain. Dans le film se déploient les thèmes de la libération et de l'aliénation des êtres, incarné.e.s dans une chorégraphie et une musique qui guident les trajectoires des performeur.euse.s et qui invoquent les héritages de l'Histoire liés à la blackness; les luttes, l'oppression, les rapports de pouvoir, mis en perspective avec la possible libération de chacun.e grâce à une relation renouvelée avec le monde, et de nouveaux liens avec les éléments.L'espace du film, un lieu flottant, se transforme et fait notamment apparaître les célèbres escaliers de Penrose. Objet “impossible”, cet escalier en trompe-l'œil varie en fonction des perspectives et peut simuler un escalier infini, métaphore de la multiplicité des points de vue possibles et de la variété des réalités qui en découlent. The show is over est une histoire de séparations, de fluidité, de la rencontre et de la perméabilité des matières, des états, et des corps. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Black lives matter and we will continue to amplify BIPOC (Black, indigenous, people of color) voices in podcasting. Welcome to episode 50. It covers the week of September 14 - 18, 2020.This week’s theme is: *Why Read Books?” The curator is Dan Kubis.Podpage makes it easy to create a podcast website with just a few clicks, where every page is optimized to be found on Google, it stays up-to-date forever, and requires zero technical knowledge. www.podpage.com This week's podcast spotlight is Pray for Us. Find it here:https://podcasts.apple.com/us/podcast/pray-for-us/id1497592584Thank you to Buzzsprout for their sponsorship! More here: https://www.buzzsprout.com/?referrer_id=869632More on this podcast:Each week on this podcast, we’ll share the information that's within the newsletter put out by EarBuds Podcast Collective. EBPC is a listening movement. We send a weekly email with a theme and 5 podcast episodes on that theme, and each week is curated by a different person. Anyone can curate a list -- just reach out!Here are the episodes chosen by Dan this week: A Phone Call from Paul A Conversation with Maggie Nelson48 minutes In this episode, Paul Holdengraber talks to the writer Maggie Nelson about how Proust inspires guilt, the disillusionment of youth, and how aging is a spectacular adventure. For more, visit LitHub.com. Live at Politics and Prose Lisa Halliday50 minutes Halliday’s debut novel was one of the literary events of 2018, earning uniformly rave reviews and a place on innumerable bestseller lists. The narrative ingeniously combines two starkly different narratives to give us a startling view of today’s world. The book starts with Alice, a young editor and writer in New York, and her relationship with an older, established novelist, a character based on Philip Roth. In the second section, Halliday turns to Amar, an Iraqi-American man who is detained by immigration officers at Heathrow as he’s en route to see his brother in Kurdistan. Being Human Revolution as Preservation: A Conversation with Fred Moten51 minutes An interview with Fred Moten, professor in the Department of Performance Studies at NYU. The interview focuses on Professor Moten's life and career, particularly his recent volume of criticism called "consent not to be a single being." The Nathaniel Mackey poem "Destination Out," which Moten references at the end of the conversation, is available here: www.poetryfoundation.org/poetrymagazi…tination-out Reading Women Interview with Anjali Sachdeva37 minutes Autumn and Kendra chat with Anjali Sachdeva about her debut short story collection All the Names They Used for God. Just the Right Book Podcast Ta-Nehisi Coates on the Most Intimate Evil of Enslavement72 minutesHow does memory create power? How do you define freedom, and how does the emotional savagery of selling and separating members of a family destroy and define a human being? And, most powerfully, in the midst of trauma and loss, how does one find courage and how does love survive? These ideas and more are explored in Ta-Nehisi Coates’ first novel, The Water Dancer. We are so excited that Buzzsprout is sponsoring our show. If you're looking to become a podcaster, Buzzsprout is the best podcast hosting site out there. Click here to learn more and sign up for an account: https://www.buzzsprout.com/?referrer_id=869632Want to sponsor one of our upcoming episodes or newsletters? Email us at earbudspodcastcollective@gmail.com. Here’s our rate sheet: https://www.earbudspodcastcollective.org/earbuds-podcast-rate-sheetFind our podcast recommendation archive here: https://www.earbudspodcastcollective.org/podcast-earbuds-recommendationsNeed podcast earbud recommendations? We got you on our website’s blog: https://www.earbudspodcastcollective.org/earbuds-podcast-collective-blog/podcast-earbudsThis episode was written and produced by Arielle Nissenblatt, who also hosts the show. Special thanks to Daniel Tureck who mixes and masters Feedback with EarBuds. Abby Klionsky edits our newsletter, which can be found at earbudspodcastcollective.org. Thank you to Matthew Swedo for composing our music. Find him and ask him all about your music needs. He’s at @matthewswedo on Instagram and www.matthewswedomusic.com.You can support us on Patreon! Find out more here: www.patreon.com/earbudspodcastcollectiveFollow us on social media:Twitter: @earbudspodcolInstagram: @earbudspodcastcollectiveFacebook: EarBuds Podcast CollectiveIf you like this podcast, please subscribe and tell a friend about the beauty of podcasts!More information at earbudspodcastcollective.org

This is part 2 of our 2 part conversation with Stefano Harney and Fred Moten, Revisiting The Undercommons In A Time Of Pandemic And Rebellion. In this part of the conversation we focus on their conceptions of homelessness, Black study, the surround, policy and fugitive planning. Moten and Harney also get into a discussion of critiques and notions of sovereignty in Indigenous theory and Afro-pessimism.   

This is part one of a two-part conversation with Fred Moten and Stefano Harney.  Fred Moten is the author of In The Break: The Aesthetics of the Black Radical Tradition, multiple volumes of poetry, and most recently the trilogy consent not to be a single being. Stefano Harney is the author of Nationalism and Identity: Culture and the Imagination in a Caribbean Diaspora. He also co-authored The Liberal Arts and Management Education: A Global Agenda for Change with Howard Thomas, and State Work: Public Administration and Mass Intellectuality. In 2013, Moten and Harney collaborated on The Undercommons: Fugitive Planning and Black Study a text that has been influential to both Josh and myself.  They graciously accepted the invitation to revisit this work, and their thinking in this time of pandemic and rebellion.  In this first portion of our conversation, we begin a discussion of the undercommons, the Academy, the general antagonism, solidarity, empathy, whiteness, politics, citizenship, Blackness, and patriarchy. We hope you enjoy part one of this discussion as much as we did, and we will be releasing part 2 next week. 

An interview with Fred Moten, professor in the Department of Performance Studies at NYU. The interview focuses on Professor Moten's life and career, particularly his recent volume of criticism called "consent not to be a single being." The Nathaniel Mackey poem "Destination Out," which Moten references at the end of the conversation, is available here: www.poetryfoundation.org/poetrymagazi…tination-out.

A brief reading from "In the Break" by Fred Moten; reflecting on today's nostalgic voices with Neil Verma (Northwestern) ; and a vocal exercise from voice coach Julie Foh (University of Connecticut). CUE TIMES (start of each section): 1:05 [theory] // 5:00 [scholarly reflection] // 37:37 [exercise] | https://masiasare.com/podcast

August 28 – October 19Kathleen O. Ellis GalleryEvent: Wednesday, September 13, 6-7:30pmReception: Wednesday, September 13, 5-6pmLight Work is pleased to present the work of photo-collage and video artist Suné Woods, To Sleep With Terra. This will be Woods’ first solo exhibition with Light Work since her residency here in 2016. The exhibition will be on view in the Kathleen O. Ellis Gallery at Light Work from August 28―October 19, 2017, with an opening reception with the artist on Wednesday, September 13, from 5-6pm.As part of the opening reception, we invite gallery patrons to a special presentation at 6pm. Infused with wordplay, found imagery, sound and moving images in multimedia form by Woods, award-winning poet Fred Moten, and Syracuse University Professor and musicologist James Gordon Williams. Titled You are mine. I see now, I’m a have to let you go, this collaboration was generously supported by Syracuse University’s Humanities Center and is part of the 2017-18 Syracuse Symposium: Belonging. Both events are free, open to the public, and offer refreshments.Urban Video Project (UVP) will feature Suné Woods’ video work, A Feeling Like Chaos, concurrently with When a Heart Scatter, Scatter, Scatter in the Everson’s Robineau Gallery and To Sleep with Terra at Light Work. Woods says that A Feeling Like Chaos “attempts to make sense of a continuum of disaster, toxicity, fear, and a political system that sanctions violence towards its citizens.” This installation will be on view on the Everson Museum’s north facade September 14―23 and October 5―28, 2017, from dusk until 11:00 p.m. Find more information at urbanvideoproject.com.Los Angeles-based artist Suné Woods creates multi-channel video installations, photographs, sculpture, and collage. Her practice examines absences and vulnerabilities within cultural and social histories. She also uses microcosmal sites such as the family to understand the larger sociological phenomenon, imperialist mechanisms, and formations of knowledge. She is interested in how language is emotively expressed, guarded and translated through the absence and presence of the physical body.To Sleep With Terra includes photo-collage and works on paper that explore Wood’s ongoing interest in creating her own topographies, gleaned from science, travel, and geographic magazines and books of the past fifty years. The collage work explores the social phenomena that indoctrinate brutality and the ways in which propaganda and exploitation have employed photography.Woods has said of her artistic journey, “Collage seemed the best way for me to articulate all the complicated sensations that were arising for me while processing these streamed documentations of violence, ecology, and a desire to understand more deeply how seemingly disparate things relate when they are mashed up in a visual conversation.”lg.ht/SuneWoods—Suné Woods has participated in residencies at Headlands Center for the Arts, Vermont Studio Center, The Center for Photography at Woodstock, and Light Work. Woods has received awards from the Visions from the New California Initiative, as well as The John Gutmann Fellowship Award, and The Baum Award for an Emerging American Photographer. She has exhibited her work at the Brooklyn Museum of Art, The Lowe Art Museum, Miami, and The San Francisco Arts Commission Gallery. She received her MFA from California College of the Arts in 2010 and is currently Visiting Faculty at Vermont College of Fine Art.—Special thanks to Daylight Blue Mediadaylightblue.comLight Worklightwork.orgMusic: "A Simple Blur" by Blue Dot SessionsMusic: "Vela Vela" by Blue Dot Sessionssessions.blue See acast.com/privacy for privacy and opt-out information.

To listen to ZULI's We Are All Anemic mix is to be confronted by decay. Sliding across an arid terrain, its sounds move, but with a momentum that is staggered, labored. The force of entropy is taking hold. Rough trenches wound its territory, their depths unthinkable. In the air whorl clouds of sonic debris: old computers, satellite parts, strange alloys. Across an hour of sound, we toggle between depth and surface, contemplation and distraction interwoven in noise, bearing witness to a fading geography. I first listened to ZULI's mix on a train to Glasgow. In the city, I listened to Denise Ferreira da Silva talk quantum physics and Leibniz's concept of the plenum. She wondered how we could come to perceive the world otherwise, how we could loosen the constraints of coloniality, its ways of knowing and being. I wondered: could listening — hearing — provide us with a way out? Does sound not move us away from the concept? When we listen to ZULI's mix, do we need to know? Or can we not simply enter into its moods, inhabit its structures, and leave with our perceptions altered? In Glasgow, I heard Fred Moten and Nathaniel Mackey talk about debris and decay as a way of getting out from what keeps us under. They wanted an aesthetic of breakage, against wholeness. They want to register history as the sounding of decay, or decay as the sound of history. No smooth lines, but jaggedness, wear and tear. In From a Broken Bottle Traces of Perfume Still Emanate, his epistolary novel, whose interlocutor he names "Angel of Dust," Mackey writes: Dear Angel of Dust, I'm enclosing a tape of my latest composition. I call it "Not of Rock, Not of Wood, Not of Earth" and (here you can say you told me so again) I got the inspiration for it from the work of an artist named Petlin who works in pastels. I saw a canvas of his at the house of a friend not too long ago and was instantly struck by how he manages to make texture constitute itself of its own erosion, infuses color with a certain aura of captured ruin. It seemed he'd worked the powderiness of the medium so as to have it collapse into a capacity for infiltration, that a spectral choir of massed incursions chromatically cloaked itself in vows, in conceptual hoods of deprivation. I was surprised to find myself so moved (and moved to music no less), especially in light of my letter to you a few months back. But what I saw to be the tactile or coloristic counterpart of hoarseness proposed a scratchiness of voice, a self-seeding smudge with overtones of erasure as a possible arc along which our music might pass. I tend to pursue resonance rather than resolution, so I glimpsed a stubborn, albeit improbable world whose arrested glimmer elicited slippages of hieratic drift. Listen to ZULI's We Are All Anemic mix for us below: Forces - "Frontiers of Freedom City & i.o. - "Anxiety Object" Daniel Ruane - "IV (CF BD)" Selm - "Nineteen Voices" xin - "Myopia" YYYY - "lo que hay detras del miedo" First Tone - "Reaction 2" Cy An - "FINALFLIGHT(M)" Shapednoise - "Moby Dick" ft Drew McDowall & Rabit SDEM - "Mitherer" FAKE - "solid scenario" 1127 - "Fragmented. Thought Train" Emptyset - "Blade" 0N4B - "S7" Rainer Veil - "Third Sync" Katsunori Sawa - "Hatsushimo" The Fully Automatic Model - "Long Forgotten Oxids" Constant-Pattern Solutions - "A General Situation" Renick Bell & Fis - "Tchae Eh" Youthman - "29-300" Broshuda - "Leg"

Sarah, Pannill, and Harvey discuss Fred Moten's essay on Othello, E. Patrick Johnson's documentary, Making Sweet Tea, and the upside of the field of theatre and performance studies in the twenty-first century.

Photo credit: Megumi Shauna Arai Emily Zimmerman is a curator and writer based in Seattle, WA. Zimmerman is the Director of the Jacob Lawrence Gallery and a lecturer at the University of Washington’s School of Art + Art History + Design. She edits the art journal MONDAY. Previously, Zimmerman was the Associate Curator of Programs at the Henry Art Gallery and the Associate Curator at the Experimental Media and Performing Arts Center (EMPAC) where she commissioned new work from artists such as Melvin Moti, Ryan & Trevor Oakes, and Gordon Hall. She received the 2011-2012 Loris Ledis Curatorial Fellowship at BRIC Contemporary Art, served as a 2013 curator-in-residence at Residency Unlimited, and was awarded funding by the New Foundation Seattle in 2016. Her writings have appeared in BOMB, Big, Red & Shiny and Contemporary Performance. She has served on a number of review panels including the National Endowment for the Arts, New York State Council on the Arts, Artist Trust, 4Culture, and the Herb Alpert Awards. Emily received her MA from the Center for Curatorial Studies at Bard College and her BA from New York University. Also discussed in the interview was MONDAY journal. Installation view of Untold Passage (2017) showing two works by Mary Ann Peters: impossible monument (telltale), 2017, commissioned for the exhibition, and this trembling turf, 2016. Photograph: Jueqian Fang. Gordon Hall,  Read me that part a-gain, where I disin-herit everybody (2014), commissioned by the Experimental Media and Performing Art Center (EMPAC). Photo: EMPAC/Rensselaer. MONDAY, Vol. 3 “Études” with contributions by Sonny Assu, Katherine Dunn-Marcuse, Claire Cowie, Stuart Dempster, Ellen Garvens, David Golightly, Clotilde Jiménez, Leah St. Lawrence, Sean Lockwood, György Ligeti, Emma McIntosh, Fred Moten, Nina Power, SassyBlack, and Charles Stobbs.

‘Anybody who thinks that they can understand how terrible the terror has been, without understanding how beautiful the beauty has been against the grain of the terror, is wrong.’  -Fred Moten (2014), The Black Outdoors. This MA episode is part 2 of a two piece article which features a talk between two scholars. As an extension of Part 1, Fred Moten, ‘in his work he has consistently argued that any theory of politics, ethics, or aesthetics must begin by reckoning with the creative expressions of the oppressed’ (McCarthy, 2018). Saidiya Hartman, has written about feeling the continual legacy of slavery and ‘[making] productive sense of the gaps and silences in the archive of trans-Atlantic slavery that absent the voices of enslaved women’. In this talk they lead us through various questions, musings, and lingering breakthroughs. How do we get out from under the regime of everyday violences? Being outdoors is premised on an inness, does the outdoors always exist or is it also because there is an in that has been made? And what happens when we finally get out? Can we get out? This episode is narrated by Khensani de Klerk and was written by Ndjha Ka; originally published as an article on February 21st 2018.

Good day, love. This week we wrestle with long response times from journals *cough* Tin House *cough cough*, and sit down with one of our favs Quenton Baker over New Formalist Old Fashioneds. QUENTON BAKER is a poet, educator, and Cave Canem fellow. His current focus is anti-blackness and the afterlife of slavery. His work has appeared in Jubilat, Vinyl, Apogee, Poetry Northwest, Pinwheel, and Cura and in the anthologies Measure for Measure: An Anthology of Poetic Meters and It Was Written: Poetry Inspired by Hip-Hop. He has an MFA in Poetry from the University of Southern Maine and is a two-time Pushcart Prize nominee. He is a 2017 Jack Straw Fellow and a former Made at Hugo House fellow, as well as the recipient of the 2016 James W. Ray Venture Project Award and the 2018 Arts Innovator Award from Artist Trust. He is the author of This Glittering Republic (Willow Books, 2016). NEW FORMALIST OLD FASHIONED: Like the poets in the late 20th and early 21st century who tried to put a modern spin on traditional metrical forms and rhyme schemes, we've revamped Don Draper's favorite cocktail with rye whiskey, cardamom bitters, and a dash of orange blossom water. The NFOF is perfect for those looking for a spicier, more botanical take on this classic sip. Stir, don't shake, and serve over ice in a short, stemless glass. Pairs well with floral hoodies, QFC muhammara dip, and our episode with Quenton Baker. INGREDIENTS: 2 oz rye whiskey (we used Templeton); 4 drops cardamom bitters; a dash of orange blossom water; a smidge of simple syrup; orange peel garnish   REFERENCES: This Glittering Republic and Ballast (a Frye Art Museum Exhibit) by Quenton Baker; Extraordinary Measures: Afrocentric Modernism and 20th-Century American Poetry by Lorenzo Thomas; Dante Micheaux; Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth Century America by Saidiya Hartman; Fred Moten; Gwendolyn Brooks; Henry "Box" Brown; Olio by Tyehimba Jess; Phillis Wheatley; Citizen by Claudia Rankine

Professor Fred Moten (Department of Performance Studies, NYU) in conversation with artist Sondra Perry

Welcome to the radio magazine that brings you news, commentary and analysis from a Black Left perspective. I’m Glen Ford, along with my co-host Nellie Bailey. Coming up: Black political prisoners have been languishing behind bars for half a century, but are have finally gotten some major media attention: and, Are Black people’s individual identities more deeply rooted in the social life and fortunes of the larger Black group. We’ll talk with author of the book, “Consent Not To Be A Single Being.” Apple has become the first corporation in history to be valued at a trillion dollars. But, what kind of mileston is that? We put that question to Dr. Anthony Monteiro, the Dubosian scholar who is active with the Saturday Free School, in Philadelphia. Black political prisoners in the United States got some much needed publicity, last week, from a British-based newspapers. The Guardian ran a series of articles, written by Ed Pinkington, on the plight of Black political prisoners, most of them former members of the Black Panther Party. Black Agenda Radio producer Kyle Fraser spoke with Jihad Abdulmumit, chairperson of the Jericho Movement and a former political prisoners, himself. Several months ago, Black Agenda Report inaugurated a weekly Book Forum, edited by Roberto Sirvent, featuring authors whose works are relevant to the African American condition. One of them is Dr. Fred Moten, a poet and scholar who is currently a professor at New York University. Dr. Moten’s latest book is a trilogy, entitled “Consent Not To Be a Single Being.” Writers and critics have associated Dr. Moten with so-called Black Pessimism, Black Optimism, and even Black Mysticism. But he doesn’t recognize himself in any of those “isms.”  

Shalita Williams, David Murillo, Clint Terrell, and David Maldonado are formerly incarcerated, Oakland-based academics on the rise. Danny was interviewed by Oprah for a recent 60 Minutes segment about solitary confinement.  This makes the the second person on Decarcerated who has been in the same room with Oprah! Listen in to find out how Danny and Oprah met, about Shalita’s research called, “Snitches Get Stitches,” and what music helped them, through their prison sentences.   More information about  this episode of Decarcerated:   undergroundscholars.berkeley.edu Danny’s interview with Oprah: https://www.cbsnews.com/news/reforming-solitary-confinement-at-infamous-california-prison/ Fred Moten book mentioned by Clint Terrell, The Undercommons: Fugitive Planning & Black Study: https://www.amazon.com/Undercommons-Fugitive-Planning-Black-Study/dp/1570272670 More about Shalita Williams: http://oaklandvoices.us/shalita-williams-unshackled/ More information with David Maldonado: https://youtu.be/rc6q8Va_oRg More info about Clint Terrell: http://abc7news.com/education/cal-student-talks-past-in-juvenile-hall-prison/1087585/ Tweet about this episode: #decarceratedpodcast | @decarceratedpod | @ _marlonpeterson JOIN OUR PATREON PAGE FOR SEASON EXCLUSIVE CONTENT!  Go to:https://www.patreon.com/decarcerated for all the details.   Leave a review on Itunes, Soundcloud, IHeartRadio, Spotify, or wherever you subscribe. Please subscribe. Subscribe. Subscribe. Subscribe.  Subscribe. Subscribe. Subscribe. Subscribe. Subscribe. Subscribe.  Subscribe. Subscribe.     You can also send us an email with show comments and suggestions at decarcerated@beprecedential.com.

An interview with Fred Moten, professor in the Department of Performance Studies at NYU. The interview focuses on Professor Moten's life and career, particularly his recent volume of criticism called "consent not to be a single being." The Nathaniel Mackey poem "Destination Out," which Moten references at the end of the conversation, is available here: https://www.poetryfoundation.org/poetrymagazine/articles/70124/destination-out. 

In this episode.... we can listen to Pt. 2 of the conversation I had with Fred Moten where we explore the ideas set forth by radical thinkers ranging from anti-colonialist such as Sylvia Wynter and Aimé Césaire to scholar-activists such as W. E. B. Du Bois and Amiri Baraka. You can catch Pt. 1 of our conversation on our SoundCloud archive. Professor Fred Moten is currently Professor of English at the University of California, Riverside, where he teaches courses and conducts research in black studies, performance studies, poetics and literary theory. He is author of number of books including, but not limited to In the Break: The Aesthetics of the Black Radical Tradition; B. Jenkins; The Feel Trio, A Poetics of the Undercommons; consent not to be a single being; and co-author, with Stefano Harney, of The Undercommons: Fugitive Planning and Black Study. We then shift our mental energy a bit… In a January 2017 article in the Boston Review, Robin D. G. Kelley asks: So what did Robinson mean by “racial capitalism”? Professor Kelley answers this question, by arguing that: Cedric Robinson, building on the work of another forgotten black radical intellectual, sociologist Oliver Cox, challenged the Marxist idea that capitalism was a revolutionary negation of feudalism. Instead capitalism emerged within the European feudal order and flowered in the cultural soil of a Western civilization already thoroughly infused with racialism. Capitalism and racism, in other words, did not break from the old order but rather evolved from it to produce a modern world system of “racial capitalism” dependent on slavery, violence, imperialism, and genocide. Capitalism was “racial” not because of some conspiracy to divide workers or justify slavery and dispossession, but because racialism had already permeated Western feudal society. The first European proletarians were racial subjects (Irish, Jews, Roma or Gypsies, Slavs, etc.) and they were victims of dispossession, colonialism, and slavery within Europe. Cedric Robinson goes on to suggest that racialization within Europe was very much a colonial process involving invasion, settlement, expropriation, and racial hierarchy. Insisting that modern European nationalism was completely bound up with racialist myths… " What we will hear next, Professor Kelley reflect on race, class, and movements using Black Marxism: The Making of the Black Radical Tradition (Cedric Robinson) in the wake of the emergence of the Movement for Black Lives. Dr. Robin D. G. Kelley is Distinguished Professor of History and Black Studies & Gary B. Nash Endowed Chair in U.S. History at UCLA, and current Chair of the Department of African American Studies. His work explores the history of social movements in the U.S., the African Diaspora, and Africa; black intellectuals; music; colonialism/imperialism; organized labor; constructions of race; Marxism, nationalism, among other things. He is author of a number of books, which include, but not limited to, Africa Speaks, America Answers: Modern Jazz in Revolutionary Times; Hammer and Hoe: Alabama Communists During the Great Depression; Race Rebels: Culture, Politics, and the Black Working Class; and Freedom Dreams: The Black Radical Imagination Our show was produced today in solidarity with the native, indigenous, and Afro-descended communities at Standing Rock; Venezuela; Cooperation Jackson in Jackson, Mississippi; Brazil; the Avalon Village in Detroit; Colombia; Kenya; Palestine; South Africa; and Ghana; and other places who are fighting for the protection of our land for the benefit of all people. Enjoy the program. Music:J Dilla-African RhythmsAmiri Baraka-Why's/WiseDe La Soul-Stakes is HighJohn Coltrane-Kulu S MamaRobert Glasper-Somebody Else ft. Emeli Sandé

Black radicalism [consequently] cannot be understood within the particular context of its genesis. It is not a variant of Western radicalism whose proponents happen to be Black. Rather, it is a specifically African response to an oppression emergent from the immediate determinants of European development in the modern era and framed by orders of human exploitation woven into the interstices of European social life from the inception of Western civilization. . .Cedric Robinson, Black Marxism (79) How do we map the Black Radical tradition? How can we understand its praxis? If we are to truly to refashion the world…to make it better…to remake its institutions…to address its systemic inequities. Find justice. Seek peace. What language can we use to transmit it once we are able “see” it? What are the concepts that it will produce that will allow us to see the world differently? How can we codify the thoughts and practices in an effort to create a new vision of the world while simultaneously resisting the present? What questions do we need to ask that begins to provide insight, and foresight to muddle through the Man vs. Human conflict explored in the work of Sylvia Wynter. Aimé Césaire argues that we cannot look to Western notions of “man”, as this man has been forged out of an arrested understanding of humanity. A narrow conception which consistently depends on the systematic degradation of non-European men and women. He writes in Discourse on Colonialism: “At the very time when it most often mouths the word, the West has never been further from being able to live a true humanism—a humanism made to the measure of the world” (73). More than this…Where do we look? Fred Moten and Stefano Harney suggest that we pay attention closer attention to the undercommons. It is the space in between space that we should look to study blackness. According to Jack Halberstam in Chapter 0 of The Undercommons: Fugitive Planning and Black Study: “If you want to know what the undercommons wants, what Moten and Harney want, what black people, indigenous peoples, queers and poor people want, what we (the “we” who cohabit in the space of the undercommons) want, it is this – we cannot be satisfied with the recognition and acknowledgement generated by the very system that denies a) that anything was ever broken and b) that we deserved to be the broken part; so we refuse to ask for recognition and instead we want to take apart, dismantle, tear down the structure that, right now, limits our ability to find each other, to see beyond it and to access the places that we know lie outside its walls” (6). In this episode, we present a recent conversation I had with Professor Fred Moten where we explore the ideas set forth by radical thinkers ranging from anti-colonialist such as Sylvia Wynter and Aimé Césaire to scholar-activists such as W. E. B. Du Bois and Amiri Baraka. Professor Fred Moten is currently Professor of English at the University of California, Riverside, where he teaches courses and conducts research in black studies, performance studies, poetics and literary theory. He is author of In the Break: The Aesthetics of the Black Radical Tradition (University of Minnesota Press, 2003); Hughson's Tavern (Leon Works, 2009); B. Jenkins (Duke University Press, 2010). Moten is also co-author, with Stefano Harney, of The Undercommons: Fugitive Planning and Black Study. Our show was produced today in solidarity with the native, indigenous, and Afro-descended communities at Standing Rock; Venezuela; Cooperation Jackson in Jackson, Mississippi; Brazil; the Avalon Village in Detroit; Colombia; Kenya; Palestine; South Africa; and Ghana; and other places who are fighting for the protection of our land for the benefit of all people. Enjoy the program. Music:J Dilla--African RhythmsTribe Called Quest--Vibes and StuffA Tribe Called Red--The Virus Feat. Saul Williams & Chippewa Travellers De La Soul--Drawn ft Little Dragon

Riot. Strike. Riot: The New Era of Uprisings (Verso) Riots are coming, they are already here, more are on the way. They deserve an adequate theory. Ferguson. Tottenham. Clichy-sous-Bois. Oakland. In recent decades we have returned to an “age of riots” as the prominent form of struggle against the abuses of capitalism. This theoretical and historical account by award-winning poet Joshua Clover explores how riots, the leading form of protest in the seventeenth and eighteenth centuries, are supplanted by the strike in the early nineteenth century, and then re-emerged as the preeminent form in the early 1970s.  From the early years of workers’ demands for increased wages through riots to recent social demands for economic equlity through occupations, Clover looks at historical moments like the economic crisis of 1968 and the decline of organized labor from the perspective of changes in protest tactics. As social unrest against government and corporate abuses continues to grow, this valuable history and theoretical framework will help guide future activists in their struggles for justice.  Praise for Riot. Strike. Riot.  “Riot, in this absolutely necessary book, is considered as differential procedure and rigorous improvisational method, as essential repertoire on the way from general malaise to general strike. But then this conception folds tightly yet disorderly into a new and open set of questions. It’s not that the raging, ragged entrance to the new golden age is the new golden age. It’s not that theory can’t bear a riot. It’s just that riot makes new ways of seeing what theory can and can’t do and imposes upon us a kind of knowledge of our own embarrassing and already given resources of enjoyment. Joshua Clover says riot deserves a proper theory but here—sly, stone cold—he gives us more than that. Now we have some guidelines for the new and ongoing impropriety that fleshes forth and fleshes out our optimal condition.”—Fred Moten, scholar, activist, poet and author of In the Break: The Aesthetics of the Black Radical Tradition, Hughson’s Tavern, B. Jenkins, The Feel Trio and co-author of The Undercommons: Fugitive Planning and Black Study.  “In its sweep, rigor, and elegance, Riot Strike Riot is pleasurable and provocative, worthy of the urgent debates it should inspire.”—Jeff Chang author of Can’t Stop Won’t Stop: A History of the Hip-Hop Generation and Who We Be: The Colorization of America. “Riot. Strike. Riot. is the crystalline analysis of this fraught moment - between communism and anarchism, between street protest and economic strike. Clover’s text is clear without being simple, contemporary yet historical, and affectionate without being mawkish - much like a riot, in fact, it opens up the future while remembering that the past is comprised of little other than exploitation, exclusion and the kinds of violence that deliberately are attributed to the very people who suffer most from it.”—Nina Power is a senior lecturer in philosophy at Roehampton University and the author of One-Dimensional Woman. Joshua Clover is a professor of Literature and Critical Theory at the University of California Davis. A widely published essayist, poet, and cultural theorist, his most recent books are Red Epic and 1989: Bob Dylan Didn’t Have This to Sing About.

Writers Tisa Bryant, Lynell George, Robin Coste Lewis, and Fred Moten premiere new works of poetry and creative nonfiction under the stars in the Clockshop courtyard. For these commissions, each writer spent an extended period of time working in the Octavia E. Butler archive at The Huntington Library.

***Update 1/17/18: Transcript available here (transcribed by Scott McLellan)*** Special guest co-host James Padilioni, Jr. joins B and John to discuss several works in the vital, burgeoning discourses of Afro-Pessimism and Black Optimism. Join us as we talk about texts from Jared Sexton, Hortense Spillers, Fred Moten, Saidiya Hartman, and Frank B. Wilderson III. After […]

Friday Reading Series STEFANO HARNEY Stefano Harney teaches in Singapore at Singapore Management University. He is one of the artistic directors for the upcoming Bergen Assembly Triennale in Norway in 2016. He is founder with Tonika Sealy of the art and education collective Ground Provisions, and with Emma Dowling of the organisational anti-consultancy Immeasure. FRED MOTEN Fred Moten is author of In the Break: The Aesthetics of the Black Radical Tradition, Hughson's Tavern, B. Jenkins, The Undercommons: Fugitive Planning and Black Study (with Stefano Harney), The Feel Trio and The Little Edges. He lives in Los Angeles and teaches at the University of California, Riverside. This event was funded in part by Poets & Writers, Inc., through public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.

The Negro Artist and the Sacred Mountain (1) Begin With Denouement and You End Up In Synch This is about lifting the thumb from the bow. A talent for devotion goes black blooded to the over-soul and convinces us the aim is love which when we pierce it, enters us. That force of nature that always aims the hero’s heart toward trances and it’s nobody’s fault but his own. Here come Malik and them. Amos and Andy are somewhere in here too like a laugh track or a surveillance device or the clean black man in the numb cadillac driving down the rent. The succulents grow like so fiercely and you wear acacia crowns around the dream of empire high yellow pirates are circling, and we get high, we about to go get lifted now like sunrise how we open the blues up and let the blues blood come out to show them. You chose the first flower for how it sounds and another for how it looks in the red dark of township or worship or fast car, sweet double hipness— and more for how they feel under water or to the boss’ favorite son in trade, our lady of the sun trade. This pace is for her. It might as well be spring for her every hour of every day and all decoration is superfluous and invasive and makes us sluggish with safety. To escape we climb into the night like space suits, but the fugitive did not recognize this fast taste of night, stompin and stompin and…Am I brave enough for this? Can I understand devotion without idol worship or piety or the punctuated protestant quietness of some white men? What is it then? What is the sacred without a mainstream guideline or religion and how and where do we apply it in our lives then? Does lack of a devotion to one particular god make art more necessary, does it make art our devotional practice and us the arbiters or gods that we love and fear through it? Are we brave enough to be this devoted to ourselves, our beautiful back and gold selves, are we brave enough for this? (2) Synchrony and Her Cronies 1n 1926 Langston Hughes wrote The Negro Artist and the Racial Mountain, an essay that urges black artists to revel in so-called blackness and to be beginning to see the light; to not fall into the traps of legitimation that tempt so many of us awkward/ backwards and into chasing after a culture that runs from us. Maybe if we’re lucky we turn that chase around or erotic and our work admits something of our truth that way but often all we do is dilute ourselves looking to dispel the color. Almost 80 years after Langston’s tender admonition and the more things change, the more they stay the same. What I explore here is a caveat in the equation Langston arranged to balance the social with the political, the clandestine and blatant space where the sacred resides for the black artist with what that space delivers. It occurs to me that praise rituals practically govern the black spirit and that the varying systems of faith brought to us by the white power structure’s spiritual-industrial complex and/or god-complex, prey upon this innate hunger we have to enter our own gifts and celebrate the hoodrich way, the main way, the ghettofabulous way and the monastic way chanting in each May there be peace, love, and perfection throughout all creation Am I brave enough for this? So I am as ashamed of the black artist who rejects the sacred as Langston is of the one who tries to lift the black off his alphabet like an inverse thief or broke down robinhood complex; I fear both stances are slumps that hinder the ancientfuture and create a kind of hipness that rips creativity to shreds. The racial mountain’s tendency to transmute into a sacred mountain for black artists, the tendency we share to use faith in higher forces to give us the strength to face the quotidian glories or our so-called race or as Fred Moten so brilliantly notes, I ran from and was still in it; it was so big I ran from it and was still in it, that is the quality whose scatological potency we face today,