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Your head’s like mine, like all our heads; big enough to contain every god and devil there ever was. Big enough to hold the weight of oceans and the turning stars. Whole universes fit in there! But what do we choose to keep in this miraculous cabinet? Little broken things, sad trinkets that we play with over and over. The world turns our key and we play the same little tune again and again and we think that tune’s all we are.
Grant Morrison, The Invisibles (via misteremercury)

Afrofuturism as an Extension of the Black Arts Movement | Sequart Research & Literacy Organization

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afrofuturistaffair:

As a contemporary movement that is still ongoing, Afrofuturism can be viewed as an extension, in both themes and intentions, of the earlier Black Arts Movement (1965-1975), which drew influence from the works of DuBois and Hurston. Co-founded in Harlem by writer / activist Amiri Baraka, the Black Arts Movement inspired African Americans to establish their own publishing houses, magazines, journals, and art institutions, adding diversity to the literary canon with the portrayal of new ethnic voices in the United States. With these two works, “The Comet” andMules and Men, viewed as proto-Afrofuturism, the Black Arts Movement and Afrofuturism share a common literary antecedent. Forty years later, however, speculative fiction is still a genre of literature for which African Americans have received little recognition. via sequart.org

we are tasked with continuing to build the institutions that our ancestors began

The real aim of colonialism was to control the people’s wealth: what they produced, how they produced it, and how it was distributed. Colonialism imposed its control of the social production of wealth through military conquest and subsequent political dictatorship. But its most important area of domination was the mental universe of the colonised, the control, through culture, of how people perceived themselves and their relationship to the world. Economic and political control can never be complete or effective without mental control. To control a people’s culture is to control their tools of self-definition in relationship to others. For colonialism this involved two aspects of the same process: the destruction or the deliberate undervaluing of a people’s culture, their art, dances, religions, history, geography, education, orature and literature, and the conscious elevation of the language of the coloniser. The domination of a people’s language by the languages of the colonising nations was crucial to the domination of the mental universe of the colonised.

The language of an African child’s formal education was foreign. The language of the books he read was foreign. The language of his conceptualisation was foreign. Thought, in him, took the visible form of a foreign language. So the written language of a child’s upbringing in the school (even his spoken language within the school compound) became divorced from his spoken language at home. There was often not the slightest relationship between the child’s written world, which was also the language of his schooling, and the world of his immediate environment in the family and the community. For a colonial child, the harmony existing between the three aspects of language as communication was irrevocably broken. This resulted in the disassociation of the sensibility of that child from his natural and social environment, what we might call colonial alienation. The alienation became reinforced in the teaching of history, geography, music, where bourgeois Europe was always the centre of the universe.
Decolonising the Mind: The Politics of Language in African Literature - Ngũgĩ wa Thiong’o (via abstractverses)

“I made up my mind I was going to find someone who would love me unconditionally three hundred and sixty five days a year, I was still in elementary school at the time - fifth or sixth grade - but I made up my mind once and for all.”

“Wow,” I said. “Did the search pay off?”

“That’s the hard part,” said Midori. She watched the rising smoke for a while, thinking. “I guess I’ve been waiting so long I’m looking for perfection. That makes it tough.”

“Waiting for the perfect love?”

“No, even I know better than that. I’m looking for selfishness. Perfect selfishness. Like, say I tell you I want to eat strawberry shortcake. And you stop everything you’re doing and run out and buy it for me. And you come back out of breath and get down on your knees and hold this strawberry shortcake out to me. And I say I don’t want it anymore and throw it out the window. That’s what I’m looking for.”

“I’m not sure that has anything to do with love,” I said with some amazement.

“It does,” she said. “You just don’t know it. There are time in a girl’s life when things like that are incredibly important.”

“Things like throwing strawberry shortcake out the window?”

“Exactly. And when I do it, I want the man to apologize to me. “Now I see, Midori. What a fool I have been! I should have known that you would lose your desire for strawberry shortcake. I have all the intelligence and sensitivity of a piece of donkey shit. To make it up to you, I’ll go out and buy you something else. What would you like? Chocolate Mousse? Cheesecake?”

“So then what?”

“So then I’d give him all the love he deserves for what he’s done.”

“Sounds crazy to me.”

“Well, to me, that’s what love is…”

Haruki Murakami, Norwegian Wood (via fadeintoyoustrangeyouneverknew)

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Choi + Shine Architects - The Land of Giants

“This design transforms mundane electrical pylons into statues on the Icelandic landscape. Making only minor alterations to well established steel-framed tower design, we have created a series of towers that are powerful, solemn and variable. These iconic pylon-figures will become monuments in the landscape. They can be configured to respond to their environment with appropriate gestures. As the electrical lines ascend a hill, the pylon-figures change posture, imitating a climbing person. Over long spans of time, the pylon-figures stretch to gain increased height, crouch for increased strength or strain under the weight of the wires.”

I always secretly thought of them as people when I was a kid. SO THIS IS JUST SUBLIME!!!

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