Book by Neil Shubin (2008)
Richard Fortey investigates why islands are laboratories of evolution. Examining some of the crucial influences on natural selection that are normally overlooked – like geology, geography, isolation and time – the series reveals that there is much more to evolution than ‘survival of the fittest’.
◊ The notion of a black secret technology allows Afrofuturism to reach a point of speculative acceleration. ◊ Blaccelerationism proposes that accelerationism always already exists in the territory of blackness, whether it knows it or not. ◊ Sinofuturism is a darkside cartography of the turbulent rise of East Asia; It connects seemingly heterogeneous elements onto the topology of planetary capitalism. ◊ Shanghai futurism ultimately depends on breaking free from the now common assumption about the nature of time. ◊ T he unfolding story of Gulf Futurism is a strange mitosis happening out of the sight of the master planners and architects; it’s the splitting of worlds, of then and later, us and them, real and unreal. ◊ The Dubaification of the world is already a thing of the present and the recent past, and has completed its ideological mission at lightning speed.
“The purpose of racism is to control the behaviour of white people, not Black people. For Blacks, guns and tanks are sufficient” Otis Madison
As the world around us increases in technological complexity, our understanding of it diminishes. Underlying this trend is a single idea: the belief that our existence is understandable through computation, and more data is enough to help us build a better world.
In reality, we are lost in a sea of information, increasingly divided by fundamentalism, simplistic narratives, conspiracy theories, and post-factual politics. Meanwhile, those in power use our lack of understanding to further their own interests. Despite the apparent accessibility of information, we’re living in a new Dark Age.
From rogue financial systems to shopping algorithms, from artificial intelligence to state secrecy, we no longer understand how our world is governed or presented to us. The media is filled with unverifiable speculation, much of it generated by anonymous software, while companies dominate their employees through surveillance and the threat of automation.
In his brilliant new work, leading artist and writer James Bridle surveys the history of art, technology, and information systems, and reveals the dark clouds that gather over our dreams of the digital sublime. (VERSO)
timespace coordinates: alternative present-day version of Oakland, CaliforniaSorry to Bother You is a 2018 American absurdist dark comedy with aspects of magical realism and science fiction inspired by the world of telemarketing written and directed by Boots Riley, in his directorial debut. It stars Lakeith Stanfield, Tessa Thompson, Jermaine Fowler, Omari Hardwick, Terry Crews, Patton Oswalt, David Cross, Danny Glover, Steven Yeun, and Armie Hammer.
Boots has maintained that the film offers a radical class analysis of capitalism, rather than a specific analysis of America under President Trump, clarifying that he wrote the initial screenplay during the Obama administration, and that the target was never any specific elected official or movement, but rather a broader look at “the puppetmasters behind the puppets.” While the majority of the final script remained the same, minimal changes were made prior to shooting in order to avoid the film appearing to be a critique of Trump specifically, including removing a line where a character says “Worry Free is making America great again,” written before Trump would use the line in his 2016 presidential campaign.
The title of the film has a double meaning, referencing both the phrase’s use by telemarketers and its general usage when telling a person something you know they might not like to hear, such as the Communist themes present in the film. According to Boots, “…the other side of it is, is that often when you’re telling someone something that is different from how they view things, different from how they view the world, it feels like an annoyance or a bother. And that’s where that comes from.” The theme of the strike was used to reflect the need to “organize people in the workplace” and for workers to recognize their power. When asked on his choice to cast Armie Hammer as Steve Lift, Boots stated that Armie was a “lovable dude,” whose casting reflects the current state of “new capitalism,” where the realities of working conditions are hidden, referencing lines such as “I’m not your boss, I’m your friend.” (wiki)