By Ytasha L. Womack
Comprising parts of the avant-garde, technological know-how fiction, state-of-the-art hip-hop, black comix, and picture novels, Afrofuturism spans either underground and mainstream popular culture. With a twofold objective to entertain and enlighten, Afrofuturists attempt to collapse racial, ethnic, and all social barriers to empower and loose members to be themselves. This e-book introduces readers to the burgeoning artists growing Afrofuturist works, the heritage of innovators some time past, and the big variety of matters they discover. From the sci-fi literature of Samuel Delany, Octavia Butler, and NK Jemisin to the musical cosmos of solar Ra, George Clinton, and the Black Eyed Peas' will.i.am, to the visible and multimedia artists encouraged by means of African Dogon myths and Egyptian deities, issues variety from the "alien" event of blacks in the United States to the "wake up" cry that peppers sci-fi literature, sermons, and activism. Interviews with rappers, composers, musicians, singers, authors, comedian illustrators, painters, and DJs, in addition to Afrofuturist professors, supply a firsthand examine this interesting move.
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Additional resources for Afrofuturism: The World of Black Sci-Fi and Fantasy Culture
It would be more a ccurate to refer to nature as much more than a merely geographical world. The earth was formed within a developing solar system, and terrestrial physical, chemical, and biological processes are influenced by processes in that wider solar system. There are, for example, gravitational effects on geomorphology, radiation effects on 39 40 Nature : Conditions a n d C onstraints global climate, and extra-terrestrial origins for many chemicals and, per haps, even for life itself. Human activity is no longer confined to the earth: technological devices are sent to other planets, humans travel in space and visit the moon, and the possibility of extra-terrestrial settlement and expansion is becoming a reality (Dickens and Ormerod 2007) .
Each individual's memories are part of a pool of shared memories, and what each is able to recall is reconstructed, in part, from the sugge sti ons of others (ibid. : 238) . What any one individual remembers of the past is a product of their shared social experience. Recent experiences resulting from continued interaction with others who experienced those same events form clearer and more coherent memories because they can more easily be reconstructed. Through conversations a shared account of the recent past is constructed and affirmed.
Cultures, then, exist as complex hierarchies of levels. They are dispersed systems of differentiated and interpenetrating bodies of know ledge, customs, and traditions. No one level can be regarded as funda mental or as providing the base point from which others can be seen as ' sub-' or 'supra-' . Such terms make sense only in very concrete contexts, and what is subcultural in one context may be supracultural in another. A working-class culture, for example, may be considered as a subcul ture of an overarching national culture, but also as a parental culture for various adolescent and delinquent subcultures.