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August(!) 2018…
I have so much to tell you, but no time…summer is almost over, and im determined to get a few more flashes of it…  I’ve been everywhere and nowhere in the past months and my head is still on a spin in prep for more upcoming… in the interim, I wanted place the words below…note, they are not mine.
I get asked to do a lot of interviews these days, I can not really keep up w/ all the requests, it bothers me as i enjoy the conversations most times, and am thrilled anyone would want to speak w/ me about creative life…. In prep for this particular interview at a wonderful record shop in Zurich my interviewer, the writer, DJ, style extraordinaire Sinethemba Twalo sent me these notes. I loved reading them in prep for our talk, just as much as I loved conversing w/ him. So in leiu of writing a real blog post that will give you a few more details on what Im exactly up to, I thought leaving you these words and thoughts to ponder, a little more worth our time together… Hope you are having a great end of summer….
An utterance of discontinuity may signal a shift from one sequence of events to another, or it could elaborate a displacing of an assumed linearity of occurrences. Its voicing might be felt as a vacillation between disparate occasions, a pause, a radical gesture of critique, or forcefully as a withdrawal.  It can exist as the articulation of a weariness to continue with a given proposition and in that deliberateness might allow for another form of contemplation. A discontinuity might occur as an aperture existing between two junctures and in its metaphysical potentiality become a pensive anticipation of the new and unknown
2. The scream and its affective tonality by way of Fred Moten’s resistance of the object/ Frank Wilderson (Black speech)
My thoughts cogitate on the unpropitious implication of the “black” object of art within the white cube. Its nascent immanence, as speech, in a conjuncture where black speech, is “coerced speech”  to quote Frank Wilderson.
The black, objectified and objectively quantified, “an object among other objects”, an objection of history nullified by and through the scientific has an interminable record of thingness. Grappling with the impalpability of attaining full subject-hood, the black’s antecedent according to Fred Moten is replete with chronicles about “objects that resist”. Hitherto blackness has had to contend with an ubiquitous object-hood proffered upon its being. To be wholly present at all time but never seen, ones being dictated to by an ocular-centricity not of ones making, Moten puts it so eloquently when he posits: “The mark of invisibility is a visible, racial mark, invisibility has visibility at its heart. To be invisible is to be seen, instantly and fascinatingly recoginized, as the abject, as the absence of individual self-conciousness, as a transparent vessel of meanings wholly independent of any influence of the vessel itself.
3. The Collective  re-intepretation of Oscar Brown Jr’s Bid Em In
4. alienation/ dislocation/ black estrangement
5. affirmative sabotage as an impulse
6. “Concerning that which is called life and death:
If the death of death is life
(for how can death die unless it becomes alive?)
And if death becomes alive
Is it not active on another plane?
the life of death…
Is it not the inversion of the death of death?
Or is the death of death, the life of life
It is varied mathematics in permutation forms”. – Sun Ra (p11)
7.  Writing as a form of self-making
To write oneself back into being then becomes an act of , a buttress to the violence of the occidental discursive. It is a contrapuntal strategy to intimate not only your desires, but is also a postulation on the poverty of the universal. It is an opportunity to diffuse ones dissonance, to articulate a gesture of protest. It is as Achille Mbembe suggests “a form of self-making”. The act of writing for oneself, an audience, about a  time, place or people is manifest with a litany of political contradictions for the subaltern writing back.
One imagines this inconsistent polemic as a capacious deliberation regarding subjectivity and desire,  a cacophony of statements colliding together at the moment of imminent chaos. This textual provocation attempts to be a dissonant meeting of possibilities – a moment where one occupies a precarious footing, not unlike an unexpected rustle in the distance (an aleatory encounter with the unknown), a perplexing and foreboding position to occupy. I pursue an unconstrained thought which struggles to ruminate on a familiar set of philosophical pre-occupations regarding blackness and race.
How does one put down into words a condition, an affliction, how does one articulate a recurrent social feeling, always formless, always starting and stopping- a feeling not unlike being stuck between two walls. How does one synthesise moments…moments that might seem disparate but somehow feed into each other (like a continuous loop) and inform each others (dis)continuity. An economy of gazes sutures the dis/continuous fiction. Mis-recognition pervades the encounter between us and the ineffable thing. This study in denial, a haunting, the apparition’s mis-en-scene is another primal encounter or scene.
Hereby, I employ an anxious and incoherent register- one that bears witness to this looping schizophrenia, a madness punctuated by reverberation and delay. One simulates and appropriates the dis-juntive utterance [contradiction/ opacity/ enclosure/ a call from the margins] as a strategy in order to articulate or comprehend the present for ones self – this method, an oscillation between a margin of potentiality and a perception of sententious and aphoristic enclosure impertinently reflects on an aesthetics of refusal, what Fred Moten (2016) elaborates as a certain repudiation of that which one was never given or allowed to have.
As opposed to seeking favour and rejecting the auditory torment [the droning/ numbing  notated polyphony of the field (present) ] one cavorts within it, thereby using its distortion as a guise/ a mask/ a veneer in order to compose a possible scenario to think of and meander along disruptively towards the end, the end of here and elsewhere.  One might think of this adopted position as a possible sketch of where to turn to next. An outline whose recourse is at times impromptu, sometimes deliberate, always disobedient. It disavows, attempting a discontinuity with the grammar of the Hesperian corpus whilst fully noting that one is still and always will be in its hold..