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This is where the End began. The West, the place of Prophecy, the place of 314 Destiny. 315 The genetic cellular database of Ancestral awakenings thrums in tune to the drumbeat call of 316 generations of soul, of pain and joy rising above the spontaneous eruption of life, 317 uncontrollable, unbounded, free of constriction or constraint in its purest form. This is the 318 natural path life takes like water, flowing down or up whatever channel presents a path, making 319 one where none exists, or deepening preexisting ways, widening, eroding resistance whenever 320 encountered to open the way for a more intense flow of energy. 321 </em> 322 </div> 323 <div class="post-content"> 324 What does all or any of this have to do with Hip Hop? With a bunch of kids who play their music too 325 loud, who seem to have a fascination with cursing, disrespect of authority and women, baggy 326 clothing, crime and material culture? How is any of this spiritual in nature and what does it have 327 to do with consciousness? To answer these questions fully it is necessary to understand what Hip Hop 328 is, what it <em>really represents</em>, where it came from and where it is going. 329 </div> 330 <div class="post-content"> 331 Loosely defined, it is the culture of the urbanized underclass, of the disaffected and the 332 disillusioned masses. A culture of rebellion and revolt that employs every mode of communication 333 known to humanity in order to get its message across. Music, art, the spoken word, the beat, 334 movement. MC ing, DJ ing, Break Dancing/Popping/Locking and Graffiti are its major expressions, all 335 of which encompass the primal cries of those relegated to possessing only their spirits and s
335ouls 336 and little else of material substance. As a post-modern deconstruction of a Western European 337 meta-narrative, Hip Hop stands as an exemplar of the effect upon the individual of societal ills 338 that are now global in scope. Ageless, as an expression of African-based musical and communicative 339 forms of expression, Hip Hop was informally born as a genre in late 1970s New York City and the 340 surrounding region, expanding relatively quickly from a purely regional expression to its current 341 status as multi-billion dollar music of the global youth culture. It is fair to say that Hip Hop has 342 come a long way. But it is also fair to say that it has a way to go still before it reaches its full 343 potential. 344 </div> 345 <div class="post-content"> 346 Afrofuturism as a movement from <a href="https://studylecturenotes.com/disadvantages-of-federalism/" title="HONDATOTO">HONDATOTO</a> has evolved alongside Hip Hop, similarly having no definitive beginning 347 while simultaneously coalescing alongside Hip Hop in urban America during the late 1970s. Its formal 348 inception occurs much later, in the late 1990s and into the 00s as the online presence of African 349 Americans grew stronger. The application of diverse academic traditions to the same questions was 350 the beginning of a process that sought to dissect the cultural and media-based discourse of 351 African-originated and futuristically-themed influence in the preceding decades in the attempt to 352 define their interests and cultural memes. 353 </div> 354 <div class="post-content"> 355 And so it was that a small, ethnically diverse but concentrated listserv, called Afrofuturism, was 356 born and prospered, for a time. Beyond the vigorous debates, expositions of consciousness, 357 collaborations and intellectualisms lay an underlying strata of vast potentiality and possibility, 358 made manifest through the broad and open genres of science and speculative fiction. The movement was 359 represented by black authors, academics, Hip Hop headz and performers alike, all sharing a similar 360 fascination with futuristic themes and expressions of modern societal tropes under the guise of the 361 fantastic. Afrofuturism never really coalesced as a full-blown cultural shift outside of the 362 avant-garde arts and music scenes of the large urban areas, but the fish bowl-like arena the 363 internet was in those days brought larger and more mainstream attention to this small collective of 364 personalities and ideas, raised against the growing din of diverse voices the Net was soon to 365 become. 366 </div> 367 <div class="post-content" style="overflow: auto; margin-bottom: 18px;"> 368 <div 369 style="float: right; margin-left: 16px; margin-bottom: 6px; border: 3px solid #222; background: #fff; padding: 3px;"> 370 <img src="https://res.cloudinary.com/f0ustf0ur/image/upload/v1751187802/rap-graffiti-5_crrw2o.jpg" 371 alt="Hip Hop Graffiti" style="display: block; width: 220px; max-width: 100%; height: auto;"> 372 </div> 373 Hip Hop and the Afrofuture cannot be separated from the evolution of America as a nation, but they 374 also cannot be separated from the evolution of consciousness not only of this country, but of the 375 world. The impact of Hip Hop has been felt upon every continent, in every country. Rap is the music 376 of the global youth culture. It is the sound of rebellion and discontent that can be heard wherever 377 the young are gathered and wherever inequalities have resulted in the formalization of destitution. 378 The original means by which Hip Hop formed <em>have been repeated in country after country, city 379 after city</em> as the young and the listless have found themselves with little money and no 380 musical education but still possessed of singing hearts and dancing souls, theirs or their parents 381 record collections and an ever-growing mass of CDs and MP3s that consolidate the Music of the Ages. 382 The ready availability and affordability of computers, digital music and sound equipment have 383 created the <em>perfect environment</em> for a large-scale explosion of beat-centered creativity as 384 the hard, biting sounds of rap drive the air and digital-waves toward the resolution of a Hip Hop 385 planet, born to tear down paradigms not built for their edification. 386 </div> 387 <div class="post-content" style="overflow:auto; margin-bottom: 18px;"> 388 <div 389 style="float:left; margin-right:16px; margin-bottom:6px; border:3px solid #222; background:#fff; padding:3px;"> 390 <img src="https://res.cloudinary.com/f0ustf0ur/image/upload/v1751187803/globalattackpromoflyer_qfc3mr.jpg" 391 alt="Global Attack Mixtape" 392 style="display:block; width:230px; max-width:100%; height:auto;"> 393 </div> 394 There is Russian Hip Hop, Middle Eastern Hip Hop, African Hip Hop, European Hip Hop, Latin American 395 Hip Hop. You will find baggy jeans and ball caps worn by youth of every ethnicity, shade, size or 396 gender in every country in the world. This acceptance of a quintessentially American artform by two 397 generations, X and Y, who are now birthing a third, generation Z, will take the artform into new 398 territory as global consciousness coalesces around the ideals that undergird the very essence of Hip 399 Hop. Freedom of expression and lifestyle choices, a disdain for centralized authority, a dearth of 400 color consciousness and a dislike of the trappings of corporate and/or governmental culture typify 401 the belief system of Hip Hop Headz around the globe. The continuing revelations regarding the 402 world-wide dominance of elite, corporate conspiracies have resulted in an ever-spreading 403 understanding of the many threads that tie in to this reality, be they economic, political or 404 cultural in nature. A wide-spread distrust of governmental measures as well as a realization that 405 corporate culture does not have the best interests of the individual in mind bind diverse cultures 406 and ethnicities together in recognition of their shared servitude and bondage to global consumer 407 culture and hegemonic political domination by a self-serving and mega-rich elite. 408 </div> 409 <div class="post-content" style="overflow: auto; margin-bottom: 18px;"> 410 <div 411 style="float: right; margin-left: 16px; margin-bottom: 6px; border: 1.7px solid #222; background: #fff; padding: 3px;"> 412 <img src="https://res.cloudinary.com/f0ustf0ur/image/upload/v1751188273/ladies_hip_hop_revolution_tank_tshirt-p235321429796896018yjqi_400_i6nltf.jpg" 413 alt="I Am Hip Hop" style="display: block; width: 240px; max-width: 100%; height: auto;"> 414 </div> 415 The material and mainstream response to the impact of Hip Hop began early in its modern evolution. 416 With the success of the Conscious Hip Hop movement in the United States in the late 1980s and early 417 1990s, a concerted effort was made on the part of the Music Industry to derail the movement by 418 changing the focus of the music from positive messages, African history and evolved states of being 419 to that of material wealth, violence and hyper-sexuality. According to music industry insiders, 420 there was a <em>successful attempt</em> to provide monetary incentives and change the focus of 421 individual Hip Hop artists to rap more about these topics and also to contract artists that would 422 create the type of music that glorified self-hate and violence in many forms. This era was 423 accompanied by rising drug use, gang violence in many inner cities and the destruction of previously 424 cohesive neighborhoods by gentrification and urban renew
424al projects that diffused black power by 425 moving populations out of the urban center and into suburban apartment complexes. The simultaneous 426 influx of illegal drugs, as well as the continuing unavailability of stable sources of income, 427 into these uprooted communities contributed heavily to the continuing dismantling of black political 428 power. But what the Powers-That-Be did not take into account was the expansion of Hip Hops 429 influence out of the black community and into the white community and from there, into the rest of 430 the world. Even though the possibility of this happening was evident from its earliest beginnings, 431 as exemplified by its multi-ethnic composition in the early to mid-80s as it spread like wildfire 432 across America, the change in the focus of Hip Hop from a black consciousness to a gangsta/thug 433 mentality that glorified the patriarchy and material accumulation appealed to the children of the 434 suburbs, the children of affluence, the white children of th establishment. Their rebellion against 435 their parents and dedicated economic commitment to Hip Hop raised it far beyond national and 436 international prominence, if not in spite of, then <em>because of</em> the negative direction the 437 Industry chose to force the music into. 438 </div> 439 <div class="post-content" style="overflow: auto; margin-bottom: 18px;"> 440 <div 441 style="float:left; margin-right:16px; margin-bottom:6px; border:1.7px solid #222; background:#fff; padding:3px;"> 442 <img src="https://res.cloudinary.com/f0ustf0ur/image/upload/v1751188273/291140378_izggz8.jpg" 443 alt="Riot Protest" style="display:block; width:260px; max-width:100%; height:auto;"> 444 </div> 445 As Hip Hop has evolved within the crucible of a planet in the throes of change, it has come to 446 represent a shifting of consciousness, being the musical form best suited for political and social 447 challenges. Its hard, eviscerating beats, biting and rough dictions and choruses, are <em>the 448 perfect backdrop</em> to a world on the cusp of transformational change. While mainstream Rap 449 still possesses that material edge that glorifies bling, the dollar bill and the objectification of 450 women as sexual objects, underground Hip Hop culture remains conscious and concerned with the plight 451 of the underclass the world across. With the spread of Internet access across the planet, that 452 underclass has realized that they hold common cause with each other, no matter their country or 453 origin or color. A global political consciousness is a precursor to a global spiritual consciousness 454 as people become aware that politics is only the outermost layer of an affliction that goes much 455 deeper. The speculative aspects of the Afro-future arise in this space created by infinite 456 potentiality as artists meld their conceptions of the present with ideas about what could be, in a 457 perfect world. The addition of both New Age and Afrocentric spiritual ideals, as well as the 458 culmination of the Age, centered around the 2012 fulcrum, combine to create a discourse <em>of 459 extraordinary exceptionalism</em> that surpasses nation-hood and represents an elevated sense of 460 connection, of oneness, of common cause. 461 </div> 462 <div class="post-content"> 463 There is a revolution of the spirit as well as the body that is overcoming the dictates of 464 materiality, of modernism and the consumer culture. While there are many causative factors that have 465 contributed to this awakening, the impact of African-related innovations and movements in the West 466 have been strongly felt. From the Haitian revolution and the victories of Touissant L Ouverture, to 467 Nat Turner, the Civil War and the Civil Rights movement, there is a connection. From Jazz to Country 468 to New Age genres, there is a connection. From Fats Domino, Little Richard and other 469 African-Americans impact upon the evolution of Rock and Roll to the evolution of electronic and 470 computer-based music and art forms, there is a connection. This connection is the expression of the 471 Souls of Black Folk, the visceral nature of their interactions with the world, the spirit-filled 472 mass consciousness that resists all attempts at suppression, repression and genocide. It is, in 473 microcosm, representative of the human spirit in macrocosm, it is what happens when a group of 474 people is put upon for centuries at a time and their desire for utter freedom grows beyond the 475 capacity of any seeking control over them to contain. It is when expression becomes mandatory, where 476 not even death is threat enough to maintain silence, that the extraordinary becomes mundane and 477 wonder fills the world to overflowing on a daily basis. 478 </div> 479 <div class="post-content" style="overflow: auto; margin-bottom: 18px;"> 480 <div 481 style="float: left; margin-right: 16px; margin-bottom: 6px; border: 3px solid #222; background: #fff; padding: 3px;"> 482 <img src="https://res.cloudinary.com/f0ustf0ur/image/upload/v1751188272/commonuniversalmindcontrol_thumbnail1_mozi34.jpg" 483 alt="Common Universal Mind Control" 484 style="display: block; width: 260px; max-width: 100%; height: auto;"> 485 </div> 486 Of course, the formulation of the present moment is a collective endeavor that all streams of 487 humanity have contributed to, that, in fact, every person who has ever lived has, in their own way, 488 helped to create. Consciousness is a condition of awareness and each individual becomes aware of the 489 realities outside of his or her own chosen spotlight for different reasons. But it <em>cannot be 490 denied</em> that the world as it is today is the result of vast inequalities that have been 491 fomented over generations. Inequalities that have resulted in the deaths of untold millions, the 492 servitude of untold millions more and the domination of the world by a small, inbred and greedy 493 elite. The atrocities that have come to predominate the historical record of these latter centuries 494 of the Age of Pisces perhaps have no equal in the known history of humanity upon this planet. The 495 world as it is today, with all of its pain, heartache and vast inequalities, is also a beautiful 496 place, where the seeds of Africans brought to the Americas, mixed with the Aboriginals and Enslavers 497 both, have broken ground, tilling the field of hearts the world across, as what has been done 498 becomes clear and the ramifications of karmic repayment attend that clarification. Hip Hop and the 499 Afro-future stand intertwined in the Present as an indicator of Past and Future, one 500 indistinguishable from the other according to the infinite realm of probability that leaves 501 conceptualization boundless and free to be, to become whatever we wish it to be. This is the legacy 502 of our ancestors, and that which we leave to our posterity in our turn. The gift of life and love 503 despite pain and heartache, and of expression, without apology, of who we are, were and will be, 504 <em>far beyond</em> what those who think they control reality could ever conceive of. 505 <br><br>
506 <span style="font-size:14px; color:#5e5e5e;"><em>By Rahkyt/Mark Rockeymoore</em></span> 507 </div> 508 <div 509 style="background:#f8f8f8; border:1px solid #e3e3e3; border-radius:6px; margin-bottom:10px; font-size:10px; color:#222; padding:8px 14px 6px 14px; line-height:1.6;"> 510 Filed under Afrofuturists, Articles, History, Music, Web 511 <span style="color:#888;">|</span> 512 <span style="color:#449c44;">Tags:</span> african american, Afrofuturism, change, co-creation, 513 consciousness, freedom, future, hip hop, industry, music, new york, octely, slaveryus, soul, space, 514 united states 515 <span style="color:#888;">|</span> No Comments 516 </div> 517 518 <div 519 style="font-family:'Montserrat',Arial,sans-serif; color:#d43d0d; font-size:20px; font-weight:bold; margin-bottom:7px; letter-spacing:0.01em;"> 520 WREK ATLANTA RADIO: ON CYBISM & DECODING THE LETTER 521 </div> 522 523 <div style="color:#2da12d; font-size:13px; margin-bottom:20px;"> 524 Posted by nettrice on January 4th, 2011 525 </div> 526 527 <div style="font-size:13px; color:#232323; margin-bottom:22px; line-height:1.7;"> 528 On January 2, I was on a live WREK Radio Sunday Special talking about <em>Tron: Legacy</em> and my 529 latest research, 530 <b><em>Cybism and Decoding the Letter: Countering Mass Cultures Reductional Breakdown Through 531 Afro-futuristic Forms of Representation and Emergent Platforms.</em></b> 532 <br><br> 533 The online archive of the show is available until Sunday, January 16, 2011: 534 <br> 535 <a href="http://www.wrek.org/playlist.php/main/24kbs/current/SS.m3u" target="_blank" 536 style="color:#117911; word-break:break-all;">http://www.wrek.org/playlist.php/main/24kbs/current/SS.m3u</a> 537 (it is about 35 minutes in) 538 <br><br> 539 I also blogged about it here: 540 <br> 541 <a href="https://afrofuturism.net/2011/01/02/cybism-decoding-the-letter" target="_blank" style="color:#117911; word-break:break-all;">http://afrofuturism.net/2011/01/02/cybism-decoding-the-letter</a> 542 </div> 543 544 <div 545 style="background:#f8f8f8; border:1px solid #e3e3e3; border-radius:6px; margin-top:26px; font-size:10px; color:#222; padding:7px 14px 6px 14px;"> 546 Filed under Art, People, Reviews 547 <span style="color:#888;">|</span> No Comments 548 </div> 549 <div 550 style="font-family:'Montserrat',Arial,sans-serif; color:#d43d0d; font-size:20px; font-weight:bold; margin-bottom:7px; letter-spacing:0.01em;"> 551 CYBISM & DECODING THE LETTER 552 </div> 553 <div style="color:#2da12d; font-size:15px; margin-bottom:20px;"> 554 Posted by nettrice on January 2nd, 2011 555 </div> 556 <div style="font-size:13px; color:#232323; margin-bottom:22px; line-height:1.7;"> 557 Enter the realm of pure unadulterated street art and experience what is now a thriving knowledge 558 culture that merges specialized forms of representation: alphabets, drawings, paintings (graffiti), 559 films/videos, choreographic notations based on symbolic, linguistic and scientific formulations, 560 programming languages, hardware (robotics, handheld devices), software (game platforms) and so on . 561 . . 562 </div> 563 564 <div 565 style="background:#f8f8f8; border:1px solid #c2c2c2; border-radius:7px; margin-bottom:20px; max-width:98%; text-align:center; padding:12px 6px 7px 6px;"> 566 <img src="https://res.cloudinary.com/f0ustf0ur/image/upload/v1751192948/Rammellzee_j2waob.jpg" 567 alt="Bi-Conicals of the Rammellzee" 568 style="display:block; margin:auto; max-width:99%; border-radius:2px;"> 569 <div style="font-size:10px; color:#222; margin-top:9px; font-style:italic; line-height:1.4;"> 570 �Bi-Conicals of the Rammellzee / Beat Bop (with art by Jean-Michel Basquiat).� �<br> 571 Gomma/Profile Records, 2004/1983. 572 </div> 573 </div> 574 575 <div style="font-size:13px; color:#232323; margin-bottom:20px; line-height:1.7;"> 576 This begins my essay entitled, <b><em>Cybism and Decoding the Letter: Countering Mass Cultures 577 Reductional Breakdown Through Afrofuturistic Forms of Representation and Emergent 578 Platforms</em></b> � Or something like that. The inspiration for this effort is the work of 579 the first phase of modern graffiti/hip-hop art pioneers who have explored Afrofuturism as a theme: 580 <a href="https://afrofuturism.net/" style="color:#299c48; text-decoration:underline;">Rammellzee</a>, 581 <a href="https://afrofuturism.net/" style="color:#299c48; text-decoration:underline;">Futura</a> 582 (formerly Futura 2000) and 583 <a href="https://afrofuturism.net/" style="color:#299c48; text-decoration:underline;">Doze Green</a>. 584 <br>More specifically the essay highlights Gothic Futurism, Rammellzees concept concerning a �new 585 twist on the old mythologies and religions.� 586 </div> 587 588 <div class="post-content"> 589 Rammellzee appropriated and decoded sigma, the eighteenth letter of the Greek alphabet, and 590 created a distinctly new form of representation as a transformation of a classic signature visual 591 motif into a laser gun from science fiction. Canonical letter forms are re-created as metaphorical 592 weapons to destroy negative cultural practices and �diseased systems.� To experiment with Ikonoklast 593 Panzerism in Second Life I used techniques similar to collage and assemblage that had to be employed 594 that are unique to the virtual 3D, game world environment. My Tribute combines the art of Rammellzee 595 with urban detritus of the material world to construct an collage/assemblage of virtual 3D objects, 596 or planes that were built and textured to simulate the real thing. The aspects of virtuality in this 597 Second Life art simulation engaged users, embodied as avatars, in a participative experience. 598 </div> 599 600 <div class="post-content"> 601 This work reflects a system, or energy dynamics through a hybrid blending of material, analog 602 aspects and the techno-presence of the body in an urban/cosmic environment. These practices are 603 characterized by what Nechvatal refers to as a cybistic zeitgeist, as a �quality-of-life desire in 604 which everything, everywhere, all at once is connected in a rhizomatic web of communication.� 605 Artist/theorist Joseph Nechvatals notion of cybism detects an �attraction towards the abstractions 606 of advanced technological and scientific discovery -discovery now stripped of its fundamentally 607 reductive logical methodology.� 608 </div> 609 <div class="post-content"> 610 The knowledge context in which these abstractions are produced lay out a �common plane of immanence 611 on which all minds, all bodies and all individuals are situated.� Virtuality merges these aspects 612 and practices through the creation of concepts and tracing of metaphysical planes on which these 613 concepts exist. This plane involves creative practices that tie into other activities and practices 614 external to it. To further explicate this development we can look to the next level or layer of 615 artistic and technological progress: emergent game platforms and other digital media technologies. 616 </div> 617 <div class="post-content"> 618 Check out the substantial and fascinating new article by Louis Chude-Sokei: �Invisible Missive 619 Magnetic Juju: On African Cyber-Crime. It is a sweeping and well thought-out piece that 620 contextualizes Nigerias infamy as the home of internet fraud, in an analysis that makes connections 621 between the countrys political history, the creativity of Nigerian computer users, the sense of 622 exclusion felt by segments of the Nigerian population, the global free market, Nigerian popular 623 culture, Western paranoia and the growth of African cyber-crime franchises, all interwoven with a 624 review of the film District 9. 625 </div> 626 <div class="post-content"> 627 With each successive technology I learn, or master it changes how I view the past, present, and the 628 future. 629 630 Experiencing virtual 3D space can transcend the material world but it is very much a material 631 experience. Through Alternate Futures I am exploring Afrofuturism and viractuality � a term coined 632 by Joseph Nechtaval who I recently befriended on Facebook after I bought his book, Towards an 633 Immersive Intelligence. This exploration is beyond my imagination. Lisa Yazsek has been researching 634 Afrofuturism in literature. She writes, Alternate Futures aims to place visitors within a 635 perceptually immersive 3D Afrofuturist construction in Second Life, then subsequently asks them to 636 consider the future of black history and culture. Visitors experience fragments of history, culture, 637 and myth as they explore the simulation. I have come to my own realization as I add to this work 638 that 639 my sense of space and time changes. I recognize close connections between form and meaning (in art), 640 as well as history and virtuality or viractuality. 641 </div> 642 <div class="post-content"> 643 Having practiced and mastered the art of collage in material space (to some degree) I am discovering
644 that collage in immersive 3D space is entirely unique. A collage (from the word coller, to glue) is 645 a work of visual art made from an assemblage of different forms, thus creating a new whole. In 646 Second Life collage integrates two, three, and four dimensional forms of art. I am experiencing the 647 overlapping of the visual elements with sound, animation and video in new and exciting ways. 648 </div> 649 <div class="post-content"> 650 On a different level I am finding new meaning and connections between the virtual art and existing 651 narratives. Steampunk Dream is my short story about time travel and reconnecting with the past. I am 652 making the story real through the creation of an immersive 3D space that makes it possible to create 653 links to external content such as web sites, online videos and streaming media (radio). For example, 654 visitors can click an image or object to launch a web browser and view segments from LaLee s Kin: 655 The Legacy of Cotton, a documentary that draws the connection � a vicious cycle � between poverty 656 and the lack of education opportunity for black people living in the Mississippi Delta, over 150 657 years after the abolition of slavery. 658 </div> 659 </div> 660 <aside class="right-sidebar"> 661 <div class="sidebar-search-wrap"> 662 <input type="text" placeholder="Search..."> 663 <button title="Search">🔍</button> 664 </div> 665 <div class="sidebar-section"> 666 <div class="sidebar-section-title">META</div> 667 <ul class="meta-list"> 668 <li><a href="https://afrofuturism.net/">Log in</a></li> 669 <li><a href="https://afrofuturism.net/">Entries RSS</a></li> 670 <li><a href="https://afrofuturism.net/">Comments RSS</a></li> 671 <li><a href="https://afrofuturism.net/">WordPress.org</a></li> 672 </ul> 673 </div> 674 <div class="sidebar-section"> 675 <div class="sidebar-section-title">CATEGORIES</div> 676 <select style="width:100%;margin-bottom:5px;font-size:15px;padding:7px 8px;border-radius:6px;"> 677 <option>Select Category</option> 678 </select> 679 </div> 680 <div class="sidebar-section"> 681 <div class="sidebar-section-title">CALL TO AFROFUTURIST ARTISTS</div> 682 <div class="call-to-artists"> 683 Design us a banner & background! Right-click to download the current banner and background 684 files and make new ones in exactly the same size. For more information contact Kali 685 (afrofuturist.net at gmail dot com). Submission will close for 2010 after we approve a dozen 686 entries. 687 </div> 688 </div> 689 <div 690 style="background:#111; color:#fff; border:2px solid #222; border-radius:2px; padding:13px 15px 10px 15px; font-size:15px; margin-bottom:18px;"> 691 I'm a member of:<br> 692 <span style="font-weight:bold;">BlackScienceFiction<br>Society</span> 693 <div style="margin:11px 0 7px 0; font-size:14px; color:#ddd;"> 694 We highlight, celebrate and develop science fiction, speculative fiction, sword and soul, 695 fantasy, horror,... 696 </div> 697 <div style="font-size:14px; color:#d2d2d2; margin-bottom:6px;">5423 members</div> 698 </div> 699 <div 700 style="border-left:3px solid #19bbe3; padding-left:6px; font-size:12px; color:#222; margin-bottom:26px;"> 701 Visit <span style="font-style:italic;">BlackScienceFictionSociety</span> 702 </div> 703 704 <div 705 style="font-family:'Montserrat',Arial,sans-serif; font-size:15px; font-weight:bold; color:#18b122; margin-bottom:8px; letter-spacing:0.01em; margin-top:30px;"> 706 RECENT POSTS 707 </div> 708 <hr style="margin:0 0 7px 0; border:none; border-top:1px solid #e5e5e5;"> 709 <ul style="list-style:none; padding:0; margin:0;"> 710 <li style="margin-bottom:9px;">
711 <span style="border-left:4px solid #19bbe3; padding-left:7px;"> 712 <a href="https://afrofuturism.net/" style="color:#111; text-decoration:none;">Hip Hop and 713 Afrofuturism: The seeding 714 of the Consciousness field</a> 715 </span> 716 </li> 717 <li style="margin-bottom:9px;"> 718 <span style="border-left:4px solid #19bbe3; padding-left:7px;"> 719 <a href="https://afrofuturism.net/" style="color:#111; text-decoration:none;">WREK Atlanta 720 Radio: On Cybism & 721 Decoding the Letter</a> 722 </span> 723 </li> 724 <li style="margin-bottom:9px;"> 725 <span style="border-left:4px solid #19bbe3; padding-left:7px;"> 726 <a href="https://afrofuturism.net/" style="color:#111; text-decoration:none;">Cybism & 727 Decoding the Letter</a> 728 </span> 729 </li> 730 <li style="margin-bottom:9px;"> 731 <span style="border-left:4px solid #19bbe3; padding-left:7px;"> 732 <a href="https://afrofuturism.net/" style="color:#111; text-decoration:none;">Alondra Nelson 733 Interview on 734 Afrofuturism</a> 735 </span> 736 </li> 737 <li> 738 <span style="border-left:4px solid #19bbe3; padding-left:7px;"> 739 <a href="https://afrofuturism.net/" style="color:#111; text-decoration:none;">Louis 740 Chude-Sokei on African 741 Cyber-Crime</a> 742 </span> 743 </li> 744 </ul> 745 746 </aside> 747 </div> 748 </div>
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