Tournament: Sunvite | Round: 2 | Opponent: American Heritage Boward AK | Judge: Shweta Kondapi
Keeling 2019 (Kara Keeling "Queer Times, Black Futures, "It's after the End of the World (Don't You Know That Yet?)": Afrofuturism and Transindividuation, NYU Press, https://www.jstor.org/stable/j.ctv12fw90q.6)
Somewhere in the middle of the 1974 film Space Is the Place, Sun Ra's band, The Arkestra, begins to play a tune called "It's after the End of the World." That tune launches forth with a few bars of tentative tones and sounds. Then come lyrics—a refrain sung and shouted in a voice that we recognize today as feminine, if not female, by its quality. Over and again, this voice insists, "It's after the end of the world. Don't you know that yet?"1 This refrain—"It's after the end of the world. Don't you know that yet?"—asserts another temporality and coordinates, which exist within, but are incommensurate with, those taken as the dominant logics of ex- istence of a world (only one) characterized by statistical predictability, control, temporal continuity, and coherence. The feminine voice creates a "calming and stabilizing, calm and stable, center in the heart of chaos," which insists that it is "after the end of the world." This voice "jumps from chaos to the beginnings of order in chaos and is in dan- ger of breaking apart at any moment."2 This refrain opens a marvelous (im)possibility: "the world" does not cohere as such. If it once did, it no longer does. Already, it has ended. Whatever existence "we" can claim, wherever that can be claimed, and however it can be characterized, can- not take the continuity and stability of a world as axiomatic. Soon after it begins, the refrain in Space Is the Place—"It's after the end of the world. Don't you know that yet?"—is overtaken by other sounds, another attempt to organize chaos. Perhaps the limited space organized by these sounds is not music but a wall of noise, loud yet fragile. It collapses and . . .
This is an apocalyptic catastrophe. Homelessness is the home for blackness. The abyss is the place where blackness and space exist. The middle passage marks the end of the world for blackness.
Keeling 2019 (Kara Keeling "Queer Times, Black Futures, "It's after the End of the World (Don't You Know That Yet?)": Afrofuturism and Transindividuation, NYU Press, https://www.jstor.org/stable/j.ctv12fw90q.6)
. . leaves "us" homeless. Homelessness is our home. We carry
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yet?" Home- less at home. We improvise.4
Space offers a unique site of possibility and hope for blackness. It offers a place to set up a planet. Space is the site where colonization ends and possibilities and/or altered destinies begin.
Keeling 2019 (Kara Keeling "Queer Times, Black Futures, "It's after the End of the World (Don't You Know That Yet?)": Afrofuturism and Transindividuation, NYU Press, https://www.jstor.org/stable/j.ctv12fw90q.6)
In the opening sequence of Space Is the Place, Sun Ra's character announces that
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, Sun Ra's particular version of plastic dialogue and the politics it supports.
Keeling 2019 (Kara Keeling "Queer Times, Black Futures, "It's after the End of the World (Don't You Know That Yet?)": Afrofuturism and Transindividuation, NYU Press, https://www.jstor.org/stable/j.ctv12fw90q.6)
Sun Ra continues his conversation with the Black youth, reminding them that
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. Such a world exists in Sun Ra's cosmology as an impossible possibility.
Civil society structures itself around that the black body exist in emptiness but is not an absolute condition. Denying blackness the right to a future tries to strip blackness of its meaning. Futurity is key to understanding the future of witness and why the future is good in the context of blackness
Baldwin, 11 (Andrew, Co-Director of the Institute of Hazard at the University of Durham's Department of Geography, "Whiteness and futurity: Towards a research agenda," Progress in Human Geography 2012, originally published August 3, 2011, http://phg.sagepub.com/content/36/2/172, )
My argument is that a past-oriented approach to accounting for geographies of whiteness
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into the future reconfigures what is to be valued in the decades ahead.
Bogle 21 (Colin Bogle is an American-born first-generation Jamaican now based in Denver. He has experience working at the intersection of climate change and social justice issues throughout the Caribbean/Latin America region. Colin is also interested in how existing social fractures stand to be exacerbated by climate change. His specialties include community organizing, socioeconomic inequality, and sustainable development. He is now studying for a master's in International Studies with a focus on Global Environmental Change and Adaptation.) Bogle, Colin. "How "Whitey on the Moon" Perfectly Captures Bezos' Space Joy Ride." 12 August 2021. yesmagazine.com. 7 January 2022. https://www.yesmagazine.org/opinion/2021/08/12/amazon-jeff-bezos-space-program.
After Jeff Bezos returned from his 10-minute space flight in late July,
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truly be accomplished by a company that relishes its ever-growing monopoly.
Affirm as a means of engaging in afrofuturist narratives and reject ideas of US domination
McKinson 21 McKinson, Kimberley. Ph.D. from the University of California, Irvine, assistant professor of anthropology at John Jay College of Criminal Justice, The City University of New York (CUNY), research is situated at the intersections of urban security/insecurity, material culture, Caribbean postcoloniality, and critical Black historiography, Published Palimpsestic Securityscapes: Making Home and Excavating Memory in Postcolonial Jamaica.. "Do Black Lives Matter In Outer Space?". SAPIENS, 2021, https://www.sapiens.org/culture/space-colonization-racism/. https://www.sapiens.org/culture/space-colonization-racism/
On May 30, I tuned in to see the launch of the SpaceX Crew
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that I, a Black woman, would like to make my home.
Johnson 19 Johnson, Myles E., writer and artist living in Brooklyn. Named "One of the greatest writers of this generation" by Janelle Monáe, he is the author of children's book, LARGE FEARS, that centers a Black queer child. His work has been featured on platforms like The New York Times, NPR, Vice, Buzzfeed, Out, and Essence. Johnson is the founder of countercultural digital zine, Queer Quarantine. Above all else, he is dedicated to spreading love. "Black Utopia: Reclaiming Outerspace". AFROPUNK, 2019, https://afropunk.com/2019/04/black-utopia-reclaiming-outer-space/
The Disney theme song, "It's A Small World (After All)" is
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have become institutionalized, authorized, and naturalized in American society"
We advocate the use of afro-futurism to wield the imagination for personal and societal growth, giving rise to innovators of the future. Afro-futurism uses art, music, and discourse to lend a voice to deleted peoples and examine the violence of marginalized peoples.
Womack 13 (Womack, Ytasha, award-winning filmmaker/author/journalist and choreographer, editor of www.postblackexperience.com, guest editor for NV Magazine, social media and pop culture expert, B.A in Mass Media Arts from Clark Atlanta University, studied Arts, Entertainment and Media Management at Columbia College. Afrofuturism : The World of Black Sci-Fi and Fantasy Culture. Chicago :Chicago Review Press, 2013. Print.)
Marshall believes contemplating the future is important. "It comes down to do we
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culture. To quote the film V for Vendetta, ideas are bulletproof.
Afrofuturism offers a reconceptuion of the future divorced from the master narrative and disrupts the linearity of time and its accumulation on the black body.
Fisher 13 (Fisher, Mark, author of Capitalist Realism (2009) and Ghosts Of My Life: Writings on Depression, Hauntology and Lost Future, Programme Leader of the MA in Aural and Visual Cultures at Goldsmiths, University of London and a lecturer at the University of East London. "The Metaphysics of Crackle: Afrofuturism and Hauntology." Journal of Electronic Dance Music Culture, n.d. Web. 29 June 2017. https://dj.dancecult.net/index.php/dancecult/article/viewFile/378/391.)
Penman's1995 essays howed that Afrofuturism and hauntology are two sides of the same double-
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to radically alter their surroundings and challenge normative notions of how to be..