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Afrofuturism 2.0


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Table of Contents

Introduction to Afrofuturism 2.0 Reynaldo Anderson and Charles E. Jones Part I: Quantum Visions of Futuristic Blackness Chapter One: Reading Wangechi Mutu's Non je ne regrette rien through Kindred Tiffany Barber Chapter Two: Afrofuturism on Web 3.0: Vernacular Cartography and Augmented Space Nettrice Gaskins Chapter Three: The Real Ghost in the Machine: Afrofuturism and the haunting of racial space in I Robot and DETROPIA Ricardo Guthrie Part II: Planetary Vibes, Digital Ciphers, and Hip Hop Sonic Remix Chapter Four: The Armageddon Effect - and Other Afrofuturist Chronopolitics of Alien Nation tobias C. van Veen Chapter Five: Afrofuturism's Musical Princess Janelle Monae: Psychadelic Soul Message Music Infused with a Sci-Fi Twist Grace D. Gipson Chapter Six: Hip Hop Holograms: Tupac Shakur, Technological Immortality and Time Travel Ken McCleod Part III: Forecasting Dark Bodies, Africology, and the Narrative Imagination Chapter Seven: Afrofuturism and Religion: Our Old Ship of Zion Andrew Rollins Chapter Eight: Playing a Minority Forecaster in Search of Afrofuturism: Where Am I in this Future, Stewart Brand? Lonny Avi Brooks Chapter Nine: Rewriting the Narrative: Communicology and the Speculative Discourse of Afrofuturism David DeIuliis and Jeff Lohr Chapter Ten: Africana Women's Science Fiction and Narrative Medicine: Difference, Ethics and Empathy Esther Jones Chapter Eleven: "To be African is to Merge Technology and Magic": An Interview with Nnedi Okorafor Quianna Whitted About the Contributors

About the Author

Reynaldo Anderson is associate professor of communications at Harris-Stowe State University. Charles E. Jones is professor and head of the Department of Africana Studies at University of Cincinnati.


Afrofuturism 2.0 proves to be not only an educational experience, but a necessary provocation of questions on Pan-Arab culture, which may be read through various Palestinian states of being - whether present, absent, or imagined.... Taken from a wider perspective, Afrofuturism, as the book seeks to assert, can be moulded into a vibrant, analytical framework for exploring notions and practices of temporality in African cultural production. Indeed, the numerous studies and examples that unfold across the different parts of the book point to the rising instrumentalization of futurist and sci-fi aesthetics as important politically charged practices within contemporary Afrodiasporic culture. * Tohu *
Do your interest lie in the connections between music, art, science and futurity as performed and lived through Black people of the African diaspora? Or, through your engagement with popular culture, have you heard the terms AstroBlackness, Black Speculative Fiction, Afrofuturism, or Black Futurism and have wondered what they mean or what they are? If you have asked yourself these questions and want a deeper understanding than what a good Google search can provide, Reynaldo Anderson and Charles E. Jones edited volume Afrofuturism 2.0: The Rise of Astro-Blackness is the intellectually and culturally grounded place to begin your study.... Afrofuturism 2.0 should be looked upon as central read for anyone interested in the discourses of Africana diaspora and the future. For communication scholars focused on digital media, fandom, Black Geek/Nerd discourse, speculative fiction, science fiction or other discourses grounded in the Black imaginative- essays in this volume are foundational locations for depth in analysis. It is hard to imagine discussion on the rhetoric of Black Panther, Luke Cage or DC Legends without a functional reading of Afrofuturism 2.0. * Iowa Journal of Communication *
Reynaldo Anderson and Charles E. Jones assemble a remarkable collection in Afrofuturism 2.0....Anderson and Jones have taken Afrofuturism in fascinating directions, encouraging scholars to consider how the concept is expressed across media. I strongly recommend this volume to scholars and research libraries, as well as for the college classroom. * Science Fiction Studies *

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