Sublime

we insist Black being into the wake.

tracking the ways we resist, rupture, and disrupt that immanence and imminence aesthetically and materially.

How does one, in the words so often used by such institutions, “come to terms with” (which usually means move past) ongoing and quotidian atrocity?

the wake, the past that is not past reappears, always, to rupture the present.

slavery’s continued unfolding is constitutive of the contemporary conditions of spatial, legal, psychic, and material dimensions of Black non/being as well as Black aesthetic and other modes of deformation and interruption.

Black being in the wake as consciousness and to propose that to be in the wake is to occupy and to be occupied by the continuous and changing present of slavery’s as yet unresolved unfolding.

My project looks instead to current quotidian disasters in order to ask what, if anything, survives this insistent Black exclusion, this ontological negation, and how do literature, performance, and visual culture observe and mediate this un/survival.

how does one memorialize chattel slavery and its afterlives, which are unfolding still? How do we memorialize an event that is still ongoing?

I mean wake work to be a mode of inhabiting and rupturing this episteme with our known lived and un/imaginable lives.