Black Futurity In/As Suspension

By: Mkhululi Mabusela
How does one imagine a futurity of nothing, Blackness as nothing, as absence, is that which raptures the economy of signifiers and signification, how does one imagine a futurity of something whose (anti)state is that of generativity, what is involved in a thinking of a futurity of absence ( Blackness as nothingness/absence), an absence whose indeterminate generative (non)position sets the stage for a certain semiotic enactment by those with desires for establishing deterministic positionalities, thus resulting in their inscribing codes (through speech or violence or speech as violence) onto the unknow(n/able).
What does it mean to look at Blackness as a “nonworldliness [that] is not another worldliness” (Derrida), what kind of thinking (or affective thinking) occurs at the end of the world, what is entailed in a thinking that views black futurity as that which exists in a state of continuous suspension, which is to say as that which never arrives (not an event) but is plotted and enacted in our everyday lives, a thinking of a futurity that butchers language ( ungrammatical rapturing movements) in an incessant movement towards the nondiscursive/ extra-discursive, primarily because language always fail to grapple with it, but maybe it is because language as a signifier is confronted with a cataclysm, in that what we are dealing with here is nothingness/Blackness ( the unlanguaged).
Perhaps Gqom and Amapiano is what happens at the end of the world, rapturing and unruly sounds whose call to movement can only be headed by the damned of the earth, wayward girls and boys from the slums, an incessant irruption of unruly sounds that aren’t anything but a call towards this minor inscription of Blackness, sounds that move us towards an unruly visuality and imagination.

    source: colorlines

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