Here my co-workers walking for the cause #AIDSWalkNY
@thealliance_nyc
#EndAIDS #hiv #AIDS #hope #alliance #photography #charity #activism @GMHC #instagay #instanegro #instahomo #instablack #photographer #blackphotographer #teamcanon #canon_photos #ig_photostars (at New York, New York) https://www.instagram.com/p/BxqlR-shkwe/?igshid=1e3953grvkquv
So.. Yesterday i ended up winning 50 bucks… Abbott 20 mins ago i used the winnings to get one scratch off and i pocketed the rest… Well… Here’s today’s card.
Space-Time Collapse: From the Congo to the Carolinas
(2016)
Space-Time Collapse I: From the Congo to the Carolinas explores possible space-time narratives and temporal perspectives of enslaved Black African ancestors, pre- and post-liberation. Slave ships and plantations are traversed by the visionaries as chronotopes containing layers of different times, imprinted by the experiences of the people held captive therein. The featured writers and visionaries attempt to visualize, hear, understand, and feel the experience of time overwritten – the rewriting of conceptions of the past, present, and future of a people displaced by the transatlantic slave trade, and the erasure of their cultural memory. The works also examine perceptions of time and space in relation to Black memory, historical and societal change, systems, institutions, and technological development, and how these perceptions are sifted through or persist into the present. The main works propose innovative tools for shifting the linear progress narrative, suggest alternative perceptions and shapes of time, and create mechanisms for survival under the dominant linear temporal regime . Space-Time Collapse is a new experimental writing, sound,and image series that applies Black Quantum Futurism theory and practices to spatiotemporal collapse events and phenomenon. The first book in the series features new visions from Rasheedah Phillips, Camae Ayewa, Joy KMT, Thomas Stanley, PhD, Ytasha Womack, Dominique Matti, Theo Paijmans, Alex Smith, and Femi Matti, with a foreword by Alicia J. Lochard.
