{"id":1092,"date":"2025-12-10T17:09:26","date_gmt":"2025-12-10T17:09:26","guid":{"rendered":"https:\/\/plotting.rietveldsandberg.nl\/?p=1092"},"modified":"2025-12-18T08:56:42","modified_gmt":"2025-12-18T08:56:42","slug":"notes-towards-an-otherwise-gervaise-alexis-savvias","status":"publish","type":"post","link":"https:\/\/plotting.rietveldsandberg.nl\/?p=1092","title":{"rendered":"notes towards an otherwise \u2013 gervaise alexis savvias"},"content":{"rendered":"\n
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Human beings are magical. . . . Words made flesh, muscle and bone animated by hope and desire, belief materialised in deeds, deeds which crystallize our actualities. . . . And the maps of spring always have to be redrawn again, in undared forms.
\u2014Sylvia Wynter1<\/a><\/sup><\/p>\n<\/div><\/div>\n\n\n\n

<\/div>\n\n\n\n

Pause. Break. Respite. Breath. A lingering residuality. <\/em><\/p>\n\n\n\n

What follows is a series of notes: fragmented encounters with spectrality and the grand ensemble; collected thoughts on philosopher and author Sylvia Wynter\u2019s framework of the plot and plantation; meanderings on abolition inspired by a cosmology of Black radical thought; a cursory attempt to reconcile the contemporary pitfalls of Craft2<\/a><\/sup> and language; and an embrace of poetry as social poiesis and the imagination as a recalcitrant register towards a future not yet attained. Make no mistake: \u201ceverything is now. It is all now.\u201d3<\/a><\/sup> In this shadowy realm of the not-quite-said, I am attempting to thread together an epistolary embrace of something else\u2014the possibility of an otherwise<\/em>. Otherwise, as in, \u201ca firm embrace of the unknowable; the unknowable as in, a well of infinity I want us to fall down together.\u201d4<\/a><\/sup> Unknowable as in, hearken to me, hearken to the ghostly utterance of those no longer with us. Otherwise, as in, the dead always surround us. Otherwise, as in, \u201cthe future is now and all those movements that clear space and mark our struggle to live free, live better, love more, to knit abundance all that is the work of another realm that is not-here\u201d5<\/a><\/sup>\u2014yet. Otherwise, as in, \u201cif there wasn\u2019t a door, there wouldn\u2019t be a key.\u201d6<\/a><\/sup><\/p>\n\n\n\n

This is not an epitaph. This is an opening. The ghost in the machine is attempting to tell you a story, but perhaps you are reading another one altogether. The canary in the coal mine will \u201csing for death, sing for birth.\u201d7<\/a><\/sup> Despite its perpetual mutilation by a regime of violence\u2014hearken to it. Pay close attention, then move as far away as you can. I will these fragments, words, and enunciations to remain with you. <\/p>\n\n\n\n

<\/div>\n\n\n\n
\u1f18\u03c0\u03b9\u03c4\u03ac\u03c6\u03b9\u03bf\u03c2<\/em>, produced by Andreas Yakovlev Michaelides (YAKOVLEV), with vocals provided by gervaise alexis savvias (2025).<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

note: hauntology <> frenzied chorus <> entry point<\/strong>
Borrowing from those who have come before us, Lola Olufemi sonorously points out that \u201cexperiments can and do fail.\u201d8<\/a><\/sup> What is made through this failure is an inherent reminder that the world has already ended many times. Those of us who loom in the shadows, and silently strive towards the attainment of an otherwise, are in a constant state of reckoning. After all, we have lost countless battles. We have had to scrape our bloodied knees clean in the face of state-sanctioned violence upon our most intimate trinkets of sociality; our relationship to the land and to each other; the inferior mirage of something else<\/em> looming on the horizon. In an initial and cursory attempt to language and thread together a poetics of refusal, I am interrupted. The ghosts visit me, and I am jolted. A glaring tension is readily apparent. \u201cHow do I know this? Only by feeling.\u201d9<\/a><\/sup> Something akin to a spatiotemporal antagonism, in this inter\/disruption, I tread a particular inarticulateness. What do I make of the remnants, the stories and memories siphoned off, relegated to an elsewhere<\/em>? For those of us concerned with the otherwise<\/em>, the haphazard echo and utterance of the ghost is a wayward register, a recognition that the ghost\u2014much like the promise of another future\u2014is neither here <\/em>nor there<\/em>. The logic of the ghost is a haunting of its own, \u201cphenomenal and non-phenomenal: a trace that marks the present with its absence in advance.\u201d10<\/a><\/sup><\/p>\n\n\n\n

My relationship with the ghost is altogether bound up with an attempt to assuage grief. The grief is nagging, personal, and collective. \u201cWe sing,<\/em>\u201d11<\/a><\/sup> we mourn. But mourning as a politics must \u201c<\/em>avoid becoming only a litany of horrors,\u201d12<\/a><\/sup> and orient itself instead as fugitive pursuit: the process of running towards <\/em>something else. Communing with the ghosts that linger is <\/em>not \u201cundertaken in the expectation that it will reveal some secret.\u201d13<\/a><\/sup> Instead, it pushes and wedges itself against the \u201cboundary of language and thought.\u201d14<\/a><\/sup> Haunting is not merely reducible to the logics of the supernatural and mythological, an aberration. Haunting \u201cis the cost of subjugation. <\/em>It is the price paid for violence, for genocide,\u201d15<\/a><\/sup> for systematic displacement, and for planetary exhaustion. Haunting is a constituent mode of our modern social life. We are haunted, yes, but only in the name of the unyielding belief that to heal and mourn is \u201cto allow the ghost to help you imagine what was lost that never even existed.\u201d16<\/a><\/sup> To imagine an otherwise<\/em>, and to be transversed into a belief of its existence is, as in philosopher Walter Benjamin\u2019s profane illumination,17<\/a><\/sup> a recognition that it could have been and can be <\/em>otherwise. In an adamant and effervescent refusal to give up on each other, and our conviction to structure ourselves differently, I am reminded that the ghost exists in an atemporal state. It belongs to neither the past nor the present. As do we, I surmise. The ghosts birthed from empire\u2019s original violence\u2014destined to mutate precisely due to the relentless violence and genocidal dispossession innate to the western nation-state concept\u2014refuse to submit their allegiance to the horizontality and linearity of time. See, what if time is not a unitary march forward, but a labyrinth\u2014a circle that meets itself at the end, even as it begins again? If you press close to the wall at the right place, you can hear the hurrying steps and voices. You can hear yourself walking past on the other side. <\/p>\n\n\n\n

A shadow, blithely interference, and a gentle muttering is a ghost\u2019s tensor. The otherwise<\/em>, much like a haunting and the non-linearity of time, \u201crequires a commitment to not knowing\u201d18<\/a><\/sup> <\/em>what is still to come. <\/em>\u201cAre you ready for that?\u201d19<\/a><\/sup> The clock has had its way with us. I am, once again, obsessing over the linearity of time. I am stuck in a time loop. Forward. Linear. Progressive? Hegemonic clock time is at play here: picnoleptic, a violent colonial regime, and a destructive architect. But recently, there\u2019s something lingering in the shadows. In my persistent attempt to tend to an otherwise<\/em>, not so long ago I stumbled across the letters my grandmother authored and enclosed to her friends, family, and confidants in the years following the liberation of Zambia; the dismantling of Britain\u2019s so-called protectorate, Northern Rhodesia. \u201cA voice interrupts.<\/em>\u201d20<\/a><\/sup> These fragments imply the existence of a larger whole. I am left with these traces, par excellence. The ghost touches me, and touches bone. Delirium ensues. \u201cI\u2019ve been trying to articulate a method of encountering a past that is not past.\u201d21<\/a><\/sup> This is a kindling. This note repeats itself into our present.<\/p>\n\n\n\n

<\/div>\n\n\n\n
Labyrinth<\/em>, produced by Andreas Yakovlev Michaelides, with vocals provided by Androula Kafa and gervaise alexis savvias (2025).<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
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The African people had no idea what these sea creatures had come for. In time, they understood that the sea people had come to rape, steal and plunder. This is our land. The struggle for superiority was born when \u2018explorers\u2019 came and landed on our shores. The story still goes on, and they never learn, or mind their own. They impose, loot, destroy. 

The invaders are here. The settlers in Northern Rhodesia. 
The slow trade and demarcation was set and settled.

The wars are raging, matching the velocity of the storms and winds.  
We are all waiting, and need a better life. 
The one we are in is unstable.
A better life! 

And yet<\/em>,       the underground was born to imagine.22<\/a><\/sup>

<\/p>\n<\/blockquote>\n\n\n\n

Political theorist and author Achille Mbembe notes that the archive is \u201cfissile material,\u201d23<\/a><\/sup> and that \u201cat its source, it is made of cuts.\u201d24<\/a><\/sup> Perhaps the radical rupture required to envision the otherwise is instilled in the fragmented stories whispered to us in the form of oral histories, murmurs, and uncovered correspondences; in the beckoning calls from the aether; in the stories and blueprints tucked away, encountered and subsequently refashioned. The cacophony of those no longer with us are a guiding hand outstretched, adorned by moonlight, urging us to recognise disruption and ruination as connective tissue, residual invocation, two sides of the same coin. \u201cHapticality,\u201d25<\/a><\/sup> as poet and theorist Fred Moten and activist\u2013scholar Stefano Harney remind us, is the feeling of \u201cwhat is to come here.\u201d26<\/a><\/sup> It is the growing capacity to \u201cfeel through others, for others to feel through you, for you to feel them feeling you.\u201d27<\/a><\/sup> This process of rubbing-against, rubbing-with, and rubbing-together is a register that transcends the structural and linguistic limitations of the physical world. See, if you tuck the story of a loved one under your tongue for too long, it becomes dried blood, bated breath, prolonged sigh, renegade. \u201cWe are part of the story,\u201d28<\/a><\/sup> remember? I invoke hapticality and mean for you to understand the vibrational potency of our forbearers\u2019 wishes for something else<\/em>. This is their poetry. I utter hapticality and mean for you to consider poetry as a defiant form of social poiesis, for after all, \u201ca meagre story is not a failure.\u201d29<\/a><\/sup> At this point of fissure and hapticality, we uncover, substantiate, and enact a cut in the machine of violence: \u201corganised abandonment.\u201d30<\/a><\/sup> Elsewhere, Moten implores us that \u201cto collect is to gather, and the term (meaning, to collect<\/em>) insists upon that gathering.\u201d31<\/a><\/sup> Relation manifests and rears its head in this gathering of souls lingering\u2014this ever-present, metaphysical glue. \u201cGhost to ghost. Ghost as what lingers.\u201d32<\/a><\/sup> The task endures: \u201cfollow the ghosts and conjure otherwise<\/em>.\u201d33<\/a><\/sup><\/p>\n\n\n\n

\n


my hands juggle glass pieces; metal remnants.
I watch the cuts before I can feel them.
it\u2019s all just happening so fast, you see.
I\u2019m pushing up against the boundary, and
I can\u2019t remember my grandmother\u2019s smile. 
listen:
transmute the feeling, the memory
sustain it, and 
turn it into ten years\u2019 worth of poetry.<\/em>

<\/p>\n<\/blockquote>\n\n\n\n

note: plantation, plot <> ceremony <> revolution in a minor key<\/strong>
Wynter\u2019s groundbreaking decolonial work marks the European Renaissance and Enlightenment period as violent fractures in time that birthed the concept of Man, concretising a project to colonise time and space, fomenting an imperialist expansionist project. The plantation, as a site of ontological, economic, and ecological transformation, dates back to 1452 with the enactment of European extraction vis-\u00e0-vis African slavery. It is primarily underpinned by the colonial view of Europe as the \u201ccradle of civilisation, modernity, culture and progress.\u201d34<\/a><\/sup> While \u201cthe plantation has been analysed as a historical event, a production system, and a model for current economic, social, and geographical arrangements,\u201d35<\/a><\/sup> it is vital to simultaneously consider that the plantation as not merely reducible to its temporal configuration\u2014as a momentary event of captivity and enslavement. \u201cInvoluntary servitude wasn\u2019t one condition, nor was it fixed in time and place. The triangulated severing of will, the theft of capacity, <\/em>[and] the appropriation of life\u201d36<\/a><\/sup> in the form of chattel slavery \u201cconditions an aftermath that bears itself,\u201d37<\/a><\/sup> and an afterlife that prolongs itself in the present. \u201cThe use of the body as a tool or instrument; <\/em>[as a site] <\/em>of occupation or possession\u201d38<\/a><\/sup> was an intentional configuration. The plantation and its structuring logic lingers and resubstantiates itself through a host of forms in our here<\/em> and now<\/em>\u2014namely through a global capitalist system that wilfully deracinates, extracts, and exploits (non-white) bodies, ecology, nature, labour, sociality, and our conception of time and leisure. As writer, activist, and scholar Suzanne C\u00e9saire sonorously reminds:<\/p>\n\n\n\n

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It seems that in the nineteenth century Euro-American humanity was seized with a real craze for science, technology and machine, the result of which has been an imperialist philosophy that has generated the world economy and the encircling of the globe.39<\/a><\/sup><\/p>\n<\/blockquote>\n\n\n\n

The plantation, as a regime, is altogether embroiled with topology, enclosure, and the systemic appropriation of nature. Topology and mapping, the process of reducing \u201cNature to Land under the impulsion of the market economy,\u201d40<\/a><\/sup> are imperial projects deeply embroiled with the desire to make the earth into a commodifiable possession. The imposition of linearity as a structuring matrix that not only demarcates time but also space is grossly evident throughout colonialism\u2019s history. Through physical demarcation\u2014materialised squarely through an ongoing process of fencing, enclosing, and bordering\u2014the nation state ensures its longevity, exclusionary nature, and capitalist production. The global settler-colonial project and the enclosure of our commons, which the majority of the globe continue to feel the effects of in a modern context\u2014specifically in areas such as Palestine, the Congo, and Sudan\u2014derives from the colonial-imperial formation of the plantation. The plantation and enclosure<\/em> are intrinsically attuned; they are symbiotically attached. Wynter notes that the foreclosure of our commons\u2014alongside a definition of Human that excludes anyone outside of the strict confines of its white proprietors and architects\u2014is intentional. It is deeply tied to a strict code of classification, codification, and linearisation that would come to define the so-called \u201cNew World.\u201d <\/p>\n\n\n\n

The nation state, in its original and current formulation, has contorted our modes of social existence and relationality into fabulated zones of subjection, abjection, exclusion, disenfranchisement, and abandonment. The plantation is reified and consistently manifests itself throughout every facet of our lives, ranging from the carceral logics embedded in our interpersonal relationships, the magnitude and perseverance of unpaid labour within the \u201cglobal South,\u201d to the obfuscation of our \u201crights\u201d under the nation-state formation. The plantation is, as political geographer Katherine McKittrick elucidates through a reading of author Toni Morrison, \u201ca space we all run from, but nobody stops talking about; it is persistent, [and] ugly;\u201d41<\/a><\/sup> an unruly <\/em>\u201cblueprint of our present spatial, social,\u201d42<\/a><\/sup> and economic \u201corganisation.\u201d43<\/a><\/sup> And yet, it is perhaps precisely because<\/em> of the plantation\u2019s \u201cbuilt-in capacity to maintain itself\u201d44<\/a><\/sup> that we would do well to strive towards its abolishment altogether. <\/p>\n\n\n\n

In the midst (and afterlife) of the violence and desolation precipitated by transatlantic chattel slavery, Wynter nevertheless outlines the disruptive force of the plot. \u201cThe plot exists within the surreal, utopian nonsense of it all.\u201d45<\/a><\/sup> In \u201cNovel and History, Plot and Plantation,\u201d Wynter notes the dialectical incongruence between the spatial configuration of the master\u2019s plantation and the slave\u2019s provision ground\u2013\u2013their otherwise<\/em>. The plot system, as she notes, \u201cwas . . . the focus of resistance to the market system and market values. Within the confines of the plot, the land remained the Earth.\u201d46<\/a><\/sup> Wynter expands on the concept of the plot and plantation elsewhere, noting that \u201cthe plot was the slave\u2019s area of escape from the plantation. It was an area of experience which reinvented and therefore perpetuated an alternative worldview, an alternative consciousness to that of the plantation.\u201d47<\/a><\/sup> Nevertheless, the plot should not be considered as a stand-in or substitute for the otherwise<\/em>. Not \u201cotherwise\u201d as in a romanticised departure or an outside of the brutality of the plantation, but rather, a constitutive refuge in the midst of cruelty: a cursory introduction to the possibility<\/em> of fugitivity. The plot, by way of its historical origin and enduring existence, \u201cexists as a threat\u201d48<\/a><\/sup> <\/em>to past-present-future capitalist formations. \u201cIt speaks to other possibilities.\u201d49<\/a><\/sup> This spatial demarcation , yet not irreducible to this arrangement alone was and is, as academic and writer Saidiya Hartman sonorously reminds, \u201crevolution in a minor key.\u201d50<\/a><\/sup> \u201cAbolition now,\u201d I imagine they uttered to each other while gathering, plotting on these generative spaces enmeshed within brutality. \u201cAbolition now,\u201d we utter to ourselves . . .<\/p>\n\n\n\n

In the midst of overwhelming barbarity in our current moment, Wynter\u2019s words and thinking beckon us onwards. <\/em>\u201cThe ceremony must be found,\u201d51<\/a><\/sup> she says. In the shadow of a totalising order fixated on extractivism that surpasses mere capitalist accumulation\u2014to encompass the violence of the border regime, manufactured threats, and genocidal wars\u2014the question rests less with a discovery<\/em> of the ceremony as a spatiotemporal event and rather with the realisation<\/em> of it as an on-going series of entry points which direct us towards a sonorous invocation of an otherwise<\/em>. The unsettling of the overrepresentation \u201cof Man and its onto-epistemological link to whiteness\u201d52<\/a><\/sup> presupposes and necessitates a unified desire to \u201cunsettle the coloniality of power.\u201d53<\/a><\/sup> This is enacted, in part, by our affliction to the possibilities enshrined within the imagination, within conversing with the ghostly ensemble, the frenzied chorus. Think of the ceremony as a call and song: tend to the ongoing, quiet, and dissenting work done on the plot by those who came before us. Growing yams in arid terrain, as Wynter notes; refusing to capitulate to the war machine and its beating drum in our present moment; keeping our neighbourhoods safe when the cloaked paramilitary forces comes for them in the dead of night; languaging your refusal to the artistic spaces, museums, and institutions that have opted for half-baked neutrality; disrupting and attempting to defang the arms production factories that fortify settler colonialism globally. Tend to the refrain, the pause, and the very real possibility of our intentions for the otherwise<\/em> to be halted, thwarted, snuffed out, and misinterpreted. For, as feminist conceptual artist collective Claire Fontaine succinctly point out, now more than ever, \u201ccolonial oppression\u201d54<\/a><\/sup> <\/em>has been \u201cnormalized, while resistance is seen as terrorism.\u201d55<\/a><\/sup> And perhaps despite the seemingly impossible invitation to fashion something else, the ghostly ensemble that surrounds us urges us forward, cajoling us onwards: braid together the implausible stories, the blueprints and roadmaps left behind precisely because <\/em>of this impossibility. Claw your way towards \u201cunspeakable wonder \/\/ to freedom that blooms on stumps.\u201d56<\/a><\/sup><\/p>\n\n\n\n

The plantation <\/em>\u201cmoves through time, [as] a cloaked anachronism that calls forth the prison,\u201d57<\/a><\/sup> the vicious corralling of space-time, all while sustaining global anti-Black violence and the oppression of non-white bodies. \u201cNo modern intelligent person [is] content [with] merely existing\u201d58<\/a><\/sup> in the face of these atrocities. Sometimes we need to take a chance and imagine more. The propensity of the state to enact violence upon those it claims as its citizens will never abolish our act of rubbing with each other, our desire for more. More<\/em>: less as a destination but as an enactment of our disavowal\u2014breaking loyalty with the stultifying hold of the nation state and its manufactured threats, promises, bogeymen, and its propensity and capacity for cruelty. And the question remains, pushing at the very seams of our current social order: how do we sustain a commitment to foreclosing the ontological and organisational protocols that wreak havoc on our lives? This is a social, common, and poetic project. To sustain a non-commitment to the systems around us, while equally nurturing an anti-colonialist desire is no easy feat. The plot is altogether enmeshed with the ceremony\u2019s finding, enunciation, and re-finding. The ceremony, as I contend by echoing Moten, is \u201cthe plot against the plot.\u201d59<\/a><\/sup> Against as in, \u201ccontrapuntal,\u201d60<\/a><\/sup> wayward, hauntological, elusive, fissile\u2014the \u201cfugitive turn.\u201d61<\/a><\/sup> The fugitive turn not merely and hastily defined as \u201crunning away,\u201d but as a fantastical running towards<\/em>. While the otherwise<\/em> is kept alive underground and within, it is not defined in its entirety by this logic alone. The otherwise<\/em> finds its genesis in poetry and is gestated by a litany of \u201crunaway tongue(s), <\/em>dissenting bod(ies),\u201d62<\/a><\/sup> the spectres of those no longer (physically) with us\u2014\u201cfrom the story within the story.\u201d63<\/a><\/sup><\/p>\n\n\n\n

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when the gossamer is at your throat, <\/em>
can you breathe past it; <\/em>
manoeuvre and find<\/em> a <\/em>way <\/em>out
hand in hand, adorned by sunlight, <\/em>
running towards<\/em> something-else. 
<\/p>\n<\/blockquote>\n\n\n\n


note: language <> poetry, poiesis <> towards an otherwise<\/strong>
Language is a slick-tongued thing. Capitalism and settler-colonial violence have ossified language; rendered it illegible. Language has been transfigured, defiled. The transmutation of language into a formalising logic of objectification, categorisation, precision, rationality, and morality is fallacious, imbalanced, and altogether bound up with the \u201ccolonial matrix of power.\u201d64<\/a><\/sup> Accordingly, performance artist and author Fargo Nissim Tbakhi uses the term \u201cCraft\u201d to \u201cdescribe the network of sanitising influences exerted on writing in the English language: the influences of neoliberalism, of complicit institutions, and of the linguistic priorities of the state and of empire.\u201d65<\/a><\/sup> Now, perhaps more than ever, \u201cwe want language to be able to make sense of the genocidal wars. We think it enough, and every writer must come to the same conclusion: it is not.\u201d66<\/a><\/sup> Capitalism and colonialism\u2019s exclusionary and extractivist logics have crept their way into the very fibre of language, resulting in the mass propulsion of ordinary people towards \u201cpremature death,\u201d67<\/a><\/sup> and into a perpetual nightmare of violence. Craft is \u201cthe machine for regulation, estrangement, sanitisation.\u201d68<\/a><\/sup> This is overwhelmingly evident in the context of the ongoing genocide of Palestinians in Gaza, and their violent terrorisation and displacement by the IOF (Israeli Occupation Forces) and armed settlers in the West Bank. The settler-colonial state of Israel\u2014armed, bolstered, and enabled to the teeth by the USA and the west more widely\u2014has contorted our comprehension of language, all while the global media establishment joyfully consents and contorts itself into a mouthpiece for genocide and settler-colonialist expansion. 
<\/p>\n\n\n\n

\n

What use is it to say a person \/\/ committed \u201cwar crimes?\u201d <\/em>
What language breathes to catch \/\/ the hugeness of <\/em>that poison?<\/em>69<\/a><\/sup>
<\/p>\n<\/blockquote>\n\n\n\n

The numbers of those lost in Palestine, Congo, Sudan, Lebanon, Yemen, Haiti, and elsewhere \u201cdoom love. The death tables, the murderous abstractions\u201d70<\/a><\/sup> enacted by the seemingly clandestine power of neoliberalism; the language of crisis and craft risk sinking us further into tumult. This is intentional. We are meant to be immobilised. But these lists and catalogues of the dead, dying, unaccounted for, martyred, and forgotten \u201cshould in no instance be taken as the index of what the empirical reality of our social universe\u201d71<\/a><\/sup> is, or can be. The ghost whispers, \u2018these are dark times, beloved,\u2019 and in this telling, \u201cthwarts the attempt to order time into tidy categories of past, present, and future.\u201d72<\/a><\/sup> The threat of ruin looms, but this is not an epitaph. This is an opening. This is a defiant circle: one that meets itself even as it begins again. An ouroboros, or something akin to it. \u201cThe chorus of poetry opens the way.\u201d73<\/a><\/sup><\/p>\n\n\n\n

Language is a slick-tongued thing. See how I utter otherwise <\/em>and mean instead the abolition of the systems that govern us, while recognising the otherwise<\/em>\u2019s prolonged arrival. Language is a slick-tongued thing! The finitude of our modes of thinking and imagining beyond our present social formations is largely due to the effects of racialisation and the coloniality of our Being. This organising matrix is stamped in the character of our thought, and it can be alienating to even attempt<\/em> to imagine something otherwise<\/em>. And yet, in the here and now, we must take up writer and poet \u00c9douard Glissant\u2019s tender musing, and tend to our consent not to be single beings. Language is the overflowing cup, the little nagging voice that belongs to a body before it belongs to a mouth or tongue. Poetry is the intentional excess of language, a transcendence from the present order of knowledge and its biocentric paradigms. It is the opaqueness of individualising logics borne of finance capitalism\u2019s encroachment into the interpersonal. Poetry, and by extension poiesis is a \u201cliving commotion,\u201d74<\/a><\/sup> concerned with fractal undoing, embroiled with speculation, and altogether preoccupied with \u201cencountering a past that is not past.\u201d75<\/a><\/sup> Poetry is not conjecture. Poetry is a language sharpened, piercing the soft flesh and disanimating armour. Poetry reveals a narrow path of possibility \u201cat a time when all roads, except the ones created by smashing out\u201d76<\/a><\/sup> and fashioned by disruption, are foreclosed. This is where language meets its maker, or perhaps, its match. The otherwise<\/em>, the vibrant demand to do away with the foreclosure of something else<\/em>, cannot be realised in its entirety through the boundaries and formalisation of language. After all, language is a slick-tongued thing. <\/p>\n\n\n\n

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Language<\/em>, produced by Andreas Yakovlev Michaelides (YAKOVLEV) with vocals provided by gervaise alexis savvias (2025).<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

While \u201cCraft is what keeps us polite while the boot is on our neck or on somebody else\u2019s,\u201d77<\/a><\/sup> poetry is an openness, a dissonance, a residual informality, a refusal to coalesce, a differential resistance to enclosure, a sounded immateriality. Poetry refuses the \u201cimmobilising orientation\u201d78<\/a><\/sup> <\/em>of the \u201ctemporal regimes that articulate crisis as ever-present and inescapable,\u201d79<\/a><\/sup> while simultaneously conferring materiality and sweetening the possibility of an otherwise<\/em>. Languaging a poetics (of refusal, of the otherwise<\/em>) is rooted in disruption. We have to \u201cabandon Craft and write with sharper teeth, without politeness, without compromise.\u201d80<\/a><\/sup> And, as Olufemi contends,<\/p>\n\n\n\n

\n

I say no to X because I want something else. First it clears space: I repudiate what I am told is natural and that repudiation opens a space that did not otherwise exist. A poetics . . . expands this: it should provide a space to dwell for the dissenting voice, should encourage that dissent to expand, move, change and grow by nurturing the core of the political desire that has constituted it. It should make the world seem, temporarily, like it could be organised differently. Our interdependence is crucial for our survival. We stay with negativity, failure, we refuse to resolve or reform. No maintains the contradictions inherent to life under capitalism: how all social relations are subordinated to the value form. Poetics breaks with the hegemonic.81<\/a><\/sup><\/p>\n<\/blockquote>\n\n\n\n

Capitalism is \u201cprofoundly illiterate,\u201d82<\/a><\/sup> and scientific knowledge is oriented towards \u201cenumerating, measuring, classifying, and killing.\u201d83<\/a><\/sup> In order to elucidate a semblance of the otherwise<\/em>, I urge you to turn to poetry and its life-giving, revolutionary potential. Embedded within a poetics of refusal is an innately social poiesis: fashioning a system of relations that sutures, holds, attunes, and tends to each and every one of us despite its perpetual barring \u201cby the gatekeepers of the everyday,\u201d84<\/a><\/sup> the antithetical hold of the nation state formation. Poetry, at its core, touches upon an \u201cincomplete project of freedom.\u201d85<\/a><\/sup> It is an unruly excess\u2014that which will always exceed the carcerality of the systems that surround us and the social formations handed to us. In our concocting of an otherwise<\/em>, and our materialisation of a poetics of refusal, remember that \u201cwe write in order to not simply destroy; in order not simply to conserve. We write in the thrall of the impossible real.\u201d86<\/a><\/sup> <\/p>\n\n\n\n

We utter poetry <\/em>and mean revolt<\/em>. <\/p>\n\n\n\n

\n


the thicket of time, and a<\/em>
haphazard effort to claw yourself to an opening.<\/em>
if it feels impossible, it is. <\/em>
the ghost mutters, and in this telling,<\/em>
it reveals all that you do not (yet) know.<\/em>
hydromel, and sulphur, and a litany of discredited theories. <\/em>
I welcome this erosion. I welcome this hellish landscape.<\/em>
this is not a clandestine revelation.<\/em>

<\/p>\n<\/blockquote>\n\n\n\n

There is a great despair in recognising that our imagination is held captive. Coloniality and capitalism are totalising forces which ensure a stranglehold on our imagination, routinely decimating and snuffing it out in this same process. Like you, I have brushed up against this despair one too many times. It burrows itself in the shoulder blades, transplants itself onto bruised knuckles, and yet, perhaps despite my na\u00efvet\u00e9, I maintain that \u201cthe imagination\u201d87<\/a><\/sup> is a \u201cconstitutive force.\u201d88<\/a><\/sup> The imagination adopts an intensity that \u201cbecomes real through its intensification\u201d89<\/a><\/sup> and consistent \u201carticulation.\u201d90<\/a><\/sup> See, the imagination wedges itself into the little crevices of the mind; patiently lingers in our dreams; manifests itself through our refusal of the current moment. The otherwise<\/em> calls us to say \u201cNO\u201d to our <\/em>present <\/em>\u201creality while simultaneously imagining possibilities beyond [this] reality.”91<\/a><\/sup> The transitive nature of the imagination urges onwards, calls upon us to recognise that \u201clife can be, and in some ways already is, different.”92<\/a><\/sup> Hartman, in Wayward Lives, Beautiful Experiments <\/em>notes that waywardness is an \u201centry on the possible,\u201d93<\/a><\/sup> an otherwise<\/em>. Much like our tempered and undulating attempts to tinker with images, plans, and blueprints for an otherwise<\/em>, waywardness is \u201ca beautiful experiment in how-to-live.\u201d94<\/a><\/sup> We \u201ctraffic in occult visions of other worlds and dreams of a different kind of life.<\/em>\u201d95<\/a><\/sup> Waywardness is altogether embroiled with our imagination and machinations for more. It is a commitment to the \u201cuntiring practice of trying to live when you were never meant to survive,\u201d96<\/a><\/sup> the social and commoning project of poetry-as-poiesis. Poetry, like our fidelity to the transformative possibility of the imagination and waywardness, <\/em>\u201cis a blossoming.\u201d97<\/a><\/sup> Poetry, and our machinations for something-else<\/em> beget and insist, again and again, that there is life to be lived in the midst of chaos, capital, the cacophonous thundering of war drums, the usurping of life. Poetry, you see, is relentless: it is \u201ca call to disrupt the normalization of brutality,\u201d98<\/a><\/sup> a revolutionary act \u201cwhich engenders new realities.\u201d99<\/a><\/sup>
<\/p>\n\n\n\n

\n

I keep this feeling with me as we venture beyond the given. <\/em>
Our Desire \u2013 dangerous, productive, deliberate \u2013 demands otherwise. <\/em>
That in itself is a ghostly affair<\/em>.100<\/a><\/sup>
<\/p>\n<\/blockquote>\n\n\n\n

note: this is not an epitaph. this is an opening.<\/strong><\/p>\n\n\n\n

\n

no thing derides you 
but the promise of a future not (yet) attained.
no syntax can sound you; 
no language can encase you.
everything is now. it is all now.<\/em>
I know you know there is no ending<\/em>
or adequate response<\/em>
or right answer.<\/em>
this is not an epitaph. <\/em>
this is an opening.<\/em>
we are entering a frenzy where void<\/em>
is a cajoling echo.<\/em>
we are entering a chorus where moreness<\/em>
is a murmur of thirst.<\/em>
we are entering a susurration where fugitivity<\/em>
is a running towards.<\/em>
we are entering a wilderness:<\/em>
hand extended, and sunlight adorning.<\/em>
suture in sinew, dandelion stems, pine<\/em>
residual breath, handwriting in the margins<\/em>
and an elongated<\/em>
nNOO0ooo<\/em>
everything is now. it is all now.<\/em>

<\/p>\n<\/blockquote>\n\n\n\n

The only thing worth beginning is the end of the world. Here, at the perimeter of the destroyed world\u2014\u201cbeyond the threshold\u2014is the luminous world.\u201d114<\/a><\/sup> A world born from the end, but concurrently breaking loyalty with the temporality of its ending. This is an ongoing ending and<\/em> beginning. Perhaps the otherwise is complex, but it is not complicated. It is caught in an endless loop of flux, transmutation, and fluctuation: extinguishing and refashioning itself time and time again. A move towards an otherwise <\/em>endures beyond the confines of language, archival aporia, belligerent scavenging, and ghostly communion. Perhaps despite a haphazard connection to the colonial specters that linger, and their particular affliction for the not-quite-said, we would do well to remain attuned to the \u201cincomplete project of freedom.\u201d115<\/a><\/sup><\/p>\n\n\n\n

Hearken to me. <\/em>The encounter with each other in the midst of barbarity and chaos\u2014at the site of the illegal rave, the strike, the protest, the community kitchen, the reading club, the solidarity fundraiser, the mutual-aid gathering\u2014is a gentle reminder that the otherwise <\/em>cannot be eradicated. The otherwise<\/em> is a dream, lingering and looming. The otherwise<\/em> is punctilious yet patient: \u201cit licks its own fingers, bites its own nails, swallows its own fist.\u201d116<\/a><\/sup> The otherwise<\/em> makes <\/em>\u201citself its own ghost, creates itself from its own remnants.\u201d117<\/a><\/sup> It is a linguistic stand-in and a call to \u201csubstitute the otherwise for that thing that keeps you alive, or the ferocity with which you detest this world.\u201d118<\/a><\/sup> Sometimes you will not know what to say or how to end the story, but remember, the residuality of your breath and lust for more is vibrational. Our insolence and proclivity to disrupt brews due to the brevity of time, its circularity. This is just one of many revisions and beginnings. The spark endures as long as we remember. After all, \u201chope is the small hole cut into the honest machinery.\u201d119<\/a><\/sup><\/p>\n\n\n\n

To echo feminist and abolitionist scholar Ruth Wilson Gilmore, who echoes historian C. L. R. James, \u201crevolutions happen because people \u2018wait and wait and try every little thing.\u2019\u201d120<\/a><\/sup> And while we remain busy, steadfast in our commitment to imagine a beyond and concoct an otherwise<\/em>, we would do well to hone in on the transitive nature of James\u2019s words: try<\/em> every little thing<\/em>. It is in the violence of the present, in the here<\/em> and now<\/em>, that our attempts, no matter how futile, must remain attuned to meeting the machinery of violence wherever it manifests, and bringing it down. Intimately bound together by poet Diane Di Prima\u2019s invocation elsewhere, the ghostly entourage beckons us forward, intimately reminding us: \u201cno one way works, it will take all of us \/\/ shoving at the thing from all sides \/\/ to bring it down.\u201d121<\/a><\/sup><\/p>\n\n\n\n

\n


This is my last entry for now. 
More entries await to be written
\u2014some more pertinent than others.
In the time between now and then, 
what shall we build on the ashes of a nightmare?<\/em>122<\/a><\/sup>
<\/p>\n<\/blockquote>\n\n\n

  1. Sylvia Wynter, \u201cThe Pope Must Have Been Drunk, the King of the Castile a Madman: Culture as Actuality, and the Caribbean Rethinking Modernity,\u201d in\u00a0The Reordering of Culture: Latin America, the Caribbean and Canada in the Hood<\/em>, Alvina Ruprecht and Cecilia Taiana, eds. (Cambridge: Cambridge University Press, 1995), 35. \u21a9\ufe0e<\/a><\/li>
  2. As per Fargo Nissim Tbakhi. \u21a9\ufe0e<\/a><\/li>
  3. Toni Morrison,\u00a0Beloved\u00a0<\/em>(New York: Plume Contemporary Fiction, 1987), 198. \u21a9\ufe0e<\/a><\/li>
  4. Lola Olufemi,\u00a0Experiments in Imagining Otherwise\u00a0<\/em>(London: Hajar Press, 2021), 7. \u21a9\ufe0e<\/a><\/li>
  5. Ibid. \u21a9\ufe0e<\/a><\/li>
  6. Georges Perec,\u00a0Species of Space and Other Pieces\u00a0<\/em>(London: Penguin, 1974), 37. \u21a9\ufe0e<\/a><\/li>
  7. Patrice Saunders, \u201cDefending the Dead, Confronting the Archive: A Conversation with M. NourbeSe Philip,\u201d\u00a0Small Axe\u00a0<\/em>12, no. 2 (2008), 79. \u21a9\ufe0e<\/a><\/li>
  8. Olufemi,\u00a0Experiments in Imagining Otherwise,\u00a0<\/em>7. \u21a9\ufe0e<\/a><\/li>
  9. Dionne Brand,\u00a0A Map to the Door of No Return: Notes to Belonging\u00a0<\/em>(Toronto: Doubleday Canada, 2001), 29. \u21a9\ufe0e<\/a><\/li>
  10. Jacques Derrida and Bernard Stiegler, \u201cSpectrographies,\u201d in\u00a0Echographies of Television: Filmed Interviews<\/em>, trans. Jennifer Bajorek (Cambridge: Polity Press, 2002), 117. \u21a9\ufe0e<\/a><\/li>
  11. Saunders, \u201cDefending the Dead, Confronting the Archive,\u201d 79. \u21a9\ufe0e<\/a><\/li>
  12. Hannah Black, \u201cIn The Wake: On Blackness and Being,\u201d\u00a04 Columns\u00a0<\/em>(2016),\u00a0https:\/\/4columns.org\/black-hannah\/in-the-wake-on-blackness-and-being<\/a>. \u21a9\ufe0e<\/a><\/li>
  13. Colin Davis and\u00a0\u00c9tat Pr\u00e9sent, \u201cHauntology, Spectres and Phantoms,\u201d\u00a0French Studies\u00a0<\/em>59 (2005), no. 3, 379. \u21a9\ufe0e<\/a><\/li>
  14. Ibid. \u21a9\ufe0e<\/a><\/li>
  15. Eve Tuck and C. Ree, \u201cA Glossary of Haunting,\u201d in\u00a0Handbook of Autoethnography<\/em>, Stacey Holman Jones, Tony E. Adams, and Carolyn Ellis, eds. (Walnut Creek: Left Coast Press, 2013), 643. \u21a9\ufe0e<\/a><\/li>
  16. Avery F. Gordon, Ghostly Matters:\u00a0Haunting and the Sociological Imagination\u00a0<\/em>(Minneapolis: University of Minnesota Press, 2008), 57. \u21a9\ufe0e<\/a><\/li>
  17. See: Walter Benjamin, \u201cSurrealism: the Last Snapshot of the European Intelligentsia\u201d (1929). \u21a9\ufe0e<\/a><\/li>
  18. Olufemi,\u00a0Experiments in Imagining Otherwise<\/em>, 17. \u21a9\ufe0e<\/a><\/li>
  19. Ibid. \u21a9\ufe0e<\/a><\/li>
  20. Katherine McKittrick, \u201cMathematics Black Life,\u201d\u00a0Black Scholar\u00a0<\/em>44, no. 2 (2014), 17. \u21a9\ufe0e<\/a><\/li>
  21. Christina Sharpe,\u00a0In The Wake: On Blackness and Being\u00a0<\/em>(Durham, NC: Duke University Press, 2006), 13. \u21a9\ufe0e<\/a><\/li>
  22. Fragmented echoes from my grandmother\u2019s correspondences, undated. \u21a9\ufe0e<\/a><\/li>
  23. Achille Mbembe,\u00a0Necropolitics\u00a0<\/em>(Durham, NC: Duke University Press, 2019), 172. \u21a9\ufe0e<\/a><\/li>
  24. Ibid. \u21a9\ufe0e<\/a><\/li>
  25. Fred Moten and Stefano Harney, The Undercommons:\u00a0Fugitive Planning & Black Study\u00a0<\/em>(New York: Minor Compositions, 2013), 98. \u21a9\ufe0e<\/a><\/li>
  26. Ibid. \u21a9\ufe0e<\/a><\/li>
  27. Ibid. \u21a9\ufe0e<\/a><\/li>
  28. Gordon, Ghostly Matters, 24. \u21a9\ufe0e<\/a><\/li>
  29. Sharpe,\u00a0In The Wake<\/em>, 13. \u21a9\ufe0e<\/a><\/li>
  30. Ruth Wilson Gilmore,\u00a0Abolition Geography: Essays Towards Liberation\u00a0<\/em>(London and New York: Verso, 2022), 41. \u21a9\ufe0e<\/a><\/li>
  31. Fred Moten, from his sermon \u201cThis is How We Fellowship,\u201d Trinity Church New York (2020) https:\/\/trinitychurchnyc.org\/videos\/1115am-sermon-dr-fred-moten-how-we-fellowship<\/a>. \u21a9\ufe0e<\/a><\/li>
  32. Christina Sharpe,\u00a0Ordinary Notes\u00a0<\/em>(New York: Penguin Random House, 2023), 358. \u21a9\ufe0e<\/a><\/li>
  33. Gordon,\u00a0Ghostly Matters,\u00a0<\/em>28. Emphasis added. \u21a9\ufe0e<\/a><\/li>
  34. Encarnaci\u00f3n Guti\u00e9rrez Rodr\u00edguez, \u201cThe Coloniality of Migration and the \u201cRefugee Crisis\u201d: On the Asylum-\u00a0Migration Nexus, the Transatlantic White European Settler Colonialism-Migration and Racial Capitalism\u201d in\u00a0Refuge: Canada\u2019s Journal on Refugees\u00a0<\/em>34, no. 1 (2018), 22. \u21a9\ufe0e<\/a><\/li>
  35. Patricia de Vries, \u201cPlot(ting): Practices of Ambiguity\u201d\u00a0Plot(ting)<\/em>,\u00a0https:\/\/plotting.rietveldsandberg.nl\/?p=454<\/a>. \u21a9\ufe0e<\/a><\/li>
  36. Saidiya Hartman,\u00a0Wayward Lives, Beautiful Experiments: Intimate Histories of Social Upheaval\u00a0<\/em>(New York: W.W. Norton, 2019), 306. \u21a9\ufe0e<\/a><\/li>
  37. Fred Moten,\u00a0Black and Blur\u00a0<\/em>(Durham, NC: Duke University Press, 2017), xii. \u21a9\ufe0e<\/a><\/li>
  38. Hartman,\u00a0Wayward Lives, Beautiful Experiments<\/em>, 77. \u21a9\ufe0e<\/a><\/li>
  39. Suzanne C\u00e9saire, \u201cLeo Frobenius and the Problem of Civilisations\u201d in\u00a0Refusal of the Shadow: Surrealism and the Caribbean<\/em>, Michael Richardson and Krzysztof Fijalkowski, eds. and trans. (London and New York: Verso, 1996), 87. \u21a9\ufe0e<\/a><\/li>
  40. Sylvia Wynter, \u201cNovel and History, Plot and Plantation,\u201d\u00a0Savacou\u00a0<\/em>5 (June 1971), 99. \u21a9\ufe0e<\/a><\/li>
  41. Katherine McKittrick, \u201cPlantation Futures,\u201d\u00a0Small Axe\u00a0<\/em>17, no. 3 (2013), 10. \u21a9\ufe0e<\/a><\/li>
  42. Ibid. \u21a9\ufe0e<\/a><\/li>
  43. Ibid. \u21a9\ufe0e<\/a><\/li>
  44. George Beckford, \u201cAgriculture Organisation and Planning in Cuba\u201d in\u00a0The George Beckford Papers<\/em>, George Beckford and Kari Levitt, eds. (Saint Andrew Parish: University Press of the West Indies, 2000), 46. \u21a9\ufe0e<\/a><\/li>
  45. Hartman,\u00a0Wayward Lives, Beautiful Experiments<\/em>, 284. \u21a9\ufe0e<\/a><\/li>
  46. Wynter, \u201cNovel and History, Plot and Plantation,\u201d 99. \u21a9\ufe0e<\/a><\/li>
  47. Sylvia Wynter,\u00a0Black Metamorphosis: New Natives in a New World<\/em>, 52, unpublished manuscript, no date, housed in The Schomburg Center for Research in Black Culture, New York, https:\/\/monoskop.org\/images\/6\/69\/Wynter_Sylvia_Black_Metamorphosis_New_Natives_in_a_New_World_1970s.pdf<\/a>. \u21a9\ufe0e<\/a><\/li>
  48. Sylvia Wynter quoted\u00a0in David Scott, \u201cThe Re-Enchantment of Humanism: An Interview with Sylvia Wynter,\u201d\u00a0Small Axe<\/em>, no. 8 (September 2000), 136. \u21a9\ufe0e<\/a><\/li>
  49. Ibid. \u21a9\ufe0e<\/a><\/li>
  50. Hartman,\u00a0Wayward Lives, Beautiful Experiments<\/em>, 195. \u21a9\ufe0e<\/a><\/li>
  51. Sylvia Wynter,\u00a0\u201cThe Ceremony Must Be Found: After Humanism,\u201d\u00a0boundary 2<\/em>, vol. 12\/13 (Spring\u2013Autumn, 1984). \u21a9\ufe0e<\/a><\/li>
  52. De Vries, \u201cPlot(ting): Practices of Ambiguity.\u201d \u21a9\ufe0e<\/a><\/li>
  53. Sylvia Wynter, \u201cUnsettling the Coloniality of Being\/Power\/Truth\/Freedom: Towards the Human, After Man, Its Overrepresentation\u2014An Argument,\u201d\u00a0CR: The New Centennial Review\u00a0<\/em>3, no. 3 (2003), 260. \u21a9\ufe0e<\/a><\/li>
  54. Claire Fontaine cited in Marina Vishmidt,\u00a0\u201cWe Can Refuse to Abdicate in a Number of Ways: Claire Fontaine in conversation with Marina Vishmidt,\u201d\u00a0Mousse\u00a0<\/em>(2024),\u00a0https:\/\/www.moussemagazine.it\/magazine\/claire-fontaine-marina-vishmidt-2024<\/a>. \u21a9\ufe0e<\/a><\/li>
  55. Ibid. \u21a9\ufe0e<\/a><\/li>
  56. \u00c9douard Glissant,\u00a0The Collected Poems of\u00a0\u00c9douard Glissant<\/em>, ed. Jeff Humphries, trans. Melissa Manolas (Minneapolis: University of Minnesota Press, 2019), 181. \u21a9\ufe0e<\/a><\/li>
  57. McKittrick,\u00a0\u201cPlantation\u00a0Futures,\u201d\u00a09. \u21a9\ufe0e<\/a><\/li>
  58. Hartman,\u00a0Wayward Lives, Beautiful Experiments<\/em>, 214. \u21a9\ufe0e<\/a><\/li>
  59. Moten,\u00a0Black and Blur<\/em>, 68. \u21a9\ufe0e<\/a><\/li>
  60. Ibid. \u21a9\ufe0e<\/a><\/li>
  61. Ibid. \u21a9\ufe0e<\/a><\/li>
  62. Ibid. \u21a9\ufe0e<\/a><\/li>
  63. Ibid. \u21a9\ufe0e<\/a><\/li>
  64. Walter D. Mignolo, \u201cWhat Does It Mean To Be Human?\u201d in\u00a0Sylvia Wynter: On Being Human as Praxis,\u00a0<\/em>ed. Kathrine McKittrick (Durham, NC: Duke University Press, 2015), 113. \u21a9\ufe0e<\/a><\/li>
  65. Fargo Tbakhi,\u00a0\u201cNotes on Craft: Writing in the Hour of\u00a0Genocide,\u201d\u00a0Protean Magazine\u00a0<\/em>(2023),\u00a0https:\/\/proteanmag.com\/2023\/12\/08\/notes-on-craft-writing-in-the-hour-of-genocide\/<\/a>. \u21a9\ufe0e<\/a><\/li>
  66. Lola Olufemi,\u00a0\u201cNotes on\u00a0Refusal\u201d\u00a0(2025),\u00a0https:\/\/thisisatemporallandscape.vercel.app\/workshop\/notes-refusal<\/a>. \u21a9\ufe0e<\/a><\/li>
  67. Gilmore,\u00a0Abolition Geography<\/em>, 41. \u21a9\ufe0e<\/a><\/li>
  68. Fargo Tbakhi,\u00a0\u201cNotes on Craft.\u201d \u21a9\ufe0e<\/a><\/li>
  69. Fargo Nissim Tbahki,\u00a0\u201cPalestine Love\u00a0Poem\u201d\u00a0in Fargo Nissim Tbahki,\u00a0TERROR COUNTER\u00a0<\/em>(Dallas: Deep Vellum Publishing, 2025). \u21a9\ufe0e<\/a><\/li>
  70. Hartman,\u00a0Wayward Lives, Beautiful Experiments<\/em>, 203. \u21a9\ufe0e<\/a><\/li>
  71. Sylvia\u00a0Wynter,\u00a0\u201cRethinking \u201cAesthetics\u201d: Notes Towards a Deciphering Practice\u201d\u00a0in Ex-iles:\u00a0Essays on Caribbean Cinema<\/em>, ed. Mbye B. Cham (New Jersey: Africa World Press, 1992), 271. \u21a9\ufe0e<\/a><\/li>
  72. Hartman, Wayward Lives, Beautiful Experiments, 203. \u21a9\ufe0e<\/a><\/li>
  73. Ibid., 345. \u21a9\ufe0e<\/a><\/li>
  74. Olufemi,\u00a0Experiments in Imagining Otherwise<\/em>, 3. \u21a9\ufe0e<\/a><\/li>
  75. Sharpe,\u00a0In The Wake,\u00a0<\/em>13. \u21a9\ufe0e<\/a><\/li>
  76. Hartman, Wayward Lives, Beautiful Experiments, 228. \u21a9\ufe0e<\/a><\/li>
  77. Olufemi,\u00a0\u201cNotes on\u00a0Refusal.\u201d \u21a9\ufe0e<\/a><\/li>
  78. Ibid. \u21a9\ufe0e<\/a><\/li>
  79. Ibid. \u21a9\ufe0e<\/a><\/li>
  80. Tbakhi,\u00a0\u201cNotes on Craft.\u201d \u21a9\ufe0e<\/a><\/li>
  81. Olufemi,\u00a0\u201cNotes on\u00a0Refusal.\u201d \u21a9\ufe0e<\/a><\/li>
  82. Gilles Deleuze and F\u00e9lix Guattari,\u00a0Anti-Oedipus: Capitalism and Schizophrenia<\/em>, trans. Robert Hurley, Mark Seem, and Helena Lane (Minneapolois: University of Minnesota Press, 1983), 240. \u21a9\ufe0e<\/a><\/li>
  83. Aim\u00e9\u00a0C\u00e9saire,\u00a0\u201cPoetry and\u00a0Knowledge\u201d\u00a0in\u00a0Refusal of the Shadow: Surrealism and the Caribbean,<\/em> Michael Richardson, Krzysztof Fijalkowski, eds. and trans. (London and New York: Verso, 1996), 134. \u21a9\ufe0e<\/a><\/li>
  84. Olufemi,\u00a0\u201cNotes on\u00a0Refusal.\u201d \u21a9\ufe0e<\/a><\/li>
  85. Hartman,\u00a0Wayward Lives, Beautiful Experiments<\/em>, 4. \u21a9\ufe0e<\/a><\/li>
  86. Maurice Blanchot,\u00a0The Writing of Disaster<\/em>, trans. Ann Smock, (Lincoln, NE: University of Nebraska Press, 1995), 38. \u21a9\ufe0e<\/a><\/li>
  87. Jackie Wang,\u00a0The Sunflower Cast a Spell to Save Us from the Void\u00a0<\/em>(New York: Nightboat Books, 2021), 110. \u21a9\ufe0e<\/a><\/li>
  88. Ibid. \u21a9\ufe0e<\/a><\/li>
  89. Ibid. \u21a9\ufe0e<\/a><\/li>
  90. Ibid. \u21a9\ufe0e<\/a><\/li>
  91. bell hooks,\u00a0Feminism is for Everybody: Passionate Politics\u00a0<\/em>(London: Pluto Press, 2000), 110. \u21a9\ufe0e<\/a><\/li>
  92. Heather Davis and Paige Sarlin,\u00a0\u201cOn the Risk of a New Relationality: An Interview with Lauren Berlant and Michael Hardt,\u201d\u00a0Reviews in Cultural Theory\u00a0<\/em>2, no. 3 (2012). \u21a9\ufe0e<\/a><\/li>
  93. Hartman, Wayward Lives, Beautiful Experiments, 287. \u21a9\ufe0e<\/a><\/li>
  94. Ibid., 288. \u21a9\ufe0e<\/a><\/li>
  95. Ibid. \u21a9\ufe0e<\/a><\/li>
  96. Ibid. \u21a9\ufe0e<\/a><\/li>
  97. C\u00e9saire,\u00a0\u201cPoetry and\u00a0Knowledge,\u201d\u00a0134. \u21a9\ufe0e<\/a><\/li>
  98. Dionne Brand,\u00a0Nomenclature: New and Collected Poems\u00a0<\/em>(Durham, NC: Duke University Press, 2022), xxxix. \u21a9\ufe0e<\/a><\/li>
  99. Raoul Vaneigem,\u00a0\u201cThe Revolution of Everyday Life: The Reversal of\u00a0Perspective,\u201d trans. John Fullerton and\u00a0Paul Sieveking (1967),\u00a0http:\/\/library.nothingness.org\/articles\/SI\/en\/display\/66<\/a>. \u21a9\ufe0e<\/a><\/li>
  100. Marina Ashioti and Irini Khenkin,\u00a0\u201cUnrequited Correspondence Between Signal and\u00a0Shore\u201d\u00a0in\u00a0On a wildflower- lined gravel track off a quiet thoroughfare…\u00a0<\/em>(Berlin: Archive Books, 2024), 22. \u21a9\ufe0e<\/a><\/li>
  101. Wang,\u00a0The Sunflower Cast a Spell to Save Us from the Void<\/em>, 110. \u21a9\ufe0e<\/a><\/li>
  102. Hartman,\u00a0Wayward Lives, Beautiful Experiments<\/em>, 4. \u21a9\ufe0e<\/a><\/li>
  103. Tuck and Ree, \u201cA Glossary of Haunting,\u201d 648. \u21a9\ufe0e<\/a><\/li>
  104. Ibid. \u21a9\ufe0e<\/a><\/li>
  105. Olufemi,\u00a0Experiments in Imagining Otherwise<\/em>, 3. \u21a9\ufe0e<\/a><\/li>
  106. Hanif Abduraqib,\u00a0A Little Devil in America: In Praise of Black Performance\u00a0<\/em>(London: Allen Lane, 2021), 204. \u21a9\ufe0e<\/a><\/li>
  107. Ruth Wilson Gilmore,\u00a0\u201cA Moment of True Decolonization,\u201d\u00a0The Funambulist Magazine<\/em>: Schools of Revolution (2023). \u21a9\ufe0e<\/a><\/li>
  108. Diane Di Prima,\u00a0\u201cRevolutionary Letter #8\u201d\u00a0in\u00a0Revolutionary Letters\u00a0<\/em>(San Francisco: Last Gasp, 1971), 17. \u21a9\ufe0e<\/a><\/li>
  109. Robin D. G. Kelley,\u00a0Freedom Dreams: The Black Radical Imagination\u00a0<\/em>(Boston, MA: Beacon Press, 2003), 196. \u21a9\ufe0e<\/a><\/li><\/ol>\n\n\n
    <\/div>\n\n\n\n


    gervaise alexis savvias<\/strong><\/a> is a Zambian-Cypriot writer and artist-researcher currently based between Amsterdam, NL and Nicosia, CY. Their practice figures itself through an entanglement of speculative historiography, experimental sound, cultural criticism, hauntology, and the mysticism of the chance encounter. They are currently compiling a publication of their collected writings on spectrality, chance, and notes towards a sociopolitical otherwise<\/em>. 

    Andreas Yakovlev Michaelides<\/a><\/strong>, who works under the name YAKOVLEV, is a self-taught designer and music producer that examines the liminal zones between perception, memory, and sonic materiality. His practice operates at the intersection of field recording, digital manipulation, and auditory phenomenology, seeking to trace how sound mediates our experience of reality. Beginning with field recordings and fragments sourced from online archives\u2013encompassing natural disasters, sites of conflict, and other unintended sonic events\u2013Yakovlev reconfigures these residual signals through iterative processes of modular and digital transformation. The resulting works unfold as evolving soundscapes in which traces of the real are continuously displaced and reconstituted. Each composition articulates a state of flux, where the boundaries between noise and memory, presence and abstraction, remain unstable and porous. Through this methodology, Yakovlev has developed compositions for performances, films, and virtual environments, and has been presenting live works across Europe since 2018.<\/p>\n\n\n\n

    a note on collaboration<\/strong>:
    A ghostly utterance, a chance encounter, a conversation by the beach, and the non-linearity of time serve as entry points for the first collaboration between gervaise alexis savvias and Andreas Yakovlev Michaelides (YAKOVLEV). Moving away from the audio-essay as a strict and somewhat\u2013clinical format, this series of soundscapes is presented as a way to commune with the spectral chorus that runs throughout \u2018notes towards an otherwise\u2019. YAKOVLEV masterfully weaves together a host of field recordings, introduces multiple layers of digital manipulation, while the additional voiceovers provided by     Androula Kafa<\/strong><\/a> (Cyprus-based artist and curator) and gervaise alexis savvias elicit a lingering feeling of lucidity; a persistent haunting. <\/p>\n","protected":false},"excerpt":{"rendered":"

    Human beings are magical. . . . Words made flesh, muscle and bone animated by hope and desire, belief materialised in deeds, deeds which crystallize our actualities. . . . And the maps of spring always have to be redrawn again, in undared forms.\u2014Sylvia Wynter Pause. Break. Respite. Breath. A lingering residuality.  What follows is […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"[{\"content\":\"Sylvia Wynter, \u201cThe Pope Must Have Been Drunk, the King of the Castile a Madman: Culture as Actuality, and the Caribbean Rethinking Modernity,\u201d in\u00a0The Reordering of Culture: Latin America, the Caribbean and Canada in the Hood<\/em>, Alvina Ruprecht and Cecilia Taiana, eds. (Cambridge: Cambridge University Press, 1995), 35.\",\"id\":\"0afc3637-d0d3-4729-a1b0-d56c4024bb2f\"},{\"content\":\"As per Fargo Nissim Tbakhi.\",\"id\":\"f123f509-eac3-4204-a43f-3903e885fd30\"},{\"content\":\"Toni Morrison,\u00a0Beloved\u00a0<\/em>(New York: Plume Contemporary Fiction, 1987), 198.\",\"id\":\"2dde254d-efdf-49fe-a404-618f31e95cab\"},{\"content\":\"Lola Olufemi,\u00a0Experiments in Imagining Otherwise\u00a0<\/em>(London: Hajar Press, 2021), 7.\",\"id\":\"0cc4b57d-0555-46c7-8042-57a1ac918595\"},{\"content\":\"Ibid.\",\"id\":\"2585e548-0c6c-457d-9153-5390df08fdbf\"},{\"content\":\"Georges Perec,\u00a0Species of Space and Other Pieces\u00a0<\/em>(London: Penguin, 1974), 37.\",\"id\":\"6c05e087-44d4-480b-9162-58630b536386\"},{\"content\":\"Patrice Saunders, \u201cDefending the Dead, Confronting the Archive: A Conversation with M. NourbeSe Philip,\u201d\u00a0Small Axe\u00a0<\/em>12, no. 2 (2008), 79.\",\"id\":\"9b11ecb8-8736-4337-aad2-6139fb70dea3\"},{\"content\":\"Olufemi,\u00a0Experiments in Imagining Otherwise,\u00a0<\/em>7.\",\"id\":\"9f195c64-4d1c-4fff-b3cd-c3c523c9b377\"},{\"content\":\"Dionne Brand,\u00a0A Map to the Door of No Return: Notes to Belonging\u00a0<\/em>(Toronto: Doubleday Canada, 2001), 29.\",\"id\":\"df210865-41e3-4458-bb5f-01724d4e0e30\"},{\"content\":\"Jacques Derrida and Bernard Stiegler, \u201cSpectrographies,\u201d in\u00a0Echographies of Television: Filmed Interviews<\/em>, trans. Jennifer Bajorek (Cambridge: Polity Press, 2002), 117.\",\"id\":\"76f88839-bb4b-4c91-ad19-e29a57f9455c\"},{\"content\":\"Saunders, \u201cDefending the Dead, Confronting the Archive,\u201d 79.\",\"id\":\"d17844bb-e65c-4779-a84e-f1acf4a71edf\"},{\"content\":\"Hannah Black, \u201cIn The Wake: On Blackness and Being,\u201d\u00a04 Columns\u00a0<\/em>(2016),\u00a0https:\/\/4columns.org\/black-hannah\/in-the-wake-on-blackness-and-being<\/a>. \",\"id\":\"76b4f1c6-8eb4-4fd2-8205-8e06c3018752\"},{\"content\":\"Colin Davis and\u00a0\u00c9tat Pr\u00e9sent, \u201cHauntology, Spectres and Phantoms,\u201d\u00a0French Studies\u00a0<\/em>59 (2005), no. 3, 379.\",\"id\":\"271a75a5-3ba2-4cac-8429-83964cff8e25\"},{\"content\":\"Ibid.\",\"id\":\"2c0b9e0e-9fc3-4d26-87dd-7edbb3b2368a\"},{\"content\":\"Eve Tuck and C. Ree, \u201cA Glossary of Haunting,\u201d in\u00a0Handbook of Autoethnography<\/em>, Stacey Holman Jones, Tony E. Adams, and Carolyn Ellis, eds. (Walnut Creek: Left Coast Press, 2013), 643.\",\"id\":\"e8ad7e6f-cb9c-4b7f-b211-62df2fac04df\"},{\"content\":\"Avery F. Gordon, Ghostly Matters:\u00a0Haunting and the Sociological Imagination\u00a0<\/em>(Minneapolis: University of Minnesota Press, 2008), 57.\",\"id\":\"907f86a7-3da3-4472-b8d4-61788cae7505\"},{\"content\":\"See: Walter Benjamin, \u201cSurrealism: the Last Snapshot of the European Intelligentsia\u201d (1929).\",\"id\":\"45ce86de-f707-4601-9325-ff2f3eb3c9ae\"},{\"content\":\"Olufemi,\u00a0Experiments in Imagining Otherwise<\/em>, 17.\",\"id\":\"2dde4078-e7d8-40ac-bda8-7217e706d4ca\"},{\"content\":\"Ibid.\",\"id\":\"79ffd654-c54b-4ffa-b614-5d6c6e856658\"},{\"content\":\"Katherine McKittrick, \u201cMathematics Black Life,\u201d\u00a0Black Scholar\u00a0<\/em>44, no. 2 (2014), 17.\",\"id\":\"0572f727-dd7a-4350-a586-af209ee14661\"},{\"content\":\"Christina Sharpe,\u00a0In The Wake: On Blackness and Being\u00a0<\/em>(Durham, NC: Duke University Press, 2006), 13.\",\"id\":\"dc2c7f20-943b-4342-9212-4e313fd6ad56\"},{\"content\":\"Fragmented echoes from my grandmother\u2019s correspondences, undated.\",\"id\":\"3fcd6e4b-7c80-4d3e-9bbf-793d0af936e7\"},{\"content\":\"Achille Mbembe,\u00a0Necropolitics\u00a0<\/em>(Durham, NC: Duke University Press, 2019), 172.\",\"id\":\"58493f30-ae39-4504-982d-db9669d54567\"},{\"content\":\"Ibid.\",\"id\":\"7a46a9aa-306a-4979-89fe-dd6156d744c1\"},{\"content\":\"Fred Moten and Stefano Harney, The Undercommons:\u00a0Fugitive Planning & Black Study\u00a0<\/em>(New York: Minor Compositions, 2013), 98.\",\"id\":\"4223f75e-4e14-402a-9cc2-06866e2ba5cc\"},{\"content\":\"Ibid.\",\"id\":\"d7a2f6cd-53e9-4396-8012-501810c27729\"},{\"content\":\"Ibid.\",\"id\":\"685aa481-c1aa-4b52-b044-f59d9116f51f\"},{\"content\":\"Gordon, Ghostly Matters, 24.\",\"id\":\"0d71fbfd-2e02-4f02-bbb1-4211d5489896\"},{\"content\":\"Sharpe,\u00a0In The Wake<\/em>, 13.\",\"id\":\"aaa4bfd4-f5c1-4a16-b276-f2ef6f2c3b38\"},{\"content\":\"Ruth Wilson Gilmore,\u00a0Abolition Geography: Essays Towards Liberation\u00a0<\/em>(London and New York: Verso, 2022), 41.\",\"id\":\"9b73c76e-d0fd-4af8-bfc1-3a901de1662c\"},{\"content\":\"Fred Moten, from his sermon \u201cThis is How We Fellowship,\u201d Trinity Church New York (2020) https:\/\/trinitychurchnyc.org\/videos\/1115am-sermon-dr-fred-moten-how-we-fellowship<\/a>.\",\"id\":\"69c0c261-60fa-4c44-844b-51ce584c5520\"},{\"content\":\"Christina Sharpe,\u00a0Ordinary Notes\u00a0<\/em>(New York: Penguin Random House, 2023), 358.\",\"id\":\"a2e1d5e1-bc89-41e6-99a4-6122a2a36ada\"},{\"content\":\"Gordon,\u00a0Ghostly Matters,\u00a0<\/em>28. Emphasis added.\",\"id\":\"95ae3783-395a-418a-80f2-cba7ad3a9b61\"},{\"content\":\"Encarnaci\u00f3n Guti\u00e9rrez Rodr\u00edguez, \u201cThe Coloniality of Migration and the \u201cRefugee Crisis\u201d: On the Asylum-\u00a0Migration Nexus, the Transatlantic White European Settler Colonialism-Migration and Racial Capitalism\u201d in\u00a0Refuge: Canada\u2019s Journal on Refugees\u00a0<\/em>34, no. 1 (2018), 22.\",\"id\":\"c08c6d5c-cf3a-44cc-94ae-7bf0e940a38b\"},{\"content\":\"Patricia de Vries, \u201cPlot(ting): Practices of Ambiguity\u201d\u00a0Plot(ting)<\/em>,\u00a0https:\/\/plotting.rietveldsandberg.nl\/?p=454<\/a>.\",\"id\":\"0108c9fd-7c74-4cde-a627-317a1f105eb4\"},{\"content\":\"Saidiya Hartman,\u00a0Wayward Lives, Beautiful Experiments: Intimate Histories of Social Upheaval\u00a0<\/em>(New York: W.W. Norton, 2019), 306.\",\"id\":\"64151dae-9fac-468d-9b35-148ae78f191d\"},{\"content\":\"Fred Moten,\u00a0Black and Blur\u00a0<\/em>(Durham, NC: Duke University Press, 2017), xii.\",\"id\":\"17cf3e64-a140-4460-957e-bcfc42087b2d\"},{\"content\":\"Hartman,\u00a0Wayward Lives, Beautiful Experiments<\/em>, 77.\",\"id\":\"15d89720-ca0e-4870-b3b4-c2131fc74719\"},{\"content\":\"Suzanne C\u00e9saire, \u201cLeo Frobenius and the Problem of Civilisations\u201d in\u00a0Refusal of the Shadow: Surrealism and the Caribbean<\/em>, Michael Richardson and Krzysztof Fijalkowski, eds. and trans. (London and New York: Verso, 1996), 87.\",\"id\":\"f63991a1-2999-4137-8048-64e67d5bfb84\"},{\"content\":\"Sylvia Wynter, \u201cNovel and History, Plot and Plantation,\u201d\u00a0Savacou\u00a0<\/em>5 (June 1971), 99.\",\"id\":\"d571c22e-a9bc-4634-81ed-ff2a11d1e6c3\"},{\"content\":\"Katherine McKittrick, \u201cPlantation Futures,\u201d\u00a0Small Axe\u00a0<\/em>17, no. 3 (2013), 10.\",\"id\":\"2a158aef-0aab-44d0-ad14-7a15e81acd54\"},{\"content\":\"Ibid.\",\"id\":\"4cb4aee2-7a92-4666-b15b-491b8df9ceaf\"},{\"content\":\"Ibid.\",\"id\":\"ad44c6ad-149c-4836-8929-8a809d19e45d\"},{\"content\":\"George Beckford, \u201cAgriculture Organisation and Planning in Cuba\u201d in\u00a0The George Beckford Papers<\/em>, George Beckford and Kari Levitt, eds. (Saint Andrew Parish: University Press of the West Indies, 2000), 46.\",\"id\":\"3b41aebf-481b-45e5-b0d7-26e99b429363\"},{\"content\":\"Hartman,\u00a0Wayward Lives, Beautiful Experiments<\/em>, 284.\",\"id\":\"a5b6bd9e-3be1-48bc-a3ac-17d90c193a32\"},{\"content\":\"Wynter, \u201cNovel and History, Plot and Plantation,\u201d 99.\",\"id\":\"4a98a8d3-8fe9-44ce-8404-d56b9e5fd940\"},{\"content\":\"Sylvia Wynter,\u00a0Black Metamorphosis: New Natives in a New World<\/em>, 52, unpublished manuscript, no date, housed in The Schomburg Center for Research in Black Culture, New York, https:\/\/monoskop.org\/images\/6\/69\/Wynter_Sylvia_Black_Metamorphosis_New_Natives_in_a_New_World_1970s.pdf<\/a>.\",\"id\":\"c63646a0-b9cf-44a0-bdd9-70ad7cefc1df\"},{\"content\":\"Sylvia Wynter quoted\u00a0in David Scott, \u201cThe Re-Enchantment of Humanism: An Interview with Sylvia Wynter,\u201d\u00a0Small Axe<\/em>, no. 8 (September 2000), 136.\",\"id\":\"461fb4ad-8c60-48be-9b6d-66794addc636\"},{\"content\":\"Ibid.\",\"id\":\"7eafd421-34d2-4c1c-ad2a-ffda1c2caae6\"},{\"content\":\"Hartman,\u00a0Wayward Lives, Beautiful Experiments<\/em>, 195.\",\"id\":\"8139764c-20ed-4773-8cee-5708ef85787e\"},{\"content\":\"Sylvia Wynter,\u00a0\u201cThe Ceremony Must Be Found: After Humanism,\u201d\u00a0boundary 2<\/em>, vol. 12\/13 (Spring\u2013Autumn, 1984).\",\"id\":\"8d0f7f5e-45f3-4bdb-a63d-9e652962b7b4\"},{\"content\":\"De Vries, \u201cPlot(ting): Practices of Ambiguity.\u201d\",\"id\":\"12209ee9-3a11-4c51-b495-d95f1bf6fa6b\"},{\"content\":\"Sylvia Wynter, \u201cUnsettling the Coloniality of Being\/Power\/Truth\/Freedom: Towards the Human, After Man, Its Overrepresentation\u2014An Argument,\u201d\u00a0CR: The New Centennial Review\u00a0<\/em>3, no. 3 (2003), 260.\",\"id\":\"575b39a8-8884-4e94-bdae-f2259f7e72e0\"},{\"content\":\"Claire Fontaine cited in Marina Vishmidt,\u00a0\u201cWe Can Refuse to Abdicate in a Number of Ways: Claire Fontaine in conversation with Marina Vishmidt,\u201d\u00a0Mousse\u00a0<\/em>(2024),\u00a0https:\/\/www.moussemagazine.it\/magazine\/claire-fontaine-marina-vishmidt-2024<\/a>.\",\"id\":\"35330b7a-14de-4614-a5a1-84df67be6c3f\"},{\"content\":\"Ibid.\",\"id\":\"3d1f55c8-1736-479d-9b88-96e948857a84\"},{\"content\":\"\u00c9douard Glissant,\u00a0The Collected Poems of\u00a0\u00c9douard Glissant<\/em>, ed. Jeff Humphries, trans. Melissa Manolas (Minneapolis: University of Minnesota Press, 2019), 181.\",\"id\":\"1d0c2675-a636-4514-936c-ad12093f28bc\"},{\"content\":\"McKittrick,\u00a0\u201cPlantation\u00a0Futures,\u201d\u00a09.\",\"id\":\"28a8216e-7a73-465b-8889-4009058bd50a\"},{\"content\":\"Hartman,\u00a0Wayward Lives, Beautiful Experiments<\/em>, 214.\",\"id\":\"b35d5368-c2df-43b5-a1cb-5d77131c880e\"},{\"content\":\"Moten,\u00a0Black and Blur<\/em>, 68.\",\"id\":\"3267a5f2-c6f7-4cce-8d5b-3548eab527a0\"},{\"content\":\"Ibid.\",\"id\":\"fb506632-3d2b-424a-8af8-3f1cca2da4af\"},{\"content\":\"Ibid.\",\"id\":\"5c8836c8-bbcd-4bc1-bb94-9a89652d5ffb\"},{\"content\":\"Ibid.\",\"id\":\"2f4e8745-7774-4afc-90a3-44ea0d589981\"},{\"content\":\"Ibid.\",\"id\":\"b6b3f332-30a3-4c06-94d4-b7bf210b51d0\"},{\"content\":\"Walter D. Mignolo, \u201cWhat Does It Mean To Be Human?\u201d in\u00a0Sylvia Wynter: On Being Human as Praxis,\u00a0<\/em>ed. Kathrine McKittrick (Durham, NC: Duke University Press, 2015), 113.\",\"id\":\"a12e6404-6823-4da9-9b2f-970f0deffb4a\"},{\"content\":\"Fargo Tbakhi,\u00a0\u201cNotes on Craft: Writing in the Hour of\u00a0Genocide,\u201d\u00a0Protean Magazine\u00a0<\/em>(2023),\u00a0https:\/\/proteanmag.com\/2023\/12\/08\/notes-on-craft-writing-in-the-hour-of-genocide\/<\/a>.\",\"id\":\"796dfa63-d8cd-4cc2-8096-8801d3900126\"},{\"content\":\"Lola Olufemi,\u00a0\u201cNotes on\u00a0Refusal\u201d\u00a0(2025),\u00a0https:\/\/thisisatemporallandscape.vercel.app\/workshop\/notes-refusal<\/a>.\",\"id\":\"bb8e6c7e-9b7c-4c8b-80d2-a1d82204c365\"},{\"content\":\"Gilmore,\u00a0Abolition Geography<\/em>, 41.\",\"id\":\"9ca54c1c-ebb4-4ccf-91b2-12588fc0fb4b\"},{\"content\":\"Fargo Tbakhi,\u00a0\u201cNotes on Craft.\u201d\",\"id\":\"257d9006-e576-4b8b-ad6e-58adb19fdfff\"},{\"content\":\"Fargo Nissim Tbahki,\u00a0\u201cPalestine Love\u00a0Poem\u201d\u00a0in Fargo Nissim Tbahki,\u00a0TERROR COUNTER\u00a0<\/em>(Dallas: Deep Vellum Publishing, 2025).\",\"id\":\"2b85a342-fab3-4f82-b098-87ba7e0b89b1\"},{\"content\":\"Hartman,\u00a0Wayward Lives, Beautiful Experiments<\/em>, 203.\",\"id\":\"ebda35c0-02ad-49aa-bd83-eff72d2eb411\"},{\"content\":\"Sylvia\u00a0Wynter,\u00a0\u201cRethinking \u201cAesthetics\u201d: Notes Towards a Deciphering Practice\u201d\u00a0in Ex-iles:\u00a0Essays on Caribbean Cinema<\/em>, ed. Mbye B. Cham (New Jersey: Africa World Press, 1992), 271.\",\"id\":\"819a7d11-7755-4877-8af4-033ef9fbb117\"},{\"content\":\"Hartman, Wayward Lives, Beautiful Experiments, 203.\",\"id\":\"d99701fc-c337-4c47-bd45-6b63d4e5c54b\"},{\"content\":\"Ibid., 345.\",\"id\":\"6563f70e-9a9a-45da-973d-fa539d54c09e\"},{\"content\":\"Olufemi,\u00a0Experiments in Imagining Otherwise<\/em>, 3.\",\"id\":\"9a8c7f14-25d2-43b9-9c6f-29b0e70d4649\"},{\"content\":\"Sharpe,\u00a0In The Wake,\u00a0<\/em>13.\",\"id\":\"4202cd18-20ec-45d2-bb8b-dfc0881d79e5\"},{\"content\":\"Hartman, Wayward Lives, Beautiful Experiments, 228.\",\"id\":\"779f7360-e22a-403e-84b2-293acec29cc6\"},{\"content\":\"Olufemi,\u00a0\u201cNotes on\u00a0Refusal.\u201d\",\"id\":\"2ef8989c-c3ab-4828-9cf0-44e693da367d\"},{\"content\":\"Ibid.\",\"id\":\"f2aa7c32-283e-4fed-ba14-6001b6831793\"},{\"content\":\"Ibid.\",\"id\":\"b084a874-6a19-4df6-89bb-4251d0d81bd9\"},{\"content\":\"Tbakhi,\u00a0\u201cNotes on Craft.\u201d\",\"id\":\"bf39b9c1-f98a-4330-8e88-1d7c101c5d27\"},{\"content\":\"Olufemi,\u00a0\u201cNotes on\u00a0Refusal.\u201d\",\"id\":\"e9439081-ea21-4a4a-806f-ef0861f38df1\"},{\"content\":\"Gilles Deleuze and F\u00e9lix Guattari,\u00a0Anti-Oedipus: Capitalism and Schizophrenia<\/em>, trans. Robert Hurley, Mark Seem, and Helena Lane (Minneapolois: University of Minnesota Press, 1983), 240.\",\"id\":\"dbec589e-d401-42ad-ab9a-19682b1df71c\"},{\"content\":\"Aim\u00e9\u00a0C\u00e9saire,\u00a0\u201cPoetry and\u00a0Knowledge\u201d\u00a0in\u00a0Refusal of the Shadow: Surrealism and the Caribbean,<\/em> Michael Richardson, Krzysztof Fijalkowski, eds. and trans. (London and New York: Verso, 1996), 134.\",\"id\":\"1856116c-775e-439a-981e-3262ac28c606\"},{\"content\":\"Olufemi,\u00a0\u201cNotes on\u00a0Refusal.\u201d\",\"id\":\"4f174d54-ab95-44d9-902a-be26bbac94b3\"},{\"content\":\"Hartman,\u00a0Wayward Lives, Beautiful Experiments<\/em>, 4.\",\"id\":\"7bf7fc7e-2288-4ae1-9adc-4deede15f842\"},{\"content\":\"Maurice Blanchot,\u00a0The Writing of Disaster<\/em>, trans. Ann Smock, (Lincoln, NE: University of Nebraska Press, 1995), 38.\",\"id\":\"ad42d715-9dd8-4af3-aedb-264ae03d39fd\"},{\"content\":\"Jackie Wang,\u00a0The Sunflower Cast a Spell to Save Us from the Void\u00a0<\/em>(New York: Nightboat Books, 2021), 110.\",\"id\":\"df3b3e8b-f670-436c-b0ae-e6b644fafd37\"},{\"content\":\"Ibid.\",\"id\":\"5c2f76f2-26ec-4135-8d05-8109c02c0437\"},{\"content\":\"Ibid.\",\"id\":\"da3f66cd-4f66-499a-88de-be51e1cb4170\"},{\"content\":\"Ibid.\",\"id\":\"e1fc357b-4a72-42fa-a524-c4b9c6c3cda5\"},{\"content\":\"bell hooks,\u00a0Feminism is for Everybody: Passionate Politics\u00a0<\/em>(London: Pluto Press, 2000), 110.\",\"id\":\"f10df43d-b481-4132-b371-005578538aa0\"},{\"content\":\"Heather Davis and Paige Sarlin,\u00a0\u201cOn the Risk of a New Relationality: An Interview with Lauren Berlant and Michael Hardt,\u201d\u00a0Reviews in Cultural Theory\u00a0<\/em>2, no. 3 (2012).\",\"id\":\"33ef3205-2912-4c91-81ad-41959885c034\"},{\"content\":\"Hartman, Wayward Lives, Beautiful Experiments, 287.\",\"id\":\"3ff492e1-302a-4af3-94ff-aea448feb644\"},{\"content\":\"Ibid., 288.\",\"id\":\"79e1208e-1cea-4d2d-9d03-8b9d8283a720\"},{\"content\":\"Ibid.\",\"id\":\"dd51d296-e759-43fb-b88e-e18c39e01e4d\"},{\"content\":\"Ibid.\",\"id\":\"291dd793-bc58-4ae6-a88d-5bedb1dfc9c4\"},{\"content\":\"C\u00e9saire,\u00a0\u201cPoetry and\u00a0Knowledge,\u201d\u00a0134.\",\"id\":\"19b8e8a6-81d6-4797-9189-a2a8565ab416\"},{\"content\":\"Dionne Brand,\u00a0Nomenclature: New and Collected Poems\u00a0<\/em>(Durham, NC: Duke University Press, 2022), xxxix.\",\"id\":\"8405fec5-47ff-4dcf-81b6-1ab84420fc11\"},{\"content\":\"Raoul Vaneigem,\u00a0\u201cThe Revolution of Everyday Life: The Reversal of\u00a0Perspective,\u201d trans. John Fullerton and\u00a0Paul Sieveking (1967),\u00a0http:\/\/library.nothingness.org\/articles\/SI\/en\/display\/66<\/a>.\",\"id\":\"dafff461-38e7-4816-8495-067890346f84\"},{\"content\":\"Marina Ashioti and Irini Khenkin,\u00a0\u201cUnrequited Correspondence Between Signal and\u00a0Shore\u201d\u00a0in\u00a0On a wildflower- lined gravel track off a quiet thoroughfare...\u00a0<\/em>(Berlin: Archive Books, 2024), 22.\",\"id\":\"2983d340-ca7d-47a4-af63-2f6958c05fd2\"},{\"content\":\"Wang,\u00a0The Sunflower Cast a Spell to Save Us from the Void<\/em>, 110.\",\"id\":\"8a1f2eaa-df67-4b21-a375-8dd9ff838544\"},{\"content\":\"Hartman,\u00a0Wayward Lives, Beautiful Experiments<\/em>, 4.\",\"id\":\"cea80757-3ab1-4a0d-b3f4-5b4fbe77b0fc\"},{\"content\":\"Tuck and Ree, \u201cA Glossary of Haunting,\u201d 648.\",\"id\":\"b93ed2aa-a6f3-4c6e-aab3-cb2e8a277832\"},{\"content\":\"Ibid.\",\"id\":\"3f6e59e6-4428-45a9-a9b5-8f2aa02a64c2\"},{\"content\":\"Olufemi,\u00a0Experiments in Imagining Otherwise<\/em>, 3.\",\"id\":\"455629c2-57d7-403c-b9ac-7b3f98c8fa2e\"},{\"content\":\"Hanif Abduraqib,\u00a0A Little Devil in America: In Praise of Black Performance\u00a0<\/em>(London: Allen Lane, 2021), 204.\",\"id\":\"b1874506-ef12-4393-bd76-7540189193e7\"},{\"content\":\"Ruth Wilson Gilmore,\u00a0\u201cA Moment of True Decolonization,\u201d\u00a0The Funambulist Magazine<\/em>: Schools of Revolution (2023).\",\"id\":\"92a50258-4681-42d9-8b63-8de9157ebec3\"},{\"content\":\"Diane Di Prima,\u00a0\u201cRevolutionary Letter #8\u201d\u00a0in\u00a0Revolutionary Letters\u00a0<\/em>(San Francisco: Last Gasp, 1971), 17.\",\"id\":\"e47413e4-2bfe-4cfa-b9ac-fa9477cc3ba1\"},{\"content\":\"Robin D. G. Kelley,\u00a0Freedom Dreams: The Black Radical Imagination\u00a0<\/em>(Boston, MA: Beacon Press, 2003), 196.\",\"id\":\"21e4c832-a585-4b11-86b5-fb31b603f669\"}]"},"categories":[1,28,3],"tags":[],"class_list":["post-1092","post","type-post","status-publish","format-standard","hentry","category-all-groups","category-audio","category-text"],"_links":{"self":[{"href":"https:\/\/plotting.rietveldsandberg.nl\/index.php?rest_route=\/wp\/v2\/posts\/1092","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/plotting.rietveldsandberg.nl\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/plotting.rietveldsandberg.nl\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/plotting.rietveldsandberg.nl\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/plotting.rietveldsandberg.nl\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1092"}],"version-history":[{"count":88,"href":"https:\/\/plotting.rietveldsandberg.nl\/index.php?rest_route=\/wp\/v2\/posts\/1092\/revisions"}],"predecessor-version":[{"id":1259,"href":"https:\/\/plotting.rietveldsandberg.nl\/index.php?rest_route=\/wp\/v2\/posts\/1092\/revisions\/1259"}],"wp:attachment":[{"href":"https:\/\/plotting.rietveldsandberg.nl\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1092"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/plotting.rietveldsandberg.nl\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1092"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/plotting.rietveldsandberg.nl\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1092"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}