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Journal Article
liquid blackness (2021) 5 (1): 5–25.
Published: 01 April 2021
... between keeping record and record keeping as a way to maintain the anaoriginarity of black study as an ensemblic and jurisgenerative practice. To do so, it draws inspiration from one of its objects of study, Larry Clark's 1977 cult film Passing Through , and specifically from the way the film's formal...
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Journal Article
liquid blackness (2022) 6 (1): 6–31.
Published: 01 April 2022
.... Blount Moorhead's As of a Now shares similar formal conceits: the idea of turning an engine of extraction/extinction/accumulation into an autobiography of the ensemble. The impulse behind As of a Now , discussed in Prettyman's interview with Blount Moorhead, can also be seen as an attempt...
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Journal Article
liquid blackness (2022) 6 (1): 1–3.
Published: 01 April 2022
... editorial processes. Hopefully, the pages of the journal raise a series of generative questions that are often the result of our own experimental, improvisational, ensemblic, even nonsensical and/or undercommonsensical, practice. Black study—we learn everyday—is what gets done when nobody is watching...
Journal Article
liquid blackness (2021) 5 (1): 107–117.
Published: 01 April 2021
... and stay apart. A queer trick, and yet another one that we know well: apart-playing. Play your part; bring yourself into the formation. Hold the group, and change yourself in response. Melt. We remake ourselves in the ensemble, queerly passing through variance, one, to the next, to the group, to the whole...
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Journal Article
liquid blackness (2021) 5 (1): 1–3.
Published: 01 April 2021
... contributions featured here range in style, genre, mode, and length and reflect on the meaning of black liquidity and the conceptual possibilities and shortcomings of liquidity itself. We conceive of each journal issue as a musical ensemble, an “atonal symphony,” in the words of John Akomfrah, whose interview...
Journal Article
liquid blackness (2021) 5 (2): 21–37.
Published: 01 October 2021
... of the fifth bar. What he plunks out, seemingly with one finger, Thelonious Monk–like, is what we might call a kind of Zulu blues. On Ten , we hear the Bandwagon versioning 3 and storying 4 their own number: the rhythm section iterates its patterns with compounding force, the ensemble raises...
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Journal Article
liquid blackness (2021) 5 (2): 121–151.
Published: 01 October 2021
...: The Arts and Politics of the Jazz Ensemble” in 2015. 8 Our next encounter was in Berkeley, where he keynoted the Association for the Study of the Arts of the Present's annual conference in a program curated by Michael Boyce Gillespie at the Pacific Film Archive. There we saw and were both taken...
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Journal Article
liquid blackness (2022) 6 (1): 98–117.
Published: 01 April 2022
..., (Black) breathing cannot be fixed to the ground. Rather, it moves alongside the ensemble, the whole, and the relational, all at once, as a multidimensional (w)holeness—a whole that is always already marked by being holed, by being incomplete, and a conception of such that sits with, after Glissant...
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Journal Article
liquid blackness (2021) 5 (1): 127–148.
Published: 01 April 2021
... a few ways. First, liquidity might describe the specific reversibility between aesthetics, practice, and praxis his “ensemble” had carried out since BAFC. I wondered if the inspiration for his errant practice and the pursuit of a form “without guarantees” might be due to the jurisgenerativity...
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Journal Article
liquid blackness (2023) 7 (2): 4–25.
Published: 01 October 2023
... and voice, her “small band” 24 is obviously much more capacious and internally differentiated: she becomes her own ensemble, one in which bass, voice, and lyrics can articulate complicated calls and responses and, in the process, create their own space of congregation. 25 In “free medicine...
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Journal Article
liquid blackness (2021) 5 (1): 27–36.
Published: 01 April 2021
... was “Negro,” or its cognates, “ Neger ,” and “ Nègre ,” depending on the nationality of the ship. As Fred Moten has pointed out in In the Break , that imposition of noise was an inaugural moment in “the animative materiality—the aesthetic, political, sexual, and racial force—of the ensemble of objects...
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Journal Article
liquid blackness (2022) 6 (2): 4–13.
Published: 01 October 2022
... of its haunting landscape, which she describes as postapocalyptic. A tree at dead-of-winter dusk is alive with crows—the blue-black ensemble of tree and crow and sky perforated by the orange gold of freshly illuminated streetlights. Figure 1. Cauleen Smith, Crow Requiem (2015). Video, 11 minutes...
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Journal Article
liquid blackness (2021) 5 (2): 59–73.
Published: 01 October 2021
... for these colorful ensembles, The Toll of the Sea contains moments that bestow upon her the unexpected capacity to imagine—and even to “enunciate” images, to use Raymond Bellour's terminology. 17 The film gives plentiful point-of-view shots to her. During the section of the film in which she has been left...
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Journal Article
liquid blackness (2021) 5 (2): 95–119.
Published: 01 October 2021
... of their criminality or social disorder. In response Hartman holds the gaps in the record open, filling them with voices, affects, and movement as an album of encounters. For her the chorus offers ways to be part of the multitude within the ensemble. It is a practice of freedom felt by “getting lost in the crowd...
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Journal Article
liquid blackness (2022) 6 (2): 88–117.
Published: 01 October 2022
... in on the question “What does Aesthetics do?”: “Because it is clearly the very condition of existence of all human ‘forms of life,’ and of the role-allocating and ‘cohering principles’ aggregative of their modes of conspecific ultra-sociality, the category of the aesthetic is the determinant. . . of the ensemble...
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Journal Article
liquid blackness (2022) 6 (1): 168–203.
Published: 01 April 2022
... cinema, Blount Moorhead's work rearticulates the praxis of black cinematic collectives like the LA Rebellion and the “New York Scene,” which created spaces for collaboration in ways that embody what Raengo, inspired by Fred Moten, has termed “ensemblic.” 18 For that reason, Raengo describes...
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