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ACC Biotechnology Department

Posted: January 31, 2019 at 12:43 pm

Student Connection

The Biotech Student Connection is a great way to get involved in your field of study.

Student Connection

It is our mission to serve the greater Austin area by providing exceptional quality biotechnology education.

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The ACC Biotechnology Program is frequently involved in news worthy industry projects.

ACC Biotech News

The Biotechnology Program offers a variety of cutting-edge certificates and degrees tailored for people wanting to enter into the bioscience and biotechnology workplace. We offer Entry-Level Certificates, an Associate Degree and Post-Baccalaureate Certificate training.

Our degrees focus on a hands-on training approach spanning topics from basic laboratory skills such as micropipetting and solution preparation to more advanced skills such as quantitative PCR, HPLC and cell culture. In addition, the program also provides specialized training in bioinformatics, regulatory affairs, and biomanufacturing.

The AAS and ATC degrees have a capstone internship course where students apply all their new skills on the job. Most graduates are hired within their internship; others that are seeking employment find jobs in a few months after graduation.

We offer both day and night classes in both Round Rock and Austin, in addition to online and summer course offering to accommodate both day-time and night-time (working) students. If you want to learn more about this exciting hands-on program, or to get registered, please contact us at512-223-5915, email: [email protected] or submit this brief General Inquiry form.

To learn more about the ACC Biotechnology Program please take a moment to view the video and browse the pages below:

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ACC Biotechnology Department

Recommendation and review posted by G. Smith

Biotechnology – PRIDCO

Posted: January 31, 2019 at 12:43 pm

Puerto Rico. The Bio Island.

Puerto Rico enjoys a long legacy in pharmaceutical and medical device manufacturing. Biologics are also a growing segment of the island's life sciences sector. Amgen, Eli Lilly, Abbott and Becton Dickinson Bioscience alone have invested more than $65.9 million in four plants since 2005. Puerto Rico also boasts the world's largest modular biotechnology plant for producing recombinant human insulin.

Growing Agricultural Biotechnology Sector

Puerto Rico has also emerged as an important center for agricultural biotechnology. Pioneer Hi-Bred, BASF Agrochemical, Bayer-Cropscience, Syngenta Seeds and Rice Tec are among many seed companies that have found the island to be fertile ground for R&D with our tropical weather, consistent water supply, ease of commerce with the U.S., attractive incentives and top-quality agricultural science talent.

A Highly Educated Workforce

Puerto Rico's workforce has vast knowledge in GMP, FDA and other global regulations, while the island's university system turns out a steady stream of new talent:

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Biotechnology - PRIDCO

Recommendation and review posted by G. Smith

3 Pick-and-Shovel Biotechnology Stocks — The Motley Fool

Posted: January 31, 2019 at 12:43 pm

A low-risk way to play the biotech boom is to buy companies that are key suppliers to the industry. Companies like West Pharmaceutical Services (NYSE:WST), Veeva Systems (NYSE:VEEV), andRepligen (NASDAQ:RGEN) don't make headlines, but they all provide important products or services and have been wonderful long-term holdings.

In this episode of The Motley Fool's Industry Focus: Healthcare, host Shannon Jones and Fool.com contributor Brian Feroldi discuss each of these businesses in more detail and highlight why they can be great choices for biotech investors moving forward.

A full transcript follows the video.

This video was recorded on Jan. 23, 2019.

Shannon Jones: Let's talk about our third and final way to play it safe when it comes to biotechs, Brian, and that's with picks-and-shovels providers. Brian, what in the world is a pick and shovel?

Brian Feroldi: That's a that's a fun investor way of saying if you want to play a trend, one of the safer ways to do it is to buy the suppliers to that industry. Let me give you an example. There's a company called West Pharmaceutical Services. What they do is, they're a leading provider of components and systems that make drugs injectable. They provide vials, syringes, pens, stoppers, safety devices on the actual drugs themselves. If you have a thesis that the number of drugs that are available is going to grow and the number of people using them is going to grow, that naturally leads to more demand for the injectable products, the actual things that get the drug into your body -- the vials themselves, the packaging. All of those things are actually handled by West Pharmaceutical. These guys are one of the top-tier suppliers to the industry. In fact, about the top 75 biotech injectable products on the market actually come from West. This is a company that has no risk of any particular drug not going well. They're a steady-eddie business, and they've produced fantastic returns for shareholders over the last 10 years. They're actually up about 520%. That's a return that just smashes the index.

Jones: That's incredible returns for a company you don't hear a lot about. I did some research, this company has actually been around since the 1920s, which is very surprising to me. When you're in the position of being a biopharma company, you want that long-term expertise, that experience on the regulatory front, and even more so when it comes to the delivery components. Sometimes, getting that right -- both from a manufacturing and a compliance and regulatory perspective -- is just as important as getting the drug itself through to approval. So this company in particular, don't see it going away anytime soon. They supply pharmaceutical companies, they supply the biotech companies, even generic medical device companies, as well. They're massive. They've got over 50 locations, 28 facilities across the globe. This is one I'm certainly going to be watching, Brian.

Let's talk about the second picks-and-shovels play on your list, a company that I pretty much consider a good Fool favorite around here.

Feroldi: Veeva Systems should be a name that sounds familiar to a lot of longtime listeners. This a company that provides cloud-based software that's specifically made for the life sciences industry. Veeva Systems provides software that helps companies to manage their clinical trial data, manage customer relationships before and after the sale, can help with regulatory compliance. This is a company that has taken an extreme niche focus on the life science industry. Because of that, because of their tailored needs, they've really made a name for themselves. In fact, today, they currently boast more than 600 customers, which includes some of the biggest names in the industry, like GlaxoSmithKline, AstraZeneca, Biogen, Lilly, Novartis, etc. All of them rely on Veeva Systems' tools to help them with the clinical trial process.

Because of their niche focus, and because they've been able to grow so rapidly in the industry, this a company that's put up great returns for investors. They just IPO'd in 2014, so we don't have an incredible amount of data to look at, but investors who got in at the IPO are already up 177% because this company is growing so rapidly.

Jones: Another thing I love about the Veeva story is the CEO. He was actually a former executive from Salesforce. He recognized that for the pharmaceutical industry, they didn't have a cloud-based offering that could fit the needs of the industry itself. So there you have it, here comes Veeva. Veeva has a number of different products. In particular, they started off with a CRM, customer relationship management, tool built for big pharma specifically. But really, the big money maker has been Veeva Vault. That's helping companies manage all of the data that's needed to track and analyze clinical trials.

What I love about the Veeva platform is that with all these multiple products, they're all connected. As you're a biopharma company, you've got really high switching costs to come off of that one platform to go to another. I love the fact that they've got such a wide moat here. I think Veeva in and of itself is in a league of its own, and it's even expanding beyond biopharma. It's working now with companies in the consumer goods industry, manufacturing, even the chemical industry. Huge, huge growth ahead for Veeva.

Brian, let's turn our attention to the last picks-and-shovels play, one that I had not followed as much. But after doing some digging, this one certainly piqued my interest.

Feroldi: The final company today is called Repligen. Its ticker is RGEN. These guys make proteins and filtration technology that enable the drugs themselves to actually be manufactured. When you're making a drug, you need active ingredients. Repligen helps drug companies to actually make the equipment and provides the proteins that go into the drugs themselves.

These guys have literally a 95% market share in making proteins that are used to make vaccines and are used in gene therapy. They've grown right alongside with the general demand in the biotech market. In fact, this one of the best-performing stocks over the last decade. Their stock is up 1,320% over the last 10 years. Again, because they don't care specifically about any particular drug making it through, and because they're very well diversified among a lot of customers, they can ride the general wave of growth in biotech.

Jones: Absolutely. When you consider that the equipment that they make is needed to purify biologics, and just how crucial that is -- if you think about it, biologics themselves are products that are made from living cells. They're very large, very complex. After they're produced, though, you have to purify the product. This is really where Repligen stands out in terms of lowering the cost. Purification in and of itself is a very cost-intensive step, and one of the riskiest, too, when it comes to biologics manufacturing.

Speaking of biologics, there are currently over 1,000 biologics being studied for development. The growth runway on this stock is tremendous. That's across the globe. Also, interestingly enough, oncology is actually the leading therapeutic area with the maximum number of biologics under development right now. A lot to watch here on this particular company, especially as biologics are expected to hit over $300 billion by next year. It's a massive market.

All in all, Repligen is a great way for investors to ride the wave safely when it comes to biologics development, both on the development front and post-commercialization.

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3 Pick-and-Shovel Biotechnology Stocks -- The Motley Fool

Recommendation and review posted by G. Smith

Brian Lewis MD – Integrative Family Medicine of Asheville

Posted: January 31, 2019 at 12:40 pm

Brian was born in Greensboro, North Carolina, where he was active as a youthwitha mix of soccer and service organizations. He studied biology and chemistry at UNC-Chapel Hillwhere he received a science scholarship his sophomore year to study abroad in England.After his science curriculum was complete, Brianfocused the last two years of undergraduate on psychology, anthropology, and religious studies. During that time, he also volunteered as a teacherand coordinator of various non-profit organizations.

He deferred his acceptance at UNC-Chapel Hill School of Medicine to serve as a volunteer teacher for at-risk youth through Americorps. He continued his deferral for another year during which he apprenticed in two residential programs studying meditation, yoga, and Integrative Medicine.

In medical school, Brianco-founded the UNC-CH Integrative Medicine student group which organized educational seminars, retreats, and weekly classes. He facilitated regional events for students interested in Integrative Medicine, holistic living, and restoring humanism to medicine.

Between his third and fourth years of medical school, Brianreceived a grant for the comparative study of healing methodologies from the Himalayas. He then returned to complete medical school and continued his studies with a Masters in Public Health focusing on health care leadership, health education, and community-based clinics.

In the following years, he completed his Family Practice residency in Asheville, NC. After completing residency, Brianmodeled a faculty development fellowship centered on Integrative Medicine and worked with other residents across the country to provide affordable fellowships in Integrative Medicine. He continues to work with integrative practitioners to foster collaboration and innovative practice models for making Integrative Medicine accessible and sustainable. He has spoken regionally on topics ranging from systems biology to understanding the healthcare system, and has served as the medical director for regional Integrative Medicine conferences.

He is board certified in Family Practice as well as Integrative & Holistic Medicine. Brian has completed further studies in therapeutic nutrition, thyroid health, yoga, and Chinese Medicine. He views comprehensive lifestyle approaches as the foundation of sustainable healthcare.

Brianhas a deep love for the Appalachian Mountains and enjoys time in nature through hiking, gardening, biking, land restoration, and camping. He currently lives with his wife and daughter in West Asheville on a small urban homestead.

He is inspired to continue developing Integrative Family Medicine with Dr. Krisel and the IFMA team. He enjoys partnering with individuals and communities to create sustainable approaches for preventing disease and cultivating health. He is passionate about translating the research from Lifestyle Medicine into clinical practice in ways that are accessible and personalized to the needs of his patients.

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Brian Lewis MD - Integrative Family Medicine of Asheville

Recommendation and review posted by G. Smith

Welcome | Healing Path Integrative Medicine, PLLC

Posted: January 31, 2019 at 12:40 pm

Welcome to the online presence of Healing Path Integrative Medicine -- the medical practice of Anne Walch, MHS, PA-C.

Healing Path Integrative Medicine (HPIM) is here to partner with you in optimizing your health, whether your needs are anti-aging and health optimization, or unraveling a chronic mystery illness.

Whatever your health concerns are, we will use the same approach and principles that we call integrative medicine:

Prospective patients find their way to me when they are ready for change and want to find answers. Some of you have been on your own healing paths for many years, and are very self-directed in your health-care but are looking for additional input by a medical professional.

Others may have run into dead ends with traditional medicine and know that something important has been missed so are stepping out of the conventional medical model, perhaps for the first time.

However you have arrived here, I consider it a privilege and an honor to walk some steps of your healing path with you in your search for health solutions.

Anne Walch, MHS, PA-C

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Welcome | Healing Path Integrative Medicine, PLLC

Recommendation and review posted by G. Smith

Afrofuturism – Wikipedia

Posted: January 30, 2019 at 9:45 am

Afrofuturism is a cultural aesthetic, philosophy of science, and philosophy of history that explores the developing intersection of African Diaspora culture with technology. It was coined by Mark Dery in 1994 and explored in the late 1990s through conversations led by Alondra Nelson.[1] Afrofuturism addresses themes and concerns of the African diaspora through technoculture and science fiction, encompassing a range of media and artists with a shared interest in envisioning black futures that stem from Afrodiasporic experiences.[2] Seminal Afrofuturistic works include the novels of Samuel R. Delany and Octavia Butler; the canvases of Jean-Michel Basquiat and Angelbert Metoyer, and the photography of Rene Cox; the explicitly extraterrestrial mythoi of Parliament-Funkadelic, the Jonzun Crew, Warp 9, Deltron 3030, and Sun Ra; and the Marvel Comics superhero Black Panther.[3][4][5]

Despite Afrofuturism being coined in 1993, scholars tend to agree that Afrofuturistic music, art and text became more common and widespread in the late 1950s. The Afrofuturist approach to music was first propounded by Sun Ra. Born in Alabama, Sun Ra's music coalesced in Chicago in the mid-1950s, when with the Arkestra he began recording music that drew from hard bop and modal sources, creating a new synthesis that used Afrocentric and space-themed titles to reflect Ra's linkage of ancient African culture, specifically Egypt, and the cutting edge of the Space Age. For many years, Ra and his bandmates lived, worked and performed in Philadelphia while touring festivals worldwide. Ra's film Space Is the Place shows The Arkestra in Oakland in the mid-1970s in full space regalia, replete with science-fiction imagery as well as other comedic and musical material. As of 2018, the band was still composing and performing, under the leadership of Marshall Allen.

Afrofuturist ideas were taken up in 1975 by George Clinton and his bands Parliament and Funkadelic with his magnum opus Mothership Connection and the subsequent The Clones of Dr. Funkenstein, P-Funk Earth Tour, Funkentelechy Vs. the Placebo Syndrome, and Motor Booty Affair. In the thematic underpinnings to P-Funk mythology ("pure cloned funk"), Clinton in his alter ego Starchild spoke of "certified Afronauts, capable of funkitizing galaxies".

Other musicians typically regarded as working in or greatly influenced by the Afrofuturist tradition include reggae producers Lee "Scratch" Perry and Scientist, hip-hop artists Afrika Bambaataa and Tricky, electronic musicians Larry Heard, A Guy Called Gerald, Juan Atkins, Jeff Mills,[6] Newcleus[7] and Lotti Golden & Richard Scher, electro hip hop producer/writers of Warp 9's "Light Years Away", a sci-fi tale of ancient alien visitation, described as a "cornerstone of early 80's beatbox afrofuturism".[8]

In the early 1990s, a number of cultural critics, notably Mark Dery in his 1994 essay "Black to the Future", began to write about the features they saw as common in African-American science fiction, music, and art. Dery dubbed this phenomenon "Afrofuturism".[9] According to cultural critic Kodwo Eshun, British journalist Mark Sinker was theorizing a form of Afrofuturism in the pages of The Wire, a British music magazine, as early as 1992.[10]

Afrofuturist ideas have further been expanded by scholars like Alondra Nelson, Greg Tate, Tricia Rose, Kodwo Eshun, and others.[2] In an interview, Alondra Nelson explained Afrofuturism as a way of looking at the subject position of black people which covers themes of alienation and aspirations for a utopic future. The idea of "alien" or "other" is a theme often explored.[11] Additionally, Nelson notes that discussions around race, access, and technology often bolster uncritical claims about a so-called "digital divide".[12] The digital divide overemphasizes the association of racial and economic inequality with limited access to technology. This association then begins to construct blackness "as always oppositional to technologically driven chronicles of progress".[12] As a critique of the neo-critical argument that the future's history-less identities will end burdensome stigma, Afrofuturism holds that history should remain a part of identity, particularly in terms of race.[12]

A new generation of recording artists have embraced Afrofuturism into their music and fashion, including Solange, Rihanna, and Beyonc. This tradition continues from artists such as Erykah Badu, Missy Elliott and Janelle Mone, who incorporated cyborg themes and metallics into their style.[13] Other 21st century musicians who have been characterized as Afrofuturist include singer FKA Twigs,[13] musical duo Ibeyi,[14] and DJ/producer Ras G.[15]

In more recent years, artists such as Rihanna and Beyonc have often been interpreted by the public as having some non-human elements about them, exhibited in both their performances, and in their day to day interactions. Because the tabloids have so much control over the way that information is digested, the public receives images of these women that are distant and controlled solely by the media, and thus, these women are often painted as angry or unfeeling. Scholars such as Robin James have interrogated and expanded upon the work of Kodwo Eshun, and coined the idea of the "robo-diva". These scholars both argue that the Black experience has always been more alien than it has been human, and James connects the mechanics of the middle passage to alien abduction through concepts of kidnapping, isolation, and bowing down to an unknown power. Kodwo Eshun also posits that perhaps the categorization of "human" has no use in the Black community, and that instead, the category of "robot" is not only more powerful, but more accurately representative of the positioning in the social hierarchy in which Black people exist in the present day. Because musical artists (Rihanna, Beyonc) exhibit such non-human qualities, they are often ostracized for being "cold" or "mechanical". The white patriarchy both fears and admires such artists due to their unapologetic displays of female sexuality and its interactions with technology. These fears then propel the virgin/whore dichotomy that stems from the trope of the Jezebel, and serves to further the racialized projections of stereotypes onto Black females in the music industry.

Janelle Mone has made a conscious effort to restore Afrofuturist cosmology to the forefront of urban contemporary music. Her notable works include the music videos "Prime Time"[16] and "Many Moons",[17] which explore the realms of slavery and freedom through the world of cyborgs and the fashion industry.[18][19] She is credited with proliferating Afrofuturist funk into a new Neo-Afrofuturism by use of her Metropolis-inspired alter-ego, Cindi Mayweather, who incites a rebellion against the Great Divide, a secret society, in order to liberate citizens who have fallen under their oppression. This ArchAndroid role reflects earlier Afrofuturistic figures Sun Ra and George Clinton, who created their own visuals as extraterrestrial beings rescuing African-Americans from the oppressive natures of Earth. Her influences include Metropolis, Blade Runner, and Star Wars.[20] The all Black Wondaland Arts Collective Society, of which Mone is a founder of, stated "We believe songs are spaceships. We believe music is the weapon of the future. We believe books are the stars." [21] Other musical artists to emerge since the turn of the millennium regarded as Afrofuturist include dBridge, SBTRKT, Shabazz Palaces, Heavyweight Dub Champion,[6] and "techno pioneers" Drexciya (with Gerald Donald).[22]

Chicago is home to a vibrant community of artists exploring Afrofuturism. Nick Cave, known for his Soundsuits project, has helped develop younger talent as the director of the graduate fashion program at the School of the Art Institute of Chicago. Other artists include visual artists Hebru Brantley as well as contemporary artist Rashid Johnson, a Chicago native currently based in New York. In 2013, Chicago resident Ytasha L. Womack wrote the study Afrofuturism: The World of Black Science Fiction and Fantasy, and William Hayashi has published all three volumes of his Darkside Trilogy[23] which tells the story of what happens in America when the country discovers African Americans secretly living on the backside of the moon since before the arrival of Neil Armstrong, an extreme vision of segregation imposed by technologically advanced Blacks.[24][25][self-published source] Krista Franklin, a member of University of Chicago's Arts Incubator, is currently exploring the relation between Afrofuturism and the grotesque through her visual and written work with weaves and collected hair. Recently, she also created an audio narrative in collaboration with another Afrofuturist, Perpetual Rebel, called The Two Thousand and Thirteen Narrative(s) of Naima Brown, which explores the ideas of identity and transformation within the context of hair and African-American culture.[26]

The movement has grown globally in the arts. Afrofuturist Society was founded by curator Gia Hamilton in New Orleans. Artists like Demetrius Oliver from New York, Cyrus Kabiru from Nairobi, Lina Iris Viktor from Liberia, famed Nigerian American solar muralist, Shala.,[27][28] and Wanuri Kahiu of Kenya have all steeped their work in the cosmos or sci-fi.[29][30][31][32][33]

The creation of the term Afrofuturism in the 1990s was often primarily used to categorize "speculative fiction that treats African-American themes and addresses African-American concerns in the context of 20th-century technoculture,"[34] but was soon expanded to include artistic, scientific, and spiritual practices throughout the African diaspora. Contemporary practice retroactively identifies and documents historical instances of Afrofuturist practice and integrates them into the canon. For example, the Dark Matter anthologies edited by Sheree Thomas feature contemporary Black science fiction, discuss Ralph Ellison's Invisible Man in her introduction, "Looking for the Invisible," and also include older works by W. E. B. Du Bois, Charles W. Chesnutt, and George S. Schuyler.[35]

Lisa Yazsek argues that Ralph Ellison's 1952 novel, Invisible Man, should be thought of as a predecessor to Afrofuturist literature. Yaszek illustrates that Ellison draws upon Afrofuturist ideas that were not yet prevalent in African-American literature. Ellison critiques the traditional visions of black people's future in the United States, but does not provide readers a different future to imagine. Yaszek believes that Ellison does not offer any other futures so that the next generation of authors can. Invisible Man may not be Afrofuturist in the sense that it does not provide a better or even any future for black people in the United States, but it can be thought of as a call for people to start thinking and creating art with an Afrofuturist mindset. In this sense, Yaszek concludes that Ellison's novel is a canon in Afrofuturistic literature by serving as call for "this kind of future-historical art" to those who succeed him.[36]

A number of contemporary Black science fiction and speculative fiction authors have also been characterized as Afrofuturist or as employing Afrofuturist themes. Nnedi Okorafor has been labeled this way, both for her Hugo Award-winning Binti novella series,[37] and for her novel Who Fears Death.[14] Steven Barnes has been called an Afrofuturist author for his alternate-history novels Lion's Blood and Zulu Heart.[14] N.K. Jemisin, Nalo Hopkinson, and Colson Whitehead have also been referred to as Afrofuturist authors.[38] Octavia Butler's novels are often associated with Afrofuturism;[39] this association has been somewhat controversial, since Butler incorporates multi-ethnic and multi-species communities that insist on "hybridity beyond the point of discomfort".[40] However, the fourth book of the science fiction Patternist series, Wild Seed, particularly fits ideas of Afrofuturist thematic concerns, as the narrative of two immortal Africans Doro and Anyanwu features science fiction technologies and an alternate anti-colonialist history of seventeenth century America.[41]

In recent years, there have been many museum exhibitions displaying art with Afrofuturist themes.

The Studio Museum in Harlem held a major exhibit exploring Afrofuturistic aesthetics from November 14, 2013 to March 9, 2014. The exhibit, called The Shadows Took Shape, displayed more than sixty works of art that looked at recurring themes such as identity in relation to technology, time, and space within African-American communities. Artists featured in the exhibit included Derrick Adams, Laylah Ali and Khaled Hafez.[42]

As a part of the MOMA's PS1 festival, King Britt curated Moondance: A Night in the Afro Future in 2014. From noon to six p.m. on April 13, people could attend Moondance and listen to lectures, live music or watch dance performances in celebration of Afrofuturism in contemporary culture.[43]

Schomburg Center for Research in Black Culture held a seminal group show of Visual Afrofuturists focusing on unambiguous science fiction and fantasy based art. The show, titled 'Unveiling Visions: The Alchemy of the Black Imagination' ran from October 1, 2015 - January 16, 2016. The closing night coincided with the Schomburg Black Comic Book Day. Unveiling Visions was curated by artist John Jennings (Co-founder of artist duo, Black Kirby w/Professor Stacey Robinson) and Afrofuturist Scholar, Reynaldo Anderson (founder of The Black Speculative Arts Movement).[44] The show featured artists such as Tony Puryear, Sheeba Maya, Mshindo Kuumba, Eric Wilkerson, Manzel Bowman, Grey Williamson, Tim Fielder, Stacey Robinson, and Shawn Alleyne. Unveiling Visions liner notes state: "exhibition includes artifacts from the Schomburg collections that are connected to Afrofuturism, black speculative imagination and Diasporan cultural production. Offering a fresh perspective on the power of speculative imagination and the struggle for various freedoms of expression in popular culture, Unveiling Visions showcases illustrations and other graphics that highlight those popularly found in science fiction, magical realism and fantasy. Items on display include film posters, comics, T-shirts, magazines, CD covers, playbills, religious literature, and more. "[45]

In April 2016, Niama Safia Sandy curated an exhibit entitled "Black Magic: AfroPasts / Afrofutures" at the Corridor Gallery in Brooklyn, New York.[46] The multidisciplinary art exhibit looks at the relationship between magical realism and afrofuturism through the Black diaspora.[47] In a description of the collection, Sandy stated: "There's a lot of looking back and looking forward happening in this work... [and there's a lot of] celebrating those journeys whether they are intentional or forced journeys."[48]

The exhibition Afro-Tech and the Future of Re-Invention is running from October 21, 2017 until April 22, 2018[49] at Dortmunder U in Dortmund, Germany and "looks at speculative visions of the future and current developments in the field of digital technology by artists and inventors from Africa and the African diaspora...."[50]

The exhibition,'Black Metropolis: 30 Years of Afrofuturism, Comics, Music, Animation, Decapitated Chickens, Heroes, Villains and Negroes' is a one-man show focusing on the career of cartoonist and visual afrofuturist, Tim Fielder. "[51] The show, designed to travel over multiple gallery spaces, opened at New York Gallatin Galleries from May 23-May 30th, 2016. Presented by Keith Miller and Curated by Boston Fielder, the exhibit featured both published and unpublished work ranging from independent comics art for alternative magazine, Between C & D and mainstream comics work done for Marvel Comics. Black Metropolis, revived at The Hammonds House Museum in Atlanta, GA for the museum's 30th Anniversary October 12-November 25, 2018 "[52]

Jared Richardson's Attack of the Boogeywoman: Visualizing Black Women's Grotesquerie in Afrofuturism[53] assesses how the aesthetic functions as a space for black women to engage with the intersection of topics such as race, gender, and sexuality. The representation and treatment of black female bodies is deconstructed by Afrofuturist contemporaries and amplified to alien and gruesome dimensions by artists such as Wangechi Mutu and Shoshanna Weinberger.

Beyonc's 2016 short film Lemonade included feminist afrofuturism in its concept. The film featured Ibeyi, Laolu Senbanjo, Amandla Stenberg, Quvenzhan Wallis, YouTube singing stars Chloe x Halle, Zendaya, 2015 Sports Illustrated Sportsperson of the Year Serena Williams,[54] and the sophisticated womanist poetry of Somali-British writerWarsan Shire.[55] The through-line is the empowerment of black women referencing both marital relationships and the historical trauma from the enslavement of African-Americans from 16191865,[not in citation given] through Reconstruction and Jim Crow (18701965). The mothers of Trayvon Martin (Sybrina Fulton), Michael Brown (Lesley McFadden), Eric Garner (Gwen Carr) are featured holding pictures of their deceased sons in homage to the importance of their lives.[56] The novel Kindred by Octavia Butler also explores the empowerment of women though the story of her protagonist Dana. The book explores the idea of autonomy and having control over one's life/destiny. Through the exploration of women's power in the time of slavery to the more current time, Butler is able to demonstrate the endurance of women through the harsh social factors.

In the Afro-Surreal Manifesto, Afro-Surrealism is juxtaposed with European surrealism, with European surrealism being empirical. It is consistent with the New Black Aesthetic in that the art seeks to disturb. It samples from old art pieces updating them with current images. This technique calls to the forefront those past images and the sentiments, memories, or ideas around them and combines them with new images in a way that those of the current generation can still identify. Both seek to disturb, but there is more of a "mutant" psychology that is going on. Afro-Futuristic artists seek to propose a deviant beauty, a beauty in which disembodiment is both inhumane, yet distinct; Afro-Futuristic artists speculate on the future, where Afro-Surrealism is about the present.[57]

Afrofuturism takes representations of the lived realities of black people in the past and present, and reexamines the narratives to attempt to build new truths outside of the dominant cultural narrative. By analyzing the ways in which alienation has occurred, Afrofuturism works to connect the African diaspora with its histories and knowledge of racialized bodies. Space and aliens function as key products of the science fiction elements; black people are envisioned to have been the first aliens by way of the Middle Passage. Their alien status connotes being in a foreign land with no history, but as also being disconnected from the past via the traditions of slavery where slaves were made to renounce their ties to Africa in service of their slave master.[58]

Kodwo Eshun locates the first alienation within the context of the Middle Passage. He writes that Afrofuturist texts work to reimagine slavery and alienation by using "extraterrestriality as a hyperbolic trope to explore the historical terms, the everyday implications of forcibly imposed dislocation, and the constitution of Black Atlantic subjectivities". This location of dystopian futures and present realities places science fiction and novels built around dystopian societies directly in the tradition of black realities.[59]

In Afrofuturism, water in many different works symbolizes both erasure and the existence of black life. These dual meanings while seemingly contradictory actually play off and inform each other. For instance, the middle passage can be considered where the first erasure happened of African- American history. There are no stories that survived that passage. As Ruth Mayer states, in the United States, "black history is both there and not there, evident in countless traces, scars, and memories, yet largely submerged when it comes to written accounts and first person documentations of the past from the viewpoint of the victims."[58] Yet, it is through this erasure that Afrofuturism is able to craft histories. These histories live both in fact and in fiction, as the true history was lost in the waters of the Atlantic. Water erased the history, but it also allowed for the creation of a new history.

This is where Afrofuturism comes into play. To have a future, one's past must be defined. However, for African Americans, though their "history" has been drowned, Afrofuturism resuscitates this history. By its creation, it creates new possibilities for the future. In Carrie Mae Weems' triptych Untitled (Ebo Landing), the Afrofuturism piece crafts a space with two pictures that could be both African and America with its depiction of lush greenery. In this way, the piece highlights how the original space of water has given way in which Afrofuturism can imagine a past or future that lives in the space of truth and fiction, the Schrdinger's cat of African American past.

Another example of an Afrofuturist work that deals specifically with the theme of water is 2009 film Pumzi, which depicts an enclosed society in which water is utterly scarce and totally conserved. The film's ambiguous ending leaves viewers wondering whether there was a neighboring society with access to water the whole time, or if the main character has died a heroine by planting a tree that will eventually bloom into a whole forest.

Ostensibly, Afrofuturism has to do with reclaiming the lost identities or lost perspectives that have been subverted or overlooked. When Mark Dery first coined the term, he says Afrofuturism as "giving rise to a troubling antinomy". This means that the seeming contradiction of a past being snuffed out and the writing of a future sees its possibilities in Afrofuturism. Furthermore, this Afrofuturism kind of story telling is not regulated to one aspect of communication. It is in novels and essays, academic writings and in music, but by its creation, it is ultimately reclaiming some type of autonomy over one's story that has historically been restricted.

Therefore, when Afrofuturism manifests itself in the music of the 80's and beyond, it is under the Afrofuturist's sensibility. It is in this way that, as Mark Dery says, "African-American culture is Afrofuturist at its heart". Because the ancestors of African Americans were forcibly removed from their history, any culture that has found its way into the Black lexicon is at its roots an Afrofuturist notion. It is at its heart reclaiming a past erased and creating a future based on that reimagined past.

Afrofuturism 2.0 was coined during an exchange between Alondra Nelson and Reynaldo Anderson at the Alien Bodies conference in 2013; where Anderson noted that the previous definition was insufficient due to the rise of social media and new technology. Following the publication of the co-edited volume Afrofuturism 2.0: The Rise of Astro-Blackness, in the late 2010s, the Black Speculative Arts Movement, a traveling art, comic, and film convention, released a manifesto called Afrofuturism 2.0 and the Black Speculative Arts Movement: Notes on a Manifesto.[60] The manifesto was written by Reynaldo Anderson at Harris-Stowe State University as an attempt to redefine and refit Afrofuturism for the 21st century. The 2.0 volume and the manifesto defines Afrofuturism 2.0 as "The early twenty-first century technogenesis of Black identity reflecting counter histories, hacking and or appropriating the influence of network software, database logic, cultural analytics, deep remixability, neurosciences, enhancement and augmentation, gender fluidity, posthuman possibility, the speculative sphere with transdisciplinary applications and has grown into an important Diasporic techno-cultural Pan African movement".[60] Afrofuturism 2.0 is characterized by five dimensions to include metaphysics, aesthetics, theoretical and applied science, social sciences and programmatic spaces; and in the twenty-first century is no longer bound to its original definition, as a term once dealing with cultural aesthetics and the digital divide, but has been broaden to be known also as a philosophy of science, metaphysics and geopolitics.[61]

In this manifesto, Anderson acknowledges and accounts for the changes in technology, social movements, and even philosophical changes in modern society while also speculating as to how the Afrofuturist narrative will be changed because of it. This is particularly in regards to the rise and boom of social media platforms.

In conjunction with this, Los Angeles-based artist Martine Syms penned an online article in 2013 called The Mundane Afrofuturist Manifesto that is composed of a list of tenets that, supposedly, all Mundane Afrofuturists recognize. Though the article is in part parodic and sarcastic, it aims to identify and make light of overused tropes within Afrofuturist works like "magical Negroes" or "references to Sun Ra". Through this identification of "overused tropes" and a later definition of rules to actually subvert these tropes entitled "The Mundane Afrofuturist promise",[62] Syms requests a new, updated vision for Afrofuturist works, which falls in line with the framework of Afrofuturism 2.0.

This list is in alphabetical order, by genre then by last name or by the first letter of a band/group name.

Read more from the original source:
Afrofuturism - Wikipedia

Recommendation and review posted by G. Smith


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