Black Poseidon

An (Afro-) Body-Positive, Spectacularly, Publicly and Erotically Objectifying (in other words, a queer and eccentric) concern with visions, bodies, disciplines, technologies, practices, powers, punishments/pedagogies, politics (re)production(s), and relationships.


Whatcha wanna know?   Watcha need to post?
Reblogged from typeworship

typeworship:

Here Be Monsters

I noticed this wonderful Icelandic project of illustrated type inspired by medieval maps featuring fantastical sea creatures. 

Design by Reykjavík based Stella Björg, these decorated capitals remind me of the Victorian illustrations I’ve written about recently. I love that several of the creatures appear to be based on specific Icelandic mythical beasts, as named at the bottom of the print. I also really like the print colours and flecked paper that gives the final work its antique look.

My “Here Be Monsters” illustrated letters started from the simple idea of writing “MONSTER” but having finished it just didn’t seem like there was much left to complete the alphabet. I was in no hurry to complete it, so very slowly monstrous letters got added and finally there appeared a complete alphabet. - Stella Björg

(Source: behance.net, via evocarti)

Reblogged from photosdesex
underview:
photosdesex:

Hintern Bilder

underview:

photosdesex:

Hintern Bilder

(via nezua)

Reblogged from tylerknott
Can we stop waiting
for the life we want to live,
and live it instead?
Daily Haiku on Love by Tyler Knott Gregson (via tylerknott)

(via niicol)

Reblogged from babylonfalling
babylonfalling:

Yusef Lateef by Mati Klarwein.

babylonfalling:

Yusef Lateef by Mati Klarwein.

(via bonitappleblog)

Reblogged from michellekpoems
I treat myself like I would my daughter. I brush her hair, wash her laundry, tuck her in goodnight. Most importantly, I feed her. I do not punish her. I do not berate her, leave tears staining her face. I do not leave her alone. I know she deserves more.
I know I deserve more.
Michelle K., I Know I Deserve More (via erraticintrovert)

(Source: michellekpoems, via ephemeralia)

Reblogged from quotes-shape-us
Be nobody’s darling;
Be an outcast.
Take the contradictions
Of your life
And wrap around
You like a shawl,
To parry stones
To keep you warm.
Alice Walker (via quotes-shape-us)

(via ephemeralia)

Reblogged from nevver
Reblogged from gradientlair

Our politics initially sprang from the shared belief that Black women are inherently valuable, that our liberation is a necessity not as an adjunct to somebody else’s may because of our need as human persons for autonomy. This may seem so obvious as to sound simplistic, but it is apparent that no other ostensibly progressive movement has ever consIdered our specific oppression as a priority or worked seriously for the ending of that oppression. Merely naming the pejorative stereotypes attributed to Black women (e.g. mammy, matriarch, Sapphire, whore, bulldagger), let alone cataloguing the cruel, often murderous, treatment we receive, indicates how little value has been placed upon our lives during four centuries of bondage in the Western hemisphere. We realize that the only people who care enough about us to work consistently for our liberation are us. Our politics evolve from a healthy love for ourselves, our sisters and our community which allows us to continue our struggle and work.

This focusing upon our own oppression is embodied in the concept of identity politics. We believe that the most profound and potentially most radical politics come directly out of our own identity, as opposed to working to end somebody else’s oppression. In the case of Black women this is a particularly repugnant, dangerous, threatening, and therefore revolutionary concept because it is obvious from looking at all the political movements that have preceded us that anyone is more worthy of liberation than ourselves. We reject pedestals, queenhood, and walking ten paces behind. To be recognized as human, levelly human, is enough.

Combahee River Collective

Quote is from the 1977 Combahee River Collective Statement in the “What We Believe” section, created by a group of Black lesbians (primary authors were Demita Frazier, Beverly Smith, and Barbara Smith) who are Black feminists who gathered to share Black feminist thought, scholarship and ideas for organization beyond politics solely focused on gender, but one intersectional. This was even before said concept was fully developed over a decade later by Kimberlé Crenshaw, but in hindsight intersectionality as a concept can be seen as far back as Sojourner Truth or more recent that the latter with Alice Walker and womanism

CRC had seven retreats between 1974-1980 and disbanded in 1980. Their work has been critical to the shaping of modern Black feminism because of how not only racism and sexism were focuses but also fighting heterosexism/homophobia, classism, imperialism and more. 

This is really important because it’s one of those moments where Black women, specifically, not a generic “women” that means “White” or a generic “Black” that means “men,” but Black women, as our own identity was articulated in anti-oppression scholarship and with experiences particular to Black womanhood itself. Rejecting binaries and erasure. 

(via gradientlair)

(via geniuschild)

Reblogged from blackcontemporaryart

blackcontemporaryart:

Artist Rodney McMillan describes his connection to the world of blues through Parliament Funkadelic. This group created a political and analytical space he focused on, as well as instilling a different relationship to the blues than the typical. For Rodney the blues is a spiritual practice, which relates to the church he built for the Blues for Smoke Exhibition.” A church is anywhere you find solace, ” and the blues is his church. 

(via counterftnoire)

Reblogged from fer1972

fer1972:

Paintings by Igor Mudrov

Reblogged from redhotchilipeppersfansite
redhotchilipeppersfansite:

Just released from the archives of L.A. Photographer Ruben MacBlue: Anthony Kiedis and Fishbone’s Angelo Moore in 1984/1985.

redhotchilipeppersfansite:

Just released from the archives of L.A. Photographer Ruben MacBlue: Anthony Kiedis and Fishbone’s Angelo Moore in 1984/1985.

(via dusttracksonaroad)

Reblogged from thesmithian
Reblogged from itscarororo

itscarororo:

"I can’t recall the taste of food… nor the sound of water… nor the feel of grass.."

-Frodo “S.A.D.” Baggins

GPOY

(via kosdetermination)

Pleasurably Tight Couplings

Far from signaling a walling off of people from other living beings, cyborgs signal disturbingly and pleasurably tight couplings.
Haraway, Cyborg Manifesto

Reblogged from fromgreecetoanarchy

Street Art in Egypt

Street Art in Egypt

(Source: fromgreecetoanarchy, via amusedthings)