scratching history

One definition of “modernity” assumes that there is a linear movement to progress. Kodwo Eshun’s essay on “Afrofuturism” and Doug Pray’s documentary Scratch challenge this definition of “modernity” by appropriating “turntablism” as a way to disrupt its dominant, linear narrative of progress and history through vinyl records. Through a “scratch” turntablists--"human-machine interface" (Eshun 6)--disrupt the flow of music by disturbing the way a record is expected to spin, and interrupt how music is heard as it is inscribed onto the vinyl. Through this movement, they also control the linear progression of time by moving the vinyl back and forth to create a disruptive noise. A “scratch” creates a new genre of music and lifestyle that embodies a new element of African American identity that is empowering because it is an: "[assembly] of countermemories that contest the colonial archive, thereby situating the collective trauma of slavery as the founding moment of modernity" (Eshun 1).

While a vinyl record is dependent on “memories” of notes that is inscribed onto its surface, a “scratch” counters this history of notes by interruption, and by prohibiting it from being reiterated. It is important to recognize this disruption because it is done purposely and without hesitation as a chance to enable oneself to participate in other forms of expression and memories. Turntablists “scratch” because it is an empowering action that encourages the idea that a person can control and manipulate concepts, time, and space with their hands. For example, in Scratch, QBert reflects on DJ sessions with Mix Master Mike when they call and respond to each other using a "scratch," beats, and ensembles on turntables.

A scratch

[creates] temporal complications and anachronistic episodes that disturb the linear time of progress, [by] adjusting the temporal logics that condemned black subjects to prehistory (Eshun 7).

By complicating the logic of “prehistoric black subjects,” turntablists reinforce Eshun’s Afrofuturism by creating sounds that are “ahead of their time” (Scratch). They are forging temporal spaces for identities that have been marred and displaced through “imperial racism” (Eshun 1). The logic of “imperial racism” suggests a single strand of narrative from the perspective of the imperialist: that black subjects were uncivilized and thus treated as less-than-human. Turntablism complicates this “imperial” progress as it is written, by admonishing history as a single genre of music. Turntablists "sample" from different genres within different time periods such as jazz, classical, country, rhythm and blues, electronica, etc. This combination of genres refutes the dominant strand of perspective because it presents alternate histories that complicate, reinforce, or reiterate a hierarchy implicated by imperialism. Turntablism risks the destruction of old vinyl records of history by "scratching" them. If vinyl records represent a fabricated time line based on history, then turntablists are also "revisionists" (Eshun 6) that revise and create new visions of a future that is about to be heard.

first post.

This blog is for English 349: Reading Contemporary Afrofuturisms taught by Lysa Rivera on the UW-Seattle campus. It will host to my personal & academic analysis of various texts and films that we view in class.

I have no personal attachment to the genre of science fiction though I've had plenty of exposures to it with films, such as Back to the Future, Star Wars, etc. But I plan to come into it with an open mind as the class pertains to African American science fiction. In any case, I look forward to interesting reads throughout the quarter!