Combined Academic Publishers

Black and Blur

9780822370062: Hardback
Release Date: 8th December 2017

9780822370161: Paperback
Release Date: 8th December 2017

Dimensions: 152 x 229

Number of Pages: 360

Series consent not to be a single being

Duke University Press Books

Black and Blur

In Black and Blur—the first volume in his consent not to be a single being trilogy—Fred Moten engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life, exploring a wide range of thinkers, musicians, and artists.
Hardback / £76.00
Paperback / £20.99

"Taken as a trilogy, consent not to be a single being is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis."—Brent Hayes Edwards, author of Epistrophies: Jazz and the Literary Imagination

In Black and Blur—the first volume in his sublime and compelling trilogy consent not to be a single being—Fred Moten engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life. In these interrelated essays, Moten attends to entanglement, the blurring of borders, and other practices that trouble notions of self-determination and sovereignty within political and aesthetic realms. Black and Blur is marked by unlikely juxtapositions: Althusser informs analyses of rappers Pras and Ol' Dirty Bastard; Shakespeare encounters Stokely Carmichael; thinkers like Kant, Adorno, and José Esteban Muñoz and artists and musicians including Thornton Dial and Cecil Taylor play off each other. Moten holds that blackness encompasses a range of social, aesthetic, and theoretical insurgencies that respond to a shared modernity founded upon the sociological catastrophe of the transatlantic slave trade and settler colonialism. In so doing, he unsettles normative ways of reading, hearing, and seeing, thereby reordering the senses to create new means of knowing.

Preface  vii
Acknowledgments  xv
1. Not In Between  1
2. Interpolation and Interpellation  28
3. Magic of Objects  34
4. Sonata Quasi Una Fantasia  40
5. Taste Dissonance Flavor Escape (Preface to a Solo by Miles Davis)  66
6. The New International of Rhythmic Feel/ings  86
7. The Phonographic Mise-en Scène  118
8. Line Notes for Lick Piece  134
9. Rough Americana  147
10. Nothing, Everything  152
11. Nowhere, Everywhere  158
12. Nobody, Everybody  168
13. Remind  170
14. Amuse-Bouche  174
15. Collective Head  184
16. Cornered, Taken, Made to Leave  198
17. Enjoy All Monsters  206
18. Some Extrasubtitles for Wildness  212
19. To Feel, to Feel More, to Feel More Than  215
20. Irruptions and Incoherences for Jimmie Durham  219
21. Black and Blue on White. In and And Space  226
22. Blue Vespers  230
23. The Blur and Breathe Books  245
24. Entanglement and Virtuosity  270
25. Bobby Lee's Hands  280
Notes  285
Works Cited  317
Index  329

Fred Moten is Professor of Performance Studies at New York University and the author of B Jenkins, also published by Duke University Press, In the Break: The Aesthetics of the Black Radical Tradition, and coauthor of The Undercommons: Fugitive Planning & Black Study.

"Simply put, Moten is offering up some of the most affecting, most useful, theoretical thinking that exists on the planet today.... Moten’s work makes the activities of reading and thinking feel palpably fresh, weird, and vital."

Maggie Nelson

"Some readers will come here because of The Feel Trio, because of The Undercommons. Some because Moten is the activists’ theorist, the contemporary art institution’s darling, because of performance studies, jazz studies, literature. Some readers will come here to encounter a brain that is at once more erudite, generous, capacious, fierce, jokey and infuriating than most others on the planet right now. Everybody ought to arrive here to be schooled and troubled, elated and confused, invited and indicted by a sparklingly original vision for black study."

Nabil Kashyap
Full Stop

"Through his writing and the ways he discusses it in warm, beckoning language that complements his conceptually intensive texts, Moten has become a siren of sorts for artists and curators who find in his words ideas to put into their own practice."

Andy Battaglia

"It's this spirit of the collective effort of study and exchange and resonance, the effort to keep the channels open and keep listening, that has made Moten (or, maybe, 'Moten/s') such a celebrated thinker. At the end of sentences like these, you want to say something like Amen."

Jess Row