When the brother gave the call, did you hear? We did. more...
Truth be told, not all
muses are created equal. The artist is only as strong
as his or her inspiration, imagination, and courage.
And under the watchful eyes of the
BSFGK or Black Speculative
Fiction Gate Keepers, the Black artistic community
labors under a kind of artificially induced
self-policing. As such, they have willingly
externalized their creation-engine/power.
The External Based Black Artist seeks to placate the industry, never challenging the status-quo, in essence, becoming at least an Agent, and perhaps as it relates to this series of articles, a fully realized Black Speculative Fiction Gate Keeper. Their journey is steeped in fear and the perpetual seeking of acceptance from the colonizers of imagination. Money, fame, and the preverbal pat-on-the-head, is the ultimate goal for the external based black artist.
The Internal Based Black Creator is one who builds from an authoritative non-apologetic spark of creativity and empowerment. The Internal Based Black Creator acts from a position of strength and authenticity, using his/her voice, words, images, and music, to speak truth to power. The Internal Based Black Creator feels compelled to at least suggest to the observer-experiencer, that there is always a higher frequency of black expression. Ever-Becoming, is the ultimate goal for the Internal Based Black Creator.
The Internal Based Black Creator or IBBC, is viewed by the neutralized masses as a pariah ... a spoiler. The IBBC is usually an independent voice, while The Black Speculative Fiction Gate Keeper or BSFGK, is generally a cog in one of the nine categories of White Supremacy - entertainment. The BSFGK is a straw-man ... a tool used to project the illusion of diversity in the western arts propaganda machine. The relationship between the IBBC and the BSFGK is tenuous at best. They operate from two extremes; one seeking to codify the whims of those other than themselves, while the other strives to generate better-human-sights-and sounds. I leave it up to the reader to discover which is which.
The Agent is another thing all together. Agents have no real power and are a general nuisance to the IBBC. They behave plague-like, spreading disinformation and disunity like flies on the Serengeti. In todays world, their field of operation is the electronic media. Name calling, slander, fear mongering, back-stabbing, and distraction, are their weapons. Agents offer first layer attacks but are easily dispatched by the hardened IBBC. The purpose of the Agent as it relates to the Internal Based Black Creator, is to waste the later’s creative vitality.
If this copy reads like a
speculative fiction piece, it is ... and it isn’t.
This series of articles is an experiment using real
life experience, constructs of history, culture, and
social concepts, molded into heroes and villains.
Stick around, more to come.
This article is © - August/2014 Daathrekh Publishing
Peep the bottom!
Black folks are simply going to have to support each other/our own endeavors. The tools to create an economic base are all around us.
A year ago I wrote and posted an article. It is still relevant today. Sad but true. As promised, I am writing more articles dealing with IBBCs, BSFGKs, and Agents... I know, sounds like something out of a science fiction movie. That's the whole point. Anyway, I'll post it next month.
Until then, see the following!
Power is the ability to define a thing, and have people respond to that definition as if it were their own –
Dr. Wade Nobles
African American Science Fiction is an umbrella term used to describe a genre that is usually created by people of African descent, and for which the content normally features black people as central to the body of work. Black speculative fiction is often thought of as African Centered in scope, but generally, it isn't. That is to say, the cultural and social identity of the world is usually Eurocentric in reflection, though it may take place on Martin Luther King Blvd, or 125th street.
For a piece to be truly Black Science Fiction, it’s Asili *, should be Black in its major expression(s). What does this mean?
The language, the worldview, the spiritual cultivation system, and the daily struggle, must all converge to produce; speculatively speaking, an authentic and unapologetic Black: spiritual, mental, and physical presence.
One may bring forth a story where the character(s) are white, but the piece may still be considered Black Science Fiction, because the culture used by the character(s), the language spoken by the character(s), the religion or spiritual system important to the character(s), springs from and moves to, express and continue, a Black world theme.
Conversely, a piece may be replete with Black folks, with an agenda seemingly for the benefit of Blacks, but the cultural practices, the language spoken, the ideas that are deemed sacred and important, are in fact European or Asian in origin, and hence the body of work cannot be viewed as Black Science Fiction. It is simply fiction with Black people in it. I use Black as a template for discussion. The term is meant as a symbol or an ideal of undiluted black speculative-purpose, stemming from an internal based paradigm.
Why is this important?
For the artist, the imagination is the most important, powerful, and impactful tool of human possibility. And as Black creators, we must be ever vigilant in preventing the externalization of our inner vision/future/power – imagination.
Enter the Black Speculative Fiction Gate Keepers. The BSFGK. lol. They are those who operate out of a fear-based trauma, triggered by - blackness - as it relates to people places or things. The BSFGK, are men and women for whom through socialization, past experiences; real and imagined, and a sub-conscious acceptance of white superiority, move and act in ways to externalize their imagination, power, and possibility.
Black Speculative Fiction gate Keepers, view all internal-based-Black-creator-themes, as inherently evil and completely inferior to white control-imagination-motifs. Consequently, they unwittingly; or maybe not, destroy Black Speculative Fiction from within, by the unconditional externalization of the primary catalyst of human potential as it relates to dream-to-reality endeavors – creativity.
The BSFGK are living tools used by those; whom ever or what ever they maybe, to push for the externalization of inner-power; in this instance, as it relates to creativity and imagination, in efforts to control the image-possibility-constructs, used by people of African descent.
So watch. In the coming days, months, and years, and in response to the emergence of Internal-Based-Black-Creator-Themes, the BSFGK will move in predictable ways. Like imagination zombies, they will strive to marginalize, castigate, and objectify, those who create from an internal and original source.
The BSFGK Manifesto
1. Compare internal-based-Black-creator speculative fiction with external-based speculative fiction, as if the latter is the only yardstick of imagination, creativity and success.
2. Ignore the material head start enjoyed by the practitioners of external-based imagination-motifs, while ridiculing the independent steps as taken by internal-based-Black-creators.
3. Objectify and vilify all non-external-based speculative fiction through fear based trauma, trigger words, and spookism.
4. Use their Black skin as a galvanizing call to a pseudo universal theme fed on the, “just so happen to be black,” bait-and-switch, externalized imagination hoodwink protocols, sprinkled with claptrap, blackface creation fodder.
5. Tricking off their power by failing to overstand that external-based creative themes = weaves, blue contacts, etc.
6. Distract, misdirect, huff and puff, name call, snitch, while singing the praises of external based creator themed projects, all in hopes of securing a marginal position of power and trust within a speculative fiction boundary of imagination colonization.
Pay attention. Study even when you are on vacation. Escapism is temporary, mental freedom, is forever.
Asili * see _ Yorugu_ by Dr. Marimba Ani
This article is © - July/2013
... that after a year of getting a ton of work done in Cheetah 3D, that I would be finally committed to said 3D app, and busy building my assets for the NETERS™ mythos. Well, I have been busy. And I have been building, but I've also been learning Blender 3D too.
Blender offers all of the power found in the high end 3D applications. Plus it's free. I'm almost done with a 10 hour introduction series for Blender. This program is amazing; especially once you get used to it.
Blender seems to be the future, but Cheetah 3D is not far behind. After completing the 10 hour course, and knocking out a few online tutorials, I can make an honest evaluation of Blender. So far, I can do everything in Blender that I can do in Cheetah 3D, plus I'm able to get the kinds of renders I want in Blender; without having to jump to Carrara 3D for it's very capable toon/outline rendering. But for the rendering features/options, I would probably have just continued on with Cheetah 3D. It still has the cleanest interface of all 3D apps.
As it stands, Cheetah 3D has the best gui, and it's very intuitive and easy to learn. The render engine is out of date, very few tutorials, and it's a one person show (one man development team).
Blender has a ton of tutorials online; free. It's on par in a lot of ways with the big boys: Maya, 3D Max; Cinema 4D. The gui takes some getting used to. Redundant work flow.
Had an interesting conversation with an indy creator that I met on one of the old comic book forums 10 years ago. He was telling me how the title of his comic is being used by a mainstream mega star, and how he is pissed. Says he is pretty much at a loss at what to do.
When I asked if he trademarked or owns the copyrights to his title, he said he has the copyrights only. I'm no attorney, but it's for situations like the above, why I did both. I've got the copyrights to Neters, as well as the trademark to the term or name; as it relates to: comics, graphic novels, books, magazines, etc.
In this day and age, we can't afford to be lazy. I've seen way to many indy artists with the trademark symbol on their work(s), and when I asked if they own the mark, they say no.
Don't fake the funk. Get your "rights" and "marks" for real!
So I captured this post from the Animation Master forum. There will be a version 18 for the mac, but after that, it looks pretty grim. So I made the right decision in leaving AM. Still a great program, but the writing was on the wall; especially when I was told that there were no plans for a 64bit version for the Mac on the horizon.
Animation Master had ONE person working-coding-updating the software. ONE person. So even though the PC folks are 'safe', what happens if this one guy decides to up and stop coding? Or what if he gets hit by a bus? I ask this question, because one of the two software applications I am currently learning, is Cheetah 3D (see below). It is Mac only. It works great. It has NEVER crashed on me. But ... I'm pretty sure I've read that there is only one developer coding. Interestingly, his name is Martin. He is the creator of this great app.
So ... what to do...
Blender 3D is looking real good right about now.
Over a year ago, I was convinced that Animation Master was the way to go. I was going to build all characters from the NETERS project; using AM, from the ground up. Needless to say, I've moved on. Not because the software is not capable, but because I am preparing to get a new Mac.
So what does a new Mac have to do with AM? AM on the Mac is 32 bit. My current machine is 32 bit. A 32 bit Mac hasn't shipped new, in nearly 7 years. My current machine is a beast, but it pales in comparison to the newer Macs on the scene today. Once I upgrade, I'll still be able to use AM, but I will not be able to take advantage of the power of the 64 bit machine.
So I decided a few months back, that I would start learning another 3D program. Enter Cheetah 3D.
Cheetah 3D offers power and simplicity. Simplicity does not translate into lack of features. This prog has a ton of features, but you won't drown in a sea of buttons and menus. So I've gotten some things done for my premiere Speculative Fiction piece - NETERS™
Between building Boars (above), and cool vehicles, I've grown to really dig this application. So just when I've decided to focus on using Cheetah 3D exclusively; there is a 64 bit version AND it's Mac only, I get a serious itch to at least learn the basics of Blender 3D. read more
Blender might be where I ultimately end up. It has great power under the hood. It renders the way I want it to, it has sculpting tools, and it's free. It just seems like it's going to be the tool of the future. BUT ... many many menus and buttons. Getting around takes some getting used to, but there are so many tutorials online, that there simply isn't any excuse not to give Blender 3D a go.
Cheetah 3D is still at the top of the heap, but Blender aint bad. I should know which application will sit in the captains chair in a month. If only they offered spline modeling like AM does...
The Wonderers are men and women who seemly do not hold the perceived acceptance, status, and power of the Black Speculative Fiction Gate Keepers. They do however share in their distain for internal based Black creation motifs and concepts. The Wonderers generally hover around Black creative people; forums, chat rooms, social sites of all kinds, yet proudly proclaim the superiority of the all inclusive; racially speaking, economic advantages of making a living as an external based Black Artist. It would appear that the Wonderers are Black Speculative Fiction Gate Keepers in the making. They are not.
The Wonderers are spoilers who feverishly extol the positive experiences they’ve enjoyed with non-Black artists and creators. They do so, while condemning and showcasing the negative history they’ve faced when participating in creative projects with Black people. Wonderers are agents. Wonderers are nomads.
The Wonderers’ as agent is a compelling phenomenon. They actively seek out Internal Based Black Creators; their works and conversations, in hopes to castigate, misdirect, and chastise. They work hard at painting the Internal-Based-Black-Creator as narrow minded, limited in scope and success, and as reverse racists. They never miss an opportunity at showing and proving how following the yellow-brick-road of mainstream thought, is vastly superior to any and all things perceived as militant – read: unapologetically Black creatively. The Wonderer as agent acts as a kind of auto-drone within mostly Black creative gatherings. Wonderers are artistic overseers who would rather be rubbing elbows with those who actually have no respect or place for them.
The Wonderer as nomad is tragic. They recognize that they are unwanted pests in non-Black artsy circles, so they are forced to go slumming in Black-creator-communities. They feel superior to other Blacks; believing they posses higher knowledge and wisdom as bestowed upon them by their white masters. The Wonderers' as artists are creatively dead. Their work is rejected by the non-Black community for it’s unoriginal mimic laden content, and often passed over by the Black community by-in-large, for its gutted and soulless expression.
The Wonderers are cousin to the Black Speculative Fiction Gate Keepers. They posses different anti-black rhetoric/technique, yet share in their aversion for Internal-Based-Black-Creator-Themes. Unlike Black Speculative Fiction Gate Keepers however, the Wonderers are nomadic agents who specifically seek out Independent Black Creative Communities to destroy them; where as the BSFGK* want nothing to do with non-conforming Black artists.
The Internal-Based-Black-Creator faces a myriad of challenges. The powerful imagery and frequencies molded by these men and women are in direct conflict with the core tenants of White Supremacy. Unfortunately the minions of the Eurocentric Hive Mind Construct are legion and they stand ever vigilant to protect their conscious stifling masters.
* Black Speculative Fiction Gate Keepers
This article is © - October/2013
(unedited) - From the upcoming book – The Agent in You
Blender is a great program, but it's redundant at times. I mean there are at least 4 separated places to rotate, scale, and move objects in the GUI. Makes no sense to have to go through so many screens and press so many buttons to get things done.
I told myself that I would give this application a good go before settling in on one main program. It's got power. It belongs in the conversation with Lightwave, Cinema 4D, XSI, 3D Max, and dare I say it ... Maya. Bunch of stuff under the hood for sure.
I do appreciate that Blender has a ton of features, is always being updated and developed, plus it's easy to find tutorials on the program. Youtube alone has so many how-to's, it's a wonder people ever buy books or tuts from the various Blender-centric sites.
I'm still in the learning phase, but I am getting faster. Currently using the Blender 2.6+ Essentials training course. Seven plus hours of video covering everything from basic navigation, to modeling and rigging ... all for free!
As it now stands, I no longer get a headache when launching the program - with its galaxy of buttons and screens. lol