For a recent text brimming with theoretical insights regarding the poetics and politics of Glissant’s writing on opacity and relation, see Kara Keeling, Queer Times, Black Futures (New York: NYU Press, 2019). As a compelling example of the former tendency, see Zach Blas, “Informatic Opacity,” Journal of Aesthetics & Protest 9 (November 2013): 1-14. Like any proposition to cleave nature from culture, this division is untenable, all the more so in this late stage of what Françoise Vergès has labeled the Racial Capitalocene. Photographic theorist Ariella Aïsha Azoulay invites us to return to a moment before original imperial violence occurred and set to work from there.
A distinction is often made between the natural and the cultural commons: water, air, and earth on one side, and images, texts, artworks, artifacts-everything that can be digitized and museumified-on the other. Potential History: Unlearning Imperialism is a call to de-imperialise museums, archives and the discipline of history itself. She is the author of Potential History: Unlearning Imperialism Am Deelle Lski and Horizontal Photography and Civil Imagination: The Political Ontology.
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