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  • 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
  • "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."


  • "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."

  • "In this profound work, Fred Moten makes a sustained and thrilling attempt to think philosophy and music together, which is also to think philosophy as music, which is also necessarily to think music as philosophy. In its capaciousness and in its persistent, challenging, dazzling intelligence, Black and Blur is a book that is worthy of the reputation and influence of its author. Its publication is a major event." — Brent Hayes Edwards, author of, Epistrophies: Jazz and the Literary Imagination

    "Poetry and philosophy can't convincingly be condensed or speeded up. To feel each fully they must be read and sounded in time. Such is the case with Fred Moten's words. Black and Blur allows and opens this feeling-mind-sense-body splitting possibility, in its stunning and generative appositionality of aesthetics and life. An intertwined, journeying flight, examining and composing variegations distinctly, yet together placed to read and imbibe. Beautiful, sobering, intricately pleasurable, delicious, and necessary as a way to now begin again delving into the specific immense variegated borderless blur of black that is profound, wide, and bittersweet." — RenĂ©e Green, artist, filmmaker, and author of, Other Planes of There

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  • Description

    "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.

    About The Author(s)

    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.
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