 
Fred Moten – Reading
Fred Moten
African American history, avant-garde jazz riffs and activism intertwine in experimental verse of extraordinary and affecting beauty that has to be heard.
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African American history, avant-garde jazz riffs and activism intertwine in experimental verse of extraordinary and affecting beauty that has to be heard.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?
 
Final workshop exploring work, care and class. Does the ‘care industry’ summon forth its own class? Can this ‘affective class’, in their ability to care for others, militate against the carelessness of self-interest?
 
Listening to people listening to their own homes. Musicians and actors will listen back to recordings made in local peoples homes on headphones, and interpret/ translate what they are hearing.
 
Transfeminist, communist, revolutionary poetry that refuses to flinch. Nat Raha presents new work in the nine.
 
A fully transcribed, described, and open-captioned film screening that’s nothing short of their actual open heart.
 
In the Foyer at the Tramway we will screen a documentary from the Sex Workers’ Festival of Resistance 2017 and La Llamada by Eduardo Restrepo Castaño.
 
A programme looking at landscape, filmic or architectural spaces and at how the fixed stare of a camera frame only captures so much reality; here we focus on how filmmakers structure our relationship with that reality and at how they relate it to or interpret it through sound.
 
Somewhere between performance, stripped down theatre and an intense kind of public learning or maybe even a public hearing.
 
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video
 
How black radical practices of abolition imagine a way out of the caging and mass killing of life.
 
John Mullarkey sets in a wider context our understanding of Alain Badiou and Francois Laruelle, two of the most radical philosophers in Europe today.