Valuatively, each leg of this project and each one of their sub-projects are of a speculative nature.
The Black Hydra Initiative Reparations Crowdfund, the Love Story 4 EP, Ally Theatre and its Banana Island and Barcode Nudes sub-projects: in the end they’re valuatively hollow, and worth only as much as we attribute towards them. Whilst we cannot ever place a fixed dollar amount upon the genealogical, economic, spiritual, emotional, and material turmoils that have been suffered by descendants of the transatlantic slave trade at large, we can direct compensatory supports to ensure that as many people as possible have both the material and immaterial resources to safeguard themselves and to attempt continued healing while dealing with a landscape that is becoming increasingly hostile and ripe for crisis. Black Hydra Initiative erects spaces for this. If there were any kind of active inquiry here, that is where it would lie: in how much value are you willing to attribute, able to attribute towards a motion like this? How much weight can you allow it to carry? How much can you value the information formed in return? What kinds of actions must I perform in order to append salience to these efforts? Moving through an age where people have access to the same kinds of information that I have, why must I expend effort and labor by resorting to sales speak? What is in the way here? Why can I see it but you’re having problems here? Why, when I do it, does it look like I am asking for an undue handout? Do you have the capacity to value what I have to offer to you? How can we move forward if we have what we need?
Can we use this space to verify these things?

 

It wasn’t even attractive. It was just more of a matter of necessity given the kind of relationship to commodity that Black people have, that I have. Our cyborgicity and our connection to the market does not ever disappear, it won’t ever erase. It’s not ever going to go away. It is important to recognize that most of american media originates distinctly from artifacts of Black American cultural production. Appropriations of the performative forms we have created profligate throughout global markets and because of that specifically, it only felt right to frame this entire thing and every connection that I have through this project as an act of performance.
A subject’s status as an eco-economic cyborg confers major consequences for their connection to the market, making them particularly sensitive to flux in market-stock distribution pressures. There’s a very distinct sense of insularity that comes from being subjected to these pressures—I know it because I live in it, and I know others who live with it. These pressures affect subject’s behavior from within intrasysteme, then evolve into outer-facing causal reverberations.

Earlier on in this project a reparative aim was to work towards giving those of us who are hegemonically dispossessed greater access to the tools through which to heal and generate compensation for ourselves. But, I’ve found that this doesn’t address the core ambition of the work. The core ambition, and highest vision, for this work is to erect infrastructural architectures for the aversion of antagonistically inflicted violence, whether that antagonist is the state or conglomerates of non-state actors, as they will increasingly be in the future. So if you think, as a participant, that any of these matter surrounding healing, safeguard, and recompense are
important, and if you have the means, you are encouraged to participate.