Afrofuturism relies on a grammar of futurity which assumes a chronopolitical landscape in which blackness has agency. This naïve simulation allows whiteness to predetermine and maintain predictable market futures.
The future is pre-determined by Capitalism’s drive to create predictable markets. Afrofuturism engages in product placement through a non-neutral science fiction which creates self-fulfilling demand for new technologies.
Eshun 2003 (Kodwo Eshun, Writer/Filmaker, MA in English, “Further Considerations on Afrofuturism” pubished in The New Centennial Review http://muse.jhu.edu.go.libproxy.wakehealth.edu/journals/new_centennial_review/v003/3.2eshun.html)
For African artists, there were good reasons for disenchantment with futurism. When Nkrumah was deposed in Ghana in 1966, it signalled the collapse of the first attempt to build the USAF. The combination of colonial revenge and popular discontent created sustained hostility towards the planned utopias of African socialism. For the rest of the century, African intellectuals adopted variations of the position that Homi Bhabha (1992) [End Page 288] termed "melancholia in revolt." This fatigue with futurity carried through to Black Atlantic cultural activists, who, little by little, ceased to participate in the process of building futures. Imagine the archaeologists as they use their emulators to scroll through the fragile files. In their time, it is a commonplace that the future is a chronopolitical terrain, a terrain as hostile and as treacherous as the past. As the archaeologists patiently sift the twenty-first-century archives, they are amazed by the impact this realization had on these forgotten beings. They are touched by the seriousness of those founding mothers and fathers of Afrofuturism, by the responsibility they showed towards the not-yet, towards becoming.Control through PredictionFast forward to the early twenty-first century. A cultural moment when digitopian futures are routinely invoked to hide the present in all its unhappiness. In this context, inquiry into production of futures becomes fundamental, rather than trivial. The field of Afrofuturism does not seek to deny the tradition of countermemory. Rather, it aims to extend that tradition by reorienting the intercultural vectors of Black Atlantic temporality towards the proleptic as much as the retrospective. It is clear that power now operates predictively as much as retrospectively. Capital continues to function through the dissimulation of the imperial archive, as it has done throughout the last century. Today, however, power also functions through the envisioning, management, and delivery of reliable futures. In the colonial era of the early to middle twentieth century, avant-gardists from Walter Benjamin to Frantz Fanon revolted in the name of the future against a power structure that relied on control and representation of the historical archive. Today, the situation is reversed. The powerful employ futurists and draw power from the futures they endorse, thereby condemning the disempowered to live in the past. The present moment is stretching, slipping for some into yesterday, reaching for others into tomorrow. [End Page 289]SF Capital Power now deploys a mode the critic Mark Fisher (2000) calls SF (science fiction) capital.SF capital is the synergy, the positive feedback between future-oriented media and capital. The alliance between cybernetic futurism and "New Economy" theories argues that information is a direct generator of economic value. Information about the future therefore circulates as an increasingly important commodity. It exists in mathematical formalizations such as computer simulations, economic projections, weather reports, futures trading, think-tank reports, consultancy papers—and through informal descriptions such as science-fiction cinema, science-fiction novels, sonic fictions, religious prophecy, and venture capital. Bridging the two are formal-informal hybrids, such as the global scenarios of the professional market futurist. Looking back at the media generated by the computer boom of the 1990s, it is clear that the effect of the futures industry—defined here as the intersecting industries of technoscience, fictional media, technological projection, and market prediction—has been to fuel the desire for a technology boom. Given this context, it would be naïve to understand science fiction, located within the expanded field of the futures industry, as merely prediction into the far future, or as a utopian project for imagining alternative social realities. Science fiction might better be understood, in Samuel R. Delany's statement, as offering "a significant distortion of the present" (Last Angel of History 1995). To be more precise, science fiction is neither forward-looking nor utopian. Rather, in William Gibson's phrase, science fiction is a means through which to preprogram the present (cited in Eshun 1998). Looking back at the genre, it becomes apparent that science fiction was never concerned with the future, but rather with engineering feedback between its preferred future and its becoming present. Hollywood's 1990s love for sci-tech fictions, from The Truman Show to The Matrix, from Men in Black to Minority Report,can therefore be seen as product-placed visions of the reality-producing power of computer networks, which in turn contribute to an explosion in the technologies they hymn. As New Economy ideas take hold, virtual futures generate capital. A subtle oscillation between prediction and control is being engineered in[End Page 290]which successful or powerful descriptions of the future have an increasing ability to draw us towards them, to command us to make them flesh. The Futures Industry Science fiction is now a research and development department within a futures industry that dreams of the prediction and control of tomorrow. Corporate business seeks to manage the unknown through decisions based on scenarios, while civil society responds to future shock through habits formatted by science fiction. Science fiction operates through the power of falsification, the drive to rewrite reality, and the will to deny plausibility, while the scenario operates through the control and prediction of plausible alternative tomorrows. Both the science-fiction movie and the scenario are examples of cybernetic futurism that talks of things that haven't happened yet in the past tense. In this case, futurism has little to do with the Italian and Russian avant-gardes; rather, these approaches seek to model variation over time by oscillating between anticipation and determinism. Imagine the All-African Archaeological Program sweeping the site with their chronometers. Again and again, they sift the ashes. Imagine the readouts on their portables, indicators pointing to the dangerously high levels of hostile projections. This area shows extreme density of dystopic forecasting, levels that, if accurate, would have rendered the archaeologists' own existence impossible. The AAAP knows better: such statistical delirium reveals the fervid wish dreams of the host market.Market DystopiaIf global scenarios are descriptions that are primarily concerned with making futures safe for the market, then Afrofuturism's first priority is to recognize that Africa increasingly exists as the object of futurist projection. African social reality is overdetermined by intimidating global scenarios, doomsday economic projections, weather predictions, medical reports on AIDS, and life-expectancy forecasts, all of which predict decades of immiserization. These powerful descriptions of the future demoralize us; they command us to bury our heads in our hands, to groan with sadness. Commissioned by multinationals and nongovernmental organizations (NGOs), these developmental futurisms function as the other side of the corporate utopias that make the future safe for industry. Here, we are seduced not by smiling faces staring brightly into a screen; rather, we are menaced by predatory futures that insist the next 50 years will be hostile. Within an economy that runs on SF capital and market futurism, Africa is always the zone of the absolute dystopia. There is always a reliable trade in market projections for Africa's socioeconomic crises. Market dystopias aim to warn against predatory futures, but always do so in a discourse that aspires to unchallengeable certainty.