https://kameelahr.com Kameelah Janan Rasheed Wed, 31 Dec 2025 21:40:04 +0000 https://kameelahr.com en https://kameelahr.com/Work-Statement-sprawling Fri, 14 Nov 2025 13:12:25 +0000 Kameelah Janan Rasheed https://kameelahr.com/Work-Statement-sprawling Work Statement: slow and sprawling,&nbsp; <img width="1782" height="392" width_o="1782" height_o="392" data-src="https://freight.cargo.site/t/original/i/facd41c48e8c8240bdbf5212de9669261edd35751c240803fa8a6b83b09981bc/Iwanttogobackplease.png" data-mid="241227346" border="0" data-scale="100" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/facd41c48e8c8240bdbf5212de9669261edd35751c240803fa8a6b83b09981bc/Iwanttogobackplease.png" /> <img width="1778" height="392" width_o="1778" height_o="392" data-src="https://freight.cargo.site/t/original/i/aff07dd9fa8b638bec6189848afac4dd045b6d70463d3f3fe68bb90fe04cdf8e/takemetoannew.png" data-mid="241227603" border="0" data-scale="8" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/aff07dd9fa8b638bec6189848afac4dd045b6d70463d3f3fe68bb90fe04cdf8e/takemetoannew.png" /> How to Cite this Page: Rasheed, Kameelah Janan. “Work Statement: slow and sprawling,.” KJR Studios Website. Accessed Month Day, Year. https://kameelahr.com/Work-Statement-sprawlingLast Updated: 1 January 2026 <img width="423" height="86" width_o="423" height_o="86" data-src="https://freight.cargo.site/t/original/i/472572fa37e0a2db7fd2fd96dbf54d8493d1fe1906e6237a4f67aa63fa1a3a90/noteonform.png" data-mid="242295844" border="0" data-scale="5" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/423/i/472572fa37e0a2db7fd2fd96dbf54d8493d1fe1906e6237a4f67aa63fa1a3a90/noteonform.png" /> I write to you from my evolving learning <img width="1616" height="202" width_o="1616" height_o="202" data-src="https://freight.cargo.site/t/original/i/74d7c93e967eca4e8ab183caaeb374d203875b6e41f225461d68fb5fe75615e7/Screenshot-2025-12-31-at-1.55.22-PM.png" data-mid="242309319" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/74d7c93e967eca4e8ab183caaeb374d203875b6e41f225461d68fb5fe75615e7/Screenshot-2025-12-31-at-1.55.22-PM.png" />Lispector, Clarice. Água Viva. United States: New Directions, 2012. This is a draft; a work in perpetual progress &nbsp;<img width="1552" height="328" width_o="1552" height_o="328" data-src="https://freight.cargo.site/t/original/i/d876a87c4816ce48c5e7676224ef688b8b9c6c851a83fd35ad29edcc71356724/Screenshot-2025-12-30-at-9.20.54-PM.png" data-mid="242309365" border="0" src="https://freight.cargo.site/w/1000/i/d876a87c4816ce48c5e7676224ef688b8b9c6c851a83fd35ad29edcc71356724/Screenshot-2025-12-30-at-9.20.54-PM.png" /> <img width="1604" height="202" width_o="1604" height_o="202" data-src="https://freight.cargo.site/t/original/i/52ff2b583d52baee3ccc104e2523000ccdac73a392fdfb07eabe471033a5a149/Screenshot-2025-12-31-at-1.59.48-PM.png" data-mid="242309366" border="0" src="https://freight.cargo.site/w/1000/i/52ff2b583d52baee3ccc104e2523000ccdac73a392fdfb07eabe471033a5a149/Screenshot-2025-12-31-at-1.59.48-PM.png" />Pope.L. Proto-Skin Set. New York, NY: Mitchell-Innes &amp; Nash, 2017. Description is a betrayal; a losing battle <img width="830" height="756" width_o="830" height_o="756" data-src="https://freight.cargo.site/t/original/i/a95910818a1db3fd2aae8c9ad62d9f9796f02e7f4b05b313669f134dfce77606/Screenshot-2025-12-31-at-1.26.56-PM.png" data-mid="242309302" border="0" src="https://freight.cargo.site/w/830/i/a95910818a1db3fd2aae8c9ad62d9f9796f02e7f4b05b313669f134dfce77606/Screenshot-2025-12-31-at-1.26.56-PM.png" />Pope.L. Proto-Skin Set. New York, NY: Mitchell-Innes &amp; Nash, 2017. Completion is not the goal <img width="1504" height="196" width_o="1504" height_o="196" data-src="https://freight.cargo.site/t/original/i/583654d31da769782b382ea9223dbe654419070964d6686f06c7a2baf33073c4/Screenshot-2025-12-31-at-2.05.52-PM.png" data-mid="242310191" border="0" src="https://freight.cargo.site/w/1000/i/583654d31da769782b382ea9223dbe654419070964d6686f06c7a2baf33073c4/Screenshot-2025-12-31-at-2.05.52-PM.png" />Wikipedia: https://en.wikipedia.org/wiki/Category:Dynamic_lists . I am trying to write something&nbsp; ergodic <img width="862" height="180" width_o="862" height_o="180" data-src="https://freight.cargo.site/t/original/i/55b54108b7e062cabcbe85b86b32ba7e0b3eedb49d0f81ce945f29b99b027d6d/ergodic.png" data-mid="242295791" border="0" data-scale="90" src="https://freight.cargo.site/w/862/i/55b54108b7e062cabcbe85b86b32ba7e0b3eedb49d0f81ce945f29b99b027d6d/ergodic.png" />Aarseth, E. J.&nbsp;(1997).&nbsp;Cybertext: Perspectives on Ergodic Literature.&nbsp;United Kingdom:&nbsp;Johns Hopkins University Press And I own the failures. As Samuel Delany notes in his 1998 interview with Octavia Butler, this internet interface just isn’t as interactive as what Butler calls her “primitive hypertext”: <img width="1058" height="1042" width_o="1058" height_o="1042" data-src="https://freight.cargo.site/t/original/i/8b91d2a1892c8003eb10f1041009fcbccd87794e09922762c84652f0135df45b/delanybutler.png" data-mid="242296057" border="0" src="https://freight.cargo.site/w/1000/i/8b91d2a1892c8003eb10f1041009fcbccd87794e09922762c84652f0135df45b/delanybutler.png" /> Tangent or Escape Orbit <img width="1560" height="902" width_o="1560" height_o="902" data-src="https://freight.cargo.site/t/original/i/42fdbc81d21637baca3e51cd55982c52df8d4d2e82e447353f8e2d4bd79aa8a3/Screenshot-2025-12-30-at-10.46.46-PM.png" data-mid="242298046" border="0" data-scale="13" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/42fdbc81d21637baca3e51cd55982c52df8d4d2e82e447353f8e2d4bd79aa8a3/Screenshot-2025-12-30-at-10.46.46-PM.png" />&nbsp;<img width="1582" height="830" width_o="1582" height_o="830" data-src="https://freight.cargo.site/t/original/i/341cfcd8c531acd54ecae9cf7559a5faba011aec6e9915f314cd2776967c5b3d/Screenshot-2025-12-30-at-10.46.37-PM.png" data-mid="242298047" border="0" data-scale="12" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/341cfcd8c531acd54ecae9cf7559a5faba011aec6e9915f314cd2776967c5b3d/Screenshot-2025-12-30-at-10.46.37-PM.png" /> Inferential Walk <img width="1608" height="658" width_o="1608" height_o="658" data-src="https://freight.cargo.site/t/original/i/0f0b2a17525032e6418e73fad539fd5ddc080bc8b8179c1c6db6d874250e1754/Screenshot-2025-12-30-at-10.51.17-PM.png" data-mid="242298051" border="0" data-scale="13" data-icon-mode src="https://freight.cargo.site/w/1000/i/0f0b2a17525032e6418e73fad539fd5ddc080bc8b8179c1c6db6d874250e1754/Screenshot-2025-12-30-at-10.51.17-PM.png" />Merrell, Douglass. Umberto Eco, The Da Vinci Code, and the Intellectual in the Age of Popular Culture. Germany: Springer International Publishing, 2017. Table of Contents <img width="182" height="238" width_o="182" height_o="238" data-src="https://freight.cargo.site/t/original/i/5efad2c78c2bdc6510bcbac7a410736814437c9c2f51397a70b191e7e94b6833/Screenshot-2025-12-30-at-3.00.02-PM.png" data-mid="242295267" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/182/i/5efad2c78c2bdc6510bcbac7a410736814437c9c2f51397a70b191e7e94b6833/Screenshot-2025-12-30-at-3.00.02-PM.png" /> <img width="488" height="74" width_o="488" height_o="74" data-src="https://freight.cargo.site/t/original/i/9b9a062dc0d74465746afb800669db7b824ddb63f6a30889427f6654ecf8e19a/Screenshot-2025-12-24-at-12.41.52-PM.png" data-mid="242142002" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/488/i/9b9a062dc0d74465746afb800669db7b824ddb63f6a30889427f6654ecf8e19a/Screenshot-2025-12-24-at-12.41.52-PM.png" /> <img width="230" height="238" width_o="230" height_o="238" data-src="https://freight.cargo.site/t/original/i/9a818d69dcb3ab8b6981a4ff2b12fc96e0ee050085e6b288da0e2e351caeca73/Screenshot-2025-12-30-at-3.00.12-PM.png" data-mid="242295265" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/230/i/9a818d69dcb3ab8b6981a4ff2b12fc96e0ee050085e6b288da0e2e351caeca73/Screenshot-2025-12-30-at-3.00.12-PM.png" /> <img width="1360" height="137" width_o="1360" height_o="137" data-src="https://freight.cargo.site/t/original/i/1a1defc5c692df1675c4f060d5e719c07f2e976de2a9c0914820069af574b0b0/elasticlimitsoflanguage.png" data-mid="241509695" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/1a1defc5c692df1675c4f060d5e719c07f2e976de2a9c0914820069af574b0b0/elasticlimitsoflanguage.png" /> <img width="258" height="356" width_o="258" height_o="356" data-src="https://freight.cargo.site/t/original/i/78cf280083b2d6196478204094aebe19d2f739faa50a2e25fe7131d11b44093e/Screenshot-2025-12-30-at-3.00.25-PM.png" data-mid="242295264" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/258/i/78cf280083b2d6196478204094aebe19d2f739faa50a2e25fe7131d11b44093e/Screenshot-2025-12-30-at-3.00.25-PM.png" /> <img width="1902" height="158" width_o="1902" height_o="158" data-src="https://freight.cargo.site/t/original/i/0df37967c2b636879314fa675a3bbe7f5eb8f05589abee7e5dd4b44064fd1dc7/Screenshot-2025-11-16-at-7.35.25-PM.png" data-mid="240712591" border="0" data-scale="100" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/0df37967c2b636879314fa675a3bbe7f5eb8f05589abee7e5dd4b44064fd1dc7/Screenshot-2025-11-16-at-7.35.25-PM.png" /> <img width="250" height="320" width_o="250" height_o="320" data-src="https://freight.cargo.site/t/original/i/d80de1476a00517e6af908571d1390c8787e34b101e5e1a68cf5ca26e8e54e6a/Screenshot-2025-12-30-at-3.00.39-PM.png" data-mid="242295263" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/250/i/d80de1476a00517e6af908571d1390c8787e34b101e5e1a68cf5ca26e8e54e6a/Screenshot-2025-12-30-at-3.00.39-PM.png" /> <img width="248" height="56" width_o="248" height_o="56" data-src="https://freight.cargo.site/t/original/i/ae1313de936aaa1fbab9e6d5603021173e9ec910782b5354b0a1152ed004ad4c/signal.png" data-mid="242313391" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/248/i/ae1313de936aaa1fbab9e6d5603021173e9ec910782b5354b0a1152ed004ad4c/signal.png" /> <img width="292" height="338" width_o="292" height_o="338" data-src="https://freight.cargo.site/t/original/i/80ada174b06b6cfe8e85bcc74607fdac42315740f3eb1f640cdedba03e0f6a4b/Screenshot-2025-12-30-at-3.00.49-PM.png" data-mid="242295262" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/292/i/80ada174b06b6cfe8e85bcc74607fdac42315740f3eb1f640cdedba03e0f6a4b/Screenshot-2025-12-30-at-3.00.49-PM.png" /> <img width="1689" height="220" width_o="1689" height_o="220" data-src="https://freight.cargo.site/t/original/i/4f01ee5f21f055a63144c1d2e2bf57defc8445dd2565ea6c0a1b2c6e5958630d/Screenshot-2025-12-04-at-6.57.36-PM.png" data-mid="241508856" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/4f01ee5f21f055a63144c1d2e2bf57defc8445dd2565ea6c0a1b2c6e5958630d/Screenshot-2025-12-04-at-6.57.36-PM.png" /> <img width="276" height="344" width_o="276" height_o="344" data-src="https://freight.cargo.site/t/original/i/a352a9db3afb977afce170e5d1efdd6e1539d7ea4d9c3a52c3bd5d575a8016ab/Screenshot-2025-12-30-at-3.01.00-PM.png" data-mid="242295266" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/276/i/a352a9db3afb977afce170e5d1efdd6e1539d7ea4d9c3a52c3bd5d575a8016ab/Screenshot-2025-12-30-at-3.01.00-PM.png" /> <img width="793" height="226" width_o="793" height_o="226" data-src="https://freight.cargo.site/t/original/i/303018650161f6e515a3bea4ba6c9ecc7956e9f64397372c8885d9873b53c5a1/sankofa.png" data-mid="242143273" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/793/i/303018650161f6e515a3bea4ba6c9ecc7956e9f64397372c8885d9873b53c5a1/sankofa.png" /> <img width="482" height="34" width_o="482" height_o="34" data-src="https://freight.cargo.site/t/original/i/f585a37fc308889b338cf1bac16195d24da062b5b8406799440a3eb04624c767/Screenshot-2025-12-24-at-1.20.49-PM.png" data-mid="242143279" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/482/i/f585a37fc308889b338cf1bac16195d24da062b5b8406799440a3eb04624c767/Screenshot-2025-12-24-at-1.20.49-PM.png" /> <img width="56" height="84" width_o="56" height_o="84" data-src="https://freight.cargo.site/t/original/i/844a6c5120352353010fc9241035f75050d3ac02ea22c405af890e587e5e0690/Screenshot-2025-12-30-at-6.33.37-PM.png" data-mid="242295552" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/56/i/844a6c5120352353010fc9241035f75050d3ac02ea22c405af890e587e5e0690/Screenshot-2025-12-30-at-6.33.37-PM.png" /> <img width="1500" height="288" width_o="1500" height_o="288" data-src="https://freight.cargo.site/t/original/i/19de2cf4e761e4fd8f9b0b25e31fb1a00a303d041f37936fd55e2812a9d8404d/expandedperceptionreading.png" data-mid="241508870" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/19de2cf4e761e4fd8f9b0b25e31fb1a00a303d041f37936fd55e2812a9d8404d/expandedperceptionreading.png" /> <img width="68" height="98" width_o="68" height_o="98" data-src="https://freight.cargo.site/t/original/i/10916e19f741cf1478b9e4bb3273203e06d7b049afa4e5d151ad8ebea3e5c5a5/Screenshot-2025-12-31-at-6.51.50-PM.png" data-mid="242313352" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/68/i/10916e19f741cf1478b9e4bb3273203e06d7b049afa4e5d151ad8ebea3e5c5a5/Screenshot-2025-12-31-at-6.51.50-PM.png" /> <img width="1706" height="238" width_o="1706" height_o="238" data-src="https://freight.cargo.site/t/original/i/b1fc6fa35da6a6c733eb80c4de39f89a1bfcfc903c6cf89c1942a12db25f0a93/somemethods.png" data-mid="242293373" border="0" data-scale="5" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/b1fc6fa35da6a6c733eb80c4de39f89a1bfcfc903c6cf89c1942a12db25f0a93/somemethods.png" /><img width="1152" height="70" width_o="1152" height_o="70" data-src="https://freight.cargo.site/t/original/i/c86f1c416b6fcb4c70e0a427445bad54bbd9b39974316294fcbb1d6831d9cbc4/howto.png" data-mid="242295784" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/c86f1c416b6fcb4c70e0a427445bad54bbd9b39974316294fcbb1d6831d9cbc4/howto.png" /> <img width="182" height="238" width_o="182" height_o="238" data-src="https://freight.cargo.site/t/original/i/5efad2c78c2bdc6510bcbac7a410736814437c9c2f51397a70b191e7e94b6833/Screenshot-2025-12-30-at-3.00.02-PM.png" data-mid="242295267" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/182/i/5efad2c78c2bdc6510bcbac7a410736814437c9c2f51397a70b191e7e94b6833/Screenshot-2025-12-30-at-3.00.02-PM.png" /> <img width="600" height="795" width_o="600" height_o="795" data-src="https://freight.cargo.site/t/original/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" data-mid="240632387" border="0" data-scale="1" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/600/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" /> <img width="488" height="74" width_o="488" height_o="74" data-src="https://freight.cargo.site/t/original/i/9b9a062dc0d74465746afb800669db7b824ddb63f6a30889427f6654ecf8e19a/Screenshot-2025-12-24-at-12.41.52-PM.png" data-mid="242142002" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/488/i/9b9a062dc0d74465746afb800669db7b824ddb63f6a30889427f6654ecf8e19a/Screenshot-2025-12-24-at-12.41.52-PM.png" /> |&nbsp;back to the top | I am a learner [A]&nbsp; and a death doula [B] in training.My middle name, Janan, meaning heart and soul, comes from the Arabic trilateral root [C1] (J-N-N / جنان) [C2, C3], evoking for me that which is unmoored, veiled, and wayward. I explore the poetics and politics of non-compliance and disobedience With an eye toward West African Sufi practices, quantum mechanics, the lineage of “two-headed” Black woman spiritual leaders, and destructive plasticity (Catherine Malabou), I consider what becomes possible through disobedience: + when matter “misbehaves” (exotic matter and multiphase materials) + when words are non-compliant (non-traditional language practices) + when neurology does otherwise (my trinity of neurodivergence: ADHD, OCD, and Autism) + when bodies are “undisciplined” (questions of “ugliness” and physical disabilities) + when beliefs exceed their imposed limits (the birth of new spiritual movements). Through intentional and accidental acts of disobedience, I am curious about the emergence of systems and methods that ask us to reconsider our relationship to plot, rationality, and stability. across written, spoken, and visual language. I consider the radical possibilities I am curious about the threads of disobedience and noncompliance – a refusal of stable meaning – as a rehearsal for otherwise worlds. Rehearsal as an antecedent to the “event” – a space to troubleshoot, but also, rehearsal in the Motenian sense of collaborative and ongoing knowledge-building within community – to study “under the name of speculative practice.” In The Undercommons: Fugitive Planning &amp; Black Study (2013), an interview with Fred Moten, Stefano Harney, and Stevphen Shukaitis is featured, in which Moten and Harney discuss their collaborative writing process. Shukaitis asks, “...when you pick up a text that’s finished, unless you’ve got some special texts that I don’t know of, you don’t get a sense of the playing or the living usually [...] which I would agree with you is the most important thing – somehow gets lost along the way. How do you negotiate that? Or is there a way to flag up, in a written text, ‘don’t take this too seriously, go out and play with it’?” Harney responds: Well, one way that I do that is by revising how I say things. So, some people might call my style repetitive, partly because I’m rephrasing things all the time, but also because I’m trying to show that I’m playing with something rather than that it’s finished [...] it’s partly to say that we’re in rehearsal here [...] So, for me, it must be right there in the writing in some form. It’s not enough to signal it outside the writing, to send the piece out and to say, ‘oh, really this is still open for this or that.’ It has to be somehow in the writing itself that the thing hasn’t closed off. Part of that is that to write with another person is, in a sense, always to keep something open, because you always have the question of, “do they both think that way, who said that?” Instead of worrying about that, I think that’s nice. That means that the text is already open to more than one, in that sense. of noise, unintelligibility, and discrepancy. While [writing] serves as a point of departure in my work, it is not the purpose of this experiment.&nbsp;The embrace of nonsense and irrationality in the face of rationalized violence is not solely an aesthetic intervention; it is also a political gesture that, at the very least, exposes the violence of what has been sanctioned as coherent, logical, and natural. &nbsp; <img width="704" height="1099" width_o="704" height_o="1099" data-src="https://freight.cargo.site/t/original/i/73a8e842ab80f24e8a95bea194a3adc7fdb600ba3c25799387eabd341967b483/Screenshot-2025-10-17-at-10.24.55-PM.png" data-mid="241507783" border="0" data-scale="43" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/704/i/73a8e842ab80f24e8a95bea194a3adc7fdb600ba3c25799387eabd341967b483/Screenshot-2025-10-17-at-10.24.55-PM.png" /> <img width="230" height="238" width_o="230" height_o="238" data-src="https://freight.cargo.site/t/original/i/9a818d69dcb3ab8b6981a4ff2b12fc96e0ee050085e6b288da0e2e351caeca73/Screenshot-2025-12-30-at-3.00.12-PM.png" data-mid="242295265" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/230/i/9a818d69dcb3ab8b6981a4ff2b12fc96e0ee050085e6b288da0e2e351caeca73/Screenshot-2025-12-30-at-3.00.12-PM.png" /> <img width="600" height="795" width_o="600" height_o="795" data-src="https://freight.cargo.site/t/original/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" data-mid="240632387" border="0" data-scale="1" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/600/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" /> <img width="1360" height="137" width_o="1360" height_o="137" data-src="https://freight.cargo.site/t/original/i/1a1defc5c692df1675c4f060d5e719c07f2e976de2a9c0914820069af574b0b0/elasticlimitsoflanguage.png" data-mid="241509695" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/1a1defc5c692df1675c4f060d5e719c07f2e976de2a9c0914820069af574b0b0/elasticlimitsoflanguage.png" />| back to the top | What can emerge in the shadow something like collective shadow work? of the seemingly absurd or incoherent? Coherence and logic overdress the sentence, building a thick membrane that disinvites deviation. The absurd can undress the word (and the world), creating a more porous membrane that allows contamination, a slow erosion of the seam, and a collision of edges. I examine the materiality[D1, D2, D3, D4] of wayward [E1, E2] language: acrobatic sentences [F] (Clarice Lispector); anarchical stanzas with no recognized monarch [G] (Emily Elizabeth Dickinson); phrases with trapdoors or underground railroads [H] (Fred Moten); runaway syllables that scatter to the marooned edges of a page; words that escape the orbit [I] of their mother sentence; footnotes that consume their reference; and ecstatic outbursts that dissipate before being recorded. The [page] (or other stage for language) substrate, surface, stage (a context for something to happen); it isn't just paper or a wall -- it is all the chemical, physical, and biological factors in relation to the writer, writing instrument, and marking material&nbsp; is a landscape of instability with its own lifecycle: an active, “materially vulnerable” (Amelia Groom) [J], vibratory [K] “commotional field” [L] (Renee Gladman). <img width="3000" height="1988" width_o="3000" height_o="1988" data-src="https://freight.cargo.site/t/original/i/c79607281f5c0da7610e5e87ffad1ece60416806ea4dabf26d7a3d93275538a0/birds.png" data-mid="240632287" border="0" data-scale="26" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/c79607281f5c0da7610e5e87ffad1ece60416806ea4dabf26d7a3d93275538a0/birds.png" /> <img width="258" height="356" width_o="258" height_o="356" data-src="https://freight.cargo.site/t/original/i/78cf280083b2d6196478204094aebe19d2f739faa50a2e25fe7131d11b44093e/Screenshot-2025-12-30-at-3.00.25-PM.png" data-mid="242295264" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/258/i/78cf280083b2d6196478204094aebe19d2f739faa50a2e25fe7131d11b44093e/Screenshot-2025-12-30-at-3.00.25-PM.png" /> <img width="600" height="795" width_o="600" height_o="795" data-src="https://freight.cargo.site/t/original/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" data-mid="240632387" border="0" data-scale="1" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/600/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" /> <img width="1902" height="158" width_o="1902" height_o="158" data-src="https://freight.cargo.site/t/original/i/0df37967c2b636879314fa675a3bbe7f5eb8f05589abee7e5dd4b44064fd1dc7/Screenshot-2025-11-16-at-7.35.25-PM.png" data-mid="240712591" border="0" data-scale="100" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/0df37967c2b636879314fa675a3bbe7f5eb8f05589abee7e5dd4b44064fd1dc7/Screenshot-2025-11-16-at-7.35.25-PM.png" />| back to the top | Twisting against the circumference of a system creates excess: energy, sounds, marks, gestures, meanings, and affects that leak beyond their sanctioned limits. This excess has other names: noise, dirty data, unintelligibility, disfluency, discrepancy, disorganization...those unassimilable bits. excess: an amount of something that is more than necessary, permitted, or desirable.leak: (written in 2021) - I want to offer leakiness as a liberatory technology--leakiness or the porous boundaries between rituals (syncretism); leakiness or the porous borders between bodies of text (intertextuality); leakiness or the porous boundaries between modes of communication (across language systems, across substrates, across species, across disciplines, across temporalities). Leakiness is a politics of intimacy: an invitation to wander and wade in the wet; to touch and make anew what has not been made solid; to [un]know and [un]learn; to return to the scene of presumed certainty for revision. Leakiness is a kind of interdisciplinarity, or a yearning to move, to be alive in many ways - to be without the grasp of a body of knowledge or a narrative arc. It is to be imminent in ways that exceed the predictability of a singular discipline. <img width="3400" height="4718" width_o="3400" height_o="4718" data-src="https://freight.cargo.site/t/original/i/6fb2d5c877d8802f881360e8770910f461b09f36db4cc1d5c254930da0e8f316/Futurepoem_Post2.2.jpg" data-mid="242140282" border="0" data-scale="90" data-no-zoom data-icon-mode data-rotation="-180" src="https://freight.cargo.site/w/1000/i/6fb2d5c877d8802f881360e8770910f461b09f36db4cc1d5c254930da0e8f316/Futurepoem_Post2.2.jpg" /> <img width="250" height="320" width_o="250" height_o="320" data-src="https://freight.cargo.site/t/original/i/d80de1476a00517e6af908571d1390c8787e34b101e5e1a68cf5ca26e8e54e6a/Screenshot-2025-12-30-at-3.00.39-PM.png" data-mid="242295263" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/250/i/d80de1476a00517e6af908571d1390c8787e34b101e5e1a68cf5ca26e8e54e6a/Screenshot-2025-12-30-at-3.00.39-PM.png" /> <img width="600" height="795" width_o="600" height_o="795" data-src="https://freight.cargo.site/t/original/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" data-mid="240632387" border="0" data-scale="1" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/600/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" /> <img width="248" height="56" width_o="248" height_o="56" data-src="https://freight.cargo.site/t/original/i/ae1313de936aaa1fbab9e6d5603021173e9ec910782b5354b0a1152ed004ad4c/signal.png" data-mid="242313391" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/248/i/ae1313de936aaa1fbab9e6d5603021173e9ec910782b5354b0a1152ed004ad4c/signal.png" /> | back to the top | And in an increasingly automated society driven by the logic of efficiency at all costs, this excess must be “dealt with” through the disciplinary technologies of standardization, compression, containment, and annihilation. <img width="1164" height="412" width_o="1164" height_o="412" data-src="https://freight.cargo.site/t/original/i/da3f22306ca974023a7f86ed2eccf0417e1fe965f7e6c6025b468aac6747465d/ostracize.png" data-mid="242143327" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/da3f22306ca974023a7f86ed2eccf0417e1fe965f7e6c6025b468aac6747465d/ostracize.png" /><img width="264" height="3792" width_o="264" height_o="3792" data-src="https://freight.cargo.site/t/original/i/4392d2a3693c52b13e12b8fa6dafc9121e7ad32cf02f1b4773cf601288895ebf/line-2-1.png" data-mid="241336133" border="0" data-scale="16" data-no-zoom data-icon-mode data-rotation="-5" src="https://freight.cargo.site/w/264/i/4392d2a3693c52b13e12b8fa6dafc9121e7ad32cf02f1b4773cf601288895ebf/line-2-1.png" /> <img width="1024" height="768" width_o="1024" height_o="768" data-src="https://freight.cargo.site/t/original/i/f12a55d6ced16b33253b3a1867cc44fd5933261b86b15e5ace79a43959cc3594/pardon.jpg" data-mid="242143328" border="0" data-scale="21" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/f12a55d6ced16b33253b3a1867cc44fd5933261b86b15e5ace79a43959cc3594/pardon.jpg" />There is always a sanctioned plot... &nbsp;&nbsp; ... to follow, always consequences for disobedience...When you hop off the teleological train headed to wherever has been deemed an acceptable destination, you fall into a void of unintelligible noise. Unreadable and unreachable. That void is out of sight. How convenient is that? You can’t see me. You can’t find me. I am not showing up in the database. There is a glitch. There is a 404 error. From 29 December 2025 newsletter As John Melillo writes in The Poetics of Noise from Dada to Punk (2021), <img width="3024" height="2112" width_o="3024" height_o="2112" data-src="https://freight.cargo.site/t/original/i/300000c09142b35d3d878332728d1cad1d08a9085ed6cb324102b513e1208e7c/IMG_0573.jpeg" data-mid="242140374" border="0" data-scale="100" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/300000c09142b35d3d878332728d1cad1d08a9085ed6cb324102b513e1208e7c/IMG_0573.jpeg" /> <img width="292" height="338" width_o="292" height_o="338" data-src="https://freight.cargo.site/t/original/i/80ada174b06b6cfe8e85bcc74607fdac42315740f3eb1f640cdedba03e0f6a4b/Screenshot-2025-12-30-at-3.00.49-PM.png" data-mid="242295262" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/292/i/80ada174b06b6cfe8e85bcc74607fdac42315740f3eb1f640cdedba03e0f6a4b/Screenshot-2025-12-30-at-3.00.49-PM.png" /> <img width="600" height="795" width_o="600" height_o="795" data-src="https://freight.cargo.site/t/original/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" data-mid="240632387" border="0" data-scale="1" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/600/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" /> <img width="1689" height="220" width_o="1689" height_o="220" data-src="https://freight.cargo.site/t/original/i/4f01ee5f21f055a63144c1d2e2bf57defc8445dd2565ea6c0a1b2c6e5958630d/Screenshot-2025-12-04-at-6.57.36-PM.png" data-mid="241508856" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/4f01ee5f21f055a63144c1d2e2bf57defc8445dd2565ea6c0a1b2c6e5958630d/Screenshot-2025-12-04-at-6.57.36-PM.png" />| back to the top | <img width="760" height="92" width_o="760" height_o="92" data-src="https://freight.cargo.site/t/original/i/55962bc7d26399d5665d1cea60a38fdc9a744da6aa4c1e5b01dfa2f997a9aaeb/Screenshot-2025-12-03-at-7.18.23-PM.png" data-mid="241507566" border="0" data-scale="100" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/760/i/55962bc7d26399d5665d1cea60a38fdc9a744da6aa4c1e5b01dfa2f997a9aaeb/Screenshot-2025-12-03-at-7.18.23-PM.png" />Lispector, Clarice. The passion According to G.H.. United States: University of Minnesota Press, 1988 <img width="1871" height="2771" width_o="1871" height_o="2771" data-src="https://freight.cargo.site/t/original/i/30bcaef5cfcfe1d07d3aad81c6acb6251ab3341d1c9673bdc8384cb09f805668/HOMEPAGE-StatementImageMain-3.jpg" data-mid="240632377" border="0" data-scale="22" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/30bcaef5cfcfe1d07d3aad81c6acb6251ab3341d1c9673bdc8384cb09f805668/HOMEPAGE-StatementImageMain-3.jpg" /> <img width="2100" height="199" width_o="2100" height_o="199" data-src="https://freight.cargo.site/t/original/i/fd54c8174bf02866d069cad506c0b67474bfd60e280ddd5e379552ab191c7d8b/disorderednotes.png" data-mid="241509755" border="0" data-scale="92" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/fd54c8174bf02866d069cad506c0b67474bfd60e280ddd5e379552ab191c7d8b/disorderednotes.png" />Genette, Gerard. Paratexts : thresholds of interpretation. United Kingdom: Cambridge University Press, 1997. And what is the “proper use” of noise[M]? I turn to Nathaniel Mackey’s Discrepant Engagement: Dissonance, Cross-Culturality, and Experimental Writing (1993). Invoking Charles Olson’s “keep their proper confusions,” and Braithwaite’s “calibanisms,” Mackey reminds us that noise and discrepency can awaken a “ suspicion I grow suspicious of things that make too much sense—a sentence that weaves itself together too effortlessly, a phrase that settles too comfortably on my tongue. <img width="615" height="434" width_o="615" height_o="434" data-src="https://freight.cargo.site/t/original/i/95a95816341f527adad1f25afd73542c5b253b8e1555df4c8275f60fa93f947b/suspicious.png" data-mid="242309102" border="0" data-scale="30" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/615/i/95a95816341f527adad1f25afd73542c5b253b8e1555df4c8275f60fa93f947b/suspicious.png" /> From: Season 2, Episode 3 of South Side, titled "The Election". of totalizing paradigms.” Noise is a context for learning more about my relationship to plot, rationality, and immediacy:<img width="3481" height="6473" width_o="3481" height_o="6473" data-src="https://freight.cargo.site/t/original/i/6c094b0b2f85d8be1b83b83dbddd23034504894cb20787449157938293a3ecc5/IMG_0575-copy.png" data-mid="242141819" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/6c094b0b2f85d8be1b83b83dbddd23034504894cb20787449157938293a3ecc5/IMG_0575-copy.png" /><img width="72" height="808" width_o="72" height_o="808" data-src="https://freight.cargo.site/t/original/i/133b514d14fe9f14d65706b95a6f51f7d4625eb229304dd3c3932b93b5bae379/Screenshot-2025-11-29-at-11.26.35-PM.png" data-mid="241227376" border="0" data-scale="8" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/72/i/133b514d14fe9f14d65706b95a6f51f7d4625eb229304dd3c3932b93b5bae379/Screenshot-2025-11-29-at-11.26.35-PM.png" /><img width="826" height="329" width_o="826" height_o="329" data-src="https://freight.cargo.site/t/original/i/9bff64d083461a868a2d2888a364d3785e85db3eed5873c8b560091275234ac5/diagnosed.jpg" data-mid="242143330" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/826/i/9bff64d083461a868a2d2888a364d3785e85db3eed5873c8b560091275234ac5/diagnosed.jpg" /> <img width="276" height="344" width_o="276" height_o="344" data-src="https://freight.cargo.site/t/original/i/a352a9db3afb977afce170e5d1efdd6e1539d7ea4d9c3a52c3bd5d575a8016ab/Screenshot-2025-12-30-at-3.01.00-PM.png" data-mid="242295266" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/276/i/a352a9db3afb977afce170e5d1efdd6e1539d7ea4d9c3a52c3bd5d575a8016ab/Screenshot-2025-12-30-at-3.01.00-PM.png" /> <img width="600" height="795" width_o="600" height_o="795" data-src="https://freight.cargo.site/t/original/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" data-mid="240632387" border="0" data-scale="1" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/600/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" /> <img width="793" height="226" width_o="793" height_o="226" data-src="https://freight.cargo.site/t/original/i/303018650161f6e515a3bea4ba6c9ecc7956e9f64397372c8885d9873b53c5a1/sankofa.png" data-mid="242143273" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/793/i/303018650161f6e515a3bea4ba6c9ecc7956e9f64397372c8885d9873b53c5a1/sankofa.png" /><img width="482" height="34" width_o="482" height_o="34" data-src="https://freight.cargo.site/t/original/i/f585a37fc308889b338cf1bac16195d24da062b5b8406799440a3eb04624c767/Screenshot-2025-12-24-at-1.20.49-PM.png" data-mid="242143279" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/482/i/f585a37fc308889b338cf1bac16195d24da062b5b8406799440a3eb04624c767/Screenshot-2025-12-24-at-1.20.49-PM.png" />| back to the top | <img width="1200" height="900" width_o="1200" height_o="900" data-src="https://freight.cargo.site/t/original/i/1355e91617be2aa34b2bf6d17fa4c13590f347638a3e5f4667e056813aa6b58b/IMG_6441.JPG" data-mid="241509733" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/1355e91617be2aa34b2bf6d17fa4c13590f347638a3e5f4667e056813aa6b58b/IMG_6441.JPG" /> My first conscious encounter with disciplinary technologies of noise suppression was in my high school English Literature class. My writing was always considered engorged and unruly. I spent hours editing. It was my jetsam, words and syntax, I had to “throw overboard” to make it to the other side of a well-structured essay.<img width="1400" height="196" width_o="1400" height_o="196" data-src="https://freight.cargo.site/t/original/i/1380ded33906ed138fcb070d1c8a92d12c1f3dfb2ac25aa1f18ca22d72b5708b/Screenshot-2023-11-16-at-3.48.26-PM.png" data-mid="241507147" border="0" data-scale="100" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/1380ded33906ed138fcb070d1c8a92d12c1f3dfb2ac25aa1f18ca22d72b5708b/Screenshot-2023-11-16-at-3.48.26-PM.png" /> <img width="264" height="3792" width_o="264" height_o="3792" data-src="https://freight.cargo.site/t/original/i/4392d2a3693c52b13e12b8fa6dafc9121e7ad32cf02f1b4773cf601288895ebf/line-2-1.png" data-mid="241336133" border="0" data-scale="16" data-no-zoom data-icon-mode data-rotation="5" src="https://freight.cargo.site/w/264/i/4392d2a3693c52b13e12b8fa6dafc9121e7ad32cf02f1b4773cf601288895ebf/line-2-1.png" /> ectopic[N] —language? <img width="1380" height="900" width_o="1380" height_o="900" data-src="https://freight.cargo.site/t/original/i/702eeb77bc0a97f05cb8342ab0f4c24e0ab95df45fc4d693b14402fe4827b667/Screenshot-2025-12-24-at-1.13.32-PM.png" data-mid="242143274" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/702eeb77bc0a97f05cb8342ab0f4c24e0ab95df45fc4d693b14402fe4827b667/Screenshot-2025-12-24-at-1.13.32-PM.png" /> <img width="56" height="84" width_o="56" height_o="84" data-src="https://freight.cargo.site/t/original/i/844a6c5120352353010fc9241035f75050d3ac02ea22c405af890e587e5e0690/Screenshot-2025-12-30-at-6.33.37-PM.png" data-mid="242295552" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/56/i/844a6c5120352353010fc9241035f75050d3ac02ea22c405af890e587e5e0690/Screenshot-2025-12-30-at-6.33.37-PM.png" /> <img width="600" height="795" width_o="600" height_o="795" data-src="https://freight.cargo.site/t/original/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" data-mid="240632387" border="0" data-scale="1" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/600/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" /> <img width="1500" height="288" width_o="1500" height_o="288" data-src="https://freight.cargo.site/t/original/i/19de2cf4e761e4fd8f9b0b25e31fb1a00a303d041f37936fd55e2812a9d8404d/expandedperceptionreading.png" data-mid="241508870" border="0" data-scale="6" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/19de2cf4e761e4fd8f9b0b25e31fb1a00a303d041f37936fd55e2812a9d8404d/expandedperceptionreading.png" />| back to the top | Lately, I’ve been thinking a lot about reclaiming my jetsam – like going and getting back what I left behind, to see if, maybe, something is there. I remember learning about the Adinkra symbol, sankofa. It was introduced to me as a retrieval process – “to return, go, fetch” or “it is not taboo to go back for what is forgotten.” Last year, while teaching, I suddenly introduced sankofa to my students as a form of revision – that we go back and “fetch” what may have been there all along, but not perceivable, abandoned, or even plunked from our hands. Our relationship to immediacy, efficiency, and use value often means that, if something (and/or someone) does not present obvious value, it is discarded. As I wrote in a recent newsletter: <img width="1470" height="234" width_o="1470" height_o="234" data-src="https://freight.cargo.site/t/original/i/f521bc8fa22b2f6df30172538734e83ad0721973663e98fb46eb2f167afd83f6/Screenshot-2025-12-30-at-2.58.50-PM.png" data-mid="242293479" border="0" src="https://freight.cargo.site/w/1000/i/f521bc8fa22b2f6df30172538734e83ad0721973663e98fb46eb2f167afd83f6/Screenshot-2025-12-30-at-2.58.50-PM.png" /><img width="900" height="11568" width_o="900" height_o="11568" data-src="https://freight.cargo.site/t/original/i/24245e2d450b506aa0a0f26d8d21ce19b2292f01fd47b5f1b0794cf422d2d170/longline.png" data-mid="240712602" border="0" data-scale="43" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/900/i/24245e2d450b506aa0a0f26d8d21ce19b2292f01fd47b5f1b0794cf422d2d170/longline.png" /> var d=document,w="https://tally.so/widgets/embed.js",v=function(){"undefined"!=typeof Tally?Tally.loadEmbeds():d.querySelectorAll("iframe[data-tally-src]:not([src])").forEach((function(e){e.src=e.dataset.tallySrc}))};if("undefined"!=typeof Tally)v();else if(d.querySelector('script[src="'+w+'"]')==null){var s=d.createElement("script");s.src=w,s.onload=v,s.onerror=v,d.body.appendChild(s);} Returning to one’s noise and attuning ourselves to the noise over there invites a divergent sort of perception: something&nbsp;errant,[O] multisensory [P] and expansive enough to “see” and “listen” for the frequencies we’ve been conditioned to treat as unimportant and the sensations that have been muted. It is a political and spiritual attunement toward the silenced, disregarded, and pathologized.&nbsp; <img width="68" height="98" width_o="68" height_o="98" data-src="https://freight.cargo.site/t/original/i/10916e19f741cf1478b9e4bb3273203e06d7b049afa4e5d151ad8ebea3e5c5a5/Screenshot-2025-12-31-at-6.51.50-PM.png" data-mid="242313352" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/68/i/10916e19f741cf1478b9e4bb3273203e06d7b049afa4e5d151ad8ebea3e5c5a5/Screenshot-2025-12-31-at-6.51.50-PM.png" /> <img width="600" height="795" width_o="600" height_o="795" data-src="https://freight.cargo.site/t/original/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" data-mid="240632387" border="0" data-scale="1" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/600/i/1249b630a0e95109139aa4306293d0898ccf1124df04f77b2754c523bdd15ff4/Screenshot-2023-11-16-at-11.29.51-AM.png" /><img width="1706" height="238" width_o="1706" height_o="238" data-src="https://freight.cargo.site/t/original/i/b1fc6fa35da6a6c733eb80c4de39f89a1bfcfc903c6cf89c1942a12db25f0a93/somemethods.png" data-mid="242293373" border="0" src="https://freight.cargo.site/w/1000/i/b1fc6fa35da6a6c733eb80c4de39f89a1bfcfc903c6cf89c1942a12db25f0a93/somemethods.png" /><img width="1152" height="70" width_o="1152" height_o="70" data-src="https://freight.cargo.site/t/original/i/c86f1c416b6fcb4c70e0a427445bad54bbd9b39974316294fcbb1d6831d9cbc4/howto.png" data-mid="242295784" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/c86f1c416b6fcb4c70e0a427445bad54bbd9b39974316294fcbb1d6831d9cbc4/howto.png" />| back to the top | <img width="170" height="72" width_o="170" height_o="72" data-src="https://freight.cargo.site/t/original/i/b2c714011897836e9630e959fd70312a87b1b9f401f92df538627732e705980d/dividerreal.png" data-mid="242297998" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/170/i/b2c714011897836e9630e959fd70312a87b1b9f401f92df538627732e705980d/dividerreal.png" /> <img width="816" height="90" width_o="816" height_o="90" data-src="https://freight.cargo.site/t/original/i/041c21da9589e571cd2d741f22f5103a171acab4f4b1db1f942be8b0832e1a91/Screenshot-2025-12-30-at-5.50.40-PM.png" data-mid="242295310" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/816/i/041c21da9589e571cd2d741f22f5103a171acab4f4b1db1f942be8b0832e1a91/Screenshot-2025-12-30-at-5.50.40-PM.png" /> On Infrasound Tina Campt:&nbsp;Listening to Images 2017 <img width="990" height="828" width_o="990" height_o="828" data-src="https://freight.cargo.site/t/original/i/8b16cc03798ca7cc6b97bcdf1b4226040e49525f105e87b24ac744ef793487b6/Screenshot-2025-12-30-at-5.49.01-PM.png" data-mid="242295313" border="0" data-scale="100" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/990/i/8b16cc03798ca7cc6b97bcdf1b4226040e49525f105e87b24ac744ef793487b6/Screenshot-2025-12-30-at-5.49.01-PM.png" /> Notes: (Covert, Nested, Multi-modal)Sensory&nbsp; Tina Campt reminds us that to&nbsp;look is&nbsp;also to&nbsp;feel. And this excerpt seems to call back to earlier conversations about noise - this assertion that there is more there (noise) than what we acknowledge (signal) and as Attali notes, “noise as an index of power.” +&nbsp;(Amended) notes from SFSIA Presentation on Wet Conceptualism (6 September 2025) + Also, has been thinking about James C. Scott’s writing on infrapolitics.&nbsp; <img width="170" height="72" width_o="170" height_o="72" data-src="https://freight.cargo.site/t/original/i/b2c714011897836e9630e959fd70312a87b1b9f401f92df538627732e705980d/dividerreal.png" data-mid="242297998" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/170/i/b2c714011897836e9630e959fd70312a87b1b9f401f92df538627732e705980d/dividerreal.png" /> <img width="1076" height="78" width_o="1076" height_o="78" data-src="https://freight.cargo.site/t/original/i/76e70cd60a12ff5e9d30cc8b4f1ddc4b5d582df6c8f421bb523ff7762ee864df/seenagain.png" data-mid="242313702" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/76e70cd60a12ff5e9d30cc8b4f1ddc4b5d582df6c8f421bb523ff7762ee864df/seenagain.png" /> On Precovery Nolan Oswald Dennis: Throwers (space-rock notes pt.1) 2025 <img width="1098" height="542" width_o="1098" height_o="542" data-src="https://freight.cargo.site/t/original/i/1ff89bb21e0ad5c5411074398fee892c68971641f0ade19dbfd698d0a08a4910/Screenshot-2025-12-30-at-6.11.09-PM.png" data-mid="242295371" border="0" src="https://freight.cargo.site/w/1000/i/1ff89bb21e0ad5c5411074398fee892c68971641f0ade19dbfd698d0a08a4910/Screenshot-2025-12-30-at-6.11.09-PM.png" /> [...] <img width="1098" height="670" width_o="1098" height_o="670" data-src="https://freight.cargo.site/t/original/i/e1e8d29d6e1e457c9078d94f54ea87f8271adfc2e13925f9d583e01e92871765/Screenshot-2025-12-30-at-6.11.27-PM.png" data-mid="242295372" border="0" src="https://freight.cargo.site/w/1000/i/e1e8d29d6e1e457c9078d94f54ea87f8271adfc2e13925f9d583e01e92871765/Screenshot-2025-12-30-at-6.11.27-PM.png" />Notes on “BEEN”<img width="888" height="888" width_o="888" height_o="888" data-src="https://freight.cargo.site/t/original/i/cf28dc646388ec0339c1474c3f2582dc8ac446f45d2cef32fd932d3373cb0ec2/precovery.png" data-mid="242313995" border="0" src="https://freight.cargo.site/w/888/i/cf28dc646388ec0339c1474c3f2582dc8ac446f45d2cef32fd932d3373cb0ec2/precovery.png" /> Dennis's “alter-perceptive programme” requires a different relationship to time: a “helical structure of perception.” As they write, “it always has been approaching.” BEEN (in my local Black vernacular):&nbsp;"BEEN", or the habitual be, has been linguistically theorized as an indicator of habitual action and sometimes an indicator of someone's character (it happens so habitually that it has become a trait). Regionally and familially, we used the stressed form of BEEN to indicate an intuitive, somatic, or ancestral fact that remained unacknowledged until someone with power or status sanctioned it. It is an implicit indictment of which forms of knowledge and evidence are valued and a critique of how late everyone else is to arrive at what seems like an obvious understanding. For example, "we BEEN knew they weren't going to..." We also used the "BEEN" to call someone out for pretending they don't know something they actually know. For example, "you BEEN knew she wasn't going to..." This last usage reminds me of Toni Cade Bambara's essay, "The Education of a Storyteller," in her 1996 posthumously published essay collection: &nbsp;<img width="1800" height="1660" width_o="1800" height_o="1660" data-src="https://freight.cargo.site/t/original/i/198e11d1a5a2f122f60d1826524b94ace191343214fa12a02e1e3f9ff25c894b/ToniCade.png" data-mid="242314013" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/198e11d1a5a2f122f60d1826524b94ace191343214fa12a02e1e3f9ff25c894b/ToniCade.png" /> var d=document,w="https://tally.so/widgets/embed.js",v=function(){"undefined"!=typeof Tally?Tally.loadEmbeds():d.querySelectorAll("iframe[data-tally-src]:not([src])").forEach((function(e){e.src=e.dataset.tallySrc}))};if("undefined"!=typeof Tally)v();else if(d.querySelector('script[src="'+w+'"]')==null){var s=d.createElement("script");s.src=w,s.onload=v,s.onerror=v,d.body.appendChild(s);} <img width="170" height="72" width_o="170" height_o="72" data-src="https://freight.cargo.site/t/original/i/b2c714011897836e9630e959fd70312a87b1b9f401f92df538627732e705980d/dividerreal.png" data-mid="242297998" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/170/i/b2c714011897836e9630e959fd70312a87b1b9f401f92df538627732e705980d/dividerreal.png" /> <img width="982" height="294" width_o="982" height_o="294" data-src="https://freight.cargo.site/t/original/i/4d44c348ecb40a9cfa62031ad656625516b973c83db98f2efcffc7b79ecedf28/stein3.png" data-mid="242295318" border="0" data-scale="52" src="https://freight.cargo.site/w/982/i/4d44c348ecb40a9cfa62031ad656625516b973c83db98f2efcffc7b79ecedf28/stein3.png" /> On Defamiliarization, Unseating of Logic Leonard Diepeveen: Introduction Gertrude Stein’s Tender Buttons 2018 <img width="2579" height="2445" width_o="2579" height_o="2445" data-src="https://freight.cargo.site/t/original/i/0e0a9e43660b4f890c41ea51f683b1cda72e13a4f48a75ab39856c15435cbdea/stein1.png" data-mid="242295319" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/0e0a9e43660b4f890c41ea51f683b1cda72e13a4f48a75ab39856c15435cbdea/stein1.png" /> Notes: Defamiliarization&nbsp; From Warren Neidich's review of the 2024 Whitney ISP show, Not Everything is Given <img width="1410" height="674" width_o="1410" height_o="674" data-src="https://freight.cargo.site/t/original/i/3565d882ef80eaee9da2eb5d645a7ce052078f10ae2c489dbaaace36ed3c8502/Screenshot-2025-12-30-at-4.07.13-PM.png" data-mid="242307623" border="0" src="https://freight.cargo.site/w/1000/i/3565d882ef80eaee9da2eb5d645a7ce052078f10ae2c489dbaaace36ed3c8502/Screenshot-2025-12-30-at-4.07.13-PM.png" /> ostranenie! Counter-habituation!&nbsp; I had the pleasure of reading some draft writing about my work and the author used the word “defamiliarization” to describe my work. Funnily enough, I’d forgotten about that word in relation to my practice, so it has been a fun experience of becoming reacquainted with a concept that speaks to the power of being unfamiliar. Two things: + I’ve written the same question to myself over the past few years: How do you experience the world anew? Or, how can I encounter [fill in the blank] without the weight of previous associations? When I was at UCROSS this summer, one of the resident authors shared about their interest in aphasia. It prompted me to consider language “disorders” and how mispeaking and mispronouncing introduce newnesss. I had a speech disorder, and sometimes it sneaks back up on me. I wonder about words that do not feel familiar in my mouth and how my mouth regains familiarity with these strange words. I am reminded of the introduction of Gabriel Garcia Marquez’s 100 Years of Solitude (1967)<img width="880" height="94" width_o="880" height_o="94" data-src="https://freight.cargo.site/t/original/i/b7cc85616b2adde359e6fcebea2c975418864ab017ce035bd98ce3bc9d18e052/newworld.png" data-mid="242314019" border="0" src="https://freight.cargo.site/w/880/i/b7cc85616b2adde359e6fcebea2c975418864ab017ce035bd98ce3bc9d18e052/newworld.png" /> <img width="170" height="72" width_o="170" height_o="72" data-src="https://freight.cargo.site/t/original/i/b2c714011897836e9630e959fd70312a87b1b9f401f92df538627732e705980d/dividerreal.png" data-mid="242297998" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/170/i/b2c714011897836e9630e959fd70312a87b1b9f401f92df538627732e705980d/dividerreal.png" /> <img width="660" height="92" width_o="660" height_o="92" data-src="https://freight.cargo.site/t/original/i/c089caf14ae08a5850f96228523f3c6ec456079147416337d1433e032cb99d21/diacritical.png" data-mid="242313705" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/660/i/c089caf14ae08a5850f96228523f3c6ec456079147416337d1433e032cb99d21/diacritical.png" />On Diacriticals and Revision Q&amp;A: Canisia Lubrin speaks to Dionne Brand about her two new books, The Blue Clerk and Theory 2018 Thank you, Sarah Cervenak for excerpting this portion of the interview in your book Black Gathering Art, Ecology, Ungiven Life (2021) <img width="1304" height="480" width_o="1304" height_o="480" data-src="https://freight.cargo.site/t/original/i/646e87968e4f939b7d4702a99bb4c0a201e5ece4605bdc6098588ab172d4bb86/Screenshot-2025-12-30-at-9.32.26-PM.png" data-mid="242297971" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/646e87968e4f939b7d4702a99bb4c0a201e5ece4605bdc6098588ab172d4bb86/Screenshot-2025-12-30-at-9.32.26-PM.png" />Notes: Diacritical Marks 1) A diacritic is a glyph added to a letter to indicate a distinguishable shift in pronunciation. Here, Brand evacuates the language of diacritics from the scale of markings on letters to the scale of marking an entire text. My father taught me Quranic Arabic when I was very young as part of our bespoke early morning Islamic studies. While I have lost much of that learning, what remains is an interest in diacritics. In a previous interview with Rahel Aima (2023), we discussed the harakat, the Arabic term for diacritical marks. Harakat derives from the trilateral root ḥ-r-k (ح-ر-ك), meaning "movement" or "motion". I noted that diacritics are locomotive – they move something along, to which Aima responds, “I’m seeing little caster wheels hitched underneath [...] I like caster wheels because they don’t always work. Sometimes the wheels are like, ‘No, we’re stuck, or we’re going in all these different ways.’” Brand positions, or rather names her writing as something unfixed and perpetually in motion due to her ritualized return to accent her ideas. The Blue Clerk is not a linear conversation – rather, it is a “primitive hypertext” (Octavia Estelle Butler, 1998) of many things that are constantly inflected by the author's return to what was to mark what could have been, or what was understressed. As a methodology and poetics, it invites us to consider revision – “accenting, overwriting, and underwriting” – as one way to break the colonial logic of compulsive (and pathological) teleology and finality. If poetry is “pressure on the page,” we are left with interlocked images. First, in the substrate or compositional field of plastic, pressure indents and deforms the page over time, pushing both language and the page to their elastic limits. Second, this plasticity (Catherine Malabou), or the ability to receive and give form, situates the page as a space of transformation, where sufficient accenting, overwriting, and underwriting can break the page's fibers, annihilating it to make way for another form that can hold the language. Sometimes, we must disorganize and splinter the compositional field to see what else is possible. 2) <img width="1632" height="920" width_o="1632" height_o="920" data-src="https://freight.cargo.site/t/original/i/62a98502b47ac0b15c296989de44a7eb85cc88afcfc6f74d1f3bf87d95159a47/Screenshot-2025-12-30-at-9.20.18-PM.png" data-mid="242307735" border="0" data-scale="95" src="https://freight.cargo.site/w/1000/i/62a98502b47ac0b15c296989de44a7eb85cc88afcfc6f74d1f3bf87d95159a47/Screenshot-2025-12-30-at-9.20.18-PM.png" /> 3) As a death doula in training, I am interested&nbsp; &nbsp;<img width="1638" height="914" width_o="1638" height_o="914" data-src="https://freight.cargo.site/t/original/i/28ea55749d3a84a2d52dd6f4857e9971c44c9dc04bd372ddc51ad9de1eadad88/Screenshot-2025-12-30-at-9.20.37-PM.png" data-mid="242307737" border="0" data-scale="95" src="https://freight.cargo.site/w/1000/i/28ea55749d3a84a2d52dd6f4857e9971c44c9dc04bd372ddc51ad9de1eadad88/Screenshot-2025-12-30-at-9.20.37-PM.png" /> 4) No New Theories (2019)&nbsp;<img width="2000" height="1451" width_o="2000" height_o="1451" data-src="https://freight.cargo.site/t/original/i/78528692f9cf21f175d6364d2fb6fb4b8473293c71fb577f3bcc2b9b7ce8d10a/Scan-7.jpeg" data-mid="242307742" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/78528692f9cf21f175d6364d2fb6fb4b8473293c71fb577f3bcc2b9b7ce8d10a/Scan-7.jpeg" /> <img width="170" height="72" width_o="170" height_o="72" data-src="https://freight.cargo.site/t/original/i/b2c714011897836e9630e959fd70312a87b1b9f401f92df538627732e705980d/dividerreal.png" data-mid="242297998" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/170/i/b2c714011897836e9630e959fd70312a87b1b9f401f92df538627732e705980d/dividerreal.png" /><img width="908" height="58" width_o="908" height_o="58" data-src="https://freight.cargo.site/t/original/i/0cfa101bda1107903b8206cc63d6f1ccdccd4cbcaf6b53278c672eac783a6057/Screenshot-2025-12-30-at-6.19.35-PM.png" data-mid="242295381" border="0" src="https://freight.cargo.site/w/908/i/0cfa101bda1107903b8206cc63d6f1ccdccd4cbcaf6b53278c672eac783a6057/Screenshot-2025-12-30-at-6.19.35-PM.png" />Of Possible Relations Hélène Cixous: Reading with Clarice Lispector 1990 <img width="1044" height="272" width_o="1044" height_o="272" data-src="https://freight.cargo.site/t/original/i/cd1b491c59f82ce86d6754f83901d1423a8d32197f3ceaebedeaa1c1ec941f5f/Screenshot-2025-12-03-at-2.32.06-PM.png" data-mid="241509716" border="0" data-scale="100" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/cd1b491c59f82ce86d6754f83901d1423a8d32197f3ceaebedeaa1c1ec941f5f/Screenshot-2025-12-03-at-2.32.06-PM.png" /> <img width="72" height="808" width_o="72" height_o="808" data-src="https://freight.cargo.site/t/original/i/133b514d14fe9f14d65706b95a6f51f7d4625eb229304dd3c3932b93b5bae379/Screenshot-2025-11-29-at-11.26.35-PM.png" data-mid="241227376" border="0" data-scale="12" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/72/i/133b514d14fe9f14d65706b95a6f51f7d4625eb229304dd3c3932b93b5bae379/Screenshot-2025-11-29-at-11.26.35-PM.png" /> <img width="1408" height="424" width_o="1408" height_o="424" data-src="https://freight.cargo.site/t/original/i/9a80709002ba165a312a80eee22d5307b31db80fd71ff5ec8ab7ec1ad119b497/Screenshot-2025-12-30-at-6.08.05-PM.png" data-mid="242295443" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/9a80709002ba165a312a80eee22d5307b31db80fd71ff5ec8ab7ec1ad119b497/Screenshot-2025-12-30-at-6.08.05-PM.png" /> <img width="352" height="130" width_o="352" height_o="130" data-src="https://freight.cargo.site/t/original/i/98764fad225feff5b5b0ec63fe8f27435f81885db2ad3a9e46f11f6433bbe10a/Screenshot-2025-10-19-at-4.31.59-PM.png" data-mid="241507775" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/352/i/98764fad225feff5b5b0ec63fe8f27435f81885db2ad3a9e46f11f6433bbe10a/Screenshot-2025-10-19-at-4.31.59-PM.png" /><img width="554" height="106" width_o="554" height_o="106" data-src="https://freight.cargo.site/t/original/i/b449cc09a1dbaceeae11a4c8d1950557e33358a271494162f1fd1e9d980a04e1/Screenshot-2025-10-19-at-4.31.32-PM.png" data-mid="241507777" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/554/i/b449cc09a1dbaceeae11a4c8d1950557e33358a271494162f1fd1e9d980a04e1/Screenshot-2025-10-19-at-4.31.32-PM.png" /> <img width="170" height="72" width_o="170" height_o="72" data-src="https://freight.cargo.site/t/original/i/b2c714011897836e9630e959fd70312a87b1b9f401f92df538627732e705980d/dividerreal.png" data-mid="242297998" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/170/i/b2c714011897836e9630e959fd70312a87b1b9f401f92df538627732e705980d/dividerreal.png" /> <img width="1602" height="200" width_o="1602" height_o="200" data-src="https://freight.cargo.site/t/original/i/7f6b31a4fb139d9175217c5dad031f5d7e1ce46115da70488f7991c44a62c46b/Screenshot-2025-12-30-at-6.30.39-PM.png" data-mid="242295556" border="0" src="https://freight.cargo.site/w/1000/i/7f6b31a4fb139d9175217c5dad031f5d7e1ce46115da70488f7991c44a62c46b/Screenshot-2025-12-30-at-6.30.39-PM.png" />On Resisting Temptation Emily Ogden:&nbsp;On Not Knowing: How to Love and Other Essays2021 <img width="1122" height="816" width_o="1122" height_o="816" data-src="https://freight.cargo.site/t/original/i/c37904352157079677a1ba2031ac7403f47cd9c54e0350f9992bda44931a851e/Screenshot-2025-12-30-at-6.30.19-PM.png" data-mid="242295555" border="0" src="https://freight.cargo.site/w/1000/i/c37904352157079677a1ba2031ac7403f47cd9c54e0350f9992bda44931a851e/Screenshot-2025-12-30-at-6.30.19-PM.png" /> <img width="170" height="72" width_o="170" height_o="72" data-src="https://freight.cargo.site/t/original/i/b2c714011897836e9630e959fd70312a87b1b9f401f92df538627732e705980d/dividerreal.png" data-mid="242297998" border="0" data-scale="2" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/170/i/b2c714011897836e9630e959fd70312a87b1b9f401f92df538627732e705980d/dividerreal.png" /> <img width="369" height="56" width_o="369" height_o="56" data-src="https://freight.cargo.site/t/original/i/23068c1e6228d7fe4d953db7f4eb762935f7d9e6220e0e12e26d227777966d0e/unsaying.png" data-mid="242295788" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/369/i/23068c1e6228d7fe4d953db7f4eb762935f7d9e6220e0e12e26d227777966d0e/unsaying.png" /> On Unsaying Ashon Crawley:&nbsp;That There Might Be Black Thought: Nothing Music and the Hammond B-32016 <img width="1136" height="1096" width_o="1136" height_o="1096" data-src="https://freight.cargo.site/t/original/i/7e3fcd79f1c8e113d40258e897e351698d80411d9624192310cdec7b0ba5553b/2unsaying.png" data-mid="242295787" border="0" src="https://freight.cargo.site/w/1000/i/7e3fcd79f1c8e113d40258e897e351698d80411d9624192310cdec7b0ba5553b/2unsaying.png" /> .invert-hover img { transition: filter 0.3s ease; } .invert-hover:hover img { filter: invert(100%); transform: scale(1.3); } .halo-hover:hover { text-shadow: 0 0 8px #6a329f; font-size: 1.6rem; line-height: 1.2; font-family: Inter, Icons; font-style: normal; font-style: normal; font-weight: 400; }       var sites = [ 'https://kameelahr.com/Work-Statement-Abbreviated-1', 'https://kameelahr.com/Work-Statement-some-sketches', 'https://kameelahr.com/Work-Statement-A-List-of-Words',       ];       function randomSite() {           var i = parseInt(Math.random() * sites.length);           location.href = sites[i];       } https://kameelahr.com/Work-Statement-sprawling-writing Tue, 30 Dec 2025 18:52:30 +0000 Kameelah Janan Rasheed https://kameelahr.com/Work-Statement-sprawling-writing pre { background-color: #ffffff; /* Light gray background */ font-size: 1.6rem; line-height: 1.2; font-family: Inter, Icons; font-style: normal; font-style: normal; padding: 5px; /* Space around the content */ font-family: monospace; /* Ensures monospaced font */ ; /* Decorative left border */ overflow: auto; /* Adds a scrollbar for long lines */ white-space: pre-wrap; /* Allows text to wrap when needed */ } .invert-hover img { transition: filter 0.3s ease; } .invert-hover:hover img { filter: invert(100%); transform: scale(1.3); }       var sites = [ 'https://kameelahr.com/Work-Statement-Abbreviated-1', 'https://kameelahr.com/Work-Statement-some-sketches', 'https://kameelahr.com/Work-Statement-A-List-of-Words',       ];       function randomSite() {           var i = parseInt(Math.random() * sites.length);           location.href = sites[i];       } Work Statement: slow and sprawling, [what is writing?] <img width="1782" height="392" width_o="1782" height_o="392" data-src="https://freight.cargo.site/t/original/i/facd41c48e8c8240bdbf5212de9669261edd35751c240803fa8a6b83b09981bc/Iwanttogobackplease.png" data-mid="242292774" border="0" data-scale="100" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/facd41c48e8c8240bdbf5212de9669261edd35751c240803fa8a6b83b09981bc/Iwanttogobackplease.png" /> <img width="1778" height="392" width_o="1778" height_o="392" data-src="https://freight.cargo.site/t/original/i/aff07dd9fa8b638bec6189848afac4dd045b6d70463d3f3fe68bb90fe04cdf8e/takemetoannew.png" data-mid="242292781" border="0" data-scale="8" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/aff07dd9fa8b638bec6189848afac4dd045b6d70463d3f3fe68bb90fe04cdf8e/takemetoannew.png" /> How to Cite this Page: Rasheed, Kameelah Janan. “Work Statement: slow and sprawling,: [what is writing?].” KJR Studios Website. Accessed Month Day, Year. https://kameelahr.com/Work-Statement-sprawling <img width="1540" height="530" width_o="1540" height_o="530" data-src="https://freight.cargo.site/t/original/i/a0e7dc22e4f19ca8f636ec160482e6dc34310544d1d5072a2777d8cede6c66c4/Screenshot-2025-12-31-at-4.18.09-PM.png" data-mid="242311542" border="0" data-scale="10" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/a0e7dc22e4f19ca8f636ec160482e6dc34310544d1d5072a2777d8cede6c66c4/Screenshot-2025-12-31-at-4.18.09-PM.png" /><img width="1228" height="252" width_o="1228" height_o="252" data-src="https://freight.cargo.site/t/original/i/ab0bb5b1828aaf734b0d59558e1398a7b7ae95902df1c9cdfa6a3a24430679ff/Screenshot-2025-12-31-at-3.38.47-PM.png" data-mid="242311543" border="0" data-scale="5" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/ab0bb5b1828aaf734b0d59558e1398a7b7ae95902df1c9cdfa6a3a24430679ff/Screenshot-2025-12-31-at-3.38.47-PM.png" /> Writing is any mark-making intended to communicate something, regardless of legibility. The substrate is the stage or context on which something occurs. The substrate is not agnostic; its material conditions shape what can be made visible and the duration of that visibility. The marking material is the substance or medium that enables a mark to appear on a substrate, regardless of how long the mark remains visible. The marking tool is the object used to apply the marking material to the substrate. The writer is the entity—across species and beyond the living/dead binary—that uses a marking tool and marking material to create an intentional mark on a substrate. The interaction among the writer, marking tool, marking material, and substrate produces a mark. The environment within which this interaction occurs is called the writing ecology. var d=document,w="https://tally.so/widgets/embed.js",v=function(){"undefined"!=typeof Tally?Tally.loadEmbeds():d.querySelectorAll("iframe[data-tally-src]:not([src])").forEach((function(e){e.src=e.dataset.tallySrc}))};if("undefined"!=typeof Tally)v();else if(d.querySelector('script[src="'+w+'"]')==null){var s=d.createElement("script");s.src=w,s.onload=v,s.onerror=v,d.body.appendChild(s);} https://kameelahr.com/Work-Statement-sprawling-wet Wed, 31 Dec 2025 21:40:04 +0000 Kameelah Janan Rasheed https://kameelahr.com/Work-Statement-sprawling-wet pre { background-color: #ffffff; /* Light gray background */ font-size: 1.6rem; line-height: 1.2; font-family: Inter, Icons; font-style: normal; font-style: normal; padding: 5px; /* Space around the content */ font-family: monospace; /* Ensures monospaced font */ ; /* Decorative left border */ overflow: auto; /* Adds a scrollbar for long lines */ white-space: pre-wrap; /* Allows text to wrap when needed */ } .invert-hover img { transition: filter 0.3s ease; } .invert-hover:hover img { filter: invert(100%); transform: scale(1.3); }       var sites = [ 'https://kameelahr.com/Work-Statement-Abbreviated-1', 'https://kameelahr.com/Work-Statement-some-sketches', 'https://kameelahr.com/Work-Statement-A-List-of-Words',       ];       function randomSite() {           var i = parseInt(Math.random() * sites.length);           location.href = sites[i];       } Work Statement: slow and sprawling, [wet] <img width="1782" height="392" width_o="1782" height_o="392" data-src="https://freight.cargo.site/t/original/i/facd41c48e8c8240bdbf5212de9669261edd35751c240803fa8a6b83b09981bc/Iwanttogobackplease.png" data-mid="242312483" border="0" data-scale="100" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/facd41c48e8c8240bdbf5212de9669261edd35751c240803fa8a6b83b09981bc/Iwanttogobackplease.png" /> <img width="1778" height="392" width_o="1778" height_o="392" data-src="https://freight.cargo.site/t/original/i/aff07dd9fa8b638bec6189848afac4dd045b6d70463d3f3fe68bb90fe04cdf8e/takemetoannew.png" data-mid="242312545" border="0" data-scale="8" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/aff07dd9fa8b638bec6189848afac4dd045b6d70463d3f3fe68bb90fe04cdf8e/takemetoannew.png" /> How to Cite this Page: Rasheed, Kameelah Janan. “Work Statement: slow and sprawling,: [what is writing?].” KJR Studios Website. Accessed Month Day, Year. https://kameelahr.com/Work-Statement-sprawling <img width="248" height="236" width_o="248" height_o="236" data-src="https://freight.cargo.site/t/original/i/1f5eeaf219b2db7d2c18033b50d1803e544c2d5987d1e64c084610a10516181a/Screenshot-2025-12-31-at-4.43.06-PM.png" data-mid="242313013" border="0" data-scale="6" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/248/i/1f5eeaf219b2db7d2c18033b50d1803e544c2d5987d1e64c084610a10516181a/Screenshot-2025-12-31-at-4.43.06-PM.png" />(Amended) notes from SFSIA Presentation on Wet Conceptualism (6 September 2025) What is wetness? + Several years ago, a student told me that human skin lacks a single receptor dedicated to sensing wetness, unlike cockroaches and spiders + Wetness is not an intrinsic physical property; it is our interpretation of a set of liquid/surface relationships as well as the interaction between multiple sensory signals + Because wetness is not direct sensory perception for humans, we interpret multiple sensory cues (temperature, pressure, and texture) to experience the sensation of wetness + Wetness relies on multisensory integration, or the nervous system’s combination of information from different senses to build a unified understanding of the environment+ In neuroscience, this is called synthetic perception, or a perception that isn’t detected by a single type of receptor, but instead constructed in the brain from multiple sensory experiences. What might wetness ask of us?+ How might we describe an ethos of wettability, or our desire to bring our body in full contact with shifting systems and ideas? + If I seek to make wet work, maybe I desire to spill or leak onto the viewer; perhaps I want them to spill onto me?+ If I am a wettable person, perhaps that means: I welcome opportunities to draw closer to uncertainty, so that I develop a higher threshold for perpetual moisture I seek to experience the world through many sensory modalities, cognitive states (mystical, synesthesia), metaperception, and related phenomena. .courier-prime-regular { font-family: "Courier Prime", monospace; font-weight: 400; font-style: normal; } .courier-prime-bold { font-family: "Courier Prime", monospace; font-weight: 700; font-style: normal; } .courier-prime-regular-italic { font-family: "Courier Prime", monospace; font-weight: 400; font-style: italic; } .courier-prime-bold-italic { font-family: "Courier Prime", monospace; font-weight: 700; font-style: italic; } .notes { font-family: "Courier Prime", monospace; font-style: normal; font-weight: 400; padding: 0; margin: 0; font-size: 1.7rem; line-height: 1; color: rgb(0, 0, 0); } .notes a { color: #6a329f; } https://kameelahr.com/Work-Statement-Main Fri, 21 Nov 2025 22:03:55 +0000 Kameelah Janan Rasheed https://kameelahr.com/Work-Statement-Main .zoom-frame { overflow: hidden; display: inline-block; } .zoom-frame img { transition: transform 0.4s ease; } .zoom-frame:hover img { transform: scale(.8); } .black-halo img { box-shadow: 0 0 10px rgba(0,0,0,0.5), 0 0 25px rgba(0,0,0,0.4), 0 0 40px rgba(0,0,0,0.3); } <img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/38168b0273b7054a2f185d6bdb8a740d3b7130b0a73e5fbee68cdcb49370758c/Screen-Shot-2023-03-24-at-3.35.12-PM.jpg" data-mid="240954815" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/38168b0273b7054a2f185d6bdb8a740d3b7130b0a73e5fbee68cdcb49370758c/Screen-Shot-2023-03-24-at-3.35.12-PM.jpg" />&nbsp;Work Statement: start here...&nbsp; <img width="1444" height="275" width_o="1444" height_o="275" data-src="https://freight.cargo.site/t/original/i/b571c2d88d4958dabba5ff3b380fb41c4666aa188647c36665b149a92e5dfb0c/chooseyouwownadevnture.png" data-mid="240954952" border="0" data-scale="8" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/b571c2d88d4958dabba5ff3b380fb41c4666aa188647c36665b149a92e5dfb0c/chooseyouwownadevnture.png" /><img width="1260" height="710" width_o="1260" height_o="710" data-src="https://freight.cargo.site/t/original/i/4a8fbfa5b87eae1f6a586c613dcd06f435df56fd2775b821bc1c53bd066b759e/xfiles.png" data-mid="240954935" border="0" data-scale="100" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/4a8fbfa5b87eae1f6a586c613dcd06f435df56fd2775b821bc1c53bd066b759e/xfiles.png" />The X-Files, season 1, episode 12, “Fire,” directed by Larry Shaw, aired December 17, 1993, on Fox. <img width="1782" height="392" width_o="1782" height_o="392" data-src="https://freight.cargo.site/t/original/i/94ecfccd2533d631bbc7fc5c7cf8797778bb0df7146dc5245a1e7450e200f307/slowandsprawling.png" data-mid="241202482" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/94ecfccd2533d631bbc7fc5c7cf8797778bb0df7146dc5245a1e7450e200f307/slowandsprawling.png" /> <img width="1782" height="392" width_o="1782" height_o="392" data-src="https://freight.cargo.site/t/original/i/3fe643f882989f1abbb54570f07574bfa4bb1e51b694a66b258dd47e50968a6c/abbreviatedbutton.png" data-mid="241202481" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/3fe643f882989f1abbb54570f07574bfa4bb1e51b694a66b258dd47e50968a6c/abbreviatedbutton.png" /> <img width="1782" height="392" width_o="1782" height_o="392" data-src="https://freight.cargo.site/t/original/i/0afc19f8ebdd8cc4e87585f1c61b62a9d7403d82c2b9cef012eb45c7bcfb8819/somesketches.png" data-mid="241203079" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/0afc19f8ebdd8cc4e87585f1c61b62a9d7403d82c2b9cef012eb45c7bcfb8819/somesketches.png" /> <img width="1782" height="392" width_o="1782" height_o="392" data-src="https://freight.cargo.site/t/original/i/18b43076ab55daf601d06e1e81a85ece3c69ddd7f0a2075e5251d9a3c1471171/alistofwords.png" data-mid="241202742" border="0" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/18b43076ab55daf601d06e1e81a85ece3c69ddd7f0a2075e5251d9a3c1471171/alistofwords.png" /> https://kameelahr.com/Work-Statement-A-List-of-Words Sun, 30 Nov 2025 08:23:57 +0000 Kameelah Janan Rasheed https://kameelahr.com/Work-Statement-A-List-of-Words Work Statement: a list of words and phrases <img width="1782" height="392" width_o="1782" height_o="392" data-src="https://freight.cargo.site/t/original/i/facd41c48e8c8240bdbf5212de9669261edd35751c240803fa8a6b83b09981bc/Iwanttogobackplease.png" data-mid="241532119" border="0" data-scale="7" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/facd41c48e8c8240bdbf5212de9669261edd35751c240803fa8a6b83b09981bc/Iwanttogobackplease.png" /> <img width="1778" height="392" width_o="1778" height_o="392" data-src="https://freight.cargo.site/t/original/i/aff07dd9fa8b638bec6189848afac4dd045b6d70463d3f3fe68bb90fe04cdf8e/takemetoannew.png" data-mid="241532121" border="0" data-scale="7" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/aff07dd9fa8b638bec6189848afac4dd045b6d70463d3f3fe68bb90fe04cdf8e/takemetoannew.png" /> <img width="500" height="108" width_o="500" height_o="108" data-src="https://freight.cargo.site/t/original/i/de75c231e8df15f7c7c2f5d2e1c99f6206c76240aacd9b27704a5deadcfab7a0/IMG_0090.jpg" data-mid="241396058" border="0" data-no-zoom="true" 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data-src="https://freight.cargo.site/t/original/i/ff4ab37a0f319584e298a19819c923a8a312fc586b1728835bcfe465d1e30b25/Screenshot-2025-12-03-at-7.47.06-PM.jpg" data-mid="241396113" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/500/i/ff4ab37a0f319584e298a19819c923a8a312fc586b1728835bcfe465d1e30b25/Screenshot-2025-12-03-at-7.47.06-PM.jpg" /> <img width="500" height="66" width_o="500" height_o="66" data-src="https://freight.cargo.site/t/original/i/259354a4816ed238227ffc83840803a602f3a373877afc55c27dfb8d2ddc24e3/Screenshot-2025-12-03-at-7.47.20-PM.jpg" data-mid="241396114" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/500/i/259354a4816ed238227ffc83840803a602f3a373877afc55c27dfb8d2ddc24e3/Screenshot-2025-12-03-at-7.47.20-PM.jpg" /> Print OR Save as a PDF Clear Invitation: Double-click an image to add. Drag on stage to move to create new compositions. &nbsp; kameelahr.com · December 24, 2025       var sites = [ 'https://kameelahr.com/Work-Statement-sprawling', 'https://kameelahr.com/Work-Statement-some-sketches', 'https://kameelahr.com/Work-Statement-Abbreviated-1',       ];       function randomSite() {           var i = parseInt(Math.random() * sites.length);           location.href = sites[i];       } .invert-hover img { transition: filter 0.3s ease; } .invert-hover:hover img { filter: invert(100%); transform: scale(1.3); } /* Source thumbnails */ #stageSources{ display:flex !important; flex-wrap:wrap !important; gap:12px !important; margin:0 0 16px !important; align-items:flex-start !important; column-count:1 !important; /* kill columns if applied */ column-gap:0 !important; } #stageSources img{ width:auto !important; height:auto !important; max-width:100px !important; max-height:100px !important; object-fit:contain !important; display:block !important; border-radius:12px; cursor:default; user-select:none; -webkit-user-drag:none; } .toolbar{ display:flex; gap:.75rem; align-items:center; flex-wrap:wrap; margin:0 0 .75rem; } .btn{ border:1px solid #000; background:#fff; color:#000; padding:.55rem 1rem; border-radius:999px; cursor:pointer; font:inherit; transition: background-color .2s ease, color .2s ease, transform .18s ease; } .btn:hover{ background:#000; color:#fff; transform:scale(1.1); } .hint{ opacity:.80; font-size:1.75rem; } /* ✅ STAGE: hard reset against Cargo grid/columns */ #stage.stage{ position:relative !important; width:min(92vw, 820px) !important; aspect-ratio: 4 / 3; border:1.5px dashed rgba(0,0,0,.75) !important; border-radius:20px !important; overflow:hidden !important; background: rgba(106, 50, 159, 0.18)!important; /* kill layout systems */ display:block !important; column-count:1 !important; column-gap:0 !important; float:none !important; clear:both !important; /* prevent scroll stealing while dragging on touch */ touch-action:none !important; } /* If any parent applies columns, stop stage children from spanning columns */ #stage *{ column-span:none !important; } /* Stage item wrapper */ .stage-item{ position:absolute !important; left:16px; top:16px; display:block !important; float:none !important; cursor:grab; user-select:none; -webkit-user-drag:none; touch-action:none; pointer-events:auto !important; } .stage-item.is-dragging{ cursor:grabbing; } .stage-item img{ display:block; width:110px; height:auto !important; max-width:180px; min-width:60px; object-fit:contain !important; border-radius:12px; pointer-events:none; /* wrapper handles drag */ } /* Resize handle (ultra minimal) */ .resize-handle{ position:absolute; width:10px; height:10px; right:-4px; bottom:-4px; background:#fff; cursor:crosshair; touch-action:none; pointer-events:auto !important; } .resize-handle:before{ content:""; position:absolute; inset:2px; border-right:1px solid #000; border-bottom:1px solid #000; } @media print{ /* LETTER paper + reasonable margins */ @page{ size: Letter portrait; /* 8.5in × 11in */ margin: 0.5in; /* space for header/footer */ } html, body{ margin:0 !important; padding:0 !important; } /* Hide everything by default */ body *{ visibility:hidden !important; } /* Show only stage + print header/footer */ #stage, #stage *{ visibility:visible !important; } .print-header, .print-footer{ visibility:visible !important; } /* ---- PRINT HEADER / FOOTER ---- */ .print-header, .print-footer{ position: fixed; left: 0.5in; right: 0.5in; font: 12pt/1.2 'BradfordLLWeb-Regular', serif; color:#000; } .print-header{ top: 0.25in; text-align: left; } .print-footer{ bottom: 0.25in; text-align: right; } /* ---- CENTER STAGE ON PAGE ---- Available printable area = Letter minus margins We center it and fit it inside without cropping. */ #stage{ position: fixed !important; top: 50% !important; left: 50% !important; transform: translate(-50%, -50%) !important; transform-origin: center center !important; /* Fit inside printable area (Letter minus margins & header/footer space) */ width: auto !important; height: auto !important; max-width: calc(8.5in - 1in) !important; /* 0.5in margins left+right */ max-height: calc(11in - 1.6in) !important; /* margins + header/footer breathing room */ border: none !important; border-radius: 0 !important; margin: 0 !important; box-shadow: none !important; overflow: hidden !important; } /* Hide UI and sources when printing */ .toolbar, #stageSources{ display:none !important; } } (function(){ try { var stage = document.getElementById("stage"); var sources = document.getElementById("stageSources"); var btnPrint = document.getElementById("printA4"); var btnClear = document.getElementById("clearStage"); var DEFAULT_W = 110, MAX_W = 180, MIN_W = 60; var activeWrap = null; var mode = null; // "drag" | "resize" var startX = 0, startY = 0; var baseLeft = 0, baseTop = 0; var startW = 0; function pt(e){ if (e.touches && e.touches[0]) return { x:e.touches[0].clientX, y:e.touches[0].clientY }; return { x:e.clientX, y:e.clientY }; } function bringToFront(wrap){ var items = stage.querySelectorAll(".stage-item"); var z = 1, i, zi; for (i=0; i z) z = zi; } wrap.style.zIndex = String(z + 1); } function extractURL(target){ var img = target.closest ? target.closest("img") : null; if (img) return img.currentSrc || img.src; // fallback walk-up var el = target; while (el && el !== sources){ if (el.tagName && el.tagName.toLowerCase() === "img") return el.src; el = el.parentNode; } return null; } function addToStage(src){ var wrap = document.createElement("div"); wrap.className = "stage-item"; var img = document.createElement("img"); img.src = src; img.alt = "Stage image"; img.draggable = false; img.style.width = DEFAULT_W + "px"; var handle = document.createElement("div"); handle.className = "resize-handle"; wrap.appendChild(img); wrap.appendChild(handle); stage.appendChild(wrap); var n = stage.querySelectorAll(".stage-item").length - 1; wrap.style.left = (16 + n * 10) + "px"; wrap.style.top = (16 + n * 10) + "px"; function dragStart(e){ if (e.target === handle) return; e.preventDefault(); bringToFront(wrap); activeWrap = wrap; mode = "drag"; wrap.className = "stage-item is-dragging"; var p = pt(e); startX = p.x; startY = p.y; baseLeft = parseFloat(wrap.style.left || "0"); baseTop = parseFloat(wrap.style.top || "0"); } function resizeStart(e){ e.preventDefault(); e.stopPropagation(); bringToFront(wrap); activeWrap = wrap; mode = "resize"; startX = pt(e).x; startW = img.getBoundingClientRect().width; } wrap.addEventListener("mousedown", dragStart, false); wrap.addEventListener("touchstart", dragStart, { passive:false }); handle.addEventListener("mousedown", resizeStart, false); handle.addEventListener("touchstart", resizeStart, { passive:false }); wrap.addEventListener("dblclick", function(){ if (wrap.parentNode) wrap.parentNode.removeChild(wrap); }, false); } function move(e){ if (!activeWrap || !mode) return; e.preventDefault(); var p = pt(e); var dx = p.x - startX; var dy = p.y - startY; if (mode === "drag"){ activeWrap.style.left = (baseLeft + dx) + "px"; activeWrap.style.top = (baseTop + dy) + "px"; } else if (mode === "resize"){ var img = activeWrap.querySelector("img"); var w = startW + dx; if (w < MIN_W) w = MIN_W; if (w > MAX_W) w = MAX_W; img.style.width = w + "px"; } } function end(){ if (activeWrap) activeWrap.className = "stage-item"; activeWrap = null; mode = null; } window.addEventListener("mousemove", move, false); window.addEventListener("touchmove", move, { passive:false }); window.addEventListener("mouseup", end, false); window.addEventListener("touchend", end, false); window.addEventListener("touchcancel", end, false); sources.addEventListener("dblclick", function(e){ var url = extractURL(e.target); if (url) addToStage(url); }, false); btnPrint.onclick = function(){ window.print(); }; btnClear.onclick = function(){ stage.innerHTML = ""; }; } catch (err) { console && console.error && console.error("Composer script error:", err); } })(); (function(){ var el = document.getElementById("printDate"); if(!el) return; var d = new Date(); var months = [ "January","February","March","April","May","June", "July","August","September","October","November","December" ]; var formatted = months[d.getMonth()] + " " + d.getDate() + ", " + d.getFullYear(); el.textContent = formatted; })(); https://kameelahr.com/Work-Statement-some-sketches Sat, 29 Nov 2025 04:28:36 +0000 Kameelah Janan Rasheed https://kameelahr.com/Work-Statement-some-sketches Work Statement: some sketches       var sites = [ 'https://kameelahr.com/Work-Statement-sprawling', 'https://kameelahr.com/Work-Statement-A-List-of-Words', 'https://kameelahr.com/Work-Statement-Abbreviated-1',      ];      function randomSite() {           var i = parseInt(Math.random() * sites.length);           location.href = sites[i];       } <img width="1782" height="392" width_o="1782" height_o="392" data-src="https://freight.cargo.site/t/original/i/facd41c48e8c8240bdbf5212de9669261edd35751c240803fa8a6b83b09981bc/Iwanttogobackplease.png" data-mid="241532853" border="0" data-scale="7" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/facd41c48e8c8240bdbf5212de9669261edd35751c240803fa8a6b83b09981bc/Iwanttogobackplease.png" /> <img width="1778" height="392" width_o="1778" height_o="392" data-src="https://freight.cargo.site/t/original/i/aff07dd9fa8b638bec6189848afac4dd045b6d70463d3f3fe68bb90fe04cdf8e/takemetoannew.png" data-mid="241532856" border="0" data-scale="7" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/aff07dd9fa8b638bec6189848afac4dd045b6d70463d3f3fe68bb90fe04cdf8e/takemetoannew.png" /> <img width="774" height="586" width_o="774" height_o="586" data-src="https://freight.cargo.site/t/original/i/95b8e238b16a8ff9c8d06b9506b517c3323c8b4a8c5a356dcd6219d285c8a0db/Screenshot-2025-03-06-at-2.16.08-PM.png" data-mid="241395945" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/774/i/95b8e238b16a8ff9c8d06b9506b517c3323c8b4a8c5a356dcd6219d285c8a0db/Screenshot-2025-03-06-at-2.16.08-PM.png" /> <img width="1430" height="946" width_o="1430" height_o="946" data-src="https://freight.cargo.site/t/original/i/5fe97fa728e0700245f0dbc31504f2567ac51f7e6236d93a33ee3b055acfd570/Screenshot-2025-12-01-at-10.17.39-PM.png" data-mid="241300942" border="0" data-rotation="-180" src="https://freight.cargo.site/w/1000/i/5fe97fa728e0700245f0dbc31504f2567ac51f7e6236d93a33ee3b055acfd570/Screenshot-2025-12-01-at-10.17.39-PM.png" /> <img width="2902" height="3990" width_o="2902" height_o="3990" data-src="https://freight.cargo.site/t/original/i/3d07b713c13c56e7c6152f7e85de64f30269cd7467b97e8d979c08c33329ac9c/7Untitled-1.png" data-mid="241300592" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/3d07b713c13c56e7c6152f7e85de64f30269cd7467b97e8d979c08c33329ac9c/7Untitled-1.png" /> <img width="714" height="402" width_o="714" height_o="402" data-src="https://freight.cargo.site/t/original/i/2780c591074f22f65a7e9042ba06d5e18c73e58e7fa34d887b287a96923ce142/Screenshot-2025-08-08-at-7.17.20-PM.png" data-mid="241395952" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/714/i/2780c591074f22f65a7e9042ba06d5e18c73e58e7fa34d887b287a96923ce142/Screenshot-2025-08-08-at-7.17.20-PM.png" /> <img width="2000" height="1285" width_o="2000" height_o="1285" data-src="https://freight.cargo.site/t/original/i/dd1d8daf171c2bef1d9c38ca7afe8855b105e108a7e2a21cd864f87d9665cc2c/Screenshot-2024-10-22-at-9.00.49-PM.png" data-mid="241395973" border="0" src="https://freight.cargo.site/w/1000/i/dd1d8daf171c2bef1d9c38ca7afe8855b105e108a7e2a21cd864f87d9665cc2c/Screenshot-2024-10-22-at-9.00.49-PM.png" /> <img width="504" height="546" width_o="504" height_o="546" data-src="https://freight.cargo.site/t/original/i/9552bb22614d4757679956d697b9d04286fb83cad544e4ee3a47780e0709fb24/Screenshot-2025-11-23-at-8.10.03-PM.png" data-mid="241395964" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/504/i/9552bb22614d4757679956d697b9d04286fb83cad544e4ee3a47780e0709fb24/Screenshot-2025-11-23-at-8.10.03-PM.png" /> <img width="1402" height="1074" width_o="1402" height_o="1074" data-src="https://freight.cargo.site/t/original/i/1728660cc9a18cb1b9fc684230b542eb6ee2348fa4956931cdfc3b4f6db2bba6/Screenshot-2025-11-25-at-6.11.00-PM.png" data-mid="241339278" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/1728660cc9a18cb1b9fc684230b542eb6ee2348fa4956931cdfc3b4f6db2bba6/Screenshot-2025-11-25-at-6.11.00-PM.png" /> <img width="2550" height="3300" width_o="2550" height_o="3300" data-src="https://freight.cargo.site/t/original/i/131f64428b71c68054ee3a7baa40ec59f98f4ee4aa2bc8dd17c6406f8b363b05/2024-09-07-22-58-5.png" data-mid="241300594" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/131f64428b71c68054ee3a7baa40ec59f98f4ee4aa2bc8dd17c6406f8b363b05/2024-09-07-22-58-5.png" /> <img width="1218" height="690" width_o="1218" height_o="690" data-src="https://freight.cargo.site/t/original/i/ad7380f66f7932e4fb85f4727d288632d5b26260ea2af34e6c59a15ac8a021fa/Screen-Shot-2023-06-09-at-8.34.49-AM.png" data-mid="241301502" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/ad7380f66f7932e4fb85f4727d288632d5b26260ea2af34e6c59a15ac8a021fa/Screen-Shot-2023-06-09-at-8.34.49-AM.png" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/351b0084290ca0cb224eecc50ce53dcc242d9805718726a4feeb83828646f8e3/IMG_3785.JPG" data-mid="241300950" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/351b0084290ca0cb224eecc50ce53dcc242d9805718726a4feeb83828646f8e3/IMG_3785.JPG" /> <img width="767" height="1024" width_o="767" 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data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/630ba09a7dd4e8223a7c5377eac98e243762128cb179a09638fabccdb95581e6/Screenshot-2025-10-16-at-9.34.39-PM.png" /> <img width="748" height="1316" width_o="748" height_o="1316" data-src="https://freight.cargo.site/t/original/i/52a47e5b052b789a30d7378af4f884328276541fbea34f2af230d5c47805dc8c/Screenshot-2025-10-13-at-10.55.30-PM.png" data-mid="241301017" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/748/i/52a47e5b052b789a30d7378af4f884328276541fbea34f2af230d5c47805dc8c/Screenshot-2025-10-13-at-10.55.30-PM.png" /> .invert-hover img { transition: filter 0.3s ease; } .invert-hover:hover img { filter: invert(100%); transform: scale(1.3); } https://kameelahr.com/Work-Statement-Abbreviated-1 Tue, 21 Nov 2023 02:12:46 +0000 Kameelah Janan Rasheed https://kameelahr.com/Work-Statement-Abbreviated-1       var sites = [ 'https://kameelahr.com/Work-Statement-sprawling', 'https://kameelahr.com/Work-Statement-some-sketches', 'https://kameelahr.com/Work-Statement-A-List-of-Words',       ];       function randomSite() {           var i = parseInt(Math.random() * sites.length);           location.href = sites[i];       } .invert-hover img { transition: filter 0.3s ease; } .invert-hover:hover img { filter: invert(100%); transform: scale(1.3); } Work Statement: abbreviated       var sites = [ 'https://kameelahr.com/Work-Statement-sprawling', 'https://kameelahr.com/Work-Statement-some-sketches', 'https://kameelahr.com/Work-Statement-Abbreviated-1',      ];      function randomSite() {           var i = parseInt(Math.random() * sites.length);           location.href = sites[i];       } <img width="1782" height="392" width_o="1782" height_o="392" data-src="https://freight.cargo.site/t/original/i/facd41c48e8c8240bdbf5212de9669261edd35751c240803fa8a6b83b09981bc/Iwanttogobackplease.png" data-mid="241532897" border="0" data-scale="7" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/facd41c48e8c8240bdbf5212de9669261edd35751c240803fa8a6b83b09981bc/Iwanttogobackplease.png" /> <img width="1778" height="392" width_o="1778" height_o="392" data-src="https://freight.cargo.site/t/original/i/aff07dd9fa8b638bec6189848afac4dd045b6d70463d3f3fe68bb90fe04cdf8e/takemetoannew.png" data-mid="241227642" border="0" data-scale="7" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/aff07dd9fa8b638bec6189848afac4dd045b6d70463d3f3fe68bb90fe04cdf8e/takemetoannew.png" /> I am a learner and a death doula in training. I explore the poetics and politics of non-compliance and disobedience across written, spoken, and visual language. Likewise, I explore embodied multisensory reading rituals. A “language person” (Paul Soulellis), I “give language a body” (Chang Yuchen) through large-scale installations, multichannel video works, publications, learning platforms, software, performance, public archives,&nbsp; and other forms yet to be determined. https://kameelahr.com/Young-Kameelah-2 Wed, 10 Dec 2025 00:52:37 +0000 Kameelah Janan Rasheed https://kameelahr.com/Young-Kameelah-2 <img width="118" height="150" width_o="118" height_o="150" data-src="https://freight.cargo.site/t/original/i/b6586ad2af1ed06a8304157d86791513e6feb65fa80c35dd0518e2a8666e947a/Screenshot-2025-12-09-at-7.20.36-PM.svg" data-mid="241617737" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/118/i/b6586ad2af1ed06a8304157d86791513e6feb65fa80c35dd0518e2a8666e947a/Screenshot-2025-12-09-at-7.20.36-PM.svg" />Young Kameelah https://kameelahr.com/Lists-Lists-Lists Sat, 31 May 2025 15:32:43 +0000 Kameelah Janan Rasheed https://kameelahr.com/Lists-Lists-Lists <img width="460" height="535" width_o="460" height_o="535" data-src="https://freight.cargo.site/t/original/i/35ad40028fc4ab4037549887961671c64466289a58bb54a297a37aa41e44e9e9/index.png" data-mid="233957372" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/460/i/35ad40028fc4ab4037549887961671c64466289a58bb54a297a37aa41e44e9e9/index.png" />Lists.Lists.Lists! <img width="2700" height="153" width_o="2700" height_o="153" data-src="https://freight.cargo.site/t/original/i/2892711672cf4c88cecd81ec5e1054c16bfebadb3b3d877dbd463e5ea0949336/curiousconversations.png" data-mid="241534843" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/1000/i/2892711672cf4c88cecd81ec5e1054c16bfebadb3b3d877dbd463e5ea0949336/curiousconversations.png" />Written in my Grade 3 end-of-year reflection book (1994). When asked what my favorite things were that year, this was one of the activities I chose. An intense and immersive focus on a specific interest or activity characterizes hyperfixation. It is a common trait in ADHD, OCD, and Autism. While it is sometimes referred to as a “special interest,” hyperfixation is considered all-consuming. While often cast as a disorder or disruption, I choose to think about my hyperfixations as a spiritual gift of deep curiosity that animates all parts of my life. These episodes of deep curiosity are often cyclical; maybe orbital is a better word. They are orbital in that I am circling or being gravitationally pulled toward something, and I keep circling until I get close enough to what I think I am chasing... something like a ring gazing orbit. I never get there - the point of sustained contact, but I ride the edge, and I think this is where the thrill is.&nbsp; It is never about the object of fixation, but about seeing how far I can push my perceptive capacities to see from multiple points of reference simultaneously.&nbsp;&nbsp; <img width="2917" height="871" width_o="2917" height_o="871" data-src="https://freight.cargo.site/t/original/i/f98bfdc87738e6e96b8922420c6006d136e4886515b978f2b28b920d638bc5cf/eccentricity.png" data-mid="241536549" border="0" src="https://freight.cargo.site/w/1000/i/f98bfdc87738e6e96b8922420c6006d136e4886515b978f2b28b920d638bc5cf/eccentricity.png" />Source:&nbsp;https://astronomy.swin.edu.au/cosmos/o/Orbital+Eccentricity Yet another shout-out to Yone for inspiring me to make more lists! Current Curiosities Thank you to my mama, Gwendolyn Rasheed, for helping me “complete” this index beginning with 1990. I decided to remove the dates because I realized all these curiosities leak into one another. Transhumanism, Post-Earth Repositories, Luxury Survival Bunkers&nbsp; Black Holes Stellar Ingestion&nbsp; Storyboard Weaver SoftwareNon-Newtonian FluidsMultiphase MaterialsPhotosynthesis (specifically, photosystem II)Death botsLisa Frank Stationery&nbsp;Doomsday Millenarian Movements and EschatologyEruvs (and other temporary religious architecture/spatial intervention)Xerox Machines and Spirit DuplicatorsUAPsCalifornia’s Eugenics ProgramEmily Elizabeth DickinsonArtist Bios + Artist Statements Walid Raad olivia mckayla ross Senga Nengudi manuel arturo abreuHerdimas AnggaraGabrielle Octavia Rucker Chang YuchenChildhood Software Oregon TrailHypercard StudioStorybook WeaverEncarta Wikipedia Lists Choose your own from Wikipedia’s index of lists. Methods of DivinationList of humorous units of measurementList of non-coherent units of measurementList of mathematical knots and linksList of feeding behavioursList of organisms named after works of fictionList of possible dwarf planetsList of mountains on the MoonList of landings on extraterrestrial bodiesList of letters used in mathematics, science, and engineeringList of eponymous lawsList of names for the biblical namelessList of hottest stars (not people, actual stars)List of surfacesList of hypothetical Solar System objectsList of exceptional asteroidsList of inventors killed by their own inventionHistory of the world's tallest structuresList of fictional shipsList of home computersList of programming languages by typeList of shibbolethsList of media spin-offs “Weird” Museums and Collections I’ve Visited niche, unconventional, highly specific,&nbsp; The L. Ron Hubbard Life Exhibition (Los Angeles, CA) The Mütter Museum at The College of Physicians of Philadelphia (Philadelphia, PA)The Mystic Museum (Burbank, CA)Computer History Museum (Mountain View, CA)Morbid Anatomy Museum (Brooklyn, NY) “Weird” Museums and Collections I’d Like to Visit The X-Files Preservation Collection (Saratoga County, NY)The Meguro Parasitological Museum (Tokyo, Japan) Musée du Parfum (Paris, France)The Institute of Illegal Images - LSD Blotter Museum (San Francisco, CA)Rosewell UFO Museum (Rosewell, NM)Vent Haven Museum: The World's Only Museum Dedicated to Ventriloquism (Fort Mitchell, KY)Rice University: Archives of the Impossible (Houston, TX)The International Cryptozoology Museum (Portland, ME) University of New Hampshire: Betty and Barney Hill Collection (Durham, New Hampshire)The National Museum of Funeral History (Houston, TX)The Museum of Jurassic Technology (Los Angeles, CA)The Icelandic Phallological Museum (Reykjavík, Iceland)Otaru Music Box Museum (Hokkaido, Japan)German Food Additives Museum (Hamburg, Germany) Countries I’ve Visited South AfricaTürkiyeNorwayFranceUKItaly&nbsp;Canada&nbsp;Ukraine&nbsp;Mexico var d=document,w="https://tally.so/widgets/embed.js",v=function(){"undefined"!=typeof Tally?Tally.loadEmbeds():d.querySelectorAll("iframe[data-tally-src]:not([src])").forEach((function(e){e.src=e.dataset.tallySrc}))};if("undefined"!=typeof Tally)v();else if(d.querySelector('script[src="'+w+'"]')==null){var s=d.createElement("script");s.src=w,s.onload=v,s.onerror=v,d.body.appendChild(s);} .rounded-list { border: 1px solid #ccc; border-radius: 15px; /* Creates the rounded edges */ padding: 10px 20px; list-style-type: none; /* Removes bullets */ width: 100%; background-color: #ffffff; font-family: 'BradfordLLWeb-Regular', Icons; font-size: 1.7rem; outline: 1.5px solid #6a329f; outline-offset: 1.25px; /* Adds space between the border and the outline */ } .rounded-list li { padding: 15px 0; border-bottom: 1px solid #6a329f; /* Optional: adds separator lines */ position: relative; /* Needed for positioning the pseudo-element */ padding-left: 25px; /* Adds space for the custom bullet */ } .rounded-list li:last-child { border-bottom: none; /* Removes line from last item */ } /* Add a plus sign using the ::before pseudo-element */ .rounded-list li::before { content: "+"; /* Inserts the plus sign character */ position: absolute; /* Positions the plus sign */ left: 0; /* Aligns to the left of the padding-left */ color: inherit; /* Optional: style the plus sign color, e.g., color: #000; */ font-weight: bold; /* Makes the plus sign bold */ /* Add any additional styling here, such as font-size, margin-right, etc. */ } .rounded-list-header { font-size: 2.1rem; margin: 0 0 15px 0px; padding: 15px; border: none; border-bottom: 1.75px dashed #6a329f; color: hsl(108, 34%, 11%); box-sizing: border-box; width: 100%; text-align: left; } var d=document,w="https://tally.so/widgets/embed.js",v=function(){"undefined"!=typeof Tally?Tally.loadEmbeds():d.querySelectorAll("iframe[data-tally-src]:not([src])").forEach((function(e){e.src=e.dataset.tallySrc}))};if("undefined"!=typeof Tally)v();else if(d.querySelector('script[src="'+w+'"]')==null){var s=d.createElement("script");s.src=w,s.onload=v,s.onerror=v,d.body.appendChild(s);} https://kameelahr.com/Biography Sat, 31 May 2025 15:14:32 +0000 Kameelah Janan Rasheed https://kameelahr.com/Biography <img width="264" height="348" width_o="264" height_o="348" data-src="https://freight.cargo.site/t/original/i/e75adcab86a71efc0beacfd2d4a8fd324fd978f8cd3e701e2160fc150d2e1fd3/X-symbol.png" data-mid="233957313" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/264/i/e75adcab86a71efc0beacfd2d4a8fd324fd978f8cd3e701e2160fc150d2e1fd3/X-symbol.png" />&nbsp;Biography <img width="900" height="1350" width_o="900" height_o="1350" data-src="https://freight.cargo.site/t/original/i/c09268f09eea90a0eb8accfcb0793664a0f2a3be828335bd33656f98eac5663a/bio.png" data-mid="236932691" border="0" data-scale="92" src="https://freight.cargo.site/w/900/i/c09268f09eea90a0eb8accfcb0793664a0f2a3be828335bd33656f98eac5663a/bio.png" />Source: Gregg Richards <img width="900" height="1350" width_o="900" height_o="1350" data-src="https://freight.cargo.site/t/original/i/6a9315ca305203463d7a2937dc04c1b233a28b2d07aa3dd429b56dcccce8d4d4/Untitled-1-copy.png" data-mid="236932672" border="0" src="https://freight.cargo.site/w/900/i/6a9315ca305203463d7a2937dc04c1b233a28b2d07aa3dd429b56dcccce8d4d4/Untitled-1-copy.png" /> Kameelah Janan Rasheed (كاميلا جنان رشيد) “complete (K-M-L/ كاميلا) –&nbsp; hidden/obscured (J-N-N/ جنان) –&nbsp; rightly guided (R-SH-D/ رشيد)” is a learner, seeker, and harvester from East Palo Alto, CA. Her work across art and pedagogy has garnered numerous honors. In 2024, she was a finalist for Artes Mundi 11 and received a High Desert Test Sites Fellowship at Joshua Tree. She received additional fellowships and awards from Working Artist (2023), Schering Stiftung (2022 Award for Artistic Research), Creative Capital Award (2022), Artists + Machine Intelligence Grants - Experiments with Google (2022), and the Guggenheim Fellowship in Fine Arts (2021). Her work has also been presented worldwide, spanning North and South America, Africa, Asia, and Europe. Recent and upcoming solo exhibitions include Henry Art Gallery (2025), REDCAT (2024), KW Institute of Contemporary Art (2023), Art Institute of Chicago (2023), and Kunstverein Hannover (2022). She has participated in group exhibitions at the Studio Museum, the Bronx Museum, the New Museum, the Brooklyn Museum, MASS MoCA, The Kitchen, and the ICA Philadelphia, among others. <img width="4030" height="3022" width_o="4030" height_o="3022" data-src="https://freight.cargo.site/t/original/i/4e6f53f31b790fddd2af96bb234569a01bbf46fb7e4b32dcad5f0a544bfbb259/IMG_6311-3.jpg" data-mid="240631135" border="0" src="https://freight.cargo.site/w/1000/i/4e6f53f31b790fddd2af96bb234569a01bbf46fb7e4b32dcad5f0a544bfbb259/IMG_6311-3.jpg" /> Having published half a dozen books as a second grader in East Palo Alto, Rasheed continues her love of publishing as the the author of seven artists' books: rub, lick, drink, eat (REDCAT and Rasheed’s publishing imprint, Scratch Disks Full, 2024); all velvet sentences as manifesto, Like a lesson against smooth language or an invitation to be feral hypertext (Emerson College and Rasheed’s publishing imprint, Scratch Disks Full, 2024); in the coherence, we weep (KW Institute, 2023); i am not done yet (Mousse Publishing, 2022); An Alphabetical Accumulation of Approximate Observations (Endless Editions, 2019); No New Theories (Printed Matter, 2019); and the digital publication Scoring the Stacks (Brooklyn Public Library, 2021). Her writing has appeared in Triple Canopy, The New Inquiry, Shift Space, Active Cultures, and The Believer.&nbsp; With over 25 years of experience in teaching, facilitation, and mentorship, she has had her practice shaped by her students and co-learners. In 2025, she was appointed the inaugural Charles Gaines Chair at the California Institute of the Arts. She is also a full-time faculty member in the Sculpture Department at the Yale School of Art, where she serves as a critic. There, she facilitates the sculpture thesis course and publication, teaches studio- and theory-based sculpture courses, and has designed a new course focused on text-based artists since the 1910s. Additionally, she has taught classes and workshops at the School for Poetic Computation, focusing on creative coding, writing, surveillance, AI, non-AI-powered text generators, and pedagogy. She has taught undergraduate and graduate students at Barnard College - Columbia University, Cooper Union, and the School of Visual Arts. Since 2022, Rasheed has co-taught a writing and publishing intensive with Chang Yuchen for Bennington College's (formerly affiliated with the University of the Arts) MFA dance students at the Institut Chorégraphique International (International Choreographic Institute) summer conference in Montpellier, France. In 2025, she was a visiting faculty member at the Saas-Fee Summer Institute of Art. She has delivered invited lectures at Yale University, Princeton University, the Rhode Island School of Design, Rutgers University, the University of Pennsylvania, Columbia University, Rice University, the University of California, San Diego, the University of Maryland, and Northwestern University, among others. She has also delivered a series of keynotes including the Information+ Conference (2021) Contemporary Artists’ Book Conference, as part of Printed Matter Art Book Fair (2022); and CODEX Foundation (2024). In 2021, she was invited to present at the Xerography: Women Artists 1965-1990&nbsp;symposium,&nbsp;co-hosted by the Getty Foundation and the&nbsp;Institut National d’histoire de l’art in Paris, France. She serves on the boards of Printed Matter, Inc. and the Metropolitan New York Library Council. Alongside her work within existing institutions, she experiments with institutional design and community building through the numerous projects she oversees at KJR Studios. She founded The Little Octopus School (est. 2024), a roaming learning laboratory and publishing imprint (Scratch Disks Full) rooted in play, curiosity, and collaboration. She is also the founder of Orange Tangent Study (est. 2020), a consultancy reimagining the design of learning experiences and dispersing over $11,000 in unrestricted microgrants for artists on the cusp of new ideas. In 2016, with the support of the Magnum Foundation, she founded Mapping the Spirit, a digital archive that explores Black spiritual practices in North America. By 2022, with funding from Creative Capital, Mapping the Spirit was absorbed into a larger project, Gather and Disperse, a hub that hosts her archival projects Mapping the Spirit (Black spiritual movements); Black Orbits (Black vernacular photographs of the late 19th and 20th century); Study East Palo Alto (Black education experiments in my hometown 1960-1983); Pressure on the Page (Black printed matter of the late 19th and 20th century); as well as two emerging collections: Foraging for Text and Seeking Soft Geometries. <img width="1701" height="2268" width_o="1701" height_o="2268" data-src="https://freight.cargo.site/t/original/i/31a37fd26ef3f618e411c3771fce9a8e579c840fa32511c8dc361ae53cc096ad/BA89CDE3-6794-409F-B0D8-12E7E08A17A1-2.JPG" data-mid="240631434" border="0" src="https://freight.cargo.site/w/1000/i/31a37fd26ef3f618e411c3771fce9a8e579c840fa32511c8dc361ae53cc096ad/BA89CDE3-6794-409F-B0D8-12E7E08A17A1-2.JPG" /> Nurtured by a large and expressive family, she has had her parents and many brothers as her first and enduring guides, who encouraged her to pursue all her intellectual interests. Rasheed also cites her middle school teachers, three Black educators—Mr. Barksdale, Ms. Vest, and Ms. Shootes — as anchors in her learning journey.Rasheed earned a B.A. in the self-designed Public Policy program with a focus on Africa/African Diaspora from Pomona College. Graduating at 20 years old, among other accolades, she was a 2005 Harry S Truman Scholar,&nbsp; a 2005 Rockefeller Brothers Fund Teaching Fellow, and a 2006 Amy Biehl Fulbright Scholar to Johannesburg, South Africa. Later, she earned her M.A. in Secondary Social Studies Education from Stanford University in 2008. Prior to teaching in post-secondary settings, Rasheed spent fifteen years in secondary teaching and curriculum design. Her final year of teaching was at a transfer high school for overaged and undercredited students in New York City. The exceptional students she met during her five years of instruction taught her to see and feel more deeply. In her free time, Rasheed regularly enjoys Japanese logic games (Sudoku, Kakuro, and Masyu), following the latest research on human and non-human perception, and dancing. Less frequently than she’d like, she enjoys powerlifting, improv, listening to the vinyl she inherited from her late grandmother, watching mystery-box television, and playing her theremin.