Abstract Against the usual interpretation, which states that Afrofuturism is unreservedly technophilic, I argue that Afrofuturism is a radical critique of white technology. White technology (be it imperial, colonial or capitalist) is an acosmic technology that rejects its belonging to the cosmos. The Space Age and what is now called New Space (both of which have neo-colonial aims) are perfect illustrations of white technology and its anthropocentric enthusiasm. Rejecting this colonial and exploitative technology, Afrofuturism – from the music and poems of Sun Ra to the paintings of Wangechi Mutu to the poems and activism of Alexis Pauline Gumbs – is first and foremost an attempt to use outer space not as a space open to conquest, but as a mediation, a stellar detour thanks to which our terrestrial condition could be politically and anthropologically rethought. At odds with any geoengineering project, Afrofuturism conjures up an “epoch of being” (Heidegger) in which technology would be constantly inhabited by a form of uncanny that would definitively prevent human beings from considering technology as a way of mastering the Earth.

中文翻译：

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历史的黑天使

摘要 反对通常的解释，即 Afrofuturism 毫无保留地亲技术，我认为 Afrofuturism 是对白人技术的激进批评。白色技术（无论是帝国的、殖民的还是资本主义的）是一种拒绝属于宇宙的宇宙技术。太空时代和现在所谓的新太空（两者都有新殖民主义的目标）是白色技术及其以人类为中心的热情的完美例证。拒绝这种殖民和剥削性的技术，非洲未来主义——从 Sun Ra 的音乐和诗歌到 Wangechi Mutu 的绘画，再到 Alexis Pauline Gumbs 的诗歌和激进主义——首先是尝试利用外层空间，而不是作为一个开放的征服空间，但作为中介，多亏了我们的地球条件可以在政治和人类学上重新思考的恒星绕道。与任何地球工程项目不同的是，非洲未来主义让人联想到一个“存在时代”（海德格尔），其中技术将不断被一种神秘的形式所占据，这将最终阻止人类将技术视为掌握地球的一种方式。