Cover

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Title Page, Copyright

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pp. i-iv

Contents

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pp. v-vi

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Introduction

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pp. 1-28

In a black- and- white photograph, a group of seven teenage boys gather with their paintbrushes to a wall where a mural is materializing. Three are standing, four are crouching; all seem to be applying the finishing touches to a composition made up almost entirely of chevron lines, triangles, and squares. To their left...

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1. Diamang as Apparatus: The Production of Painted Walls of Lunda in 1953

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pp. 29-72

Julio de Vilhena, scholar and son of then delegate administrator for the Companhia Diamantes de Angola (Diamang) Ernesto de Vilhena, wrote an article for the International Folk Music Journal in 1955 in which he presented a folklore project of the Dundo Museum in Lunda North, Angola. In the article, he comments...

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2. The Myth of Analog Africa: The Transition to Information Colonialism

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pp. 73-116

Julio de Vilhena, author of a report on Diamang’s Folklore Mission, writes that the special equipment brought in to Lunda North was insufficient to record drumbeats in the field, as the “inscribing stylus skips off the plate when the beating of the drum is loud.”1 The range of vibrations and sound waves could...

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3. Rebouco: Postindependence Art and Angolan Socialism

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pp. 117-176

A figure cut into a linoleum pad becomes, on paper, the jagged description of a scene akin to Picasso’s Guernica, with distressed contorted bodies: one brandishing a machete, one a Kalashnikov, victims splayed and wide eyed (Figure 20). Behind the head of the figure with the Kalashnikov is a flag bearing the Portuguese...

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4. “Rescue and Visibility”: The Digitization of Painted Walls of Lunda and Postwar Angolan Art

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pp. 177-216

In The Death of Nástio Mosquito (2008), a video embedded on the website http://www.dzzzz.info/dzzzz, the character Nástia Mosquito appears in front of a screen and behind the viewfinder of a handheld HD camera (Figure 32). In shadows, we see only his head bobbing back and forth as he rails...

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Conclusion

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pp. 217-222

I hope that this book has opened many lines of discussion that can be followed and/or challenged. First, media theory is, on balance, still attached to a developmental model, one in which innovation and obsolescence are tied to technoteleology and market logic. Where there are important exceptions to this rule, the idea...

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Acknowledgments

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pp. 223-224

At the close of this long project, one that began in 2005, I owe much gratitude to those personal and professional connections who have helped me carry this project to its fruition. In Angola, I would like to thank Fernando Alvim and Cláudia Veiga at the Fundação Sindika Dokolo...

Notes

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pp. 225-248

Index

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pp. 249-254

About the Author

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p. 255