Greetings Seshata,

***Bothe hippies and yippies(corporate bound)ones are showing up and i'm discussing White Supremacy Racism continually and checking for indirect and direct violence***

Love it!

And I've enjoyed reading your posts on the OWS forum--- your exchanges with others on the site really demonstrate the need for critical challenges to the OWS movement around race and White Supremacy... The Olson article is so on point in terms of describing the problems of left colorblindness! It's as though some of the people responding to you on that site are intentionally performing Olson's argument!

Is the high-middle-low dynamic that you describe from Fuller?
Your posts remind me of an article I've been studying by Kara Keeling, drawing on Fanon to discuss the spatio-temporal relations of colonialism/ neocolonialism. I think it may interest you. I don't claim to have grasped its entire meaning and potential but here's what I've figured out so far:

She argues that *any anti-essentialist understanding of ‘race’ must contend with the continuing power of racial discourse and of racism to organize social reality according to racial categories* (p.91) and still *must account for the existence of ‘Blacks’ on the socio-political terrain and for the continuing influence of those cultural, political and epistemological forces that sustain and shape Black existence* (p. 92). With the *terrain glued together by ‘race’* thus established, Keeling pursues the project of searching for alternate articulations of race—the *historical and cultural work that race performs*—and representation—*the socio-economic relations made visible by racial imagery* (p.92). Drawing on her reading of Fanon, and specifically, the fifth chapter of Black Skin, White Masks, Keeling suggests an alternate reading of *the Black image in terms of the spatio-temporal relations it makes visible* (p. 93). ...
Colonial temporality is enacted and re-enacted in what Fanon calls a *hellish cycle… wherein the past overwhelms the present at the expense of a movement toward a future that might be different from the past* (p. 97).

Colonization and enslavement are the coordinate from which the Black and the White are ceaselessly projected onto the world *at the expense of ‘Being’* and *their very projection serves to dissimulate the violent site of their production.*

Colonial temporality involves a cycle of anticipation and explosion that is characteristic of colonial existence. The Black explosion, as a response to oppression, exploitation and dehumanization, is already worked into (anticipated and contained) within the closed colonial –and neo-colonial—temporal cycle. Thus the explosion does not liberate the Black, rather *it fulfills and initiates the infernal circle in which the world waits for the Black’s explosion* (p.105).

Keeling uses Fanon's description of waiting for a film to begin (of himself as *one who waits*) to identify an interval, a pause in the cycle right before it re-initiates itself (via the Black imago)
*Liberation, if there is such a thing, is possible in the interval as a present impossibility, an expansion that explodes even the interval in which we wait* (p. 110). The *temporality of the interval,* according to Keeling, is not necessarily that of neo-colonialism, rather the experience of the interval provides us with the challenge of *opening thought to ‘the unforeseeable, the unanticipatible, the non-masterable, non-identifiable;* opening up the possibility of a *whole other reality—one that we do not yet have memory of as such* (p. 110).

Keeling, K. (2003). *In the interval*: Frantz Fanon and the *problems* of visual representation. Qui Parle 13(2), 91-117.