Devil Is Fine, Devil Is Kind: Slave Spirituals, Satanic Black Metal, and Cultural Appropriation in the Music of Zeal & Ardour

Understanding why Islam has contributed little to contemporary religious and spiritual innovations allows us to see the principles underlying cultural borrowing. With its creator God, authoritative text, religious dogmas, and defined ways of life, Islam is too much like Christianity for cultural appropriation, and there is a considerable Muslim presence in the West that constrains borrowing. Such appropriation is easiest when ideas are not embedded in a large faith community (feng shui is an example), when they are retrieved from an ancient and undocumented past (as with Celtic Christianity), or when they are entirely fictional (as with the supposed characteristics of Atlantis).

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Design, Manufacturing and Test of CFRP Front Hood Concepts for a Light-Weight Vehicle

Polymers ◽

10.3390/polym13091374 ◽

2021 ◽

Vol 13 (9) ◽

pp. 1374

Author(s):

Paul Bere ◽

Mircea Dudescu ◽

Călin Neamțu ◽

Cătălin Cocian

Keyword(s):

Automotive Industry ◽

Design Concept ◽

Torsional Stiffness ◽

Material Structure ◽

Black Metal ◽

Design Concepts ◽

Metal Design ◽

Body Components ◽

Cost Efficient ◽

Transversal Stiffness

Composite materials are very often used in the manufacture of lightweight parts in the automotive industry, manufacturing of cost-efficient elements implies proper technology combined with a structural optimization of the material structure. The paper presents the manufacturing process, experimental and numerical analyses of the mechanical behavior for two composite hoods with different design concepts and material layouts as body components of a small electric vehicle. The first model follows the black metal design and the second one is based on the composite design concept. Manufacturing steps and full details regarding the fabrication process are delivered in the paper. Static stiffness and strain values for lateral, longitudinal and torsional loading cases were investigated. The first composite hood is 254 times lighter than a similar steel hood and the second hood concept is 22% lighter than the first one. The improvement in terms of lateral stiffness for composite hoods about a similar steel hood is for the black metal design concept about 80% and 157% for the hood with a sandwich structure and modified backside frame. Transversal stiffness is few times higher for both composite hoods while the torsional stiffness has an increase of 62% compared to a similar steel hood.

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Decolonial Information Practices: Repatriating and Stewarding the Popol Vuh Online

Preservation Digital Technology & Culture ◽

10.1515/pdtc-2019-0009 ◽

2019 ◽

Vol 48 (3-4) ◽

pp. 107-119

Author(s):

Pamela Espinosa de los Monteros

Keyword(s):

Best Practices ◽

Indigenous Knowledge ◽

Digital Library ◽

Knowledge Society ◽

Knowledge Work ◽

Vantage Point ◽

Cultural Appropriation ◽

Digital Environment ◽

Popol Vuh

AbstractThe digitization and online dissemination of the Popol Vuh, a historical indigenous knowledge work, poses distinct ethical, legal, intellectual, and technological concerns for humanities researchers and information practitioners seeking to study and digitally curate works through a decolonized consciousness. Ongoing debates on data sovereignty, the repatriation of cultural artifacts, and cultural appropriation question the ability of researchers and information practitioners to effectively steward indigenous knowledge works in a digital environment. While consensus on best practices for the postcolonial digital library or archive remain to be established, information inequity continues to persist, effacing indigenous knowledge, languages, and content from the knowledge society. The following case study will discuss the results of a 10-year multi-institutional initiative to curate, repatriate, and steward the reproduction of an indigenous knowledge work online. From the vantage point of the library, the case study will explore the project’s successes, failures, and the work left to be done.

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“Ain’t Got Enough Money to Pay Me Respect”: Blackfishing, Cultural Appropriation, and the Commodification of Blackness

Culture Studies &#x2194 Critical Methodologies ◽

10.1177/15327086211029357 ◽

2021 ◽

pp. 153270862110293

Author(s):

Maha Ikram Cherid

Keyword(s):

Black Women ◽

North America ◽

White Women ◽

Black Culture ◽

Cultural Appropriation ◽

Financial Benefits

The term blackfishing, which takes a twist on the concept of catfishing, that is, tricking people online into thinking you are someone else, refers to the practice of (mostly) White women pretending to be Black by using makeup, hairstyles, and fashion that originate in Black Culture to gain financial benefits. This article aims to contextualize the concept of blackfishing through a critical literary review that will cover the following elements: cultural appropriation, the commodification of Black culture, the representation of Black women in North America, and the operationalization of blackfishing.

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‘Shrieking soldiers … wiping clean the earth’: hearing apocalyptic environmentalism in the music of Botanist

Popular Music ◽

10.1017/s0261143019000308 ◽

2019 ◽

Vol 38 (03) ◽

pp. 481-497

Author(s):

Olivia R. Lucas

Keyword(s):

Black Metal ◽

The Earth ◽

The World ◽

Extreme Metal ◽

The Way

AbstractThis article presents a case study of ecocritical black metal, delving into the apocalypticism of the California-based black metal band Botanist, who conjures a world in which plants have violently destroyed human civilisation. It first contextualises Botanist amidst the broader current of environmentalism in extreme metal as well as within wider cultural explorations of plants as subjective beings capable of violence. The article then examines how Botanist taps into the logic of apocalyptic environmentalism, as the music presents the essential narrative of apocalyptic bioterrorism: humanity, with wanton hubris, has sown the seeds of its own destruction, and earned whatever horrors befall it on the way to elimination. With its bleak outlook and strident sound world, Botanist's music threatens to destabilise listeners’ assumptions about their place in the world and offers an example of what apocalyptic ecological urgency in music could sound like.

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