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Nekronology: The End of the Future at the Hudson Yards
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AbstractThe following offers a novel approach to critiquing and contesting the chronology of colonial capitalism. By examining the spatio‐temporality of The Vessel—the suicidal shrine to neoliberal development in the heart of New York’s Hudson Yards micropolis—this article illuminates heterodox notions of time, death, and economics. Borrowing from Achille Mbembe’s necropolitics, I develop this “nekronology” to illustrate how the future is pillaging the present. I argue that architectural abstractions like The Vessel colonise the present from the future, taunting the present with the excess wealth derived from perpetual economic growth. Developments such as the Hudson Yards and neighbouring High Line exemplify this wealth pollution—the unhealthy disposal of excess wealth in public places. I then investigate the nekronology of current trends in postcolonial apocalypse and auto‐homicide. Finally, I examine the aesthetics of nekronological time wealth via an analysis of dystopian sci‐fi films and the temporally emancipating art of Black Quantum Futurism.
Title: Nekronology: The End of the Future at the Hudson Yards
Description:
AbstractThe following offers a novel approach to critiquing and contesting the chronology of colonial capitalism.
By examining the spatio‐temporality of The Vessel—the suicidal shrine to neoliberal development in the heart of New York’s Hudson Yards micropolis—this article illuminates heterodox notions of time, death, and economics.
Borrowing from Achille Mbembe’s necropolitics, I develop this “nekronology” to illustrate how the future is pillaging the present.
I argue that architectural abstractions like The Vessel colonise the present from the future, taunting the present with the excess wealth derived from perpetual economic growth.
Developments such as the Hudson Yards and neighbouring High Line exemplify this wealth pollution—the unhealthy disposal of excess wealth in public places.
I then investigate the nekronology of current trends in postcolonial apocalypse and auto‐homicide.
Finally, I examine the aesthetics of nekronological time wealth via an analysis of dystopian sci‐fi films and the temporally emancipating art of Black Quantum Futurism.
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