Kimberly Bain
Biographic Data
| ID | 3935469 |
|---|---|
| NAME | Kimberly Bain |
| GIVEN NAMES | Kimberly |
| FAMILY NAME | Bain |
| SIGNATURE | BAIN K |
| AFFILIATIONS | Coloplast (Denmark) |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Knowing Black Afterlives
Hold
This article takes up the sonic slippages between black hole, black hold, and Black hold as a threshold for thought. Taking Evelynn Hammonds's query "what is it like inside a black hole?" as an opening, the author explores the way geometric properties of space shaped not only the material dimensions (volume and capacity) of the hold of the slave ship but also the metaphysical violences that captive Africans underwent in the hold. Through poethica…
Black Soil
This article turns to the minor Black matter of soil to map a provisional theory of Black alchemy. Black alchemy names an erotic and ethical orientation toward the Dead and dead matter. Sifting the metonymic, metaphysical, and material properties between (Black fleshly) matter and (earthly) matters, the article argues for an attention to the erotic relations among Blackness, soil, and Dead (matter). These relations disrupt and refuse the circuits…
Groan
Listen. There’s no introduction to Nina Simone’s rendition of “Strange Fruit,” only a single note. Her voice emerges. Rough. Direct. Accusing. Denouncing. Her entire performance is predicated on the tightly controlled breath: each word bears the weight of her lungs, none left unarticulated or lost among the bitter poignancy of images made into word.Placing Nina Simone’s rendition of “Strange Fruit” is an effort in trying to place breath. Simone’s…
Strengthening implementation success using large-scale consensus decision-making - A new approach to creating medical practice guidelines
Didn’t Need, To Know
Didn’t Need, To Know Kimberly Bain (bio) We’ve been here before. Black breathlessness found an origin long before Black people were trafficked here. Captive Africans found little breathing room on slave ships, choking in the hold for weeks and months, bodies pressed tight, the air thick with a toxic blend of despair and sickness. Most died en route. Ships would be redesigned to accommodate cargo that needed to breathe, the contours of the hold—a …
No prominent works on this page.
Strengthening implementation success using large-scale consensus decision-making - A new approach to creating medical practice guidelines
Didn’t Need, To Know
Didn’t Need, To Know Kimberly Bain (bio) We’ve been here before. Black breathlessness found an origin long before Black people were trafficked here. Captive Africans found little breathing room on slave ships, choking in the hold for weeks and months, bodies pressed tight, the air thick with a toxic blend of despair and sickness. Most died en route. Ships would be redesigned to accommodate cargo that needed to breathe, the contours of the hold—a …
Groan
Listen. There’s no introduction to Nina Simone’s rendition of “Strange Fruit,” only a single note. Her voice emerges. Rough. Direct. Accusing. Denouncing. Her entire performance is predicated on the tightly controlled breath: each word bears the weight of her lungs, none left unarticulated or lost among the bitter poignancy of images made into word.Placing Nina Simone’s rendition of “Strange Fruit” is an effort in trying to place breath. Simone’s…
Black Soil
This article turns to the minor Black matter of soil to map a provisional theory of Black alchemy. Black alchemy names an erotic and ethical orientation toward the Dead and dead matter. Sifting the metonymic, metaphysical, and material properties between (Black fleshly) matter and (earthly) matters, the article argues for an attention to the erotic relations among Blackness, soil, and Dead (matter). These relations disrupt and refuse the circuits…
Knowing Black Afterlives
Hold
This article takes up the sonic slippages between black hole, black hold, and Black hold as a threshold for thought. Taking Evelynn Hammonds's query "what is it like inside a black hole?" as an opening, the author explores the way geometric properties of space shaped not only the material dimensions (volume and capacity) of the hold of the slave ship but also the metaphysical violences that captive Africans underwent in the hold. Through poethica…
Art (3 works) · History (3 works) · Race, History, and American Society (3 works) · Art history (2 works) · Law (2 works) · Philosophy (2 works) · Political science (2 works) · Posthumanist Ethics and Activism (2 works) · Sociology (2 works) · Aesthetics (1 work)