Projext is spelled with an "x" for they "cross" streets and transgress boundaries not only with disciplines of knowledge but also on what it means to create and heal in community. We also cross streets. Kulshi Mumkin®, LLC's pages are not limited to this "web—page," but crosses to different sites as we continue to facilitate possibility. Additional projects can be found at noahmorton.com. The following are some of the projexts that we collaborated with:

Commercial---Break

Interrupting society's daily programming, we present our projext "COMMERCIAL BREAK" with a quote from a recent conversation:

"if you think about the media as a colonial, white supremacist, genocidal system of information sharing to propagate how humans should behave in order to succeed monetarily and socially in eurocentric white society, right? That's its function is to show you how you should comport yourself then you know it's a system that can be like a body. You can get sick or get a virus, right? And the George Floyd video is a virus that made it sort of eat itself, made it critique itself even. And what happens if you get a virus that doesn't kill you, you know what I mean, you become inoculated"

-Terence Nance in conversation with EricTheYoungGawd (2024)

¶ Our "commercial break" projext recognizes this inoculation and persist to break commercials. Electronic Program Guide (EPG) is the actual name of the TV grid that shares information on the daily programming. Most EPGs only show the hours and minutes for current programming as an infomercial plays above the vertically scrolling grid. Our un-EPG is different. For all the times tv hosts speaks, "we will be back after a commercial break," we created the un-EPG to detail, to theorize in the break, to practice, to sharpen liberatory praxis – in relation with the in-between moments of tv societal programming. An elaborated description of this projext is found in the un-coding.

Playing---Ideas

Anti-blackness and settler-colonialism are machines (see Pencils Down). Videogames offer pathways of inquiry and refusal that changes dominant machines' circuitry as well as imagines beyond it. Videogames can be a medium for dialogue and a space of advocacy. Furthermore, videogames allows us to play with an idea; thus, the projext name, "playing---ideas."

We wonder about videogames as spaces of action and reflection – praxis – upon the world in order to change it.

• In what ways can "fake" games discuss "real" issues?
• What can pixelated games teach us about navigating a world where trauma is incessantly aired in the highest resolution?
• In what ways can we (continue to) question and refuse education's choreographed apparatuses of coloniality, its methodologies, its origin stories (ife, 2021) via pixelated videogames?
  

Projext *67

90 minute grand taxi ride to Ouarzazate followed by a five hour bus ride to Marrakech, and then a six hour train ride to Rabat – what music are we listening to?

Hour long lofi (also written as lo-fi) compilations on repeat as the bus turn the winding Tichka roads. If a person on the bus were to ask in Moroccan Arabic "who are we listening to?" we would not respond a name; rather, we would say "lofi" beats, which include sounds such as the overheard chatter, the cassette sounds, and the static that are normally taken out of a song. The artist name was anonymous at that time and becomes known as the lofi beats play. Thus, our DJ name was formed:

Sharing anonymous beats that will be known, we are DJ *67 ("star sixty seven"). Our projext *67 ("project star sixty seven") involves experiments in sampling, remixing, and beat making as well as linking the sounds to the discography of resistance.

Quick Note: "discography" may be singular; however, in this space, "discography" is plural to indicate the multiple dimensions and modalities of resistance beyond music. These "discography" are inspiring; thus, the name of the "discography of resistance" html page – inspiration.

Writing Furniture

a projext that designs custom furniture and compose their stories

BLOCK PARTY

Imagine a BLOCK PARTY

What sounds do you hear?
What foods do you smell?
Which neighbors do you see?
Whose hands do you high-five? And/or is it a fist-bump? Describe the greeting
What snacks are available?

If you have not been to a BLOCK PARTY before, no worries. Each one is completely different. We are reminded of the Block Party painting by artist Ka-Son Reeves.

In this BLOCK PARTY, which crosses multiple times and dimensions, Toni Morrison, James Baldwin, Octavia Butler, Rene Anderson, Langston Hughes, Janise Powell, Huey P. Newton, Christin Washington, Eghosa Obaizamomwan-Hamilton, Andre Carter, Sylvia Wynter, Coach Fred – are there talking it up! Double Dutch become epistemic preparation on playing and jumping between the lines as Hopscotch stomps on the order numbers of a drive thru menu. Here, we learn, we gather, we commune, we celebrate, we nourish, we aspire, we live.

This website is an experiment, experience on some of the ideas from Undissertation Notes: A Collective Unraveling. In this BLOCK PARTY, the quotes come from the various stories, articles, books, movies, anime, manga, notes, videogames, monologues, screenshots, and songs witnessed at the BLOCK PARTY in the wake.

The Flame

"Set your life on fire, seek those who fan your flames" ~Rumi

a projext that crafts custom garments to fan the---flame

Bad Taste in Movies (website coming soon)

Using frameworks based on Black critical race theory, critical media studies, and critical race theory, as well as aligning that with our focus group study, we have conceptualized the humanizing approaches to cinematic knowledge (HACK). Our findings suggest that HACK will serve as a tool and mechanism to disrupt the patterns in film that act as a generational stagnation in the way we view the Black community on and off the screen.

The Journal of Black Educology is a collective of Black people working to amplify and empower without the white gaze. The Journal goes beyond the scope of academics to recognize the movers and shakers of emancipatory movements. We imagine this journal as a vehicle towards revolution. To that extent, this journal informs, confers, and collaborates with educational voices across the Black diaspora. Our scope and sequence focus on the past, present, and future of Black education caught in the underbelly of western education.

Collective Catalyst investigates public scholarship beyond the academy by expanding classroom pedagogies into community spaces, integrating student, faculty and scholarly workshops and artistic creations beyond the classroom. Our shared lived experiences inform us throughout our class and scholarly work and the authors have benefited from casual conversations over food or with author of pieces we sit with during class. Through networked activities, our understanding of research through a multitude of lenses has connected each to reflect on work and create space for dialogue that ignites hope, healing, compassion and joy. Activities like classroom gatherings with scholars, art representation of readings, and designing workshops and jigsaws that connect across literature have augmented our ability to create counter storytelling and come to the other side of knowing.