AUDI0B00K [2026]
8” x 12”acrylic sheets, audio modules, usb drive
“At the point where these three traditions [consciousness, time, space] collide exists a creative plane that allows for the ability of African-descended people to actually see ‘into’, create, or choose the impending future.” Rasheedah Phillips, Black Quantum Futurism
utilizing circuit board imagery, integrating simple audio interfaces, and laser engraving historic documents onto acrylic sheets is multi-media artist BABYSP1DER’s approach to new methods of preserving artifacts in a rapidly evolving digital landscape. this piece takes on a combination of traditional and experimental book binding technologies, substituting paper sheets for acrylic, and placing graphic backdrops against audio samples from oral history recordings and intimate family conversations with playback in real time. when reframing these technological tools reorients them away from systems of exploitation and destruction to those of preservation, we bring ourselves closer to portals of atlernate timelines and restoring the natural balance that life has to offer.
cover:
“technological warfare is here and it’s not going anywhere. we must design sustainable systems for harmonious coexistence. digital preservation tools transform significant historical and cultural artifacts into dymanic evolving entites; symbolizing the flow of time and energy within nature”
page 1: “family affair”
electronic schematic making reference to pedigree charts, paired with orignial sonic production featuring voices of estranged family members. intended to access a timeline where family and generational trauma is corrected and love is restored
page 2: “sanctuary”
(left) 1893 land purchase deed to great-great-great grandfather James Latimore and (right) 1910 record of land sale in 1903, paired with original score recorded on the ancestral land featuring voices of great grandmother Marian Josephine Latimore O’Neal and Catherine Lousie Latimore Hairston. intended to access a timeline where ancestral lands and home were not taken for a segregated Atlanta city park, but passed down for future generations
page 3: “the NKRU collection”
(left) usb drive hard copy of The NKRU Collection digital archive and (right) original logo designed by one the NKRU members Antonne Broussard (1992). intended to access a timeline where the members of NKRU were properly compensated for their creative contributions and celebrated for pioneering alternative style and shattering boundaries for black women artists