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    Together these objects — and the countless others in circulation, literally countless — create widespread visibility for blackness online. This depersonalized blackness is shifty and hard to pin down — as is the blackness of any object or subject, really.

    Jackson points out that memes are also black in their survival tactics, that the ways they mutate and twist and ffelubgs and circle back on themselves embody the already established trends of dor cultural production and circulation. The geelubgs is a form that allows for a sense of collective ownership among those who come into contact with it — black or nonblack. When we say that the internet extends succeszful exacerbates the same old offline relations, we mean it. In keeping with historical precedent, the weebsites and affective labor of black individuals online largely goes unrecognized and un der compensated.

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    We can make it about who owns an image: Does successfull white meme admin abut any business posting an image of a black person? Are they laughing with or at us? Are they capable of laughing with feeluggs Has my Explore feed been gentrified? But in the online attention economy, this Black dating websites for successful men memes about feelubgs is datijg complicated than the familiar, semi-linear relationship between black production and nonblack appropriation. The labor of online content production is done with hopes of an audience in mind; memes are created for the very purpose of virality and, by extension, appropriation. Memes move in cycles of production, appropriation, consumption, and reappropriation that render any idea of a pre-existing authentic collective being hard to pin down.

    As such, the meme will probably never manifest blackness in a traceable form such that it might be fully claimed by the black cultural body. That is, the very properties that make the meme black make it seemingly impossible for black people to protect it, let alone benefit from it. It is a copy without an original — a copy of a copy of a copy, and so forth. For better or worse, a meme asks instead to be considered as its total sum presence in circulation. So what if, in a crude transitive operation, we imagine blackness as a meme as a poor image? That is, the poor image might also be black. The way Steyerl talks about poor images circulating, having been pushed out of the mainstream and into new alternative circulations, rings true of blackness.

    The poor image vibrates along the frequency of Fanon: In its gesture toward the unreality and nonontology of the image itself, it also points toward the extra-ontological black non subject. The 20th century taught us that one of our rights is a right to representation, not only politically but personally — that we have a right to be represented as we are, for our images to hold true. But what if one says to hell with that? Blackness, as poor image, as meme, is a copy without an original. The meme as poor image, as black, operates against the rich image: Perhaps we can render ourselves opaque, through our own serial, iterative excess.

    They are made what they are by the circumstances of their larger body. Perhaps these strange resonances between the meme, Steyerl, Fanon, Moten, and more could be used to emphasize the circulation of blackness online and offline as an always already defining feature, and not one that is purely digital or contingent upon it. But I wonder if we could put more pressure on these apparent novelties if we could situate the present in this long history of circulating bodies. So why wait to meet that special someone? Join us today and start your search for the one - we'll even help you through the entire process Meeting black singles: EliteSingles is therefore designed to allow you to make the best use of your time.

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