Aria Dean and Arthur Jafa: The Intersection Between Memes and Black Visual Intonation
Aria Dean and Arther Jafa both propose theories regarding the multiplicitous nature of Blackness and its ever-evolving representation in media. Both scholars concur that it embodies a collective identity that remains fluid and possesses limitless possibilities for interpretation. However, their perspectives are not monolithic, as they submit distinct frameworks for decoding the malleable definition of Blackness. Aria Dean’s “Poor Meme, Rich Meme,” targets the representation of Blackness in internet meme culture and Arthur Jafa’s theory on Black Visual Intonation prioritizes the perception of Blackness in film.
Dean, an artist to her core, employs theories from poststructuralism to Afro-pessimism as her metaphorical sledgehammer when it comes to dismantling conventional systems of representation. Her hands mold the weapon, fashioning sculpture and writing that interrogate the relationship between race, power, artistic form, and the ontology of Blackness. These themes extend to the convergence of technology, digital culture, and Black identity, all of which produce the meme. The meme, often exclusively considered for entertainment value, typically remains on the outskirts of intellectual discourse. However, Dean recognizes the potential for academic development in this topic. To her, the meme is not simply a frivolous join, but a cultural currency and communication of modern representations of the Black experience in the digital age.
Contrarily, the foundation of Jafa’s work rests upon his background in visual arts and film. Once upon a time, he desired to bring Blackness to architecture but financial constraints and systemic racism put this dream on hold. Jafa transitioned from Howard University in humid Washington DC to sunny Los Angeles where he found a mentor in Haile Gerima, one of the core members of the UCLA rebellion. He found inspiration in the independent cinema made by Black filmmakers who questioned the meaning, purpose, and aesthetics of Black cinema. These formative years sparked a fascination with Black histories and aesthetics that has blossomed into critiques of how Blackness responds to transformative imagery and is portrayed in the media.
Aria Dean’s “Poor Meme, Rich Meme,” discusses how memes are used, appropriated, and disseminated. Her intellectual goldmine exists on platforms like X (Twitter) and Instagram. Dean scrutinizes the complexities of living in a Black body, addressing the ongoing negotiation between self, others, and the collective. While Jafa suggests a collective identity among Black people, Dean’s argument focuses on the concept of the Black collective and the historically secretive aspects of Black culture. She questions the implications of exposing Black culture on the internet, citing cultural and creative appropriation by Whites.
Dean dissects the aspects of Black history that make it possible for memes to be co-opted and labeled as collective. Arousing the reader question how Black collectivism interacts with and challenges White notions of individualism. How can memes be collectively enjoyed while still possessing individual ownership? If memes are owed by everyone how can Black people claim comedy form as an invention or extension of Blackness? What impact do these dynamics have on cumulative activities like meme creation and sharing, which can both safeguard Black individuals and encourage a “depersonalized Blackness,” as Dean described, that allows non-Black individuals to mimic Black behaviors and Africans American Vernacular? Additionally, how does the improvisational essence of culture contribute to the world of memes? To Dean, the art of the crunchy, poorly rendered meme could produce a freedom for Black individuals that allows an escapism from perfected images of self to the collective.
One area where Dean and Jafa’s theories briefly align is in their recognition of the improvisational character of Black culture. Jafa, in his theory on Black Visual Intonation, spotlights the term “Polyventiality,” which refers to the richness of multiple tones, rhythms, perspectives, and meanings. He is fascinated by Black tonality and its expression through movement. While Dean focuses on examining Blackness through still image, Jafa is more concerned with the tonal qualities of Black music, prioritizing the “how,” over the “what.” Jafa’s theory is not interested in exploring internet culture; its domain is music and film. Black Visual Intonation attempts to translate Blackness on screen by manipulating camera frame rates to imitate Black vocalization. It distinguishes the inherent instability of Black music, which defies Western norms of fixed notes. Ultimately, Dean and Jafa diverge in their interests.
Ultimately, while Dean and Jada share a common interest in the representation of Black culture, their works are preoccupied with specific methods of expression. Dean seeks freedom through images, exploring the various ways Blackness is articulated through memes, while Jafa pursues independence through movement and tonality, focusing on the music of Black culture. Together, their theories highlight the meaning that can be found in both visual and auditory forms of art and the improvisational spirit that characterizes Black cultural practices.
Works Cited
Dean, Aria. “Poor Meme, Rich Meme — Real Life.” Real Life, 2019, reallifemag.com/poor-meme-rich-meme/.
Jafa, Arthur. “ART and OBSOLESCENCE PODCAST.” ART and OBSOLESCENCE PODCAST, 30 Aug. 2022, www.artandobsolescence.com/episodes/050-arthur-jafa.
Nabiha Deura. “Arthur Jafa and Black Visual Intonation – Confluence.” Nyu.edu, 7 Mar. 2022, confluence.gallatin.nyu.edu/context/interdisciplinary-seminar/arthur-jafa-and-black-visual-intonation. Accessed 10 Aug. 2025.
Naftali, Greene . “Aria Dean | Greene Naftali.” Aria Dean | Greene Naftali, Feb. 2024, greenenaftaligallery.com/artists/aria-dean. Accessed 10 Aug. 2025.