Introduction: Black British Postcolonial Feminist Diaspora Studies

Visuality and the making visual are prominent features of the Metropolitan Police, in respect to the digital policing of the O2 Academy Brixton critical incident of 15th December 2022 in which two people died in a crowd crush that happened during a concert by the Nigerian Afrobeat artist Asake. According to mainstream visual studies, the term “visible” refers to that which would be incidentally and/or prominently evident. As Wagner [(2006), Visible materials, visualised theory and images of social research, Visual Studies, 21:01, 55–69, p. 55 DOI: https://doi.org/10.1080/14725860600613238 ] states, “visible refers to physical-optical attributes of phenomena or materials, regardless of how interesting or meaningful they are to researchers or research subjects”. The case study analysis examines the original insights provided by a postcolonial empirically informed triangulation of anticolonial, decolonial and post-colonial feminist so as to formulate a Black British feminist critical analysis into broadcast and social media communications that were mobilised prior to and in the immediate aftermath of the 15th December 2022 tragic fatal incident. For it is my contention that the simulacra of the capitalist spectacle are rife throughout commercialised Black music cultures, and this sets in place the preconditions for inscriptive advertising technologies to sensationalise the capitalistic prospects of the music artists in excess of material realities. The concept of the spectacle provides for a boundary logic and rationale for the selection, collation, theorising and discussion of empirical case-studied artefacts.