Jazsalyn: Warpmode, This is not a game!

2026

Screenshot of a constellation of words on a purple and black background, with ancestral intelligence at the center.
Screenshot of a constellation of words on a purple and black background, with ancestral intelligence at the center.

Jazsalyn, still from Jazsalyn: Warpmode, This is not a game! 2026

Jazsalyn’s Warpmode, This is not a game! is a digital extension of the worldbuilding toolkit Warpmode, which she produced with the experimental curatorial project Black Beyond and published through Metalabel in 2024. Taking the form of forty prompt-based player cards, the original physical kit invites people to contemplate multidimensional layers of Blackness. It explores four Black Metatheories—Afrofuturism, Afronowism, Afrovoidism, and Afropocalypse—that propose using recovered histories and knowledge systems to imagine renewal and possible futures. The digital expansion broadens the original toolkit by placing it in the context of Ancestral Intelligence, which Jazsalyn defines as the earliest knowledge systems, philosophies, and traditions passed down through generations within Indigenous and diasporic communities. Warpmode, This is not a game! uses this intelligence as a framework for an alternative form of AI, one that is rooted in the human experience of learning and developing skills and rituals.

Your responses are submitted anonymously. This work does not ask for your name or any other identifying information, and none is collected or stored. Responses become part of the artwork and may be displayed and retained by the Whitney for exhibition, archival, and educational purposes.


Jazsalyn (b. 1991; Raleigh, North Carolina) is an Afro-Carolinian artist and technologist using installation and gameplay as performance to explore cooperative futures for complex human-to-nonhuman knowledge systems. Jazsalyn developed Ancestral Intelligence (since 2020) as a framework for alternative AI: our earliest forms of knowledge systems, philosophies, and traditions passed down through generations within indigenous and diasporic communities. She experiments with video game engines to create emergent forms of video art by converting game environments into interactive landscapes to recover traces of ancestral data and memory. She also organizes Black Beyond, an experimental, artist-led curatorial project where she curates exhibitions and experiences to define alternate realities for (b)lackness. Her work has been supported by Serpentine Arts Technologies, Pioneer Works, New Museum’s NEW INC, Onassis ONX, MTA Arts & Design, Creative Time, among others, and has been featured in publications such as Contemporary And, Cultured, and The New Yorker.


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