INFINITY MINUS INFINITY draws on several inspirations: the modernist verse of the Jamaican poet Una Marson, the alluvial invocations of the Martinican philosopher and poet Édouard Glissant, the black feminist poetics of the Brazilian philosopher Denise Ferreira da Silva, and the racial formation of geology theorized by British geographer Kathryn Yusoff amongst others in order to envision a black feminist cosmos animated by the principles of mathematical nihilism. INFINITY MINUS INFINITY confronts the compounded timelines of the afterlife of slavery enacted by British imperial capitalism with the forces and the fictions of 21st Century black feminist digital cosmology. It brings together dance, performance, music, recital, and digital animation to compose a transhistorical zone in which the unpayable debts of racial capitalism cannot be separated from the ongoing crimes of climate catastrophe. INFINITY MINUS INFINITY enacts the past distress, present duress and future dread of the British Capitalocene through the assembly of a chorus of transtemporal deities whose utterances, expressions, gestures, and movements allude to the accumulated times and spaces of the United Kingdom's environmental hostility.