Overview essay of the field of feminist aesthetics updated Winter, 2021.

Unlike its moral and intellectual counterparts, the virtue of aesthetic humility has been widely neglected. In order to begin filling in this gap, I argue that Kant’s aesthetics is a promising resource for developing a model of aesthetic humility. Initially, however, this may seem like an unpromising starting point as Kant’s aesthetics might appear to promote aesthetic arrogance instead. In spite of this prima facie worry, I claim that Kant’s aesthetics provides an illuminating model of aesthetic humility that sheds light (...) not only on the self- and other-directed attitudes it involves, but also on how aesthetic humility can serve as a corrective to the vices of aesthetic arrogance and aesthetic servility. In addition to revealing the ways in which Kant’s aesthetics prizes humility rather than arrogance, I aim to show that the Kantian model of aesthetic humility can enrich our understanding of humility more generally and contribute to the on-going effort in aesthetics to analyse specific aesthetic virtues and vices. (shrink)

Gender, race, and sexuality are not just identities; they are also systems of social organization – i.e., systems of privilege and oppression. This article addresses two main ways privilege and oppression (e.g., racism, misogyny, heteronormativity) are relevant topics in and for philosophical aesthetics: (i) the role of the aesthetic in privilege and oppression, and (ii) the role of philosophical aesthetics, as a discipline and a body of texts, in constructing and naturalizing relations of privilege and oppression (i.e., white heteropatriarchy). The (...) first part addresses how systems of privilege and oppression use the aesthetic. I will discuss various ways race, gender, and sexuality, as both embodied identities and broader social institutions, work with and through “the aesthetic”. The second part addresses racism and (hetero) sexism in the discipline of aesthetics. Both in its history and its present practice aesthetics’apparent neutrality on questions of privilege and oppression is actually evidence of its investment in systems of privilege and oppression. (shrink)

Contemporary philosophy of art generally assumes that aesthetic experience is constituted by a certain ontological-phenomenological structure: the apprehension by a subject of an object. This article explores an underexamined critique of this philosophical model found within the black intellectual and artistic tradition. I will specifically focus on the version of this critique proposed by the similarly underexamined black philosophers Adrian Piper and Fred Moten. This critique, which I dub the subjectivizing concern, takes issue with the notion of ontological distance that (...) I argue defines the subject-object model. I define ontological distance as the removal and alienation of the subject’s fundamental sense of self from that of so-called objects. The subjectivizing concern holds that this distance is not value neutral. Rather, the subject-object model is considered to be directly entwined with projects and practices of aesthetic and extraesthetic racism and antiblackness. After offering Piper’s own model of aesthetic experience—which she dubs catalysis—as an alternative, I propose three possible ways in which the subject-object model can be conceived as tied to antiblack racism. (shrink)

This paper explores moments of democratising disorderliness that interrupt a vision of the sublime as a particular ordering of subjectivity. Situated within the context of the Narmada movement against the construction of the Sardar Sarovar Dam in India in the mid-1990s, it argues that sublime regimes and ‘counter-sublime’ insurgences draw their energies from the figures of the dam and the bund, respectively. Where the dam’s walls establish the horizons of visibility, of who counts as subject, the bund’s curved surfaces reveal (...) a pluralising depth that folds the visible with/in the invisible, constituting the possibility of novel modes of seeing/subjectification. Working through oral histories, films, images, archival materials and ethnographic studies alongside the work of Foucault and the later Merleau-Ponty, the paper argues that the Narmada movement enacts a counter-sublime that contests the invisibility imposed by the dam in favour of an imbrication of the human and non-human disclosing radically different constellations of visibility and subjectification. (shrink)

The article delves into the enduring ramifications of historical and contemporary processes of racialization, the delineation of societal divisions, the forsaking of marginalized communities, and the coerced isolation or seclusion of specific populations. Within the realm of necropolitical afterlives, these terms indicate the manners in which these persistent predicaments have molded and persist in molding the realms of life and death for diverse groups. Analysis encompassing necro-lives holds significance in comprehending the sway of necropolitics, unearthing systemic injustices, and amplifying the (...) voices silenced. The bodies of necro-lives amalgamate in communal endeavors for justice, parity, and human rights. Necro-lives call for mobilization and advocacy to deconstruct necropolitical frameworks and forge more just and impartial societies. Necropolitics, entailing dominion over life and death by influential necro-entities, can be contextualized through these themes, spotlighting how certain populations endure violence, disregard, or isolation beyond their corporeal existence, thereby perpetuating cycles of injustice and suffering. (shrink)

Experimental filmmaker Rose Lowder is an intricate explorer of perception. Many of her exquisite silent short films feature flowers that are scrutinized frame by frame in shots that appear to have layers, as well as volume, and to quiver between simultaneity and succession. Yet these perceptual palimpsests that present almost too much for the eye to take in also reveal an as yet unexplored relation to imagination. Informed by ecological principles and foregrounding floral beauty, Lowder's Bouquets create a striking bond (...) between perceptual and imaginative space. This article draws upon twentieth-century phenomenological accounts of perception before delving into earlier historical discussions of beauty in nature and in art, and bringing out connections to moral philosophy and feminist ecophilosophy, in order to understand how the beautiful entwines with ecological concern in the perceptual-imaginative space of her films. (shrink)

This is a collection of essays from contemporary philosophers, artists, and writers on the intersection of speculative philosophy and speculative horror fiction. The book contains fourteen essays and an introduction. I edited the book and wrote the introduction. Topics considered include human extinction; anonymity, otherness, and alienation; whether horror is a genre; and the relationship between speculation and Kant’s critical philosophy.