This essay frames systemic patterns of mental abuse against women of color and Indigenous women on Turtle Island (North America) in terms of larger design-of-distribution strategies in settler colonial societies, as these societies use various forms of social power to distribute, reproduce, and automate social inequalities (including public health precarities and mortality disadvantages) that skew socio-economic gain continuously toward white settler populations and their descendants. It departs from traditional studies in gender-based violence research that frame mental abuses such as gaslighting--commonly (...) understood as mental manipulation through lying or deceit--stochastically, as chance-driven interpersonal phenomena. Building on structural analyses of knowledge in political epistemology (Dotson 2012, Berenstain 2016), political theory (Davis and Ernst 2017), and Indigenous social theory (Tuck and Yang 2012), I develop the notion of cultural gaslighting to refer to the social and historical infrastructural support mechanisms that disproportionately produce abusive mental ambients in settler colonial cultures in order to further the ends of cultural genocide and dispossession. I conclude by proposing a social epidemiological account of gaslighting that a) highlights the public health harms of abusive ambients for minority populations, b) illuminates the hidden rules of social structure in settler colonial societies, and c) amplifies the corresponding need for structural reparations. (shrink)

ABSTRACTAccording to Nietzsche, both modern individuals and societies are pathologically fragmented. In this paper, I examine how he proposes we combat this affliction in his Untimely Meditations. I argue that he advocates a dual struggle involving both instrumental domination and eradication. On these grounds, I claim the following: 1. pace a growing number of commentators, we cannot categorise the species of conflict he endorses in the Untimely Meditations as agonistic; and 2. this conflict is better understood as analogous to the (...) species of struggle that Schopenhauer describes in his account of purposive organisation. (shrink)

ABSTRACTWe know from Nietzsche’s posthumously published notebooks and correspondence of his plan in 1868 to compose a doctoral dissertation in philosophy on the subject of teleology in nature and the concept of the organic, with reference to Kant. The bulk of my discussion represents an attempt to extrapolate from Nietzsche’s letters and preparatory notes the view he arrived at. Since the notes do not defend explicitly any single definitive thesis, their interpretation is unavoidably conjectural. I argue that, if Nietzsche’s remarks (...) are considered with close reference to the philosophers who at that point dominated his horizons, namely Kant, Schopenhauer, and Lange, with Goethe also playing a key role, a plausible account can be given of the broad conclusions Nietzsche reached as a result of his early engagement with the problem of teleology. This outlook maintains the necessity and distinctiveness of philosophical reflection, but takes a skeptical view of its basis. In 1868 Nietzsche had no clear idea of how to proceed from this point, but in the end I propose, as others have done, that Nietzsche’s reflections on Kant and teleology helped to lay the ground for The Birth of Tragedy. In conclusion, I hypothesize that Nietzsche’s later philosophy involves no change of metaphilosophical standpoint. (shrink)

Despite his position as one of the first philosophers to write in the “post- Darwinian” world, the critique of Darwin by Friedrich Nietzsche is often ignored for a host of unsatisfactory reasons. I argue that Nietzsche’s critique of Darwin is important to the study of both Nietzsche’s and Darwin’s impact on philosophy. Further, I show that the central claims of Nietzsche’s critique have been broadly misunderstood. I then present a new reading of Nietzsche’s core criticism of Darwin. An important part (...) of Nietzsche’s response can best be understood as an aesthetic critique of Darwin, reacting to what he saw as Darwin having drained life of an essential component of objective aesthetic value. For Nietzsche, Darwin’s theory is false because it is too intellectual, because it searches for rules, regulations, and uniformity in a realm where none of these are to be found – and, moreover, where they should not be found. Such a reading goes furthest toward making Nietzsche’s criticism substantive and relevant. Finally, I attempt to relate this novel explanation of Nietzsche’s critique to topics in contemporary philosophy of biology, particularly work on the evolutionary explanation of culture. (shrink)

By denying to vegetal life the core values of autonomy, individualization, self-identity, originality, and essentiality, traditional philosophy not only marginalizes plants but, inadvertently, confers on them a crucial role in the current transvaluation of metaphysical value systems. From the position of absolute exteriority and heteronomy, vegetation accomplishes a living reversal of metaphysical values and points toward the collapse of hierarchical dualisms.

This dissertation addresses the question of marginalization in cross-cultural communication from the perspectives of hermeneutic philosophy and postcolonial theory. Specifically, it focuses on European colonialism‘s effect on language and communicative practices in Latin America. I argue colonialism creates a deeply sedimented but unacknowledged background of inherited cultural prejudices against which social and political problems of oppression, violence and marginalization, especially towards women, emerge—but whose roots in colonial and imperial frameworks have lost transparency. This makes it especially difficult for postcolonial subjects (...) to meaningfully express their own experiences of psychic dislocation and fragmentation because the discursive background used to communicate these experiences is made up of multiple, sometimes conflicting traditions. To address this problem, I turn to a strategic use of Nietzsche‘s conceptions of subjectivity and language as metaphor to engage the unique difficulties that arise in giving voice to the subaltern experience. Thus, I argue that while colonialism introduces an added layer of complexity to philosophical discussions of language, the concrete particularities and political emergencies of Latin American history necessitate an account of language that can speak to these concrete particularities. To this end, I develop a conception of, what I call, ―hydric life,‖ a postcolonial feminist hermeneutics that better accommodates these cultural specificities. (shrink)

This text has already been published, in La Deleuziana – online journal of philosophy – n. 10 / 2019 – rhythm, chaos and nonpulsed man.: This paper explores the question of the relationship between art, rhythm, and life through a mobilisation of Giorgio Agamben's discussion, first, of Nietzsche and the active nihilist's relation-ship to art, and second, on his diagnosis of rhythm as pertaining to the “original structure” of the work of art in The Man Without Content. Agamben's notion - (...) Philosophie – Nouvel article. (shrink)

Heidegger argues that for being x to count as ‘alive’ it must satisfy three metaphysical conditions. It must be capable of engaging in active behaviour with a form of intentional directedness that offers to us a “sphere of transposition” into which we can intelligibly “transpose ourselves.” Heidegger’s discussion of these conditions, as they apply to the being of animals, is well-known. But, if his argument is sound, they ought also to apply to the being of plants. Heidegger, unfortunately, does not (...) supply this part of his ontology of life in any systematic detail. However, my thesis is that it is possible to interpret the nature and activities of plants, along the lines of –, and thus to make good on Heidegger’s omission. The key to this reconstruction is a reconceptualization of plant movements as constituted by a form of representationally blind, motor-intentionality. (shrink)

Lyric poetry, often regarded as the epitome of subjectivity in the realm of artistic expression, emerges from the depths of the poet’s personal emotions. Hence, in the aesthetic landscape of the nineteenth-century Germany, it was excluded from the inventory of genuine art forms, all of which were deemed to be objective and disinterested. Associating lyric poetry with music in its origin and essence, Nietzsche extends his Schopenhauerian metaphysics of music to the lyric, making it a highly objective art reverberating from (...) the abyss of existence, the Ur-Eine, expressing its intrinsic self-contradictory and agonizing nature. A similar understanding of the creative process of poetic composition in the lyric, which this article aims to elucidate, can also be found in some of Rūmī’s ghazals and observations. These include a metaphysics of the unseen, a reunion through ecstasy and rapture, and a reflection and mirroring, initially through music and then through the lyric. (shrink)