Abstract The phenomenological approach to racialization needs to be supplemented by a hermeneutics that examines the history of the various categories in terms of which people see and have seen race. An investigation of this kind suggests that instead of the rigid essentialism that is normally associated with the history of racism, race predominantly operates as a border concept, that is to say, a dynamic fluid concept whose core lies not at the center but at its edges. I illustrate this (...) by an examination of the history of the distinctions between the races as it is revealed in legal, scientific, and philosophical sources. I focus especially on racial distinctions in the United States and on the way that the impact of miscegenation was negotiated leading to the so-called one-drop rule. (shrink)

I develop a phenomenological account of racialized encounters with works of art and film, wherein the racialized viewer feels cast as perpetually past, coming “too late” to intervene in the meaning of her own representation. This points to the distinctive role that the colonial past plays in mediating and constructing our self-images. I draw on my experience of three exhibitions that take Muslims and/or Arabs as their subject matter and that ostensibly try to interrupt or subvert racialization while reproducing some (...) of its tropes. My examples are the Jean-Joseph Benjamin-Constant exhibition at the Montreal Museum of Fine Arts (2015), the exposition Welten der Muslime at the Ethnologisches Museum in Berlin (2011–2017), and a sculpture by Bob and Roberta Smith at the Leeds City Art Gallery, created in response to the imperial power painting, General Gordon’s Last Stand, that is housed there. My interest is in how artworks contribute to the experience of being racialized in ways that not only amplify the circulation of images but also constitute difficult temporal relations to images. Drawing on Frantz Fanon’s Black Skin, White Masks, I argue that such racialized images are temporally gluey, or stuck, so that we are weighted and bogged down by them. This essay received Honorable Mention from the American Society for Aesthetics Feminist Caucus Committee in the Feminist Research Essay prize in 2020. (shrink)

A major influence on civil rights, anti-colonial, and black consciousness movements around the world, Black Skin, White Masks is the unsurpassed study of the black psyche in a white world. Hailed for its scientific analysis and poetic grace when it was first published in 1952, the book remains a vital force today. “[Fanon] demonstrates how insidiously the problem of race, of color, connects with a whole range of words and images.” — Robert Coles, The New York Times Book Review.

This book explores the epistemic side of racial and sexual oppression. It elucidates how social insensitivities and imposed silences prevent members of different groups from listening to each other.

This paper asks how perception becomes racializing and seeks the means for its critical interruption. My aim is not only to understand the recalcitrant and limitative temporal structure of racializing habits of seeing, but also to uncover the possibilities within perception for a critical awareness and destabilization of this structure. Reading Henri Bergson and Maurice Merleau-Ponty in dialogue with Frantz Fanon, Iris Marion Young and race-critical feminism, I locate in hesitation the phenomenological moment where habits of seeing can be internally (...) fractured. Hesitation, I claim, makes visible the exclusionary logic of racializing and objectifying perception, countering its affective closure and opening it to critical transformation. (shrink)

Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the body to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others.

"Taken as a trilogy, _consent not to be a single being_ is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis."—Brent Hayes Edwards, author of _Epistrophies: Jazz and the Literary Imagination_ In _The Universal Machine_—the concluding volume to his landmark trilogy _consent not to be a single being_—Fred Moten presents a suite of three essays on Emmanuel Levinas, Hannah Arendt, and Frantz Fanon in which he explores (...) questions of freedom, capture, and selfhood. In trademark style, Moten considers these thinkers alongside artists and musicians such as William Kentridge and Curtis Mayfield while interrogating the relation between blackness and phenomenology. Whether using Levinas's idea of escape in unintended ways, examining Arendt's antiblackness through Mayfield's virtuosic falsetto and Anthony Braxton's musical language, or showing how Fanon's form of phenomenology enables black social life, Moten formulates blackness as a way of being in the world that evades regulation. Throughout _The Universal Machine_—and the trilogy as a whole—Moten's theorizations of blackness will have a lasting and profound impact. (shrink)

Abstract This paper proposes that adopting a ?phenomenological stance? enables a distinctive kind of empathy, which is required in order to understand forms of experience that occur in psychiatric illness and elsewhere. For the most part, we interpret other people's experiences against the backdrop of a shared world. Hence our attempts to appreciate interpersonal differences do not call into question a deeper level of commonality. A phenomenological stance involves suspending our habitual acceptance of that world. It thus allows us to (...) contemplate the possibility of structurally different ways of ?finding oneself in the world?. Such a stance, I suggest, can be incorporated into an empathetic appreciation of others' experiences, amounting to what we might call ?radical empathy? (shrink)

This book contains the unfinished manuscript and working notes of the book Merleau-Ponty was writing when he died.

A paper about cross-cultural and cross-racial loving that emphasizes the need to understand and affirm the plurality in and among women as central to feminist ontology and epistemology. Love is seen not as fusion and erasure of difference but as incompatible with them. Love reveals plurality. Unity–not to be confused with solidarity–is understood as conceptually tied to domination.

While recognizing its origins and scope, Alejandro A. Vallega offers a new interpretation of Latin American philosophy by looking at its radical and transformative roots. Placing it in dialogue with Western philosophical traditions, Vallega examines developments in gender studies, race theory, postcolonial theory, and the legacy of cultural dependency in light of the Latin American experience. He explores Latin America’s engagement with contemporary problems in Western philosophy and describes the transformative impact of this encounter on contemporary thought.

Examines how liberal society enables racism and other forms of discrimination.