El presente artículo presenta una breve discusión en torno al vínculo entre juventud y capitalismo a partir del análisis de un caso particular: la escena hardcore punk estadounidense. Las peculiaridades de esta escena musical-su rebeldía rabiosa, su ímpetu (auto)destructivo, su desborde permanente-así como su contrapunto con los movimientos que la precedieron, nos permiten vislumbrar los mecanismos mediante los cuales el capitalismo ejerce su poder coercitivo, en lo que, con Althusser, denominaríamos los aparatos ideológicos de Estado y el aparato (...) represivo de Estado. Comenzaremos por definir estos conceptos, para luego aplicarlos al recorrido histórico que deriva en el surgimiento del hardcore punk a fines de los setenta. (shrink)

This chapter explores the tripartite relationship between transgender identities, political activism, and sonic practice. In particular, this chapter employs theorizations of noise to explore a rupture in the prevalent binarisms of sound and gender in the American punk scene and its aesthetics. Drawing upon theoretical frameworks such as Herbert Marcuse’s one-dimensional society and Jean-François Lyotard’s conception of a libidinal economy, the sonic practices of trans-feminist artists such as GLOSS (Girls Living Outside Society’s Shit) and the HIRS Collective are re-examined (...) to interrogate their capacities to initiate acts of intentional antagonism to construct new spaces for the invisible and/or overlooked. Through such a trajectory, the intended goal is to reveal not only such trans-feminist artists’ collective actions of political resistance towards the modern neoliberal state, but perhaps most importantly, the typically less examined yet far-reaching ramifications of their inherent situatedness outside of such socio-political structures and machinery. While such artistic practice pits itself against the increasingly one-dimensional state of commodification in the punk genre, it also probes deeper to illuminate the related homonormative currents which have exerted considerable effort to flatten notions of diversity and difference within contemporary LGBTQ2S communities. It is ultimately through this complex matrix of identity, affective flows, and a political (dis)engagement with the dynamics of the American punk genre that we can begin to bear witness upon a modern form of sonic anarchism; one which fragments itself off from previous constructions yet reveals a possibility for new formations to those previously rendered silenced, both figuratively and literally. (shrink)

What are we to make of the cultural nonconformity of hardcore/punks? Is there any ethical value in the pursuit of cultural nonconformity? Distinct moral justifications can be teased from the lyrics of the hardcore/punk bands that we have grown up with and still love. The best explanation of what makes cultural nonconformity morally valuable, we believe, comes from John Stuart Mill: that it opens up new cultural space to oneself and to others, permitting "new and original experiments (...) of living.". (shrink)

Hardcore actualism (HA) grounds all modal truths in the concrete constituents of the actual world (see, e.g., Borghini and Williams (2008), Jacobs (2010), Vetter (2015)). I bolster HA, and elucidate the very nature of possibility (and necessity) according to HA, by considering if it can validate S5 modal logic. Interestingly, different considerations pull in different directions on this issue. To resolve the tension, we are forced to think hard about the nature of the hardcore actualist's modal reality and (...) how radically this departs from possible worlds orthodoxy. Once we achieve this departure, the prospects of a hardcore actualist validation of S5 look considerably brighter. This paper thus strengthens hardcore actualism by arguing that it can indeed validate S5–arguably the most popular logic of metaphysical modality–and, in the process, it elucidates the very nature of modality according to this revisionary, but very attractive, modal metaphysics. (shrink)

According to hardcore actualism (HA), all modal truths are grounded in the concrete constituents of the actual world. In this paper, I discuss some problems faced by HA when it comes to accounting for certain alleged possibilities of non‐existence. I focus particular attention on Leech (2017)'s dilemma for HA, according to which HA must either sacrifice extensional correctness or admit mere possibilia. I propose a solution to Leech's dilemma, which relies on a distinction between weak and strong possibility. It (...) remains the case, however, that HA cannot capture certain iterated de re possibilities of non‐existence and that it is committed to a stock of necessary existents. But I still think that the virtues of the view outweigh these costs. (shrink)

This chapter explores the relationship between ‘hardcore’ horror films, and the discursive context in which mainstream horror releases are being dubbed ‘extreme’. This chapter compares ‘mainstream’ and ‘hardcore’ horror with the aim of investigating what ‘extremity’ means. I will begin by outlining what ‘hardcore’ horror is, and how it differs from mainstream horror (both in terms of content and distribution). I will then dissect what ‘extremity’ means in this context, delineating problems with established critical discourses about ‘extreme’ (...) horror. Print press reviewers focus on theatrically released horror films, ignoring microbudget direct-to-video horror. As such, their adjudications about ‘extremity’ in horror begin from a limited base that misrepresents the genre. Moreover, ‘extremity’ is not a universally shared value, yet it is predominantly presented as if referring to an objective, universally agreed-upon standard. Such judgements change over time. Moreover, in contrast to marketers’ uses of ‘extreme’, press critics predominantly use the term as a pejorative. Although academics have sought to defend and contextualise particular maligned films and directors, scholars have focused on a handful of infamous examples. As I will explain, academic publishers implicitly support that narrow focus. As such, the cumulative body of scholarly work on ‘extreme’ horror inadvertently replicates print press critics’ mischaracterisation of the genre. These discursive factors limit our collective understandings of ‘horror’, its ostensible ‘extremity’. and of ‘extremity’ qua concept. Given that the discourse of ‘extremity’ is so commonly employed when censuring representations that challenge established genre conventions, it is imperative that horror studies academics attend to peripheral hardcore horror texts, and seek to develop more robust conceptual understandings of extremity. (shrink)

Emotional hardcore and other music genres featuring screamed vocals are puzzling for the appreciator. The typical fan attaches appreciative value to musical screams of emotional pain all the while acknowledging it would be inappropriate to hold similar attitudes towards their sonically similar everyday counterpart: actual human screaming. Call this the screamed vocals problem. To solve the problem, I argue we must attend to the anti-sublimating aims that get expressed in the emotional hardcore vocalist’s choice to scream the lyrics. (...) Screamed vocals help us see the value in rejecting (a) restrictive social norms of emotional expressiveness and (b) restrictive artistic norms about how one ought to express or represent pain in art, namely that if one is going to do so they must ensure the pain has been ‘beautified’. In developing this second point I argue that emotional hardcore is well-suited (though not individually so) for putting pressure on longstanding views in the history of aesthetics about the formal relationship between art and human pain. (shrink)

Smash the System! Punk Anarchism as a Culture of Resistance offers a snapshot of anarchist punk as a culture of resistance across the globe. In these diverse and internationalist chapters we witness struggles against racism and colonialism in South Africa, resistance to neo-liberalism and state oppression in Latin America, resistance to police brutality and capitalism in Western, Central and Southeast Europe, struggles for equality and against patriarchy in the US, and anarchist resistance against injustice and authoritarianism in Asia. (...) The common theme is that anarchist punks have consistently sought to SMASH THE SYSTEM, whether that system is capitalism, state socialism, authoritarian communism, the police state, patriarchy, racism, ethno-nationalism, fascism, homophobia, colonialism, neo-liberalism, or the military industrial complex. In doing so anarchist punks have built thriving and diverse cultures of resistance and revitalised the anarchist movement across the world. -/- . (shrink)

A philosophical examination of 'new wave' as a musical genre, focusing on its developmental history and relation to punk as well as its unique ethos and aesthetic. Forthcoming 2021.

Spinoza is a hardcore realist about the nature of human beings and their desires, ambitions, and delusions. But he is neither a misanthrope nor in the business of glorifying the notion of a primal and innocent non-human nature. As he writes: Let the Satirists laugh as much as they like at human affairs, let the Theologians curse them, let Melancholics praise as much as they can a life that is uncultivated and wild, let them disdain men and admire the (...) lower animals. Men still find from experience that by helping one another they can provide themselves much more easily with the things they require, and that only by joining forces can they avoid the dangers that threaten on all sides. Indeed, Spinoza’s Ethics is a book whose aim is to lead us toward human blessedness and freedom. The question I will try to answer in the present study, then, is the following. Given his sober attempt to rid humanity of its self-aggrandizing illusions and to offer a naturalistic account of human nature, what does Spinoza see as the source of the value of humanity (if it has any)? In order to address the various aspects of this question, I will begin by examining the value of human friendship. Then, in the second part of the paper, I will consider the thorny question of whether Spinoza’s deflationary view of humanity’s status within nature allows for any notion of human dignity. In the third and final part, I will examine the value Spinoza ascribes to rationality, and the implications of this issue for his understanding of the value of humanity. (shrink)

Resolving to finish reading a novel, staying true to your punk style, or dedicating your life to an artistic project: these are examples of aesthetic commitments. I develop an account of the nature of such commitments, and I argue that they are significant insofar as they help us manage the temporally extended nature of our aesthetic agency and our relationships with aesthetic objects. At the same time, focusing on aesthetic commitments can give us a better grasp on the nature (...) of aesthetic normativity; this is because, in making aesthetic commitments, we are capable of giving aesthetic concerns the weight of obligation. I argue that appealing to aesthetic commitments allows us to account for the existence of aesthetic obligations as well as their grounding. I conclude by arguing that, although the aesthetic domain is a domain of play and freedom of choice, there is nevertheless an important place in it for both aesthetic commitments and the aesthetic obligations they generate. (shrink)

Vetter (2015) develops a localised theory of modality, based on potentialities of actual objects. Two factors play a key role in its appeal: its commitment to Hardcore Actualism, and to Naturalism. Vetter’s commitment to Naturalism is in part manifested in her adoption of Aristotelian universals. In this paper, we argue that a puzzle concerning the identity of unmanifested potentialities cannot be solved with an Aristotelian conception of properties. After introducing the puzzle, we examine Vetter’s attempt at amending the Aristotelian (...) conception in a way that avoids the puzzle, and conclude that this amended version is no longer to be considered naturalistic. Potentiality theory cannot be both actualist and naturalist. We then argue that, if naturalism is to be abandoned by the actualist, there are good reasons to adopt a Platonist conception of universals, for they offer a number of theoretical advantages and allow us to avoid some of the problems facing Vetter’s theory. (shrink)

The agent portrayed in much philosophy of action is, let's face it, a square. He does nothing intentionally unless he regards it or its consequences as desirable. The reason is that he acts intentionally only when he acts out of a desire for some anticipated outcome; and in desiring that outcome, he must regard it as having some value. All of his intentional actions are therefore directed at outcomes regarded sub specie boni: under the guise of the good. This agent (...) is conceived as being capable of intentional action—and hence as being an agent—only by virtue of being a pursuer of value. I want to question whether this conception of agency can be correct. Surely, so general a capacity as agency cannot entail so narrow a cast of mind. Our moral psychology has characterized, not the generic agent, but a particular species of agent, and a particularly bland species of agent, at that. It has characterized the earnest agent while ignoring those agents who are disaffected, refractory, silly, satanic, or punk. I hope for a moral psychology that has room for the whole motley crew. I shall begin by examining why some philosophers have thought that the attitudes motivating intentional actions involve judgments of value. I shall then argue that their conception of these attitudes is incorrect. Finally, I shall argue that practical reason should not be conceived as a faculty for pursuing value. (shrink)

In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, I argue (...) for an alternative model of authenticity in which we take claims about the relative authenticity of country music to be evidence of ‘country’ being a dual character concept in the same way that it has been suggested of punk rock and hip-hop. Authentic country music is country music that embodies the core value commitments of the genre. These values form the basis of country artists’ and audiences’ practical identities. Part of country music’s aesthetic practice is that audiences reconnect with, reify, and revise this common practical identity through identification with artists and works that manifest these values. We should then think of authenticity discourse within country music as a kind of game within the genre’s practice of shaping and maintaining this practical identity. (shrink)

Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation can individuate musical works, too. I argue here that there can be a further element of musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the ontology of music. (...) Hardcore formalists cannot allow for spatial music. I argue that two other views, which allow a close relationship between sounds and musical works, can allow for works of spatial music. However, their ability to do so turns on issues in the philosophy of sound. I appeal to work in philosophy of sound to show that music is an art not just of hearing, but of sounds. (shrink)

It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in court as (...) a central case of this injustice. In section 2, we distinguish art-interpretive injustice from other categories already discussed in recent literature. In section 3, we discuss the relationship between genre discourse and identity prejudice. The case for recognizing the category of art-interpretive injustice is that it allows one to recognize a class of harms as being importantly related in ways that one would otherwise overlook. (shrink)

Husserl’s phenomenology opens itself with a critique of positive sciences. Husserl problematizes the hardcore presupposition of positivism that the world is a definite sort of an existential totality of objects and thus it is exhaustible with empirical data and deductive-conceptual abstraction on the basis of causalspatio-temoprality. Criticizing the wholesome reduction of nature into a physical reality and the instrumentalizing of theoretical reason, he proposes transcendental phenomenology, as an ideal form of science. Self-entitled as the genuine science, the science of (...) origin, the science of all sciences, etc., it concerns itself with the matter of validity. Claiming that validating objectivity as such and the meaning of scientific objectification is something of which onlyphenomenological reflection on pure consciousness is capable and that the positivistic objectivity is and must be founded on transcendental subjectivity, Husserl radically idealistically revised the whole positivistic concept of evidence and givenness of a fact and substituted it with the phenomenological notion of apriori self-evidence and originary givenness of primordial intentional consciousness. Nevertheless, it is noticed that the absolute universal validity of positivistic objectivity was never rejected or questioned; objectivity is still in and of itself an absolute criterion of scientificity in Husserl. This paper will argue that the idealistic turn toward subjectivity takes place through factualization of transcendentality and this, by bestowing apriori apodicticity with facticity, even enhances more the supreme epistemological function of positivity. It will discuss such positivistic drive, directly bequeathed from the very cultural ethos at which phenomenological criticism targeted, as an important locomotive for Husserl’s program and point out an antinomical consequence with which it is to be faced as a consequence. (shrink)

Artwork of astounding genius requires a spectator (and not just anyone will do!). The materialist magic worked by an artistic genius only affects others; each genius is impervious to their own magic. Diderot's thought is wonderful and really deserves wider attention (if any thought really does deserve attention ...): a masterpiece is incomplete without one who can appreciate it. -/- This is a talk presented (a few years ago) to an audience of nearly none at a conference. I only post (...) it in case there is anyone out there who enjoys Diderot, art, French, hardcore materialism and magic. (shrink)

contents -/- i. death and the mask ii. shifts in the TTC ad-space iii. a virus in a superposition iv. this virus has totally hacked us v. a test of Bayesian competence vi. a siege on the Local, by the Global vii. re lab-leak theory: God did it viii. we held ourselves apart by this telescope ix. Google knows we'll all be dead x. Uber gets us all to surveil xi. Netflix pretends to be my friend xii. can teleCOMM map (...) my interior? xiii. Library's a hi-rise, in lockdown xiv. so could the A.I. announce itself xv. N_BossTRON, Surveillance Daemon xvi. prediction markets make War Profiteers xvii. hide Fish in sea, Bird in forest xviii. the DJ and the human, too much credit xix. dumb TV, an ingenious production xx. WE THE NORTH xxi. Debt: The First 5,000 Years xxii. Theses on Kingship xxiii. when i google Zeus xxiv. your Hardcore History xxv. consumerism a pacification campaign xxvi. fascism is quiet now xxvii. a Chomsky need keep record. (shrink)

Debates in the philosophy of science typically take place around issues such as realism and theory change. Recently, the debate has been reformulated to bring in the role of experiments in the context of theory change. As regards realism, Ian Hacking’s contribution has been to introduce ‘intervention’ as the basis of realism. He also proposed, following Imre Lakatos, to replace the issue of truth with progress and rationality. In this context we examine the case of the vitalism — reductionism debate (...) in biology inspired by the works of Indian physicist-turned-biologist Jagadish Chandra Bose (1858–1937), in the early twentieth century. Both camps had their characteristic hardcores. Vitalists led by John S. Burdon-Sanderson and Augustus D. Waller accepted religious metaphysics to support their research programme, which ultimately degenerated. Bose worked more with the ideals of science such as Occam’s razor, large-scale systematization of phenomena and novel prediction. I argue that his religious metaphysics, instead of acting as a protective shield, helped him to consolidate his position and allowed further problem shift resulting in a research programme that involved consciousness too. His research programme remains relevant even today. (shrink)

Erotic Nights of the Living Dead (1980) may have featured both animated corpses and hardcore sex scenes, but only recently have Re-Penetrator (2004) and Porn of the Dead (2006) managed to fully eroticise the living dead, allowing these creatures to engage in intercourse. In doing so, the usually a-subjective zombie is allotted a key facet of identity - sexuality. This development within the sub-genre needs accounting for outside of the contexts of porn studies, where it has only been briefly (...) touched upon in relation to its "extremity". -/- Moreover, the gendering of the undead opens a discussion which expand the horizons of zombie studies away from the overt critiques of capitalism, race and psychoanalysis that have pervaded analyses of these narratives. The dichotomy of binary oppositions so often associated with psychoanalytic approaches dictates that "passive (non-phallic) = female", and "active (phallic) = male". In these terms, the zombies are feminine - soft-bodied and passive, despite their murderous intent (which has been accounted for, by Barabara Creed (1993) amongst others, by invoking the vagina-dentata motif). Humans (active) are deemed masculine, not least since they tend to dispatch zombies with "phallic guns". Taking this logic to an extreme, the zombie may be read as allegorising feminism: the "feminised" figures (zombies) become fearsome in their will to exert themselves despite their seeming disempowerment in the face of "masculine" hegemony. Ultimately, by grouping together as a force, they overthrow or at least significantly damage that "normality" (an ideological paradigm usually read in terms of race, class and economics). (shrink)

Looking at philosophy—and I mean western philosophy to be more specific—in the course of its historical development that goes back to ancient Greece, it emerged as a thematic phenomenon in the spontaneous course of broadening the scope of the sphere of human intellectual achievements at the time when the ancient Greeks were deeply immersed in and dimly shrouded by the superstitions and mystifications that characterized its mythological religion dominated by the Olympus-based pantheon of gods and goddesses led by the ¨almighty¨ (...) Zeus. If we want now to talk of fiction, ancient mythological Greek religion was hardcore fiction. And the emergence of the first so-called philosophers was a welcome relief in the lives of a people fed up with the exploitative machination of a hyper-superstitious religion enslaving them for so many generations. (shrink)