Spanish version of essay discussing two documentaries by the Oaxacan filmmaker and anthropologist Sandra Luz López Barroso, Artemio (2017) and The One Amongst the Shadows (El compromiso de las sombras, 2021), both focused on the Costa Chica of Guerrero.

Discussion of two documentaries by the Oaxacan filmmaker and anthropologist Sandra Luz López Barroso, Artemio (2017) and The One Amongst the Shadows (El compromiso de las sombras, 2021), both focused on the Costa Chica of Guerrero.

This article examines some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela in order to explore the sense of Gilles Deleuze’s view that modern political cinema is characterized by a “missing” people, to which the adequate response is the people-sustaining or people-generating trance. I argue that the element missing from Deleuze’s discussion is how the typical way for a people to go “missing” under capitalism involves the obfuscation of their labor, an idea that sustains the (...) materially grounded trance in Varela’s Papeles Secundarios (2004) and Cuerpos Complementarios (2022), drawn from the filmmaker’s experience as casting director of Iranian artist Shirin Neshat’s production of her video installation Tooba (2002) in Oaxaca. The article discusses the “baroque critique” involved in Varela’s elliptically representing the workday of the non-professional Oaxacan actors employed in Neshat’s production, understood here as a critique articulated using the detritus of that production. The result is a paradigm of trans-temporal playfulness on film that also challenges the claims to trans-temporal experience sought in Neshat’s work. Thus, the article also locates these arguments within debates about whether films can “do philosophy”, including a hypothesis about the obfuscations of labor lying behind why making-of documentaries—and their capacities to critique the philosophical pretensions of their original subjects—have not figured more centrally in those debates. (shrink)

English version of collaborative text with Bruno Varela on his film La máquina de futuro (2024), published in the catalog of Umbrales experimental film section of the FICUNAM film festival.

Spanish version of my analysis of Oaxaca-based experimental filmmaker Bruno Varela's 2022 feature-length film El Prototipo, which draws on ideas from Philip K. Dick's novel Valis.

This essay distinguishes some significant commonalities and differences between the film-philosophies of Chilean filmmaker Raúl Ruiz (especially in his book Poetics of Cinema) and U.S. philosopher Stanley Cavell. I argue that despite shared senses of the poetics of the film image and certain shared philosophical references, Ruiz and Cavell differed over their conceptions of the model spectator and their relations to autonomous films and worlds from which spectators are excluded (on Cavell's picture) versus fragments out of which the (...) spectator might create their own films and worlds in which a spectator might become included (on Ruiz's picture). I then argue that a striking reconciliation between these perspectives takes place via each's conception of television, since it was precisely the features of the medium and its heteronomous parts that Cavell found bemusing from the perspective of his view of film (and its supposedly autonomous works) that allowed for Ruiz's natural career-long relationship with television and heteronomy, especially in Latin American telenovelas. I thus approach Ruiz's relation to telenovelas via Cavell's understanding of the possibilities of soap operas to explore arguments between different temporalities: "dialectical," narrative time and "undialectical" recurrences of needs and drives. I further explore this possibility with a reading of Ruiz's neglected, late-career Chilean TV series Litoral (2008), focused on the construction of stories by sailors aboard a ghost ship. I argue that the series' treatment of these different temporalities reaches its culmination in the poignant image of a sailor-storyteller stuck within a story of his own creation: a stark rendering of his taking a sideways-on view of the role of his own fantasies in its construction. (shrink)

In this historical article, Newton da Costa discusses Francisco Miró Quesada’s philosophical ideas about logic. He discusses the topics of reason, logic, and action in Miró Quesada’s work, and in the final section he offers his critical view. In particular, he disagrees with Miró Quesada’s stance on the historicity of reason, for whom “reason is essentially absolute”, whereas for da Costa it “is being constructed in the course of history”. Da Costa concludes by emphasizing the importance of (...) Miró Quesada’s theory of logic and reason, despite it still being incomplete. -/- Historical article by Newton da Costa, annotated and translated by J. C. Cifuentes and L. F. Bartolo Alegre. (shrink)

Spanish version of collaborative essay with Oaxaca-based Mexican experimental filmmaker Bruno Varela on his found footage project La máquina de futuro. Published on the website Los Experimentos together with the release of Varela's diptych Anáhuac contra los robots, consisting of the films La máquina de futuro and La ranura en el tiempo.

This article examines Gloria Anzaldúa’s critical appropriation of Mexican philosophical sources, especially in the writing of Borderlands/La Frontera. We argue that Anzaldúa effectively contributed to la filosofía de lo mexicano by developing an Inter-American Philosophy of Mexicanness. More specifically, we recover “La Mexicana en la Chicana” by paying careful attention to Anzaldúa’s Mexican sources, both those she explicitly cites and those we have discovered while conducting archival research using the Gloria Evangelina Anzaldúa Papers at the Benson (...) Latin American Collection at the University of Texas at Austin. The eight Mexican philosophical sources we examine and discuss here are: José Vasconcelos (1882-1959), Miguel León-Portilla (1926-2019), Juana Armanda Alegría (1938- ), Octavio Paz (1914-1998), Samuel Ramos (1897-1959), Rosario Castellanos (1925-1974), Sor Juana Inés de La Cruz (1648-1695), and Jorge Carrión (1913-2005). (shrink)

This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of his claim (...) about cinema and modernism, where film at least provides us a symbol of relief from concerns about medium specificity. In the second part of the essay I argue that something close to Cavell's and Fried's thoughts (about using the figure of theater to remind us of cinema's specificity, but also of cinema in its character as a symbol of relief from medium-specific concerns) takes on a certain urgency in questions about what cinema is in the digital age, manifested in representations of theater in the digitally photographed "Shakespeariadas" series by the contemporary Argentine filmmaker Matías Piñeiro. (shrink)

This essay is my review of Bob Bowden’s excellent documentary The Cartel. It is a powerful indictment of public schools and public school teachers’ unions. In a crucial part of the film, we see minority parents at a charter school lottery. Charter schools, like voucher private schools, give parents school choice—although charter schools are public schools technically, but run fairly independently. They are so popular, and the school districts allow so few of them, that parents must apply by (...) lottery for the few slots. The looks of grief on the faces of the parents who lose the lottery—and hence must keep their children in failing public schools—is telling. It is ironic that the nation most admired by American progressives—Sweden—completely voucharized its entire K-12 school system thirty years ago. (shrink)

Analysis of Bruno Varela's 2022 feature film El Prototipo.

Our paper examines Gloria Anzaldúa’s critical appropriation of Mexican philosophical sources, especially in the writing of Borderlands/La Frontera. We demonstrate how Anzaldúa developed a transnational Philosophy of Mexicanness, effectively contributing to what has been recently characterized as the “multi-generational project to pursue philosophy from and about Mexican circumstances” (Vargas). More specifically, we recover “La Mexicana en la Chicana” by paying careful attention to Anzaldúa’s Mexican sources, both those she explicitly cites and those we have discovered (...) while conducting archival research using the Gloria Evangelina Anzaldúa Papers from the Benson Latin American Collection at the University of Texas at Austin. The three sections of our paper: 1) define the terms Mexican and philosophy in conversation with Anzaldúa’s work, 2) examine the Mexican philosophical sources that Anzaldúa cites in Borderlands/La Frontera, and 3) present the other major Mexican philosophical influences on Anzaldúa that we have found in her archive. The eight Mexican philosophical sources we discuss here include: José Vasconcelos (1882-1959), Miguel León-Portilla (1926-2019), Juana Armanda Alegría (1938- ), Octavio Paz (1914-1998), Samuel Ramos (1897-1959), Rosario Castellanos (1925-1974), Sor Juana Inés de La Cruz (1648-1695), and Jorge Carrión (1913-2005). (shrink)

This essay examines Gloria Anzaldúa’s critical appropriation of two Mexican philosophers in the writing of Borderlands/La Frontera: Samuel Ramos and Octavio Paz. We argue that although neither of these authors is cited in her seminal work, Anzaldúa had them both in mind through the writing process and that their ideas are present in the text itself. Through a genealogical reading of Borderlands/La Frontera, and aided by archival research, we demonstrate how Anzaldúa’s philosophical vision of the “new mestiza” is a (...) critical continuation of the broader tradition known as la filosofía de lo mexicano, which flourished during a golden age of Mexican philosophy (1910–1960). Our aim is to open new directions in Latinx and Latin American philosophy by presenting Anzaldúa’s Borderlands/La Frontera as a profound scholarly encounter with two classic works of Mexican philosophy, Ramos’ Profile of Man and Culture in Mexico and Paz’s The Labyrinth of Solitude. (shrink)

This essay argues that, despite the potential for an encounter between Stanley Cavell’s thought and found-footage experimental filmmaking, this has not yet taken place because the early Cavell’s picture of films as autonomous “wholes,” together with his "global-holistic" conception of modernism, prevented him from appreciating the expressive possibilities of filmic fragments. I then argue that these impediments to an encounter with found footage recede in Cavell’s later thought, as he moves away from a concern with modernism and as J. L. (...) Austin’s How to Do Things with Words comes to play a greater role in his film writing. In this late period, Cavell no longer conceives of topics of film criticism as filmic “wholes” but rather, more loosely, along the lines of what Austin called “total speech situations.” I claim that the culmination of this turn lies in Cavell’s writing on the expressive powers of collections. In closing, I demonstrate the possibilities of the late Cavell’s thinking about collections and “passionate utterances” for found-footage filmmaking by discussing Mexican experimental filmmaker Bruno Varela’s Monolito (2019), with particular attention to how Varela uses archival footage to fulfill the exigencies of finding new modes of expression at just the moment when a world is receding from view. (shrink)

This article aims to enhance understanding of the changing nature of the pre-colonial, (neo)colonial and postcolonial imagination of space and time in Africa and of its organising principle in African cinema. It will focus on the cartographic and time reckoning techniques and traditions of Africans in precolonial times in contrast to the space-time imagination expressed in colonial film in Africa, such as in the instruction documentary Daybreak in Udi (1949). This documentary, which promotes British colonial self-help development (...) projects in Africa, tells the story of the building of a maternity home in an Igbo village in Nigeria. Furthermore, the article will enhance understanding of the cinematic turn to a counterhegemonic film tradition as a stepping stone to the newly emerging field of African intercultural philosophical cinema. The time-space imagination in Common Threads (2018), shortlisted by the Zanzibar International Film Festival (ZIFF) for the best documentary will be analysed as a case in point. This documentary concentrates on the nineteenth-century and current Afro-Indian textile trade, the associated oral narratives and their visual impact on the so-called Kanga and Vitenge textiles. (shrink)

The importation of Lacanian psychoanalysis into film theory in the 1970s and 1980s ushered in a new era of cinema scholarship and criticism. Figures including Raymond Bellour, Laura Mulvey, and Christian Metz are often considered the pioneers of applying Lacanian psychoanalysis in the context of film theory, most notably through their writings in Screen Journal. However, where French and British scholarship on Lacan and film reached its limits, American Lacanianism flourished. When Joan Copjec’s now classic essay (...) “The Orthopsychic Subject: Film Theory and the Reception of Lacan” was published in 1989, the trajectory of Lacanian film theory would become radically altered; as Todd McGowan recently put it, the “butchered operation” on Lacan committed by Mulvey and (quoting Copjec) the “Foucaultianization” of Lacan under the auspices of Screen Journal were finally indicted in one gesture through Copjec’s critique. Copjec and McGowan’s unique American view of Lacan marks a pivotal point in the convergence of psychoanalytic theory and cinema studies; by seeking to wrest Lacan from historist/deconstructionist theories of the subject, and by revisiting Lacan beyond the mirror stage, Copjec and McGowan can be said to have instantiated a resuscitation or even a renaissance of Lacanian theory in film studies in particular and in American scholarship more generally. In this essay, this renaissance of Lacanian theory is examined, focusing on the innovations these two American thinkers brought to psychoanalytic film theory and the multiple paths carved out into other disciplines that followed. First, a detailed summation of the contentions between screen theory and Copjec’s position is introduced, as well as McGowan’s assessment thereof. Then, the trajectory of psychoanalytic film theory after Copjec’s arrival is the focus, including the major innovations in her thought from cinematic subjectivity to sexual difference (most notably from Read My Desire) and the way her position spread to philosophy and ontology. Finally, the article identifies the limitations of Copjec’s and McGowan’s thought and seeks new possibilities through which we may continue to apply psychoanalysis to the cinema in the wake of these two important thinkers. L’importation de la psychanalyse lacanienne dans la théorie du film au cours des années 1970 et 1980 a apporté une nouvelle ère de recherche et de critique cinématographiques. Des figures comme Raymond Bellour, Laura Mulvey et Christian Metz sont souvent considérées comme étant les pionniers dans l’application de la psychanalyse lacanienne au contexte de la théorie du film, surtout dans leurs écrits pour le Screen Journal. Par contre, là où les recherches françaises et britanniques sur Lacan et la cinématographie ont atteint leurs limites, le lacanisme américain a prospéré. La publication en 1989 de « The Orthopsychic Subject: Film Theory and the Reception of Lacan », l’essai classique de Joan Copjec, a complètement changé la trajectoire de la théorie lacanienne du film; comme Todd McGowan l’a récemment exprimé, « l’opération massacrée » commise sur Lacan par Mulvey et (citant Copjec) la « Foucaultisation » de Lacan sous les auspices de Screen Journal avaient finalement été accusées d’un seul coup par la critique de Copjec. Le point de vue uniquement américain de Copjec et de McGowan sur Lacan marque un tournant dans la convergence de la théorie psychanalytique et des études cinématographiques. En cherchant à arracher Lacan des théories historicistes/déconstructivistes du sujet, et en revisitant Lacan au-delà du stade du miroir, Copjec et McGowan ont instancié une ressuscitation, voire une renaissance, de la théorie lacanienne dans les études cinématographiques en particulier et dans les études américaines en général. Dans cet article, cette renaissance de la théorie lacanienne est examinée, mettant l’accent sur les innovations que ces deux penseurs américains ont apportées à la théorie psychanalytique du film et les multiples chemins tracés dans d’autres disciplines subséquentes. Premièrement, un résumé détaillé des différends entre la théorie du film et la position de Copjec est présenté, ainsi que l’évaluation de McGowan à ce sujet. Puis, la trajectoire de la théorie psychanalytique du film après l’arrivée de Copjec est mise de l’avant, notamment les innovations importantes de sa pensée de la subjectivité à la différence sexuelle (particulièrement dans Read My Desire) et la manière dont sa position s’est propagée dans la philosophie et l’ontologie. Finalement, l’article identifie les limites de la pensée de Copjec et de McGowan et cherche de nouvelles possibilités à travers lesquelles nous pourrions continuer d’appliquer la psychanalyse au cinéma après ces deux grands penseurs. (shrink)

The field of Latin American philosophy has established itself as a relevant subfield of philosophical inquiry. However, there might be good reasons to consider that our focus on the subfield could have distracted us from considering another subfield that, although it might share some geographical proximity, does not share the same historical basic elements. In this paper, I argue for a possible and meaningful conceptual difference between Latin American Philosophy and Indigenous philosophy produced (...) in Latin America. First, I raise what I call Mariátegui’s Solidarity Challenge to show that there might be some neglectful treatment of the philosophical views of different Indigenous groups. I then depart from Mariátegui and engage in a critical exercise to show that even he would be guilty of failing in his own solidarity demands. I follow that by drawing out some implications of the argument. I first sketch how this differentiation would play out against the political project of “Mestizaje,” a project that seems to inform some of the Latin American philosophical tradition. I then speculate about the kinds of duties that the field of Latin American philosophy might have towards the field of Indigenous Philosophy produced in Latin America. (shrink)

BOOK REVIEW: Through fifteen interrelated essays, Daniel Campos’ Loving Immigrants in America reflects upon his experiences as a Latin American immigrant to the United States and develops an experiential philosophy of personal interaction. Building upon previous work, Campos’ implicit conceptual framework comes from Charles S. Peirce’s dual philosophical accounts of the evolution of personality and evolutionary love. But the flesh and blood of the book are Campos’ own personal experiences as an immigrant who has labored for more (...) than twenty years to make himself at home in the United States, aka la Yunai, by growing to love an impressively broad range of places and people across the country. Campos begins in rural Arkansas (where he arrived as an eighteen-year-old from Costa Rica to study at a small religious liberal arts college), travels extensively across the Deep South (in a series of road trips described in Chapters 3-6), completes an MA in Statistics and later a PhD in Philosophy at Penn State, and eventually settles to teach at Brooklyn College where he is surrounded by immigrants from all over the world. The book’s cast of characters and Campos’ interactions with them are so extensive as to defy generalization, but careful readers are likely to walk away convinced of Campos’ claim that “anyone who is receptive and attentive to the commonality of human experience can empathize with immigrants” (2). (shrink)

This encyclopedia article outlines the history of Latin American philosophy: the thinking of its indigenous peoples, the debates over conquest and colonization, the arguments for national independence in the eighteenth century, the challenges of nation-building and modernization in the nineteenth century, the concerns over various forms of development in the twentieth century, and the diverse interests in Latin American philosophy during the opening decades of the twenty-first century. Rather than attempt to provide an exhaustive (...) and impossibly long list of scholars’ names and dates, this article outlines the history of Latin American philosophy while trying to provide a meaningful sense of detail by focusing briefly on individual thinkers whose work points to broader philosophical trends that are inevitably more complex and diverse than any encyclopedic treatment can hope to capture. (shrink)

Some of the central questions that have been explored by Latin American and Latinx philosophers are questions of metaphilosophy. "Metaphilosophy" refers to philosophical reflections on the nature of philosophy itself. For example, we might ask: What is the purpose of doing philosophy? How does philosophy compare and contrast with other disciplines, such as science, theology, or literature? And what is the best way of categorizing the different kinds and traditions of philosophy? These are philosophical (...) questions about philosophy as an activity and as a discipline. In this chapter, we discuss some ways that Latin American and Latinx philosophers have addressed these and other metaphilosophical issues. Our focus will be on the following questions: What are the defining characteristics of Latin American philosophy and Latinx philosophy? Do they constitute distinctive traditions of philosophy, and if so, what is especially valuable about these traditions? (shrink)

In the second half of the nineteenth century, many Latin American intellectuals adapted the philosophy of positivism to address the pressing problems of nation-building and respond to the demands of their own social and political contexts, making positivism the second most influential tradition in the history of Latin American philosophy, after scholasticism. Since a comprehensive survey of positivism’s role across Latin American and Latinx philosophy would require multiple books, this chapter presents (...) the history of positivism and its transformations in Mexican and Chicanx philosophies, proceeding chronologically and focusing on these representative thinkers: Auguste Comte (1798-1857), Gabino Barreda (1818-1881), Justo Sierra (1848-1912), José Vasconcelos (1882-1959), Antonio Caso (1883-1946), and Gloria Anzaldúa (1942-2004). We pay special attention to how positivism was used to build the Mexican nation and reconstruct Mexican identity through education, creating philosophical debates about the relationships among science, religion, morality, education, race, economic progress, and national development. These debates continue to resonate as we think critically about the respective roles of scientific education—then called “positive” education, now “STEM” education—and moral education in the curricula used to educate a country’s youth while reconstructing their ethnoracial and national identities. (shrink)

Academics have increasingly used video and other electronic methods to collect data and capture reflections from participants. But, until recently, it’s been less common to use film as way of disseminating the results of research. That’s beginning to change. Film can be a powerful way to share research findings with a broad audience. This is particularly true when academics are combining) the traditions of ethnography, documentary filmmaking, and storytelling. -/- Film and cinema are increasingly being used (...) in environmental humanities to complement – or challenge – text-based research. The filmmakers in the arts, sciences and humanities see potential in using the moving images within political philosophy, environmental politics, postcolonial studies, human geography, urban ecology, postcolonial studies, design and literature. An example of this is the film One Table Two Elephants. It is a cinematic ethnography created by two Swedish researchers and filmmakers Jacob von Heland and Henrik Ernstson. Based on years of research in Cape Town, it was filmed in 2015 as part of a longer-term research and film-project . The documentary deals with race, nature and knowledge politics in Cape Town as part of the ways of knowing urban ecologies research project. -/- . (shrink)

This volume contains the most extensive exposition of Latin American philosophy to date. I know of no other comparable anthology on the subject in any language. The width of its scope is quite impressive. At least for this reason, and whatever its shortcomings might be (to some of them I’ll come to speak below), it is a welcome collective work.

Why did human beings throughout the millennia so often think about a doomsday? Could there be a profit to our inner pleasure and pain equilibrium, when believing that doomsday is nearing, an idea suggested by Sigmund Freud? An analogous instinctive dynamics was thought by Nietzsche who wrote that human beings do prefer to want the nothingness rather than not to want anything at all. In this essay, 'Melancholia', a movie by Lars von Trier, is taken as an exquisite masterpiece, a (...) grandiose exposition of Schopenhauer and Nietzsche Philosophies.. (shrink)

The controversy over the possibility of an indigenous Latin American Philosophy might be understood as dealing with an older question about the nature of philosophy itself: Is the nature of philosophy purely speculative, practical, or both? For the sake of argument, I am using the term “Latin American Philosophy” in a normative sense as referring to social and political philosophy written by Latin Americans to change oppressive conditions and policies affecting (...) their societies. I am assuming that liberation philosophers fall under the above description. Unlike liberationists, I argue that universalist philosophers can present illuminating and hence persuasive arguments for their position. Of course, liberationists might argue that I am begging the question. But if they could successfully demonstrate that I am doing so, they would be compelled to appeal to at least some nonarbitrary principle of adjudication. If they were to do so, they would be supporting rather than undermining my argument in favor of a universalist conception of philosophy. (shrink)

The authors reflect on the conceptual slippage of the Baroque from the philosophy and history of Latin American art. They appreciate the use and appropriation of its formal and aesthetic strategies in some artists of contemporary art, from which we can think about the current historical processes of the region. -/- Keywords: Latin American Baroque, Contemporary art, appropriation, theatricalization, philosophy and art history.

This book provides a historical and theoretical analysis of the Ayotzinapa social movement from the perspective of Latin American philosophy. The author addresses questions such as how a social movement is born, how (and if) the distinct social movement organizations should be defined, and what (if any) should be the extent of these organizations.

This paper explores the idea that popular narrative film can somehow contribute to our philosophical understanding. I identify a number of problems with this 'film as philosophy' thesis and argue that the capacity of film to contribute to philosophy is not as great as many authors think. Specifically, I argue that film can only offer genuinely distinctive insights into philosophical questions *about film* and explore Hitchcock's Rear Window as an example of this.

ABSTRACT This article offers the first step in an ongoing project of revisiting the foundations of latinidad and lo latinoamericano by focusing on the exclusions enacted by the history of these concepts and the cultural and political identity that comes with them. In conversation with Susana Nuccetelli and Omar Rivera, the author focuses on two emblematic authors in the history of Latin American philosophy (Simón Bolívar and José de Vasconcelos) that are usually read as offering a novel, (...) liberatory conception of the Latin American reality/identity, categorically different from European and Anglo-American conceptions. This common reading of some of the foundational texts on Latin American identity, however, conceals not only the active, textual removal of Blackness in the construction of this identity, but also the literal subtraction of Black bodies, lives, and histories from the Latin American nations and communities. Both of these elements are an explicit part of the philosophical programs of Bolívar and Vasconcelos. The article shows how the thought and political practice of these two authors, celebrated in different ways as foundational of what we understand as Latin America today, exemplify the exclusionary historical demarcation of latinidad. (shrink)

In the ancient Greek world, the concept of 'miasma,' which becomes permanent and has the potential to grow over time due to evil acts such as murder committed in the city, is a concept frequently referred to in many classical tragedies. To the extent that miasma has a bad connotation due to its nature and is a situation that occurs due to evil actions, it can be considered together with the philosophical problem of evil. In this study, we aim to (...) examine the concept of miasma by focusing on the characters in La Jauría, one of the most prominent films of recent South American cinema, rather than a purely conceptual analysis of the concept. Filmed in the jungles of Colombia and directed by Colombian director Andrés Ramírez Pulido, the 2022 film La Jauría is a psychological drama that focuses on the lives of young people involved in crime. The tragic story of Eliu, the protagonist of the film, which takes place mainly in a prison specially designed to rehabilitate inmates, seems to us to be a very suitable focal point for examining the concepts of miasma, catharsis, and ecstasy, which are frequently referred to in ancient Greek tragedy. To do so, we will first address the various contexts in which miasma has been used historically, considering the flow of events in the movie La Jauría. Then, we will look at the relationship of the concept of miasma with the problem of evil. Finally, we will discuss the possibilities of the concept of purification, which is seen as a kind of antidote to miasma. (shrink)

This article describes my ongoing attempts to more successfully engage the full linguistic repertoires and cultural identities of undergraduate students at a “Hispanic Serving Institution” (HSI) in South Texas by teaching a bilingual Introduction to Latin American Philosophy course in the “Language, Philosophy, and Culture” area of Texas’ General Education Core Curriculum. By uncovering the diverse identities, worldviews, and languages of those who were historically excluded from the Eurocentric discipline of philosophy through the conquest and (...) colonization of the Americas, Latin American philosophers offer us new ways of thinking and living by challenging Anglocentric language, philosophy, and culture. As part of the new B3 (Bilingual, Bicultural, and Biliterate) vision of the University of Texas Rio Grande Valley, the course is designed to draw upon the richly varied bilingualisms and biliteracies of predominantly Latinx students in order to help them honor, theorize, and cultivate their bicultural identities by “philosophizing in tongues” rather than being forced to assimilate to the monolingual and monocultural ideology that prevails across both mainstream Anglophone philosophy and the system of higher education in the United States of America. (shrink)

Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, (...) the term “post-cinema” has been co-opted as a viable intermediary that accounts for new media conditions, as cinema is no longer emblematic of our cultural climate. It was once presaged in 1992 that “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema, of which we are seeing the beginning, human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere.” Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. By locating post-cinema within the semblance of social media, we are allocated a newfound series of theoretical interventions, the most marked of which is that of media archeology vis-à-vis dialectical materialism. This is a lens through which Brian Winston has recently deftly decried Virtual Reality’s “empathy machine” utopic illusionism, bolstered by Chris Milk and a slew of neurohumanities researchers, steadily maintaining that the fundamental myth of “technologies of seeing” is in disguising “their artifice, their cultural formation and their ideological import.” However, this approach, which illuminates the bifurcation between Max Horkheimer/Theodor Adorno and Walter Benjamin, neglects what Benjamin identified as occurring to the work of art in the age of its technological reproducibility—a shift from a technology’s “cult value,” associated with the unique work, to its “exhibition value,” associated with the social act of viewing as part of a mass. Speaking to this divarication, Benjamin Barber, in Strong Democracy, foresaw new media’s two-fold potential—as they are organized and networked, new media and communications technologies possess the possibility to both energize citizen information and political participation but, simultaneously, to supplement the deterioration of public debate. As evinced by Mark Adrejevic’s concept of Infoglut, this two-pronged possibility has only been exacerbated by the interlocking relationship between the advent of a “glut” of information, post-truth politics, the demise of symbolic efficiency, and a renewed focus on the role of affect and emotion as “alternative modalities for thinking about the role of communication in a post-referential era.” Manuel Castells qualifies Barber’s pessimism, noting that the Internet can “be an appropriate platform for informed, interactive politics, stimulating political participation.. […] beyond the closed doors of political institutions,” but that the Internet, like any technology, “is shaped by its uses and users.” Thus, if there exists a positive correlation between exposure to post-cinema media artifacts and political participation, then I seek to explore the revelatory political possibilities of “exhibition value” by way of a particular “post-cinema” case study: the Marxist-Leninist Turkish hacktivist group Redhack’s YouTube-circulated documentary RED! (2013), a project that demanded—by way of the moving-image—to galvanize cyberprotest and democratize a “hacktivist commons. (shrink)

This essay is my review of Erwin Leiser’s excellent documentary film Germany Awake. This classic film first aired in Germany in 1968, and remains to this day one of the best surveys of major Nazi-era movies and exactly what messages they were meant to convey. The film underscores the emphasis the regime put on film as one of the premier mechanisms of propaganda, though Leiser’s film points out that most of the cinema produced by (...) the Nazi regime was not pure propaganda, but mainly entertainment. In the review, I put forward a list of criteria for evaluating the degree of the deceptiveness of propaganda, and why cinema is so apt to exploit those criteria. (shrink)

This is a critical review of Susana Nuccetelli’s book: An Introduction to Latin America Philosophy. While I am sympathetic to Professor Nuccetelli’s conception of Latin American philosophy as applied philosophy, I tried to underscore a tension that exists between those of us who do philosophy from an analytic perspective broadly construed, and those who engage in postmodernist, decoloniality, and liberationist perspectivism. I also bring to the attention of the audience the neglected but important (...) role that Victor Cousin’s eclecticism played in promoting philosophy in the Americas. (shrink)

Spanish version of essay on the film ¡Aoquic iez in Mexico! / ¡Ya México no existirá más! (Annalisa D. Quagliata Blanco, 2024).

This review article takes up the issue of race in Latin American philosophy and Susan Nuccetelli's analysis of it by asking how we think the place of race in Latin American philosophy given that she argues that race is both an internal factor (in the sense that Latin American philosophy theorizes race) as well as an external factor (in the sense that racism and raciality have significantly determined the production of (...) class='Hi'>Latin American philosophy)? The article thematizes white supremacy in Latin American philosophy in order to ask to what degree Latin American philosophy can respond to white supremacy in philosophy without questioning its own grounds and relation to white supremacy. (shrink)

Subtractive schooling is a type of pedagogy that subtracts from the student aspects of her identity in order to assimilate and reshape her identity to fit the American mainstream. Here, I question the value of assimilation as it takes place in our public school systems. Currently, immigrant children are often made to feel inadequate for being culturally different. This is detrimental to their development as students given that at their young age they do not yet have the emotional maturity (...) to know that their experience, language and culture are legitimate and valuable. My goal is to shift the focus of subtractive schooling to one that fosters the growth of students through recognition. I suggest that John Dewey’s and Paulo Freire’s pedagogy of recognition is a helpful approach to this problem. Both Dewey and Freire’s pedagogy emphasize recognition as central to their pedagogy. (shrink)

In this essay, I review a French-American gem of a movie, The Artist. This movie was an homage to the silent film era and is itself almost all silent. I discuss both the artistic and financial success of silent movies, and I praise this film for successfully interesting modern theater-goers despite its almost total lack of sound. The film won five Academy Awards, including Best Picture, Best Director, and—for its outstanding lead actor, Jean Dujardin—Best Actor. It (...) is the only French-produced movie to win Best Picture, and the only (almost entirely) silent movie to win Best Picture since the start of the Academy Awards in 1929. (shrink)

This speech is partof the problem of Latin American subjectivity and decolonial studies. It is carried out from the reading of the Discurso salvajeof the Venezuelan philosopher José Manuel Briceño Guerrero and the presentation of a critical discourse of Latin American subjectivity that we have called The Savage Thinking, in dialogue with authors of the Latin American and decolonial thought, with the aim of contribute to the debate and reflection on Latin American (...) subjectivity in the area of Latin American philosophical thought and decolonial studies, a field in permanent construction. Keywords: subjectivity;wild discourse;Latin American philosophical thought;Latin American subjectivity; wild thinking. (shrink)

It has been said that all philosophy begins with a set of concerns and a set of intuitions. With this idea in mind, we ask: Would it be helpful to understand Mexican-American philosophy as a kind of philosophy that begins with the concerns and intuitions of the Mexican-American community? On this view, what distinguishes Mexican-American philosophy is the orientation from which the philosophical investigation proceeds. Such an orientation is shaped by (...) the experiences and relationships that are characteristic of those who identify as Mexican-American. We offer a list of concerns and intuitions that we suggest are widely held by the Mexican-American community. Focusing on questions surrounding linguistic assimilation in the U.S., we illustrate how beginning from these particular starting points might alter the way we think about philosophical issues. (shrink)

Contents Preface - ix -/- I. Scientific fiction movies: is there any place for God?! 1. A brief introduction about the birth of science fiction - 15 2. Religious beliefs vs Science Fiction - 18 3. Is there any place for God?! - 20 -/- II. The Village (M. Night Shyamalan) and The Giver (Phillip Noyce) or why utopia is (im)possible 1. Some utopian notions. Remembering Thomas More - 29 2. The Village and The Giver. Some remarks on ideal societies (...) - 34 3. Notes about the possible and impossible of utopia - 39 -/- III. The limits of Zombies films are the limits of philosophy? 1. Are zombies real? From folklore to films - 46 2. The mind-body problem and the empty-minded zombies? - 54 3. The fallacy of the question. Zombies films and philosophy with no limit - 61 -/- IV. Lucy - why the brain cannot be a screen 1. Lucy and some other movies - The ten percent of the brain myth - 67 2. The enhancement of humanity -The pos-humanism after Nietzsche – 71 3. About the mind and the brain. Lucy or why the brain cannot be a screen – 74 -/- V. Viktor Navorski and Sir Alfred: the limits of consciousness at the border of chaos 1. About the terminal, Locke and Lipovetsky - 83 2. Being someone at a non-place - 87 3. Reality vs fiction. Merhan Karimi Nasseri as Sir Alfred - 89 -/- VI. Alienation and slavery from Precious or what we do not want to see 1. Cinema as a moment or the exclusive experience of feeling cinema - 97 2. Two movies, only one reality - 101 3. To conclude: the paradox of precious silence or what we don't want to see - 104 -/- VII. Philosophy of time and being in Alice through the looking glass 1. Some initial considerations on Alice - 113 2. The impossible and the possible in Alice’s time - 116 3. About time and subjectivity and subjectivity in time – 120 -/- References - cxxv. (shrink)

This essay suggests that the U.S.-American Pragmatist tradition could be fruitfully reconstructed by way of a dialogue with Latin American Liberation Philosophy. More specifically, I work to establish a common ground for future comparative work by: 1) gathering and interpreting Enrique Dussel’s scattered comments on Pragmatism, 2) showing how the concept of liberation already functions in John Dewey’s Pragmatism, and 3) suggesting reasons for further developing this inter-American philosophical dialogue and debate.

A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in (...) class='Hi'>film and how they can come together. (shrink)

Cinema is neither neutral nor a universal medium. Particularly in African contexts, cinema contributes to European exceptionalism, imposes European values as the norm, and acts as an instrument of cultural and psychological control. It seems that African cinema is ontologically, politically, and aesthetically Eurocentric. By introducing an intercultural philosophical approach to the realm of cinema, we aim to move away from Eurocentrism in African cinema towards a more intercultural and dialogical orientation as an input for the liberation of humanity. Based (...) on findings from a dramaturgical analysis of five films, we argue that African cinema shows a deficiency in communicating liberation and it often fails to portray African people’s values, will, and interests as it has been alienated from its nature and purpose. Overall, African cinema seems to be either in a state of assimilation or confusion. By exploring aesthetics of liberation in African cinema and art (as described in African and intercultural philosophy,) we search for alternative film aesthetics and a mode of filmmaking that seeks to liberate the image and the minds of the filmmakers and spectators of African cinema. Inspired by Kimmerle’s aesthetic-ethic alternative ‘Living (with) art’, we propose an alternative for critical filmmaking based on aesthetics of liberation with an intercultural orientation: Living cinema. Living cinema is a dialogical and liberational cinema with aesthetics of liberation at its core. Based on aesthetic-ethic principles of African philosophy and interculturality, the liberating function of living cinema can be found in reconnecting the aesthetics and filmmaking with African values. Simultaneously, it might be contributing to the liberation of world cinema as it has an impact on both the hegemonic and the suppressed cinema. (shrink)

Can a person from Latin America be a Catholic, or a feminist, or a democratic socialist in an authentic way? These identities come from Europe, and given the colonial history of Latin America, it seems reasonable to think that decolonizing the Latin American mind is a condition for its authenticity. Further, it seems reasonable to think that decolonization itself requires extirpating ideas and identities originating from the colonizers, especially those used to establish the colonial order. Thus, (...) it seems that Latin Americans cannot adopt such identities; authentic decolonization demands otherwise. In this paper I argue that the thought of twentieth century Mexican philosopher Jorge Portilla provides a persuasive account of the nature of authentic self-creation that allows for a kind of decolonization that makes it conceptually possible for Latin Americans to be Catholics, feminists, or democratic socialists in an authentic fashion. That is, authentic decolonization of the mind, I argue, need not involve a blanket rejection of identities originating from the colonizers; instead, it can be understood as a particular kind of authentic self-creation: one that is appropriately sensitive to the colonial history of the identities freely chosen by the agent. (shrink)