Consonant with the ongoing “aesthetic turn” in legal scholarship, this article pursues a new conception of law as poetry. Gestures in this law-as-poetry direction appear in all three main schools in the philosophy of law’s history, as follows. First, natural law sees law as divinely-inspired prophetic poetry. Second, positive law sees the law as a creative human positing (from poetry’s poesis). And third, critical legal theory sees these posited laws as calcified prose prisons, vulnerable to poetic liberation. My first two (...) sections interpret two texts at the intersections among these three theories, namely Percy Bysshe Shelley’s “A Defense of Poetry” and Alexis de Tocqueville’s Democracy in America. Shelley identifies a poetic rebirth in the ruins of natural law, suggesting a philosophy of law as “natural poesis.” And Tocqueville names several figurative aristocracies capable of redeploying aristocratic law against democratic despotism, suggesting a philosophy of law as “aristo-poetic counterforce.” Finally, I propose a new theory of law as poetry bridging these two theories, “natural aristo-poetic counterforce.”. (shrink)

According to the “Embodied Cognition” entry in the Stanford Encyclopedia of Philosophy, the three landmark texts in the 4E cognitive science tradition are Lakoff and Johnson’s Metaphors We Live By, Varela, Thompson, and Rosch’s The Embodied Mind, and Andy Clark’s Being There. In my first section, I offer a phenomenological interpretation of these three texts, identifying recuring affirmations of the figure of dance alongside explicit marginalization of the practice of dance, perhaps in part due to cognitive science’s overemphasis on cognition (...) to the exclusion of affect. In my second section, drawing on my previous interpretations of proto-affect theorists (including Spinoza, Deleuze, and Fanon), I channel this tension in 4E cognitive science into a dancing partnership with human science psychology, suggesting three “choreographic provocations” for therapeutic practice and psychological research, namely (1) treating clients/subjects as dancers, (2) reimagining research and therapy as improvised duets between practitioners and clients/subjects, and (3) pursuing an ideal of freer movement and an emergent flourishing singularity for clients/subjects. Finally, I reformulate these three choreographic provocations in terms of my new theoretical method of “dancing-with,” as well as the four psychological prerequisites for flourishing posited by my figuration philosophy of dance. (shrink)

Comparative religion scholar Thomas Berry’s influential concept of “Earth jurisprudence” has been helpfully elaborated in three principal books. My first section identifies four of their common themes, deriving therefrom an implicit narrative: (1) the basis of ecology is autopoiesis, which (2) originally generated human communities and Indigenous vernacular laws, which were (3) later reasserted by forest defenders who fought to create the Magna Carta’s “Charter of the Forest,” which is (4) now championed globally by the Indian physicist and eco-activist Vandana (...) Shiva’s Earth Democracy movement. My next three sections identify mutually exclusive elements of the three books, deriving the following alternative narrative: self-conscious new dancing rituals (Cullinan) could empower an historically informed reconstruction of private property (Burdon) via commons-based vernacular law (Weston and Bollier). And my conclusion offers one template for such a strategy, namely a new environmental variation on my dancing-poetic conception of legal justice, christened “emerald star-law.”. (shrink)

This article derives from a project attempting to show that Western formal logic, from Aristotle onward, has both been partially constituted by, and partially constitutive of, what has become known as racism. In the present article, I will first discuss, in light of Frege’s honorary role as founder of the philosophy of mathematics, Reuben Hersh’s What is Mathematics, Really? Second, I will explore how the infamous section of Frege’s 1924 diary (specifically the entries from March 10 to April 9) supports (...) Hersh's claim regarding the link between political conservatism and the (historically and currently) dominant school of the philosophy of mathematics (to which Frege undeniably belongs). Third, I will examine Frege’s attempt at a more reader-friendly introduction to his philosophy of mathematics, The Foundations of Arithmetic. And finally, I will briefly analyze Frege’s Begriffsschrift to see how questions of race arise even at the heights of his logical abstraction. (shrink)

In this article, I apply Australian logician and ecofeminist philosopher Val Plumwood’s Feminism and the Mastery of Nature, specifically its alternative logic of “the dance of interaction,” to a controversial community-engagement program in my home state of Alabama. At Rural Studio, Auburn University students design free housing and public works for one of the poorest regions in the United States, known as the “Black Belt.” Through the lens of Plumwood’s ecofeminist dancing logic, the marginalized source of Rural Studio’s survival is (...) revealed to be the resilience of the disempowered majority-Black community. Inspired thereby, I sketch an ecofeminist choreography with three “dancing” concepts (namely Plumwood’s “the master model,” Vandana Shiva’s “nature’s logic,” and Ariel Salleh’s “holding”), acknowledging the resilience of the disempowered as a necessary step toward an ethically-sustainable aesthetics. (shrink)

In the present article, the first section recapitulates my “figuration” philosophy of dance, the “dancing-with” interpretive method derived therefrom, and my previous application of figuration to salsa dance as a decolonizing gestural discourse. The second section deepens and modifies this analysis through a reinterpretation of Argentinian philosopher Ernesto Laclau’s concept of hegemony and his dance-resonant interpretations of Derrida. And the final section offers a template for this hegemonic dancing-with in the Birmingham, Alabama Latin dance troupe, Corazon de Alabama (Heart of (...) Alabama), as a new strategy for decolonizing and reconstructing social justice. (shrink)

Though Mathias Risse and Gabriel Wollner’s On Trade Justice admirably incorporates the history of European philosophy and U.S. government, their otherwise reasonable proposals rest on dubious grounds. The book derives both much of its appeal, and its primary vulnerability, from a cluster of central terms that are situated precariously at the intersection of metaphors and concepts, or what Lakoff and Johnson call “metaphorical concepts.” In this article, I explore the three most important such terms, as featured in the following paraphrase (...) of theirs: “Trade is an embedded ground of justice.” For each italicized term, I conclude, Risse and Wollner vacillate between its most conceptual and metaphorical meanings, thereby attempting to (a) stretch “trade” to identify prehistoric exchange with global capitalism, so as to (b) rebrand the contextual “ground” of this universal activity as a foundation, even though (c) foundations “embedded” in other foundations simply reduce to their lowest common denominator. The latter, in this case, is global capitalism, the most immoral practices of which they are thereby pressured to defend, including temporary forms of the very exploitation that they so persuasively reconceive and otherwise condemn. (shrink)

In the present article, I offer a new reading of Hannah Arendt’s The Origins of Totalitarianism, specifically her argument that ideologies such as racism engender totalitarianism when the lonely and disenfranchised laborers of modern society develop a pathological fixation on formal logic, which I term “logomania.” That is, such logical deductions, from horrifically false premises, are the closest thing to thinking that individuals can engage in after their psyches, relationships, and communities have broken down. And it is only thus that (...) totalitarianism can achieve power, since it offers at least some form of connectedness and meaning, regardless how terrifying and violent. The danger persists, clearly, with the resurgence of the far Right, including in the extraordinary regime of Trump in the United States. From this I conclude that, along with the admirable calls to fight loneliness and rebuild our communities, we should also supplement all formal logical instruction and community education with instruction in creative thinking (including aesthetics), thereby discouraging the monomaniac reliance on formal logic as inadvertent weapon of totalitarianism. (shrink)

Dance receives relatively little attention in the history of philosophy. My strategy for connecting that history to dance consists in tracing a genealogy of its dance-relevant moments. In preparation, I perform a phenomenological analysis of my own eighteen years of dance experience, in order to generate a small cluster of central concepts or “Moves” for elucidating dance. At this genealogical-phenomenological intersection, I find what I term “positure” most helpfully treated in Plato, Aristotle and Nietzsche; “gesture” similarly in Condillac, Mead and (...) Kristeva; “grace” in Avicenna, Schiller and Dewey; and “resilience” in Fanon, (Judith) Butler and Deleuze. With these analyses in place, I apply the four Moves in analyzing various forms of dancing (including salsa dancing and the pollen dance of the honeybee) and coordinate them to outline a comprehensive philosophy of dance. This philosophy points to certain conditions for an ideally flourishing, dancing society. And these conditions create the possibility for a coalition of sympathetic discourses (including critical race theory, queer theory, disability studies and democratic theory) united in pursuit of political virtue. The development of a philosophy of dance offers a deeper understanding of the intellectual values of a practice often identified with bodily immediacy and therefore judged uninteresting. It also reinvigorates philosophy with the dynamism and bodily relevance of the practice of dancing. Most important, it demonstrates the meaningful intersection of aesthetics and political ethics, by exploring how aesthetic practices underlie and inspire human flourishing. (shrink)

In his influential history of the post-1967 history of the Palestinian Occupation, radical Israeli architect Eyal Weizman show how even well-meaning decolonial efforts from privileged allies can be coopted by the colonizers, in what I call “de-decolonizing.” Here I focus on one of his examples, namely IDF (Israeli Defense Force) military professors repurposing the anarcho-communist philosophy of French postmodernist Gilles Deleuze into a weapon against Palestinian guerrilla resistance. My conclusion is that attempted decolonizing via (inevitably complicit) privileged allies must include (...) what Weizman calls “co-resistance,” and I call “reconstruction.” In other words, when a Deleuzian “line of flight” to “escape” is impossible, as arguably for Palestinians today, then one should follow the heroic example of the Bedouins, who (as Weizman acknowledges) are the only Arabs who have never stopped rebuilding their Palestine. (shrink)

In this chapter, I approach the subject of peace by way of Andrew Fiala’s pioneering, synthetic work on “practical pacifism.” One of Fiala’s articles on the subject of peace is entitled “Radical Forgiveness and Human Justice”—and if one were to replace “Radical Forgiveness” with “Peace,” this would be a fair title for my chapter. In fact, Fiala himself explicitly makes a connection in the article between radical forgiveness and peace. Also in support of my project, Fiala’s article names four of (...) the six historical figures who are central to my chapter, namely Marcus Aurelius, King, Arendt, and Nietzsche. Moreover, Fiala also insists there “forgiveness must be held in creative tension with justice,” and it is this very tension that forms the basis of my new conception of socially-just peace. To wit, I propose that socially-just peace is lovingly generous reimagining (peace) through intuitively self-overcoming tension (social justice). (shrink)

Building on my previous exploration of the role of dance in the contemporary French political philosopher Jacques Rancière’s Aisthesis: Scenes from the Aesthetic Regime of Art, first published in French in 2011, the present essay turns to another book originally published in the same year, The Intervals of Cinema. Having previously established that the core of Rancière’s philosophical method is an analysis of philosophical homonyms into figurative dancing conceptual partners, I begin by applying that method to the first chapter of (...) Intervals, “Cinematic Vertigo: Hitchcock to Vertov and Back.” There I identify two series of such dancing partners, as follows: Hitchcock’s image-controlling, capitalist vertiginous fall, and Vertov’s movement-equalizing, communist balanced dance. I then critique the implicit marginalizing of women and female bodies in the films and chapter, including Hitchcock’s protagonist’s best friend and ex-fiancé, and Vertov’s cosmetologists and switchboard operators. Finally, I offer a corrective from the proto-feminist life of my grandmother, a onetime cosmetologist, switchboard operator, and Glamour Shots amateur model, my grandmother, Louise Nunnelley, or “Mamaw.” Such are the unacknowledged material basis of Rancière’s radical democratic philosophy, the specifically-embodied and positioned female dancers who continue to get lost in his figurative dance. (shrink)

This chapter outlines a new theoretical method, which I call “dancing-with,” emerging from the process of writing my dissertation and the book manuscript that followed it. Defined formally, a given theorist X can be said to “dance-with” with a second theorist Y insofar as X “choreographs” an interpretation of Y which is both true to Y and Y’s historical communities, and also meaningful and actionable (i.e. facilitating social justice) for X and X’s historical communities. In this pursuit, the method of (...) dancing-with involves both (1) a creative “torsion” of Y’s thought (particularly in the direction of unconscious, embodied and political factors at work in Y’ texts), and (2) a resultant, sympathetic torsion of X’s thought toward Y. In other words, X and Y “meet in the middle,” like two dancers walking onto the dance floor, to explore the promise of a flourishing artistic partnership. In this partnership, each must attend to the way that political meanings are inscribed on the other’s raced/sexed/etc. body, both to react maximally justly, and to maximize the aesthetic movement options that can be brought into play. As the method of dancing-with is thus modeled on an ideal comportment for improvisational social dance (such as the contemporary Latin dance called “salsa”), I envision the end-goal of dancing-with as what I call “poetic social justice.” By this, I mean the “poetic justice” of two theorists’ mutually empowering each other for maximal social good. Though this process is admittedly more difficult between some theorists, in part as a function of their respective embodiments and sociohistorical positions, at least a move or two together is always possible. (shrink)

Despite the ubiquity of bees in Dickinson’s work, most interpreters denigrate her nature poems. But following several recent scholars, I identify Nietzschean/Dionysian overtones in the bee poems and suggest the figure of bees/hive/queen illuminates as feminist key to her corpus. First, (a) the bee’s sting represents martyred death; (b) its gold, immortality; (c) its tongue, the “lesbian phallus”; (d) its wings, poetic power; (e) its buzz, poetic melody, and (f) its organism, a joyful Dionysian Susan (her sister-in-law and love interest) (...) to Emily’s flower. Second, the hive represents her individual poems (with slants/dashes as stingers, wings as hymn meter, honey as rhymes, variant words as exiled bees, and accompanying flowers their Darwinian coevolution with bees), constituting her writing persona as a multi-voiced self-swarm, as organized in the apiary of her letters and fascicles. And third, the queen represents her Western cultural and religious inheritance wherein bees are symbols of the soul, reincarnation, poetic-philosophical vocation, and a Nietzschean, trans-Dionysian naturalist ontology—symbolized by apiarian Artemis. (shrink)

The Afro-Latin dance known as ‘salsa’ is a fusion of multiple dances from West Africa, Muslim Spain, enslaved communities in the Caribbean, and the United States. In part due to its global origins, salsa was pivotal in the development of the Figuration philosophy of dance, and for ‘dancing with,’ the theoretical method for social justice derived therefrom. In the present article, I apply the completed theory Figuration exclusively to salsa for the first time, after situating the latter in the dance (...) studies literature. My first section explores Juliet McMains’ recent history, Spinning Mambo into Salsa, with an emphasis on the dynamics of class, race and sex therein. My second section explores a resonant Afro-Latin dance history, Marta E. Savigliano’s Tango and the Political Economy of Passion, where she deploys salsa’s sister-dance (tango) as a ‘counter-choreography’ to the choreography of postmodern neocolonialism. And my third section applies Figuration’s four central aspects of dance (or ‘Moves’) to salsa qua member of its ‘societal’ family of dance. In conclusion, through partnering with salsa, Figuration emerges as a member of its own ‘discursive’ family of dance, while salsa emerges as a gestural discourse capable of helping reconstruct a more socially-just world from the postmodern ruins of today. (shrink)

Part of a larger project of constructing a new, historically informed philosophy of dance, built on four phenomenological constructs that I call “Moves,” this essay concerns the third Move, “grace.” The etymology of the word “grace” reveals the entwined meanings of pleasing quality and authoritative power, which may be combined as “beautiful force.” I examine the treatments of grace in German philosopher Friedrich Schiller, who understands it as playful, naive transformation of matter; and in American philosopher John Dewey, for whom (...) it represents rhythmic organism/environment reversal. I conclude by showing how “grace” can be used in analyzing various types of dance, which in turn suggests transformational potential for philosophy, dance, and society as a whole. (shrink)

This article explores Fanon's thought on dance, beginning with his explicit treatment of it in Black Skin, White Masks and The Wretched of the Earth. It then broadens to consider his theorization of Black embodiment in racist and colonized societies, considering how these analyses can be reformulated as a phenomenology of dance. This will suggest possibilities for fruitful encounters between the two domains in which (a) dance can be valorized while (b) opening up sites of resignification and resistance for Black (...) persons and communities-including a revalorization of Black embodiment as a kind of empowering danced experience. (shrink)

Perhaps owing to frictions between his Christological worldview and the dominant secularism of contemporary French thought as taken up in the U.S., and persistent worries about a seeming solipsism in his phenomenology, Michel Henry's innovative contributions to aesthetics have received unfortunately little attention in English. The present investigation addresses both issues simultaneously with a new interpretation of his recently-translated 1996 interview, “Art and Phenomenology.” Inspired by this special issue’s theme, “French Thought in Dialogue,” it emphasizes four levels of dialogue in (...) the interview, as follows: (1) the interview as such, with Brohm; (2) its titular dialogue between art and phenomenology; (3) what I term a “trans-religious” dialogue between Christianity’s Jesus and Nietzsche’s Dionysus; and (4) a related dialogue between painting (Henry’s favored genre) and dance that is “Dionysian” (in Nietzsche’s sense). It concludes with new phenomenological accounts of a literal and a figurative dance, namely the social Latin dance called bachata, and an improvised musical dialogue with the mockingbirds of my hometown. In sum, thanks to Henry’s engagement with various forms of dialogue, including with Brohm, the arts, paganism, and dance, one can find room in his transcendental subjectivity of Life for others, dancingly transcending even humanity. (shrink)

For this special issue, dedicated to the historical break in what one might call ‘the politics of feeling’ between ancient ‘passions’ (in the ‘soul’) and modern ‘emotions’ (in the ‘mind’), I will suggest that the pivotal difference might be located instead between ancient and modern conceptions of the passions. Through new interpretations of two exemplars of these conceptions, Plato’s Phaedrus and Descartes’ Passions of the Soul, I will suggest that our politics today need to return to what I term Plato’s (...) ‘psychological virtue’ (drawing on virtue’s dual senses as ‘goodness’ and ‘power’), defined as a dynamic tension among mindful desire (nous), carnal desire (epithumia) and societal desire (thumos) achieved through rational discourse (logos). The upshot of this concept of psychological virtue, is that mind, at least via discourse, is also a desiring force, and thus capable of helping create new actions for souls in the political world. (shrink)

In a 2014 article in The Guardian, an Indigenous shaman of the Yanomami people of the Amazon rainforest named Davi Kopenawa offers a devastating critique of white society. It is formed of excerpts from multiple interviews, which form the basis of his memoir The Falling Sky, compiled and translated by his French anthropologist collaborator Bruce Albert. Here I bring the dual lenses of philosophy and dance studies to explore how Kopenawa’s lifelong interaction with white people facilitated his reworking of Yanomami (...) shamanic discourse into a parrhesia against the “epidemic fumes” of climate change, on behalf of the Yanomami of the Amazon, white people, and all the beings of the earth. (shrink)

This essay is part of larger project in which I attempt to show that Western formal logic, from its inception in Aristotle onward, has both been partially constituted by, and partially constitutive of, what has become known as racism. More specifically, (a) racist/quasi-racist/proto-racist political forces were part of the impetus for logic’s attempt to classify the world into mutually exclusive, hierarchically-valued categories in the first place; and (b) these classifications, in turn, have been deployed throughout history to justify and empower (...) racism/quasi-racism/proto-racism. In other words, (a) an important part of the chaos and messiness that so troubles logic has been the natural bio-cultural diversity of human beings as described by concepts such as race and ethnicity; and (b) once these concepts were historically in place, taken for granted, buttressed with pseudo-science, and had their origins forgotten, they became tools for the oppression of diverse human groups. The central thesis of this essay is that close readings of a variety of Leibniz’s writings (including several essays and one letter) will reveal a pattern of mutual dependency and creation in regard to logic and racism in Leibniz. My conclusion will be that there is a meaningful connection between logic and racism (or at least between logic and politics in general) in Leibniz such that one should be skeptical of his logic’s claim to offer transparent and neutral descriptions of the world as well as imperatives for action. Put differently, I want to ask the following specific question: how do Leibniz’s own racially-informed political goals, along with the emergence of race-centric European colonialism, both invest and disguise themselves within Leibniz’s mathematizing of logic? (shrink)

In this chapter, I will offer a strategic new interpretation of Hannah Arendt's conception of forgiveness. In brief, I propose understanding Arendt as suggesting—not that evil is objectively banal, or a mere failure of imagination—but instead that it is maximally forgiveness-facilitating to understand the seemingly unforgivable as merely a failure of imagination. In other words, we must so expand our imaginative powers (what Arendt terms “enlarged mentality”) by creatively imagining others as merely insufficiently unimaginative, all in order to reimagine them (...) as beings whom we are willing and able to forgive. It is in this sense that I understand forgiveness for Arendt as a kind of “magic.” That is, forgiveness involves the imaginatively-funded creation of a new reality by merely naming it, like the phenomenon of “magic thinking,” wherein one believes one’s thoughts or speech are immediately realized in the world. The magic of forgiveness, in other words, is an incantation or performative speech act, based on the forgiver’s choice to “make believe,” or pretend-into-being, that the forgiven person is forgivable qua thoughtless. (shrink)

This article explores the history of Vodou from outlawed African dance to revolutionary magic to depoliticized national Haitian religion and popular dance, its present reduction to Diaspora interpersonal healing, and a possible future. My first section, on Kate Ramsey’s The Spirits and the Law: Vodou and Power in Haiti, reveals Vodou as a sociopolitical construction of racist legal oppression of Africana dances rituals, and artistic-political resistance thereto. My second section, on Karen McCarthy Brown’s Mama Lola: A Vodou Priestess in Brooklyn, (...) a “postmodern ethnography” of intersectional oppressions and Black female Haitian resistance in the Diaspora, foregrounds the figure of Gedelia, a feminist variant on Papa Gede, central Vodou spirit (lwa) of resurrection and healing. Finally, my last section, on the “observing participant” analyses of Black dance anthropologist Yvonne Daniel’s Dancing Wisdom: Embodied Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomblé, finds a dancing Gedelia in her centering of Oyá, a warrior spirit of storms and death. On this basis, I propose the figure of tornadic black angels as a possible magical tool (in Vodou, a pwen, or “point”) intended to re-spiritualize and thereby re-politicize the secularized and whitewashed social Latin dance called “salsa” for social justice. (shrink)

This project was provoked by the almost nonexistent pushback from the Democratic liberal establishment to the (2020) exoneration of Kyle Rittenhouse, despite his acknowledged killing of two Black Lives Matters protesters against the police murder of George Floyd. It builds on three prior articles arguing for the revival of ancient Dionysian practice, Haitian Vodou, and Indigenous South American shamanism to empower leftist revolution. In essence, I propose an assemblage of spiritual practices that are accessible today for the neo-colonized 99% of (...) the global population, by synthesizing and reconstructing three democratic, lower-SES, Indigenous religions, all of which share a militant defiance of their respective tyrannical plutocracies. To avoid cultural appropriation, I center these reconstructed spiritual practices on the figure of the “mage,” a psychosocial healer loosely analogous to a shaman. And the mage’s signature activity, “magic,” I redefine naturalistically as free interpersonal performative action, practiced using two theoretical disciplines (philosophy and psychology) and two practical disciplines chosen by each mage. More precisely, Spirit/Dance channels the “spirits” of dead ancestors, historical figures, legendary heroes, mythical beings, and fictional characters, into the three ultimate objectives of “mindfulness” for psyches/souls, “liberation” for mindful bodies, and “social justice” for liberated communities, indirectly empowering long-term revolution. (shrink)

This essay—part of a larger project of constructing a new, historically informed philosophy of dance, built on four phenomenological constructs that I call “Moves”—concerns the second Move, “gesture,” the etymology of which reveals its close connection to the Greek word “metaphor.” More specifically, I examine the treatments of gesture by the philosophers George Herbert Mead and Etienne Bonnot de Condillac, both of whom view it as the foundation of language. I conclude by showing how gesture can be used in analyzing (...) various types of dance, which in turn suggests transformational potential for philosophy, dance, and society as a whole. (shrink)

[First paragraphs: This essay takes its practical orientation from my experiences as a member of a philosophy reading group on death row at Riverbend Maximum Security Penitentiary in Nashville, Tennessee. Its theoretical orientation comes from W. E. B. Du Bois’ lecture-turned-essay, “Criteria of Negro Art,” which argues that the realm of aesthetics is vitally important in the war against racial discrimination in the United States. And since, according to Michele Alexander’s critically-acclaimed The New Jim Crow: Mass Incarceration in the Age (...) of Colorblindness, the prison system should be the primary front today in this war, my essay’s ultimate aim is t/o articulate a new criterion of the present-day “Negro” art being created by a prison population that is still overwhelmingly constituted by persons of color. In my first section, I will show how Du Bois’ insights in “Criteria of Negro Art” remain relevant today, especially in the prison context, and argue that it is thus appropriate for my new criterion to be shaped by his distinctive conception of “propaganda.” In my second section, through a close reading of two texts by Michel Foucault (the pivotal thinker of modern imprisonment), I will flesh out this new criterion, “self-torsion,” defined as the effect of prisoners’ attempts at self-care within a prison system that distorts those attempts into further exploitation of both prisoners and the outside world that imprisons them. And my final section, in an attempt to illustrate this new criterion’s efficacy as a form of propagandistic resistance to contemporary racism, will deploy self-torsion as a critique of two artworks created by imprisoned members of my reading group at Riverbend penitentiary. (shrink)

In this response, I suggest that Black southern women in the U.S. have always been central to the “reconstruction” that Taylor identifies as a central theme of Black aesthetics. Building on his allusions to Alice Walker and Jean Toomer, I explore Walker’s tearful response (in In Search of Our Mothers’ Gardens: Womanist Prose (1983) to Toomer’s Cane (2011). Walker identifies their mothers’ and grandmothers’ informal arts of storytelling and gardening as the hidden roots of both her and Toomer’s work. I (...) suggest that Walker’s tears function to water her mother’s (and othermothers’) gardens, thereby sustaining southern Black women’s foundational work in reconstruction. Through telling their stories and planting gardens, along with crafting meals, designing clothes, and designing and decorating homes, southern Black women have always been necessary to Black aesthetics—filling worlds with aesthetically-rich and energetic artworks that Black formal artists such as Walker channel and transfigure into their formal artistic productions. (shrink)

[First paragraph]: Believe it or not, it’s no exaggeration to say that Ender’s Game has been the most transformative book of my life. In fact, when I first read it, at the age of fifteen, it almost single-handedly initiated a crisis of faith in me that ended up lasting for eight long years. The reason that it was able to do so is that it is positively full of important philosophical ideas (a fact attested to by the very existence of (...) this volume and its many essays). It should come as no surprise to fellow science fiction fans—and especially fans of Ender’s Game in particular—that science fiction is full to bursting with philosophical ideas. But the skeptical reader need not fear; in this case, at least, you don’t have to take my word for it. Orson Scott Card’s 1991 edition of Ender’s Game mentions his master’s degree in literature, and that all “the layers of meaning are there to be decoded, if you like to play the game of literary criticism.” So if you think you might have found a hidden layer of meaning in Ender’s Game, it’s a lot less likely that he or she is just crazy, and a lot more likely that there really is some hidden meaning there—and maybe even one that Card himself consciously put there to be found! (shrink)

This essay derives its focus on poetry from the subtitle of Die Fröhliche Wissenschaft: “la gaya scienza.” Nietzsche appropriated this phrase from the phrase “gai saber” used by the Provençal knight-poets (or troubadours) of the eleventh through thirteenth centuries — the first lyric poets of the European languages — to designate their Ars Poetica or “art of poetry.” I will begin with an exploration of Nietzsche’s treatment of poets and poetry as a subject matter, closely analyzing his six aphorisms which (...) deal explicitly with poets and poetry. Having considered The Gay Science as a text about poetry, I will then briefly explore three further ways in which The Gay Science can be thought of as itself a kind of poetry. The result of these analyses is an understanding of Nietzsche’s own understanding of philosophy (and of the best way to live) as also a form of poetry. (shrink)

In this chapter, I will explore the intersection of philosophy and childhood through the intriguing case study of J. S. Mill, who was almost completely denied a childhood—in the nineteenth-century sense of a qualitatively distinct period inclusive of greater play, imaginative freedom, flexibility, and education. For his part, Mill’s lack of such a childhood was the direct result of his father, James Mill (economic theorist and early proponent of Utilitarianism), who in a letter to Jeremy Bentham explicitly formulates a plan (...) to raise his son as an experiment in the Utilitarian “science” of ethics. More specifically, although James Mill’s end was to create a near-superhuman champion of Utilitarianism, his means to that end included denying John access to other children and the Romantic poetry of his contemporaries. Despite this oppressive lack of a childhood, however, J. S. Mill went on to become perhaps the most influential social and political reformer in British history, especially in regard to gender relations through his groundbreaking work for women’s suffrage. This begs the central question of this chapter, namely how could a philosopher’s tyrannized childhood nevertheless lead to his later overturning of such tyranny in the political sphere? (shrink)

My intention in this paper is to respond to Jean-Luc Nancy’s claim that poetry, along with philosophy, is essentially incapable of what Nancy describes as "thinking love." To do so, I will first try to come to an understanding of Nancy’s thinking regarding love and then of poetry as presented in his essay "Shattered Love." Having thus prepared the way, I will then respond, via Pablo Neruda’s poem "Oda al Limón," to Nancy’s understanding of poetry vis-à-vis "Shattered Love." This response, (...) in acting out Nancy’s thinking regarding love, will suggest a greater plurality within poetry than Nancy acknowledged. (shrink)

Richard Wright gave a series of lectures in Europe from 1950 to 1956, collected in the following year in the volume, White Man, Listen! One dominant theme in all four essays is that expanding the moral imagination is centrally important in repairing our racism-benighted globe. What makes Wright’s version of this claim unique is his forthright admission that expanding the moral imagination necessarily involves pain and suffering. The best place to hear Wright in regard to the necessary pain of expanding (...) the moral imagination, I would argue, is his poetry collection, This Other World: Projections in the Haiku Manner. To wit, for Wright the necessary pain of expanding one’s moral imagination is the loneliness that results from delegating to others—in the etymological sense of “deputizing or committing”—one’s whiteness qua privilege or social capital. In conclusion, lonely delegation constitutes an imperative template from Wright regarding the painful expansion of our own moral imagination, in the service of social justice for economically oppressed communities of color across the globe. (shrink)

Many strategies for incorporating poetry into non-poetry classes, especially outside of English and associated disciplines, appear to make poetry subservient and secondary in relation to the prose content of the course. The poet under consideration becomes a kind of involuntary servant to one or more prose authors, forced to “speak only when spoken to,” and effectively prevented from challenging the ideas of the course’s prose writers, and thereby the instructor. Fortunately, this is not the only strategy for incorporating poetry into (...) prose-dominated courses. In this chapter, I will suggest an alternate approach which recognizes and facilitates the agency of poets and poetry per se, which I term “empowering poetic defiance.” In brief, this approach consists of the following four steps: (1) challenge one’s own poetic self-loathing (2) position the course’s poetry’s content to challenge the course’s non-poetic contents (3) position the course’s poetry’s forms to challenge your class’s non-poetic forms (4) comport oneself as interlocutor toward the poets featured in the course as the intellectual equals of oneself and the course’s prose writers. My first section will elaborate on these four steps, and my second section will flesh out the method further with a new reading of one of the most powerfully defiant poets in the Western canon, the nineteenth-century French Symbolist poet Charles Baudelaire, in dialogue with one of the most formidable challengers to the power of poetry, the eighteenth-century Prussian philosopher Immanuel Kant. (shrink)

In this article, I offer the figure of the snake-bridge as (a) the coiled central metaphor in Gloria Anzaldúa’s masterpiece, Borderlands/La Frontera, (b) the interpretive bridge connecting the early (This Bridge Called My Back) middle (Borderlands) and late (Light in the Dark) periods of her oeuvre, and (c) an alternate unifying metaphor to mestizaje. My first section offers a close reading of Borderlands, locating snake-bridge in the east-west snake of the Rio Grande that queer Chicana borderlanders cross north and south (...) like snakes, while wrestling earthward with snake demons and skyward with snake goddesses. And my second section autopsies the dismembered snake-bridge in Light in the Dark, calling for a healing thereof in pursuit of a coalitional social justice politics that preserves the strengths of mestizaje without its dangers. (shrink)

Noel Carroll, a central figure in analytic (Anglo-American) philosophy of art, and spouse of renowned dance scholar Sally Banes (who co-authored several of these essays), offers us something remarkable in his new book—namely, a collection of thirty years of his theoretical essays and dance reviews. Carroll wrote some of the pieces while he was a graduate student at the University of Illinois, Chicago, and there have been some dramatic changes since then in both the art world and Carroll’s philosophical views. (...) Thus, he modestly characterizes the book as “an archeological artifact” of a “somewhat confessional” variety (p. 267). Inspired by Carroll, I too will adopt an archeological stance, with a promise that the reader’s patience will be repaid with something surprising at the end of the dig. (shrink)

Marcus Aurelius’s Meditations constitutes an important source and subject for Michel Foucault’s 1981 lectures at the Collège de France, translated into English as Hermeneutics of the Subject. One recurring theme in these lectures is the deployment by Hellenistic/Roman philosophers such as Aurelius of the practice and figure of dance. Inspired by this discussion, the present essay offers a close reading of dance in the Meditations, followed by a survey of the secondary literature on this subject. Overall, I will attempt to (...) show that, despite Aurelius’s self-consciously critical comportment toward dance, dance nevertheless performs a critical function in the construction of what I will term his “political ethics.” This political ethics, I will argue, is composed of an ethics of patient tolerance funded by the generosity that flows from the micro-political power generated by cultivating the god that Aurelius identifies within each of us. (shrink)

In this paper I will investigate Kristeva’s conception of dance in regard to the trope of the borderline. I will begin with her explicit treatments of dance, the earliest of which occurs in Revolution in Poetic Language, in terms of (a) her analogy between poetry and dance as practices erupting on the border of chora and society, (b) her presentation of dance as a phenomenon bordering art and religion in rituals, and (c) her brief remarks on dance gesturality. I will (...) then follow this latter movement to the 1969 essay “Gesturality,” to critically examine where Kristeva situates the powers and limits of gesture (and thereby dance) in relation to language. Next, I will move to the later text, The Sense and Non-Sense of Revolt, where the image of dance figures prominently in what I will term Kristeva’s joyful re-choreographing of Freud’s text Totem and Taboo. I will also see how her treatment of dance links more directly to Kristeva’s feminist concerns, insofar as she understands the process of choreography as a kind of maternal function neglected in most psychoanalytic thought. (shrink)

Though currently marginalised in Western philosophy, tenth-century Arabic philosopher Abu Nasr Alfarabi is one of the most important thinkers of the medieval era. In fact, he was known as the ‘second teacher’ (after Aristotle) to philosophers such as Avicenna and Averroes. As this epithet suggests, Alfarabi and his successors engaged in a critical and creative dialogue with thinkers from other historical traditions, including that of the Ancient Greeks, although the creativity of his part is often marginalised as well. In this (...) article, I offer a new interpretation of Alfarabi’s sweeping volume, The Principles of the Opinions of the Virtuous Community. My focus is the materialism that overflows Alfarabi’s account of soul in general and the imaginative power in particular. The political conclusion of this account is that Virtuous Community does not directly present Alfarabi’s ideal ruler or community. Instead, it offers a materialist critique that prefigures critical theory and post-structuralism and thereby provides guidelines for how to more effectively engage monotheistic communities in the pursuit of social justice – including along the axes of race, gender and sexual orientation. (shrink)

Inspired by Charles Taylor’s locating of Herder and Rousseau’s “expressivism” in Marx’s understanding of the human as artist, I begin this essay by examining expressivism in Taylor, followed by its counterpart in M. H. Abrams’s work, namely the wind as metaphor in British Romantic poetry. I then further explore this expressivism/wind connection in Percy Bysshe Shelley’s “Ode to the West Wind” and Marx’s The German Ideology. Ultimately I conclude that these expressive winds lead to poetic gesture per se, and thereby, (...) to a kind of poetry at the heart of Marx’s philosophy. (shrink)

Prior research has demonstrated that antisocial behavior, substance-use disorders, and personality dimensions of aggression and impulsivity are indicators of a highly heritable underlying dimension of risk, labeled externalizing. Other work has shown that individual trait constructs within this psychopathology spectrum are associated with reduced self-monitoring, as reflected by amplitude of the error-related negativity (ERN) brain response. In this study of undergraduate subjects, reduced ERN amplitude was associated with higher scores on a self-report measure of the broad externalizing construct that links (...) these various indicators. In addition, the ERN was associated with a response-locked increase in anterior theta (4–7 Hz) oscillation; like the ERN, this theta response to errors was reduced among high-externalizing individuals. These findings suggest that neurobiologically based deficits in endogenous action monitoring may underlie generalized risk for an array of impulse-control problems. (shrink)

In this article, I explore the relationship between dance and the work of Nelson Goodman, which is found primarily in his early book, Languages of Art. Drawing upon the book’s first main thread, I examine Goodman’s example of a dance gesture as a symbol that exemplifies itself. I argue that self-exemplifying dance gestures are unique in that they are often independent and internally motivated, or “meta-self-exemplifying.” Drawing upon the book’s second main thread, I retrace Goodman’s analysis of dance’s relationship to (...) both notation in general and also Labanotation in particular. My argument is that dance gives the false impression of being notational, or is “meta-notational.”. (shrink)

The first section of this article focuses on the treatment of “time travel” in science-fiction literature and film as presented in the secondary literature in that field. The first anthology I will consider has a metaphysical focus, including (a) relating the time travel of science fiction to the banal time travel of all living beings, as we move inexorably toward the future; and (b) arguing for the filmstrip as the ultimate metaphor for time. The second anthology I will consider has (...) a more political focus, arguing that the “special effects” form of science-fiction films, rather than the visual or narrative content of science-fiction-films, is truly imaginative and futural. The second section of this article ties together a variety of concepts and insights between time-travel cinema and Deleuze’s Cinema 1, suggesting (among other things) that (c) time-traveling characters in cinema function as a redoubled phenomenon of the “mobile sections” of Bergsonian duration (in reference to Henri Bergson), and (d) time-travel cinema vividly illustrates the imagistic nature of the entire world. (shrink)

In a monograph published last year, literary theorist Mark Noble notes that, in the way Deleuze understands the relationship between materialism and subjectivity, Deleuze “also sounds curiously like Santayana.” For example, the work of both philosophers “locates human value in a source at once immanent and alien.” Noble also wonders “whether the lesson of Santayana’s own negotiation with his tendency to humanize the non-human ground of experience also anticipates the thrill Deleuze chases when positing the univocity of being.” In the (...) present article, I will attempt to elaborate on this “anticipation,” the implications of which include a greater appreciation of Santayana on the part of Deleuze enthusiasts, an understanding of both philosophers as U.S.-influenced, European quasi-pragmatists, and a decision in favor of Michael Brodrick’s recent interpretation of Santayana as a “total natural event” philosopher of mind. (shrink)

The central role of gestural language in Buddhism is widely acknowledged, as in the story of the Buddha pointing at the moon, the point being the student’s seeing beyond the finger to its gesture. Gesture’s role in dance is similarly central, as noted by scholars in the emerging interdisciplinary field of dance studies. Unsurprisingly, then, the intersection of these two fields is well-populated, including the formal gestures Buddhism inherited from classical Indian dance, and the masked dance of the Mani Rimdu (...) Festival. In this investigation, I will articulate a new Buddhist philosophy of gestural language, based on a new conception of emptiness that I locate in the work of contemporary U.S. choreographer Deborah Hay, as influenced by Nāgārjuna and Zen. And this, finally, suggests that contemporary Western philosophy should incorporate this compassion as a normative dimension to its own theorizing and practice. (shrink)

This essay offers a strategic reinterpretation of Kant’s philosophy of mathematics in Critique of Pure Reason via a broad, empirically based reconception of Kant’s conception of drawing. It begins with a general overview of Kant’s philosophy of mathematics, observing how he differentiates mathematics in the Critique from both the dynamical and the philosophical. Second, it examines how a recent wave of critical analyses of Kant’s constructivism takes up these issues, largely inspired by Hintikka’s unorthodox conception of Kantian intuition. Third, it (...) offers further analyses of three Kantian concepts vitally linked to that of drawing. It concludes with an etymologically based exploration of the seven clusters of meanings of the word drawing to gesture toward new possibilities for interpreting a Kantian philosophy of mathematics. (shrink)

This article is part of a larger project in which I attempt to show that Western formal logic, from its inception in Aristotle onward, has both been partially constituted by, and partially constitutive of, what has become known as racism. In contrast to this trend, the present article concerns the major philosopher whose contribution to logic has been perhaps the most derided and marginalized, and yet whose character and politics are, from a contemporary perspective, drastically superior—John Stuart Mill. My approach (...) to my core concern will be one of narrowing concentric circles. I will begin with Mill’s occasional political writings that bear on the issue of racism, including “The Negro Question.” From there, the core of the article will explore the political dimensions of Mill’s A System of Logic. (shrink)

This essay is part of a larger project in which I construct a new, historically-informed, social justice-centered philosophy of dance, centered on four central phenomenological constructs, or “Moves.” This essay in particular is about the fourth Move, “resilience.” More specifically, I explore how Judith Butler engages with the etymological aspects of this word, suggesting that resilience involves a productive form of madness and a healthy form of compulsion, respectively. I then conclude by showing how “resilience” can be used in the (...) analysis of various Wittgensteinian “families” of dance, which in turn could facilitate positive educational changes in philosophy, dance and society, with particular efficacy on the axis of gender. In brief, by teaching a conception of strength as vulnerability (instead of machismo’s view of strength as apathetic “toughness”), a pedagogy of dancing resilience provides additional support for feminists (including Anzaldúa, Haraway, Butler and Concepción) who advocate a cautious openness toward seemingly-unlikely resources and allies (including analytic methodologies, Machiavellian politics, and the discourses of the natural sciences). (shrink)

In Philip J. Ivanhoe’s introduction to his Readings from the Lu-Wang School of Neo-Confucianism, he argues convincingly that the Ming-era Neo-Confucian philosopher Wang Yang-ming (1472–1529) was much more influenced by Buddhism (especially Zen’s Platform Sutra) than has generally been recognized. In light of this influence, and the centrality of questions of selfhood in Buddhism, in this article I will explore the theme of selfhood in Wang’s Neo-Confucianism. Put as a mantra, for Wang “self-awareness is world-awareness.” My central image for this (...) mantra is the entire cosmos anthropomorphized as a doctor engaged in constant self-diagnosis, in which effort s/he is assisted by an entire staff of the nerves/nurses—individual humans enlightened as Wangian sages. In short, I will argue that the world for Wang could be meaningfully understood as a mindful, self-healing body within which humans are the sensitive nerves, using our mindful awareness to direct attention to the affected areas when injury or disease occurs. We are, and must thus recognize that we are, the bold but sensitive nervous system of the cosmos, sharing (like neurons) our loving excitement, carrying out (like a medical nurse) the doctor’s orders for the self-care of our cosmic body/medical corps. (shrink)

In this paper, I will explore how the work of Wallace Stevens constitutes a phenomenology that resonates strongly with that of William James. I will, first, explore two explicit references to James in the essays of Stevens that constitute a misrepresentation of a rather duplicitous quote from James’ personal letters. Second, I will consider Stevens’ little known lecture-turned-essay, “A Collect of Philosophy,” and the poem, “Large Red Man Reading,” as texts that are both about a conception of poetryphilosophy as well (...) as being performances of poetry-philosophy. Finally, I will compare James’ and Stevens’ thought on the imagination, highlighting both form and content and the poetic-philosophical union or blend that makes possible those similarities. (shrink)

While acknowledging a certain affinity between his own thought and the Vedanta concept of a world-soul or universal spirit, Josiah Royce nevertheless locates this concept primarily in what he terms the Second Conception of Being—Mysticism. In his early magnum opus, The World and the Individual, Royce utilizes aspects of the Upanishads in order to flesh out his picture of the mystical understanding of and relationship to being. My primary concern in the present investigation is to introduce some nuance into Royce’s (...) conception of Indian thought, which may then serve to suggest similar possibilities for nuance for Royce’s conception of the Absolute. I will attempt to do in two primary ways: first, I will consider Royce’s use of Indian thought via the Upanishads in explicating his second historical conception of Being. I will then turn briefly to Emerson’s poem ‘Brahma’ and the Bhagavad Gita to see if a certain reversal that occurs in both places problematizes Royce’s depiction of the universal spirit in Indian thought as well as opens up new possibilities for Royce’s own Absolute. (shrink)