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

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

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

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

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

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

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

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