A common objection to a proposal or theory in political philosophy is that it is not feasible to realise what it calls for. This is commonly taken to be sufficient to reject a proposal or theory: feasibility, on this common view, operates as a straightforward constraint on moral and political theory, whatever is not feasible is simply ruled out. This paper seeks to understand what we mean when we say that some proposal or outcome is or is not feasible. It (...) will argue that no single binary definition can be given. Rather, there is a whole range of possible specifications of the term ‘feasible’, each of which selects a range of facts of the world to hold fixed. No single one of these possible specifications, though, is obviously privileged as giving the appropriate understanding of ‘feasibility’ tout court. The upshot of my account of feasibility, then, will be that the common view of feasibility as a straightforward constraint cannot be maintained: in order to reject a moral theory, it will not be sufficient simply to say that it is not feasible. (shrink)

The argumentative structure of this article can be summarized as follows: 1) Spinoza was repeatedly accused of eleaticism; 2) there is a rupture with the eleaticism when one admits the ‘multivocity’ of the logical operators “is” and “is not”; as can be seen, for example, 2.1) in the discussion introducing the Great Genera in Plato’s Sophist, and 2.2) in a certain use made by Aristotle of the category’s doctrine in order to soften the Parmenidean version of the Principle of Non-Contradiction. (...) 3) Spinoza admits the ‘multivocity’ of “is” and “is not”. Hence, Spinoza should not be placed among the Eleatics but inside the brotherhood of the suspects of the so-called parricide against Parmenides. This reasoning, which almost sounds as a truism, will, however, suggest two interesting further considerations: one on how an important tradition of interpretation of Spinoza has misplaced the problem of the relationship of Spinoza’s ontology with the logical principles; and another on the type of logic that is implied by the theory of modes of perception or kinds of knowledge. (shrink)

In this paper, I offer a new theory of grounding. The theory has it that grounding is a job description that is realized by different properties in different contexts. Those properties play the grounding role contingently, and grounding is the property that plays the grounding role essentially. On this theory, grounding is monistic, but ‘grounding’ refers to different relations in different contexts. First, I argue against Kit Fine’s monist univocalism. Next, I argue against Jessica Wilson’s pluralist multivocalism. Finally, I introduce (...) monist multivocalism, explicate three versions of it (of which the above is one), and show its advantages. (shrink)

The short experimental film Shifting Perspectives stems from a collaborative research project initiated in 2019 in Sydney, Australia, during the 'Choreographic Hack Lab-a week-long laboratory co-presented by Critical Path and Sydney Festival in partnership with the Museum of Applied Arts and Sciences (MAAS), which asked artists and academics to rethink and respond to the idea of the Anthropocene (Pini & George, 2019). The film was later developed in 2020 during a Responsive Residency at Critical Path, Sydney, awarded to anthropologist and (...) choreographer Sarah Pini in collaboration with Jestin George, biotechnologist and visual artist, and Melissa Ramos, visual artist and filmmaker. This work aims to open a multivocal interdisciplinary dialogue across screendance, performance and synthetic biology. Inspired by a recent conversation between two leaders in the field of synthetic biology (Sarah Richardson and Tom Knight) and their divergent approaches to working with microbial life (Agapakis, 2019), the film invites to consider how collaborating with microorganisms can reshape our future in a more-than-human world. (shrink)

This article argues that postwar Seventeen magazine, a publication deeply invested in enforcing heteronormativity and conventional models of girlhood and womanhood, was in fact a more complex and multivocal serial text whose editors actively sought out, cultivated, and published girls’ creative and intellectual work. Seventeen's teen-authored “Curl Up and Read” book review columns, published from 1958 through 1969, are examples of girls’ creative intellectual labor, introducing Seventeen's readers to fiction and nonfiction which ranged beyond the emerging “young-adult” literature of the (...) period. Written by young people – including thirteen-year-old Eve Kosofsky (later Sedgwick) – who perceived Seventeen to be an important publication venue for critical work, the “Curl Up and Read” columns are literary products in their own right, not simply juvenilia. Seventeen provided these young authors the opportunity to publish their work in a forum which offered girl readers and writers opportunities for intellectual development and community. (shrink)

English manuscript version of Afterword to German translation of Victor Turner's The Ritual Process. The Ritual Process is a pivotal book in the body of Victor Turner's works. The first three chapters, drawn from Turner's Henry Morgan lectures at the University of Rochester, reveal the richness and subtlety of his analysis of tribal ritual and social life. In the third chapter, he concentrates on the aspects of liminality and communitas found in Ndembu ritual and expands these in the remainder of (...) the book to universal categories of human experience. His masterful ethnography opens up to reveal the fundamental reality of the subjunctive mood in human affairs: the ritual process. In Turner's analyses of the Isoma and Wubwang'a rituals of the Ndembu of Northwestern Zambia, one sees the fantastic interplay between human affliction and symbolic renewal, between human communities and a natural environment teeming with signification. The Ndembu are revealed to be a people with a deep appreciation of the complexity of existence, and endowed with a sophisticated technics of meaning, a vast architectonic of felt, expressive forms through which to journey to those borderlands beyond human comprehensibility: death, the dead, the call of the mother-line, fecundity, transformation, the interstices of social structure. Turner reveals himself to be an initiate, not only to the rites revealed to him by the Ndembu, but to the centrality of ritual itself in tribal society and human affairs. Trained in the British structural-functionalist approach to social anthropology, Turner notes how the incessant call of the drums made him feel that he "was always on the outside looking in." Soon, however, Turner and his wife and collaborator Edith discarded their theoretical ear-plugs and answered the invitation of the drums. As observers and co-participants in Ndembu ritual the Turners' began to blaze a trail toward a new anthropology. (shrink)