This note on Propertius 4.7 argues that Cynthia, repeatedly cast in the role of the poet's Muse, rejects the burden of inspiration through a learned choice of words (non tamen insector, 4.7.49). The verb insector constitutes a clear reference to the invocation of the Camena in Livius Andronicus and of the Muse in Ennius. Cynthia recalibrates the parlance of poetic inspiration to end her relationship with Propertius, both as his puella and as his Muse.

Volume 20, Issue 7, July 2020, Page 196-198.

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)

Many parents and some researchers assume that young children are fantastical thinkers. We examined this assumption in the domain of reasoning about fictional stories. We presented 4-year-olds with realistic and fantastical stories and asked them how best to continue these stories: with ordinary events or with events that violate real-world causal laws. Children preferred the ordinary events for both types of stories (Experiment 1, n=42) while a comparison group of adults (n=68) continued stories based on their content. To ensure that (...) children’s responses reflected their intuitions about stories per se, Experiment 2 (n=60) asked 4-year-olds to make the same choice between realistic and fantastical events, but in the context of figuring out an experimenter’s preferences or learning a new word. Here, children did not demonstrate an overall bias for the realistic events. These findings suggest that children are reality-prone in the context of fictional stories. (shrink)

Consumers do not always follow their ideological beliefs about the need to engage in environmentally friendly consumption. We propose that Commitment to Beliefs —the general tendency to follow one’s value-based beliefs—can help identify who is most likely to follow their environmental ideologies. We predicted that CTB would amplify the effect of beliefs prescribing environmental stewardship, or neglect, on corresponding intentions, behavior, and purchasing decisions. In two studies, CTB amplified the positive and negative effects of relevant EF ideologies on EF purchase (...) decisions, and consumption and conservation attitudes, intentions, as well as future behavior. In each study, only people with higher levels of CTB demonstrated the most ideologically consistent consumption and conservation intentions and behavior. These findings clarify who is most likely to align their decisions and lifestyles according to their sustainable consumption ideologies. The amplification effect of CTB, and the CTB variable itself, present new contributions to consumer behavior research and the domains of sustainable or ethical consumption in particular and offer wide-ranging potential for marketing practitioners and researchers. (shrink)

Because my students are always telling me I'm too subtle, and (to quote the Brazilian liberation pedagogue Paolo Freire) I "love and trust" my students - please (re)watch the oldest Star Wars film (Episode IV - A New Hope) in light of the following analysis, whose conclusion is as follows: since (1) Star Wars is pro-Viet Cong, (2) today’s closest analogy to the Viet Cong is Hamas’ Al-Qassam Brigades, (3) Star Wars is also pro-Asian religious philosophy (East Asian Daosim), (4) (...) Palestinian liberation theology is a (West) Asian (Christian) religious philosophy, and (e) Star Wars is implicitly pro-genderfluid; thus (5) Star Wars logically affirms the Palestinian right to genderfluid armed resistance, whose (6) Jedi Knights = Daoist sage/knights = Viet Cong = Al-Qassam Brigades. In sum, Star Wars (1977) logically affirms the Palestinian right to genderfluid armed resistance. (shrink)

This book argues that this powerful technique permits the social sciences to meet an explanation, in which one 'grows' the phenomenon of interest in an artificial society of interacting agents: heterogeneous, boundedly rational actors.

UAB President Watts owes me, as his faculty employee--and our beloved Magic City, as the community our institution claims to serve--an immediate explanation. Why does he refuse to fire an avowed Nazi (a public member of Identity Evropa) while demanding that a highly visible and vulnerable defender of Palestine publicly disavow any relationship with the university?

Though Aníbal Quijano’s thought has been enormously influential in the Global North via the incorporation of key concepts by theorists such as Walter Mignolo and María Lugones, it was only last year (2024) that a full-length book manuscript by this most influential Peruvian theorist of his generation was finally translated into English. From that recent anthology, Foundational Essays: On the Coloniality of Power, the present investigation shows how the last three chapters of the recently translated anthology give us a new (...) way to read Quijano, thereby generating an argument for decolonial revolution today. The present investigation’s three sections each rehearse a different premise of Quijano’s argument there, as follows: (1) Latin America (most obviously Peru), is the heart of colonial modernity; (2) utopian rebellious aesthetics is the heart of Latin American colonial modernity; and (3) Indigeneity is the heart of the utopian rebellious aesthetics of Latin American colonial modernity. And the concluding section identifies a beginning of this revolutionary aesthetics in Quijano’s casual reference to the Peruvian vernacular dance chicha, which with other Indigenous-infused dances like salsa is cutting through the “Arguedian knot” of colonialized identity. (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)

This article reinterprets Japanese role-playing games (JRPGs) as a hybrid artform which, though complicit in the racist fascism of its source materials, nevertheless constitutes a vital antifascist counterforce, especially in the more recent wave I call “neo-JRPGs.” At its core is the figure of the “wizard,” derived from a Middle English word for “wise,” and used interchangeably with “philosopher” through the Middle Ages. In short, JPRG players can empower themselves and others to resist the racist fascism of mainstream society, like (...) the police officer “wizards” of the KKK, by role-playing as medieval philosophy-inspired, Tolkien-inflected wizards. To flesh this out, I offer the case study of one of the greatest JRPGs, Phantasy Star IV, whose literal wizard character acts analogously to the Aristotelian “Active Intellect,” channeling ideas from game designer “wizard” Rieko Kodama (a female pioneer in that role) to actualize the potential intellect of the other playable characters, and thereby the player themself, into a gaming wizardry that can empower a second actualization into progressive philosophy. (shrink)

This article expands Cavell’s interpretation of The Philadelphia Story (1940) in relation to Shakespeare’s A Midsummer Night’s Dream (1596) and gendered democratic flourishing. My first section rehearses Geraldine Heng’s argument in Empire of Magic (2004) that the medieval romance genre channels Crusades trauma into imagined British nationhood, as embodied by Merlin. My second section finds a second wave of romantic overflow in Shakespeare’s play via the fairy king Oberon. My third section identifies Cary Grant's “C. K. Dexter Haven” as the (...) film’s Merlin/Oberon. The Dionysian current of this Merlin-Oberlin-Grant flow I call “magical weakness,” a strategic male self-weakening for gendered democratic flourishing. (shrink)

Having elsewhere connected Walter Otto’s interpretation of Dionysus as a politically progressive deity to Huey P. Newton’s vision for the Black Panthers, I here expand this inquiry to a line of Otto-inspired scholarship. First, Alain Daniélou identifies Dionysus and Shiva as the dancing god of a democratic/decolonizing cult oppressed by tyrannical patriarchies. Arthur Evans sharpens this critique of sexism and heteronormativity, concluding that, as Dionysus’s chorus is to Greek tragedy, so Socrates’s circle is to Western philosophy. I thus call for (...) the creation of a hybrid Dionysian-Socratic revolutionary philosophical chorus, modeled on Dionysus Lyseus, wielding philosophical analysis to loosen injustice’s bonds, as a vanguard of social justice. I find a handbook for this chorus’s creation in Euripides’s Bacchae, whose Dionysus is an ally of immigrant women, overthrower of Theban patriarchy, and international revolutionary. Finally, I offer a contemporary example of such a chorus that is based in my hometown in Alabama, namely, the Birmingham Philosophy Guild. (shrink)

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)

[First paragraph]: This article is part of a larger project in which I suggest a historically informed philosophy of dance, called “figuration,” consisting of new interpretations of canonical philosophers. Figuration consists of two major parts, comprising (a) four basic concepts, or “moves”—namely, “positure,” “gesture,” “grace,” and “resilience”—and (b) seven types, or “families” of dance—namely, “concert,” “folk,” “societal,” “agonistic,” “animal,” “astronomical,” and “discursive.” This article is devoted to the first of these four moves, as illustrated by both its importance for Aristotle (...) and also its applicability to these seven families of dance. One goal of figuration as a whole, and the central goal of this excerpt from that larger project, is to model and justify a dancing aesthetic education pursuant to psychological and political flourishing. (shrink)

The Belgian philosopher of science and trained chemist Isabelle Stengers is famous for her creative conception of “cosmopolitics,” an ontological pluralism and a practicing scientist’s pragmatic compromise between reductivist orthodoxy and postmodern(ish) solipsism. In Stengers’ cosmopolitics, each science’s reality-claims are limited by its history, disciplinary guardrails, and laboratory or field constraints on the production of new “factishes” (Bruno Latour’s term for entities, such as neutrinos, discovered in history but retroactively timeless). One implication of Stenger’s cosmopolitics for the human sciences (exemplified (...) by anthropology) is that every encounter between a researcher and a subject is, and should be approached as, a kind of dance. In Stengers’ recent Making Sense in Common, she repeatedly describes the staging of such scientific dances as “ontological choreography,” seeking a coalition of progressive members of the “commons”: a cosmopolitical dance of all beings. (shrink)

In this article, I present a two-pronged argument for the immorality of contemporary, asymmetric drone warfare, based on my new interpretations of the just war principles of “proportionality” and “moral equivalence of combatants” (MEC). The justification for these new interpretations is that drone warfare continues to this day, having survived despite arguments against it that are based on traditional interpretations of just war theory (including one from Michael Walzer). On the basis of my argument, I echo Harry Van der Linden’s (...) call for “an international treaty banning all weaponized UAV [uninhabited aerial vehicles].”. (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)

In this essay, I explore two interconnected figures of aesthetics and poverty. The first figure is aesthetics poverty, meaning the (a) literal (relative) poverty of the majority precariously-employed scholars in what has been called the “ghettoization of aesthetics” within academic philosophy, and (b) figurative poverty of the discipline in terms of its tendency to focus narrowly on pleasurable and individual phenomena to the neglect of disturbing and community phenomena. The second figure is poverty aesthetics, meaning (a) aesthetic values and practices (...) associated with the absolute poverty of aesthetic practitioners, such as the “artisanal miners” of the Democratic Republic of the Congo (DRC), (b) the tendency to suppress, make-invisible, or “anesthetize” those aesthetics (in the sense of the negation of aesthesis qua “sense-perception”). The connection between these two figures is not only that enslaved and child labor in the DRC is necessary to power the devices on which scholars do their aesthetics research, but also that attempting to counter this anesthesia risks “professional suicide” (as in the numerous censorings and firings of U.S. scholarly critics of Israel's genocide of Palestine). Rolling those dice once more, I dig deep into Siddartha Kara’s Pulitzer Prize-finalist Cobalt Red: How the Blood of the Congo Powers Our Lives, unearthing the unifying figure of this investigation: “aesthetics of disturbance,” defined as a muddied offloading of the global northerners’ psychological turmoil onto global southerners, the cost of which includes the latter’s individual misery and political chaos. Thus, aesthetic scholars are ethically-politically obligated to help re-aestheticize the artisanal miners of the DRC, thereby proving ourselves worthy of the financial compensation to keep such research going. (shrink)

If, as asserted by the French collective Tiqqun, we are essentially living in a global colony, where the 1% control the 99%, then it follows that the revolutionary struggle should strategically reorient itself as guerrilla warfare. The agents of this war, Tiqqun characterize, in part, by drawing on ethnologists Pierre de Clastres and Ernesto de Martino, specifically their figures of the Indigenous American warrior and the Southern Italian sorcerer, respectively. Hybridizing these two figures into that of the “warrior-mage,” the present (...) article posits an actionable exemplar thereof in players of the massively popular trading and online card game, Magic: The Gathering (MTG). More specifically, I propose a strategic mapping of MTG’s five colors of magic onto the five divisions of a coalition against late capitalist Empire, which I call the “Warrior-Mage Guild,” including liberation clerics, animal rights activists, propagandists, anti-psychiatrists, hackers, saboteurs, and those who threaten decolonizing force contra Empire. (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)

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)

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)

In Philosophy of Psychedelics, Letheby provides a convincing basis for the idea that psychedelics primarily derive their therapeutic potential through mediating favourable changes to self-related belief systems. In this commentary, we take a closer look at the role that contextual factors play in Letheby’s two-factor account of psychedelic therapy. While Letheby acknowledges that psychedelic effects are highly context-dependent, the exact role that context plays in self-modelling during the acute experience is not entirely clear. We argue that context plays an essential (...) role in shaping the ‘discovery’ of alternate self-conceptions during the acute experience. Specifically, users are more likely to experience alterations in self-conception that are consistent with context-dependent features, such as one’s prior mindset and aspects of the external environment. This is consistent with a REBUS model of psychedelic effects, where a corollary effect of relaxing high-level prior beliefs is that the system becomes increasingly sensitised to bottom-up information from lower-level intrinsic sources and the sensory periphery. Furthermore, it may explain why a positive well-intentioned state of mind and a supportive therapeutic environment are more likely to result in positive acute experiences and long-term improvements in mental wellbeing. We see this position as being largely compatible with Letheby’s proposal, but may shift some aspects of its emphasis and framing. In particular, it may conflict with Letheby’s notion that psychedelics lead to a ‘level cognitive playing field’, where self-related hypotheses are thought to be assigned more or less equal probability. (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 this article, I channel the autobiography of Black Panther cofounder Huey P. Newton, entitled Revolutionary Suicide, against the misogyny of the alt-right movement today. Both Newton and the alt-right have been powerfully influenced by Nietzsche, but one way of grasping the central difference between them is by comparing their conceptions of Dionysus. While the alt-right sticks closer to Nietzsche’s conception, which minimizes the god’s androgyny, Newton’s thought resonates with that androgyny, thereby bringing him closer to the most influential Dionysus (...) scholar since Nietzsche, Walter Otto. I therefore turn to the latter’s Dionysus: Myth and Cult, whose analyses I synthesize into the following image inspired by the god’s closest animal familiar: the dancingly-graceful panther as aqueous-androgynous soul-hunter. Reimagining Newton’s Black Panther in this way, finally, can help us overcome the alt-right. (shrink)

Patent-based intellectual property (IP) has come under progressively substantiative attack in the peer-reviewed literature as many studies have shown it retards innovation. In addition, the monopoly period no longer fits the innovation cycle. Although the vast majority of patents are not useful, patent proponents argue monopoly-based economic incentives are specifically necessary to fund medical technologies. Rather than use simple economics, quantifying human deaths has also been proposed as a means to guide public policies. Such an approach can be applied to (...) patents by investigating the lives saved by patents as well as those lost in the current IP systems. This study is the first to provide such a theoretical approach to quantifying human mortality costs of patent-based IP systems. To illustrate the mechanism by which patents are responsible for premature deaths, a case study of the 100-year-old innovation of insulin is provided. The U.S. and Canada were selected to compare because the approach to drug costs in the two countries allows for a fraction of the additional costs of IP to be quantified. By comparing the different death rates of diabetics in U.S. and Canada, it was found that insulin-related patents result in over 94,000 American premature deaths annually (in 2021). The results also make it clear that many human deaths are related to price increases and lack of accessibility to needed medications due to the current monopolistic IP system. These findings require patent proponents to defend the continued existence of patents in the medical innovation space. (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)

As I have explored elsewhere, the Birmingham Philosophy Guild, which my former students and I re-founded in 2012, is a team of community members who engage in theoretical discussion, support group self-cultivation, and community activism. To further promote the guild as a catalyst for progressive social change, the present article connects it to both the popular cultural phenomenon of the “X-Men” – to make the guild more appealing to students and laypeople – and to the cutting-edge contemporary French philosophy of (...) Étienne Balibar – to make the guild more appealing to professors and culture workers. Moreover, the article connects these low- and high-brow phenomena to each other as well, thereby illustrating the political relevance of the lower, as well as a weakness in the higher, pursuant to social justice activism today. (shrink)

In the first section of this essay, I offer a brief overview of Hegel’s dozen or so mentions of dance in his Lectures on Aesthetics, focusing on the tension between Hegel’s denigration of dance as an “imperfect art” and his characterization of dance as a potential threat to the other arts. In the second section, I turn to an insightful essay from Hans-Christian Lucas on Hegel’s “Anthropology,” focusing on his argument that the Anthropology’s crucial final sections threaten to undermine Hegel’s (...) entire philosophy. And in the final section, I offer my own reading of the Anthropology, connecting the threads of my previous two sections. More specifically, I attempt to show that Hegel has in effect quarantined dance in what he terms “the dark regions” of madness in “The Feeling Soul.” Overall, I suggest that this quarantining is ultimately as problematic for Hegel as it has been for dance. Because without dance, complete with its associations with people disempowered in their embodiment, this crucial transitional section in the Anthropology remains burdened with a corporeal remainder that problematizes the entire system. Put simply, Hegel must – by his own logic – learn to dance gracefully with those he would rather shun. (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 vacil-late 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)

The emerging field of the philosophy of dance, as suggested by Aili Bresnahan, increasingly recognizes the problem that (especially pre‐modern) dance has historically focused on bodily perfection, which privileges abled bodies as those that can best make and perform dance as art. One might expect that the philosophy of dance, given the critical and analytical powers of philosophy, might be helpful in illuminating and suggesting ameliorations for this tendency in dance. But this is particularly a difficult task since the analytic (...) philosophy of dance is too young to have achieved a comprehensive treatment of dance per se, let alone to update such a treatment in line with the demands of social justice. As a step in that direction, the present article (a) summarizes dance theorists on disabled dance (as opposed to the dance of the temporarily able‐bodied, or TAB) and then applies (b) the philosophy of art and dance to disability, (c) the philosophy of disability to dance, (d) interdisciplinary disability theory to dance, and (e) my own Figuration philosophy of dance to disability, as inspired in part by John Dewey. (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)

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)

BackgroundThe U.S. Food and Drug Administration traditionally has kept confidential significant amounts of information relevant to the approval or non-approval of specific drugs, devices, and biologics and about the regulatory status of such medical products in FDA’s pipeline.ObjectiveTo develop practical recommendations for FDA to improve its transparency to the public that FDA could implement by rulemaking or other regulatory processes without further congressional authorization. These recommendations would build on the work of FDA’s Transparency Task Force in 2010.MethodsIn 2016-2017, we convened (...) a team of academic faculty from Harvard Medical School, Brigham and Women’s Hospital, Yale Medical School, Yale Law School, and Johns Hopkins Bloomberg School of Public Health to develop recommendations through an iterative process of reviewing FDA’s practices, considering the legal and policy constraints on FDA in expanding transparency, and obtaining insights from independent observers of FDA.ResultsThe team developed 18 specific recommendations for improving FDA’s transparency to the public. FDA could adopt all these recommendations without further congressional action.FundingThe development of the Blueprint for Transparency at the U.S. Food and Drug Administration was funded by the Laura and John Arnold Foundation. (shrink)

In this article, I build on my recent conceptions of law as poetry and of justice as dance by articulating three new conceptions of the relationship between law and justice. In the first, “poetry-based justice”, justice consists of a rigid choreography to a kind of musical recitation of the law’s poetry. In the second, “dancing-based law”, justice consists of spontaneous, freely improvised movement patterns that the poetry of the law tries to capture in a kind of musical notation. And in (...) the third, “reciprocal-legal justice”, justice and law consist of a reciprocally determining artistic collaboration between the democratic dancing masses and the aristocratic poetising elites. Given that each of these predominates in one of three types of community, I then present a reclassification of right-leaning, centrist and leftist societies as dominated by “literalist”, “kinetic” and “mutualist” communities (respectively), and offer suggestions for legislators and activists working in each type. In conclusion, law and justice, qua poetry and dance, become more flexible, inclusive and open to creative improvising and collaboration, a new form that I name, after Astraea, Greek goddess of divine justice, “astral legal justice”. (shrink)

Against caricatures of the poet-philosopher Friedrich Schiller as an unoriginal popularizer of Kant, or a forerunner of totalitarianism, Frederick Beiser reinterprets him as an innovative, classical republican, broadening his analysis to include Schiller’s poetry, plays, and essays not widely available in English translation, such as the remarkable essay, “On Grace and Dignity.” In that spirit, the present article argues that the latter text, misperceived by Anglophone critics as self-contradictory, is better understood as centering on gender and dance. In brief, grace (...) is a virtuous power of beautiful gestures associated with women, while dignity is a power of sublime gestures associated with men, and the improvised combination thereof is a divinely androgynous power of gesture that I term “stateliness,” in a three-step choreography of aesthetic education. (shrink)

In his 1992 Born to Sing: An Interpretation and World Survey of Bird Song, process philosopher Charles Hartshorne argues that an important causal factor (alongside natural selection) of birdsong is their joy in singing. In this article, I offer a new interpretation of this work, focusing on one of its star species, the northern mockingbird (mimus polyglottos), tentatively concluding that at least this one songbird should be recognized as an artist in the medium of vocal music, which constitutes at least (...) one case of what I term “metahuman artistry.”. (shrink)

This article, composed six months after the Oct. 7th Hamas operation “Al-Aqsa Flood,” in the shadow of Israel’s retaliatory genocide, was catalyzed by a viral social media video with alternating clips of Palestinian and Native American people dancing in defiant resistance to ongoing white settler colonial ethnic cleansing and genocide, in loving embrace of their own Indigenous ways of being. After an introductory setting of the stage for this video, the first section rehearses the two historical chapters of dance scholar (...) Jacqueline Shea Murphy’s The People Have Always Danced, emphasizing the paradoxical late nineteenth-century campaigns (1) criminalizing Indigenous American dances, and (2) appropriating these dances and dancers for non-Indigenous audiences. The second section then pivots to Australian choreographer Nicholas Rowe’s Raising Dust: A Cultural History of Dance in Palestine, emphasizing the appropriation of a traditional shepherd dance (Dabke) into the Zionist project of fabricating an orientalist tradition to justify their colonization. Finally, the concluding section spotlights Palestine’s Birzeit University and the El-Funoun folkdance troupe as exemplars, captured in the Palestinian hip hop song’s neologism “Palest-Indians,” of loving Indigenous death-defying dance resistance. (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)

Despite all the attention given to Kant’s universalizability tests, one crucial aspect of Kant’s thought is often overlooked. Attention to this issue, I will argue, helps us resolve two serious problems for Kant’s ethics. Put briefly, the first problem is this: Kant, despite his stated intent to the contrary, doesn’t seem to use universalization in arguing for duties to oneself, and, anyway, it is not at all clear why duties to oneself should be grounded on a procedure that envisions a (...) world in which everyone wills the contrary of those duties. The second, more global problem is that if we follow Barbara Herman in holding that Kantian ethics can provide a structure for moral deliberation, we need an interpretation of the universalization procedure that unproblematically allows it to generate something like prima facie duties to guide that deliberation; but it is not at all clear that we have such an interpretation. I argue here that if we expand our limited way of thinking about universalization, we can solve the first problem and work towards a solution to the second. We can begin by recalling that Kant’s ‘Law of Nature’ formulation (FLN) of the Categorical Imperative obligates us to ‘act as if the maxim of your action were to become by your will a universal law of nature’ (G, 421). (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)

Tenseless theories of time entail that earlierthan, later than and simultaneous with (i.e.,McTaggart's `B-series') are the only temporalproperties exemplified by events. Such theories oftencome under attack for being unable to satisfactorilyaccount for tensed language. In this essay I arguethat tenseless theories of time are capable of twofeats that critics, such as Quentin Smith, argue arebeyond their grasp: (1) They can coherently explainthe impossibility of translating all tensed sentencesby tenseless counterparts; (2) They can account forcertain obviously valid entailment relations betweentensed sentence (...) types. In analyzing tensed entailmentrelations tenselessly, I favor a date analysis oftensed language over a token-reflexive theory. Theupshot is that tenseless theories of time are notundermined by the linguistic facts. (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)

Does an affirmation of theistic evolution make the task of theodicy impossible? In this article, I will review a number of ancient and contemporary responses to the problem of evil as it concerns animal suffering and suggest a possible way forward which employs the ancient Jewish insight that evil—as resistance to God's will that results in suffering and alienation from God's purposes—precedes the arrival of human beings and already has a firm foothold in the nonhuman animal world long before humans (...) are ever tempted to go astray. This theological intuition is conferred renewed relevance in light of the empirical reality of evolutionary gradualism and continuity and in view of the recent findings of cognitive ethology. Consequently, I suggest that taking biological evolution seriously entails understanding “moral evil” as a prehuman phenomenon that emerges gradually through the actions and intentions of “free creatures” which—as evolutionary history unfolded—increasingly possessed greater levels of freedom and degrees of moral culpability. (shrink)