Fincher & Thornhill (F&T) present a compelling argument that parasite stress underlies certain cultural practices promoting assortative sociality. However, we suggest that the theoretical framework proposed is limited in several ways, and that life history theory provides a more explanatory and inclusive framework, making more specific predictions about the trade-offs faced by organisms in the allocation of bioenergetic and material resources.

The evolution of complex life forms, such as multicellular organisms, is the result of a number of evolutionary transitions in individuality (ETIs). Several attempts have been made to explain their origins, many of which have been internalist (i.e., based largely on internal properties of these life form's ancestors). Here, we show how an externalist perspective, via the ecological scaffolding model in which properties of complex life forms arise from an external scaffold, can shed new light on the question of ETIs. (...) Ultimately, we anticipate progress in the field will occur by recognizing the importance of both the internalist and externalist modes of explanation for ETIs. We illustrate this by considering an extension of the ecological scaffolding model by niche construction in which particles modify the environment which later becomes the scaffold giving rise to collective-level individuality. (shrink)

In an effort to deny the ongoing effect of colonialism and imperialism on contemporary political life, the death knell for a multicultural society has been sounded from all sides. That's the provocative argument Paul Gilroy makes in this unorthodox defense of the multiculture. Gilroy's searing analyses of race, politics, and culture have always remained attentive to the material conditions of black people and the ways in which blacks have defaced the "clean edifice of white supremacy." In _Postcolonial Melancholia_, (...) he continues the conversation he began in the landmark study of race and nation _'There Ain't No Black in the Union Jack'_ by once again departing from conventional wisdom to examine -- and defend -- multiculturalism within the context of the post-9/11 "politics of security." This book adapts the concept of melancholia from its Freudian origins and applies it not to individual grief but to the social pathology of neoimperialist politics. The melancholic reactions that have obstructed the process of working through the legacy of colonialism are implicated not only in hostility and violence directed at blacks, immigrants, and aliens but in an inability to value the ordinary, unruly multiculture that has evolved organically and unnoticed in urban centers. Drawing on the seminal discussions of race begun by Frantz Fanon, W. E. B. DuBois, and George Orwell, Gilroy crafts a nuanced argument with far-reaching implications. Ultimately, _Postcolonial Melancholia_ goes beyond the idea of mere tolerance to propose that it is possible to celebrate the multiculture and live with otherness without becoming anxious, fearful, or violent. (shrink)

Spaces of Geographical Thought examines key ideas – like space and place - which inform the geographic imagination. The text: discusses the core conceptual vocabulary of human geography: agency: structure; state: society; culture: economy; space: place; black: white; man: woman; nature: culture; local: global; and time: space; explains the significance of these binaries in the constitution of geographic thought; and shows how many of these binaries have been interrogated and re-imagined in more recent geographical thinking. A consideration of these (...) binaries will define the concepts and situate students in the most current geographical arguments and debates. The text will be required reading for all modules on the philosophy of geography and on geographical theory. (shrink)

The complexities of black hair care provide a useful point of entry to the problem of theorizing, experiencing, judging, and pursuing bodily beauty in racialized contexts. This chapter aims to catalogue and clarify some of the philosophical questions that arise from the negrophobic somatic aesthetics. It provides answers to the most pressing questions, questions that demand the attention not just of aestheticians and ethicists, but also of students of natural science and the philosophy of existence. The chapter focuses on (...) cases that emerge from Afro‐US life‐worlds. Richard Shusterman's determination to contest the centuries‐long denigration of the body that infects western philosophy and culture leads him to employ the Greek term soma to name his approach, which he defines as the study of the experience and use of one's body as a locus of sensory‐aesthetic appreciation and creative self‐fashioning. (shrink)

Those who know anything about black history and culture probably know that aesthetics has long been a central concern for black thinkers and activists. The Harlem Renaissance, the Negritude movement, the Black Arts Movement, and the discipline of Black British cultural studies all attest to the intimate connection between black politics and questions of style, beauty, expression, and art. And the participants in these and other movements have made art and offered analyses that wrestle with (...) clearly philosophical issues. In _A Philosophy of Black Aesthetics_, I propose to identify and explore the most significant philosophical issues that emerge from the aesthetic dimensions of black life. The book will consist of eight short chapters, each of which will discuss a complex of related themes and phenomena. Every chapter will begin with one or two illustrative real-world examples, and then use the complexities of these opening cases to introduce the relevant issues. Many people in several fields have explored various bits of the terrain that I’ll cover. But none has surveyed the entire terrain in the name of aesthetics, and none has conducted this survey from an explicitly philosophical perspective. Setting up the project in this way means that its main conclusions will come in two forms. One kind of conclusion will emerge from the way I frame the issues. The two most important points here are that the field of aesthetics ought to cover more than the study of western fine art, and that the field of black aesthetics allows and requires the sort of comprehensive and philosophical analysis that I’ll offer. Another set of conclusions will emerge from my treatment of the specific issues in each chapter. In each case the aim will be to defend, albeit briefly, some position on the major issues raised in each chapter. (shrink)

Higher education institutions have access to higher volumes and a greater variety and granularity of student data, often in real-time, than ever before. As such, the collection, analysis and use of student data are increasingly crucial in operational and strategic planning, and in delivering appropriate and effective learning experiences to students. Student data – not only in what data is collected, but also how the data is framed and used – has material and discursive effects, both permanent and fleeting. We (...) have to critically engage claims that artificial intelligence and the ever expansive/expanding systems of algorithmic decision-making provide speedy, accessible, revealing, panoramic, prophetic and smart analyses of students' risks, potential and learning needs. We need to pry open the black boxes higher education institutions use to admit, steer, predict and prescribe students’ learning journeys. (shrink)

Afrocentrism. Eurocentrism. Caribbean Studies. British Studies. To the forces of cultural nationalism hunkered down in their camps, this bold hook sounds a liberating call. There is, Paul Gilroy tells us, a culture that is not specifically African, American, Caribbean, or British, but all of these at once, a black Atlantic culture whose themes and techniques transcend ethnicity and nationality to produce something new and, until now, unremarked. Challenging the practices and assumptions of cultural studies, The Black Atlantic (...) also complicates and enriches our understanding of modernism. Debates about postmodernism have cast an unfashionable pall over questions of historical periodization. Gilroy bucks this trend by arguing that the development of black culture in the Americas arid Europe is a historical experience which can be called modern for a number of clear and specific reasons. For Hegel, the dialectic of master and slave was integral to modernity, and Gilroy considers the implications of this idea for a transatlantic culture. In search of a poetics reflecting the politics and history of this culture, he takes us on a transatlantic tour of the music that, for centuries, has transmitted racial messages and feeling around the world, from the Jubilee Singers in the nineteenth century to Jimi Hendrix to rap. He also explores this internationalism as it is manifested in black writing from the "double consciousness" of W. E. B. Du Bois to the "double vision" of Richard Wright to the compelling voice of Toni Morrison. In a final tour de force, Gilroy exposes the shared contours of black and Jewish concepts of diaspora in order both to establish a theoretical basis for healing rifts between blacks and Jews in contemporary culture and to further define the central theme of his book: that blacks have shaped a nationalism, if not a nation, within the shared culture of the black Atlantic. (shrink)

Through examining the BBC television series, Black and British: A Forgotten History, written and presented by the historian David Olusoga, and in extending Paul Gilroy’s assertion that the everyday banality of living with difference is now an ordinary part of British life, this article considers how Olusoga’s historicization of the Black British experience reflects a convivial rendering of UK multiculture. In particular, when used alongside Žižek’s notion of parallax, it is argued that understandings of convivial culture can (...) be supported by a historical importance that deliberately ‘shocks’, and subsequently dislodges, popular interpretations of the UK’s ‘white past’. Notably, it is parallax which puts antagonism, strangeness and ambivalence at the heart of contemporary depictions of convivial Britain, with the UK’s cultural differences located in the ‘gaps’ and tensions which characterize both its past and present. These differences should not be feared but, as a characteristic part of our convivial culture, should be supplemented with historical analyses that highlight but, also, undermine, the significance of cultural differences in the present. Consequently, it is suggested that if the spontaneity of conviviality is to encourage openness, then understandings of multiculturalism need to go beyond reification in order to challenge our understandings of the past. Here, examples of ‘alterity’ are neither ‘new’ nor ‘contemporary’, but instead, constitute a fundamental part of the nation’s history: of the ‘gap’ made visible in transiting past and present. (shrink)

Black political actors across the ideological and organizational spectrum have routinely used expressive culture to do their work and advance their causes. However, the proper relationship between cultural and political work has remained controversial, with different views becoming ascendant in different traditions and communities, and at different times within the same traditions and communities. This chapter addresses some questions register in the black aesthetic tradition. It explores W. E. B. Du Bois's iconic arguments about art and propaganda by (...) translating the arguments into the language of more or less mainstream Anglophone academic philosophy. Political questions about matters other than autonomy come to mind when one studies black aesthetics. Notions like authenticity, solidarity, identity, ownership, and memory loom large in this tradition, and each has its own web of connections to questions of power, justice, citizenship, and freedom. (shrink)

White men pretending to be black men by blackening their faces and performing, on stage, the peculiar antics that constituted their vision of blackness. This chapter explores how black people sustain themselves under conditions of racial terror, exclusion, and oppression. Eric Lott's point goes beyond shaming and repudiation, though, to suggest that minstrelsy is more, and more interesting, than a garden variety expression of racism. The men who donned blackface did so in an attempt to work out their (...) own identities as Americans, and some chose blackness as a vehicle for this because of a genuine, if paternalistic and complicated, respect for black culture. The point of the work has been to assemble black aesthetics as an object of philosophical study, using the resources, broadly speaking, of analysis, pragmatism, and genealogical cultural criticism and social theory. (shrink)

The author's fascination with Me'Shell NdegeOcello's Leviticus: Faggot, is turned into an investigation in this chapter involving three basic questions. The first question interrogates the common thought that there is such a thing as black music, and asks what this music is, and what constitutes its blackness. The second question asks what this blackness is supposed to mean for music, by interrogating the familiar thought of Leopold Senghor: that blackness is somehow bound up with rhythm. The third question deals (...) with the way music's rhythms move us. Taking up Peter Kivy's questions in relation to rhythmic music is helpful, as it helps close the gap between the how‐possible and the how‐wondrous, and locate the point at which the preoccupations of analytical aesthetics overlap with the concerns of critical race aesthetics. The key to both moves lies in Kivy's argument against what he calls “the stimulus theory” of musical enjoyment. (shrink)

This chapter starts with a narration from the film Far From Heaven, where a white man at a party being held at Connecticut, claims that there are no Negroes in the city, disregarding even the presence of blacks who are serving drinks. It shows that the tradition of reflecting on black invisibility provides the resources for identifying and working through a particular kind of problem case. The cases are the race‐specific casting decisions in film and theatre, exemplified by the (...) controversy over the casting of Zoe Saldana in the Nina Simone biopic. The chapter argues that many central features of black racialization can be thought of as forms of invisibility, and related to persistent disregard for black presence, personhood, perspectives, and plurality. The problems of black invisibility and visuality are woven into the issues of politics and authenticity, ambivalence and appropriation, bodies and beauty, and the like. (shrink)

The tight connection between racial identities and roots has been called into question in recent years. The tensions between roots and routes and between authenticity and instability frame one of the central problem‐spaces in the black aesthetic tradition. In light of the role that appeals to authenticity have played in the tradition, and in light of the complications that come with those appeals, the following questions emerge: what kind of work can appeals to authenticity appropriately do; are they grounds (...) for criticism, as Lorraine Hansberry seems to think; or are they something else. This chapter addresses these questions by considering some cases such as: Sidney Kasfir's account of Germans in Yorubaland, and designs involving kente cloth. It explains at least five grades of authenticity discourse, all with their roots in the Greek word for principal or genuine (authentikós). (shrink)

This chapter begins with a narration of a slave ship's arrival from the Dutch Gold Coast, today's Ghana, to a South American seaport, Suriname, with about 40 blacks. The uprooted Africans used what was at hand, both culturally and materially, to cobble together the beginnings of an African American culture. It appears that these cultures are not so much born as assembled. This introductory chapter attempts to answer four preliminary questions: to paraphrase cultural theorist and sociologist Stuart Hall: what is (...) the black in black aesthetics; in the same spirit: what is the aesthetic in black aesthetics; what good is a philosophy of black aesthetics; and why discuss any of this in terms of assembly. The idea of assembling black aesthetics presupposes that there is a responsible way of appealing to racial blackness. The chapter also indicates the content available in other chapters of the book. (shrink)

This essay uses the concept of reconstruction to make an argument and an intervention in relation to the practice and study of black aesthetics. The argument will have to do with the parochialism of John Dewey, the institutional inertia of professional philosophy, the aesthetic dimensions of the US politics of reconstruction, the centrality of reconstructionist politics to the black aesthetic tradition, and the staging of a reconstructionist argument in the film, Black Panther (Coogler 2018). The intervention aims (...) to address the fact that arguments like these tend not to register properly because of certain reflexive and customary limits on some common forms of philosophical inquiry. The sort of professional philosophy I was raised to practise and value tends not to be particularly inclusive and open-minded, especially when it comes to subjects that bear directly on the thoughts, lives, and practices of people racialized as black. black aesthetics, by contrast, is an inherently ecumenical enterprise, reaching across disciplinary and demographic boundaries to build communities of practice and exchange. Hence the need for an intervention: to create the space for arguments and the people who work with them to function across disciplinary and demographic contexts. (shrink)

Introduction Paul Boshears The following excerpt from Paul Amitai's In Between States: Field notes and speculations on postwar landscapes (2012) confounds its reader. Presenting an alternate history of the State of Israel as a space station orbiting Earth, the excitement of possibilities crackles across the texts and images. Like Chris Marker's La Jeteé , the accompanying static images distort the viewer's temporality: are these archaeological items, images from a past, or a future? Why isn't this our future? In (...) Between States can also be seen as complementing Larissa Sansour's provocative science fiction works, Space Exodus (2009) which "documents" the Palestinian space program, and her Nation Estate (2012), in which Palestine is relocated into a skyscraper. Amitai's vision opens onto an intergalactic diaspora, wherein the refugees of World War II are given the stars as Western Europe continues to fight over terrestial colonies. —PFB Auditorium, Hoechst AG headquarters, Industriepark-Höchst, 2011. In 1941 an investigation by the US Justice Department exposed a marriage cartel between John D. Rockefeller’s Standard Oil (now ExxonMobil) and I.G. Farben. The two corporations had formed a joint operation in 1927 called Standard IG Farben. It was revealed that the two had shared patents in order to control prices and markets in their respective regions. Standard was accused of hiding patents from the US Navy and supplying fuel to German submarines, which lead to charges of criminal conspiracy. The Pentagon intervened, requesting that President Roosevelt stop the investigation in order to protect war production and oil supply. Roosevelt agreed, and the Senate committee investigating the matter, headed by Senator Harry Truman, was halted. Standard Oil paid a fine of $5000 and promised to stop supplying fuel to the enemies. Auditorium, Hoechst AG headquarters, Industriepark-Höchst, 2011. Furious at the decision to terminate the investigation of acts he considered treason, Truman initiated a new inquiry into Standard Oil’s war-time practices after succeeding Roosevelt as president in 1945. With the chief executives of I.G Farben simultaneously on trial at Nuremburg, Truman brokered a deal with the Allies that reduced or withdrew criminal charges leveled against both corporations in exchange for Standard Oil and I.G. Farben’s sponsorship of one of Truman’s most ambitious postwar projects—the relocation of the Jewish people. Detail, Sanofi-Aventis advertisement, 2011. The third critical player in this bold experiment was the nascent North Atlantic Space Agency. Formed by Allied forces using the seized assets and engineering expertise of Hitler’s hitherto classified space program (conquer Earth, then the stars), the North Atlantic Space Agency was a pre-NATO foray into interstellar nation building, with orbital occupation as the first point of order. By 1947, NASA was nearly ready to deploy the first manned space station. Standard Oil and I.G. Farben’s advanced fuel refinement capacities and deep, war-enriched financial resources allowed NASA to speed up their launch schedule significantly. Detail, Sanofi-Aventis advertisement, 2011. Diplomatic efforts to establish a Jewish homeland in Palestine were failing to gain traction, while post-colonial England held its ground on immigration restrictions and bands of Jews and Arabs battled over territory on the ground. More immediate was the issue of temporarily housing Holocaust survivors and refugees across scorched Europe. Leaders of the continental nations demonstrated, at best, reluctance to accommodate the Jews, who in turn were, at the least, resistant to returning to the same bloody cocktail from which they had fled. Truman used the impasse to advance a plan for NASA’s space station to be put to use as a temporary Jewish outpost, an orbital displaced persons camp, to be operated by the US Army. Detail, Infaserv Höchst advertisement, 2011. Final preparations advanced rapidly. Viewing the orbital displaced persons (ODP) camp as a solution to their immigration problem both at home and abroad, England came on board as a willing partner. Spaceship Exodus was positioned for takeoff on German farmland 20 kilometers southwest of Frankfurt. On December 30, 1947, one month after the UN General Assembly voted down the separation plan for Palestine, Exodus rocketed into the atmosphere hauling the first module of barracks designed to house 1,500 refugees. Transport vehicles arrived shortly thereafter, loaded down with leftover wartime military rations and 3,000 Jews of Russian and Polish origin. Detail, Infaserv Höchst advertisement, 2011. "The camp is the space that is opened when the state of exception begins to become the rule."—Giorgio Agamben, Homo Sacer , trans. Daniel Heller-Roazen, (Stanford: Stanford University Press, 1995), 96. Detail, Infaserv Höchst advertisement, 2011. The ODP camp proved to be a longer-term solution than originally envisioned. Additional installations were positioned to form swollen clusters of interlocking units – sleeping quarters, schools, clinics, canteens. The UN was brought in to monitor the camp following two chaotic years of US Army control in which food shortages, pandemic diseases, and rampant black market trade had brought the camp to near total collapse. No less bureaucratic or ineffectual, the UN relief agency at least had prior experience facilitating contexts of a similar magnitude and could potentially predict outcomes. Detail, Infaserv Höchst advertisement, 2011. What had been unexpected was the degree to which the camp would evolve into its own self-regulated, hive-like ecosystem where previously accepted rules of conduct were not applicable. The ODP camp was an exceptional space, a riverboat casino, an offshore research lab of social experimentation and entrepreneurial innovation. No longer Earth-bound, touching soil knotted by prescripts of Talmudic law, the camp residents were able to rationalize loopholes and detonate barriers standing in the way of absolute production. The Jewish archipelago was renamed Israel after the ancient homeland. If the temple couldn’t be rebuilt in the motherland, a post-national rhizome would sprout up in its stead. Eyes everywhere, beyond all borders. More information on the project at the author's site. (shrink)

Topics at a Poynter Institute privacy conference in December 1992 ranged from the role and obligations of the journalist to the rights of victims. Journalists' responsibility to fulfill a dual role of truthtelling and minimizing harm to vulnerable people in society framed the discussion. The public' s curiosity and media obsessions with information about victims of sex crimes are the first topics to be explored. Bob Steele of the Poynter Institute sets the stage for the delicate balance. Helen Benedict, author (...) of Virgin or Vamp: How the Press Covers Sex Crimes, suggests some reforms regarding this area of news. Patricia Bowman, a victim's advocate, talks about her experience as the victim of the media and of a celebrated sex crime case. Elinor Brecher of the Miami Herald discusses a particularly vexing assignment she recently faced, and Tom French of the St. Petersburg Times expresses concern for the subjects of sensitive personal stories and recommends trying to inform them about the story and help them cope with the intrusion into their private life. In separate articles, J. T. Johnson of Sartor Associates in San Francisco and Nora Paul of the Poynter Institute offer insights into the paradox of individual privacy and public right/desire to know, particularly as the issues arise in today's information society. Finally, Robert Ellis Smith, publisher of Privacy Journal, outlines ways media can approach privacy issues and still feel they are on safe ground; he recommends self-restraint in place of government restrictions. The general theme of the Poynter Conference is restraint and concern for others' responsible usage of information that has the possibility to harm others. (shrink)

In an effort to deny the ongoing effect of colonialism and imperialism on contemporary political life, the death knell for a multicultural society has been sounded from all sides. That's the provocative argument Paul Gilroy makes in this unorthodox defense of the multiculture. Gilroy's searing analyses of race, politics, and culture have always remained attentive to the material conditions of black people and the ways in which blacks have defaced the "clean edifice of white supremacy." In _Postcolonial Melancholia_, (...) he continues the conversation he began in the landmark study of race and nation _'There Ain't No Black in the Union Jack'_ by once again departing from conventional wisdom to examine--and defend--multiculturalism within the context of the post-9/11 "politics of security." This book adapts the concept of melancholia from its Freudian origins and applies it not to individual grief but to the social pathology of neoimperialist politics. The melancholic reactions that have obstructed the process of working through the legacy of colonialism are implicated not only in hostility and violence directed at blacks, immigrants, and aliens but in an inability to value the ordinary, unruly multiculture that has evolved organically and unnoticed in urban centers. Drawing on the seminal discussions of race begun by Frantz Fanon, W. E. B. DuBois, and George Orwell, Gilroy crafts a nuanced argument with far-reaching implications. Ultimately, _Postcolonial Melancholia_ goes beyond the idea of mere tolerance to propose that it is possible to celebrate the multiculture and live with otherness without becoming anxious, fearful, or violent. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 47, no. 2. © 2021 by Feminist Studies, Inc. 419 Paul Amar Insurgent African Intimacies in Pandemic Times: Deimperial Queer Logics of China’s New Global Family inWolf Warrior 2 This essay offers a new paradigm of “deimperial queer analysis” that reveals the tension between the People’s Republic of China’s extractive expansionism in Africa and its claim to solidarity with Africans against white supremacy and Northern imperialism. (...) China has been labeled an “anti-imperial empire” that forcefully challenges previous Euro-American imperial legacies—all while it verges on reenacting them.1 A critical way it resolves this geopolitical tension is through the articulation of a mission for global China, and since 2017, the heroic filmic fictional figure of the “Wolf Warrior” anchors such an approach. The Wolf Warrior is a gorgeous, muscled, Chinese male rogue soldier in exile who adventures through the archipelago of the PRC’s shipping, mining, and medical projects across the Global South to battle white mercenaries, corrupt Asian businessmen, and local pirates—all while saving Africa from a ravaging pandemic. Extending a hugely popular film series, the release in 2017 of the blockbuster Wolf Warrior 2 (abbreviated below as Wolf 2) unleashed a worldwide social media frenzy as well as a revolution in diplomatic tone and protocol for China. In these ways, Wolf Warrior 2 came to mark the debut of the global PRC as a hegemonic structure 1. David Armitage, “The Anti-Imperial Empire?” Times Literary Supplement, no. 6018, August 3, 2018, https://www.the-tls.co.uk/articles/the-anti-imperialempire -american. 420 Paul Amar of feeling with an attendant popular cultural logic, launching a cast of military characters, humanitarian imaginaries, and gendered rebranding initiatives. These fused into a global cultural megaproject with the PRC presenting itself as a leader in responding to the COVID-19 pandemic in the Global South—a time the PRC has officially branded as its “Rejuvenation Era” of “Stepping Out into the World.” This essay shows how exactly this Wolf Warrior imagination has legitimized a new global regime, but I also reveal how, paradoxically, the Wolf Warrior regime has offered a distinct, more subversive worlding project. I argue here that the utopia immanent in this project can be revealed by interpretively turning this Wolf universe inside out through a deimperial queer analysis that honors and combines a Third World feminist lens and the “Asia as Method” approach with Danmei/BL and Slash queer-feminist fanfiction hacks. Danmei is a Chinese (originally mainly Tawainese) fanfiction genre that subverts mainstream heteronormative narratives by erotically aestheticizing and renarrating male-male intimacies within mainstream plotlines from feminist perspectives. BL (short for “boylove ”) is a similar Japanese fanfiction genre, and Slash is the term used in English for the queer/feminist hacking and excavation of sublimated and particularly utopian gender and sexuality plots from within seemingly conventional heteronormative or patriarchal popular-cultural texts. The everted or inside-out epistemology given expression here uses a set of non-phallogocentric lenses and decolonial feminist decoding practices. At stake is the urgency of not repeating the epistemic violence of conventional “anti-imperial” arguments, which tend to be heteronormative, statist, macho, and monolithic. Instead, the form of critique elaborated here brings questions of gender, race, and sexuality to the fore through a three-part approach. First, I identify the homoerotic register of the techno-infrastructural elements in the film. I generate close readings that detail the visual and genre codes of battle scenes, thug subjects, and piracy plots that forge a homoerotic model of rogue or “wolf” governmentality and that act as a metaphor for China’s techno -infrastructural rule. Second, this essay explores the gendered hauntings of supremacist humanism. I deploy a decolonial feminist lens to map the configuration of African women, female doctors, Maoist women insurgents, and feminized “flowerboys” as a rebel protectorate overseen by China’s phallic prerogative that is itself haunted by the specters of Euro-American humanist betrayal and white supremacy. Third, Paul Amar 421 I trace queer kinship utopias. I demonstrate that Wolf Warrior 2 rejuvenates a non-Western, queer, globalist kinship structure that triangulates Asian, white, and Black through adoption dramas and bromance bonds. Through these intimacies, an... (shrink)

contents -/- ONT vol 1 i. short review: Beyond the Black Rainbow ii. as you die, hold one thought iii. short review: LA JETÉE -/- ONT vol 2 i. maya means ii. short review: SANS SOLEIL iii. vocab iv. eros has an underside v. short review: In the Mood for Love -/- ONT vol 3 i. weed weakens / compels me ii. an Ender's Game after-party iii. playroom is a realm of the dead iv. a precise german History v. (...) short review: STATUES ALSO DIE vi. Kenneth Clark, curator for Fascism vii. a protest poem, in industry lit viii. Lawrence and the English Romance -/- ONT vol 4 i. short review: The Eyes of Tammy Faye ii. vR is efficient R iii. all thru Asia, robes for monks iv. same of God, and of the one God sent v. i thought of the Messiah / muse would be vi. conscience is strong vii. a monk's exalted end -/- ONT vol 5 -/- i. for Shakespeare's Richard the Third ii. the truth is i pass over so many words iii. the boori nazar / nadhar iv. i've awe for jihaad v. short review: Hail, Caesar! vi. a minute of Nothing, gone from YouTube vii. we were rivalrous friends, again viii. my bardo pdf ix. within i'm a weak old mandarin -/- ONT vol 6 i. short review: The Intern ii. the confusion of Chinatown iii. we'll remember water, in Theology iv. Respironics versus ResMed v. i'd bet my life for what vi. the Mad Max deity vii. they'd kill my rat, not heal him -/- ONT vol 7 i. Austen would eroticize all life ii. Merchant/Ivory, a name oddly right iii. Ellie Arroway / Agent Starling iv. abattoir / l’abattoir / laboratoire v. von Neumann's brain an anomaly vi. was terrified of death, delighted in the a-bomb vii. the Greatest Brain is variously named -/- ONT vol 8 i. the day they shot the sacrifice ii. Yay or Nay, on Animal Testing iii. an ought is an is / an is is an ought iv. Behaviorism is for zombies v. a finding from the neuro-lab, on empathy vi. i’ve never had discernible abs vii. a cowardice i'm assenting to perpetually -/- ONT vol 9 i. Day of the Locust / Triffids ii. we're wide on a Paramount soundstage iii. HOLLYWOOD, an ecologic history iv. yet one more site of end-time art v. he's "a bookworm with bulging lobes" vi. apartment is my state of being apart vii. enlightenment means a weight's release -/- ONT lates and xtras i. re Gödel's ontological argument ii. deep in pi's numeric noise iii. from Nothing, something iv. endless in the wrong direction, tragic v. they give you all Eternity to answer vi. what of God's mercy? vii. informed consent and prayer viii. i won't live on. a deed i've done may ix. my selective memory x. Janus means: in close-up foam, two faces xi. a liveable world is a readable world xii. what Supervenes from this? xiii. at each extreme our naming is anachronism xiv. Cat is a collapsing of the wave-function xv. diminishing returns in the history of Experiment xvi. all those undershared Nobels xvii. ice preserves the Cold from heat xviii. a desert spreads xix. Pinker's wit, on jokes xx. Rome surrounds St. Paul / Paul is now the center xxi. each is a gathering Ministry xxii. white boy shot execution-style xxiii. the McDonald's Statement of Claim xxiv. first & last: Don Quixote / Ulysses xxv. The Summer of Rave xxvi. this electro is intrinsically anonymous xxvii. all thru Asia, Drake-Rihanna xxviii. WHO IS BETTER: PLATON OR KANT? (shrink)

This article introduces the preoccupations and themes that define the study and practice of black aesthetics. It presents a provisional sketch of a field that has long been recognized in other humanities disciplines, but that is only now gaining wide notice in academic philosophy. This sketch emphasizes the aspects of the field that invite specifically philosophic scrutiny, while touching lightly on specific artworks, critical literatures and historical developments. Among the topics that receive attention are the following: race, aesthetic politics, (...) creolization, nationalism, modernity, white supremacy and the blues. (shrink)

_Gendered Agents_, edited by Silvestra Mariniello andPaul A. Bové, presents essays by influential feminist theorists who challenge traditional Western epistemology and suggest new directions for feminism. By examining both literary and historical discourses, such critics as Gayatri Spivak, Hortense Spillers, and Lauren Berlant assess questions of sexuality, ethics, race, psychoanalysis, subjectivity, and identity. Gathered from various issues of the journal _boundary 2_, the essays in _Gendered Agents_ seek to transform the model of Western academic knowledge by restructuring its priorities and (...) values. In the introduction, Mariniello urges feminists to begin anew but take as their starting place the achievements of feminism and feminist theory: an understanding of language that considers the implications of silence, the motivation to decompartmentalize experience, and the acknowledgement that everything is political._ _Challenging both a canonical organization of knowledge and the persistently self-referential "ghettoization" of feminism, contributors subsequently tackle subjects as diverse as pre-Marxist France, the American fetus, black intellectuals, queer nationality, and the art of literary interpretation. _Contributors_. Lauren Berlant, Karen Brennan, Margaret Cohen, Nancy Fraser, Elizabeth Freeman, Carol Jacobs, Silvestra Mariniello, Larysa Mykyta, Laura Rice, Ivy Schweitzer, Doris Sommer, Hortense J. Spillers, Gayatri Chakravorty Spivak, Judith Wilt. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Tragic Vision of African American ReligionPaul E. CapetzThe Tragic Vision of African American Religion Matthew V. Johnson New York, N.Y.: Palgrave Macmillan, 2010. 189 pp. $75.00Matthew Johnson’s profound book The Tragic Vision of African American Religion sheds new light upon the distinctive nature of African American religion. Adequate interpretation of this topic requires understanding the traumas inflicted upon Africans sold into slavery, their existential predicaments before and (...) after emancipation, and the ongoing plight of their descendants whose psyches have been indelibly scarred by this traumatic history. Johnson avails himself of the resources of philosophical theology, psychoanalytic theory, and literary criticism to argue his thesis that African American religion expresses a tragic vision of reality. Besides providing an illuminating analysis of the traumatic experience underlying this religious vision, Johnson presents a compelling constructive proposal as to the broader implications of his thesis for Christian theology at large.As a student of David Tracy and Langdon Gilkey, Johnson sees the necessity for rigorous philosophical reflection in theology. Because the spirituality of the black church stands in some real tension with the traditional theological categories inherited from Europe, Johnson proceeds with “a phenomenological orientation grounded in a philosophical hermeneutical approach” that allows him to excavate the traumatic experiences informing this spirituality (4). He skillfully uses the concepts of mourning, loss, longing, and desire developed in psychoanalytical theory to probe the significance of trauma for grasping the dynamics of African American spirituality. He engages literary criticism and argues convincingly for a distinction between “tragedy” as a literary genre and the tragic vision it articulates. Indeed, the tragic vision is prior to tragedy. The tragic is not the encounter with meaninglessness per se but “the always already aesthetic representation of the encounter, which preserves its terrible truth in a transfigured vision of reality” (6). This vision affirms life while facilitating “the recognition and embrace of the darker, more fundamental truths of life” (7).Cognizant that other theologians have declared the incompatibility of Christian faith with a tragic vision of reality, Johnson believes otherwise. He insists that the tragic is fundamental to human experience as such, although it is frequently evaded by strategies of foreclosure—including those of Christian theology—that falsify the experience. Yet the distinctive thing about the black religious experience is the way African Americans made the Christian faith [End Page 215] their own by transforming it at a deep spiritual level through their tragic vision. Mildly critical of previous formulations of black theology, Johnson contends that this involved much more than the affirmation that God cares about the sociopolitical liberation of oppressed people. The Christian tragic vision of the black experience offers the possibility of a new basis for “theology in an African American key” (6). Since he understands himself primarily as a Christian theologian, however, Johnson addresses an audience consisting of more than fellow black theologians. He rightly highlights a profound truth that white theologians have largely failed to grasp: the contribution of the black church “transcends the confines of African American culture to speak meaningfully to a Christian faith struggling to remain viable in a meaningful way” (10).James Cone once issued this challenge: “Why don’t white theologians make racism their issue?” White theologians who ponder Johnson’s book will begin to understand the full import of this challenge: by opening ourselves unreservedly to the pain of our black sisters and brothers, we may discover anew the meaning of that genuine humanity to which the gospel summons all people. A theological reformulation of Christian faith as tragic in the light of the traumas of the black experience could occasion a much needed reformation of the white churches in America.Paul E. CapetzUnited Theological Seminary of the Twin CitiesCopyright © 2012 The Society of Christian Ethics... (shrink)

Jacob Bekenstein's identification of black hole event horizon area with entropy proved to be a landmark in theoretical physics. In this paper we trace the subsequent development of the resulting generalized second law of thermodynamics (GSL), especially its extension to incorporate cosmological event horizons. In spite of the fact that cosmological horizons do not generally have well-defined thermal properties, we find that the GSL is satisfied for a wide range of models. We explore in particular the case of an (...) asymptotically de Sitter universe filled with a gas of small black holes as a means of casting light on the relative entropic ‘worth’ of black hole versus cosmological horizon area. We present some numerical solutions of the generalized total entropy as a function of time for certain cosmological models, in all cases confirming the validity of the GSL. (shrink)

Kenneth C. Schaffner's paper is an important contribution to the literature on behavioral genetics and on genetics in general. Schaffner has a long record of injecting real molecular biology into philosophical discussions of genetics. His treatments of the reduction of Mendelian to molecular genetics first drew philosophical attention to the problems of detail that have fuelled both anti-reductionism and more sophisticated models of theory reduction. An injection of molecular detail into discussions of genetics is particularly necessary at the present time, (...) when so many philosophers seem happy to discuss the philosophical and ethical implications of molecular biology using gene concepts derived from evolutionary biology ). Schaffner has long advocated the view that the philosophy of biology should be more than the philosophy of evolution. This paper shows how radically a picture of gene action derived from molecular biology undercuts the popular picture associated with a more evolutionary view of genes as units of heredity or as ‘difference-makers’ mediated by the ‘black box’ of development. (shrink)

Chapter Seven discusses Edgar Ulmer's The Black Cat as the creation of a high modernist European émigré working in a lowbrow American genre, the horror movie. Ulmer portrays a self-destructive generation of Europeans permanently scarred by the horrors of World War I. Into their world, he introduces a young American couple on their honeymoon, who, in their naïveté, are almost destroyed by the mad Europeans, but escape their satanic clutches in the end. Hoping to succeed in his newly adopted (...) homeland, Ulmer seems to turn his back on his European heritage as a dead end, and yet he cannot help suggesting the cultural superiority of his sophisticated European characters. The Black Cat takes its place in a long line of European works critical of American culture, while at the same time raising serious doubts about Europe's future in the 1930s. (shrink)

The Ladies of Besiktas are a discrete group of followers of Turkey's Besiktas FC. They propose a different ethos from that of the dominant fan culture. They refuse to downplay their femininity, they wear natty black-and-white garb to games, they make breezy videos and they blow whistles when they hear Besiktas fans express foul or insulting sentiments during matches. It seems that the Ladies have motivated most of the offending Besiktas fans to moderate their behaviour in their presence. This (...) discussion paper argues that, while the Ladies are genuinely oppositional and should be affirmed, critical facets of gender introduce a moral and ideological ambiguity, a result of which is the possible reinforcement of masculine hegemony. The discussion concludes with the recommendation that the Ladies elevate, alongside their femininity, elements of their identities that are not identifiably feminine. (shrink)

In this book, Mocombe illustrates ways that Barack Obama is the embodiment of the social identity as the liberal black Protestant heterosexual male. This is an identity best represented in the work of W.E.B. Du Bois.

I defend Frank Jackson's knowledge argument against physicalism in the philosophy of mind from a criticism that has been advanced by Laurence Nemirow and David Lewis. According to their criticism, what Mary lacked when she was in her black and white room was a set of abilities; she did not know how to recognize or imagine certain types of experience from a first-person perspective. Her subsequent discovery of what it is like to experience redness amounts to no more than (...) her acquisition of these abilities. The physicalist can admit this, since it does not commit one to the view that there are any facts of which Mary was ignorant . I argue against this view, on the grounds that the knowledge of what an experience is like cannot be equated with the possession of any set of abilities. (shrink)

The quantum vacuum may in certain circumstances be regarded as a type of fluid medium, or aether, exhibiting energy density, pressure, stress and friction. Vacuum friction may be thought of as being responsible for the spontaneous creation of particles from the vacuum state when the system is non-stationary. Examples include the expanding universe, rotating black holes, moving mirrors, atoms passing close to surfaces, and the activities of sub-cellular biosystems. The concept of vacuum friction will be reviewed and illustrated, and (...) some suggestions for future experiments made. (shrink)

The concept of the vacuum in quantum field theory is a subtle one. Vacuum states have a rich and complex set of properties that produce distinctive, though usually exceedingly small, physical effects. Quantum vacuum noise is familiar in optical and electronic devices, but in this paper I wish to consider extending the discussion to systems in which gravitation, or large accelerations, are important. This leads to the prediction of vacuum friction: The quantum vacuum can act in a manner reminiscent of (...) a viscous fluid. One result is that rapidly changing gravitational fields can create particles from the vacuum, and in turn the backreaction on the gravitational dynamics operates like a damping force. I consider such effects in early universe cosmology and the theory of quantum black holes, including the possibility that the large-scale structure of the universe might be produced by quantum vacuum noise in an early inflationary phase. I also discuss the curious phenomenon that an observer who accelerates through a quantum vacuum perceives a bath of thermal radiation closely analogous to Hawking radiation from black holes, even though an inertial observer registers no particles. The effects predicted raise very deep and unresolved issues about the nature of quantum particles, the role of the observer, and the relationship between the quantum vacuum and the concepts of information and entropy. © 2001 American Institute of Physics. (shrink)