As part of a larger research study, we present model language for disclosing financial interests in clinical research to potential research participants, and we describe the empirical basis and theoretical assumptions used in developing the language. The empirical process for creating appropriate disclosure language resulted in a generic disclosure statement for cases in which no risk to participants’ welfare or the scientific integrity of the research is expected, and nine more specific disclosure statements for cases in which some risk is (...) expected. The disclosure statements are not meant to be canonical, but were instead designed to reflect the typical situations in which disclosure of financial interest might be considered by an institutional review board or conflict of interest committee. Individual institutions could modify key phrases to suit their purposes, and others could use the language in future empirical work on informed consent to better refine the options for disclosing financial interests in clinical research. (shrink)

From March 1841 until the end of 1845, W. R. Grove held the post of Professor of Experimental Philosophy at the London Institution. No previous study of the Institution has dealt in detail with the period of Grove's tenure of this, the first professorship. Here, by reference to the various manuscripts and publications of the Institution, and to Grove's papers and correspondence, it is possible to describe the background to Grove's appointment and the achievements of his term of office.

The collection presents a variety of promising new directions in Royce scholarship from an international group of scholars, including historical reinterpretations, explorations of Royce's ethics of loyalty and religious philosophy, and contemporary applications of his ideas in psychology, the problem of reference, neo-pragmatism, and literary aesthetics.

The considerable attention to financial interests in clinical research has focused mostly on academic medical centers, even though the majority of clinical research is conducted in community practice settings. To fill this gap, this article maps the practices and policies in 73 community hospitals and several hundred specialized facilities around the country for reviewing clinical investigators’ financial relationships with research sponsors. Community hospitals face a substantially different mix of issues than academic medical centers do because their physician researchers are usually (...) not employees, and more of their studies are later-phase, multicenter trials. Accordingly, community physicians stand to benefit personally from per capita payments, but they tend to have less direct influence over research findings when compared with their academic peers. These and other contrasts require separate guidance for community-based organizations that takes into account their particular needs, circumstances, and institutional capacities. (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)

Nanomedicine is yielding new and improved treatments and diagnostics for a range of diseases and disorders. Nanomedicine applications incorporate materials and components with nanoscale dimensions where novel physiochemical properties emerge as a result of size-dependent phenomena and high surface-to-mass ratio. Nanotherapeutics and in vivo nanodiagnostics are a subset of nanomedicine products that enter the human body. These include drugs, biological products, implantable medical devices, and combination products that are designed to function in the body in ways unachievable at larger scales. (...) Nanotherapeutics andin vivonanodiagnostics incorporate materials that are engineered at the nanoscale to express novel properties that are medicinally useful. These nanomedicine applications can also contain nanomaterials that are biologically active, producing interactions that depend on biological triggers. Examples include nanoscale formulations of insoluble drugs to improve bioavailability and pharmacokinetics, drugs encapsulated in hollow nanoparticles with the ability to target and cross cellular and tissue membranes and to release their payload at a specific time or location, imaging agents that demonstrate novel optical properties to aid in locating micrometastases, and antimicrobial and drug-eluting components or coatings of implantable medical devices such as stents. (shrink)

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

In Michel de Certeau’s Invention of the Everyday, improvisational community dance function as a catalyst for the subversive art of the oppressed, via its ancient Greek virtue/power of mētis, being “foxlike.” And in de Certeau’s The Possession of Loudun, this foxlike dance moves to the stage, as an improv chorus that disrupts the events at Loudon when reimagined as a tetralogy of plays at City Dionysia. More precisely, Loudun’s tetralogy could be interpreted as a series of three tragedies and one (...) comedy, the latter of which involves the chorine nuns’ channeling of anomie into a proto-feminist transfiguration. More precisely, the tactical prowess of the nuns’ chorus leader, namely the prioress Jeanne des Anges, elevates her to the status of an angelic prophet, which in de Certeau’s theatrical dancing critique makes her the Loudun tetralogy’s Dionysian, foxlike mage. In conclusion, this analysis suggests de Certeau’s relevance for revolutionary social justice today. (shrink)

Lament is a Christian practice modeled for us by Jesus. In this article, I argue that lament is a spiritual discipline that assists the sufferer to reconstruct meaning after the disorienting effects of the suffering. Drawing on the psychological literature on stress-related growth, I show how the structure of the psalms of lament facilitates the process of growth through meaning-making. Lament is a stylized form of speech consisting of five common elements that define a specific trajectory. The elements are an (...) address to God, complaints, request, motivation, and confidence in God. The trajectory of lament involves a psychological move from distress to praise, and from disorientation to new orientation. I argue that the meaning that is achieved is not primarily rational or propositional, but instead is anchored in the intimate, dialogical relationship with God. (shrink)

In this article, I explore Seth Farber’s critique in _The Spiritual Gift of Madness_ that the leaders of the Mad Pride movement are failing to realize his vision of the mad as spiritual vanguard of sociopolitical transformation. First, I show how, contra Farber’s polemic, several postmodern theorists are well suited for this leadership (especially the Argentinian post-Marxist philosopher Ernesto Laclau). Second, I reinterpret the first book by the Icarus Project, _Navigating the Space between Brilliance and Madness_, by reimagining its central (...) metaphor of Icarus in the context of late capitalism as a prison world. Finally, I conclude with four strategies derived therefrom for higher functioning mad leaders to transform our penitentiary world. (shrink)

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

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)

Marginalization has been used as a guiding concept for nursing research, theory and practice. Its properties have been identified and updated in 1994 and 1999, respectively. This article re-examines marginalization, considering it to be a concept that changes with pivotal historical events. The events of September 11, 2001, and the war between the US/UK and Iraq are such pivotal events. The notion of the linguistic habitus and symbolic violence as outlined by Bourdieu provide new insights about the dynamics of marginalization. (...) Specifically noted is the marginalization of persons and cultures based on their designation by the current US administration, and as interpreted through mainstream media, as actual or potential ‘terrorists’. A parallel situation in nursing is discussed, beginning with nursing's own marginality, related to the dynamics of symbolic violence. Nursing is argued to be vulnerable to having essential words and practices co-opted by dominant institutions and altered in meaning, that is, made incongruent with the discipline's emphasis on core values of confidentiality, equity and care. In response to marginalization and exteriorization those affected can use voice and testimony to ‘recreate the centre’. Suggestions for protecting our practices and philosophy are included. (shrink)

ExcerptIn a letter to his friend and intellectual collaborator Theodor W. Adorno, on December 25, 1935, Walter Benjamin describes music as a field of inquiry “fairly remote” from his own.1 Several years later, in another letter to Max Horkheimer, he writes that the “state of musical affairs … could not be any more remote” for him.2 Yet despite these claims of unfamiliarity with aurality, there are numerous observations on acoustic phenomena throughout Benjamin's oeuvre. From his early essays on language to (...) his autobiographical studies and late works on critical historiography, Benjamin displays a keen sensitivity to sound that ranges from…. (shrink)

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

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

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

In this 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)

I examine the role of tragedy within the ethics of Alasdair MacIntyre and Iris Murdoch. MacIntyre argues for a narrative conception of the self, stressing the need for coherence and intelligibility and for the virtues which promote them. Tragic dilemma presents a successful self with severe frustration but not with destruction of its overall project. Murdoch, on the other hand, holds little hope for the self's coherence, and in fact champions tragic art's capacity for disturbing and even disrupting the self's (...) fantasies of control and coherence. Her virtues correspondingly help the agent to confront the tragic realities of life. I suggest one way to bring these two accounts, of tragedy and the virtues, together: by considering tragic experience in the context of moral pedagogy. (shrink)

In this article, I offer a new philosophical interpretation of Virgil’s Aeneid, dually centered on the queens of Olympus and Carthage. More specifically, I show how the philosopher-poet Virgil deploys Dido’s Junonian furor as the Aristotelian matter of the unjust Roman imperium, the feminist counterforce to the patriarchal force disguised as peaceful order. The first section explores Virgil’s political and biographical background for the raw materials for a feminist, anti-imperial political philosophy. The second section, following Marilynn Desmond, situates the continuing (...) misogynist condemnation of Virgil’s two goddess-queens in the context of their honored centrality in Roman and Carthaginian culture. The third section reinterprets Virgil’s goddess-queens as agents of furor as (apparently mad) feminist counterforce to the (actually mad) unjust force of the Roman empire and its agents Jupiter and Aeneas. The fourth section translates these poetic philosophical interpretations into prose, arguing that Dido’s Junonian furor is the Aristotelian matter constituting the unjust forms of Roman imperium. And the conclusion applies the latter analysis to Hardt and Negri’s Empire, suggesting Dido as a model for the “multitude” in the fight against the imperial injustice of today’s globalized empire. (shrink)

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

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)

While the definitions employed by different governmental agencies and scientific societies differ somewhat, the term “nanotechnology” is generally understood to refer to the manufacturing, characterization, and use of man-made devices with dimensions on the order of 1-100 nanometers. Devices that comprise a fundamental functional element that is nanotechnological are also frequently comprised within nanotechnology, as are manufactured objects with dimensions less than one micrometer. The differences in definition lead to occasional paradoxes, such as the fact that the most widely used (...) nanodrug is labeled a “nanopharmaceutical” by governments of European countries, Canada, and Australia, but it is not a nanotechnology for the U.S. Food and Drug Administration. It is also common in scientific domains to restrict the term “nanotechnology” to objects that possess special, “emerging” properties that only arise because of their nanoscale dimension. (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)

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

On September 8, 2015, the Department of Health and Human Services issued a Notice of Proposed Rule Making to revise the Federal Policy for the Protection of Human Subjects, widely known as the “Common Rule.” The NPRM proposes several changes to the current system, including a dramatic shift in the approach to secondary research using biospecimens and data. Under the current rules, it is relatively easy to use biospecimens and data for secondary research. This approach systematically facilitates secondary research with (...) biospecimens and data, maximizing the capacity for substantial public benefit. However, it has been criticized as insufficiently protective of the privacy and autonomy interests of biospecimen and data sources. Thus, the NPRM proposes a more restrictive regime, although more so for biospecimens than data. Both the status quo and the NPRM's proposal are critically flawed. (shrink)

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

My first section considers Walter J. Ong’s influential analyses of the logical method of Peter Ramus, on whose system Milton based his Art of Logic. The upshot of Ong’s work is that philosophical logic has become a kind monarch over all other discourses, the allegedly timeless and universal method of mapping and diagramming all concepts. To show how Milton nevertheless resists this tyrannical result in his non-Logic writings, my second section offers new readings of Milton’s poems Il Penseroso and Sonnet (...) 16: “On His Blindness”, along with his prose epilogue to his elegies (and thereby the entire collection entitled Poems). These readings attempt to show (1) the original admixing of philosophy and poetry (under the heading of “thoughtfulness”), (2) the shadow-hidden superiority of poetry in connection to the effeminising disability of blindness, and (3) the potential irony of an apology that arguably suggests poetry’s superiority to philosophy. Finally, I rest my case for Milton’s rebellion by offering an interpretation of Paradise Lost which affirms the character of Satan qua dark, queer, poetic figure of classical republicanism. (shrink)

Contemporary philosopher Jacques Rancière has been criticized for a conception of “politics” that is insensitive to the diminished agency of the corporeally oppressed. In a recent article, Dana Mills locates a solution to this alleged problem in Rancière most recent book translated into English, Aisthesis, in its chapter on Mallarmé’s writings on modern dancer Loïe Fuller. My first section argues that Mills’ reading exacerbates an “homonymy” (Rancière’s term) in Rancière’s use of the word “inscription,” which means for him either a (...) vicious literal carving on living bodies, or else a virtuous figurative carving on nonliving bodies. The former, I call “bodily carving,” while the latter is the “corporeal writing” that I take Mallarmé to affirm in Fuller. My second section observes that Rancière himself misses a homonymy in Mallarmé on Fuller, namely “dance,” meaning either “ballet” or dance in general (including Fuller’s). My third section concludes that Rancière’s chapter on Fuller includes another “dance” homonymy, meaning either “concert dance” or what I term a new “art of meta-movement” in Fuller. The latter art, I conclude, is equivalent to Mallarmé’s “corporeal writing,” and can be understood as a new form of dance education, in pursuit of a new utopia of worker-dancers. (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)

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

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)

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

In this article, I explore two neglected works by the twentieth-century Jewish German Marxist philosopher Ernst Bloch, Avicenna and the Aristotelian Left and Natural Law and Human Dignity. Drawing on previous analyses of leftist Aristotelians and natural law, I blend Bloch’s two texts’ concepts of pregnant matter and maternal law into “pregnant materialist natural law.” More precisely, Aristotelian Left articulates a concept of matter as a dynamic, impersonal agential force, ever pregnant with possible forms delivered by artist-midwives, building Bloch’s messianic (...) utopia. And Natural Law resurrects the Stoics’ concept of natural law as drawing on a prehistoric matriarchal utopia, later channeled by earth goddess cults misconstrued by the nineteenth-century German anthropologist Johann Jakob Bachofen as political matriarchy. I then conclude by linking this pregnant materialist natural law to Dionysus as son of the Great Mother Goddess. Though stigmatized throughout homophobic Western history for his queerness and maternal dependence, Dionysus is also the patron god of Bloch’s hero, the slave revolutionary Spartacus, paramour of a priestess of Dionysus who prophesied his divine mission of liberation. (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)

In this essay, after a brief decolonial analysis of the concept of “poetry” in Indigenous communities, I will investigate the poetic-philosophical implications of Cherokee culture, more specifically the poetic essence of the Cherokee language, the poetic aspects of Cherokee myth (pre-history) and post-myth (history), and the poetic-philosophical powers of Cherokee ritual. My first section analyzes the poetic essence, structure, special features, and historical context of the Cherokee language, drawing on Ruth Holmes and Betty Sharp Smith’s language textbook, Beginning Cherokee. My (...) second section considers poetic aspects of the pre-history and history of the Cherokee Nation considered as a text, using Robert J. Conley’s The Cherokee Nation: A History. And my third section investigates the poetic nature of the Cherokee rituals’ myth-ontological background and its existential psychological implications, via J. T. Garrett & Michael Tlanusta Garrett’s The Cherokee Full Circle: A Practical Guide to Ceremonies and Traditions. Collectively, these analyses will suggest that, just as the Cherokee and other tribes are the slandered, disenfranchised, suppressed and covered-over Indigenous peoples of the North American continent, so poetry writ large (including Indigenous philosophy) is the slandered, disenfranchised, suppressed and covered-over arche of western philosophy (as I have previously explored via a new interpretation of Nietzsche). In short, I will argue that both poetry and Cherokee culture can be understood as indigenous “absences” which are in truth vital and enduring presences. (shrink)

The present article utilizes the Nietzschean “poetics” distilled from Nietzsche’s Gay Science as an interpretive strategy for considering Deleuze’s essay “Literature and Life” in Essays Critical and Clinical. The first section considers Deleuze’s overarching project in that essay, and then repositions his thought from literature in general to “poetry” in particular, indicating both resonances between Deleuze’s understanding of “literature” and Nietzsche’s understanding of “poetry” as well as their dissonances. The second section focuses on the places in Deleuze’s analyses where he (...) excludes poetry, and suggests that this exclusion is related to Nietzsche’s claim that lyric poetry is the birthplace of philosophy. Put differently, the being of lyric poetry threatens to disrupt Deleuze’s distinction between the respective roles and powers of philosophy and art, and thereby to disclose poets as, at least potentially, philosophers, and vice versa. And the final section offers one of Rainer Maria Rilke’s Sonnets to Orpheus as an exemplar of poetry’s philosophical potential, before concluding that a Nietzschean conception of poetry constitutes the “dark precursor” of “Literature in Life,” Essays Critical and Clinical, and Deleuze’s work in general. (shrink)

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

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)