Benedict Spinoza is feted as the philosopher par excellence of the popular democratic multitude by Antonio Negri and others. But Spinoza himself expresses a marked ambivalence about the multitude in brief asides, and as for his thoughts on what he calls “the rule of multitude,” that is, democracy, these exist only as meager fragments in his unfinished Tractatus Politicus or Political Treatise. This essay addresses the problem of Spinoza’s multitude. First, I reconstruct a vision of power that is found in (...) the Ethics but that tends to be overlooked in the scholarly literature: power is not just sheer efficacy or imposition of will, but rather involves a capacity for being-affected; I call this the conception of power as sensitivity. The second part of my argument shows how, given Spinoza’s emphatic political naturalism, the conception of power as sensitivity can be extended to his political philosophy to shed light on what Spinoza calls potentia multitudinis, or “the power of the multitude”—a term found solely in the Political Treatise and nowhere else in his oeuvre. This juxtaposition reveals significant qualifications to the liberatory potential of the multitude currently claimed in the scholarly literature. (shrink)

Perhaps one of the most troubling passages in all three of Kant’s Critiques is a short, confusing passage in which Kant claims that a judgment of taste must precede the feeling of pleasure. Many interpreters have argued that such a claim necessitates a viciously circular argument. But this circularity might not be vicious at all. In fact, this revolving shape actually leads to the most important site of the entire Analytic: the logic of the “without” as in the famous “purposiveness (...) without purpose.” From an alternative position we will see that this spiraling shape repeats throughout the text, especially the four moments of the Analytic of Beauty. We will try to distinguish this aesthetic spiral from the classic hermeneutic circle, then return to the circular order of precedence in aesthetic judgment. Finally, we will try to clarify what is universally communicated in the demand on others involved in a judgment of taste. (shrink)

Kant’s Critique of Judgment is a storehouse full of provocative concepts and structures, which is why, since at least the 1970’s, many contemporary Kant scholars and philosophers of other sorts have attempted to mine and explicate this text to varying degrees of success. Among these concepts and structures, there are a few that continue to evade complete elucidation. One of the most well tread, albeit still contested, grounds that appears in the third Critique is “purposiveness without purpose.” Picking up from (...) some recent interpretations of Kantian aesthetics, I contend that it is possible to discover at least three forms of purposiveness without purpose in aesthetic judgments. A second concept, the sensus communis, I will contend, is as important as the three sites of purposiveness without purpose. In fact, I will show how the sensus communis, in its ternary form, can be mapped onto the three sites of purposiveness without purpose; the two concepts cannot be separated. Finally, this mapping will allow for an attempt at what I could refer to as an “inconstruction” of the Deduction of Aesthetic Judgments that will engage many of the long-standing questions surrounding this text. (shrink)

What kind of things are damaged art-objects? Are they junk, trash, mere stuff? Or do they remain art by virtue of their distinguished provenance or still discernible design? What kind of powers do such things have as material bodies and forces? Instead of attempting to locate proper concepts for salvaged art-things, this essay, from a perspective centered on the power of bodies-in-encounter – where “power” in Spinoza’s sense is the capacity to affect and be affected – attempts to home in (...) on the presence of a material vibrancy in the hope of better understanding the postures, reactions, and comportments that damaged art pieces inspire as we engage with them. This article proposes that even so-called “inanimate” things convey specific degrees of animacy even if not all of them qualify under the biological definition of life. (shrink)

In this article, I explore the relationship between dance and the work of Nelson Goodman, which is found primarily in his early book, Languages of Art. Drawing upon the book’s first main thread, I examine Goodman’s example of a dance gesture as a symbol that exemplifies itself. I argue that self-exemplifying dance gestures are unique in that they are often independent and internally motivated, or “meta-self-exemplifying.” Drawing upon the book’s second main thread, I retrace Goodman’s analysis of dance’s relationship to (...) both notation in general and also Labanotation in particular. My argument is that dance gives the false impression of being notational, or is “meta-notational.”. (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)

FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. What kind of things are damaged art-objects? Are they junk, trash, mere stuff? Or do they remain art by virtue of their distinguished provenance or still discernible design? What kind of powers do such things have as material bodies and forces? Instead of attempting to locate proper concepts for salvaged art-things, this essay, from a perspective centered on the power of bodies-in-encounter – where “power” in Spinoza’s (...) sense is the capacity to affect and be affected – attempts to home in on the presence of a material vibrancy in the hope of better understanding the postures, reactions, and comportments that damaged art pieces inspire as we engage with them. This article proposes that even so-called “inanimate” things convey specific degrees of animacy even if not all of them qualify under the biological definition of life. (shrink)