The Southern Journal of Philosophy – Spindel supplement on Critical Theories of the Present (open access)

Progressive Geographies

untitledThe proceedings of last year’s Spindel Conference at the University of Memphis on the topic “Critical Histories of the Present” have now been published in The Southern Journal of Philosophy. Edited by Verena Erlenbusch, it has contributions from Bilge Akbalik, Amy Allen, Shouta Brown, Andrew Daily, Andrew Dilts, Stuart Elden, Bryan Kimoto, Colin Koopman, Jordan Liz, Mary Beth Mader, Ladelle McWhorter, Maia Nahele, Kevin Olson, Tuomo Tiisala, Jasmine Wallace, and Jim Zubko. The issue requires subscription, unfortunately.

[Update 1 September 2017: the issue appears to be open access]

My contribution is entitled ‘Foucault and Shakespeare: Ceremony, Theatre, Politics‘. A preprint is available here. Here’s the abstract:

Foucault only refers to Shakespeare in a few places in his work. He is intrigued by the figures of madness that appear in King Lear, Hamlet, and Macbeth. He occasionally notes the overthrow of one monarch by another…

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Catherine M. Soussloff, Foucault on Painting – forthcoming in November 2017 with University of Minnesota Press

this was when there ywere people who thought andact

Progressive Geographies

imageCatherine M. Soussloff, Foucault on Painting– forthcoming in November 2017 with University of Minnesota Press.

A timely exploration of Foucault’s art historical and philosophical engagement with painting as knowledge

Catherine M. Soussloff argues that Michel Foucault’s sustained engagement with European art history critically addresses present concerns about the mediated nature of the image in the digital age. She explores the meaning of painting for Foucault’s philosophy, and for contemporary art theory, proposing a new relevance for a Foucauldian view of ethics and the pleasures and predicaments of contemporary existence.

Catherine Soussloff is certainly one of the most intellectually intelligent and reflective art historians I can think of. Foucault on Painting is a clear, deeply thoughtful, and perfectly written contribution to the important field of intersect between art and philosophy.

—James Rubin, Stony Brook University

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INDIPENDENZA DA COSA?

Finalmente, alguém coloca o debate onde devia estar

Blog di Alberto Micalizzi

Chiunque abbia a cuore la sovranità dei popoli non può che provare empatia per qualsiasi causa di autodeterminazione, soprattutto se conclamata dalle immagini di una popolazione che lotta per le strade per respingere la polizia inviata ad impedire la celebrazione di una consultazione popolare.

Tuttavia, la partita in atto contro le élite finanziarie è complessa e richiede pragmatismo e strategia. Proviamo a porci questa domanda: supponiamo che oggi la Catalogna si stacchi dalla Spagna, e che questo inneschi altre spinte centrifughe riguardanti i baschi, i corsi, i bretoni, i fiamminghi, l’Alto Adige etc… staremmo per questo realizzando l’Europa dei popoli liberi? L’Europa della piccole patrie?L’Europa delle identità? Oggi, nel contesto nel quale siamo, non ne sono affatto sicuro.

Non ho un’opinione compiuta sui fatti catalani, e plaudirei senza esitazione alla volontà indipendentista catalana se fossi sicuro che il neo-Stato avesse un piano di emancipazione dalle élite finanziarie alle…

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October 2017: Tidings

method two madness

tidings oct 17 s

quiet shapes hover,
silent shadows cast by youth–
spirits in mirrors

befriend the stage unfolding–
fill the mind’s eye with delight

October’s grid is composed of cut up pieces of two different monoprints.  The tanka uses words from Colleen’s Poetry Challenge and the Secret Keeper–both were thinking of spirits (appropriate to the month of October).

I’ve been considering the accumulations of autumns in a life.

tidings close up s

My particular thoughts for this unfolding day are for those all over the world struggling to cope with daily survival in the wake of disasters both natural and man-made.  May we learn to respond with open hearts and hands.

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Deep

method two madness

cave window s

The end appears, a double crossing tide
in empty light that does not shine but burn
as rain like needles pierces deep inside

Along the bleeding walls no place to hide
from chanted words the mind must now unlearn
the end appears, a double crossing tide

Eyes close and claim the tears that might have cried
all motion paralyzed against return
as rain like needles pierces deep inside

no voices call, no soul appears as guide
emotion gathers tight, afraid to yearn
the end appears, a double-crossing tide

a barren river, unrelenting, wide,
unnavigable, cursed through aft and stern
as rain like needles pierces deep inside

the past decays, erased, annulled, denied
impossible to conjure or discern
the end appears, a double crossing tide
as rain like needles pierces deep inside

I did this awhile ago (last spring) for Sue Vincent’s photo prompt, above.  I was reminded of it because…

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