Informed by Gloria Anzaldúa's and José Carlos Mariátegui's work, as well as by Andean cosmology, Omar Rivera turns to Inka stonework and architecture as an example of a "Cosmological Aesthetics." He articulates ways of sensing, feeling and remembering that are attuned to an aesthetic of water, earth and light. On this basis, Rivera brings forth a corporeal orientation that can be inhabited by the oppressed, one that withdraws from predominant modern/Western conceptions of the human. By providing an aesthetic analysis of (...) cosmological sensing, Rivera sets the stage for exploring physical dimensions of anti-colonial resistance, and furthers the Latinx and Latin American tradition of anti-colonial and liberatory philosophy. Seeingaesthetic involvements with the cosmos as a source for embodied modes of resistance, Rivera turns to the work of María Lugones and Enrique Dussel in order to make explicit the aesthetic dimensions of their work. Andean Aesthetics and Anticolonial Resistance creates a new dialogue between art historians, artists, and philosophers working on Latin American thought, phenomenology, and hermeneutics. It weaves together a Latin American philosophy that connects pre-Columbian cosmologies with contemporary thinkers. Rivera's original approach introduces us to the living, evolving and aesthetic alternatives to coloniality of power and of knowledge, overhauling current understandings of decolonial theory and opening the tradition in transformative ways. (shrink)

By putting forward the notions of “eco-sensibilities” and “eco-permeable relationalities,” this paper explores a non-instrumentalizing mode of relation with the “non-human.” On this basis, it shows the possibility of affectively disempowering the hold of “ecological indifference” as Nancy Tuana describes it. It focuses on “animal becoming” and “elemental architecture” as “eco-sensibilities” that effect such a disempowerment.

Drawing from Andean cosmological, mythological and aesthetic lineages, this paper is about the possibility of a phenomenology of things at catastrophic ends. In this regard, I approach things under the sway of a (de)formative emptiness. In the first part, I develop a relational ontology on the basis of the Andean notion of pacha or cosmos, which provides a phenomenological frame for a determination of “place,” “world” and “topology.” I also contrast an elemental topology of the cosmos configured by ouranic sunlight (...) with an elemental catastrophism that overturns it. In the second part, I study a chronological series of artifacts in an Andean aesthetic lineage in order to attempt a phenomenology of “things” (utensils, buildings, mountains) that “spectrally” hover in overturns of the cosmos (pachakuti). (shrink)

A distinctive focus of 19th- and 20th-century Latin American philosophy is the convergence of identity formation and political liberation in ethnically and racially diverse postcolonial contexts. From this perspective, Omar Rivera interprets how a "we" is articulated and deployed in central political texts of this robust philosophical tradition. In particular, by turning to the work of Peruvian political theorist José Carlos Mariátegui among others, Rivera critiques philosophies of liberation that are invested in the redemption of oppressed identities as conditions for (...) bringing about radical social and political change, foregrounding Latin America's complex histories and socialities to illustrate the power and shortcomings of these projects. Building on this critical approach, Rivera studies interrelated epistemological, transcultural, and aesthetic delimitations of Latin American philosophy in order to explore the possibility of social and political liberation "beyond redemption.". (shrink)

This paper adds to the epistemological contributions of Latin American philosophy. In particular, I propose a “resistant epistemology” informed by contemporary indigenous Andean philosophies and cosmologies. Focusing on the work of María Lugones, Rodolfo Kusch, and Silvia Rivera Cusicanqui, I explore ways in which communities are made and remade on the basis of knowledges from below, surviving political and ecological crises, including colonialism and modern development. These kinds of resistive knowledges draw from rituals, quotidian and cosmic rhythms, and affective withdrawals (...) from instrumental and objectifying dispositions. (shrink)

Emphasizing the embodied, physical aspect of María Lugones's decolonial feminism, this article elucidates ways in which the oppressed appears to colonizing gazes and beyond them in order to explore possibilities of resistance. It proposes “stillness” as a sentient physicality that can transgress the hold of racist/colonizing gazes and sense a multiplicity of worlds from a limen. In order to do this, it focuses on the temporality of “stillness” and on modes of appearing of resistant praxis.

This article is an interpretation of Alejandro Vallega’s “decolonial aesthetics,” focusing on his book Latin American Philosophy: From Identity to Radical Exteriority. This interpretation situates decolonial aesthetics in relation to figures in the history of Latin American Philosophy, and the work of Aníbal Quijano, Enrique Dussel, Linda Martín Alcoff, and Gloria Anzaldúa. It also explores the determination of decolonial aesthetics as an aesthetics of liberation.

This essay explains Mariátegui’s critical relationship with Breton in terms of his views on Surrealism. In order to understand this relationship, this essay engages in an analysis of (i) Mariátegui’s notion of the avant-garde as a synthesis of aesthetics and politics and of (ii) the positioning of Mariátegui’s avant-garde in relation to post First World War European bourgeoisie and fascism. This interpretation of Mariátegui’s reveals a determination of Surrealism as discipline that preserves this movement’s revolutionary task in different geo-historical sites. (...) With attention to the difficult, non-systematic character of Mariátegui’s writings, this essay also provides a series of concepts that could assist further interpretations of Mariátegui’s aesthetics and politics. (shrink)

This paper articulates a ‘political ontology’ by orienting Agamben’s inquiries toward the autonomy of the constituting power. In relation to Agamben’s thought, it (1) clarifies it by drawing a categorical distinction between zōē and bare life, (2) departs from it by using Agamben’s analysis of potentiality to understand the paralysis of the constituting power and (3) develops it by unfolding the category of ‘exigency.’ The paper also sets into play a brief encounter between political ontology and representative politics (in Dussel).

This paper is an investigation of the role of comedy in philosophical thinking, particularly of how comedy reveals the erotic dimension of philosophical thinking.In the first half of the paper, I show that the relation between comedy and Eros is a powerful means to understand in what way philosophy is not technē. Philosophy in its erotic and comedic character is, rather, engaged with an appearing of things as ‘birthed’ or ‘living.’ In the second part of the paper, I focus on (...) the role of comedy in the Laches. There I study the complex relationship between philosophy as erotic thinking and andreia or ‘manliness.’ I show that philosophy as erotic must distinguish itself from manliness and that the enactment of this differentiation is the core of the Laches. At the same time, manliness is not simply something that philosophy should not concern itself with. Philosophy must ask the question ‘what is manliness?’ as a way of enacting manliness and overcoming it, in an overcoming through which philosophy comes to its own erotic core. (shrink)

This paper is an investigation of the role of comedy in philosophical thinking, particularly of how comedy reveals the erotic dimension of philosophical thinking.In the first half of the paper, I show that the relation between comedy and Eros is a powerful means to understand in what way philosophy is not technē. Philosophy in its erotic and comedic character is, rather, engaged with an appearing of things as ‘birthed’ or ‘living.’ In the second part of the paper, I focus on (...) the role of comedy in the Laches. There I study the complex relationship between philosophy as erotic thinking and andreia or ‘manliness.’ I show that philosophy as erotic must distinguish itself from manliness and that the enactment of this differentiation is the core of the Laches. At the same time, manliness is not simply something that philosophy should not concern itself with. Philosophy must ask the question ‘what is manliness?’ as a way of enacting manliness and overcoming it, in an overcoming through which philosophy comes to its own erotic core. (shrink)