_Shusterman’s Somaesthetics_ is a wide-ranging collection of penetrating essays by twelve scholars examining in rich detail the many dimensions of philosopher Richard Shusterman’s pragmatism and somaesthetics, complemented by his own chapter of responses to these scholars.

all the violence in hip hop? Does po-po wield legit authority in the hood? Where does the real Kimberly Jones end and the persona Lil' Kim begin? Is hip-hop culture a "black" thang?

This special issue of Journal of Poetry Therapy focuses on the use of poetry and other forms of expressive writing to explore the transformative experiences of military veterans, and so in this article I discuss how the use of poetry, hip-hop, and philosophy positively influenced my life while I was serving in the United States Air Force (USAF) from 2000 through 2004. This article briefly reviews my reasons for enlisting and discusses the importance that poetry, hip-hop, and philosophy (...) had for me during four different phases of my military history: (i) Basic Military Training, (ii) Aircraft Qualification, Combat Survival, and Water Survival Training, (iii) serving in the post 9/11 operations Operation Enduring Freedom and Operation Iraqi Freedom, and (iv) the period after fulfilling my time of service for the USAF. In discussing each phase, I explain the unique challenges that I encountered, how I used poetry, hip-hop, and philosophy to successfully overcome these challenges, point out relevant examples of poetry, hip-hop, and philosophy that were particularly influential, and include pictures of my experiences throughout. (shrink)

Philosophy and Hip-Hop: Ruminations on Postmodern Cultural Form opens up the philosophical life force that informs the construction of Hip-hop by turning the gaze of the philosopher upon those blind spots that exist within existing scholarship. Traditional Departments of Philosophy will find this book a solid companion in Contemporary Philosophy or Aesthetic Theory. Inside these pages is a project that parallels the themes of existential angst, corporate elitism, social consciousness, male privilege and masculinity. This book illustrates the (...) abundance of philosophical meaning in the textual and graphic elements of Hip-hop, and thus places Hip-hop within the philosophical canon. (shrink)

This book puts forth the concept and practice of hip-hop mindfulness as a way for minoritized communities to take creative risks in the face of cultural oppression within educational institutions. Written for students of social justice and diversity education, foundations of education, and ethnic studies, this book introduces the hip-hop mindset as a professional practice that holds relevance for ambitious leaders in any profession who seek to innovate, trailblaze, and create so much professional magic, that they appear to walk on (...) air. (shrink)

This book argues that Hip Hop’s early history in the South Bronx charts a course remarkably similar to the conceptual history of artistic creation presented in Hegel’s Lectures on Aesthetics. It contends that the resonances between Hegel’s account of the trajectory of art in general, and the historical shifts in the particular culture of Hip Hop, are both numerous and substantial enough to make us re-think not only the nature and import of Hegel’s philosophy of art, but the origin, (...) essence and lesson of Hip Hop. As a result, the book articulates and defends a unique reading of Hegel’s Aesthetics, as well as providing a philosophical explanation of the Hip Hop community’s transition from total social abandonment to some limited form of social inclusion, via the specific mediation of an artistic culture grounded in novel forms of sensible expression. Thus, the fundamental thesis of this book is that Hegel and Hip Hop are mutually illuminating, and when considered in tandem each helps to clarify and reinforce the validity and power of the other. (shrink)

Hip-hop music in Bulgaria is not just a style of popular music but a cultural choice and political stance. This paper explores Bulgarian hip-hop songs and artists as bearers of the communal and political through the poetic. The analyzed songs and videos of Zhluch, Atila and Upsurt from the latest wave of Bulgarian rap are symptomatic examples of the unifying characteristics of the two lines (“joking around”, “folk” and “high”, “intellectual”) of rapping as a pop culture with a dynamic nature (...) of tension and struggle. The musical play and intertextual references illuminate the role of technology as a means and form in the political game: remixes, digital sampling as expressions of the fun, contrasting, parodic, and carnivalesque recreation of reality are catalysts for challenging the status quo. (shrink)

Through essays by some of hip-hop's most interesting thinkers, theorists, journalists, writers, emcees, and DJs, Boogie Down Predictions embarks on a quest to understand the connections between time, representation, and identity within hip-hop culture and what that means for the culture at large.

This essay undertakes a phenomenological inquiry into the ‘experiential structure of hip-hop’ – a structure that hip-hop artist Jay-Z (Shawn Carter) gestures towards in his text Decoded. In this book, Jay-Z argues that hip-hop has a particular power to act as the vehicle for the communication of a specific type of experience, i.e. contradictory experiences, or those which do not seem possible under the principle of non-contradiction. For instance, Tupac Shakur says of his mom that “…even as a crack fiend, (...) mama / You always was a Black Queen, mama.” The way in which hip-hop is a powerful vehicle for this communication lies, according to Jay-Z, in its very structure, which he describes using two sets of terms: rhythm/flow and music/rhyme. Using Jay-Z’s general outline, this essay attempts to complete a phenomenological analysis of hip-hop, in the effort to (1) isolate the experiential structure of hip-hop and (2) isolate, within this structure, the way in which hip-hop is able to communicate contradictory experiences. In the final analysis, the author isolates the experiential structure of hip-hop and shows how its multiple layers work to draw listeners in and induce them to experience-with the artist. (shrink)

Forming and sustaining healthy relationships of any kind requires empathy, thought, communication and effort, all of which are learned skills. Many of these skills can and should be learned in a variety of places, including and especially in schools. One of the most appropriate venues for teaching interpersonal relationship skills in school is through ‘sex ed’ classes. I argue that student-centred, anti-racist, culturally affirming and appropriate, inclusive, egalitarian and relationship-based learning environments are necessary for sex education that benefits all students. (...) The principles of hip-hop-based pedagogies, including Christopher Emdin's Reality Pedagogy, Bettina Love's Abolitionist Pedagogy and Rawls and Robinson's Youth Culture Pedagogy can serve as a useful theoretical framework around which to build sex education curriculum and policy. School-based sex education (SBSE) based on these principles may prove extremely beneficial not only to all students and their individual sense of identity and sexual autonomy but also to the general welfare of the public in the long run. (shrink)

Bodies of Information initiates the Routledge Advances in the History of Bioethics series by encompassing interdisciplinary Bioethical discussions on a wide range of descriptions of bodies in relation to their contexts from varying perspectives: including literary analysis, sociology, criminology, anthropology, osteology and cultural studies, to read a variety of types of artefacts, from the Romano-British period to Hip Hop. Van Renslaer Potter coined the phrase Global Bioethics to define human relationships with their contexts. This and subsequent volumes return to Potter's (...) founding vision from historical perspectives, and asks, how did we get here from then? (shrink)

Philosophie und Hiphop -- Selbstmeisterung -- Die 10 Gesetze der Rap-Philosophie -- Wo bin ich zu Hause? -- Hiphop heisst Wissen, was ungerecht ist -- Dialektik der Gewalt -- Anleitung zur Dekonstruktion -- Täter*in des Wortes -- Kampf um Anerkennung -- Intersektionale Perspektiven -- Performative Philosophie -- Wahrsprechen -- Die Vision des Neu-Anfangen-Könnens -- Sehnsucht nach dem guten Leben -- Transfiguration der Welt -- Philosophie in Bewegung: zwischen Hip und Hop -- Wider die Wiederkehr des Gleichen -- Hiphop don't stop... (...) . (shrink)

This article is motivated by a reading of J.J. Abrams’ proceedings Shusterman’s Somaesthetics: From Hip Hop Philosophy to Politics and Performance Art. Of the diverse range of essays in the proceedings, I concentrate my attention primarily on those aspects of the texts that highlight Richard Shusterman’s practical somaesthetics, and in which their authors focus on the more personal aspects of Shusterman’s philosophical-artistic experimentation, as captured in The Adventures of the Man in Gold: Paths Between Art and Life, A Philosophical (...) Tale. Through references to Foucault’s notion of care of the self and the aesthetics of existence, the article demonstrates that the individual level of Shusterman’s practical somaesthetics is not separable from the social-ethical level. This is matched by the conclusion of the text, which points out that Shusterman’s practical somaesthetics overcomes the dichotomy of private and public in Richard Rorty’s pragmatism. (shrink)

This book offers a collection of contemporary essays that explore philosophical themes at work in chess. This collection includes essays on the nature of a game, the appropriateness of chess as a metaphor for life, and even deigns to query whether Garry Kasparov might—just might—be a cyborg. In twelve unique essays, contributed by philosophers with a broad range of expertise in chess, this book poses both serious and playful questions about this centuries-old pastime. -/- Perhaps more interestingly, philosophers have often (...) used chess in discussions of their work. Walter Benjamin compares the marching of history to an automaton playing chess. John Dewey and Charles Sanders Peirce utilize chess to explain their pragmatism. The linguist Ferdinand de Saussure employs the analogy of chess to explain the exchange of signifiers. There are approximately 181 uses of the word chess or one of its cognates in the published works of Ludwig Wittgenstein. John Rawls explains that one might want to make a distinction between constitutive and regulative rules, which can best be understood by examining a game of chess. John Searle, deeply convinced of this distinction, explains further: "The rules of football or chess are given as an example of constitutive rules because they 'create the very possibility of playing such games.'" Hubert Dreyfus and Daniel Dennett have had extensive public discussions about the issue of artificial intelligence and chess. Dreyfus, utilizing chess examples, has written extensively on what computers still cannot do. Meanwhile, in spite of his protestations, chess-playing computers continue to fascinate those who work in the area of artificial intelligence. -/- The game of chess has endured since at least the sixth century. Its earliest variant, the Indian game of Chaturanga, was from the beginning a game for thinkers. Since its inception, scholars, statesmen, strategists, and warriors have been fascinated by the game and its variants. German philosopher Emmanuel Lasker and famed French artist Marcel Duchamp were both Grandmasters at chess. Karl Marx played chess avidly, as did Sir Bertrand Russell, Jean-Paul Sartre, and the logical positivist Max Black. Jean-Jacques Rousseau mentions in his Confessions that, at the time, he "had another expedient, not less solid, in the game of chess, to which I regularly dedicated, at Maugis's, the evenings on which I did not go to the theater. I became acquainted with M. de Legal, M. Husson, Philidor, and all the great chess players of the day, without making the least improvement in the game." More recently, philosopher Stuart Rachels reports that his father, the late philosopher and prominent ethicist James Rachels, received a bribe from a Russian Grandmaster while he was the chair of the U.S. Chess Federation's Ethics committee. -/- "Whether you’re a professional philosopher, an armchair chess player, or something in between, Philosophy Looks at Chess gives you hours of thought-provoking reading. With chapters on technology, ethics, hip hop, and backward analysis, this book carves out a new space in the literature on both chess and philosophy" -/- —Jennifer Shahade, two-time U.S. Women's Champion and author of Chess Bitch -/- "Chess and philosophy are natural mates that have been awaiting the proper introduction. This wide-ranging collection of stimulating essays is the perfect opening gambit for philosophical chess enthusiasts." -/- —Will Dudley, author of Hegel, Nietzsche, and Philosophy: Thinking Freedom. (shrink)

In this discussion piece, I will comment on the collective volume, edited by Jerold J. Abrams, Shusterman’s Somaesthetics. From Hip Hop Philosophy to Politics and Performance Art (2022). I will articulate my reflections around three main themes, which intersect the theme of several of the essays of the volume: I will first of all consider the concept of transfiguration, commenting upon the difference between Danto’s hermeneuticist perspective and Shusterman’s somaesthetic reinterpretation, with special regard to his performative experiment, the Man (...) in Gold. Secondly, I will turn to a possible consequence entailed by this reinterpretation concerning the relation between aesthetics and art. Finally, I will turn to the controversy between somaesthetics and pathic aesthetics, and comment on a possible way to reconcile some elements of both, starting from the condition of the suffering body. (shrink)

In Hip-Hop in Africa, Msia Kibona Clark examines some of Africa's biggest hip-hop scenes and shows how hip-hop helps us understand specifically African narratives of social, political, and economic realities. Clark looks at the use of hip-hop in protest, both as a means of articulating social problems and as a tool for mobilizing listeners around those problems. She also details the spread of hip-hop culture in Africa following its emergence in the United States, assessing the impact of urbanization and demographics (...) on the spread of hip-hop culture. Hip-Hop in Africa is a tribute to a genre and its artists as well as a timely examination that pushes the study of music and diaspora in critical new directions. (shrink)

Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance novels, or film noir. It should be no surprise then, that philosophers of art have also been interested in genres. Whether they are giving accounts of genres as such or of particular genres, genre talk abounds in philosophy as much as it does the popular discourse. As a result, theories of genre proliferate as well. However, in their accounts, philosophers have so far focused on capturing (...) all of the categories of art that we think of as genres and have focused less on ensuring that only the categories we think are genres are captured by those theories. Each of these theories populates the world with far too many genres because they call a wide class of mere categories of art genres. I call this the problem of genre explosion. In this paper, I survey the existing accounts of genre and describe the kinds of considerations they employ in determining whether a work is a work of a given genre. After this, I demonstrate the ways in which the problem of genre explosion arises for all of these theories and discuss some solutions those theories could adopt that will ultimately not work. Finally, I argue that the problem of genre explosion is best solved by adopting a social view of genres, which can capture the difference between genres and mere categories of art. (shrink)

In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, I (...) argue for an alternative model of authenticity in which we take claims about the relative authenticity of country music to be evidence of ‘country’ being a dual character concept in the same way that it has been suggested of punk rock and hip-hop. Authentic country music is country music that embodies the core value commitments of the genre. These values form the basis of country artists’ and audiences’ practical identities. Part of country music’s aesthetic practice is that audiences reconnect with, reify, and revise this common practical identity through identification with artists and works that manifest these values. We should then think of authenticity discourse within country music as a kind of game within the genre’s practice of shaping and maintaining this practical identity. (shrink)

This is the first book-length project to examine the relationship between blackness, queerness, and hip hop. Using aesthetics as its organizing lens, Hip Hop Heresies attends to the ways that hip hop cultural production in New York City from the 1970s through the first fifteen years of the 21st century produced hip hop cultural products (film, visual art, and music) that offer "queer articulations" of race, gender, and sexuality that are contrary to hegemonic ideas and representations of those categories in (...) hip hop production, as well as in writing about hip hop culture. (shrink)

El artículo analiza el proceso de organización de un grupo de hip-hop, basado en el análisis central de los significados del “lazer” para sus participantes, en la búsqueda de una nueva perspectiva de inserción social. Ha sido realizado mediante la combinación de investigación bibliográfica, documental y de campo. El método utilizado ha sido el estudio de caso, en la Organização dos Novos Quilombos (ONQUI), “posse” de hip-hop, teniendo la observación participante como principal técnica de recolección de datos. Entre los resultados (...) es posible afirmar que el “lazer” desarrollado por medio de las actividades relacionadas al movimiento hip-hop contribuye a la conquista de la ciudadanía para las personas de la periferia de la ciudad. Organizaciones como la ONQUI, basadas en la relación y movilización en actividades culturales conectadas al hip-hop, desarrollan políticas públicas sociales, de forma no-gubernamental, acciones que son fruto de procesos formales e informales de asociacionismo, entendidas como un contrapunto, una respuesta a las acciones del poder público municipal. (shrink)

El siguiente artículo propone una presentación del Hip Hop en Chile, comprendido como un movimiento plural que puede ser pensado en términos de tácticas y estrategias de resistencia. Para ello se comienza por una caracterización general de esta práctica considerando sus diversos componentes -música, danza y grafiti- seguida de una descripción de sus orígenes históricos y de su contexto social de emergencia asociado a la segregación y a la estigmatización urbanas. Luego, a partir de la revisión de diversas investigaciones provenientes (...) de la historia y de la sociología se aborda su desarrollo en nuestro país, lo que permite indagar sus singularidades y su poder de contestación en nuestra historia reciente. Posteriormente se trata la cuestión del como un arte popular teniendo en cuenta diversas dimensiones en las que se expresa la capacidad creativa de sus autores y de su comunidad de públicos. Por último se aborda el potencial político del Hip Hop explorando sus posibilidades para ser comprendido como un arte de resistencia que opera tácticamente. (shrink)

This volume examines the ontology of music groups. It connects two fascinating areas of philosophical research: the ontology of social groups and the philosophy of music. Interest in questions about the nature of music groups is growing. Since people are widely familiar with music groups, the topic is particularly well-suited for introducing issues in social ontology. Being comparably small-scale and temporary, music groups also provide an excellent case-study for those who think that social groups are analyzed best by considering (...) small groups. The present volume provides a comprehensive overview of the topic and seeks to establish the ontology of music groups as a distinct field of philosophical research. The chapters, written by leading scholars working on social ontology, revolve around four core themes: 1. The identity of music groups 2. Variations between different kinds of music groups 3. The persistence and longevity of (different kinds of) music groups 4. Various characteristics of music groups, including their rational and emotional aspects, as well as their creative abilities The contributors consider these themes across a wide range of music groups, including popular music groups, rock bands, alternative acts, hip hop crews, choirs and classical orchestras. The Ontology of Music Groups will appeal to scholars and advanced students working in social ontology, metaphysics, and the philosophy of music. (shrink)

Hip hop has grown into a worldwide genre in recent decades, often being associated with issues of race and class. However, as research on ‘hip hop feminism’ in the US context demonstrates, the categories of gender and sexuality are no less fundamental. In the growing body of international hip hop research, though, questions about gender have been relatively absent, and relatively little is known about how gender norms are negotiated and challenged in hip hop in Europe. This article seeks to (...) contribute to filling this gap in the literature by exploring how women negotiate the gender norms of hip hop in the case of Sweden. To this end, rap lyrics by 12 female rap artists are analysed through poststructuralist discourse analysis. The analysis focuses on intersectionality, feminism within and beyond hip hop, as well as the possibilities and limitations of female masculinity. It is shown how the masculine norms of the genre are simultaneously resisted and resignified as many female rappers incorporate some elements commonly associated with masculinity but mobilize them in their challenging of masculine norms. In this way, complying with the genre interestingly produces a hard and explicit feminism in which ‘all sexist pigs will be slaughtered”. (shrink)

The author defends the philosophical value of underground hip-hop through illustrating how the culture significantly contributes to debates in multiple academic fields. She also examines the exclusion of hip-hop from discourses on knowledge, racism, genocide, and trauma as a reflection of the neoliberal sensibility that hip-hop exposes and opposes.

Dans ses efforts pour la renaissance et la reconnaissance de l'Afrique, Léopold Sédar Senghor a élaboré une philosophie de l'art fondée sur l'identification des paradigmes inhérents au style afro-diasporique : le génie du rythme et l'hégémonie du mouvement, source d'un négro-orphisme où l'émotion apparaît consubstantielle de la commotion. S'inscrivant dans la continuité de la pensée senghorienne, le présent ouvrage met en place la théorie d'une esthétique kinésique et tente de l'appliquer à l'étude des pratiques oratoires, musicales, sportives, chorégraphiques afro-diasporiques. Il (...) montre comment l'idiosyncrasie africaine a servi de matrice à de nouveaux langages plastiques et musicaux tant en Europe qu'aux Amériques. Il en est ainsi de la geste jazzistique de Wynton Marsalis, examinée ici en lien avec la statuaire oraculaire nkisi nkondi du Congo, les polyphonies des peuples "pygmées", le bwiti et le mvet, culte et art verbal d'Afrique centrale. L'esthétique du jazz, du basket-ball, du hip-hop, des cultes religieux et des musiques diasporiques se rattache essentiellement à l'Afrique noire par la virtuosité expressive, la vitalité kinesthésique et la démocratisation du rythme. Libératrice, jouissive, délice dionysiaque, elle traduit le goût, la passion d'exister ainsi que la faculté de résistance d'une sensibilité culturelle qui a su surmonter les tragédies de l'Histoire avant de trouver de nouvelles voies de régénération et de dissémination dans le corps et l'âme des sociétés postmodernes. (shrink)

Revolution of a next kind : building black London from the bottom -- On the bus my oyster card goes ding de diing de ding ding : transforming the space of London's public transport -- I see the glow in you : summoning the aura in London's post hip-hop culture -- That there kind of sumthin' sounds strange to me : social representation and the recorded soundscape -- From a junior spesh to the keys to the Bentley : the routes (...) of grimey London -- Conclusion. Take back the scene. (shrink)

Cross-cultural understanding stands as one of the great pillars of multicultural education and yet rarely do multiculturalists provide a full account of what it is and how it takes place. This paper will serve as an initial investigation into the complex nature of cross-cultrual understanding. Drawing on the philosophical hermeneutics of Hans-Georg Gadamer, I will layout the framework for a theory of understanding and provide a concept of culture that avoids the pitfalls of essentialism and instrumentalism. I will then raise, (...) as the backdrop for my examination, the issue of authenticity in the hip hop world. This will allow me to put these hermeneutic theories to work by illuminating the interpretive process through which a hypothetical middle-aged teacher might go about gaining an apprecitaion for rap music to better understand his suburban students who, for him, embody hip hop culture. This phenomenological account of cross-cultural understanding will in turn raise thought-provoking questions about human agency, translation, and the various implications of cross-cultural understanding in the classroom. (shrink)

How can we imagine a future not driven by capitalist assumptions about humans and the wider world? How are a range of contemporary artistic and popular cultural practices already providing pathways to post-capitalist futures? Authors from a variety of disciplines answer these questions through writings on blues and hip hop, virtual reality, post-colonial science fiction, virtual gaming, riot grrrls and punk, raku pottery, post-pornography fanzines, zombie films, and role playing. The essays in Art as Revolt are clustered around themes such (...) as technology and the future, aesthetics and resistance, and ethnographies of the self beyond traditional understandings of identity. Using philosophies of immanence – describing a system that gives rise to itself, independent of outside forces – drawn from a rich and evolving tradition that includes Spinoza, Nietzsche, Deleuze, and Braidotti, the authors and editors provide an engrossing range of analysis and speculation. Together the essays, written by experts in their fields, stage an important collective, transdisciplinary conversation about how best to talk about art and politics today. Sophisticated in its theoretical and philosophical premises, and engaging some of the most pressing questions in cultural studies and artistic practice today, Art as Revolt does not provide comfortable closure. Instead, it is understood by its authors to be a “Dionysian machine,” a generator of open-ended possibility and potential that challenges readers to affirm their own belief in the futures of this world. Contributors include Timothy J. Beck, Mark Bishop, Dave Collins, David Fancy, Veronica Pacini-Ketchabaw, Malisa Kurtz, Nicole Land, Eric Lochhead, Douglas Ord, Joanna Perkins, Peter Rehberg, Chris Richardson, Hans Skott-Myhre, and Kathleen Skott-Myhre. (shrink)

L'esthétique pragmatiste se distingue de la tradition philosophique en ce qu'elle ne cherche pas à séparer l'art de ce qui n'en est pas. Elle conçoit nos expériences esthétiques dans la continuité de celles qu'occasionnent nos diverses pratiques de vie, publiques comme privées. Comment penser cette continuité? C'est l'enjeu principal de ce livre, qui examine la question sous deux aspects. Les premiers chapitres retissent les liens qui nous permettent de comprendre comment nos concepts esthétiques les plus spécifiques, ceux que nous utilisons (...) pour juger et apprécier l'art le plus consacré (aura, authenticité), sont solidaires d'expériences que peuvent nous faire vivre aussi, à leur manière, les arts dits populaires (techno, comédies musicales country, hip-hop), généralement négligés par la philosophie. La seconde partie explique comment nos capacités esthétiques, éthiques et critiques sont profondément déterminées par notre expérience corporelle - autofaçonnement quotidien, pratiques sportives, coutumes, et tout ce que l'on peut verser du côté d'un "souci de soi" ou style somatique : c'est ce que Richard Shusterman, cherchant à développer une nouvelle voie pragmatiste, nomme somaesthétique. (shrink)

ABSTRACT In characterizing his second studio album, good kid, m.A.A.d city, as a “short film” Kendrick Lamar offers something of a public declaration: We, the listening audience, are not hearing another hip-hop album, just another “autobiography” or slice of one person's life, but, rather, something else; we are hearing a mixture of social, cultural, and personal narrative truth in what will be termed “autoethnography.” In doing so, Lamar offers us a new way of thinking about hip-hop as a whole, not (...) simply as a capitalistic enterprise or as a “black news” channel but as a distinct method for collecting data and understanding the experiences and existence of black people. While autoethnography is not a new method for research, it has been underutilized in philosophy as an approach to reading “texts” of all sorts, in particular Africana texts. This article analyzes Kendrick Lamar's second album to demonstrate why autoethnography is important as both a way of understanding reality and an expression of reality and also why it is centrally important for “doing” Africana philosophy. (shrink)

The article is based on lyrics from 2007 to 2017 involving 18 hip-hop artists. All the songs I studied were by male singers apart from one entitled, “Maga no need pay,” which involved seven multiple artists. In all the songs, the glamorization of cybercrime and cybercriminals was one of the most significant themes. The implications are discussed.

Can the law benefit from an evolutionary perspective? This little book shows how the idea of survival of the fittest can help explain legal development and the rise and fall of legal institutions. The reader is invited to join in on a journey of discovery in which the world of Darwin is connected to the topics of legal change, convergence of law, legal complexity, law in hip-hop music and the adoption of the price-payment rule. Exploring these five themes from an (...) evolutionary angle indisputably upsets our traditional view of the law, but it does fit the author's view of academia as a place for cross-disciplinary research steered by curiosity. (shrink)

In The Politics of Vibration, cultural theorist Marcus Boon offers both an anthropological and theoretical account of vibrational ontology. Boon focuses on the work of three contemporary musicians-Hindustani classical vocalist Pandit Pran Nath, Swedish drone composer and philosopher Catherine Christer Hennix, and Houston-based hip-hop creator, DJ Screw-each emerging from a different but entangled set of musical traditions or scenes, whose work is ontologically instructive. Written as a series of improvisations on the life and work of these musicians, The Politics of (...) Vibration expands in the direction of considering the vibrational nature of music more generally. Vibration is understood in multiple ways, as a mathematical and a physical concept, as a religious or ontological force, and as a psychological/psychoanalytic determinant of subjectivity. (shrink)

Most linguists have defined African-American Vernacular English (AAVE) as a regular and systematic form of vernacular language which contains distinctive grammatical and phonological features. AAVE is considered a social dialect or a non-standard variety of American English, which is spoken by the majority of African Americans. This article explores variability of the selected AAVE features in the interviews with ten African-American public figures, ranging from Hip Hop artists and blues musicians (Redman, Chuck D, Prodigy, MC Lyte, B.B. King) to talk (...) show hosts (Oprah Winfrey), from Hollywood actresses (Queen Latifah,Whoopi Goldberg) to former government officials (Colin Powell) and residents of the White House (Michelle Obama). The selected features of AAVE treated in this study include the absence of copula, the third person singular –s absence, the possessive –s absence, the plural –s absence, and the generalization of is and was to plural and second person pronouns.We consider the influence of social parameters (i.e., gender, age, social status, ethnicity, and affiliation with Hip Hop culture) on the degree of speech formality within a frame of interspeaker variation by examining the correlation between the frequencies of AAVE features and social factors of individual interviewees. The frequencies of individual AAVE variants are calculated into percentages which represent the levels of vernacular usage of each interviewee. Our results are then compared with the outcomes of previous sociolinguistic findings on external factors that have been reported to affect the degree of linguistic formality in a spoken discourse. (shrink)

Politics, and in particular the question of the Palestinian-Israeli conflict, is currently dealt with rather through fiction and art, and much less through genuine political actions, is a strong sign of the failure of politics as a positive, voluntaristic political project. Rap /hip hop music, the most naturally political art, does not have the political agenda anymore. The particular history or Israeli rap illustrates this process in a striking way, embodying the recent evolution of the Israeli society. The country was (...) established on a political project and previously unknown social generosity. Yet, the economical and geopolitical context of Israel, as well as increasingly difficult relationship with Palestinians, made its citizens surprisingly uninterested in rethinking the political project of the country. Individual preoccupations, also economical, family and friends’ problems, started to occupy the central place in art and in daily life in Israel, and politics has been definitively associated to corruption and self-interest of an elite. Rap reflects this evolution, is its condensed version. (shrink)

What do professional wrestling, Pot Noodle and Feng Shui have in common? Well, not much - but they all appear in this book.Critic and cultural philosopher Peter Trifonas and art historian Effie Balomenos explore the curious concept of good - and bad - taste. At once an absurd and yet entirely everyday concept, taste defines us. Our choices, from the most personal (our friends or lovers) to the most general (our politics), are all partly dependent on it.But where does taste (...) come from? Is there a true standard of taste? Are we slaves to the cruel whims of fashion? Who's in control?Good Taste is an enthralling exploration of the cultural history of an idea. In this enticing book - divided into chapters exploring cultural artefacts of absolutely all kinds - Trifonas and Balomenos warn: you are what you choose!Highlights include: TV chefs · Ozzy Osbourne and Reality TV · The 70s fashion conspiracy · Disney · Madonna · Lamborghini · The history of cleavage · High heels · Elvis · Body piercing · Hip-hop · Oprah Winfrey · Ageing rock bands · Turn-ups · Harry Potter · Fake tans and much, much more ... (shrink)