Various files and links

Body of Work

My published work resists chronology because it functions as an ongoing, iterative performance of immanent critique across seemingly disparate spaces: the theater stage, the philosophical tractatus, the historical archive, and the therapeutic clinic.

Rather than a historical progression, I conceptualize my body of work as a triad of overlapping, non-linear investigations: 

• The Performed Thought (Methodology) 
• The Interrupted Space (Historiography & Art) 
• The Material Relationality (Praxis & Care)

1. The Performed Thought: Undoing Disciplinary Tyranny

At its core, my methodology rejects traditional institutional boundaries that separate "thinking" from "making," or philosophy from performance. Drawing from various reservoirs, such as Laruelle’s non-philosophy, Adorno’s negative dialectics, and Wittgenstein’s investigations, my work models thinking not as a static reflection on an object, but as an embodied performance in its own right.

• I often return to this premise: Philosophy does not hold a monopoly on truth, and performance is fully capable of thinking for itself.
• The Constellation: Whether analyzing how manifestos disrupt political passivity (Manifesto Now!), tracing the open boundaries of a nascent field (“The Open Field of Performance Philosophy”), or exploring how a text forces an "artful togetherness" (“On Philosophy and Participation”), I consistently examine what it means to participate in the "performance of thought."

2. The Interrupted Space: Constellating the Archive and Poetics

My historical and literary scholarship works against the grain of linear history, choosing instead to uncover "present absences" and historical entanglements. I look to moments where established structures crack, heavily influenced by the poetic methodologies of Anne Carson and the rhythmic historiography of Jay Wright.

• I frequently return to this argument: History and art are not static repositories of facts but dynamic, textually and bodily mediated configurations of intersubjective identity that must be read backwards, forwards, ruptured, and re-arranged.
• The Constellation: The work spans from the microphysics of power and subject formation in early modern performance (Baroque Venice, Theatre, Philosophy) to meticulous, methexical readings of poetic absence and black musical dramaturgy (Pitch and Revelation and my essays on Jay Wright). I treat these artistic outputs as complex "bio-graphies" that risk the physical flesh to conjure the unthought.

3. The Material Relationality: Crisis, Mourning, and Therapies "Yet to Come"

The final element of this body of work brings these theoretical frameworks directly into contact with human vulnerability, historical trauma, and political economy. Moving fluidly between performance philosophy and my clinical practice as a psychotherapist, I interrogate how the human subject navigates systemic capitalism, physical and psychological pain, and profound grief.

• The Core Argument: Traditional institutional modalities (such as neoliberal clinical psychology or standard counseling curricula) act as state ideological apparatuses that mask systemic flaws beneath platitudes of "wellness." True care requires unsettling these "givens" to confront the core antagonisms of existence.
• The Constellation: This structural pillar ties my raw, early insights into personal and philosophical grief (To Grieve) directly into my recent book project (Therapy Yet to Come). By analyzing clinical case studies as "pre-clinical imagination work" (“Worlding with Marina”) and diagnosing the etymological and spiritual imperatives of enduring pain (“Life is pain au chocolat”), I envision a radical new clinical praxis. This "performance philosophy therapy" does not apply prefabricated rules to smooth over discontent, but mimics atonal music—constructing a ladder while pulling it up from behind, unfixing the client from the status quo.