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AbstractThis paper seeks to develop a phenomenological account of the disorientation of grief, specifically the relationship between disorientation and the breakdown in practical self-understanding at the heart of grief. I argue that this breakdown cannot be sufficiently understood as a breakdown of formerly shared practices and habitual patterns of navigating lived-in space that leaves the bereaved individual at a loss as to how to go on. Examining the experience of losing a loved person and a loved person-to-be, I instead propose that this breakdown should be understood primarily in relation to a distinctive kind of futurity operative in disorientation, irrespective of the extent to which there is a breakdown of formerly shared practices and habitual patterns of navigating lived-in space. Drawing on the resources afforded by Heidegger's phenomenology, I argue that it is a core characteristic of the experience of disorientation in grief that the grieving person can no longer meaningfully press ahead into a specific futural self. This view comes with certain advantages over existing accounts of the temporality of grief for making sense of the disorientated relationship to futurity, which the appeal to Heideggerian resources makes possible.

Black popular culture draws on everyday Black experiences to create ideas of futurity. There are well known examples of Afrofuturism, such as the Black Panther films, as well as the music of George Clinton, Sun Ra, Janelle Monáe, and Erykah Badu, which offer profound versions of Black futures. In addition to these essential examples, some artists are not always explicitly named as such and incorporate robust conceptions of futurity and speculation into their work. This article examines the performances of Missy Elliott, Megan Thee Stallion, and Cedric the Entertainer. It argues that through their embodied performance practices that cite Black life, they create persuasive critiques of the present and move forward ideas about the future. In addition to using futuristic settings and themes, their embodiments work to put forth compelling ideas of speculation. These artists employ notions of the posthuman, a speculative figure that interrogates the category of the human through embodied gestures, dances, and other movement styles. The examined performances challenge notions of respectability established through white norms and neoliberal disciplinary mechanisms that police and harm Black bodies and render them outside of humanness. Specifically, Missy, Cedric, and Megan's performances are rooted in concepts like ghetto, ratchet, and hood, which push back against US society's notions of the human as defined through the respectable laboring body that is also read through the standard of whiteness. The twin dynamic of the human and posthuman provide critiques of the historic and layered expansiveness of anti-blackness while also centering Black people's joy, pleasure, desire, and freedom. As such, these performances proffer notions of the present and future, the human and the posthuman. The force and effectiveness of these artists' performances reside in how they draw from the everyday ways Black people articulate ideas of radical futurity.

Architectural practice in the Stalinist USSR saw the sudden and rapid revival of historical forms and styles. One approach interprets this development as part of a reactionary shift in Soviet temporal culture, a "Great Retreat" across all spheres of social and political life. The rival conception sees in historicism an aesthetic of "timelessness" and "perfection," which expressed Stalinism's self-characterization as an eternal, utopian present. This paper presents a third perspective, arguing that the revival of historicism stemmed, paradoxically, from a future-oriented impulse. This revolved around the charge that Stalinist architecture "immortalize the memory" of the era, to ensure posterity's gratitude and admiration. Accordingly, Stalinist architects drew upon supposedly enduring historical styles, which they expected to remain understandable to future generations. Further, time-tested traditional materials, forms, and decorative mediums were employed to ensure the physical durability of Stalinist architectural monuments. The paper concludes by situating this logic in the global context of interwar monumental architecture and considering some implications for our understanding of Stalinist temporality.

Most aspects of Treves et al.'s target article are commendable, but I would suggest: explicitly including (1) Singer's 'equal interests' principle; adjusting (2) Mathews's principle of 'bioproportionality'; and clarifying the implications of (3) Parfit's Non-Identity Problem, (4) the limits of present predictions of future needs, and (5) the application of the concept of selves to biotic individuals. There is also a problem about (6) how plants are to be individuated.

This book proposes that Nietzsche should be viewed as an economic thinker to rank alongside Marx. Peter Sedgwick shows how Nietzsche views economy as the basic condition under which the 'human animal' developed. Economy, Nietzsche argues, endowed us with futurity, and is a defining aspect of human behaviour

This book explores how deconstruction addresses the issue of futurity in the act of writing and translation. It focuses on three French expressions - venue, survenue, and voir-venir - taken from the work of Jacques Derrida, Jean-Luc Nancy, and Catherine Malabou, and offers fresh insights, proposing the possibility of a multiplicity of structures