My research addresses the relationship between political theory and ideas of nature in the context of the global ecological crisis.
In 2020, I deposited my dissertation, “On the Political Uses of Creative Darkness: Freedom, Subjectivity, and Normativity,” which received the Kathleen Burkholder Prize for Best Dissertation. Its basic argument is that reworking elements salvaged from F. W. J. Schelling’s philosophy of nature helps me formulate a novel theory of the ecologically conditioned human subject and propose a creative biopolitics that amends some longstanding political theoretical concerns about freedom and normativity. For my M.A., I studied the history of the idea of the end of history. Drawing upon the theoretical projects of Alexandre Kojève and Carl Schmitt, my work endeavored to explore how conflicting philosophies of history shape perceptions of geopolitical possibility.
Ongoing research interests include environmental political theory, the history of conservatism, the new materialisms, and, increasingly, various issues in environmental security, geopolitics, and security studies. I am especially interested in how developments in these areas can help us rethink how conditions of existential risk, political decay, and technical debt affect our conceptual and strategic imagination of what is politically desirable or possible.
I am currently working on a monograph tentatively titled How to Think Like an Apocalypse: Political Theory for the Ends of the World (with chapters on the “fugitive ecology” of Aldo Leopold and Rachel Carson, on reappraising the legacy of Leo Strauss, and on issues to do with conceptual engineering, ecopessimism, and philosophical pragmatism). In short, the book will explore how “thinking like an apocalypse” necessarily entails thinking the post-apocalypse, which is to say, the reconstruction or repurposing of the world that follows after catastrophes, crises, and disasters.
I also translate texts from French, German, Italian, and Spanish, and I have translated excerpts from texts by Kojève, Ludwig Klages, and Schelling. I recently finished translating an unproduced screenplay by the Italian filmmaker Michelangelo Antonioni (Tecnicamente dolce, 1966), and I am currently translating Fabián Ludueña Romandini’s monograph La comunidad de los espectros, I: Antropotecnia (Buenos Aires: Miño y Dávila, 2010).