Don Thomas Deere

This essay argues that a new technique of ordering and producing space emerged in the sixteenth century, whereby the Américas were taken as a heterotopic laboratory for the space of the grid. As the ordered grid of space lightened the physical fortification of heavy walls traditionally found in medieval Europe, it implanted new methods of ordering the behavior of the human body and soul. In this way, the grid gave rise to disciplinary techniques of controlling and producing human subjectivity. The global problematic of space as it emerges after 1492 is a central thematic of decolonial philosophy and critiques of coloniality. Many accounts of decolonial philosophy emphasize the ontological nihilation of the periphery, the European production of the other as non-being in an empty space beyond the line. This article supplements this view by arguing that we need an account of the production and ordering of this space that goes beyond simple negation and emptiness. The coloniality of power, thus, has a disciplinary dimension that involves the ordering and production of subjects and spaces in the Américas, while Foucauldian disciplinary power is entangled with the coloniality of power.

This essay develops on the aesthetic dimensions of decolonial thought in the work of Rodolfo Kusch and Enrique Dussel, who both point us to non-objectifying modes of thinking and being. Beyond a strictly epistemological approach, decolonial critique ought to offer an account of bodies, spaces, and movements that are the very condition of thought—that is to say, the condition of a mode of thinking otherwise, beyond the dominant colonial paradigm. This account of aesthetics involves the spacing and temporalizing of bodies as they live and move through the world, or what Alejandro Vallega calls living-thinking. The spacing-temporalizing of life points us also to the rhythm of life—life as movement, flow, and spacing. Turning to resistant epistemologies alongside the work of Omar Rivera, I consider how these epistemologies go beyond disembodied and abstracted ways of knowing as they sidestep the subject/object divide and engage sensuous and embodied dimensions of thinking, aesthetic experiences, diverse geographies, and histories. In closing, I argue that decolonial aesthetics also points us to a critique of the coloniality of space. Moving beyond a cartographic grid that attempts to capture subjects and spaces in advance on its coordinate plane, decolonial aesthetics opens onto the richness of embodied and cosmic spaces.

In his final works, Foucault explains his overall project as a “history of truth” centered on the relations between subjectivity and truth. While the early archaeology focuses primarily on the formation of new objects and discourses of knowledge, and later, genealogy on techniques of power, the problematic of truth is the overriding framework through which Foucault develops these analyses. Throughout all of his work, in fact, Foucault’s question is how discourse, institutions, politics, and subjects are established within regimes of truth.