Traditionally, the problem of evil, in its various formulations, has been one of the strongest objections against perfect being theism. In the voluminous literature on this problem, the motif of evil has usually been discussed with respect to human flourishing. In recent decades more focused attention has been paid to animal suffering and the philosophical problems that such suffering poses for perfect being theists. However, this growing body of literature, in Anglo-American philosophical milieus, is largely aimed at sketching a specifically (...) Christian or Christianity-inflected theodicy that would reconcile animal suffering with the existence of an omni-God. In contrast, there are few, if any, systematic attempts to put forth a Hindu theodicy that aims to offer morally justifiable reasons that God has for allowing animal suffering. In this article, we address this scholarly lacuna by illustrating how a Hindu perfect being theist might respond to the problem of animal suffering. (shrink)

This paper delves into the profound advancements of Large Language Models (LLMs), epitomized by GPT-3, in natural language processing and artificial intelligence. It explores the epistemological foundations of LLMs through the lenses of Aristotle and Kant, revealing apparent distinctions from human learning. Transitioning seamlessly, the paper then delves into the ethical landscape, extending beyond knowledge acquisition to scrutinize the implications of LLMs in decision-making and content creation. The ethical scrutiny, employing virtue ethics, deontological ethics, and teleological ethics, delves into LLMs' (...) behaviours and decisions, necessitating the exploration of novel ethical paradigms tailored to machine intelligence. The paper also addresses biases in data, privacy concerns, copyright implications, and intellectual property rights, emphasizing the need to adapt frameworks for both human and machine creators. The paper concludes by advocating for interdisciplinary dialogue between philosophers, cognitive scientists, and AI researchers to foster a balanced and ethically grounded integration of LLMs into the evolving landscape of artificial intelligence. Continuous reflection on the evolving relationship between human cognition and artificial intelligence emerges as a crucial aspect for shaping a harmonious and responsible future in this domain. (shrink)

The accent on scientific and empirical character of alchemy, especially from the field of the history of science, promotes the idea that one can understand the cryptic and metaphorical language of alchemy mainly through the laboratory chemical practice. As a result, the tendency is to interpret the spiritual and esoteric language of alchemy, as metaphors for laboratory work and the most representative research on historiography of alchemy that point the spiritual character as being contaminated by esoteric (...) sciences and Victorian occultism. This paper is paying attention to this dichotomy by attempting to understand the exclusivist position of the position that alchemy is a proto-chemistry and to see the consequences of such an interpretation. It is reviewed one of the most representative voices that interpret alchemy as spiritual by Carl. G. Jung and Mircea Eliade, and their rejection, as it is illustrated by William R. Newman and Lawrence M. Principe, showing the boundaries of both approaches and the hazarded character of understanding alchemy merely as part of the history of chemistry. (shrink)

Contrary to the notion that the human mind has some sort of tendency toward the abstract processes of classifying, analysing and synthesising, this paper suggests that these processes are historically and socially constructed. Because these processes (in particular, synthesising) are brought about to serve specific purposes and agendas, we need to pre-examine them periodically to see if they still serve our needs. In the past, synthesis had an important function as a symbol, among alchemists, for example. We have all but (...) forgotten that symbolic functioning and treat it now only in its material manifestations. Having done so, we use the material sense to explain the symbolic sense. In that way, synthesis may no longer be a helpful way to look at our abstract processes. Insofar as the needs of the future may be different than the needs of the past or present, it may indeed be time to abandon ideas of abstract synthesis. The author suggests that in its place, we consider the notion of ‘shuttling’. Shuttling allows us to adopt different positions, and even contradictory positions within our individual thinking, without feeling the need to immediately characterise the contradiction as ‘wrong’. And insofar as we may have multiple present positions, shuttling opens up the possibility for multiple future positions as well. (shrink)

This chapter argues that ZHU Xi was influenced by Daoism. His philosophy begins with the Diagram of the Great Polarity or Taijitu 太極圖 which has Daoist origins. Later in life he studied two Daoist texts, namely, The Seal of the Unity of the Three in the Zhou Book of Changes or the Zhouyi Cantongqi 周易參同契, and The Yellow Emperor’s Classic of the Secret Talisman or the Huangdi Yinfujing 黃帝陰符經. The chapter begins with a discussion about the nature of Daoism and (...) inner meditative alchemy. Then I discuss the Diagram of the Great Polarity. Finally, ZHU Xi’s study of the above two texts is analyzed. (shrink)

This dissertation is about the construction of the concept of alchemy in the text named Compound of alchimy, written by English alchemist George Ripley (c.1415-c.1490). Manuscript history and circulation dates the text back to 1471. The route taken by the researcher serves two immediate purposes: the analyses of the document to verify the basis of the concept’s construction and the critique of an established historiography through a different methodological approach. The document serves as the axis of a perspective about (...) aspects of orality and scripture (from the French conception of écriture), whose intention is to open questions and bring light to unexplored points of the historiography of alchemy. (shrink)

This article deals with the most relevant philosophical side of Albert the Great’s analysis of alchemy, aimed at clarifying what alchemical transmutation consists in and whether this process can ultimately be accomplished by men. The Dominican master handles the problem differently in the earlier commentary on Lombardus’ Libri Sententiarum and in works like the De mineralibus, in which a more mature idea of the connection between art and nature is developed. In this respect, Albert’s interpretation intersects with Avicenna’s De (...) congelatione, a fundamental text for the Latin medieval debate on alchemy, whose reception has shaped his understanding of the alchemical art. The Dominican master gradually assumes a more lenient position towards the claims of the alchemical process of transmutation, which he explains by resorting to the similitudes between alchemy and medicine and the comparison of artificial transmutation with natural processes such as the generatio ex putrefactione and the natural formation of minerals. (shrink)

A mistery unveiled, among magic, alchemy and philosophy.

This paper analyses the technoscientific objective of building a synthetic cell from a Jungian perspective. After decades of fragmentation and specialisation, the synthetic cell symbolises a turn towards restored wholeness, both at the object pole and at the subject pole. From a Jungian perspective, it is no coincidence that visual representations of synthetic cells often reflect an archetypal, mandala-like structure. As a symbol of restored unity, the synthetic cell mandala compensates for technoscientific fragmentation via active imagination, providing a visual aid (...) for the technoscientific turn towards reintegration. Although the biotechnological desire to reconstruct life in vitro has been compared to alchemy before, a Jungian analysis allows us to make this comparison more specific and precise. The problem of archetypal images, however, is that alluring prospects of reintegration may underestimate and obfuscate the deficiencies and tensions at work in the current situation. As a projection of a future wholeness, it fosters optimism, but may also function as a misleading façade, covering up collisions and complexities. This can be averted by the conscious employment of the mandala as a symbolic scaffold fostering processes of individuation and working through. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Crispin Wright has articulated and defended the view that by incorporating non-evidential entitlements into our theory of knowledge, we can achieve a satisfactory reply to key skeptical challenges. Crucial to this view is the thesis that regions of thought are underpinned by ‘cornerstone’ propositions— propositions for which warrant is antecedently required in order for ordinary beliefs in that region to be supported by experiential evidence. Critics have noted that because cornerstone propositions are entailed by ordinary propositions, Closure delivers two unwelcome (...) results: (i) one can acquire evidential justification for cornerstones via deduction (alchemy); and (ii) the epistemic risk involved in accepting cornerstone propositions impugns the evidential justification we are supposed to have for ordinary propositions (leaching). It is argued here that leaching has been misdiagnosed by Wright and his critics as relying essentially on a Closure principle. Instead, it relies on a Counter-Closure-style principle. Once this point is recognized , Wright’s own solution to the leaching problem becomes unsatisfactory. However, a guiding maxim from the extant literature for demarcating true from false Counter-Closure-style principles can be usefully applied to identify a successful resolution to the leaching worry on Wright’s behalf. (shrink)

Patricia Williams in her book, The Alchemy of Race and Rights, describes being denied entrance in the middle of the afternoon by a “saleschild.” Utilizing the works of Maurice Merleau-Ponty, this article explores their interaction phenomenologically. This small interaction of seemingly simple misunderstanding represents a limit condition in Merleau-Ponty’s analysis. His phenomenological framework does not explain the chasm between the “saleschild” and Williams, that in a sense they do not participate in the same world. This interaction between the “saleschild” (...) and Williams represents a moment when the two contest exactly what is reason in our society. To the extent that society discerns one’s actions as reasonable and the other’s actions as unreasonable, our society participates in determining that which constitutes reason. Williams’s work speaks precisely to this chasm as evident in her text’s subtitle, Memoirs of a Mad Woman. This decision relegates one subject to “judiciousness” and relegates the other to “madness.”. (shrink)

The content of this paper is an elaboration of Hubert L. Dreyfus’s philosophical critique of Artificial Intelligence (AI), computers and the internet. Hubert L. Dreyfus (1929-2017) is Ua SA philosopher and alumni of Harvard University who teach at the Massachusetts Institute of Technology (MIT) and University of California, Berkeley. He is a phenomenological philosopher who criticize computer researchers and the artificial intelligence community. In 1965, Dreyfus wrote an article for Rand Corporation titled “Alchemy and Artificial Intelligence” which criticizes the (...) masterminds of Artificial Intelligence. Dreyfus also criticized the order of computers via two books: (1) What Computers Can’t Do (1972) and (2) What Computers Stills Can’t Do (1992). He favored human intuition rather than the computer logic in his book Mind over Machine: The Power of Human Intuition and Expertise in the Era of the Computer (1986). In 2001, Dreyfus wrote a book On the Internet, which considers the prominent phenomenon in the recent Industry 4.0. By elaborating on Dreyfus’s philosophy on the computer, artificial intelligence, and the internet, we will know the philosophical debate on the result of industry 3.0 (computer and artificial intelligence) and 4.0 (artificial intelligence and internet). Moreover, we will know the relation between humans and those industrial products. (shrink)

Within the European history of ideas, at least three conceptions of metamorphosis can be distinguished. First, as celebrated in Ovid’s Metamorphoses, there is the vision of an open-ended flux of shapes in all directions, potentially with the ambiguous result of wavering identity. Secondly, at the centre of the synoptic gospels Jesus’s transfiguration is presented as a luminous elevation, rendering his true nature unambiguous. Thirdly, alchemy conceives of metamorphosis as contingent upon a meeting of polarities. The distinction is fit to (...) disclose crucial aspects of works of art, particularly of musical compositions. (shrink)

Philosophy has a dirty little secret and it is this: a whole lot of philosophers have swallowed the mechanistic billiard ball deterministic view of human action—presumably because philosophy assumes that science demands it, and/or because modern attempts to articulate in what free will consists seem incoherent. This below-the-surface-purely-academic commitment to mechanistic determinism is a dirty little secret because an honest public commitment would render virtually all that is taught in philosophy departments incomprehensible. Can “lovers of wisdom” really continue to tolerate (...) such a heavy burden of hypocrisy? For it is maximally hypocritical, is it not, to teach ethics, or existentialism, or political philosophy, or critical thinking, or indeed to teach anything at all if one views the bodies of humans as entities determined by forces that are describable entirely under the auspices of physical/chemical laws. The only option, it would seem, to avoid such hypocrisy is to go out of business. After all, either base metal can be turned into gold, or it cannot. We found out long ago that it cannot, and so alchemy was rightly banished into the dustbin of history. Likewise, either philosophy can enhance the wisdom quotient of its disciples as its name implies, and thus override billiard ball mechanics, or it cannot. And if it cannot, it deserves to follow alchemy to an ignominious end. (shrink)

We live longing for a utopia. However, we live in increasingly dystopian times. Whenever we imagine possible futures, a continuity of human progress in the direction of greater scientific-technological development comes to mind. We are completely certain that the reason that brought us current modern science and technology will lead us to this utopia, to a promising future. There is an association as intimate as it is indubitable between future, progress, technoscience and utopia. Isn't it time to question this undisputed (...) certainty? Is it true that reason, progress, science, technology and utopia will lead us to a healthy future for man and nature? Isn't it time to open our eyes and mind to see things differently? Isn't it time to stop frantically producing in pursuit of progress and take a rest to think? There is a fundamental and radical difference between reason and thinking. This book proposes a journey through the worlds of science fiction, utopianism, socialism, communism, Marxism, psychoanalysis, existentialism, Zen Buddhism, art, medievalism, alchemy, science, technology and philosophy. This book proposes to abandon the utopian-dystopian reason to embrace the eutopian life, a new mode of existence in which man needs to regain his rootedness with Earth to be able to think again and live in harmony with himself and nature. (shrink)

This chapter examines the use of vegetal analogy in late Renaissance physiology through the case of the German physician Daniel Sennert. It is centered on Sennert’s explanation of generation, in particular the transmission of life through the vegetative soul within the seed, as developed in his early works on medicine and alchemy, the _Institutionum medicinae libri V_ and _De chymicorum…liber_. This chapter first summarizes Sennert’s account of generation and the seed’s “formative force” according to Aristotle and Galen, as well (...) as his appraisal of the medical debates on the origin of the seed’s soul and form. Then, the next part explores Sennert’s own interpretation of the origin of forms, for which plant physiology served as a common denominator of his medical, alchemical and theological inclinations. Finally, this chapter considers how Sennert attempted to harmonize his reasoning with the Paracelsian account of generation, seed and life. (shrink)

Francis Bacon’s theory of matter is a controversial topic among historians. I agree with the viewpoint, which suggests that although Bacon changed his views on atomism repeatedly, he never rejected it completely (Partington, Urbach, Gemelli). I will substantiate this interpretation by paying more attention to the usually neglected allegorical works and by investigating why Bacon changed his mind on atomism in his Novum organum. I shall reconstruct Bacon’s various opinions in chronological order to establish his final evaluation of atomism and (...) his reasons for it. Given that Bacon never embraced a matter theory identical with Greek atomism, I shall here define atomism in the broadest sense, as a corpuscular matter theory that posits final and indivisible particles. Following this semantic delimitation, two successive Baconian opinions will be distinguished: the first took the atom to constitute an ontological and causative-operational principle; the second deprived the atom of this causative-operational ability, but did not touch its ontological priority. At the same time, I will investigate the question concerning the coexistence of atomism and pneumatism in Bacon’s theory, a point that has been discussed in the influential interpretations by Kargon and Rees. I shall argue that Bacon did not regard these two doctrines as incompatible. (shrink)

Il fascino di un libro, tra Reuchlin e Bruno. -/- RINASCIMENTO ESOTERICO Speciale V centenario De arte cabalistica (1517-2017) -/- Nella sua rinomata libreria antiquaria, nel cuore di Firenze, Paolo Pampaloni sta sfogliando un grazioso volumetto in ottavo, rilegato in pelle scura. Si tratta di un esemplare del De incertitudine et vanitate scientiarum di Heinrich Cornelius Agrippa von Nettesheim.

For praising Jehovah (Yahowah is Yeshua Ben Joseph) do I publish these mathematical gesturing forms by His graciousness. The Book of Eternity proposes a new, mathematical balancing language in which the logic stems from infinity instead of zero. The designation of the balance comes from the location at which different meanings of infinity linguistically balance with each other and provides a way for people to continue extrapolating forms and functions that logically would follow. This balancing at oneness is analogous to (...) the resurrection of Jesus as the phenomenological velocity can come into being or be canceled out and have no effect. So, when Jesus died, that was the canceling out, and when Jesus (Yeshua Ben Joseph Jehovah) was raised, that was the coming into being. As the Resurrection, He is intimately tied to the creation as the savior. This can be expressed mathematically. As oneness, this balancing is infinite and meets symbolically with the differentiated meanings of oneness. The oneness is both the canceling (of the square roots within the height function), and the intersection of meanings (of infinity through the word of Jehovah (Yahowah)). This book elucidates the kinds of dimensionality with which man interacts normally: distance, angle, number, mass. (shrink)

Not only did Paracelsus (1493-1541) censure the logic of the Aristotelians, but also their "Godless" approach to questioning nature. He declared that Aristotle was “a heathen whose work had rightly been condemned repeatedly in church councils." In this essay I elucidate some of the more salient features of Paracelsus’s "epistemology," and draw parallels between his notion of experientia (Erfahrung) and that of Hans-Georg Gadamer. I also discuss Paracelsus’s educational metaphor, his creation myth, and the mysterious doctrine of signatures en route (...) to uncovering his peculiar understanding of the relationship between theory, practice, and experience. (shrink)