The Russian philosopher Nikolai Onufrievich Lossky considered himself a Leibnizian of sorts. He accepted parts of Leibniz’s doctrine of monads, although he preferred to call them ‘substantival agents’ and rejected the thesis that they have neither doors nor windows. In Lossky’s own doctrine, monads have existed since the beginning of time, they are immortal, and can evolve or devolve depending on the goodness or badness of their behavior. Such evolution requires the possibility for monads to reincarnate into the bodies of (...) creatures of a higher level on the scala perfectionis. According to this theory, a monad can evolve by being progressively reincarnated multiple times through a sort of process of metamorphosis from the level of the most elementary particles all the way up to the level of human beings or even higher. Lossky argues that the works of Leibniz contain scattered elements of such a systematic doctrine of reincarnation. He attempts to reconstitute this doctrine in an article that appeared both in Russian and German in 1931. The Russian version, ‘Ученiе Лейбница о перевоплощенiи какъ метаморфозѣ’, was published in the Сборникъ Русскаго института въ Прагѣ, vol. 2, 1931, pp. 77–88. The German version appeared under the title ‘Leibniz’ Lehre von der Reinkarnation als Metamorphose,’ in Archiv für Geschichte der Philosophie, vol. 40, n. 2, 1931, pp. 214–226. The content of the Russian and German versions is roughly the same, except for the omission, in the German version, of a mention of David Hume in the second sentence and of one paragraph and a half at the end of the article. The following is a translation of this article. I translated the text from the Russian version, which was in all appearances written first, but I also took the German version into account. The original pagination is added in angle brackets. Angle brackets are used wherever the additions are mine. — Frédéric Tremblay. (shrink)

How does it feel to be a worm? No doubt, it feels Kafkaesque. The metamorphosis (1915) is a story of an ordinary man, Gregor Samsa, who wakes up one morning as an ungeheures Ungeziefer or ‘giant vermin’. Is this only a bodily change, or has his mind been transformed as well? And how do the people around him cope with this transformation? In this paper, I am going to examine these issues by using tools from Franz Brentano’s (1838–1917) and (...) Anton Marty’s (1847–1914) philosophy of mind and language. Rumour has it that Kafka’s stories were not only products of his own troubled soul, but were also profoundly influenced by the work of these two philosophers. In my paper, I will cover the following issues: the influence of Franz Brentano on Anton Marty and a fortiori on Franz Kafka (1883–1924), who was Marty’s student in Prague (and in this way, saying something about the School of Brentano); Brentano’s and Marty’s theory of correct and incorrect emotions, and its traces in Kafka’s The metamorphosis; Marty’s philosophy of language and communication as reflected in Kafka’s writings; and Brentano’s reism in comparison to Kafka’s nominalism, on the basis of Roberto Calasso’s interpretation of Kafka. (shrink)

This essay focuses on the attention paid to Prometheus by Goethe and Schlegel. Prometheus serves as an archetypal figure for Goethe, in particular, and as such the Titan can be viewed as a figure whose various appearances represent genuine metamorphoses or transformations of the archetype in much the same manner that Goethe takes the archetypes of leaf or vertebrae to function in the plant and animal kingdoms. Schlegel’s treatment of Prometheus takes the organic analogy even further. In his fragmentary work (...) Lucinde Schlegel exploits the metaphorical possibilities provided by plant life when thinking about not only the sessile structure of the text as a whole but indeed the internal literary devices capable of simulating the environmental impacts required for the flowering of the plot. The fact that Goethe and Schlegel deliberately leave their discussions in a fragmentary form is discussed in the final section of the essay in a manner that ties the open-ended quality of such productions to Gadamer’s discussion of the Vollzug or performative character of poetry and other works of art. (shrink)

Aristotle and the classical rhetoricians conceived of metaphor as a figure of speech in which one thing is given a name or an attribute of another thing on the basis of some resemblance that exists between the two things. Wallace Stevens conceived of metaphor not as the production of pre-existing resemblances observed in nature but the “creation of resemblance by the imagination” (NA: 72). Resemblance, and not identity, according to Stevens, is the fundamental relation between the two terms of metaphor. (...) This is akin to contemporary accounts of metaphor in terms of the phenomenological or experiential seeing of one thing as another thing (Yoos 1971; Davidson 1979; Camp 2006a,b; Semino 2008; Ritchie 2013). Seeing one thing as another thing on the basis of resemblance or similarity implies that the one thing is not the other. I do two main things in this paper: one, I appraise the theoretical value of Wallace Stevens’ conception of metaphor as the creation of resemblance by the imagination; and two, I pose a challenge to the view that takes resemblance as fundamental to metaphor, arguing that in the cases I present, thinking of the relation as identity and not resemblance, concurs with our ontological commitments to the things compared in the metaphor. In the final analysis, I suggest that Stevens conception of metaphor as metamorphosis can meet the challenge: rather than thinking of the ‘is’ (identity) of metaphor as an ‘as’ (resemblance), for Stevens, the ‘as’ (resemblance) of metaphor metamorphosize into an ‘is’ (identity). (shrink)

Metamorphosis seems problematic for our occidental point of view. Becoming in general is viewed as an error or exception by our classic standpoint. In fact, it is strongly against identity and law of non-contradiction: A is fundamentally something different from B and for A it is impossible to be at the same time B. We need to think A as what-becomes-B in order to make metamorphosis possible. Anyway, how can A become B? As a matter of fact, this (...) very claim has been historically the most common critic opposed to becoming. Deleuze and Guattari in their monumental work had tried to offer an enormous contribution to a few related problems. Redefining the subject as an event described by movement and affect can exceed the metamorphosis’ aporia. This new principle of individuation provides a new look upon arisen questions primarily because affects and movements are constant coordinates that define how metamorphosis is experienced. The paper tries to show how the betweenness in action in the encounter with people, human beings, things, animals, plants and minerals defines the logic field of metamorphosis. This is shown in dialogue with the ontological turn in anthropology that is particularly focused on this affective and lively dimension of encounter especially among Amazonian populations. Actually this is also what happens in our – occidental and classical but live – relation with things and objects, as long as we try to think a real conceptualisation of experience. (shrink)

Metamorphosis as it is represented by some pre-historical artists seems problematic for our occidental point of view. In fact, it seems to be strongly against identity and law of non-contradiction. Becoming in general is also viewed as an error or exception by our classic point of view. This very claim can conduct to theories of non-classical logic. Deleuze and Guattari in their monumental work had tried to offer enormous contributions in order to comprehend the becoming phenomenon. Through a pre-historical (...) representations analysis, with also an intrusion in contemporary art's field, I want to confront with possible metamorphosis representations remain theoretically founded in the deleuzian proposal in dialogue with phenomenological inquiry. New principle of individuation and analysis of expression provide new looks to arisen problems with classical logic and metamorphosis representations, which will be acceptable and comprehensible as art shows. (shrink)

-/- In Kafka's work there are many examples of metamorphic instances. Die Verwandlung is obviously the first case that we are used to know as a real metamorphic example. However, it is not the only one, for examples Odradek, but also the way Kafka describes the encounter between characters or the characteristics of some of them (Das Schloss). The paper tries to conceptualize the metamorphosis through a distinction between two forms: (1) metamorphosis or transformation that allows us to (...) know from where what is transformed comes (start) and where it arrives (arrival); (2) becoming that shows a tension between two different conditions or that not allows us to grasp something because of his intangibility. All this will be examined using the monumental work of Deleuze and Guattari and a phenomenology of metamorphosis developed by Conci. (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)

It’s common knowledge that those objects we regard as great works of art have a capacity to survive across time. But that observation is only a half-truth: it tells us nothing about the nature of this power of survival – about how art endures. -/- This question was once at the heart of Western thinking about art. The Renaissance solved it by claiming that great art is “timeless”, “eternal” – impervious to time, a belief that exerted a powerful influence on (...) Enlightenment philosophers and, later, on modern aesthetics. -/- The notion that art is timeless was contradicted by nineteenth century thinkers such as Hegel, Marx, and Taine who stressed the historical embeddedness of art. The conflict of these two ideas, together with other major factors discussed in this paper, has left us today without a viable account of the nature of art’s capacity to transcend time. -/- This paper proposes an alternative solution: the proposition that art survives by a process of metamorphosis. But the principal emphasis of the paper is on the question itself: how does art transcend time? (a question that has nothing to do with the so-called “test of time”). If modern aesthetics is to remain relevant to our modern world of art, in which the art of the past – stretching back to Lascaux and beyond – is as important as Picasso and contemporary art, it urgently needs to address this neglected question. (shrink)

This article paradoxically tries to come closer to an idea of justice with the help of the destructive — anything but nihilistic — criticism thereof by Hans Kelsen. It argues that his relativistic approach, in which this idea undergoes a metamorphosis to become a realisable value of a social order, brings us closer to an obvious and objective form of justice that is almost taken for granted. Just in our liberal and plural democracy this approach might prove to be (...) of more value than a transcendental theory that passes speculative judgements on the essence of absolute justice, about which we are unable to come to an agreement. (shrink)

This article mainly aims to make an examination over the holy. It has been inquired into how something being ascribed holy can have a meaning in philosophy. As the article's research area, the differences in both opinion and execution which have later divided Christianity into two as Catholic and Orthodox Churches have been selected. The separation of these two churches under the subject titles such as Filioque controversy, the idea of First Among Equals (primas inter pares), and ritual of Transubstantiation (...) have also shaped how they perceived and thought the holy. With these divergences being investigated, it has been tried to present how much of a share these had in giving meaning for the holy. It has been labored to manifest the role of these two Churches' -which belong to and come from the same celestial tradition- divergences in the metamorphosis and paradigm shift that the holy underwent. For the last, through the Church Fathers' opinions and views which have been seen related to subject matter, with moving beyond the divergences, it has been searched whether there is a possibility of meeting on the common ground or not . (shrink)

The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.

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)

The intent of this chapter is to suspend the belief in the goodness of literacy -- our chirographic bias -- in order to gain a deeper understanding of how the engagement with texts structures human consciousness, and particularly the minds of children. In the following pages literacy (a term which in this chapter refers to the ability to read and produce written text) is discussed as a consciousness altering technology. A phenomenological analysis of the act of reading shows the child’s (...) engagement with texts as a perceptual as well as a symbolic event that builds upon but also alters children’s speech acts. Speaking and reading are both forms of language use, but with different configurations of perceptual and symbolic qualities. Children’s literature uses textual technology and, intentionally or not, participates in structuring children’s pre-literate minds. Some of its forms, such as picture books and early readers, are directly intended to bridge the gap between the pre-literate listener and the literate reader and ease the transition into the literate state. It is my hope that the phenomenological analysis of the experiences of speaking and reading might help us understand more clearly how children’s literature impacts the minds of children. Such an analysis can awaken a critical awareness of the power that letters wield as they shape the reader’s psychological reality, and it can sharpen our sense of wonder about the metamorphosis of language from speaking to writing. (shrink)

What is the concept of sense developed by Deleuze in his 1969 Logic of Sense? This paper attempts to answer this question analysing the three dimensions of language that Deleuze isolates: the primary order of noises and intensities ; the secondary order of sense ; and the tertiary organisation of propositions. What renders language possible is that which separates sounds from bodies and organises them into propositions, freeing them for the expressive function. Deleuze argues that it is the dimension of (...) sense that brings about this genesis of language, and he analyses in detail the three syntheses that bring about the production of this surface of sense. Yet Deleuze also distinguishes between two types of non-sense: the nonsense of Lewis Carroll's portmanteau words, which remain ensconced in the dimension of sense, and the more profound nonsense of Antonin Artaud's psychotic scream-breaths, which penetrate the almost unbearable world of the primary order of noise and intensities. In the end, the focus of Logic of Sense is less the surface domain of sense than the primary depth of corporeal intensities. What Deleuze calls a ‘minor’ use of language is nothing other than an intensive use of language that constitutes a principle of metamorphosis. (shrink)

Abstract Much has been written about the socio-cultural functions of religion. It is equally important to discuss the role and impact of religion and ethics on development and promoting reform in civil society. In today's South Asian context it is necessary to analyse religion both as a tradition and a representation of modernity. Otherwise it is difficult to clearly understand not only the relationship of domination-subordination, together with processes of exclusions and violence prevalent in the sub-continent but also the emerging (...) perspectives, lineages and languages of sociology in general and religion in particular. An attempt is made in this paper to examine the relationship and to evaluate the processes in the evolving discourse of sociology. It also analyses the 'moral' as embedded in religion and as an autonomous category emerging with secularisation. The subtleties of rights and righteousness in the method and metamorphosis of development are also dealt with in this paper. -/- . (shrink)

What does it mean to think? In the following article I will show Gilles Deleuze’s answer to this question. According to him ’to think is to create — there is no other creation — but to create is first of all to engender ' thinking ' in thought ’. To understand what this means, to grasp the radical nature of such an event, we need to see how for Deleuze to engender thinking in thought means a repetition of that genetic (...) process which has brought forth the thinking subject in the first place. In this event that which otherwise subsists beneath normal experience, as life- and consciousness sustaining forces, now become conscious experience. The implication of this is that true thinking means the creation of a new life and consciousness. Via a close-reading of chapter two of Difference and Repetition I show how this leads the thinker into a radical metamorphosis of consciousness, a process of Stirb und Werde. (shrink)

Written in broad strokes, this paper attempts to draw form Krishnamurti’s life and teachings, a hermeneutics of the human soul’s quest-journey towards transcendent wholeness. It begins with an attempt to frame K’s “process” (the name given to the painful ordeals in his youth that many believe were the catalyst responsible for his metamorphosis) through a variety of disciplines and cultural perspectives, some of which underscore the impasse of scientific objectivity and the limits of phenomenalist categories in general. It then (...) explores the procedures and conceits of present technologies of self-transformation via pseudomeditative body work and suggests that this subject can only be confirmed by an experience so intimately and subversively (to its own object) subjective that it risks undermining its own legitimacy in the face of our body-phobic Cartesian cultural ethos that holds sacrosanct the mind-body split. -/- It then explores the deeper origins and history of this problem from the pre-Socratics to the misconceptions of modern mathematics about the proper place of metaphor and paradox and underscores how present day false consciousness fails to discriminate between a “noumenal” world and its conditioned “phenomenal” counterfeit copy. It ends with a brief meditation on K’s process. (shrink)

The Russian philosopher Nikolai Onufrievich Lossky adhered to an evolutionary metaphysics of reincarnation according to which the world is constituted of immortal souls or monads, which he calls ‘substantival agents.’ These substantival agents can evolve or devolve depending on the goodness or badness of their behavior. Such evolution requires the possibility for monads to reincarnate into the bodies of creatures of a higher or of a lower level on the scala perfectionis. According to this theory, a substantival agent can evolve (...) by being gradually reincarnated multiple times through a sort of process of metamorphosis from the level of the most elementary particles all the way up to the level of human beings or even higher. In ‘Ученiе Лейбница о перевоплощенiи какъ метаморфозѣ’, Lossky argues that the works of Leibniz contain scattered elements of such a systematic evolutionary doctrine of reincarnation as metamorphosis and he attempts to reconstitute this doctrine. The present article is intended as an historical introduction to the translation of Lossky’s ‘Leibniz’s Doctrine of Reincarnation as Metamorphosis.’. (shrink)

The essay has three main objectives and therefore is divided into three parts. The first is to dispel some misconceptions related to the notion of aura, in the centre of Benjamin’s essay The Work of Art in the Age of Mechanical Reproduction (§ 1). First and foremost, is criticized the claim that Benjamin intends the decline of the aura of the work of art (its crisis) in terms of an irreversible end. In response to this misunderstanding is then analyzed the (...) concept of aura in the light of fundamental opposition between the two conceptions of technology (as magic and as perfective mímesis) at the centre of the second version of the essay on the work of art (§§ 2-3). The theme of the aura is so is explained in the context of Benjamin’s other works (especially the Arcades Project and the Baudelaire), in close relationship with his political theory of experience and with its original historical materialism (§ 4). The third part of the essay, finally, concerns the contemporary metamorphosis of aura, in relation to art practice and digital interfaces that shape social life (§ 5). (shrink)

Remembrance is constitutive of music. For music emerges not as an isolated physical stimulus. Rather, it is experienced, i.e., a present musical moment is tied to its temporal antecedents. It is tempting to conceive of remembrance as repetition and as thus opposed to oblivion. Yet to memory selectivity is crucial. What is not selected, falls into oblivion. Hence as we remember we have forgotten already. The present moment evokes remembrance, and exhibits what was then in the light of what is (...) now. Remembrance changes the past it recovers. Listening to music, we may experience anamnesis to be metamorphosis. (shrink)

Herman Melville’s Moby Dick is open to many readings, but one that has yet to be explored is the existential reading of Ahab’s pursuit from a gender perspective. By weaving together biblical, mythical, and mystical elements, the novel promises that Captain Ahab’s vengeance on the whale actually transcends the expected qualities of a maritime quest. A self-made man, Ahab endures his ever-present obsession and relentlessly clings to his deadliest struggle, which echoes Sartre’s proclamation, “Man is nothing else but what he (...) makes of himself.” Yet, intricately entwined with the spirit of nineteenth-century America, Ahab's character also assumes a canonical representation of American ideals. Thus, his hunting pursuit is overlaid onto America’s expansionist and imperialist mindset in the nineteenth century, which complements the hegemonically masculine manner camouflaged under this political ethos. Bearing this in mind, Melville subtly indicates that Ahab’s urge to assert his superiority over the whale is related to the biblical context of appointing females as something to take revenge on. In this narrative, Ahab's embodiment of the American hero undergoes a metamorphosis into an American Adam figure by asserting dominance over the whale that symbolises female subjugation. Interrogating Ahab's portrayal as an American Adam-type within the broader societal and political contexts of supremacist ideals, this article delves into Ahab's pursuit through the lens of Sartrean Existentialism. By doing so, this article interprets Ahab’s idealistic quest to hunt down the whale as a metaphor for hegemonic masculinity and subordinate femininity by exploring the subject/object, and the pursuer/pursued dynamics. (shrink)

In the industrial era, advanced science and technology make immortality-obsessed human beings constantly develop, modify, and reshape their bodies and consciousness, to overcome the fragility and transience of their bodies and approach the dream of immortality. The transformation of the body, in turn, drives society to confront the co-existence of cyborg, transhuman, information subject, nomadic posthuman and other life forms. Focusing on Chinese-American writer Ken Liu’s science fiction the Future Trilogy, Arc, and The Waves, this paper attempts to explore the (...) metamorphosis of the body and the ethical choices in the tension between death and immortality, embodiment and disembodiment. Immortality is not a Utopian paradise but causes many ethical problems and loss of continuity of time, space, history, and identity. Liu’s works suggest that the solution to the problem of posthuman disembodiment involves embracing embodiment and recognizing the importance of memory and social interaction in the formation of one’s identity, affirming that memory and the interaction with others are necessary conditions for the formation of the subject’s identity. Blending genesis myths and technological immortality, Liu explores the possibility of creating new life different from human beings. The posthumans depicted are always in the status of becoming, eager to discover the new world, and indicate the author’s expectations for the bright new future. (shrink)

The relationship between art and time is one of pre-figuration–transfiguration, a continuous exchange between the art of the present and that of the past and it is in this sense that we can understand how the works of art are have almost their entire life before them. It is in this sense also that the real meaning of metamorphosis should be understood: The works of art are not permanent acquisitions. They offer themselves the ways through which they appear in (...) another light, gathering up at the same time a series of antecedent expressions in an eternity ever to be recreated. Hence, art’s time is neither a-historical nor exclusively history embedded (in history’s empirical sense). Art’s time is trans-historical: artworks, initiating themselves the process of their metamorphosis, ‘transcend’ time being into time and, thus, they ‘traverse’ history. (shrink)

In their target article, Mikhalevich & Powell (M&P) argue that we should extend moral protection to arthropods. In this commentary, we show that there are some unforeseen obstacles to applying the sort of individualistic welfare-based ethics that M&P have in mind to certain arthropods, namely, insects. These obstacles have to do with the fact that there are often many more individuals involved in our dealings with insects than our ethical theories anticipate, and also with the fact that, in some sense, (...) some insects count as more than an individual and, in another sense, they sometimes count as less than an individual. (shrink)

There has been a revived interest in the relevance of Kant's philosophy for contemporary global issues. This paper investigates the extent to which Kant's philosophy can provide grounds for addressing the global issue of climate change, despite his seemingly conservative defense of reform over revolution. First, I argue that Kant's account of societal progress as metamorphosis is compatible with the conception of a green revolution understood as restructuring society toward sustainability. Second, I claim that Kant's evolutionary model of political (...) change offers a helpful framework for thinking about how to transition present societies to more sustainable ones. I conclude with reflections on how Kant's views have applied relevance for climate-related problems. (shrink)

This article is a review of David Hummel’s The Rise and Fall of Dispensationalism, a book that questions whether the academic debate around dispensationalism is truly dead. By exploring through the lens of metaphorical theology, we look at how commercialization caused academic dispensationalism to self-cannibalize. Applying analysis to both the ouroboros and butterfly metaphors we can examine whether dispensationalism is dead or if there is a potential for a newer, stronger version of academic debate on the topic to resurface once (...) again. Equally as plausible, is the notion that dispensationalism has changed its meaning through the metamorphosis process of changing from academic dispensationalism to pop-dispensationalism. By looking at the meaning change that occurs at the point of transaction, we see that the biography of dispensationalism shows a significant shift in meaning as it becomes a commercial hit. (shrink)

What happens to our minds when we listen to a story or read a book? How about when we watch a play or film? Any story, like a piece of music, plays out across our minds and in the process changes the nature of our notes and expands their range. Stories enable a metamorphosis of our minds through biological and sociocultural processes operating in concert.

This book shows that in the naturalistic and Darwinian explanation of life and its evolution, a decisive factor is overlooked, namely the human, knowing mind. The questions about life and its evolution can be answered if consciousness is taken into account not as a spectator, but as an integral part of reality. In the first-person-perception of cognition, the forces and laws of organic development can be observed and explored. It becomes apparent that evolution was not a random event, but the (...) organic overall process of the becoming of man. (shrink)

What happens to our minds when we listen to a story or read a book? How about when we watch a play or film? Any story, like a piece of music, plays out across our minds and in the process changes the nature of our notes and expands their range. Stories – whether told orally, read in a book, scrolled through or watched upon screen or stage – enable a metamorphosis of our minds through biological and sociocultural processes operating (...) in concert. (shrink)

The question of studying the metamorphosis of Europeans’ perception of the Islam is a topical issue now, because it helps to better understand the religious processes in modern Europe. Reconstructing the image of Islam in the ideas of the Christian peoples of the medieval Europe is the purpose of the study. To achieve this aim, I have used such methods as historical method, logical method, analysis, and hermeneutics. The research discusses the ideas of such authors as W.M. Watt, A.K.S (...) Lambton, W. B. Hallaq, I. P. Dobaev, P. Veimar and others. I have identified four components of the medieval image of Islam in Europe. Firstly, it is the idea of alienation of Islam and Muslims for European countries. I have showed that this idea was a result of two facts: (1) Muslim-Christian wars of this period; (2) absence of assimilation processes of Muslim population in European countries. The second component is the thought that Europeans can learn Muslim ideas and technologies. During the middle ages Europeans borrowed from Muslims a lot of important knowledge, ideas and techniques, as well as Muslims from Europeans. I argue that the idea, that Muslim religion is something incompatible with Christianity, is the third component of the image of Islam by Christian Europeans of the Middle Ages. In particular, Thomas Aquinas rejects the idea that Muslims, Jews and Christians have a common Scripture. According to him, Muhammad’s religion did not have worthy confirmation of the truth of the teachings. Thomas Aquinas interpreted the fact that great masses of people believed in Islam by suggestion that Islam appeals to the carnal desires of people, offering polygamy and the idea of physical pleasures in the paradise. Also, Thomas points out that Islam is a religion of sword and violence. Also, I have argued that a fear of large masses of Muslim population and their military successes was the fourth component in the image of Muslims by Europeans in the Middle Ages. (shrink)

The paper highlights analytic aesthetics’ unacknowledged assumption that art is timeless, a view it inherited from Enlightenment thinkers such as Hume and Kant, who in turn inherited it from the Renaissance. This view, I contend, is no longer tenable because it is at odds with our experience of the art of the past. Analytic aesthetics bypasses this dilemma because it confines its attention to topics such as the nature of aesthetic pleasure, whether the appreciation of art should be disinterested and (...) so on, which it partitions off from historical change and encases in a world where time stands still and where, by consequence, the temporal nature of art, including art’s capacity to transcend time, can be ignored. (shrink)

Global capitalism is the politico-economic structure that subjects everything to its interests. It creates unimaginable poverty, ecological crisis, the ongoing pandemic, wars without end, and other horrors that humans can inflict against each other. Within this capitalist configuration, an idea and a political movement emerged that seeks to destroy the foundation of this system. Communism is this idea and political movement. The foundation of capitalism that they wanted to dismantle is private bourgeois property. In general, the Bolshevik revolution did destroy (...) that foundation, but this was not enough. It only resulted in the eventual transformation of the party as the collectivized bourgeoisie with its authoritarian state apparatus. It transformed this bourgeois-liberal capitalism into state-run capitalism. The revolutionary class that was supposed to be emancipated, remained as they were in capitalism, producer of the means of subsistence and surplus value. The eventual dissolution of the Soviet Union did not mean that the idea of communism is already dead. It should have been the perfect time to reassess the theoretical foundations of communism and test the ideas of Marx and others in their practical-idealistic form. The production and reproduction of capitalist social relations create everyday consciousness for all capitalist subjects, even to passionate communist revolutionaries. This is how ideology works. But the continuing havoc of global capitalism continues. The Left goes on with their same old traditions. They do not see that precisely ii their unceasing failure is one of the conditions for capitalism and its state apparatus to have the capacity to reinvent itself. In Pandemic 2: Chronicles of a Time Lost, Slovenian-born philosopher and global thinker Slavoj Zizek said that capitalism is incapable of solving the Covid-19 crisis. In his more than a thousand-page book paradoxically called Less Than Nothing, he said that ‘really existing’ socialism failed because it was ultimately a subspecies of capitalism. Can we utilize this Zizekian idea of communism, an idea that generates criticism both to capitalism and 20th-century communism to reinvent communism for it to revitalize its struggle against global capitalism? To answer this question, I employed Critical Theory through the ideas of communism of Zizek. I started with capitalism’s totality. It manifests itself in the world of commodities. Commodities are everywhere and almost in everything. Commodification not only involves things that man uses but humanity herself is commodified. Then I elaborated on the notion of the proletariat because she is the “commodified man” personified. The identification of the proletariat almost exclusively with factory workers is the prevailing idea in the Left movement. I tried to show that the proletariat is the overwhelming majority in every industry. Capitalism, I claim is both producing employment and unemployment. And the unemployed, not only are included as members of the proletarian class, but looking at it objectively, they may play a significant role in the political struggle of the proletariat against the bourgeoisie. Therefore, as I tried to describe in quite a detailed fashion the various industries of capitalism and the sub-groups of the unemployed, it becomes evident that even without mentioning it, the proletariat is the class that almost everyone belongs to, except, as might be expected, the bourgeoisie. -/- Then I mustered the audacity to question Marx and Engels’ Communist Manifesto. I also tried to imagine what will happen to the economic categories in Marx’s Capital in communism. My objective was to identify what is lacking in Marx that may explain the Left’s unending failure. I think I succeeded, although in a very superficial manner, in trying to locate what was missing in Marx’s theory. It was not enough to transform the bourgeois property into public property, but this transformation must stop commodity production itself. Commodity production is this self-perpetuating character of capitalist production. Then it led to further elucidation of the metamorphosis of commodity production to the production of human needs. Another idea is the double negation of the communist revolution. Communism must not only negate the bourgeois class but the proletariat herself. Marx only emphasized the dissolution of the bourgeoisie but failed to relate this dissolution to the proletariat’s self-negation. Absolutely, the significant reduction of working hours is fundamental for communism. This reduction must result from the conscious expansion of the workers' free time. Expanding free time is at the same time reducing time for production. Essentially, this is the process of the self-negation of the proletariat. I also tried to put forward an idea that directly links reform and revolution. They are directly linked with each other because both are communistic. A communist campaign for higher wages is directly involved with the communist expansion of political power. Communist reform becomes revolutionary. Concomitantly, the notion of revolution also changes. The communist revolution, instead of it being a sudden, external, and most often violent event, becomes an internal transformative process and possibly less violent. I concluded by transforming the concepts I think Marx missed into political possibilities. That is why I expounded on the immediate aims Marx and Engels enumerated in the Communist Manifesto and tried to claim the probability of the impossible in the communist struggle for political power and Man’s eventual freedom. -/- Marx's description of factory work creates no illusion about the status of freedom in capitalism. In Capital, he said that “factory work... confiscates every atom of freedom, both bodily and in intellectual activity.” And I think Marx made clear that the only way to freedom is ultimately to destroy capitalism. These words of his in Capital will cast no doubt, “the knell of capitalist private property sounds. The expropriators are expropriated.” And to signify who are those experiencing this unfreedom, Marx and Engels summon the subject of the revolution in their famous lines in the Communist Manifesto and urge them to fight, “the proletarians have nothing to lose but their chains. They have a world to win.” Today is the time for philosophy because it is the age of declining freedom. But the prevailing capitalist structure is necessitating this unfreedom. And for philosophy to become what it is, communism should become philosophy. (shrink)

У статті вперше здійснено інтерпретацію поетичних текстів Олега Лишеги шляхом звернення до концепції барокового коду. Проаналізовані таким чином, зокрема, «пісня 822», «Півень», «Шовковиця», «Ворон», «Пацюк» і «пісня 3». Саме крізь призму барокового коду варто розглядати ці поезії, оскільки головні світоглядні риси бароко здатні пояснити ті чи ті образи або ситуації, які читач знаходить у текстах. Варто також наголосити на непересічності образу Григорія Сковороди у творчості Олега Лишеги, адже у поезіях «Великого мосту» можна неодноразово знайти чи то сковородинські образи/символи, чи то (...) його концепти, що були близькі для поета ХХ століття. (shrink)

In the last few years, the idea of human being has been enlarged from the individual closeness to morphogenetic openness. Concurrently with discovers and researches into invisible worlds that live with human beings – microbes, fungi, bacteria, etc. – a debate has opened up that agrees with recent positions in the field of ontology. The human being is capable of poietic openness and is defined by relations. Anyway, an absence of a rigorous conceptualisation of the individualising process remains latent to (...) the discourse. A classic principle of individualisation is probably incomplete. This paper brings into dialogue individualisation with singularisation through the manifestation process of expression in accordance with recent theoretical enactments of hybridisation processes. (shrink)