In the Dust of This Planet (Horror of Philosophy): 1

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In the Dust of This Planet (Horror of Philosophy): 1

In the Dust of This Planet (Horror of Philosophy): 1

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Eugene Thacker has written on science fiction, horror, continental philosophy, politics, culture, science and technology. Comic book author Warren Ellis cites as an influence the nihilist philosophies of Thacker and Peter Sjöstedt-H for his 2017 series Karnak: The Flaw in All Things, a re-imagining of the original Marvel Inhumans character Karnak. See also “Nekros; or, the Poetics of Biopolitics” in Zombie Theory: A Reader (University of Minnesota Press, 2017); “Necrologies: The Death of the Body Politic” in Beyond Biopolitics (Duke University Press, 2011). This entry was posted in Film and Philosophy, Uncategorized and tagged Eugene Thacker, existentialism, film and philosophy, Horror, horror of philosophy, In the Dust of This Planet, meaning of life, nihilism, philosophy, philosophy of horror. In his second chapter (titled “Six Lectio on Occult Philosophy”), Thacker gives us his unique reading of occult philosophy and its usefulness in demarcating the boundary between natural and supernatural.

By completing your purchase, you agree to Audible's Conditions of Use and authorise Audible to charge your designated card or any other card on file. Perhaps it would help to advance the argument if you articulated what you take to be the differences between these terms? The exposition is often so loose and lightly shaded that it's difficult to know how he has arrived at his claim, or even what his claim is. According to Thacker, we find these horrific aspects in philosophical works – like those of Schopenhauer and Kant – that attempt to articulate the existence of a non-anthropomorphic and essentially unknowable world independent from, and unmoved by, human understanding. p. 53) This “hideous” and horrific truth makes present to us the idea that our own human world exists alongside another sort of world, indifferent and closed off to us, implying that we are not the center of the universe.The term horror does not exclusively mean cultural productions of horror (or art horror), be it in fiction, film, comics, or video games. So, if you are standing with a friend and looking and you see a lake and the friend also sees the lake. To confront this idea is to confront an absolute limit to our ability to adequately understand the world at all – an idea that has been a central motif of the horror genre for some time. Thus, this chapter is broken into two main explorations of this kind of anti-humanism, as Thacker explores the use of the magic circle in literature as a boundary between the natural and supernatural ( Lectio 1-3) and the utilization of motifs such as blobs, slime, ooze, mists, and clouds as manifestations of the hidden world without the use of mediation ( Lectio 4-6). Thacker's discourse on the intersection of horror and philosophy is utterly original and utterly captivating.

To be fair, this is the first of three volumes in this series, so I am interested to see how Thacker develops these ideas further.

The aim of this book is to explore the relationship between philosophy and horror, through this motif of the unthinkable world. I especially enjoyed the “Excursus on Mists and Ooze,” which notes the role played by these slippery, slimy and amorphous entities in a number of horror stories and films. As a two-time Peabody Award-winner, Radiolab has expanded and evolved to become a platform for long-form journalism and storytelling.

There are a lot of promising ideas there, though from what followed it began to feel like this introductory chapter belonged to another book. He received a Bachelor of Arts degree from the University of Washington, and a Master of Arts and Doctor of Philosophy in Comparative Literature from Rutgers University. P. Lovecraft, Algernon Blackwood, Edgar Allan Poe, Dante's Inferno, Les Chants de Maldoror by Comte de Lautréamont, the Faust myth, manga artist Junji Ito, contemporary horror authors Thomas Ligotti and Caitlín Kiernan, K-horror film, and the philosophy of Schopenhauer, Rudolph Otto, Medieval mysticism ( Meister Eckhart, Angela of Foligno, John of the Cross), occult philosophy, and the philosophy of the Kyoto School.It is a series of philosophical essays, presented in a variety of philosophical techniques that are explained by Thacker before they are exercised, and they deal with three major themes: The first one is the contrast between the way we see ourselves as part of, even as shapers of, the world we see around ourselves, and the reality of the world existing without us — while we are part of it, and after we are all extinct; the second, a philosophical discourse of the origins of the main themes of horror literature, cinema and television — demons, monsters, ghosts, sinister beings — and how they actually reflect on our perception of the world around ourselves; the third (and this was the theme most explored in the podcast episode), revolves around the analysis of a poem, which is a dry description, in prose, of the chemical elements that are making up the planet, none of which are in our control, none of which we affect much. Thus, Thacker argues that this form of mysticism is relevant to us today, as it insists on a radical disjunction and indifference between the self and the world and is ultimately climatological (rather than theological), as it can only be expressed within the dust of the planet (158-9). He talks about climatological and geologic phenomena, which are clearly non-human, but are of great human import, Finally, at the very end, he refers briefly to the Kyoto school of philosophy, and the concept of sunyata, usually translated as 'emptiness. Do you yourself (not Kant) think that the chair you think you are sitting on right now, actually exists independently of you out “there” or is it only in you and nowhere else? I think that honest exploration in to any question is conducive to good philosophy and that truth springs from argument among friends.

these pages take cues from Burroughs and Gibson, while at the same time presciently pointing to the web-based path writing would take over the next decade. Phenomena come to being by way of sensations – originating from the noumenal world – that are filtered and organized by the a priori intuitions of time, space and the Categories of Understanding. Things are only in the perceiver’s mind and each perceiver has his own things which are not identical with things in any other mind. The program traced the appropriation of Thacker's book of the same name in contemporary art, fashion, music video, and popular culture.In the 1990s, Thacker, along with Ronald Sukenick and Mark Amerika, established Alt-X Press, for which he edited the anthology of experimental writing Hard_Code. Thacker often opens avenues of further inquiry and thought and introduces interesting ideas (especially regarding “dark mysticism,”) but they don’t lift off of the ground in any meaningful way. While the horror genre is an important part of culture, and while scholarly studies of the horror genre do help us to understand how a book or film obtains the effects it does, genre horror deserves to be considered as more than the sum of its formal properties.



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