You can't diagonalize out of the computables – like you can't kill what's dead.
— John.Bova (@johnbova) November 30, 2014
Michael W. Clune on Ligotti (and “the psychology of cosmic horror”):
Things are not what they seem. This is the mantra and the practice of cosmic horror. Lovecraft wrote stories in which familiar appearances — mountains, stars, old New England houses — melt away from things that now wear an unspeakably different aspect. While the focus in Lovecraft is always on the alien reality below the appearances, Ligotti is fascinated by the simple capacity of changing appearances to suggest a different reality. He pursues the inhumanist psychology of the process in which appearances come loose from their anchor in the human world.
… sounds plausible, a duodecimal line-numbering structure organizing the Platonic texts:
[Jay] Kennedy argues that this is no accident. “We know that scribes were paid by the number of lines, library catalogues had the total number of lines, so everyone was counting lines,” he said. He believes that Plato was organising his texts according to a 12-note musical scale, attributed to Pythagoras, which he certainly knew about.
“My claim,” says Kennedy, “is that Plato used that technology of line counting to keep track of where he was in his text and to embed symbolic passages at regular intervals.” Knowing how he did so “unlocks the gate to the labyrinth of symbolic messages in Plato”.
Believing that this pattern corresponds to the 12-note musical scale widely used by Pythagoreans, Kennedy divided the texts into equal 12ths and found that “significant concepts and narrative turns” within the dialogues are generally located at their junctures. Positive concepts are lodged at the harmonious third, fourth, sixth, eight and ninth “notes”, which were considered to be most harmonious with the 12th; while negative concepts are found at the more dissonant fifth, seventh, 10th and 11th.
Bakker (snipped from a crucial post):
There will always be speculation — science is our only reliable provender of theoretical cognition, after all. The question of the death of philosophy cannot be the question of the death of theoretical speculation. The death of philosophy as I see it is the death of a particular institution, a discourse anchored in the tradition of using intentional idioms and metacognitive deliverances to provide theoretical solutions. I think science is killing that philosophy as we speak.
Once philosophy has been completely de-vitalized, compliance with its true vocation can begin …
… burning with extraordinary intensity here.
In the advancement of machines the question is always where to draw the line. But, the past’s ahead of itself. Nine billion years of accidents. Trick accidents unscreened, cut. Binah affirms the anthropism of the name Gaia. The open question of holding sacredness, Outside myself, hidden from I. The abducting cut of inside/outside. X has no reference to anything except self-cultivation.
It calls to be cut up more.
Some classic erotically-crazed religious fanaticism from Nicola Masciandaro.
Hell, as we know too well, is only getting whatever one wants, the eternal unasked opportunity to be you — the form of desire — forever. Hell is the minimum of paradise and paradise is the maximum of hell. Says Julian: “Synne is behovabil, but al shal be wel, and al shal be wel, and al maner of thing shal be wele.” For all is hell. So beware of love: “She kissed me … From that moment – my fate was sealed! … I also sucked a sweet from Her lips … Oh, but it felt like I had kissed death – and my love was replaced by horror … This has been the theme of my life ever since: love – horror, horror – love: one worse than the other.”
(See the original for citation sources.)
Paper presented at Tuning Speculation III, Toronto, November 22, 2015, which seems to have pitched lunacy beyond all previously imagined dimensions.
This might be the first piece of accelerationist scholarship I’ve ever seen. (It’s good.)
The Eugene Thacker trilogy, introduced:
Eugene Thacker‘s wonderful Horror of Philosophy series includes three books – In the Dust of this Planet (Zero Books, 2011), Starry Speculative Corpse (Zero Books, 2015), and Tentacles Longer than Night (Zero Books, 2015) – that collectively explore the relationship between philosophy (especially as it overlaps with demonology, occultism, and mysticism) and horror (especially of the supernatural sort). Each book takes on a particular problematic using a particular form from the history of philosophy, from the quaestio, lectio, and disputatio of medieval scholarship, to shorter aphoristic prose, to productive “mis-readings” of works of horror as philosophical texts and vice versa. …
Craig Hickman meanders under the inspiration of Ligotti:
In the old Gnostic mythologies the Archons (kelippot, dark vessels) were the Watchers who keep us locked away in Time’s Prison. What if the reverse were true? What if in fact they are our secret defenders? What if they were the secret or hidden, occult brotherhood who have all these eons protected us from ourselves? What if what we should fear is our own powers? What if in fact we were the dark gods who have forgotten our own powers, and the gatekeepers were put in place by us to protect us from our terrible deeds, our own horrendous past? What if we are the destroyers against which we have built up such dark mythologies, and that if we ever tore down the barriers between our world and the Real we would discover the terrible truth of our own dark secret? That the evil we project upon darkness is the face of our own abysmal nature? What then? Maybe Time is a Prison we built against our own terrible existence, and that the only thing between us and oblivion is the gates of illusion. Would you still storm the gates if you knew this to be the truth?