Posts tagged "Lovecraft"

Para-Academia & Theory Fiction | Session 2: Wythe Marschall on Gnostic Vertigo in Bataille and Lovecraft (Audio is part one of two)

Tuesday, June 21, 2011
Observatory at Proteus Gowanus, 543 Union Street, Brooklyn 
Presented by the Hollow Earth Society and The Public School New York

The para is the “alongside,” that which comments on the official or normative. While academics debate the finer points of Shakespeare and Kant, para-academics aggregate around shadow-commentators whose works do not so much categorize (striate) and enlighten (bring light into) difficult terrain, but produce that terrain, creating obscure spaces and nebulous discourses that are immune to traditional academic approaches.

Blogs, speculative medievalisms, Cyclonopedia, Charles Fort, teratology, print-on-demand—these and other tentacles of a polycephalic (many-headed) para-academia have entwined to produce an addendum and, finally, an ultimatum to established disciplines and practices.

The second session of the Para-Academia & Theory Fiction series considered links between two highly disparate authors whose work during the 1920s and 30s concerned, among other things, the unspeakable, the limits of philosophy, heterology (study of extreme “Otherness”), and cosmic terror.

Though they were on different planets politically, French anti-philosopher Georges Bataille and American horror luminary Howard Phillips Lovecraft shared a common concern for the foundation of a new, materialist mythology that can see beyond Reason, reconnect man to the world of things (and shit, and horrible creatures), and speak to the unutterable terror of being alive—of being trapped on a ball of mud circling a much larger ball of fire hanging in a void. (The realization of this terror produces “gnostic vertigo.”)

Wythe Marschall is a writer and artist. He works in advertising during the week and teaches writing at Brooklyn College on the weekend. With illustrator Ethan Gould, Wythe is the founder of the Hollow Earth Society, a pacifist army, conceptual art movement, and para-academic educational network.

For related texts and more information, go to: http://nyc.thepublicschool.org/class/3448

Audio from the second part of the class can be found here.

Audio from the first session in the series featuring Nicola Masciandaro on Commentary can be found here.

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Para-Academia & Theory Fiction | Session 2: Wythe Marschall on Gnostic Vertigo in Bataille and Lovecraft (Audio is part two of two)

Tuesday, June 21, 2011
Observatory at Proteus Gowanus, 543 Union Street, Brooklyn 
Presented by the Hollow Earth Society and The Public School New York

Information about Wythe and this class can be found in this related post.

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The Weird: a discussion of fiction and politics with China Miéville
March 2, 2011, Kingston’s London Graduate School and School of Humanities
via Backdoor Broadcasting Company

At the start of the twentieth century, H. P. Lovecraft summed up the encounter between horror and strangeness as ‘pictures of shattered natural laws’ and encounters with ‘cosmic outsideness’. At the start of the 21st century, the weird has alerted us, once again, to the persistence of this ‘mood or feeling’. The new weird—generically indeterminate as it is—offers a potent trope linking pasts and presents and opening new terrains for writing creatively and differently even though its political, philosophical and cultural ramifications may be less easy to fathom. This talk with China Miéville and the Faculty of Kingston’s London Graduate School and School of Humanities seeks to revisit the idea of the weird in fiction and politics. The session will betake the form of an open discussion where contributions from faculty and audience will consider the relevance of the idea of the weird to various fields of study in the humanities.

Responses to this talk:

That’s Weird by Fabio Cunctator via hypertiling
Weirdos: A Response by Ben Woodard via Naught Thought

China Miéville links:

rejectamentalist manifesto: China Miéville’s waste books
2010 Interview with China Miéville on the visual arts via An Iguanodon Studies

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Notes on Writing Weird Fiction by H. P. Lovecraft

My reason for writing stories is to give myself the satisfaction of visualising more clearly and detailedly and stably the vague, elusive, fragmentary impressions of wonder, beauty, and adventurous expectancy which are conveyed to me by certain sights (scenic, architectural, atmospheric, etc.), ideas, occurrences, and images encountered in art and literature. 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 for ever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis. These stories frequently emphasise the element of horror because fear is our deepest and strongest emotion, and the one which best lends itself to the creation of nature-defying illusions. Horror and the unknown or the strange are always closely connected, so that it is hard to create a convincing picture of shattered natural law or cosmic alienage or “outsideness” without laying stress on the emotion of fear.

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Mad Speculation and Absolute Inhumanism: Lovecraft, Ligotti, and the Weirding of Philosophy by Ben Woodard

via continent.
continent. 1.1 (2011): 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 (La Folie dans la raison pure). 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 (535-536).

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.

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Lovecraft: Fear of the Unknown
(2008) 90 min.
via Snag Films

The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is Fear of the Unknown.

“H.P. Lovecraft was the forefather of modern horror fiction having inspired such writers as Stephen King, Robert Bloch and Neil Gaiman. The influence of his Cthulhu mythos can be seen in film (Re-animator, Hellboy, and Alien), games (The Call of Cthulhu role playing enterprise), music (Metallica, Iron Maiden) and pop culture in general.

But what led an Old World, xenophobic gentleman to create one of literature’s most far-reaching mythologies? What attracts even the minds of the 21st century to these stories of unspeakable abominations and cosmic gods?

Lovecraft: Fear of the Unknown is a chronicle of the life, work and mind that created these weird tales as told by many of today’s luminaries of dark fantasy including John Carpenter (The Thing), Guillermo Del Toro (Pan’s Labyrinth), Neil Gaiman (Coraline), Stuart Gordon (Re-Animator), Caitlin Kiernan (“Daughter of Hounds”) and Peter Straub (“Ghost Story”).”

Director
Frank H. Woodward

Writer
Frank H. Woodward

Produced by
William Janczewski
James B. Myers
Frank H. Woodward

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Collapse Vol. IV: Concept Horror

From Internet Archive:

Collapse IV features a series of investigations by philosophers, writers and artists into Concept Horror. Contributors address the existential, aesthetic, theological and political dimensions of horror, interrogate its peculiar affinity with philosophical thought, and uncover the horrors that may lie in wait for those who pursue rational thought beyond the bounds of the reasonable. Contributors to this issue include Thomas Ligotti, China Miéville, Reza Negarestani, Quentin Meillassoux, Jake and Dinos Chapman, et al.

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