/lit/ - Literature

>Psychiatric control treats any sign of vitality like a symptom of disease and the living brain like a machine to be serviced and repaired. The real of desire is leveled down to the mechanics of molecules. Our education system dumbs its subjects down to see the living world and themselves as programmed mechanism, and trains them to function as parts integrated in planetary megamachines. Thus our scientistic ideology, proclaiming the one referential reality, ignoring its becoming and foreclosing its own act, implicitly justifies the eradication of “primitive” cultures with their strange preferences and ritual practices and myths of a living Earth. How could it consistently respond to or resist that destruction, when it teaches that the techno-scientific monoculture processing the earth is the one based in reality? While the culture industry produces alternative fantasy worlds to divert and disconnect its subjects from the horror of their environment poisoned by machine waste, the advancing civilization is bulldozing and exterminating multiple living worlds, flattening and grinding them into data to feed the universal algorithm of homogeneous exchange. How can the scientist resist if he believes human aspirations are the illusions of programmed automatons? Yet all he would have to do is look within to see where the “many-worlds hypothesis” is verified. In the coming time of our environ-mentality, our response-ability, what must now be counted in are the creative and symbolic acts that determine how we live and what we are living for, what worlds we are projecting and already making possible and real. Philosophy is the thinking of this event, which it does not take for granted. In fact nothing is “given” to philosophy; everything must be constructed; there are no “data” yet “philosophy can exclude nothing.” That is its paradox: nothing is given and nothing is excluded. Even God cannot take himself for granted. He has to ask himself, How? How do I do it? Perhaps a clue is to be found in music, “prototype of the concert of natural forces.”

>Each monad-mode is acting in the drama of its own imagining, a play without author or director and whose plot is continually under revision, incomplete, as the monads encounter each other blind to what is happening inside the other’s world, make signs to each other, and read the other’s gesture and attitude, relinking to some, passing on others, never knowing in advance what world-play the other players are acting and imagining, so many versions of “the ultimate,” as we all intuitively channel and project each other’s possibilities and take our chances, redoing rules, composing and executing this sublime schizophrenic melody and concordia discors.