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For, rather than reason, is it not these latter passions which govern more 'sophisticated' philosophical architectonics, and in doing so obscure the conceptual vistas that might open up to those brave or foolhardy enough to interrogate philosophically the 'taboo commonplaces' which they superciliously outlaw? One might of course argue that, even in writing, such thinkers, and Ligotti himself, yield to the tide of life.
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Even the will to know, to think, and to write, may itself be a sublimated form of the not knowing that is crucial to survival. But if thinking and writing can themselves be sources of distraction, a thinking and writing of 'concept horror' attempts to force the reader to secrete something of the poison that is buried within them; it is a kind of demonic invocation.
No less than his fictions, Ligotti's straightfor- ward account of our 'malignant uselessness' succeeds in so far as its language - like that of Lovecraft's eldritch incanta- tions - ceases to be representational and begins to summon the very desolate reality it describes, doing away with all cultivated distance and calm objectivity. Ligotti counsels precisely this surreptitious promotion of disillusionment, to be carried out patiently by those in every age to whom it 3.
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A rare and fine example of such a dispassionate experiment in nihilism is Ray Brassier 's recently published Nihil Unbound: Enlightenment and Extinction Basingstoke: Palgrave, Ligotti's text appears in our volume alongside a series of photographs by Oleg Kulik, a Russian artist whose work includes photography and photoassemblage but which culminates in his extraordinary live actions.
As well as extending Kulik's researches into what Mila Bredikhina has called 'zoophrenia', s Kulik's 'Memento Mori' complexifies the dialectic of life and death, presenting us with images of creatures who are doubly dead - already corpses, their deaths have been preserved through interment in a museum. Of course, we still cannot help reading their visages as anthropomorphic signifiers, now all the more macabre.
Evincing all the stuffed-shirt dignity of victorian portraiture, the photographs could also be read as an extended 'family tree' - an ancestral archive we might prefer to keep in the closet. Not only do they act as 'memento mori', reminding us of the horror of personal death; they also remind us, as does Ligotti, of the senseless and indifferent continuum of life of which we are an insig- nificant part, and of the absurd folly of our enshrining any part of it, stuffed and preserved, for posterity.
Perhaps Kulik thus identifies in advance the museums and 4. The alternately accusing and mutely questioning faces of the dead monkeys describe a strange twisting associative dance with Ligotti's text, the nuances of dumb bewilder- ment and silent petition inviting us to identify ourselves simultaneously with Kulik's photographic subjects and the hapless, self-deluding targets of Ligotti's rant. A deeply felt unease, and the troubled laughter that accompanies it, is the inevitable initial response to this marriage of text and image.
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But ironically, read within the context of Kulik's work, 'Memento Mori' obliquely hints at an egress from Ligotti's dead end. For Kulik's performances seek a zoophrenic overcoming of the limitations of the anthropic through a plunging into the animal. The involvement of 'the point of view of different biological species in aesthetic practice,' the artist proposes, 'will produce a new renaissance' 6 - Since the anthropomorphisation of the animal can only subject it to a further death, we should rather zoonwrphise the human.
This strategy of a 'forward-to-nature' 7 zoofuturism implies that escape from 'the crisis of human schizophrenic culture' 8 might involve intimacy with a horror that walks on four legs - a horror that has left its teeth-marks on witnesses to Kulik's uncompromising and profoundly disturbing animal-becomings. In this volume we present the final part of a 'trilogy' of essays by Quentin Meillassoux, which proposes a 6.
Ibid, In previous contributions, Meillassoux presented his thesis of 'absolute time' or 'the necessity of contingency', founded upon a re-examination of Hume's problem. In his meditation on irre- mediable bereavement, Meillassoux asks, with regard both to the spectres of those whose loss is personal to us, and to those belonging to the atrocities of the last century and which seemingly cannot be dispelled, how it is possible to escape the shadow of such deaths, thus to hope once more.