Here’s an incredibly – well invaluable resource (for me as a non-professional interested in philosophy and its twists & turns) that I recently discovered. It is a collaboration of researchers from two institutions: King’s College London and Ludwig-Maximilian University in Munich.
I suggest starting with the episodes on the Indian influence on Islamic and European thought as an introduction to this entire section and I will detail below why I think one should start here at the end rather than at the beginning. Even if one does not have any interests in philosophy or any prior knowledge in the Western tradition of philosophical thought – from this eps one can at least gather how stunted this reception of Indian philosophy was (and partially still is) in the West.
For good or for worse (Theofil Simenschy, M Eliade) Romanian intelligentsia has shown along the years a certain appetite for Indian philosophy, so there is a lot of various translations – even pulp and trashy ones, adapted versions and pocket versions. All this is proof of a widespread interest in extra European philosophical traditions and a diversified pop cultural exchange btw India & Romania. At the same time one should not profess any innocence in regards to this Indophilia, and regard with a certain suspicion all claims about a Romanian-Indian continuum, especially in view of the usual right-wing nativist or aryanist tendencies. That said, before 1989 and after as well, so-called anti-sectarian perspectives where banishes, a position maintained by the majority Romanian orthodox church. This is a tendency to discredit evert hing associated with Indian practices or yogic knowledge. Gurus or anything close to New Age religions is regarded as potentially harmful or condemned as ‘perversions’. Not saying there are no exceptions to the rule, yet suffice to say, nodaways in Romania (as elsewhere) – there is a thoroughly hyper-commercialized mindfulness industry catering to the needsof those afflicted by generalized burnout under capitalism. I consider quite fruitful thw para-academic come & go tracing such pop cultural influences and there’s much interest in exploring weird deviations & non orthodox practices. My bes example is Bogdan Lyphkhanu – poet friend and also a consummate collector and investigator of such spiritual Romanian- Indian (and also Spiritualist, Taoist, Tantric, Occult, including unclassifiable etc) hybrids.
For various reasons, I abstain from discussing Islamicate – Indian philosophy relations. Many Islamic authors, since the very beginning, have drawn parallels btw Sufi Islamic mystical traditions and Indian philosophical schools. Importantly, many Western impressions on Indian philosophy are much indebted to previous Persian or Arab translations (listen to this podcast).
I am ignoring this at the moment to focus on the plethora of sometimes very specialized knowledge and updates commentaries on Indian (or specifically Buddhist/Jainist sources here), sources relevant to the current debates animating much of today’s mind philosophy (mind body dualism/hard problem of consciousness, panpsychism/pancosmism, eliminativism etc).
These podcasts are definite proof that we have moved away from the various misinterpretations. A that seem in retrospect quite rudimentary, completely biased and misinformed, never able to grasp the diversity of Indian philosophical schools or engage with the conclusions of their main representatives (their historical debates, the diversity of their examples, multiplicity of perspectives, a rich and evolving conceptual vocabulary and most of all their sheer diversity). The Western reception is biased from the beginning. No matter where it hails from, we get the sense we’re being served an impoverished and caricatural version of it. Beyond the mind philosophy relevance discussed above – there is also a new interest for the idealist resources of Indian philosophy as today’s idealist philosophy gathers pace or even with those attempts to seek out a bridge between the continental and the analytic Western philosophy. There are countless other aspects including those offering a new appreciation of Indian epistemology (in the Buddhist philosophy) and so on.
With the possible exception of Gottfried W. Leibniz, almost all mentioned in this podcast (Hume, Hegel, Schopenhauer, etc) show a combination of either uncritical admiration or outright disdain for Indian philosophy (particularly its cosmology or cosmogony as in the example with the elephant sitting on top of the turtle). If they were very attentive in their analysis of ultimate questions about experience, perception, truth and limits of knowledge, or avidly debating current scientific worldviews, western philosophers were less careful about other traditions, throwing around careless generalizations. Sadly they almos constantly ignore actually existing ‘Indian philosophy’, and make their statements based on hearsay or by taking Indian philosophy as a unified stock, a single corpus, a monolithic non differentiated block. One should first recognize if possible these initial widespread positions held by practitioners of Western philosophy, so that one can appreciate its further refinement or even complete revision of what we thought we knew about Indian philosophy.
That being said – this is just just an entry point, so pls consider listening the whole section from 43 Buddhist and Jains (or earlier) to 62 Kit Patrick. Each eps has short and up-to-date Bibliography on the subjects being discussed for those interested.
The film was completed using rotoscoped animation, and traces the centuries long journey of a magical plant that bestows terrible power upon the user, as it inspires despots, empires, and black magic.” (wiki)
This has to be one of the highlights of animation in recent years – but not if one dreams for a more peaceful, pacifist or a non-violent (better) world. Ripping hearts out, dissolving meat off the bones, cutting people in half or dismemberment – a recurrent and very common characteristic of Spine of the Night. Lots of eerie blue phosphorescent flowers and lots of gaping skulls projected on starry skies. Heroic fantasy or sword & sorcery (especially the work of REH/R.E. Howard) was big bang moment for me and it was always pretty bloody and tactless. Altough, I must say it came with its own culturally specific ‘mirth’ – for these imaginary worlds were concocted by REH, and distributed by (Marvel) comics before the books came around (few of those in my collection too). Worlds I briefly inhabited got poached from smuggled comic books (Savage Sword of Conan, King Conan, Conan the Barbarian) arriving in ‘aid packages’ from my aunt in the US across the Iron Curtain to a kid in Ceaușescu’s Romania. Conan the Barbarian and King Kull of Valusia happen to overlap with my 1980s high school surroundings or my sporadic countryside haunts. Below the Carpathian mountains, around Prahova County, a wild distant hilly forested area, that I entered only much later was just behind the village of my childhood summer vacations. Let’s get this straight I wasn’t a country side kid, more of a city bookworm/documentary geek. Altough from that moment on the hills of Prahova became the realm of Cimmeria – the mythical land of Conan, a place based on a vague Black Sea region during the Greek antiquity.
I remember The dark woods, masking slopes of sombre hills; The grey clouds’ leaden everlasting arch; The dusky streams that flowed without a sound, And the lone winds that whispered down the passes.
Vista upon vista marching, hills on hills, Slope beyond slope, each dark with sullen trees, Our gaunt land lay. So when a man climbed up A rugged peak and gazed, his shaded eye Saw but the endless vista–hill on hill, Slope beyond slope, each hooded like its brothers.
It was a gloomy land that seemed to hold All winds and clouds and dreams that shun the sun, With bare boughs rattling in the lonesome winds, And the dark woodlands brooding over all, Not even lightened by the rare dim sun Which made squat shadows out of men; they called it Cimmeria, land of Darkness and deep Night.
It was so long ago and far away I have forgotten the very name men called me. The axe and flint-tipped spear are like a dream, And hunts and wars are like shadows. I recall Only the stillness of that sombre land; The clouds that piled forever on the hills, The dimness of the everlasting woods. Cimmeria, land of Darkness and the Night.
Oh, soul of mine, born out of shadowed hills, To clouds and winds and ghosts that shun the sun,
How many deaths shall serve to break at last
This heritage which wraps me in the grey Apparel of ghosts? I search my heart and find Cimmeria, land of Darkness and the Night”
The gravel on top of the gymnastics/sports hall next to my Bucharest school was strewn with small bones of dead animals. This made a perfect substrate for our Hyborian immersion. To that place where nobody could follow us, we arrived climbing up on a creaky rusty metal ladder – and in the distance we started seeing the rooftops shapes and church towers that would transform into temples of Mitra…
Conan, King Kull, Valeria, Thulsa Doom, Red Sonja (Brigitte Nielsen), Grace Jones playing Zula (all pulled from a growing comic book pantheon enlarged by Roy Thomas & Barry-Windsor Smith and others) ended up bringing havoc to an old and corrupt world, swept by sinister cults and pre-human civilisations with walled crumbling cities. These were all heroines and heroes that made civilized life into a sham, never adopting the mores for civilized men and women for long. All thieves, all brigands, tomb raiders, all hailing from the borderlands, the steppes and the forests, all former slaves, orphans or members of a barbarian hinterland that got raided as labor force pool or got sacrificed in the name of unknown gods or blood-thirsty cults. A pean to a neo- barbarian ethos born out of modern Fantasy that did not exist outside the invented Hyborian Age conjured up by that suicidal pulp fiction-writing Texan obsessed with physical culture called Robert E. Howard. There is much to be critical about it now – including a certain Social Darwinist bent – and a kind of might is right. At the same time there’s a sort of materialist common sense attitude of swords that make Gods or tyrants bleed, of sorcery or supernatural or Lovecraftian entities that are not invincible. So there’s always the risk of maybe too much sword and too little sorcery. On the scala of toxic masculinity many abcelebrated Frank Frazetta cover would score pretty high and come across as just reinforcing gender stereotypes, seemingly promoting those undultared, manly, virile, battle-scarred bodies forged in cosmic foundries – at the time of great changes of Fordism labor rights struggles and post-Fordist malaise. Those sweaty – sword wielding (working man) recently unemployed bodies that are so easy to ridicule in movies, as in the recent lumberjack character played with gusto by Nicholas Cage in Mandy. Work and virility was somehow on the go – labor was not only outsourced to a feminized Asia, but the whole regime of formerly unwaged labour, care work included more and more men – a feminization of work that started seeping into what had been once a working class industrial preserve.
Even with the heroic fantasy glorification of berserk battles, heavy metal/doom metal soundtrack & general mayhem, let’s also consider Conan the Barbarian mostly a kind of modern scavenger, a sort of Spartacus outsider that never accepted a warrior lifestyle and that was forced into it. From his initial peaceful village life Conan (in one account) was taken prisoner with other children, was pushed and had to adopt a slave – warrior livelihood, not because he was born into it. Conan used all his anger to mostly strike down civilized lords, power hungry priests and cruel rulers.
Now to this recent animation and how it departs from previous models even if stylistically has much in common with a whole genre of pulp. First in the Conan comics there’s is a certain class and even racial division amongst these pulp savages and barbarians. This is a recognizable colonial (Euro-American) separation of good barbarians vs bad barbarians – even in Conan THE Barbarian. There is the ‘noble savage’ and the rest, an Enlightment era division that has brought much misery and death to countless living native indigenous peoples. So in the comics there is “the Cimmerians” and there is “the Picts” of the Pictish Wilderland (usually a swamp or a jungle rainforest) as par of an extended REH universe. Classified as ‘primitive’, truly vicious they are almost like living examples of Darwinian evolutionary atavism. They are the remains of pulp racist pseudo science, representatives of the irrational primitive archetype, described in dehumanizing terms, as an animal-like – superstitious horde. I think The Spine of Night – even if at the surface tributary to REH universe does a benefic move towards foregrounding these reclusive swamp ‘savages’, their cause, the quest not of warriors or swordsmen but of witches, of pantheist and animist rituals. It also makes explicit the predatory relation of much of these civilisations & cities on this sparsely populated, un-cultivated, yet fertile hinterland. This I consider quite a big departure that puts to shame simplistic pulp comic divisions with a colonial inheritance. The Swamp is finally not a place of unnamed horrors like in Conan the Barbarian, but a place of various forms of life and where a very powerful plant thrives, a plant that is part of the ethno-botanical lore of these human groups. The horror is most likely to arrive with new intrusions, clearings, enclosures and with militaristic ecocidal ideology of brutal conquerors and their henchmen. I sense there’s a possible Bachofenian critique of patriarchy as a historical process, the arrival of a patriarchal order that took pride in treating both nature and women with the same brutality & rapacity. There’s also no passivity here – the swamp people don’t just dissappear and the witch is always coming back and ready to counter the worst of them.
Beside the knowledge vs power narrative there is something else in the Spine of Night – a way in which the great Swamp – is the first to disappear or to fall victim to the empires or to fires, and expansive drives for domination.
Another thing is the dependency of civilization, of the mighty on someone else, even on rare irretrievably lost knowledge, or on something that is non-human (or pre-human) or not recognized any longer as human. Rulers are always dependent on inhuman energies and entities. Or even better – in all their might they show a dependence and encourage the exploitation of a complex – nexus of other humans, their lore and practices and plants (magic flower) & biodiverse environments (swamp, wetlands, marshes). There is no development or spells or even warfare without these (one might recall here Londa S. studies of abortificient plants known to indigenous peoples as well as slaves) ‘political plants’ that are an integral lore of these swamp people in The Spine of Night.
It is the first epic time the actual heroine is a swamp witch, her quest is not the quest of the mercenary barbarian but of a revived cosmic witch queen that makes the last stand against a technologically- empowered, resource-hungry, and knowledge thirsty imperial power represented by a man, a former scholar. I am not going into details – and I think the images telling the mythical story of this bloody world are pretty telling because they include the killing of the gods in its cosmogony.
Knowledge or – ancient libraries and scholars are not all evil and corrupt, there is actually a few idealists left and a few dedicated to saving the plebs outside the gate. Yet it is clear that this kind of disdain combined with hoarding of knowledge in search of power brings only doom & destruction. There is also a knowledge that is non-literary, transmitted by oral cultures, what we might call oral/aural culture – so-called illiterate knowledge, one that does not get recorded so easily in the pages of grimoires. Besides the pungent mythical undertones in Spine of the Night – there is also the sense that a lot of specialized, ‘written’ knowledge is definitely growing in complete disregard for its human (humanistic) usage.
Apart of all these brief notes – the Spine of Night animation conveys the best cosmic dark epic doom entertainment since Ralph Bakshi’s collaboration with Frank Frazetta – on Ice and Fire, the 1983 dark epic fantasy rotoscoping masterpiece. Yet, I repeat I do not consider it a mere piece of geek nostalgia per se – but a powerful new and welcome turn of an old animation technique (to be enjoyed and practiced). Visually it is not so much – like a lot of recent animation – one technique, but a kaleidoscope of techniques and technologies both digital & analog, hand-drawn & CGI, combining ‘realist’ rotoscoping style with abstract – dark silhouettes with blazing eyes and patches of ‘bioluminescent’ parafernalia (like characters in the cosmogonic/Titanomachy scenes). Instead of just images of decay, or constant dissolution of forms – animation in Spine of Night is mostly about metamorphoses (like Levitt puts it in her Animatic Apparatus), morphing and melting the boundaries of usual anthropomorphic – figurative shapes. The background art is very effective and stands on its own even without the action – because all the environmental elements are unstable, lines tremble, the sky/cosmos constantly is prone to paraeidolia – skulls get distended & extended into galaxies. One could say in the Titanomachy – god killing scenes, what we see is a cosmogony of the animation process itself, the unseen acts (techniques, technologies, rotoscoping etc) enacting the ani-motion principle, “the artificing of man” (Cholodenko) – the dreams of silent creators, lively nightmarish creations that overtake and revert the roles, rob their creators special effects & take on a life of their own.
A fantastic 2016 animation about a demiurge that does not fit with our images of the supreme being or the kreator. It is plays the trickster being role in many cultures, especially from the circumpafic (the Pacific Rim cultures), in the North from Siberia to the North Californian Native peoples. It’s also found in the Bible as the first being to fly from the ark. There’s also Huginn and Muninn devine data gathers in Scandinavian sagas. Since childhood I was enthralled by his escapist abilities, his shapeshifting ways, his dirty creationist energies and by his cunning, his unpredictable, greedy and curious nature.
Chulyen is the Dena’ina Athabascan word for RAVEN
I especially remember(cannot remember where I read it?!) one such creation story of the Pacific NW. The raven eats some especially juicy red berries that cause him to have a mid-air diarrhea, out of this he feels sick for eatint too much, and mid air he starts a shitting session. That shit thrown from heaven onto earth is the first matter that gives rise to the first crawly creepy humans, that ones opening their eyes they understand and see the difficulties of the raven creator and understand his shitting himself mid-air and they laugh, and then the raven laughs in return, looking down, amazed at his creation, ridiculing the creatures that have sprung unwittingly from his uncontrollable urge for excretion. What an incredible Genesis of humanity! What a mind-blowing scatological myth of creation, one that does not stand easy with our usual more serious cosmic written creation stories.
This French animation captures it all in a sense, as well as the weirdo, troubling, the unsettling and cannibalistic aspects of cosmogony.
Some raven resources for you curious birds out there:
TimeSpace Warps 