Yankee came home with that thousand mile stare war after war until the war came home to stay after 2019.
I am talking about societies drained of their essence, cultures trampled underfoot, institutions undermined, lands confiscated, religions smashed, magnificent artistic creations destroyed, extraordinary possibilities wiped out. Aime Cesaire
On Berdyaev: In the Realm of Caesar he follows Christ. Berdyaev was, above all, a philosopher of Christianity.
His whole outlook was conditioned by his interpretation of the meaning of Christ "in"history and the meaning of Christ "for"man's life. To Berdyaev history and Christianity cannot be separated because the relation of God, Christ, and man to each other gives meaning to history-and history gives meaning to their relation. This is not as paradoxical as it may appear to be at first glance.
Berdyaev based his philosophy of history on the premise that the Christian religion is essentially an eschatological religion since it confirms man's immortality and gives direction to his life in terms of an ultimate "other-worldly" goal. Life has a purpose, the denouement of which is in Christ, or the Heavenly Kingdom, or Paradise, or what- ever term one chooses to use. Christianity sets up a relationship between God and Man.
Life is the ontological manifestation of that divine-human relationship. History, Berdyaev continues, is the time-memory method in which and through which man works to ward his destiny. Thus, the relationship between the divine and the human gives meaning to history, and history, by working out the divine-human destiny, gives meaning to the God-man relationship.
The philosophy of history is one of the ways to the knowledge of spiritual reality. . ... The philosophy of history studies man in the concrete fullness of his spiritual being; psychology, physiology, and other spheres of human knowledge study him incompletely in one or other of his aspects.
The philosopher of history examines man in relation to world forces which act upon him, that is, in the greatest fullness and concreteness.
ABSTRACT—This is a war universe. War all the time. That is its nature. There may be other universes based on all sorts of other principles, but ours seems to be based on war and games. All games are basically hostile. Winners and losers. We see them all around us: the winners and the losers. The losers can oftentimes become winners, and the winners can very easily become losers.
This chapter looks at William Burroughs’s influence by and affinities with the work of the Dada artists of the early twentieth century. The significance of his relationship and collaboration with the artist Brion Gysin is explored, and how their styles and ideas overlap and intertwine. The philosophy and history of the cut-up method is explicated, as are its ties to the methods of many of the Dada pioneers, as a means to challenge oppressive ideological systems of control. The effects of this ‘painterly’ (Burroughs’s term) technique on the cut-up trilogy are closely analysed. The chapter looks at the personal significance of the cut-up for Burroughs, which is at times used for quasi-prophetic, even epiphanic purposes, and a critical means of escaping ensuing forces of control. Naked Lunch is approached in light of the presence and influence of art, looking to the artistic tendencies and allusivity, as well as its mosaic-like structure and mode of assemblage. Gysin’s artwork and poetry, and particularly his calligraphies and permutations, are explored in conjunction with Burroughs’s incessant revolutions in the writing process. The chapter examines The Third Mind, a highly innovative and motley assimilation of text and visual art which Gysin and Burroughs collaborated on together, and what one might deem the cut-up manifesto.
https://www.taylorfrancis.com/chapters/mono/10.4324/9781003342564-3/william-burroughs-dada-cut-compulsion-declan-lloyd
https://ko-fi.com/thejournaloflingeringsanity