#oxana timofeeva | Explore Tumblr Posts and Blogs

onionmag · 5 years

Text

zen is just like this

His head. A Stone. Immortal.

The sky is blue, the tree is green;

salt is salty, sugar is sweet. A dog is barking, ‘Woof! Woof!’ Just like this, everything is truth. So you are also truth. “There is grandeur in this view of life… from so simple a beginning, endless forms most beautiful and most wonderful have been, and are being evolved.” — Charles Darwin’s The Origin of Species His arm disappears. Skin like stone. materialism /məˈtɪərɪəlɪz(ə)m/ PHILOSOPHY the theory or belief that nothing exists except matter and its movements and modifications. “…the world-for-us, the world-in-itself, and the world-without-us are not three separate entities. I rather imagine them as three concentric circles: the smallest is the World, the next biggest is the Earth, and the biggest is the Planet—although these three circles might actually be the same size and even occupy the same place: their difference is not geometrical, but topological.” The first circle is like the home where we live. In this home, everything is familiar; we are surrounded by things that belong to us. We open the doors of this circle and go out: there is a second circle there, where animals and plants dwell without thinking and being thought. This is nature as such, or the world-in-itself, or — to borrow the name that Quentin Meillassoux gives relation—the Great Outdoors. We grab something there (some food, some wood to make a fire, some water, etc.) and go back inside. But we know that there are yet other doors, the doors of nature, that lead towards a Greater Outdoors where even the wildest of beasts do not dare to go, let alone humans.” —“Ultra-Black: Towards a Materialist Theory of Oil”, Oxana Timofeeva The rock. The primordial mountain. In the three worlds, There is nothing I must do, Nothing unattained to be attained, Yet I engage in action. —The Third Teaching, Discipline in Action, The Bhagavad Gita (translated by Barbara Stoler Miller) Nature. The Photograph. So you should simply make the instant Stand out, without in the process hiding What you are making it stand out from. Give your acting That progression of one-thing-after-another, That attitude of Working up what you have taken on. In this way You will show the flow of events and also the course Of your work, permitting the spectator To experience this Now on many levels, coming from Previously and A Merging in to Afterwards, also having much else Now Alongside it. He is sitting not only In your theatre but also In the world. — Bertolt Brecht, from "Portrayal of past and present in one", part of Four Theatre Poems The world constantly turns inside out, and we are the hole through which it does so (by “we” I do not mean exclusively humans, but a much bigger collective of beings that precedes concrete species). — Oxana Timofeeva, “Unconscious Desire for Communism,” Identities: Journal for Politics, Gender, and Culture 11 (2015): 32–48. Spectral Returnings “In 1980, Luis Alvarez, a physicist, and his son Walter, a geologist, made public their theory that dinosaurs were killed by a massive asteroid strike… [They] argued that evidence of the catastrophe was hiding in plain sight, the world over, as a thin layer of sediment enriched in Iridium, a metal commonly found in asteroids but rare on Earth. Under most circumstances, fossils form when animals die in places like river deltas where fine sediment slowly covers up their bones and ultimately encases them in rock. Not so at the apltly named Hell Creek formation of Tanis in North Dakota. Here, Robert DePalma, a PhD student at the University of Kansas, and a team of colleagues…are reporting the discovery of a 1.3-metre-thick sedimentary layer that was catastrophically dumped in a single day. Wedged between a 66m-year-old layer of Cretaceous sediment, and another dating from the subsequent Tertiary period, when mammals came to dominate Earth, the Hell Creek fossils are in the perfect position to record the moments that immediately followed this asteroid impact.” —Day of Reckoning, The Economist, April 6th, 2019. If you meet the Buddha, what do you do? Where do you throw your cigarette ashes?

this piece was first published in Topographies, an art book by Jason Lim. All images are courtesy the artist.

#jasonlim

0 notes

crecimientopersonalcoaching · 6 years

Text

Why Still Look at Animals: A Conversation with Oxana Timofeeva – lareviewofbooks

lareviewofbooks Why Still Look at Animals: A Conversation with Oxana TimofeevalareviewofbooksThis is a perspective you try to dismantle in The History of Animals: A Philosophy, a book you choose to describe as not a “philosophical bestiary.” How do you avoid traps such as the power inclinations of our species (i.e., anthropocentrism) that even … Libro ... Leer más - Read more... source http://news.google.com/news/url?sa=t&fd=R&ct2=es&usg=AFQjCNF5zr1el6eIBe8fRBJrSG1aSuGN1Q&clid=c3a7d30bb8a4878e06b80cf16b898331&ei=xSHVW_DOH9Wg3QG6kL_oDQ&url=https://lareviewofbooks.org/article/why-still-look-at-animals-a-conversation-with-oxana-timofeeva/

#Self-Help Books #Personal Growth Books #Libros Autoayuda #Libros Crecimiento Personal

0 notes

megkuna · 16 days

Text

i luv looking thru my old blog and seeing my notes on bataille's theory of religion like i can tell from my underlines i was going insane over that. i need to feel smthn like that again

#maybe i'll go back into my bataille era #i logged into abebooks last night and i saw accursed share was still there #also i was listening to an oxana timofeeva lecture the other day like #it's time i think

0 notes

animalsarepeople2 · 7 years

Quote

There are three types of hope: THAT THINGS WILL GET BETTER (and therefore we should either patiently wait and do nothing, or even support the status quo – to prevent changes which can bring bad outcome); THAT THINGS WILL GET BETTER IF WE STRUGGLE (that is, we can make the world better, improve it); THAT THINGS WILL GET WORSE (they are not that bad now, the future will give more trouble, a revolutionary situation will follow, we must get prepared to it, etc.)

Oxana Timofeeva

#quotes #hope #hopeful #three types of hope #revolutionary #hope quotes

0 notes

sizekitap · 6 years

Text

Hayvanların Tarihi

Hayvanların Tarihi Oxana Timofeeva Kolektif Kitap

“Hayvanlar gitgide, teker teker sahneyi terk edip insanlığı kendi temsilleriyle, evcil hayvanları ve oyuncaklarıyla baş başa bırakıyor.”

Çalışmalarını çağdaş felsefenin sorunları merkezinde sürdüren akademisyen Oxana Timofeeva, Aristoteles’ten ödünç aldığı adla Hayvanların Tarihi’ni felsefi bir hat üzerinde kuruyor, tabiri caizse, “felsefe tarihini hayvanların tarihi olarak okumayı” öneriyor.

Hayvanlar bugün daha ziyade evcilleştirme, kapatma ya da imgeleştirme yoluyla gündelik hayatımıza, dilimize, düşünce dünyamıza dahil olurken bu çalışma “hayvan meselesi”ni Aristoteles’ten Hegel’e, Adorno’dan Deleuze’e uzanan geniş bir felsefe geleneğine ve Bataille, Kafka, Platonov gibi yazarların metinlerine atıfta bulunarak ele alıyor, hayvanla insan arasında aşina olduğumuz tüm ayrımlardan, insanlığa ve hayvanlığa dair tüm keskin tanımlardan azade yeni bir düşünme ve tartışma imkânı sunuyor.

“Eğer felsefe bilgelik sevgisiyse, Oxana Timofeeva’nın Hayvanların Tarihi, hayvan sevgisinden mürekkep bir felsefe çalışmasıdır. Felsefeyi hayvanlara karşı yanlış tutumundan ötürü kolayca mahkûm etmek yerine, hayvanlara haysiyetlerini iade etmek üzere Aristoteles’ten Deleuze’e filozofların nasıl daha farklı yorumlanabileceğini yeni baştan anlama çabasına giriyor. Hayvanların Tarihi, bize, biz insanlara, yeni bir dünya kazanmak için tüm ‘devrimci hayvanlar’la birlik olmayı öğretiyor.”

– Benjamin Noys

Yazarı Sizekitap’da Ara Yazarı Twitter’da Ara Kitabı Twitter’da Ara Yazarı Facebook’ta Ara Kitabı Facebook’ta Ara

devamı burada => https://is.gd/BjGYYE

#Felsefe

0 notes

tyree-hfl · 6 years

Photo

The History of Animals: A Philosophy Oxana Timofeeva B105.A55 T56 2018

#philosophy

0 notes

nofomoartworld · 7 years

Text

Hyperallergic: A Zombie Centennial for the October Revolution

Still image from Chto Delat’s “Four Seasons of Zombie” lecture-film (2017) (all images courtesy of Chto Delat)

Almost 100 years ago, Italian leftist intellectual Antonio Gramsci hailed the success of the Russian Revolution of 1917 as “The Revolution against Capital,” which proved to him that the prophesied proletariat revolution needed not be postponed until the “proper” historical developments had occurred. Gramsci understood “proper historical development” to be the readiness and consolidation of proletariat power across the world that would guarantee the success of the revolution in one single country. In 2017, the world not only witnesses the centennial of the Russian October Revolution, but it contemplates its own chronic weariness of the idea that the dominance of capital can one day end.

Still image from Chto Delat’s “Four Seasons of Zombie” lecture-film (2017)

The year is marked by a proliferation of conferences, exhibitions, books, artists’ projects, serious discussions, and idle talks about the Russian Revolution across the globe, including in Russia. However, the country doesn’t seem, at least through official mechanisms, to be rushing to lead the conversation. This is why the Modern Mondays event, “An Evening with Chto Delat,” at MoMA on September 25th felt more like an unforeseen intervention than an anticipated event. The evening featured a film screening and talk with Dmitry Vilensky, a member of the St. Petersburg-based, Russian artists group (English translation: “What is to be Done?) that produces films, theater performances and public projects in Russia and Europe rarely seen in US.

Still image from Chto Delat’s “Four Seasons of Zombie” lecture-film (2017)

Chto Delat’s most recent film-lecture “Palace Square 100 Years After. Four Seasons of Zombie” (2017), presented at MoMA didn’t look like an attempt to celebrate the most important event of Russian history and one of the most for the 20th-century world. Seemingly anti-climactic, the film features a series of commentaries, made by a pedestrian strolling around the enormous St. Petersburg Palace Square, where 100 years ago the October Revolution took place. The pedestrian turns out to be a Russian philosopher and professor of the European University at St. Petersburg, Oxana Timofeeva. Observing the life around her, she tries to make sense of what she sees and then starts to perceive “ghosts.” As a member of Chto Delat herself, Timofeeva reflects on the fate of the Palace Square, the city’s commercialized tourist center, in which Oxana is attempting, in vain, to rediscover its revolutionary legacy.

A constant reminder of Russia’s revolutionary past during the time of the Soviet Union, Palace Square has in fact, since the 2000s, been turned into a symbol of Putin’s post-Soviet Russia: a nation fascinated with their pre-revolutionary, monarchic affluence. This affluence is represented by the baroque decor of the Winter Palace (now the Hermitage Museum). There is the triumphal arch of the neoclassicist General Staff Building through which revolutionary solders and sailors ran towards the palace’s gates to overthrow the Provisional Government in 1917. While providing the backdrop for the revolution, the Winter Palace has also preserved its iconic image of Empire which today’s Russia again aspires to be.

Within the USSR, St. Petersburg has represented two opposite identities: the official cultural capital and the center of a dissident movement, where the alternative music and art scene blossomed in the 1970s and ‘80s. But after the collapse of the Soviet Union, it became associated with governmental corruption and dodgy capitalist schemes that drove this historical city toward provinciality. It’s not surprising that Russian, radical Orthodox activists chose St. Petersburg as a place to stage a violent mass protest against the release of the film Matilda by Russian director Alexei Uchitel. This controversial historical drama depicts a romantic love affair between Russia’s last tsar Nicholas II and ballerina Matilda Kshesinskaya, a star of the Royal Mariinsky Theater. Religious activists accused the film’s director of blasphemy and the attempt to taint not only the image of the last Russian tsar, murdered by Bolsheviks and later canonized by the Russian Orthodox Church, but also the entire Russian monarchy. (The premier of the film has recently taken place in St. Petersburg under high security and was unannounced to a larger audience.).

Still image from Chto Delat’s “Four Seasons of Zombie” lecture-film (2017)

This incident illustrates the never-ending struggle for canonical representations of the history of both the monarchy and revolution in Russia. This struggle is echoed in the moment of “Four Seasons of Zombie” when Timofeeva, continuing her walk around the Palace Square, stumbles upon a horsed carriage, which takes tourists on a four-minute trip around the Square. She also poses for a photo with photogenic impersonators of Russian tsar. All is going as it should, until she sees the first “ghosts,” two street singers: Roman Osminkin, a prolific “techno” poet and performer, and a female accomplice. They perform a pop-folk-rap song, loudly shouting out words such as “apocalypse,” “communism,” and “unburied ashes.” This triggers Timofeeva to reflect on the corporeal nature of the forgotten revolution, and she begins to see the city and its square through the metaphorical perspective of someone witnessing a zombie apocalypse — thus collapsing two meanings in one. One meaning refers to the zombie revolutionary proletariat — a reserve army of labor, or as Marx would put it, a surplus labor force — which Timofeeva regards as virtually dead, even before it was sacrificed for the sake of the revolution. The second one imagines zombie-consumers, akin to those undead from George Romero’s movie Dawn of the Dead. Seen from this perspective, the square suddenly becomes a place where former proletariat turned by biocapitalism into brainwashed consumers, unaware of their deadness, mingle with the zombie revolutionary proletariat of the past.

Still image from Chto Delat’s “Four Seasons of Zombie” lecture-film (2017)

To illustrate the thought, Chto Delat’s members and friends perform a choreographed zombie dance in front of the Winter Palace. In one section of the dance, they bring their moving bodies close together, almost touching, yet actually maintaining the small distance of the width of one matchstick between each couple, all the while writhing in undead fashion without permitting the thin piece of wood to fall to the ground., This intentionally awkward movement hints at the idea that zombies have an ability to share body parts to perpetuate the wholeness (and solidarity) of an endlessly decomposing body. On the other hand, the use of matchstick props implies a potentially combustible event.

Still image from Chto Delat’s “Four Seasons of Zombie” lecture-film (2017)

In Russia, the current dominant approach to the October Revolution is to consider it a big tragedy: that it was the nation’s fatal mistake to fall under the spell of ruthless Bolsheviks. While countering this view, Chto Delat’s film seems to argue with some alternative and neoliberal ideas as well. However the film also does not sugarcoat, the effects and cost of the revolution. It offers, rather, a pessimistic response to a nostalgic sentiment that regards revolutions as a sort of cultural activity, a “dance” to enjoy. As an example of this nostalgia, Dmitry Vilensky, in conversation with MoMA’s curator Ana Janevsky, repeats the famous Emma Goldman quotation “If I can’t dance, I don’t want to be a part of your revolution,” which became the title of an ongoing series of international exhibitions and events exploring performance in relation to the idea of revolution. The film as well offers a fresh alternative to the neoliberal academic approach that is exemplified by many academic conferences organized around the Red October centennial. Failing to regard October Revolution as a revolution against capital, academic approaches often reduce its significance to its cultural aspects, or sees the revolution as the harbinger of a darker time: the Stalin era purges, repressions, and the gulag.

Still image from Chto Delat’s “Four Seasons of Zombie” lecture-film (2017)

Since we live in the age of ongoing capitalist crises, when revolutions and counterrevolutions have become more frequent, Chto Delat’s use of zombies is a pertinent reminder of the incessant unrest of the dead that capital produces.

The post A Zombie Centennial for the October Revolution appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2xHdQNq via IFTTT

#IFTTT #Hyperallergic

0 notes