Tag Archives: existentialism

Human vs. Animal (1)

Anthropogenic effects, processes or materials are those that are derived from human activities, as opposed to those occurring in biophysical environments without human influence.

The term is often used in the context of environmental externalities in the form of chemical or biological wastes that are produced as by-products of otherwise purposeful human activities.

The term anthropogenic designates an effect or object resulting from human activity. The term was first introduced as “anthropocene” in the mid-1970s by the atmospheric scientist Paul Crutzen.

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Anthropomorphism is the attribution of human characteristics to non-human creatures and beings, phenomena, material states and objects or abstract concepts. Examples include animals and plants depicted as creatures with human motivation able to reason and converse and forces of nature such as winds, rain or the sun. The term derives from the combination of the Greek ἄνθρωπος (ánthrōpos), “human” and μορφή (morphē), “shape” or “form”.

It is strongly associated with art and storytelling where it has ancient roots. Most cultures possess a long-standing fable tradition with anthropomorphised animals as characters that can stand as commonly recognised types of human behaviour.

Anthropomorphic animals are often used as mascots for sports teams or sporting events, often represented by humans in costumes.

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Anthropocentrism (from Greek: άνθρωπος, anthropos, “human being”; and κέντρον, kentron, “center”) or anthrocentrism is the belief that humans must be considered at the center of, and above any other aspect of, reality. This concept is sometimes known as humanocentrism or human supremacy. It is especially strong in certain religious cultures, such as the Old Testament stating that God gave man dominion over all other earthly creatures.

Anthropocentrism has been posited by some environmentalists,  in such books as Confessions of an Eco-Warrior by Dave Foreman and Green Rage by Christopher Manes, as the underlying (if unstated) reason why humanity dominates and sees the need to “develop” most of the Earth. Anthropocentrism has been identified by these writers and others as a root cause of the ecological crisis, human overpopulation, and the extinctions of many non-human species.

Anthropocentrism, or human-centredness, is believed by some to be the central problematic concept in environmental philosophy, where it is used to draw attention to a systematic bias in traditional Western attitudes to the non-human world. Val Plumwood has argued, that anthropocentrism plays an analogous role in green theory to androcentrism in feminist theory and ethnocentrism in anti-racist theory. Plumwood calls human-centredness “anthrocentrism” to emphasise this parallel.

In science-fiction, Humanocentrism is the idea that humans, as both beings and a species, are the superior sentients. Essentially the equivalent of race supremacy on a galactic scale, it entails intolerant discrimination against sentient non-humans, much like race supremacists discriminate against those not of their race. This idea is countered by Anti-Humanism. Such an ideology echoes a potential (but not certain) future for Neo-fascism (especially Neo-Nazism).

Humanocentrism is a central theme in the science-fiction comic book series Nemesis the Warlock in which humanity (here referred to as Terrans) have conquered much of the galaxy and seek to enslave all alien life. Humans are here depicted as antagonists, an unusual plot device in science-fiction.

In the Star Wars universe, the Galactic Empire is shown to be humanocentric, ruthlessly subjugating alien worlds, enslaving many of them, and only employing humans in its military. Grand Admiral Thrawn is a notable exception to this rule, likely because of both his immense talent and his partially human bloodline.

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Source: Wikipedia

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Liminal Theatre – Antonin Artaud


~ The theater, which is in no thing, but makes use of everything — gestures, sounds, words, screams, light, darkness — rediscovers itself at precisely the point where the mind requires a language to express its manifestations. To break through language in order to touch life is to create or recreate the theatre.

~ All true language is incomprehensible, like the chatter of a beggar’s teeth.

~ No one has ever written, painted, sculpted, modeled, built, or invented except literally to get out of hell.

~ When we speak the word ”life’,’ it must be understood we are not referring to life as we know it from its surface of fact, but to that fragile, fluctuating center which forms never reach.

~ You are outside life, you are above life, you have miseries which the ordinary man does not know, you exceed the normal level, and it is for this that men refuse to forgive you, you poison their peace of mind, you undermine their stability. You have irrepressible pains whose essence is to be inadaptable to any known state, indescribable in words. You have repeated and shifting pains, incurable pains, pains beyond imagining, pains which are neither of the body nor of the soul, but which partake of both. And I share your suffering, and I ask you: who dares to ration our relief? We are not going to kill ourselves just yet. In the meantime, leave us the hell alone.

~ The race of prophets is extinct. Europe is becoming set in its ways, slowly embalming itself beneath the wrappings of its borders, its factories, its law-courts and its universities. The frozen Mind cracks between the mineral staves which close upon it. The fault lies with your moldy systems, your logic of 2 + 2 = 4. The fault lies with you, Chancellors, caught in the net of syllogisms. You manufacture engineers, magistrates, doctors, who know nothing of the true mysteries of the body or the cosmic laws of existence. False scholars blind outside this world, philosophers who pretend to reconstruct the mind. The least act of spontaneous creation is a more complex and revealing world than any metaphysics.

A. Artaud

The ‘sacred theatre of absurd’, the ‘theatre of cruelty’, theatre of non-identity, non-existence – mind-blowing, weirdo, genius, in parts completely nuts…

Beckett-sque, Kafka-sque… Sartre, Camus, Dada, Surreal…

Harold Pinter, Tom Stoppard, Tadeusz Kantor…

Creating void in thought, a gap between words and thoughts, language and ideas, a silent beyond-ness hovering between a creator and the creation, ‘me’ and ‘them’…

Stage drama and the very personal drama, sacred and profane, opening wounds as spaces of healing and the risk of even deeper harm… No retreat from life, no cheap escapism, no straight-faced moralism, no mere subversion…

But one huge effort, experiment, ferment, fever, game, challenge – to make sense of life here and now – by the most nonsensical means there have been invented yet…

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