âA discussion of InterinterŃosmism brings forth two interrelated questions:â
âwhat is the cosmos of Cosmism, or, more specifically, how is it produced?â
âwhat is to be found in the interstices (and the interstices in the interstices) of such a cosmos?â
âI will turn to the thematization of rite and ground in the texts of Nikolai Fedorovâthe father of ideas that have undergone a radical transformation in the hands of the âsons,â and above all in the anarchic Biocosmism of Aleksandr Svyatogorâ
âIt would hardly be an exaggeration to say that the works of Fedorov and Svyatogor embody the two poles of the Cosmist imaginationâ
âI will attempt to trace between these poles a trajectory of ârootingâ in the soil-without-bloodâ
âThe cosmos of Cosmism is nothing other than recosmization, and, in this sense, âwhat (is cosmos)â coincides with âhow (it is produced).ââ
âsuch a cosmos is never givenâand has never been given; it is, rather, systematically reaffirmed through riteâ
âThus, at the heart of the common task lies the recursive operation, i.e., the return, which acts as both a means and an endâ
âFedorov says that the funeral rite was originally aimed at revival and therefore represented a tool of resurrection, and it is precisely this function that must be restoredâ
âif the earth is a cemetery (or, ultimately, a substance), then the rite is a technique, âa means of gatheringâ: a key component of the common taskâ
âthe temple is turned inside out into the world, and the latter is thus transformed into the resurrected ancestral temple that maintains a special relation to the rural imaginationâthat is, ultimately, to the groundâ
âif husbandry is âa prototype,â it does not follow at all that a transition to reality is tantamount to the rejection of the rite; quite the contrary: it is necessary to interiorize rural paganism as ground, reconcile imagination with reason in a materialist synthesis of animism and Orthodoxyâa performative synthesisâ
âthe earth is not merely a cemeteryâit is, in effect, the intensive conditions of the common âtasbandry.ââ
âthe rural circle dance or sun-path treated as (proto)regulation, becomes the ground for the transformation of animism into a materialist projectâ
âThe gap between thought and action is eliminated in the museum as a ritual megamachineâ
âthe de-cosmizing rift between thought and deed is eliminated by means of a weird grounding of thought, which is literally re-animated through the restoration of its connection to the animating forces of the rural imaginationâ
âin the interstices of the cosmos, in its pores, the earthly past persists, germinating into the future. Agrofuturismâ
âthe project of the common task draws a line of materialism in which matter is not opposed to spirit, while the spirit not only generates the technics of recosmization, but is inseparable from itâ
âDespite the fact that Fedorov (unlike Heidegger) does not subordinate technics to the work of thought, taking it beyond techno-logos to the âwork of deed,â this taking-beyond stops halfwayâin the end we have not an âignitionâ but a regulated eternal flameâ
âthe forces of the earthly past are translated into faces; i.e., the overcoming of localism is carried out through localization, the enclosure of ashes in a given formâ
âthe museum uninterruptedly reproduces faces; hence, despite Fedorovâs distaste for the soulless, modernist mechanicismâ
âIn Svyatogorâs hands, the cosmos of Cosmism becomes cosmetics: technology turns ruddy, while rite converts into shapeshiftingâ
âIn Biocosmism, âeven the earth is not equal to itself,â for it âstirs and vulcanatesâ; i.e., the earth is thought here as intensively-bestial: it shape-shifts tooâultimately, turning from the âball of the Earthâ that is âsmallâ and âmuch too narrowâ into a (bio)cosmic spaceshipâ
âBiocosmism paves the way of deterri(-)zation, where terra ceases to be firma, in order to tread new paths through the cosmos, which, however, never existedâ
âSvyatogorâs thought resonates with Fedorovâs: the cosmos is being made, for âwere our world to be harmoniously complete and finished, there would be no room for our individual actions or those of others.ââ
âif in the case of Fedorov we have an âastronomicalâ factory for the reproduction of forms, then in the case of Svyatogor we deal with an âexuberantâ revo-life where forms can barely hang on.â
âIn her essay âAncestors Forever!â Elizabeth Povinelli, polemicizing with cosmism, cuts immortality into two semantic vectors: the stars and the groundâ
âOnce upright, man can never again take his eyes off the stars. Hence the need to overcome localism upwardâ
âSvyatogor, in turn, reworks and complicates this model, asserting an âexplosive movement in all directions.ââ
âimmortality is nothing other than a (re)generative cycle that involves not only fathers, sons, and the volcano-giants, but also the whole more-than-human worldâ
âBetween faces and magma, between over and under, that is, in the middle, or in-between, where the inhabited cosmos is continually rebornâand reborn not in a machinic logic of connection, but through entanglementâ
âwhile the course of the common task is distinctly somatic, the volcano-revolution is rather from-under-groundâ
âonly discrete components, already separated from the environment, can be jointed, hence an inhabited cosmos cannot be purely machinicâ
âin order for this cosmos not to be a desert, it needs an inoculation of mycosmismâ
âThus, neither a vertical astronomy-and-architecture, nor an omnidirectional freedom of connection and disconnection, but the responsive threads of mycelium, weaving into the textures of the ground, (from/to) which return not only fathers and machinesâ
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