The first attempt to represent the Periodic system graphically was the Telluric Helix presented in 1862 by Alexandre-Emile Béguyer de Chancourtois, in which the sequence of elements was wound round a cylinder. This has hardly been attempted since, because the intervals between periodic returns vary in length from 2 to 32 elements, but Charles Janet presented a model wound round four nested cylinders. The rows in Janet’s table are defined by a constant sum of the first two quantum numbers, (...) n and l, so that they end with the s-block, headed by hydrogen and helium. By combining Janet’s table, Edward Mazurs’ version, in which each row represents an electron shell and Valery Tsimmerman’s use of a half square for each element, I have produced a representation that can be printed out and wound round to make a cylinder with manageable dimensions. In the unwound version, I have placed the s-block in the middle, to emphasise its pivotal nature, since it both ends each row and contributes electrons to the valence of elements in the next row; it thus does not necessarily belong either on the left or the right side of a table. The downward arrows that link subshells within each series graphically illustrate the Janet Effect. To acknowledge my debt to Chancourtois, Janet, Mazurs and Tsimmerman, I call my design the ‘Telluric Remix’. (shrink)

Here several utopian/dystopian thought experiments are proffered to explore the contemporary sheer dread in thinking otherwise than the contemporary unworld as it is.1 With reference to the 2017 BBC drama Hard Sun and the cosmological horror of a world without a sun, what is demonstrated is the contemporary incapacity of thought to think beyond the utopos of the unworld as it is. Hard Sun, an essentially failed science-fiction TV series, is contrasted with the satirical optimism of Gabriel Tarde’s Underground Man, (...) published in 1905, in which a postapocalypse sunless utopia, and with it utopic forms of telluric life, is envisaged under the Earth. Shaping and guiding these considerations are the different... (shrink)

If we admit that Latin-American literature is a part of what is called Western culture, why, I ask myself, has it not been able to influence any of the great literatures of the West, outside of the Spanish? To be more precise, when I speak of influencing, I am not referring to the historico-cultural event that signifies Latin America, which has changed the West, but specifically to literature, that is, writing, the book, the language, the contents, the creative structure and (...) the symbols. From its origins until today, Latin-American literature, like Jugoslavian literature—in spite of the Nobel prize awarded to Ivo Andric—or Bulgarian or Icelandic, remains a marginal phenomenon. It is produced within a closed circuit, having no real resonance except in Spain. Furthermore, it struggles between two guilt feelings: one, that of being late with regard to renovating currents of fashions of the day and the other, that of not responding to its own reality. Because of those burdens of a guilty conscience, it often feigns innovation by following outside models or exalting a nationalist realism that has not produced the slightest new form but only a mediocre art of propaganda. It simulates and copies, or it lags behind. It either tries to be up to date or pretends to overcome this uneasiness by inventing an intransigent Americanism, behaving like a telluric barbarian or accepting traditional popular forms that may produce works such as Martin Fierro, whose value for the Latin-Americans cannot be denied but whose range is limited. (shrink)

In the passage about the flax plant, lini natura et miracula at the beginning of Book 19 of his Naturalis historia, Pliny launches into a moralizing diatribe on man's assault against Nature, fulminating against the evils which man brings upon himself by taking to the high seas in ships with sails. The passage culminates in the rhetorical outburst audax uita, scelerumque plena, which serves as something of a moral aphorism for the jeremiad as a whole. Although it has been the (...) subject of much discussion in Plinian scholarship, the text still remains in need of attention : audax uita, scelerumque plena! aliquid seri, ut uentos procellasque capiat, 5. et parum esse fluctibus solis uehi, iam uero nec uela satis esse maiora nauigiis, sed, cum uix amplitudini antemnarum singulae arbores sufficiant, super eas tamen addi alia uela, praeterque alia in proris et alia in puppibus pandi, ac tot modis prouocari mortem, denique tam paruo semine nasci quod orbem terrarum ultro citro portet, tam gracili auena, tam non alte a tellure tolli, neque id uiribus suis necti, sed fractum tunsumque et in mollitiem lanae coactum iniuria ad summam audaciam peruenire! (shrink)

Inhabitants of a land that their ancient myths proclaimed to be the creation of divinities, the Japanese have peopled their archipelago with numerous earth gods: giants trees, simple pebbles concealed either in an oratory, a corner of a garden or deep inside a thicket; crossroads stoneposts, steles in the middle of a plot or next to a rice field, tombstones, and rocks that are worshipped on home altars. The imposing presence of these divine proprietors of the provinces and of sites (...) that were once urban settlements, villages, or private residences is still visible in the tall buildings of Tokyo and Osaka. These protean spirits, found on roof tops in the form of stone foxes or redwood porticos, bear witness, even in the heart of the city, to a latent belief: the forces of the earth are still at work in the world, keeping watch over human activities. Although there are very few people left who believe, as the ancients stories tell, that the citizens of Japan are descendants of the gods of the earth and sky, there nevertheless remain many who accept the notion that a single telluric energy inhabits the world of the living, the dead, things, and the gods. (shrink)

With regard to the so-called “Anthropocene” era, in which human beings have become Earths’ main telluric force, the humanities are clearly under siege. They must review in depth their conception of human being, usually defined as essentially different from Nature. Accordingly, two distinct ways of reaction are open: one retains the principles of the humanistic tradition, while the other one seeks to drift apart from that very same tradition, and to open up a new paradigm of thinking that might (...) be called posthumanist. This paper broadly puts in contrast both approaches by asking which of them comes to grip with this event, and so lets us understand what does it mean to be human in this new era. (shrink)