Nedko Water - Profile on Academia.edu (original) (raw)

Papers by Nedko Water

The main statement of this research is that matter can store and recall information from past eve... more The main statement of this research is that matter can store and recall information from past events, imparting this quality to water. I argue that water's memories manifest through the Earth's geological history, including the formation of rocks and soils, waterways (rivers and oceans), the cryosphere (the creation of glaciers and polar ice), and the Earth's climate cycles. These are visible, traceable, and provable facts about the state of water as memories. On the human side, art, religion, and philosophy originated from the same ability of water to trace, record, and recall time—this time not in nature but in our mind as thoughts, emotions, and memories. What is discussed here is the physical ability of water to preserve traces of time. It encompasses the entire time articulated by water in nature and culture. The term "water memory" has been coined by science and simplified to represent rational analysis and technological proof only. Here, it signifies the complex relationship between water and time and the evidence of their connection. The concept of water memory should be envisioned both intuitively and creatively while transcending human sensitivity. It should also employ traditional (scientific) observation, tracing, and measuring facts. Introducing the idea of water memory into the human brain parallels human existence and reinstates sustainable interaction with nature. The concept of water memory is another possible dimension of reality that necessarily opens the human sensory framework. It is a space for multidisciplinary exploration with science, abstract thinking, imagination, and intuition. In this space, scientists speculate about its existence; meanwhile, philosophers and artists have known and engaged with it for centuries. Visual proof of the possible memory of water can be seen in the films of Andrey Tarkovsky. His understanding and representations of this concept are discussed throughout this text. It responds to the fact that water memory is gaining attention; it stirs human curiosity and propels technology, art, and philosophy to explore it. The goal is to discuss whether water can trace time in nature and culture, and if it is part of something greater. This task begins with determining the concept of water memory as a philosophical idea.

The starting point of this work is that memory is a human capacity inherited from matter. This ca... more The starting point of this work is that memory is a human capacity inherited from matter. This capacity can also be attributed to water as a form of matter, but in a different and complex way. The main point is that recording, storing, and recalling information about events didn't begin with humans. The universe likely shares this ability with all forms of matter. Here, we explore the intricate and random connections between water and memory through living beings, non-living materials, and everything in between. Both intertwine through quantum physics, chemistry, culture, and human emotions. Water may retain memories of bodies, energy, or events nearby or within it. This is observed in formations like rocks, glaciers, and climate records, as well as in how water influences human thoughts and feelings. Water and memory interlace differently, both within and beyond human memory. The question is, is there a connection between information and matter? If DNA, computer chips, or quantum tunneling are purely physical expressions of information, does it matter that they form water linked to consciousness and experience?

Nature created human bodies to survive long enough to reproduce and not to live forever. After ... more Nature created human bodies to survive long enough to reproduce and not to live forever. After procreation, the body naturally starts to break down. Our bodies would eventually fail even in a perfect world with no illnesses. No matter what a person does to their body, they will ultimately die from an illness or accident of violence rather than simply due to age, lack of energy, or the wasting of organs. In essence, human beings ultimately die from any cause but "aging," "lack of energy," or "body wasting." The human body's vulnerability and lack of aging play critical roles in death.

Viewing democracy as a foretold, contingent path to tyranny strikes at a raw nerve of social real... more Viewing democracy as a foretold, contingent path to tyranny strikes at a raw nerve of social reality. Here, contingency signifies that democracy was never the final goal but merely a source of unsteadiness, shaped by those who wield it to gain power. Democracy is a tool that flipsneeded by tyrants to seize power, then distorted by the "idiots" who conceived it. There's a dark irony here, and history provides ample evidence to support this. In places like ancient Athens, where citizens-well, free men, not slaves or women-had a voice, this noble idea was born. However, it has been contingent from the start, reliant on who was in the club and who was not. Fast forward, and those inventors become "idiots"-overconfident, careless, or blind to the unraveling of their system. Athens succumbed to infighting and then to tyrants like the Thirty, who exploited the chaos of democracy to consolidate their power. The tool of liberty transformed into a tyrant's ladder.

This paper examines the origins, nature, and scale of contemporary human slavery. It discusses He... more This paper examines the origins, nature, and scale of contemporary human slavery. It discusses Hegel's and Marx's theories regarding freedom, slavery, and consciousness. The paper reflects on the economic, ideological, and religious foundations of trafficking and the enslavement of men, women, and children for labor and sex. The central concept is that human slavery, in its various forms, is growing and expanding unchecked across the globe.

Five generations progressively surrendered their human dignity to disinformation. Food that poiso... more Five generations progressively surrendered their human dignity to disinformation. Food that poisons people, hospitals that kill patients, education that indoctrinates students, the democracy that benefits from restricting freedom and entertainment instead of happiness. The disinformation decorum replacing dignity with laziness, dependence, illnesses, ignorance, and fear

Plato was wrong about artists. Was he? About which art ... about which artists? Plato's views are... more Plato was wrong about artists. Was he? About which art ... about which artists? Plato's views are part of a worldview philosophical inquiry into reality, knowledge, and ethics. His concerns about art reflect his belief in aligning every intellectual act with truth and virtue, which he suspected art could undermine. Are there examples of art that undermined truth? Maybe. Are there artists who did not have enough to be models of virtue? Yes, there are. Should we consider Plato's suspicion of the ambiguous nature of art and artists? Not only should we look for our reflected faces in Plato's idea, but we should also look for our reflected faces.

Cultivating a new integral form of insightful and responsible thinking would answer the current c... more Cultivating a new integral form of insightful and responsible thinking would answer the current crisis with human thinking. In education, every form of thinking should be incentivized, and interrupting the chain opens the possibility for greater freedom of thought and creative solutions. By changing the academic rules and dismantling the bureaucratic system of expensive educational degrees, young people might be more willing to entertain unconventional ideas and possibilities.
The current structure of higher education is dominated by critical thinking, which can be an obstacle for students with creative and abstract thinking styles.

After seeing the grand part of the exhibition of the 60th Venice Biennale, two unanswerable quest... more After seeing the grand part of the exhibition of the 60th Venice Biennale, two unanswerable questions arise in the mind of the curious spectator. First, is cosmopolitanism the new metaphysical trap? And the second is how to be different in a world of mandatory sameness. Both represent a fundamental contradiction of concepts of global art events in a nomad artistic reality. But despite the inexplicable globalist exhibition reality, artists survive and create wonderfully inspiring speculative fiction that contrasts politics, money, and cultural/curatorial hypocrisy. Even in the Biennale this year, the destructive force of creativity can be sensed. The Bergsonian creative freedom and esthetics mobility are present in artists' works like the Brazilian Manauara Clandestina with the video "Projeto Migranta." She is currently an immigrant working in construction in Barcelona. Her philosophical-poetic statement is that immigrants in the world, by working in the construction industry, build their own Migrant Continent. Proofs of such can be seen in the cities over the world's five continents and probably in the fact that without the exploitation of migrants, the construction industry will not function.

Any human action has the potential to become an addiction, including brain action. Thinking can h... more Any human action has the potential to become an addiction, including brain action. Thinking can harm the person's body or mind and end in a disease. All addictions start with a thought. The worst of all dependencies is addictive thinking. Addictive thinking stops when the difference in power relations between the Self and the Other stops. The Self is the one who thinks of the power relation and makes them real.

Philosophy was a love of wisdom for a long time. It focused on wisdom from observation, experimen... more Philosophy was a love of wisdom for a long time. It focused on wisdom from observation, experimentation, and establishing an understanding of nature and human beings. It was an intuitive, imaginative, and creative way to explore reality and mankind and apply it to improve existence and make people happy. The same function had art and poetry. Philosophical thinking was not only rational but also poetic and artistic. In his text, The End of Philosophy and the Task of Thinking, Heidegger states that since Plato in ancient Greece, philosophic perception and theories about the world have become more rational and scientific than poetic, imbalanced the world's understanding in just one Metaphysical aspect. According to him, with only scientific thinking, philosophy has no reason to exist. " ...The end of philosophy means the completion of metaphysics" (432), and also states, "Throughout the entire history of philosophy, Plato's thinking

The poetic-hermeneutic significance of Jackson Pollack's dripping artwork is a remembrance of uni... more The poetic-hermeneutic significance of Jackson Pollack's dripping artwork is a remembrance of universal gravity. The most iconic of his works are made of dripping paint on a canvas laid horizontally on his studio's floor. He painted them "dancingly," splashing layer over layer of paint on the floor with a stick. Gravity marked on a surface following the body movements is the poetic-hermeneutic significance of the artist Jackson Pollack's dripping artwork. His art is closer to Native American sand art traditions of the Navajo, Pueblo, Hopi, and Zuni tribes and Daoist or Tibetan Buddhist sand art than any Western art painting traditions from Altamira cave to Warhol. Why are Jackson Pollack's works exhibited on the walls of art museums? Perhaps because of the same reason George Smith says, "Western metaphysics does not speak in a language proper to nature, nor to the nature of words like reason, mind, meaning" (9). But sometimes they don't speak a language suitable for art either. Gravity is the meaning of Pollack's art; that was his mind and the nature of his creative ideas. Pollack gave a picture of gravity in time and space through his human, poetic consciousness and by using the "language proper of nature." Jackson Pollack is an artist-philosopher. By showing Pollack's dripping art on the walls, the cultural institutions take away one visual art example of scientific-poetic thinking. It makes it impossible for the audience to interpret the poetic-hermeneutic significance of Jackson Pollock's art. The museums do not care about it; the rules of scientific-technological thinking occupy them, and their "Pre-occupation [is] with, or rather against, the object stands as a non-presence to what is present"(54). Western art institutions instate Western metaphysics, and any transformative aspects of aesthetics are within the context of metaphysics.

The focus on water with memory starts from questioning if matter and energy have memory spread th... more The focus on water with memory starts from questioning if matter and energy have memory spread through the universe and then turns to Earth, the water cycle, ice, alluvials, and energy dissipation. Free human reality perception and imagination can penetrate everything in the material world. It is similar to water and traces its experience in memories. Water defines the thinking about self and nature, imagines reality, and human perception. Poetically speaking, water in the brain perceives water in the world. Andrey Tarkovsky claims that we cannot understand the universe entirely because we miss the point when looking for meaning. Tarkovsky's artwork deeply relates to intuition, imagination, nature, and water. Through his movies, it can be seen that human memory is a memory in water and a memory of nature, and they are connected to gravitational memory in the universe. The memory of nature is nonlinear and responds to creative outcomes. Memory in water is nonlinear and innovative as well. Language is intertwined with memory in both directions, its production and comprehension. There is water art and literature; there is water or liquid language. This text does not claim definitive proof about the memory in water but presents a thought-provoking hypothesis for a debate about nature, reality, and human perception of water.

The actual art creation is an imaginative, instinct-originated thinking moment. The thinking is t... more The actual art creation is an imaginative, instinct-originated thinking moment. The thinking is the art; the work of art as an object is the secondary effect of this process. Observing and thinking about Nature is when beauty is born in our minds; beauty is a connection between a free, imaginative mind and Nature. There is no difference between art and philosophy.

Art Governmentality over Naive Idealism The artist creates the aesthetic product through their wo... more Art Governmentality over Naive Idealism The artist creates the aesthetic product through their work with personal sensibilities, creativity, unique worldviews, and skills. The artist creates cultural facts that reflect historical and social moments. Artists have the artistic vision of unique perspectives, styles, and techniques to create artworks, shaping the aesthetic qualities that later the viewer can appreciate and experience the pleasure or pain of aesthetic encounters. The artist is the origin, the source, and the force of the aesthetics. If the work of art is not there, there would be no aesthetics, museums, or interpretation and contextualization. There would not be art critique, curators, art market, or history of art and art institutions. Artists generate aesthetics with or without interpretations, mainstream art venues, and the art market. Aesthetics can exist without anybody but the artist. Why, then, is/was the artist the most wronged, injured, and ill-used? Michel Foucault calls it Governmentality, and this context is Art Governmentality. In the art context, curators, art historians, museums, galleries, and art venues have all the power. The artists are subordinate, intimidated, and controlled by the art Governmentality.

This sketch of thoughts and theories supportively reflected the philosophical, artistic, and cult... more This sketch of thoughts and theories supportively reflected the philosophical, artistic, and cultural understanding of morals and beauty from the end of the 18th century to the beginning of the 21st century. The thinkers mentioned here shed some light on the crossing point between those two concepts. Ethico-aesthetic is an academic invention, and none of the mentioned thinkers refer to it as a compound word. Here, it draws the intersection of the interplay between ethics and aesthetics. The big question is how much morals shape perceptions of beauty, art, and culture, whether artists and intellectuals are ethically responsible for moral education, empathy, and moral evolution, or whether their sphere is just aesthetics. Ethico-aesthetics insists that all dilemmas and controversies in art creation, interpretation, and consumption of art are moral problems. Because moral prejudices control aesthetic judgments, artists have had to reconcile conflicting values in aesthetics with ethics in order to succeed. The examples here illustrate how, in theory, aesthetics and ethics idealistically should lead to creative freedom, but in reality, the so-called moral responsibility serves power. Aesthetics can become unethical and get along with society to accept its values.

The vertical form of exhibiting Jackson Pollock's work is wrong. By perceiving his paintings this... more The vertical form of exhibiting Jackson Pollock's work is wrong. By perceiving his paintings this way, his principal value as a contemporary painter is gone. The current exhibition form is deforming the artist's idea. Jackson Pollock's painting on a vertical wall conveys a wrong visual impression in which his concept of space, gravity, and flatness no longer exists. All Jackson Pollock artworks from his dripping period should be exhibited horizontally on the gallery and museum floors as they were created. In order to understand the concept of the artist, the viewer should see them from the level of the floor, the same point of view of the artist. This way, the viewer can experience and understand the meaning of Jackson Pollock's genius idea of flattening the space by the dripping paint on the flat surface.

In this paper, we discuss how the concepts of the "other" and the "otherness" are seen and analyz... more In this paper, we discuss how the concepts of the "other" and the "otherness" are seen and analyzed in the books "The Inhuman" by Jean Francois Lyotard and "The Transparent Society" by Gianni Vattimo. Also, we look for a connection between these two thinkers and Dennis Keenan's essays from "Hegel and Contemporary Continental Philosophy." We analyze how they see the "other" from an aesthetic point of view. We compare and contrast the mentioned texts and visualize our findings with artworks from different art genres.

This paper is about the possibility of water to have memory. Not a memory like the human brain ... more This paper is about the possibility of water to have memory. Not a memory like the human brain memory but another form of memory that records events. Exploring these possibilities, I went to scientific, artistic, philosophical, and religious sources that, in one form or another, support this hypothesis. As a piece of scientific evidence, I consulted the glaciology library in the Niels Bohr Institute at the University of Copenhagen, where scientists found detailed information inside ice from the past three hundred thousand years on Earth, and by scanning nano slices of it, they reconstructed the entire history of the climate. Next to this, I reflect on the theory of dissipation, specifically about a possible relation between water rules on Earth and energy from the Sun. In light of this, I pose a question: what if MoW is a memory of energy, or saying it poetically, energy nostalgia? I further analyze the cinematographic and poetic work of Andray Tarkovsky in the context of the image of the universal memory as the "ocean of thoughts and feelings." I then analyze several artistic and religious examples from around the globe that contribute to the poetic angle of our hypothesis. Finally, our research had a glance at a few philosophical views about nature, memory, and human beings with the purpose of seeing some possible channels of connection between the memory of water and philosophical reflections on knowledge, understanding, nature, and time. This research, even in an initial stage, has the potential to involve the reader with reflections about water's possible capacity to store and recall information that is outside of the accepted way of seeing water. Finally, the project is inviting us to rethink the concept of memory as a unique human brain capacity as well, which leads to thinking of it as a universal capacity of matter outside of the human consciousness.

What is the philosophy for? Could philosophy as we know it today be an intellectual fraud created... more What is the philosophy for? Could philosophy as we know it today be an intellectual fraud created by some people to deal with their anxiety? Could it have been developed as a tool of power? Why does a new one appear behind every thinker, trying to eliminate the previous one? Maybe everything since the beginning of the pre-Socratic times started wrong? What do European people benefit from all philosophical theories from then to now? Did their life get more meaningful? Can a human being formulate a universal and eternal idea about his happiness? No one of these questions could be answered without discussion: what are philosophy and philosophers, and what can they do and cannot? Sentinelese people, Korowai, Yanomami, and Himba tribes know nothing about subject-object, metaphysics, Dasein, critical thinking, reasoned argumentation, and rational inquiry. They survived without the philosophy as we know it.
Nevertheless, they probably ask the same fundamental questions concerning the existence, reality, knowledge, values, and the nature of human experience. They are somewhere in their pre-Socratic stage and are still not concerned about that. They are happy, aren’t they? Can we learn from them to formulate the question without Kant, Hegel, Nietzsche, Marx, Freud, and Heidegger? What is the philosophy for? Is it the anxiety balance of its creators?
Can we make it differently? Is there a different path?

A philosophical discussion about the interdependence between oppression and creativity, especiall... more A philosophical discussion about the interdependence between oppression and creativity, especially in totalitarian societies.

The human brain has taken control of the human body, dominating it entirely until its destruction... more The human brain has taken control of the human body, dominating it entirely until its destruction. Once, the body was equal to the mind, but that is no longer the case. The mind gradually destroys the body until its complete annihilation. Sickness, physical impairment, and disability are elevated to a status of fetish, idol, and heroic condition. The body's decline stems from human intellect, and that one intentionally avoids taking responsibility. Human civilization is a sequence of how the mind destroys the human body. The more sophisticated the human mind becomes, the more destructive it is to its natural roots.

The perspective that skills depend on race, gender, and ethnicity is highly contentious. Professi... more The perspective that skills depend on race, gender, and ethnicity is highly contentious. Professionalism is the skill, experience, and ability to perform a task effectively. Professional evaluations must prioritize these qualities above everything else, ensuring the selection is based on them. Factors like race, gender, and ethnicity should not influence assessments of professionalism or skills. Humans should be valued firstly for achievements of skills, knowledge, experience, and performance. Cultural, ethnic, gender, and race considerations should be secondary.

After reading Ecce Homo by Nietzsche, I realized that everything looks like a lie. Ideals are a l... more After reading Ecce Homo by Nietzsche, I realized that everything looks like a lie. Ideals are a lie, reality is cursed, and humanity is hypocritical. Freedom is impossible, and everything that we strive for is impossible. "Nitimur in vetitum." The impossibility of the impossible becomes the meaning of existence.

Discussing water memory inside human experience and [or] culture is already a "specificity" that ... more Discussing water memory inside human experience and [or] culture is already a "specificity" that limits the territory of the conversation. The advantage here is that water memory is not unambiguously defined. The question: "What is water memory?" is still open for interpretation, which is why I'm interested. Water and its transformations experienced by humans are fascinating aspects of the water memory's possible definition. Water and humans have interacted for as long as civilization has existed. Taces of this interaction are present throughout the entire culture. Our interaction with water has defined and will define the stages of human civilization. I would propose that in place of the use of terms like "Stone Age," we should refer to that period as the "Boiling Water Age"

This text is about the original meaning of the word agony in Greek as a conflict ἀγών (agon). The... more This text is about the original meaning of the word agony in Greek as a conflict ἀγών (agon). The term encompasses forms of struggle or contest, including athletic competitions and dramatic conflicts in literature. In art, literature, and any form of narrative, agon often refers to the tension between opposing forces, such as the protagonist and antagonist. Art and creativity are the expression of a conflict between ὕβρις and ἀλήθεια. Hubris (ὕβρις) represents the confidence and audacity that can drive creative individuals to take risks and challenge norms.

We live in the era of Meta-modernism, where Kant, Nietzsche, Marx, Heidegger, Merleau-Ponty, Beyo... more We live in the era of Meta-modernism, where Kant, Nietzsche, Marx, Heidegger, Merleau-Ponty, Beyonce, and Mark Zuckerberg are equally important "influencers." Comically and seriously speaking, sincerity and irony, optimism and skepticism, hope and disillusionment are no longer dilemmas. Reality and virtual reality are on the same show.

The art piece Marocchino Essiccante by Neri Dodavia (1965) is about the interconnectivity of all ... more The art piece Marocchino Essiccante by Neri Dodavia (1965) is about the interconnectivity of all elements of Earth, including the long-term effects of human acts on nature and climate. Dodavia's piece is based on the fact that it presents a vision to observe and analyze elements like color, material, textures, and composition, as well as a global meaning outside the visual form. The viewer can experience the pleasure of seeing the warm, earthy colors and soft velvet texture and teleport to the origin of the objects composed in the artwork. Still, the complete aesthetic pleasure will come after understanding the story behind the piece.

The last wall standing in front of the human project is the biological sex. Gender and biological... more The last wall standing in front of the human project is the biological sex. Gender and biological sex influence the brain and affect cognition, understanding, and decision-making. To achieve balance and happiness, the human mind must be genderless. Sigmund Freud stated that gender causes trauma and confusion in the person and leads to constant mental reactions and gender thoughts. Sexual identity is the area where the intellect is conditioned and shaped to oppose the other.

Critical thinking leads to overanalysis and paralysis, where students become so focused on dissec... more Critical thinking leads to overanalysis and paralysis, where students become so focused on dissecting and questioning every possibility that they struggle to take action or make choices. This results in indecision and procrastination, hindering their productivity and success. Critical thinking is questioning all authority and systems, religious beliefs, cultural traditions, and family values; this can lead to a cynical or skeptical attitude, where students become negative, pessimistic, and distrustful. Critical thinking also causes a lack of empathy towards those who do not share their approach or conclusions. It is susceptible to bias-the tendency to seek and interpret information to confirm preexisting beliefs or hypotheses. Critical thinking is about logic and reason over emotions, which can lead students to emotional detachment. We do not want our students to prioritize intellectual analysis over empathy and understanding by emotional intelligence. Critical thinking is inflexible or rigid. Students must consider alternative perspectives or entertain new problem-solving methods in the thinking spectrum. The essential closed-mindedness of thinking limits creativity, innovation, and adaptability. Critical thinking may challenge students' beliefs, even when it is righteous. It ignores the emotional part of any solution. Critical inquiry may confront uncomfortable truths for our students or make them realize the limitations of their knowledge, which can provoke feelings of uncertainty, anxiety, and existential despair.

The primary role of a philosopher is to seek the truth, and some art gives him a reason to get in... more The primary role of a philosopher is to seek the truth, and some art gives him a reason to get involved. The philosopher can examine artwork and expose the concepts and ideas that reflect reality. But the purpose of art is to give emotional experiences through pleasure and pain. Yes, art uses reason, but imagination and intuition are the most important. The question is not if the

In Groundwork of the Metaphysics of Morals, Kant presents a fascinating intellectual challenge. H... more In Groundwork of the Metaphysics of Morals, Kant presents a fascinating intellectual challenge. He argues that the moral imperative is a universal law of nature. What did Kant mean by universal? How can a subjective mind grasp the concept of universality? These are the intriguing questions that Hegel and Nietzsche would likely pose.

Nietzsche would state that at the exact moment when an individual thinks about universality, he falls into the' subjective abyss,' a term Nietzsche uses to describe the inevitable subjectivity of human thought. The same is true with the concept of transcendental. With the first syllable trans, he will say that Kant pushes an intention or desire to define a valid-for-all-in-the-universe. Both Hegel and Nietzsche would agree that even though he is original, romantic, and beautifully heroic, 'the universal imperative of duty' is also naive and obsolete. Yet, the originality of Kant's theory could inspire a new perspective on morality.

In addition, Hegel and Nietzsche's critique of Kant's concept of universality could be a postmodernist reading of Groundwork of the Metaphysics of Morals, pointing out that universalizing is a modernist form of dominance and restriction over the singular and individual.
Kantian universal moral imperative is a yes or no dualism. While it may seem evident that morality is universal, human history doesn't prove it, and there are some excellent reasons for thinking that its universality is questionable.

Some examples that disrupt the universality of moral imperative are the human sacrifices in Toltec culture, the child sacrifice in Christianism, the origin of Nobel Prize funds, and the self-driving car crash decision involving real life.