Nedko Water | IDSVA - Academia.edu (original) (raw)

Papers by Nedko Water

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

MoMA has been a signifier of ressentiment in the context of cultural elitism, the visual art mark... more MoMA has been a signifier of ressentiment in the context of cultural elitism, the visual art market, cultural and political biases, and the global dynamics of the art world. Its role as a trendsetter for the rest of the art institutions around it, as the center and the tone of discussions about aesthetics, the power of culture, and the ultimate value of any artistic expression on the planet, makes it a symbol of ressentiment within the universal culture. Artists are divided into those who have exhibited at MoMA and those who have not. Art on the walls of MoMA is The Art. It is ressentimentaly created, curated, and sold against the odds.

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.

The Spring in Tuscany is rainy. Not in the way in New York City, where the rain wets deep into th... more The Spring in Tuscany is rainy. Not in the way in New York City, where the rain wets deep into the soil. The Toscana's rain is washing leaves and marble rocks. It sparks like a pressure washer for a quarter of an hour and disappears. Tuscany's rain does not come from clouds as it is everywhere; it drops from the fog between the hills. The clouds are far away in the troposphere, flying to beautify the landscape. These words are about the Tuscany rain because its magic waters revived the missing image of Reiner Schürmann in the Spannocchia castle this Spring. Not only that, it made him meet with the angel of Ilya Kabakov, who, by the way, flew there from Bagno Vignoni and whispered in Schurmann's ear the words of Domenico from Nostalgia about how he could save the world from the top of the castle tower if forgets the last three thousand years of reality.

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?

In this paper, I discuss what the Debord spectacle was and became and how the human perception of... more In this paper, I discuss what the Debord spectacle was and became and how the human perception of beauty is transformed in the virtual world. For this research, I establish a parallel between Guy Debord's concept of the Spectacle, defined in the 60s of the 20th century, and the virtual reality concept of the 21st. For Debord, Spectacle is not a collection of images but a social relation among people mediated by images. This mediation actively alters human interactions and relationships and influences human lives and beliefs on a daily basis. In this quote, " It is only through the Spectacle that people acquire a (falsified) knowledge of certain general aspects of social life, from scientific or technological achievements to prevailing types of conduct" 706, one can easily see the naivety of the Neo-Marxist about the future of the Spectacle. The Spectacle of the third decade of 21-century overpassed all the predictions.
Its current stage could be called the Age of Surveillance Capitalism, a term created by Shoshana Zuboff.

In this paper, we analyze Queen's song "One Vision" as a possible musical topos in harmony with R... more In this paper, we analyze Queen's song "One Vision" as a possible musical topos in harmony with Reiner Schürmann's "inter-hegemonic moments"(36) in his only sense that they reveal the regime of a subsumptive fantasm to repress. Schürmann provides the conceptual support for understanding this song in relation to the institution-destitution of the Greek Hegemonic Fantasm of One interpreted in his text Broken Hegemonies. We argue that it is possible to see/hear a conceptual and indirect time connection between Schürmann and Freddie Mercury's position regarding the violent institution of hegemonic fantasms. Examples supporting this suggestion include 1) how "One Vision" has co-pertinence to Schürmann’s anarchic position on breaking hegemonies and tragic denial of the singular and differend 2) Interpreting the lyrics through this lens. Both of these analyses respond to a question of the song’s ontological vision that asks what the meaning of the lyrics "one God," "one true religion," "one mission," and "one worldwide vision" are referring to, a sentiment brought forth in Broken hegemonies by Schürmann as well. Considering the sarcasm and dark irony of other Queen's songs (Radio Ga Ga, Bicycle Race, and Bohemian Rhapsody) as a methodic approach to Queen’s lyrical compositions, we consider the song to be a postmodern work of art - seeing how irony is an agreed upon particularization of postmodernism. We are looking for connections between the lyrics of the song and Schumann's text addressing the double bind as a tragic condition of being and hegemonies shadows anywhere. In the paper, we explain/demonstrate/support the argument that hegemonies are in every corner of our life. Hearing Schürmann’s voice echoing within Queen’s lyrics further suggests how his claim about the institution of hegemonic phantasms retrospective validation shows a clearer vision of the arche and implies active reasoning on reality and that Freddie Mercury is not only receptive to this sentiment and its residue in postmodern culture but also adds to the ongoing conversation as well. This is important for the following reasons: to define art and philosophy fusion with an example, expose hegemonic phantasms as confusing and dangerous thetic drives and educate people about what is at stake from a hegemonic phantasm that "It singles out some pithy meaning, augments it, institutes it as an authority, bestows hegemony on it. Such compounding of thought produces mortal fantasms—mortal not only in that they perish but also in that they put to death" (631). The poison from a fantasm had side effects on everything from how we see reality to how we look at our past, present, and future. I hear Schürmann’s voice in the Queen's words: "One heart, one soul, just one solution, one flash of light," meaning to reduces henology to social ethics, to image the one as partial and biased, and eclipse its freedom; "because the doctrine of the Soul gets transformed into a philosophy of consciousness" (649). Our belief is that behind and between a singular soul and intellect watches a hegemonic fantasm.

Everythin$ Is OK, 2022

It is about where the freshwater in my region comes from-the nearby rivers and the industrial and... more It is about where the freshwater in my region comes from-the nearby rivers and the industrial and municipal discharges, the stormwater runoff and water spilling over the nearby dams, the water suppliers' treatments including settling, flotation, UV, activated carbon, and filtration-and about how it flows into my glass. It is about how government standards are neglected, how legal does not necessarily equal healthy, how the limits for contaminants in tap water have not been updated in almost twenty years, and how there is no control over the stages my water goes through.

Everythin$ Is OK, 2022

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 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.

Water contains an aspect of oneness, the fluid collectivity with the power to dissolve manmade st... more Water contains an aspect of oneness, the fluid collectivity with the power to dissolve manmade structures, concepts, and events in its flow, like fantasmic instituting hierarchies, rhizomes, faces, and gazes. Water clarifies the singularities of fringed places, people, and events, moving them from one locale to another in the transparency of liquified spaces and times. The river's waters modify worlds. The river's waters also are an expression that inscribes and escribes events along its shores. For some, it is a memory, and others a machine. Minerals, metals, and living forms give color and density to a luminous body of river water. I meant all that in my artwork without consciously knowing it.

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.