Nikolai Fyodorovich Fyodorov Quotes

Russian philosopher and life extensionist (1829-1903)

(Никола́й Фёдорович Фёдоров; surname also Anglicized as "Fedorov", June 9, 1829 – December 28, 1903) was a Russian Orthodox Christian philosopher, who was part of the Russian cosmism movement and a precursor of transhumanism. Fyodorov advocated radical life extension, physical immortality and even resurrection of the dead, using scientific methods.

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The problem of the force which brings the two sexes to unite and give birth to a third being is also a problem of death.

Negative virginity is not yet a celestial virtue; chastity is not yet active wisdom; not to beget is not yet liberation from death — resurrection. It is essential that unconscious procreation be replaced by the task of resuscitation.

To solve the question, 'What should art be?' will be to solve the contradiction between rational being and the blind force of nature, to fathom the most abnormal relationship between man and nature, to solve the question of the subordination of rational being to blind force. Will nature always remain blind and, in its blindness, a destructive force, while art remains the creation of nothing but dead imitations? Will this division be temporary, or will it last for ever? Perfection lies in the unity of nature and art.

[The] transformation of the blind course of nature into one that is rational [...] is bound to appear to the learned as a disruption of order, although this order of theirs brings only disorder among men, striking them down with famine, plague, and death.

Universal Christian grief is the sorrowing over disunity (that is, over enmity and hatred and their ensuing consequences such as suffering and death), and this sorrow is repentance; it is something active that includes hope, expectation and trust. Repentance is the recognition of one's guilt over disunity and of one's duty to work for unification in universal love in order to eliminate the consequences of disunity.

The principle of disunion and inactivity informs all three Critiques. The philosophy of art which he embodies in his Critique of Judgement does not teach how to create, but only how to judge the aesthetic aspects of works of art and of nature. It is a philosophy for art critics, not for artists and poets. In the Critique of Judgement, nature is regarded not as an object to be acted upon and transformed from a blind force into one governed by reason, but merely as an object of contemplation to be judged on its aesthetic merits; not from the point of view of morality, which would recognise it as destructive and death-bearing...