Bozhana Filipova

In the following text I advocate the opinion that the concept of “genius” is unconditionally necessary today, in our contemporary times, among the proliferating critical languages, institutions, strategies for recognition and affirmation in art, philosophy and the sciences. The Kantian concept of genius is given here the central stage and is partially implemented, where necessary, by the interpretations that follow. The aim is to outline the possibility for relativity between the activity and affectivity of the sublime and the activity of the genius. These approximations allow us to explore the possible relation within 1) the logic of analogy, doubling, as an apposition between two immense powers, 2) as a confrontation of two infinities; 3) through the concepts of “heterosimultaneity”, “counterfinality”, “freedom”. An additional hypothesis here – that the material forces of life are the forces of philosophy (namely, in Boyan Manchev’s philosophical fantastic they are Fire / Eros, Apeiron, Chaos, Chaos Unbound), which had fascinated Kant as well, are transitive within the modal foundations of existence – follows from the free play between the monstrous force of nature and the magic power of the conceptual language of the genius, from the necessity of thought as an active force of the transformation of the world. In the perspective of Boyan Manchev’s surcritique and modal ontology, I will attempt to extend the definition of genius. If the given law of nature must be overturned, this is only possible if the secret of nature lays open, the secret of creativity, of the genesis beyond the gene, of the necessary freedom. Тhe genius weaves the secret of free world-creation. The sublime is a representation of his technique. It is a measure of desire of thought; a front and a companion on the front of his unknown; a projective transfiguration of the internal eternal fire of thought.