LTŽemės planetos ankstyvojoje stadijoje „ekstremalių“ pokyčių buvo kur kas daugiau nei tuomet, kai radosi gyvybė. Vis dėlto ekstremumai, arba „gamtos kataklizmai“, mums reikšmingi tampa tik dėl katastrofiškų pasekmių žmogui. XIX a. priešistorinių katastrofų tyrimai siejosi su vis naujesniais archeologijos, geologijos bei paleontologijos atradimais, taip pat su eschatologiniais bibliniais vaizdiniais, mitų siužetais. Šie siužetai nedingo ir vėlesniais šimtmečiais; dabar jie ryškiausiai matomi populiariojoje kultūroje. Savo ruožtu mokslinio pažinimo kanalai tapo neatsiejami nuo platesnei visuomenei prieinamų medijų. Šiame tekste aptariamas gamtos katastrofų įvaizdžiuose egzistuojantis probleminis gamtos, žmogaus ir kultūros santykis. Remiamasi Bruno Latour’o analizuotu moderniuoju gamtos atskyrimu nuo socialinio žmogaus pasaulio, taip pat geologijos ir paleontologijos istorija. Keliama prielaida, kad egzistencinis siaubas, kurį sukelia beveik visuotinio ir negrįžtamo gyvybės sunaikinimo grėsmė, gana ryškiai gali būti suvokiamas per sapno ir meninės vaizduotės prieigą. Tuo remiantis aptariami pasaulio tvano vaizdiniai ankstyvojoje M. K. Čiurlionio kūryboje (tapyboje ir tekstuose). Reikšminiai žodžiai: gamtos kataklizmai ir žmogiškosios katastrofos, geologija ir vaizduotė, XIX a. pirmosios pusės gamtos tyrimai, biblinis tvanas, M. K. Čiurlionio ciklas Audra, egzistencinė grėsmė, siaubas mene ir literatūroje. [Iš leidinio]
ENPlanet Earth formed approximately 4.5 billion years ago, undergoing numerous “extreme” changes in its early stages before life appeared and large organisms settled here around 600 million years ago. Despite the prevalence of extreme events and natural cataclysms throughout Earth’s history, their significance to us lies in their catastrophic consequences for life. The scientific exploration of these time perspectives began relatively recently, in the 19th century, spurred by discoveries in archaeology, geology, palaeontology, and influenced by eschatological biblical imagery and mythological narratives. While such narratives persist in popular culture, their portrayal has shifted over time. Today, scientific knowledge channels are intertwined with fragmented media and complex interdisciplinary studies simplified for broader audiences. This text explores the intricate relationship between nature, humans, and culture in depictions of natural disasters. Drawing on Bruno Latour’s analysis of the modern separation of nature from the human social world and the history of geology and palaeontology, it suggests that the existential horror evoked by existential catastrophes – the threat of near-universal and irreversible destruction of life – can be most vividly perceived not through natural and exact sciences alone, but also through approaches such as dreams and artistic imagination. This text explores the imagery of the global flood catastrophe, not primarily from the perspective of collective politics, but through the lens of geological, cultural, and artistic imagination. By examining nightmare descriptions by various artists, an effort is made to comprehend the functions of subconscious visionary images within systems of knowledge.For instance, the works of Lithuanian painter Mikalojus Konstantinas Čiurlionis (1875–1911), a Neo-Romanticism and Symbolism representative, and Howard Phillips Lovecraft, or HPL (1890–1937), a prominent figure in weird fiction, feature motifs of horror associated with global cataclysms. These motifs indirectly reflect fragmentary scientific knowledge, palaeontological evidence, parallel pseudo-scientific narratives, myths, and fairy tales. The missing painting series “Storm” from 1904 is cited as a specific example. In the works of Čiurlionis and his contemporaries, akin to early modern horror fiction, the threats of (anti)modernity manifest through global catastrophes and scenarios of the pre-human past and post-human future. In a broader sense, experiencing the global Flood as both a catastrophe and a significant event in a dream may directly resonate with a traumatic psychological state. This psychological state serves to awaken the rational mind in the face of global calamities, prompting it to “come to its senses.” The daily influx of scientific, political, and other knowledge through today’s media tends to overshadow – or submerge us deeper into – an existential reflection on rare events of immense scale, which have the potential to fundamentally transform the Earth, leaving almost no conditions for survival. The text concludes that the dreams of the mentioned artists can serve as a “mediating” psychological medium – a specific state aiding the modern individual in understanding the nightmare induced by (super)natural cataclysms. In today’s world, traumas caused by humanity itself, along with an increasing number of wars, suggest that relying solely on the narrative of technical progress to “solve everything” may be misguided.Terrible events of great magnitude may indeed be experienced in an irrational and non-temporal manner – as traumatic archetypes that shake one’s psyche in dreams, captured by a subject mediating between various modes of literary or artistic thought. Keywords: natural cataclysms and human catastrophes, geology and imagination, nature studies of the first half of the 19th century, biblical deluge, M. K. Čiurlionis’s series “Storm”, existential threat, horror in art and literature. [From the publication]