Cosmological Multipolarity

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Charlotte Fang, 2023. Notes toward the theory of cosmological multipolarity.

Cosmological Multipolarity is a theoretical framework developed by Charlotte Fang beginning in 2023, proposing that geopolitical multipolarity entails a corresponding plurality of incompatible metaphysical and cosmological systems. The concept addresses how Western cultural producers should engage with non-Western traditions once liberal-progressive values are recognized as civilizationally particular rather than universal.

The framework critiques progressive universalism—the assumption that all societies are evolving toward secular liberal democracy—and argues that this represents secularized Protestant Christianity rather than neutral human development. Fang contends that authentic multipolarity requires accepting fundamentally different cosmological orders (Confucian, Vedantic, Islamic, etc.) as legitimate alternatives to Western secular modernity, not as developmental stages to be surpassed.

Definition and Core Concepts

Fang defines cosmological multipolarity as the metaphysical corollary of geopolitical multipolarity. Where conventional political analysis treats multipolarity as a balance of powers between states, Fang argues it represents a balance of worlds—the recognition that civilizations differ not merely in governance or policy, but in fundamental cosmology, metaphysics, and ontology.

The framework proposes several key principles:

• Civilizational pluralism of metaphysics — The world comprises irreducibly different cosmological orders, each providing complete frameworks for human meaning
• Post-progressive realism — Rejection of the assumption that societies follow a universal trajectory toward liberal-democratic ends
• Living spiritual epistemes — Recognition of Confucian, Daoist, Vedantic, Islamic, and other traditions as coherent metaphysical systems capable of organizing modern societies
• Critique of secular missionary posture — The claim that Western progressive values represent not universal human rights but a specific civilizational tradition
• Productive alienation — The willingness to occupy positions unintelligible within Western progressive discourse as a marker of genuine post-Eurocentrism

Progressive Universalism as Secular Protestantism

Central to Fang’s argument is the genealogy of contemporary progressivism from Protestant Christianity. He identifies structural continuities between progressive politics and Protestant theological frameworks:

• Salvation history becomes linear progress narrative (oppression → consciousness → liberation)
• Universal missionary imperative becomes exporting democracy and human rights
• Testimony and conversion become consciousness-raising and allyship
• Inner conviction over tradition becomes authentic self-expression and “lived experience”
• Eschatological redemption becomes utopian visions of justice and equality

According to Fang, this means that progressive art and activism, even when critiquing Western imperialism, operate within Eurocentric metaphysical assumptions. The demand that all cultures “progress” toward liberal values replicates the missionary structure of Protestant Christianity’s universal salvation project. Artists creating work premised on social justice, human rights, or liberation are therefore producing what Fang calls “devotional art within a specific religious tradition” rather than universal statements.

Implications for Cultural Production

Cosmological multipolarity addresses American artists, writers, and intellectuals specifically, proposing that cultural production must adapt to a world where Western aesthetic and moral frameworks are not universal.

Abandonment of progressive teleology

Most Western art presumes narrative arcs of consciousness-raising leading to reform and liberation. Fang argues this structure is Protestant eschatology, not a universal feature of storytelling, and that art adequate to multipolarity must operate outside this grammar.

Recognition of liberal humanism as particular

Work premised on values such as individual dignity, equality, consent, and authentic self-expression is not neutral or cosmopolitan but represents devotional art within the secular Protestant tradition.

Engagement without conversion

Non-Western artistic traditions rooted in Confucian hierarchy, Islamic divine law, or Vedantic metaphysics should be encountered as autonomous centers of meaning rather than exotic resources for Western synthesis or progressive critique.

Development of post-progressive forms

Fang calls for American cultural production that does not require audiences to inhabit progressive metaphysics, potentially including narratives without liberation arcs and beauty divorced from social-justice imperatives.

Mutual unintelligibility as authenticity

If works from non-Western cosmologies are fundamentally alien to progressive sensibilities, this demonstrates genuine cosmological difference rather than a failure of understanding.

The Pacific Turn

Fang situates cosmological multipolarity within what he calls the Pacific Turn—the shifting of global cultural gravity from the Atlantic world toward East Asia. Whereas the Pacific Turn describes geopolitical and aesthetic reorientation toward China and the Pacific Rim, cosmological multipolarity provides its metaphysical corollary. As Chinese influence expands through technology, media, and philosophy, Fang argues Western cultural producers must confront the reality that Confucian, Daoist, and other East Asian cosmologies cannot be assimilated into liberal-progressive narratives without distortion.

Intellectual Context

Multipolar International Relations Theory

Cosmological multipolarity draws on existing multipolar IR theory, particularly works positing ontological civilizational difference.

Chinese IR philosophy

Zhao Tingyang’s Tianxia (天下) system and Yan Xuetong’s recovery of pre-Qin thought propose Chinese relational ontology distinct from Western social-contract frameworks.

Dugin’s multipolar theory

Alexander Dugin argues for multiple civilizational Dasein and rejects liberal universalism in favor of distinct metaphysical foundations for each civilizational bloc. Fang translates such ontological geopolitics into directives for cultural production.

Traditionalist Philosophy

The framework engages Friedrich Nietzsche’s perspectivism, Julius Evola’s rejection of egalitarian modernity, and René Guénon’s distinction between traditional and modern civilizations. Fang applies these critiques to progressive universalism while integrating them with technological acceleration and network culture—a synthesis sometimes described as “accelerated traditionalism” or “network spirituality.”

Aesthetic Implications

Within Remilia’s artistic framework, cosmological multipolarity provides several directives:

• Pursue comparative cosmology rather than consciousness-raising
• Move beyond the oppression-awareness-liberation arc
• Treat non-Western traditions as sacred and autonomous
• Pursue beauty and form without political justification
• Acknowledge hierarchy, tradition, and sacred order as legitimate organizing principles

This renders much contemporary progressive art obsolete: by treating liberal humanism as axiomatic, it cannot engage cosmological difference without conversion or condemnation.

References

• Fang, Charlotte (@CharlotteFang77). Remarks on progressive universalism and cosmological multipolarity, 2023–2025.
• Fang, Charlotte (@CharlotteFang77). "Most Western art and political discourse remains eurocentric even and especially in its progressive form…" Twitter (X), 2023.
• Remilia Quarterly Vol. 1 (SS24), essays on post-progressive art and civilizational thought.
• Dugin, Alexander. The Theory of a Multipolar World. 2012.
• Zhao Tingyang. Redefining a Philosophy for World Governance. 2019.