The only true threat to democracy is theological centrism. Failing this, spiritual survivalism.

Nietzsche's method is total mobilisation, retribution; Hamann's method is the creeping barrage, defense-in-depth.

Sir, please. Nietzsche is sleeping. Please conduct yourself in an orderly manner. Please get in line so we can address your concerns one by one. No harsh words when thinking about Nietzsche, please sir. Please, only calm tones and academic language here, sir. We don't need a will to power expressed in the face of snoring, sir. Please.

https://youtu.be/mko5Y8QUEjI

Either the will is bound up with fate and law, or it is not. In this way, it acts with divine pathos – where there is pure force there is inevitability, the gravity of what can never be chosen, and what we can never add to or take away from. Here we can only give shape to what is passing and will never return. The blood as conceived by Leonardo da Vinci was like the world river, with increased force where it was no longer constrained by the elemental traits. The later scientific image is that of standing against its current, giving the blood virtue, certainty. One must turn against the waves to act upon them. This is also how Nietzsche stands against history, against being and becoming. There is only striving, which in this case appears directionless amidst the most certain path.

Opening lines of the prayer "Anima Christi".
"Anima Christi, sanctifica me.
Corpus Christi, salva me.
Sanguis Christi, inebria me.
Aqua lateris Christi, lava me.
Passio Christi, conforta me."


Translation goes something like:
"Soul of Christ, sanctify me.
Body of Christ, save me
Blood of Christ, inebriate me
Water from Christ's side, wash me
Passion of Christ, strengthen me."

This is also how we give Nietzsche his due. If he is not engaged in dialectics, and instead wielding language in a thousand forms, then he must be relying on techniques of the heroes, engaged in labours.
Is he capable of lifting Antaios from the earth? Or is he himself Antaios?

An unpleasant reading. Now also in Germany they print books in which obscene words are written in plain language – I mean those which one used to be able to read only on the walls of poorly lit railway station exits.

Those abroad have led the way, coarse Americans and Parisian criminal cliques that introduced the argot to literature. One more sign of extinction, of loss. At the same time an ominous signal is raised. The Mattanza commences.

The vile style is not just restricted to that breach. One can’t expect order in a city in which one ornaments fountains and markets with infamous monuments. Lichtenberg said that one would only have to draw a target on his door and someone would be found who would shoot at it. In case of Sade the obscenities are directly followed by acts of violence. They are the cue, the first breach of taboo brings everything else. They probably experienced something similar in our knacker’s huts. First comes the degradation by words, then by deeds. Where liberalism reaches its outer limits it opens the door to murderers …

— Ernst Jünger, Strahlungen (Radiations)

A problem. Dionysus is not the god of drunkenness and orgies, these are passages. He is a fallen god, the cursed son of the reign of Olympians, a being of pure metamorphosis who wanders the primordial and heroic worlds. Not only the god of passageways, of a thousand forms – but a strict god of law, of the line between drunkenness and truth, intoxication and lie. The pillars of the titans who once stood at the corners of the earth are with him, moving in the night.
Only through law is metamorphosis returned to dominion, the utmost violence given form. Wine as purifying element, as restraint upon the onrushing of waters which have broken off from the rivers, and yet are diminished.

"First comes the degradation by words, then by deeds. Where liberalism reaches its outer limits it opens the door to murderers …"
~ Ernst Jünger

Artificial intelligence is the mass grave of the word.

All art lays a claim upon eschatology.

The devastation we are confronted with in tragedy is that the whole of law, the utmost violence, is left to one figure. The world of mortal pain set upon the earth itself. A figure abandoned to the world; not even a titan can overstretch the chasm. It is the continuation of the titanic battle after the fall and eternal judgement of the titans.
One man is left to drag the world behind him, all the rest – beholden.

"Tu es Venus, Tu es Venus, Tu es Venus. Venus es!" Even the stomping of the Cyclops may return us to happiness.

Pretty good. 17k sub reposted.
But algo will probably suppress.

https://twitter.com/SchattigeDer/status/1623335218286411777

We are ourselves only a perspective of the truth.

Nowhere does truth appear with such brutality as in war and justice. In the face of such overwhelming force the individual is cut out from being, divided from the simple movement of himself. The will is driven out into the elements.
In war, there are marching songs, drumming which gives order to thunder – certainty and direction are formed over and above the will, so that it does not separate from itself too early. Then, at that very moment of the highest decision, the music gives way to silence – an order appears before which no artistic understanding can express itself. Only fate and judgement remain. The will experiences its second death.
If truth wants to be known, one's perspective will be shaken to the core with the utmost violence, until this violence becomes the entirety of the earth, until one is but a fissure within a storm, an earthquake, a collapsing mountain. A slow erosion may be the most forceful of all judgements. This is the essence of tragedy and apocalypse – the world is reversed, the brutal decision of law imposes itself upon all men until the final perspective can hold out. It is uprooted, freed.
Nemesis – behind her, the earth a spectre.

The gods give a thousand shapes to every form.

Aristophanes Contra Socrates: A Ruse. Aristophanes Contra Nietzsche: A Mogging.
What is the will to power with eight limbs, two heads, and infinite pudenda?

A given element of the ageless – One can only wonder at Nietzsche's English cosmopolitanism. The creeping stench of the industrial enclosure cannot be separated from his efforts, if only as a result. "Statistics." At times it is hard to tell if he wants a victory garden, or simply interest gutted from the lifeless construction. Or if he simply does not want.
Whatever you do, when you go to Nietzsche do not bring a history, a law, an economics. Whatever you do, feel – and only against what has already been felt. Go against the streams, against continents – land and sea. Against all forces. This is your will. And do not think yourself an English peasant in foreign lands, whatever you do. Do not think this.
For this is the feeling that leaves all feeling behind. The feeling behind all striving to act.
In the end, this is what is achieved in the great obsession, a not bringing, a will of austerity over everything else; of ought over is – the ultimate imprinting upon of foreign soils. Equally a Pole awaiting ruination, and a Brit demanding liquidation. Yes, time itself disappears – for the will too.
Of course, in the end, within that impossible thing – the Britons visited upon the Germans everything he had demanded. Everything demanded, every last thing, is given a will. This is already in Berkeley; if less in Churchill, Hobbes, Caesar.
And then, time returns.

Against Nietzsche: greater intelligence tests. And we add poetic form for the doubtful.

The heirs to Nietzsche worship a gigantesque asceticism. How does this relate to the great ancestor, the will to gluttony?

Collin Clearly says woke can be traced to Fichte, Kant, and Aristotle.
A good reminder to leave philosophy to the philosophers.