Chaosmos and the White Lodge (Third Note about Robert M. Pirsig)

When something has „quality“ it means it has „the right fit“, and when something is of very supreme quality it means it has even more than the right fit and/or it does so in an unexpected way – it is transcendent.

Based on an investigation of „classicism vs romaticism“ (and somehow mirroring Nietzsche´s Apollonian vs Dionysian principle and other juxtapositional stuff that may come to mind in this respect) Pirsig speaks of „static“ and „dynamic“ quality. Static quality refers to the quasi-conservative principle of form, dynamic quality to the transformation and extension of form. Dynamic quality is „the conceptually unknown“, or, as Pirsig scholar Northrop says, „the undifferentiated aesthetic continuum“. We may also call it ontological potential.

Indeed, everything in the cosmos is about establishing and transformation of forms (at least seen through our humble perspective). At the ultimate level what you will see is the chaosmos, the permanent interplay of form and its aleatoric transformation; the interplay of the static and the dynamic; the classic and the romantic; art, philosophy and science. I have from time to time explained it as having before my inner eye something rotating with many chambers, with one or some of it emerging, destined to give a new sense to the whole; or now many small squares and now suddenly a lightning shooting from the horizontal towards me, etc. It all happens very quickly and is elusive, forms falling apart to give place to new forms. And it is finally the end of vision. The highest artistic vision is to directly gaze into the chaosmos. Ultraintelligent poet Arthur Rimbaud reached such a level of vision, also Lautréamont and Büchner. Taken to this extreme, vision finally might evaporate and art becoming irrelevant (or whatever). Ultraintelligent engineer Nikola Tesla also liked to entertain himself with such visions before his inner eye (as tells Clifford M. Pickover´s Strange Brains and Genius).

Chaosmos is the synthetic vision of everything, of the whole. I have also spoken about the White Lodge. With the White Lodge I was somehow referring to a state in which you experience yourself after you have analytically figured it all out.  You experience that the space of knowledge isn´t anymore made of dialectics, oppositions and the like, it has all dissolved into a white light, or white space, with entitities that instantaneously affect you floating as a kind of a bit grey rippling alongside you. Brecht says intellectual superiority means being able to hold two contradictory concepts in the mind at the same time. I say it is about holding five or so concepts in the mind at the same time, so as that you finally see they may not be contradictory, instead they hold various versimilitudes and truth contents. If you see things that way and have established that kind of vision your mind is free and free to navigate through intellectual space, and your ego has evaporated as it is not tied anymore to any preference to any (ideological) (half-) truths.

Chaosmos and the White Lodge means that you see it all as well as that you permanently sort out things anew. It is not some self-sufficient state of enlightenment. It is progressive. It refers to infinity, and the vision of infinity, being fractal-like, as well as progress of knowledge being fractal-like (or semi/pseudofractal-like). Chaosmos refers to the synthetic, the White Lodge to the analytical; respectively that such distinctions have become superseded in the eye of the respective beholder.

Klara and Perla and an Inquiry into the Metaphysics of Quality (Second Note about Robert M. Pirsig)

When I studied at the University of Basel, in 2004/05, I was lucky to live in a funny house, not in a student living community. The person living next to me was Perla from Slovakia. I swore I shall never forget how at one of my first days in Basel I went home in the evening, after having a beer with a fellow student, and found Perla having a small party in her room. She was very responsive to alcohol, but in a cool way, she was very funny, laughing and joking all the time, dancing, singing, falling down at her room divider; at 2 in the morning she cooked me something to eat, even later I looked after her and found her pseudo-dancing in the staircase with a cool look on her face (I loved her saturated smile and her glassy eyes). She was a cool dancer, both elegant and gracious as well as flamboyant, and inspired me in this respect. Her girlfriend Zlata also was at the initial party, as well as Ian and Dave from upstairs, two roamers from England who earned money as street musicians. Back then, I also used to become somehow bizarre when I was drunk, but Perla topped me in this respect. Perla had quality and especially I liked her Slovakian accent. Should I have two daughters I will name then Klara and Perla (Klara was the name of my artist aunt). Pirsig named his second book Lila (with Lila being an example of dynamic quality, falling prey to insanity however, as she lacks the stabiliser that intellect provides).

Pirsig´s Metaphysics of Quality has not entered mainstream philosophy and many people who read Lila did not „understand“ it, or got a sense what Pirsig is actually up to. This also somehow accounts for me. Pirsig acknowledges that his refusal (or inability) to actually define quality may be the reason for the ignorance. That may be quite right, but the more general problem is that Pirsig´s Metaphysics of Quality can neither be verified not falsified. „Quality“ both refers to the consistency of something as well as to the way we perceive something based on how we resonate to it and therefore attribute a certain value to it, and that double nature (respectively that we don´t know whether „quality“ refers to anything outside our perception) establishes some kind of inner conflict within Pirsig´s metaphysics that is finally irresolvable.

Pirsig dissolves „quality“ into something abstract, somehow resemblant to that what Schopenhauer did with „will“ when he put Will as the ontological foundation of everything. Remember how Nietzsche tried to make Schopenhauer look stupid when he said that there is no „will“ per se, but just a „will to something“ (leading him to think of the „Will to Power“ as the Ding an sich). We may think that Nietzsche´s argument does not destroy Schopenhauer, maybe not even affect him, for there may be an abstract „will“, as well as there may be an abstractum of quality (yet need not be). Schopenhauer´s metaphysics of a will per se, a self-referential strive of self-actualisation as the prime mover of everything (resemblant to Whitehead´s „creativity“), may be quite right, but, from a scientific point of view, deems us as primitive and unexplicative. The same thing may go for Pirsig´s Metaphysics of Quality.

As mentioned above, Pirsig´s Metaphysics of Quality can neither be verified nor falsified. That is not uncommon for metaphysics (and likely eventually necessary since science operates within our epistemological limits whereas metaphysics tries to grasp ontology beyond our epistemological limits), and Pirsig himself notes that the endeavour to construct a perfect metaphysics equals constructing a chess strategy where you always win (i.e. any argument in favor of your metaphysics will eventually get confronted with something that either proves it wrong, undecidable, state-dependent, etc. … therefore we have to hold on to a kind of ad hoc metaphysics (as also Whitehead says)) but Pirsig´s metaphysics seems a bit too elastic in this respect (although we have to take into account that a very potent metaphysics may just be kind of tautological and trivial and, since it operates at a very high level of abstraction, unexplicative).

The problem of Metaphysics of Quality is also that it is not a tautology but self-sufficient (respectively self-serving). Everything may be explained as a quality phenomenon as long as we do not know what „quality“ actually is and how it may affect us. Things that are full of shit may be taken lightly in this paradigm and explained away as that, via the butterfly effect or so, they do something good elsewhere. Pirsig accounts that different quality patterns (inorganic, biological, social, intellectual) may actually be at war with each other, refuting our perceptions of harmony and compensation in the cosmos, but he gives (and cannot give) no outline how they actually interact and what their (scientifically graspable) patterns of interactions are and can be. And while Pirsig is fond of anything of quality, both of his books are full of examples how actual and true quality or creativity is a rare thing in the world, and under constant threat, so that the world may rather not appear as a quality phenomenon but as a lack-of-quality phenomenon.

In his efforts to prove that a „metaphysics of quality“ is the most ancient metaphysics of all and an understanding that is established across times and across cultures Pirsig ruminates about whether quality relates to the Tao – or is the Tao – (he also makes comparisons to the concepts of American Indians as well as the Rig Vedaic wisdom of India), but his metaphysics is not as enigmatic as Taoism and therefore does not produce the same undertow, and although Pirsig´s Metaphysics of Quality may be Taoism at a higher level of clarity there is no actual stuff concerning spiritual transformation involved – as well as no moral code and no actual ethics. Metaphysics of Quality may implicate a higher level of awareness and tenderness we should cultivate in ourselves, but it does not implicate any guidelines of what we should actually do – and it does not rule out that a superintelligent replacement species based on AI will make the human race extinct … because, quality.

Pirsig says that the order of the world is, in itself, a moral order, and the notion that the order that makes the world is a moral order or that there is an inherent link between metaphysics and ethics (respectively that they are about one the same) is common among philosophers, i.e. gentlemen who strive to establish connection and have eminent constructive abilitities. Plato, the initiator of systematic philosophy, substantialised moral. Nietzsche, a kind of revenant of Plato, shattered systematisation and rightfully noted that philosophical buildings erected upon confidence in morals have all collapsed across the centuries and millenia. – It is ok to ground one´s metaphysics in an admiration of constructiveness, nevertheless substantialisation of constructiveness is problematic, and a nihilistic worldview is logically quite consistent as well, or the notion that „deep reality“ actually consists of an evil, malicious god, and that everything constructive, beautiful, ethical or full of quality is just there to fool us in making us strive for it in a vain attempt (as is the credo of sociopathic Iago in Otello or of the anti-heroes of de Sade).

However, it is still a mystery why the cosmos is a fine-tuned as it is, or why life and evolution came into being on our planet. These phenomena are highly unlikely. Of course that could be explained with our universe, and our planet, just being the lucky guys within an infinite amount of possibilities, but the mystery still remains – and maybe there is some kind of quality behind it as the source of selection.

And while Pirsig´s Metaphysics of Quality may be ? for a human, it might be an adequate metaphysics of someone who has achieved cosmic consciousness. In his valuable book Cosmic Consciousness: A Study in the Evolution of the Human Mind (1901) Robert Bucke says that what we commonly refer to as enlightenment or Satori refers to a universal experience across times and cultures: spiritual, intellectual and personal transformation of very advanced individuals to a state of „cosmic“ perception. Someone who has achieved it ceases to view the cosmos as dead and inorganic, but as spiritual and enlivened, with living beings rather being faint dots in a great living ocean; his behaviour is highly ethical; he is aware of his immortality; he is in suberb control of himself and his personality radiates harmony, dignity and grace. Individuals who have achieved cosmic consciousness include, according to Bucke: Buddha, Jesus, Lao Tse, Johannes vom Kreuz, Pascal, Shakespeare, Balzac, Dante, Ramakrishna, Whitman or Thoreau. The ways and fashions these individuals express their inner experience varies through time and through cultures in which they are, after all, embedded. So maybe the Metaphysics of Quality may be the (or: a plausible) metaphysics for someone who has achieved cosmic consiousness.

UPDATE 24/05/2017:

A Theory of Consciousness Can Help Build a Theory of Everything

Design Theory and a Changing Scientific Worldview

Huitzilopochtli and the Art of Motorcycle Maintainance (First Note about Robert M. Pirsig)

Longseller Zen and the Art of Motorcycle Maintainance was written by Robert M. Pirsig. Equipped with a 170 IQ young Robert enrolled at the university at age 14 only to get expelled a while afterwards as he found the scientist´s mindset inadequate, feeble and incomplete, which also led to mutual personal alienation (respectively animosity) between Pirsig and academia. People of very high IQ think in much larger patterns and especially if they are divergent thinkers they may get very confused since they have little idea what they actually see and envision and then they have to synthesize a lot to come up with a conclusive intellectual framework that works to their satisfaction (usually erected upon vast intellectual experience and life experience which they also intellectualise). As his assumed skyrocketing career as a scientist did not work out Pirsig became a kind of a drifter through life. Zen and the Art of Motorcycle Maintainance was a kind of semi-fictionalised intellectual autobiography, half a novel, half a philosophical work. It got rejected by more than 100 publishers but became a huge, and lasting, success after it came out in 1974. The mixing up of „Eastern“ and „Western“ thought was unorthodox in academic philosophy then but hit a nerve in the later hippie era, respectively Pirsig´s investigation into the possibilities of expansion of the human mind and its possible failures could have been taken as a kind of intellectual resume of the initial spirit of 1968. In ZMM Pirsig voted for a metaphysics that has quality as its central value. In 1992 Pirsig published his second book (of similar fashion concerning genre mix), Lila; An Inquiry into Morals, in which Pirsig tried to solidify his original arguments, and he said that Lila is the more profound book than ZMM. Lila did not become a huge commercial success like ZMM. It is said you should read ZMM before you read Lila. I read Lila before I read ZMM (last year) because I was interested in WJ Sidis and in Lila Pirsig writes a bit about Sidis (I knew about Zen and the Art of Motorcycle Maintainance before but thought it to be a kind of introduction into Zen Buddhism for Westerners). In 1995 Pirsig gave a lecture Subjects, Objects, Datas and Values in which Pirisg tried to show that his Metaphysics of Quality was a coherent philosophical framework to interpret quantum mechanics. I read this lecture yesterday. Pirsig has long retired, in his (obviously) most recent interview in 2006 he said he does not read much anymore but still likes to sail. Despite the success of his books Pirsig´s Metaphysics of Quality has not entered mainstream philosophy so far.

More recently I also read Laura Ibarra Garcia´s Das Weltbild der Azteken, a book about the worldview and metaphysics of the ancient Aztecs. Marx says „Sein bestimmt das Bewusstsein“ (being determines consciousness) and that when we look at ancient cultures we look into our own past (and infancy, as we might add). Yet sensitivity to psychology is certainly not a strength of Marxism, respectively to the question how and why man creates and manipulates his world exactly the way he does. Jean Piaget on the other hand investigated the cognitive and psychological development and ontogenesis of the infant and how it relates to cultural development (with, on the other hand, being a bit lenient on how cultural norms massively predate the individual´s development). The infant tries to master objects and subjects which he initially views as unstable (with the possibility of neuroses and personality disorders as a cognitive and psychological result when the infant gets permanently frustrated by the outside world). As the infant gains some mastery over the objects and is happy to establish a friendly and constructive relationship to fellow humans he learns that he is able to manipulate and influence them, and vice versa. At this level the cognitive understanding of the infant is subjectivistic (i.e. reflects how he can manipulate the environment and how the environment will react to him is based on individual behaviour). In addition the infant is in a dyadic relationship with the mother, respectively in a relationship with the competent Other and he tends to view objects and his surroundings as enlivened, translating into an animistic worldview in very ancient societies where man cannot dominate nature very effectively (and therefore considers nature and animals and himself as a sort of equals). – The Aztecs were an ancient class society based on agriculture. Their origins were obscure and their original position obviously was very disadvantaged in regard to the culture and civilisation of the Toltecs over which they finally took over however. The Aztecs worshipped Gods, had a foundation myth involving a cultural hero, viewed the world as unstable and finally destined to fall apart again (alongside a kind of cyclical understanding of time), believed in life after death (with the individual´s fate in the afterlife however being largely determined by the circumstances of his death and not by his personal achievements or ethical behaviour) and they tried to master chaos through rites that implicated sophisticated method as well as devotion (so as to adress the Gods/the irrational forces of nature both intellectually as well as emotionally). Surrounded by uncertainty and lack of insight into the world the Aztects had a mythological worldview, which, instead of a logos, was grounded in a (more or less sophisticated) narrative. Although the higher points of Aztecian culture (e.g. architecture) required formal-operational knowledge the worldview of the Aztecs remained at the level of concrete-operational knowledge, i.e. they could manipulate objects but did/could not generate formal abstractions about that knowledge. Inside the horizon of an agrarian society human mindsets use to remain pre-logical and pre-scientific and subjetivistic. The ancient Greeks were the first to operate at the level of formal-operational knowledge and to have a scientific mindset which epistemologically however could not reflect itself at a meta-level. That came about with the Copernican revolutions in science, knowledge and philosophy in the early modern era (note that regardless of level of cultural evolution only the more (or most) intelligent individuals of the respective society carry the most advanced mindset with, for instance, many people still being superstitious or believing in esoterics in the most advanced societies today). As we live in a new axial age today it is likely that we will progress into new stages of cognitive development and metaphysics which may supersede the rationalist subject-object-dichotomy worldview of modernity, i.e. where a very competent subject exercises mastery over a rather dull and helpless object (which, as it turns out in the atomic age and the age of climate change, isn´t so helpless after all).

Pirsig, as a very advanced individual nowadays, somehow eclectically developed a metaphysics designed to supersede the modern rationalist metaphysics that is centered about how (abstract) subjects relate to (abstract) objects. Unhappy with the scientific approach but confused about how to grasp things instead he began to ruminate about how quality is something that would define entities (not as an accident but as substance). Some entities obviously have higher quality than others, and while the perception of quality is to some degree in the eye of the beholder, true quality refers to something that is inherent in the object and independent of subjective perception. Pirsig then says that quality is an event that happens when subject and object interfere and relate to each other, potentially both changing the object as well as the subject. He then says that quality is the more profound reality than both object and subject – without, however, defining what quality, taken at this level of abstraction, actually is (making a virtue out of necessity he stipulates quality as undefineable, which then of course makes his entire framework inherently wobbly). Instead he approaches quality from several perspectives and, for instance, says that interactions between animate as well as inanimate things perform in this and that fashion because they value certain interactions over others. He concludes that the entire physical world is based on morals and that natural law is also an expression of (some) morals (of constructiveness). Zen and the Art of Motorcycle Maintainance refers to a quality relationship being inherently at work when we do „Western“ „analytic“ shit (perception of quality rather is something synthetic) and the Buddha being present in it all alike – that is to say Pirsig refutes purely „analytical, Western“ approach as it is cutting off many aspects from the relationship under investigation as well as the „Eastern“ quasi-meditative mindset as it remains unprogressive, static and self-sufficient when relying solely on itself. He differentiates between static and dynamic quality with the static giving form and the dynamic providing change and progress (and he often elaborates how both the agents of static quality and dynamic quality need each other but also often are very hostile towards each other (and, as he somehow forgets to mention, may transform into each other with the former dynamics becoming dogmatic and the like)). Likewise, according to Pirsig the world composes of inorganic, biological, social and intellectual quality patterns and they´re an expression of an evolution to ever higher patterns of quality (therefore also often at war with each other). Pirsig´s metaphysics is a kind of processural and evolutionary metaphysics of a universe striving to reach ever higher levels of quality.

As far as I am concerned, when I was 11 or so we used to have fun in a weekly group meeting of friends – yes, those were actually good times! At one occasion we were playing ping pong and I accidentally shot the ball in Helli´s balls. He humoristically dramatized the pain, and I said Scheiß Eierspeise („fucking scrambled eggs“) as a comment to the pseudo-malheur. Helli found this so funny that he nearly fell down. So I used Scheiß Eierspeis as a salutation and a code for our community and further investigated what Scheiß Eierspeis could all be about and what secrets it could contain. I then founded a movement and wrote a manifesto at age 15 or so in which I declared that everything is Scheiß Eierspeise, respectively that Scheiß Eierspeise is the mutual quality all things share and have in common. In doing so I tried to establish some kind of community and collegiality between things and a kind of universal nexus, a premium quality of everything. Although it was intented to be a joke the manifesto also contained serious intellectual/scientific ruminations and later in life it came to my mind that it was actually a kind of „theory of everything“. (Trying to come up with a „theory of everything“ is a common endeavour among hyperintelligent youngsters as I later found out, but I did not know that then, as I did not know much about philosophy and shit back then and was quite stupid in many respects). – Maybe I should look after my manifesto and tell you something about it; maybe I should revitalise the Scheiß Eierspeise movement and elaborate on the framework, it could actually be the thing, yet for the moment mankind does not seem to be ripe and mature enough for this level of analysis and integration, respectively to take the responsibilities involved. While Pirsig called himself Phaidros later I called myself Yorick.

(The abovementioned William James Sidis was the person with probably the highest IQ ever recorded, likely well over 200, but much of his biography and his achievements remains clouded and obscure, triggering speculation about whether the man with the highest IQ on Earth is just doomed to be the ultimate reject on Earth. I want to write a note with reference to Sidis, titled The Transbodhidharma, somewhere in the future.)


Deleuze, Leibniz, Whitehead

Referring back to the interrupted note about Pinsel and Deleuze and the fold a while ago we conclude that the Deleuzian fold is a somehow fuzzy concept, but that is usual business when Deleuze comes up with concepts. Deleuze´s concepts are open-ended and inexhaustive, non-exclusive and intensive, a kind of virtuality, since his philosophy is a metaphysics and cosmology of transformation, evolution and potentialities. Some (like Rancière) fail to appreciate this since Deleuze´s concepts (and his whole philosophy) is linked to a semi-private imaginary that may be alien to some, notably those inclined to more analytic philosophy. Deleuze is a synthetic philosopher and a primarily associative thinker. Despite that Deleuze´s concepts/philosophy are, of course, clear-cut and precise and well-defined, respectively they are purely analytic concepts when viewed from the perspective of the phase space (not the quasi-static metaphysics related to analytic philosophy). – The concept of the fold was first introduced by Deleuze in his book about Foucault (1986) with reference to Foucault´s philosophical investigations of how subjectivity is constituted by power (outside forces) and his final ruminations about how autonomous existence would be possible. In contrast to Foucault´s somehow staunchly hermetic perspective Deleuze refers to the fold as how the „outside“ constitutes an „inside“ but may include autonomy, potentiality and variation („differentiatedness“ in itself). In his subsequent book about Leibniz and the Baroque (1988) he refers to the fold as a monad although it becomes a much more dynamic concept and rather the constituent of a monad. The fold is a relationship upon itself, both static and dynamic, in flux and self-preserving and it is constituted via prehensions, pre-individual singularities, events. It is transsubjective. Folding means making something implicit, via unfolding it becomes explicit. The fold is a „point of view“ upon existence and its „subjectivity“ does not primarily refer to idiosyncracy but objective vagueness and variety of the world. Once again, Deleuze tries to think and illustrate the univocity of being and how the One relates to the Many and how both are interrelated.

Such was also the undertaking of Leibniz, indeed. Leibniz refers to monads, single, atomised beings as the final substance of the world beyond which there are no emanations of existence i.e. no „truth“ beyond their ontological scope. The „dark fond“ (i.e. both potentiality and lack of consciousness) is inherent in the monads themselves, and is their own primal ground upon which they may actualise themselves. Monads are embedded in a universal interrelationship of cause and effect, with God being the primal (and final) cause and each monad being a „mirror of the world“. There is a kind of hierarchy among monads with only humans capable of apperceptions (as elevated upon mere perceptions) and soul. The higher the monad the clearer and more comprehensive are the apperceptions and the awareness of being a „mirror of the world“ and the more elevated is the soul. Despite offering a relatively static paradigm Leibniz emphasises that monads contain entelechies and are subject to change. The highest goal of life is to gain the highest awareness possible of the „harmony of the world“ and being as a divine monarchy. Alongside this trajectory the monad does not progress to rational vision of the „thing in itself“ yet breaks through the material hyle and becomes maximally competent (as it, as we may say, becomes the „suject/monad in itself“). Leibniz´ Monadology and related writings are, by the way, cool the way they are sharp and precise, anti-logorrhoea and without word vomit. That is not of necessary occurence in philosophy.

In his major work Process and Reality Whitehead occasionally mentions Leibniz though not extensively. Yet the parallels to Leibniz and his monadology are striking, so much as that Deleuze bluntly refers to Whitehead as a „diadoche“ of Leibniz. Whitehead takes „actual entities“ as the true substance of the world, they resemble monads but are inherently more dynamic. They´re embedded in a universal process of becoming (not merely „cause and effect“) under which they finally constitute themselves as monads. Whitehead refers to intensity of perception as the highest value: the more intense the perception the more qualities the perceived as well as the perceiver accumulate. Whitehead´s ontology does not refer to a specific beginning or a specific end of the world process and embraces a higher notion of chance and the merely processural as a value in itself: creativity as the ontological principle upon which the world unfolds. In his notion God is the primal ground of all possibilities and potentialities and via processural reality God actualises himself (which puts Whitehead´s philosophy in an apparent relationship to pantheism respectively panpsychism though it is not the same since Whitehead´s God is rather to be understood as an ontological substrate as well as a reflection which relates to the univocity of being and the harmonious interrelatedness of a heterogenous world). Embedded in processural reality actual entitites, like monads, are a reflection of the whole world and nothing that has ever happened ever gets lost. However, no actual entity, and not God himself can have a divine universal perspective on being since it progressively unfolds and actualises itself, constituting actual entities and constituting God. Whitehead is aware that there truly is negativity and destructiveness in the world but sees them as a necessary emanation or by-product of creativity. The quality of the world is rather aesthetic and probably should be seen as an artwork by God, through which God, however, preserves the actual entities and the process of the world. The ethical implications seem to indicate the need for a filigrane percpetion and understanding of the manifoldness of the world and an awe for the creative process. Despite being acknowledged as one of the most eminent metaphysicists of the 20th century Whitehead is not very well known, and they say Process and Reality is terribly opaque. However, I cannot sense that, it is quite accessible. The thing may rather be that we do not really know what to do with a metaphysics that abstract (or so I guess), respectively Whitehead´s metaphysics and its apparent implications partially relate to both Western and Eastern mindsets (as they are about the progressively competent individual (Western) in a harmonious whole (Eastern) which is not transcendent (Western) but immanent (Eastern)) and we don´t know how to think them together, but we may learn to do so in the future.

The debated philosophies are about how to understand heterogenousness and oneness, epistemology and ontology, the subject-object dichotomy, relentless creativity and harmony, the relationship between man, world and God. Leibniz presents are relatively static, quasi-feudalistic world with harmony the supreme good, Whitehead modernises and cracks the monad up into the progressive and democratic, Deleuze comes up with the postmodern fold and transgresses the monad/monadology into nomad/nomadology. Whitehead emphasises that philosophical undertaking and approach cannot be absolute but is limited by our contemporarian understanding or the eternal limitations of the human mind and has to operate with concepts which may be both to abstract and too precise to fully comprehend realities. Nevertheless one has to do something philosophical to make us understand the (current) situation. It is apparent how these three metaphysical approaches are grounded in the supreme, gentle and creative human mind, somehow becoming its own theophany. Despite it is also my own intuition I doubt whether a monad is a mirror of the all, or whether things are preserved. Maybe chance and vagueness are inherent qualities the world (enabling „creativity“?) and being is not univocal. Of course metaphysics has to aware of what physics does reveal. I am quite curious about whether we live in a holographic universe, how the quantum realm relates to the macrorealm, how the different macrorealms relate to each other and how emergent phenomena can be explained. – Via Deleuze´s immersive writing metaphysics becomes a sexy and colourful thing. Leibniz makes me think of an elevated silver sphere which is stabilised in its own harmony, floating a little bit above me. Whitehead´s metaphysics makes me think of a giant web of little golden balls with flashy golden beams connecting between them. But reflecting about them all the vision of gazing into the metaphysical structure of the world now becomes one of quadratic zones, honeycomb-like, that fall into an indefinite ground of which you don´t see much and, presumably, does not carrying much to see. To save the vision and elevate it to a new level, respectively open it up into another dimension I think it is indicated to ram a white spear perpendicularly into the structure. This should give Deleuze, Leibniz and Whitehead a pause. An event has happened, a koan. After that I think all the four of us will silently smile at each other and nod in consent.

Deleuze on Whitehead & Leibniz

Nikolaus Lenau´s Faust, Gilles Deleuze´s Proust, and Second Prelude to a Note about the Hyperset

I have stated elsewhere (in the Book of Strange and Unproductive Thinking) that I find Faust a quite strange, annoying and unconvincing figure (as well as that Goethe < Büchner). Likewise – despite Faust is a character through which humanity is individualised (like Don Quixote, Yorick, K., Malone, Ishmael or Peer Gynt) – Nietzsche said that, upon reflection, probably all that remains of Faust is a bizarre, degenerated example of scientific man. Ibsen wrote his Peer Gynt as an allusion to Faust and someone said Ibsen´s Peer Gynt is a bizarre satire upon Goethe´s Faust. I find Peer Gynt a more convincing, direct epitome of humanity, also given the ethical implications of Peer Gynt, although I somehow think that the mirror image of Faust (who is, of course, the much more comprehensive character) is somehow necessary to make Peer Gynt truly shine. Otto Weininger was very fond of Peer Gynt and it was Otto Weininger who made me understand Peer Gynt so that I wrote my Rompf as an allusion and a bizarre satire upon Peer Gynt. Otto Weininger (wrongly) was somehow dismissive of Ibsen´s later plays and said that, if he had wanted, Ibsen could have become greater than Goethe (because he somehow didn´t like Ibsen´s progressive attitude towards women). Otto Weininger was also dismissive of Nietzsche and called him a genius of seventh (lowest) grade (because he missed the ethical component in Nietzsche´s philosophy). Otto Weininger mourned that there was no one around like Goethe anymore in his days. I think if Otto Weininger had stayed alive he would have become greater than Goethe and Nietzsche, but he was psychologically troubled and did not survive. I partially understand Otto Weininger´s psychological troubles (in the dimension of overexcitabilities common among geniuses) and as far as I can see I am the only one around who actually understands Otto Weininger as a philosopher. I also think Ibsen was at least a more convincing and powerful playwright than Goethe. I have written one play so far and it was a bizarre satire upon theater and theater audience. I wonder what would have become of Büchner if he had stayed alive. I think Büchner would have become a major existential philosopher like Weininger or Nietzsche, not a theorizer of colours like Goethe. Enter Nikolaus Lenau.


Nikolaus Lenau denied Goethe possessing a „monopoly“ upon Faust, instead understood the archetype of Faust as a creative common of mankind and wrote his own version of Faust (like Christopher Marlowe did already before Goethe). Nikolaus Lenau is relatively obscure today although Wikepedia bluntly states that he was the greatest Austrian poet of the 19th century. His Faust is a somehow more dire figure than Goethe´s and is frantically and desperately motivated to understand the presumed „truth of it all“. As he gets thrown into the world of the living by the devil he neither finds fulfilment in elementary constructiveness (love, giving birth) nor in destructive passions and finally finds himself cut off from everything so that, in a metaphysically deluded reflection upon his emotional alienation, he kills himself (and falls prey to the devil´s plot). Lenau´s Faust finds himself in a heterogenous, emotionally detached world and, as long as he cannot be omnipotent, omniscient, omnisentient and sovereign rather chooses death, his endeavour to „weld together himself, world and God“ („Dich, Welt und Gott in eins zusammenschweißen“) a failure. Lenau´s Faust indeed does not have the universality of Goethe´s Faust, it is rather a reflecion upon Lenau`s inner world as he finds himself torn between a longing for a protective God and being embedded in nature and being an autonomous god himself, unable to find reconciliation and consolation between the two extremes. As Faust is an archetype for (metaphysically) struggling man Lenau was right to weld his alter ego together with the Faust archetype. I came across Nikolaus Lenau´s Faust when Alexander Nitzberg and his companion Peter Sendtko made a theatrical performance of the poem/play at Roman´s atelier some weeks ago; it was really lovely.

I still have not read Proust´s Recherche, I bought a copy of Swann´s Way when I was 19 or so and finally managed to read it some years ago. As far as I understand Proust is longing for closure within intensity too which he tries to achieve via realization of memory. Proust´s Recherche is also archetypical. Gilles Deleuze bluntly announces (in Proust and Signs) that the Recherche is not an undertaking directed into the past and into autobiographical memory but into the future and into learning where memory is the material through which the subject enriches itself and comes to itself. Neither the subject nor the world does express itself directly, the chiffres of the world are the signs (for instance social signs, romantic signs, etc.), and via understanding the signs the subject progressively deciphers the world. The purest signs are the signs of art as they are immaterial and spiritual. The signs of art are deeper than the subject or object that carries and sends out the signs and more elementary as they reveal the essence. The essence of an object is its true embeddedness in the world, that what is actualised about it and its potentialities, it is, with reference to the note about Deleuze and Rancière and as Angell de la Sierra puts it the „meta-noumenon … nothing less than the existential ontology of the object, another way of expressing its circumstantial semantic content, now and later on, a mind´s view of ,objective reality`“. The essence of the subject is to become a „point of view“ upon the world, finally, as Deleuze notes, a de/transpersonalised „spider“ which reacts to and acts upon the vibrations within the world-net. In becoming a „point of view“ the subject becomes objectified, eternal and immortal and it is eventually via the artwork via which man is able to make sense of the world and establish identity. It is associative intelligence, not logical intelligence (which is the intelligence of Faust) which reveals essence. – Trying to live in this world with a pronounced artist´s intelligence is not easy of course, but I have to say that Faust´s problems are to a considerable degree alien to me. The arid character of the world gets compensated as before my inner eye as lose graceful gestures I occasionaly witness get inflated into a graceful world and potentialities seem to pour out everywhere (despite being aware that that´s a kind of bluff package, yet only partially). I do not communicate much with people but I feel, in a way, in a communion with them much more than the chatterboxes out there commonly do. Memory is virtually present not in a fotographic, textual way but via a hypertextual monitor on which I can recall memories to a given sensual or intellectual stimulus via association, enriching both the stimulus and the memory content with additional meaning. That monitor kind of enwraps and cocoons me and gives me presence. Faust obviously lacks such a thing.

A while ago I have started to ruminate about the „hyperset“. The occasion was a diagram I saw which made me think of a, say, meta-diagram as a necessity to competently understand and process the diagram, as a, so to say, conscious reflection over the diagram. Likewise, I have observed that I seem to belong to many groups which often venn very thin and marginally, or not at all, making the final intersection a set to which seemingly only I belong, in solitude, on this earth, maybe also in this history. However, I also seem to understand all the sets at a higher level than those who only belong to the respective sets, I have higher awareness, I have higher consciousness of them. That diversification and pluralism is a good thing is commonplace, that the one who only understands a single discipline actually doesn´t understand that discipline either is what they say. Pluralistic understanding is good. Deleuze (and Guattari) refers to transversality as a mode of establishing connection between heterogenous sets that make up reality. Transversality does not try to totalize and normalise heterogeneity but is affirmative towards difference, lets them resonate and explores interdependencies. It is experimental and reflects anti-logos and becoming, the associative method of the Recherche, the instability of the world and the object as well as the emergence of essence through the process of art. Artistic style (i.e. a subjective mode of expression which is of objective substance) is what holds heterogeneity together and is the correlate to the logos (Welsch takes „transversal reason“ as a model for reason in postmodernity). This is vibrant and humming and make us think of a microcosmic reflection of macrocosm (which also Deleuze does in Proust and Signs). Remember, Otto Weininger says: „The ego of the genius accordingly is simply itself universal comprehension, the centre of infinite space; the great man contains the whole universe within himself; genius is the living microcosm. He is not an intricate mosaic, a chemical combination of an infinite number of elements; the argument in chap. iv. as to his relation to other men and things must not be taken in that sense; he is everything. In him and through him all psychical manifestations cohere and are real experiences, not an elaborate piece-work, a whole put together from parts in the fashion of science. For the genius the ego is the all, lives as the all; the genius sees nature and all existences as whole; the relations of things flash on him intuitively; he has not to build bridges of stones between them.“ That is, well, the purest emanation of the hyperset, not somehow clumsily (or, if you want, more cautiously and operational) as it appears before my inner eye or that of Deleuze, Guattari or Proust (not to speak of Faust). Unfortunately Otto collapsed psychologically under its airy weight.

Despite having written the First Prelude to a Note about the Hyperset months ago it seems that I have not progressed a lot about thinking about it further and deeper, which is, however, excusable since I have done other things. I wonder whether the „hyperset“ can be a mathematical object and how it could be modelled, maybe it could shed light on the incompleteness theorem. I also wonder whether consiousness could actually be understood as a hyperset, or what we refer to as the soul, or processes of „emergence“ in nature (which are, so far, little understood). It reflects however an elevated state of mind which is, in the same fashion, „grounded“. Maybe I also lose interest in the hyperset, though I don´t really think so because first I like the name and second I think it is actually a name and category that refers to something real and one day, after I am gone, they will jubiliatingly scream „the hyperset, the hyperset!“ when they´ve done something dilettante; but that does not differ from what I do and how I came to think of the hyperset.

Prelude to Note about the Hyperset

Deleuze and Rancière (and the Question about Art as a Form of Resistance)

Deleuze (respectively the Deleuze/Guattari hermaphrodite) says art is about Becoming. Deleuze (respectively Deleuze/Guattari) is very fond of transformations that stem out from the obscure and unexpected (from „chaos“) and lead to new ways of how perceive things. He likes that so much that in his philosophy true „events“ (not subjects, objects, structures, etc.) embody the highest degree of reality since they´re the ones that inflict change on reality. The true artist permanently „becomes“ and calls for „a new earth, a new people“, that is to say for new modes of understanding and being alongside his specific vision which is, if it is of the highest caliber, self-transcendent. Becoming happens at „zones of indistinguishability“ between qualities (for instance that the maltreated, oppressed human becomes animal, the maltreated, oppressed animal becomes human), via his empathy and associative intelligence and powered by his drive to transform and finally to incorporate being in its totality the true artist is sensitive for spotting and experiencing zones of indistinguishability. Deleuze/Guattari says (with reference to Lawrence) the artist carves slits and openings into the firmament, respectively into common understanding, to let some chaos in which then allows syntheses of new and higher order. Deleuze/Guattari also says that the artist, in a way of defying chaos, tries to reach into the infinite and then tries to project it into the finite i.e. the true artwork being a zone of highest order in which the infinite shines trough. Deleuze says, if we try to understand art and artists in such ways, i.e. as people that dive into the unknown solely for the sake of achieving knowledge and transformation of mind, artists who write „minor“ literature, only, actually, a small minority of people doing art could be labelled artists (respectively writers, as he is, in the respective text – „Literature and Life“ – specific about literature).

Ranciére understands aesthetics, as well as politics, as regimes which legitimise certain objects/subjects/entities as theirs. The paria, the proletarian, the slave is originally excluded from the sphere of politics; with finding a voice they become political subjects; they are able to participate at the political process, they are included in the political process. Politics does happen when excluded parias become included and transform from (quasi)objects to authentic subjects of politics. Therefore, politics is about finding strategies for the excluded to become included. Likewise, the regime of aesthetics defines what is to considered as beautiful or as art. These regimes are open and in flux. Rancière is concerned about how art could contribute to political change. He makes reference to Schiller and to the idea that art is kind of democratic since the sensual, the aesthetic, can be experienced by everyone, as well as to the idea that art orginates from a ludic drive (Spieltrieb) in man. The playfulness alongside the ludic drive can be seen as opposed to the seriousness of material conditions, as well as where true freedom and the possibility of self actualisation lies, which becomes projected into the vision of a somehow brotherly society of competent, empathetic individuals. Rancière, who has a keener eye on investigating paradoxes (of art, politics, literature, etc.) than offering a stringent philosophy (like Deleuze) says that, in practical terms, political revolutions via aesthetic revolutions largely have failed, degenerating, in the 20th century, into consumer aesthetics in capitalism or Stalinist pomp under communism. (I, however, am quite content with living in a consumer society. Likewise, under specific circumstances there is nothing wrong with being sympathetic with communism. Bolz reminds us that living in a consumer society prevents us from relapsing into religious or ideological fanaticism and extremism, or communism.) Rancière claims that while Deleuze wants to extend philosophy into spheres that are external to philosophy, he himself is rather interested in using philosophical understanding and method in other playgrounds of the human mind, or in the most practical arenas. He is also skeptical of Deleuze´s notion of philosophical concepts or books as „tools“/“toolkits“, given the emptiness of many texts in which others try to use the Deleuzian tools, and he confirms that Deleuze establishes a kind metaphysical imaginary that is alien to him. He seems to have a need for precision that may rather be found in the writings and approaches of Deleuze´s temporary friend, Foucault. — Rancière´s text „Is Art Resistant?“ provided the ferment of this text, and I am glad that after weeks of intellectually working on it i now finally seem to be able to get the fucking thing done.

So there you have the art genius, trying to look at the world in order to determine its value – the artist, spiritualised with empathy and sense for connection and therefore trying to spiritualise the objects of art, trying to establish connection and communion in the world — with his large intellect he sees abstractions and general modes of being in the individual and the idiosyncratic as well as he sees the individualities and idiosyncracies which evade the abstractions. He sees occasional gestures and movements full of grace, in a specific way a person laughs for instance, which give him awareness of the presumably graceful nature of the world and of people — a giant, a cosmic spectacle before his eyes, in his mind ———– which unfortunately is effectively gets contrasted via a more sober look on the world: In which most people, effectively, are not specifically intelligent nor equipped with pleasant personalities. Their epistemology is simple and they can´t think, which is why offering genuine innovative philosophy and art is about the same as trying to offer a paper on advanced topology or differential geometry to people – it is equally incomprehensible to them although it is (apparently) written in the same language they use, not in the language of mathematics. Likewise, beauty is, indeed, recognisable for everyone, just most people don´t care a lot about it, let alone that they were able to understand beauty on a more abstract level and intellectualise it in order to solidify their understanding and enliven it (with those intelligent enough to intellectualise stuff often not being receptive to beauty or genuine creativity in turn), same goes for originality. Despite people are quite self-centered they usually don´t even know how to dress themselves properly. Look at how people run through the city or sit in restaurants and obviously take a look at nothing – whereas my own sight usually roams and roves and tries to look at my surroundings their glimpses don´t! They are, to a considerable degree, not interested in the world they inhabitate, let alone in that which is beautiful, intelligent, vibrant, etc. but in stuff and people in which they can mirror themselves, which is why slightly above average people often are so popular (since average people can project themselves into them) whilst it is often a hindrance to success being very much above average. People like to complain a lot and they´re negativistic, they demand that „more intelligence“ should happen or „true art“ should happen, but when it does happen they regularly don´t pay attention. When they see that intelligence comes around the corner but does not confirm their pre-existing world views, they may hate it. The problem of intelligent artists is that they want to make people more intelligent, but, in the first place, they make them look stupid as they confront people with something they cannot properly understand; and people don´t like that. That is when their „sapiosexuality“ usually ends. Paradoxically the great genius who establishes the most potent worldview by thinking outside all contemporarian boxes is what is least desired or acknowledged. There is nothing (of substance) the world is less interested in, and less friendly to, than a truly original thinker as long as he isn´t recognised and verified by the machine. (Meditate about that.)

Houellebecq says, while the artist tries to make the world an object of art, the world actually does not at all qualify as an object of art: the world is bluntly rational, without any magic and without particular interest. With that being one of Michel´s usual pessimisms it can actually be, occasionally, quite a nuisance, when the artist and the genius tries to get his firm and powerful, secure grasp on the world and what he grasps into is a kind of foam of stunted or irrelevant understandings, a kind of Emmentaler cheese with a lot of holes and air between the solid structure. This kind of foam is, actually, the world. To many artists it therefore becomes apparent that we are living in a kind of ghost world and then they write sad novels. I find this exaggerated. Foam can be quite beautiful, it changes or vanishes after a while, the foam of the world is stratified and consists of different, and distinguished elements. Art is about giving a lucid impression of the world. Great art is about seeing the universal in that which is transitory, and, therefore, bringing both to life in making it comprehensible for us. Art helps us in understanding a heterogenous and manifold world in which most things forever happen beyond our horizon, not only as it broadens our horizon but as it charges the world, and entitities within the world, with meaning. It illuminates the world as it illustrates the situation of man. Even it is a sad or drab world presented, the intellect rejoices because it makes him see and understand how the pieces fit – „Was im Leben uns verdrießt, man im Bilde gern genießt“ says Goethe. Personal consolation or the possibility to make sense of one´s own situation may also be found in works of art. It gives dignity to the fallen (and may actually be the truest form to deal with horror). And indeed, a work of art may give identity to a people, if not a system of meaning. Identity is good, being equipped with a system of meaning is good, since it increases competence (and gives people a „voice“).

Heterogenousness, due to individuality, is a some kind of oppositional force against reconciliation, and the „new earth“, the „new people“ will be heterogenous all alike. The prospects of a „we all shall come together“, of a reconciled world, are dim since we aren´t all alike. If we were all alike, humanity would cease to exist (and intelligence would cease to be competent since there would be no individuals of above average intelligence to tell the collective what to do). Gogol shows how „individuality“ commonly simply is a nuisance, resulting from lack of heart, mind and soul (not from excess), a mode in which stupidity is displayed. Because of stupidity, reconcilement decreases to become an option. In another dimension of course individuality is that which is productively resistant against totalitarian visions of reconcilement, and strong individuality is necessary to evade the influence of other powerful artists. Finally, the extreme individualism of the genius provides the locus of truth since due to his extreme individualism the genius is able to discover authentic human values. The paradox, or the tragedy, is that the genius will forever be alone in his visions and profoundly isolated from society, even if he gets appreciated by society. Whitehead remarks the malady of this world is that average elements can easily be reconciled while the progressively individualistic elements cannot or may even be sorted out or destroyed in the process that makes reality, despite embodying a higher extend of truth. (I, however, advocate the notion that the more individualistic, the more „real“ elements operate at different and distinguished levels of reality and it is probably a good thing that interference between these levels is limited; it need not add up or may be well dangerous to both.) Deleuze says art is about trying to reconcile the „originals“ (genuinely original people) with society („Bartley or the Formula“).

Rancière meditates a good deal about how the specific qualities inherent in art and qualities that make the political may meet, although, with reference to Kant, he emphasises on the sensual and aesthetic qualities and is quite silent about the intellectual qualities of art. – I say maybe the most important quality of the artist is universal empathy. It is his way to relate to the world. Without that his experience of the world can´t be enlivened. Empathy is both an emotional and an intellectual quality and is noted that exceptionally gifted persons display a high amount of empathy also in their intellectual undertakings (they become unusually immersed in them and de/transpersonalise, etc.). Likewise, art is primarily an expression of associative intelligence which does not primarily aim at exposing the logical structure but the multilayeredness and manifoldness of the world. Divergent thinking is more important than convergent thinking for the artist. As divergent thinking primarily aims at reflecting upon a concept the way of how it could be viewed upon differently, the artist naturally runs (to some degree) against the grain. His intelligence is subversive and his divergent thinking makes him comprehend (and master) chaos. His intelligence expresses itself in an experimental way and opens itself into an evolving future. Associative thinking gives a sense of universal „connectedness“ and a longing for cohesion. Because of that the artist has a strong sense for establishing (authentic) communion between people and between things (which may deem the rest of humanity whimsical or fantastical). While, with reference to Kant, the qualities of the aesthetic (beauty and the sublime) and the qualities of reason and of ethics are distinct beauty gives us an idea of transcendent order and the sublime fills us with awe for a higher (ethical) instance (deus (absconditus)) to which we have to bow down. Beauty refers to constructiveness and love, the sublime to humility, self-reflection, etc. as a necessary ingredient of how to do things right. Art, therefore, is both contained in itself and self-transcendent. It is both concrete and universal. Art gives a sense for the ambiguity of things and (their embeddedness in) contexts. It opens a dialogue between the empirical and the transcendental. Because of that it is, somehow ironically, the artist, not the scientist, who sheds light on the „thing in itself“. In seeing the universal in the transitory, the multilayeredness and ambiguity of things and contexts, cosmos and chaos, the artist grasps a „meta-noumenal“ essence of a thing, which is „nothing less than the existential ontology of the object, another way of expressing its circumstantial semantic content, now and later on, a mind´s view of ,objective reality`“, as Angell de la Sierra of Omega Society wonderfully makes it explicit of what is apparent to the artistic gnostic in one or the other way and what the art gnostic expresses in one or the other terminology.

The world may be a terrible disappointment for the artist, and it will be so with growing, painful intensity for the omega artist. Yet of course art requires non-art. Beauty erects upon ugliness, the sublime upon our limitedness, the spheres upon suffering. The isolation of the true artist and thinker may be profound and eternal, but without individual elevatedness upon the collective no intelligence and no transformation and progress can ever be possible. Nietzsche, who embodied extreme intelligence and originality, with the consequence of being also the embodiment of an outcast, sadly philosophised that the world can only be justified as an aesthetic phenomenon. As an aesthetic phenomenon the world, however, necessarily must contain stuntedness; Whitehead somehow proposes that God´s will is not to make the world perfect in the ethical sense but aesthetically and therefore allows stuntedness and decay to enforce creativity and to bring in the new. Consider the world as an artwork by God. This is difficult for the human mind to grasp, but, as stated above, intertwined with that art may offer consolation. Stuntedness may appear beautiful and fascinating. Since before the inner eye of the artist there is constantly something emerging, evolving, if not protuberating, there is no actual stuntedness. With respect to what is important for Deleuze the artist´s gaze both sees the actual but also the virtual. The „new earth“, the „new people“ is, therein, a virtual quality. It is also, somehow, „out there“ in this world. For practical and metaphysical reasons we should embrace pluralism and the understanding that the world, when trying to grasp it in totality, becomes elusive, opening itself to an understanding that it consists of many worlds (as Markus Gabriel and New Realism annotate).

Deleuze says philosophy is not a power. „Religion, the state, capitalism, science, the law, public opinion and television are powers, but not philosophy.“ Same would apply for art. Since philosophy (art) is not a power it can also not enter into open battle with any power, rather it establishes a guerilla. It is true that the logics of art and of politics are distinguished. Science is the art of grasping the rational aspects of existence, whereas art is the science of investigating the irrational aspects of existence (i.e. the subjective embeddedness of man in nature). They´re different territories. Yet knowledge and understanding vice versa also allows the own and private territory to be understood and explored in greater depth. Who is more powerful is a question of perspective. Finally, it´s only the great works of art which last forver, as the artist may be oppressed, maybe destroyed by any power but it is him who sees all the kingdoms rise and fall before his inner eye. The powers are transitory, art is the universal. In his downfall, the artist embarrasses and humiliates the powerful transitory victor – who is, then, the vanquisher? Deleuze/Guattari say a true work of art is erected and can stand for itself. Rancière reminds us of the blunt autonomy, the „unavailability“, the statutory of the statue/artwork, as the autonomy of art and the virtual indifference the l´art pour l´art towards politics carries a moment of resistance, and finally concludes that art is resistant as it does not only enter a dialogue with the political and the transitory but also eternally refuses to do so. Art is its own affirmation, and an affirmation of life. It seeks the liberation of life. It is expression of a liberated, and higher consciousness. It may contain more of the world than the world itself does. And with that I ascend into the regions of the ice mountains and lose myself to never return. Hahahahaha!

Johann Georg Pinsel and Gilles Deleuze

A chief characteristic of the sculptures of Baroque artist Johann Georg Pinsel are the exaggerated folds, which will remind the hipster intellectual of Gilles Deleuze´s book about Leibniz and the Baroque; indeed, one of the coolest parts of The Fold. Leibniz and the Baroque is when Deleuze uses his immersive, empathetic language to write about Baroque clothing and why the folds Baroque clothes crinkle are metaphysically connoted (in the opening of the final chapter, A New Harmony).

Deleuze´s main philosophical endeavour may be how to think the many facettes of the univocal one; put in other words he is the thinker of metaphysical confusion. Hence the dynamics between the virtual and the actual (as opposed to Platonism) and the notion of difference and non-identity at the core of every thing, respectively being itself as difference in itself and non-identical to itself, enabling productive dynamics of an open flux, which becomes tangible via the competent, productive agent (alongside Deleuze´s empiricism/Heideggerianism which assumes the subject and his modes of cognition and his modes of being affected as interrelated and elastic (and corruptible) to the dynamics of the outside world, respectively to the outside „forces“). Deleuze thinks that being is essentially composed of relations (i.e. network-like) and via his intellectually mobile concepts Deleuze „puts metaphysics in motion“. He makes us think being in itself is something that is colourful, catchy and cool.

The Fold is a concept Deleuze already used to greater extent in his preceding book about Foucault, refering to ——– but I seem to find out that, despite having planned to write this note since last week and having read and prepared myself a lot to do that, I am not particularly in the mood for doing so now – but I want it to go out now since this weekend the Pinsel exhibition at the Winterpalais, to which this note refers to and is dedicated to, is running out and I want to remind people of it and I want them to visit it. Apart from that I should write an article about Scelsi, Leifs and Ustvolskaya for the Versorgerin this weekend. Also this Pinsel-Deleuze note was considered to be followed by notes about Deleuze and Ranciere and Leibniz and Whitehead (which also annoys me a bit since my main objective is to write about artists now).

Deleuze is likeable because he is the quintessential thinker of the productive mind, unfolding and appealing to us via his erotic, ecstatically faltering language and he is a considerable metaphysicist since he also is aware that the universe is, in reality and at large, quite full of shit and of not happy, flamboyant productiveness; that, qua difference and repetition, being is inherently unstable and nothing that actually comforts, protects and conceals; that like enlightenment catastrophe may be the actualisation of the virtual (despite not putting a lot of emphasis on it due to his sovereign, optimistic personality). I made the plan to go through the entire Deleuze again and to write about Deleuze and metaphysics, as I plan to do it with the entire Nietzsche and some other stuff somewhere rather sooner than later, in a general Heideggerian attempt to establish Lichtung. I don´t know whether I will have any message for humanity to deliver or something commonly labelled as wisdom. Maybe one day this century will be called Yorickesque.

Iron Maiden

25 and a half years ago I bought my first metal album: Iron Maiden´s Seventh Son of a Seventh Son. (I came across popular music as a slow learner because I had considered it as vulgar before; then, at 14, I began to listen to Pink Floyd, Kraftwerk and the like, soon became interested in Iron Maiden and other heavy metal bands, because their obscurity attracted me. The first contact I made with Iron Maiden was when I was little and I saw the Piece of Mind LP at the Pro Kaufland when we were shopping, obviously in the early 1980s, the cover with the monster in the rubber room made an impression on me I still remember, ahhhh…) I initially disliked it but soon got into it, and soon got me some other metal records (from Helloween, Motörhead and Iron Maiden, later in 1991 Guns ´n´Roses and Metallica became big shots, etc.). – Seventh Son of a Seventh Son, one of Iron Maiden´s finest works, is a concept album about a person with supernatural powers. The forces of Good and Evil try to manipulate this person and to turn him into an agent for their causes. As it turns out the Seventh Son of a Seventh Son possesses the faculty of clairvoyance and foresees impending doom, yet, like Cassandra, is not taken seriously by people, respectively after the disaster gets all the blame for it. Despite his powers to see through people and through things the Seventh Son of a Seventh Son is not able to foresee his own demise and it remains dubious what he actually has achieved in the human realm – „The evil that men do lives after them; The good is oft interred with their bones“, a quote from Shakespeare´s Julius Caesar which serves as a Leitmotif for the whole album. In the end it seems the story of the Seventh Son was only an episode in a seemingly eternal struggle between the forces of Good and Evil. – If we zoom out of this section of the fractal, where Good and Evil are categories of the understanding of man, we progressively refer to the cosmos, of the totality of existence, and their dubious purpose, where it is maybe right to envision forces of constructiveness (energy) and forces of dissolution (entropy) as the deep structure, as the ultimate logos; maybe those forces are conscious and god-like, or they create their own (quasi-) consciousness as they progressively unfold, and who knows if it is not the forces of entropy which guarantee the eternal repetition of the cycle (for instance the Penrosian Cycles of Time)? Or is the state of order we experience just a natural and logical state within an infinite mass of chaos which naturally inhabits finite regions of cosmos, bound to dissolute again? – Such questions are of some interest for humans, and although those interests are usually not very pronounced among people they form the screen on which the shadows of all the other ephemeral interests are projected. It is the call of the genius, who naturally sees all the ephemeral in its cosmic significance, who projects daily struggles into cosmic struggles, who expands finite contexts into the infinite – sometimes for good, sometimes for worse – to establish systems of reference, of meaning. In their final consequences, people will not truly understand them. Apart from that, everyone will understand them. Because they are just natural and soulful, intellectually and emotionally intelligent abstractions of everyday life, of the common life experience.

01 – Moonchild 02 – Infinite Dreams 03 – Can I Play With Madness 04 – The Evil That Men Do 05 – Seventh Son Of A Seventh Son 06 – The Prophecy 07 – The…

Prelude to the Metaphysical Note about Extreme Metal

Adressing those articles again the health benefits of listening to heavy metal are apparent. Heavy metal is simply better music than what is usually displayed in other genres. It is more intense, more erudite, more sophisticated, more simple and direct, more natural. There is more melody and harmony and more abrasiveness. It involves new ways to express melody and harmony in a dialectics with cacophony. It gets you much more immersed. That is why metal fans have an unusually strong attachment to their music. It is more sincere and demands passion, professionalism and devotion, yet is also more tongue-in-cheek and funny. That is to say it is more multi-faceted and comprehensive; what you see is not what you get, what you get is more. It is also more authentic, i.e. heavy metal fans avoid the psychological downsides of conformism and the unhappiness it involves. If your cognitive type is being a mismatcher you will be naturally more attracted to counterculture; if mismatching is most pronounced you will be most attracted to (the extreme subgenres of) heavy metal. That´s the voice of the outsider, of the individual, not of an anti-conformist quasi-partisan collective as you have it with punk. The truth is to be found there – in the enlightened, enchanted individual that contains most aspects of the world and is therefore in the most perfect state of harmony with the world. Beach Boy´s Pet Sounds or Led Zep´s Physical Graffiti are pretty comphrehensive albums but so are Forbidden´s Green, Grip Inc.´s Incorporated or Inter Amra´s Sky Burial, however the latter are clearly further down the horizon, in a more elevated region in the atmosphere, a higher echelon, closer to the vanishing point of totality. Why keep on insisting on listening to Sun Ra or Pink Floyd, if it is not some weak shit at all, when it is Morbid Angel, Meshuggah or Mitochondrion which give you an impression what music that comes from another planet, originates from or tries to realign with other worlds could look like; or when it is Abyssal who transmit the sound, the signals of the abysmal depth of far outer space (from close to the region where Azathoth dwells)? They expand the frontiers of the human mind, those acts explore new horizons. I do not quite understand how anyone with a brain working at high intensity level cannot be into heavy metal. It is music for schizotypal explorers. Schizotypal usually also is the poetry in metal lyrics, the scattered patterns, the strong lines transporting messages open to interpretation, so that you can establish multiple perspectives on them, a call from the beyond, ahhh … the patterns you can see in those lyrics! Healthy schizotypy involves introversion/introspection, intensity of inner world experience, power to ruminate, creativity and independence, ability to create a new world. It is not a disorder, but the highest level of personhood, of man. And with its lyrics about satan, about gential mutilation, or also with its sincere lyrics about politics, society or the human experience is simply more in touch with reality that the phony shit you can hear on the radio. Being in touch with reality, and mastering it, according to the principle, is good, is healthy. Smell the gravity of the heavy metal.

By the end of last year, enchanted by some new extreme metal releases, I wanted to write the Metapysical Note about Extreme Metal, which I could have already done, but still haven´t since I wanted to involve more contemplation and maybe new insights. But I think I am going to finally write it in November this year. The Metaphysical Note about Extreme Metal will be about how to realign „Western“ and „Eastern“ metaphysics, about how to avoid the negative consequences of both, and it will teach about the overman.

(The idea is that by embracing extreme metal you embrace otherness. By embracing otherness by the means of productive mimesis you get in closer contact with otherness and the apparent shadow realm it involves, as well as the shadow realm you involve yourself. Your consciousness will be broadened and you yourself become deepened. „Western“ metaphysics is concerned with the possibility of solid knowledge, „Eastern“ metaphysics with directly experiencing the faculty of perception itself, the extreme metal experience allows an integration and synthesis of both approaches. As you broaden and deepen yourself by embracing otherness, you will progressively lose the egoic aspects of self, both become a fluid entity as well as a distinct individual entity which does not get lost in the perception of Tao but will, with the knowledge of Tao, operate as a scientist. Finally, in that fractal-like process, everything that is untrue will be sorted out and only the true nature of things will remain. That entity which encapsulates things in that way is, then, the overman.)

The Metaphysical Note about Extreme Metal, together with the Postscripts to the Metaphysical Note about Extreme Metal, will be a very important document in the history of human thought, and of human practice. That will make me unpopular on Facebook again.

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Über die Kunst, wortreich zu schwatzen

„Wo es an Schema fehlt, da fehlt es an Philosophie – das ist das uneingestandene Vorurteil aller zünftigen Systematiker gegen den „Anschauenden“, denen sie sich innerlich weit überlegen fühlen. Deshalb nannte Kant den Stil des platonischen Dialoges ärgerlich „die Kunst, wortreich zu schwatzen“ und deshalb schweigt der Kathederphilosoph noch heute über Goethes Philosophie.“

Oswald Spengler, Der Untergang des Abendlandes


Philip Hautmann Lol abgesehen von der Apologie des Sokrates und Kriton finde ich die platonischen Dialoge AUCH strange, vielleicht ändert sich das in der Zukunft, aber in einem solchen Fall hätte es sich wohl schon in der Vergangenheit geändert. Megalolz was Kant z.B. in der Grundlage zur Metaphysik der Sitten darlegt, dafür hätte einer wie Nietzsche ja ein paar Seiten gebraucht; Nietzsches Genealogie der Moral ist wiederum seine komischste und unlogischste (über-psychologische) Schrift, wenn ich mich recht erinnere; habe sie nur einmal gelesen, damals als Kleinkind. Kants Stil ist bekanntermaßen ß0)____II&w—KRT&6____?, naja, die Dauerbewegung der Ironie halt (und solala z.B. bleibt die Grundlage zur Metaphysik der Sitten in ihrem letzten Aki unbefriedigend); die Transzendenten schießen sich durch die ironische Bewegung hindurch, bei Nietzsche hin in die emphatische Bejahung, bei Kierkegaard die ad absurdum-Führung der Dialektik als Ebnung der Bahn zum Absoluten, Wittgenstein bedient sich weder der wissenschaftlichen noch der philosophischen sondern der Alltagssprache, um die (vor)letzten Gedanken auszudrücken, zu denen ein Mensch kommen kann. (Goethe war kein Philosoph, sondern, wie Nietzsche bemerkt hat, ein verhinderter Plastiker.)

 UPDATE 17/07/2016:

„Phaidros war wie vor den Kopf geschlagen, als er das las. Er hatte sich darauf gefasst gemacht, Botschaften von großer Subtilität entziffern zu müssen, hochkomplexe Systeme, um den tiefsten, innersten Sinn der Lehren des Aristoteles zu begreifen, den doch viele für den größten Philosophen aller Zeiten hielten. Und da stieß er nun gleich zu Anfang auf eine derart blödsinnige Behauptung! Er war erschüttert … Was ich bei Aristoteles finde, ist vor allem eine recht fade Zusammenstellung von Verallgemeinerungen, von denen viele einer Überprüfung aufgrund des heutigen Standes unserer Erkenntnis nicht standhalten dürften, deren Aufbau sehr wenig durchdacht scheint und die einem genauso primitiv vorkommen, wie einem alte griechische Töpferwaren in den Museen primitiv vorkommen“ (S.381/2)

Zen und die Kunst, ein Motorrad zu warten

Philip Hautmann Und ICH habe die Aristoteles-Lektüre auch gar nicht so ergreifend gefunden! Und SCHOPENHAUER hat das auch nicht! Und WITTGENSTEIN hat ihn gleich gar nicht gelesen.

Philip Hautmann Und Avicenna hat angeblich 40 Anlaeufe gebraucht, um die „Metaphysik“ zu verstehen.

Angela Eleonora Essel recht so!