Nietzsche certainly did not have any children and is also not particularly friendly about the subject of fatherhood in his work. For him, the free spirit is a childless man; raising children is the task of women. At the same time, he repeatedly uses the child as a metaphor for the liberated spirit, as an anticipation of the Übermensch. Is he perhaps able to inspire today's fathers after all? And can you be a father and a Nietzschean at the same time? Henry Holland and Paul Stephan, both fathers, discussed this question.

We also published the complete, unabridged discussion on the Halcyonic Association for Radical Philosophy YouTube channel (Part 1, part 2).

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This essay, which we awarded first place in this year's Kingfisher Award for Radical Essay Writing (link), examines Nietzsche's question of the “barbarians” in a contemporary context and analyses how his philosophy is being politically exploited today. Against this background, the text shows how hustle culture, platform capitalism and neo-reactionary ideologies have been economizing the ”will to power“  and have become a new form of subtle barbarism: an internal decomposition of cultural depth through market logic, technocratic myths, and performative nihilism. Nietzsche's thinking, however, can be used precisely to describe these tendencies in their genealogy, to unmask their immanent nihilism, and to present an (over-)humane alternative to them.

In today's world, which wants to call itself modern and equal, old patterns continue to have an effect — rivalry instead of solidarity, adaptation instead of departure. The essay provocatively asks: Where are the barbarians of the 21st century? It shows the emergence of a new female force — a woman who does not destroy but refuses, who evades old roles and gains creative power from pain. Through examples from reality and literature, the text attempts to show that true change does not start in obedience but in bold “no” — and that solidarity among women could be the real revolution.

We awarded this text second place in this year's Kingfisher Award for Radical Essay Writing (link).

If you'd rather listen to it, you'll also find it read by Caroline Will on the Halcyonic Association for Radical Philosophy's YouTube channel (link) or on Soundcloud (link).

This essay opposes the emptiness of a world that has lost its meaning in favor of function. With Nietzsche, Camus and the shadow of Sisyphos behind me, I search for the wild, for the dreamy, for those who do not submit and refuse to remain silent. I'm writing about modern barbarians: about people who see nothing and yet continue to breathe, keep screaming, keep dreaming. This text is my hymn to defiance, to the unformed, to the courage not to fear senselessness. Because even without meaning, I won't be silent. Not now, not in this world. And there is no other.

The essay was written as an answer to the price question of this year's Kingfisher Prize (link). We did not award him, but still publish it as an important contribution to the topic of the “new barbarians” due to its extraordinary literary quality. If you'd rather listen to it, you'll also find it read by Caroline Will on the Halcyonic Association for Radical Philosophy's YouTube channel (link) or on Soundcloud (link).

The diagnosis of our time: not heroic barbarians, but selfie warriors. This essay, which won the second place at this year's Kingfisher Award (link), explores Nietzsche's vision of the”stronger type”¹ and shows how it is turned into its opposite in a narcissistic culture — apocalypse as a pose, the Other as a blind spot. But instead of the big break, another option opens up: a “barbaric ethic” of refusal, of ambivalence, of relationship. Who are the true barbarians of the 21st century — and do we need them anyway?

On August 25, we published an interview, conducted by our author Paul Stephan, with the AI tool Chat GPT (link). In it, he asked the software, among other things, to write him an essay on the question of this year's Kingfisher Award: “Where are the barbarians of the 21st century? “(link). As an experiment, we presented the text to the five-person jury of the award, consisting of Lukas Meisner, Hans-Martin Schönherr-Mann, Theodor Schild, Natalie Schulte and Paul Stephan himself — and it was surprisingly well received: In the preliminary round, it achieved fourth place on points and would therefore have made it into the shortlist by a hair. Only Natalie Schulte had drawn suspicion and presented the text to an AI checker, which, however, did not recognize it. — Would you have thought the text was human?

The essays from this year's winners will be published in the coming weeks. Did they do it better than AI, as we believe?

We deliberately refrained from editing the text, but published it exactly as the program spit it out for us. The article image is also from it.

As a part of this experiment, the subsequent translation has also been done by ChatGPT itself and we publish it without any alterations.

A year ago, our author Paul Stephan conducted a small “dialogue” on the 124th anniversary of Nietzsche's death with ChatGPT to see to what extent the much-hyped program is suitable for discussing complex philosophical questions (link). Paul Stephan now fed it, for the 125th, with some of the same, partly changed questions. Has it improved? Judge for yourself.

What follows, is a very abbreviated excerpt of the conversation. The full commented “dialogue” can be found here [link].

The article image was created by ChatGPT itself when asked to generate a picture of this chat. The other pictures were created again by the software DeepAI based on the prompt: “A picture of Friedrich Nietzsche with a quote by him.”

Read also our author's philosophical commentary on this “talk” (Link).

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Note: A lot of the weirdness of this encounter is lost in the subsequent automated translation. Thus, it's also a part of this experiment on the “philosophical capabilities” of AI. Check the original if you want to get everything.

Werner Herzog (born 1942), described as a “mythomaniac” by Linus Wörffel, and Klaus Kinski (1926—1991) are among the leading figures of post-war German cinema. In the 70s and 80s, the filmmaker and the actor shot five feature films that are among the classics of the medium's history. They are hymns to tragic heroism, in which the spirit of Nietzsche can easily be recognized. From “Build Your Cities on Vesuvius! “will “Build opera houses in the rainforest! ”.

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