On the one hand, Nietzsche's distinction between the Apollonian and the Dionysian helps to understand the development of the rock music of the Rolling Stones both internally and externally. On the other hand, Nietzsche's philosophy is reflected in many places in their songs. But above all, it is also illuminated by the Stones, and their songs show what Nietzsche is thinking — an Apollonian act. If Nietzsche is aesthetically oriented towards intoxication, then you can also learn from the Stones how to receive Nietzsche's poetry in a Dionysian way. It is therefore not just about understanding the Stones with Nietzsche, but vice versa: with the Nietzsche Stones.

An audiovisual version of this article with clips of the quoted songs can be found on the YouTube channel of the Halcyonic Association for Radical Philosophy and on Soundcloud.

‍

The fact that Nietzsche is a philosopher who speaks particularly to artists, even an “artist-philosopher,” is almost commonplace. In Barbara Straka's newly published book Nietzsche Forever?, the question is explored how exactly Nietzsche has been received in 20th century art, in particular that after 1945. The author has created a standard work that clearly and competently conveys the topic in plausible overviews. In this first part of this two-part article, Michael Meyer-Albert dedicates himself to her book and will then accentuate his own position in the upcoming second part.

An integral part of the annual meeting of the Nietzsche Society is the “Lectio Nietzscheana Naumburgensis”, at which a particularly deserving researcher once again talks in detail about the topic of the congress on the last day and concludes succinctly. Last time, this special honor was bestowed on Werner Stegmaier, the long-time editor of the important trade journal Nietzsche studies and author of numerous groundbreaking monographs on Nietzsche's philosophy. The theme of the conference, which took place from 16 to 19 October, was “Nietzsche's Technologies” (Emma Schunack reported).

Thankfully, Werner Stegmaier allowed us to publish this presentation in full length. In it, he addresses the topic of the Congress from an unexpected perspective. This is not about what is commonly understood as “technologies” — machines, cyborgs, or automata — but about Nietzsche's thinking and rhetorical techniques. What methods did Nietzsche use to write in such a way that his work to this day not only convinces but also inspires new generations of readers? And what is to be said of them? He compares Nietzsche's techniques with those of two other important modernist thinkers, Martin Heidegger (1889-1976) and Ludwig Wittgenstein (1889-1951). In his opinion, all three philosophers say goodbye to the classical techniques of conceptual philosophizing founded in antiquity and explore radically new ones in order to try out a new form of philosophizing in the age of “nihilism.” A monotonous, metaphysical understanding of rationality is replaced by plural, perspective thinking, which must necessarily use completely different techniques. The article creates a fundamentally new framework for understanding Nietzsche's thinking and philosophical context.

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! ”.

‍

“Techno” — the show of the same name at the Swiss National Museum in Zurich, with traveling exhibitions by the Goethe-Institut and publications in German-speaking countries is currently honoring a once-subcultural movement that became a mass phenomenon in the 1990s with the Berlin Love Parade and continues to live on in Zurich's Street Parade today. Did techno offer (or offer) the Dionysian cultural experience that Nietzsche celebrated in his writings? Would Nietzsche have been a raver?

Transhumanists believe that artificial intelligence is used to capture the real world. It wasn't just Nietzsche who presented this as nonsense. Moral programs are entered into the AI. With Nietzsche, this prolongs hostile morality. And Nietzsche would have already questioned the fact that AI helps people. Instead, people must submit to AI. With Nietzsche, they can evade their power.

In this two-part essay, Paul Stephan examines how Nietzsche uses the wanderer as a personification of modern nihilism. After he is in the first part (link) focused on the general cultural significance of movement metaphors and the metaphor of wandering in Nietzsche's important brother in spirit, the Danish philosopher Søren Kierkegaard, it will now primarily be about Nietzsche himself.

In addition to hiking, dancing is one of the most prominent soldiers in Nietzsche's “moving [m] army of metaphors, metonymies, anthropomorphisms.” Based on Nietzsche's reflections on the art of movement, Jonas Pohler explores the paramount importance that it plays in our present day. Is the effect of dance primarily sexual? What does dance have to do with technology? What symbolism is the dancing gesture able to convey?

In his recently published study Theory of Liberation [Theorie der Befreiung]Frankfurt philosopher Christoph Menke describes liberation as “fascination,” as pleasurable desubjectization and dedication. He refers decisively to Nietzsche — but for him, “fascination” means bewitching, entanglement in lack of freedom and resentment. Can the mystical power of fascination really set us free — or is it not rather Nietzsche's right and liberation means above all self-empowerment and autonomy, whereas the fascinated sacrifice means submission, not least to a fascist leader?