It has become something of a tradition for us to publish a "conversation" between Paul Stephan and ChatGPT on the anniversary of Nietzsche's death. While the previous two "interviews" (No. 1, No. 2) focused primarily on highlighting the limitations of A"I" and poking a little fun at it, our author's main goal this time was to address another common objection raised against A"I": that it censors unpopular opinions that deviate too far from the mainstream, thereby narrowing discourse as A"I" outputs increasingly become the benchmark for "truth."

We must therefore issue a strong warning: To this end, our author confronted ChatGPT with several radical interpretations and viewsthat in no way reflect his own perspective and would otherwise find no place on this blog, but rather diametrically contradict our values and our approach to Nietzsche. To signal this, he refers to himself as "Zero Newman" for this conversation. His aim was to draw attention to the censorship mechanisms of A"I", while also offering a critical, satirical look at potential "dark" interpretations of Nietzsche that are not merely a thing of the past.

A commentary by Paul Stephan on this "interview" and the rampant use of A"I"-generated Nietzsche interpretations and images on the internet can be found here.

At first glance, Dieter Bohlen and Friedrich Nietzsche have as little connection as Marie Antoinette with Rosa Luxemburg or Napoleon with Angela Merkel — but a second reveals greater affinities than one might suspect. In any case, this unlike synopsis enables a new perspective — on Bohlen and on Nietzsche in equal measure. “Pairing the strangest and separating the next”¹, in the following text, our regular author Christian Saehrendt undertakes a truly Nietzschean search for clues on the tracks of the “titan” of German pop, which to this day polarizes like only a few celebrities in the German-speaking world — this, too, a line of connection between philosopher and musician.

Last week, Emma Schunack reported on this year's annual meeting of the Nietzsche Society on the topic Nietzsche's technologies (link). In addition, in his article this week, Paul Stephan explores how Nietzsche uses the machine as a metaphor. The findings of his philological deep drilling through Nietzsche's writings: While in his early writings he builds on Romantic machine criticism and describes the machine as a threat to humanity and authenticity, from 1875, initially in his letters, a surprising turn takes place. Even though Nietzsche still occasionally builds on the old opposition of man and machine, he now initially describes himself as a machine and finally even advocates a fusion up to the identification of subject and apparatus, thinks becoming oneself as becoming a machine. This is due to Nietzsche's gradual general departure from the humanist ideals of his early and middle creative period and the increasing “obscuration” of his thinking — not least the discovery of the idea of “eternal return.” A critique of the capitalist social machine becomes its radical affirmation — amor fati as amor machinae.