In its early publication The Birth of Tragedy (1872) Nietzsche formulated his basic theory of ancient tragedy. The moment of Rausch — a term which often translated as “intoxication” but refers not just to states of intoxication caused by the use of intoxicating drugs — is just as fundamental here as it is for Nietzsche's understanding of art in general. Emma Schunack investigates how the Dionysian intoxication of ancient tragedy is reflected in Hermann Nitsch's contemporary art. Between bloody animal pelts on purple, vermilion and lemon-yellow colored sheets + candied white violets.¹ To what extent can the concept of Dionysian Rausch in Nitsch's “Orgies Mystery Theatre” be understood as a contemporary continuation of Nietzsche's understanding of art? An attempt to read Nitsch with Nietzsche.

After our author, in the first part of this article, described the current political-cultural situation with reference to Fukuyama as an outgrowth of deep-seated boredom, which numbs itself in excesses of anger and indignation, he tries in the following second to suggest a possible turn for this zeitgeist, which could manifest itself in a new Enlightenment verve and a new positive self-image of the Enlightenment. Our author, with Nietzsche, opposes the “four despairs” that afflict the present tense, “four transfigurations” and “fields of research” resulting from them. An ironic view of the world and oneself should help to practice a transfigurative perspective on the world, which would be able to overcome the lethargy of postmodernism and revitalize the modernist project. The program of self-reliant future Enlightenment.

In cultural perception, the forest is much more than a mere supplier of raw materials or a local recreation area, but, especially in German culture, a magical place of encounter with the supernatural. In the second part of our series ”the forest as a livelihood“ Christian Saehrendt explores this romantic fascination for the forest and to what extent it is also reflected in Nietzsche's works. Because Nietzsche was not only a passionate forest walker, he also writes again and again about this gateway to the “otherworld” and, last but not least, places his Zarathustra in sylvan sceneries.

With this literary contribution by Giulia Romina Itin, we are launching our main focus topic this year. Throughout the year, we will publish several articles dedicated to the topic of “forest” — the forest in its dual meaning as an almost mythological place of encounter with the, sometimes uncanny, sometimes encouraging, primal forces of life, but also, viewed more pragmatically, as the real basis of existence of our civilization that remains decisive but also threatened. We would like to explore this double face together with you this year in order to determine the contours of the forest as a living space in a new way — with Nietzsche and beyond him. We need to see and appreciate the forest in a different way again.

If you would rather listen to this article, you will also find it read by Caroline Will in German on the Halcyon Association for Radical Philosophy YouTube channel (link) or on Soundcloud (link).

A fruitful method within philosophy can be addressed seemingly minor, everyday topics. For example, the relationship between thinking and architecture, as this text is based on the newly published book Nietzsche's architecture of the discerning By Stephen Griek tried to show. With Nietzsche in mind, according to Michael Meyer-Albert, protecting a dwelling — both literally and figuratively — from the chaos of reality is essential for a successful world relationship. He neglects this in Greek's post-modern approach, which aims at maximum openness and wants to replace clear spatial structures with diffuse nomadic networks. Architecture as an art of non-violent rooting thus becomes unthinkable; the “house of appearance” that supports human existence collapses.

Paul Stephan talked to Jenny Kellner and Hans-Martin Schönherr-Mann about the interpretation of one of the most important Nietzsche interpreters of the 20th century: Georges Bataille (1897—1962). The French writer, sociologist and philosopher defended the ambiguity of Nietzsche's philosophy against its National Socialist appropriation and thus became a central source of postmodernism. Based on Dionysian mythology, he wanted to develop a new concept of sovereignty that transcends the traditional understanding of responsible subjectivity, and criticized modern capitalist rationality in the name of an “economy of waste.” With all this, he provides important impulses for a better understanding of our present tense.