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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“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?

As in our series of articles”Hikes with Nietzsche“It has already been made clear that the metaphor of wandering plays a fundamental role in Nietzsche's work. In this two-part essay, Paul Stephan explores how Nietzsche uses the wanderer as a personification of modern nihilism and thus diversifies a central theme of cultural modernity, which can also be found in the writings of the Danish philosopher Søren Kierkegaard, who was born on May 5, 1813 in Copenhagen, where he also died on November 11, 1855.

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?

Our author Natalie Schulte traveled by bicycle for nine months Vietnam, Kampuchea, Thailand and malaysia. In her penultimate contribution to the series ”Hikes with Nietzsche“ she muses on encounters with wild animals that she met or could have met on her journey. It is hardly surprising that this includes considerations about the importance of animals, as they occur in Nietzsche's philosophy.

After Christian Saehrendt took a primarily biographical look at Nietzsche's relationship to music on this blog in June last year (link), Paul Stephan focuses in this article on Nietzsche's content statements about music and comes to a somewhat different conclusion: For Nietzsche, music has a liberating power through its subjectivating power. It affirms our sense of self and inspires us to resist repressive norms and morals. However, not all music can do that. With late Nietzsche, this is no longer Richard Wagner's opera, but Georges Bizet's opera carmen. Our author recognizes a similar attitude in Sartre's novel The disgust and in black popular music, which is not about comfort or grief, but affirmation and overcoming.

This time in confidential Du, Paul Stephan talked to Hans-Martin Schönherr-Mann, our oldest parent author, and our youngest regular author, Estella Walter, about our different generational experiences and about what is actually to be thought of the fashionable discourse about the different “generations.” We talked about post-structuralism, the ecological issue and the diversity of possible connections to Nietzsche.

For hardly any other philosopher, music was as important as it was for Nietzsche. “Without music, life would be a mistake”¹, he wrote. Christian Saehrendt goes for Nietzsche PopArts The question of how this high appreciation of sound art was manifested in his life and work. He talks about Nietzsche's own compositions as well as one of the most iconic aspects of his life: his friendship with Richard Wagner. He shows that the music for Nietzsche is almost erotic It was important — and in this respect he was not so “out of date” at all, but a typical child of his time.