Our author Paul Stephan has finally had enough. The internet is being flooded with cheap A"I" content, often called "AI slop," which is just plain annoying—and is even being rewarded with countless likes and followers. Often, this content is about philosophy, too—specifically Nietzsche. How much damage is being done when this artificial Nietzsche increasingly displaces the real one, as A"I" outputs that repeat the same half-truths and falsehoods replace nuanced human interpretations? When machine-generated caricatures literally push out genuine photographs and artistic portraits? Paul Stephan embarked on an often frustrating search for answers and presents you with a few "highlights." Although he still believes that A"I" opens up positive possibilities—and occasionally makes use of them himself—in his third piece on the subject (feel free to read the first and second commentaries here and there), he feels it is time to take off the kid gloves and bring out the hammer. Stop the slop!

“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?

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?

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.