The Artist / The Snob (Rising Above the Animal In The Post-Historical World)

"...as I said in the above Note, an animal that is in harmony with Nature or given 'Being' is a living being that is in no way human, To remain human, Man must remain a 'Subject opposed to the Object' even if Action negating the given and Error disappears. This means that while henceforth speaking in an adequate fashion of everything that is given to him, post-historical Man must continue to detach 'form' from 'content,' doing so no longer in order actively to transform the latter, but so that he may oppose himself as a pure 'form' to himself and to others taken as 'content' of any sort. "

"...no animal can be a snob..."

(Alexandre Kojève, Introduction to the Reading of Hegel)

"An artist is someone who produces things that people don't need to have but that he - for some reason - thinks it would be a good idea to give them."

"Being good in business is the most fascinating kind of art. Making money is art and working is art and good business is the best art."

(Andy Warhol)

"The artist is the person who invents the means to bridge between biological inheritance and the environments created technological innovation. Without the artist man merely adapts to his technologies and become their servo-mechanism."

"Advertising is the greatest art form of the 20th century."

(Marshall McLuhan, Laws of Media)

American Communism (According to Alexandre Kojève and Andy Warhol)

"the Hegelian-Marxist end of History was not yet to come, but was already present, here and now ... in the North American extensions of Europe. One can even say that from a certain point of view, the United States has already attained the final stage of Marxist 'communism,' seeing that, practically, all the members of a "classless society" can from now on appropriate for themselves everything that seems good to them, without thereby working any more than their heart desires."

(Alexandre Kojève, Introduction to the Reading of Hegel)

"What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it."

(Andy Warhol, The Philosophy of Andy Warhol)

"The most difficult and the highest form which man can attain is the most seldom successful: thus the history of philosophy reveals a superabundance of bungled and unhappy cases of manhood, and its march is an extremely slow one; whole centuries intervene and suppress what has been achieved: and in this way the connecting link is always made to fail. It is an appalling history, this history of the highest men, of the sages.--What is most often damaged is precisely the recollection of great men, for the semi-successful and botched cases of mankind misunderstand them and overcome them by their "successes." Whenever an "effect" is noticeable, the masses gather in a crowd around it; to hear the inferior and the poor in spirit having their say is a terrible ear-splitting torment for him who knows and trembles at the thought, that the fate of man depends upon the success of its highest types."

(Friedrich Nietzsche, The Will to Power Manuscripts)

The Demise of Grand Narratives?

Age of comparisons.— The less men are bound by their tradition, the greater the internal stirring of motives; the greater, accordingly, the external unrest, the whirling flow of men, the polyphony of strivings. Who today still feels a serious obligation to bind himself and his descendants to one place? Who feels that anything is seriously binding? Just as all artistic styles of the arts are imitated one next to the other, so too are all stages and kinds of morality, customs, cultures.

Such an age gets its meaning because in it the various world views, customs, cultures are compared and experienced next to one another, which was not possible earlier, when there was always a localized rule for each culture, just as all artistic styles were bound to place and time. Now, man's increased aesthetic feeling will decide definitively from among the many forms which offer themselves for comparison. It will let most of them (namely all those that it rejects) die out. Similarly, a selection is now taking place among the forms and habits of higher morality, whose goal can be none other than the downfall of baser moralities. This is the age of comparisons! That is its pride—but also by rights its sorrow. Let us not be afraid of this sorrow! Instead, we will conceive the task that this age sets us to be as great as possible. Then posterity will bless us for it—a posterity that knows it has transcended both the completed original folk cultures, as well as the culture of comparison, but that looks back on both kinds of culture as on venerable antiquities, with gratitude.

(Friedrich Nietzsche, Human, All Too Human)

"The church and morality say: 'A generation, a people, are destroyed by vice and luxury.' My recovered reason says: when a people approaches destruction, when it degenerates physiologically, then vice and luxury follow from this (namely, the craving for ever stronger and more frequent stimulation, as every exhausted nature knows it)."

(Friedrich Nietzsche, Twilight of the Idols)

The Statement

"[Archaeology] does not attempt to evade verbal performances in order to discover behind them or below their apparent surface a hidden element, a secret meaning that lies buried within them, or what emerges through them without saying so; and yet the statement is not immediately visible; it is not given in such a manifest way as a grammatical or logical structure (even if such a structure is not entirely clear, or is very difficult to elucidate). The statement is nether visible nor hidden."

(Michel Foucault, Archaeology of Knowledge)

"Everything goes by the board: honor, pride, decency, to get the book written"

(William Faulkner)

"The public sucks. Fuck hope."

"One person can head a rebellion, but one person cannot head this leveling process, for that would make him a leader and he would avoid being leveled. Each individual can in his little circle participate in this leveling, but it is an abstract process, and leveling is abstraction conquering individuality. The leveling in modern times is the reflective equivalent of fate in the ancient times. The dialectic of ancient times tended towards leadership (the great man over the masses and the free man over the slave); the dialectic of Christianity tends, at least until now, towards representation (the majority views itself in the representative, and is liberated in the knowledge that it is represented in that representative, in a kind of self-knowledge); the dialectic of the present age tends towards equality, and its most consequent but false result is levelling, as the negative unity of the negative relationship between individuals."

"In order for leveling really to occur, first it is necessary to bring a phantom into existence, a spirit of leveling, a huge abstraction, an all-embracing something that is nothing, an illusion—the phantom of the public. . . . The public is the real Leveling-Master, rather than the leveler itself, for leveling is done by something, and the public is a huge nothing."

"The public is not a people, it is not a generation, it is not a simultaneity, it is not a community, it is not a society, it is not an association, it is not those particular men over there, because all these exist because they are concrete and real; however, no single individual who belongs to the public has any real commitment; some times during the day he belongs to the public, namely, in those times in which he is nothing; in those times that he is a particular person, he does not belong to the public. Consisting of such individuals, who as individuals are nothing, the public becomes a huge something, a nothing, an abstract desert and emptiness, which is everything and nothing. . . ."

(Søren Kierkegaard, The Present Age)

"Hope, in its stronger forms, is a great deal more powerful stimulans to life than any sort of realized joy can ever be. Man must be sustained in suffering by a hope so high that no conflict with actuality can dash it -- so high, indeed, that no fulfillment can satisfy it: a hope reaching out beyond this world. (Precisely because of this power that hope has of making the suffering hold out, the Greeks regarded it as the evil of evils, as the malign of evils; it remained behind at the source of all evil [in Pandora’s box].)"

(Friedrich Nietzsche, The Antichrist)

Hegel: You mean my whole fallacy’s wrong?

"...if the fear of falling into error sets up a mistrust of Science, which in the absence of such scruples gets on with the work itself, and actually cognizes something, it is hard to see why we should not turn round and mistrust this very mistrust. Should we not be concerned as to whether this fear of error is not just the error itself? As a matter of fact, this fear presupposes something, indeed a great deal, as truth, and supports its scruples and consequences on what should itself be examined beforehand to see whether it is truth. It starts with ideas of knowledge as an instrument, and as a medium; and presupposes a distinction of ourselves from this knowledge. More especially it takes for granted that the Absolute stands on one side, and that knowledge on the other side, by itself and cut off from the Absolute, is still something real; in other words, that knowledge, which, by being outside the Absolute, is certainly also outside truth, is nevertheless true — a position which, while calling itself fear of error, makes itself known rather as fear of the truth."

(Hegel, Phenomenology of Spirit)

The Actors / "Great Men": a reflection on the U.S. Presidential Debates

Where solitude endeth, there beginneth the market-place; and where the market-place beginneth, there beginneth also the noise of the great actors, and the buzzing of the poison-flies.

In the world even the best things are worthless without those who represent them: those representers, the people call great men.

Little, do the people understand what is great -- that is to say, the creating agency. But they have a taste for all representers and actors of great things.

Around the devisers of new values revolveth the world: -- invisibly it revolveth. But around the actors revolve the people and the glory: such is the course of things.

Spirit, hath the actor, but little conscience of the spirit. He believeth always in that wherewith he maketh believe most strongly -- in himself!

Tomorrow he hath a new belief, and the day after, one still newer. Sharp perceptions hath he, like the people, and changeable humours.

To upset -- that meaneth with him to prove. To drive mad -- that meaneth with him to convince. And blood is counted by him as the best of all arguments.

A truth which only glideth into fine ears, he calleth falsehood and trumpery. Verily, he believeth only in gods that make a great noise in the world!

(Friedrich Nietzsche, Thus Spoke Zarathustra)

"A revolution is not a dinner party, or writing an essay, or painting a picture, or doing embroidery; it cannot be so refined, so leisurely and gentle, so temperate, kind, courteous, restrained and magnanimous. A revolution is an insurrection, an act of violence by which one class overthrows another."

(Mao Tse-Tung, "Report on an Investigation of the Peasant Movement in Hunan")

"They say revolutions turn out badly. But they're constantly confusing two different things, the way revolutions turn out historically and peo­ple's revolutionary becoming. These relate to two different sets of people. Men's only hope lies in a revolutionary becoming: the only way of casting off their shame or responding to what is intolerable."

(Gilles Deleuze, Control and Becoming)

"Whether syllogistic or Hegelian-dialectical, for some mysterious inherent reason the triad form itself eliminates ground. But when a fourth term is added to a triad, making a tetrad, the form flips into a new one -- resonant, appositional, and metamorphic."

(Marshall McLuhan, Laws of Media)

"Something that hasn't been adequately discussed about Marx's Capital is the extent to which he is fascinated by capitalists mechanisms, precisely because the system is demented, yet works very well at the same time."

(Gilles Deleuze, Capitalism: A Very Special Delirium)

"The opposite of a trivial truth is false; the opposite of a profound truth is also true."

(Niels Bohr)