The paper examines Cosmatos's work to date: the two feature films 'Beyond the Black Rainbow'(2010), and 'Mandy' (2018), and the episode ‘The Viewing’ (2022) from the Netflix series 'Guillermo del Toro's Cabinet of Curiosities'. I argue that Cosmatos's films act as a vernacular critique of popular culture iterations of Nietzsche's Übermensch, and as such addresses the political and psychological anxieties of a mass North American audience. I further argue that Cosmatos is a profoundly psychoanalytical film maker, staging as horror, (...) the subject who has weakened their ego in the name of transcendence, only to find the forces of super-ego and Id causing violent psychotic breakdown. The article takes an interdisciplinary approach to Cosmatos's contextualization (alongside more obvious peers) looking at the work of British artist Dexter Dalwood to help understand the political and philosophical aspects of Cosmatos's output. (shrink)

This paper offers a reading of Thus Spoke Zarathustra, arguing that there is a conflict between Zarathustra's hope for something greater (in the form of the Übermensch) and his conception of the eternal recurrence.

In 1889, the German philologist Friedrich Blass isolated a section of Chapter 20 from Iamblichus’ Exhortation to Philosophy (mid- or late 3rd Century CE) as an extract from a lost sophistic or philosophical treatise from the late 5th Century BCE. In this article, I introduce the text, which is now known as 'Anonymus Iamblichi' (or 'the anonymous work preserved in Iamblichus') by appeal to its two main contexts (source preservation and original historical composition), translate and discuss all eight surviving fragments (...) in their entirety, and provide some closing remarks about its importance to this history of democratic thought. The text itself presents a series of very carefully interwoven arguments concerning the three “parts” of excellence (ἀρετή) – wisdom, courage, and eloquence – and their successful application in society. In the course of presenting this case, Anonymus Iamblichi comments on the conditions under which one should learn to be excellent (Fragments 1-2) and the ends to which one should direct one’s excellence (Fragments 3-4); he provides an anthropological discussion of the weaknesses of human psychology and its effects on the good man (Fragments 5-6) and an hypothetical thought experiment concerning the “Superman” (which naturally solicits comparison with Nietzsche’s übermensch) and his inability to overcome the multitude in a lawless state (Fragments 6 and 8); and a positive defense of law and justice, reflecting a pro-democratic philosophical perspective (Fragments 7-8) – a rara avis indeed in ancient philosophy. (shrink)

This narrative commentary on Nietzschean ambitions, in part influenced by Zarathustra and Ecce Homo, centers on a long, ongoing, expansive, and highly imaginative technological projects by two men, Stuart Beholt and Alby Tolby. Having worked up adventurous software in university days, their experiences interwoven with their friendship bring out a panoply of current philosophical issues--and beyond. This narrative philosophy evokes and explores more issues than current philosophical debates concerning emerging technologies can include in a more conventional work. At the same (...) time, this structure makes the read readily accessible , including such issues as the intriguing recent flirtation of religion and materialism that have only been broached in the literature. At the same time, high finance and monetary issues, besides the alluring beauty of solving tremendous engineering problems, pull the two übermensch into ever greater schemes, well evoking the question of the limits of ethics and epistemology. Even if this approach does not coincide with the reader's research, it can offer an enjoyable delving into philosophical problems. (shrink)

"The Mind is not a Vessel to be Filled but a Fire to be Kindled", and "Education is Not the Filling of Pail But the Lighting of a Fire", and ... Something About a Horse ... You can lead a horse to water, but you can’t make it smile? Because of the long face and all? (No, that can’t be it). Anyway, borrowing a bit from Plutarch and Yeats (maybe, there is no agreement on whether he said that about pails (...) and fires), and some idiom from 12th Century Old English about horses walking on water, I assume, we can glean the following gem: learning requires active participation by learners. It is almost embarrassing to have to write that, but here we are with education today, mostly unloading facts into unlit receptacles. This doesn’t work, and not just because the metaphor is mixed. Genuine learning requires focus, which requires motivation, which is cultivated by interest, which needs curiosity, which is not something teachable through the typical educational curricula. I can, as Aristotle tells us, teach students the basics of some ethical theory, but I cannot make them virtuous. Ah-ha! I can lead a horse to water, but I can’t make it abide by the categorical imperative (No, that’s not quite right. Although it’s true--most horses are utilitarians). One way that seems to work in piquing student interest in learning philosophy is to use humor as you make the case that a philosophical attitude is very similar to a humorous attitude. Both rely heavily on questioning our collective presuppositions, both cultivate rational skepticism, and both are never content with accepting traditions and values that are mindlessly received. I’ve got it now: You can lead a horse to water, but you can’t make it an iconoclast! (still not it). Friedrich Nietzsche published a book in 1889 titled Twilight of the Idols: Or How to Philosophize with a Hammer. This was during his most frenetic and fecund period, just before the syphilis set in rendering him somewhat less than his lauded Ubermensch. The “Idols” for Nietzsche were “false gods” or the ubiquitous errors that philosophy should expose. He is likely borrowing (without citation!) from sir Francis Bacon, whose “idols” are fetishes which can divert us from the pursuit of truth. Learning is hard, but it doesn’t have to be gloomy, hence, I advocate for a different sort of hammer to act as a “tuning-fork” sounding out the hollow and dangerous idols handed down to us that have passed for sagacity. (shrink)

O presente artigo pretende abordar o conceito de trágico, entendido como elemento principal ou elemento orquestrador do projecto nietzschiano em busca de uma determinação para uma nova forma de existência estética. Objectivo do autor é, pois, em primeiro lugar, explicitar o sentido da nova existência estética tal como Nietzsche, pela mão de Zaratustra, imputa à figura do Übermensch, o qual estabelece um projecto de justificação estética; em segundo lugar, trata-se de mostrar que o conceito de 'trágico'está estreitamente relacionado com (...) o conceito metafísico de 'eterno retorno'de tal modo que isso pretende, por um lado, ultrapassar a dimensão determinada da vida humana em algo maior ou melhor, e, por outro, visa a completa realização da vida humana que pode ser repetida, salientando que este movimento de repetição afirma o retorno dionisíaco do trágico. Objectivo do autor do artigo é, assim, provar que o projecto nietzschiano anuncia o Übermensch como uma nova forma de existência estética, ao mesmo tempo que recupera os conceitos de 'trágico' e 'dionisíaco', conceitos estes que animam a obra Die Geburt der Tragödie. Consequentemente, trata-se de ver até que ponto o Übermensch está afirmado como objectivo necessário e primário neste projecto, o qual permanece, contudo, uma herança enigmática em que nos deixa a filosofia de Nietzsche. /// The present article presents a brief approach to the concept of the 'tragic' understood as a main element or a conducting element in the Nietzschean project that searches for a determination of a new form of aesthetic existence. The author aims, thus, at two things: first, to explicit the meaning of this new aesthetic existence that Nietzsche, by the hand of Zarathustra, imputes to the figure of the Übermensch, which establishes a project of aesthetic justification; secondly, to show that the concept of the 'tragic' is closely related to the metaphysical concept of the 'eternal return' in such a way that it purposes, on the one hand, to surpass a determined dimension of human life into something bigger or better, and, on the other, to bring about a complete realisation of human life that can be repeated, so that the movement of repetition qffirms the dionysiac return of the tragic. The goal of the article is, moreover, to prove that the Nietzschean project announces the Übermensch as a new form of aesthetic existence while recovering the main concepts of 'tragic' and 'dionysiac', concepts that animate the book Die Geburt der Tragödie. Therefore, we shall see how the Ubermensch is placed as a necessary and prime objective in this project, which remains part of the enigmatic legacy with which Nietzsche's philosophy leaves us. (shrink)

Nietzsche and Shaw are famous and infamous: famous for their innovative and influential forms of writing, but infamous for their apparent support of totalitarianism and Nazism. However, while it has long been shown that Nietzsche’s provocative language about “breeding” and “masters and slaves” was intended to enhance culture through competition, it is still an open question how and when Shaw supported biological eugenics. Via Nietzsche’s “philosophical breeding,” this article presents a new reading of Shaw’s Man and Superman: on the one (...) hand, it contrasts Nietzsche’s philosophical Übermensch with Shaw’s eugenic Superman; and on the other hand, it connects Nietzsche’s agonistic enhancement of culture with Shaw’s philosophical reflections in “Don Juan in Hell.” In contrast to Tanner’s support of eugenic breeding in his Revolutionist’s Handbook, Shaw’s Don Juan remarkably resembles Nietzsche’s notion of “philosophical breeding” toward a more competent, truthful, and autonomous orientation that is needed in increasingly complex global politics. (shrink)

Guided to the notion of the eternal return by the philosophical intuitions of the Greek antiquity, Nietzsche turned to the physical sciences of his day in order to further his inquiry. This extensive intellectual engagement represented a genuine attempt to investigate the possible continuity of meaning between the mythical tradition, on the one hand, and the rational-empirical (i.e. scientific), on the other. In particular, Nietzsche was intrigued by the manner in which the relationship between myth and science played out in (...) the wide-ranging debates on the eternal recurrence and entropy. Obscuring the view, however, lay the debris of metaphysical imports into the discourse of secular modern science. In the course of his ambitious undertaking to disentangle physics from metaphysics, Nietzsche discerned a possibility for synthesising the scientific explanation for his ‘fundamental conception’ (EH: Z, §1) with the mythical wisdom of the ages. His inferences proved nothing short of explosive. The doctrine of the eternal return of the same, instead of the docile cosmic torpor, urged the radical revaluation of all values. The measure of the eternal return’s power was to dissolve its impersonation – the Übermensch – into a form of well-being. Nietzsche was convinced that his ‘mightiest idea’ (NF-1881:11[148]) illuminated the path we must follow lest we wish to incur the full force of the ‘frightening wisdom of Silenus’ (BT: §4). (shrink)

Nietzsche’s Ecce homo, Notebooks and Letters: 1888-1889 / Translation by Daniel Fidel Ferrer. ©2023 Daniel Fidel Ferrer. All rights reserved. -/- Ecce homo: How One Becomes What One Is (Ecce homo: Wie man wird, was man ist). -/- Who should read Nietzsche? You can disagree with everything Nietzsche wrote and re-read Nietzsche to sharpen your attack. Philosophy. Not for use without adult supervision (required). Philosophy is a designated area for adults only. Read at your own risk. You have the pleasure (...) of reading and of course disagree with all philosophy. Warning philosophical ideas are present. Reading Nietzsche does not mean you will gain anything, in fact, you might lose your previous ideas. -/- Nietzsche does not call this book an autobiography (he has written many short autobiographical sketches before); but rather, uses the expression “I tell myself my life”. -/- Nietzsche was the past philosopher who wrote about our future, “The time is coming when the struggle for the domination of the earth will be waged - it will be waged in the name of basic philosophical doctrines.” KGWB/NF-1881, 11[273]. The world has seen plenty of wars and death, since 1881. The process of the domination of the earth and world is still on-going. -/- What is Nietzsche’s overall project with Ecce homo? -/- Main Leitmotifs in Ecce homo. -/- Christianity as the denial of the will to life, revaluation of all values (Umwerthung aller Werthe), Amor fati, Dionysus as a god and his philosophy (future project for Nietzsche), overthrowing idols, two worlds (“true world" finally became a fable) against Plato eternal world and forms, eternal recurrence or the eternal return of the same (Nietzsche heaviest thought, also his most abysmal thought “abgründlichsten Gedanken”), opposite and counterpart to type of person decadent (décadent), “I count the overcoming of pity among the noble virtues”, against the concept of God (Christian), overman or superman (Übermensch), Will to Power (Wille zur Macht), great politics, immoralist, morality of the Christian church, and Declaration of war (“Kriegserklärung”). -/- Table of Contents -/- Motto [page 3]. Epigraph [pages 4-6]. -/- Preface to the Translation of Ecce homo [pages 7-16] -/- Major Leitmotifs in Nietzsche [pages 17-24]. -/- Translations from Nietzsche’s German to English include. -/- 1). Ecce homo: How One Becomes What One Is (Ecce homo: Wie man wird, was man ist. [pages 25-113]. -/- 2). This poem was included in the first publications of Ecce homo (1908). Glory and Eternity (Ruhm und Ewigkeit). [pages 114-124]. -/- 3). These are all of Nietzsche’s last notebooks (complete) they are numbered 21, 22, 23, and 24. There are a total of 82 notes. Final notes by Nietzsche from the Nachlass (Nachlaß). Sometime in German called the Notizheft. Nietzsche’s notebooks that include some drafts for Ecce homo and other topics he was thinking during his last writings. Dating from October 1888 until early Janurary 1889. [pages 125-191]. -/- 4). Nietzsche’s Letters Regarding Ecce homo. Nietzsche’s letters starting at the end of October 1888 discussing Ecce homo. These are not always the complete letters but include all of the passages of Nietzsche discussing Ecce homo. Complete translation of the last letter Nietzsche wrote. Dated until BVN-1889. #1256. Letter to Jacob Burckhardt in Basel. Turin, about 6 January 1889. [pages 192-223]. -/- Bibliographies [pages 224-254]. -/- Nietzsche’s Philosophy Final Thoughts [pages 255-259]. -/- Enjoy reading Nietzsche's last book. (shrink)

In contrast to the Nietzschean conception of Übermensch as signifying, hitherto, a supermanhood in moral terms alone, the principle of the latter lies in its being antithetical to the present human status, and in its thus proving altogether superior both ontologically and physically. With this premise the notions of Sixth Force and Photonic Frame are now associated. Set forth after a qualitative fashion, while the former is related to the thus far known elemental constituents of matter, as well as (...) to forces and interactions between matter particles, and under this form deemed to intangibly account for all the chaos, indeterminacy and otherwise imperfection or limit found so peculiar to man, the latter refers to an ultimate trait in the actual Overman touching a most luminous and unparalleled corporeality. An original conception of geometry in photonic terms is also propounded. Illustrations meeting at length with a semiotic process and literary hints add to the suggestion. (shrink)

The purpose of this work is to present the analogy between the thoughts of Epicurus de Samos and Friedrich Nietzsche regarding the notion of “freedom”. In Epicurus, the idea of “freedom” (eleuthería) is linked to the idea of “self-assertion” (autárkeia), since “freedom” for Epicurus means the “exercise of wisdom” through the autonomy of the “sage” (sophós, prhóneo) when it is free to act according to thought. In a similar way, in Nietzsche the idea of freedom (Freiheit) is linked to the (...) idea of “affirming life” (Lebensbejahung) – and “of oneself” – in acting, when the “superman” (Übermensch) is above of good and evil and being able to create and determine their own values. The discussion about freedom, according to the thought of Epicurus and Nietzsche, makes it possible to identify the analogy between them regarding the understanding of the importance of freedom in philosophical action, in addition to promoting a reflection on thinking and acting in the world. (shrink)

Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...) dualities of the beautiful/sublime and Apollonian/Dionysian to advocate their general philosophical worldview, and that the initial formation (in Observations and The Birth of Tragedy) and final dissolution (in the Critique of Judgment and Zarathustra and other later works) of these dualities are determined by the gradually established telos of their philosophical endeavor. Therefore, by observing the evolution of these so-called dualities, Kaplama gathers important clues as to how Kant’s and Nietzsche’s aesthetics transformed into different ways to affirm human art and life. On the one hand, Kaplama argues, the Dionysian came to be the heart and soul of Nietzschean aesthetics and ethics, and the Apollonian (or the formal drive of individuation) was reduced into a mere aesthetic criterion. On the other, Kant treats the sublime (which is originally an idea-producing feeling and/or judgment) as a mere appendix to his Critique of Judgment and aesthetic theory teleologically reducing it into its possible moral consequences. This is why Schopenhauer calls the sublime “by far the most excellent thing in the Critique of Judgment” which touches on the real problem of aesthetics very closely but does not provide a real solution for it. Kant’s forced teleological move is to make his theory of aesthetic judgment stand as a ‘reaffirmation’ of the earlier ethical justification he believed to have accomplished in the first two Critiques and the Groundwork where he defends an affirmation of human life through a teleological morality centered on the principle of free-will. In contrast, Nietzsche’s aesthetics (particularly the Dionysian) guides his ethics and metaphysics again through defining an ideal human nature without which ethos would be static and meaningless, lacking the ability to move and change and represent the tragic pathos of human life. (shrink)

Así habló Zaratustra continúa siendo, 135 años después de su publicación, la principal obra del corpus filosófico nietzscheano. Más de un siglo después de su surgimiento, este trabajo permanece como una fuente inagotable de relecturas cuyo sentido, en aras de evitar interpretaciones negligentes, conviene explicitar cada cierto tiempo. Por este motivo, el presente trabajo se erige como un análisis renovado de Así habló Zaratustra, centrado en la clarificación conceptual de las que se consideran son sus cinco principales ideas desde el (...) propio texto. A saber: la “muerte de Dios”, el Übermensch, la “voluntad de poder”, el “eterno retorno de lo mismo” y la “asunción/superación del nihilismo”. Para ello, previamente partiremos de una breve aproximación al contexto filosófico del autor, al contexto de la propia obra en el conjunto de la producción nietzscheana, así como a una indispensable presentación del estilo narrativo de esta. (shrink)

The versions of Nietzschean and Cioranian Antihumanism start from different presuppositions than Foucault’s Antihumanism, adding misanthropy to their nihilistic project. The Cioranian term of the not-man, a darker counterpart to Nietzsche’s Übermensch, can be “tested” through forays into the Romantic and Post-romantic literature, considering for instance Shelley’s Frankenstein (1818), Maupassant’s “Horla” (1887), Lorrain’s “The Possessed” (1895) or the poems of Lautréamont. In this paper we compare Cioran’s Antihumanism with the nihilism of Thomas Bernhard’s first novel, Frost (1963).

Unveiled from its latent status of myth, from the dawn of civilization until nowadays mass media culture as a necessary need of power in a world of intrinsic human powerlessness, an existential condition as antithetical to the latter in the very terms of power signifies the grandest possible of human perspectives to inhere within the state of affairs of a Real certainly vast enough to contain it respecting its unfathomable profundity in space and in time. By focusing accordingly on the (...) significance of this term as a leading determination of the Real, and as a most comprehensive category and ontological criterion in respect to which all other possible meanings, both immanent in character and transcendent, are formed and defined, and on its own embodiment in a personified fashion (as until now indistinctly found in Polytheism and in the overhuman myths only), it reveals itself in its dialectically required status of actual ontological human power, and under this form opposes whatever limitation of the hitherto known and considered human. It consequently also redefines the notion of overhuman, which proves to be thus far incomplete ontologically as still bound to an existential context of ontic impotence (Nietzsche). (shrink)

The purpose of the work is to study the definition and purpose of man for nature and cognition. The study was based on an article by K.R. Popper's «Evolutionary Epistemology». A critical analysis of Popper's theses and schemes for the evolution of theories is carried out. The importance of the emergence of a system of times of the language as a consequence of its descriptive function is noted. The problem with which the cycle of development of life and knowledge begins (...) is revealed. In the work of the scheme proposed by Popper, the language is included. As a result of the discussion, a key element of the essence of man is revealed: understanding the problem of death. This understanding makes it possible to relate oneself to the problem, which is the reason for the existence of the most general evaluation categories: «good» and «evil». So, a person can determine the goal of development - overcoming the problem, in contrast to nature, the development of which is aimed at avoiding the problem. Having reached the goal, a person will go beyond himself as a phenomenon defined by an understanding of the problem. In this case, self-transcendence is the transition of a person to a new quality. The role of philosophy in the processes of self-transcendence taking place in modern society is discussed. (shrink)

My review of Ariemma's "Filosofia del gaming. Da Talete alla PlayStation", published by Tlon (ISBN: 979-1255540021) in 2023, not only wants to point the structure of the book but even expose the urgency of a philosophical analysis of the videogame. Thanks to Ariemma's suggestions, videogames can be argued to be experience virtualizers or "Nietzschean machines". Even further, I try to develop a so called "videogame transcendentalism", where kantism can join the debate by extending the subject transcendental structure into the videogame (...) frontiers. (shrink)