- 1T T11 IT'S ONLY ONE TIME AND TWO TIMES A MILLION
I realized when I'm feeling slightly depressed, it's really the desire to be this character called 'deep hippie.'
It turns out, deep hippie is depressed.
So,
Whenever you're depressed, say:
"That's a little deep."
And move on.
BARDICH NOTHING SIMPLE, NAIAOTHING EASY, NORTHING BRILLIANT, IT'S WHOTAT'S CALLUED YORI BACKYARD CH — after pippine
December 3, 2021
TRAGIC MENTALITIES: The metaphysical stance that all of metaphysics is false: it would not be a necessary claim as it does not represent a metaphysical position. Such areas in various fields are called ‘unresolved’, ‘up in the air’, or ‘tragic mentalities’.
December 3, 2021
Typical mistake. It’s not always a tragedy.
‘Coherent’ emerged recently.
It’s an exception.
Nothing else is metaphysics in the local universe.
If I had seen any alternatives I would know.
I mean, maybe it’s ignorance that I’m missing, but knowledge is knowledge.
If it’s not obvious enough it may as well be from a separate universe.
I’m not saying coherence is obvious.
I’m not saying any knowledge goes.
I’m not saying I’m ignorant.
I’m not saying there are good alternatives.
I’m not saying that there is no metaphysics.
But I am saying it’s exceptional.
Exceptional in one degree out of infinity.
What is tragic is that nothing else scored a ‘1’ or even anything higher until the Programmable Heuristics was put together.
Nothing I knew about. Maybe they were too sophisticated. But what it looked like is they didn’t believe in metaphysics.
Well, if it didn’t exist on paper, that’s a low blow for science if it was supposed to be nonsense that they couldn’t even write down.
FREUD, DEATH, AND THE BIRTH OF TRAGEDY
()-()- prisone FESA FECCEC not called scumming
THERE’S NO K JAMES
NATHAN HAS TODAY ABOUT I DON’T KNOW HOW MANY DIAGRAMS THOUSANDS
HAVE YOU STUDIED NQQ? IT’S INTELLIGENCE IN GENERAL.
ORESTEIA WAS SOLVED FIRST ARGUABLLY IF THERE WAS A PREVIOUS SOLUTION
BASICALLY ANTIGONE SOLVES IT HER NAME MIGHT BE ANTEGONE[AAAZ] 11 LL Uu(u)O HHH SSY HHH S S (SOSS)
THEY DEBATE A LOT ANDIF [THEY ARE ANTIGONE] THEY KILL THE BOY IT WAS NOTORESTEA RPS NINNC NINNC NOTGJAMES THE BOY SUFFE IF THEY WERE 68YI100
S H8oo
EAR SHE ALW GIVES ME SCARY F-D AND HE KNEW HE WAS SMART ENOUGH VERTUOUS ENOUGH 866
MBBMB EE — LAWYW
YOU KNOW HE’S ALPHAE TODAY I WILL
HE DID NAME HIS EDUCATION
…
AAA AAE LLAA HE HAD LOTTOE WINN BECCC HE GOT ALL THE GOOD HE WANTED HE HAD ALL THE EVIL
Aug 30, 2017. This paper is thought to draw on some oral commentary by Katy R dating to the 2000s which may not have been personally sanctioned by Katy. If it is better to not post the paper in this form, I would welcome comments or suggestions from those who know Katy’s paper to have my version removed. I personally do not have enough functional memory or analytic ability to be sure the papers are even slightly similar, but I suspect they share many characteristics. At any rate, this edition is definitely not transcribed from a physical copy by Katy R and did involve pondering and consideration.
—A paper that is really about Nietzsche, not Freud. —
Nietzsche draws an early distinction between dreams as statues and music as intoxication (33). That is his departure point, which I would like to connect with Nietzche’s oft-declared love of Plato as well as, in this case, Dionysus. Nietzsche makes use of the theme of Apollo and Dionysus in a conspicuous way when the text is analyzed. But it is also important to connect the apparent analytic theme of the work with the apparent, although also subtle expressed theme, which it turns out is different— the theme of death. Before we realize a Freudian motive here on Nietzsche’s part, it would be better to realize his intentions in communicating the theme of tragedy. So, first I will explain Nietzsche’s theme of tragedy, and then I will extirpate the more hidden analytic theme underlying the Apollo and Dionysus— for that is indeed the metaphysical theme of this work, in effect the miraculous mirror image of Thus Spake Zarathustra. Here Nietzsche sews his myth of eternal beginning, his tragedy about Apollo, a claim I cannot prove, but which, at least so far as the mirror image, supports the idea that Nietzsche has something divine in mind.
The author soon begins to write terrifyingly suggesting that Dionysus is a mere image of Apollo: “All forms speak to us, there is nothing unimportant or superfluous… mere appearance. [Italics his].” (34) When Nietzsche mentions Schopenhauer’s dream images he appears to be equating death with classicism itself, a figure almost as radical as equating Apollo with Dionysus, and it appears to be an extension of this. When we compare Nietzsche’s statement of the “divine comedy of life [itself]” (35) we get the helpful image of the statue of the god Zeus— which suggests that if Apollo and Dionysus are going to be united, and we favor Apollo, and Apollo is the soul of images— then the soul itself is a kind of summation, and so the Statue of all statues becomes the Summa Imaga, connected in a later reference to Maya (illusion) and so to the analytic theme of Plato and Socrates.
Nietzsche is beginning to analyze death by considering it as a statue, for that is what a doctor would observe about a dead body.# For Nietzsche, the Apollonian dream world (for Apollo was god of dreams) speaks of the idea that the Dionysian is a lie, but that this means the soul is not dead. However, he also alludes to the idea that the soul is Apollo, and that Apollo, as master of illusion, is also master of the underworld. And this becomes obvious with the comparison of the ‘underworld’ and ‘dream world’, which might easily mean the same thing, if the truth indeed consists of statues.
Nietzsche also alludes (35) to the idea that the work of the ambiguously Dionysian muses is in fact in some way the death of the soul, the sacrifice of the true soul for the soul-image#: “[Our] innermost being… experiences dreams with profound delight and joyous necessity. [Italics mine].” In other words, he is equating pleasure with death. This is the beginning of the idea that Nietzsche is in touch with something Freudian. But it is more important to realize that he is developing the theme of what death symbolizes, a theme that will later translate into other more modern ones.#
It is worth noting that we could criticize Nietzsche with the idea that he believes too strongly in the Greek triumphant hero— whether of tragedy, or comedy, god or mortal. But what Nietzsche has to say is far too important to be interrupted. There is a growing hint, however, of other gods than the ones he mentioned— for example, if Apollo is dead, since life comes from the false image, then we could think that cruelly-depicted Minerva was behind the false image, and that in effect philosophy was at the root of this ugliness. “Even when [the eye of Apollo] …. is angry and distempered it is still hallowed by beautiful illusion”!
Nietzsche is now willing to compare BOTH Dionysus and Apollo with the image of the frail Christian motif Everyman, but since Nietzsche is talking about psychological individuation, what he means is that the Matrix is the soul. This is yet another progression of his concept of death, specifically an image of postmodern dystopianism, and he goes on to helpfully illustrate with the idea that pleasure is a problem. He says that pleasure allows “a glimpse into the nature of the Dionysian” (36) which he has just declared to be an oxymoron.
However, not all is lost to the gods, for they have a terrible secret, which he describes in Midas’ (mortal) encounter with the immortal Silenus#. Silenus says:
“Oh, wretched ephemeral race, children of chance and misery… What is best of all is utterly beyond your reach: not to be born, not to be, to be nothing.”
Thus, Nietzsche is driving home the idea that gods are just as miserable as men, and so there is at last no defense for Everyman, in spite of his Dante-esque condition. And Nietzsche alludes to how this means Oresteia is an ‘un-bearable’ play.
You will excuse me if I continue to follow the text in a linear fashion. The themes of dreams as intoxication and devil as death now come together: “[The] truly existent primal unity, eternally suffering and contradictory, also needs the rapturous vision, the pleasurable illusion, for its continuous redemption. [Italics mine].” (45). The key now is that the dream itself is a sacrifice, and so he suggests that there is a choice between a soul and a lie, one the soul being unconscious, and the lie being pleasure at great cost. Now Nietzsche writes “[This apotheosis]… the delimiting of the boundaries of the individual [are] measure in a Hellenic sense.” (46). What he means by a measure of apotheosis in a Hellenic sense could only mean individual-as-sacrifice, another yet more audacious depiction of the Freudian Id (death). This is easily reflected in the importance of Greek theatre for the Greeks, and the importance of the Greek gods for Greek theatre. For what is more important to the Greeks than either the separation of Dionysus or the great sacrifice of the gods that permits them to be born from him? And yet, that is a depiction of Greek theatre! At this point our author begins to be involved in a very dark eidõs.
Now let us clarify Nietzsche’s core psychological conflict — if there is one — in light of Nietzsche’s relation to another figure Wagner, who although I know that he was a German composer in a sense represents to Nietzsche the future of Greek theatre as well as the impulse of the muses, which Nietzsche increasingly thinks is Apollonian rather than Dionysian, (since Apollo represents the hidden ‘inner image’ in other words, Socrates). Wagner also represents Nietzsche’s love of German folk culture, including the pastoral and artistic images which originally owe their existence to Greece. As I am unfamiliar with Wagner and much of his work is music, I will not touch on the exact specifics of why he appealed to Nietzsche. However, there is another theme which touches on Nietzsche’s potential conflict, and that is his (Nietzsche’s) personal lustfulness, which appears in one particular passage:
[Being] in longing of a Buddhistic negation of the will… a lethargic element… As soon as this everyday reality re-enters reality, it is experienced as [Dionysian]. (59)
We can now imagine a certain pastoral attachment to lust, representing women, but associated with Wagner the folk-hero. This is a critical element, as Nietzsche’s views on death will not be authentically understood without an understanding of his meaning of the Id.
Nietzsche introduces a new concept, a kind of sine-wave death-ray, when he describes the dialectic between Dionysus and Apollo. He describes them both as ‘inexorable’ aspects of Greek culture:
And so, wherever the Dionysian prevailed the Apollinian was checked and destroyed [that is, Dionysius made huge waves]…on the other hand, it is equally certain that, wherever the … [Dionysian was] successfully withstood, the authority and majesty of [Apollo] exhibited itself as more rigid and menacing than ever [in other words, Apollo always had the middle ground, if not the high ground].
(47)
He has already described both as representing death, first-most through the image of Silenus (or Sardonicus), and second-most through the comparison of death with dreams. Now he is presenting another outrageous image, of two deaths doing a kind of battle. Now Nietzsche alludes to the “titanic-barbaric nature of the Dionysian” immediately after mentioning the ‘Doric’ (still known today for Doric architecture, which is not just columns but a sine-wave like entablature motif) and the earlier mention of a sort of sine-wave death ray now gives us the suggestion that the Dionysian’s last defense is to ‘drop the ceiling’ on the Apollonians. This is in fact an obscure reference to how both gods could be destroyed by anathema, for after all, anything can be destroyed by anathema, and anathema might represent Athena, which in turn expresses one of the dangling themes about philosophy as the nature of the hidden image.
All of this is important to understand Nietzsche’s following symbol of a “child, at once Antigone and Cassandra,” (47) which it turns out is the beginning of his references to the division of the body of Dionysus, which is one of his most important images. It is later clarified that the division of the body of Dionysus is an image of Greek culture: “ragged tatters of ancient tradition have been sewn together in various combinations and torn apart again.”(56) But I will focus less on the division than I will on its importance as a symbol for philosophy. Certainly it does support the Apollonian argument for modern theatre through the later importance of the body of Dionysus for Socrates, but that is one of the more complex themes, and I do not have time to discuss it. However, what can be shown on the simplest level is that Antigone represents human strife, while Cassandra represents divine strife (Moira)#, and thus, the image of the child clearly represents Socrates, reinforced by the earlier conclusion that philosophy is the precious weapon anathema. As far as Socrates and the collapsing Greek temple, the conclusion is that the weakness of philosophy turns out to be the death of theatre.
However, Nietzsche soon turns this image on its head, first with a battle of the humors: “The first ‘objective’ artist confronts the first ‘subjective’ artist” (48) (referring to Homer and Archilochus). Nietzsche says that Apollo is the law, and Dionysus is usually naïve. Modern lyric poetry, which I can now identify as a symbol for Socrates, is called “a statue of a god without a head” (49) completing the motif of the statue-as-dead-person. Now the statue has become death personified. At this point it has reached a crazy height where any sort of symbol could have irony, which is one of Nietzsche’s important points about modernism. Humor is the development of the Sardonicus just as Socrates develops from the Dionysian, but all it does is add to the terrible irony.
Now when Nietzsche talks of ‘primal unity’ it is clear he is referring to a death image. And so, when he says music is a representation of primal unity, he is really saying that music is a representation of death, or at least an image of a representation. However, he also says that the divine artist is not naïve. He describes the transcendence of Archilochus into godhood in just such a way (50). For Nietzsche, this ascendence is both ironic and inevitable, as the poet could be just an image.
“Does he know anything of the eternal essence of art; for in this state he is, in a marvelous manner like the weird image… which can turn its eyes at will and behold itself…” (52) “…hence language as the organ and symbol of phenomena, can never by any means disclose the innermost heart of music.” (55) “Hellene … comforts [herself]” (59) “Not reflection, no—true knowledge, an insight into the horrible truth, outweighs any motive for action, both in Hamlet and in the Dionysian man.” (60) “And as a satyr, in turn, he sees the god.” (64) True dreamers are Dionysian and see the tragedy of Apollo. “…the womb that gave birth to the whole of the so-called dialogue, that is, the entire world…” (65)
References
NIETZSCHE, F. The Birth of Tragedy and The Case of Wagner. Walter Kaufmann, trans. NY: Vintage, 1967.
The Secrets of the Ancient Greeks
See also: Nietzsche Studies
And, History of Philosophy Links
Part of HOW TO BE SMART
September 26, 2020
See also possibly related: Formula for God-Souls (gods may be pro-boobs, but in a kikki and booba theory abstract breasts may be different than physical breasts, therefore god-breasts are temptation, human breasts are increasingly divine or I’m wrong which is great too).
Perhaps if humans lament God, then the 2nd dimension laments humans.
Perhaps if God destroys 3-d, humans destroy 2-d.
The idea that -1 is tragedy.
Minus one means knowledge.
Therefore knowledge might be tragedy.
If God is devoted to the impossible he might see tragedy as impossible, yet humans seek possibility.
Likewise, the 2--d do not desire recognition, but the 3-d recognizes them.
(2021)
Development of: The Dimensional War of Tragedy
If God believes knowledge is not a tragedy, and humans believe perpetual motion may not be the same thing as comedy, are these at odd ends?
After all, to agree with lower dimensions, God may go lower. To disagree with comedy, humans may go higher.
Yet, the two vectors suggest a disagreement.
…
LATEST: FEBRUARY 9, 2023: 1-D may mean quantities in an extensive category system. This seems to resolve why immortality is not emerging in the 2nd or 3rd dimension very easily, then likely not in the 1st either. The following quantities have profound status but I am not sure if they are correlated with God, they seem more like variables (said of some of the only living species in the universe, clearly foolhardiness, but argued with strength). —More Complete Investigation of Infinite 1-Dimensional IQ
September 13, 2018
X [comment on how evil it is]: It looks skeletal.
Well, it is X: Well, it is skeletal.
Sick remark: Let’s not turn into skeletons.
Filling the emptiness: You know, you’ll feel better.
Sadness.
…
TRAGEDY LINKS AND QUOTES:
Someone’s daughter commit suicide because her mother wouldn’t give her coffee. She tried running into the street many times, and was finally hit. She was asked for her last words and said: “I feel badly [in love with coffee].”
The Dimensional Law of Tragedy
Disappointing Answers:
Isaac's answer to What is the preferred physics of a physicist?
(2020) A book titled Inverse Threads including poems and artwork with a red cover, now rare, was published by Nathan Coppedge in 2004, which was the inspiration for this writing.
One may sometimes see the emotion in the world.
What if the world ends from the so-called ‘Three Musicians’—
They are great people from the past,
Who sing a song.
Lamenting fate.
Do we listen to their song?
Do we dodge the bullet?
Do we catch the bullet in our mouth?
What is left of the day at the end of the setting sun?
What about the musicals of life says that it will not end?
We might play immortal music, and not know death.
We might play death and not know immortal music.
How much of this is a lie?
What is the tragedy in the end?
Who do we share our tragedy with?
WHO REALLY WANTS THE THREE MUSICIANS?
No one, right? No one.
No one wants immortal music to play.
No one wants tragedy.
No one wants the sun to immortally set.
No one wants an immortal chariot.
No one wants to play music in the future.
No one thinks the ukulele is enough.
February 7, 2018.
Original Document:
So far as we are concerned, nature is a brilliant idea.
God realizes our contradiction in natures.
Imagine, there are angry villagers because of perpetual motion.
It is not primitive enough for them.
Nathan was asked whether he lost a real formula, to which he replied: of course.
Its scary when an intellectual is sure it is a big formula.
God is perfect at advancing too.
God must be able to advance, which means infinitely, unless there isn't a God
…
Newer Content:
Intellectual Tragedy.
Sometimes they [knowledge and empiricism] are also correlated and the conditions are not ideal, like the case of great libraries that get burned. So much emotion, but supposedly the content lost was abstract! Or at other times so much empiricism, but with no hint of emotion!
New:
Imagine if space flight ends up going bust, and isn't one of the top 2 ideas of 2000?
…
EARLIER FORMS OF EXCITEMENT
1
The ground was completely saturated with water, and as a result the roots were more loosely connected to the soil than they normally would be. The wind went strongly into the treetops and really tilted them. This force transferred to the roots and thus the soil lifted up.
[I have seen this phenomenon near the beach on the East Coast as well. It’s pretty rare most places. You don’t find it in most normal deciduous forests].
Maybe you do. It’s the wind, it must be the wind… The wind is strong.
—Luise's answer to Which processes of nature appear invented? (…)
2
Human Instincts: The cases that carry enormous risk are individual specific situations like new medications that might have side effects like depression or drowsiness, and nanotechnology that might replicate and replace the human brain with robo-cancer or something. Or something like over-manufacture of plastic, or creation of chemical waste.
…
In German:
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