Inspirational quotes by Peter Sloterdijk.
What early Christianity meant by 'faith' (pistis) was initially nothing other than running ahead and clinging to a model or idea whose attainability was still uncertain. Faith is purely anticipatory, in the sense that it already has an effect when it mobilizes the existence of the anticipatory towards the goal through anticipation. In analogy for the placebo effect, one would have to call this the movebo effect.
We can trace the communitarian fantasy that lies at the root of all humanism back to the model of a literary society, in which participation through reading the canon reveals a common love of inspiring messages. At the heart of humanism so understood we discover a cult or club fantasy: the dream of the portentous solidarity of those who have been chosen to be allowed to read. In the ancient world—indeed, until the dawn of the modern nation-states—the power of reading actually did mean something like membership of a secret elite; linguistic knowledge once counted in many places as the provenance of sorcery. In Middle English the word 'glamour' developed out of the word 'grammar'. The person who could read would be thought easily capable of other impossibilities.
The aesthetic construct, and nothing else, has taught us to expose ourselves to a non-enslaving experience of rank differences. The work of art is even allowed to 'tell' us, those who have run away from form, something, because it quite obviously does not embody the intention to confine us. 'La poesie ne s'impose plus, elle s'expose' Something that exposes itself and proves itself in this test gains unpresumed authority. In the space of aesthetic simulation, which is at once the emergency space for the success and failure of the artistic construct, the powerless superiority of the works can affect observers who otherwise take pains to ensure that they have no lord, old or new, above them.
As in the days of the first Merovingian, who pledged allegiance to the cross because of a victorious battle, today's children of the banalized Enlightenment are likewise meant to burn what they worshipped and worship what they burned.
[Nietzsche's] questions - transcend, but where to; ascend, but to what height? - would have answered themselves if he had calmly kept both feet on the ascetic ground. He was too sick to follow his most important insight: that the main thing in life is to take the minor things seriously. When minor things grow stronger, the danger posed by the main thing is contained; then climbing higher in the minor things means advancing in the main thing.
In his field, and with his means, Rilke carries out an operation that one could philosophically describe as the 'transformation of being into message' (more commonly, 'linguistic turn'). 'Being that can be be understood is language', Heidegger would later state - which conversely implies that language abandoned by being becomes mere chatter.
...only very few - only humans, as far as we know - achieve the second level of transcendent movement. Through this, the environment is de-restricted to become the world as an integral whole of manifest and latent elements. The second step is the work of language. This not only builds the 'house of being' - Heidegger took this phrase from Zarathustra's animals, which inform the convalescent: 'the house of being rebuilds itself eternally'; it is also the vehicle for the tendencies to run away from that house with which, by means of its inner surpluses, humans move towards the open. It need hardly be explained why the oldest parasite in the world, the world above, only appears with the second transcendence.
In truth, the crossing from nature to culture and vice versa has always stood wide open. It leads across an easily accessible bridge: the practising life. People have committed themselves to its construction since they came into existence - or rather, people only came into existence by applying themselves to the building of said bridge. The human being is the pontifical creature that, from its earliest evolutionary stages, has created tradition-compatible connections between the bridgeheads in the bodily realm and those in cultural programes. From the start, nature and culture are linked by a broad middle ground of embodied practices - containing languages, rituals and technical skills, in so far as these factors constitute the universal forms of automatized artificialities. This intermediate zone forms a morphologically rich, variable and stable region that can, for the time being, be referred to sufficiently clearly with such conventional categories as education, etiquette, custom, habit formation, training and exercise - without needing to wait for the purveyors of the 'human sciences', who, with all their bluster about culture, create the confusion for whose resolution they subsequently offer their services.
The stakes in this game are not low. Our enterprise is no less than the introduction of an alternative language, and with the language an altered perspective, for a group of phenomena that tradition tended to refer to with such words as 'spirituality', 'piety', 'morality', 'ethics' and 'asceticism'. If the manoeuvre succeeds, the conventional concept of religion, that ill-fated bugbear from the prop studios of modern Europe, will emerge from these investigations as the great loser. Certainly intellectual history has always resembled a refuge for malformed concepts - and after the following journey through the various stations, one will not only see through the concept of 'religion' in its failed design, a concept whose crookedness is second only to the hyper-bugbear that is 'culture'.
Fatally, the term 'barbarian' is the password that opens up the archives of the twentieth century. It refers to the despiser of achievement, the vandal, the status denier, the iconoclast, who refuses to acknowledge any ranking rules or hierarchy. Whoever wishes to understand the twentieth century must always keep the barbaric factor in view. Precisely in more recent modernity, it was and still is typical to allow an alliance between barbarism and success before a large audience, initially more in the form of insensitive imperialism, and today in the costumes of that invasive vulgarity which advances into virtually all areas through the vehicle of popular culture. That the barbaric position in twentieth-century Europe was even considered the way forward among the purveyors of high culture for a time, extending to a messianism of uneducatedness, indeed the utopia of a new beginning on the clean slate of ignorance, illustrates the extent of the civilizatory crisis this continent has gone through in the last century and a half - including the cultural revolution downwards, which runs through the twentieth century in our climes and casts its shadow ahead onto the twenty-first.
In the midst of the ubiquitous dealings with prostituted signs, the thing-poem was capable of opening up the prospect of returning to credible experiences of meaning. It did this by tying language to the gold standard of what things themselves communicate. Where randomness is disabled, authority should shine forth.
We are in an outside that carries inner worlds.
The history of the own that is grasped on too small a scale and the foreign that is treated too badly reaches an end at the moment when a global co-immunity structure is born, with a respectful inclusion of individual cultures, particular interests and local solidarities. This structure would take on planetary dimensions at the moment when the earth spanned by networks and built over by foams, was conceived as the own, and the previously dominant exploitative excess as the foreign. With this turn, the concretely universal would become operational. The helpless whole is transformed into a unity capable of being protected. A romanticism of brotherliness is replaced by a cooperative logic. Humanity becomes a political concept. Its members are no longer travellers on the ship of fools that is abstract universalism, but workers on the consistently concrete and discrete project of a global immune design. Although communism was a conglomeration of a few correct ideas and many wrong ones, its reasonable part - the understanding that shared life interests of the highest order can only be realized within a horizon of universal co-operative asceticisms - will have to assert itself anew sooner or later. It presses for a macrostructure of global immunizations : co-immunism.
Hence there is no free admission to the process of enlightenment - it is always paid at a psycho-traumatic cost. Only such individuals as always already bring along much more injury than could be caused by mere cognitive attacks on their narcissistic system have an apparently free backstage pass to it. Such candidates, like the highly talented of a special type, obtain their degree in wound studies free of charge. For them psychical sacrifices that only affect the cognitive immunity-shield appear to be forms of relief - for which reason they move about in the region of obscure theory like fish in water.
The Enlightenment, finally, invented progressive 'history' as an inner-worldly purgatory in order to develop the conditions of possibility of a perfected 'society'. This provided the required setting for the aggressive social theology of the Modern Age to drive out the political theology of the imperial eras. What was the Enlightenment in its deep structure if not an attempt to translate the ancient rhyme on learning and suffering - mathein pathein - into a collective and species-wide phenomenon? Was its aim not to persuade the many to expose themselves to transitional ordeals that would precede the great optimization of all things?
Via the mediation of the Enlightenment, this movement had changed from a hobby among a tiny literate elite and their secretaries, an ostentatious amusement among princely and mercantile art patrons and their masterly suppliers (who established a first 'art system'), into a national, a European, indeed a planetary matter. In order to spread from the few to the many, the renaissance had to discard its humanistic exterior and reveal itself as the return of ancient mass culture. The true renaissance question, reformulated in the terminology of practical philosophy - namely, whether other forms of life are possible and permissible for us alongside and after Christianity, especially ones whose patterns are derived from Greek and Roman (perhaps even Egyptian or Indian) antiquity - was no longer a secret discourse or an academic exercise in the nineteenth century, but rather an epochal passion, an inescapable pro nobis.
If Enlightenment in a technical sense is the programmatic word for progress in the awareness of explicitness, one can say without fear of grand formulas that rendering the implicit explicit is the cognitive form of fate. Were this not the case, one would never have had cause to believe that later knowledge would necessarily be better knowledge - for, as we know, everything that has been termed 'research' in the last centuries has rested on this assumption. Only when the inward-folded 'things' or facts are by their nature subject to a tendency to unfold themselves and become more comprehensible for us can one - provided the unfolding succeeds - speak of a true increase in knowledge. Only if the 'matters' are spontaneously prepared (or can be forced by imposed examination) to come to light in magnified and better-illuminated areas can one seriously - which here means with ontological emphasis - state that there is science in progress, there are real knowledge gains, there are expeditions in which we, the epistemically committed collective, advance to hidden continents of knowledge by making thematic what was previously unthematic, bringing to light what is yet unknown, and transforming vague cognizance into definite knowledge. In this manner we increase the cognitive capital of our society - the latter word without quotation marks in this case.
Wherever one encounters members of the human race, they always show the traits of a being that is condemned to surrealistic effort. Whoever goes in search of humans will find acrobats.
How much truth is contained in something can be best determined by making it thoroughly laughable and then watching to see how much joking around it can take. For truth is a matter that can withstand mockery, that is freshened by any ironic gesture directed at it. Whatever cannot withstand satire is false.
Viewed in this light, life itself appears as a dynamics of integration that is equipped with auto-therapeutic or 'endo-clinical' competencies and refers to a species-specific space of surprise. It has an equally innate and - in higher organisms - adaptively acquired responsibility for the injuries and invasions it regularly encounters in its permanently allocated environment or conquered surroundings. Such immune systems could equally be described as organismic early forms of a feeling for transcendence: thanks to the efficiency of these devices, which are constantly at the ready, the organism actively confronts the potential bringers of its death, opposing them with its endogenous capacity to overcome the lethal. Such functions have earned immune systems of this type comparisons to a 'body police' or border patrol. But as the concern, already at this level, is to work out a modus vivendi with foreign and invisible powers - and, in so far as these can bring death, 'higher' and 'supernatural' ones - this is a preliminary stage to the behaviour one is accustomed to terming religious or spiritual in human contexts. For every organism, its environment is its transcendence, and the more abstract and unknown the danger from that environment, the more transcendent it appears.
This gesture is one of the motifs of modernity's turn against the principle of imitating nature, that is to say, imitating predefined morphological expectations. It is still capable of perceiving message-totalities and autonomous thing-signals when no morphologically intact figures are left - indeed, precisely then. The sense for perfection withdraws from the forms of nature - probably because nature itself is in the process of losing its ontological authority. The popularization of photography also increasingly devalues the standard views of things. As the first edition of the visible, nature comes into discredit. It can no longer assert its authority as the sender of binding messages - for reasons that ultimately come from its disenchantment through being scientifically explored and technically outdone. After this shift, 'being perfect' takes on an altered meaning: it means having something to say that is more meaningful than the chatter of conventional totalities. Now the torsos and their ilk have their turn: the hour of those forms that do not remind us of anything has come. Fragments, cripples and hybrids formulate something that cannot be conveyed by the common whole forms and happy integrities; intensity beats standard perfection.
Cultural criticism always attacks the mass media. I don't think that makes sense. We should look more closely at the work of deformation that starts deeper down, especially because it involves so much demoralization. Something gets destroyed there that should not be destroyed under any circumstances - THE AWARENESS THAT KNOWLEDGE IS BORN OUT OF EUPHORIA AND THAT INTELLIGENCE IS A RELATIONSHIP OF THE HAPPY CONSCIOUSNESS WITH ITSELF. And that intelligence partly consists in the ability to find our own ways of overcoming the boredom that develops in an under-used brain. Across society as a whole, the most disturbing symptom is that people are no longer ambitious enough to plumb the limits of understanding within themselves. INTELLIGENCE IS THE LAST UTOPIAN POTENTIAL. THE ONLY TERRA INCOGNITA HUMANKIND STILL OWNS ARE THE GALAXIES OF THE BRAIN, THE MILKY WAYS OF INTELLIGENCE. And there is hardly any any convincing space travel in them. Incidentally, this internal astronautics is the only alternative to a consumerist perspective. It is the only thing that could explain to people in the future that their intelligence space is so immense that they can experiment with themselves for millennia without becoming exhausted. The really good news is that there is something breathtakingly great that is called intelligence and is uncharted. ARE YOU WILLING TO VOLUNTEER ?
I am already living, but something is telling me with unchallengeable authority: you are not living properly. The numinous authority of form enjoys the prerogative of being able to tell me 'You must'. It is the authority of a different life in this life. This authority touches on a subtle insufficiency within me that is older and freer than sin; it is my innermost not-yet. In my most conscious moment, I am affected by the absolute objection to my status quo: my change is the one thing that is necessary. If you do indeed subsequently change your life, what you are doing is no different from what you desire with your whole will as soon as you feel how a vertical tension that is valid for you unhinges your life.
What the poet has to say to the torso of the supposed Apollo, however, is more than a note on an excursion to the antiquities collection. The author's point is not that the thing depicts an extinct god who might be of interest to the humanistically educated, but that the god in the stone constitutes a thing-construct that is still on air. We are dealing with a document of how newer message ontology outgrew traditional theologies. Here, being itself is understood as having more power to speak and transmit, and more potent authority, than God, the ruling idol of religions. In modern times, even a God can find himself among the pretty figures that no longer mean anything to us - assuming they do not become openly irksome. The thing filled with being, however, does not cease to speak to us when its moment has come.
It is clear enough that not every something can be elevated to the rank of a thing - otherwise everything and everyone would be speaking once more, and the chatter would spread from humans to things. Rilke privileges two categories of 'entities' [Seienden), to express it in the papery diction of philosophy, that are eligible for the lofty task of acting as message-things - artifices and living creatures - with the latter gaining their particular quality from the former, as if animals were being's highest works of art before humans. Inherent to both is a message energy that does not activate itself, but requires the poet as a decoder and messenger.
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