[D-G] Awakening from the Nightmare of History

NZ pretzelworld at gmail.com
Tue Aug 9 18:19:18 PDT 2005

thinking myself out of my armchair is not what i want to do, i like my
armchair just fine,
besides, its a feminine universe.
what i am trying to do is come to terms with a concept of an absolute
that contains an identity, not atomic like a Anaxagoras or socrates,
(cuz they just went about to change the absolute by creating "Atem",
in effect giving us logos with a remainder of "nothing".)
 the tragedy of nietsche is that his absolute was nearly the same as theirs...
 (absolute) -> ("nothing" vs logos) --going down logos until-->
(Apollo vs Dionysis or whatever else) .... all he's left to do is
tie-up the remainders of his logos, but thats why neitsche is so
paradoxical, he uses that remainder "nothing" as capital for more
observations like "god is dead" the history of these observations is
indeed like rhizomz .
i agree with koenigsbrf that we can see the impression of these
rhyzoms as they leave dents in the history of culture. why capitalize
on this nothing(anti-logos), trading possibility for thinking, but
why, if my identity is already circuited to the absolute and i dont
have a nothing. thats what i like about the rhebus and kenning or
whatever else connects us back to the absolute through meaning. "power
of non-thinking" is fine for shop-aholics but there's something wrong
when we have gladwell slopping this same gruel for the national
food-industry policy makers
niebliung .. seems the only word german keyboards can correctly spell

here is the link to "Rap and the Esteem Economy" an article on
Freakonomics, Steven Levitt

the discussion at the bottom is fun. but mainly i think the book walks
a crooked path getting to the point - who could ever mistake PE for
gangsta rap? pah-leez! althought the term is merely an industry
fabrication, similar to "rhythm&blues" which replaces a more blatant
"race music". there is no reason that this detail would unhinge his
arguement, he just needs a little more elbow grease.

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