Nilsi

„A Brief History of Everything“

Peak Kanye.

This is perhaps my favorite series of talks he has given so far. The man flew off to the rainforest at 18 to pursue enlightenment; managed to convince some of the most intelligent and powerful people on Earth to mentor him or at least arrange a meeting with him in his 20‘s; developed a novel cure for a neurodegenerative disease he was diagnosed with when he was in his 30‘s, despite having no background in medicine whatsoever;… This is what real philosophy looks like, as opposed to the dorky scholarship and endless debating that is usually attributed to the „philosopher.“ Once this man's full biography is published, he will be remembered as one of the greatest to have ever done it.

Has to be Daniel Schmachtenberger. His comprehension of the most pressing problems of our time is way beyond that of anyone else. In some sense, it's hard to call him a philosopher proper because his thought is so urgent and specific to the contemporary context. It is the way in which he approaches these problems that I think will endure though.

Nothing matches the dreamy surrealist beauty of this masterpiece. This brings up the most beautiful visions of death for me -- joyfully fading out of existence; leaving my current life behind with no second thoughts whatsoever.

Perhaps my favorite lyrics of any Kendrick Lamar track.

After relistening to some Eminem classics, I must say that what stands out most is his intensity. As far as curating an aesthetically pleasing experience goes, though, he leaves a lot to be desired. Kendrick Lamar, I would argue, easily matches Eminem's energy in his best moments and has created a profound artistic statement in his oeuvre, especially in his magnum opus "To Pimp A Butterfly." I will admit that the subject matter of a track like "The Blacker The Berry" may not be as relatable to the average person on the street as a track like "Lose Yourself" is, which is perhaps why Eminem, despite his mediocre critical acclaim, is so highly regarded by the general public.

https://en.wikipedia.org/wiki/Salvador_Allende One of the most inspiring leaders of all time, yet he is virtually absent in any contemporary discourse. Those were his last words, before dying in a coup d'état orchestrated by the U.S.

“Without music, life would be a mistake.” ― Friedrich Nietzsche

You can easily take Alpha-GPC 5 days on, 2 days off. You will develop some tolerance, of course, but the tolerance will remain at a constant level, so with the right dosage, you can sustainably achieve the desired effect. In my experience, you can do the same with Phenibut (or Noopept, or any Racetam for that matter), although you should be extra careful with substances that make you feel this good (as you can easily start abusing them).

This post reminded me of this classic.

Speaking daily with dozens of individuals (in a sales context) from diverse backgrounds and societal ranks has taught me that the #1 rule of effective communication is being authentic. There is nothing that ticks people off more than feeling manipulated or the sense that the other person is putting on some kind of performance (which will only increase as deep fakes and counterfeit people become more ubiquitous). The ideal is to feel that a person's way of communicating is reflective of their personality and remains consistent across different contexts. Of course I value competence (which can take on many different forms) in communication, but greater competence brings with it a greater responsibility to maintain integrity with one's character (because most contemporary societal contexts do not demand high competence, making it tempting to slack off and become loose with ones values). Thus, it all boils down to competence and integrity.

Eminem is what people that do not listen to Hip-Hop think good Hip-Hop sounds like.

Putin has made it no secret that his politics is deeply steeped in mythopoiesis. This is not so much about Putin as an agent in a game-theoretic exchange with the west, as it is about him as a historical entity. This is very similar to the Jordan Peterson situation. You can not really characterize him as a power-hungry Machiavellian, as that's not what he's psychologically motivated by. This is some twisted Jungian shit. For Putin to open itself up to the ideals of the modern West would completely undermine his Traditionalist ambitions. It's clear that the Western version of "Diversity" is quite twisted and not really interested in any true kind of multiplicity (as argued quite convincingly by Alexander Dugin). The deeper problem is that Putins iron rule in the face of Western colonialism has led to a lot of reactionary pro-western sympathies amongst young Russians. This is understandable, but unfortunate, as defining yourself in opposition to some other prevents any kind of true liberation and self-determination. This issue does not call for a diplomatic solution but of a philosophical and aesthetic one. There needs to be a new collective identity of the Russian people, beyond Putins radical traditionalism and (reactionary) Western liberalism. It's ironic how many self-proclaimed Marxists and Post-Modernists will argue over the same old texts to the nth degree in the name of progress and emancipation, while contemporary Russian philosophy and art is virtually absent in any such discourse.

For me it has to be "Census Designated" by Jane Remover. By far the most emotionally affective music Ive heard all year and probably one of the most devastating emotional experiences Ive ever had from any music ever (which says a lot). Instrumentally its a (extremely well executed and cutting edge) mix of shoegaze, emo, metal core and noise rock. The vocal performance on this is insane -- Jane just floats over these slow building instrumentals with her angelic heavily autotuned voice, to a point where its hard to even pinpoint any standout moment on this one hour long project, as its blissful vocal runs ad infinitum. The themes discussed on this album are quite dark and vulgar and mostly deal with coming off age as a transgender teenager. Following is a little snippet of what to expect lyrically from this: I envy how big your feelings are How much you hate your life Running like a lamb with her legs cut off, I'll act like mine's not on the line How filthy can I get before you rip me from your chest? You take the color from my face and I fill your bed with vomit Favorite Tracks: Idling Somewhere, Video Share yours!!!

Philosophy, as traditionally understood, is the pursuit of universal truths, which are stable across space and time. Nowhere is this view epitomized more than in the philosophy of G.W.F. Hegel. In Hegel’s philosophy, reality is seen as having an intrinsic purpose towards which it evolves — a universality in which all contradictions and differences are resolved in a state of absolute completion. Hegel’s dialectical method views this evolution as a process wherein contradictions lead to the development of higher levels of understanding. Encounters with contradictions prompt revisions in one’s worldview, transcending and integrating these contradictions. Hegel conceptualizes the culmination of this process as the “Absolute Spirit” - a universal self-understanding. Given the infinite nature of reality, any arrival at the “Absolute” is always a provisional conclusion, given that there is always an infinitude of reality outside one’s current paradigm. This, of course, means that one is always in a state of imperfection, continually striving to encompass more of reality to fill this perceived lack in oneself. This is where Friedrich Nietzsche enters the scene. Once this ideal of universality takes over a culture or individual, Nietzsche thought, self-denial and nihilism ensue, making genuine self-expression impossible. Any attempt to assert oneself on reality is prevented by a bad conscience — how can one assert something if something is always particular and not universal? And if one asserts universality, one is stuck in an eternal state of lack and inadequacy. What follows is the need for a fundamental reorientation towards reality, which is precisely the project Nietzsche committed himself to. He introduces the typology of “Master-Slave Morality,” characterizing Hegel’s idealization of universality as submission and self-denial. This he equates to the psychology of the slave, whose identity has become so tied up in his relationship to the master that he becomes instinctively submissive and passive. Nietzsche breaks this paradigm by opposing it with the morality of the master, whose natural sense of self-righteousness allows him to freely assert his vision on reality. Instead of projecting evil and lack into oneself, as the slave does, the master projects it out into the world and frees himself from the shackles of a bad conscience. Another antithesis to Hegel was put forward by Gilles Deleuze, who argues for the primacy of “Difference,” emphasizing the uniqueness and particularity of reality as opposed to universal truths. The Deleuzian philosopher is thus not a seeker of truth, but a creator of values and concepts, exploring novel ways to understand and experience reality. Finally, we can return to Nietzsche and his proposition of the “Übermensch,” as one who transcends the particular-universal dichotomy and affirms its existence — a dynamic and complex worldview that finds its greatest expression in Greek tragedy, in which life is portrayed as inherently double-edged and no primacy is given to either the universal realm of the gods or the particular world of human existence.

The way you master your "chi" is by nutting in a hot chick.

The Western canon is to high-culture what the Paleolithic era is to culture.

Anyways... lets take this back to the initial discussion. Nietzsche ended up transcending this binary framework of dionysus-apollo in his later works in favor of the notion of Dionysus (with a capital 'D') as a symbol encompassing the entirety of the creative process and, by extension, life itself. In Nietzsche's view, this expanded idea of Dionysus represents a fusion of both apollonian and dionysian elements, suggesting that true creativity and life's vitality arise from the interplay and tension between order (apollo) and chaos (dionysus). Thus, in Nietzsche's later thought, Dionysus becomes a more complex and inclusive symbol, representing the dynamic and holistic nature of life and creativity, where these opposing forces are not just in conflict, but are essential and complementary components of existence. He would then create his final pairing in Dionysus and "The Crucified" aka. Christ (I don't think I need to elaborate what he represents) -- the perfect analogy for our little thought experiment (100.000$ vs. compassion). “Have I been understood?―Dionysus against the crucified one...” I'll let Nietzsche conclude: “The god on the cross is a curse on life, a signpost to seek redemption from life; Dionysus cut to pieces is a promise of life: it will be eternally reborn and return from destruction.” So, if you want to serve life, the only logically consistent choice is to take the money.

I was making the point that playing the guitar probably lies on the outer end of this spectrum, as far as sophistication (or a lack thereof) goes.

I don't think you can split these pursuits into more left- or right-brained ones. In philosophy it's just more obvious and explicit than in music. Funny enough, Nietzsche actually talks about these different "artistic impulses" quite explicity and likens them to the Greek Gods Dionysus and Apollo, whereby Dionysus roughly represents the raw and unbound version of creativity and Apollo the cultured and refined version of creativity. The juxtaposition of both, he argued, was the highest form of art and hadn't been properly achieved since the Greek Tragedy. In this sense, I would simply call the guitar player in your example a bad player, failing to integrate these principles properly,- the same way I call John Vervaeke a bad (and painfully uninspired) philosopher. I think Nazi Germany is actually an interesting case study of an attempt to pull something like this off,- although it ultimately just created a giant schism between the overly irrational and romantic Hitler and the impressive larger-than-life (neo-classical) art and architecture it produced.

You can find all sorts of examples for mastery (see the playlist above), which nonetheless can not genuinley be considered in the same vein as Ludwig van Beethoven, Alexander the Great, Pablo Picasso, etc. I would say the highest forms of excellence require millenia of preparation from previous generations to truly reach these transcendent heights of sublimity -- which is where a transferral of this vast tradition requires serious apprenticeship. This includes the discipline of psychology, if you ask me. If you're not seriously studying the works of masters like Nietzsche, Freud, Piaget, etc. what are you even doing? You will end up in obscurity, not contributing anything significant to larger society, just like Leo did (who generally has the necessary talent and character traits to achieve actual greatness, unlike someone as bland and unimaginative as John Vervaeke).

Which is why they are destined to obscurity, although I have to admit the Malmsteen guy is pretty amazing. Its just that playing the electric guitar is such a recent thing (and perhaps too limited of a medium) that there simply haven't been high enough standards established. In the world of pianists, this is an entirely different story and you will not find any celebrated pianist who hasn't undergone an extensive apprenticeship and studied the great works and composers of the Western canon. My favorite example of this mentality is French haute cuisine: This is what it looks like to pursue perfection and excellence down to the nitty gritty details (which is what makes all the difference in the end). Homemade tacos may be great, but running a 3-Michelin-Star restaurant is simply a different league.

Being all wired and blue balled won’t improve your chances with women, don’t fool yourself there. You want to be chill and relatable not some jacked up soldier.