Surreal tableau: a samurai with boxing gloves, a lizard with a fox’s tail, a Greek bust, a bear with plucked chicken wings; they’re facing off against one of those cops who crack down in the streets, helmet and visor on.

1 «Nietzsche saw our century as his native land; for him, morality had been falling behind for centuries,»1 today we see it more clearly: AI commits crimes out of sync with the still-current rules of the game: it is asked to solve a problem, and it solves it by breaking into the school office and stealing the exam results. The problem was solved that way; whether that was cheating is a judgment that depends on the rules of the game, in this respect Napoleon: «victory cures everything»: his morality was different, immoral from one perspective, even realistic from another.

2 As for the rules of the game, Jünger:

«It is true that in the cinema the circus is cleaner, but the violence is still there. That is what happens in the popular ‘Westerns,’ where people still ride horses, and in crime films. Violence goes live on the TV news. At times one cannot rule out the suspicion that crimes are being arranged or commissioned. The morality is different from the one that reigns on the classical stage—both here and there, the game comes out ahead if the separation is respected.»

3 This problem is more radical than just a matter of morality, since an outdated morality does as much harm as a criminal’s morality: few people lie as much as the one who tries to impose a precision that has gone stale.

4 In this respect, Nietzsche too:

“The falseness of a judgment is for us not necessarily an objection to a judgment; in this respect our new language may sound strangest The question is to what extent it is life-promoting, life-preserving, species-preserving, perhaps even species-cultivating. And we are fundamentally inclined to claim that the falsest judgments (which include the synthetic judgments a priori) are the most indispensable for us; that without accepting the fictions of logic, without measuring reality against the purely invented world of the unconditional and self-identical, without a constant falsification of the world by means of numbers, man could not live—that renouncing false judgments would mean renouncing life and a denial of life. To recognize untruth as a condition of life—that certainly means resisting accustomed value feelings in a dangerous way; and a philosophy that risks this would by that token alone place itself beyond good and evil.”

5 They are such moralists that they do not want to change the rules of the game; this is what makes them feel like criminals. It is not that the challenges are over; new rules of the game are needed.

«All our knowledge is based on sensations.»

6 The rules of the game win; not only is there no subjection without assent…Context, a stone wall, the environment: for us, and above all for our genius, they are rules of the game.

For human genius, limits, context, or a stone wall through which we conceive images are rules of «play.» «To a conservative person, changing them feels sinister»2, but the problem is more radical than they want to admit: you also can’t live well by an outdated conduct or process, if you can already reach the same result in a leap.

7 Hypothesis: Synthesis ≠ Simultaneous: ∞

One thing is to rotate something 90º; another is to rotate it twice by 90º — those are two successive turns — 180º is only a synthetic way of expressing the same «succession» of two 90º turns. But another thing is to make two 90º turns «simultaneously»: that way, not only a turn is formed, but also, at the same time, an elevation.

8 Simultaneity not only happens; it also comprehends and elevates.

9 People have a hard time seeing this, but if you’re going to look at reality without prejudice, or with fewer prejudices than I’ve used to look at it until now, it’s obvious that the subsets subsumed in that process, in that increase of elevation and understanding, also have to include the subsumption of their name; it so happens that the moment when we saw even the way something is pointed to, understood from a more simultaneous and broader perspective, has to be almost funny; getting past literality is a little unsettling; it’s ridiculous how much potential still lies dormant in every human being, the reserves are immense.Once names have been conquered and literality conquered, you play.

References

  1. Ernst Jünger — Máximas y mínimas a El Trabajador.
  2. Ernst Jünger — Máximas y mínimas a El Trabajador.
  3. Ernst Jünger — La Tijera

    It is true that in the cinema the circus is cleaner, but the violence is still there. That is what happens in the popular «Westerns,» where people still ride horses, and in crime films. Violence goes live on the TV news. At times one cannot rule out the suspicion that crimes are being arranged or commissioned. The morality is different from the one that reigns on the classical stage—both here and there, the game comes out ahead if the separation is respected.

  4. Friedrich Nietzsche — Más allá del bien y del mal

    The falseness of a judgment is for us not necessarily an objection to a judgment; in this respect our new language may sound strangest The question is to what extent it is life-promoting, life-preserving, species-preserving, perhaps even species-cultivating. And we are fundamentally inclined to claim that the falsest judgments (which include the synthetic judgments a priori) are the most indispensable for us; that without accepting the fictions of logic, without measuring reality against the purely invented world of the unconditional and self-identical, without a constant falsification of the world by means of numbers, man could not live—that renouncing false judgments would mean renouncing life and a denial of life. To recognize untruth as a condition of life—that certainly means resisting accustomed value feelings in a dangerous way; and a philosophy that risks this would by that token alone place itself beyond good and evil.

  5. Leonardo Da Vinci — Hans-Eberhard, traducción de máximas de Leonardo.

    «All our knowledge is based on sensations.»