The Wanderer and His Shadow
297: Not to wish to see too soon.-- As long as one lives through an experience, one must surrender to the experience and shut one's eyes instead of becoming an observer immediately. For that would disturb the good digestion of the experience: instead of wisdom one would acquire indigestion. [like when you eat mayonnaise for breakfast]
307: When taking leave is needed. -- From what you would know and measure, you must take leave, at least for a time. Only after having left town, you see how high its towers rise above the houses.
317: Opinions and fish.-- Possessing opinions is like possessing fish, assuming one has a fish pond. One has to go fishing and needs some luck--then one has one's own fish, one's own opinions. I am speaking of live opinions, of live fish. Others are satisfied if they own a cabinet of fossils--and in their heads, "convictions." [what are your rules for music? he asked...]
323: Remorse.-- Never give way to remorse, but immediately say to yourself: that would merely mean adding a second stupidity to the first.--If you have done harm, see how you can do good.--If you are punished for your actions, bear the punishment with the feeling that you are doing good--by deterring others from falling prey to the same [out of pot pissing americanino boolshitting arounding] folly. Every evildoer who is punished may feel that he is a benefactor of humanity. [You're welcome.]
The Gay Science
15: Rust. -- You need some rust; sharpness does not suffice:
Else you will seem to young and too precise.
89: Now and formerly.-- What good is all the art of our works of art if we lost that higher art, the art of festivals? Formerly, all works of art adorned the great festival road of humanity, to commemorate high and happy moments. Now one uses works of art to lure aside from the great via dolorosa of humanity those who are wretched, exhausted, and sick, and to offer them a brief lustful moment--a little intoxication and madness.
93: But who do you write? --
A: I am not one of those who think with an inky pen in their hand, much less one of those who in front of an open inkwell abandon themselves to their passions while they sit in a chair and stare at the paper. I am annoyed by and ashamed of my writing; writing is for me a pressing and embarrassing need, and to speak of it even in a parable disgusts me
B: But why, then do you write?
A: Well, my friend, to be quite frank: so far, I have not discovered any other way of getting rid of my thoughts.
B: And why do you want to get rid of them?
A: Why I want to? Do I want to? I must.
B: Enough! Enough!
[feel free to change "write" to "play the saxophone like an americanino cripple shitter arounder"]
130: A dangerous resolve.-- The Christian resolve to find the world ugly and bad has made the world ugly and bad. [and music?]
187: Offensive presentation.-- This artist offends me by the manner in which he presents his ideas, although they are very good; his presentation is so broad and emphatic and depends on such crude artifices of persuasion, [cf. "crippled dog"] as if he addressed a mob. Whenever we give some time to his art we are soon as if "in bad company."
208. Great man.-- From the fact that somebody is "a big man" we cannot infer that he is a man; perhaps he is merely a boy, or a chameleon of all the ages of life, or a bewitched little girl.
[this dog is neither crippled nor boolshit]
Human All Too Human
86: The eyes with which we behold the ideal. -- Every proficient man is stuck in his proficiency and cannot see freely beyond it. If he were not very imperfect in other respects his virtue would prevent him from attaining to any spiritual and moral freedom at all. Our deficiencies are the eyes with which we behold the ideal.
110: The robber-genius. -- The robber-genius in the arts, who knows how to deceive even discriminating spirits, originates when anyone has from his youth on naively regarded every good thing not expressly the legal property of some particular person as free for all to plunder. Now, all the good things of past ages and masters lie freely about, hedged round and guarded by the reverential awe of the few who know them: by virtue of the lack of this feeling in him, the robber-genius is able to bid these few defiance and to accumulate for himself an abundance of riches that itself evokes reverence and awe in its turn
151: How metre beautifies. -- Metre lays a veil over reality: it effectuates a certain artificiality of speech and unclarity of thinking; by means of the shadows it throws over thoughts it now conceals, now brings into prominence. As beautification requires shadows, so clarification requires "vagueness'. -- Art makes the sight of life bearable by laying over it the veil of unclear thinking
152: Art of the ugly soul. -- One imposes far too narrow limitations on art when one demands that only well-ordered, morally balanced souls may express themselves in it. As in the plastic arts, so in music and poetry too there is an art of the ugly soul beside the art of the beautiful soul; and the mightiest effects of art, that which tames souls, moves stones and humanizes the beast, have perhaps been mostly achieved by precisely that art.
185: Author's paradoxes. -- The so-called paradoxes of an author to which a reader takes exception very often stand not at all in the author's book but in the reader's head. [or the listeners head? or the "band mate's" head?]
198: Marksmen and thinkers. -- There are curious marksmen who, though they miss the target [like the toilet], depart from the range complacently proud of the fact that their bullet did at any rate fly a great distance (well beyond the target in any event), or that, though they did not hit the target, the did at any rate hit something. And there are thinkers [and boolshitter arounder musicians] like this.
206: Lack of Confidence. -- Lack of confidence among friends is a fault that cannot be reprimanded without becoming incurable.
213: Pleasure in nonsense. [boolshit?]-- How can man take pleasure in nonsense? For wherever in the world there is laughter this is the case; one can say, indeed, that almost everywhere there is happiness there is pleasure in nonsense. the overturning of experience into its opposite, of the purposive into the purposeless, of the necessary into the arbitrary, but in such a way that this event causes no harm and is imagined as occasioned by high shirts, delights us, for it momentarily liberates us from the constraint of the necessary, the purposive and that which corresponds to our experience, which we usually see as our inexorable masters; we play and laugh when the expected (which usually makes us fearful and tense) discharges itself harmlessly. It is the pleasure of the slave at the Saturnalia.
[does humour belong in music?]
233: For the despisers of 'herd humanity' -- He who regards men as a herd and flees from them as fast as he can will certainly be overtaken by them and gored by their horns.
300: Two kinds of equality. -- The thirst for equality can express itself either as a desire to draw everyone down to oneself (through diminishing them, spying on them, tripping them up) or to raise oneself and everyone else up (through recognizing their virtues, helping them, rejoicing in their success).
340: To one who is praised. -- So long as you are praised think only that you are not yet on your own path but on that of another. [freejazz blog is the Downbeat of today...the more stars, the worse the recording]
347: The water-drinker speaks. -- Go on drinking the wine that has refreshed you all your life -- what is it to you that I have to be a water-drinker? Are wine and water not peaceable, fraternal elements which dwell side by side in harmony? [ps, Italian men don't get drunk, no matter how much they drink...only americanino shitter arounders]
353: Worms. -- It says nothing against the ripeness of a spirit that it has a few worms. [is the same true for music?]
Twilight of the Idols
8: Toward a psychology of the artist. If there is to be art, if there is to be any aesthetic doing and seeing, one psychological condition is indispensable: frenzy. Frenzy must first have enhanced the excitability of the whole machine [and augmented the ability to piss in the pot?]; else there is no art. All kinds of frenzy, however diversely conditioned, have the strength to accomplish this: above all, the frenzy of sexual excitement, this most ancient and original form of frenzy. Also the frenzy that follows all great cravings, all strong affects; the frenzy of feasts, contests, feats of daring, victory, all extreme movement; the frenzy of cruelty; the frenzy in destruction; the frenzy under certain meteorological influences, as for example the frenzy of spring; or under the influence of narcotics; and finally the frenzy of will, the frenzy of an overcharged and swollen will. What is essential in such frenzy is the feeling of increased strength and fullness. Out of this feeling one lends to things, one forces them to accept from us, one violates them--this process is called idealizing. Let us get rid of a prejudice here: idealizing does not consist, as is commonly held, in subtracting or discounting the petty and inconsequential. What is decisive is rather a tremendous drive to bring out the main features so that the others disappear in the process.
26: I mistrust all systematizers and I avoid them. The will to a system is a lack of integrity. [boring ass repeating patterns suck as well.]
37: You run ahead? Are you doing it as a shepherd? Or as an exception? A third case would be the fugitive. First question of conscience.
38: Are you genuine? Or merely an actor? A representative? Or that which is represented? In the end, perhaps you are merely a copy of an actor. Second question of conscience.
40: Are you one who looks on? Or one who lends a hand? Or one who looks away and walks off? Third question of conscience.
41: Do you want to walk along? Or walk ahead? Or walk by yourself? One must know what one wants and that one wants. Fourth question of conscience.
186: Business people.-- Your business - is your greatest prejudice: it ties you to your locality, to the company you keep, to the inclinations you feel. Diligent in business - but indolent in spirit, content with your inadequacy, and with the cloak of duty hung over this contentment: that is how you live, that is how you want your children to live! ["Don't fuck with the formula, Brian" said Murray, and then he slapped the shit out of Brian until Brian was deaf in one ear. "Good Vibrations!"]
236: Punishment. -- A strange thing, our kind of punishment! It does not cleanse the offender, it is no expiation: on the contrary, it defiles more than the offence itself. [cf. Murray wilson]
318: Beware of systematisers! - Systematisers practise a kind of play-acting in as much as they want to fill out a system and round off its horizon, they have to try to present their weaker qualities in the same style as their stronger--they try to impersonate whole and uniformly strong natures.
376: Plenty of sleep. - What can one do to arouse oneself when one is tired and has had enough of oneself? One person recommends the casino, another Christianity, a third electricity. The best thing, however, my melancholy friend, is plenty of sleep, real and metaphorical! Thus one will again awake to a new morning! The art in the wisdom of life lies in knowing how to fall asleep in either sense at the proper time.
361. Ugly-looking. -- Moderation sees itself as beautiful; it is unaware that in the eye of the immoderate [out of pot pisser] it appears black and sober, and consequently ugly-looking
[and very fucking boring to listen to.]
And now back to our regularly scheduled americanino boolshit out of pot piss non-programming!