Ex nihilo - Podcast English Archiv

As the current wave of disruption, manifesting itself through various conversations about artificial intelligence swirling around us (which, from our perspective, would be better described as a »Reflective Intelligence«), builds into a cultural crescendo reminiscent of Hokusai’s Great Wave off Kanagawa. Indeed, when, as a kind of embarrassment of thought, even the leading figures in its epistemological field conjure up a dys-utopian race toward civilizational collapse (as with Geoffrey Hinton), it’s easy to overlook how the Computer’s intellectual roots in our Machine Culture date back to the 18th century. And because of this, reflecting back on Digitalisation's origins in the crackling rift of Writing’s electrification becomes even more essential. We’re pleased to share this brief conversation between us about reading between the lines regarding Electrification, Massification, and the shifting definition of Writing in the early chapters of Martin’s Short History of Digitalisation.

Hopkins Stanley and Martin Burckhardt

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It is difficult to ignore how Capitalism has slipped into a deep values crisis – and indeed, you might be forgiven for thinking we are in a Potemkin village, a zombie economy sustained only by memories of a glorious past or by cash injections from central banks. For this reason alone, our conversation with Peter Fleming was extremely valuable, as he, with his keen sense of fundamental upheavals, recognized the signs of the times early on. Observations like how work has become little more than a mythological narrative for reassuring ourselves of our sense of importance and self-worth, or that universities have turned into dark zones in our era of Human Capital—sometimes jokingly called Whackademia—and that in this morally decayed environment, it is almost impossible to cling to the specter of the homo economicus as the ideal of utility-maximizing rationality. In this sense, it’s only logical that Peter Fleming's dirge ends with a reflection on Capitalism and Nothingness. And while this may be a somewhat somber topic, we found our conversation with him to be very enjoyable and entertaining.

Peter Fleming is a Professor of Organization Studies at the University of Technology, Sydney. During his time in London, where he taught Business and Society at City University, he chaired the London Living Wage Symposium at the House of Commons. His work has been recognized with several awards.

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Following our presentation of the »Labyrinth of Signs,« parts I and II, we now provide a deeply reflective yet light-hearted post-mortem discussion between us to help you understand what it means to be literate. Martin’s concept of Psychotope becomes more understandable as our conversation progresses; it becomes clear how essential the Alphabet is in enabling us to be literate in our thinking, writing, and discourses, revealing that we are essentially working with an outsourced, historical unconscious in how it shapes us through its use. This is evident from the fact that the origin of Symbolic Logic remains a gaping blank space in Philosophy—even more so: it’s hidden within the conspicuousness of its absence. Something I’ve come to know as the Burckhardtian leitmotif of »The Philosopher’s Shame.«

It’s also no coincidence that »Geist der Maschine« features a chapter on how Sigmund Freud developed his concept of the unconscious, which we’ve also translated into English and will be posting soon. For now, it suffices to say that this chapter explains how and why Freud excluded the 19th century’s material culture (meaning its Logic of an Electrified/Telegraphic Society), which fulfilled his metaphysical needs, while simultaneously introducing something like a black box unconscious of the Unconscious into the World as its Psychotope.

Hopkins Stanley

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The title’s rhetorical question is a tautology. After all, it's evident that when we dream, our bedroom transforms into a space that’s magically filled with all kinds of creatures. In this sense, the engaging little experiment showcased in our short video simply translates our dreamwork into daylight. If we must insist that artificial intelligence is not the creation of some alien, hostile force, it’s because this misconception has long become endemic. When commentators go so far as to view AI as a singularity, a trans-humanist super-intelligence—or worse, a new biological species—they are operating under a profound misunderstanding. This misunderstanding mainly arises because the History of Digitization has remained a blank page thus far. This is why we will present our readers with chapters detailing the events that have shaped the style and spirit of this history over the next few weeks. Our failure to confront this history and its implications for so long may explain the discomfort many of us feel as we contemplate the consequences of this revolution in our lives. Reflecting on the progress made in recent years, driven by projects like OpenAI, Claude, Gemini, and Ollama, it's clear that our working world—indeed, the capitalist value system itself—is facing the crisis Nietzsche described as the devaluation of values. However, in our case, we are dealing with an economic rather than a moral logic of devaluation. Instead of seeking comfort in doomsday rhetoric, it makes much more sense to dare to look in the mirror. While you may encounter your own nightmares, on the other hand, you’re also confronting a dream machine—one that can produce the most wondrous results.

Eigentlich läuft die rhetorische Frage des Titels auf eine Tautologie hinaus. Denn es ist evident, dass, wenn wir träumen, unser Schlafzimmer der Ort ist, der, ganz von selbst, von allen erdenklichen Wesen animiert ist. In diesem Sinn ist auch das kleine, höchst unterhaltsame Experiment, dass sich in diesem kleinen Video niedergeschlagen hat, nichts anderes als eine in die Tageshelle übersetzte Traumarbeit. Wenn man gleichwohl darauf beharren muss, dass die Gebilde der Künstlichen Intelligenz nicht auf eine fremde, feindliche Macht zurückgehen, so weil dieses Missverständnis längst endemisch geworden ist. Wenn sich Kommentatoren dazu versteigen, in der KI eine Singularity, eine transhumanistische Superintelligenz – oder ärger noch: eine neuartige biologische Spezies zu erblicken, hat man es mit einem tiefen Missverständnis zu tun. Dieses Missverständnis rührt nicht zuletzt daher, dass die Geschichte der Digitalisierung bis heute eine Leerstelle geblieben ist – weswegen wir in den nächsten Wochen unseren Lesern die Kapitel präsentieren werden, die in dieser Geschichte stil- und geistprägend sind. Dass man sich dieser Geschichte – und ihren Implikationen - so lange nicht gestellt hat, mag das Unbehagen erklären, das die meisten Zeitgenossen heimsucht, wenn sie darüber nachdenken, welche Folgen diese Revolution für ihr eigenes Leben haben mag. Schaut man sich die Fortschritte an, die sich in den letzten Jahren (forciert durch Projekte wie OpenAI, Claude oder Gemini oder Ollama) Bahn gebrochen haben, ist evident, dass unsere Arbeitswelt, ja, das kapitalistische Wertesystem hier vor jener Bewährungskrise steht, die Nietzsche als Entwertung der Werte gefasst hat, nur dass man es in diesem Falle nicht mit einer moralischen, sondern einer durchaus ökonomischen Entwertungslogik zu tun hat. Anstatt hier Trost in einem Weltuntergangsvokabular zu suchen, ist es sehr viel sinnvoller, den Blick in den Spiegel zu wagen. Mag sein, dass man hier den eigenen Alpträumen begegnen, anderseits hat man es mit einer Traummaschine zu tun – die ganz wunderbare Ergebnisse zeitigen kann.

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Who comes up with something like that? (Carmela Soprano)

It's been a good two years since we entered the world of AI-generated images, and during this time, tools like DALL-E and Leonardo.ai have become familiar companions in image production. And during this period, we’ve been exploring the artistic capabilities of our own Company Machine, the in-house metaphor machine we developed, which can translate texts and conversations into truly surprising images from scratch. This is why we were very curious to test the much-hyped Google VEO software, using images from our Company Machine that are pretty unusual themselves. Here is a little demonstration of what you can count on in the future. Count on? No, that's the wrong word. It might be more appropriate to speak of the anticipation of a magic mirror that translates what it receives into gestures—amounting to nothing less than the complete unleashing of the Imagination’s power. The following is the result of a compilation of a fun day Hopkins, Martin, and I spent together trying to teach this ex nihilo Image World to walk.

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The following text is part one of the second chapter from Martin’s second book, titled »Vom Geist der Maschine. Eine Geschichte kultureller Umbrüche«, published in 1999.

Martin Burckhardt

In the Labyrinth of the Signs I

The Gods are from the Field of the Real

(Jacques Lacan)

Dazzled by the Blinding

What is it like to look into the sun? To feel small sparks burning into your eyes, expanding into rings, into a glaring brightness mixed with blackness, shimmering red, the feeling of growing tension. Tears gather under the retina, like a burn blister that will eventually burst under the mere pressure of a blink. And with the watery vitreous humor, my eyesight will also drain away. I imagine this loss: almost a relief, no more burning, just this liquid running down my cheek and leaving a taste in the corner of my mouth. But I can still see: pulsating, bullet-like flashing points. Are they specks of sunlight or already the first holes in my eye? It doesn’t matter, who knows? Basically, I'm no longer sure whether the radiation comes from outside or rather from the depths of my skull, a volcanic magma that wells up and, at the moment of discharge, causes my gaze to explode and fly off in all directions—as if, at the moment of dazzlement, I could see with a thousand eyes, like an insect. A piercingly bright pain, but this pain is accompanied by an equally clear thought, the amazement that here, where the light shines brightest, the path leads into the darkness of Myth.

Black. Nothing else. A calm black that stretches into infinity. And yet, this blink of an Eye [Augenblick] isn't accompanied by total darkness. Maybe it's because of the little noises making it feel like this blackness keeps changing color. Incidentally, it isn’t entirely dark to me either, but as if a residual radiation emanates from things, an almost imperceptible inner light. It takes time to get used to it. No, that's wrong, because you don't need time anymore. With your eyesight, time also runs out into timelessness. Everything returns to itself, like a kind of rhythm, so that it doesn't matter which tense I choose: I was, I am, or I will be. At the beginning, one sentence kept incessantly wandering through my mind: Fame is the Sun of the Dead—now I know it refers to that moment when there can only be light and shadow. In fact, this last and ultimate flashing blink describes the point at which the objective becomes one with the apocalyptic. There is the Bomb's blinding flash, casting a final, merciless glance at the World and simultaneously burning the body that its radiation has reduced to nothing into the ground as a shadow. Nunc stans.

No, here the shadows aren't burned in, much less anything else that can be grasped. As my eyes (or what remains of them) adjust to the diffuse residual light, I notice that a black sun is shining here too—or are there several? But perhaps the word ›Sun‹ is wrong, because these luminous bodies are more like Cyclops' eyes. Like spotlights, they roam through the darkness, creating multiple exposures, image overlays, and blurred streaks of movement.

Perhaps it’s this very presence-of-mind gaze that leads us to the Myth’s essence: that the individual body becomes invisible as an individual, composed of those silhouettes that the Cyclops' headlights, as its »pursuers«, cast onto the walls. Perhaps the Myth can be thought of as a layer of film, as a never-ending gaze in which large, intergenerational periods of time are inscribed. It would be misleading for the Myth to be interpreted as a face, or even as an individual being. If a name appears, it stands as a choir leader who embodies a long genealogy, a face assembled from many faces like that of a wanted poster. As in the receptive surface of the film, it’s only what’s inscribed in the Myth that corresponds to the substrate's receptivity (the exposure time): la longue durée. Just as the first photographs took hours until reality had burned itself into the image, and how a pedestrian could walk through the scene without leaving the faintest trace of his presence, so too can Myth be understood as a surface that remains unconcerned with passers-by and ephemera, anecdotes and episodes. When, on the other hand, something becomes visible in the picture, IT is because it is a condensation and crystallization of time. This explains how the one-and-the-same figure can appear multiple times, in different roles and stages of life. Like a long-exposure photograph, the Myth absorbs time, juxtaposes the sequential, and thus equates the different levels of history. The images may be dark, blurred, and shaky, but what is conveyed is pure architecture. There’s nothing random or arbitrary about them; rather, everything shares the same torpidity and heaviness inherent in our buildings and institutions. As an edifice of thought [Bauwerk des Denkens], Myth has always been Mytho-Logos.

It may seem as if the idea of a single Myth is erroneous, since so many myths vary depending on the place, region, and time. However, this diversity isn’t surprising; rather, it is a necessary characteristic of a culture that, equipped only with rudimentary writing techniques, listens to its Sagas. In the absence of a fixed, canonizing writing, history constantly reinvents itself. More precisely: it always finds itself anew, because it is not about the individual addition, but the general, the supra-personal. In this sense, myths, regardless of their apparent fluidity, are based on that enduring reality as something much denser than paper, much denser than the style and inventiveness of the individual author. Insofar, myths should be approached with the same respect afforded to all those things and institutions proving their own viability by themselves – which, even if we do not know their individual authors, allows us to speak of a self-evidence: an immediate insightfulness. Nevertheless, a methodological difficulty arises here. While the myths may have once possessed exactly this form of self-evidence, this no longer applies to us; we no longer understand them straight away. Instead, the myths lead us into areas entirely alien to our self-understanding and interpretation of the World. For myths are stories without history; they refer to events that are not dated and to people who are not tangible as persons. Entering the world of myths can create a feeling of sinking into a maelstrom, as you can constantly remind yourself of the invalidity of your mind’s inner coordinate system. Myth isn't realized in definition, but in its variation; it doesn't adhere to the logic of space, time, and causality, and as it has no Author, it represents a Text in our sense of the word.

If we attempt to apply any of these concepts to myths, they fall apart – you are seized by the disconcerting feeling of being and remaining an illiterate [Analphabet] of the Myth. The impression of illegibility isn’t accidental. It points to its connection with Writing, or better, to the relationship of exclusion prevailing between Myth and Writing. The World of Myth precedes alphabetic writing. Only with alphabetic writing does the inexorable Logic of Signs emerge on the page, which definitively codifies the World and, in doing so, inextricably links cause and effect, text and author. Writing puts an end to Myth. The identifiable Author replaces the unrecognizable inventor of the myth; a story replaces the collectively thrown-together web of symbols and images with all its details of Who? Where? When? The Word replaces the evoked, conjured-up word made definite. If Writing eliminates Myth from the World, this raises the suspicion about Writing itself, as the crystallization form par excellence (the monument of all things, as Aeschylus says,) has a mythical dimension, that Logos has absorbed the function of Myth and thus rendered it superfluous. But what does Myth tell the person who one day opens his eyes and no longer believes himself to be subject to…

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At a time when productivity theater, task masking, and sham production have become commonplace, it is clear that we’re facing a profound crisis of work, indeed, of everything considered valuable in our society. Therefore, it isn’t surprising that the principle of performance itself has come under criticism. This crisis has drawn our attention to Daniel Markovits, whose work explores whether the widely revered meritocracy is actually a trap. Consider that the term meritocracy was coined just over sixty years ago, suggesting that this could mark the beginning of the gradual erosion of its meaning. Because the Ivy League university system, whose tuition fees increase each year—so much so that it's questionable whether many students could ever repay them with their ›hands,‹ or more accurately, with their minds—favors only those who have access to the necessary financial resources, while excluding those born into less comfortable circumstances. As a result, it is becoming increasingly clear that we’re currently dealing with an incestuous ruling class in which our elite universities exhibit the characteristics of a closed society primarily focused on self-reproduction. Nevertheless, it seems that this pale cast of thought is affecting the students and graduates of these elite institutions. Why else would it be seen as good form to portray oneself as demonstratively overworked compared to those in lower castes? This brings us back to where we began: the question of whether all this might be a significant productivity charade against our discontent with Modernity.

Daniel Markovits (born August 4, 1969) is the Guido Calabresi Professor of Law at Yale Law School and the founding director of the Yale Center for the Study of Private Law. His book The Meritocracy Trap was named one of the best books of 2019 by The Times.

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It may be that the world around us is transforming into a vast puzzle, even a Mystery Play. This situation also extends to our professional environment, prompting organizational sociologists to observe a particularly unsettling phenomenon: the silent exodus of the workforce, characterized by a state of inner resignation where employees merely do the minimum while their minds have long since disengaged from producing quality work. Now, Generation Z, a cohort that can no longer imagine a World without the Internet, has surprised organizational sociologists with a behavior that exhibits highly performative traits and has spawned influencers such as the Anti Work Girlboss and a reigning TikTok hype. What is it all about? The underlying question is relatively straightforward. It asks how one can perform a kind of productivity theater for one's employer or coworkers, in which everyone pretends to engage in highly difficult and complicated tasks. The answer is simple: you stare intently at the screen, make audible grunting noises, wander through the company corridors with your laptop open, or engage in loud conversations at the water cooler or coffee machine. In reality, however, it's all about masking your own inactivity – and using quick shortcuts to hide the fact that you're using your working hours to update your dating profile or live feed.

Cam Caldwell, with whom we discussed all these questions, has spent his entire professional career exploring the issue of effective leadership after honing his management skills in a managerial role. In this context, he has also examined the phenomenon of quiet quitting and its various manifestations.

Cam Caldwell earned his PhD in Human Resources and Organizational Behavior from Washington State University, where he was a Thomas S. Foley Graduate Fellow. Prior to earning his PhD, he accumulated over twenty years of experience as a Human Resource Director, City Manager, and Management Consultant. He has authored more than 20 books on management topics.

Cam Caldwell has published

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If identities in the Digital Utopia can be defined with the click of a mouse, it isn’t surprising when people want to make their lives as colorful as possible. After all: Who wants to be »a boring Normie?« as Eliza Mondegreen puts it in the simplest possible terms; consequently, those who wish to overcome their deep sense of emptiness proceed like computer gamers eager to endow their Avatars with superpowers. With this in mind, it’s easy to understand how the Trans debate (a marginal phenomenon only two decades ago) has seductively seized the public’s consciousness and taken on such political explosiveness. However, this raises the question of if the need for transcendence and the dissolution of selfhood boundaries can be met by administering hormone blockers to pubescent adolescents and promising them that a physical gender swap – or more precisely, a surgical modification of the body – can make all their problems disappear into thin air.

And, as someone intensively involved with gender issues for several years, this is precisely where the question Eliza Mondegreen poses begins. While initially studying the fundamental reality of Gender and Identity Dysphoria, she suspected there was a question of psychical countra-banding here that was strikingly similar to that found in cult-like phenomena. Just like the cultist, who feels newly reborn after a divine encounter, so do those adolescents embarking on a gender-changing journey. They adopt a new name, become active in their new fellowship of believers, oppose apostates while proselytizing, and proudly do everything they can to distinguish themselves from the rest of an unbelieving world.

Eliza Mondegreen is a researcher and freelance writer (for Unherd, Freethinker, among others) and photographer. She runs the widely read substack blog gender:hacked. She is currently working on a book about gender medicine, which will be published by Polity.

Link to gender:hacked

Eliza Mondegreen’s articles in Unherd

Freethinker

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It's common knowledge that capitalism has been in a deep crisis of values since the financial crisis of 2007/2008, while the question of where it comes from and how it affects our existing institutions is much more complicated. Talking to Philip Pilkington about this is worthwhile if only because it combines the perspective of a sober observer looking back on a career in investment banking with the acumen of a macroeconomist who can counter his profession's intellectual aberrations based on Philosophy. And because he's also familiar with contemporary thinkers, our conversation dealing with questions of energy, the political class's level of education, and the looming deindustrialization wander easily through entirely different areas. And while you are considering economic »bads,« it may happen that Jacques Lacan pops up, as does Kant’s definition of marriage (›...as a juridical consequence of the obligation that is formed by two persons entering into a sexual union solely on the basis of a reciprocal possession of each other’s private parts‹) and his tacit affinity to the Marquis de Sade. And so, despite the subject's darkness, the conversation is one of great hilarity—and the question can be resolved why the consultation with an OnlyFans model contributes to the GDP growth while, at the same time, conjugal coitus remains a quantité negligeable.

Philip Pilkington is a Senior Research Fellow at the Hungarian Institute of International Affairs where he focuses on macroeconomic and geoeconomic issues. Before joining the institute Philip worked in investment management as a macroeconomic strategist. Philip is the founder of the Multipolarity podcast. He regularly writes for the New York Post as well as other outlets, like The Telegraph, The Spectator, UnHerd, American Affairs, and First Things. He can be found on his Substack Philip Pilkington.

Philip Pilkinton has published

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Here is a short video that provides some illustrative footage for a documentary we have been planning about the carnival activities of Castiglion Fibocchi, a small town in southern Tuscany. Because the performance is based on a medieval event from the 11th century, its festival staging could be understood as the continuation of a local tradition. On the other hand, the fact that this tradition was in the world of avatars, a kind of cosplay in baroque robes—shows how the traditions of the past can be blended into future community building.

Hier ein kleines Video, das Anschauungsmaterial für eine Dokumentation liefert, die wir den Karnevalsaktivitäten einer kleinen Stadt in der südlichen Toskana widmen wollen, Castiglion Fibocchi. Weil das Ganze sich auf einen mittelalterlichen Anlass aus dem 11. Jahrhundert bezieht, könnte man die Inszenierung als Lokaltradition verstehen, andererseits mag der Umstand, dass diese Tradition im Jahr 1997 reaktiviert worden ist, ein Vorschein auf die Welt der Avatare und des Internets sein, eine Art Cosplay in barocken Gewändern.

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When the cognitive dissonances of our present-day made themselves felt in the aftermath of October 7th, the question of where and how the abysmal hatred leading to this pogrom originated has remained unanswered. This question drew our attention to John Aziz, a British-Palestinian journalist who passionately writes about the events in his father's homeland. His perspective is particularly interesting because he clearly sees the weight of this heritage as the dark shadow of a tragedy imposed on him, but even more on his relatives remaining in Palestine. Because, as a product of the English education system and, as a young musician, he also feels part of the digital world. And it’s in this sense that he personifies the global mission of a digital native who, as a peace activist, wants to share his view of Islam with a wider public.

John Aziz is a musician active in the peace movement and digital economy. As a journalist, he has a Substack blog and has written for Quillette, Foreign Policy and Prospect. His music can be found on Soundcloud.

John Aziz in the media

This is not Late State Capitalism, in: Quillette

The West is Next, in Quilette

The Death of a Deluded Man

Replacing Isreales with Palestne. A Dangerous Delusion

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If there's a great mystery in the history of ideas, it lies in where the blind spots of thought are encountered. However, this raises the question of precisely what conditions lead to such blind thinking. When Mark Lilla, a professor of humanities at Columbia University whose work has delved deeply into the history of political theology, prefaces his book Ignorance and Bliss with the motto of an English Writer: »The faintest of all human passions is the love of truth,« he's highlighting the underlying dilemma: that the love of truth pales in comparison to other passions. And because he’s somewhat surprised this fact has received comparatively little attention in the history of philosophy—with the exception of Nietzsche—in his latest book, Lilla turns to the psychology of the present-day obliviousness, characterizing various paradigms within which the will to ignorance has found expression. Looking around at our present, we're confronted with countless varieties of blissful ignorance, making our conversation with him all the more rewarding as an in-depth exploration of a terrain that's received little attention.

After working as an editor at The Public Interest and holding professorships at New York University and the University of Chicago, Mark Lilla became a professor of humanities at Columbia University in 2007. He regularly writes for the New York Times and New York Review of Books, among many other publications.

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Because life is life-size, academic discourses, let alone grand worldviews, can only ever be approximations. Yet, direct observation and engagement with a specific situation raises the most complex and, at the same time, the most diverse questions. From this point of view, the experience the young Moriel Bareli recounts in his book When a Jew and a Muslim Talk is of such a dense and unusual nature. Yet his starting point was relatively simple: a young man growing up on Long Island, New York, who came to Israel when he turned eighteen. And since he lived near Jerusalem's Old City, inhabited mainly by Israeli Muslims, he developed a desire to learn Arabic – and in this way, to approach and become closer with his neighbor—the unknown being, as Rilke had named him. In practice, however, this wasn't quite so easy to accomplish because, at the time of the so-called Knife Intifada, Jewish students were only allowed to enter the Old City if accompanied by guards. So, as a digital native, Bareli downloaded an app and arranged to learn the language through various online conversations. Because he soon realized revealing his identity as a Jewish Israeli wouldn’t help him achieve his goal, he decided to focus on his New York background, presenting himself as an American college student who taught English in exchange for Arabic classes. And it was in this way that he was able to strike up conversations with all kinds of people in the Arab world—conversations that would have been impossible in everyday life. This experience, with its unmistakable anthropological significance, drew our attention to him – leading to the following conversation, which, despite the subject's dark and confrontational nature, was characterized by a wonderful sense of humor.

Moriel Bareli lives in Samaria, teaches Arabic and gives lectures on the Israeli-Palestinian conflict.

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