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Image of the quote is loading... SaveSave In his field, and with his means, Rilke carries out an operation that one could philosophically describe as the 'transformation of being into message' (more commonly, 'linguistic turn'). 'Being that can be be understood is language', Heidegger would later state - which conversely implies that language abandoned by being becomes mere chatter. - Quote by Peter Sloterdijk

In his field, and with his means, Rilke carries out an operation that one could philosophically describe as the ‘transformation of being into message’ (more commonly, ‘linguistic turn’). ‘Being that can be be understood is language’, Heidegger would later state – which conversely implies that language abandoned by being becomes mere chatter.

Peter Sloterdijk
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Give up your attachment to comfortable ways of living - show yourself in the gymnasium (gymnos = 'naked'), prove that you are not indifferent to the difference between perfect and imperfect, demonstrate to us that achievement - excellence, arete, virtu - has not remained a foreign word to you, admit that you have motives for new endeavours! Above all: only grant the suspicion that sport is a pastime for the most stupid as much space as it deserves, do not misuse it as a pretext to drift further in your customary state of self-neglect, distrust the philistine in yourself who thinks you are just fine as you are! Hear the voice from the stone, do not resist the call to get in shape! Seize the chance to train with a god!
Peter Sloterdijk
As we know, Rilke, under the influence of Auguste Rodin, whom he had assisted between 1905 and 1906 in Meudon as a private secretary, turned away from the art nouveau-like, sensitized-atmospheric poetic approach of his early years to pursue a view of art determined more strongly by the priority of the object. The proto-modern pathos of making way for the object without depicting it in a manner 'true to nature', like that of the old masters, led in Rilke's case to the concept of the thing-poem - and thus to a temporarily convincing new answer to the question of the source of aesthetic and ethical authority. From that point, it would be the things themselves from which all authority would come - or rather: from this respectively current singular thing that turns to me by demanding my full gaze. This is only possible because thing-being would now no longer mean anything but this: having something to say.
Peter Sloterdijk
What the poet has to say to the torso of the supposed Apollo, however, is more than a note on an excursion to the antiquities collection. The author's point is not that the thing depicts an extinct god who might be of interest to the humanistically educated, but that the god in the stone constitutes a thing-construct that is still on air. We are dealing with a document of how newer message ontology outgrew traditional theologies. Here, being itself is understood as having more power to speak and transmit, and more potent authority, than God, the ruling idol of religions. In modern times, even a God can find himself among the pretty figures that no longer mean anything to us - assuming they do not become openly irksome. The thing filled with being, however, does not cease to speak to us when its moment has come.
Peter Sloterdijk
This gesture is one of the motifs of modernity's turn against the principle of imitating nature, that is to say, imitating predefined morphological expectations. It is still capable of perceiving message-totalities and autonomous thing-signals when no morphologically intact figures are left - indeed, precisely then. The sense for perfection withdraws from the forms of nature - probably because nature itself is in the process of losing its ontological authority. The popularization of photography also increasingly devalues the standard views of things. As the first edition of the visible, nature comes into discredit. It can no longer assert its authority as the sender of binding messages - for reasons that ultimately come from its disenchantment through being scientifically explored and technically outdone. After this shift, 'being perfect' takes on an altered meaning: it means having something to say that is more meaningful than the chatter of conventional totalities. Now the torsos and their ilk have their turn: the hour of those forms that do not remind us of anything has come. Fragments, cripples and hybrids formulate something that cannot be conveyed by the common whole forms and happy integrities; intensity beats standard perfection.
Peter Sloterdijk
The history of the own that is grasped on too small a scale and the foreign that is treated too badly reaches an end at the moment when a global co-immunity structure is born, with a respectful inclusion of individual cultures, particular interests and local solidarities. This structure would take on planetary dimensions at the moment when the earth spanned by networks and built over by foams, was conceived as the own, and the previously dominant exploitative excess as the foreign. With this turn, the concretely universal would become operational. The helpless whole is transformed into a unity capable of being protected. A romanticism of brotherliness is replaced by a cooperative logic. Humanity becomes a political concept. Its members are no longer travellers on the ship of fools that is abstract universalism, but workers on the consistently concrete and discrete project of a global immune design. Although communism was a conglomeration of a few correct ideas and many wrong ones, its reasonable part - the understanding that shared life interests of the highest order can only be realized within a horizon of universal co-operative asceticisms - will have to assert itself anew sooner or later. It presses for a macrostructure of global immunizations : co-immunism.
Peter Sloterdijk
In the midst of the ubiquitous dealings with prostituted signs, the thing-poem was capable of opening up the prospect of returning to credible experiences of meaning. It did this by tying language to the gold standard of what things themselves communicate. Where randomness is disabled, authority should shine forth.
Peter Sloterdijk
Fatally, the term 'barbarian' is the password that opens up the archives of the twentieth century. It refers to the despiser of achievement, the vandal, the status denier, the iconoclast, who refuses to acknowledge any ranking rules or hierarchy. Whoever wishes to understand the twentieth century must always keep the barbaric factor in view. Precisely in more recent modernity, it was and still is typical to allow an alliance between barbarism and success before a large audience, initially more in the form of insensitive imperialism, and today in the costumes of that invasive vulgarity which advances into virtually all areas through the vehicle of popular culture. That the barbaric position in twentieth-century Europe was even considered the way forward among the purveyors of high culture for a time, extending to a messianism of uneducatedness, indeed the utopia of a new beginning on the clean slate of ignorance, illustrates the extent of the civilizatory crisis this continent has gone through in the last century and a half - including the cultural revolution downwards, which runs through the twentieth century in our climes and casts its shadow ahead onto the twenty-first.
Peter Sloterdijk
...only very few - only humans, as far as we know - achieve the second level of transcendent movement. Through this, the environment is de-restricted to become the world as an integral whole of manifest and latent elements. The second step is the work of language. This not only builds the 'house of being' - Heidegger took this phrase from Zarathustra's animals, which inform the convalescent: 'the house of being rebuilds itself eternally'; it is also the vehicle for the tendencies to run away from that house with which, by means of its inner surpluses, humans move towards the open. It need hardly be explained why the oldest parasite in the world, the world above, only appears with the second transcendence.
Peter Sloterdijk
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