ÜBERMENSCH: Nietzsche, Salome & the Ages of Aquarius can be downloaded at Academia.edu



This text is a response to a call by Schopenhauer, echoed by Nietzsche, for a new philosophy to be born out of the occult sciences rather than the academy. It started with a foundation of 28- years of study and “embodiment practice” of the occult sciences, chiefly numerology, astrology, sacred geometry and Ficino’s sympathetic magic as applied to the Italian Renaissance. Pursuing this method of formulating an occult interpretation to Nietzsche’s philosophy of the Eternal Return in the year 2012 when I began my study at European Graduate School resulted in a breakthrough arising by virtue of cosmic timing. This was the cosmic correlation between 1882, the year of Nietzsche’s courtship of Lou Salome, and the 2012, the year I followed her footsteps to her home ground in Gottingen: 144-years apart, they were marked by the Transit of Venus across the Sun.

This occult interpretation of Nietzsche’s Eternal Recurrence connects his philosophy with this cosmic event that only a few astronomers would witness. It seems likely that the chronometer was invented so that Captain Cook could make his round the world sea voyage to observe the cosmological event for the 1769 Venus Transit of the Sun. Thus, we have a phenomenology revealing human participation in a cosmology that can be quantified: from one observer with a new instrument in 1760 to a small group of astronomers in 1882 to the entire globe viewing the event on the Internet in 2012.

This paper does not intend to uncover whether Nietzsche was consciously aware of this cosmological event coinciding with his departure from academia and descent into the occult. Indeed, there is no evidence of this. The contention is that Nietzsche, by plunging into the realm of uncertainty ruled by Schopenhauer’s will, he became a filter for the transmission of the cosmology from heaven to earth. The power of the language he invented for the Will to Power is the reason why his writings have resonated so deep in a post-Christian world, as the harbinger to the Age of Aquarius.

In fact, the contention here is that Nietzsche’s new identification as poet, in keeping the attraction to the new media of the typewriter, and the woman who entered his life at that time and associated with this new media, would establish the phenomenology surrounding the ontology of the icon of the Age of Aquarius, the hieros gamos, through his courtship of Lou Salome.

This paper weaves the phenomenology tracked in 2012 into a tapestry vibrating with an ontology of the Ubermensch arising out of the rhythmic count of uber und unter of Nietzsche’s “divine son” Zarathustra as a physical manifestation of the Eternal Recurrence of the Venus cycle. The rhythm of the opposites intoxicated Nietzsche to dwell in the space of the in-between at the very dawn of the formation of a new constellation. His desire to immerse himself in the creative womb of that erotic space under the influence of the 1882 Venus Transit of the Sun cosmology resulted in a projection of an ancient and future Aquarian icon onto the aristocratic figure of Lou Salome.

The paper is, therefore, a phenomenological record of the alchemical adage “as above, so below” establishing the ontology of the hieros gamos for continental philosophy. While embarking on the archeology of an 1882 courtship, it draws down the cosmology of the Venus Transit of the Sun, repeated in 2012 (Missing James Franco 3.0) and provides the archeology depicting how this mythology was missed by the pop culture “2012” movement. While the intention is not to investigate the Mayan calendar end date here, suffice to say

that Jose Arguelles, who created the mythology, was the proponent for a lunar calendar, which would make all too apparent, as it was for the ancient, the visible epic across the heavens in the monthly passage of the crescent “boat” of Venus conjunction with the Moon creating a pentagram through the helical risings in a perfectly symmetrical eight-year orbit. The symbol that the Venus orbit creates in the heavens is the Rosette, a Salome symbol for eros.

In using occult methods along with occult subject matter to extend the endophysic contribution of Dr. Laurence Rickels, this paper is essentially an occult interpretation of Nietzsche and Salome’s joint project in 1882, to make the Eternal Recurrence into a science. As a benefit of this radical approach, it welcomes Jung’s crucial discoveries of the universal unconscious arising out of his study of eastern philosophy, as Schopenhauer’s will arose out of his study of Hinduism (Hermeneutics of New Modernism). By bringing Jung’s mysticism into the continental tradition , it alsothe breakthrough of his protégée and sacred marriage partner, Sabina Spielrein.

Indeed, Jung’s dreams regarding the return of the Templar Crusaders are proved, by the ontology contained in this paper, to be prophetic as the harbinger of the Aquarian Age. True to Heidegger, the disclosing of the Templar treasure as a Being satisfies the new attention on the object by the Speculative Realist movement. The objects contain the missing Signifiers of an ancient religion symbolized by the Holy of the Holies and serve as the Art-i-facts of the ever-present origin of the Aquarian icon of the hieros gamos.

There are four contentions arising out of the EGS laboratory supporting this occult method anticipating this Heideggerian disclosing:

  1. The epic narratives of new media theory of Peggy Bloomer supporting the Nietzsche 1882 breakthrough with the new invention of the typewriter and the Salome 1923 breakthrough with the new medium of film.
  2. Laurence Rickels’ archeology determining that Nietzsche intended to make the Eternal Recurrence a science. The addition of a cosmology of the Venus Transit of the Sun every 144 years taking place the year of his founding of a new philosophy, the Ubermensch, supports this idea
  3. Laurence Rickels’ theory of the internal feminine as Perse-phone, transmitting the occult from one geography and generation to the next, as Lou Salome and Sabina Speilrein did during the crucial formation of the psychoanalysis.
  4. Extending Nietzsche’s sacred geometry of the Dreieinigkeit to the Jungian quaternity in the historic year of the 1911 Weimar Congress. This congress was marked by the dismissal of Freud’s heir from the western tradition and replacement with a new protégée, Lou Salome. At the same time, the Congress marked the departure of Speilrein and the suppression of her crucial research on the dark feminine (Kundalini) power until her lost writings were uncovered in the 1970s and her affair with Jung was made into a 2012 film, A Dangerous Method, thereby reinforcing the cosmology of the Venus Transit as an epic mythology in which Lucifer is reclaimed from the Christian association with the Devil to once again be the Morning Star, harbinger of the light.

To make reclamation of power for Venus as Lucifer is to establish the Aquarian case for the confrontation with evil and embodiment. This method amounts to the reclamation of the Jungian Shadow as a literal gesture of bringing Jung and his theories, along with his revival of hermeticism, into the continental traditions. By this twin operation of reclaiming the Jungian Shadow for the language of continental philosophy, and rescuing Luciferianism from the illuminati conspiracy theories and Satanists, brings the power of this archetype back to the artist, as this paper reveals, the authentic embodiment of the Morning Star. Bringing this reclamation of Lucifer as the Artist, harbinger of the dawn, into the academy, is a crucial bridge between the academy scrubbed clean of the “occult tide” as Freud called it, and therefore at a complete loss to interpret a pop culture replete with occult imagery.

Finally, the third part of this paper tracks the Aquarian mythology of 2012 into the laboratory of European Graduate School and two female artists, Mina Cheon, who guided me there from the galley of the living descendent of the Knight’s Templar, who has resurfaced the tradition with this author, through a series of exhibitions on the hieros gamos in New York, and Nancy Jones, who guided me into the images of the new feminine archetype.

— Lisa Streitfeld

Berlin, 2016

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