Amor fati

Nietzsche summed up by the narrator in this documentary:

Everything is necessary. Therefore, everything is innocent.

Every sort of idealism which is discontented with reality as it is, is exposed as a damaging illusion that makes us hate ourselves and hate life.

Instead, Nietzsche offers what he calls “the innocence of becoming”. When we really know ourselves and our desires, then it’s innocent and right that we should choose our own values on the basis of our own desires. We consciously and innocently accept life’s own self affirmation and make it our own. And the very fact that this new life affirming egoistic ethic is itself only another rationalisation, makes it playful, irresponsible.

He calls it amor fati, the love of necessity. We accept the world as it is without regrets and without any false moralism.

Let’s repeat with Wikipedia’s words:

Amor fati is a Latin phrase that may be loosely translated as “love of fate” or “love of one’s fate”. It is used to describe an attitude in which one sees everything that happens in one’s life, including suffering and loss, as good or, at the very least, necessary, in that they are among the facts of one’s life and existence, so they are always necessarily there whether one likes them or not.

Very sympathetic.


Ming Thein on private life

Aside from the obvious diminution of time and sleep, priorities have completely shifted. One is now completely responsible for another helpless human, and that takes precedence over everything. Oh, and I shoot more baby photos (but that doesn’t mean I’m going to post any – my family life remains private 🙂

— Ming Thein answering a reader question, very sympathetically, about how becoming a father has affected his life. I wish more people would adopt that view on baby photos, haha.


Inspirator Dorin Popa

Print ist für mich immer noch das Schönste auf der Welt.

— Dorin Popa im Interview.

Ich stimme völlig zu. Und:

Zufälligerweise habe ich keine Reihenhaushälfte abzustottern, keinen Kindern die Ausbildung zu finanzieren und keine Alimente zu zahlen. Das macht finanziell unabhängig.

Dorin Popa findet man hier oder auf Twitter, sowie in diesen Artikeln:



It’s ironic that Vincenzo Nibali, the rider credited with bringing panache back to the Tour de France in 2014, is managed by a specialist in faking it. That’s because Alexandre Vinokourov, the Sicilian’s team boss, as a rider specialised in ‘faux’ panache – that’s the kind you buy from an Italian doctor.

– Jeremy Whittle in the essay “In search of panache”, published in The Cycling Anthology, volume five (2014)


Who owns your photos?

In fact, Facebook, Twitter and Instagram are notorious for subjugation of rights of any image uploaded to their pages: make sure you don’t put anything of value there, and certainly not in full resolution. Even though you can upload full resolution, only a compressed version is displayed to save bandwidth. Ever wonder what happens to the full resolution versions? Think carefully.

—Ming Thein in “Valuing your images and managing copyright and intellectual property”


Without ownership, work suffers

“It’s dangerous to work in environments or for companies where you aren’t tied directly to the results of your efforts”, Tanner Christensen at 99u writes, and quotes Paul Rand:

It has been shown that the system which regards esthetics as irrelevant, which separates the artist from his product, which fragments the work of the individual, which creates by committee, and which makes mincemeat of the creative process will, in the long run, diminish not only the product but the maker as well.

Tanner elaborates:

When we produce work that we aren’t directly tied to, we miss-out on the opportunity to associate who we are as workers with the work itself. (…) In such circumstances, we eventually lose sight of what it means to do our best work and we can be led to forget what we’re capable of entirely.

To do our best work then, we must work only where our creative processes are prized and where we (and everyone else) know exactly which part of the outcome we’re responsible for.

Very true.



Facebook, Twitter, all these things that helped independent artists in the beginning are now working against them. Putting a Pringles ad next to them. Even putting a video up on YouTube screws up the whole experience of watching it. The viewer is bombarded with bullshit. Using the deep web is a way to do things differently. I feel a new enthusiasm, [like] I witnessed when the original internet became big in the 90s.

—Alec Empire of Atari Teenage Riot to the Guardian


Censur med ädla motiv

“Om det förr ofta handlade om en förstockad önskan att förbjuda allt avklätt, kättjefullt eller bara allmänt osedligt inom konsten, så anser sig dagens censorer ha ädlare drivkrafter till att förbjuda och fördöma. Det kan handla om att främja jämställdhet mellan könen, skydda minoriteters religiösa känslor eller se till att barn inte far illa.”

“Krav på att skyla nakna kroppar kan tyckas behjärtansvärda, men det är problematiskt att kräva att konst ska ge uttryck för rådande värderingar. Det påminner om de konstideal man kunde finna inom socialistisk realism, där konstens syfte alltid skulle vara att ge uttryck för den revolutionära arbetarklassens politiska mål. Möjligen bidrar sådant till att sprida ’de rätta’ värderingarna (även om också det är högst tveksamt), men spännande konst blir det inte.”

— Anders Q Björkman i en lysande krönika i SvD i dag, om den nya censuren