Digital Alexandrians: Greek as Musical Code for Nietzsche and Kittler

The Cyborg-Nietz sche appeals to us — indeed the pastiche-in-general appeals to us — like the bookplate-image from Alfred Soder’s Nietz sche in the High Mountains, discretely placed not on the front of the dust-jacket but the back of Steven E. Ascheim’s Nietz sche Legacy.2 Nietz sche-On-Demand can be found at the click of a button: the Hitler-Nietz sche? ... got that; the Ayn-Rand-Nietz sche? ... got that; the Naturalist- or Brian-Leiter-Nietz sche? ... alsogot that. The Analytic-Nietz sche we have from John Richardson to Aaron Ridley, the “New”-Nietz-sche still with David Allison and the shining feathers of Al-phonso Lingis. And with Friedrich Kittler — as Nandita Biswas Mellamphy has already acknowledged,3 along with a host of typewriter-and-keyboard networking enthusiasts, including a certain Arthur Kroker — we already have a Media-Nietz sche, tracked from several angles, several perspectives. As Nietz sche himself has told us, “There are myriad eyes. Even the sphinx had eyes. And consequently there are myriad truths, and con-sequently there is no truth.”4 Thus we suppose a multiplicity of trans- and over-humans (are we not all already post-human?) if only to overcome the last humans, as we imagine the trans-human phantasm in our own image.