On the Societal Cannibalism of the Zeitgeist

March 21st, 2021

More and more as we enter post-modernity, we as a collective claw for the old, nostalgic days, dubbing them as the “retro” in effort to return to a certain creative spark lost to the more colorful past epochs. And so we come down to two choices: do we seek the grail of the original creative spark, or do we develop the legends of yore by dissecting them into little many parts or factions and reviving them in a new light and a new twist?

With the latter we are still only subjecting the original seed through a different channel, through a new lens, but it still is the same seed not forged by our own, conscious imagination. Now, it is easy to assume this evolution of a sort of thievery, stealing and claiming this original creative seed as one’s own personal innovation, thus inviting in the popular trend of recreating the past and reviving its dead masterpieces. Is this the gateway to the superficial mediocrity of society, as a sort of societal cannibalism to consume its own dead culture?

Like the Faustian wendigo that lives off human flesh in exchange for power and the unnatural heightening of the senses, do we have a similar unconscious desire for the immortality of a vampire, for our self-preservation albeit twisted into a daemonic, schizophrenic possession of our ancestors’ father glories and mother lands? Further, it is the superfluous, the “many-too-many”, who feast the most upon this carcass like maggots who only very naturally cling to whatever gross form that lays in front of it, not knowing anything different to their limited, robotic operations.

Do we call this action the honoring of our ancestors, or do we call it the extension of the already-now-stagnant for us to hold onto lest we lose our ground and fall off Nietzsche’s tightrope walk of (in)sanity? Is this action called good or evil? Or is it beyond the moral?

However, could we really see this factory cloning of the dead cultures as the Second Stage in the development of the original spark, as the second death within its meta-transformation process: a “slash-and-burn” of the whole to maintain fresh fertility of Nature’s societal slate? That is what post-modernity seems to be: the death of the whole to bring renewal and fresh air for the greater good of the “Meta-Creative Spirit”.

Its death is a slow one, but it is only as slow as our reluctance to let go of the ancient memories in Darkness Past. Should we embrace the Light of absolute Truth, we then hasten the death process down to the epoch of the Mechanical Mind and its full, fiery combustion of the World as we know it . . . At its summit is the sudden orgasmic, orgonotic pop by which the long-awaited grail of the original creative spark is finally born into the Material Universe.

But now here is another layer to consider: is it ultimate freedom that we seek at the price of losing our ancestral power we use to uphold our personal narratives and civilizations, or do we hold fast onto that Earth and rot with it to whatever Hell it pulls us down into? These here are the two extreme polarities on this bandwidth, which implies there is a common ground to balance the rate upon. This is the life of the Zeitgeist I speak of, and the question of its preservation lies in how we choose to manage its radioactive decay. And the answer, again and again, always proves to be our intuitive common sense, for this gives to both the creative and the destructive forces equally (albeit still in healthy, fluctuating cycles) and simply to a more manageable and digestible reality.


Spengler, Oswald. Decline of the West: Perspectives in World History. 1928. Edited by David Payne. Translated by Charles Francis Atkinson. Published by Random Shack. Vol. 2. 2014.