Fixed and Value Ontology

DERRICK P. NANTZ wrote:

The case for egoism also stems from the fact that Nietzsche believes “morality never has inherent  value.”
Instead, as we established in the previous section, a moral code must be instrumental. It must serve a person’s life, which is the source of all value.
Otherwise, it will harm his life. Likewise, Nietzsche thinks nothing ever has inherent value, i.e. value apart from a valuer, or value ‘in itself’. “Through valuation only is there value; and without valuation the nut of existence would be hollow,” Nietzsche states.

This does not mean, of course, that just because something is valued by someone then it is ipso facto valuable. Rather, it means that the existence of a valuer is a necessary condition, not a sufficient one, for something to have value.
For something to truly be a value one must also show that it promotes the valuer’s life. This is made starkly clear when Nietzsche asks:  “[W]hat are our valuations and tables of moral values really worth?  What results from their rule? For whom? With regard to what? – Answer: for life.”  -NIETZSCHE ON NATURALISM, EGOISM AND ALTRUISM

When I came across this I remembered the half-breed, "true heir of Nietzsche" and his van clan following now enjoying the 'good life' of post-modern negro decadence.

Another version of the van-clan, clique, hippie, let us bang on the typewriter, likes chimps, making noise, until a Shakespeare-like play miraculously emerges, as if out of nothing ....

Nomads of the mind. their wheels are not a van, but the sounds that carry them away spontaneously.

It's the same worship of childish innocence - making noises with your mouth, in a jam, creates an ambience of creativity where "genius" emerges.
Sort of like cRAP.
This will be closer to the van clan's practices only with more talent, and youthful exuberance built over many years.
Sampling, voices, mixed and placed in a loop, with a cRAP word-association rhyme binding them together.
it's all about the sound...even the words.

One ought to abandon one's self to the rhythms and beats also sampling the words, as triggers for emotions, sensations.
60's culture brought into the technological modern age.
Busking, a form of pan-handling, drug use, counter-cultural identity. The lost, gathering from across genetic lines, find a unifying meme in a very specialized form of music requiring nothing more than learning techniques in mouth and throat control.
Like children making noises.
Reminds me of Eskimo throat music.
The looping is a repetition that produces a hypnotic states, akin to drug use, and which, in combination is experienced as expansion, a trance.
One's ego disappears in other.  

All the disenfranchised, gather to exclude themselves, symbolically, from a world they feel alienated from - pushed to the periphery they seek the center in a new circle.
They use specialized art to create a tribal feeling of distinctness.
Living in self-imposed austerity, the ideal is the mouth and throat sounds, they call music, that unites them.
The central characters become heroes for those that haven't quite mastered the techniques idolize as popular culture idolizes celebrities who can pretend and have the right look to inspire in the crowds imaginative escapes.

Here is one of the "celebrities" of the clique displaying his talent with mouth noises.
There's a certain swagger, built over a period of adulation, and notice the shamanic hoodie, reminding us of Buddhist monk chanting.  
There's no meaning....it's supposed to trigger sensations, leaving the left-brain un-involved.  

Inter-Group competitions are about who can trigger the most passions in the crowd - libidinal erotic/thymotic explosions.
Other apes use similar hooting and hollering to trigger similar reactions.

The sound creates a magical space/time of shared energies.
Sampling involves a minimal connection to the culture beyond the walls, accentuating the tribe within a tribe feeling.
They do not reject nihilism they embrace it, and distinguish themselves within it, as superior negations, manipulating abstractions.
With no past, and few connections to the present, except for the minimal sampling they play on a segmented loop, the future is where they present themselves as the forefront.
They are creating the future.
Then they create it again, and again, because there's nothing in it for them.
By destroying and recreating it themselves there's nothing to protect.
Everything is a coming immanent future full of unknowable possibilities - hope.
Hopelessness in past, and present, is escaped in the forever coming future.