The self not only as fate, but also as the sole capital of every hero: Party- and gangless, alone and exposed to a universal betrayal on account of his pride, a hero can count on nothing other as his self!

Patrick Süskind's outstanding genius in his perfume consists in the narrative realization of seven ideas: 1. The heraclitic idea of an olfactory ontology, which states, "If everything that is, turns into smoke, the nose may still distinguish it" (Heraclitus, DK 22 B 7) 2. The (highest) essence of being is to be found in the female body (if being could become smoke after heraclitic olfactory ontology, this would be in its smell) 3. The (highest) essence of being as to be found in female body is the absolutely good, 3. The absolutly good as the determination of the (highest) essence of being, creates the absolute power, 5. The absolute power inevitably leads to self-destruction, 6. The self-destruction as the constitutive will of Dasein to Death, to becoming nothing in being in the exit from birth and as its spatio-temporal continuation, and 7. the odor-like becoming-nothing of Dasein on the basis of odor-like nullity of being, in reference to his possibility of transition from a pure substance to a smoke, to a smell!

"You're not anybody in America unless you're on TV. On TV is where we learn about who we really are", Suzanne Stone (Nicole Kidman) in To Die For by Gus van Sant. America as a symbol of modern times is thus the determination of being through a medial determination of appearance. Does not this mean that being is not more, but rather it becomes determined? And does not this mean that a modern ontology should be aimed at the determination modalities of being rather than at its existing categories?