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.Yet despite the outwardly biologistic nature of Nietzsche s earlythought, the activity of the Kunsttrieb remains the solution to a funda-mentally metaphysical problem.The function of human art of Greektragedy, for instance is to beautify, to aestheticise the terror and ab-surdity of the world of becoming, a task which Nietzsche in one noteenvisions in terms of Schiller s Spieltrieb (III 3, 7[29]), and in anotherdescribes in pseudo-Darwinian terms: The poet overcomes the strugglefor existence (III 3, 16[15]).In much the same way, the creativity ofthe Kunsttrieb, which is manifested in the development of new organic The physiology of art 95structures, in new forms of life, and, at the highest point of evolution, inthe autopoietic organs of (human) perception and cognition, is a meansof attaining metaphysical Erlösung. To see the forms that is the means ofgetting beyond the incessant suffering of the drive [Trieb].It creates or-gans for itself (III 3, 16[13]).The Will as Kunsttrieb manifests itself asindividuated representation, as creative nature, in order to deliver itselffrom the primal pain (Urschmerz), the contradictoriness and horror at theheart of the universe of becoming.As Nietzsche puts it in The Birth ofTragedy:The more I become aware of those all-powerful artistic drives in nature [Kunst-triebe], and of a fervent longing in them for semblance, for their redemptionand release in semblance, the more I feel myself driven to the metaphysical as-sumption that that which truly exists, the eternally suffering and contradictory,primordial unity, simultaneously needs, for its constant release and redemption,the ecstatic vision, intensely pleasurable semblance (BT 4).The fundamental characteristic of the Will, then, is sensation, and theorganic world is an artistic projection of this sensate Will: Sensation isnot the result of the cell; rather, the cell is the result of sensation.Thatwhich is real [Das Substantielle] is sensation (III 3, 7[168]).Nietzsche sidea that sensation and will are the fundamental properties of the uni-verse is a claim which is reminiscent of Haeckel s theory of the Zellseele.But though Haeckel imagines these basic physiological functions to beuniversal attributes of matter, these are for Nietzsche (at least at thisstage of his development) primarily the characteristics of an undifferen-tiated, unique ens metaphysicum albeit a metaphysical being conceivedand described in physiological terms.Falling back on a characteristicallyRomantic image, Nietzsche envisages the world itself as an immenseorganism that gives birth to itself and sustains itself (III 3, 5[79]), a cos-mic organism that is, more specifically, a suffering being (III 3, 7[204])which is forced each and every moment to produce a strong sensation ofpleasure in order to alleviate its own torment.It is through this pleasure,which is identical with the pure contemplation and the production ofthe art-work (III 3, 7[117]) aesthetic pleasure, in other words thatlife, in particular human life, is seduced into continued existence.Thisfundamental sensation of rapture (Verzückung) experienced by the Will isexactly analogous to that encountered in human artists; it is, Nietzschesuggests in his notes, physiologically grounded (III 3, 7[202]).Theaesthetic activity of the original artist, of the Kunsttrieb, is thus itself a physiological process (III 3, 7[117]).This, then, is Nietzsche s early physiological aesthetics, two aspectsof which look forward to his later philosophy: not only do the activity 96 Evolutionand creativity associated with the Apollonian and Dionysian Kunsttriebeforeshadow the concept of the will to power in nature, Nietzsche alsoalready conceives art as the expression of certain organic functions.Art and evolutionary epistemology It is unlikely, wrote Nietzsche in 1885, that our knowledge shouldextend further than is strictly necessary to preserve life (VII 3, 36[19]).With this emphasis on the adaptive function of cognitive processes notto mention his assumption that emotion and thought are functions of thebrain and must therefore be the products of evolution because in themorphological chain of animals the nervous system and later the brainevolve (VII 2 11, 25[325]) Nietzsche s philosophy represents one of thefirst examples of an attempt to formulate an evolutionary epistemology [ Pobierz caÅ‚ość w formacie PDF ]
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.Yet despite the outwardly biologistic nature of Nietzsche s earlythought, the activity of the Kunsttrieb remains the solution to a funda-mentally metaphysical problem.The function of human art of Greektragedy, for instance is to beautify, to aestheticise the terror and ab-surdity of the world of becoming, a task which Nietzsche in one noteenvisions in terms of Schiller s Spieltrieb (III 3, 7[29]), and in anotherdescribes in pseudo-Darwinian terms: The poet overcomes the strugglefor existence (III 3, 16[15]).In much the same way, the creativity ofthe Kunsttrieb, which is manifested in the development of new organic The physiology of art 95structures, in new forms of life, and, at the highest point of evolution, inthe autopoietic organs of (human) perception and cognition, is a meansof attaining metaphysical Erlösung. To see the forms that is the means ofgetting beyond the incessant suffering of the drive [Trieb].It creates or-gans for itself (III 3, 16[13]).The Will as Kunsttrieb manifests itself asindividuated representation, as creative nature, in order to deliver itselffrom the primal pain (Urschmerz), the contradictoriness and horror at theheart of the universe of becoming.As Nietzsche puts it in The Birth ofTragedy:The more I become aware of those all-powerful artistic drives in nature [Kunst-triebe], and of a fervent longing in them for semblance, for their redemptionand release in semblance, the more I feel myself driven to the metaphysical as-sumption that that which truly exists, the eternally suffering and contradictory,primordial unity, simultaneously needs, for its constant release and redemption,the ecstatic vision, intensely pleasurable semblance (BT 4).The fundamental characteristic of the Will, then, is sensation, and theorganic world is an artistic projection of this sensate Will: Sensation isnot the result of the cell; rather, the cell is the result of sensation.Thatwhich is real [Das Substantielle] is sensation (III 3, 7[168]).Nietzsche sidea that sensation and will are the fundamental properties of the uni-verse is a claim which is reminiscent of Haeckel s theory of the Zellseele.But though Haeckel imagines these basic physiological functions to beuniversal attributes of matter, these are for Nietzsche (at least at thisstage of his development) primarily the characteristics of an undifferen-tiated, unique ens metaphysicum albeit a metaphysical being conceivedand described in physiological terms.Falling back on a characteristicallyRomantic image, Nietzsche envisages the world itself as an immenseorganism that gives birth to itself and sustains itself (III 3, 5[79]), a cos-mic organism that is, more specifically, a suffering being (III 3, 7[204])which is forced each and every moment to produce a strong sensation ofpleasure in order to alleviate its own torment.It is through this pleasure,which is identical with the pure contemplation and the production ofthe art-work (III 3, 7[117]) aesthetic pleasure, in other words thatlife, in particular human life, is seduced into continued existence.Thisfundamental sensation of rapture (Verzückung) experienced by the Will isexactly analogous to that encountered in human artists; it is, Nietzschesuggests in his notes, physiologically grounded (III 3, 7[202]).Theaesthetic activity of the original artist, of the Kunsttrieb, is thus itself a physiological process (III 3, 7[117]).This, then, is Nietzsche s early physiological aesthetics, two aspectsof which look forward to his later philosophy: not only do the activity 96 Evolutionand creativity associated with the Apollonian and Dionysian Kunsttriebeforeshadow the concept of the will to power in nature, Nietzsche alsoalready conceives art as the expression of certain organic functions.Art and evolutionary epistemology It is unlikely, wrote Nietzsche in 1885, that our knowledge shouldextend further than is strictly necessary to preserve life (VII 3, 36[19]).With this emphasis on the adaptive function of cognitive processes notto mention his assumption that emotion and thought are functions of thebrain and must therefore be the products of evolution because in themorphological chain of animals the nervous system and later the brainevolve (VII 2 11, 25[325]) Nietzsche s philosophy represents one of thefirst examples of an attempt to formulate an evolutionary epistemology [ Pobierz caÅ‚ość w formacie PDF ]