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Art goes back to the earliest ages of humanity. Graceful, stylised cave paintings of deer and hunters show both our kinship and our differences from our.
Table of contents
- The Soul of an Artist: Top 20 Characteristics to Invoke Your GPS
- Soul of a Nation: Art in the Age of Black Power – Exhibition at Tate Modern | Tate
- Secondary Navigation
The artist's soul is like a deer darting out in front of our philosophical car. In a moment of shock we swerve and wreck our car, the deer escapes unharmed and we need a new philosophy. The artist's soul is like a hidden spring leaking up through the ground, making pools in the forest, both mosquitoes and tadpoles thrive in it. The artist's soul is like a rocky field, plow it and you'll bust your plow. The artist's soul is like a wasp which builds it's nest on your house, it's beautiful but scary.
Writers who do not know how to express their thoughts clearly in general, will in particular prefer to select the strongest, most exaggerated terms and superlatives: this produces an effect as of torchlights along confusing forest paths. Writerly painting. In this way, the painting acquires something of the thrilling innate quality that makes the object itself significant. Writerly painting: Nietzsche is reversing the famous dictum of Horace, ut pictura poesis poetry is like a picture De Arte Poetica, Books that teach us to dance. There are writers who, by portraying the impossible as possible, and by speaking of morality and genius as if both were merely a mood or a whim, elicit a feeling of high-spirited freedom, as if man were rising up on tiptoe and simply had to dance out of inner pleasure.
Nietzsche was thinking of Christoph Martin Wieland Unfinished thoughts. Just as youth and childhood have value in and of themselves as much as the prime of life and are not to be considered a mere transition or bridge, so too do unfinished thoughts have their own value. Thus we must not pester a poet with subtle interpretations, but should take pleasure in the uncertainty of his horizon, as if the road to various other thoughts were still open.
We stand on the threshold; we wait as if a treasure were being dug up; it is as if a lucky trove of profundity were about to be found. The poet anticipates something of the thinker's pleasure in finding a central thought and in doing so makes us covetous, so that we snatch at it. The book become almost human. Every writer is surprised anew when a book, as soon as it has separated from him, begins to take on a life of its own.
He feels as if one part of an insect had been severed and were going its own way. Perhaps he almost forgets the book; perhaps he rises above the views set down in it; perhaps he no longer understands it and has lost those wings on which he soared when he devised that book. Meanwhile, it goes about finding its readers, kindles life, pleases, horrifies, fathers new works, becomes the soul of others' resolutions and behavior. The most fortunate author is one who is able to say as an old man that all he had of life-giving, invigorating, uplifting, enlightening thoughts and feelings still lives on in his writings, and that he himself is only the gray ash, while the fire has been rescued and carried forth everywhere.
If one considers, then, that a man's every action, not only his books, in some way becomes the occasion for other actions, decisions, and thoughts; that everything which is happening is inextricably tied to everything which will happen; then one understands the real immortality , that of movement: what once has moved others is like an insect in amber, enclosed and immortalized in the general intertwining of all that exists. Joy in old age. The thinker or artist whose better self has fled into his works feels an almost malicious joy when he sees his body and spirit slowly broken. Quiet fruitfulness.
The born aristocrats of the spirit are not overeager; their creations blossom and fall from the trees on a quiet autumn evening, being neither rashly desired, not hastened on, nor supplanted by new things. The wish to create incessantly is vulgar, betraying jealousy, envy, and ambition. There is a type higher than the "productive" man.
Achilles and Homer. One is always reminded of the difference between Achilles and Homer: one has the experience, the feeling; the other describes it. A real writer merely gives words to the emotion and experience of others. He is an artist to be able to guess a great deal from the little he has felt.
Artists are by no means people of great passion, but they often pretend to be, in the unconscious feeling that others will believe more in the passion they depict if their own lives speak for their experience in this regard. One has only to let himself go, not control himself, give free rein to his anger and desires, and at once the whole world cries: "How passionate he is! He who experiences it certainly does not describe it in dramas, music, or novels. Old doubts about the effect of art. Are pity and fear really discharged through tragedy, as Aristotle claims, 25 so that the spectator goes home cooler and quieter?
Do ghost stories make us less fearful and superstitious? But fear and pity are not the requirements of particular organs in this sense; they do not need to be relieved. And, in the long run, a drive is actually strengthened by gratifying it, despite periodic alleviations. It might be that pity and fear are assuaged and discharged by tragedy in each individual case; nevertheless they might even increase as a whole, due to the tragic effect, and Plato would be right, after all, when he claims that tragedy makes us on the whole more anxious and sentimental.
The tragic poet himself would, of necessity, acquire a gloomy, fearful world view and a weak, susceptible, lachrymose soul; it would agree with Plato's view if tragic poets, and likewise the whole community which took delight in them especially, were to degenerate to ever greater extravagance and licentiousness. Poetics b, Plato's Republic, Joy in nonsense.
The Soul of an Artist: Top 20 Characteristics to Invoke Your GPS
How can men take joy in nonsense? They do so, wherever there is laughter-in fact, one can almost say that wherever there is happiness there is joy in nonsense. It gives us pleasure to turn experience into its opposite, to turn purposefulness into purposelessness, necessity into arbitrariness, in such a way that the process does no harm and is performed simply out of high spirits.
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For it frees us momentarily from the forces of necessity, purposefulness, and experience, in which we usually see our merciless masters. We can laugh and play when the expected which usually frightens us and makes us tense is discharged without doing harm. It is the slaves' joy at the Saturnalia. The ennobling of reality.
Soul of a Nation: Art in the Age of Black Power – Exhibition at Tate Modern | Tate
Because men once took the aphrodisiacal drive to be a godhead, showing worshipful gratitude when they felt its effect, that emotion has in the course of time been permeated with higher kinds of ideas, and thus in fact greatly ennobled. Vitus Dance and created the glorious prototype of the bacchante from them. For the health of the Greeks was not at all robust; their secret was to honor illness like a god, too, if only it were powerful.
In and of itself, music is not so full of meaning for our inner life, so profoundly moving, that it can claim to be a direct language of emotion. Rather, it is its ancient connection to poetry that has invested rhythmical movement, loudness and softness of tone, with so much symbolism that we now believe music is speaking directly to the inner life and that it comes out of it. Dramatic music is possible only when the art of music has already conquered an enormous realm of symbolic techniques through song, opera, and hundreds of attempts at tone painting.
Men who have lagged behind in the development of music can experience a particular piece of music in a purely formal way, while the more advanced will understand the whole thing symbolically. No music is in itself deep and full of meaning. It does not speak of the "will" or the "thing in itself.
The intellect itself has projected this meaning into the sound, as it has also read into the relationship of lines and masses in architecture a meaning that is, however, actually quite foreign to mechanical laws. Gesture and language. Imitation of gesture is older than language, and goes on involuntarily even now, when the language of gesture is universally suppressed, and the educated are taught to control their muscles.
The imitation of gesture is so strong that we cannot watch a face in movement without the innervation of our own face one can observe that feigned yawning will evoke natural yawning in the man who observes it. The imitated gesture led the imitator back to the sensation expressed by the gesture in the body or face of the one being imitated. This is how we learned to understand one another; this is how the child still learns to understand its mother. In general, painful sensations were probably also expressed by a gesture that in its turn caused pain for example, tearing the hair, beating the breast, violent distortion and tensing of the facial muscles.
Conversely, gestures of pleasure were themselves pleasurable and were therefore easily suited to the communication of understanding laughing as a sign of being tickled, which is pleasurable, then served to express other pleasurable sensations.
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As soon as men understood each other in gesture, a symbolism of gesture could evolve. I mean, one could agree on a language of tonal signs, in such a way that at first both tone and gesture which were joined by tone symbolically were produced, and later only the tone. It seems that in earlier times, something must often have occurred much like what is now going on before our eyes and ears in the development of music; namely of dramatic music: while music without explanatory dance and miming language of gesture is at first empty noise, long habituation to that juxtaposition of music and gesture teaches the ear an immediate understanding of the tonal figures.
Finally, the ear reaches a level of rapid understanding such that it no longer requires visible movement, and understands the composer without it. Then we are talking about absolute music, that is, music in which everything can be understood symbolically, without further aids. The desensualization of higher art. Because the artistic development of modern music has forced the intellect to undergo an extraordinary training, our ears have become increasingly intellectual.
Thus we can now endure much greater volume, much greater "noise," because we are much better trained than our forefathers were to listen for the reason in it. All our senses have in fact become somewhat dulled because we always inquire after the reason, what "it means" and no longer what "it is. For now those ears still able to make the finer distinctions, say, between C-sharp and D-flat are exceptions.
In this regard, our ear has become coarsened. Furthermore, the ugly side of the world, originally inimical to the senses, has been won over for music. Its area of power to express the sublime, the frightful, and the mysterious, has thus been astonishingly extended. Our music makes things speak that before had no tongue.