{"id":49,"date":"2015-12-02T07:55:56","date_gmt":"2015-12-02T07:55:56","guid":{"rendered":"http:\/\/www.bright-idea.de\/?p=49"},"modified":"2024-08-11T23:19:09","modified_gmt":"2024-08-11T23:19:09","slug":"etwas-anderes-als-gelehrte","status":"publish","type":"post","link":"https:\/\/katjabrunkhorst.com\/en\/etwas-anderes-als-gelehrte\/","title":{"rendered":"Use your illusion<\/span> Glimpses of the artist-philosopher according to Nietzsche<\/span>"},"content":{"rendered":"

Paper delivered, upon invitation, at the conference \u201cArtist Philosophers. Philosophy as Arts-Based Research\u201d held by the University for Applied Arts Vienna and the Tanzforum Wien, 18 January 2015. Illustration: Paul Punk, Hamburg.<\/p>\n

42. Eine neue Gattung von Philosophen kommt herauf: ich wage es, sie auf einen nicht ungef\u00e4hrlichen Namen zu taufen. [\u2026] diese Philosophen der Zukunft [\u2026] Dieser Name selbst ist zuletzt nur ein Versuch, und, wenn man will, eine Versuchung (Jenseits von Gut und B\u00f6se, Zweites Hauptst\u00fcck: der freie Geist; KSA 5, 59).<\/p><\/blockquote>\n

W<\/span>hy is that \u201cphilosopher of the future\u201d still tempting us? Why is Nietzsche still important? Because today, perhaps more so than ever, we need an antidote to barbarism. In the light of recent events in Paris as well as in their xenophobic backlash, the fact that we need a viable alternative to capitalism is thrown into sharp relief. Since the collapse of communism, capitalism has been reigning supreme and unchallenged – up until recently, that is; until various religiously motivated extremisms have started to rear their ugly heads. To Nietzsche, all \u201cIsms\u201d, all dogmatic or solidified ways of thinking, are characterized by their enmity to life itself.<\/p>\n

\"bright-idea-nietpunk\"<\/p>\n

Free and courageous spirits – be it artists, philosophers or, indeed, those elusive \u201cartist-philosophers\u201d, that is, the philosophers of the future, are needed more than ever before: \u201cFrei<\/em> \u2014 sei unsre Kunst geheissen, Fr\u00f6hlich<\/em> \u2014 unsre Wissenschaft!\u201d, Nietzsche writes in in his \u201cTanzlied\u201d An den Mistral. <\/em>Indeed, freedom and laughter are still missing in our academies which are becoming more and more of a marketplace where so-called \u201ctruths\u201d are jealously guarded and the opinions of others, also masking as truths, refuted unless they strengthen one\u2019s own position within the hierarchy or system. In those marketplaces, criticism is held in higher regard than the creation of something truly new. This was already the case in Nietzsche\u2019s day and age, who deplored in his Zweite unzeitgem\u00e4\u00dfe Betrachtung<\/em> that:<\/p>\n

Es mag das Erstaunlichste geschehen, immer ist die Schaar der historisch Neutralen<\/em> auf dem Platze, bereit den Autor schon aus weiter Ferne zu \u00fcberschauen. Augenblicklich erschallt das Echo: aber immer als \u201eKritik\u201c, w\u00e4hrend kurz vorher der Kritiker von der M\u00f6glichkeit des Geschehenden sich nichts tr\u00e4umen liess (HL \u00a75).<\/p><\/blockquote>\n

Philosophers, however, according to Nietzsche, are not to be confused with critics: \u201cI insist\u201d, he writes in Beyond Good and Evil<\/em>, \u201cthat people stop mistaking \u201cdie wissenschaftlichen Menschen\u201d for philosophers. He defines what he terms \u201cthe actual philosophers\u201d by the fact that their cognition is creation: \u201cIhr Erkennen ist Schaffen<\/strong>\u201d (KSA 5, 144f.).<\/p>\n

Here and now, I can only begin to share glimpses of the artist-philosopher according to Nietzsche. What he has written on the contexts of that concept is so rich and varied that any selection can only remain random in a lecture as short as this. I am hoping that maybe a \u201csong of sentence-ideas\u201d, or what Nietzsche himself referred to as \u201cmusikalische Stimmung\u201d (KSA 1, 43) will stick for one of the artists present – an influence, which, as Roland Barthes put it, can be \u201cmerely prosodic\u201d. (For this reason, I will be quoting Nietzsche in the original German.)<\/p>\n

There is, however, only one instance in Nietzsche\u2019s writing where the term \u201eartist-philosopher\u201c itself appears: in his estate, in a note from the autumn of 1885:<\/p>\n

\u2014 Vielleicht eine Fortsetzung: der K\u00fcnstler-Philosoph<\/em> (bisher Wissenschaftlichkeit, Stellung zur Religion und Politik erw\u00e4hnt): h\u00f6herer Begriff der Kunst. Ob der Mensch sich so fern stellen kann von den anderen Menschen, um an ihnen zu gestalten?<\/p><\/blockquote>\n

A next step even from this follows a mere year later in Beyond Good and Evil<\/em>, in the definition of the philosopher of the future as someone who not only creatively works on other people, but on himself or herself:<\/p>\n

44. Brauche ich nach alledem noch eigens zu sagen, dass auch sie freie, sehr freie Geister sein werden, diese<\/em> Philosophen<\/em> der Zukunft, \u2014 so gewiss sie auch nicht bloss freie Geister sein werden, sondern etwas Mehreres, H\u00f6heres, Gr\u00f6sseres und Gr\u00fcndlich-Anderes, das nicht verkannt und verwechselt werden will? [\u2026] die Nivellirer, diese<\/em> f\u00e4lschlich genannten \u201efreien Geister\u201c [\u2026] das Leiden selbst wird von ihnen als Etwas genommen, das man abschaffen muss. Wir Umgekehrten\u2026 (60f.)<\/p><\/blockquote>\n

In a re-evaluation of what was so far known as free spirits, Nietzsche here names the unconditional affirmation of suffering as condition of their great creative power – whilst even \u201cwir freien Geister\u201d in the new, true meaning of the term – is only a preliminary stage of the philosopher of the future.<\/p>\n

I will aim to present fragments that, to him, constitute such a free spirit: playfulness, laughter, love and, above all, the unconditional will to experiment. The artist-philosopher\u2019s thought according to Nietzsche is always anti-utilitarian and non-teleological, rarely logical and never finished or perfected, often contradicting itself. He or she is not at all objective, nor \u201cder rein Erkennende\u201d, incapable of action, but the opposite of a typical \u201cdeutscher Gelehrter\u201d, whom Nietzsche referred to as \u201cBildungsphilister\u201d motivated solely by the accumulation of dead knowledge for the sake of his own standing.<\/p>\n

However, \u201ccognition is consequent upon feeling\u201d (Ridley, 229), emotion is primary to thought. It outlasts the latter, reaching further than language, as Nietzsche writes in Die fr\u00f6hliche Wissenschaft<\/em> (KSA 3, 502): \u2018Gedanken sind die Schatten unserer Empfindungen, \u2013 immer dunkler, leerer, einfacher, als diese.\u2019 Consequently, in contrast to any would-be objective scholar or philologist devoted to some knowable, secure truth, the artist-philosopher literally puts his or her life on the line, in a reckless \u201eSelbstversuch\u201c to make their own life a work of art. He or she is \u201cein Baumeister der Zukunft\u201d, as only \u201cWissende der Gegenwart\u201d can be; his or her thought is not only thought-provoking, but has a direct effect on \u201cLeben und Handeln\u201d, it is performative, as in this motif of the dance as the art of the new philosopher:<\/p>\n

Wir sind etwas Anderes als Gelehrte<\/em>: obwohl es nicht zu umgehn ist, dass wir auch, unter Anderem, gelehrt sind. Wir haben andre Bed\u00fcrfnisse, ein andres Wachsthum, eine andre Verdauung: wir brauchen mehr, wir brauchen auch weniger. [\u2026] ich w\u00fcsste nicht, was der Geist eines Philosophen mehr zu sein w\u00fcnschte, als ein guter T\u00e4nzer. Der Tanz n\u00e4mlich ist sein Ideal, auch seine Kunst, zuletzt auch seine einzige Fr\u00f6mmigkeit, sein \u201eGottesdienst\u201c\u2026<\/p><\/blockquote>\n

Hence, the philosopher of the future seems to engage in a Zirkus<\/em>–Artisten<\/em>metaphysik rather than strictly an artist’s <\/em>philosophy\u00a0– a tightrope walk between the limits of what is thinkable, above and beyond the abyss of the unknowable truth which he or she still needs to be aware of at all times. Life itself is the tightrope, life as a means to cognition:<\/p>\n

\u201eDas Leben ein Mittel der Erkenntniss\u201c \u2014 mit diesem Grundsatze im Herzen kann man nicht nur tapfer, sondern sogar fr\u00f6hlich leben und fr\u00f6hlich lachen ! (FR\u00d6 324, \u201cIn media vita\u201d; KSA 3, 552).<\/p><\/blockquote>\n

The bar which he holds on to for balance on that tightrope is called illusion. Any clinging to fixed \u201ctruths\u201d is not merely hostile to the life of the mind, in terms of the exchange of free flowing ideas. It is not merely hostile to actual, individual human lives, which are taken in acts of terror out of the insane motivation to guard what one believes to be the only truth out there. It is also hostile to all human life itself because, to Nietzsche, the fact is that nature is cruel and the universe meaningless, and to fully see that would rob us humans of the will to live. That will to life, however, is what needs to be preserved and encouraged at all costs.<\/p>\n

Hence, we have to make sense of our world on our own, we have to give it meaning ourselves – all the while, however, in the full awareness that our \u201ctruths\u201d are, in fact, illusions. The philosopher of the future needs to wake up from the \u201cWahn der Contemplativen\u201d: the delusion of being a mere spectator of the drama of life, merely regarding it; when in fact he or she is its creator, hence, Nietzsche locates the vis contemplativa<\/em> within the midst of life itself, in media vita<\/em>, giving it the additional term vis creativa. <\/em>Those living the vita activa <\/em>to Nietzsche are mere actors; philosophers, however, the poets of life, creating the world: \u201cWir erst haben die Welt, die den Menschen etwas angeht, geschaffen!\u201d (FW 302; 3, 540).<\/p>\n

However, philosophers still have to learn from the artist, namely, to create the means to make things beautiful and attractive\u2026.look at them form a distance, represent them, learn all of that from the artist, but be wiser all the same and include life in all of that: \u201cwir aber wollen die Dichter unseres Lebens sein, und im Kleinsten und Allt\u00e4glichsten zuerst\u201c (FW 299).<\/p>\n

\u201cDer sch\u00f6ne Schein der Traumwelten\u201d, Nietzsche writes as early as 1871, \u201cin deren Erzeugung jeder Mensch voller K\u00fcnstler ist, ist die Voraussetzung aller bildenden Kunst, ja auch, wie wir sehen werden, einer wichtigen H\u00e4lfte der Poesie\u201d (KSA 1, 26). This passage stems of course from Die Geburt der Trag\u00f6die aus dem Geiste der Musik<\/em>, dedicated to Richard Wagner. It is famous for its \u201cBelehrung, dass ich von der Kunst als der h\u00f6chsten Aufgabe und der eigentlich metaphysischen Th\u00e4tigkeit dieses Lebens [\u2026] \u00fcberzeugt bin.\u201d This \u201cinsight into the indispensability of art\u201d (Chandler 296) which Nietzsche in retrospect, in the 1886 preface to that book, derogatorily called his \u201cArtistenmetaphysik\u201d, however, did not yet make him practice what he preached:<\/p>\n

Sie h\u00e4tte singen sollen, diese \u2018neue Seele\u2019 \u2014 und nicht reden! Wie schade, dass ich, was ich damals zu sagen hatte, es nicht als Dichter zu sagen wagte: Ich h\u00e4tte es vielleicht g e k o n n t ! (KSA 1, 15).<\/p><\/blockquote>\n

Although Nietzsche was always rather critical about this book, which was his first book, he still defends its content, or rather, the idea behind the term \u201cArtistenmetaphysik\u201d: the daring refusal to let our existence continue to be judged morally. Morality itself, he claims, is sent back into the world of appearances for the very first time here; moreover, it is not only an \u201cErscheinung\u201d, as in \u201cphenomenon\u201d, it is rather a \u201cT\u00e4uschung\u201d and therefore \u201cSchein\u201d.<\/p>\n

It is true that to Nietzsche, \u201cSchein, Kunst, T\u00e4uschung, Optik\u201d, are the very basis of life itself – provided they admit to, and embrace, what they are. Hence, Nietzsche\u2019s instinct comes to the rescue in the form of his \u201crein artistische Gegenlehre\u201d, \u201cals ein f\u00fcrsprechender Instinkt des Lebens\u201d; hence, Nietzsche the Anti-Christ – as Christianity to him is \u201cnur moralisch\u201d and, thus, hostile to life. Morality is the dark twin of illusion, as it is a lie claiming to be a truth. This anti-moral, anti-Christian stance, which the older Nietzsche sees as his first book\u2019s most important achievement, is stressed further when, at the end of his \u201cSelbstkritik\u201d, he denies the possibility of any metaphysical, or Christian, solace:<\/p>\n

Nein! Ihr solltet vorerst die Kunst des diesseitigen <\/strong>Trostes lernen, \u2014 ihr solltet lachen <\/strong>lernen, meine jungen Freunde [\u2026] vielleicht dass ihr darauf hin, als Lachende, irgendwann einmal alle metaphysische Tr\u00f6sterei zum Teufel schickt \u2014 und die Metaphysik voran!<\/p><\/blockquote>\n

It is evident by now that \u2018Verwandlung\u2019, both as the central aspect of the creative process as well as in the demand for constant \u2018Selbst-Ueberwindung\u2019 (KSA 4, 148), is one of the most essential Nietzschean ideas when it comes to envisaging the philosopher of the future. He possessed, or was possessed by, a spiritual, \u2018fragelose Hingabe\u2019 and, in his capacity as \u2018Verwandler von Schmerz und Leid\u2019, was driven by it to the last consequence, as in Ernst Bertram\u2019s verdict on Nietzsche: \u2018Krankheit und ihre Bejahung ist fu\u0308r […ihn] ein Stachel hinauf, und Angelhaken der Erkenntnis\u2019 (152).<\/p>\n

Once more, however, the human being behind the great artist is testimony to his sacrifice. There is a split tearing Nietzsche from his alter ego: Zarathustra\u2019s warning that \u2018die Dichter zuviel lu\u0308gen\u2019 (KSA 4, 163) indeed applies to Nietzsche, who wrote in the winter of 1882\/1883 while creating Zarathustra, a figure who defiantly calls \u2018da capo!\u2019 to life,<\/p>\n

Ich will das Leben nicht wieder. Wie habe ich\u2019s ertragen? Schaffend. Was macht mich den Anblick aushalten? der Blick auf den \u00dcbermenschen, der das Leben bejaht. Ich habe versucht, es selber zu bejahen \u2013 Ach! (KSA 10, 137).<\/p><\/blockquote>\n

In the context of such inhuman hardness displayed by the artist-philosopher, Erich Heller asks \u2018why [he] came to undertake such a stupendous labor of thought and feeling\u2019 (112) immediately solving the riddle: \u2018The answer was given [\u2026] by Nietzsche: because God is dead.\u2019 Around the time of Zarathustra, his creator noted: \u2018Wer das Grosse nicht mehr in Gott findet, findet es u\u0308berhaupt nicht mehr \u2013 er muss es leugnen oder schaffen\u2019 (105); and soon, defining suffering as the purest form of \u2018Verwandlung\u2019, he had devised of a way how: \u2018Ideal bilden, d. h. seinen Teufel zu seinem Gotte umschaffen. Und dazu mu\u00df man erst seinen Teufel geschaffen haben\u2019 (KSA 10, 26).<\/p>\n

Indeed, Nietzsche-Zarathustra\u2019s demand of himself to ascend \u2018auf deinen eigenen Kopf und hinweg u\u0308ber dein eigenes Herz!\u2019 (KSA 4, 194) means nothing less than the demand for the ego to become identical with its self-alienation (G\u00f6rner 2004, 176). Thus, Nietzsche was driven to create a world as a substitute for the now useless one once made by God. Ultimately, and above all as artist-philosopher, he believed in illusions much more than in the notion of \u2018truth\u2019: \u2018Die \u201cscheinbare\u201d Welt ist die Einzige: Die \u201cwahre Welt\u201d ist nur hinzugelogen\u2026\u2019; Twilight of the Idols, KSA 6, 75).<\/p>\n

Mein weiteres Leben ist die Consequenz. K\u00fcnstler<\/em> (Schaffender), Heiliger (Liebender) und Philosoph<\/em> (Erkennender) in Einer Person zu werden: \u2014 mein praktisches Ziel ! (Autumn 1883, KSA 10, 501).<\/p><\/blockquote>\n

The traditional ideal of the philosopher is replaced by the free spirit, the redeemer of morality, who fathoms the illogical nature of existence; that of the artistic genius is replaced by the human being who creates the new human being above and beyond him- or herself (against an art that is all about works of art; 503).<\/p>\n

\u201cIn his writing he struggles to bring these conflicting functions together in an agonism of forms. To know and face the truth, to submit consciously and willingly to the lie, and to bring these two inimical necessities into the creative tension of art, this is Nietzsche\u2019s solution, his path \u201azum neuen \u201eJa\u201c:\u2019<\/p>\n

Kunst ist wesentlich Bejahung, Segnung, Verg\u00f6ttlichung des Daseins (KSA 13, 241, Spring 1888).<\/p><\/blockquote>\n

\u201cThis is the task and meaning of the artist-philosopher\u201d (Chandler, 297): to affirm all that is this earthly life, including pain: \u2018Weh spricht: Vergeh!\/ Doch alle Lust will Ewigkeit \u2013,\/ \u2013 will tiefe, tiefe Ewigkeit!\u2019 (KSA 4, 404). This is from the \u201cNachtwandler-Lied\u201d in Thus spoke Zarathustra, <\/em>all of which, his creator states, can be reckoned as music. And so, here is a book that finally does sing, unlike his first, The Birth of Tragedy<\/em>.<\/p>\n

Again: it is an understatement to say there is much Nietzsche has said about the artist-philosopher\u2026and<\/em> about art and philosophy, let alone about artists and philosophers\u2026and<\/em> the domains traditionally ascribed to them, respectively: truth and beauty. Between the three distinct phases of his oeuvre, his statements on those subjects vary and, of course, him being Nietzsche, contradict each other more often than not. Here and now, I have only been able to give a glimpse of the rich material we have to work with, in the hope that this ART-LAB will provide a literal room for discussion or a sounding-board where we can be midwives for one another\u2019s thoughts, as Nietzsche put it: \u201cDer Eine sucht einen Geburtshelfer<\/em> f\u00fcr seine Gedanken, der Andre Einen, dem er helfen kann: so entsteht ein gutes Gespr\u00e4ch\u201d (JGB 136). So, why is an attempt at a philosophy of the future still necessary, why is it still tempting? Because today, perhaps more so than ever, we need an antidote to barbarism. We need \u201cein gutes Gespr\u00e4ch\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"

Paper delivered, upon invitation, at the conference \u201cArtist Philosophers. Philosophy as Arts-Based Research\u201d held by the University for Applied Arts Vienna and the Tanzforum Wien, 18 January 2015. Illustration: Paul Punk, Hamburg. 42. Eine neue Gattung von Philosophen kommt herauf: ich wage es, sie auf einen nicht ungef\u00e4hrlichen Namen zu taufen. [\u2026] diese Philosophen der…<\/p>\n","protected":false},"author":2,"featured_media":356,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[129,12,13],"class_list":["post-49","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","tag-en","tag-nietzsche","tag-rilke"],"yoast_head":"\nUse your illusion<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/katjabrunkhorst.com\/en\/etwas-anderes-als-gelehrte\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Use your illusion\" \/>\n<meta property=\"og:description\" content=\"Paper delivered, upon invitation, at the conference \u201cArtist Philosophers. 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