Deck 12: Creating

Question 1

Think of examples of art (in any art form-for example, music, painting. architecture, and drama) that Nietzsche would consider art and that he would consider "anti-art." Do you agree with what you think his evaluation of them would be? Why or why not?

Answer 1

Nietzsche would probably consider the Serra piece as art. It is grand in size, dominating the scene and imposing its will on the space around it, which is reflective of the imposing figure of Serra, who tries to dominate the scene intentionally. The sculpture is definitely his disruptive will and control made solid and real.
Nietzsche would probably consider the Minatoya piece to be anti-art. It is subtle and humble, requiring humility and patience to understand. The artist would have, for Nietzsche, sucked the energy from that around him, consumed in order to produce rather than exude in order to produce the work.
One could also argue the reverse, seeing as how the Serra work consumes from those around it. It is an annoyance, representative of no form, no intoxication. The artist does nothing but draw from his environment. The Minatoya work, however, is brimming with excitement and exuberance. The child in the book is learning not to admire the lowly and suffering, oppressed tofu man and chicken seller. She is learning to will, to be austere and hard, living the warrior life of the samurai.
DEWEY

Question 2

Is there a relation between art and ethics being expressed in this passage? If so, what is it, and, what kind of "ethics" does it present? What can you derive from how Nietzsche might conceive of "ethics" based on what he says about art and the artist? Do you agree with his conception of ethics? Why or why not?

Answer 2

Nietzsche does imply an ethics in his discussion on art. Art helps us achieve perfection. So one might say that Nietzsche implies that art makes the world better. He thinks that humans have an insatiable will to life which art helps us achieve. It gives rise to intoxication, to overflowing with an all-encompassing emotion. It eliminates all that is weak and pitiful.
If one were to disagree with Nietzsche's conception of ethics, it could be done on the grounds that the intoxicated state diminishes us by taking away our rationality. Or one might argue that a Christian conception of pity makes for a better world, and intoxication takes us away from that.

Question 3

What does Nietzsche mean by "intoxication?" How does it contribute to a striving for perfection? How does perfection relate to art for Nietzsche? Think of an example of a work of art that Nietzsche might consider to be "a compulsion to transform into the perfect." Do you see its value in the same way Nietzsche does? Why or why not?

Answer 3

Nietzsche, by intoxication, means an overflowing of some emotion or thought or will. The oldest kind is overflowing all-encompassing sexuality. In the intoxicated state, since one is so overabundant, one wishes to transform things, anything, and everything, into whatever will mirror his perfection in intoxication. Art simply is this will to transform into perfection. Art is delighting in one's own perfection through overpowering and transforming some medium. Take for example Raphael, who Nietzsche cites as being an artist of this kind. Nietzsche sees Raphael's art as a reflection of Raphael's perfection, his intoxication and his need to control and put himself upon the canvas. Hence the immaculate detail, the precision, the grandeur of Raphael's art. One may agree with Nietzsche on this. However, one might disagree with his assessment that this is born of intoxication. How can one have such a consistent overflowing of some emotion? Surely Raphael's immaculate art took some very long time to make. How can one be intoxicated for so long, so regularly? It would seem only will would keep him going, but intoxication of will is the realm of the architect. It seems as though Nietzsche may be inconsistent here.

Question 4

Pater argues that what is important for the art critic is to possess a certain kind of temperament, the power of being deeply moved by the presence of beautiful objects.

Question 5

Nietzsche argues that intoxication is a precondition to aesthetic activity.

Question 6

Dionysian intoxication results in __________.

A) Intensified emotion
B) Heightened sense of arousal
C) Heightened sense of visual acuity
D) Paranoia

Question 7

Pater argues that task of the true student of aesthetics is to pontificate on art as universal, to formulate an abstract theory of the beautiful.

Question 8

Consider again Pater's last sentence. Take a specific work of art (in any form or medium you wish, and it does not have to be one that Pater would have known) and show how Pater would say that it gives "nothing but the highest quality to your moments as they pass, and simply for those moment's sake." What do you think that he means by that phrase? Restate it in your own words. Does Pater's theory, as exemplified in that phrase, apply to the work of art that you have in mind? Why or why not?

Question 9

Pater claims that our education becomes complete in proportion as __________.

A) We attain ecstasy in the universality of form
B) We grasp the metaphysical nature of abstract beauty
C) Our susceptibility to impression increases depth and variety
D) Our sense of vogue disparages of the common

Question 10

Dewey notes that the factors which glorified fine art arose from within the community of art itself, as propagation of false pride, and therefore only the community of art can topple the pedestal on which art now sits.

Question 11

According to Nietzsche, what is the essence of intoxication?

A) The free floating lucidity of the transcendental
B) The feeling of plenitude and increased energy
C) A total escape from mundane conventionalism
D) The honing of one's inner artistic apparition

Question 12

Why does Nietzsche think that creating art makes us better human beings? What should that art be like? What should it do to us? What kind of character does the artist have? Do you agree with his conception of the role of art in making us better? Why or why not?

Question 13

Pater contends that the task of the student of aesthetics is to __________.

A) Find a universal definition of beauty
B) Define beauty as it is expressed in each particular thing
C) Apprehend the form of the beautiful
D) Understand the metaphysical abstraction of the beautiful

Question 14

According to Dewey, what is the primary task of one who writes upon philosophy of the final arts?

A) To theorize about the nature of beauty
B) To delineate the beautify and the ordinary
C) To restore continuity between refined experience of art and everyday experience
D) To transcend the absolute in experience

Question 15

What does Dewey cite as the source of the "museum conception" of art?

A) The fact that most museums in Europe are memorials of the rise of nationalism
B) The fact that museums are often arenas for exhibiting loot gathered by its monarchs in conquest of other nations
C) The growth of capitalism
D) All of the above

Question 16

Pater contends that the job of the philosopher is to rouse the human spirit to a life of constant and eager observation.

Question 17

How does Pater view life (or "success in life")? How, according to Pater, can art help us achieve that success? Do you agree with his view? Why or why not? If you took his view seriously, how, if at all, would your relationship to art change? Would it be a change for the better? Why or why not?

Question 18

How does Nietzsche define "art?"

A) The compulsion to transform into the perfect
B) The love of beauty
C) Capturing perfect beauty
D) Creating something out of nothing

Question 19

What does Nietzsche say about Christianity and art?

A) The Sistene Chapel is the epitome of Christian art.
B) Christian art demoralizes man-e.g., Dante's Inferno
C) The pragmatic application of Christian art annihilates its transcendence
D) No Christian merits the title "artist"

Question 20

Which of the following characterizes the nature of the problem that concerns Dewey?

A) The poor quality of art these days
B) The compartmentalization of fine art
C) The failure of philosophers to define beauty
D) The intoxication of artists

Question 21

Dewey discusses the relationship between aesthetic experience and happiness. How might this poem enrich what he says?

Question 22

How, on Dewey's view, does the isolation of art and its appreciation affect the practice of living?

A) It commercializes art, and therefore devalues the creative process
B) It drives away esthetic perceptions, which are necessary ingredients of happiness
C) It devalues the abstract and so thwarts intellectual and esthetic individualism
D) All of the above

Question 23

Why does Dutton believe art does not improve us morally? Do you agree with his reasoning? Why or why not?

Question 24

Recall the functions of imagination and stories that Dutton (Reading 98) discusses. Do you think any of these apply to this poem? Explain your answer.

Question 25

Whitman was a 19^th century American poet.

Question 26

According to Dutton, why did the human appetite for fiction arise in evolutionary history?

A) Fiction has adaptive value because it is low-cost, low-risk surrogate experience.
B) Fiction has pedagogical value.
C) Fiction helps develop interpersonal and social skills.
D) All of the above

Question 27

Dutton argues that art is an adaptation for individuals in that it helps them understand their own, characteristically human emotions.

Question 28

One fact that Dutton cites in support of his theory of the evolutionary basis of art is the universal fascination with fiction.

Question 29

The poem opens with the image of _________.

A) A shipwreck
B) Two lovers in embrace
C) A sunset
D) Perfume

Question 30

Which of the following is the title of Whitman's poem?

A) Song of Myself
B) Song of the Divine
C) Song of Music
D) Song of Love

Question 31

Which of the following does Dutton cite as evidence that aesthetic judgment is evolutionarily advantageous?

A) The fact that pretend play occurs among children of all cultures at around 18-24 months.
B) The similarity of the notions of truth and beauty, and the fact that truth is evolutionary advantageous.
C) The near universal fascination humans have with fiction
D) All of the above

Question 32

Whitman suggest that understanding poetry is like carefully observing nature.

Question 33

Dutton thinks are does not improve us morally, but he thinks fiction promotes the ability to mind-read, to understand the perspectives and mental states of others. How do you think de Waal (Reading 76) would respond to pairing these claims?

Question 34

Dutton thinks fiction gives us "mental maps for emotional life." What would you infer that Dutton thinks about the role of emotion in ethics? Explain your answer.

Question 35

What, according to Dewey, is the relationship between aesthetic appreciation and happiness? Discuss examples that he gives of this relationship at work. If you were to agree with Dewey, how, if at all, would you change the way that you approach everyday living? Would it be a change for the better? Why or why not?

Question 36

Reread what Nietzsche (Reading 96) says about intoxication. Do you think this poem exemplifies his theory?

Question 37

Reread the last sentence of Pater's essay (Reading 95). Do you think this poem does or should serve the function Pater mentions? Explain your answer.

Question 38

What is the basis of Dewey's criticism of the "museum conception of art"? What factors contribute to the rise of that conception? He suggests that the museum conception of art operates to the detriment of those who hold it. How so? Do you agree that the museum conception presents such problems? Why or why not?

Question 39

What, according to Dewey, is the difference between experiencing something and having an experience? What role does Dewey think that aesthetics should play in enriching and heightening our experience of life? How does he think that this process ought to work? Is he right? Why or why not.