Art features heavily in Arthur Schopenhauer’s “Will and Representation.” Schopenhauer had a complex and nuanced view of art’s profound effect on humanity and that effect’s importance to our everyday lives. His view does not however, exist in a vacuum. It is an integral part of his overarching theory on humanity and existence itself and therefore can only be fully appreciated with at least some reference to his other ideas. In this paper I will attempt to illustrate Schopenhauer’s philosophy of art while highlighting pertinent aspects of his other related theories such as the aesthetic value of nature. I will conclude by using several theories of Schopenhauer’s I have summarized to contrast humanity’s relationship with both art and nature. Schopenhauer felt that suffering is part of human nature. Humans at their very core are driven by will. Will which is at least in part defined by a feeling of insatiable need. This endless need in turn brings about an endless striving to satisfy that need because of the pain it can cause. He felt that this is a defining characteristic of humanity but he also recognized that humans are capable of, at least temporarily, removing themselves from this very desire. The method through which humanity eludes endless desire and pain and finds relief is aesthetic contemplation; more specifically, contemplation of either nature or art. Contemplation of nature allows us to remove ourselves from preoccupation with our own endless striving. We may bear witness to the majesty of nature and find that our limitless need is silenced in the face of such a spectacle. When the will is stilled in this way we find ourselves contemplating the “true” nature of things. We may begin to see the world as it truly is, bu... ... middle of paper ... ...ositions more than they are accurate descriptions. This seems to be the exact opposite of our relationship to art. Nature exists and functions in exactly the same way regardless of our attempts to understand it. Our judgement regarding nature came along well after nature began and neither defined nor changed anything about the manner in which nature functions or exists. Art has a purpose or meaning that exists up to, and continues on after, an artist gives it representation in the real world. The human construction that we consider nature’s “meaning” relies on humanity to exist while the existence of art relies on a human to succeed in communicate a meaning that exists whether or not that communication is successful. Put as simply as possible, The meaning of art exists whether or not art exists, and the reality of nature exists whether or not we give it a meaning.
Nigamananda Das (2007) introduces the concept of ‘positive aesthetics’ which suggests that while ‘[a]rt-work may be good or bad, ugly or repulsive […] nature is all beautiful in its own way’ (p. 18). Positive aesthetics posits that ‘[a]ll [of] the natural world is beautiful’ and that the natural environment ‘so far as it is untouched by man’ (Das, 2007, p. 18). These untouched environments are ‘graceful, delicate, intense, unified, and orderly rather than blase, dull, insipid, incoherent, and chaotic.’ A problem for positive aesthetics is whether all parts of nature should be held as equally beautiful. Holding that all of nature is equally beautiful has a strong motive, since to suggest otherwise may seem to compromise the position of positive
Throughout the Romanticism period, human’s connection with nature was explored as writers strove to find the benefits that humans receive through such interactions. Without such relationships, these authors found that certain aspects of life were missing or completely different. For example, certain authors found death a very frightening idea, but through the incorporation of man’s relationship with the natural world, readers find the immense utility that nature can potentially provide. Whether it’d be as solace, in the case of death, or as a place where one can find oneself in their own truest form, nature will nevertheless be a place where they themselves were derived from. Nature is where all humans originated,
He believed the more you emerge with nature, the more divine you will be, because God made nature art. He also brings up the argument that if you don’t associate with nature then you don’t understand your surroundings just like you won’t understand God. In the “Nature,” he says “We are as much strangers to nature as we are aliens from God. We do not understand the notes of birds. The fox and the deer run away from us; the bear and tiger rent us.
The water was calm, like the morning; both were starting to get ready for the day ahead. The silent water signals that although rough times occurred previously, the new day was a new start for the world. As I went closer to the water, I heard the subtle lapping of the water against the small rocks on the shore. Every sign of nature signals a change in life; no matter how slight, a change is significant. We can learn a lot from nature: whatever happens in the natural world, change comes and starts a new occurrence. I gazed over the water to where the sky met the sea. The body of water seemed to be endless under the clear blue sky. The scope of nature shows endless possibilities. Nature impresses us with the brilliant colors of the sky, the leaves, the water. She keeps us all in our places and warns us when we are careless with her. After all the leaves have fallen from the trees, she will offer us the first snows of the year to coat the earth with a tranquil covering. That will only be after we have recognized the lessons of autumn, the gradual change from warm to cold, rain to snow, summer to winter.
Based on the readings “Schopenhauer as educator” by Nietzsche, Schopenhauer’s “thinking of one self” and personal higher education experience I believe college level education obstruct the pursuit of true education. As humans, we enjoy patterns and repetition. The issue with uniformity is the fact we become experts at fulfilling expectations and not discover the true self. Schopenhauer embraced his uniqueness. Although it let him into a pessimistic mid set he accomplished his true self. Overcoming expectations is difficult and the fact that Schopenhauer was able to accomplish what was expected, he inspired people like Nietzsche to do the same. It is difficult to stay within the lines and follow directions blindfolded. It is actually more difficult
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
To perceive, to understand of nature and its interconnections, in contemporary symbolic thinking, is impossible. Denying our illusions, or our experiences, results in the rejection society’s interpretations, ultimately denouncing our symbolic thinking. We define reality as interconnections between nature, using abstractions based on perceptions to explain “natural processes, rather than structure” as “probability patterns [represent] movement in human perception” (Capra). Abstractions, however, become susceptible to our biased perspectives, to our experiences, illusions and hallucinations. According to Capra, to understand the “cosmetic dance of destruction and creation,” to recognize relations as the essence of life, or as “self-organization, self-renewing, self-maintaining, we need a more comprehensive scientific framework that “incorporates ecological thinking, [rather] than contingent thinking” (Capra). Our biased perceptions of reality contradicts our scientific frameworks, our symbolic thinking, creating a flawed perception that constitutes an illusion of ecological supremacy, representing society’s disconnect with nature. Because our debilitating disorientation, our illusionary thinking and our perception, frames the foundations and dimensions of our interpretations of reality,
Throughout the other chapters, Emerson explores the idea of nature as instructor to man and how man can learn from nature. He repeatedly says that nature is a divine creation of God and through it man can learn to be closer to god. However, despite the reverence, awe, and prerequisite mental status, he also presents the concept of nature being 'below' and man on a 'Scala Natura ' of sorts. Although man seen as connected to and part of nature, for he questions if we can "separate the man from the living picture" of nature (26), he finds that nature is nothing without human interpretation because "All facts in natural history taken by themselves have not value . . .. but marry it to human history, and it is full of life," (33). However, there appears to be some more complicated interactions between nature and humans because human language, arguably one of the most important inventions/discoveries in our history is immediately dependent on nature (35). In a chapter titled Discipline, Emerson states that 'nature is thoroughly mediate. It is made to serve," (45). Emerson believes that the human form is superior to all other organizations which appear to be degradations of it (50).
From the lone hiker on the Appalachian Trail to the environmental lobby groups in Washington D.C., nature evokes strong feelings in each and every one of us. We often struggle with and are ultimately shaped by our relationship with nature. The relationship we forge with nature reflects our fundamental beliefs about ourselves and the world around us. The works of timeless authors, including Henry David Thoreau and Annie Dillard, are centered around their relationship to nature.
Schopenhauer makes it clear that he is indebted to Kant for his vision of transcendental idealism, and that his Critique of Pure Reason [2] is a work of genius. However, Schopenhauer argued that Kant made many mistakes when formulating his philosophy, and he set about the task of uncovering them in his Criticism of the Kantian Philosophy, an appendix to be found in The World as Will and Representation [1]. In this essay I wish to analyse the criticism made against Kant's determination of an object, since this is an important factor if we are to comprehend how we understand reality.
Suffering occurs all around us and it is a part of the human condition. Suffering does not have a set time or place and as a result of acceptance, we do nothing to help. Musée des Beaux Arts by W.H. Auden is an assertion on the way human comprehension is applied to observe and disengage from human suffering. Through the analysis of the poem, the poet clarifies how apathetic humanity is towards suffering. He proves his concept of suffering by utilizing artwork that examines human thoughts, and integrates ordinary images with those of suffering and tragedy.
Philosophies of Art and Beauty Edited by Hofstadter and Kuhns, (Chicago: University of Chicago press, 1976) chapters one and two for an overview of the aesthetics of Plato and Aristotle.
Every event of nature becomes a lesson for man in order for his soul to learn and to nourish itself spiritually. Man is inspired by nature as a moral being by following the principles of nature. At the same time, Emerson’s view of nature conflicts with religious dogma, and rather than seeing nature as part of a curse of God on man, he sees nature in the service of mankind. Still, it is crucial for man to recognize the existence of a spirit in nature, and man must build up his own spirituality by having a different view of nature. Man will be able to understand and answer those questions that plague his mind about the order of universe when he experiences the world that surrounds him. Once man recognizes his part in creation, and how nature is an expression of the divine, then he will find his purpose in life. The key to divine knowledge is held by man, and man should find this knowledge by using the keyhole found in nature (“we learn that man has access to the entire mind of the
When one observes a piece of art, whatever medium that maybe, one might be thinking of; the beauty that resides within each piece or the artist and his inspiration. According to Ralph Waldo Emerson in his Essay “Nature”, “A work of art is an abstract or epitome of the world. It is the result or expression of nature, in miniature”. Nature, and art are both very subjective ideas that are open to interpretation. In order to understand what makes art, abstract one must understand the process in which such beauty was created. Emerson describes in this quote that art is a replication of the beauty that is found within nature. Upon closer examination of Emerson’s ideas one can conclude that a link between man and nature is needed for one to understand
To understand the nature-society relationship means that humans must also understand the benefits as well as problems that arise within the formation of this relationship. Nature as an essence and natural limits are just two of the ways in which this relationship can be broken down in order to further get an understanding of the ways nature and society both shape one another. These concepts provide useful approaches in defining what nature is and how individuals perceive and treat