Just as Darwinian adaptationists assume that every biological phenomenon must be explained in terms of natural selection (no matter how unconducive to reproductive fitness it may appear initially), so too Nietzsche assumes that whatever explains "life” must also explain these particular instances of life which appear hostile to it. "'Life against life,'" Nietzsche says is a "self-contradiction" that "can only be apparent; it has to be a sort of provisional expression, an explanation, formula, adjustment, a psychological misunderstanding of something, the real nature of which was far from being understood" (GM III:13). ... The crux of Nietzsche's explanation turns on three claims:.
Brian LeiterRelated topics
adjustment appear biological crux darwinian far fitness matter natural nature real reproductive selection something sort three whatever iii NietzscheRelated quotes
We can all agree– it has already been a measure of the debate– that Saddam Hussein is an evil tyrant with no regard for the sanctity of human life, for either his own citizens or the people of other countries. We all agree that he is in flagrant breach of a series of UN resolutions, and in particular those relating to his duty to allow the inspection, and indeed participate in the destruction, of his weapons of mass destruction. We can also agree that he most certainly has chemical and biological weapons and is working towards a nuclear capability. The dossier contains confirmation of information that we either knew or most certainly should have been willing to assume.
Menzies Campbell
For I consider that music is, by its very nature, essentially powerless to express anything at all, whether a feeling, an attitude of mind, a psychological mood, a phenomenon of nature, etc. Expression has never been an inherent property of music. That is by no means the purpose of its existence. If, as is nearly always the case, music appears to express something, this is only an illusion and not a reality. It is simply an additional attribute which, by tacit and inveterate agreement, we have lent it, thrust upon it, as a label, a convention – in short, an aspect which, unconsciously or by force of habit, we have come to confuse with its essential being.
Igor Stravinsky
Our admiration for natural beauty /.../ cares not to understand either the physical theories which explain what it admires, or the psychological theories which explain its admiration. It does not deny the truth of the first, nor (within due limits) the sufficiency of the second. But it requires more. It feels itself belittled unless conscious purpose can be found somewhere in its pedigree. Physics and psycho-physics, by themselves, suffice not. It longs to regard beauty as a revelation-a revelation from spirit to spirit, not from one kind of atomic agitation to the "psychic" accompaniment of another. On this condition only can its highest values be maintained.'
Arthur Balfour
[The Constructive idea.. ] has revealed a universal law that the elements of a visual art such as lines, colours, shapes, possess their own forces of expression independent of any association with the external aspects of the world; that their life and action are self-conditioned psychological phenomena rooted in human nature; that those elements are not chosen by convention by any utilitarian or other reason as words and figures are, they are not merely abstract signs, but they are immediately and organically bound up with human emotions. The revelation of this fundamental law has opened up a vast field in art giving the possibility of expression to those human impulses and emotions which have been neglected.
Naum Gabo
The final truth about a phenomenon resides in the mathematical description of it; so long as there is no imperfection in this, our knowledge of the phenomenon is complete. We go beyond the mathematical formula at our own risk; we may find a model or a picture which helps us understand it, but we have no right to expect this, and our failure to find such a model or picture need not indicate that either our reasoning or our knowledge is at fault. The making of models or pictures to explain mathematical formulas and the phenomena they describe is not a step towards, but a step away from reality; it is like making a graven image of a spirit.
James Jeans