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The Boundaries of Art is a provocative and stimulating contribution to the philosophy of art. In it, David Novitz explores the many different relations between art and life, and does so in ways that herald an important and valuable break with traditional aesthetics. He rejects the view that an artwork should be judged in isolation from its historical and cultural contexts, pointing to many ways in which the cultural milieu affects choices made by the artist. By closely examining the notion of an art and its relation to the fine arts, he challenges the commonplace notion of art as something removed from daily life. He also examines in detail the distinction between popular and high art, arguing that it is a social construct, which received impetus from the rise of the aesthetic movement in the late nineteenth century. Although Novitz provides a sustained and lively challenge to the traditional boundaries of art, he rejects the postmodernist claim that there are no actual distinctions to be drawn between art and life. Instead, he argues, against Richard Rorty and others, that the relations between art, life, and philosophy need to be rethought in ways that preserve the notions of truth and knowledge while recognizing the role that art and philosophy play in enabling people to negotiate the brute facts of their actual existence. At its most powerful, Novitz argues, art is a form of seduction that can destabilize our commitments and entire world view, and does so in ways that are unavailable to rational persuasion. But he argues as well that it does not follow from this, as Oscar Wilde suggests, that “Life is in fact the mirror, and Art the reality”. This revised and enlarged edition amplifies the arguments of the first edition in two important ways. First, it addresses the recent debate about the relation of popular art to mass art, arguing that recent attempts to define mass art in non-social (structural) terms are importantly deficient. Second, it elaborates earlier comments about the evaluation of art in ways that lead to an entirely new theory of artistic appreciation. In so doing, this enlarged edition provides revolutionary arguments for the view that art and its appreciation are deeply enmeshed in the bread and butter concerns of everyday life - arguments that will have profound consequences for art criticism and the study of art.
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Michael Dunkle
reviewed The boundaries of art on April 10, 2012
The boundaries of art
Apollo Vs Dionysus: A Darwinian Drama
Nietzsche never struck me as a real philosopher. He was too much the story-teller.
This is probably his most a-philosophical (?) work. But it is my favorite. It was the most accessible to me and it was the most relevant of his works. It helped me form my own convictions. It was universal and yet not choke full of platitudes. It was forceful but not descending into loud (almost incomprehensible) invectives. (you know which works I subtly allude to)
'Birth of Tragedy' was his first major work and to me (in contradiction of the previous paragraph) his most philosophical. It seems to me to be the very soul of his philosophy - that was then refined and reformed in the fire of his (self-imposed?) suffering. The later philosophy is the 'Nietzschian' one - grand and too powerful to ignore. But, this earlier core is, to me, the real beauty that livens all the later fury.
Nietzsche, already in this, his first work (ostensibly on the source of Greek tragedy), set Dionysus (the god of vitality, ecstasy, thriving life, and of wine) against Apollo (the god of tranquillity, logic, and of contemplation).
According to Nietzsche, in Greek tragedy as in life, it is the unruly chorus who represented Dionysus and was a crying-out of humanity (the species) itself. Apollo, on the other hand, was represented by the human actors and expressed himself through the orderly dialogue. Apollo was designed to be noticed - the conscious story. Dionysus was designed to be evoked - the collective unconscious?
In this early core of Nietzschian philosophy, a philosophy of species vs individuals, of species evolution pitted against human vanity, Dionysus is the strength of the human race, of life itself (vide Darwin) but manifests only as mere background to any given human drama (but still the source of all drama and is THE actual Drama).
Apollo, in contrast, is expressed in any given human drama (composed or lived) - important and represented and thought about. But, always about mere individuals, weak and mortal.
With this early work Nietzsche leapt into the depths and all the later developments was a climb back and proclamations of the reality of the Deep. Or even attempts to reconcile with it. It is tragic that it evolved into a darker, crueler negation clothed as an affirmation. At least in this work, he adored and embraced the tragic sensibility which is the condition for man - of adoration of life and of its cruel laws, despite all the weakness of the individual - the real genesis of the Superman.
Disclaimer #1: Written more than a year after the original reading and after only a cursory re-reading/re-glancing. Please trust the reviewer when he asserts that the work is powerful enough to stay fresh-to-review even after a year has passed.
Disclaimer #2: Required Expansion of Essay: 'The Superman as The Buddha: The Inevitable Evolution of Tragic Consciousness'
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