Reviews for The boundaries of art

The average rating for The boundaries of art based on 2 reviews is 3 stars.

Review # 1 was written on 2011-04-22 00:00:00 J Alan Risk "Love, Friendship, and the Aesthetics of Character" is so far one of the more fascinating essays I've read anywhere on love and aesthetics, yet. Novitz elucidates the concept of being "in love" as inextricably tied to self-deception, or an unconscious alteration of one's aesthetic values to maximize the attractiveness and chances of reciprocated approval in one's object of affections. It is of course distinct from friendship but the latter is not entirely free of deception either, as Novitz explains how we tend to smooth away faults in our loved ones (or at least, continue loving them despite their faults); how we construct "safety nets" of relationships which cast ourselves in a more-loved light; and how we value more the loves from those we admire, over the loves from those we do not care for. "...friendship and love are relationships of dependency which enable us to satisfy our very deep, usually unknown and unacknowledged psychological need for approval and acceptance."So good. This is my bread and butter.

Review # 2 was written on 2012-04-10 00:00:00 Michael Dunkle 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'