Cambridge texts in the history of philosophy

Nietzsche, Friedrich Wilhelm; Williams, Bernard; Nauckhoff, Josefine; Del, Adrian

doi:10.1017/cbo9780511812088.013

Cited by 38 publications

(52 citation statements)

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“…What is art for? Answers to this question obviously turn out quite differently depending on the theoretical vantage point: Looking at the self-contained individual, scholars tend to emphasize an intrinsic appetence for change and novelty and an emancipatory function of art (e.g., Berlyne, 1971; Martindale, 1990; Nietzsche, 1882/2001). By contrast, when research is focused on the vulnerable individual, special emphasis is placed on needs for safety and relatedness.…”

Section: Discussionmentioning

confidence: 99%

A Functional Model of Kitsch and Art: Linking Aesthetic Appreciation to the Dynamics of Social Motivation

Ortlieb

Carbon

2019

Front. Psychol.

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With the advent of modernity, change and novelty have become the core values of artistic production. At the same time the derogatory term “kitsch” was coined to contrast truly ground-breaking artistic achievements. In this article, we argue that kitsch and avant-garde art ideally represent two complementary types of aesthetic experience: a fluent one that allows for immediate emotional gratification (kitsch) and a disfluent one that requires cognitive elaboration (art). We make a case that preferences for the one or the other are dynamically related to a set of conflicting needs which constitute the basic dilemma of human attachment behavior: needs for safety and intimacy versus needs for arousal and autonomy. Based on the Zurich Model of Social Motivation we hypothesize that social distance regulation and aesthetic liking are synchronized via notions of self-efficacy and autonomy: Whenever we feel safe and self-sufficient, an appetence for arousal (curiosity) is likely to arise that increases our interest in unfamiliar conspecifics as well as in innovative, cognitively challenging aesthetic stimuli (art). By contrast, when we feel vulnerable and dependent, a longing for safety and relatedness (nostalgia) attracts us not only to familiar and trustworthy individuals but also to conventional aesthetic stimuli charged with positive emotions (kitsch). This theoretical framework offers an integrative perspective on dynamics of aesthetic liking in that it unites a wide variety of phenomena from anthropology, developmental, and cognitive psychology with concepts and findings from art history, sociology of art, and empirical aesthetics.

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Section: Discussionmentioning

confidence: 99%

A Functional Model of Kitsch and Art: Linking Aesthetic Appreciation to the Dynamics of Social Motivation

Ortlieb

Carbon

2019

Front. Psychol.

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“…a certain warm, fear-averting confinement and enclosure within optimistic horizons'. 34 In Nietzsche we see so clearly that transgressive desire, even when explicitly erotic, aims not just for forbidden pleasure, but forbidden knowledge too.…”

Section: Dangerous Knowledge Indeedmentioning

confidence: 99%

Art in time of war

Dollimore¹

2018

The New Aestheticism

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“…What if we had to live this life ‘innumerable times’ and that ‘there will be nothing new in it’? What if everything were reproduced in precisely ‘the same succession and sequence’ as the hourglass of existence is turned over again and again (Nietzsche, 2001: 194–195)? On this reading, the eternal return is an inevitable, endless cycle of cosmic repetition, and therefore a fatalistic, mechanistic return of the same.…”

Section: Eternal Returnmentioning

confidence: 99%

Groundhog day? Nietzsche, Deleuze and the eternal return of prosumption in lifelong learning

Beighton

2016

Journal of Consumer Culture

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This conceptual article examines George Ritzer's concept of prosumption in the context of lifelong learning in the UK. Ritzer's references to prosumption as a form of eternal return of a "primal act", which draw on the work of Friedrich Nietzsche and Gilles Deleuze, introduce some ambiguity into the concept. This ambiguity echoes a certain polarization in the debate about co-creation, especially regarding the nature of consumer participation in the creation of value, but it is central to defining the limits of consumer freedom and agency. Critical analysis of UK lifelong learning discourse shows how prosumption can work as a tool of control in this context, producing docile subjectivities, compliant forms of creative co-production and disposable 'nothing' products through repetition and a return of the same. Where prosumption is able to challenge this repetition, however, it involves creativity and the return of difference. These examples show how eternal return, ultimately, underpins prosumption's claim to offer a valid description of emerging practices of prosuming lifelong learners.

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Cambridge texts in the history of philosophy

Cited by 38 publications

References 0 publications

A Functional Model of Kitsch and Art: Linking Aesthetic Appreciation to the Dynamics of Social Motivation

A Functional Model of Kitsch and Art: Linking Aesthetic Appreciation to the Dynamics of Social Motivation

Art in time of war

Groundhog day? Nietzsche, Deleuze and the eternal return of prosumption in lifelong learning

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