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.145).The activity of the Metaphertriebestablishes an aesthetic way of relating between the artistically creativesubject and the world, an allusive transference, a stammering transla-tion into a quite different language (BT, p.148).That is to say, thoughtdoes not adequately represent the world; we are left with stimuli, notcomplete cognitions (III 4, 19[225]).Language, as the physical expres-sion of thought, is a system of arbitrary symbols representing sensoryphenomena.But these symbols represent subjective modifications of oursensory modalities rather than any object in the external world, and donot coincide with the original stimulus, the X which is inaccessible tous and indefinable by us (BT, p.145).Human consciousness is unableto penetrate to the essence of the world beyond the forms and categorieswhich it imposes upon it, and is condemned, therefore, to play with itsfingers on the back of things (BT, p.142).Given this limited, mediate access to the world, a total correspondencebetween human knowledge and noumenal reality is impossible.Suchcorrespondence would, Nietzsche suggests, be tautological anyway; A =A does not cannot tell us anything useful about the world.Thosejudgements which are biologically useful are, strictly speaking, illogical,taking the form A = B: Every cognition that is beneficial to us is an identi-fying of the non-identical, of the similar, that is to say, is essentially illogical(III 4, 19[236]).Each such judgement is, then, essentially metaphorical,according to the second sense in which Nietzsche employs the term: asmeaning to treat as the same something which one has recognised asbeing similar in one aspect (III 4, 19[249]).And it is in this assertionof identity between similar, but non-identical sense-perceptions that thesecond artistic function of the Metaphertrieb lies; it is that which selectsand emphasises the similar (III 4, 19[78]).This conflation of superficiallycongruous sensory impressions, which Nietzsche elsewhere describes asthe primordial process (III 4, 19[217]) it is also, of course, a physio-logical process (III 4, 19[179]) is responsible for the simplification andfalsification of reality, since it necessarily elides the variety and complexityof the world as it appears to us.As such, it forms the basis of cognition.Without this process of comparison , concepts, the basic building blocks 102 Evolutionof our cognitive architecture, would not exist: The overlooking of the in-dividual gives us the concept and with that our cognition begins (III 4,19[236]).It is the Metaphertrieb, then, that is responsible for creating the world ofobjects.What we perceive as an object is merely a tangle of relations, asequence of perceptual metaphors or basic images generated by nervousstimulation, each of which is individual and unique (BT, p.146).Theformation of concepts depends on the congealing of this mass of images,which originally flowed in a hot, liquid stream from the primal power ofthe human imagination (BT, p.148), and it is precisely this ability to distilconcepts and individual objects from the inchoate flood of perceptualmetaphors which distinguishes the human being from other organisms.Finally, the conceptualising activity of the Metaphertrieb is based onanother artistic process, imitation (Nachahmen): All comparison (pri-mordial thought) is an imitation. Cognition is essentially a thinking inpictures , a process of association involving a chain reaction of imagestriggered by the imitation or repetition of the original stimulus: Everyperception achieves a multiple imitation of the stimulus, but with trans-ference to various areas. At the prompting of this repeated stimulus,memory retrieves a similar image from its inexhaustible supply of mem-ory pictures.This process of imitation is really a continued metaphori-cal transference (Übertragen) without the original stimulus, a continuedtransference of the received image in a thousand metaphors bringingforth related images, from various rubrics (III 4, 19[226 7])
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Tematy
IndexMoore Christopher Ssij, mała, ssij (II)
Gregory Philippa Saga Laceyów 01 Dziedzictwo (Majštek Wideacre)
Saga Laceyów 01 Dziedzictwo Gregory Philippa
Gregory Philippa Dziedzictwo [Majštek Wideacre]
Gregory Philippa Tudorowie 3 Kochanek dziewicy
Gregory Philippa Wieczna księżniczka
Warren Murphy Destroyer 091 Cold Warrior
ÂŚpiewajacy żółw Zygmunt Zeydler Zborowski
Deveraux Jude Endenton 01 Pierwsze wrażenie
Luigi Pirandello Il fu Mattia Pascal