The Disenchantment and Rebirth of Western Society According to Nietzsche and Kandinsky

Nietzsche was a revolutionary author and philosopher who has had a tremendous impact on German culture up through the twentieth century and even today. Nietzsche's views were very unlike the popular and conventional beliefs and practices of his time and nearly all of his published works were, and still are, rather controversial, especially in On the Genealogy of Morals. His philosophies are more than just controversial and unconventional viewpoints, however; they are absolutely extreme and dangerous if taken out of context or misinterpreted. After Nietzsche's death it took very little for his sister to make some slight alterations to his works to go along with Nazi ideology.

The novel is able to share how music is of great importance and is able to affect people’s moods and thoughts.

In Wassily Kandinsky's excerpt from Concerning the Spiritual in Art, he argues that art is supposed to make one’s soul resonate through the discovery of the unknown and color. Kandinsky claims that at first art is only understood by one person, usually the original artist, and it then slowly expands to more and more people as they look at the art. This allows them to discover something the previously did not know or understand. He then claims that color affects the viewer in two distinct ways: physically and psychologically. Using these two claims, he supports his argument that art allows the soul to feel in ways that are not possible otherwise.

Music is like the wardrobe to Narnia. It sends an individual into a whole new world and causes one to forget about the world and problems they are living in now. In the novel A Long Way Gone: Memoir of a Boy Soldier by Ishmael Beah, Beah becomes a child soldier unwillingly during a civil war in Sierra, Leone when he is twelve years old. All he had was his rap music that kept him going. In Ishmael Beahs novel he uses detail and diction to highlight how music provides a means by which ones life can be saved by the power of music, can temporarily escape the harsh realities of life, and can connect to happier times.

In the book “A Long Way Gone” music plays a role as a healer and a saviour.

Friedrich Nietzsche’s own skepticism symbolized the secular changes in contemporary Western civilization, in which he details mankind’s break away from faith into a new rule of chaos. In Book 5 of The Gay Science, Nietzsche establishes that “God is dead”, meaning that modern Europe has abandoned religion in favor of rationality and science (Nietzsche 279). From this death, the birth of a ‘new’ infinite blossoms in which the world is open to an unlimited amount of interpretations that do not rely on the solid foundations of faith in religion or science. However, in contrast to the other philosophers of his age such as Immanuel Kant and Georg Wilhelm Friedrich Hegel, Nietzsche deviates from the omniscient determinism of history towards a

Friedrich Nietzsche, a prominent German philosopher in the 19th century is one of the most well-read philosophers of the past two-centuries. His ideas regarding morality and nature continue to be discussed and debated to this day among scholars of all beliefs.

The engulfing size of the painting (250.5 x 159.5 cm) drives the audiences mind into a hypnotic frenzy as they are overwhelmed by bright and sensual colours, which, have the ability to evoke deep emotions and realisations. Kandinsky has portrayed this through the disorientation of his own personal visions of society during the industrial revolution. The rough yet expressive outline of buildings, a rainbow and the sun gives reference to realism as it allows viewers to connect and understand underlying motifs and shapes yet is painted abstractly to move away from the oppressive and consumerist society. Thus, Kandinsky breaks boundaries through his innovative approach to his art-making practise concluded from his personal belief of ‘art for arts sake’. He believed that art should mainly convey the artist’s personal views and self-expressionism that translated a constant individuality throughout his work from an inner intentional emotive drive. This broke traditional boundaries as art in the renaissance period was meant to be a ‘narration’ or an artwork where an audience could learn and benefit from. This is evidently shown in Composition IV as it exemplifies Kandinsky’s inner feelings towards the industrialised society

Abstract Expressionism began in the 1940s and the 1950s in New York after World War II from the ideas of Surrealism about art that looks to examining the unconscious mind, and the feelings people hold that makes us all humans. Through the discussion of Autumn Rhythm (Number 30) by Jackson Pollock, I will define Abstract Expression and why this work is part of this movement. Then, through the discussion of Canyon by Robert Rauschenberg, Target with Plaster Casts by Jasper Johns, and Marilyn Diptych by Andy Warhol, I will explain Assemblage and Pop Art and why each of these works belong to those movements.

Before hearing this lecture, I had no concept of the types of music in concentration camps, much less a sense of the music within World War II. The lecture taught me how music and the arts are something that can’t ever be stopped. Even though it’s not mandatory for human life or a lucrative career it has permanently etched a place inside of culture and the continuation of history.

Wassily Kandinsky was a Russian-born artist, whose contributions to the world of modern art are innumerable. On an artistic level, Kandinsky's maturation process from representational art to abstract art is fascinating. From his earliest work, with an impressionistic flair, to his later work, which was pure abstraction, Kandinsky was an innovator and a genius. He bridged the gap between reality painting of earlier decades and the fantasy pastime of the twentieth century.

If we broadly understand metaphysics to be the inquiry concerning how reality is in itself, then we find in the work of Nietzsche two different levels of discourse regarding his opinion of metaphysics. On one level, we find the Nietzsche that we all know, the staunch opposer of metaphysics as Platonism who greatly influenced later thinkers such as Martin Heidegger and Jean-Luc Marion. However, on another level, there is a Nietzsche who is completely at ease in employing this term in a positive way. This, is particularly clear in the light of Nietzsche’s first publication, The Birth of Tragedy. Heavily influenced by figures such as Schopenhauer and Wagner, in this text Nietzsche avails himself of

Karl Marx and Marx Weber The latter part of the nineteenth century was teeming with evolved

Surrealism is not the only movement that influences expressive arts therapy. Other movements have made important contributions to both the philosophical foundations of art in psychology and the development of expressive arts therapy as a formal discipline. Wassaly Kadinsky, a German abstract expressionist, explored color, shape, and form as an expression of spirituality. He developed theories regarding the nature of art and the role of the artist as a “prophet”. His theories are based on inner experiences and art as the soul of nature and humanity. Joseph Beuys explored the role of artist as shaman. In his performance art, like How to Explain Pictures to a Dead Hare, he chose materials and actions for their symbolic value and manipulated them to affect the viewer. Spontaneous creativity is the focus of the beat generation. Writers, like Allen Ginsberg and Jack Kerouac, worked

As mentioned surrealism, like Dadaism, tried to distance itself from contemporary culture and sought to shock the familiarity of reality. Hence, the unconscious has a centrepiece in surrealist art and the underlying theme was to create images of such unconscious situation or universes. This was primarily achieved with the use of symbolism and the placing of objects in unfamiliar settings. This would revitalize and redefine such objects outside the conventional reality that is the adversary in surrealist art and hence create the desired conflict between the conventional and the unconscious (Waldberg 1997; Martin 1987).