Andreas Dorschel

Within the European history of ideas, at least three conceptions of metamorphosis can be distinguished. First, as celebrated in Ovid’s Metamorphoses, there is the vision of an open-ended flux of shapes in all directions, potentially with the ambiguous result of wavering identity. Secondly, at the centre of the synoptic gospels Jesus’s transfiguration is presented as a luminous elevation, rendering his true nature unambiguous. Thirdly, alchemy conceives of metamorphosis as contingent upon a meeting of polarities. The distinction is fit to disclose crucial aspects of works of art, particularly of musical compositions.

Order has been ascribed both to nature and to society. There is a long tradition of claiming that the social order and the natural order are closely linked. Radical enlightenment challenged that tradition. According to Spinoza to call something orderly simply means that we can easily imagine and remember it; ascribing order thus betrays merely something about us, not about things. This challenging idea never became Enlightenment mainstream. In fact, ties between an objective natural order and our own human order were widely popularized in the 18th century. Yet one strand of thinking, set out to undermine traditional views of order, turned up trumps. The British Enlightenment succeeded in undoing the time-honoured equation of order and hierarchy.

In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic work of art (‘Gesamtkunstwerk’) include or rather exclude chamber music?

Remembrance is constitutive of music. For music emerges not as an isolated physical stimulus. Rather, it is experienced, i.e., a present musical moment is tied to its temporal antecedents. It is tempting to conceive of remembrance as repetition and as thus opposed to oblivion. Yet to memory selectivity is crucial. What is not selected, falls into oblivion. Hence as we remember we have forgotten already. The present moment evokes remembrance, and exhibits what was then in the light of what is now. Remembrance changes the past it recovers. Listening to music, we may experience anamnesis to be metamorphosis.

In design theory, moral categories have traditionally been used in favour of objectivity and soberness to oppose designers' aesthetic narcissism. This use of moral concepts is directed at the individual design object. The situation gets more complicated, however, as soon as the totality (or a large number) of objects of a certain type raises problems which could not have been predicted from features of the individual object as such. The essay attempts to clarify how ethical concepts could be relevant to dealing with such complications.

To call a piece of music sad or joyous need not imply reference to a subjective state. Speaking in this vein, we do not have to attribute sad or joyous feelings to the composer or to the performer. Nor do we predict that listeners will become sad or joyful when they will listen to a performance of that composition. Musical expression is not a mode of consciousness in those who produce it and it is not an effect of music either. Rather, it is a feature of the music itself. Once we have discarded the psychological reduction of expression, the way may be clear to explore the intricate relation between expression and subjectivity. Friedrich von Hausegger’s Music as Expression (1885/87) stands out among the guides to be recommended for a journey along that path.

Reference to past possibilities is not an additional luxury in writing history, after all facts have been established. For even facts become such only within a field of alternative options. What it means that one path was taken depends in part on answers to the question which other paths once open were not taken. Historical potential unrealized can be conceived of in a number of ways: as unfulfilled intentions, as unresolved problems, as suppressed endeavours, as waived alternatives within a context of decision, or as losses incurred by gains in some other respect. Some of these conceptions are non-exclusive. None of them provides the single model to grasp past possibilities; rather, they will turn out to be more or less elucidative according to historical case.

Is fear a ‘deficient mode’ of anxiety? This claim made by Martin Heidegger in ‘Being and Time’ (1927) depends on an analysis of intentionality. Emotions take objects: to love, to hate, to fear is to love, to hate, to fear someone or something. Yet anxiety, Heidegger maintains (‘Being and Time’ § 40), is about “nothing” (“nichts”) rather than “something” (“etwas”). Heidegger then turns lack of knowledge or understanding of what one’s anxiety is about into a revelation of “Nothing” (“Die Angst offenbart das Nichts”; ‘Being and Time’ § 40) – a state meant to manifest freedom. Yet freedom is not increased but diminished if and when someone cannot judge the direction, extent and power of a threat. Concrete, determinate thought liberates; someone is less free in anxiety than in fear.

Aestheticians in the tradition of Critical Theory have claimed that the or a purpose of musical interpretation is somehow to save or salvage or rescue ("retten") the musical work. What sense, if any, can be made of this claim? The notion of salvage or rescue presupposes the concept of danger. Threats to works of art emerge from two sources: from outside and from inside. Whilst the former problem is only touched upon, the latter is discussed in some detail, using the example of Brahms' Alto Rhapsody op. 53. Kathleen Ferrier's and Clemens Krauss' interpretation of 1947 deals with rather than ignores the composer's crumbly attempt at fusing art and religion. Salvage as their attitude vis-a-vis the work is distinguished from cover-up on the one hand and exposure on the other hand.

‘Metaphysical painting’ (‘pittura metafisica’) is a paradoxical term: extrasensory sensuousness, as it were. Painting is the representation of visible surfaces; metaphysics rejects surfaces, as deceptive, in favour of the deeper essence. But Giorgio de Chirico (1888–1978) who coined the term ‘pittura metafisica’ in 1919 was a follower of the anti-essentialist Nietzsche. ‘Metaphysics’, then, is not about discovering the essence of things but about shaping their appearances, their ‘physique’. This is an intriguing concept and the corollary to a subtle artistic oeuvre.

Does having some feeling or other ever count as an argument – and, should it? As a matter of fact, not just do persons sometimes refer to their feelings to make a point in debate. Often, they even treat them as irrefutable arguments; for they are, of course, certain of their own feelings. To make a point in debate by reference to one’s feelings, one has got to articulate them. As language is the core medium of debate (though it can be supported by images etc.), feelings, then, have to be articulated in words. These words, to function in communication, must participate in what is general (though not necessarily universal). On that level of generality, other speakers of the same language can contest the feelings – not that they have occured within the first speaker’s subjectivity, but that they are reasonable reactions to circumstances. Hence if feeling is sometimes to be taken seriously as an argument, it is not irrefutable, but rather refutable; and to the extent that somebody insists that it is irrefutable, it cannot count as an argument.

It is known that sociobiology, the theory of the biological origins of the social behavior of living beings, is related to ethics. However, sociobiology does not include moral doctrines but simply describes facts. The present essay discusses two basic theses, “altruism” and “reciprocal altruism”, in order to prove that a natural science free of judgments and evaluations is contrary to a theory of ethics, such as the theory of Kant and Apel, as well as to intuitive theories of ethics. Ethics is the explanatory theory of morality, and morality should be established at the theoretical level, so that doubt can be expressed and not restrained.

The work of Richard Strauss has been disparaged as a music designed to be relished (“Genußmusik” was Adorno’s term), lacking any dimension of ‘transcendence’. The notion of ‘relish’ or ‘pleasure’ (“Genuß”), used for characterization rather than disparagement, can disclose crucial aspects of Strauss’s art, though it does not exhaust it. To oppose ‘relish’ or ‘pleasure’ (“Genuß”) to ‘transcendence’, however, either uses hidden theological premises or disregards that ‘relish’ or ‘pleasure’ (“Genuß”), bound to be pervious to its object, does transcend towards it.

Acting morally comes at a price. The fewer people act morally, the dearer moral acts will be to those who perform them. Even if it could be proven that a certain moral norm were valid, the question might still be open whether, under certain circumstances, the demand to follow it meant asking too much. The validity of a moral norm is independent from actual compliance. In that regard, moral norms differ from legal rules. A law that nobody obeys has eroded and thus lost validity; a moral norm that nobody keeps, however, may still be valid. Yet the latter point does not render the question obsolete whether demanding obedience to a specific moral norm, under certain circumstances, could mean asking too much. The costs incurred might be, on the one hand, individual costs. But there may, on the other hand, also be moral costs of obeying a certain moral norm. For an individual might also have responsibilities towards others near her, e.g., her family or peers; acting in accordance with the strict moral standard, then, could do harm not just to her but also to those who rely, and must rely upon her. Yet to define moral limits to following moral rules appears to be self-defeating.

Acting morally comes at a price. The fewer people act morally, the dearer moral acts will be to those who perform them. Even if it could be proven that a certain moral norm were valid, the question might still be open whether, under certain circumstances, the demand to follow it meant asking too much. The validity of a moral norm is independent from actual compliance. In that regard, moral norms differ from legal rules. A law that nobody obeys has eroded and thus lost validity; a moral norm that nobody keeps, however, may still be valid. Yet the latter point does not render the question obsolete whether demanding obedience to a specific moral norm, under certain circumstances, could mean asking too much. The costs incurred might be, on the one hand, individual costs. But there may, on the other hand, also be moral costs of obeying a certain moral norm. For an individual might also have responsibilities towards others near her, e.g., her family or peers; acting in accordance with the strict moral standard, then, could do harm not just to her but also to those who rely, and must rely upon her. Yet to define moral limits to following moral rules appears to be self-defeating.