Nietzsche (1844-1900) is one of the few philosophers who have an intimate connection to music. This connection has much to do with his early music education. His contemporaries testify that he was a good pianist. His musical ambition, or his musical daimon, urged him to compose music, although he had no training in this area. Most of his compositions are from his late teens; his earliest inspirations are Beethoven, Mozart, Haydn, Schubert, Schumann and Wagner. His compositions were gathered together and published by Curt Paul Janz in Friedrich Nietzsche, Der musikalische Nachlass. Nietzsche’s music is available in several productions. However, Nietzsche did not follow a musical path and decided to become a philologist and dedicated his life to writing and philosophy.
Nietzsche’s background in music, on the other hand, influenced his way of thinking and writing. All of these interesting areas between music, literature, and philosophy and Nietzsche’s relationship to music understood on a broad spectrum have been explored by many Nietzsche scholars including Georges Liébert, Graham Parkes, Francois Noudelmann, Stefan Lorenz Sorgner and others and in the anthology, An Anthology on Nietzsche and Music: Philosophical Thoughts and Musical Experiments, edited by the presenters of today’s event. This event is dedicated to the exploration of this relationship between Nietzsche and music.
What does it mean to be, appear, and act in public? These questions are rarely asked when it comes to the often-diagnosed “structural transformation” (Habermas) of the public sphere. Yet people have a wide variety of “public experiences” every day: from the simple experience of leaving the house and moving on the street to highly networked and technologically mediated public communication and concerted action. In the project I would like to present in its outlines, I try to shed light on the quality and structure of such “public experiences” using a phenomenological approach. In this way, I want to reclaim public space as an experiential space and argue that experiences matter for the constitution of different kinds of public spheres and public spaces.
How, for example, do phenomena like visibility, attention, relevance, reality, trust, or their opposites emerge in public contexts? And how can our individual and collective experiences of the public retain its high democratic ideals while facing the constant threat of superficial entertainment and self-commercialization? In contrast to theories that view the public sphere primarily as a system of information, coordination, or discourse, a phenomenological approach aims to reveal the ways in which experiences constitute spaces of meaning. Such a disclosure of the world-building function of experience is crucial if we are to understand how people can relate to their public existence and a public world, how they can integrate into it or fall away from it, gain or lose trust, and how a shared world is either built or destroyed.
Bio:
Sophie Loidolt is Professor of philosophy and Chair of Practical Philosophy at the Technical University of Darmstadt, Germany. She is a recurrent visiting professor at Center for Subjectivity Research in Copenhagen and the president of the German Society for Phenomenological Research. Most of her education took place at the University of Vienna. Research stays brought her to the Husserl-Archives in Leuven, St. Denis University in Paris, and the New School of Social Research in New York.
Her work centers on issues in the fields of phenomenology, political and legal philosophy, and ethics, as well as transcendental philosophy and philosophy of mind. Her book Phenomenology of Plurality. Hannah Arendt on Political Intersubjectivity (Routledge 2017) won the Edward Goodwin Ballard Book Prize in 2018. Other books include: Anspruch und Rechtfertigung. Eine Theorie des rechtlichen Denkens im Anschluss an die Phänomenologie Edmund Husserls (Springer 2009), Einführung in die Rechtsphänomenologie (Mohr Siebeck 2010; Japanese translation will appear in 2024).