Images and Figurations: Creative Cognition and Representation in Nietzsche
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The aim of this article is to explore Nietzsche’s understanding of thinking as the partaking in transformative experimentation. In this writing, I argue that Nietzsche thinks in images. For him cognition ought to be based on new figurations that incarnate located narratives that improve the future. Nietzsche creatively synthesises in his experimental thought various domains of knowledge. He not only plays with metaphors but philosophical cheerfulness is also indispensable to his experimentations as Ruth Burch holds in her book entitled ‘Is Donna Haraway’s ‘Situated Knowledge’ Nietzschean ‘Gay Science?’ In The Birth of Tragedy, Nietzsche links art and science. In Daybreak and in Ecce Homo, he depicts the necessity of thinking in images and metaphors. His figurations that are a result of his right to responsibility embody future-enhancing stories.
Abstract
The aim of this article is to explore Nietzsche’s understanding of thinking as the partaking in transformative experimentation. In this writing, I argue that Nietzsche thinks in images. For him cognition ought to be based on new figurations that incarnate located narratives that improve the future. Nietzsche creatively synthesises in his experimental thought various domains of knowledge. He not only plays with metaphors but philosophical cheerfulness is also indispensable to his experimentations as Ruth Burch holds in her book entitled ‘Is Donna Haraway’s ‘Situated Knowledge’ Nietzschean ‘Gay Science?’ In The Birth of Tragedy, Nietzsche links art and science. In Daybreak and in Ecce Homo, he depicts the necessity of thinking in images and metaphors. His figurations that are a result of his right to responsibility embody future-enhancing stories.
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