“The Tempo of Becoming”

Chapter two: After Nietzsche: Notes Towards a Philosophy of Ecstasy*

by jill Marsden

Footnotes

1. David Allison explores this theme of tonal anticipation in ‘Musical Psychodramatics’ (op. cit.) by commenting how in musical psychoacoustics resolution of dissonance yields a heightening of pleasure, a central component of Nietzsche’s account of tragedy (72-3)

2. J. Sallis (p.19) ‘Apollo’s Mimesis’, Journal of the British Society for Phenomenology, vol. 15, No.1, January 1984, 16-21.

3. See Derrida’s remarks in Dissemination (1972) translated by Barbara Johnson (London: Athlone, 1981) pp. 138-139. By contrast, for Deleuze the difference between a simulacrum and what it simulates is not to be thought in terms of an original identity. Although a resemblance to an original is implied it is derived as an effect of a primary difference. Deleuze argues that the will to eliminate simulacra has no motivation apart from the moral: ‘What is condemned in the figure of simulacra is the state of free, oceanic differences, of nomadic distributions and crowned anarchy, along with all that malice which challenges both the notion of the model and that of the copy’ (DR 265).

4. Note Schopenhauer’s discussion of the folksong in similar terms in The World as Will and Representation I, # 51: ‘For to seize the mood of the moment [Augenblick] and embody it in song is the whole achievement of this kind of poetry’. It is worth noting that whereas Schopenhauer speaks of the ‘constant recurrence’ of the same sensations (‘which exist as permanently as humanity itself’) Nietzsche emphasizes the transformative power of their repetition.