2. Second Lecture: Understanding Art
This is one of my most easily accessible lectures, particularly for novice students with less preparation and no in-depth knowledge of the model of Evolutionary Truth. Although I rely on Heidegger's concept of unconcealment (as Heidegger, all things considered, is also accessible in this sense), I also aim to pique the interest of students in other thinkers. So far, it has been successful. Most students have mentioned that they perceive pieces of art, as well as works related to modern culture and historicity (I hate using the example of Elvis's guitar, yet here I am doing so), in a completely new way.
This lecture delves into uncovering the essence of truth through the lens of art. We explore the meaning of truth and examine how artworks enable us to experience reflexive determination, fostering a deeper awareness of ourselves and our relationship with the world. This section highlights the varied perspectives necessary to navigate the interplay between an object and oneself as a subject to achieve greater understanding.
Introduction: The Story of Art Revealing Itself
Let us begin with a story from life, one with a personal touch. A talented artist, who lived a long and accomplished life and whom I had the honor of considering a friend, exemplified a profound understanding of Nietzsche and possessed a remarkable ability to reflect on the world ontologically. This artist was once commissioned to paint a portrait of a deceased president—a man he had known personally. One might even say they were friends, united by their shared interest in conceptualizing the role of the individual in the world. Both were exceptionally wise and unapologetically straightforward, often expressing their insights through humor.
The artist completed the portrait, and one of the first people to see it was the president's widow. Upon viewing the painting, she remarked, "Too serious!" Her reaction encapsulates an essential aspect of truth in art, shaped by intersubjectivity. We will return to this idea shortly.
Selfies and Being Enslaved by the Big Other
When we take a selfie with a smartphone and use applications or filters to enhance its appearance, we engage with at least two, if not three, lower levels of subjectivity ("S1-S3"). At its core, we assume that our "true self" ("S1")—as we perceive it—possesses qualities that the unedited photo fails to capture, and we adjust the image to align with the demands of the big Other (society’s expectations). If we further modify the photo based on external feedback—deleting it, replacing it, or taking another photo influenced by others’ reactions—we have fully subordinated ourselves to the symbolic demands of the big Other. In doing so, we distance ourselves from the truth of our primordial subjectivity ("S0"), which is the most authentic and unmediated sense of self. The ultimate layer of inauthenticity occurs when we claim the resulting image is entirely "natural" or "unfiltered."
From a psychological and philosophical perspective, what we often consider our "true self" ("S1") is, in fact, a construct of our unconscious fantasy. In this sense, it functions more as an object than a pure subject. This construct gives rise to a social object ("S2") that serves as a persona in the Jungian sense. This persona, in turn, becomes subjected to the linguistic and symbolic formulations of the collective gaze—the big Other—through language and cultural norms that we consciously comprehend.
Žižek connects this phenomenon to the era of post-humanity, arguing that social media has fostered a culture where people are obsessed with visibility and constant validation from others. In this context, taking selfies and using filters becomes a form of self-objectification. From the perspective of subjectivization, Žižek highlights that this behavior is not merely an expression of vanity but a deeper question of how we see ourselves and relate to ourselves. He suggests that by altering our appearance through filters and photo editing, we are not only trying to look better but also reshaping how we perceive ourselves, which reflects how others see us.
Both Lacan and Žižek contend that "the subject is not the master of its thoughts or desires but is instead the thought or desire of the Other." In other words, our thoughts, desires, and behaviors are not fully our own but are shaped by the symbolic order—the systems of language, culture, and society. While Lacan refers to the big Other as the symbolic order itself, Žižek connects it more specifically to ideology, law, state apparatuses, consumer culture, and religion.
In this framework, we can argue that in the modern era, images of people—particularly selfies—have come to represent their symptoms. These images objectify individuals, transforming them into reflections of the demands of the big Other. This raises a compelling question: how has this transformation occurred?
Nietzsche and the Last Man
When we explore the deeper psychological mechanisms underlying human behavior, we arrive at a perspective that demands reflection. Nietzsche associates this with the slave morality of the last man, famously stating:
"The last man is the state in which man would have disputed himself, the state in which the most extreme of all forms of self-hatred would have been attained."
This statement serves as an early warning about the potential trajectory of human society if it prioritizes comfort, security, and the avoidance of suffering over self-actualization and self-overcoming. Nietzsche views the last man as the culmination of a society that has lost its sense of purpose and meaning, one that has become preoccupied with maintaining the status quo. In this condition, individuals conform, lack ambition, and forfeit their individuality. Content with mediocrity, they no longer aspire to be different, create something new, or challenge the world around them.
Instead, as seen through the framework of subjectivity levels ("S1-S3"), they modify themselves—often literally—by crafting objectified versions of themselves to fit external expectations.
The last man lives by what is easy and comfortable, avoiding challenges and eschewing the drive to transcend limitations. Such individuals no longer strive to overcome themselves or become something greater. They have relinquished their sense of self-worth, individuality, and purpose, forsaking the desire to reach beyond their current existence. Nietzsche asserts that human beings should never be content with their present state but must instead strive for self-overcoming and self-actualization, as this is the essence of being human.
When this drive is abandoned, Nietzsche argues, individuals begin to harbor self-hatred—not only for their current state but for their unfulfilled potential. This self-hatred is the hallmark of slave morality, which Nietzsche describes as a construct of the weak and oppressed. In this framework, the oppressed create values that justify their own weakness and submission, ultimately reinforcing their position beneath the strong.
Art as a Vehicle of Truth
We have reached one end of the spectrum; now let us journey upstream, back toward the Evolutionary truth. Great paintings and works of art are never mere objects created by human hands. Instead, they are mechanisms through which we can come to understand profound truths about an entire historical era. These truths, "teleported" to us across time, have the power to transform us, offering a new and more meaningful perspective on the world we inhabit. This is what Heidegger means when he states, "The truth of a work of art is not the truth of the represented thing, but rather the truth of the world in which the represented thing is able to be."
In this sense, a work of art is first "loaded" by the artist with the truths of its time, including the historical truths of the epoch. This initial process constitutes the "subject-object" transference, wherein the artist embeds their subjective understanding into the object of their creation. The resulting artwork, however, does not remain static; it becomes intersubjective, bridging the gap between the past and the perceivers of the present. It illuminates its truth to those who are attuned to perceive it at various points in time. This constitutes the "object-subject" transference, as the art speaks back to its audience.
To comprehend how art functions as a "vehicle" of Evolutionary truth—much like myths and stories that resonate with us at the primordial level of subjectivity ("S0") — we must delve into the creative process of great art. First, the artist prepares themselves, gathering inspiration and researching the subject matter. This is why wise and curious individuals often create the most impactful art: they possess the ability to uncover and distill the essence of their era or epoch.
Following this, the artist conceptualizes and envisions their work, rejecting conventional approaches and exploring novel and original methods. This stage of innovation is critical, as it ensures that the artwork transcends the mundane. The artist then executes the creation process, carefully selecting materials and techniques that best convey their unique vision. Their skills and craftsmanship breathe life into the core idea of the artwork, often leading to a phase of reflection, during which they modify and refine their creation until it fully embodies the truth they seek to express.
Finally, when the artist is ready, they present the completed piece to the public. This act of sharing their work is akin to releasing a child into the world—parting with something deeply personal and trusting it to resonate with others.
Noticing vs. Participating Through Un-concealment
We have now reached the stage of examining a piece of art—a process that should not be taken lightly. In today’s world, it is common for people to move quickly from one artwork to another, seeking to satisfy the demands of the big Other without reflecting on the essence of what they encounter. Studies underscore this fleeting engagement: a survey at the University of Helsinki found that visitors to the Helsinki Art Museum spent an average of 3 minutes and 45 seconds in the museum, with just 8 seconds devoted to each piece. Similarly, research from the University of Sussex and the Smithsonian American Art Museum reports that viewers spend an average of 17 seconds per artwork, with a median of only 11 seconds. While time alone does not determine the depth of engagement or understanding, these figures reflect a stark departure from the contemplative interaction our ancestors likely had with art. This shift signals a growing disconnection from the Evolutionary truth.
Yet, we must critically ask: why is great art worth our time and attention, and what can it reveal to us? Heidegger contends that when we allow ourselves the time to truly engage, a work of art begins to shine forth, revealing the essence of its era and enabling us to understand ourselves and our world more deeply. Art is not merely a physical object; it is a thing (a being-in-itself) that unveils the truth of human existence through its form and content. Much like a tool in the mode of ready-to-hand (Zuhanden), art transcends its materiality when we allow it to speak to us. By approaching a piece of art with openness, we can perceive the world anew, illuminated by the truths embedded within the work. Inside every great work of art is a story, one that our psyche can interpret through a form of non-verbal language if we are willing to listen. In this way, art serves as an essence that reveals human existence's truth, containing both the "world" (the epochal truth it represents) and the "earth" (its physical materials — paint, canvas, clay — rooted in its time).
To reconnect with this deeper truth, we must adopt a different approach to engaging with art. Heidegger frames this process in the context of Aletheia—unconcealment. He advocates for an attitude of releasement (Gelassenheit) and openness (Offenheit), approaching art without preconceived notions of what it "should" mean and allowing it to reveal itself in its own way. Achieving this openness requires practicing letting be (Seinlassen), permitting the artwork to manifest itself fully without imposing our interpretations. This involves attending to both the whole and its parts, letting the work speak for itself.
Furthermore, Heidegger emphasizes the importance of dwelling (Wohnen)—spending time with the artwork, allowing its layers to unfold gradually. This should be followed by questioning (Fragen), an active yet non-imposing inquiry into the work’s essence. Importantly, the artwork "responds" not in words but in the language of Being itself. By engaging in this process, we participate in Aletheia, uncovering the piece’s purpose, function, and deeper significance while simultaneously revealing our thoughts, emotions, and experiences. Through such engagement, art becomes not just something we observe but something we participate in, bridging the gap between noticing and truly understanding.
Art as a Tool to Learn About Oneself
A single piece of art can convey far more than we might initially assume. Hegel addresses this idea through the dialectical process and reflexive determination, where the object becomes the subject. He asserts, "The universal is not something that is external to the particular, but rather it is something that is already present within the particular." This expresses the intimate connection between the universal (The Absolute, or The Objective) and the particular (The Specific, or The Subjective). For Hegel, these are not separate entities; instead, the particular serves as the means by which the universal manifests itself. This insight suggests that we do not need to explore every variation of art from an era to grasp its truth. A single, concrete piece can encapsulate the sublime, allowing us to experience it within ourselves. Through interaction with the artwork as an object, we engage in self-reflection, which facilitates greater self-consciousness and self-actualization.
This process reflects Hegel’s notion that "the infinite is not something beyond us, but it is something that we ourselves are." The profound impact of art on the individual underscores its value. Hegel believed art to be "the sensuous embodiment of the Idea; it is the embodiment of spiritual individuality, and of the content of that individuality, in a sensuous form. It is the sensuous presentation of what is spiritual, and it is the spiritual which is presented in it." Thus, art becomes a medium through which the spiritual and the universal are made tangible and accessible.
The process of un-concealment in Aletheia parallels Hegel’s reflexive determination and dialectics. Both are dynamic processes of revealing and disclosing the world through human understanding and interpretation. Neither sees truth as a fixed or static entity; instead, truth emerges through an ongoing interplay of revealing and concealing. Each new revelation also introduces new concealments, emphasizing the fluid and evolving nature of truth.
The extent to which we can uncover this truth depends on our self-consciousness and authenticity at the moment of engagement. If we approach the artwork inauthentically or fragmented in our being, we can only uncover a limited aspect of its truth. Conversely, if we approach it with authenticity and wholeness, we can un-conceal more of the object’s essence and reveal greater truths.
Art as an Ever-Evolving Source of Truth
What does this mean in practice? A single piece of art — a painting, piece of music, sculpture, architecture, or literature—has the capacity to reveal itself anew over time. Through the process of Aletheia, it continually discloses more truth because of how it relates to our evolving understanding of human existence and the world. As our perspectives change and grow, we reinterpret the artwork, associating it with new contexts and experiences. These shifting associations allow us to uncover deeper layers of meaning and reveal truths that may have been hidden in earlier engagements.
However, the reverse is also possible. When we succumb to ideological conformity—operating on autopilot and aligning ourselves unquestioningly with societal norms and expectations — we lose our ability to engage with art meaningfully. This lack of reflection diminishes self-awareness and fosters inauthenticity. In such a state, we risk living in lies, unable to recognize or un-conceal the truth embedded in art or in ourselves.
Awe and historicity of art
No matter how skeptical a stance we take, many scientists have studied how people react to great art, and one must admit that art's influence on an individual's psychological state exists. Studies have found that people rated original works of art as more aesthetically pleasing, more likely to be considered "art," and emotionally evocative than copies of those works, which is very hard to explain. The study also found that people rated the original works of art as more valuable and had a greater desire to own them.
Several scientists have studied the physical and emotional reaction to viewing works of art of great beauty or historical significance. They found that for some individuals, the effect of such art is so powerful that they experience changes in cortisol levels and beta-endorphins compared to the control group (Stendhal syndrome). Also, many studies have found that viewing great art can cause dizziness, rapid heartbeat, nausea, awe, or even fainting.
Also, experiencing awe is widely known and scientifically studied. Awe is a complex and positive emotion characterized by wonder, amazement, elevation, and perceptions of vastness, accommodation, and accommodation. It is a feeling of being in the presence of something vast, powerful, and incomprehensible, and it too by great art. Research has shown that it is associated with increased feelings of altruism, improved mood, and greater resilience to stress. Experiencing awe can broaden one's perspective, decrease negative emotions, and increase creativity, insight, and unselfish behavior.
When we analyze the phenomenon of interacting with art and un-disclosing truth through that from the evolutionary perspective, traces of such mechanics lead back tens of thousands of years. Jukurrpa, also known as Dreamtime, is a central concept in the mythology of many Indigenous groups in Australia, such as the Warlpiri people. In their culture, Jukurrpa stories and legends are closely connected to natural objects such as rocks, rivers, and animals. These are considered the physical embodiment of the Jukurrpa stories, seen as living, sacred beings. They "talk" as pieces of art "talk" to us if we only are authentic and willing enough to listen. For example, the Wati Nyiru story is connected to the Wati Nyiru rock formation in the Tanami Desert. This rock formation is said to be the home of Wati Nyiru, two powerful ancestral beings who created the rock formation. The Warlpiri people believe that Wati Nyiru continues to live there. The Napaljarri-warnu Jukurrpa is connected to the Napaljarri rock in the Lajamanu region, the Pulari-warnu story to the Pulari hill in the Lajamanu region. This hill is the home of the Pulari, an ancestral being who is said to have created it and the surrounding landscape. The Kurrkara-warnu story is connected to the Kurrkara waterhole in the Lajamanu region. These and many other stories are closely connected to the natural landscape, such as hills, rocks, and rivers. Future generations could "read" the story by observing the natural objects and knowing the associated stories.
Those stories are over 50 000 years old, and people "wrote those down," associating those with landscapes and specific natural objects. Nature itself became the canvas. Subjects planted the truth of their time (Universal) to a place in their environment (Specific), as an artist creates an artwork. Future generations could "see and read" it, so the object merged with the new subject again, and they continued the process by painting the stories back to nature. The principal idea was the same.
So, what is the uniting idea of the Jukurrpa landmarks in Warlpiri culture, exceptional paintings, such as Van Gogh's or Rembrandt's, The cathedral at Chartres, and modern-day excessively retouched selfies? When it comes to all of them, the interaction between us and the artwork is a two-way interaction, basically the opposite of Descartin's entirely rational approach emphasizing the subject's ability to observe and understand the object through reason and the scientific method. It is a dynamic and subjective engagement, not objective observation and analysis. We look at the picture, and the picture looks back at us, as Lacan and Žižek said (as usual, referring to the same concept in a bit different language), "The painting is not just a representation of something, but also a reflection of the subject who is looking at it. The painting is always already there, waiting for us, and it is we who are reflected in it, who are caught in its gaze." In some cases, the interaction between the artwork (artist and the truth) and our unconscious can be direct. Lacan described this in his famous analysis of Holbein's painting "The Ambassadors," arguing that the distorted image of the skull in the foreground of the painting represents the "Real," making the painting a form of "anamorphosis" that allows the viewer to confront the "Real" in a new way.
Closing and the revelation
We can learn a lot from artwork, changing our perception. However, it pays to notice what sort of artwork we interact with because that may tell us the most about ourselves. There is a big difference between whether we take the time to examine true art or keep diving into an endless stream of retouched photos, allowing ourselves to be influenced by the gaze of the Other.
Let us return to the president's portrait and his widow's reaction. The artist explained what he saw in that man - the transformation of an epoch in history and changing the mode of thinking of hundreds of thousands of people, a whole state becoming independent in the course of the collapse of the Soviet Union, against all odds. The man who later became the president was the minister of external affairs during that process and is considered one who put the newly independent state on the world map. "Becoming independence as a country is a serious thing," the artist stated, and he was right. That is why no simple photo can have the same influence as a portrait because a portrait has in itself the artist's "work. " A good artist sees the aspects in the person that relates to the world's truth at that time. At home, the president was just a warm, playful, and humorous husband; in the context of history, he had a whole other mission and responsibility.
Learning to see art differently is learning to see and experience the Evolutionary truth. This process is not just a cognitive process but a way of being in and encountering the world.
