The desensualization of higher art. – By virtue of the extraordinary exercise the intellect has undergone through the artistic evolution of modern music, our ears have grown more and more intellectual. We can now endure a much greater volume, much more ‘noise’, than our forefathers could because we are much more practiced in listening for the reason in it than they were. Because they at once inquire after the reason, the ‘meaning’, and are no longer content to know that a thing ‘is’, all our senses have in fact become somewhat blunted: a fact betrayed by, for example, the complete dominance of the well-tempered tonal system; for ears that can still hear the subtle distinction between for example C sharp and D flat are now exceptional. In this matter our ears have become coarser. Then, the ugly side of the world, the side originally hostile to the senses, has now been conquered for music; its sphere of power especially in the domain of the sublime, dreadful and mysterious has therewith increased astonishingly: our music now brings to utterance things which formerly had no tongue. In a similar way, some of our painters have made our eyes more intellectual and have gone far beyond that which was formerly called pleasure in form and color. Here too the side of the world that originally counted as ugly has been conquered by artistic reason. – What will be the consequence of all this? The more capable of thought eye and ear become, the closer they approach the point at which they become unsensual: pleasure is transferred to the brain, the sense-organs themselves grow blunt and feeble, the symbolic increasingly replaces the simple being – and along this path we thus attain to barbarism as certainly as along any other. For the moment we still believe: the world is uglier than ever, but it signifies a more beautiful world than there has ever been. But the more attenuated the fragrant odor of ‘significance’ becomes, the fewer there will be still able to perceive it: and the rest will finally be left with the ugly, which they will try to enjoy directly – an endeavor in which they are bound to fail. Thus there is in Germany a twofold current of musical evolution: on the one hand a host of ten thousand with ever higher, more refined demands, listening ever more intently for the ‘meaning’, and on the other the enormous majority growing every year more and more incapable of comprehending the meaningful even in the form of the sensually ugly and therefore learning to seize with greater and greater contentment the ugly and disgusting in itself, that is to say the basely sensual, in music.
以前讀到的，一直觉得"去感官化" desensualization 所謂極是，不管尼采本人是否認可這種藝術傾向。見到下面提到尼采，乃想起，貼之。找到英譯的，但中譯的似更好:
高级艺术的非感性化。——新音乐的艺术发展使理智得到特殊的训练，从而使我们的耳朵也日益理智化了。所以，比起我们的前辈来，我们现在能忍受更大的音量，更多的"喧哗"，因为我们训练得更善于去倾听其中的理性了。事实上，我们的全部感官正是由于它们立刻寻求理性，即探问"有何意义"而不再探问"是何"，所以变得有些迟钝了。例如，按平均律调节音调占据绝对支配地位，便暴露了这种迟钝；因为现在尚能辨别例如升C小调和降D小调之间的细微差别的耳朵已属例外。就这一点而论，我们的耳朵已经变粗糙了。然后，原来与感官相敌对的世界的丑的方面也成了音乐的地盘；其势力范围因此举而令人惊谔地扩展到表达崇高、恐怖、神秘的东西：我们的音乐如今使过去喑哑的事物也开口说话了。有些画家以相似的方式使眼睛理智化了，远远超出了从前所谓的色彩快感和形式快感。在这里，原来被视为丑的世界方面也被艺术理解力占领了。——这一切会导致什么结果呢？眼睛和耳朵愈是善于思想，它们就愈是接近一个界限，在那里它们非感性化了：快感误置于头脑中，感官本身变得迟钝而衰弱，象征愈来愈取代存在——因而，我们从这条路比从任何其他路更加确定地走向野蛮。同时这还意味着：世界比任何时候更丑，但它也比任何时候更蕴含着一个美的世界的意义。然而，隐义的香烟愈是飘散消失，能够感知它的人就愈少，而其余的人终于停留在丑之中，想要直接享受它，却又必定归于失败。所以，在德国有音乐发展的两股潮流：这里，有万把人带着高级、细腻的要求，愈来愈注意倾听"有何意义"；那里，芸芸众生愈来愈不能理解蕴含在感性的丑这种形式中的意义，因而以愈来愈浓的兴趣学会抓住本身丑恶的东西，即音乐中的低级感性。
隨手搜到的英譯：
The desensualization of higher art. – By virtue of the extraordinary exercise the intellect has undergone through the artistic evolution of modern music, our ears have grown more and more intellectual. We can now endure a much greater volume, much more ‘noise’, than our forefathers could because we are much more practiced in listening for the reason in it than they were. Because they at once inquire after the reason, the ‘meaning’, and are no longer content to know that a thing ‘is’, all our senses have in fact become somewhat blunted: a fact betrayed by, for example, the complete dominance of the well-tempered tonal system; for ears that can still hear the subtle distinction between for example C sharp and D flat are now exceptional. In this matter our ears have become coarser. Then, the ugly side of the world, the side originally hostile to the senses, has now been conquered for music; its sphere of power especially in the domain of the sublime, dreadful and mysterious has therewith increased astonishingly: our music now brings to utterance things which formerly had no tongue. In a similar way, some of our painters have made our eyes more intellectual and have gone far beyond that which was formerly called pleasure in form and color. Here too the side of the world that originally counted as ugly has been conquered by artistic reason. – What will be the consequence of all this? The more capable of thought eye and ear become, the closer they approach the point at which they become unsensual: pleasure is transferred to the brain, the sense-organs themselves grow blunt and feeble, the symbolic increasingly replaces the simple being – and along this path we thus attain to barbarism as certainly as along any other. For the moment we still believe: the world is uglier than ever, but it signifies a more beautiful world than there has ever been. But the more attenuated the fragrant odor of ‘significance’ becomes, the fewer there will be still able to perceive it: and the rest will finally be left with the ugly, which they will try to enjoy directly – an endeavor in which they are bound to fail. Thus there is in Germany a twofold current of musical evolution: on the one hand a host of ten thousand with ever higher, more refined demands, listening ever more intently for the ‘meaning’, and on the other the enormous majority growing every year more and more incapable of comprehending the meaningful even in the form of the sensually ugly and therefore learning to seize with greater and greater contentment the ugly and disgusting in itself, that is to say the basely sensual, in music.
但决定所谓艺术价值的权力掌握在极少数有权势人的手中，难免沦落为资本的玩物。
所以，貝多芬說音樂在哲学之上。
我完全理解貝多芬所说。
很快就会發現這個定義區分不了好音樂和壞音樂。
但音樂的本质是好音樂。
但漏船没有存在價值。
所以，哲学的定義將不能區分糖水詩和鲁米的詩。
声或其他概念。
主流兄其实已在印證我的話，找不到合適的哲學定義。
即一方面去感性化，另一方面是將感性粗暴化，其实是同時敗壞了感官和藝術。
有點像過度金融對實體經濟的作用。
中国藝術有時也会這樣的。
尼采應是不满如此。
中国人现在的品味差了。以前还好点儿，一个粗瓷瓶，也要画满花，有寓意；然而这个寓意又如灶王爷嘴上抹蜜糖，掩饰无可奈何的苍凉而打起精神；他是认真作的。有了这些个层次，就可玩味了。伟大的艺术很少见，我见了看不懂，呵呵，刚参观了梵高星空之一，除了少了几十刀，没啥特别感觉。
铃兰有句话很精彩，大意是，top-down的形成真实，bottom-up的构成虚伪。我看了大为惊讶，top-down和bottom-up原来可以引入审美、价值等判断，我原以为只是我无聊的抽象思考。：）这个思考也可用于艺术。
也就是尼采在哲学方向上有一种唯心向唯物的转变，可惜，终难成功。
中国人的審美精神不同朝代有時很不同。唐詩、宋詞的審美都相距甚遠。
我看過一個宋元明清四朝皇家藏品展覽，前三朝水準都很高，清朝的忽然就很俗氣。