Nietzsche's New Darwinism Quotes

“Nietzsche explains the development and function of language: “The evolution of language and the evolution of consciousness (not reason, but only the becoming-conscious of reason) go hand in hand, because both have the function to facilitate communication” (GS354). Language too depends on the herd instinct’s prior work to homogenize persons. And language is itself a device for rendering them still more like one another—for further tightening the social bonds, and making the social medium more susceptible to the dispersion of customs within it.”
― John Richardson, Nietzsche's New Darwinism

“Nietzsche’s most famous views are his earliest ones: the accounts of the Apollonian and Dionysian “art-drives” (Kunsttrieben) in The Birth of Tragedy. Already there, let’s note, Nietzsche is explaining aesthetic experience by “drives”. But in that first book these drives are mainly thought of in Schopenhauer’s way, as manifestations of a metaphysical, noumenal will. This early aesthetics is premised as responding to this noumenal reality: both Apollonian and Dionysian art drives are ways of coping with that reality of Schopenhauerian will.
But Nietzsche soon insists on thinking of drives scientifically—not only of what they are (the body’s abilities), but of why we have them (evolution by selection)... It’s in aesthetics that this step into naturalism moves Nietzsche furthest from Schopenhauer. For Schopenhauer had depicted our aesthetic experience as (unlike intellect) genuinely a disengagement from willing: it really achieves the objectivity we only thought we could have in our science. But Nietzsche insists that it too expresses a (naturalized) will and drive—and “serves life” by making us more fit. As such, the aesthetic attitude is not “disinterested” or “disengaged” at all, as not just Schopenhauer but Kant had found it. Nietzsche now scorns their notion of it. The aesthetic attitude in fact involves a heightening of our engagement and feeling. These drives, in which art and aesthetic experience are ultimately rooted, are something ancient and fixed in us. Indeed, artistic drives have been designed into all organisms. They were set into our bodies and our “blood” in our presocietal deep history, and persist there today beneath the layers of customs and habits that societies have superimposed on them (to exploit them, or counteract them, or both). By acting on these drives, beauty works on the “animal” in us—directly on the body, on the “muscles and senses” (WP809 [1888]), and the drives embedded in them. Our bodies themselves have a taste for certain kinds of beauty—above all the beauty of human bodies.”
― John Richardson, Nietzsche's New Darwinism