The Performing Mind

It seems difficult to deny that at least one of the functions of Mind is the observation of phenomena, though the genesis and analysis of that process is open to wide debate.  So, what, more precisely, is problematic about Hume's image of Mind as a theater spectator is that it is one-sided, i. e. that it neglects the possibility of Mind as itself an appearing performer.  Hegel explores that possibility, when he proposes that Mind, in one of its phases, objectifies itself by appearing to itself, though, ultimately, Mind is a spectator in his system. In contrast, the concept of Mind as an appearing performer has been previously developed here, as the independent principle 'Will', a process also variously characterized as 'Motility', 'Externalization', etc.  On the basis of that model, any of these can be classified as a 'mental' act--writing, Socratic defense, educating, and legislating--each a performance that can also become the object of a further, distinct, mental act, i. e. observation.  Thus, Sloterdijk's study of Nietzsche, 'Thinker on Stage', can be understood as an implicit application of that model.