Contemplation, Genius, Play

At first, according to Schopenhauer, Representation functions as what can be called Technical Reason, i. e. as the cognition of causal relations that can serve the Will-to-Life, a subordinate role from which it can free itself, by contemplating Ideas.  The "ability for such contemplation" is "genius", as he characterizes it in #36 of World as Will and Representation, in notable contrast with Kant, for whom the locus of of Genius is the process of production of a work of Art, as has been previously discussed.  The contrast thus highlights that for Schopenhauer, Genius is independent of physiological processes, a thesis that seems more difficult to defend in the case of a Dance performance than in that of writing Poetry.  But, if, Genius is indeed a characteristic of such processes, then the liberation from the tyranny of Will that it effects begins with the emergence of Technical Reason as informing Play, i. e. as skilled activity performed for its own sake, and not with some transcendence from that type of Representation.  Now, as has been previously discussed, though Kant acknowledges the liberating value of Play, his commitment to Deontological principles tempers his appreciation of it.  In contrast, because Schopenhauer ultimately seeks a complete escape from corporeality, he cannot even acknowledge that value.