 The notion of a collapse between the real and the apparent is suggested in Nietzsche's first book, The Birth of Tragedy (Nietzsche 1872), where he presents Greek tragedy as a synthesis of natural art impulses represented by the gods Apollo and Dionysus. Where Apollo is the god of beautiful forms and images, Dionysus is the god of frenzy and intoxication, under whose sway the spell of individuated existence is broken in a moment of undifferentiated oneness with nature. While tragic art is life-affirming in joining these two impulses, logic and science are built upon Apollonian representations that have become frozen and lifeless. Hence, Nietzsche believes only a return of the Dionysian art impulse can save modern society from sterility and nihilism. This interpretation presages postmodern concepts of art and representation, and also anticipates postmodernists' fascination with the prospect of a revolutionary moment auguring a new, anarchic sense of community.