By K. Harries
In contemporary years there has hence been loads of speak about a potential demise of artwork. because the identify of Heidegger’s "The starting place of the murals" indicates, the essay demanding situations such speak, simply because it in flip is challenged by means of such speak, speak that's supported through the present nation of the art-world. It used to be Hegel, who so much profoundly argued that the form of our sleek global not allows us to supply paintings the importance it as soon as possessed. Hegel’s proclamation of the tip of paintings in its maximum feel shadows this statement, because it shadows Heidegger’s essay. Heidegger’s complicated flip from the thinker Hegel to the poet Hölderlin is born of the conviction that we mustn't ever enable Hegel to right here have the final word. At stake is the way forward for artwork. yet extra importantly, if we're to simply accept Heidegger’s argument, at stake is the way forward for humanity. yet all who're desirous to locate in Heidegger’s essay tips relating the place not only paintings, yet we must always be heading, will be made cautious via Heidegger’s politicizing of artwork and aestheticizing of politics. either stay temptations that call for a serious reaction. This remark demonstrates the continuing relevance of Heidegger’s reflections.
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Additional info for Art Matters: A Critical Commentary on Heidegger’s “The Origin of the Work of Art”
The university was to have renewed itself through its own reflection, not with the National Socialists, and thereby gain a firm position against the danger of the politicization of science—in the sense already given. (G16, 656–657/45) 4. The Greek Origin of Science But can we take Heidegger at his word? With this question in mind, let us take a more careful look at the speech. Consider the first paragraph: The assumption of the rectorate is the commitment to the spiritual leadership of this institution of higher learning.
2. But just this inevitable failure challenges and provokes: Precisely because of this, knowing must unfold its highest defiance. Only then will the entire power of the concealedness [Verborgenheit] of what 42 LEADERS AND FOLLOWERS is rise up and knowing will really fail. In this way, what is opens itself in its unfathomable inalterability and lends knowing its truth (G16, 109/7). This battle between overpowering destiny and human self-assertion, which seeks to master what is, first of all by naming things, Heidegger takes to be constitutive of both Dasein and truth: “This then, that man is exposed to and open to the overpowering might of Being, and this, that he speaks, signify one and the same basic feature in the essence of man” (G36/37, 101).
4 But the void left by this disintegration is not completely mute. As language gains an autonomy that threatens to render it meaningless, a minimal, but intense contact with beings is established. The tearing of language by silence grants epiphanies of presence. It is not easy for me to indicate wherein these good moments subsist; once again words desert me. For it is, indeed, something entirely unnamed, even barely nameable which, at such moments, reveals itself to me, filling like a vessel any casual object of my surroundings with an overflowing flood of higher life.
Art Matters: A Critical Commentary on Heidegger’s “The Origin of the Work of Art” by K. Harries