By K. Harries

In contemporary years there has hence been loads of speak about a potential dying of paintings. because the name of Heidegger’s "The beginning of the murals" indicates, the essay demanding situations such speak, simply because it in flip is challenged through such speak, speak that's supported by means of the present country of the art-world. It used to be Hegel, who such a lot profoundly argued that the form of our sleek international now not allows us to furnish paintings the importance it as soon as possessed. Hegel’s proclamation of the top of paintings in its optimum feel shadows this remark, because it shadows Heidegger’s essay. Heidegger’s challenging flip from the thinker Hegel to the poet Hölderlin is born of the conviction that we mustn't ever enable Hegel to the following have the ultimate. 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 wanting to locate in Heidegger’s essay guidelines touching on the place not only artwork, yet we must always be heading, could be made cautious via Heidegger’s politicizing of artwork and aestheticizing of politics. either stay temptations that call for a severe reaction. This observation demonstrates the ongoing relevance of Heidegger’s reflections.

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Extra resources for Art Matters: A Critical Commentary on Heidegger’s “The Origin of the Work of Art”

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I cannot expect you to understand me without examples, and I must plead your indulgence for their absurdity. ”6 And so they would! For the words for which the Lord is longing would know nothing of the rift separating reality and language. The words of that language would be nothing other than the things themselves. But this is to say: they would have to be the creative words of that God in whom neither the Lord, nor Hofmannsthal could believe. Nevertheless, the idea of this divine language functions as a measure that renders our language infinitely inadequate and condemns him who refuses to sully the dream of that language to silence.

This he will never master. 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).

Notes 1. For a thorough discussion of Heidegger on truth see Ernst Tugendhat, Der Wahrheitsbegriff bei Husserl und Heidegger, 2nd. ed. (Berlin: de Gruyter, 1970) and Daniel O. Dahlstrom, Heidegger’s Concept of Truth (Cambridge: Cambridge University Press, 2001), which includes an unusually thoughtful critical discussion of Tugendhat’s probing critique. 2. Wittgenstein’s Philosophical Investigations are, seen from this perspective, an analysis of inauthentic Dasein. 3. Hugo von Hofmannsthal, “The Letter of Lord Chandos,” Selected Prose, trans.

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