Michael Eldred wrote recently:
>Moving from poetry to the linguistic to the poetic and then to poiesis clouds
>the issue. It is a matter of the priority of Dichtung as a work of language in
>setting historical truth to work in the artwork.
It is true that the issue (of the priority of the poetic in 'the arts') is
clouded. Nonetheless the priority of the poetic seems to pervade
Heidegger's speech concerning art (and most everything else). Could it be
that the essence of the poetic is not something poetic? I seem to remember
Heidegger mentioning poeisis as being a-kin to physis, an emergence, an
up-surgence of the always already hidden, a bringing-forth into an open.
Art-work-ing provides the clearing for such bringing-forth. Perhaps also
the linguistic is not the essence of language; language might be present in
the musicality of music without being assimilated by some notion of a
language-of-music whether through the semiotics of 'blobs-&-sticks' or some
musicological-analytical schema. Perhaps in human-being's bringing some
thing to stand (not necessarily for some thing else) like a bridge or a
building or a symphony some thing like a name-ing takes place, is in site,
is brought to a placing that makes some thing be. Is an en-act-ment of
Being. Is a play-ing of Be-ing. Sing-ing might be more primordial than
say-ing, the essence of saying might be singing whereupon a resonance is
set up be-tween beings and Being through the pervasion of a sounding that
is a saying. What is called in such a saying-calling holds up the
in-stallation of the song such that it stays. Such a staying is a moment.
Is historical.
Perhaps we have gotten so used to language in the (dis?)guise of stating
that we have by-passed its musicality, its re-sounding-ness, its
re-sonance, its sing-ing, its vocal-ity. (Certainly, to bring this back to
some starter-thread to do with Heidegger's thought being a-kin to and
amenable to mathematical analysis, it might be fruitful to at-tune one self
to his musicality.)
Of course, we might move away from Heidegger in wondering why the poetic
assumes such priority and snatch from, say, McLuhan: he 'sees' Heidegger as
"surfing":
"Heidegger surf-boards along the electronic wave as triumphantly as
Descartes rode the mechanical wave." and
"Heidegger's excellent linguistics could easily stem from naive immersion
in the metaphysical organicism of our electronic milieu."
(from 'The Gutenberg Galaxy', 1962, U of Toronto Press, pp. 295-296)
McLuhan sees the linguistic turn in Heidegger as a response to the advent
of the electronic/electric media/technology. For McLuhan, the 'messages'
that, say, philosophers send in their postings and writings are but heavily
disguised and encoded responses by the body-philosophic to innovations in
the technological milieu. Such encodings can provide a better revelation of
the real workings of technology than can direct comment and reaction.
The all-at-once-ness of the speed-up of modern technologies produces in the
corpus-electronicus a tribal resonance, a song, a ringing, a (b)ringing to
presence of history in icons of space, bringing being to time and time to
being.
Heidegger sings the song of time.
Time to go.
MP
--- from list heidegger@xxxxxxxxxxxxxxxxxxxxxxxxxx ---
>Moving from poetry to the linguistic to the poetic and then to poiesis clouds
>the issue. It is a matter of the priority of Dichtung as a work of language in
>setting historical truth to work in the artwork.
It is true that the issue (of the priority of the poetic in 'the arts') is
clouded. Nonetheless the priority of the poetic seems to pervade
Heidegger's speech concerning art (and most everything else). Could it be
that the essence of the poetic is not something poetic? I seem to remember
Heidegger mentioning poeisis as being a-kin to physis, an emergence, an
up-surgence of the always already hidden, a bringing-forth into an open.
Art-work-ing provides the clearing for such bringing-forth. Perhaps also
the linguistic is not the essence of language; language might be present in
the musicality of music without being assimilated by some notion of a
language-of-music whether through the semiotics of 'blobs-&-sticks' or some
musicological-analytical schema. Perhaps in human-being's bringing some
thing to stand (not necessarily for some thing else) like a bridge or a
building or a symphony some thing like a name-ing takes place, is in site,
is brought to a placing that makes some thing be. Is an en-act-ment of
Being. Is a play-ing of Be-ing. Sing-ing might be more primordial than
say-ing, the essence of saying might be singing whereupon a resonance is
set up be-tween beings and Being through the pervasion of a sounding that
is a saying. What is called in such a saying-calling holds up the
in-stallation of the song such that it stays. Such a staying is a moment.
Is historical.
Perhaps we have gotten so used to language in the (dis?)guise of stating
that we have by-passed its musicality, its re-sounding-ness, its
re-sonance, its sing-ing, its vocal-ity. (Certainly, to bring this back to
some starter-thread to do with Heidegger's thought being a-kin to and
amenable to mathematical analysis, it might be fruitful to at-tune one self
to his musicality.)
Of course, we might move away from Heidegger in wondering why the poetic
assumes such priority and snatch from, say, McLuhan: he 'sees' Heidegger as
"surfing":
"Heidegger surf-boards along the electronic wave as triumphantly as
Descartes rode the mechanical wave." and
"Heidegger's excellent linguistics could easily stem from naive immersion
in the metaphysical organicism of our electronic milieu."
(from 'The Gutenberg Galaxy', 1962, U of Toronto Press, pp. 295-296)
McLuhan sees the linguistic turn in Heidegger as a response to the advent
of the electronic/electric media/technology. For McLuhan, the 'messages'
that, say, philosophers send in their postings and writings are but heavily
disguised and encoded responses by the body-philosophic to innovations in
the technological milieu. Such encodings can provide a better revelation of
the real workings of technology than can direct comment and reaction.
The all-at-once-ness of the speed-up of modern technologies produces in the
corpus-electronicus a tribal resonance, a song, a ringing, a (b)ringing to
presence of history in icons of space, bringing being to time and time to
being.
Heidegger sings the song of time.
Time to go.
MP
--- from list heidegger@xxxxxxxxxxxxxxxxxxxxxxxxxx ---