QT pg 30
"If we speak of the "essence of a house" and the "essence of a state", we do not mean a genuine type; rather
we mean the ways in which house and state hold sway, administer themselves, develop and decay-the way in
which they "essence" [Wesen]."
Questions
If the "essence" of house is in its forms of life (apres Wittgenstein), in what way does recognition and
appreciation of the work of art come to play when we talk of architecture and town planning?
Is that building or town, that caters admirably for the development of a local character or the development of
an identity that constantly invites the perceiver to work out its "mystery" (be it the Spanish Steps of Rome, or
the winding lanes of Sienna), a work of art? Is it in a sense equipment? Here, perhaps the boundary between
the equipmental tool and the work of art might break down? (Eg Gadamer's Heidegger does not see Design
as art, is it so clear-cut?)
Someone might see a pair of boots old and well-used, and develop thoughts along the lines of that when they
see the painting of the same boots by Van Gogh.
Is this recognition for them the work of art? Even if it is not translated for them by the artist?
Does the experience need to be codified, modelled, intentionally sculpted or whatever, for the experience of
the work to be a work of art?
On reading the start of the Question Concerning Technology, and via the Origin of the Work of Art;
MH's own fourfold of the creation of the work, it would appear so (??)
(see PLT p19-24, esp 19/20 that one first must work out "thingly feature in the artwork" to understand "real art".
and p24, that the process "once struck man as strange and made him to think and to wonder".. .Do we blame
tradition?!? Yes and No, I suggest...)
Further thoughts on (PLT: The Origin of.../) Holzwege:
The more anonymous the process and genesis and artist behind the work the better.
The work must both create and be preserved.
The work cannot be taken as an object, that is aesthetics, to take it as an object.
The work does not relate to the person's individual experiences.
This essay only talks of great art.
Art for the Greeks was no different to craft as both were techne is untrue, both meant aletheia, not craft, not
art.
Artists try to perfect their craft but that is not art.
Earth needs world and world needs earth.
The rift (Riss) brings both break and outline together.
One must come before the work and see it as awesome...
Is the (great) work of art related to the Hypokeimenon, to that which looms up before being, to the Sublime
(and thus to Aristotle's notion of philosophy as awe/wonder?) Is authentic thinking that which constantly
shakes its own foundations?
Is this a Heideggeran Critical Theory in Kantian Sublimity dressing that specifies the work as that which makes
us question our future in light of the past? That makes us fearful of the fact that our pastv continually collides
with our present into the future so much so that we realise the continual power of this collision?
Erik Champion
--- from list heidegger@xxxxxxxxxxxxxxxxxxxxxxxxxx ---
"If we speak of the "essence of a house" and the "essence of a state", we do not mean a genuine type; rather
we mean the ways in which house and state hold sway, administer themselves, develop and decay-the way in
which they "essence" [Wesen]."
Questions
If the "essence" of house is in its forms of life (apres Wittgenstein), in what way does recognition and
appreciation of the work of art come to play when we talk of architecture and town planning?
Is that building or town, that caters admirably for the development of a local character or the development of
an identity that constantly invites the perceiver to work out its "mystery" (be it the Spanish Steps of Rome, or
the winding lanes of Sienna), a work of art? Is it in a sense equipment? Here, perhaps the boundary between
the equipmental tool and the work of art might break down? (Eg Gadamer's Heidegger does not see Design
as art, is it so clear-cut?)
Someone might see a pair of boots old and well-used, and develop thoughts along the lines of that when they
see the painting of the same boots by Van Gogh.
Is this recognition for them the work of art? Even if it is not translated for them by the artist?
Does the experience need to be codified, modelled, intentionally sculpted or whatever, for the experience of
the work to be a work of art?
On reading the start of the Question Concerning Technology, and via the Origin of the Work of Art;
MH's own fourfold of the creation of the work, it would appear so (??)
(see PLT p19-24, esp 19/20 that one first must work out "thingly feature in the artwork" to understand "real art".
and p24, that the process "once struck man as strange and made him to think and to wonder".. .Do we blame
tradition?!? Yes and No, I suggest...)
Further thoughts on (PLT: The Origin of.../) Holzwege:
The more anonymous the process and genesis and artist behind the work the better.
The work must both create and be preserved.
The work cannot be taken as an object, that is aesthetics, to take it as an object.
The work does not relate to the person's individual experiences.
This essay only talks of great art.
Art for the Greeks was no different to craft as both were techne is untrue, both meant aletheia, not craft, not
art.
Artists try to perfect their craft but that is not art.
Earth needs world and world needs earth.
The rift (Riss) brings both break and outline together.
One must come before the work and see it as awesome...
Is the (great) work of art related to the Hypokeimenon, to that which looms up before being, to the Sublime
(and thus to Aristotle's notion of philosophy as awe/wonder?) Is authentic thinking that which constantly
shakes its own foundations?
Is this a Heideggeran Critical Theory in Kantian Sublimity dressing that specifies the work as that which makes
us question our future in light of the past? That makes us fearful of the fact that our pastv continually collides
with our present into the future so much so that we realise the continual power of this collision?
Erik Champion
--- from list heidegger@xxxxxxxxxxxxxxxxxxxxxxxxxx ---