By Iain D. Thomson
Heidegger, paintings, and Postmodernity bargains a thorough new interpretation of Heidegger's later philosophy, constructing his argument that artwork might help lead humanity past the nihilistic ontotheology of the trendy age. offering pathbreaking readings of Heidegger's "The beginning of the murals" and his notoriously tough Contributions to Philosophy (From Enowning), this e-book explains accurately what postmodernity intended for Heidegger, the best philosophical critic of modernity, and what it could possibly nonetheless suggest for us this day. Exploring those matters, Iain D. Thomson examines a number of postmodern artworks, together with tune, literature, portray, or even comedian books, from a post-Heideggerian standpoint. basically written and obtainable, this ebook may help readers achieve a deeper knowing of Heidegger and his relation to postmodern concept, pop culture, and artwork.
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Additional info for Heidegger, Art, and Postmodernity
To put it much too briefly (but by way of anticipation), to learn to dwell is to become attuned to the phenomenological “presencing” (Anwesen) whereby “being as such” manifests itself. 22 As we will see (in Chapter 3), Heidegger thinks we can best learn this comportment from a phenomenological encounter with great art, the very essence of which is poetry. , that both informs and partly escapes all our attempts to fix it in place once and for all. Unfortunately, an increasingly common misreading of the later Heidegger simply conflates his “being as such” with Levinas’s “alterity,” and so misconceives being as something in principle Â�ineffable, rather than as effable but also as “inexhaustibly given to human beings to think” (CCP 156, my emphasis/GA77 239).
Instead, Heidegger believes that the radically pluralistic, postmodern age will be the “last” age (hence his talk of “the last God,” which we will examine in Chapter 6), in so far as it constitutes a permanent openness to other possible interpretations, and so to the future. 5 This suggests that the philosopher who understands how exactly metaphysics “grounds” and “guides” an age should also be able to discern the general direction in which it is moving historically. At first blush, the claim of any connection between philosophy and prophecy sounds dangerously hubristic (especially in light of Heidegger’s own history).
Just think, on the one hand, of a poetic shepherding into being that respects the natural potentialities of the matters with which it works, just as Michelangelo (who, let us recall, worked in a marble quarry) legendarily claimed he simply set his “David” free from a particularly rich piece of marble (after studying it for a month); or, less hyperbolically, as a skillful woodworker notices the inherent qualities of particular pieces of woodÂ€– attending to subtleties of shape and grain, different shades of color, weight, and hardnessÂ€– while deciding what might be built from that wood (or whether to build from it at all).