![]() ![]() None of the three interpretations of the thing succeeded in exposing that which is at work in the work of art. This idea is interesting if we consider that Heidegger’s effort to investigate the determination of the thing ( Ding) in its thingliness (extended to all entities: tools, things, and works) via the three popular western interpretations of the thing did not yield positive results. Though Heidegger’s primary concern was not the tool or entities, but the nature of the works of art ( Kunstwerke), it was the contemplation of the latter that manifested the former, i.e., in its Being, because it could speak to the contemplator. In the work of art, truth of entity has come into play The work of art opens up the Being of entities in its own way” ( Heidegger, 2012, my translation). To the question, “what is at work in the work ( sic: of art)?”, Heidegger responded: “in the work is the event of truth at work, if here the opening of entities occur in that which and how it is. Finally, I suggest participation as a phenomenological approach that can make both Heidegger’s and Richir’s intuitions meaningful. I concretize this with an illustration from the theater. With this, he shows how the aforementioned metaphysical condensations are liveable in experience. He therefore proposes another mode of “perception” beyond mere perception in a revolutionary interpretation of the husserlian “perceptive” phantasia. The disclosure has to be phenomenological, corporeal, and affective. In response to the second problem, Richir shows how artworks cannot disclose just metaphysical categories of Being, truth, or world. This Sache is in itself a phenomenon that is disclosed in artworks. ![]() This is because the material stuff or object given in perception is neutralized by the phantasia to become what Richir calls Sache. In response to the first problem, he shows that the “perception” (experience) of artworks is beyond mere everydayness since artworks open for us a world that “never was” and “never will be” (i.e., “virtuality” and not a veridical sense of everydayness as captured in the perceptive act that is object-related). The questions that confront us to this effect are: can perception lead us into, to encounter, this world opened by artworks? Does the nervous/visual system suffice to enter into that world in which the artist invites us? This is where Richir becomes important. ![]() Hence the question: how then could the “truth of Being” or the “world” that artworks reveal be experienced? Among other ways ( mimesis, imagination, perception, etc.) by which artworks are experienced, I choose to examine perception since it confirms this idea of everydayness. Second, the senses of truth, Being, and world are metaphysically condensed. First, his idea of “world-disclosure” evoked a sense of everydayness (which captures, for me, the idea of credulism in perception). Please see Legacy Releases.In the Origin of the work of art, Heidegger claimed that the work of art opens to us the truth of Being, the opening of the world. However, it will receive no more updates, even for security issues. SFTP version 1.16, released in September 2022 will continue to be available for download and use. As mentioned above, users who purchased v1 after will have already received a free upgrade. This is regardless of when the SFTP v1 license was purchased. The price for upgrading a license is $15. This has been extended to cover anyone who purchased a license after the release of Sublime Text 4. The license policy normally only provides a free upgrade to v2 for users who purchased a license in the year before release.
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