The prose is some of the most poetic, direct, and intimate in Western philosophy. Eat it slowly and it will bless you with stronger bones and teeth, metaphorically speaking. For Heidegger, Western philosophy took a wrong turn with the Greeks!
Content[ edit ] In "The Origin of the Work of Art" Heidegger explains the essence of art in terms of the concepts of being and truth. He argues that art is not only a way of expressing the element of truth in a culture, but the means of creating it and providing a springboard from which "that which is" can be revealed.
Each time a new artwork is added to any culture, the meaning of what it is to exist is inherently changed. Heidegger begins his essay with the question of what the source of a work of art is.
The artwork and the artist, he explains, exist in a dynamic where each appears to be a provider of the other.
Nevertheless, neither is the sole support of the other. Likewise, the resulting work must be considered in the context of the world in which it exists, not that of its artist. Applied to art and artwork, we find that without knowledge of the essence of art, we cannot grasp the essence of the artwork, but without knowledge of the artwork, we cannot find the essence of art.
Heidegger concludes that to take hold of this circle you either have to define the essence of art or of the artwork, and, as the artwork is simpler, we should start there.
Artworks, Heidegger contends, are things, a definition that raises the question of the meaning of a "thing," such that works have a thingly character. This is a broad concept, so Heidegger chooses to focus on three dominant interpretations of things: Things as substances with properties,  or as bearers of traits.
Things as the manifold of sense perceptions. The preconception shackles reflection on the Being of any given being. This was actually typical of Heidegger as he often chose to study shoes and shoe maker shops as an example for the analysis of a culture.
What world do they open up and belong to?
So a family unit could be a world, or a career path could be a world, or even a large community or nation. It is outside unintelligible to the ready-to-hand. Both are necessary components for an artwork to function, each serving unique purposes.
The artwork is inherently an object of "world", as it creates a world of its own; it opens up for us other worlds and cultures, such as worlds from the past like the ancient Greek or medieval worlds, or different social worlds, like the world of the peasant, or of the aristocrat.
However, the very nature of art itself appeals to "Earth", as a function of art is to highlight the natural materials used to create it, such as the colors of the paint, the density of the language, or the texture of the stone, as well as the fact that everywhere an implicit background is necessary for every significant explicit representation.
In this way, "World" is revealing the unintelligibility of "Earth", and so admits its dependence on the natural "Earth". This reminds us that concealment hiddenness is the necessary precondition for unconcealment aletheiai.
The existence of truth is a product of this struggle—the process of art—taking place within the artwork. Heidegger uses the example of a Greek temple to illustrate his conception of world and earth. Such works as the temple help in capturing this essence of art as they go through a transition from artworks to art objects depending on the status of their world.
Once the culture has changed, the temple no longer is able to actively engage with its surroundings and becomes passive—an art object. He holds that a working artwork is crucial to a community and so must be able to be understood. Yet, as soon as meaning is pinned down and the work no longer offers resistance to rationalization, the engagement is over and it is no longer active.
While the notion appears contradictory, Heidegger is the first to admit that he was confronting a riddle—one that he did not intend to answer as much as to describe in regard to the meaning of art.
Heidegger, instead, questioned traditional artistic methods.
His criticism of museums, for instance, has been widely noted. Critics of Heidegger claim that he employs circuitous arguments and often avoids logical reasoning under the ploy that this is better for finding truth.
In fact, Heidegger is employing a revised version of the phenomenological method; see the hermeneutic circle. Refer to the influential work in architectural phenomenology of: Rizzoli, ; and see also a recent treatment of the question of dwelling in:Heidegger assumes his original audience (viz., “the Art-Historical Society of Freiburg”) will recognize that his argument for art in “The Origin of the Work of Art” comes out of his complementary critique of aesthetics, because as Kelly (, p.
Essay on Martin Heidegger's The Origin of the Work of Art.
Three pages from the writing of 20th-century German philosopher Martin Heidegger—can you take it? The struggle or “Strife” is the process of a work of art taking place within the art work itself. In conclusion, the concepts of “Work” and “Equipment” that Heidegger presents in The Origin of the Work of Art can be summarized as follows.
Roger Berkowitz. Download with Google Download with Facebook or download with email. The Origin of the Work of Art, by Martin Heidegger. In recent years there has thus been a great deal of talk about a possible death of art.
As the title of Heidegger’s "The Origin of the Work of Art" suggests, the essay challenges such talk, just as it in turn is challenged by such talk, talk that is supported by the current state of the srmvision.com: K.
Harries. Since Heidegger does not actually discuss the origin of the work of art in the essay in which that is the question, one ventures something. Is the work of art – see all the stuff on work in the essay – a kind of equipment * that reveals something?