I would say, that the essence of a mozart concerto or Conger painting
relate the same as van Gogh's shoes, as new truth.
I'm reading the google text
mando
On Apr 7, 2009, at 11:42 AM, [email protected] wrote:
In a message dated 4/7/09 2:06:38 PM, [email protected] writes:
Am I right in thinking that Heidegger picked the easiest example of
making
art out of something, when he decided to discuss "equipment" and
that he
would have found it much more difficult to make his exposition
with other
categories?
Yes, Mam -- you're right. Back on 3/26 I made a parallel objection:
"We don't want thinkers setting up straw men, but also don't want
them to set
up golden men -- that is, choose only useful examples and ignore
obvious
counter-examples. Here below is an outline of H's initial example
of a "work
of
art" -- Van Gogh's painting of the peasant's shoes. Besides asking
if he is
convincing about that work, ask how any of it would be useful in
thinking
about a
Mozart concerto or a Conger painting.
Search for the "equipmental character of equipment".
1. Consider a painting of a pair of peasant shoes by Van Gogh.
2. Equipmental character consists in its usefulness. Thus, we must
consider
the shoes as they
are used, not in some abstract or formal sense. [33]
3. The equipmental being of equipment is reliability. [34]
4. This is discovered by an imaginative engagement with Van Gogh's
painting
of a pair of shoes.
In other words, the work of art allowed us to understand "what
shoes are in
truth".
4
[36]
5. Thus, the work of art has allowed the entity to emerge "into the
unconcea
Search for the "equipmental character of equipment".
1. Consider a painting of a pair of peasant shoes by Van Gogh.
2. Equipmental character consists in its usefulness. Thus, we must
consider
the shoes as they
are used, not in some abstract or formal sense. [33]
3. The equipmental being of equipment is reliability. [34]
4. This is discovered by an imaginative engagement with Van Gogh's
painting
of a pair of shoes.
In other words, the work of art allowed us to understand "what
shoes are in
truth".
4
[36]
5. Thus, the work of art has allowed the entity to emerge "into the
unconcealedness [or "truth"] of its being."
ike the "thingliness of things", Heidegger's notion of the
"equipmental being
of equipment" is his way
of talking about the "real nature" of equipment, its essence, what
makes it
equipment.
4
Notice how, in the description of the peasant shoes, Heidegger
includes a
reference to the earth to
which the shoes belong, and the world of the peasant woman in which
they are
"protected". This
distinction will play a central role in Heidegger's discussion of art.
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