Same case as the Tanagra figurines; I already offered my take on that earlier today.
Luc ----- Original Message ---- From: armando baeza <[email protected]> To: [email protected] Cc: armando baeza <[email protected]> Sent: Wednesday, April 15, 2009 2:29:16 PM Subject: Re: Heidegger and techne Where would the " essence" apply in the 8,000 Terra Cotta buried Soldiers in China, obviously made by hundreds of workers from hundreds of molds which produced differences in each statue, making each one a unique work of art.? mando On Apr 15, 2009, at 8:26 AM, Luc Delannoy wrote: > My apologies, I don't know what happened with my text... > > > Chris, > > > Unfortunately I am not familiar with the Tanagra figurines; so I won't > comment about that. > > "Truth establishing itself in the work". I would interpret bworkb as the > process and as the phenomenon, not > as the result of the process (the object). A fad would be the focus on > objects. > > What is important is not the pair of shoes (the object per se) but what it > reveals;the marks it left on the soil, the marks the peasant left inside the > shoes, > for example. What it evokes. Here essence has to be taken in the > phenomenological sense of eidos; it is not something you can touch. The > un-veiling of the essence is a process; the "praxis process of art" is part > of the un-veiling of essence. It could be helpful > to complement phenomenology with hermeneutics so you could place > thedescription of the process of un-veiling in a context (Greek context for > example) > > Knowing social practices helps us understand the essence of the Being. This > knowledge opens aLichtung (clairiere-clearing)where things are given to us. > > Heidegger was interested in understanding the Being, and the passage thru art > was his way to that understanding. > > Reproduction; yes, it is a concern. See the writings by Walter Benjamin on > the subject (and also H. Arendt or even Kant for the difference/separation > between art and craft industry). > > But again, I believe we must remember that Heidegger was a phenomenologist. > We cannot deny a certainfascination for the Greek civilization. We cannot > deny that the search for "the" essence has lead us to wars and intolerance - > see the 19th centrury in Europe, see Wagner's operas. > > Luc > > > www.lucdelannoy.com > > > > > ----- Original > Message ---- > From: Chris Miller <[email protected]> > To: > [email protected] > Sent: Wednesday, April 15, 2009 8:01:35 AM > Subject: Re: Heidegger and techne > > Given every ancient Hellenic artifact > available to us today, did Heidegger > really believe that each and every one > them exemplified "truth establishing > itself in the work"? > > Wouldn't some of > them have been reproductions of work that had already been > done -- just as one > peasant shoe is quite likely made from a pattern used many > times before ? > > I > happen to be a big fan of what are often called "Tanagra figurines" -- i.e. > small ceramic figures made in the 4th C. BCE in the region that includes > Tanagra. (they were first dug up in the late 19th C. and became a big hit with > European art lovers in the decades that followed. I'm sure that Malraux, for > example, had something to say about them) > > > Have you ever seen such things ? > I spent a few happy hours last year going > through several hundred pictures. > They were mass produced from molds, but > more than that, they are often so > similar, that evidently some were made in > imitation of others. I.e. -- I > very much doubt that "truth was establishing > itself" for the first and > only > time in any of one of those figures that I saw. > > I happen to have zero > aesthetic interest in about 90% of them -- but whether > the ones I like are > more original than the others - well, who can say ? > > A kind of naturalism was > achieved in some ancient Greek sculpture that has > been very important in > several periods of European civilization that followed > - but the Tanagra style > is no more naturalistic than some earlier > Mediterranean styles that preceded > it - or from pieces found elsewhere around > the world: China, Meso-America etc. > Classically educated Europeans of his time shared a Romantic fascination with > ancient Greece that Heidegger expresses in the quote that Luc has offered:"In > Greece, at the outset of the destining of the West, the arts soared to the > supreme height of the revealing granted them. They brought the presence > (Gegenwart) of the gods, brought the dialogue of divine and human destinings, > to radiance" > > Today, we would call such enthusiasm a "fad" - and I'm doubting > that all them > (especially Heidegger) looked carefully at very many examples of > work -- > either from Ancient Greece, or from all the other places that produced > similar > things. > > *************** > > > Luc wrote: >> Techne: may I suggest the reading of The Question Concerning Technology by > the > same Heidegger, Harper Torchbooks. 1977. > > I quote from page 34: > "In > Greece, at the outset of the destining of the West, the arts soared to the > supreme height of the revealing granted them. They brought the presence > (Gegenwart) of the gods, brought the dialogue of divine and human destinings, > to radiance. And art was simply called techne. It was a single, manifold > revealing. It was pious, promos, i.e., yielding to holding.sway and the > safekeeping of truth. .... > Why did art bear the modest name techne? Because it > was a revealing that > brought forth, and hither, and therefore belonged within > poiesis." > > > > ____________________________________________________________ > Get > a life insurance quote online. Click to compare rates and save. > http://thirdpartyoffers.netzero.net/TGL2231/fc/BLSrjnxcDYWYe29T5OA7qjrnO5QBD8 > H1QpUHlZpjHDaHSclXaSSSVfkpu9q/
