By Karsten Harries
Lately there was loads of discuss a potential demise of artwork. because the identify of Heidegger’s “The starting place of the paintings of Art” indicates, the essay demanding situations such speak, simply because it in flip is challenged by means of such speak, speak that's supported by way of the present kingdom of the art-world. It used to be Hegel, who such a lot profoundly argued that the form of our glossy global now not allows us to furnish paintings the importance it as soon as possessed. Hegel’s proclamation of the tip of artwork in its maximum feel shadows this statement, because it shadows Heidegger’s essay. Heidegger’s complicated flip from the thinker Hegel to the poet Hölderlin is born of the conviction that we must never let Hegel to right here have the ultimate. At stake is the way forward for paintings. yet extra importantly, if we're to just accept Heidegger’s argument, at stake is the way forward for humanity. yet all who're wanting to locate in Heidegger’s essay tips bearing on the place not only paintings, yet we should always be heading, could be made cautious via Heidegger’s politicizing of paintings and aestheticizing of politics. either stay temptations that call for a serious reaction. This observation demonstrates the ongoing relevance of Heidegger’s reflections.
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Extra resources for Art Matters: A Critical Commentary on Heidegger’s “The Origin of the Work of Art” (Contributions to Phenomenology)
5. Looking for a Hero All this remains all too vacuous. The question returns: how are we to understand such placement in resolute action? Is the appeal to resoluteness as understood in Being and Time any more adequate than Sartre’s closely related attempt to make freedom the foundation of value? Freedom that acknowledges no independent criteria or reasons becomes indistinguishable from spontaneity and subverts itself. What gives weight to our actions must be discovered; it cannot be invented. As Heidegger recognizes, when he understands Entschlossenheit as Ent-schlossenheit, freedom requires responsibility.
Here the individual confronts the possibility of authenticity only to escape or turn his or her back on it, seeking security in what the world has to offer. If we are to really appropriate our own being, 4 RESOLUTENESS AND RESPONSIBILITY 23 become authentic in that sense, we must have the strength to appropriate our mortality, the strength to acknowledge that our freedom is tied to impotence, that all our attempts to make us into our own foundation must fail, that the project of pride must inevitably suffer shipwreck.
11 But every such turn to history to banish the specter of arbitrariness remains haunted by it: like the present, the inherited past speaks with many and conflicting voices. No past event, even when looked at as a repeatable possibility, is as such authoritative; it becomes such only when recognized as worthy of repetition. But does this not presuppose some independent understanding of what makes it thus worthy? In Being and Time Heidegger significantly does not speak of recognition, but of the individual choosing his hero, where we can think of this hero as either a real person or as a fictional character or as a god or demigod (G2, 509/437).
Art Matters: A Critical Commentary on Heidegger’s “The Origin of the Work of Art” (Contributions to Phenomenology) by Karsten Harries